Sheffield’s own metalcore heroes Malevolence return with their fourth LP, ‘Where Only The Truth Is Spoken’. A blistering new release packed with insane riffs, massive anthems, and a wild guest feature we’ll get to shortly. Formed in 2010, Malevolence’s unique blend of beatdown, hardcore, and metal has garnered a horde of fans across a multitude of alternative genres. Assisted, of course, by their incredible festival slots, including Download, Bloodstock, and Australia’s Invasion Festival. With praise from genre titans like Lamb Of God’s Randy Blythe and a touring résumé that includes Knocked Loose, Kublai Khan, and Jesus Piece, the Sheffield five-piece have long since outgrown their underground roots. ‘Where Only The Truth Is Spoken’, released via MLVLTD and Nuclear Blast, was recorded at the legendary Studio 606 in California—owned by none other than Dave Grohl. The record is the band’s most polished and refined to date, featuring incredible production from Grammy-winning producer Josh Wilbur (Lamb of God, Gojira, Trivium). And, speaking of Lamb of God, those with keen ears are sure to recognise the unmistakable voice of Randy Blythe featuring on ‘In Spite’—a generational summit of metallic fury that hits like a hammer. This album is an undeniably powerful chapter in the Malevolence story. Their signature fusion of metallic hardcore is elevated by a newfound confidence and technical precision. Yet, for all its polish, the emotional core remains raw and honest. Lyrically, this release focuses on themes of loyalty, honesty, and integrity. These are principles the band have lived by since their formation. They’re the core values in each member's life, not simply thematic tools for the record. As the band themselves put it, the record is an unfiltered expression of the struggles, victories, and unshakable brotherhood that have carried them this far. And what an opening statement “Blood to the Leech” makes—urgent, aggressive, and utterly unrelenting. From there, the album rarely lets up, delivering track after track of sure-fire future metalcore classics. Malevolence have always been a band who understand the power of contrast, pairing skull-crushing breakdowns with surprisingly melodic passages and introspective lyrics. 'Where Only The Truth Is Spoken' strikes that perfect balance, offering soaring choruses that never feel out of place next to the chaos. Instrumentally, the band fires on all cylinders. Guitarists Josh Baines and Konan Hall lay down some of their tightest, most inventive work to date. At the same time, drummer Charlie Thorpe’s performance is nothing short of punishing. Bassist Wilkie Robinson provides the low-end heft that anchors the record’s dense sound, allowing every breakdown to hit with seismic force. Credit: Ramsay Ramone In a time when heavy music often leans on nostalgia or recycled formulas, 'Where Only The Truth Is Spoken' feels like a genuine evolution, not just for Malevolence, but for modern metalcore as a whole. There's a strong resurgence of the metalcore and metallic hardcore sound of the '90s lately, which we love. Yet it's incredibly refreshing to see bands like Malevolence take the genre in new directions. It doesn’t chase trends or dilute its message. Instead, it refines everything the band has always stood for and delivers it with renewed purpose. This isn’t just an excellent record—it’s a defining moment for Malevolence. With 'Where Only The Truth Is Spoken', they haven’t just raised the bar for themselves. They’ve raised it for everyone else in the game as well. Rating: 7/10 Words: Andrew Nile

Shrinkwrap Killers is a solo project brought to you by Greg Wilkinson of BRAINOIL fame, beginning his own genre-blending twist to the forefront aptly called ‘New Wave Punk’, His latest album 3D Printing Humans arrives as a sci-fi punk manifesto wrapped in shimmering synths and grit-laced guitar riffs. With a thrilling blend of nostalgia and futuristic angst, this record explores themes of dystopia, isolation, and synthetic existence- and it does so with surprising stylistic range and cohesion. With earlier singles setting the tone ahead of its full release, the album delivers an ambitious journey through sound, following a similar sentiment to past releases. The title track, 3D Printing Humans, opens the album with a bold statement. Released as a lead single on May 7th, it sets the conceptual and tonal foundation for what’s to come. The composition is intricate, layering mechanical rhythm with human emotion, a perfect metaphor for the album’s underlying theme. Following closely is Piss Bottles and Shit Bags, a song that leans heavily into punk territory. With snarling vocals reminiscent of early Misfits and a driving guitar riff anchored by catchy New Wave synths. The clash of aggression and melody is raw, rebellious, and undeniably infectious. Eminent Death, released on May 22nd as the album’s second single, brings a tonal shift. It features melancholic piano lines and introspective lyrics about floating through space and the search for help, evoking isolation and existential weight. The drum machine, a classic 808, taps into the sonic DNA of the 1980s while grounding the track in vulnerability. It’s haunting and heartfelt, showing the band’s emotional range. Then there’s Solar Cemetery, a shimmering homage to 80s synth-pop that is similar to genre legends A Flock of Seagulls. The lush, retro synth lines wrap around echoing vocals, producing a sense of longing that’s both romantic and haunting. It’s one of the album’s most sonically immersive tracks. As the album continues, Earth’s Destruction is Near throws a curveball. It’s darker, more atmospheric, and steeped in cinematic tension. The track pulls back from punk and pop structures, instead offering a chilling soundscape that feels like part of the score to a futuristic horror film. These Zombies Are Not in Costume brings us back to punk in its rawest form. Stripped-down guitars, shouted vocals, and frenetic drums transport listeners straight to a sweaty basement punk show. It’s a pure punk gut-punch—short, savage, and satisfying. The penultimate track, Only the Evil Remain Here, is a fully instrumental piece that feels like a farewell from a decaying world. Guitar, synth, and drums dance around each other in a somber, yet cinematic arrangement—no vocals needed to tell this story. Closing the album is a reprise of Feed the Clones, a reinterpretation of the 2023 track Feed the Clones. It's a smart way to tie the saga together, hinting at future evolution while paying tribute to past efforts. This album is genre-defying, emotionally rich, and sonically adventurous, it captures the feeling of watching humanity unravel in the glow of flickering neon lights and is an interesting blend of both Punk and New Wave and pulls it off incredibly well, this album is a must-listen for those curious and existing fans alike. Feed the Clones PT. 2 will release on June 13th via Carbonized Records Rating: 8/10 Words: Sage James Photos: Shrinkwrap Killers/ Fern Alberts

It's hot, maybe too hot in the UK but the sad day has come where the Bristol music scene has to say goodbye to one of its legendary and much loved venues, Marble Factory (and by proxy the sister night club venue Motion); there was no better way to send off the old girl than with a massive set from Connecticut's own purveyors of heavy acoustic, Have A Nice Life. Firstly though the packed out crowd were treated to London based post-rock slowcore outfit deathcrash. Emerging onto a dimly lit stage, dense with fog; deathcrash’s sound can be loosely aligned with that of the likes of Mogwai, Godspeed You! Black Emperor, Codeine or Low, a melancholic amalgamation of doom-metal and emo. Each track on the set was not only swollen in length but also packed a punch, each a true journey building from quiet roots to a cathartic almost euphoric crescendo, where the vocals of Tiernan Banks used sparingly but to great effect, providing a flourish to the layered soundscape the band creates. Culminating with “American Metal” (“Return”, 2022), the sole support slot was short and sweet (just 30 minutes), but it did everything that it needed to, warming the crowd up (both figuratively and literally, British summer time was in full force inside the main room) preparing them for the main event to follow. Have A Nice Life rarely perform live, even less so on these shores; so this summer's European / United Kingdom tour which included performances during both legs of Outbreak Festival (their first ever UK appearances), shows in Dublin and Glasgow all finishing off with a slot at Hellfest; was sure to be a treat. Founding members Dan Barrett and Tim Macuga have described the direction of their own sound as “crafting oddly aggressive acoustic songs”, they create a completely enthralling soundscape of post-punk/shoegaze gloriousness. The bumper 1hour and 45minute set kicked off with the quartet of “Cropsey”, “Defenestration Song” (both “The Unnatural World”, 2014), “Dracula Bells” (“Sea of Worry”, 2019) and “Sisyphus” (“Void”, 2023). Adlibing with the crowd vocalist Dan lets us all know “there is not a lot do in Connecticut, what I learned is you don’t have to ask permission to follow your dreams, just go off and fucking do it. I wanted to join a band so I went off and made one with Tim in college. Now I hear this is the last gig at this venue, so hey, go out and start your own bands, start your own venues, replace this place.” The closing sentiment was met with a chorus of cheers from the crowd. Band and fans alike are utterly captivated by the music on show, when not being lost to an almost shamanic state, twisting and convulsing across the stage the music, every sinew of Dan’s body straining with absolute purpose as he delivers each lyric with the forceful gravitas that they deserve. A small tech issue led to Dan having to improvise some stand up for five or so minutes including some banter with some fellow Connecticut-ians (or is it Connecticut-ites) at the barrier. Everything so far had built to the highlight of the night for me, the cathartic crescendo that is, standout from 2007’s” Deathconciousness”, “Bloodhail”. Every single member of the crowd , with their full chests, singing every lyric back to the band, ending acapella, fittingly, for the occasion and this venue tonight, with “And it lasts as long as it possibly can.” The set rounds out with a duo of fan favourites “A Quick One Before the Eternal Work Devours Connecticut” and “Earthmover”, before the sweat soaked, euphoric crowd disperses into the humid night air. What a way to say goodbye to live music at Bristol’s Marble Factory, This is definitely a topic that deserves a thorough deep dive and more column inches than I can provide in this review. But I for one am truly gutted that this venue, which was one of my favourites anywhere in the UK, has held its last ever live gig. With the news of so many other grass root venues up and down the country being under threat of closure, including the recent news from Sheffield's longest running live music venue, The Leadmill; the work of organisations like The Music Venues Trust, and, among other things, their campaign for a £1 grassroots investment contribution from every arena and stadium ticket sold to support grassroots music venues, artists and promoters. “In 2023, more than one venue closed every week. Of the 366 small venues Ed Sheeran played in while learning his trade, at least 150 are now closed. Another 72 Grassroots Music Venues significantly reduced or ended their live music offer in 2023. 38% of Grassroots Music Venues in the UK made a loss in the last 12 months. The sector operated on a 0.5% profit margin overall while running live music events at a £115 million loss.” (A Manifesto For Grassroots Music - Music Venues Trust.) SUPPORT YOUR LOCAL VENUES! Cheers Marble Factory, you were an absolute beaut, you WILL be missed. Words and photos: Simon Arinze

Our favourite post-punk Metalcore band, Archers, made a trip from across the pond to bless our ears with a couple of fans’ favourite tracks, tearing the roof off of The Black Heart in Camden on the 18th June 2025. Hailing from Madison in Wisconsin and forming in 2015, Archers have a serious knack for seamlessly blending alluring melodies with thunderous chords and death growls, which is what gives the group their unique edge and attractive sound that fans have come to know and love. Archers have spent a majority of their career honing their craft on the road, most notably playing at Download Festival and the upcoming Summerfest in 2025, they have gained significant momentum following these performances and they aren’t looking to slow down anytime soon. Fans packed into The Black Heart in Camden in this splintering heat and were greeted by HENKA, Archers’ support artist bringing whiplash-worthy angst all the way from Portugal. HENKA fought for the opportunity to represent Portugal in the infamous Eurovision Song Contest in 2025 with her song ‘I Wanna Destroy U’ but unfortunately did not make it through to the final televised stage of the competition despite an overwhelming response and a record-breaking number of votes from the public. She has refused to let this bring her down though as the sheer level of positive response and love for her music is more than enough to motivate and inspire her to keep the feral energy and mosh pits rampant at every opportunity that comes her way. Previously a vocalist for the London-based alternative metal band DERANGE, Cat Pereira is no stranger to live performance and knows her way around the crowd, which was evident with her remarkable stage presence and talent for creating the filthiest of mosh pits at The Black Heart last Wednesday. The post-HENKA energy was kept afloat by the audience during the thirty-minute break between the two sets and when Archers made themselves known, the sea of fans went into a tameless frenzy. Integrating songs from their brand new EP Temporary High as well as a few old but gold tracks, the band delivered an hour of raw emotion and talent that the likes of The Black Heart had rarely seen before. Archers’ music tells tales of heartbreak and emotional anguish amidst the angsty facade, and anyone could relate to their lyrics at one point or another in their lives. The group threw the audience straight into the deep end, starting off strong with their track ‘Drag Me Out’, which opens with an insane riff from guitarist Ben Koehler. The band then effortlessly segued into their second most popular track ‘Made For Love’, which has a reputation for getting the fans deep in their feels with the heartbreaking lyrics that feels like a slap of reality straight to the cheek. This feeling was kept at full force before the band delved into their brand new EP Temporary High with the sombre track ‘Say This Sober’ which touches on topics of loneliness and longing. Archers introduced Temporary High to the doting crowd with the tracks ‘Never Enough’ and ‘Better Off’ before they ended their set with a couple of tracks that had received the greatest response from fans, ‘Bitter’ and ‘Perfect Strangers’. This was the audience's last chance to show their admiration to the band before the night came to an unfortunate end, hair was flying around the venue and pits were being mosh-ed to the extreme. Archers are no strangers to putting on an incredible show, and despite the size of the venue, fans flocked from every direction to see this amazing band during one of the most incredible years of their career. Temporary High was released on 13th June 2025. Words: Billie Wheeler Photos: Amy Smyth

When it comes to hardcore heavyweights Desolated, guitarist Richy Unsworth has always felt more comfortable playing intimate venues, with devoted crowds that ooze with disorder. “I love it when it properly kicks off, and you’ve got a massive pit. That’s my perfect vibe. I like stage divers, but they don’t happen very often for us, because I think there is not normally a front row, they sort of evacuate.” Perhaps that’s why the title of Desolated’s new album, ‘Finding Peace’, works so well; there is an unspoken art of finding the calm in the chaos. As the band's first record in nine years, it was easy to get swept up in why ‘Finding Peace’ had taken so long to come out. Richy claims that Desolated spent years refining the record, compacting all the elements of the shred until it formed a brilliant diamond. Tracks like Glass Ceiling, Bite Down and Victim took four years to perfect, just because the band worked through the record slowly, “in drips and drabs”, fitting in with their lives and schedules outside of the band. 2016’s ‘The End’ was a record so dedicated to finality that it was almost impossible to follow up. Nine years ago, Desolated’s abrasive sound was revolutionary, as it paved the way for the brutality of modern hardcore, now championed by artists like Pain Of Truth and Sunami. Richy reflects, “The hardcore scene is a lot bigger now, and the ceiling is way, way higher than back then. I remember we stood out quite a bit, and then the pandemic happened and all these bands blew up.” “For years and years, hardcore [in the UK] has not been that hard, other than like Rupture. And now we’re in this wave of bands that just make me want to pit so fucking hard. I’m kind of gassed about it, to be honest.” Beaming with enthusiasm about the hardcore scene, he adds: “Last Wishes are great! I managed to catch them with Comeback Kid the other week.” Whilst Richy jokes about being the old guy at the hardcore show (“There has to be one!”, he exclaims), the best thing about Desolated as a unit is the respect they have for their scene. ‘Finding Peace’ is a much of a tribute to old school hardcore as the influence of newer artists like Trapped Under Ice and Gridiron. When it comes to collaborating with other artists, from the guest spots on their albums to the bands that they ask to support them at their shows like Whispers, D Bloc and Ninebar, they choose people that they truly respect to work with. Richy remembers the first time he met Bangkok evilcore outfit Whispers back in 2014 at their first ever show. “I was, like, moshing across the stage, just having a great time in Thailand. I almost died because it's so hot and I'm not built for cardio.” Ten years pass, and as the band have picked up massive traction touring the world with Flatspot darlings Speed, Richy asks vocalist Nitisart ‘Mike’ Chaiburi to help him with a guest spot. “ I just hit him up and said, Oh, can you do this track? I think you'll work really well on it. And then he did it. It just worked out seamlessly. Amazing band. Like, they brought back a sound that is kind of old now, but they've made it so fucking relevant.” Closer to home, Desolated are part of Steel City’s royal metal family, MLVLTD, a collective of ruthless bands that have now become one of the biggest exports of UK hardcore. Desolated is an integral part of the roster, which includes heavyweights Malevolence, Guilt Trip, Rough Justice, Justice For The Damned, and Nasty, all with a wicked manifesto to bring beatdowns on a global scale. “We've worked with a lot of labels over the years, and because they're my friends, you just phone and just talk to them. For other labels, there's sort of, like, channels of communication. Like today, I just phoned Charlie. I mean, he was drunk in Australia listening to Pitbull. I love that.” Malevolence’s Charlie Thorpe is also a crucial part of the Desolated lineup, working with Richy and Les to shape the bulk of the album. On the drums, he provides the backbone of the Desolated operation, as Richy explains, “No one can do it quite like Charlie.” When it comes to their final blistering track ‘Dead End 2025’, a re-recording of a demo the band played years ago, Richy believes he is the only one who can play it properly. In the time it has taken to release the new album, the band has evolved to become a supergroup. Idle Hand’s Tony Evans fronts the band, with Fifty Calibre’s Les Law wielding the guitar alongside Richy and bassist Dan Ford. ‘Finding Peace’ is a record that doesn’t need to demonstrate anything new, but it sure as hell has showcased that the band are still at the top of their game and masters of their craft. Polished to perfection, Will Putney’s clean approach to the record makes the breakdowns hit that much harder. Richy says that “Everything he touches turns to gold.” Whilst Richy hopes that it will not take another nine years to make another Desolated record, his focus is now on touring and putting on some brutal live shows. At the beginning of the year, the band toured with Paleface Swiss, making their deathcore lineup run red with hardcore blood. “Those kids stood on the barrier did not see what was coming. A quarter of the way into the set, half of the barrier was facing the back of the room, because they were dodging fists. This is great. Like, this is just so much fun.” One of the things that Richy loves is playing with other artists of different genres, making sure the audience gets firmly acquainted with the world of Desolated. Richy believes that Desolated never truly had their time, but in the chaos of it all, creating a brutal new album and supporting the scene, Desolated have fought tooth and claw to be a pillar of a community that truly respects them. They are, indeed, one of the best to do it in UK hardcore. Desolated's Finding Peace is out now via MLVLTD. Words: Amber Brooks Photos: Lizzie Jones and Ben Blisset Cover Design: Simon Arinze Cover Photo: Des Maddocks With thanks to The Noise Cartel

British metal isn’t just surviving right now, it’s thriving. We’ve rounded up 10 of our best and brightest home-grown bands hitting the country’s biggest festivals this year. From the blood-soaked fields of Bloodstock to the genre-bending stages of 2000trees, UK bands are pushing boundaries, redefining heavy music, and proving that innovation and intensity go hand in hand. Heriot There’s a feral precision to Heriot; a band that doesn’t just play shows, but drags the underground right through to main stages. Their fusion of industrial abrasion, sludgy chaos, and hardcore menace is completely uncompromising, and live, it feels like standing in the eye of a storm. Heriot don’t do subtle. They batter through comfort zones and warp genre lines with a brutal elegance. Whether they’re grinding through dissonance or dropping into eerie calm moments, they keep you locked in. Heriot aren’t appearing at Bloodstock 2025 to simply entertain, they’ll be there to break new ground in the genre. Miss them, and you’re missing the future of heavy music. Waterlines If metalcore’s next leap forward has a name, it might just be Waterlines. Infusing electronic flourishes into bone-snapping breakdowns and massive choruses, this northern outfit are walking a tightrope between emotional catharsis and raw aggression, and they’re not falling. Think shimmering synths, razor-sharp hooks, and a live show that feels like being hit by lightning in a rave. There’s a clarity to their sound that cuts through the noise, and a charisma that pulls crowds in like a magnet. Bloodstock 2025 won’t know what hit it. This is future-facing metalcore for a generation raised on chaos and catharsis. Ba’al There’s beauty in the bleakness of Ba’al. Their music moves like shifting weather, slow, ominous, and impossible to ignore. One minute it’s spectral calm, the next, it’s blackened fury crashing down like waves in a storm. Drawing on post-metal, doom, and atmospheric black metal, Ba’al write long, cinematic pieces that feel more like rituals than songs. Their live show is a slow burn that leaves you desperate for more; moody lights, distant screams, and walls of sound that hit like grief. It’s immersive. It’s devastating. It’s unforgettable. At Bloodstock 2025, Ba’al will summon something ancient and emotional. Be still. Let it consume you. Shrapnel Shrapnel are thrash with a bloodlust. Hailing from Norwich, but sounding like they were raised in a nuclear bunker full of Slayer tapes, they’re here to tear the main stage down with sheer velocity and riffs for the Gods. Their sound is sharp-edged and snarling; frenzied solos, galloping drums, and a vocalist who sounds like he gargles gravel for breakfast. But there’s extreme finesse beneath the fury. Shrapnel are tight, technical, and utterly relentless. This isn’t nostalgia, it’s a fresh injection of thrash brutality with a steel-plated backbone. Prepare for a whiplash-inducing set that’ll have pits spinning and necks snapping from the first downbeat. Cage Fight Cage Fight sound like a riot in a concrete box, and that’s exactly what they bring live. Their blend of hardcore punk and crossover thrash is political, punishing, and boiling with rage. They don’t just play songs, they spit venom, challenge the status quo, and throw down with fists-first fury. Featuring ex-TesseracT guitarist James Monteith, there’s pedigree here, but the heart of Cage Fight is pure underground grit. Expect chaotic riffs, scathing lyrics, and a crowd erupting into a battleground. At Bloodstock 2025, Cage Fight are not here to play nice. They’re here to carve their name into the main stage for years to come. Sylosis Sylosis are the heavyweights who never stopped evolving. Their brand of ever-evolving, genre crossing metal is sharp as broken glass and just as dangerous. Led by the ever-prolific Josh Middleton, Sylosis fuse blistering guitar work with massive hooks and intelligent songwriting, delivered with a finesse that calls back to the urgency and precision of early Metallica. Their live show is surgical in its precision but never cold or dull, there’s fire, there’s sweat, and there’s a legacy being reaffirmed every time they hit the stage. At Download 2025, Sylosis return not as survivors of the scene but as masters of it. Prepare for an onslaught of modern metal mastery. Bleed From Within Bleed From Within are the UK’s answer to the global metalcore juggernaut, and at this point, they’re leading the charge. With groove that slams like a wrecking ball and choruses that could level arenas, they’ve spent years sharpening their sound to a diamond edge. Their live sets feel like controlled chaos; tight, explosive, and brimming with momentum. There’s no filler here, just wall-to-wall bangers delivered with undeniable passion. At Download 2025, Bleed From Within aren’t just taking to yet another stage, they’re planting a flag. This is modern metal with purpose and power, delivered by a band hell-bent on leaving a legacy behind, not just a setlist and a couple of guitar picks. Split Chain Split Chain are the sound of digital decay and emotional ruin. Synth-laced metalcore that broods, bites, and breaks down walls. Their debut offerings have caught ears for good reason: dense atmospheres, searing guitars, and vocals that drip with urgency and anguish. They lean into contrast, industrial shimmer meets jagged distortion, vulnerability meets rage. Their aesthetic is sharp, their message clear, and their live show an overwhelming sensory hit. Split Chain are the new breed. If you want to see where the UK scene is headed next, get in the crowd, or get left behind. Unpeople Unpeople don’t follow rules, they write new ones in feedback and defiance. Their sound is an ever-morphing beast: jagged post-hardcore, seething alt-rock, moments of spoken word and sudden eruptions of noise. It’s raw, it’s thoughtful, and it hits like a conversation you weren’t ready to have. Their sets are electric, confrontational one moment, fragile the next, always alive. At 2000trees, they’ll draw in the misfits and the musically curious alike. This isn’t just a performance; it’s a reckoning. Unpeople are carving a space for something real, and it demands your attention. Vower Vower glide between genres with grace and power, melding the tight musicianship of prog with the emotional punch of post-hardcore. Their debut EP hit hard, full of layered instrumentation and soaring vocal lines that feel both intimate and cinematic. Live, they harness that intensity and transform it into something physical. Visceral riffs, walls of sound, and moments of silence that speak louder than words. Playing both Download and 2000trees, Vower are stepping into their moment with a sound that’s as ambitious as it is heartfelt. This is the sound of a band ready to rise, and they’re doing it on their own terms. Words: Vee Richardson

The HIMALAYAS ‘BAD STAR’ tour kicked off in Leeds almost exactly a month after the release of its titular second album. A follow up to their 2023 album ‘From Hell to Here’, several singles and first Ep Ecstasy released in 2016, since then they have had a meteoric rise, from working with members of AC/DC to touring with the Foo Fighters and supporting Manic Street Preachers. Their own tour has taken the Welsh-based four piece band across the country, playing Leeds, Glasgow, Brighton and Cardiff among others with a veritable host of openers crossing style and genre. BAD STAR’s London leg took place at The Garage, one of the capital’s more accessible venues due its location, layout and commitment to inclusion. Doors opened at seven, and the first opener came on at a prompt 7:30. With an almost bewitching sense of stage presence Juju and her three piece band (Abi, Jess and Adam) brought a haunting energy to the stage. The group dressed in all black, while Juju’s military-style jacked in particular embodied a chiquer version of every teenage emo’s fantasy of somehow channelling the energy of a My Chemical Romance music video. When it came to the music itself, these vibes were only amplified by a combination of strong backing and brooding vocals. The performance was powerful, poised and professional, it's unsurprising that Juju has already been picked up by BBC Introducing Bristol. It’s clear that when it comes to gothic rock this is an up-and-coming name to keep an eye on. Next up were Luna Bay, an alternative rock band consisting of Connor O'Mara, Sammy Penniston, Rye Milligan and Alex Ross. Luna Bay have been playing together since university, with endorsements from Jack Saunders, BBC Radio 1, BBC Radio Wales, BBC Introducing and Radio X. This impressive list of accolades was clear in the way that they took to the stage. Their set was a little more laidback, leaning more towards the indie side of alternative while still bringing an enjoyable energy. Songs such as ‘Hometown’ and ‘Video Star’ brought a fun sense of 2010s teen drama soundtrack nostalgia with the right balance of edginess and good humour to still sound culturally current. The band also spent more time engaging with the crowd personally than the other acts, talking about their experience opening for HIMALAYAS the night before for the Brighton show, and asking fans how far they’d come to see the gig. Finally, HIMALAYAS themselves took to the stage at 9:15. Their set, spanning discography from 2017 to 2025, was full of cult classic songs both old and new, encapsulated in a whopping hour and 15 minutes. From the moment the HIMALAYAS set foot on the stage, the venue was filled with charged anticipation, one person even ran straight into the centre of the crowd to try and form a pit before the first song even started. The band kicked off with BAD STAR’s opening track ‘Beneath the Barrel’, a gradual build with a heavy focus on acoustics that slowly built into ‘Alone’ from Hell to Here, before jumping back to BAD STAR for ‘Hung Up’. Despite dipping between eras, each song transitioned with a seamless sense of continuity. Three songs later and by the time ‘Somebody Else’ started an animated mosh pit began to form, as the energy from HIMALAYAS' performance became contagious. For visuals, the band were dressed in matching black boilersuits sporting the HIMALAYAS logo. While the lighting engineer pursued a very strobe-heavy approach to covering each track, with bright lights shifting in colour, size and shape in time with each note. This worked best with songs such as ‘Thank God I’m Not You’, their most well-known single with at the time of writing over 51 thousand streams on Spotify alone, where the performance was a pitch perfect rendition of the studio recording. Though it was equally impactful on lesser-known tracks such as ‘Afterlife’, which deserves a similar number of streams in the future. While there may have been a discrepancy on streams between songs online, there was no similar favouritism within the venue, and particularly not in the pit. Fans clapped and cheered enthusiastically for every single song, with the clear passion of a dedicated cult-following who had been familiar with the discography for years. Attendees varying from middle-aged men to the alternative teens and a shirtless man wearing light-up sunglasses. Despite being a broad church, all were united by a strong bond to the HIMALAYAS sound that was heartwarming to witness. When it became time to encore, the band ended on not one, not two but three farewell tracks, starting with ‘Cave Paintings’ before returning for ‘Flatline’ and ending on a mashup of ‘From Hell to Here’ and ‘Gangsta’s Paradise’. This was incredibly fun, particularly for those in the pit, and included an impressive guitar solo during ‘Cave Paintings’. But on a practical level, a long encore was probably not the right move for a London-based venue. Overall it was clear that all three artists put on a show to remember, with nonstop top quality performances, production and passion. We can only hope to see them all on bigger stages in the future. Words: Q Cummins Photos: Rebekah India

Six summer nights and twenty bands ready to get you moshing, Real Life Presents is putting on an entire week of heavy shows at the New Cross Inn. The Real Life Summer Jams will take place from the 2nd to the 8th of July. (Minus a much-needed rest day in the middle!) As a central hub of everything extreme, Real Life Presents always delivers on bringing the freshest metal and hardcore acts to London. All of the lineups represent the best in both UK and international heavy acts, a must-follow for anyone who wants to keep up to date on the breakthrough scene. Take a look at the week’s schedule of events below: 2nd of July - New Orleans Deathmetal baddies Brat serve alongside Brazilian thrashers Eskrota, Jawless and Skrapper 3rd of July - A double hardcore header of punk rockers Destiny Bonds and abrasive metallers Big Laugh, alongside UK representation from the almighty Flesh Creep 4th of July - Hardcore Punk San Franciscans Fentanyl shine alongside Perp Walk, Kute, No One and Flesh Prison 5th of July - US hardcore veterans All Out War make their presence known with Realm Of Torment, Temple Guard and King Street 7th of July - Want the extreme? California metallic hardcore outfit Xibalba decimate with Bloodgutter and Mutagenic Host 8th of July - Onslaught from Australian hardcore outfit Terminal Sleep rounds off the week of shows alongside Spaced and Still In Love Find out more and get tickets here. Real Life Presents also hosts Reality Unfolds Festival, a weekend of meticulously curated acts who truly pack a punch.

It has been tough figuring out how to write up Cwfen. They can’t be defined through simplistic means, nor do they fit snugly into one of the thousands of genres thought up by well-to-dos online. No, Cwfen are an entirely different beast. From cloudy Glasgow they came, but now, within a mere two years of existence, they stretch their long, blackened hand over the British isles and beyond - touring with the likes of Faetooth and Castle Rat in 2025. It’s quite rare to see a band pick up so much hype in so short a time, but one passing glance at their stage setup is enough to reveal their secret. It’s haunting. There’s a dryad on stage covered in thorns and woad screaming over a riff that sounds as if Crowbar and Cocteau Twins made the beast with two backs. In fact, that was a lot of people’s introduction to Cwfen - it was certainly mine. An Instagram reel of a performance of their song ‘Penance’ got a lot of people asking when they would come down to their neck of the woods to do the same. Soon after, they featured in some bonafide metal publications and secured a broad touring schedule for the rest of the year. With their new album Sorrows having been released to great acclaim, things are looking up for the Glaswegian quartet. And now they’re on my computer screen sipping on white wine and petting their fabulously shaggy cats. Before me is their songbird; Agnes Alder, already a striking looking lady with her doe eyes and raven hair. On-stage she transforms into a weird sister, resplendent with darkened war-paint upon a misty stage. Beside her is Guy De Nuit, her partner-in-crime and the axe-wielder with his long, flowing hair draped over his shoulders as he rocks a Jesus Lizard shirt. Live he shares co-vocal duties and conjures their crushingly heavy atmosphere. Over two hours we shoot the breeze across the digital chasm, many things are discussed: women’s rights, DEVO, Glasgow, and of course, just who the hell are Cwfen? “I think the genesis of Cwfen and this record,” Agnes muses, still mulling over her wine glass, “comes from the fact that we're all very broad listeners, and we all like a lot of stuff from jazz pop, classical music, etc.” Cwfen started as a darkwave project back in 2023. No grand plan, no thirst for clout. Just some friends making eerie, beautiful noise. “We didn’t set out with any ambitions for this band” Agnes shrugs, Guy adds that “we’ve all had our young, trendy efforts already. We just wanted to make music with people we liked. We thought, ‘well, let's just make a band,’ a group of friends to play a show. It wasn’t an attempt to get a foothold in the record industry. It wasn't an attempt to really do much of anything other than make music.” The irony, of course, is that by not trying, they accidentally became one of the most compelling heavy acts around. Go figure. “We didn’t set out to sound like anything,” Agnes insists. I ask them about their influences for Cwfen and beyond and, well, that turned out to be a shotgun shell of a question. Many, many names, some quite unlike one another, are thrown around: 11th century nun Hildegard of Bingen, avant-garde artist Diamanda Galás, Georgian polyphony in general, artists like Alcest, Amenra, Steve Albini, Charli XCX, DEVO, and Queen. “Myself and our bass player are both big Queen fans” says Guy, “Their initial fervour to create economical but impactful music… There’s not allowed to be any dead space. There doesn't need to be eight bars of just rhythm chords in order to kind of get to this ability, nothing's fucking happening!” He exclaims with glee. One thing is abundantly clear now, they wear their influences on their sleeve but not one inch of them feels shackled by it, impressively managing all of this without any of them overbearing upon the music. Part of it is down to the lo-fi nature of some of the recordings and the mixture of soft and harsh vocals. Agnes howls like a wolf to the moon. Her voice rings in a raw style that can’t help but sound oblique. I ask her if it’s safe to do that without shredding her throat into mincemeat. “I'm gonna say something that's probably gonna bite me in the ass,” she retorts; “I've never once lost my voice singing,” she audibly knocks on some wood, “it’s not happened.” She then elaborates on how she got her unique singing style. “I grew up singing and in school choirs I was taught the importance of diaphragmatic breathing and how to do it safely. So I read a lot, not only vocal theory stuff, but like anatomy, physiology, all of that kind of stuff. Nobody ever talks about the endorphin rush of primal screaming therapy. It's for me, I wanted to do it, and I wanted to do it well and with conviction and be able to almost have a volume knob on it,” apparently her music teacher at school thought her voice was too ‘wilful’ to be in the choir. “I was good at singing. I was a powerful singer, but because I had a low register, it didn't fit within the types of things they wanted you to sing at school.” I tell her that’s what they told Shakira, she chuckles. “I've had this reflection since Cwfen started, that actually my voice was meant for metal.” They go on to talk me through some of the songs featured on the new record. “Embers’ came from reading this amazing Hannah Kent book called ‘Devotions’, it’s story about two Lutheran girls who fall in love… And the consequences are enormous. ‘Embers’ feels important for me as a queer woman, I’ve not experienced the oppression that was in the books I’ve read, but I definitely feel like that's an important telling of history that I some way have a connection to. It's definitely very cathartic.” She picks up her enormous cat, Zelda, and continues. “The other one, I think for me, is ‘Wolfsbane’. I've been a feminist my whole life. But this came from a period of righteous female anger at the way that society is sliding backwards in terms of people's rights. When I'm singing these songs, I feel 10 times bigger. It's such a strange thing. I feel like I'm on the edge of breaking down when I’m singing them. And if you watch us perform live you'll see me close my eyes, because otherwise I'm gonna cry.” I ask Guy to elaborate on the other songs and what they mean to him. “I'll stick with ‘Rite’, which [at the time hadn’t] been released yet,” he says. The name originally was a bit of a pun. It used to be ‘Rite to Die’ as in spell or incantation. It’s still the refrain of the chorus.” He looks pensive for a moment. “It's quite a political number… It's about self-determination and not letting people be put down, not believing in the wrong things, and sticking up for your friends, neighbours and family. And yeah, it feels personal on that level.” Guy continues on to describe one of their favourite singles. “Penance’ was the other one that was personal for me as well. It was more about standing up to bullies in a way, resisting persecution, but on the behalf of other people, not doing it for yourself. You as an individual can probably take a little bit of abuse, but when you see it being directed at people who don't deserve it, it makes you angrier. And that's what that song was about, righteous justice.” Agnes’ eyes gleam, clearly invigorated by the mere mention of ‘righteous justice.’ “This might be the last swing of the bat for us musically,” she says. “I mean, some people go to therapy, we write songs, right? I think that's probably where the intensity of the performance comes from as well. Because you're singing about stuff, it's so much bigger than you that you don't even feel self-conscious while you're doing it.” And that’s it, the praxis of Cwfen laid bare. For them, it's not about achieving technical prowess; it’s about authenticity. By forsaking personal lyricisms, themes of feminism, queerness, social justice, and anti-authoritarianism are incidental, not forced. They’re not an explicitly political band, but their sense of righteous indignation is as genuine as they come. And according to them, they owe a lot of their transgressiveness to their beloved Glasgow. According to Guy; “Most of the other people in the band were born in West Scotland, but they all were peripheral to Glasgow, and it tends to be a kind of collective subconscious, a fairly ego free zone,” he says clearly with a great love for the city. “People won't really give you too much leeway on acting like you're better than anyone else. It's quite a level headed, streetwise place to be, and I think maybe that's been an influence.” Agnes assures me that Cwfen couldn’t be made anywhere else, “It’s a working class city with a strong sense of social justice,” she says. “Very left and very working class, it’s not a conscious thing, but if we're taking a step back and reflecting on what has come out at this very particular point in time, in this very particular place, I can see those fingerprints in it.” Nowadays the algorithmic pulse of the music industry demands polish, pretense, and performative engagement, Cwfen walk a righteous path. What makes them so compelling isn’t just the way they sound, though that in itself is captivating, it’s the way they mean it. There’s a kind of daring in honesty these days. Theirs is a sound built on catharsis. Every guttural cry from Agnes’ chest, every jagged riff conjured by Guy, is a testament to feeling things too deeply, to knowing that sometimes music is the only space big enough to hold the weight of rage, tenderness, and love all at once. Their constitution isn’t the curated kind you’ll find in a PR bio. It’s in the lyrics, the influences, the unguarded moments when tears threaten to spill mid-verse. It’s in the refusal to soften their message, in their ability to evoke a curse and a requiem in the same breath. And that’s why Cwfen are rising with such velocity. Not because they’ve cracked some sonic code or courted the right tastemakers, but because in a scene choking on revivalism and recycled edge, they’re simply, determinedly real. Funny what great riffs and uncompromising lyricism can do. By the sounds of things, Agnes and Guy have had prolific lives in and out of the scene, and now feel like they have settled down into their niche. Cwfen is their new reality, and as of now, it seems like this will be their home for a good while. Agnes states, “I've made my peace with the fact that if nothing happens with this record, it is a beautiful record of a musical life lived by four friends. And I think that we have made something that is deeply personal to us. We're gonna have this totem at a really special time in our lives, but for us, that's almost enough, it's such a special period. We'll see what happens.” Sorrows was released on May 30th 2025 via New Heavy Sounds. Words: Kiarash Golshani Photos: Cwfen

With the release of their new album ‘FINDING PEACE’, Desolated thought it only right to pull off two kick-ass release shows to celebrate this new era for the band; bringing fellow Hardcore giants, Shattered Realm, the underdogs, Bayway, and the new band on the scene, Low Life. This show brought together a line-up that let Underworld in Camden know what Hardcore really is, with one of the most aggressive crowds in the scene.  Starting the night off with ease were Low Life, who gave Underworld a taste of what London Hardcore can do, combining their intense spoken word with unclean vocals to bring in their hip hop influence that floods their music, very clear to see this band have a very bright future ahead of them, with their energy, aesthetic and talent; the scene is going to get to know this band very well. Next up we have Bayway, all the way from New Jersey, this band really upped the ante. A massive highlight being of course their vocalist Jayway, who not only was hilarious, but really committed to bringing out the aggression in this crowd; even at one point stepping down to crowd-kill the edges of the pit to get everyone amped.  Bayway again showed their Hip-Hop influence with lyrics really reflecting their environment in New Jersey as well as mixing rapping with unclean vocals. It honestly sounded like they took Hip-Hop beats and melodies and just make them the heaviest they could, with a killer bass tone, and even heavier guitar tone. The riffs, the drums, the vocals all game together to make them a perfect opener for the next two bands, if you ever see this band, get your two step on because their probably the hardest but funkiest hardcore band I’ve seen.  Then came Shattered Realm and all hell broke loose, with the nature of the level of hardcore this band bring, the crowd reacted in a similar fashion, the pit filled up with flying fists, some clean as hell fly kicks and just overall chaos. With absolutely the most intense set of the night, majority of the people had to leave the out just due to the pure aggression felt in the room.  This all fed back into the Hardcore Veterans themselves, giving it their absolute all and showing London what New Jersey Hardcore can do. It seriously did not disappoint, with the most gruff riffs, unclean vocals and drums; bringing an old style of hardcore i’m sure most of the crowd are not used to, but let’s be honest, hardcore of the 90s and 00s was where the genre was at an all time high with the intensity.  The crowd certainly reflected that with the faster songs making it seem like a bomb of hysteria had gone off, more contact in hits were being made than ever before, the swings got faster and everyone turned into animals it was fantastic. Finally Desolated took to the stage, and they proved themselves to be the headliner, first of all announcing to the audience to come closer as the ‘Heavy band just played’, they certainly didn’t hold back either, pulling of a mighty performance and not even with their own gear, due to their van being broken into the night before. They disregarded this fact though, talking about it and their GoFundMe but proceeding to absolutely kill the set with their sheer hardcore dominance; which is just a testament to their insane talent. Exploring their discography with their fans to celebrate the new album and new era, with no holding back, more aggression, more intensity and more punches to the face. Vocalist Tony Evans certainly let us know that, with some insanely consistent vocals to couple the bands chemistry to deliver the best set of the night, there was a real sense of community here that was quite beautiful. The fans seemed united by the celebration of the album and the devastation of the robbery, the pain and happiness was shared vicariously through the music, and solidified to me once again that Hardcore fans are the nicest people around.  Words and Photos: Ben Blisset

Metal 2 the Masses 2025 has once again delivered the goods in the form of riffs, roars, breakdowns, and the occasional battle vest held triumphantly aloft. From sweat-soaked venues across the UK and Europe to the hallowed grounds of Bloodstock, this year’s hopefuls have been tearing it up for a shot at the New Blood Stage. The full list of winners is still unfolding, but we couldn’t wait to shout about the first wave, so here’s a roundup of the first few bands who’ve fought their way to victory. If this batch is anything to go by, Bloodstock is in for one hell of a summer. Cyprus - Speak In Whispers Speak In Whispers opened up the finals of the Metal 2 The Masses competition back in April and absolutely smashed it out the park with an electrifying performance, winning the first slot at playing Bloodstock open air this August. With powerful vocals and a high energy stage presence, they captivated the audience from the first note. Giving a polished yet raw and authentic performance, they engaged well with the crowd whilst executing memorable riffs with the emotional intensity that truly embodies the spirit of metal. We look forward to seeing them perform at the new blood stage on the 10th of August, Good luck guys! - AN Scotland - Nothing Speaks Nothing Speaks are a fast rising force in Scotland’s alternative scene, taking home the Metal 2 The Masses crown this year with their high-energy, Offspring-leaning brand of grunge-infused alt rock. Punchy, melodic, and packed with attitude, their sound blends catchy hooks with a raw, rebellious spirit that nods to the ‘90s while keeping things sharp and fresh. With an electrifying live show and a growing reputation for tight, adrenaline-fuelled performances, Nothing Speaks are quickly proving they’re a band to watch. - VR Northern Ireland - If It Bleeds Northern Ireland’s If It Bleeds smashed their way to victory with a hard-hitting fusion of groove and thrash that’s as tight as it is explosive. Heavily armed with crushing riffs, pounding rhythms, and a ferocious energy that we can imagine had bodies moving from the first note, we can see exactly why they took the top spot. With a sound that channels the raw aggression of classic thrash with the swagger and weight of groove metal, a combination that hits with serious force, If It Bleeds seem more than ready to bring the noise to the New Blood Stage. - VR Leeds - Theocracide Pure thrash metallers Theocracide took the crown in Leeds, flying the flag high for the genre with unrelenting force. Their sound is a full-throttle assault of unadulterated riffs wrapped in razor-sharp precision and breakneck speed; a true homage to classic thrash with a modern, blistering edge. With aggression in every note and no compromise in sight, Theocracide are proudly carrying the torch for thrash metal and proving it still has plenty of fire left to burn. - VR Sheffield - ThunarWülf Thunarwülf, what can we say? You’ve done Sheffield proud. Serving up a stirring blend of folk and Viking metal, and weaving mythic themes with soaring melodies and powerful riff work, Thunarwülf sit comfortably alongside bands like Elvenking, Thunarwülf balance ferocity and finesse, delivering tracks that feel both epic and deeply rooted in tradition. With rich instrumentation and an unmistakable sense of identity, they’re carving out a unique space in the UK metal landscape, and proving that the spirit of the old gods is alive and well in modern metal. - VR Leicester - Baelfýr Baelfýr were triumphant in Leicester, delivering their signature sound of doom and death metal, soaked in just the right amount of darkness. Their sound is crushing yet atmospheric, blending slow, oppressive riffs with bursts of feral intensity. It’s a style that feels both ancient and fresh, steeped in shadow but never losing its edge. With this win, Baelfýr have firmly staked their claim as one of the most compelling underground acts in the region, and we believe their ascent is only just beginning. - VR Southampton - COMPOUNDS What a band! COMPOUNDS joined the New Blood stage as the crowned winners in the Southampton finals of Metal To The Masses, and boy did they deliver! This 5 piece seem determined to push the boundaries with a hybrid mix of punk and hardcore metal that would leave any audience mesmerised. Their engagement with the crowd holds an air of authenticity and heightened emotion, which combined with their incredible vocals and thrilling musical mash up leaves us in no doubt that they’re a band to watch! Congratulations COMPOUNDS, We’ll see you on the stage! - AN Manchester - VMBRA What a way to close out the month of May! Manchester’s ears were met with the intricate riffs and powerful choruses from none other than VMBRA- prog metal darlings who were determined to shake things up, and that’s exactly what they did. From entertaining the crowd and fusing a connection with everyone in the building, to providing an intoxicating thrill of an atmosphere, they truly submerged us all within their music. Despite Manchester being arguably one of the toughest regions in Metal To The Masses, we’re not surprised that they won. We’re expecting them to take the New Blood stage by storm this August, and they’ve definitely made their way onto our must see list! - AN Essex - Mechromorph Mechromorph, Essex winners, are bringing pure slam chaos to the New Blood stage this year, and we couldn’t be more excited. Blending brutal breakdowns with infectious grooves, they deliver a sound that’s tailor-made for both pit veterans and headbangers alike. Whether you’re there to throw down or just feel the weight of the riff, Mechromorph bring the kind of energy that grabs you by the throat and doesn’t let go. Get ready; this is slam with serious bite. - VR East Anglia - Koba What an absolutely breathtaking sound Koba are bringing to the New Blood stage! This group blends instrumental trance and metal into a unique sonic experience. Hypnotic melodies intertwine with crushing riffs to create something truly spellbinding. It’s a sound that hits just as hard whether you’re there to chill with some good vibes, or to throw yourself into the pit. Their performance in the finals clearly left its mark, and it's no surprise they've earned a place on the New Blood Stage this August. Massive congratulations to Koba, we can't wait to see what you bring next! - AN Somerset - Rizen Just as their name suggests, Rizen have certainly risen up through the ranks as a serious competitor in the metal scene! The Somerset winners are incredible at pulling you in from the very first note with an edgy yet addictive blend to their music. This combined with raw energy and breathtaking performances definitely makes this group one to watch! With something for all moods and emotions they certainly know how to bring in a crowd. Well done Rizen, See you in the pit! This is only the beginning. With two more batches of winners still to come, Metal 2 the Masses 2025 is already proving to be one for the books. From pit-starting slam to soaring prog and everything in between, these bands aren’t just here to fill a stage, they’re here to make an impact. Bloodstock better brace itself, because if this first wave is anything to go by, the New Blood Stage is about to be absolutely levelled like it's never been before. Cover photo - Ace Cheng Words - Vee Richardson and Athena Nikita

The Messenger Birds are not here to play it safe. With their new EP, GRAMMY AWARD WINNING ALBUM IT’S ALL A BLUR, the Detroit duo delivers a loud, unfiltered statement on living in a world ruled by misinformation, online performance, and emotional fatigue. The title itself reads like a swipe at modern spectacle, but the music underneath is anything but satire. This is a serious, scorching take on disconnection and disillusionment. Right from the opening track, 'FAKE LIVES', the tone is set. The song crawls in with uneasy ambience before slamming the listener with heavy guitar riffs and pounding drums. There is an immediate sense of urgency. The vocals cut through the chaos with lyrics that target the hollowness of digital identity; it sums up the band’s view on the curated self-image that dominates social media. The track is intense but sharp, controlled but wild. It grabs you by the collar and does not let go. Second track 'LOST THE PLOT' throws you into the fire even harder. The tempo picks up, the riffs hit faster, and the vocals feel close to cracking. Everything about the song sounds like it is teetering on the edge, perfectly matching the subject. It captures the overwhelming feeling of information overload, where the noise is constant and focus is impossible. There are no clean moments here. It is relentless in the best way. 'BLACK HOLE LOVE' slows things down but does not ease the weight. Instead of aggression, it leans into emotional heaviness. The track feels like a love song buried under layers of fuzz and feedback. It is romantic in the most painful way. The guitars hum like static, and the vocals sound distant, as if sung from the bottom of a well. It draws on elements of post-rock and industrial, echoing the moodiness of bands like Radiohead while maintaining its bite. This is the most atmospheric track on the EP, and it's also the most haunting. The final track, 'REPRISE', strips everything back. It is quiet, ambient, and short, acting as a kind of comedown from the chaos that came before. There are no big moments here. Instead, it feels like standing in the aftermath of an emotional storm. Faint melodies drift in and out, and the silence between them says more than any lyric could. It is a thoughtful end to an otherwise explosive record. In just four songs, The Messenger Birds manage to capture the anxiety, noise, and numbness of life in 2025. They do not waste a second. Each track is focused, polished without being overproduced, and emotionally raw. The guitars are thick and punchy, the drums hit with real weight, and the synths add just enough unease to the background to keep you on edge. The EP builds on the foundation laid by their earlier releases like Everything Has to Fall Apart Eventually and Tragic Comedy, but it sounds leaner and more refined. Where those albums sprawled across full tracklists, this one tightens the grip. The result is a more impactful listening experience. Influences like Nine Inch Nails, Royal Blood, and Queens of the Stone Age are easy to hear, but The Messenger Birds have carved out their own identity. Their strength lies in their ability to merge sonic violence with emotional vulnerability. The songs are angry, yes, but they are also honest. There is no empty posturing here. Even at their most aggressive, there is always a human voice beneath the noise, trying to make sense of it all. GRAMMY AWARD WINNING ALBUM IT’S ALL A BLUR is a compact, powerful EP that does not shy away from the ugliness of modern life. It captures the chaos without getting lost in it, and that makes it more than just noise. It is a signal worth tuning into. Score: 8/10 GRAMMY AWARD WINNING ALBUM IT’S ALL A BLUR was released on June 13th Words: Kelly Gowe Photos: The Messenger Birds