Maryland’s Thus Spoke Zarathustra smashed into the deathcore scene with all the subtlety of a sledgehammer, and their sophomore album, I’m Done With Self-Care, It’s Time For Others Harm, is proof of their unrelenting force. Freshly signed to Prosthetic Records, the band wastes no time making it clear: this is deathcore with brains, bile, and a fierce, unapologetic edge. Rooted in horror and existential dread, the album digs deep into the battle between healing and harm, self-improvement and chaos - blurring the lines between growth and vengeance. Guitarist and main songwriter Andy Reynold leads this charge, channelling the spirit of mid-2000s MySpace-era deathcore while injecting it with fresh venom. But this isn’t just a nostalgic trip; Thus Spoke Zarathustra revive the genre’s chaotic core with sharper teeth and a cinematic, twisted scope. From the very first moments, the album isn’t just heavy - it’s an intense experience, soaked in anxiety and introspective nihilism, that sticks with you long after the breakdowns fade. Right from the opener 'GGO', the band drags you into their dark conceptual world. The track starts with eerie harsh noise before exploding into a maelstrom of triple-guitar melodic death metal leads and crushing riffs. It perfectly sets the stage for an album that’s as dynamic as it is brutal. The momentum doesn’t stop with 'I Can’t Save You', a brief but explosive track that channels desperation and emotional wreckage through relentless riffs and raw vocals. Then comes 'Gage Lanza 2: Return of the Red Hammer', which layers complex guitar interplay over driving rhythms, creating a dark and powerful atmosphere. It’s technical but never at the expense of heaviness - a fine line the band walks throughout the record. One of the album’s highlights is 'I Never Believed in Magic Til My Dog Turned into a Snake'. This track perfectly captures the horror-inspired themes with furious blast beats and punishing breakdowns. The song’s narrative of twisted transformation and vengeful rage hits hard, pulling the listener even deeper into the album’s dark world. 'The Final Blow Will Bring Blood' continues the assault with a menacing groove packed with menace, while 'Santosha' shifts gears slightly, adding a more atmospheric touch. The tension builds here, punctuated by bursts of intricate guitar work that keep the listener hooked. 'All I Feel Is Cold' lives up to its title with chilling riffs and an oppressive atmosphere, thickened by the band’s trademark triple-guitar attack. The sonic density reaches a peak on 'The Difference Between You and Me Is I Never Got Caught', which channels pure aggression through precise, punishing riffs and unrelenting energy. 'Mithrandir' keeps the pace furious - a short, sharp blast of intensity that doesn’t let the momentum drop. Then the album closes with 'Bereft of Light', bringing the record full circle with a blend of crushing heaviness and haunting unease, leaving you with that lingering feeling of existential dread. Throughout I’m Done With Self-Care, It’s Time For Others Harm, Thus Spoke Zarathustra expertly balance complexity and savagery, pushing deathcore’s boundaries with a vision that feels both deeply personal and brutally unflinching. In today’s scene, where many bands either stick to tired formulas or polish their sound to bland perfection, Thus Spoke Zarathustra stand out by embracing the chaotic roots of deathcore while forging their own dark, twisted path. This album is a refreshing dose of raw energy and creativity that fans of the genre - and newcomers alike - will find exciting. Ultimately, I’m Done With Self-Care, It’s Time For Others Harm is a powerful sophomore effort that cements Thus Spoke Zarathustra as a band to watch. Their fearless approach and tight execution make this more than just a brutal listening experience - it’s a meaningful journey through pain, chaos, and twisted self-reflection. It’s heavy, it’s intense, and it leaves you eager to see what they do next. Score: 8/10 I’m Done With Self-Care, It’s Time For Others Harm will be released on May 23rd 2025 via Prosthetic Records. Words: Mia Gailey Photos: Thus Spoke Zarathustra

Fresh off their recent fourteen date UK tour, Skunk Anansie are back with their seventh studio album, and first in nine years, The Painful Truth. Whether you are a new fan, or a seasoned follower of the band, who have been a major part of the UK music scene for nearly 30 years, this album is one not to miss. With the band having been dealt some difficult cards in the last five years, there was a time they were close to calling it a day, but they are back, and as determined and resilient as ever. When Skin, the enigmatic and powerful lead singer, describes her band as a "clit-rock" group, you shut up and you listen. Since 1994, Skunk Anansie have been bringing their unique mix of rock and punk influences, with reggae beats. Skin’s powerful, wide-ranging voice, coupled with the oft heavy but always necessary lyrics, shows exactly why she is a crucial role model for current and future generations of black women, and singers everywhere. The Painful Truth starts with the storming ‘An Artist Is An Artist’, barging straight into Skin telling the listener exactly how she feels, raging against ageism with every line ‘She don’t roll down her sleeves, pick up her Zimmer frame and leave, put down her pen put on her hat, because of menopause’. It is clear from the first few lines that the band are taking no prisoners with this album, making sure that the world knows that they are back and not taking any shit. Electro-beat filled ‘This Is Not Your Life’ sounds to us like it will become a firm live favourite; with the lyrics hitting the listener with a reminder that "This is not the way it should be", but could turn some long-term fans away from the album, as it is a definite change in sound, leaving the heaver rock chords to later songs. ‘Shame’ flies in as the third track, with the emotional and powerful lyrics looking at generational gifts or curses, depending on how you view them, with lyrics like "I got Love from my mother, pain from my dad", but brings back the familiar alternative Skunk Anansie sound that they are best known for. With lyrics like "Head in a daze, thought I was killin'", ‘Lost And Found’ tells a story to the listener, drawing you in, with the keys backing Skin’s powerful, velvety tones. Though it could be another track which could lose the fans of the heavier sound Skunk Anansie are known for, the closing out with a guitar solo will remind everyone why they are listening. Through the second single from the album, ‘Cheers’ with its urgent beat and melodic bass line, Skin’s recognisable accent comes screaming at you with each line with a reminder to "Cheers, have one more glass", on a song with more simplistic lyrics that found elsewhere on the record. The softer, more vulnerable, yet still rhythmic 'Shoulda Been You' incorporates Skin’s reggae-rooted beats, featuring catchy lyrics supported by heavy bass guitar and drums, showcasing a more stripped back, personal reflection. ‘Animal’ brings the raw, powerful lyricism heard throughout the album to a head, with the darker, religious connotations, with repeated chants of "I am an animal!" begging to be screamed from the crowd to the stage. With lyrics like "You fell in love with girl, who fell in love with a boy, who fell in love with me", not only are we transported back to the classic Skunk Anansie song ‘Secretly’ which famously featured on the soundtrack to 1999 romance thriller ‘Cruel Intentions’, we are sure the silky, soulful, and complicated love song ‘Fell In Love With A Girl’ will be the new bisexual anthem of the summer, with its choral intro coupled with more funky bass lines. Trumpets open the albums penultimate song ‘My Greatest Moment’, where Skin states "Nothing’s gonna feel this good, this is my greatest moment", telling a career reflective story, with her soft, soulful tones piercing through each line. The album closes with the delicate piano based ‘Meltdown’, with the return of the emotionally charged lyrics, giving the listener a quiet end to an otherwise loud and energetic album. This finale will surely satisfy listeners, but will no doubt leave them with more questions than answers to the question on the tips of many a tongue - Skunk Anansie are back, but are they the same as before? For some, The Painful Truth will be an unexpected shift from the darker, alternative rock veteran fans are used to from Skunk Anansie, but by understanding the shifts in the life behind the band and their rediscovery of just why they play music, it is clear that this album is not only a solid return from them, but a new era of pushing boundaries and redefining just what Skunk Anansie are all about. Score: 9/10 The Painful Truth will be released on May 23rd 2025 via FLG Records. Words: Lou Viner Photos: Skunk Anansie

Danish punk band Pleaser have been experimenting since their first release back in 2021, their unique, chaotic and adrenaline-fuelled sound hard to pin down to any one specific genre. They combine elements of intensity and youthfulness, with frenzied rage and bold emotions they want us to bear witness to. With their latest album Begging Guitars, one thing is made certain – they are unequivocally punk. The album is an energetic, high-speed chase, capturing the true disorder and destruction of the human experience. Lead single and title track 'Begging Guitars' leads us directly into the mayhem, a fast and punchy introductory tune that lets us know exactly what we're in for. It barely lets up, only slowing the tempo down for the start of a guitar-heavy instrumental halfway through. Almost immediately, the fast, razor-edge tunes pick back up - a recurring theme. The band say this is a song about "letting go and not expecting or indulging in perfection from oneself or others", and that's certainly evident. It's messy and chaotic, but in a charming style that follows them in each song to follow. 'Here for the Sins' chases up the strong opener with the dual vocals of Suo Fei and Annie Marie Nyvold, the track frequently switching between the shouty, punky vocals the band are known for, and melodic, memorable passages over their heavy riffs. Their second single release and third song on the album, 'Ride', captures the essence of the record in a bottle. With unpredictable vocals that never quite seem to go where you’d expect, over a catchy bassline by Olle Bergholzall, the song immediately establishes the themes of escaping from the ordinary, with fierce emotions over an accelerating journey of life’s extremes. A third of the way in, the tempo begins to slow. The pounding, rhythmic drumbeat from Oliver Nehammer gains dominance. The guitars and bassline soon join him in a repetitive riff that picks up speed, foot on the pedal and rapidly accelerating. It's a song that's just begging the audience to indulge in the chaos with them - if some songs ask for a mosh pit, 'Ride' doesn't just bring up the question, it demands a pit be made and it had better be made right now. Fourth track 'The Pounding Chest' is a good breather with its slower pace, a pit-stop along the race the album takes us on. However, where the band are best is when they're revelling in discordance, and this song steps off that road in a less-than-memorable way. Their vocals are strong, but the track struggles to find its place. One of the longer songs in this release, the next track 'Anthem' clocks in at around four minutes. There's a slow build-up in the first minute-and-a-half that at first seems like it would drag, but almost as soon as you start looking at your watch, wondering where the action is, it appears and the song kicks into gear with a rolling drumbeat and catchy guitars. 'Lighten Up' is one that doesn’t make you wait for the good stuff. It moves off at a speedy pace, coming to an apparent, abrupt close after two minutes. The guitars fade out, and the drums cease. Then, a bass strum. Immediately we're back in the thick of it. With a messy, discordant breakdown, the vocals and instrumental fight for dominance in true punk fashion. Their third and final single release, 'Hey Girl' is yet another catchy song, slightly reminiscent of Bratmobile. Optimistic, with catchy hooks and duelling vocals that emphasise their punchy lyrics about the love in female friendships. Following that is another standout, 'My Fantasy', a track that carries some searingly strong emotions in their memorable lyrics, with almost all of that emotion being focused into anger. It's a slightly heavier song, with an aggressive darkness encroaching on the upbeat, light-hearted sound the album primarily consists of. Final song 'A Vow of Bliss' wraps up the album with a collaborative build up of drums and bassline, guitar riff joining halfway through before the familiar dual vocals from previous songs make a welcome reappearance after a minute. It's a solid closer that doesn't overstay its welcome, bringing us to a soft end after nine high-speed tracks. Overall, Begging Guitars is Pleaser at their most cohesive, though a question persists - is that to their detriment? Their strongest songs on this record have their own, unique qualities to bring them ahead, while others blend together in ways that make them hard to distinguish from each other. There are times when the vocals and instrumental clash in a messy, unrefined way that works on some tracks, though others make you wish you could reach out to the mix and turn the volume up on the vocals. Ultimately the album has its standouts in 'Ride', 'Lighten Up', and 'My Fantasy', while others seem destined to become album-only listens. Score: 6/10 Begging Guitars will be released on May 23rd 2025 via Part Time Records. Words: Naomi Colliar Duff Photos: Pleaser

Hailing from South Wales, the female rock trio Häxan has wowed audiences with their big riffs and vocals since 2016, making appearances at festivals such as Download, Bloodstock, and Malmo Rock Festival in recent years. Composed of Sam Bolderson (vocals and guitar), Harriet Wadeson (bass), and Jess Hartley (drums), they know exactly how to deliver bags of driving energy that you just can’t get enough of. The band’s upcoming EP, Death Of Me, is the highly anticipated follow up release to their debut album White Noise, which came out in July 2020. This EP is a great blend of metal and rock influences, bringing a unique flair to a familiar sound and truly showcasing the band’s evolution since their last release. The EP’s first and title track, ‘Death Of Me’ is stirring and anthemic, with an incredibly catchy melody delivered by Sam’s superb vocals. The lyrics are particularly striking, exploring themes of betrayal and the inner conflict of wanting to escape but knowing, in the end, that you wouldn’t even if you had the chance. It's an excellent track to kick off the EP! We quickly move on to ‘Sirens’, driven forward by punchy drums and soaring vocals throughout. Again, the lyrics hold a powerful message, all about you willingly committing yourself to your own damnation, and knowing it’s too late to do anything about it. It’s an entrancing track that definitely feels like it’ll be a crowd favourite at live shows. The third track, ‘Thirteenth Hour’, starts off with stripped back instrumentals and just Sam’s commanding vocals, immediately making a lasting impression and solidifying it as a stand out track on the EP. We get haunting laments of “where are you now?” and “my time is running out”, followed by the electrifying power of the full instrumentals kicking in. This is a really masterfully crafted track that shows off the band’s talent incredibly well. Following on from that, ‘Burn Alive’ hits you with one of Häxan’s signature big riffs, capturing your attention right from the into and holding onto it for the rest of the song. There’s an ace instrumental section near the end of this track, steadily building up to another impressive riff and a final chorus that will absolutely be stuck in your head for days - in the best way possible, of course! The last song, ‘Collide’, rounds off this EP really nicely - we get a final taste of those impressive vocals and uncompromising energy, providing a satisfying ending but still leaving you curious to hear more from the band. The little bit of a breakdown at the end and following tempo change keep things interesting, though definitely could’ve been a bit longer to have an even bigger impact. Death Of Me marks a great return from Häxan and sets an exciting precedent for what is yet to come. If you’re looking for some good old rock but still crave something more novel and unique, this is the EP for you. You can catch Häxan on their upcoming Girls Just Wanna Have Funerals UK tour in June 2025. Score: 8/10 Death Of Me will be self-released on May 23rd 2025. Words: Zuzanna Pazola Photos: Häxan

Straight out of Follo, Norway are Korean Cars with their debut EP '#1'. Korean Cars have put together a blend of melancholic post-rock and noisy post-hardcore, with a nineties and noughties throwback feel. The band is formed by members of Rumble in Rhodos, Infidels Forever, Arms on Fire and Insense. The self-stated influencers of this album are; Failure, Trail of Dead, Helmet and Explosions in the Sky. There is, however, a statement of edge and freshness here - easy enough to promise, but often very difficult to deliver! Korean Cars’ first mini-album comprises six tracks, with three being fully instrumental and the other three featuring vocals. The album opener 'Magalomaniac' is a technically impressive instrumental experience carried along by evolving guitar melodies, setting the tone for what’s to come on the rest of the album. The next track along is 'Drömtorp', which hits with a surprising swagger reminiscent of a Gallagher brother on a particularly moody day. The echo vocals and cutting riffs really stand out here, sending the listener on a nostalgia trip that will especially appeal to enthusiasts of Britpop. For the writer, this is easily pick of the album. The third track, 'Cheese Me Macaroni', opens strongly, with thumping drum beats soon followed by kicking guitar work, making for an upbeat and catchy instrumental. There’s a clear prog-rock influence here, as more and more is gradually layered on in the build up to an energetic crescendo that would not be out of place in the climax of a Hollywood blockbuster. The fourth song 'Treeline Siren' leads you to believe that you’re set for a moody instrumental, before the vocals offer a surprising yet almost romantic feeling intervention around the halfway point. Fifth on this album is '1979'; a highlight being that it's got a really catchy, head-bopping rhythm, that almost initially feels like a departure from the moodiness of the rest of the record. This builds up though into a brilliantly natural transition to vocals - the title of this track implies a look into the past and that’s exactly what the listener gets; another high point on this album. The conclusion of the album, the track 'The Billion Trillion', really does set out to end on a high. The confident blend of percussion, guitars and bass combine with electronic elements to form an enthralling, almost hallucinogenic progressive number where you just can’t predict what’s coming next. The best way to describe this track is the soundtrack to finding your way through a labyrinth; the twists and turns all part of the journey. If a somewhat strange blend of prog-rock and Britpop, garnished with just the slightest hint of grunge, is your kind of thing, then this debut record from Korean Cars is really worth a listen! A word of caution however: the mixing of this album offers a vinyl-esque listening experience that, on a laptop, a phone or even in the car can come across a little fuzzy and muddled in places. While a higher quality audio setup might improve things, we fear we may not have heard these songs at their best. Despite this, it’s a promising debut and it’d be great to hear what twists and turns Korean Cars could bring to a full length album. Score: 7/10 '#1' will be released on May 23rd 2025 via MAS-KINA Recordings. Words: Dulce Mendes Photos: Korean Cars

Formed in Hudson Valley, New York in 2018, metallic hardcore band Age of Apocalypse have quickly established themselves as one of the most compelling voices in modern heavy music. Blending the aggression of hardcore with eerie melodies, metallic heft, and a sense of theatrical grandeur, their sound feels both classic and forward-thinking. In a scene often defined by repetition, they stand out as true innovators. Following up their incredible 2022 debut, Grim Wisdom, the band are back with their second full-length album, In Oblivion - a record that sharpens their distinct identity while expanding their sonic palette in rich, new ways. Produced by Taylor Young (Twitching Tongues, God's Hate), this latest release ultimately benefits from his seasoned ear for blending melody with aggression. His experience with clean vocals in the genre, especially with Twitching Tongues, plays a vital role in shaping the album’s dynamic, moody tone. The album also features a handful of standout guest appearances, including Taylor’s brother Colin Young (Twitching Tongues, God's Hate), Shaun Alexander of Demonstration of Power, and Graham Sayle of High Vis - all of whom bring their own weight and character to the record without overshadowing its core. Dylan Kaplowitz’s vocals have taken a huge step forward since the release of Grim Wisdom back in 2022. His performance is more refined and expressive, yet no less intense. With a voice that’s become instantly recognisable - soaring, dramatic, and near-operatic - Kaplowitz cements himself as one of the most unique vocalists in contemporary hardcore. His delivery is integral to what makes Age of Apocalypse stand apart from their peers. The band have been steadily building anticipation for In Oblivion with a string of monthly singles, beginning with the hauntingly powerful 'Mortal Coil' back in March. More recently, they dropped the towering 'Gilded Hatred,' an album standout that showcases everything Age of Apocalypse do best. The track features the aforementioned stunning guest appearance from Demonstration of Power’s Shaun Alexander, who lays down some powerful vocals on top of an already brutal track. Across its ten-track run, In Oblivion shakes up the formula for modern metallic hardcore - ambitious, emotionally charged, and remarkably cohesive. There's something to be said of Dylan Kaplowitz's vocal work on this release. It feels like a major step forward from the band’s earlier EPs and debut LP. Showcasing more range and control than ever before. There's also a clear sense of clarity and focus, not just in his vocal delivery, but in the band’s songwriting overall. Age of Apocalypse have developed a sound that appears far more deliberate, more refined, and more confident than ever before. In Oblivion is a bold and confident step forward for Age of Apocalypse. These are massive, emotionally charged songs that stretch the boundaries of what metallic hardcore can be, trading relentless aggression for atmosphere, tension, and a sense of genuine grandeur. It’s an album that feels cinematic in scale without sacrificing the raw heart that made the band stand out in the first place. Rather than simply reworking familiar ideas and trademarks of the genre, Age of Apocalypse continues to carve out a space entirely their own. They have maintained a truly unique sound. The clean vocals - soaring, haunted, and commanding - are a defining feature, and we only hope there’s more of them to come. If this is the direction the band continues to follow, they might just be shaping the future of the genre. Put simply, In Oblivion is essential listening for fans of hardcore and all adjacent genres. Age of Apocalypse head out on a European tour in support of the release in September this year, starting in the UK. Support will come from Balmora and Cross of Disbelief. Score: 8/10 In Oblivion will be released on May 23rd 2025 via Closed Casket Activities. Words: Andrew Nile Photos: Age of Apocalypse

Coming out of the misty volcanic islands of the Azores, Dark Age Of Ruin makes a strong first impression with their debut album False Messiah And The Abstract. Portugal might not be the first place that jumps to mind when you think of black metal, but this record proves that the fire absolutely burns just as fiercely there as it does in Scandinavia. Two years on from the release, we've come to listen. The Azores are a place where isolation and religion have shaped life for centuries. These islands have always sat on the edge between tradition and wildness, with deep Catholic roots running through generations. That kind of environment is perfect breeding ground for the kind of heavy, dark reflection that black metal thrives on, and Dark Age Of Ruin taps into that in a big way. A a taste more generally of Portugal is also present throughout. This is not just an album that could have been made anywhere. You can hear the echoes of old cathedrals and isolated hills. Portugal has a long history of Catholic dominance and cultural struggle, and that tension feels embedded in every note. The album opens with 'An Heretic Overture'; a slow, brooding instrumental that does exactly what an intro should do. It sets a mood, creeping in like early morning fog over a mountain chapel. It builds tension without needing to explode right away. You can tell the band is in full control of the pacing. When the title track 'False Messiah And The Abstract' kicks in immediately afterwards, it becomes clear we are not in for a half-hearted effort. The riffs are razor sharp, the vocals are absolutely unhinged, and the drumming never lets up. There is a real sense of purpose here. This track lays out the major themes of the album in no uncertain terms - faith, ruin, and the weight of belief gone wrong. Third track 'Crucifixion... The Last Drop Of Blood' is a standout moment. It plays with both tempo and mood, dropping in and out of blast beat-driven chaos to give space for atmosphere to breathe. The guitars grind like old bones, and the vocal delivery feels like a sermon given at the end of the world. This is where you start to notice that the band is not just here to be loud. They are constructing something with layers and intent. 'Golgotha' changes the pace. It starts slow, almost mournful, and slowly builds into a grand, sorrowful march. It has a more emotional feel, but never sacrifices heaviness. You can feel the religious weight pressing down in this track. It feels more like a procession than a song, and that ritualistic energy really sticks with you. 'Sacrificium Of The Lambs' picks the pace back up with a sense of urgency. The melodies buried under the aggression are especially striking here. It feels like the band is letting just enough light in to make the shadows seem darker. There is a balance between fury and control that really works. 'Son of Satan' hits right after with plenty of pure, classic black metal energy. This one is fast, punishing, and straightforward in its assault. There are no frills, just raw fire. If you grew up on early black metal and love that cold, relentless sound, this one will feel like coming home. 'The Oracle' slows things down again. It is a more haunting, reflective piece that feels like a descent into a dream or vision. There is a hypnotic quality here that stands out from the rest of the album. It gives a moment to catch your breath while still holding the overall mood. 'Blasphemy', however, gets straight to the point. It is short, aggressive, and leaves a mark. This is one of those tracks that would absolutely crush in a live setting. No wasted time, just full force. Closing track 'Tenebrous Heathen' ties everything together. It carries the same themes and sound, but adds a sense of finality. It is grand, heavy, and feels like the last chapter of a very dark book. Everything that works about the album shows up here. The riffs are strong, the vocals are passionate, and the whole track is soaked in tension. What really makes False Messiah And The Abstract stand out is its clear vision. The band knows exactly what kind of story they are telling. There is a strong theme of spiritual decay, rebellion, and ritual. It is not just about sounding evil. It is about questioning belief and wrestling with the ghosts of faith. The production is also worth noting. It keeps enough grit to feel raw while letting each instrument have its space. If you enjoy the dark philosophical heaviness of bands like Mgla, the raw spiritual aggression of Watain, or the atmospheric weight of Gaerea, you will find a lot to love here. Classic black metal fans will feel at home, but anyone who appreciates meaningful structure and haunting melody in their heaviness will get something from this too. False Messiah And The Abstract is a confident, brooding, and gripping debut from a band that clearly has a lot to say. Dark Age Of Ruin brings intensity, atmosphere, and purpose in equal measure. This is a release that demands attention, and deserves it. Score: 8/10 False Messiah And The Abstract was released on May 19th 2023. Words: Kelly Gowe Photos: Dark Age Of Ruin

There are few bands who can execute long tracks so effortlessly yet interestingly, so as to keep their audience engaged and on their toes for the whole duration, as Genune. Hailing from Cluj-Napoca in Romania and founded in 2012 by Dragoș Chiricheș (guitars, synths, acoustic guitar), who was then joined by Cosmin Farcău (guitars), István Vladăreanu (bass, vocals), Abel Păduret (drums) and Victor Neicutescu (vocals), the band started gaining more attention in 2018 and since then found themselves in the genre of atmospheric post-black metal. On Infinite Presence, the band’s third full-length album, the members explore the themes of time, consciousness, identity, and existence through a modernist poet's lens, delving deeper into an introspective journey that was foreshadowed by the band’s previous albums, giving us different perspectives of remembrance and gratitude throughout six tracks. The first three tracks are all very energetic, with the first two having similar melodies, and the third one being little different. 'The Sun Will Always Shine' and 'Little Fountains' start with quick drum work, before transitioning into more relaxed bridge, giving the listeners space to explore the soundscape of the songs. Combining screaming with clear vocals, the band creates changing atmosphere within the tracks, making the listeners explore their music throughout their feelings and emotions. On the other hand, the third track on the album, 'Stay a Little Longer', begins a little differently, putting more emphasis onto the guitars yet shifting it onto drums during the song. During the song we're introduced to some synths, a new sound on the album, that sound very urgent as they start to morph into unpleasant sounds towards the end of the song. One track on the album is set to grab the listener’s attention immediately, and it is the title track 'Infinite Presence'. Starting off quite differently to the rest, we get a beautiful acoustic guitar, providing a stark contrast to the heavy sounding drums and electric guitars on the other tracks. Containing no vocals, the song’s purpose could be either to reminisce about one’s own presence, achievements and goals, or simply to provide a little breather from the long tracks and running lengths, to absorb the melodies and sounds of the past songs. After this particular track, we are left with two more songs on the album, 'To Not Grow Old' and 'I Want You Here'. This fifth track starts off very swiftly again, giving us the atmospheric sound of drums and guitars. The song sounds like an ordinary black metal piece, until out of nowhere, we get to hear some very prominent synths that evoke the 80s and 90s and are complimented by the ongoing guitars and drums, creating an immersive blend of sounds, that is entrancing to listen to. At the end, the song transitions straight into 'I Want You Here', which continues with the outstanding riffs and drums. The track is over nine minutes in run time, making it the longest on the album, and although the beginning is impressive, there is nothing standout about the song until the end, when we get some soft ending melodies, making it a little harder to stay through the whole song. Although the album has only six tracks, they all are long enough to have to make time to listen to them. Some of the tracks are very repetitive, and apart from a bridge now and then, there is not much going on to keep the listeners engaged for the span of the time. The addition of occasional synths, however, makes the listening experience more exciting, as well as the well executed drum work and guitar work. It is a well-made album with an interesting message to tell and is a good choice to listen to for anyone, who likes to discover new sounds in their music. Score: 6/10 Infinite Presence was released on May 17th via Consouling Sounds. Words: Katerina Stepanikova Photos: Genune

Gothic prog is the theme for Root Zero’s debut album Dark Rainbow - a mix of choppier metal riffs and hardcore screams, with transcendent clean vocals and pensive piano melodies. The Cardiff-based act have gathered from all corners of Wales to form this sextet, though the roots of Root Zero come from keyboardist and co-vocalist Giacomo Fidero way back in 2016. Cut to 2025 and these roots have grown into a spot at Bloodstock last year off the back of winning South Wales’ Metal to the Masses competition, and the perfection of their live shows has prepared them for their first full length studio project. All the elements in Dark Rainbow are gorgeous; the technical elements on the guitar sound stunning throughout - first full song ‘Inner Turmoil’ is well balanced between the these technical elements and hardcore influences with screaming vocals, swapping between Sasha Bannister’s siren singing voice and Fidero’s low hanging scream. The only note here appears to be the choice to mix some of the clean vocals live but not others; an effective choice for the ambient vocals but throws off the track somewhat in its spoken word. Other elements of note are the use of Italian vocals in 'Notti D-Inverno', with Fidero opting for beautiful clean vocals for its first verse. This track stands out among the first half as the ethereal rock that Root Zero markets itself as, building to its chorus before a vocal-trading second verse between Italian and English before the instrumental breakdown that sees the swaying riffs from the first half finally get their time in the sun. The two-part solos conjure images of stone beaches at sunset when the stars begin to appear in the sky on one end while the sun sets on the other, and it's all too easy to disassociate into the song. The blending of the rough-around-the-edges-metal influences with the ethereal soundscapes comes in 'Ignis Fatuus', where Bannister’s vocals spend more time atop the metal side, and some of the ethereal is mixed with the screams before a pull-no-punches breakdown that feels refreshing around the midpoint of this project. The switch up on its follow up ‘Tumbleweed’ was also welcome, with swelling first act vocals and the militaristic guitar beneath the harmonies sounding gorgeous. At the midpoint of this project comes, so does five minute ambient interlude ‘Depression’; experimental in that the drums appear to have been recorded through a cathode which adds to the spacey feelings that attempt to emulate long term depression, but are nevertheless an odd choice sonically. It is also from here that Root Zero jump the prog shark, with the tracks leaping from a reserved 4-6 minutes to over 11 on the title track, and then 8 and 9 minutes to close out. Criticising this project is to criticise prog as a genre: drawn out ambience to link sections that could all be separate shorter songs and hold the attention better. The elements in said title track include the harder style soundscape utilised throughout the full-band sections, with this harder style curating an Evanescence-like energy. This culminates in a midpoint breakdown akin to a knight traversing the tunnels to find the face that matches the name on his parchment, but a lot of this feels drowned by the minutes spent playing the same notes on a guitar or piano backed by a slight ambient sound. Many of these elements would work wonderfully in a live show, but minutes spent putting this on record can feel like adding the chaff to the wheat. Penultimate track 'Lilitha' nevertheless is one of the highlights - a horror movie style lullaby where the piano feels well placed, the drumming in the first breakdown is exemplary with the winding down runs before more of the siren style vocals for the track’s interlude. It's only drawback is the drawn out feeling in between more fleshed-out sections of the song. When the album closes with ‘The Infection’ it is hard to say what hasn’t already been said; sections such as its chorus are beautiful, and the gothic yet celestial soundscape sits perfectly as a background track, making active listening a difficult task. For the prog lovers this may be for you - a gothic take on the subgenre, with plenty of subversive elements that switch it up somewhat from its contemporaries. As a debut album it is a strong and cohesive project from Root Zero, that gives them a strong foundation for their live music career, but this is not the project to get a new listener into the genre. Score: 7/10 Dark Rainbow was released on May 16th 2025. Words: Julia Brunton Photos: Root Zero

Estonian quartet Pridian have hit their stride on Venetian Dark, the first album under their new name, giving a spaceship metalcore energy - complete with seamless programmed elements and soul searching, heavy soundscapes. Venetian Dark is textbook in the best sense of the word; it takes what the listener looks for it metalcore and does it with ease. Album opener ‘The Downfall of Apathy’ starts with a beautifully chopped violin before morphing into that textbook metalcore sound, hitting its ethereal stride with a little help from the electronic plucking programmed into the back of a heavy hitting soundscape, then follow up ‘Cyanide Dreams’ gets straight into it with screamed vocals before resolving into a gorgeous blend of celestial ambience and deep bass riffs. The LP really hits its stride in ‘Out for Blood’: proof of concept with the full integration of the celestial electronic elements and an addictive electric guitar riff reminiscent of Sempiternal-era Bring Me The Horizon. The vocals pull no punches until the programmed bridge offers the perfect breather, before a screeching breakdown that nearly sent this laptop across the room. ‘Out for Blood’ came, saw, and sent it in a timely fashion, then had its baton picked up by ‘Darker Tides’ - from standout lyric "the waves of time are crashing over" to the nautical vibes in its opening verses. It’s second half breaks things down with military style drumming and a broken vocal backing, that captivates without commanding too much attention; a pity it finished on a fade out. Pridian have mentioned Sleep Token as a favourite in their own listening habits, which can be heard in ‘DINY’ in its synthy beginnings and vocals mixed into a whisper for its first minute, but Robert Leht’s drumwork is the highlight for this track. The hidden snare within a double bass line is always a hit, but the entrancing drum and bass influenced double bass buildup into the treble heavy solo searches for its resolve in a way that is hard to ignore. The whole track is an ode to angst that doesn’t take a breath until its end, and is one of the standout on the project overall. At the midpoint of this album comes single ‘Near Dark’ - an easy rock radio or release radar hit with its pretty metalcore sensibility, followed by ‘Ruin’, opening with a Gregorian chant style vocals and yet more pretty drums before a well executed 180 into a thrash style offering, then ‘Idolust’, the best named track on the project that gives off bags of Wage War energy to be heard throughout the rest of Venetian Dark. As for the second act of Venetian Dark, ‘Void Renaissance’ is the standout. It has the most party energy with its fast tempo and lightly distorted swinging guitars in the beginning, then taking a detour into deathcore before falling into a sinister void in its third act, utilising an eerie piano melody to keep the time on its final breakdown and finishing on said eerie piano. ‘Void Renaissance’ lures the listener into a sense of security before pulling them into this creepy space for but a minute, which makes it effective in the sci-fi worldbuilding; in something as large as space the black holes are never too far away. ‘Synthetic Salvation’ is here to show off Pridian’s programming skills in an ambient track before rounding out the project with ‘Convoy’, coming in with a cyclical sound and a track that reminds the listener of Periphery in its build and screeching electric guitar melodies, though the choice to mix the vocals under the instrumentals here does leave something to be desired. The release closes with ‘Endless’: proof first of all that Pridian have their intros perfected, while bringing back the Wage War energy in a punchy take-no-prisoners finale where Laur Lindmäe hits the guttural screams in a welcome surprise. The sinister vibes from ‘Void Renaissance’ make a return for the last act of ‘Endless’, this time through the Gregorian chant and the piano atop a double bass workout that breaks for a second before swelling into a second but equally sinister finish. All in all, Venetian Dark is a playbook on electro-infused metalcore: gorgeous melodies matched with deep soundscapes that are emblematic of what listeners look for in metalcore, matched with programmed elements that accentuate instead of overpower and add to the sci-fi worldbuilding that Pridian have constructed. No frills, some flare, and a solid listen. Score: 8/10 Venetian Dark was released on May 16th 2025. Words: Julia Brunton Photos: Pridian

Formed in 2009, Full Of Hell are known for their unrelenting blend of grindcore, death metal, noise, and power electronics. Over the years, they’ve built a reputation as one of extreme music’s most boundary-pushing acts, thanks to a prolific discography that includes collaborations with The Body, Merzbow, and Primitive Man. Now the Pennsylvania grindcore giants are back with their latest EP offering, entitled Broken Sword, Rotten Shield. This new release follows up on last year's critically acclaimed studio album Coagulated Bliss, and their collaboration with Andrew Nolan Scraping the Divine. Produced by Kevin Bernstein and released by Closed Casket Activities, Broken Sword, Rotten Shield’s release is followed by a stacked North American tour, with the likes of Harm’s Way, Kruelty, Jarhead Fertilizer, and Clique. Lyrically, Broken Sword, Rotten Shield weaves together themes of love, grief, and inevitable loss with a warped, dark fantasy-esque narrative. It conjures images of noble quests and loyal, doglike guardians - symbols of the pure, unwavering bonds we form in life - only to watch them fall to ruin in a brutal confrontation with mortality. It's a short but emotionally loaded journey, where the mythic and the personal collide in genuine Full Of Hell fashion, with overwhelming force. The release kicks off, again in typical Full Of Hell fashion. Title track 'Broken Sword, Rotten Shield' sets the stage for a seven-track auditory onslaught. Frenzied blast beats, jagged riffs, and Dylan Walker’s signature vocal abrasion tear through the mix with surgical brutality. The title track reveals the album’s central theme: that in the face of time and death, all living things are equal. It’s a clear statement of intent for the record - relentless, raw, and unflinchingly aggressive - reminding listeners that, while the band continues to evolve, their core remains rooted in pure sonic violence. From there, the EP rarely lets up, barrelling through moments of noise-drenched grind and scorched-earth hardcore with vicious precision. Despite the EP’s overwhelming intensity, there are a sprinkling of moments where the chaos gives way to reflection and clarity. 'To Ruin and the World's Ending' stands out as a perfect bookend to the release. Drawing the curtain with a sense of grim finality. Slower and more deliberate than the tracks before it, the song unfolds like a funeral procession—bleak, sludgy, and heavy with emotional weight. It ties the EP together both thematically and sonically, reflecting on the destruction left in the wake of loss and the quiet devastation that follows. Broken Sword, Rotten Shield is yet another incredible release in an already impressively expansive and varied discography. You’d be forgiven for thinking there would be some pure filler among these releases. Still, every single release is a well-crafted, tightly polished creative endeavour that shines on its own merit. Broken Sword, Rotten Shield is no exception to this. Following on from Coagulated Bliss was always going to be a monumental task, as the band’s sixth full-length studio album is truly a thing of beauty. Yet Broken Sword, Rotten Shield takes such a bold, creative, and thematic turn, making it an undeniable standout release for the band. Score: 9/10 Broken Sword, Rotten Shield was released on May 16th 2025. Words: Andrew Nile Photos: Full Of Hell

London metalcore quartet Confessions Of A Traitor are back three years after their last album with This Pain Will Serve You. The album delves deep into the complex and raw emotions of grief and loss, through haunting melodies and powerful lyrics, which the band use to great effect in order to explore the experience of mourning, and the journey toward healing. First up, we have 'Starve' - is a hard-hitting rager that creates an impactful opening. The tight riffs and accelerated tempo, along with MacConville’s screamy vocals, immerse the listener in what to expect from the album, and set the pace of exactly what is to come. Next up is 'Fatal Frame', which certainly possesses the band's signature sound, however we also hear a very welcome addition in the form of punchier and more modern-leaning riffs. We hear more of Brand’s vocals in the chorus too which, alongside McConville's, creates an effective contrast and undeniable hook. 'Doomsayer' is the heaviest and darkest song on the album. It showcases the band's sharper metalcore sound in an almost apocalyptic way. MacConville’s ability to move from throat-shredding rage to ghostly clean vocals adds layers of depth, and this song will stay with you long after the final note ends. We then get to 'Midnight Sun', where the ferocious guitars of Brand and Darnell lead this track, offering riffs that transition seamlessly into its catchy chorus. The lyrics, along with haunting vocals, bring the song to life even more. 'Still Haunted' is the lead single of the album, inspired by MacConville’s best friend’s loss of a partner to suicide. The track is a soundtrack of grief and every scream, every lyric feels earned. Haunted, layered vocals that hit you right in the feels, along with a thunderous climax makes this track one of the band's most emotional songs to date. Following this we have 'Love You Left Behind', to kick off the second half of the record. This song has a moody and immersive tone filled with texture and contrast, which elevates the track into something rich and very listenable. Vocally, this track is probably the most melodic from the album, where we really hear the core of MacConville’s clean vocals. 'Noble Bloom' shows off the band's versatility with brutality and ethereal cleans. The dynamic shifts make the breakdowns hit even harder. Olward’s drumming in this track is nothing short of thunderous, bringing it all together as an onslaught. 'Hail Mary' stays on the same track, where screams are paired with clean vocals to give that soul shuddering metalcore sound. Heavy with religious symbolism alongside Mike Felker’s (Conviction) guest vocals, they all fuse together seamlessly creating a song that feels massive in every aspect possible. As we approach the end of the album, we have 'Let It Consume Me' and 'The Sins I'm Yet To Answer For', which feature two of the heaviest breakdowns on the entire album. Vocally they portray sheer agony, and the guitar riffs almost scream alongside them, setting a cinematic atmosphere in both tracks. 'Half Life' closes the album, and features an appearance from Charlie Hewitt of UK nu-metal revival band Black Coast. The track has a hardcore-style aggression with some of their heaviest riffs to date, and brings the album to a vigorous end. The pain which has been portrayed throughout this album is quite remarkable. Amongst some excellent musicianship, and especially some fantastic vocal displays, this ability to draw from such raw emotion is the key to why This Pain Will Serve You is a cut above the rest. Score: 8/10 This Pain Will Serve You was released on May 16th 2025. Words: Amy Watson Photos: Confessions Of A Traitor