For the first time in our conversation, Humour are stumped. You’d think - with a band name such as theirs - that it would be easy, but upon being asked for their favourite joke, they’ve come up empty. After a good 10 seconds of umm-ing and ahh-ing, lyricist Andreas Christodoulidis chuckles: “I guess we’re not actually very funny!” Perhaps their lack of a ready-made stand-up routine should not be at all surprising, especially after listening to their newly released debut album, ‘Learning Greek’. For all its numerous strengths, this record is unlikely to draw comparisons to Weird Al any time soon, with emotionally weighty subject matter and a crushing, emo-inspired musical palate to match. “I find it easier to write about heavier stuff than the cheery bits of life”, he says, commenting on his own writing style. It’s fortunate, with this in mind, that the lyricist is so willing to mine his personal life for art. The title 'Learning Greek' is not a metaphor: during the making of the album, Christodoulidis was extensively exploring his ancestry, evidence of which is scattered throughout its runtime. Memorial directly retells a segment of the Iliad, whilst Aphid and Die Rich both invoke characters from Greek mythology. “The amazing thing about those stories”, Christodoulidis muses, “is that even after thousands of years, they still hit you quite immediately, with their depictions of these relatable human moments.” Deliberately associating your own art with the classics is a daunting prospect, and one that Humour don’t take lightly. “We were worried that it was quite pretentious”, guitarist Jack Lyall states, “but that’s where presenting it in this erratic, heavy music makes it a little bit different. You’d never expect these stories to be told in this way, and you wouldn’t expect this music to be about that either.” For an album with such a strong theme, it’s surprising to learn that it wasn’t originally conceived as a concept album. “We didn’t write it with a theme in mind,” Lyall recalls. “It was only when we wrote a really shit song called ‘Learning Greek’ where we had this realisation that every song was looking at Andreas’ family and Greek history.” After some reworking, that title track would go on to become one of the most poignant moments on the record, not least because of the inclusion of Christodoulidis and his father, reading On Philhellenes Street by poet Andreas Embirikos together. Though on paper just an interlude, with a runtime that fails to make the minute mark, it is this short track that connects the album’s themes, not least because of the generational impact that it proves these stories to have. “He didn’t even know I was recording!” Christodoulidis laughs, “I’d been doing it in secret for months, not with any specific intention in mind, but then Jack came to me with the instrumental for that song, and it worked really well.” “I was about to abandon it”, Lyall interjects, “because I thought ‘What’s the point? I don’t really know where this is going’. But with those recordings, everything about the track really fell into place.” With the covert operation to record these recitals complete, all that was left to do was to show Christoudoulidis’ dad the finished product, still unbeknownst to the central role he played on it. “He was bewildered when he heard it!” the frontman remembers, “He just had nothing to say except ‘oh! Sounds good.’” After the complex, at times subterfuge-laced creative process for ‘Learning Greek’, taking these songs on the road has become a liberating experience for Humour. “When you play live, the emotions of a song are what hit people first.” Lyall adds “Even though they are about quite specific things, we try to bring the universal feelings out of the stories, and that’s easier to do at a show.” “People hearing the recordings is way more daunting than playing them live,” Christodoulidis adds, “when the song is out there, and people can listen carefully and replay it, deconstruct it. And, y’know, reviews are written, of course, that’s the thing that scares me a little bit”. It’s this vulnerability that makes Humour such an admirable band. On ‘Learning Greek’, they have laid a piece of themselves on the line, all the while dressing it up in an anxious, angsty sound. And though many reviewers will have their say on the merits of their work, there is surely one that towers in importance above the rest… “My dad has heard the album in full now,” Andreas Christodoulidis reveals, “he liked the bits that he’s in!” Photo by Simon Arinze at 2000Trees Humour's 'Learning Greek' is available now via So Young Records. Words: Ali Glen Cover photo: Rosie Sco Cover Design and 2000Trees photo: Simon Arinze With thanks to: Prescription PR

Jacob Duarte’s band project Narrow Head have seen significant success the past couple of years following the release of their stunning third album Moments Of Clarity. Touring the world, playing festivals, and even releasing a small split E.P with Momma in which they adoringly covered each other's music, Narrow Head has never shied away from heavy resonant riffs, dark yet complicated subject matter, and dreamlike soundscapes to offset the listener but even we couldn’t have guessed what other ideas Jacob could be sitting on - namely Deluxe Edition, the first release under Jacob’s new solo moniker Nihilistic Easyrider. With this new project, Jacob has cast us into the roots of his writing style and influences with an album filled with those same dreamlike melodies, but with a taste of the forefathers of pop-punk and 2000’s era emo. A collection of songs written throughout Jacob’s career, the record serves as an anthology of his imagination and amazing ear for melody. ‘Getaway Plan’ was the first single released and it is a masterclass of a pop-rock song. Launching you immediately into a heart-racing riff, beautifully laid vocals and a drum beat that will have all of us restless leg syndrome sufferers looking like we’re air drumming for Slayer! Following ‘Getaway Plan’ we fall into the more relaxed tones of ‘Weekend Fever’ another big singalong chorus with a more stripped-back sound. ‘Facedown’, the last single released, is Nihilistic Easyrider at his most pop-punk, almost reminiscent of Enema-era blink-182. The fast drums and big chorus are made for stage dives and crowd vocals, and our only complaint is that this one isn't long enough! ‘Drive All Night’ and ‘Don’t Get Scared Now’ are two of the biggest highlights of this record. ‘Drive All Night’ fades in like a sulking teenager wandering and stomping through the house, closing doors a little too rough. This leads into a moody riff that builds internally, brooding and bubbling over like angst or frustration, and then culminates into a beautiful chorus that will absolutely have you driving all night with it on repeat. ‘Don’t Get Scared Now’ has beautiful swelling guitars from the open, a truly romantic opening that one could slow dance to before collapsing into its moody and quasi-Narrow Head chorus. This song sounds like heartbreak feels - long days in your room alone, a warm drink untouched and a second blanket in an attempt to comfort your melancholic mind. ‘Sanitorium’ is another of the shorter tracks on the record, with gorgeous synths and lyrics made for full venues to yell back at Jacob. Despite the song's obvious lyrical references to depression and suicide, the damned thing is so upbeat that the track plays a trick on you, and the inherent sadness, hidden in plain sight, could almost go unnoticed. ‘Everything Is So F*cked Up’ is a full-blooded folk/emo classic. Jacob flaunts the type of music he must have grown up hearing, and he uses this influence to create a piece with a fantastic twist into his own style. The jaunty piano riffs, that same swelling we heard in ‘Don’t Get Scared Now’ but reborn anew with a country twang. Something tells us this talented Texan has not yet yee’d his last haw. Deluxe Edition feels like an album of songs that Jacob can truly wear on his sleeve. The influences of his local music scene and culture, the radio pop-rock of the early 2000s, all skillfully mixed together with the earworm melodic harmonies of 1990’s emo. Duarte pulls all of this together, and creates what is a strong contender for album of the year, certainly if your music taste is found where the tunes all have a summery disposition and endless replayability. Nihilistic Easyrider deserves all of your attention this summer - with U.S tour dates on the horizon - so right now is the best time to get in on the ground floor with Deluxe Edition and, with nihilistic ease, ride it all the way to the top. Score: 9/10 Deluxe Edition was released on July 25th 2025 via Run For Cover Records. Words: Spencer Cunningham Photos: Nihilistic Easyrider

It's hard to believe that BABYMETAL is officially celebrating its fifteenth anniversary on the metal scene, but the Japanese band is well ahead of the celebrations, and for this big occasion the group has released its fourth full-length album, METAL FORTH, that's stuffed fit to burst with big names and bigger riffs. Together with the exciting release, SU-METAL, MOAMETAL and MOMOMETAL embarked on a huge worldwide tour, playing in Europe and the United Kingdom, as well as doing an extensive tour across The States and prepping for one later this year in Asia. The ten-track, full-length album offers a near-excessive, yet very exciting selection of seven collaborations, that are all well-known and relevant metal bands and artists, such as Poppy, featured on the opening song ‘from me to u’, Bloodywood, who took over ‘Kon! Kon!’, and Tom Morello on the striking ‘METALI!!’. The previous mentioned tracks, as well as the others, offer a unique listening experience, combining BABYMETAL’s iconic usage of instruments, with heavily-used guitars and drums, and SU-METAL, MOAMETAL and MOMOMETAL’s distinctive voices that have been a hallmark of the band since the very beginning. The three previously mentioned songs are all very prominent for various reasons. The opening track ‘from me to u’ with the ‘Queen of Metal’ herself, Poppy, is not only a powerhouse of a song - especially for a track that is supposed to introduce you to the album - but it is also one of the few songs in BABYMETAL’s discography that is sung predominantly in English, making it a special piece to listen to. The band’s appreciation for femme artists does not end here, however, as the metal sensation Spiritbox, fronted by the talented Courtney LaPlante, is featured on the album as well, specifically on the song ‘My Queen’. Even though LaPlante’s part does not last long, her raw vocals and striking screams are highly complementary within the piece. In ‘Kon! Kon!’, however, the listeners are met with a catchy blend of Japanese, English and Hindi, as Bloodywood brings its own twist in the overall melody, resulting in one of the most stand-out pieces of the project. The only breakdown of the song is aggressive and merciless, bound to not leave one head still. The last mentioned song, ‘METALI!!’, offers listeners a modern metal twist on classical Japanese music, thanks to Tom Morello’s unmistakable way with a guitar and the use of shamisen, that have landed a perfect balance and depth to the song, which has recently become popular with the bands fans since the EU and UK tour. ‘Sunset Kiss’ is a lovely collaboration with the American progressive rock band Polyphia, and although it is a tad weaker compared to the other tracks, it is still exciting to listen to. Strongly resembling the style of Japanese rock often used in anime openings, the song features catchy instrumental parts, as well as some synthesized parts that fit in amazingly. Apart from the strong collaborations, BABYMETAL also returned with three new tracks that all fit in the band's discography perfectly, while bringing in new and fresh dynamics. ‘KxAxWxAxIxI’ is very reminiscent of the band’s earlier work, with rumbling screams and extensive rap-parts. The song uses many elements such as synths and sound effects that add more life to the overall atmosphere. On the other hand, ‘Algorism’ and ‘White Flame —白炎—’ are very energetic releases that stun the listeners from the first notes. Both heavily incorporate guitar riffs and drums alongside the soft voices and occasional screams of SU-METAL, MOAMETAL and MOMOMETAL to create a memorable listening experience that only the metal sensation from Japan can bring. Metal Forth is a strong candidate for the best album of the year, as every song brings with it new twists and excitement that absolutely does not slow down across the album. The album is packed with mind-blowing collaborations and songs that fans of BABYMETAL did not know they needed. The Fox-God messengers have, once again, proved to the world that their music has no boundaries and that even after fifteen years they are still one of the most innovative bands on the metal scene. Score: 9/10 METAL FORTH was released on August 8th 2025 via Capitol Records. Words: Katerina Stepanikova Photos: BABYMETAL

American punk rock band Rise Against - formed in Chicago in 1999 - are known for their social commentary, reaching the hearts of millions worldwide with topics such as politics, animal rights, war and environmentalism. When they have something to say they don’t hesitate, shouting it at the top of their lungs while delivering it in a way that is both beautiful and potent, making the band into something more than just musicians for so many individuals, and helping to make people feel seen and heard. Now, Rise Against are back with the highly anticipated album Ricochet. Jam-packed with aggressive riffs, catchy hooks, and vocals that are so powerful you'll feel them throughout your body. The album starts off with the track ‘Nod’ that was previously released back in January, and immediately you can tell that Rise Against have stuck to their roots, with Tim Mcllrath’s iconic vocals and guitar riffs that bring the song to life. ‘I Want It All’ and ‘Ricochet’ were the other two releases prior to the album. ‘I Want It All’ has kind of a grunge feel to it, felt keenly during the chorus as Tim is screaming “Don’t you want it all?”, whilst accompanied by soul-shaking riffs, while ‘Ricochet’ is a bit more mellow - but don’t be fooled, it is packed with driving drums and powerful, melodic vocals. The fourth song on the album is ‘Damage Is Done’, a beautifully thought out and well written track about how hurt and pain is something that cannot be reversed, but we are left with the choice to learn from it and grow, or let it hurt us forever. The chorus particularly stands out in this song, once it finally hits after an exciting build up it's like you can feel the lyrics and you get taken over by these melodic riffs. ‘Us Against The World’ is about the hard fight for a better world, and a reminder that it always starts with a minority of voices before it grows into something more. “I know you’re scared but you're not alone” - this is a reminder that, no matter how lonely it may feel fighting these issues, there will always be people right there fighting with you and wanting the same things. Rise Against have always been loud about their beliefs and this song feels like a reminder that they are fighting too, just like every one of us. Coming next is the song ‘Black Crown’, which tells an incredibly impactful story about preparing for a doomsday scenario to survive the last days on Earth, instead of putting all that energy into saving what's left of the world. Everyone and everything would be gone, and you would be left alone, ruling a world that nobody would be living in. Starting off with a heavy riff before going into the soul touching vocals is ‘Sink Like A Stone’, which touches on the subject of mental health. “You’re gonna sink like a stone, 'cause if you carry this weight on your own you're gonna break down.” This song is a reminder to put your mental health first, because you cannot take on the weight of anyone else's without dealing with your own. Rise Against have talked about many issues thus far, yet this song stands out to us because it is something we often forget. Afterwards is the electric ‘Forty Days’. This song really picks up towards the end, when everything hits ten times harder to really punch the message of the song home, holding onto something you love no matter what and committing to that even during the hard times. The guitar almost creeps up on you during ‘State Of Emergency’. Things starts off short and slow, before building up and taking more control. The chanting in this song borders on overpowering as the lyrics talk about the world, and how it always makes us always feel like we are in a state of emergency - “We never understand what the story's about so we all shake our hands, stamp our feet, scream and shout." ‘Gold Long Gone’ starts off with a beautiful guitar line joining Tim’s raw vocals, and this song takes its time. It's about where we are as a society and where we actually want be, and how there's such a big gap between the two. Nearing the end of the album, we have the song ‘Soldier’, which is a real anthem that makes you want to scream along with “I’m not your soldier anymore!” With the heavy guitar and drumming, these lyrics are repeated throughout, telling the poignant story of a soldier has finally opened their eyes and can no longer defend what they have been defending all this time. They end it off with ‘Prizefighter’ which is ultimately about creating music not only for their fans, but for themselves as well. Rise Against have outdone themselves with this album, each song has its own important message that tells a microcosm of the story of this album. We love their passion and it's clear to see that they put their everything into every one of their songs. This album not only weaves a poignant story, it also shows just how talented these guys are - they gave us a collection of electrifying riffs and intense drumming and also made a powerful point with each song. Rise Against have done punk rock proud again. Score: 9/10 Ricochet was released today on August 15th 2025. Words: Kelsey Mainwaring Photos: Rise Against

The Italian melodic power metal force Alterium has hit the scene with its latest release Stormrage, pushing themselves above the parapet. The band took over the charts in 2024, two years after being formed, with the full-length debut album Of War and Flames that featured nine original songs and a cover of Sabaton’s hit song 'Bismarck'. The band has played at numerous festivals and concerts since, with an upcoming festival tour this summer and a debut appearance at the acclaimed ProgPower festival in Atlanta, USA, and guest appearances at Fabio Lione’s Dawn of Victory’s shows across the Europe this autumn. The short yet powerful EP Stormrage has two new songs inside, one cover song and a jaw-dropping symphonic version of one of their most acclaimed songs, 'Of War and Flames'. By making the project a bridge between their debut album Of War and Flames and upcoming full-length releases and blending in the best of their power metal, Alterium have created a pathway for future projects, and a superb foundation on which to build. 'Stormrage' is a fast-paced song full of powerful guitars thanks to the guitarists Paolo Campitelli, who is also playing the keyboards, and Alessandro Mammola, hitting drums that are guided by Dario Gozzi, and dynamic bass played by Luca Scalabrin, all while combined with the strong vocals of the singer Nicoletta Rosellini. The song is a perfect introductory piece, as it takes the listeners into the world of the band and immerses them in their sounds. The next song, 'Sui', starts off a bit slower, even though it picks up pretty quickly. Featuring ear-catching riffs at the beginning, the song is diving more into the lore of Stormrage, narrated by the talented Rosellini, who delivers her lines on point and oftentimes layers her vocals throughout the song, creating beautiful harmonies. Unfortunately, apart from the drums, the rest of the instruments are not as prominent for a good chunk of the song, resulting in a sound that's not as rich in some instances. The third song on the EP, 'Paradise Lost', is a cover of the Symphony X song and showcases Campitelli’s keyboard skills in a way that complements the overall sound of the song. By using synths only in certain parts, rather than throughout the whole song, the band achieved a rich melody that is neither chaotic nor overwhelming, which is perfectly suited for the song. Carrying the atmosphere of a closing piece, the song feels like a proper goodbye at the end, hinting at something new that is about to come. Once again, the use of guitars in the song is well executed, with the riffs and solos not being forced and blending in well with the rest of the instruments. The last song of the release is not a new piece, but it still holds a big impact on the overall listener experience. As the song 'Of War and Flames' is one of the band’s most prominent releases, bearing the name of their debut album, Alterium decided to level it up a notch and put the symphonic version of this iconic song on the EP. Featuring plenty of classical instruments such as pianos and violins, as well as a choir, the sound is grandiose from beginning to end, creating a unique sound whilst still upholding everything the fans love about the song. Rosellini’s voice fits in wonderfully with the symphonic melody, and the song makes one long for more songs like this from the band in the future, as it would elevate the band’s performance. Although Stormrage is only four songs long, it still bears pieces that are both unique and memorable. From the EP's title track to the stunning orchestral version of one of their acclaimed songs, the listeners are met with rich guitars and bass, prominent drums and a voice that is one of the best on the scene. Unfortunately, sometimes the instruments got lost in the background, as the voice and the drums were a powerful combo, resulting into a weaker melody, but this does not take from the listening experience the EP offers to anyone who listens to it. Alterium have once again confirmed that they are ready to take over the power metal scene, and are not afraid to bring more of their trademark charm and energy with them. Score: 8/10 Stormrage was released on July 25th 2025. Words: Katerina Stepanikova Photos: Alterium

Queen Square didn’t look like itself. Forget the postcard lawns and neat cobblestones—by Friday night it was a breathing, sweating organism of punks, locals, and anyone who wanted to lose themselves in the noise. The air was warm and restless, humming with feedback from the soundcheck and the tang of cider in the heat. The Block Party had finally arrived, and Friday felt like the lit fuse before a controlled explosion. Lambrini Girls Brighton’s Lambrini Girls came on like a dare. Phoebe Lunny didn’t just step into the crowd—she claimed it, pushing moshers into gear while her green summer dress stuck to her in the heat. “God’s Country” spat bile and glitter in equal measure, “Cuntology 101” tore through the square like a brawl. Someone next to me lost their wine bottle to the pit; someone else caught it mid-song and took a swig before disappearing into the churn. Everything was loud, messy, and grinning with teeth. Soft Play Soft Play arrived with the subtlety of a punch in the ribs. Laurie Vincent’s mirrored guitar threw sunlight into the pit, Isaac Holman hunched over the kit like it was a fight he intended to win. “Girl Fight” was so short and savage the crowd demanded it again—and got it. The pit by now was a rolling storm: elbows, laughter, wine sloshing over denim jackets. Then “Everything and Nothing” hit, and just like that, arms were round shoulders, and you could taste the salt of sweat in the air. Punk, it turns out, is just as good at hugging as it is at hurting. IDLES By the time IDLES strode out, the square was at boiling point. “Colossus” began slow and menacing, the kind of build that makes your chest tight, until it finally snapped—and all hell broke loose. Bodies slammed, cider sprayed, someone poured a plastic cup of wine over their head and didn’t stop smiling. Joe Talbot was both conductor and confessor. Between growls, he talked about mental health, addiction, and tenderness like he was talking to each person one-on-one. “Mother” went out to his dad, “Danny Nedelko” roared as a sweaty declaration of love for every stranger in the pit. And then the politics came centre stage—a massive QR code for Medical Aid for Palestinians, a chorus of “Free Palestine” from the crowd, the kind of moment where you realise the music is just the megaphone. Lee Kiernan and Mark Bowen refused to stay put, diving into the pit like regular punters, shredding from inside the chaos. The night’s best story came when a kid named Aiden was pulled up to play guitar on “Rottweiler.” He nailed it, wine still dripping off the crash barriers from earlier, crowd roaring like a football match in extra time. The setlist didn’t give anyone breathing space—“Mr Motivator,” “Car Crash,” “I’m Scum,” “The Wheel”—each one another wave to be swallowed by. In the pit, grit got in your teeth, someone’s boot left a bruise, and the wine-and-cider mix on the ground turned to a sticky perfume rising with the heat. And yet, every fall was met with a hand up, every lost shoe somehow returned. Friday wasn’t just an opener—it was a baptism by noise. Lambrini Girls lit the first match, Soft Play threw it into the tinder, and IDLES made damn sure the whole square burned bright. It was feral, political, human, and drunk in every sense of the word. You left Queen Square with ringing ears, bruised ribs, grit on your skin, and the lingering taste of someone else’s wine. And you knew—there’s nowhere else, no other band, that could’ve made this happen quite like Bristol’s own. Words: Mia Gailey

After a couple of heavy hitting EP's and singles - with their first only having dropped in 2022 - Perpetual Paradox, a band hailing from London that consists of Adrian Caucelo on vocals, Oliver Miles on lead guitar, Jorge Nuñes on rhythm guitar, André de Barros on bass and Will Armstrong on the drums, has finally graced us with their debut album Deathwish. This release has the potential to stand as any modern deathcore fan's top album drop of the year already. The album really pushes to include recurring themes throughout the album, such as war and self-destruction, which are shown off both within the music and lyrical content. The album starts with a slow burner by the name of 'Alea Lacta Est', that starts with a gradual building guitar riff, backed by eerie whispering and faint drums. As it nears the end of the track, the vocals transition into clear and hard hitting yells to start off the second track 'Forgiveness is a Weakness'. This dramatically switches up the vibe, with heavy hitting drums, gnarly vocals and some hefty guitars, it comes right out the gate as a dramatic way to truly kick off the album. The song continues with the a bombardment of drum beats and screams galore, until a hard hitting breakdown hits us with the lyrics "No forgiveness" to wrap up the second song. Perpetual Paradox then waste no time kicking into the midground of the album, 'Backbone of Existence', hitting us with detailed guitar runs and some mellow lyrics throughout the song, switching between harsh guitar tones and some heavy drumming coming through. 'Self/Gravity' comes next, and this song provides the atmosphere and themes that the band have worked so hard to distribute throughout their album. About halfway into the song we run into some beautiful clean vocals from Adrian, who proceeds to throw us right back into the deep end for the finale of the song with an immense blast breakdown, accompanied by some scathing guitar riffs. This then transitions into the brutal 'Unhealable Wounds', which starts off fast and heavy. With an immense vocal performance that resonated perfectly with all instrumentals, Adrian powers through the lyrics and screams - it's obvious these guys know how to make potent deathcore. Slowing down as they reach the end of the song, the music then ramps back up as we enter 'Deathwish' the title track of the album. Again, vocalist Adrian almost barks out the lyrics here until proceeding to smack us once again with a different approach, guiding us into a calmer, more mellow section of the song before a guttural finish to hammer home this excellent title track. Before the album's end, Perpetual Paradox have one last treat up their sleeve by the name of 'Into the Void', an incredible five minute track. Right out the gates, the band shows us once again how lyrically talented and musically gifted each member is, from the vocals to each instrument, all the way through to the production allowing everything some room to breathe. We get multiple vocalisations again, with cleans and gutturals both taking centre stage across the track, all whilst the track moves precisely and powerfully underneath. As we reach the last minute we get an astonishing crescendo into what sounds like rainpour and thunder, gradually getting quieter as the guitars come to a slow but grinding stop, to wrap up the album in a tense, atmospheric manner befitting of the themes and style. Deathwish is an absolutely amazing piece of music from Perpetual Paradox - not only does it show their talent off, but it's blatant that a lot of the time and care has been put into this record. Marking a phenomenal debut, the potential this band have shown off is a truly wonderful thing to behold, and we can't wait to hear more of the Londoners'music. Score: 8/10 Deathwish was released on June 27th 2025. Words: Jack Thomson Photos: Perpetual Paradox

The self-titled debut album from Bruxist hits you in the face the way punk rock was always meant to. A crust punk assault infused with death metal brutality, the Aussie boys have kicked, stomped, and declared war with this explosive first release. If you like 90’s crust punk with aggressive anthems, heavy guitars and fast tempo bands such as Driller Killer, or if you like the heavy aspect of Swedish death metal, the soul stirring screams and heavy guitars scales of bands such as Escarnium, or maybe you’re just looking for a good head-banging album to add to your playlist, then this album is for you to try. With over three decades of combined experience in the underground scene, you can hear a rich mix of influences - each track stitched together with raw intensity and purpose. The album opens with 'Inversion', immediately setting the tone. Drummer Dan Nahum drives the tempo like a war march, while the distorted vocals pair perfectly with the savage guitar riffs from Dav Byrne and Terry Vainoras. It's a headlong charge into battle - your head bangs, your teeth clench. The name of the band suddenly makes perfect sense. Most tracks clock in at under three minutes, but they don’t need any longer to make an impact. They’re rapid, feral, aggressive - and most importantly, raw. 'Six Feet Headfirst' shows how seamlessly the band can shift tempo without losing momentum. One moment you're in the throes of a pit-worthy riff, the next you're in a slow, almost ritualistic rally cry, only to be thrown back into the chaos seconds later. Tracks like 'Black Sheep Discipline' and 'Wide Awake' showcase a bold genre-blending approach. One moment it’s blistering hardcore punk, the next it flirts with doom or straight-up rock ‘n’ roll. On paper, it just shouldn’t be this tight, this seamless - but somehow, it is. 'Divide and Conquer' and 'Piss and Vinegar' are arguably the heaviest cuts on the album. They’ve got everything a death metal fan could want - blast beats, guttural growls, crushing riffs, with a defiant dose of classic rockin' swagger thrown in for good measure. The album closes with 'Hydra', a chaotic yet fitting end to this sonic blitz. It’s not just noise - it’s controlled demolition. Overall, this debut is a high-speed, high-energy explosion of everything metal. Whether you're blasting it through your headphones or shaking the walls with your speakers, one thing’s for certain: it’s loud, it’s powerful, and it’s one hell of a first album. Score: 7/10 Bruxist was released on July 19th 2025. Words: David Waites Photos: Bruxist

Finnish experimental heavy rock outfit Warchief has returned with their sophomore full-length, Toil & Trouble. The album's title, referencing a line from Shakespeare's Macbeth, encapsulates the central tension between beauty and brutality that the band explores throughout the record. This album finds the Jyväskylä-based band pushing deeper into the sonic territories they've mapped since their 2015 debut. This latest offering represents a significant evolution in their sound, transforming what was once a straightforward heavy rock approach into something far more nuanced and emotionally resonant. From the moment 'Ghost Egg' unfolds its hypnotic opening passage, it becomes clear that Warchief has spent their time wisely since 2019's Morning Home EP. The album's six tracks weave together the band's established foundation of stoner, doom, and sludge with an increasingly sophisticated understanding of dynamics and space. The result is a collection of songs that breathe with organic intensity, alternating between crushing heaviness and moments of unexpected delicacy. 'Toil & Trouble' immediately establishes the album's central tension between beauty and brutality. The track builds methodically, allowing each element to emerge naturally before erupting into a wall of distorted guitars and thunderous percussion. It perfectly encapsulates the band's evolved approach: patient, deliberate, and ultimately devastating. The interplay between quieter passages and explosive climaxes feels genuinely earned rather than manufactured, showcasing a band that has matured and learned to trust the power of restraint. The album's experimental nature reveals itself in the sprawling 'To Whatever End', which stretches nearly eighteen minutes of evolving soundscapes. Here, Warchief demonstrates their willingness to abandon traditional song structures in favour of something more exploratory. Progressive rock influences seep through the cracks, while the band's doom and sludge foundation provides the gravitational pull that keeps everything grounded. It's an ambitious piece that showcases the band's significant growth as composers, moving beyond simple heavy riffs to create genuine sonic narratives. 'Maailmankaikkeus On Pikimusta Ja Täynnä Suuria Vaarallisia Tahtia' is perhaps the album’s most adventurous moment. The Finnish title translates roughly to 'The Universe Is Pitch Black And Full Of Big Dangerous Stars', and the music lives up to this cosmic imagery. The track incorporates ambient textures and atmospheric elements that recall the band's alt-rock and grunge influences while maintaining their signature weight. It's a perfect example of how Warchief has learned to integrate their diverse influences without losing its essential character. The album's production deserves particular praise for capturing the crushing weight of the band's heavier moments and the subtle details of their quieter passages. 'I Can't Sleep At Night' benefits enormously from this dynamic range, with whispered vocals and delicate guitar work sitting comfortably alongside massive, distorted crescendos. The mix allows every element to breathe, creating a sense of space that enhances the album's emotional impact. 'Mothmaker' is an ideal album closer, combining the best elements of Warchief's evolved sound into a cohesive statement. The track moves seamlessly between different moods and textures, demonstrating the band's mastery of their expanded palette. This 'evolved sound' is characterised by a more intricate use of dynamics, a greater emphasis on melody, and a willingness to experiment with structure and form. It summarises the album's themes and promises of even greater things. Toil & Trouble succeeds because it never feels like an exercise in genre-hopping or technical showmanship. Instead, it presents a band that has genuinely grown into their experimental impulses, creating music that feels both challenging and emotionally honest. The album's six tracks form a coherent journey through darkness and light, chaos and order, beauty and brutality. It's the work of a band that understands the difference between complexity and complication, choosing depth over mere difficulty. Warchief has crafted an album that demands attention and rewards patience. Toil & Trouble establishes them as one of the most compelling voices in contemporary heavy rock, proving that experimentation and heaviness coexist meaningfully. Score: 7/10 Toil & Trouble was released on July 18th 2025. Words: Kelly Gowe Photos: Warchief

After their 2023 release PARASITE, Chicago’s own sludge/doom act STOMACH are back with their second album, LOW DEMON. Originally a duo consisting of drummer and vocalist John Hoffman and guitarist Adam Tomlinson, the band have more recently forged into a collective of three, with the addition of bassist Kirk Syrek who you may know from Sick/Tired, a band in which Tomlinson also plays. You may also recognise the members of STOMACH from band Weekend Nachos, who both Hoffman and Tomlinson were/are involved with. The future of Weekend Nachos remains ominous with their “Still basically broken up but felt like playing some shows in 2024” bio on X. The transition to the sound that STOMACH creates, rather than the other two projects mentioned, is more gloomy, atmospheric, and reflective. With tracks that span up to almost the twenty minute mark, this gives stark contrast to the short bursts Weekend Nachos presented to their listeners. LOW DEMON was recorded in 2024 at The Pit II in Genova, Illinois and was mixed and mastered by Will Killingsworth - who you may be familiar with from a plethora of bands, including Orchid and Ampere. The five track album spans over forty minutes of ground-shaking distortion and devastating vocals capturing themes of a raw nature, with scratchy vocals that transport you to moments of highs and lows that bring your attention to the intricacies of the human self. ‘DREDGED’ starts things off with a moody drone that sets the perfect tone for the album, echoing drum beats across this intro track, which smoothly transitions to ‘BASTARD SCUM’. The second track brings a solid doom sound under emotive vocals, that strain lyrics against radio sound samples interlacing with the track. These seem to allow you to come in and out of focus before Hoffman comes back in with the line “Cruelty is gone”. The last few minutes of the track feature a stunning, nigh trance-inducing outro that feels fulfilling. This track is a personal highlight and definitely one to listen to. The two singles included on this album are ‘GET THROUGH WINTER’ and ‘OSCILLATE’, which were both released earlier this year. Both offer different approaches to the genre and showcase what this band can do. ‘OSCILLATE’ honours a sludgier sound at the beginning and then falls into a doom outro, whilst ‘Get Through Winter’ plays more on the doomy side throughout. Out of the two, ‘OSCILLATE’ packs a punch right from the get-go making it a great choice for a first single release, although listening to the singles separately doesn’t do justice to the LOW DEMON project as a whole. The album closes with a seventeen minute spectacle named 'SHIVERS // DRAFTS' in which, around the halfway mark, the guitar brings a new dimension that is punctuated by forceful drums. This is where the track really comes into its own as the riff drags fondly for the rest of its duration. Listen long enough, and you’ll be presented with indiscernible horrors that signify the end. With the band and their sound often described as dismal, this offering from STOMACH is truly dismal in the best way possible. Full of riffs, and creating a potent atmosphere that chokes the listener throughout, LOW DEMON is a characterful and smothering piece of heavy music that's well worth visiting. Score: 8/10 Low Demon was released on July 18th 2025. Words: Danielle Henderson Photos: Stomach

Birmingham thrash metal trio Margarita Witch Cult made waves with their 2023 debut, bringing their occult rock anthems to the masses in a ritualistic bloodbath of an offering with their eponymous album. They soon made rapid-fire appearances across the UK, touring with the likes of Cancer Bats, and Monster Magnet, spreading their darkness across the country and paving the way for their new release, Strung Out In Hell, an unholy collection of sin-filled tracks dragged up from the fiery depths. We open with 'Crawl Home To Your Coffin', a track packed tight with an intense riff and bassline from Scott Abbott and Jim Thing, before George Casual's pounding drumbeat kicks in like a bloody heart beating beneath the floorboards. When the darkness-infused vocals hit our ears, it's beginning to feel like Halloween itself coming through the speakers. 'Scream Bloody Murder' follows, a track that surely belongs in the background of an Evil Dead film. As its name suggests, it screams bloody murder with its groovy bassline and spooky chorus, the soundtrack to a bloodsoaked demonic killing spree. 'Conqueror Worm' feels more deliberate and focused in its instrumentals, bolder and heavier, while ‘Witches Candle' brings the tempo up in what sounds like a tribute to Black Sabbath as its chorus hits. One of the shorter tracks in this release, it doesn't overstay its welcome. The next track is an unexpected one. A thrash metal reimagining of 'White Wedding' by Billy Idol feels like a suggestion simply thrown out as a what-if during a late-night studio session. You might think it should have been left on paper, but when the band cut into their dark, grimy riffs, it all comes together perfectly. It's as if we're given a window into an alternate universe where Billy Idol worshipped the devil and channelled directly into his music. 'Mars Rover' follows and opens with a rolling drumbeat, the beats hitting in a repeated rhythm as the virtuosic lead guitar comes in. Soon, it's almost impossible to resist banging your head to this outcry of loneliness on the cold surface of Mars. After this comes 'Dig Your Way Out', one infused with a more psychedelic nature and a change in vocal style; in this track, Abbott screeches his way through the lyrics, tapping into satanic growls and yells as if he's painfully crawling up the fiery cliffs of hell itself. While Margarita Witch Cult have origins in this century, they could have fooled us; the next track, 'The Fool' feels like a confession that the band have travelled through time from the 70s and brought their music with them. It's a standout on this album, blending timeless jazz elements with psychedelic rock in a memorable concoction that's sure to stick with us. 'Who Put Bella In The Wych Elm' starts with a slow, minute-and-a-half build-up, but the wait is well worth it. This is the band's essence dialled up to eleven. The intense vocals from a few tracks ago return, and wailing guitars join the mix against the rhythmic clash of symbols. This one runs long, clocking in at just under seven minutes – perhaps to its detriment, as it begins to fall into the thralls of monotony. It's as if the song is a ritual in itself, and the chorus is an occult chant. Despite that, it's a solid closer, and its words linger in our minds after the album has long since ceased playing. To wrap this all up, Strung Out in Hell is a worthy successor to Margarita Witch Cult's self-titled debut, taking everything that worked about it and tossing it into hellfire, roasting it over a fiery pit and infusing the very essence of darkness into it. It's the band at their best yet, and begs the question: have the band made a deal with Satan himself to guarantee the searing quality of their sound? If so, he's held up his side of the bargain. Score: 8/10 Strung Out in Hell was released on July 18th 2025 via Heavy Psych Sounds. Words: Naomi Colliar Duff Photos: Margarita Witch Cult

If you’re on the lookout for more punk in your life, look no further. The South England progressive punks in DARKO have recently released Canvas, the finale to a trilogy of thematically linked EPs which began with Sparkle and Greyscale. The EP consists of seven songs in total, making it the longest of the three releases. The mood for the EP is set off to a melodic start through the first song, ‘Grey Havens’. Short but sweet, and very impactful, the instrumentally driven track builds the atmosphere of the EP from a light beginning to a heavy conclusion, as though easing you into what is to come. Track two of the EP, ‘Dared to Dream’, starts off with building instrumentals once again before it hits you with a burst of screamy layered vocals. This is the kind of song you could oh so easily envision people shouting along to in an intimate venue, with every lyric yelled back at the band. The screams at the end really bring the track together and give you a hint of the vocal range to come from the rest of the EP. The title track and first single release of the EP, ‘Canvas’, alternates between a more groovy punk sound and the previous heavier sound we have been familiarised with from the rest of the EP. We then hop into ‘Override!’, the second single release from the EP and are faced with fast verses contrasting with a slower chorus, before meeting us with a final powerful scream before the last verse. If you'd thought the EP was a bit calm for your taste so far, you surely won’t be disappointed by what's to come as we head straight into the next track. ‘Hectic’ sounds exactly like what the name might imply - just over one minute of pure brutality before its abrupt conclusion. If chaos and growls are what you are after, this song is the one for you. ‘Goodbye Bastards’ feels like a moment of calm compared to the previous track, whilst still having the same feel as the songs that came before it - you certainly aren’t getting a moment to sit down. This, like the rest of the EP, sounds like it would go down extremely well in a live setting, however this song feels like it would be optimal for a larger crowd to be shouting the title back to the band. To conclude the EP, ‘Aux III’ follows on from ‘Aux I’ and ‘Aux II’, which feature on the previous EPs in the trilogy. This third installment more closely matches the first in sound, moving away from the more guttural vocals prevalent in the second, giving a very full circle feeling overall. Not only does it work as the perfect finale to the series of songs, but it also acts as the perfect conclusion to the EP. Score: 7/10 Canvas was released on July 18th 2025 via Lockjaw Records. Words: Libby Percival Photos: DARKO