The Polish death metal band Clairvoyance has come back with a new offering, and this time it’s the full-length album Chasm Of Immurement. Consisting of the members Maciej Cesarczyk, Denis Didenko, Kacper Pawluk, Vlad Levchenko and Adrian Sczepański, the band quickly caught attention of the metal scene across the world and is now making its way up the rungs of the music ladder swiftly. Offering fans six new songs, Chasm Of Immurement is a blend of heavy-sounding instruments with resonating screams. The full-length album offers up lyrics that are centred around the topics of inner struggles and mental health, as the listeners can hear in the song 'Eternal Blaze', and through the use of Sczepański’s drums, they are able to hear the inner monologue – perhaps a silent call for help, or just a sign of what's going on. Throughout the songs, but most particularly within 'Hymn Of The Befouled', 'Fleshmachine' and 'Reign Of Silence', the band intensifies its rhythms and presence, creating an aggressive melody full of hate and resentment. Packed with Csesarczyk’s and Didenko’s vocals, the two songs offer a deep dive into the battle that has been going on inside someone’s head, and shows what happens when you fight the inner demons to finally take over the control. 'Reign Of Silence' notably offers an extensive use of guitars, showing off head-turning riffs that echo around thanks to Didenko’s and Pawluk’s skill in their instruments. A highlight of the song is a guitar solo that fits into the melody like a glove, seamlessly sliding into the song. One thing that could be tweaked here is a slight increase in variation across the record of the intensity found, as there is not much change to be seen. There is, however, a small breakdown in the song 'Blood Divine'. If the listener does not listen carefully, they might miss it, as it is not significantly different to the rest of the song, but it provides a slight change in the tempo of the track - all while still making the drum, bass and guitar work stand out. The snares are very prominent in this track, and the alternating sound of two guitars adds a lot of depth to the overall finish. The last song on the album 'Monument To Dread' - but by no means the least - is once again an aggressive showcase of Didenko and Pawluk’s expertise with guitar, as well as Levchenko’s incredible work with his bass. The breakdowns in the song hit hard, which is perfect as the song is seven minutes long, making it the longest feature of Chasm Of Immurement. The track is cleverly composed, changing tempos and rhythms throughout its duration and resulting into an interesting mix of sounds. There is also a small bridge in the middle, primarily showcasing the guitars, that is a welcome surprise for any listeners who catch it. Clairvoyance’s Chasm Of Immurement is a chaotic release full of anger and frustration that is bound to be played for moshpits aplenty. Although the melodies are repetitive in the songs and there are no transitions, it still manages to capture the talent and precise musicianship of the band members. This Polish force of nature knows how to make an eye-catching album, and keeps on pushing through with force and metal. Score: 7/10 Chasm Of Immurement was released on July 18th 2025 via Carbonized Records. Words: Katerina Stepanikova Photos: Clairvoyance

Blind Equation returns with a vengeance on their third full-length album, A Funeral in Purgatory. Following their 2023 release Death Awaits, the project helmed by songwriter and vocalist James McHenry steps confidently into new sonic territory, delivering what McHenry himself describes as “the heaviest and most brutal Blind Equation album to date, while simultaneously being the most soft and heartfelt.” It's a bold claim, but one the record thoroughly lives up to The album is a culmination of both musical evolution and practical growth, having spent more time touring since their last release, Blind Equation brings a sharpened sense of what hits hardest in a live setting. This awareness informs every track on A Funeral in Purgatory, resulting in a meticulously crafted, emotionally charged record that merges fury with vulnerability. The opening track, 'This Eternal Curse', sets the tone with an explosive mix of ethereal synths, pounding drums, and guttural vocals that build into a trance-laced breakdown, an exhilarating taste of the genre-defying energy that permeates the entire album. Released ahead of the full LP, lead single 'Nothing' dropped on May 22 and gave fans a preview of what was to come, the track is a chaotic yet cohesive blend of breakcore drums, glitchy synths, and McHenry’s unmistakable vocal delivery. Collaboration is another standout theme, On 'It Feels Like The End', JOHNNASCUS joins forces with Blind Equation to deliver a masterclass in electronic brutality, This track finds a sweet spot between cyber-grind aggression and emotional nuance, proving that genre fusion doesn’t have to sacrifice cohesion. Meanwhile, 'Flashback', a collaboration with MySpace-era trancecore artist Strawberry Hospital, offers one of the album’s most immersive moments, its atmospheric synths and breakcore beats spiralling into chaos as Strawberry Hospital’s dreamy backing vocals perfectly complement McHenry’s anguished screams. The album closes with 'Incomplete', a cathartic, beautifully layered track that transitions from mournful melodies into a synth-and-riff frenzy. It’s a fitting end to an emotional rollercoaster - offering a sense of finality that still feels unresolved, in the best possible way. This is an album that demands attention, one that drips with emotional depth while pummelling you with relentless soundscapes. Brutal, heartfelt, and wholly unforgettable, this might just be Blind Equation’s one-way ticket through the glass ceiling. Score: 8/10 A Funeral in Purgatory was released on July 18th 2025. Words: Sage James Photos: Blind Equation

The Sheffield-based force of nature Ba’al have recently released their newest album, and it is their most ambitious work to date. Formed in 2016 and ultimately winning Metal 2 The Masses in 2017 - thereby securing a slot to play at the legendary Bloodstock Festival - the band members Joe Stamps (vocals), Nick Gosling (guitar), Richard Spencer (bass), Luke Rutter (drums) and Chris Mole (guitar) successfully skyrocketed towards their success almost immediately, and have been playing for a healthy audience ever since. The band’s second full-length album consists of six lengthy, elaborate songs, emphasising post-black metal guitars and drums throughout. Right off the bat, the first song of the album, 'Mother’s Concrete Womb', is a long and emotional track, that brings to the table a plethora of different elements. From grieving guitars to aggressive drums, and some synths especially at the beginning of the song, accompanied by beautifully sad violin and Joe Stamps’ piercing vocals, the overall performance gives the listeners a unique immersive soundscape experience full of pain, frustration and sadness. The tempo and vocals change few times throughout the song, emphasising certain parts and lyrics. At the end, the song seamlessly flows into the next one, 'Waxwork Gorgon', which is an interesting and welcomed feature. Another stand out song is 'Floral Cairn', predominantly thanks to an emotional bridge-like part, that uses clear vocals but gets more intense with each word told. It is an unexpected twist, as the track uses heavy instruments and vocals for the majority, and it pins down a visceral feeling of despair, before going into a full panic and breakdown. The piece is brilliantly written and beautifully executed, giving the music life-like atmosphere, that is easy for the listeners to understand and sympathise with. 'The Ocean That Fills A Wound' is not only the longest song on the album, but is also heavier on synths and sound effects, creating a unique atmosphere from the beginning. It starts subtly with guitar strumming, easy-going drums and clear vocals, which already marks it out as different from the rest of the album, and continues like this for a good chunk of time, before transitioning into heavier notes. The song once again evokes a plethora of powerful feelings in the listeners, with its usage of melodies, riffs and lyrics, and although the heavier elements in the song sound similar to the rest of the songs on the album, it is still one of the most fascinating songs on The Fine Line Between Heaven and Here, especially considering the writing and recording process. The Fine Line Between Heaven and Here is a great second album, that features some heavy riffs and heavier lyrics. The way it manages to evoke such deep emotions in the listener is remarkable, however the repetitive sounds and sometimes the length of the songs can be very overwhelming, especially when listened to in one go. Nonetheless, Ba’al have once again proved to the metal scene that they're absolutely not here to play around. Score: 7/10 The Fine Line Between Heaven and Here was released on July 18th 2025 via Road To Masochist. Words: Katerina Stepanikova Photos: Ba'al

Hailing from North West England, grisly shock rockers WARD XVI have gained a reputation for their horror-inspired theatrics. They take inspiration from greats in the genre such as Ghost and Alice Cooper, wearing those influences on the sleeves of their striped asylum-themed get-ups, weaving horror-filled narratives through their music in much the same way. Their new release, ID3NTITY, is the third chapter in their saga of mayhem, following the crazed serial killer Psychoberrie in her horrific escapades, as she slashes her way through the country with her band of misfits in tow. The story begins with 'Regeneration', opening with a radio montage of headlines being read, detailing the crimes of our protagonist and informing the public of her imminent release from the asylum into society. Immediately after the voices cease, we're hit by a wall of sound, intense guitars and Psychoberrie's haunting vocals. It's almost a chant that runs through the track, repeated and threatening as she sings "welcome to the last day of your life". A strong introduction to the mayhem that is yet to unfold. 'Into the Wilderness' follows, an account of our protagonist's release as she steps beyond the bars of her prison and into her freedom. Much like the last song, it falls into repetition with its chorus, though the track is loud and punchy enough to carry it – a trend that persists through the following tracks. The circus motif is a continuing theme too, coming through in a fairground melody introduction to 'What's in the Box', and through repeated lyrics about the playing of games in 'Macabaret'. They're both action-packed, fast tempo tracks that really give off a sense of the chaos-fuelled action this motley crew of maniacs bring with them. Next up is a personal favourite, and first single release, 'Blood is the New Black'. It's one that's received acclaim from publications such as Kerrang! and Metal Hammer, and for good reason. An earworm of a riff runs through the track, while Psychoberrie's dramatic, in-your-face vocals refuse to leave your mind. As the track comes to its penultimate moments, Rico Rameres comes in with a growly rap verse that's very reminiscent of the hard-hitting punches from early Slipknot. Peppered throughout the album are occasional spoken word interludes that help to further this horror-story narrative. There's an element of threes permeating this release – it's their third album, with three interludes; it's a story in three acts. As we reach the height of the second act with 'Amoeba of Madness', the tempo is brought down with a look into the inner workings of Psychoberrie's mind. A lament, emotional elements coming into play as she sings about the "sickness in her mind" and her desire for someone to take under her wing. The third act of ID3NTITY follows after the last interlude, consisting of only one, final song: 'We are Legion', a villainous melody about how this unstoppable maniac crew, when all is said and done, still stands triumphant. It's a dark, threatening track that reinforces that they are out there in the darkness, ready to take down anyone that stands in their way. WARD XVI are legion, and they are one. This whole nightmarish saga of madness comes to an end with an unlucky-for-some thirteen tracks. It's a number that marks them as an outlier in recent rock releases, with more and more bands preferring eight to ten tracks. Despite that, ID3NTITY is a tight piece of work. It's a theatrical, shocking sensory experience that fittingly encapsulates their identity as a band, and reaffirms their status as one to be reckoned with. With their enthralling flair for the dramatic, one can only imagine where this band will go next. Score: 8/10 ID3NTITY was released on July 11th 2025 via Earache Records. Words: Naomi Colliar Duff Photos: WARD XVI

Introducing The Constant Void, the latest offering from one of progressive metal’s most exciting rising acts: Philosophobia. Following the success of their self-titled debut, which was received with an outpouring of support, the band returns with a deeper, more emotionally charged collection of songs that mark a clear evolution in both sound and storytelling. Comprised of members spread across Europe and featuring heavy creative input from current and former members of Kamelot, this album takes everything they achieved with their debut and elevates it. The Constant Void is a masterclass in modern progressive metal - ambitious, heartfelt, and at times devastating. If you’re a fan of Dragonforce's guitar solos, Epica's cinematic storytelling, or if Philosophobia’s first album already blew you away, then The Constant Void needs to be your next listen. Domenik Papaemmanouil’s vocals are a standout—emotive, powerful, and gripping throughout. Andreas Ballnus delivers jaw-dropping guitar work, complemented by Tobias Weißgerber’s soul-stirring keys. Sebastian Heuckmann steps in on bass, replacing Kristoffer Gildenlöw, and doesn’t look out of place for a second. Rounding out the lineup is Alex Landenburg on drums, bringing precision and punch to the band’s dynamic sound. The album opens with 'Intro', a synth-driven piece that hints at the melodic complexity to come. 'King of Fools' follows, delivering the headbanging energy every metal fan craves, full to the brim with thunderous drums and blistering riffs reminiscent of classic American rockin' metal, yet distinctly Philosophobia. 'The Forgotten Part 1' carries that energy forward but detours into a beautiful slowed-down guitar solo before launching back into a hard rock fury, whilst 'Inside His Room' mixes synth layers with a heavy influence from bands like Killswitch Engage, albeit with enough originality to be far from a carbon copy. 'Will You Remember' is where the emotional depth truly begins to show. A gentle intro of guitar and keys gradually builds, until the drums crash in and the vocals soar through a shredding chorus that’s destined to become a crowd favourite. Then, there’s 'F 40.8' - an absolute shred-fest with incredible keyboard solos performed by Vikram Shankar. 'Underneath Grassroots' slows things down. A poignant, heartfelt track that feels like a serenade to someone lost. It offers a very vulnerable side to the band; one that no doubt will resonate with fans. 'The Fall', the penultimate track, continues the seamless blend of hard-hitting riffs and atmospheric synths. There’s even a touch of ‘80s metal flair in the guitar work toward the end. Finally, we arrive at 'The Forgotten Part 2' - a 20-minute epic that showcases the full scope of Philosophobia’s talents. With narrative passages, haunting synths, thunderous instrumentation, and a spoken word section by Rob Leland, this track is a journey through every corner of progressive metal. It feels like the entire album was building toward this moment, and it delivers on every level. Even the album artwork is worth a mention - visually stunning, and perfectly matched to the sonic world Philosophobia has crafted. With The Constant Void, Philosophobia hasn’t just matched their debut - they’ve surpassed it. This is a band poised to take the progressive metal scene by storm. Score: 8/10 The Constant Void was released on July 11th 2025. Words: David Waites Photos: Philosophobia

A scavenging vulture calls through a desolate desert. Heavy, black boots kick up sand in their path. Into a rundown town on the fringes of the American frontier saunter three men clad in black, the sun a distant memory in the blackened sky above. The scene is now set for In the Company of Serpents' fifth studio album, A Crack in Everything. The Denver doom metal trio have always questioned the limits and boundaries of genre, and their latest release is no stranger to that, marrying up acoustic, spaghetti western tones to crushing doom riffs in a combination that can only be described as a cinematic vision. The album takes its title from Leonard Cohen's 'Anthem'; in this, he sings "There is a crack in everything. That's how the light gets in.' That line encapsulates the album's themes entirely – it's a personal piece, born from emotional defeat and a losing battle with alcoholism, but despite the misery and loss, it sets out to find that crack where the light can shine through, that glimmer of hope in the distance. The nine-track LP kicks off with 'Don't Look In The Mirror', a perfect establishing shot for what to expect with this record. Clashing drums from Andy Thomas meet powerful riffs from Ben Pitts, in the lead-up to deep, guttural vocals from Grant Netzorg. The track delves into Netzorg's personal struggles with depression and addiction, the despair channelled into visceral intensity. What follows is 'A Patchwork Art', a song that encapsulates the band's style and themes. It begins with the western twang of guitars, an intro that wouldn't be out of place in a Clint Eastwood movie, but it isn’t long before the growling vocals arrive on the horizon. Over the course of the track, the spaghetti western themes begin to bend and buckle under the weight of the heavy sludge, giving way entirely by the end. The track evokes a certain image; a showdown in the sandy streets of the old west, the light leaving the sky as darkness takes over. It's a symbolic battle between light and dark, despair and depression coming out the apparent winner. 'Delirium' follows, an acoustic piece in the transition between scenes. It offers a well-needed reprieve from the crushing gloom. The peace is short-lived, however, as 'Cinders' arrives on the scene soon after. It falls in line with the rest of the tracks, tying together raw, emotional intensity, with eerie instrumental passages. Memorable riffs cling tightly to the mind, though ultimately this track does little to stand out among its companions. First single release, and fifth track 'Endless Well' features guest vocals from Jeff Owens from the band Goya, bringing a new fighter to this perpetual internal battle, and with him, soaring backing vocals that offer a welcome contrast in style. The track is ultimately about "daydreaming for some cataclysm to come along and wipe the collective slate clean," Netzorg says, and that wish for the apocalypse is evident in the sludge metal riffs that run through this one. However, it's not all about wallowing in despair – in its ending lines, it suggests there is a way to escape this self-imposed prison cell: "Resurrection, or perhaps rebirth? A fierce rejection of this state: inert," Netzorg growls. 'Buzzard Logic' is one of the longer tracks in this album, hitting a sprawling, darkness-infused eight minutes. It's one that lands definitively in the camp of metal, and brings a very welcome increase in tempo that helps to break up the length – unfortunately, that speed is brief, before the track returns to the status quo of slower, esoteric melodies. Another instrumental interlude, 'Tremens', follows. It's the kind of slow, relaxed strumming you might expect at a campfire out in the wilds of the desert, and leads into the next track well. 'Until Death Darkens Our Door' is a standout in that it primarily takes the southern gothic approach in both vocals and instrumentals. The band's Denver roots come through most here, dark country influence permeating its sorrowful tones. It's a track that informs listeners of why the band stand out amongst the crowd – they're far from your average post-metal band, bending the constraints of genre and style. Finally, we reach 'Ghosts On The Periphery'. A haunting climax to this inner turmoil, the shadows of the all-consuming darkness within revealing themselves in their entirety. Another track of eight minutes, though this length feels earned. After six brutal minutes of crushing guitar and bass, we're given the radiance of light through the return of the spaghetti western instrumentals. To close off this saga, the final, eponymous lines are spoken: "There is a crack in everything. That's how the light gets in." A Crack in Everything stands out in the band's repertoire as a deeply personal collection of tracks, delving into themes of addiction and depression. It straddles the line between genres, never quite clashing with its southern guitar twangs and growling doom metal vocals. While the tracks each have their own merits, one point of contention may be that some struggle to stand out, hard to distinguish from others in style and form. Ultimately, this album is a well-crafted saga of darkness and light, and In the Company of Serpents have proven themselves as standouts in the genre. Score: 7/10 A Crack in Everything was released on July 11th 2025. Words: Naomi Colliar Duff Photos: In The Company Of Serpents

Swedish death metal band Decadence Incarnate, renowned for their melodic intensity and thought-provoking lyrics, recently returned with their latest EP, Eternal Rebellion. Known for pushing musical boundaries, the band delves deeper into socio-political themes and personal struggles in this powerful release, showcasing their evolution both musically and lyrically. Prior to the EP’s launch, singles ‘Lightbringer’ and ‘Illusion of Freedom’ set the stage with hard-hitting political lyrics and infectious riffs that linger long after the final note. ‘Lightbringer’ is an anthemic track that tackles the complexities of leadership and the duality of power, while ‘Illusion of Freedom’ critiques modern society’s façade of liberty, layered with blistering guitar solos and relentless drumming. These tracks not only highlight the band’s ability to blend heavy metal with meaningful commentary but also demonstrate their commitment to addressing contemporary issues through their music. With Eternal Rebellion, Decadence Incarnate are breaking every boundary possible, solidifying their place as a band to watch in the global metal scene, and proving their commitment to artistic growth and fearless expression. The EP is a testament to their ability to evolve and adapt while maintaining the core elements that define their sound. It is a bold statement that challenges the status quo and invites listeners to question and reflect on the world around them. The band’s dedication to pushing the limits of their genre is evident in every track of Eternal Rebellion. They have not only created a powerful musical statement but have also established themselves as a force to be reckoned with in the metal community. Their willingness to explore complex themes and experiment with new sounds sets them apart from their peers and ensures that they remain relevant and influential. In short, Decadence Incarnate’s Eternal Rebellion is a remarkable EP that showcases the band’s growth and evolution. With its thought-provoking lyrics, powerful instrumentals, and fearless expression, it is a must-listen for fans of metal and anyone who appreciates music that challenges and inspires. The band’s commitment to artistic integrity and their ability to connect with listeners on a deeper level make them a standout act in the metal scene, and Eternal Rebellion is a testament to their enduring talent and creativity. Score: 8/10 Eternal Rebellion was released on July 11th 2025. Words: Lisa York Photos: Decadence Incarnate

Calva Louise have steadily carved out a name for themselves since forming in London in 2016, with an ever-evolving sound that defies genre and expectations. The dynamic trio have caught the attention of BBC Radio 1 and a growing global fanbase, rightfully earning their spot as one of the station’s 'Artists You Need to Know'. Their latest release, Edge of the Abyss, is a bold, eclectic, and thrilling addition to their discography, bursting with energy, experimentation, and surprises. The album opens with 'Tunnel Vision', a frantic rollercoaster of time signature shifts and sharp hooks. Long-time fans will feel right at home with the band’s signature unpredictability, but there’s a refined polish here too, Jess Allanic’s vocals soar and snarl in equal measure, locking in perfectly with the driving guitars and explosive drums. It’s a standout opener, and one you'll find yourself having it on repeat constantly. Then comes 'Aimless', a track that playfully teases with an intro reminiscent of Britney Spears’ 'Toxic', only to explode into a riff-heavy anthem that’s pure Calva Louise. Bilingual lyrics in English and Spanish add to the track’s dynamic punch, while thunderous drums and snarling guitar lines push it into full-blown chaos in the best way possible. Midway through, 'Impeccable' lives up to its name, infused with rave-like energy and an infectious beat, it’s the album’s danceable core, compelling you to move whether you’re in a club or your bedroom. The genre-bending continues with 'The Abyss', a fully Spanish-language track featuring shimmering synths and a thudding bassline that pulses with dark allure. It’s immersive, catchy, and proves Calva Louise’s versatility without missing a beat. As the album nears its climax, 'Hate in Me' delivers a heavy, headbang-ready punch, unapologetic and intense. It’s one of the heaviest cuts on the album, demanding attention with its raw emotion and unrelenting pace. Closing things out is 'Under The Skin', a hauntingly ethereal power ballad that showcases the band’s emotional depth. Growling vocals, layered instrumentals, and a crushing breakdown bring the album to a cathartic and cinematic close. Edge of the Abyss is an exhilarating ride from start to finish - a fearless blend of punk, metal, synth, and pop that refuses to be boxed in. Calva Louise aren’t just pushing boundaries here, they’re obliterating them. Score: 10/10 Edge of the Abyss was released on July 11th, 2025 via Mascot Records. Words: Sage James Photos: Calva Louise

There’s something deeply stirring about music that balances the sacred and the profane, that dares to channel centuries-old spiritual tradition through a contemporary and often confrontational lens. Requiem, the latest offering from avant-garde outfit All Men Unto Me, does exactly that. It’s an album that feels like it was recorded in a cathedral at midnight, haunting, cavernous, and unashamedly intense. With frontman Rylan Gleave of Ashenspire at the emotional and sonic helm, this record isn't just listened to, it’s experienced. Across eight immersive tracks, Requiem offers a genre-defying journey through despair, transcendence, and catharsis. We begin with 'Introit', a track that immediately situates listeners in a realm somewhere between Swans-style post-rock and orchestral gothic. The atmosphere is thick and immersive, as screeching violins slice through a dense fog of distorted guitars and methodical drums. Gleave’s vocals start as a solemn presence and gradually become a commanding force, elevating the track to something both chaotic and divine. It's a bold and cinematic opening, setting the emotional and sonic stakes high. Following this is 'Kyrie Eleison', a softer, more intimate offering that trades bombast for vulnerability. Gleave’s voice sounds fragile here, almost desperate, as if genuinely reaching out to some divine presence for mercy or understanding. Stripped-back instrumentation and a raw vocal performance make it one of the album’s most personal and affecting moments, demonstrating the band’s skill at emotional contrast. The third track, 'Sequentia', is the only one accompanied by a music video at the time of writing, and it’s easy to see why - it’s a standout. The production is driven by a deep resonant bassline and a thundering kick drum that provides both tension and momentum. Gleave’s vocals glide hauntingly over this rhythmic backbone, creating a track that feels ritualistic, almost like a summoning. The accompanying visuals only heighten this sense of mystery and grandeur, positioning 'Sequentia' as the record’s sonic centrepiece. 'Agnus Dei' leans even further into religious imagery, resembling a twisted, modern hymn. The classical organ and eerie choral vocals give it the feel of a service being held in a crumbling chapel, the sacred space reimagined through a distorted, apocalyptic lens. It’s beautiful and unsettling, another track that blurs the line between devotion and despair. The album closes with 'In Paradisum', a quiet, reverent track built on a foundation of echoing guitar strums and Gleave’s soft, almost whispering voice. It serves as a gentle exit from an otherwise intense record, like stepping out of a storm into candlelight. There’s a sense of peace here - perhaps not resolution, but acceptance. Requiem is a masterclass in emotional range and sonic atmosphere. It’s a requiem in the truest sense: a lament, a prayer, and a confrontation with the divine, all wrapped in a challenging but beautiful musical package. For those willing to give themselves over to the experience, it’s nothing short of transcendent. Score: 8/10 Requiem was released on June 27th, 2025 via The Larvarium. Words: Sage James Photos: All Men Unto Me

Like a 1990s death metal concept come to life, the band Kontusion was conceived amidst the languor and distress of the global pandemic. Described by some as a metal ‘super-group’, Kontusion’s only two full time members, guitarist/vocalist Mark Bronzino and drummer Chris Moore, hail from the legendary hardcore and metal scenes of America’s East Coast and former bands like Iron Regan, Mammoth Grinder, Repulsion and Coke Bust. Having connected, pre-pandemic, over their shared hunger to make the kind of mean af, old school death metal, they were desperate to hear themselves, Moore and Bronzino also had the kind of chops, as well as the time, to pull it off. Thus in a wide-spread lock down, the devil found work for those idle musician’s thumbs, and Kontusion was born. Their eponymous first EP dropped in 2022, which included the undoubtedly punishing ‘Rotting with Sickness’, was highly praised for its authentic and brilliantly delivered primeval heaviness. Now, coming for us later this month, is their first full length album, Insatiable Lust For Death. It’s another relentless onslaught of blast beat drums, insane levels of distortion, and gritty dark sounds in the lowest of registers, which feels something like being buried alive. In comparison to the first EP, Insatiable Lust For Death has a fractionally cleaner production, but don’t worry, it’s still like listening to the bowels of the earth on long wave radio, hitting hard with deconstructed flows and raw frequencies, a homage to those early death metal recordings. Losing none of its savageness, tracks like ‘Hemorrhage’ really play up those dense hardcore drums from the band's muscle memory. Every now and again we are treated to a throwback thrash guitar riff, cutting through the grime, always short lived, returning quickly to the power chords and growls. The video released for ‘Subjugation’ is an edit of grainy and distorted footage, flicking between the band playing live, warfare and the saccharine positivity of American retro advertising. Ranging from the 40s on to present day, the video closes with an aerial shot of the Gaza strip, followed by footage of the pro Palestine protests which stops this feeling a little cliché. Hitting home and speaking in support of the oppressed, as well as against the media’s suppression of footage, freedoms of speech and support of the Palestinian people. No-one is free until we are all free. Free Palestine! With this video in mind, the onslaught of sound we get from Kontusion and their position within a counterculture, fits like a glove, and we can only say we want more of it. They emphasise that part of the concept is about reflecting “the darkness of a world marred by chaos, where large scale atrocities run amok”, and we couldn’t agree more. True to the tone of the album, the band comments that the lead single, ‘Throne Of Skulls’ “lyrically tackles the path of destruction and death in the hell-bent pursuit of power concentrated into the hands of the few’’. Bronzino also adds for the die-hard metallers, it’s full of “charging, galloping riffs, backed by stomping rhythms, in the vein of Cianide, Convulse, and even the legends Carcass with what could potentially be called the ‘C beat,”. Taking the darkest, roughest elements of their knowledge and experience, this slurry of sound is a ‘bash you over the head’ kind of retrospective of their death metal dreams/nightmares. ‘Countless Atrocities’ opens with some assaulting drums and one of those ‘oh so brief’ guitar solos, shredding through the primeval deluge as it summons some avenging dark figure, to wreak vengeance on the earth. Melting into a pulsing onslaught, ‘Revenge’ makes your head an antenna for what feels like some V for Vendetta type messaging, hijacking the air waves; even if the death metal guttural growl gives us no sense of a single word spoken… A real nice break down, and another brief but insane guitar solo, will have you nodding with your grumpy face as it gets deep. After this release we are fully ready to support Kontusion’s dark reign against the 1%. Score: 8/10 Words: Alana Madden Photos: Louie Palu via Kontusion

Reading & Leeds has always been a haven for the bold, the loud, and the left-of-centre. While main stage headliners tend to dominate the spotlight, it’s often the alternative acts tucked into late-afternoon sets or hiding out in smaller tents that end up stealing the show. The 2025 lineup captures a wide-ranging definition of “alternative” — spanning punk, emo, hardcore, indie rock, experimental pop, and everything in between. Whether you’re chasing high-gloss emo revivalism, snarling post-punk, or genre-defying internet weirdos, this year’s bill is packed with artists ready to leave a lasting mark. Some are returning festival veterans with reputations for ferocious live shows. Others are new names poised to blow up — the ones you’ll be bragging about seeing first. That’s the thrill of Reading & Leeds: a mix of the tried-and-true and the next big thing, all sharing a lineup built for discovery. If you’re plotting your weekend and want to catch the most exciting alternative acts on the lineup; from cult favourites with massive followings to rising stars making serious noise, start with these ten. Whether you're drawn to chaotic punk energy, soaring emo hooks, or experimental twists on pop and rock, these sets are guaranteed to leave an impression. Wallows With their breezy, guitar-driven alt-rock, Wallows have carved out a distinct space in the modern indie landscape. Led by Dylan Minnette, the trio blends nostalgic ‘90s tones with contemporary pop clarity, resulting in tracks that are as emotionally resonant as they are catchy. Known for fan favorites like “Are You Bored Yet?” and “Remember When,” their live performances strike a balance between infectious energy and heartfelt lyricism. At Reading & Leeds 2025, Wallows are set to bring the kind of emotionally rich set that will have you dancing one moment and swaying pensively the next. Lambrini Girls Crude, cathartic, and completely irresistible, Lambrini Girls are one of the most vital punk acts in the UK right now. Their feral live shows feel like a protest and a party all at once, and their razor-sharp lyricism tackles everything from queer rage to political hypocrisy with humour and fury. If you’re looking for sweat, speed, and an unfiltered punch to the gut, don’t miss their set — it’ll be one of the rowdiest, most important moments of the weekend. Mannequin Pussy Philadelphia’s Mannequin Pussy balance abrasive punk with disarming vulnerability like few others. On stage, they’re all-in: fiery, explosive, and emotionally raw. Vocalist Marisa Dabice shifts effortlessly between tender melodies and full-throated screams, backed by a band that understands tension and release in all the right ways. Their latest material expands their sonic palette without losing the bite that made them such a force to begin with. Expect chaos, catharsis, and one of the most emotionally gripping sets of the weekend. High Vis Blending post-punk, hardcore, and Britpop melancholy, High Vis make music that feels like both a war cry and a warm embrace. Their songs are working-class anthems, buzzing with grief, resilience, and a uniquely British swagger. Live, they’re relentless, channelling rage into solidarity with every shout-along chorus. If you’re into the gritty heart of alternative music, the kind that’s as real as it is loud, High Vis are essential viewing. Soft Play Formerly known as Slaves, Soft Play have re-emerged with a sharper focus and the same ferocious energy. Their brash blend of punk and garage rock has always translated well on festival stages, but their newer material shows a band that’s grown without losing their confrontational edge. Whether they’re shouting about social decay or simply causing a ruckus, Soft Play guarantees chaos — and a very good time. Pale Waves Pale Waves have evolved from indie-pop darlings to full-blown alt-rock contenders. Their blend of arena-ready hooks and goth-tinged aesthetics makes for a compelling festival presence. Frontwoman Heather Baron-Gracie delivers each lyric with intensity and flair, while the band’s polished production ensures the live experience hits as hard as the recordings. From moody bangers to heart-on-sleeve ballads, they’ll give you a little drama and a lot of emotion. Bilmuri Equal parts chaotic and cathartic, Bilmuri (the solo project of former Attack Attack! guitarist Johnny Franck) is a genre-hopping whirlwind of post-hardcore, pop-punk, and internet-era absurdity. His music is as likely to make you laugh as it is to move you, often in the same track. Live, Bilmuri brings a raw, DIY energy that cuts through any over-polished festival set. If you like your alt-rock with a heavy side of weird, this one’s for you. South Arcade One of the most exciting new bands in the UK scene, South Arcade are pop-rock firecrackers with a Gen Z twist. Their sharp hooks and unapologetically modern aesthetic make them a thrilling addition to this year’s bill. Don’t let their youth fool you — this band has polish, presence, and serious potential. Catch them now before they blow up completely. This is the kind of set you’ll brag about seeing early. Enter Shikari No strangers to Reading & Leeds, Enter Shikari remain one of the most innovative and politically charged live acts in UK rock. Their blend of electronic chaos, hardcore intensity, and massive choruses ensures that no two sets are the same — and every single one is unforgettable. With a discography full of anthems and a fanbase that goes all in, this is guaranteed to be a highlight of the weekend. Bring Me The Horizon Bring Me The Horizon are arguably the defining alternative band of their generation, and their headline set at Reading & Leeds is a full-circle moment. From deathcore outsiders to arena rock visionaries, they’ve evolved with style and intention. Expect a set that blends cinematic production with heavy-hitting fan favourites across their diverse discography. Whether you’re a diehard or a casual listener, BMTH are going to put on a masterclass in how to own a festival stage. Words: Jason De Medonca

As we look ahead to the summer of 2025, Limp Bizkit is set to make waves once again on the UK festival circuit. With confirmed appearances at iconic events like Download Festival and Reading & Leeds, the band is preparing to bring their high-octane nu-metal sound back to a new generation of fans. While their music still carries the same raw energy that made them one of the most iconic acts of the late '90s and early 2000s, their upcoming festival sets will reflect a more nuanced approach, blending nostalgia with a modern awareness of the changing cultural landscape. That makes us reflect on the band’s career and wonder, what would be their best songs in our opinion? 10) Gold Cobra After an eight-year hiatus and a few reunion shows with Wes Borland back on guitar, the band took everyone back to their roots with a big dose of self-awareness and derision. 'Gold Cobra' gave the band an opportunity for renewal while keeping the characteristic elements that made them. Its brash and unapologetic tone reminded everyone of the absurd humor so inherent to the band’s music. Some lyrics and imagery in the video are thought to poke fun at critics who dismissed Limp Bizkit over the years, embracing their outsider status instead of fighting it, reminding everyone about who they are. 9) Boiler While we know the band for their aggressive, party-heavy anthems, 'Boiler' offered a new approach and marked a turn with its introspective and darker tone. It delves into themes of betrayal, emotional turmoil, and the haunting effects of a toxic relationship, the raw vocal delivery reflecting the intensity of the emotions at play. An atmospheric and brooding instrumental blending heavy guitar riffs with a slower, more haunting pace compared to the typical frenetic energy of the band's other tracks will make you do a double take. Its combination of emotional depth and heavy sound made "Boiler" one of the more memorable and powerful songs on the album. 8) My Way The song was propulsed to a larger audience when it got picked up as main theme for WrestleMania X-7, making it stand out on a hit heavy album. Its powerful and anthemic quickly made it a fan favourite. It is a declaration of personal autonomy and defiance, with Fred Durst asserting that he will live life on his own terms, regardless of what others think or expect. With heavy guitar riffs with a catchy, memorable chorus, it is hard to forget and a perfect example of the band’s ability to blend rap-rock with nu-metal. 'My Way' therefore quickly became a staple of Limp Bizkit’s live shows which you definitely watch out for during festivals! 7) Nobody Like You feat. Jonathan Davis & Scott Weiland An often underrated yet powerful track making an example of how different vocal styles can blend, while keeping their identities, to come together to deliver a punch. The track stands out for its intense energy and raw emotion with Jonathan Davis’s (Korn) tortured delivery, Scott Weiland’s (Stone Temple Pilots) melodic edge, and Fred Durst’s aggressive style. They weave together to create a volatile landscape that mirrors the song’s themes of betrayal and isolation. Its dynamic and high-impact structure is also empowered by the extended drum solo delivered by John Otto​, adding a sense of urgency and chaos that sets the track apart. Interestingly, "Nobody Like You" is often cited by fans as one of Limp Bizkit’s hidden gems, despite being rarely performed live due to its powerhouse lineup. 6) Nookie Produced by Terry Date, 'Nookie' helped catapult the band into mainstream popularity. Despite (or perhaps because of) its controversy, "Nookie" became Limp Bizkit’s breakout hit earning heavy rotation on MTV and being nominated for a MTV Video Music Award. The title was initially thrown around jokingly during the writing sessions but the band thought it was funny and catchy enough to stick, even though it was risky. Some mainstream radio stations hesitated or outright refused to play it at first before adding it to their playlists due to the song’s popularity and demand. It ended up fitting the song’s raw, unfiltered vibe perfectly and becoming an ultimate live party song. 5) Behind Blue Eyes Taking everyone aback with this cover of The Who’s classic song, it hits a pause to show a vulnerable side of the band that also drew new crowds in. Fred Durst’s emotional vocals, paired with a stripped-down arrangement, breathe new life into the original while maintaining the melancholy tone of The Who’s version. It brought a new generation to connect with both the song and bands as its topics of isolation, inner conflict, and the pain of being misunderstood resonated widely. 4) Re-Arranged A call-out to everyone who has felt alienated and alone, 'Re-Arranged' marked a turn for many of us. Reflecting on feelings of betrayal, blame, and emotional exhaustion that are familiar to many, it stands out as one of the band’s most introspective and melodic tracks. Built around a brooding bassline and a slow, hypnotic groove, the song captures a deep sense of disillusionment, rumored to be a direct response to the backlash Limp Bizkit faced following their rise to fame and controversies surrounding Woodstock '99. This powerful track is a testament to Limp Bizkit’s ability to balance emotional depth with their trademark swagger. 3) Rollin’ (Air Raid Vehicle) Built on a thumping beat, distorted guitar riffs, and Fred Durst’s signature barked vocals, the song serves as a rallying anthem of reckless energy and defiant attitude. With its chant-like hook and infectious rhythm, 'Rollin'' quickly became a cultural touchstone, synonymous with the early 2000s nu metal explosion. It remains one of Limp Bizkit’s most iconic tracks, emblematic of their chaotic, larger-than-life presence during their prime. Fun fact, the "Air Raid Vehicle" version is the heavy rock version; there’s also a "Rollin' (Urban Assault Vehicle)" remix featuring DMX, Method Man, and Redman, which leans more toward hip-hop, showing the band’s will to cross genres. 2) My Generation Fueled by Wes Borland’s jagged guitar riffs, John Otto’s frenetic drumming, and Fred Durst’s raw, confrontational vocals, the song captures the frustration and defiance of a youth culture feeling misunderstood and dismissed by older generations. With its explosive energy and in-your-face attitude, 'My Generation' became a defining rally cry within the nu metal movement and beyond. The track’s chaotic structure and call-and-response chorus made it a staple of Limp Bizkit’s live shows, where its mosh-ready vibe ignites crowds. 1) Break Stuff The Limp Bizkit song everyone is likely to think of first. This enduring track, captures pure, unfiltered aggression in under three minutes. Built on a simple, heavy groove and sharp, choppy riffs, the song distills everyday frustration into a visceral anthem of rage and release. Fred Durst’s sneering, barely restrained delivery perfectly matches the song’s theme, that feeling when everything seems to go wrong and all you want to do is let it out to be able to move on. Though controversial, the song remains a defining example of the band’s ability to tap into raw, primal emotions with brutal honesty and simplicity. As Limp Bizkit gears up to hit the UK festival stages in 2025, both old and new fans will get a rare opportunity to experience the explosive energy that made them legends. Whether you're ready to throw down to “Break Stuff,” shout along to “My Generation,” or get swept up in the anthemic nostalgia of “Rollin’”, these shows promise to be a celebration of the band's legacy and their enduring connection with audiences. With a setlist likely packed with some of these essential tracks, there's no better time to dive back into the chaos and remember why Limp Bizkit’s music still hits just as hard today. Don’t miss your chance to be part of the mayhem, it’s time to grab your ticket, dust off your baggy jeans, and get ready to rage. Catch Limp Bizkit at Reading and Leeds Festival this summer. Words: Lysandre Pons