After a six-year break, Scottish alternative rock pioneers Idlewild are back with big news: a self-titled album, set for release on October 3rd via V2 Records. This marks the band’s first full-length record since 2019’s Interview Music, and the anticipation is palpable, especially as the band celebrates their 30th anniversary since forming in Edinburgh in 1995. Alongside the album announcement, Idlewild has unveiled 'Stay Out Of Place' the expansive first single from the forthcoming album. Premiered on BBC 6 Music by Steve Lamacq, the track is a striking reintroduction to the band’s signature warmth and melodic immediacy that has endeared them to fans over the years. It is a reflective, immersive journey, gently easing listeners back into Idlewild's world with atmospheric production and the kind of textured guitar work the band has always excelled at. Roddy Woomble, the band’s frontman and lyrical heart, reflects on the themes behind the song: "Walt Whitman was right, we do contain 'multitudes' - there is more than one 'us' in there. We’re choosing a voice from among the many voices. This is especially interesting in a band context, because it's not just one voice, but five voices collaborating, over time.” He continues, noting that the track captures the band’s ethos of shaking up expectations and embracing change: “It felt like a good starting point and (re)introduction to Idlewild 2025.” A Bold New Chapter Produced by guitarist Rod Jones and the band themselves, 'Idlewild' will be the group’s tenth studio album. Recorded in 2024 at Post Electric Studios in Edinburgh and the Isle of Iona Library in the Hebrides, the album brings together the many facets of Idlewild’s sound by pushing boundaries while staying true to the spirit that defined their early days. Since their punk-infused beginnings on albums like 'Hope Is Important' and '100 Broken Windows', the band has traversed multiple musical landscapes, from the mainstream rock of 'The Remote Part' to the sprawling art-pop of 'Interview Music'. On their new album, they draw from all these past selves, unafraid to reference their history but with a fresh perspective. As Woomble explains: “We’re looking back without being nostalgic… realizing that we had a ‘sound’ and the songs we were writing should celebrate that.” What’s Next for Idlewild? Idlewild is not just an album, it's a testament to the band's ongoing growth. The project promises to explore deep uncertainties while also delivering "big ideas" and "memorable tunes", creating a record that’s both introspective and adventurous. It also hints at a broader sense of reinvention that fans can look forward to with every song. The album will be available in multiple formats, including CD, standard black LP, and two limited-edition colored vinyl versions. Idlewild will also be hitting festivals throughout the summer, before embarking on a full tour to support the album's release in October. As always, their live shows will be an opportunity for fans to experience the raw, collective energy that has kept the band vibrant for three decades. Idlewild drops October 3, 2025. Don’t miss the chance to catch them live on tour! Words: Lysandre Pons Photos: Idlewild

The Italian blackened metal punks Stygian are bringing their newest project, Dreadlands, to all their fans around the world. With a meticulously picked line-up, consisting of the vocalist Emiliano Melandri, guitarists Mirko Abà and Lucio Minghetti, bassist Paolo Parmeggiani Lopez, and drummer Rolando Giulio Ferro, the band makes its way swiftly into the hearts of their fans, and even a broader audience, and it is evident that they are not planning to stop any time soon. The band went all in once again and presents to its fans ten unique songs on Dreadlands. The listeners are mostly met with typical blackened metal punk songs, especially at the beginning of the album, and all of them are composed with passion and rage. A perfect example of this is the song 'You Will Not Survive This Night'. The listener can hear distinctive traits of both black metal and punk, such as the fast tempos and harsh vocals, that are very typical for black metal, and a raw, often distorted sound present in punk. The atmosphere of the song is dark and chaotic, playing with the intensity of both genres, resulting into heavily narrated track full of riffs, drums and screams. Stygian decided to change their usual style a little bit, and came up with the absolute explosion of emotions that is 'Burning Mires'. The song starts off with an acoustic guitar and clear vocals, both of which the listeners do not hear often in the band’s work, only to flip into an absolute blast of sounds that carries the song around until the end. This song in particular is a perfect showcase of the composing abilities of the band members, as it dives into some territories that are not so familiar, yet it always comes back to the band’s roots and brings the chaos and tension with it, making the sound familiar, yet exciting to explore, as it does not tend to be stuck in one direction. The band also shows off its ability to compose heart-breaking bridges, and the perfect example of this is in the song 'Spirit in the Mist'. Starting off with subtle guitar strumming, this part then evolves into an intense battle between vocals, drums and guitars, gradually adding sounds and elements, until it explodes into a big bang of dark energy and chaos projecting into the listener’s ears. Although the songs are composed greatly and they do implore the listeners to feel the emotions they carry with them, they do not have any transitions in between them, resulting oftentimes in messy changeovers that do not give space to let the melodies and sounds fully sink in. Nonetheless, Dreadlands is still an excellent example of blackened metal punk, with a dread-filled energy, heavy lyrics and and intense melodies. Stygian did a great job ensuring each of the songs features both familiar and unfamiliar sounds. Score: 8/10 Dreadlands was released on July 4th 2025 via Time To Kill Records. Words: Katerina Stepanikova Photos: Stygian

Angel Du$t, the genre-bending punk/hardcore powerhouse, has officially joined the esteemed Run For Cover Records, marking the next phase in their relentless evolution. The announcement comes with a bold statement: a new 7" single 'The Beat', featuring two fierce new tracks entitled 'The Beat' and 'The Knife.' This release, out today, not only signals their return after the critically acclaimed 'Brand New Soul' (2023) but also sets the stage for an even more aggressive and creative direction in their already boundary-pushing sound. A new era: 'The Beat' and 'The Knife' With the first material for their new label, Angel Du$t dives headfirst into their most unrelenting work yet. “The Beat” is a tour de force of hardcore energy mixed with rock & roll swagger. The title track is a galloping riff-heavy anthem, with guest vocals from Taylor Young (Twitching Tongues, God's Hate), further intensifying the track’s already explosive power. Paired with a frenetic, horror-inspired music video that complements the song’s breakneck pace, 'The Beat' is an adrenaline rush that leaves no room for pause. In contrast, B-side 'The Knife' brings a more psychedelic flair to the table. With its stomping rhythms and haunting, dissonant production, it lingers with a hypnotic tension, breaking into waves of heavy distortion. The track is a testament to Angel Du$t’s range, mixing their ferocious hardcore roots with experimental flourishes that push the boundaries of the genre. The 7" also includes an exclusive vinyl-only bonus, for those fans who aren't just in it for the originals: a cover of Bugg's 'I Don't Wanna Hear It', featuring Scott Vogel of Terror on guest vocals, cementing the band’s status as a fixture in the hardcore scene. A natural fit with Run For Cover Records Vocalist Justice Tripp explains that joining Run For Cover was a long time coming: “It was just so organic and natural. I’ve known the people at RFC for years and respected them deeply, but I never really thought to ask them about putting out our music. When it finally came up, it just seemed like the perfect fit. They’re creative, alternative, sometimes heavy - just like Angel Du$t." Originally formed as a side project by Tripp after his time with Trapped Under Ice, Angel Du$t has become a mainstay in modern punk and hardcore, continuously evolving their sound. Over the years, they’ve become an institution in their own right, challenging conventions and paving the way for a new wave of musicians unafraid to experiment with their craft. UK Tour and upcoming North American dates To accompany their new release, Angel Du$t is gearing up for a highly anticipated UK tour next month. They’ll headline United & Strong Fest in London and perform two incendiary headlining shows in Newcastle and Leeds. Fans will get to experience the band’s relentless energy live before they hit the U.S for an extensive autumn tour, including dates with Fleshwater, Narrow Head, Ovlov, and more. The Beat is available now via Run For Cover Records on 7" vinyl and all streaming platforms. For collectors, the limited-edition vinyl includes the aforementioned bonus track, making it a must-have for fans and vinyl aficionados alike. Words: Lysandre Pons Photos: Angel Du$t

Arctangent is a musical paradise for music nerds who want to mosh. A true otherworldly experience filled with heavy, experimental and downright bizarre music. The 2025 edition of the festival is full to the brim of acts that you definitely would not want to miss, but as the lineup is so dense with quality acts, this list aims to show you a rough starting point of acts you will enjoy seeing at the festival. Leprous Legendary proggers Leprous will grace Arctangent once again with their unique take on music. Their sound is heavy but nowhere near the heaviest act playing the festival. As a live act, they truly come alive as a unit, creating an impressively dense wall of sound. The frontman, Einar Solberg, truly puts his heart into every performance, delivering masterful vocals and virtuosic keyboard parts. They are a joy to see take the stage. They are the perfect band to see at Arctangent if you want to bask in the sheer glory of proggy goodness. Ithaca Many thought their final headline show would be the last we see of Ithaca. Tensions were high at that gig, many upset to be seeing such a great band for the final time. But at the end of the set, an excellent career-defining set, a glimmer of hope shone through. “See you at Arctangent”. Another chance to see this excellent band live. Hey are heavy, brutal and above all else honest. They carved their own place into the history of heavy music. This may be the last chance to ever see them. The perfect band to see if you love heavy music and just want to cry. Sleepy Time Gorilla Museum Do you enjoy bands that sound like no one else? Do you want to see a band that feels like a nightmare? Then Sleepy Time Gorilla Museum may be for you. They push the boundaries of what music can truly be. Their music is obtuse, heavy and dense, yet it is truly captivating. Playing much of their music on custom-built instruments and having elaborate routines on stage, they are not a band to be missed. This will be the first time the band return to the UK after reforming in 2023. The perfect band to see if you want to see instruments you won’t see anywhere else. Melvins The Melvins are very influential, if not by accident. They are the reason Kurt Cobain met the rest of Nirvana. The band covers a variety of genres best being known for their sludge metal stylings. The band tries and constantly push what a Melvins album can be. The one thing in common is that they will always melt your face off with great riffs. Led by Buzz Osborne, they are true living legends, and there are very few bands that have their legacy of over 40 years of solid music. They are the perfect band to check out to see living legends craft a unique and heavy set. The Callous Daoboys The last time The Callous Daoboys played Arctangent, the tent was absolutely packed to the brim. They have made themselves known as one of the most exciting mathcore bands around currently around. Their sound is a unique blend of modern metal that works perfectly for getting a festival crowd going. With a tongue-in-cheek attitude and an undeniable amount of charisma, they are the perfect band for the festival. Metal heads love to party, and the band knows that. The perfect band to see for classic festival party vibes. Rolo Tomassi Another one of the mathcore bands at the festival, Rolo Tomassi are loved by the community. In true Arctangent style, the band loves to play around with time signatures and blend genres. They are every part as prog as they are metal, yet don’t necessarily fall into the trappings of either genre. A true forward-looking band in everything they do, they know genres don’t matter, making good music does. They bring their energy with them on stage every time they play. The crowd will show up and give the band the energy back. They are the perfect band to see if you can’t make your mind up about which genre to see. Clown Core Clown Core is an anonymous experimental duo who have been making waves for years in the underground. The band almost take the attitude of old circuses, show the crowd something that will absolutely leave them guessing what just happened. Taking elements of jazz and metal and twisting them into their own Clown Core sound. They are so over the top that they fall just outside of being a gimmick band. They are another one of the high-energy bands known for having the ability to make entire crowds explode into frenzy. The perfect band to see if you want to question what music even is. Between the Buried and Me Between the Buried and Me feels like one of the newer progressive metal acts, yet it's been 25 years since they formed. Arctangent really knows what their festival is, as yet again we have another metal band that can’t be pinned into one specific genre. They blend everything good about metal, from catchy riffs to brutal breakdowns featuring flavours of thrash, death, and everything metal can be. Between the Buried and Me has that magic that makes bands undeniably powerful. The perfect band to see to sample a little of every part of metal. Meryl Streek Political Irish punk isn’t the first thing you would think of at Arctangent, but with all the music at the festival, it fits perfectly. Coming off his second release, he really is refreshing within the world of punk. Taking his own stylings with the underlying attitude of punk, he crafted a unique place within the scene. With the lineup as metal dense as it is, filling your festival day with other genres helps to ensure the perfect festival day out, making sure every band has a chance to shine on their own. The perfect act to cleanse your palate after a lot of metal. Green Lung Stoner rock seems to be on somewhat of a mini resurgence, and Green Lung are one of the best modern stoner bands. Taking elements from many classic rock bands and making them into these dense, sludgy riffs that you can smell the smoke coming off. Uniquely inspired by old British folk horror and folklore, they will fit perfectly into such a diverse festival. Currently, with only having 3 albums out, their discography is strong, and they have been building up a fanbase, placing them in such a high-tier booking at the festival. The perfect band to see a refreshing new take on old school metal. Catch all of these bands and more at ArcTanGent Festival. More information can be found on their website. Words: Will Freeman

The ever-mysterious Phantom Heir are set to release a brand new EP named Fragile Immortals, and if you're searching for an artist that brings good music and good morals, this could be exactly what you thirst for. Phantom Heir is a completely faceless artist that desires to create tunes discussing and expressing the anger felt by today's world politics. The artist, referred to as the entity, draws its inspiration from different genres of metal and hardcore to spark certain synaesthesia in the minds of listeners. It has been racking up tracks in its discography since 2021, and has released multiple singles and two full albums in that time. The new EP continues to explore the mindscapes that can be carved with sound. The first track up ‘The Inquisition’ transports you to an eerie war zone using a range of sound effects and humming notes, along with radio recordings - before a distorted guitar rips into the song. Bellowing screams meld in accompanied by drums, a certain bell or tambourine instrument does ring quite sharp on the ears and could perhaps be adjusted in future editions of the track. ‘The Revelation’ kicks in much more rhythmically than the last, with a fast tempo and primitive shrieking vocals. This song is very interesting to the more musically tuned ear, as it switches time signatures throughout the three and a half minute run time, a much less frequent approach in these shorter, digestible durations. The chorus draws in melodic vocals from both a male and female voice, layered together, moving in alignment. Crashing cymbals and a distant distorted guitar riff once again cultivate something eerie from a prominent metal track for the artist, mixing many elements of the ever expanding genre. Next on the roster is ‘The Tyrants’ which, much like the last track, is highly experimental with its beats while remaining easy listening, in so much that it still retains a clear enough beat that even the most pulverized metal head could two step to. This track opts for a spoken word verse that the vocalist projects right from the chest, then moving onto another melodic section - this time containing only a male voice, that is smoother and more airy than the last track. ‘The Harbinger’ is used to close out this EP, with a repetitive, cycling guitar riff that haunts the ears as the vocalists screams overlay it. This song also has its vocally melodic moments, at moments it even underlays the screams, adding a layer that might traditionally be done with a synth or bass, where this artist chose to use its voice. The lyrics explore themes of endless cycles and a humans’ relationship with death. This EP is far from perfect, but it certainly showed us an artist that has a lot of potential to break into the metal and hardcore scene. Its musical ideas and deeply political messages portray an artist that has a lot to say, and we’re sure it's far from done. We look forward to hearing the auditory carvings to come from this anomalous entity and exploring the mysteries it beholds. Score: 7/10 Fragile Immortals will be released on July 4th 2025. Words: Amy Smyth Photos: Phantom Heir

Rising from the depths of the darkest crypts of Costa Rica in the Central America, the death metal cult band Mortual is on the cusp of presenting its fans its newest and freshest offering to date. Consisting of the vocalist and guitarist Justin Sánchez, guitarist Juan Salas and drummer Chalo, the band is bringing their dark rituals and visions of spiritual ruins to all their fans across the globe, as well as the few chosen ones who can go see the band on their supporting mini tour around their home-country and some neighbouring countries. The band’s long-awaited, full-length debut album is made of eight striking songs, that follow in the footsteps of a trilogy of celebrated EPs. The listeners are met with aggressive guitars and head-shaking drums, as well as piercing vocals and bass across each one of the eight songs. The band march onto a swift tempo across the whole album, oftentimes resulting into a chaotic blend of sounds, as can be heard, for example, in the song 'Divine Monstrosity'. Serving heavy riffs that power up the melody when combined with the strong vocals and drums is a great start, although there are moments in the songs when it all becomes one and it is hard to recognise the specific sounds. Across some of these songs, Mortual have included captivating, intricate solos, such as the one in 'Skeletal Vortex'. Focusing on the guitar mastership of Justin Sánchez, the solo is not a long one, but shows off clever riffs and memorable vibratos, that add much to the overall experience for the listeners. It is also one of the few moments in this particular song where the guitar can be heard clearly, as Sánchez's vocals are not present, giving the listeners a chance to take in all the different melodies and harmonies and feel them as they are. For the closing track on the album, 'Ecstasy of Death', the band opted for no vocals, a slower tempo and hauntingly toned guitars, making the track stand out from the rest. The length of the song is a lot shorter as well, actually marking it the shortest one on Altar of Brutality. There is no drum work on the track either, but the bass is prominent, tying the unusual melody together and making it sound richer. The listeners can also hear synth in the background, which is not as audible, yet still noticeable. Altar of Brutality is an album that is bound to whirl a plethora of emotions into the listener’s mind, all while they are head-banging to the melody. Although the instruments often sound chaotic and blend together into an - on occasion - indefinable sound, there are still moments like the outstanding vibratos of the guitars that are well-worth listening to the piece. Mortual have once again showed the heavy scene that they can come up with a crushing album whilst simultaneously pushing for new soundscapes, and it is obvious that there is nothing that will stop the band from achieving its goals. Score: 7/10 Altar of Brutality will be released on July 4th via Nuclear Winter Records. Words: Katerina Stepanikova Photos: Mortual

Modern alt-rock band Marisa and The Moths from Reading have just wrapped up their short run of gigs supporting Inglorious, and thankfully for fans new and old, they won't have to wait long to hear them live again. Their latest album Live in Studio 3, Abbey Road Studios is set to release soon with eight live-recorded tracks, and a few extra live-on-tour tracks for those lucky enough to score physical editions. This album was a crowd-funded venture, and it has certainly paid off. Much like in their live sets, the band kicks off the album with a fan favourite, 'Needy'. It's introduced with all the pre-recording dialogue left in – as if to reaffirm that despite having all the polish of their regular releases here, they really do sound this good live. Strong vocals and lead-in guitar from Marisa Rodriguez, against Liam James Barnes' gritty bassline bring us into the start of a promising set, soon joined by Alex Ribchester's pounding drumbeat and the resounding guitar riffs of Alez D'Elia. 'Skin' is a personal favourite – it's a song where each member is given a moment to shine, all working in perfect coordination. Their grunge influence comes through most in this one with bold and brash vocals, and familiar, yet distinctive instrumentals to accompany. It's easy to tell where the band's inspirations lie, though their uniqueness is certifiable. Their third track 'Who Are You Waiting For?' is one that's raw and teeming with feelings, taking on an emotive, soul-stirring approach with its eponymous and extremely memorable chorus, while 'SAD' follows to capitalise on that emotional intensity, Marisa wearing her heart on her sleeve through its words. 'Get It Off My Chest' cuts right into the action with its crushing guitar tunes and rhythmic drums before the powerhouse vocals meet them with all the range of a grungier Amy Lee. 'Choke' arrives soon after, trading out the haunting highs and lows for the growly, commanding style of Lzzy Hale. It's one that comes straight from the heart, a passionate heartfelt release in its core. Penultimate song 'Pedestal' is a song that feels designed for the rhythm section, a showcase for their musical talents as guitar, bass, and drums take the centre stage for a short segment. 'Borderline' finishes off the album in a song that can only be described as pure catharsis. It's one you can imagine belting out at one of the band's concerts, setting free all the emotions you've been repressing. It's a perfect closer, bringing the live set to an end with eight dynamic hyperkinetic tracks. Live in Studio 3, Abbey Road Studios is an excellent showcase for the talents of Marisa and The Moths, serving as not just a great collection of tracks for fans, but a really strong introduction for any newcomers – it almost acts as a teaser for their live shows, letting listeners know exactly what they're in for with this band: an emotionally-led, sharp-edged and raw set packed tight with catharsis. Score: 8/10 Live in Studio 3, Abbey Road Studios will be released independently on July 4th 2025. Words: Naomi Colliar Duff Photos: Marisa and The Moths

An amalgamation of performers that possess this unwavering devotion to the hardcore genre, Respect For Zero was born from the tumultuous windy eastern coast of Italy, their craft never far diverting from these beginnings, with their tracks possessing a wuthering, windswept nature to them. In a world where music is so often viewed as a form of escapism, Overtime and its gritty realism is a breath of fresh air, becoming this incredibly accurate portrayal of life in the 21st century. It breaks from the norm, telling everything as it is, bringing back this sense of revolt and defiance that alternative music was based around. This sense of rebellion undermines everything they do, with Respect For Zero being unequivocally unafraid to be different, to be at odds with society. Opening with ‘Reaching Death’, the poignant depth of the EP is immediately apparent through a nostalgic yet unnerving bassline, centering the listener in the bleakness of the world of addiction. Whilst many artists falter when attempting to juggle a balance of meaning and method, Respect For Zero doesn’t, acing both. They play with such intensity and conviction, the likes of which have gone unseen in the hardcore scene since the glory days of Minor Threat. The calculated attack on culture the song projects is propelled by the pace, kick-started by the bass of Luca Paoletti, with the sturdy rhythm continuing on with the heavy hits of the drums, orchestrated by Luca Cruciani. Whilst the world still clings tenaciously to these barbaric, time-hallowed traditions of skirting around topics of abuse and addiction, Respect For Zero breaks through these taboos with deep lyricism, directly calling out not just to the audience, but to society as a whole, dragging the listener deep into their plea for change. ‘Mirror’ follows up ‘Reaching Death’. It is a visceral song full of texture, with the tremolo creating this snarling war cry, displaying headstrong defiance against a world that spoon feeds you propaganda. The message of ‘Mirror’ is clear, with the lyricism being strong and sturdy, much like System Of A Down’s Hypnotise, but at times lacks any metaphorical depth, not coming off as profound as it could be. ‘Mirror’ becomes a manifesto for those society has continually treated as zero, as gum on the sole of their shoe, as it directly questions the relationship between the mass media and society, whilst also creating a nuanced relationship between the listener and the band. Despite a lack of artistic meaning, the track is a highlight of the EP, in part due to its classic style, practically forcing the listener's head back and forward into an intense head thrash, taking control of your limbs, causing you to flail around as it invokes this deep need to mosh. It is a track that would truly be best heard live. ‘Sagnol’ is relatively forgettable, with a structure that is neither bland nor atonal, becoming generic with its cyclical structure and its overused fade out, symbolic of a hellish condemnation. ‘Born Again’ is where the EP picks up again. Hacking and sawing drumwork undermine the track, the use of cymbals becomes a steady saw slicing away like an axe to a tree underneath everything in this overlapping texture. Branches shake and tremble with the intensity of ‘Born Again’. The tension present within the song is immediately apparent due to an excellent blend of instrumentals, the bass, the guitar, and the drums all work in unison to create an overwhelming strain of pressure that builds and builds and builds. And just when the tension peaks, when the tree is one strike away from being toppled, the EP ends abruptly and anticlimactically. The tree never falls. There is no big showstopper finale, in a bleak yet realistic portrayal of life. Much like Sabrina Carpenter, Overtime is Short n’ Sweet. Respect For Zero crams an abundance of meaning into such a short EP, displaying an aptitude towards artistry despite its short runtime. Overtime forms the beginning of a new chapter, opening up the eyes of the world to the failures of society, and to their music. Score: 7/10 Overtime was released on June 30th 2025 via Time To Kill Records. Words: Dylan Milton Photos: Respect For Zero

Goooooooood morning, Vietnam. Five years after Genesis XIX, Teutonic thrash veterans Sodom return with The Arsonist, another salvo of amphetamine-tempo and scorched-earth heaviness, and it’s about time too. Lasting longer than your dad’s M-65 field jacket, Sodom have long specialized in a style of thrash that feels like the ratatatat of an AK-47, much-lauded albums like Agent Orange and In the Sign of Evil secured their rightful place in the Euro-thrash pantheon. If you’ve got a buddy into thrash, chances are they’re into Sodom, headbanging enthusiastically to songs about napalm, phosphorus grenades, and other such atrocities of war. But the band doesn’t aim to moralize; they prefer the well-worn adage: war isn’t about who’s right, but who’s left. This latest jig features a hell of a hard album cover; a burnt skeletal man touching a forlorn GI sorrowfully whilst they’re being towered over by the classic Sodom figure in gas-mask galore, armed with a goddamn flame-throwing M-16 rifle. Say what you want, but they never ever compromise with their album artwork. Production is a point of pride this time around. The drums, tracked by Toni Merkel, were recorded using a 24-track analog tape machine, a rarity in today’s DAW-dominated workflow. For those not in-the-loop with music production, the 24-track tape is a way that artists recorded music before the advent of digital recording which has become the norm. Frontman Tom Angelripper says that it’s; “No plastic!” And to be fair, the drums do cut through the mix nicely, with a rich low-end and crisp cymbal peaks that give the cymbals a vintage smear that stands in contrast to the razor-sharp sample layering you’ll find in modern metal drums. It still finds room to breathe more than the Pro Tools gridlocked norm. But let’s be honest: will the average listener even hear the difference, or even care? This isn’t Pet Sounds, and it won’t be a headphone-testing record. It’s really not that noticeable unless you’ve got your ear trained on it. Still, there’s a sincerity in the effort that’s hard not to respect. But even so, they probably could have just finessed this thing on a 16-track tape if they wanted a more noticeable analogue sound - it punches, but it doesn’t exactly bloom. With all that hype on production, expectations were high. As for the music… it tends to go on a bit. Thrash has been criticized by fans of other genres for being near-mindless skank beats over shredding guitars, and that’s a pretty apt description of what you get here. It’s a little bit disappointing as Agent Orange guitarist Frank Blackfire has been back on lead guitar duties since 2018. Though through it all, there are some standouts. The opener, ‘The Arsonist,’ is a nice soundscape reminiscent of Megadeth’s ‘The Threat Is Real’ before it plunges headlong into the audio jungle. Still, there are highlights. ‘Battle of Harvest Moon’ references a Vietnam War-era joint operation between the U.S. Marine Corps and ARVN forces in which a load of marines had to be pulled out of combat due to trench foot from waddling through rice paddies all day. Exciting. And no - flamethrowers were not involved. The next song ‘Trigger Discipline’ is a stand-out, sounding like a combination of In War And Pieces and something from Repentless. The song is presumably about some mad bastard shooting anybody he sees while yelling about his perceived lack of trigger discipline in something that is so camp it ends up in the realm of comical. Among other highlights are songs like ‘Witchhunter’ which is a tribute to their late drummer Chris Witchhunter, ‘Gun Without Groom’ which best showcases the analogue drum production Sodom are so proud of, ‘Taphephobia’ relates to the fear of being buried alive which nearly everyone can relate to and has a brilliantly devious riff, while ‘Return to God in Parts’ rides a fast D-beat rhythm over galloping power chords, a nod to their earlier offerings to be sure. But despite the peaks, the album never quite catches fire. It smoulders, sputters, and seems to just fade into the background after a while. There’s little here to challenge the listener or push the genre forward. Tracks bleed together in tempo and tonality, offering little dynamic range or structural risk-taking and you end up with what is essentially white noise. Credit where credit is due though, Tom Angelripper is in his 60's now, but he sounds almost exactly the same as he did 10 or even 20 years ago, so there’s no keeping that man down. The machine gun guitar and bass work here isn’t exactly extraordinary, and doesn’t seem to stray far from the well-treaded thrash path, but does a serviceable job to stop this album from becoming an overly dull listening experience. The band has nothing to prove, they’ve already got many classics under their belt and are well beloved. Is it too late for a little revamping? Potentially, but in the end, The Arsonist is… fine. It won’t redefine thrash, nor will it convert any prospective new fans. But if you’re already in the trenches with Sodom, you’ll find enough to crank up the volume and lose some of your hearing over. And when the tour rolls through town and they’re firing away at these songs whilst you’re two-stepping in camouflage in the pit; will you even care? Score: 5/10 The Arsonist was released on June 27th 2025 via Steamhammer/SPV. Words: Kiarash Golshani Photos: Sodom

Fresh from their latest Europe and UK tour, and a big Australian tour, Skegss have come back regenerated with their newest release, the EP Top Heavy. The duo from Byron Bay, Australia, is well on their way to take over the surf and garage rock scene once again - and this time, the music also has a little bit of something something from bossa nova to give their songs a little musical twist. The drummer Jonny Lani and vocalist/guitarist/bassist Ben Reed have already proved to their fanbase that they are ready to push through the boundaries further, and this time round is no different. The track 'Blood In The Sky' is surprisingly the only song that gives listeners the surf-rock sound of Skegss in the form of reverb-drenched electric guitars and slower melody. At the same time though, the song intertwines the energising surf-rock with the relaxed and melodic sounds of bossa nova, creating a very distinctive song that is memorable even after listening to the whole project. The songs 'So Excited' and 'Ain't For The Faint', on the other hand, are both absolutely closer to the rock side of things, introducing a different perspective into the use of guitars and drums. Both songs are energetic and upbeat, and are a lovely feature since a number of the songs found here are slower in tempo. 'So Excited' especially features some well-executed backing vocals that add depth to the overall sound and melody, most notably when paired with the sharp snares found within. Since the tempo of the songs has been mentioned, the slowest song of them all, 'State Of Hawaii', can not be forgotten. It's the opening track for the whole EP, and has also been released as a single. The song is set to capture the dream of escape from everyday stress and the laid-back nature of the titular seaside island, which can be found in the lyrics and melody, cleverly followed by a trumpet and backing vocals - as well as revisiting the previously mentioned elements of bossa nova once again. The overall narrative of the EP is very typical of Skegss, which is always a great sign of a good project by this talented duo. Although many of the songs are slower, often using re-occurring rhythms, the Top Heavy EP still managed to pull together six unique tracks that are all interesting to listen to. It is a quick listen-through, which might be seen as a disadvantage as the listeners are likely to yearn for more, but nonetheless it is still a solid project that is set to find its way into the hearts of the band’s loyal fans. However, previous fans are not the only people who may enjoy this - this is also an EP for people who have just discovered this Australian powerhouse. In short, it's no wonder that this duo is rapidly taking over the stages of their homeland, as well the ones around the world. Score: 8/10 Top Heavy was released on June 27th 2025 via Loma Vista Recordings. Words: Katerina Stepanikova Photos: Skegss

Hailing from Nashville, Tennessee; Royale Lynn’s debut album BLACK MAGIC fuses alternative and indie with rock and country. BLACK MAGIC delves into mental health battles, channelling Lynn’s own personal struggles as the driver behind this work. Royale Lynn has taken clear influence from such established artists as Evanescence and Flyleaf, with a Wage War inspired punchiness to create “super catchy hook-heavy anthems”. Lynn has been on the scene since 2023, finding success with her first single 'Six Feet Deep'. Since the release of her first single, Royale Lynn has toured with household names such as Seether, Skillet and Dirty Honey, as well as featuring at some of the USA’s biggest rock festivals including Aftershock and Rocklahoma, and has even toured with such established acts as Asking Alexandria. BLACK MAGIC is made up of twelve tracks tackling the important subject of mental wellbeing. This is a subject that is sure to resonate with a wide spectrum of listeners, as the stigma around mental health gradually becomes less and less potent. The opening track is named 'GREED', which opens powerfully with the lyrics “I can see behind your eyes the sickness has consumed you”; a real statement of intent for the rest of the album right from the outset. It’s an incredibly catchy tune for sure and, for the listener, a real head-bopper. The second track, 'E.V.I.L.', is deeply dark but incredibly well composed, coming across as a pulsing ball of electronic energy. As another catchy, easy to move along to song; for this listener it has real potential as a future arena classic for live audiences everywhere. The third track of the album is title track 'BLACK MAGIC'. The opening features operatic vocals and a sole piano, before kicking in with thumping percussion, metal guitar work and an infectious chorus. For this listener, it was a nostalgia trip back to when music was on MTV - fans of Evanescence will draw parallels with the masterpiece 'Bring Me To Life' which this listener certainly enjoyed. 'Sacrifice' is the fourth entry on the album, which opens with a Spiritbox-esque guitar led intro, that repeats as an addictive riff throughout the track. The lyrics “Control takes a piece of my soul” and “But that’s the sacrifice I’ve made” gives the impression of a witch-hunt, which this listener believes is the meaning behind this song - it can often feel like it’s us against the world and it’s not easy to avoid losing a part of yourself to appease others. The fifth track of this album is 'PANDORA'S BOX', which smoothly begins with delicately plucked metal strings, strongly reminiscent of 'Enter Sandman'. As the track progresses, Lynn’s vocals once again contribute to an Evanescence sound that also hints towards Spiritbox’s 'Jaded', with the varied riffs contrasting with the remainder of the track. The song has an almost Eastern feel to it in places - a formula proven to be successful by Lacuna Coil’s hit Karmacode album. Luckily, it has again worked well, with 'PANDORA'S BOX' being a high point for the album. The sixth track, 'DRAGON', is lyrically brilliant and an instant head-banger. Cutting lyrics such as “You didn’t know karma had teeth” showcase Lynn’s creative fury in this track, which is sure to grab the attention of and resonate with audiences everywhere. Aggressive guitar and bass work provides an appropriate accompaniment to what is a bona-fide rock banger sure to be popular on the live circuit. This is a theme that continues into the seventh track, 'WHEN WE DIE', which explores the universal eternal question of what happens to us when we meet our eventual end. Drum machine beats and synthesisers contrast with and complement thundering heavy metal riffs wonderfully, creating some interesting genre-shifts within the space of the one song. For this listener, 'WHEN WE DIE' is a pick of the album, turning a dark deep topic into a catchy fun listen. The eighth track of this album is 'WTCH'. Opening with the lyrics “Catch me if you can, you can burn me like a witch”, it’s hard not to appreciate and respect the sheer attitude on display here. Instrumentally heavy from the first second, the clear formula of energy, sass and catchiness continues here. It's not hard to find comparisons in this track with the work of Wargasm, namely fan-favourite 'Bang Ya Head' which featured the talents of the great Fred Durst. Such a contribution would not be out of place on 'WTCH' either - attitude-wise, it’s worthy. The witch theme is one that’s being embraced by women throughout the world of rock right now, with the message being clear; if you feel like you don’t fit in - own it! The ninth track of this album is 'DARK MODE'. This really is a not so subtle window into Royale Lynn’s Nashville roots - country style vocals work to provide something just a little different from much of the rest of the album, while the heavy metal instrumentals offer enough continuity to ensure the track doesn’t feel totally out of place. 'INSIDE OUT' is tenth on the album, and showcases a pop influence with a catchy hook the likes of Ke$ha would be proud of! Sure to be another popular live performance, you can almost hear an audience already chanting along to this one. The eleventh track of this album is 'DEATH WISH' and it features vocals from Danny Worsnop of Asking Alexandria fame. This song kicks hard with Worsnop’s impactful vocals contributing, and again, is something just different enough to distinguish 'DEATH WISH' from the rest of the album to keep the listener hooked. The album's finale is 'BATTLEGROUND'. This song goes out with a bang and is a fine conclusion to the themes of struggle and non-compliance heard in the preceding tracks. A slightly slower pace bringing together all the elements of the album so far: heavy metal guitars, bass and drums, alongside drum machines and synthesisers; lyrically, this track does feel like a natural closing point. To sum up, Black Magic is extremely impressive as an album in its own right, and it’s hard to believe that this is a debut offering. The lyrics and vocals come across as mature and seasoned, with nearly every track featuring an energy and catchiness that has proven to be a winning formula. The mental health message is such an important one that will resonate with so many and it is a struggle to find any real particular points of criticism with the production. The closest that this listener can find is that, despite how enjoyable this album was to listen to, these are songs made for an arena - written to enthral and excite. They’re good to listen to when sat in the car or on the sofa - but they’ll be at their best when the lights are flashing and a whole community of fans is singing along to every word. This is an artist to watch with interest. Score: 9/10 Black Magic was released on June 27th 2025. Words: Dulce Mendes Photos: Royale Lynn

Heaven Shall Burn are back, and they’ve brought the usual: crushing riffs, heartfelt fury, a choir or two, and enough political intent to make you feel like you should be reading a manifesto with your headphones on. Heimat, their tenth album, lands with a lot of weight, both in theme and sound. It’s big, it’s bold, and yes, it might be a little long. But when it hits, it hits hard. Things open with ‘Ad Arma’, a moody instrumental that sounds like the prelude to an impending battle. Then without much warning, you’re launched into ‘War Is the Father of All’, a sprawling seven-minute track that throws orchestral swells, gospel vocals, and machine-gun drumming at you all in the first breath. It’s a lot, but definitely not in a bad way. It’s the kind of track that tells you to buckle up, this is going to be dramatic. From there, things start to feel more familiar. ‘My Revocation of Compliance’ and ‘Confounder’ get right down to business with pummelling riffs, harsh vocals, and the kind of rhythmic precision that could scare a metronome. This is Heaven Shall Burn in their comfort zone, doing what they do best. The guitars wail, the drums pound, and Marcus Bischoff growls like he’s got a bone to pick with the entire planet. ‘Empowerment’ and ‘Those Left Behind’ keep the energy going, though you may start to feel the album’s weight settling in by this point. There’s a bit of sameness in the middle stretch, not bad by any means, but a few songs blur into each other if you’re not paying attention. That said, the band’s commitment is never in doubt. Every note feels purposeful, even if a few could’ve taken the day off. One of the standout moments comes with ‘A Silent Guard’. It’s slower, more emotionally charged, and shows a different side of the band. It still hits hard, but there’s a sense of reflection here, like a moment of quiet defiance in the middle of a riot. It’s one of the more memorable tracks, simply because it takes a breath where others don’t. Then there’s the cover of Killswitch Engage’s ‘Numbered Days’, which features Jesse Leach himself. It’s a bold move to cover such a well-loved metalcore classic, but HSB pull it off. It’s heavier, slightly more aggressive, but still respectful to the source material. Hearing Leach and Bischoff trade lines is like a crossover episode you never knew you needed. Thematically, the album’s title, Heimat, roughly translates to “home” or "native land" in German, but it’s a loaded term. In the wrong hands, it can drift into uncomfortable territory. Thankfully, Heaven Shall Burn use it as a jumping-off point to explore ideas of belonging, resistance, and identity. There’s real intent behind the lyrics, and even if the politics aren’t your thing, the conviction is impossible to ignore. Production-wise, everything sounds massive. The drums are thunderous, the guitars cut through like buzzsaws, and the orchestral elements swell without being overbearing. It’s the kind of album that deserves good speakers, or at least headphones that don’t come free with your phone. The mix is clean but still gritty enough to avoid feeling too polished. Now, the one issue that keeps this from hitting higher marks is the length. At 51 minutes, Heimat isn’t outrageously long, but it definitely starts to drag at points. There are moments where you check the tracklist and wonder how many more are coming. A bit of trimming here and there could’ve helped tighten things up. It’s not a dealbreaker, but it does make the full listen feel like more of a commitment than it probably needs to be. With all that said, Heimat is a solid, confident album from a band that knows its strengths. It doesn’t reinvent their sound, and it’s not trying to. What it offers is a refined, passionate version of what Heaven Shall Burn have always done - make music that’s heavy, heartfelt, and built for the long haul. It might not convert the unconverted, but if you’re already on board, this one’s for you. Score: 7/10 Heimat was released on June 27th 2025. Words: Vee Richardson Photos: Heaven Shall Burn