Explaining anything Melvins-related to the uninitiated is like trying to sell sand to Bedouins. You’re elated, proselytizing holy gospel about just how significant this group is, how their records all fit together, and how they’re 'low-key responsible for the creation of Nirvana'. Meanwhile, your victim is staring at you stone-faced and utterly numb in listless ennui, giving you that blobfish grimace. It’s only natural, because enjoying a band like the Melvins is a kind of chemical imbalance, a spiritual disorder, maybe even a curse. How can you sell a band that has so many albums, that really do not sound that alike? It is true, Melvins have been around for what seems like eons at this point, and they’re moving briskly from one irregularity to the next. You’d have better odds wagering your kidney on a one-legged rooster race than guessing what they’ll come up with next. These sludge-lords have shifted line-ups many a time; dual basses, double drummers. Now they’re firmly entrenched in their 1983 sequence of albums, with Thunderball being the third, featuring Buzz “King Buzzo” Osborne and founding percussionist Mike Dillard (with bassist Dale Crover seemingly sitting this one out), now with the experimental accoutrements of Ni Maîtres and Void Manes. It’s very unusual these days to see a group putting out albums every year, a veritably 1970s pursuit, but Thunderball finds itself released scarcely under a year since the band’s last offering, Tarantula Heart. These guys seriously put the hustle in. While the last few albums have had some of that whimsy tied to them, featuring amusing Beach Boys covers and explicit how-in-the-hell-is-this-a-real-song-title type tracks, you will not find such humour on Thunderball. Serious face on. What you get is a 35 minute-ish album that delivers the goods in droves. The opening track ‘King Of Rome’ dares to keep it compact and radio-sized, with a catchy hook and stellar guitarwork draped in a sheet of thin electronica. ‘Vomit Of Clarity’ is a passing detour into two minutes of ambient circuitry that feels like somebody leaked kombucha on a modular synth and let it record itself dying in agony. It's not bad. It's not good. It’s two minutes of bleeps and bloops. Then comes the eleven minute brain-bender ‘Short Hair In A Wig,’ a progressive, cyclonic twirl into existential dread while Ni Maîtres and Void Manes concoct loops so twisted it’s a veritable category 4 hurricane. There’s plenty of variation in the drum work and riffs to keep the song from feeling too bulky, while the vocals spell out a dreadful portent alongside condemning drums. ‘Victory Of The Pyramids’ has to be the stand-out track, while also lengthy, it careens into a cosmic blues-boogie that is sludgier than a mud bath. The chorus hits. The chorus is either “Did he go?” or “Billy goat.” It rules. You don’t question it. Penultimate track ‘Venus Blood’ unfurls like a leviathan surfacing, hushed tension, bleak melody, then melodic outro riff buzzling like a thousand tiny electric bees. Then, ‘tis all over. Exuent stage left. So yeah, Thunderball is shorter than Napoleon wading through wet cement. But it doesn’t waste a second. There’s no fat here, no padding. The Melvins seem to provide a damn fine album experience in the short time that they had. They have mastered the art of brevity when they want to. While the electronic collaborators only show up in noticeable ways a few times, the atmosphere they offer, especially in the back-end of the longer songs, adds an unnerving, abstruse zing that keeps things stimulating even when the riffs threaten to wear thin. As fans of the band will know, they can be quite challenging to introduce to the uninitiated. In Thunderball, they might have found their reprieve, because the music here is not only accessible, but an exceptional introduction to the band itself for those that are unfamiliar. While the electronic sounds are novel, they compliment the bedrock sound of the band particularly well. Not to mention, they sound tenured. This is a band that has paid their dues in full and were making music when younger bands were still pottering about in nappies, yet they can still deliver sounds that are fresh and new decades later. Maybe not their most groundbreaking ritual, but a damn solid incantation nonetheless. Whatever is next for the band, it sure won’t sound like this. Score: 8/10 Thunderball was released on April 18th 2025. Words: Kiarash Golshani Photos: Melvins

The Swedish death metal fury Övervåld has returned with a new aggressive EP Vigarv, to remind us that they indeed are still ready to fight for their rightful spots on the scene. Consisting of three members – Rebecca Holms as the vocalist, Joachim Lyngfelt of Crawls on guitar and an ex-member of the Swedish black metal devils Sethorial on drums, Peter Engström, they are playing around with the raw sounds of instruments in death and black metal, creating furious melodies with lots of tension, that do not let anyone predict their next note. Vigarv, which the band self-released, is the second EP of the three-person project and shows off Lyngfelt’s masterful skills with the guitars. It is built on four different tracks, with each one of them being written and sung in Swedish language, uplifting the authenticity of their music and lyrics. The opening track 'Förruttnelse' kicks things off things aggressively, as we delve immediately into the action. Being pulled into a chaotic foray filled with drums and guitars, swiftly accompanied by the gut-wrenching vocals, there is no time to get fully prepared for the deadly riffs the band has in store. Right before we are able to process everything that's going on in the track, we are thrown right into the next one called 'Lögnarnas Tempel', which carries over the furious sounds of its predecessor. This second track proudly reminds us that death metal is indeed etched into the band’s roots, but that they do draw heavily from black metal as well. The third track is the title track 'Vigarv', which gives Engström more room to show off his talent, as the whole track is based around the sound of his drums. Having the amazing Lyngfelt to follow along with him, the song is even heavier than the previous tracks and barley gives the listener room to breathe. As the EP continues into the final track on the release, you can take a brief second to marvel at the brutality of Swedish death metal. The final track, as with the tracks before, is fully loaded with Holms’s terrifying vocals, Lyngfelt’s genius riffs and Engström’s marvellous drum work, closing off the short, yet memorable EP with a fairly good mix of sounds. Apart from being very chaotic most of the time and not giving the listeners space to take the music fully in, which is the nature of such releases, the EP delivered stunning plethora of guitar riffs and raw vocals. Being the second release of the band so far, there definitely is a room for improvement or additions such as bridges or transitions, but overall, Vigarv is a pleasant listen-through that is worthy of the attention. Score: 7/10 Vigarv was released on April 18th 2025. Words: Katerina Stepanikova Photos: Övervåld

King Kraken have dropped their latest album March of The Gods, and if you're a fan of heavy rock looking for a newer band then this is the album for you. The five piece from South Wales have been steadily gaining fans since their first release in 2019. They've had supporting slots with bands such as Monster Truck, South of Salem, Fury, and legends Geoff Tate and Crowbar. 'Scream' kicks off the album strong with addictive melodies and an immersive bassline. Lead vocalist Mark Donoghue wastes no time in flaunting his voice with a catchy chorus, even throwing in some screams. The track is a great example of King Kraken's heavy rock soul, giving every element one would expect from the genre. ‘El Giganto’ is very playful with its lyrics, nostalgic in its rhythms as the lyrics describe the power of a demon in something reminiscent of a 90’s cartoon intro. A razor guitar solo shreds through the second half, before bringing in again that earworm of a chorus that us at Out Of Rage will have stuck in our heads for weeks to come. The next track ‘Berzerka’ begins more stripped back, with booming drums building up to be joined by the screeches of guitars, the bassline keeping low and groovy throughout. Its flow is seductive, accompanied by soulful vocals that grovel and growl about the themes of being left alone, contradictory yet working perfectly together. Next up is the title track, switching between different beats every few bars really keeping the listeners attention. Drummer Richard Lee Mears works hard across the track switching up the beats, using half time beats and fills to create unique sections that would certainly sound entirely different if featuring the same drum beat throughout, a very clever way to bring a lot of variation to the track. ‘Hero’ is next on the roster, instantly standing out by opening with an instrumental reminiscent of something the Red Hot Chilli Peppers might release, but again Mark comes in with his incredibly soulful voice bringing it to a completely different genre. The song is particularly poignant as he sings about his father in what is definitely a stand out song for us, being both captivating and incredibly emotional. Switching it up again, ‘Vigilante’ brings back the tantalizingly groovy bass and roaring guitars, making any listener bust a move. This track is another seamless example of a true heavy rock track, full of rebellious lyrics and even slowing the tempo at the end to perfect headbanging speed. ‘Preacher’ starts with an interesting beat, which takes a moment for the ears to adjust to. It's certainly addictive, incorporating that grooviness we've heard in previous sections of the album, but also slightly more playful like ‘El Giganto’ - these guys are not even slightly afraid to mix things up. The eighth song, the so-called 'Magnum Opus', starts low and booming, drums building up to a quintessential heavy rock riff and beat. Mark opts for a lower register vocal performance, matching up with the low guitar and bass as well as the extensive use of the bass drum. Next up ‘Chainsaw Saviour’ brings visions of sweaty rooms full of battle jackets and long hair, all head banging in synchronization. Musically, it is quite similar to the last apart from a supersonic guitar solo in the second half, showcasing the fast fingers of the guitarists Adam Healey and Pete Rose. The track chosen to close the album is ‘Under The Sun’ which introduces new sounds of reverberating twangy guitars, unseen in the rest of the album. It helps to create that imagery of being in the overwhelming heat of the scorching sun, just as the name and lyrics speak of. The band throws out one last addictive chorus, before closing the entire album with a mass instrumental of all guitars, bass and drums coming together. To sum up the album - this is all a heavy rock fan could want. It brings playfulness, vulnerability and rebellion in its lyrics with instrumentals to match all those cohesively. King Kraken are already booked for a tour with new music in the works so if you enjoy this album, keep your eyes peeled for more - we know we are! Score: 9/10 March of The Gods was released on April 18th 2025. Words: Amy Smyth Photos: King Kraken

Divide and Dissolve, the project of the Black and Cherokee composer and multi-instrumentalist Takiaya Reed, is a sensation on the doom metal scene, combining the genre with Reed’s visions of the world and her experiences. Her new album Insatiable is a mixture of different instruments, all harmonising in a beautiful expression of her visions. The album, consisting dominantly of instrumental tracks, plays with the narrative of the paths of either destruction or compassion which each individual is destined to take, representing Reed’s emotional journey connected to the topic. The opening track, called ‘Hegemonic’, can be interpreted as an introduction to the concept of the release. Heavily using vocals, accompanied by hauntingly sounding guitar, the track instantly touches on the heavy topics the whole release is about. The second track on the album, ‘Monolithic’, kicks off a series of doomy tracks and sounds, representing different aspects of love and oppression. Beginning with a calming, almost soothing saxophone, the song gives us the feeling of security and peace, only to transition right into a chaotic melody of prominently played guitar riffs and heavily used drums, representing the oppressive and violent side of the world . Using the saxophone and other instruments to their advantage, the band have made the tracks ‘Loneliness’ and ‘Provenance’ distinctive enough to give the listeners a new perspective of the music. With ‘Loneliness’ featuring an impressive organ, accompanied by other instruments, the mimicking of the titular emotion is on point. The track creates a dual feeling of hopelessness and lonesomeness, whilst cultivating a mood that suggests trying to find a way out from the misery. Surprisingly enough, the track does not feature any overt doom metal elements, making it a piece to reflect on the previous songs and the ones about to come. ‘Provenance’, on the other hand, is a longer track that, whilst featuring similar traits to ‘Loneliness’, feels completely different. Starting off with calm flute, it transitions into a chaotic tone of guitars and drums, yet again distinctive for the album. The track touches on the topics of indigenous people and people of colour, highlighting the importance of honouring our ancestors while being respectful to each other. Together with the previously mentioned track, these two stand out within the chaos and violence of the other songs, being easily memorable. Another track that stands out from the rest is ‘Grief’. Using slower melodies and vocals, the track, although very short, evokes the titular sense of grief and grieving, making the listener reminisce about their own life and experiences. It feels like a closing of a chapter, leading us to the last song ‘Death Cult’, that consists of hauntingly sounding saxophones, fitting perfectly as the last element of the whole album. Insatiable is a work of art, expressing the urgence of peace and harmony. As much as the tracks can sometimes feel repetitive, there are moments when Reed comes with hope-like sounds, making the listener feel more comfortable and secure. Not only that, but her experimentation helps keep the repetition at bay. The album is a great example of doom metal and the different ways of experimenting within the genre, making it a fascinating album to listen to. Score: 7/10 Insatiable was released on April 18th 2025. Words: Katerina Stepanikova Photos: Divide and Dissolve

Ancient Death are coming in fast and hot with their debut full length album Ego Dissolution - prepare for eight straight tracks of cosmic death metal from a band that are really here to show the world what they're made of. The four piece are from Massachusetts, and feature bassist/vocalist Jasmine Alexander, guitarist Ray Brouwer, guitarist/vocalist Jerry Witunsky, and drummer Derek Malone Moniz. Whilst the band's first four years of releasing music together have shown plenty of promise, this debut has smashed all expectations. The title track throws us straight in at the deep end, opening with shredding guitars and rapid drums before the extended intro eventually pulls us into Jerry Witunsky's cathartic screams. The track slows around the three minute mark, before ripping into a blast beat filled breakdown full of screeching guitar's that the band blend together, to create a cohesive pure metal experience. The momentum does not slow as ‘Breaking the Barriers of Hope’ launches the listener straight back into those same blast beats, as the band terraforms a desolate landscape with their rhythms and melodies. The second half of the track slows in tempo but never in rage, with visions of two stepping mosh pits and crowd surfers being fabricated almost unconsciously. Twanging bass rumblings signal the beginning of 'Breathe - Transcend (Into The Glowing Streams Of Forever)' as it runs much darker than the songs prior. The melancholic bassline drags the rest of the band through and leads the way until, at the halfway mark, it transcends into something more melodic. Ancient Death then present new instruments like bells and synths, before Jasmine Alexander's vocals saunter into the song like a siren, slowly bringing us back around to the guttural screams we’re familiar with. ‘Journey to the Inner Soul’ again differs from the rest, being more weightless and atmospheric; the guitars and drums conjure up a large gaping hole, able to swallow the listener whole. This number is completely instrumental but barely feels as such, the guitars singing a haunting repetitive melody that echoes through to the end as it stands alone. ‘Echoing Chambers Within the Dismal Mind’ shows us the true power of Ancient Death as Jasmine and Jerry share what their screams can invent when put together, giving us layered vocals and screams throughout the track. This use of both vocalists really stands out, creating a fascinating stylistic choice that is very listenable. This is our stand out track from the album, as it varies between patterns and rhythms but comes together cohesively, making you want to hit repeat as soon as it ends. 'Unspoken Oath' pulls us back into the shattering classic death metal tracks, a blueprint for what you'd expect and possibly the least intriguing of the line up - but still not wavering in its quality. Shredding guitars, build ups and breakdowns making it still completely listenable and entertaining, just not quite matching up with the rest of the album. ‘Discarnate’, though, is as incorporeal as its name, a short instrumental track that rings like empty reverberating halls, a guitar melody sings its way through the track hauntingly. The last track ‘Violent Light Decays’ truly showcases everything the band have to give: a breakdown with blast beats only two minutes into the seven minute track, Jasmine’s thick, gravelly screams taking a moment to shine before a slow in tempo that slowly builds into expeditious guitars. The song truly is like a musical roller coaster dragging the listener through hills, drops and 360 loops, speedrunning everything the band can give. The album is incredibly cohesive throughout its eight tracks, and is very well recorded and mixed, with the tracks differing to suit their own styles while still maintaining the overall sound of the band. Although we wish it was longer here at Out Of Rage, we can surely say it's one of the best death metal albums we've featured this year, especially coming from a band that are only four years young! We we can't wait to hear what they conjure next. The band have various live shows lined up in 2025 and we hope they might one day be able to make it across the pond to us in the UK - death metal fans keep eyes and ears peeled as we're sure this album will create some noise. Score: 9/10 Ego Dissolution was released on April 18th 2025. Words: Amy Smyth Photos: Ancient Death

Anoxia are a four piece death metal band from Australia, and are presenting us with their debut full length album Revel In Sin. The band promised "eight tracks of pure, malevolent mayhem" and they've stuck to their word like glue. This is a non-stop violent affair, so any discerning death metal fans may well find something to enjoy here. To ramp you into the album, Anoxia start with the title track - two minutes of crashing instrumental, with a repeating booming melody that leads the listener straight into the first full track, ‘Blood on the Altar’, whilst continuing the same melody. Vocalist Joey Scott pig squeals his way into the track as shredding guitars cover his back, and he manages to maintain a deep growling scream whilst keeping the lyrics totally audible. The song switches tempos regularly, not being chained to any one rhythm for more than a few bars, making you unable to tell where the song is headed. ‘M.N.W’ is next up on the roster, it keeps up with the absolute mayhem of the track prior. Its rhythms are absolutely unrelenting, each section of the song giving another pulsating beat to head bang to. In the last minute of the song, a space opens up for a razor sharp guitar solo to bring it round to a final section of growls, as guitars and bass build together in the back, revealing the sounds of hell and closing out the song. The fourth track, 'Rule By Cold Steel', opens with a high pitched squeal showing the diversity Joey is able to conquer with his voice. The onslaught of this track is a testament to everything death metal, evoking the fiery pits of hell and much more devilish imagery from an audio standpoint. ‘In the Wake of Desolation’ comes crashing in, not wasting a moment but getting straight into the thick of things via the drums of Marco Alvarez. These are some of his best moments, featuring some incredible blast beats and untethered fills. Reaching the three minute mark brings a head banging breakdown once again. featuring a guitar solo that is cut a little too short, but impressionable nonetheless. The next number ‘Dwell in Death’ once again brings no pause to the heaviness of their rhythms, with four minutes of relentless beat switching and gargling screams. The song's name being screamed repeatedly to bring the track to an end was a feature we particularly enjoyed. The band promised non-stop brutality with this album, and after the seventh track it is abundantly clear that no lie was told. ‘Darker Forms of Knowledge’, perhaps the darkest of them all, devours its way into the eardrums of the listener, leaving nothing standing in its path. Sonic guitars, pummelling drums and unforgiving screams come together cohesively on a track that shows exactly what it means to be death metal. 'Merciless Sin’ closes the album opening with an addictive riff, before those vocals once again come screeching in. The track features some significant screams in the second half not quite like those in the rest of the album, making the song stand out amongst others before the sonorous instrumentals pitter into silence and draw the album to a close. For those that prefer variety and duality within an album, this may not be for you, but those death metal fans craving eight tracks of non-stop, bone crushing, gut squelching metal will find themselves very well sated. The album is well put together and recorded, well written, and - of course - immensely musically satisfying for anyone that has the stomach for it. Anoxia have multiple support slots lined up in 2025, so be sure to catch them live if you can and if not, keep an eye out for them! Score: 8/10 Revel In Sin was released on April 18th 2025. Words: Amy Smyth Photos: Anoxia

A constellation of seven local venues mapped out the weekend’s entertainment at Manchester Punk Festival, shining with brilliant underground talent as they pilot kindness and visibility for the transgender community, after the Supreme Court's landmark statement on the definition of a woman. Whilst navigating the darkness and looming uncertainty of queer futures in the UK, solidarity took to Manchester’s streets, not just in the peaceful protest that took place on the saturday afternoon, but in the colossal magnitude of artists that provided safe spaces for the LGBTQIA+ community during their sets. At Out Of Rage, we work incredibly hard to make sure queer voices are heard on our platforms and within our contributor community. We are so proud to be working with MPF, which champions LGBTQIA+ diversity in its lineups across all of its venues. The weekend was a breath of fresh air and an opportunity to let loose, sampling the amazing array of acts the festival has to offer. These are our picks for MPF 2025. Perp Walk Southwest showed up! Perp Walk, who made a massive statement at last year's Outbreak Festival, headed to Manchester to kickstart our weekend into the highest gear possible. With hardcore at the heart of their thrashy sound, the band make itself known to the Manchester audience once again. There were high-intensity performances for all members, and the set was paced with ferocity. In anticipation for their new EP ‘The Freeze’, coming May 2nd, the band circled through tracks new and old, taking in the rowdy crowd and matching their energy. Carrying their tenacity into the False Reality set following their performance, they were right there with the audience in the centre of the pit. False Reality Hot off their tour with Heriot the week previously, False Reality are the shit. Their set at MPF kept up the ferocious consistency of the London hardcore mob since the release of their latest album, Path of Self Destruct. Whilst this was a longer set for the band, even incorporating an unreleased song into the mix, you cannot fault a hardcore band for the short and punchy set. Tight, tenacious and loud, the mosh was intimate, pushed sideways with the ferocity of prowling pitters. When the choruses broke, an impressive display of two-steppers made themselves known and the band, that fed off the high-intensity energy of the crowd. Leaving no survivors to their abrasive sound, False Reality retains the undisputed title of ‘the ones to watch’ in 2025. Victim Unit “If you don't want to see trans people, pluck out your eyes!” Vocalist Lotta Ridgely howls with overwhelming power at the Yes! Basement crowd. In a heated but cathartic moment, all emotion is laid bare for Liverpool avant-garde outfit Victim Unit’s set, dedicated to survivors of sexual assault. The duo, tempoed by Ridgely's love of trap beats and Danny Page's thundering guitar tones, push the experimental into the extreme as the set erupts into a chasm of grindcore-infused noise. Whilst Ridgely paces through the crowd screaming and wailing, there is a wild unpredictability to the band's performance which makes them fascinating to watch. Nothing is off limits -including the bar- which becomes the stage for the final song of the night. A profound silence looms from the crowd as they leave the confines of the basement. Victim Unit made their voices heard. The Menstrual Cramps Presents Avril Lavigne The early beginnings of an epic MPF tradition, late nights at the festival become alive with some of the best performing bands playing signature cover sets. On the Friday night, The Menstral Cramps with their Avril Lavigne set. Playing all the hits, after being on vocal rest for the first time in their career history, it was a rocky start for vocalist Emilia Elfrieda’s rendition of ‘Girlfriend’. However, when the iconic Deadpool defying ‘Without You’ hits the swell of its epic chorus, the band and the audience work wonderfully in unison, making the most of Canada’s favourite punk princess. Regardless, the crowd filled the entire floor of Rebellion, with hands flying high as they became the coolest kids in the club. Donning 2000’s emo attire, the band’s set was remarkably short but a great addition to the evening’s entertainment. Snatch Game A drag queen? How about an entire band of them? Snatch Game is the wonderfully fluid result of what would happen if RuPaul went rock. On the evening of the Season 17 finals, a troupe of drag superstars shantayed down to the Bread Shed, to perform hit classics from the show, alongside covers of queer classics including Gaga, Chappel Roan and Kylie Minogues ‘Padam’. On paper, this may appear chaotic, but rest assured, the band were actually quite good! The best energy of the entire weekend, in fact. With their signature ‘Vogue Of Death’, and their iconic catwalk to ripping guitar shred, it caters for the needs of a significant proportion of the OOR contributor population. For our small but dedicated goth community, the band lean into a satisfying Sisters Of Mercy-esque style. Sorry lads, but we would rather be here than at the Ghost tour. The 'Vogue of Death' Grandma's House Full of nostalgia and warm, fleeting feelings, a trip to Grandma’s House is full of raw, conflicting, but beautiful emotions. Bordering between indie and rock, the band spun the Pink Room into a kinetic frenzy. The band released their new EP, ‘Anything For You’, the week before, the crowd suddenly came down with a bad case of the feels. Whilst the band had some trouble getting the levels right on their audio and asking the technician to add some ‘mood’ lighting halfway through the set, they soon found their rhythm. It was a welcome change to the fast-paced punk that surrounded their lineup. We are excited to see what Grandma’s house does next. Cherym Ireland never sounded so good! Straight off the Marshall roster, Derry-based Cherym took to the MPF main stage. With their feminism inflused pop punk, the three-piece band rocked with a high-intensity set. It was a welcome return for the band, playing the festival for the fourth time, as vocalist Hannah tells the audience. Their sound is catchy- almost sickly good- with their candy-coated pop-punk sound. The band were tight and full of ferocity on the main stage. Cherym delivered a great set, which got the crowd going. As the main stage appeared to be a congregating point for the main body of MPF’s punk audience, Cherym was received well by all. Period Drama A shining set from one of the weekend’s smallest stages, Period Drama were a highlight of the weekend. With only one five track EP to their name, they have established a great sound, infusing that wonderful ‘Three Cheers For Sweet Revenge Era’ sound with real and complex conversations about mental health, queerness and navigating the world. The band were tight, wore their hearts on their sleeve and entertained a busy Yes Basement crowd, throwing a Chapell Roan cover into the mix. The atmosphere was electrifying, soothing and an extension of the LGBTQIA+ protest that had captivated Manchester earlier that day. There is plenty more excitement coming from Period Drama, and Rage will be there watching their every move. Words: Amber Brooks Photos: Libby Percival

At first glance, the hundreds of cloaked figures waiting to enter the vibrant Usher Hall might have you wondering if there was a Renaissance faire. Instead, experimental folk collective Heilung, literally ‘healing’, accompanied by Faroese singer-songwriter Eivør, bring their atmospheric ‘ritual’ to Edinburgh. Their music voyages into the Norse myths and the rich history of Northern Europe, so it’s no wonder many in the crowd are donning silver-tipped wolf pelts and runic inscriptions carefully painted across their bodies. From their intriguing live debut at Castlefest in 2017 to the muddy fields of Download 2024, Heilung have mastered the art of crowd immersion and visual storytelling. Their current tour, ‘Albion Eiru ok Erop’, will be the last before they take a well-deserved hiatus, and so we couldn’t pass up the opportunity to witness them while we still can. Inside, birdsong and the sounds of rustling leaves cascaded throughout the room, and the clattering of fans still bustling in from the cold night surrounded us as Eivør Pálsdóttir crept onstage amid a moody blue lighting. She unleashed a powerful tone as she began ‘Jarðartrá’, oddly accompanied by movement that radiated a contagious joy. As she got to ‘Salt’, she unveiled her signature Sámi drum; it pulsated a hypnotising beat that kept us utterly spellbound throughout. ‘Hymn 49’ from the soundtrack of ‘The Last Kingdom’ drew us back into the Viking Age, with a carousel of spotlights over an occasional flashing red, creating a sense of alertness and perfectly preparing the room for the show to come. Before playing ‘Enn’, the title track of her latest album, she explained how it means ‘yet’ in her mother tongue, “as in having hope in very very dark times”. She joyfully ended with ‘Upp Úr Øskuni’, before thanking an entranced crowd and bounding off stage with her band. A curtain with Heilung’s mascot, the Warrior Snail, was mysteriously swung across the stage. It was gently drawn back and we were greeted by an entirely new set - the branches of trees swaying, deer skulls camouflaging the microphone stands, and drums lined with goat or deer skins. Subtle green spotlights with leafy motifs meandered across the audience. As the members came onstage, they looked part of the set, with Maria Franz and Kai Uwe Faust, lead vocalists, adorning antler headdresses and decorated, earthly robes. Kai intoned a short rite as part of ‘Opening Ceremony’ before lighting a bundle of sage combined with local herbs. The smell crept into every crevice. The rite allowed us to be an active part in the ritual, with the audience repeating phrases such as “remember that we are all brothers” and “we are all one”. The drumming began, and so did ‘In Maidjan’, contrasting with the calmness of before. The intensity continued throughout ‘Norupo’, as Maria takes centre stage, mesmerising us with her high notes. Wolf howls echoed across the room, the band and crowd blurring into one pack, signalling the start of ‘Alfadhirhaiti’, and the introduction of the rest of the band as our warriors. Throughout ‘Asja’, they began to embody the Norse runes through sharp movements, in ‘Svanrand’, they honed them, and by ‘Urbani’, the symbols were glowing blue across their skin. The beat intensified with real human bones slamming against the animal skin of the drum, building up to ‘Othan’, the height of a Viking raid. Looming stone columns were projected behind them, and razor-edged beams of light cut across the stage, transforming the Georgian interior of the venue into a grand palace being ravaged. As we approach ‘Nikkal’, the pace slows down. Maria’s enchanting and eerie vocals, accompanied by omnipresent blue lighting had the crowd in a stunned silence. ‘Hamrer Hippyer’ was one final offering, a celebration of the ritual almost at completion. Some of the warriors jump down and weave through the crowd to the sound of the rhythmic drumming, making the audience a truly integral part of their victory. Kai shushed the ravenous crowd for ‘Closing Ceremony’, with the group forming a reflective circle and the smell of burning sage enveloping the room once again. Following along, the hands of the crowd raised skyward in surrender, with the remaining foliage scattered over us like a calming rain. The triumphant display concluded respectfully and in stark contrast to the civilised chaos we had just witnessed, before descending back into the ambient sounds of the forest we were initially greeted with. With Eivør gently coaxing us in and Heilung allowing us to join them on their shamanic journey, it felt as though we walked in as audience members and left having been participants of something truly healing. Words: Chloe Sodeau Cover Photo: Afra Gethöffer-Grütz

At the forefront of today’s pop-punk scene is Neck Deep, the band shaping the genre’s future with their bold creativity and unmistakable sound. Performing at Slam Dunk Festival 2025, the band is guaranteed to bring their A-game and perform songs that fans know and love. From songs that capture life’s ups and downs to songs that make you want to dance like nobody’s watching. Whether you are just discovering the band or are a longtime listener, these songs show the best of what Neck Deep has to offer. 10) Fall 'Fall' is a catchy yet deeply emotional introspective track from 'All Distortions Are Intentional', released in 2020. In contrast to Neck Deep’s usual fast-paced, high-energy style, this song adopts a more mellow and atmospheric tone. The blend of instruments and Ben Barlow’s raw, heartfelt vocals make this track an underrated gem. 9) MOTION SICKNESS 'Motion Sickness' kicks off 'The Peace and The Panic 'with high-energy intensity, featuring punchy drums, fast guitars, and anthemic vocals right from the start. The song’s fast pace serves as a metaphor for life’s unpredictability, a theme that runs throughout the track. With its explosive, infectious chorus, the song is filled with relatability, making it an easy one to sing your heart out to. 8) TAKE ME WITH YOU 'Take Me With You' is an energetic, catchy track that embraces Neck Deep’s pop-punk roots. With its unique Sci-Fi theme, punchy guitar riffs, and infectious vocal melodies, the song channels a nostalgic early 2000s pop-punk vibe. It’s a fun and lighthearted addition to their discography, offering a sense of nostalgia for long-time pop-punk fans while serving as a perfect introduction for new listeners to Neck Deep’s sound. 7) A PART OF ME 'A Part of Me' is one of Neck Deep’s most memorable tracks, immediately tugging at the heartstrings. This acoustic ballad, featuring guest vocals from Laura Whiteside, stands out for its raw simplicity, offering a contrast to the band’s typically heavier pop-punk sound. Lyrically, the song is both heartbreaking and beautiful, telling a deeply personal and relatable story of heartbreak. The blend of Whiteside’s and Barlow’s voices creates the sense of a conversation between two people with lingering, unresolved emotions. It’s a timeless song that continues to resonate, drawing listeners back again and again. 6) IT WON'T BE LIKE THIS FOREVER 'It Won’t Be Like This Forever' is an uplifting and hopeful track from Neck Deep’s 2024 self-titled album. The song delivers a reassuring message about change and resilience, striking a perfect balance between raw emotion and energetic momentum. Its lyrics are emotionally resonant without being overly sorrowful, offering a sense of comfort and optimism. 5) SONDERLAND 'Sonderland' a track from Neck Deep’s 2020 album All Distortions Are Intentional, released during a time when nothing felt real. The title blends “sonder”- the realisation that everyone lives a life as vivid and complex as your own- with “wonderland,” a dreamlike escape from reality. Staying true to themes of isolation, self-doubt, and struggle, the song captures the overwhelming nature of the world- a feeling that resonates deeply with listeners. 4) DUMBSTRUCK DUMBF**K 'Dumbstruck Dumbf**k' is a high-energy song that blends Ben Barlow’s raw emotion with powerful guitar riffs perfectly capturing the frustration and chaos of a toxic relationship. Not to mention the infectious hooks and electrifying energy that keep listeners hooked from start to finish-a track that’s bold, relentless, and unmistakably Neck Deep. 3) DECEMBER 'December' is one of Neck Deep’s most emotionally raw and heartfelt tracks, standing out as a powerful ballad that beautifully captures the complexities of human emotion. The lyrics paint a vivid picture of heartbreak in real time-the bitterness, sadness and acceptance colliding at once. It perfectly conveys the longing for a lost relationship while feeling the weight of its absence, making it an unforgettable and deeply moving experience for any listener. 2) CANDOUR 'Candour', the final track from Neck Deep’s debut album in 2014. It stands out as one of their most vulnerable and raw songs released, it has a universally relatable theme reflecting on love, loss and the passage of time. This gut-wrenching song has an emotional range that not only helps elevate the song but also leaves a lasting impact on the listener, making it another fan favourite. 1) IN BLOOM 'In Bloom' is simply an unforgettable track that stands out from the rest of the album, different from their usual faster-paced pop-punk anthems. this song pairs a melodic and mellow approach with soft verses and powerful choruses, exploring both internal and external struggles, earning this track the title of fan favourite. Catch Neck Deep at Slam Dunk Festival this may, alongside A Day To Remember Words: Morgie Ashman

Incineration festival specializes in extreme metal yet this year’s lineup has a very eclectic mix of bands to check out. From some old school goth vibes to proggy weirdness to some of the most beautiful stage shows in metal theres a lot to check out, this list aims to give you a starting point of 10 bands you should check out playing this year. NAUT Naut aren’t exactly a metal band they share more musical DNA with 80s goth bands. Their danceable gothic songs make them a perfect band to check out between the heavier sets of the festival while remaining dark and atmospheric. The perfect band to check out for a brief goth interlude at the festival. DECAPITATED One of the many legendary bands playing the festival are Decapitated. Known for their iconic brand of death metal they are beloved by many in the scene. They are sure to bring a brutal set to the festival. They have a legion of dedicated fans who will be sure to bring some craziest energy of the weekend. The perfect band to check out to see living legends still playing. BLOOD INCANTATION Blood Incantation dropped one of the greatest albums of 2024. This will be their first set in the UK after they dropped the monumental ‘Absolute Elsewhere’. The buzz about them in the scene has been nothing short of electric so that energy will definitely translate into the crowd when they play. Their unique take on progressive metal is unlike anyone else around currently. The perfect band to watch for proggy goodness. CRYPTOPSY Cryptopsy are death metal legends hailing from Canada. Their music is classic brutal death metal, perfect for head banging so hard your hair flies everywhere. They are iconic and always bring the perfect vibe to go crazy to, pure heavy catharsis. Being just over 30 years since their debut studio album this set will be a celebration of the band. The perfect band to head bang to. BEDSORE Italian prog metallers Bedsore are a fairly new band, their sound reflects this but also has elements of 70s prog. They are a blend of old-school prog with more modern metal. They aren’t the heaviest band playing but pack a punch. They are in a similar vein to Blood Incantation. This set is their UK debut, so it truly is a set not to be missed as you won’t be able to see this set anywhere else. The perfect band for people looking for more prog at the festival. TRIPTYKON Celtic Frost are one of the founding pillars of black metal. What better way to celebrate this legendary band by seeing the founding member’s new band Triptykon play a set of Celtic Frost material. The influence of Celtic Frost on the wider extreme metal is not to be underestimated, the band’s stylings will be seen reflected in many of the acts playing the festival. There hasn’t been a chance like this to celebrate Celtic Frost in the UK so it’s sure to be an emotional set. The perfect band to see where extreme metal started and celebrate what it led to. WARBRINGER Bringing some thrash into the festival American band Warbringer will bring a truly mosh filled set. Thrash fans are known for going crazy in pits, and Warbringer’s fans are no exception. The band has great riffs and great energy which will be a different kind of energy compared to black and death metal bands playing. This is sure to be a fun set to just let loose. The perfect band for getting your 10,000 steps in the pit. DEATH COLLECTOR Founded in 2021 by the original drummer of Bolt Thrower DeathCollector are very old-school death metal. Expect everything you love about the genre pure intensity, heavy riffs and brutal vocals. With only one EP and one album out the band don’t have loads of material but what they do have is great. The perfect band for those looking for new death metal that harkens back to the genre’s past. COFFIN MULCH Another one of the newer bands on the lineup with their debut album coming out in 2023, Coffin Mulch are a modern death metal band. Hailing from Scotland they will be bringing a truly brutal set of their music to the festival. Causing buzz in the scene it will be a chance to see the band play to a crowd hungry for new music in the genres they live for. The perfect band to see for a new taste of death metal. BATUSHKA Batushka are one of the most beautiful bands live in metal. Their sets are inspired by the orthodox church so feature heavy usage of candles and incense. The amount of candles they use on stage is truly like nothing else in metal, being faced with this brutal black metal while the band are encased with candle light is something special. These religious undertones also feature in the band’s music creating a very unique atmosphere when played live. If you haven’t had the chance to see them live go see them at the festival. The perfect band to see perform a beautiful stage show. Words: Will Freeman

Catch Your Breath rolled into Bristol with something to prove—and they didn’t disappoint. The Fleece, known for its no-nonsense charm and sticky floors, set the perfect stage for a night of soaring choruses, heavy riffs, and raw emotion. From the first note, the band had the crowd hooked, blurring the line between vulnerability and chaos in a way that felt both personal and powerful. This wasn’t just a gig—it was a release, a night for the fans to come together and lose themselves in the music. Of Virtue kicked the night off with explosive energy, delivering a set that immediately pulled the crowd in. Frontman Tyler Ennis didn’t just command the stage—he dove into the pit mid-set, merging with the crowd in a surge of shared intensity. Between the crushing riffs and soaring choruses, guitarist Damon Tate took a moment to share a personal milestone: 18 years sober. It was a vulnerable admission that resonated deeply with the audience, setting the tone for a night of connection and catharsis that would only intensify. Hailing from Buffalo, New York, Until I Wake stormed the stage with their track "Catacombs," instantly setting the tone with haunting melodies and razor-sharp breakdowns. Their set was a seamless mix of old and new, with tracks from their latest album, Inside My Head (2022), blending effortlessly with fan favorites from their 2021 self-titled EP. They wrapped up their set with a crushing one-two punch of “Self-Medicated,” and a final, guttural blergh that sent the crowd into wild chaos. Critics might call them another metalcore band, but live, Until I Wake proved they're carving their own unique path—with polish, passion, and just the right amount of chaos. The energy in the room surged as Catch Your Breath launched into “Ghost Inside the Shell,” immediately setting the stage for an electrifying night. Their high-octane performance never let up, keeping the crowd locked in from start to finish. Fan favorites like “21 Gun Salute” brought the house down, but it was the personal moments that truly defined the evening. Frontman Josh paused to dedicate the song "Good in Goodbye" to guitarist Teddy’s late grandmother. As the crowd’s phone lights illuminated the venue, fans joined in, singing the chorus back to the band. The room was filled with an overwhelming sense of hope and light, and for anyone who had lost someone, that moment felt like a shared breath of healing—a truly emotional release, leaving everyone feeling connected on a deeper level. As the energy returned, Catch Your Breath tore through “Savages” and “Cycles,” with Josh offering a personal shoutout to anyone who had a parent who “didn’t give a shit about them.” The crowd roared in response, with Josh demanding the biggest circle pit of the evening during “Cycles.” The reaction was explosive—the crowd was on fire, feeding off the band’s raw energy and the freedom they embodied, creating an atmosphere where everyone was part of something much bigger than just a concert. The night reached its climax with “Shame on Me,” but even that couldn’t extinguish the fire. The crowd, hungry for more, shouted “One More Song!” at the top of their lungs. Catch Your Breath didn’t disappoint. They returned to the stage to end the set with “Y.S.K.W.,” giving everything they had. By the final notes, the band had fully captured the crowd’s heart and left them with nothing but pure energy and unforgettable memories, ensuring that this night would remain with them long after the last chord was struck. Words: Mia Gailey Photos: Teala Lynas

​Face Yourself's latest EP, Martyr, is a relentless exploration of mental health struggles, blending ferocious deathcore instrumentation with emotionally charged themes. The five-track offering, released via Sumerian Records, showcases the band's ability to intertwine sheer aggression with lyrical vulnerability.​ Opening with 'Primal', the EP sets an intense tone. The track begins with a distorted phone recording of a label representative describing the band's music as "a little more primal." As the word "primal" is uttered, the song plunges into a barrage of guttural vocals and relentless drumming, immediately immersing the listener in the band's raw energy.​ What stands out immediately about Martyr is Face Yourself's ability to speak through their instruments as much as through lyrics. Every blast beat, every tremolo riff, and every unrelenting growl tells a story that words alone couldn't convey. The lead single, 'Predatory', delves into themes of trust and betrayal. According to the band, the song narrates a modern story with metaphoric imagery, depicting a dance with a stranger that quickly turns dangerous. The track's brutal instrumentation mirrors the dark undercurrents of vulnerability and self-preservation. ​ 'The Poet' continues the onslaught with intricate guitar work and dynamic tempo shifts. The track's composition reflects the tumultuous journey of confronting one's inner demons, seamlessly blending melodic interludes with crushing breakdowns.​ The song’s frantic pacing feels like a panic attack in musical form; urgent and claustrophobic. Through the chaos, there’s a strange sense of clarity, as if the music itself is helping process the pain it’s expressing. 'Saboteur' stands out with its unexpected introduction, incorporating airhorn sounds that catch the listener off guard. This creative choice transitions into a powerful display of vocal interplay between lead vocalist Yasmine Liverneaux and backing vocalists Corey Doremus and Kyle Muenzner, exemplifying the band's innovative approach to the genre. The instrumentation isn’t just a backdrop to Face Yourself, it’s confrontational. The chugging riffs and screamed refrains almost feel like an argument with oneself, a back-and-forth between hope and despair. Closing the EP, 'Sideration' encapsulates the essence of Martyr. The track features electronic elements that add a modern twist to the band's deathcore roots. The atmospheric intro builds into a heavy, layered composition, symbolizing the cyclical nature of mental health battles and the balance between empowerment and self-doubt.​ There’s something beautifully tragic about how the melodies float above the chaos—fragile yet defiant. It’s as if the band is holding a mirror up to the listener’s darkest thoughts and saying, “You’re not alone.” That emotional resonance, delivered not just by lyrics but through the music’s weight and shape, is what makes Martyr stand out. Produced by Joey Sturgis, known for his work with Asking Alexandria and Of Mice & Men, Martyr achieves a polished yet raw sound that captures the band's emotional intensity. The EP reflects the non-linear journey of healing, acknowledging that confronting one's demons often involves revisiting dark places before finding light. In summary, Martyr is a compelling addition to Face Yourself's discography, offering listeners a visceral experience that resonates both musically and emotionally. The band's fusion of aggressive deathcore elements with poignant themes sets them apart in the modern metal scene.​ Score: 7/10 Martyr will be released on April 18th 2025 via Sumerian Records. Words: Jason De Mendonca Photos: Face Yourself