Hailing from Finland, Svarta Havet was formed in 2018, and since then have taken on a mission to focus on antifascist, feminist, trans and queer politics. Having its roots in DIY punk and hardcore scene, the band blends together different styles in their songs, making unique sounds in the process. The band already demonstrated its talent in 2021, when its debut album JORD/VATTEN saw the daylight, and they promised to push their boundaries even further this time. In their newest album Månen Ska Lysa Din Väg, translated to English as “The moon will light your way”, the band takes us on a journey with them through eight tracks, each of them having distinctive features and sounds. The members Lotta, Joakim, Anders and Jara worked closely together with the renowned producer Mikael Neves to produce a vibrant yet heavy album packed with their focal themes, earpiercing screams, and outstanding riffs. As we can see throughout the entirety of the album, the band primarily focuses on the topics of Western colonialism, capital greed and the lack of sustainability, voicing their cry for a change. Walking us through different topic in each of the songs, the band starts the album with the track 'Göm Dig', which translates in English to 'Hide Yourself', and explores the urgency of reconnecting with nature and the impact of Western culture not only on humankind, but on our planet as well. Throughout heavy, tearful riffs and urgent screams, the band warns us of our impact on society and the world around us. Finishing off the track with piano gives the listener a real sense of sadness and pain here, as if the band are trying to help us feel what will happen without this reconnection. On the other hand, the third track on the album 'Avgrunden', translated in English as 'Abyss', starts off slowly, only with a synth and a sad guitar riff, before the vocalist Lotta starts singing about her lack of hope for the future if we don't start to take care of the planet, its flora, fauna and inhabitants. The song is a heartbreaking cry to humanity for keeping up with sustainability, and to be mindful of every little thing they do, as everything has an impact on the environment. As the melody breaks into an explosion of urgent drums and guitars, we do get the chance to listen and sympathise and think about our own actions. Two stand-out features on Månen ska lysa din väg are the songs 'Djur' and 'Under Staden'. While 'Djur', translated to 'Animal', is a weighty song about the cruel nature of some people, whose greed drives them to killing and torturing animals for fun, making them no more than beasts, the second song 'Under Staden', or in English, “Under The City', is a cry about animals and insects, who had to adapt to survive in urban spaces. Both songs are similar in melody and composition, as well as in their message, and altogether are a crucial element of the album. Overall, the album dives deep into the struggles surfacing with companies, who are taking over the world, and it boasts many important messages that should be shared with the world. Even though many of the songs sound repetitive, and seem to jump from one topic to another without giving a bit of time to comprehend what is going on, it's still a solid piece of work that represents the bands values well. Score: 6/10 Månen Ska Lysa Din Väg was released on May 9th via Prosthetic Records. Words: Katerina Stepanikova Photos: Svarta Havet

On Revenant, Recall the Remains take a confident leap from potential to purpose. Having spent the last few years refining their hybrid metalcore-deathcore sound across the UK underground, this self-released debut full-length feels like the culmination of everything the band have built so far, and a statement that they’re just getting started. The album wastes no time. Opener ‘Fairfield’ launches with razor-edged riffing and a feral dual-vocal performance from Jacob Collins and Jordan Barnes. Their interplay is the band’s not-so-secret weapon: brutal screams and clean hooks never feel tacked on, but instead feed the emotional momentum of each track. It’s a dynamic that not only showcases their range, but also makes their songs instantly memorable. What sets Revenant apart from the wave of metalcore-deathcore hybrids is its sheer commitment to crafting moments. Every track on this album has at least one section designed to snap necks live or stick in your head for days. ‘Cerberus’ drops into mechanical, groove-laden breakdowns that echo early deathcore, while ‘The Night Will Bleed’ leans into eerie atmospherics without losing its teeth. Elsewhere, ‘Empty Woods’ provides a haunting (but definitely not calm) reprieve, allowing melody and reflection to take centre stage before crashing back into chaos. There’s an undeniable theatricality to the record’s structure. It flows like a journey, with peaks and valleys rather than a wall of constant aggression. That pacing shows maturity; the band aren’t just throwing everything at the wall, they’re deliberate, letting heaviness hit harder by placing it in contrast with silence, melody, and dynamics. Lyrically, Revenant is steeped in grief, resilience, and reckoning with mortality. It wears its heart on its sleeve, and there’s a tangible rawness in how those themes are delivered, especially in the emotional climax of the title track. This isn’t just heaviness for the sake of brutality; it’s grounded in something real, something lived-in. Production-wise, it’s slick without losing punch. Each instrument has space to breathe, with the mix giving equal weight to vocal texture, percussive depth, and riff clarity. For an independent release, the quality is impressively high and does justice to the band’s genre-blending ambitions. Revenant is a huge step forward for Recall the Remains. It’s a record that bridges scenes. Deathcore kids will find plenty to sink their teeth into, but there’s just as much here for fans of modern metalcore, melodic death metal, and beyond. More than anything, it proves the band have both the chops and the vision to break out of the underground. With Revenant, they don’t just arrive, they erupt. Score: 7/10 Revenant was released on May 1st 2025. Words: Vee Richardson

There aren't many bands who can do what Atlanta, Georgia's The Callous Daoboys do, and for good reason. Their blend of math rock, post-punk, abrasive metalcore, hardcore, pop and plenty more is so outlandishly unique, you'd struggle to find anyone who can write music in any fashion even vaguely resembling theirs. With their third album I Don't Want To See You In Heaven all but upon us, it's time to dive back into the richly diverse set of chaos-driven soundscapes that them there Daoboys just love to plate up. This latest LP of theirs is a conceptual masterclass, and is also an incredibly vulnerable piece that reflects the last few years of lead vocalist Carson Pace's life in every inglorious detail and facet. As Pace himself states - “Everything is very singular and personal. I’m not making an album commenting on anything societal or political this time, this is an album just for me. It’s every emotion I’ve felt and sobering thought since 2021. I can only make this album now, not in three years when I’m thirty, not ten years ago when I was seventeen. This is the snapshot of 24-27. A scrapbook of trial and error, or better yet, a Museum of Failure." Speaking of a "Museum of Failure" - the band have been doing some work with that in their advertising, and in the first track of the album, 'I. Collection of Forgotten Dreams', they have a voiceover as if a museum tour guide is discussing the album many centuries from now, as if in that very museum. The overarching concept though is even more deft and subtle, so to again look to Pace - “The album is an artifact that’s been preserved, and hundreds of years in the future, you’re listening to this album in the museum. It’s a known failure, but the narrative is ‘if it survives forever, is it truly a failure?". Moving on into the album proper takes us into somewhat well-charted territory. Track two goes by the name of 'Schizophrenia Legacy', and is a blistering assault on the senses that careens and ducks and dives in a way that could only ever be written by this group. There is not much room to breathe across the next three tracks either, with 'Full Moon Guidance' and lead single 'Two-Headed Trout' adding plenty more caustic heaviness and razor sharp riffing, before the first guest spot obliterates everything as Orthodox step up to bat on 'Tears on Lambo Leather'. This ruthless, abrasive onslaught is given up briefly on 'Lemon' and 'Body Horror For Birds', as the former becomes the best pop/funk/triphop track you've heard in your life, with a brief and controlled explosion as it comes in to land. The latter is the calmest moment thus far by some significant stretch, and features 1ST VOWS across a five and a half minute ambient, shoegazey, dreamy piece of music that allows the listener to float away for a spell, before being ripped out of that daydream by other lead single, 'The Demon of Unreality Limping Like A Dog', in all its mathy glory. Having never been a band to rest on their laurels, there's no chance of that happening here either - 'Idiot Temptation Force' signs you up for karate classes with an expert and expects you to try and fight them on the first day, in an altogether disgustingly heavy experience - until the enormous tone shift joined by a steel drum and brass section. There is genuinely no way in hell that this should work, but there is somehow STILL something that stitches this together and keeps things cohesive. 'Douchebag Safari' is not only a phenomenal name, it's also another of the whiplash inducing moments in The Callous Daoboys' discography. Leaping from a relaxed electronic track into a grinding, synthy, mathcore behemoth, no punches are pulled. Another of the album's singles pops up here, with 'Distracted by The Mona Lisa' taking a delightful moment to let some of their less intense heaviness ring out. Then comes time for the second shortest piece on the album, the penultimate track, 'II. Opt Out', which ultimately acts to tee up the gargantuan final track that is the twelve minute long 'III. Country Song In Reverse', featuring low before the breeze. The near three minute intro just builds tension before the first of many explosions of sound in this anguished, twisting trip through hell that manages to make you smile and quiver in fear mere seconds apart. I Don't Want To See You In Heaven is a once-in-a-generation release. Any other band who attempted this would fail. This is a singular album in so many ways, not least because only one band could ever have pulled it off. It feels like it might be too early to call it, but we could be witnessing the beginning of an era-defining arc of music. The Callous Daoboys don't just break the glass ceiling on LP3, they have smashed any and all expectations in a manner that will be analysed by music journalists, fans, and musicians alike for years to come. Their reign is inevitable, and it might be best if we sit back and let them take the wheel already. Score: 10/10 I Don't Want To See You In Heaven will be released on May 16th 2025 via MNRK Heavy. Words: Jake Longhurst Photos: The Callous Daoboys

The Swedish trio Cavern Deep have returned with another dive into the depths of doom, whilst wrapping up their conceptual trilogy, with The Bodiless (Pt.III). It’s slow, gloomy and weirdly tantalizing. The band appear to have stuck to their hypnotic, crushing doom roots and this final chapter really leans into the storytelling approach. The opening and title track, 'The Bodiless', wastes no time setting the mood - as the longest song on the album, we find ourselves delving straight into the thick, eerie vibe that it embodies. Yeah, it’s heavy, but not only in the sense of its riffs making you gurn - it has an immersive borderline oppressive atmosphere that draws you in. Martin Harvey (Slomatics) provides guest vocals, which have an echo that could come from the depths of the sea. This song is slow and gradual - just like a well told story. 'Queen Womb' and 'Putrid Sentry' definitely turn things up a notch with a constant push and pull within the riffs. By now, the album feels thick and heavy with a distant floating of psychedelic sound in the background. It doesn’t feel too chaotic - the soundscape gradually attempts to suffocate the listener within its grasp (in a good way), like pouring all their feelings into a pot and letting it stew. 'Moskstraumen' takes a completely different turn, making this the big curveball moment within the album. Featuring an unexpected otherworldly feel from Martin Ludl playing the saxophone, his eery brass melts into the sound like a faint haunting, without disturbing the heaviness of the storm. Combine that with vocals feeling like they are echoed from a god, this track gives a powerful transformative tone of dread. We then step into a surreal, hazy space in 'Galaxies Collide' where everything slows down. The guitars drift like waves, pulling you under with an ancient feel. The drums stay patient, suspending your perception of time all throughout the run time. The heaviness carried throughout the album looms and yet calms, as the story starts to come to an end. The guitar and vocals together develop into an ethereal performance three minutes into the song, with the highs and lows more than pulling their weight into creating one big release of emotion Coming to a closing chapter with 'Full Circle' providing a slow, drawn out exhale. Still carrying the weight of all the music that has come before, yet it is no longer crushing but a tired heaviness - like you are in the thick fog. Yet it feels right, like this murky downward spiral just had to end this way. Nothing explodes, nothing resolves cleanly - it just fades in its own time. It’s a good note to end the trilogy on. The Bodiless (Pt. III) is a powerful piece, but you can always sense that it's able to hold itself back from just overrunning the listener with an onslaught of pure heaviness. This record creeps in, slowly wrapping itself around you track by track. Cavern Deep have developed something really immersive here. It's heavy, but there’s a strange beauty to how restrained and patient it all is. If there was ever a prime time and place for an LP, this is definitely one to sit with late at night, with your headphones on, when everything’s quiet and a bit weird. Score: 8/10 The Bodiless (Pt. III) was released on May 9th 2025. Words: Fern Seymour Photos: Cavern Deep

Australian metalcore five-piece Make Them Suffer have steadily built a reputation as a band worth experiencing. They’ve been touring since 2011 and have performed countless headline shows, as well as securing a high-profile support slot for Bring Me The Horizon’s ‘Nex Gen Down Under Tour’ last year. It’s clear that their dedication, despite numerous sudden changes in band members over the years, is paying off. Now, Make Them Suffer take on Glasgow’s respectable mid-sized venue of Slay, supported by fellow metalcore outfits from across the globe: If Not For Me, Conjurer, and Resolve. With the queue down the street being in high spirits and an air of excitement being felt even from outside, it was time to see what the night had to offer. It’s hard to believe that Pennsylvanian metalcore unit If Not For Me were the evening’s opening act, as they performed to a room still filling up but crackling with anticipation. We knew it would be a night to remember when they bounded onstage and launched into ‘Demons’ from their 2024 album ‘Everything You Wanted’; their explosive energy and stage presence immediately setting the tone. Their set was a powerful showcase of mostly their latest album, breaking it up in the middle with their 2024 single, ‘Say It To My Face’. They thanked the crowd, promising to return before ending with the reverberating riffs of ‘Feel Me Now’. In a surprising contrast to the dynamic American four-piece, sludge-metal masterminds Conjurer emerged onto the eerie blue-lit stage with quiet composure. They opened with fan-favourite ‘Choke’ from their 2018 album ‘Mire’, and the rest of their set was a deep dive into their 9-year discography. This unfolded beneath flashing blue and red hues, creating a sense of ominous urgency. While their sound occasionally bordered on repetitive, it was undeniably immersive, prompting the first pit of the night to explode. Before the final track, ‘Retch’, they promised a new album later this year. In a final moment of connection, bassist Connor Marshall flounced into the centre of the pit as the final notes rang out, a delighted crowd encircling him. With the crowd still buzzing, the venue erupted into dramatic serenading and a sense of camaraderie as ‘Non, Je Ne Regrette Rien’ slithered out of the speakers. Riding on the playful energy, French metalcore powerhouse Resolve stormed onto the stage, immediately electrifying the room with the intense riffs of ‘Human’, the title track of their 2024 album. The already ferocious crowd wasted no time continuing the chaos. The band powered through a brutal and relentless set, taking us to a new extreme with songs like ‘Smile’ and ‘Sandman’. With almost no time to rest, the energy in the room never faltered. Midway through, they spoke to the crowd in French, which was met with a round of good-natured booing. They wrapped up their dynamic set with ‘Older Days’, their more deathcore-inspired collaboration with Switzerlands finest, Paleface Swiss. After such an explosive ending, it was undoubtedly time for Make Them Suffer to take the stage. The crowd was ravenous for more, only taking the first symphonic notes of ‘Epitaph’ to send the room into a frenzy. Sean Harmanis’s instantly recognisable growls combined with Alex Reade’s smooth vocals as the chorus hit created an unmatched wave of adrenaline that swept across the venue. The set was an engaging exploration of their discography and journey as a band, featuring heavy-hitters from their acclaimed 2020 album, ‘How to Survive A Funeral’, such as ‘Bones’ and ‘Soul Decay’, to their self-titled latest album from 2024. One standout was ‘Mana God’, with Harmanis’s guttural vocals, whilst occasionally buried beneath the sonorous drumming, creating a visceral intensity in the room, feeling especially noticeable following the more melodic ‘Uncharted’. The band’s energy was overflowing, and the venue could barely contain it. Just before the crushing breakdown of ‘Hollowed Heart’, the band raised a Scottish flag, causing a reception of thunderous cheers from an already rowdy crowd. As the end approached, Sean rallied the audience one final time, declaring that it was “everyone's last chance to give it their all”. The gentle opening notes of ‘Widower’ lulled us into a brief moment of calm, and as the savage riffs kicked in, so did the onslaught of crowdsurfers and an eruption of a circle pit ready to pounce. With If Not For Me, Conjurer, Resolve and Make Them Suffer delivering one unforgettable performance after another, the evening was a celebration of what metalcore thrives on: pure emotion, intensity, and fiercely loyal fans. Next time they hit the road - which will undoubtedly be soon, given their track record - make sure you check them out, as if this night was anything to go by, seeing them cause carnage in a smaller venue may soon be a rare opportunity. Words: Chloe Sodeau Photos: Libby Percival

With 27 years of pure metalcore chaos, thirteen studio albums and two Eps under their belt, the German-based Caliban are bringing their fans their latest album called Back From Hell, followed up by the Back To Hell tour. Their London show was the last one in the UK, as they are heading back to mainland Europe to finish off what they started, but it surely was one for the books, as the night was pumped with excitement, emotions and moshpits. Being supported by In Hearts Wake, Cabal and Assemble The Chariots, the band made an absolute sure to get their fans to feel the atmosphere before they took over the stage. The first support band of the night was Assemble The Chariots, that is originating from Finland. Bringing the audience their symphonic death metal combined with deathcore, the band absolutely killed their set, although the audience was not as interactive as it could have been. Nonetheless, the band’s performance was still very impressive, as their repertoire keeps growing since 2008, and the current vocalist Onni Holmström is an outstanding performer, who fits the narrative of the band perfectly. Supported by the captivating drummer Sami Mäntylä, innovative bassist Mikael Reinikka, who is the newest member of Assemble The Chariots and the punchy guitarist and one of the founding members Kevin Apostol, the four-piece showed their appreciation to the fans multiple times during their set, not taking any second for granted. Second on stage was one of the heaviest bands on the current metal scene, the infamous Danish folks, Cabal. Promoting their newest album, Everything Rots, the band was welcomed with endless applause and big moshpits, making it obvious that they are indeed fan-favourites on this tour. Throughout their set, the band kept interacting with their fans, especially Andreas Bjulver, the vocalist of the band, who on many occasions turned his microphone towards the fans in the first rows, giving them the once-in-a-lifetime opportunity to sing with their idol. The deadly riffs and breakdowns the band is well known for were hitting hard the whole time, and by the end of their set, the audience was even more hyped for the two upcoming bands. Third, and the last support of the night, was no one else than the band hailing all the way from Australia, the infamous In Hearts Wake. Focusing primarily on spirituality, environmentalism, global warming and other social issues in their work, the band brought a different atmosphere to the already established crowd yet was welcomed with even greater appreciation than the previous artist. The set was a bit chaotic, as there was many things happening at the same time, from heavy riffs, to two dancers on the stage, that showed up out of nowhere, to then the lead vocalist taking off his top and ending up the set with a very spiritual talk about the pandemic, but surely it was an interesting experience for anyone, who did not know the band beforehand. Nonetheless, it was still an amazing performance and In Hearts Wake do deserve the growing recognition they have been receiving lately. After three very successful supporting bands, it was finally time for Caliban to take over The Dome and show London, how they do it in Germany. From the first second, the whole floor transformed into a mixture of a big pit and a dance floor, diving those two only with people, who were running in between both of them. The lead singer of the band, Andreas Dörner, started interacting with the fans almost immediately, and it was obvious the band was ready to put on an unforgettable show. Playing some of the new songs from the Back From Hell album, as well as their classics, such as “Nothing Is Forever” and “virUS”, they absolutely showcased their own talents and expertise in making unforgettable metalcore melodies. Brilliantly chosen lightning assured the audience of not missing anything, that was happening on the stage, which was just a little cherry on top of the whole show. By the end of it all, the band added three encore songs, which did not stop their fans to long for more, but made everyone sing along even more than before. Caliban is a master of live performances, as the lineup was colourful and helped the atmosphere in the venue to get very energetic and fun. From Assemble The Chariots to In Hearts Wake, the fans enjoyed all three support bands, making it very special, as the waiting for the headliner felt a bit too long sometimes. The show was one to remember for a long time and not only for the fans of the bands, but also for the bands themselves, who definitely appreciated the love they received throughout the evening. Words and Photos: Katerina Stepanikova

There’s a special kind of energy that pulses through The Flapper during Metal to the Masses. Part gig, part battle, part gathering of Birmingham’s underground faithful, it’s a proving ground for new blood looking to storm the hallowed stage at Bloodstock. This round delivered a thrilling mix of chaos, craft, and charisma — a reminder of how diverse the local metal scene really is. Dying Addiction opened the night with a no-nonsense slab of straight-up, classic-leaning death metal. Their set was tight, aggressive, and satisfyingly old-school, with the kind of chunky riffing and guttural vocals that never go out of style. There’s a sense of precision to what they do, even when things get filthy — a locked-in rhythm section drove the whole thing forward, and the band’s frontman commanded the stage like a seasoned pro. No gimmicks, just raw power. Dying Addiction Equinox brought a very different vibe: proggy, technical, and full of ambition. Their set leaned heavily into complex arrangements and odd time signatures, but never at the expense of intensity. The guitarist delivered a few genuinely jaw-dropping moments, effortlessly moving between melodic leads and punishing chugs, while the vocals walked a tightrope between ethereal and unhinged. Equinox are a band who challenge the audience and reward the focused listener. It wasn’t the most immediately accessible performance of the night, but it was one of the most rewarding. Equinox Things took a chaotic left turn with Mantis Defeats Jaguar, who injected the night with a welcome dose of mathcore-inflected carnage. Their stage presence was pure mayhem: angular riffs, blast beats, screamed vocals, and sudden tempo shifts that threw the crowd into whiplash. What could have felt disjointed was pulled together by their sheer commitment. This is a band that thrives on tension and unpredictability, and they delivered some of the most exciting moments of the evening. Their vocalist in particular deserves a shoutout — equal parts frontman and rabid prophet, he owned the chaos. Mantis Defeats Jaguar Then came BLDSUGR!, whose name suggests a sugar rush, but whose sound hits more like a steel-toed boot. Their brand of hardcore-punk-metal fusion was relentless, loud, and dripping in attitude. While the set occasionally flirted with collapse under its own fury, there was something captivating about the messiness — like a basement gig barely held together by duct tape and adrenaline. Their frontwoman spat lyrics with venom and charisma, rallying the crowd with zero fear. BLDSUGR! might not be the cleanest band of the night, but they were arguably the most fun. BLDSGR! Rounding out the competition was Ionosphere, a band whose atmospheric, post-metal leanings offered a welcome comedown — without sacrificing heaviness. Their soundscapes were immersive, balancing lush guitar textures with cavernous low-end and thunderous drums. While their stage presence was more restrained than some of the earlier acts, the emotional weight they brought made them stand out. There’s a sense of scope to Ionosphere, like they’re building toward something larger than the room they’re playing in. They’re definitely one to watch for fans of Cult of Luna or Russian Circles. Ionosphere With the audience buzzing and ballots being counted, guest headliners Eradikator took to the stage to remind everyone what seasoned, road-tested metal sounds like. Their thrash-laced set was delivered with absolute confidence, full of groove, aggression, and razor-sharp musicianship. The crowd — a mix of diehards and curious newcomers — responded immediately. There’s a polish to Eradikator that doesn’t come at the expense of grit. Their new material sounded tight and fiery, and their performance proved why they’re one of the Midlands’ most respected heavy acts. Eradikator By the end of the night, it was anyone’s guess who would walk away the winner. Each band brought something unique to the table — from the raw tradition of Dying Addiction to the art-damaged math of Mantis Defeats Jaguar. That’s the beauty of Metal to the Masses: it’s not about finding the “best” band in a technical sense, but discovering who connects, who pushes boundaries, and who has the fire to take it all the way to Bloodstock. Words: Jason De Medonca Photos: Conrad Newton

The return of Witch Fever has been awaited for some time. With them being gone as long as they were, the announcement of their upcoming show in London was quite a shock to the system for fans and industry members alike - but it was a more than welcome one! The mighty Manchester(ish) band and their doomy brand of punk brought a five star supporting cast with them, made up of London's own Shooting Daggers in main support, as well as the Brummies in Flesh Creep opening things up at a sold out Blondies Brewery in North East London. Whilst they may have had to come on a little late, the mighty Flesh Creep turned up and rocked on in a phenomenal demonstration of their hardcore-tainted punk. The powerful vocal display was on notably fine form during 'Turf War', with a well-deserved call out of JK Rowling and her ludicrous affixation on trans people and her mindlessly hateful attitude. Filled with raw guitar tone, booming bass, and aggressive drumming alike, the Birmingham crew are rapidly becoming a real staple of the scene and will certainly end up on much bigger stages if they continue playing such sensation sets. Next up were one of the worst-kept secrets in the London hardcore scene, the fuzzed-out, punky hardcore act Shooting Daggers. The trio gave their all in a high-energy performance that was dedicated to women and queer people, and featured their ever-present chant of "Free, free Palestine!" late on in the set, during their run through of the title track from last years excellent debut album Love and Rage. With plenty of love from the crowd, they were as popular as you'd expect from a brilliant band playing a hometown show, and they'll not be far off headlining the venue at this rate! As nine o'clock came and went, the mood in the room was getting more and more anxious and excited by the second - with everyone positively itching to see Witch Fever after their hiatus from performing. However, as the Manc's walked out onstage, there was barely a hint of nervousness apparent before they performed their latest single - and first in two years - 'Dead to Me!', like they'd been doing it every night for the entire duration of their time away. Lead vocalist Amy Walpole did remark that she was feeling a little bit stressed (although might've been a tad more colourful than this toned down paraphrasing), but you would've been hard pressed to point out any discernible symptom of that. With a setlist consisting of their biggest and best, their newest and even unreleased, any of those in attendance would've been very happy with what we heard, and yet STILL the four-piece were not done! With track four coming as not only a new piece of music, but as an announcement of an upcoming album, due for release in October, as well as the title of said album, Fevereaten, they were gifting out music and news like it was going out of fashion. Every track was a moment to relish, with plenty of their stunning debut making it's way out of the Blondies Brewery speakers - of course 'Congregation' and 'Blessed Be Thy' were amongst the favourites, but every moment was hit with love from the deeply passionate audience on the night. Selling out your comeback gig, announcing a new album, playing new songs, and sounding absolutely excellent? Maybe not something every artist can pull off, but for Witch Fever it's clearly all in a day's work. All three acts gave their all in three stellar sets, and walking into the mild evening air afterwards was nothing if not a shame, as the whole room could easily have gone for seconds of every course. Words: Jake Longhurst Photos: Claire Cabanac

Walking into Rebellion on the first truly sunny Sunday of the year, the last thing expected was the size of the buzzing crowd and the atmosphere it was producing. Showing just how much Metal to The Masses means to the bands involved, the music lovers going to the shows and to the venue itself, we were in for a night of exceptional talent and were rewarded massively with the sets produced by the incredible lineup. With only two places in the final up for grabs, and the nerves building, all that was left to do was bask in the effort all the competitors had clearly put into this heat. Always a band to bring incredible amounts of energy, Pew Pew Laserforce drew the first and arguably most difficult slot of the evening. Getting the crowds riled up and excited is nothing new to Pew Pew Laserforce, but with stakes as high as this they had to bring it. Bursting onto stage, bouncing with copious amounts of enthusiasm, the crowd was instantly engaged. Heads banging from the front of the pit to right at the back, not a single soul stood still. And with the niche of powerful, hard vocals mixed with intoxicatingly catchy electronic element,s Pew Pew Laserforce has carved into the metal scene, this came as no surprise. Keeping that energy up for the entire performance despite some, barely noticeable, difficulties with the mic, Pew Pew Laserforce had well and truly cemented themselves into the competition proving exactly why they deserved their place there on the Rebellion stage. Sadly it wasn’t enough for them to advance to the final, but with talent like theirs it won’t be long before bigger crowds will be calling their name. PPLF Bringing back the 70s old school aesthetic mixed with a healthy dose of modern prog metal, Technologist were next to grace the stage. With the intent of wooing the crowd, Technologist strutted out with the confidence of a band knowing exactly who they are and what they’re bringing to the competition. Flowing locks aside, the crowd were hanging off every syllable of Technologists' incredibly deep, dulcet tones and heady mix of smooth yet stout-hearted guitar riffs. The audience they amassed was immense, and they knew just how to work this to their advantage. Conjuring up crowd surfers and moshing so electric people couldn’t help but join in. So it came as no surprise that Technologist were handed the crowd vote of the evening, to advance to the final. Technologist Glancing around the audience, it wasn’t difficult to spot people donning merch for young upstarts Covert. And as soon as they bounded onto the stage with copious amounts of energy, sporting the iconic blacked out stage makeup they’re becoming known for, it wasn’t hard to see why. Here is a group of young lads who’ve been a band for less than a year, flying so high above their station and blowing the competition out of the water. The technical skills they posses, the complete control they hold over the crowd to get them amped up with their stage presence and their ability to improve from set to set is exactly why they’ve been awarded the judges vote for two rounds running. Covert have really upped their game since the last round, with more promising material and a finer tuned sound, they realised where they needed to be in order to advance to the final and have smashed through that goal, and have thrived in this competition. Covert Closing out the night's competition was Silence Reigns, who provided the night with a taste of thrash metal blended seamlessly into their harsh metalcore sound. Taking to the stage with an air of quiet confidence, Silence Reigns showed the Metal To The Masses Crowd exactly why they deserved their place in this competition. Their charisma on stage was palpable to all those watching, the way they gelled almost telepathically as a group was evident. The mellifluous backing paired with sub bass drops truly shook the crowd and added yet another dimension to their set. Silence Reigns brought the enthusiasm they’ve exhibited throughout the competition and they unquestionably gave it everything they had, which was visible watching the crowd throughout the venue as they performed. Unfortunately it wasn’t enough this time, but we are in no doubt that Silence Reigns are a band to watch out for in the future. Silence Reigns With the night a resounding success, topped off by headliners Wailing Banshee, Technologist and Covert are taking the remaining spots in the coveted final. All the bands who performed tonight can rest easy knowing they put on an immense show that once again highlighted the depth and diversity of the UK metal scene. Metal To The Masses has provided an evening of raw talent, and we can’t wait to see how the final pans out. Wailing Banshee Words: Emily Bancroft Photos: Libby Percival

Community, hope, friendship. Three things that the world so desperately needs right now, were all brought together so effortlessly by Brighton-based Orchards at their London show. Comprised of vocalist Lucy Evers, bassist Dan Fane and guitarist Sam Rushton, these math pop masters brought their studio album Bicker to life on the eponymous Bicker Tour. The album in question, crafted over the span of three years and released this March, marks a new and exciting era for the band. First to take to the stage was Hilang Child, the soundscape project of Ed Riman - indie singer-songwriter and newly announced drummer for Orchards. Including tracks centering the theme of social anxiety, Hilang Child’s smooth percussion beats, mesmerising drum solos and beautifully echoing vocals drew the crowd in. Set to release a new album later this year, exciting things are on the horizon for Hilang Child. Bursting onto the stage next was quartet congratulations. This Brighton based group have their aesthetic locked down - each sporting a different colour: yellow, blue, green and red, respectfully. Seamlessly, their set hopped, skipped and jumped from sports-pop surf core to upbeat, groovy melodies and heavy rock guitar riffs. Lead singer Leah Stanhope‘s electrifying vocals and hypnotic headbangs animated the audience further. The band brought their music straight to the floor - literally - with fans flocked around guitarist Jamie Chellar as he took his epic guitar riff straight into the crowd. A band that commands the stage and audiences alike with such ease. Under Moth Club’s iconic glitter covered ceiling, Orchards bright energy dazzled the room. Walking on stage to a voiceover of hate comments, the band played ‘Say It’, the first track from their newest album. Dancing around the stage quickly dispelled any doubt that the band cared about the online remarks. Moving onto ‘Honey’ and ‘Gerl’ showcased their ability to interflow catchy rhythmic guitar riffs with controlled beats. Taking a moment, Lucy Evers slowed down the tempo to deliver ‘Bethnal Green’, a tear-jerking ode to her hometown and London roots. The emotionally angelic harmonies of Lucy and Sam, delicate vocals and acoustic guitar rhythm throughout lulled listeners into a gentle sway as Dan brought the song to new heights with a layered electric guitar solo. Picking up the momentum, Orchards invited the crowd to dance along as they went straight into ‘Good For You, Good For Me’ before welcoming back old favourites, ‘Peggy’ and ‘Be Here’, stirring the crowd into chanting back the bridge. The whole room came together as one jumping and singing along to ‘Luv You 2’, following Lucy’s lead under the pride flag she donned on her shoulder for the closing song of the set. “Music is the sun. We need it to grow” lead singer Lucy expressed to the crowd, in what felt like an intimate conversation between friends. Aware of how scary the world can be right now, the band reaffirmed their stance on music as a place for comfort and unity. If music is indeed the sun, Orchards have basked in its warmth and become an energetic forcefield of their own. Continuing the spirit of community, Lucy not only helped design the merch, but went straight from smashing out powerful vocals on stage to selling merch at the stall. A true testament to the band’s commitment to the ethos of Orchards. From the vibrancy of the band’s stage presence to the carefully crafted set list, the entire night filled the room with optimism and a promise that good music has the power to bring strangers together. Orchards are the perfect example of what happens when a band doesn’t prescribe themselves to fitting into a box. The results? Glittery, gritty and full of feeling. Words: Mary Horner Photos: Shan Cullen

At this point, it’s been over twenty years since mclusky did Dallas. Their first three albums are shining examples of noise rock - some of the best to come out of these Isles. They came just before the idea of punk in the UK music press morphed into the post-punk and garage rock revival of Kaiser Chiefs, Arctic Monkeys and The Libertines. Did these bands make good music? They certainly had their moments. But mclusky strayed away from the hookiness and laddish lyrics of these contemporaries, much in part due to their secret weapon - they’re clearly huge fans of Half Man Half Biscuit, a cult Birkenhead band known for their irreverent yet utterly brilliant ideas (the song title of 'Joy Division Oven Gloves' alone is quite striking imagery). Their influence has always shown itself in mclusky’s music, and it's one of the main features that sets them apart from every other band of their era - well, that and the absolutely killer guitar tone. This, alongside their ability to stay witty and defiantly original, has helped their music age gracefully and powerfully. So, following a few years of live performances as mclusky after 15 years away from using the moniker, they announced a new album, the world is still here and so are we. Mind, this came two years after first track on the album, 'unpopular parts of a pig', was released as a single. So when pressing play on the album you might have questions like ‘how does this stack up to previous releases? Is it any good? Do they flubbity-flub over everything like a gang of big stupid flubs (their words, not ours)?’ Well, thankfully, 'unpopular parts of a pig' should immediately answer all of those questions. It’s a hell of a lot of fun, you’re hit with this sort of call-and-response style in the lyrics, where the backing instrumentation drops out, letting Falkous speak his signature sarcastic truth by himself, before a quick rush of energy, and then it leaves again. This approach is used throughout most of the first half of the song, and while you’d think it’d get repetitive, said half is about a minute long. mclusky don’t do anything more than they absolutely need to, here or anywhere else on the world is still here and so are we. In fact, it might be their tightest set of songs thus far, not dropping the ball for even a second. Of course, there might not be anything here that rivals, say, 'To Hell With Good Intentions' (keyword here being ‘might’), but consistency is the key here. There’s still highlights here though, 'chekhov’s guns' and its fuzzy bass anchoring the song down during the verses, which includes such gems as "If I knew a good thing every time that I’d said I knew a good thing / Then I wouldn’t be a member of this firing squad". The chorus then explodes with these Pixies-esque angular guitars. The album concludes with 'hate the polis', a bit of a slow burner that gradually builds towards the final chorus, in which Falkous shouts that "I hate the polis, polis. polis, polis" over a tremolo-picked guitar before winding down again, ending on some studio noise - and that’s it, mclusky seems to be back for good. Ultimately, a good comeback album is hard to do, but they seem to have absolutely stuck the landing here. So go on, you owe it to yourself to listen to the album with songs entitled 'way of the exploding dickhead' and 'kafka-esque novelist franz kafka'. Score: 9/10 the world is still here and so are we was released on May 9th 2025 via Ipecac Recordings. Words: Jake Leonard Photos: mclusky

Tampa quartet Meatwound have just released their fourth album Macho, and have tried to switch things up by experimenting with electronic elements within their otherwise sludge metal sound. Macho is a mixed bag overall; for all its interesting riffs and drumlines there are some teething problems with the programming elements, and some pacing issues that raise an eyebrow from a band into their eleventh year together. Album opener 'Compressed Hell' starts strong with some of the better programming elements present in the project, though somewhat jump-scares the listener with the first 16 bars of Daniel Wallace’s vocals in a raspy register that doesn’t suit his natural vocals too well. This is followed by lead single 'Mount Vermin' - a clear choice for a single release, with its dreamy drumlines and scratchy yet smooth melodies. Its 3:41 runtime is filled beautifully with the multiple solos bleeding into easily headbang-able breakdowns, making 'Mount Vermin' an easy standout of the project overall. It is followed by the first of the worst, as far as track names go, present on Macho - 'Obese Variants'. The number itself is a solid offering, and yet another example of Dimitri Stoyanov refusing to miss in his drumwork, hopping into a double bass/double tom combo for the basic drumline that is a joy to tune into; as 'Obese Variants' fades into 'Labor' and Stoyanov changes his tune to a floor led double bass workout it feels as if his technical skill is rising above the rest of Meatwound with ease. The midsection of this album is somewhat half-baked, with some of the best of the project layered on top of some of the worst. Frank Stallone is the first time that the electronic element is fully utilised as a device, but the hard split between it being used alone and the traditional instruments alone indicate that more time should’ve been spent working out how to integrate this element into the Meatwound sound. Overall, the track feels like filler - even if its final minute does have some of that electro-chaotic noise that scratches the itch in the brain. Both of the next two tracks - 'Pigs, Tu' and 'Europa' - are some of the best. The former is a wildly chaotic metal track, fast-paced and always driving the listener forward with both its intense vocals and intentionally messy breakdowns that build adrenaline and disperse it expertly. The pre-breakdown with the hi-hat and Mariano Iglesas’ bass is the perfect breather within 'Pigs, Tu’s chaos, almost overstaying its welcome but dropping wonderfully into the track’s final chorus. Follow up 'Europa' is short and sweet at 2:23, also starting strong with an almost dancey soundscape that is refreshing in a project filled with serious sludge. Ari Barros’ guitar stands out here with its cyclical melodies and the funky element it adds to the track overall. Unfortunately, the half-baked suggestions comes from lowlight 'Barking Dogs as a Plot Device'. First of all, the name is at best an attempt to call out to or make fun of Knocked Loose’s 'Counting Worms', but making no r5eal sense as a standalone name. The track itself seems to have wanted to incorporate some hardstyle into their hardcore, but the end result is a muffled piece of static that gives the listener a headache even through a speaker - let alone the headphones we use to review. The track does not go anywhere, staying at one tempo vocally and one note sonically; 1:55 has never felt so long. Following with ambient track 'Chunk' was kind of Meatwound, though. Album closer 'Exodus MF' does bring the project back in some regards: it’s a power metal track filled with swelling builds and a flare-filled guitar solo, layered beautifully with the drumming behind it. The only real critique of this track is its 5:47 track length didn’t feel massively necessary - the extra verse didn’t add much to the track’s quality, and a guitar fade out is nothing the listener won’t have heard before, but it's still a standout of Macho and gets the listener swaying. Overall, Macho is a passable piece of sludge metal - those head first into the genre would likely find tracks they enjoy from this latest Meatwound offering, but the project is rough around the edges in a way that a band as far into their tenure as Meatwound perhaps should be over. Though the experimentation they have tried is laudable, its execution leaves much to be desired - they would have benefitted from some assistance or waiting another cycle to perfect the sound before its inclusion in an LP project. This all said, single 'Mount Vermin' and 'Pigs, Tu' are great tracks; even though this album is hard to recommend in its entirety, those curious should check those two out. Score: 5/10 Macho was released on May 9th 2025. Words: Julia Brunton Photos: Meatwound