Prima Queen’s debut LP is nothing short of fantastic. With The Prize, the indie duo have proved they have the full package with incredible lyrics, instrumentation and production, that all serves to showcase the bands individuality, and is definitely not an album to be slept on! The Prize is such a well-put-together album that it really wouldn’t be hard to believe they already had a series of albums under their belt - however, this isn’t the case for the indie duo, consisting of friends Louise Mcphail and Kristen McFadden from Bristol and Chicago. Prima Queen only had one EP out prior to the album announcement, but had already built an incredible live reputation through appearances at Glastonbury, SXSW and Pitchfork in Paris; also going on tour with the likes of Olivia Dean, Wet Leg and Whitney. Having had praise from all corners of the press and a fanbase of people eagerly awaiting their debut album, there was some pressure with this release, but it's safe to say they did not disappoint. The album opens with opener ‘Clickbait’ which is a 42-second intro track but sets the scene for the album perfectly. This then flows seamlessly into ‘Mexico’ which provides a strong opening to the album, with an incredibly catchy chorus and perfect guitars running through the entire song, which come in even stronger at the chorus. ‘The Prize’ follows on strongly, with a particularly catchy bridge and an upbeat vibe throughout the whole track. ‘Oats (Ain’t Gonna Beg)’ features some incredible guitar lines with a catchy guitar riff from the get go, it also switches up the vibe from the songs so far, proving that Prima Queen have various different sounds in their locker. ‘Flying Ant Day’ opens with a more acoustic feel, before a strong bass line accompanies the acoustic guitars in the opening. With an incredibly catchy chorus and a summer-like rhythm, this song will definitely fulfil all your summer song needs. ‘Meryl Streep’ is a catchy indie-rock song, with an infectious bass line and a well put together chorus. ‘Spaceship’ then brings a new energy to the album with serene vocals and a stripped back melody, and allows a moment of appreciation for the incredible vocals on display. This then goes into ‘Fool’ which brings pure pop-rock bliss with catchy guitars and choruses. ‘Woman and Child’ opens with infectious guitars and drums which continue throughout the entire song and is accompanied by another catchy chorus and strong vocals. Closing tracks ‘Sunshine Song’ and ‘More Credit’ round out the album on a much calmer note, showing Prima Queen can also do more stripped back and acoustic songs as well as they can do pop-rock. Ultimately, this album has set Prima Queen on a bright path with an album that has fully encapsulated their talent and individualism. If you haven’t yet heard of Prima Queen, it's time to check them out! You can also catch Prima Queen live this December as they head out on tour supporting Everything Everything, playing a series of shows across the UK. They will also be playing at All Points East in August. Score: 8/10 The Prize was released on April 25th via Submarine Cat Records. Words: Olivia Hermans Photos: Prima Queen

Embarking on their UK tour, Gama Bomb have graced us with their presence over to England from Northern Ireland to show off their trash metal style with the satirical extreme metal band known for their comedy skits and crowd-engaging music, Raised by Owls from Derbyshire. Kicking the night off with electrifying energy, Raised by Owls take the stage as the opening act, instantly commanding the crowd’s attention. The audience erupts with enthusiasm as the band launches into the chaotic brilliance of ‘Satanist’s on t’Yorkshire Moors’, a fan-favourite track from one of their earlier records. The energy in the room is palpable, but things take a truly surreal turn with the arrival of a surprise guest — none other than the infamous Mr Blobby. Clad in his signature pink and yellow polka dots, he bounds onto the stage, wildly swinging two double-ended dildos in rhythm to the riotous track ‘Strictly Come Dancing’. The crowd loses it. For many, it’s an absurd collision of nostalgia and adult absurdity — witnessing a distorted childhood icon now gloriously unhinged in a metal-fueled fever dream. The chaos continues as the show takes an unexpected turn into full-blown game show territory, complete with quirky prizes and crowd participation. The highlight of the segment? A dance-off challenge to see who could best imitate none other than Napalm Death frontman Barney Greenway. With a tongue-in-cheek flair, the band bursts into their hilariously aggressive track ‘Dance Like Barney Greenway’, prompting the pit to transform into a makeshift stage. Dozens of eager fans dive in, flailing limbs and stomping with primal intensity, each trying to outdo the others with the most unhinged interpretation of Barney’s signature moves. As the night hurtles toward its climax, the band delivers a thunderous cover of ‘Break Stuff’ by Limp Bizkit. But of course, it wouldn’t be a Raised by Owls show without one final twist — they bring out the ‘Nookie Monster’, a hilariously unholy hybrid of Cookie Monster decked out in full Fred Durst attire, complete with red cap. The crowd is in stitches, moshing and laughing in equal measure. Throughout it all, frontman Sam keeps the vibe alive with his sharp wit and constant banter, making sure every single person in the venue feels part of the mayhem. Raised by Owls don’t just play a show — they put on a riotous, bizarre, and unforgettable experience. If you haven’t caught them live yet, make it a priority. Then it was time for the headliners — the mighty Gama Bomb — and the anticipation in the room was electric. As soon as they hit the stage, the energy surged, with fans immediately locking in, primed for the onslaught of thrash-fuelled chaos. The band wasted no time, tearing into ‘Electric Pentacle’ with blistering speed, triggering an instant mosh pit as the crowd erupted into a frenzy of flailing limbs and headbanging. Without missing a beat, they launched into ‘666 Sixteen’, and that's when things truly kicked off. In a wild burst of adrenaline, frontman Philly Byrne leapt off the side of the stage and plunged straight into the crowd. A circle pit instantly formed around him, fans swirling in a whirlpool of pure metal mayhem as he belted out lyrics from the eye of the storm. As the set wore on, the energy in the room began to noticeably dip. While the tracks kept coming, there was a sense that the band’s enthusiasm had started to wane — their stage presence growing increasingly static, as if their minds were already somewhere else. In stark contrast, the vocalist pressed on with unwavering commitment, doing his best to rally the crowd and keep the momentum alive. Despite his efforts, much of the set began to blur together, with many of the songs sounding tonally similar, creating a sense of monotony. Slowly, clusters of audience members drifted away toward the bar or out into the beer garden, in search of a break from the lull. But just as the mood threatened to flatline completely, the band threw a curveball, they summoned Snowy “The Gamabominable” Snowman during their track ‘Bring Out the Monster’. Towering, ridiculous, and gloriously absurd, Snowy's entrance was exactly the jolt the room needed. The dullness vanished as quickly as it had settled, replaced by laughter, cheers, and a renewed wave of movement — a reminder that sometimes, all it takes is a giant snowman to bring a show back to life. While the night was billed as Gama Bomb’s tour, there was no denying that Raised By Owls completely stole the spotlight. Their chaotic brilliance, unrelenting energy, and sheer unpredictability set an almost impossibly high bar early on — one that lingered long after they left the stage. Their performance felt like a masterclass in how to entertain, leaving the crowd buzzing with adrenaline and laughter. By comparison, Gama Bomb’s set, though packed with potential, left us wanting more. What should have been a triumphant headline slot felt somewhat underwhelming, like a rollercoaster that never quite hit its final drop. As the lights came up, we couldn’t help but feel a little unfulfilled, as though the night had peaked too soon. Words: Ciara Hicks-Evans Photos: Noah Collins

After dragging us through the gothic gloom of Horrifier, Wednesday 13 emerges from the shadows not to brood - but to party with the undead. Mid Death Crisis finds the Duke of Spook doing what he does best: resurrecting sleaze metal swagger with grave-digging glee. Gone are the isolationist themes of the pandemic years - this time, the monsters are front and centre, and they’ve brought their leather jackets and lipstick-stained chainsaws. Right from the jump, the intro track ‘There’s No Such Thing As Monsters’ whispers that familiar line over an eerie, tech-toned drone. It’s classic horror cheese with a sci-fi tint, and as that tension fades into distortion, the record wastes no time detonating into the high-octane frenzy of ‘Decease and Desist’. Guitars hit like a car crash through a foggy graveyard, sharp and snarling, while Wednesday’s vocals lurch in with the confidence of a seasoned slasher villain. There’s a bounce to the track — a rhythmic throb that makes it part arena metal, part haunted strip-club anthem. It’s not deep, and it doesn’t need to be. This is horror punk by way of Hollywood sleaze, and it rips. That trash-glam-meets-terror continues on ‘When the Devil Commands’, one of the album’s most immediate and memorable moments. With a stomping beat, massive chorus, and a riff that nods to classic Mötley Crüe, this is Wednesday 13 at his most infectious. There’s a ritualistic energy to the track, like it was written to be shouted back from the pit. The hook is pure fire-and-brimstone pomp, the kind of thing that feels tailor-made for live shows drenched in fake blood and smoke machines. It’s both cartoonish and commanding, which is precisely what makes it work. Another highlight, ‘No Apologies’, features Faster Pussycat’s Taime Downe on guest vocals - and the pairing is pure sleaze metal magic. There’s a reckless, late-night strut to the track, echoing the Sunset Strip decadence of the late ’80s but with a bloodstained twist. Downe and Wednesday trade lines like two degenerates swapping barroom confessions, and the result is a fast-paced exorcism of all things toxic. It’s brash, catchy, and self-aware without being self-important. For long-time fans of both acts, it’s a match made in hell and hair spray. But, Mid Death Crisis isn’t all snarl and sneer. ‘My Funeral’ provides a surprising emotional depth beneath the theatrics. Slower and more deliberate, the track finds Wednesday reflecting with rare vulnerability, his voice raw and nearly mournful over moody guitars and a creeping, melodic undertow. While still laced with macabre imagery, there’s sincerity here - an acknowledgment of time passing, of life lived in shadows, and perhaps of the cost of it all. It’s the kind of track that proves Wednesday isn’t just playing dress-up; he knows what darkness really feels like. That balance - between camp and catharsis, horror and hooks - is what makes Mid Death Crisis such a potent entry in Wednesday 13’s discography. Produced by guitarist Alex Kane, the record sounds massive: guitars slash and shimmer, drums pound with purpose, and there’s just enough grime in the mix to keep things dangerous. From the danceable chaos of ‘Xanaxtasy’ to the doom-laced pummel of ‘Sick and Violent’, the album flexes its genre muscle while never losing its identity. More importantly, this is an album that knows it’s a good time. Wednesday 13 isn’t trying to be profound here - he’s channelling every VHS tape, fog machine, and glam-metal b-side into a record that invites you to scream along, throw horns, and leave your existential dread at the door. Mid Death Crisis doesn’t reinvent horror rock. It raises it from the grave, gives it a shot of Jack, and pushes it back onstage. Score: 8/10 Mid Death Crisis was released on April 25th via Napalm Records. Words: Jason De Mendonca Photos: Wednesday 13

There are shows where you go to hear music. Then there are shows like this one—where you leave feeling like you’ve been inside a vision. Alt Blk Era’s latest tour stop was one of those rare nights that felt less like a concert and more like a statement. Every beat, lyric, and movement carried weight, and from the moment the lights dimmed to the final defiant note, it was clear: this wasn’t just performance, it was declaration. Opening the night was Crae Wolf, delivering her sole appearance on the tour, and it quickly became obvious that she wasn’t here to play warm-up act in any traditional sense. Shrouded in theatrical flair, dark glam, and an undeniable sense of command, Crae Wolf stalked the stage like it belonged to her—and for the length of her set, it truly did. Her sound — a fierce blend of gothic pop, UK rap, and experimental theatre—felt at once unplaceable and exactly right. You could hear gasps ripple through the crowd as she shifted from venomous verses to vulnerable croons. Between tracks, her presence never dimmed; she locked eyes, leaned into the crowd, and never once broke character. For many in the room, this was an introduction. By the end, it felt more like an initiation. When Alt Blk Era took the stage, the energy shifted again—this time toward full-scale immersion. The sister duo, who’ve built their name on unflinching self-expression and genre-crushing sound, turned the venue into their own world. Kicking off with “Freak Show”, they didn’t ease the crowd in, throwing us straight into the heart of their chaos-pop universe. Sirens blared, lights strobed, and the air was electric with that rare kind of anticipation: the sense that anything could happen next. “Straight To Heart” followed in their Rave Immortal set, a track that hit with both sonic intensity and lyrical vulnerability. It was emblematic of what Alt Blk Era does best — melding raw emotion with futuristic production, punk venom with rave euphoria. The duo performed with such synergy, it often felt like they were a single organism moving to the pulse of something much bigger than the stage they stood on. “Come On Outside” and “Crashing Parties” brought a more anthemic energy, their choruses shouted back by an audience clearly ready to rage and release. There’s something deeply cathartic about watching Alt Blk Era live — the way they move, scream, laugh, and convulse is its own language, a dance of liberation and defiance. “My Drummer’s Girlfriend” was a standout moment, fusing chaotic fun with chaotic truth. It’s the kind of track that breaks rules simply by existing. Then came “Come Fight Me For It”, a track that felt like a line drawn in the sand. It’s bold, it’s brash, it’s challenging—and live, it felt like a dare hurled into the face of anyone still unsure of the duo’s place in the alternative scene. The ferocity of “Run Rabbit” and “Catch Me If You Can” pushed the night into even wilder territory, fusing glitchy breakdowns with almost folklore-level storytelling. Somehow, between all the digital noise and distortion, you could still feel the heartbeat behind it. The night climaxed with the arrival of “Rave Immortal”, reappearing as a standalone moment of raw power. It was explosive, euphoric, and transcendent. And yet, Alt Blk Era didn’t leave on a massive, bombastic final note. Instead, they closed with “I’m Normally Like This”, a quieter, self-aware outro that felt as intimate as it did unsettling. The lights dimmed not in triumph, but in reflection — like waking from a vivid dream you’re still trying to understand. Alt Blk Era’s live show doesn’t offer escapism. It offers confrontation. Beauty and brutality exist in the same breath. And for anyone lucky enough to be in the crowd that night, one thing was clear: the future of alt is already here, and it's wearing fangs. Words: Jason De Medonca Cover Photo: Simon Arinze

Employed To Serve are a band in full flight right now. With their brand new album ‘Fallen Star’ dropping the day after the show, they’ve been tearing through a run of intimate venues across the UK, and Cardiff’s Clwb Ifor Bach was one of the final stops. On April 24, they brought the chaos, the catharsis, and the kind of energy that makes you feel lucky to be packed into a tiny room with them — and it’s safe to say they left it all on stage. Joined by London’s Burner and East Anglia’s Celestial Sanctuary, the night promised a snapshot of the UK’s thriving heavy scene: diverse, uncompromising, and full of heart. First up was Burner, who brought a raw, explosive energy that immediately loosened up the crowd. Their blend of hardcore ferocity and metallic punch was impossible to ignore — the riffs hit hard, the drums felt like gut-punches, and the frontman’s constant encouragement kept spirits high. Between songs, they hyped not only their own material but also shouted out Celestial Sanctuary and Employed To Serve, too, creating a real sense of community in the room. It felt less like an opener trying to prove themselves, and more like a band proud to be part of something bigger. Burner didn't just warm up the room — they cracked it wide open. Celestial Sanctuary Celestial Sanctuary took the stage next, shifting the night’s energy into heavier territory with their slab of old-school death metal grooves. Their set was relentless without feeling repetitive — dark, crushing, and immersive. From the first riff, heads across the room started banging in time, pulled into the band’s thick, chugging sound. Their set wasn’t about chaos — it was about locking the room into a heavy, relentless rhythm. Every song hit like a slow-moving avalanche, building the tension and setting the stage perfectly for what was still to come. When Employed To Serve appeared, the room exploded. Launching straight into ‘Atonement’, they immediately commanded Clwb Ifor Bach like it was an arena. Vocalist Justine Jones was a force of nature, roaring through tracks with feral energy, while guitarist Sammy Urwin drove the band’s signature sound — a massive, metallic blend of groove and hardcore. Employed To Serve The set leaned heavily into ‘Fallen Star’ material, including ‘Fallen Star’, ‘Owed Zero’, and ‘Breaks Me Down’, but was balanced with fan favourites like ‘Eternal Forward Motion’ and ‘I Spend My Days (Wishing Them Away)’. Every track landed with the precision of a wrecking ball. At one point, Jones reminded the crowd that ‘Fallen Star’ would be out at midnight — not so much an announcement as a shared countdown between band and fans, most of whom were already itching to hear it. Circle pits ruled the floor for most of the set, and while there were no crowd surfers, the sheer volume of movement kept security on their toes. Tracks like ‘Party’s Over’ and ‘Mark of the Grave’ saw the room ignite, with bodies colliding but smiles everywhere. Employed To Serve know how to summon chaos — but they also know how to make it feel like a celebration. By the time the final notes rang out, the walls felt like they were sweating. It was sweaty, cathartic, and brilliant — exactly what live heavy music should be. Lights like this are exactly why Employed To Serve remain one of the most important bands in UK heavy music. Their set was tight, furious, and bursting with heart — and with ‘Fallen Star’ now officially released, it feels like they’re only just getting started. Burner set the fire, Celestial Sanctuary kept it burning, and Employed To Serve tore the roof off. Clwb Ifor Bach might be small, but on April 24, it felt like the centre of the heavy music universe. Words and Photos: Klaudia Skalska

In a month plagued by anti-queer, anti-trans rhetoric, Nottingham (and the world) needs more queer music. Gender Warfare heard the call, and screamed back at it. We went a long to see them work their queer magic at JT Soar. With their bold and unapologetic music, accompanied by the three support bands, the gig was sure to be a chaotic but cathartic experience. First on the support bill was queer hardcore/emo grunge band Retina, a Nottingham based three piece who served up songs about being queer and working class, with hard hitting lyrics from songs like “Bullet on a Cross” and a heavy bass guitar backing. With the crowd getting into the sound very quickly, two stepping and chanting ‘Fuck the TERFS’ at the encouragement of the band, it was very apparent why DIY spaces like JT Soar are so badly needed right now. Darkwave, industrial duo Mandibles were next on stage, bringing ethereal vocals and atmospheric soundscapes, with tracks like “A Thousand Cuts”, where all that was missing was a dark, smoky room of people swaying along. With a performance that would not be lost on an ’80s movie soundtrack (think The Lost Boys), these self-confessed ‘electro creeps’ brought a slightly different vibe to the other bands on the bill, with their blend of various sounds, but got the crowd going. Next up, with a curated mix of noise, hardcore and hip hop, Nailbreaker, the solo project of George Hammond, was the standout performance from the support on the night. With his energetic crowd participation, for songs like “England is Mine” with mosh pits, crowd surfing and screaming enthusiasm when running out to grab a Palestinian flag, Nailbreaker brought a mix of aggression and catharsis to the room, exploring themes of politics and mental health. Headliner Gender Warfare (who are on gender tour-fare… see what they did there?) came to bring the queercore noise we all needed to hear. With songs like “(I Am Not Your) Dude”, “Commodity” and “Queers to The Front” from their first studio release “New Wave of British Transphobia”, talking about the fetishisation of minorities, being perceived and the always needed reminder to stand up, fight back, Gender Warfare encouraged and received most pits aplenty, leaving everyone feeling hyped and some what exorcised of our anger and resentment after a good old fashioned queer dance party. DIY venues like JT Soar hold a special place in the queer and trans communities, creating safe spaces for people to come and enjoy live music, free from discrimination, helping to building and foster inclusive communities, as well as giving cultural preservation in a scene plagued with constantly closing venues. Bands like Gender Warfare playing a venue like JT Soar shows exactly how the queer and trans communities can come together, even when their very existence is constantly up for debate, and bring joy and most importantly, music, to those who really need it. Words: Lou Viner Photos: Daisy Evans

Hailing from France, LANDMVRKS has earned the place as one of the most inspiring modern metalcore bands in the scene. The band formed in 2014 and released their debut album Hollow in 2016, with Florent Salfati as the lead vocalist, Nicholas Exposito and Paul C Wilson as the guitarists and Kevin D’Agostino as the drummer of the band. They've come a long way since the formation of the band, embarking on a world tour in 2024 that captured the attention of metal fans across the world, and have now released the latest chapter in their story, new album The Darkest Place I've Ever Been. From the very beginning of the release it is obvious that this is going to become a staple in the metalcore genre. Opener and title track ‘The Darkest Place I’ve Ever Been’ starts off with Florent’s raw and undeniably talented vocals, before it completely switches about a minute in and we are hit with the familiarity of the intense guitar riffs and heavy vocals that we all know and love. This song will certainly be one that fans will love live, with all the chanting and the screaming we can already see the mosh pits. ‘Creature’ starts off with a fast paced beat and Florent begins rapping in French which further shows off his many vocal talents, as it then almost immediately shifts into those gnarly screams. The chorus in this song is really a catchy one - “crawling in the dark, everything we knew is falling down” - it won't take long until you're singing along with everybody else! ‘A Line In The Dust’ is definitely a favourite from the album. From the incredible vocals, to the electrifying guitar riffs and intense drumming, this song is an experience from start to finish. The snarly screams are really impressive, we are only three songs into the album and things have already heated up. ‘Blood Red’ starts off with soft vocals and features more rapping in French. Although this song is a lot less heavy than the rest, the latter stages of the track with Florent's call of “Take. Me. To. The. Darkest. Place. I’ve. Ever. Been.” does hit incredibly hard. While listening to this song, you can hear the outpouring of emotion and it comes across as to just how much of themselves the band put into the record. Everything flows very well together, and the band has truly outdone themselves. Going seamlessly into the next song, ‘Sulfur’ takes the album up to another level. The riffs in this one are exhilarating and really bring this song together and again, the chanting of “Sulfur” and “Bring us closer to the edge” will make fans go wild during live performances. LANDMVRKS clearly put their everything into this song. ‘Sombre 16’ is a short one, but it provides us with a hip hop type beat accompanied with more rapping. It adds something different, before diving back into the metalcore sound with the next track ‘The Great Unknown.’ The vocals in this track are raw and raspy, with a lot of brutal, and outstanding, screaming. ‘The Great Unknown’ kicks off with an intense riff before the vocals are introduced. The verses feel a lot more fast paced compared to the chorus, where the vocals pick up and everything comes together excellently. The song ends with yet more screaming, and with the harsh beat of the drums it’s a perfect way to bring the song to a close. Starting off with soft, angelic vocals is ‘La Valse du Temps’ - but don’t be fooled, it does pick up into one of the heavier songs on the album. It's evident that this is one that fans will love, being five minutes of metalcore bliss. ‘Deep Inferno’ amazed us. Listening to this song we could really see Florent's wide vocal range - this man can really scream. The low growls and emotional screams add a heap of energy into this song, making you want to scream along with him - and I’m sure a lot of us will be. While ‘Requiem’ starts with a softer guitar riff, the beat drops almost immediately, and the drumming in this song is something to appreciate, adding to the emotional intensity of the song. The album has had a lot of strong lyrics, but a line that stood out to us on this track in particular is "There is nowhere left to hide because it’s eating me alive". The meaning isn'r subtle here, and this is a feeling plenty of us will have dealt with before, making for one of the most vulnerable songs here. ‘Funeral’ is the last song, kicking off with a beautiful piano melody before Florent's raw vocals come in and truly tug on our heart strings. This song is one of a kind, and it's a bold yet personal move by LANDMVRKS, who have decided to close the album on such an emotional note with a song that talks about grief in a way that fans may relate to incredibly keenly. The Darkest Place I've Ever Been does an incredible job at summarising what LANDMVRKS can do as a band, whilst simultaneously blowing us away with every track on the album. They provide their listeners with the brutal metalcore they love, while also giving them something to relate to, albeit that is no surprise given the band's penchant for those vulnerable moments. In their darkest place, they've found a light in the form of this phenomenal album, and we're so glad they've shared it. Score: 9/10 The Darkest Place I've Ever Been was released on April 25th 2025. Words: Kelsey Mainwaring Photos: LANDMVRKS

Inhuman Nature have returned to offer a vampiric hardcore sophomore album Greater Than Death. By combining some of the best bits of hardcore and doom metal over ten tracks, Inhuman Nature have created a sound fit for the Castlevania soundtrack enjoyers. Opening with the scene-setter 'From the Shadows', the listener is introduced to the inhuman man, then is thrown into ‘Dawn of Inhuman Man’, an intentionally messy hardcore hitter which balances the ambience and melody of the doom metal that makes up the other half of this project’s inspiration. This is followed up beautifully by ‘Possessed to Die’ - stabby in its riffs throughout the verses, before breaking down into what can only be described as the guitar equivalent of spinning a record back. The whole track swings while still serving that vampiric and traditional metal feel, scratching an itch in the brain and making it a standout of the first section of this album; no wonder it was chosen for the lead single. This project hits its stride as follow up ‘Servants of Annihilation' rings out, serving a thrashier type of metal while maintaining the technical riffs of the first third; it does contain a god awful guitar/amp static halfway through though, which dampens an otherwise solid offering. The longest track, ‘Fortress of Delusion’, brings it back however - a heavy ballad with a sinister introduction that feels akin to what would play behind a villain's introduction in a cutscene before utilising Inhuman Nature’s signature drop and kick to begin the vocal element, as well as the reintroduction of that guitar-record-scratch that blissfully reminds of the original Aggretsuko theme tune (ifkyk). Longer tracks can often feel bloated, but the six minutes that Inhuman Nature takes on 'Fortress of Delusion' feels warranted as they move between sections with ease. The second half of this project focuses more on the crust and hardcore influences that the London quintet took when writing Greater Than Death, in turn dropping the vampiric feel somewhat. The tracks still groove but the tempo has increased and there is more focus on Simon Grubb’s drum lines rather than Ben Taylor and Mack Stay’s riffs; the title track being a perfect example, starting with a gorgeous round-the-toms floor lead section which sounds just as handy for a warmup as it does impressive for recorded work. The track itself has a more dancey feel than the entries prior, balanced well with more vomit-scream style vocal choices and the “are you ready to die” motif which helps maintain its intensity. Its follow up ‘Mad Man’s Cage’ is one of the best named in terms of its energy: the track feels like it builds and never quite resolved, with its spoken word elements and chaotic second half devolving into a riff trade and swelling outro that gives the energy of crimes being forcibly contained. The final two tracks on Greater Than Death comprise of eerie instrumental warm-up ‘The Maze of Eternity’, then launching into album closer ‘Dead and Buried’, which pulls out all the stops to deliver doom metal realness. The final guitar solo sounds beautiful, though the vampiric energy of the first few tracks doesn’t quite make its return. Greater Than Death is a solid second offering from Inhuman Nature - it strikes a gorgeous balance between its hardcore and doom metal influences to produce a sound in equal parts modern yet traditional. The vampiric vibes of its first three tracks are captivating in a way that doesn't quite last the rest of of the project; it would have been great to feel more of this energy in the second half, but the dive into hardcore conventions still creates a sinister sound that scratches a similar itch as the project’s first half. The use of motifs, such as the pause and drop and that scratchy guitar riff, help to carve out what Inhuman Nature’s signature sound is - it is hard to stand out in the wall of noise that metal and hardcore can be, but for those that like the more traditional metal conventions, then this Inhuman Nature LP is staple listening material. Score: 7/10 Greater Than Death was released on April 25th 2025. Words: Julia Brunton Photos: Inhuman Nature

Hot off the heels of their critically acclaimed ‘Tear Them Down’ EP last year, London hardcore outfit Higher Walls return with No End - a self-released, six-track barrage of unfiltered rage and pure disdain. Based across London, Higher Walls are a politically charged hardcore band known for their uncompromising sound and DIY ethic. Featuring members originally from Moldova, New Zealand, and the UK, the band blends classic hardcore aggression with a modern metallic edge. Since their debut, they've steadily built a reputation in the underground scene, sharing stages with the likes of Grove Street, Splitknuckle, and Death Goals, and earning praise for their intense live shows and socially conscious lyrics. Clocking in at just over 15 minutes, No End wastes no time. It's a tightly wound burst of sonic fury: raw, relentless, and urgent. For the uninitiated, Higher Walls are essential listening for fans of Terror, Nails, and the kind of hardcore that’s as politically charged as it is pit-ready. This is music that demands to be heard loud, fast, and in the thick of a sweat-drenched crowd. Tracks like 'Cloak & Dagger' and 'So Much, For So Long, For So Little' (covered here in our preview) show a band unafraid to confront the world’s hypocrisies head-on. Blistering riffs and breakneck drumming collide with lyrics that seethe against systemic violence, state neglect, and the grinding realities of working-class life. There’s no room for subtlety here, and that’s precisely the point - this is hardcore at its most urgent and unapologetic. In a release packed to the seams with incredible musicianship, it's difficult to highlight any specific track, especially with the EP’s concise six-song format. That said, the opening track 'History’s Eyes' makes a bold, furious first impression. At the same time, closing track 'So Much, For So Long, For So Little' feels like a final nail, driven home with conviction. From start to finish, No End is brutally unrelenting. What truly sets this EP apart though is its unwavering focus. Each track feels like a direct hit to the gut; everything is sharp, efficient, and deliberately composed. There’s no bloat or self-indulgence. The band’s international makeup brings a unique perspective, channelling a broader sense of global unrest into a distinctly London-flavoured strain of hardcore. This is music born of frustration and fury, but it doesn’t wallow - it fights. No End isn’t trying to reinvent the genre, but Higher Walls have undeniably raised the bar. There's clarity in the chaos, driven by tight musicianship, razor-sharp production, and a deliberate pacing that avoids the genre’s common pitfall of becoming a blur. Every choice here feels intentional, every hit lands exactly where it should. This EP is also a reminder of the power of brevity. In just 15 minutes, Higher Walls achieve more than many bands do across full-lengths. They cut straight to the point. Just purpose and passion, zero filler or waste. In a political climate as bleak and frustrating as the UK’s currently, this release couldn’t feel more necessary. Higher Walls are a band with something to say, and they say it loudly. We can’t wait to catch them live later this year in support of this outstanding release. Score: 8/10 No End was released on April 25th 2025. Words: Andrew Nile Photos: Higher Walls

After two albums of volatile noise and crushing intensity, Copenhagen’s EYES return with SPINNER, their third full-length and first for Prosthetic Records. Known for blending the calculated chaos of hardcore with the bleak textures of noise rock, EYES have made a name for themselves both on record and on the stage. But, the release of SPINNER marks a shift that’s more focused, narrative, and arguably more daring. Where 2021’s Congratulations was pure abrasion - like being dropped into a pit of broken glass and feedback - SPINNER trades some of that density for precision. The band hasn’t gotten softer, not even slightly, but their attack now comes with a different kind of intention. The album builds a fictional world inspired by ‘80s anime and the works of manga author Asano Inio, with a storyline that mirrors frontman Victor Kaas’s internal reckoning. It’s a concept record, but not in a traditional sense; more like a scrapbook of painful memories redrawn into something surreal, and then screamed into a mic. The record opens with 'OP1', a brief instrumental that sets a retro-futurist tone. It bleeds straight into 'Better', which slams into gear with furious energy and sets the tempo for much of what follows. Standout track 'The Captain' introduces one of the album’s most compelling characters, someone in a position of authority who nonetheless feels like they’re drowning under pressure. The song’s imagery of a heavy backpack growing until unbearable captures that suffocating contradiction - being at the top, yet feeling like a fraud. It’s theatrical without being corny, the kind of storytelling that feels earned because blistering performances back it. And blistering is the word here - EYES are still a sonic wrecking ball. Tracks like 'Save Face Regularly' and 'Deflating Rooms' tear through genre boundaries, pulling from hardcore, punk, and post-metal moments. But what’s new is how tight the structures are. Each track feels like a chapter: short, punchy, but densely packed with meaning. 'Moving Day for the Overton Window' and 'Clown' are chaotic yet strangely catchy, with riff changes that feel like sudden shifts in mood rather than just technical flexes. There’s also a deeper emotional weight this time around. 'Beelzebub', 'The Hypocrite' and 'Money Mouth' channel frustration and disillusionment in more abstract forms, like dreams spiralling into nightmare logic. SPINNER’s final track is the longest and most expansive, unfolding more slowly and letting its narrative breathe. Here, the band dials back the intensity just enough to make the emotional resonance land that much more forcefully. It’s a fitting closer that feels like an ending, and a reset. Credit has to be given to producer Jacob Bredahl for capturing EYES’s raw, almost suffocating energy in a studio setting. The mix is tight and brutal, yet there’s space when it matters most. Guest vocalists Selma Bahner (Feral Nature, Tower) and Jesse Matthewson (KEN Mode) add new textures without ever stealing the spotlight. Brad Boatright’s mastering, as always, ensures the sonic violence doesn’t lose its clarity. Despite the intensity, SPINNER is not just aggression for aggression’s sake. There’s vulnerability here, hidden under layers of distortion and scream. Through its characters and storytelling, the album becomes a vessel for self-examination. The fictional world that EYES have built gives Victor Kaas room to unpack real emotional scars. The characters may be made up, but the feelings aren’t, which gives SPINNER its staying power. With SPINNER, EYES manage to evolve without losing their teeth. It’s the sound of a band doubling down on who they are while taking bold steps forward. Cleaner production and sharper song writing highlight their strengths, and the emotional weight of the concept adds another layer of depth. It’s a record that hits hard both musically and thematically - a punch to the gut, but one that stays with you after the ringing in your ears fades. EYES don’t just level up on SPINNER - they redefine their limits. Score: 8/10 SPINNER was released on April 25th 2025. Words: Kelly Gowe Photos: EYES

British metalcore heavyweights Employed To Serve return with their brutal new album Fallen Star. This latest offering marks the Woking five-piece’s fifth studio album and their third release on Spinefarm Records, and it might just be their most confident and cohesive work to date. In contrast to 2017’s The Warmth of a Dying Sun, Fallen Star moves away from bleak introspection and cathartic anger, instead embracing more positive themes. This new release emphasizes resilience, with the band highlighting the importance of finding inner confidence, staying true to one's beliefs, and the strength of close-knit groups as key focal points. We’re not arguing that the album pulls any punches - the riffs still slam, and the breakdowns still hit like a freight train - but the outlook is undeniably brighter and bolder than ever. It’s an album about pushing through the storm, not succumbing to it. There’s still the uncompromising heaviness you’d expect from Employed To Serve, but it’s delivered with a sharpened sense of purpose. The guitar work, courtesy of Sammy Urwin, often blends pummelling metalcore grooves with soaring melodic flourishes. At the same time, Justine Jones delivers some of her most commanding vocal performances to date - equal parts fury and focus. The album is stacked end to end with some incredible guest features. The single ‘Atonement’ features the mighty Will Ramos of Lorna Shore, whose signature guttural vocals add extra weight to the already thunderous track. Yet it’s Will’s clean vocals that truly shine here, in an unexpected but incredible inclusion. Elsewhere, Killswitch Engage’s Jesse Leach brings a gravelly emotional depth to ‘Whose Side Are You On?’. Simultaneously, Svalbard's Serena Cherry provides a striking contrast to Jones on 'Last Laugh.' Instead of feeling like mere star-powered gimmicks, each guest's presence feels deliberate - enhancing the songs rather than distracting from them. Both lyrically and musically, this new release doesn’t shy away from the band’s signature aggression. Instead, it refines it. Lewis John’s production is tight, punchy, and polished without sacrificing that raw, razor-sharp edge that’s long been signature to their sound. Guitarist Sammy Urwin’s riffs often veer into melodic territory, offering moments of clarity amid the chaos. Justine Jones remains a commanding presence on vocals, balancing visceral rage with a new-found sense of uplift and resilience. Employed To Serve have always thrived on intensity, but with Fallen Star, they channel that intensity into something more focused, defiant, and ultimately uplifting. It’s a record that hits just as hard emotionally as it does sonically - a celebration of strength through solidarity and survival. Where previous albums wrestled with despair and frustration, Fallen Star offers resistance and renewal. It’s about survival, self-belief, and the unshakable bond that forms between people who face adversity together. This is absolutely the band’s best album to date. Perhaps a bold statement, given the back catalogue full of incredible works, but we stand by it. This career-defining release refines everything they’ve done before while carving out bold new territory. Employed To Serve have long been amongst the UK’s most vital voices in heavy music, and Fallen Star cements their place at the very top of the scene. If you’ve been sleeping on them, now is the time to wake up. In a genre often defined by its darkest moments, Fallen Star is proof that heaviness and hopefulness can go hand in hand. Score: 8/10 Fallen Star was released on April 25th 2025. Words: Andrew Nile Photos: Employed To Serve

Scottish twins Cloth wanted their third album, Pink Silence, to feel like the early morning or later evening ethereal light in the sky that happens when the sun is rising or setting, and it's safe to say they have successfully captured that feeling in their third album. Providing serene goodness with their feather-like approach, Pink Silence really does take you on a journey through the clouds. The duo set the scene for an exciting career with the release of their self-titled debut in 2019, followed by their Scottish Album of the Year Award-nominated 2023 follow-up Secret Measure, which made Cloth one of Scotland’s bands to watch. It's safe to say Pink Silence has further solidified that. Hailing from Glasgow, twins Paul and Rachael Swinton have been accompanied by the likes of Mogwai’s Stuart Braithwaite, Portishead’s Adrian Utley, Owen Pallett and producer Ali Chant (Perfume Genius, PJ Harvey) on this new record, catapulting the duo into a new territory, whilst still encapsulating their usual feather-like approach. Having written music together since childhood, the band have a rare shared history, with Paul writing the lyrics and Rachael providing the vocals. Opening track ‘Pink Silence’ is an immediate attention grabber, starting with serene vocals before drums and guitars accompany in full effect. It is an opening track that perfectly sets the scene for an exciting third album from the Scottish twins. With the aim to push themselves out of their comfort zones and write a few more upbeat, fast tracks for the album, track ‘Polaroid’ draws you straight in with a perfect bass line and accompanying strings that come in at the most perfect moments to keep the listener fully engaged at all times. It’s certainly one of the more upbeat songs on the record whilst still managing to capture that ethereal, serene feel that Cloth do so well. ‘The Cottage’ provides one of the slower, more stripped back songs on the album, but equally captures the serene energy that they have channeled throughout the whole album. Catchy guitars accompanied by Racheal's usual whisper-like vocals makes ‘It’s a lot’ channel a slightly different vibe from the rest of the album. Closing track ‘Write It Down’ continues the consistent vocals and strong guitars that have featured throughout the album and closes the album perfectly. Ultimately, Pink Silence is the perfect album for a chilled out, spring afternoon picnic or car ride. If Cloth’s aim was to take their listeners on a journey into the sky, then it's safe to say they have achieved just that. Cloth will be embarking on a series of in-store shows to celebrate the album release, these include: 28/04 - Rough Trade Bristol 29/04 - Banquet Records, Kingston 30/04 - The Blue Basement, London 03/05 - Shake The High Road, Leytonstone Score: 7/10 Pink Silence was released on April 25th 2025. 7/10 Words: Olivia Hermans Photos: Cloth