A sunny Saturday evening, Manchester City Centre, Academy 2, the perfect setting for 2006 Eurovision winners, Lordi, and all their comic book horror. Fresh off the release of their 19th studio album “Limited Deadition” which dropped back in March. This was to be a gig like no other. Before we were graced by Lordi owning the stage, fans were treated to a set by Sick’N’Beautiful. Led by powerful female vocalist, Herma. Unfortunately due to UK safety regulations, the band couldn’t use their usual smoke and effects, but honestly, I don’t think that was needed. The band lit up the room on their own with their confidence and effortless crowd connection. The energy all members gave off created an electrifying atmosphere, not just with their music, but with mesmerizing theatrical artistry. Seeing the band immediately head to the merch stand, waiting to meet fans after the show was such a breath of fresh air. Gave me a lot of respect for them as artists and as people. The lights faded as the feeling of anticipation filled the room, as the crowd were treated to “God of Thunder” by KISS. Eagerly awaiting the band to enter the stage, you could see from the insane set design and props, including a mysterious doorway front and centre, this was going to be one hell of a show. Band members entered, immediately greeted by rapturous cheering, this only heightened by the arrival of Mr Lordi (Tomi Petteri Putaansuu), the band's frontman and costume designer, through the previously mentioned mysterious doorway. “Legends are made of Clichés” was the first song of the night and really set the tone for what was to come. Immediately engaging with the crowd, they were under his spell as he encouraged clapping, screaming and cheering to be louder. From that point on the energy continued to grow. The band's effortless use of props including an axe during “Girls Go Chopping” and a chainsaw during “Beast of Both Worlds” made this not just a gig to be listened to, but an insane visual experience. The band had clearly thought of their whole set-list. Providing the crowd with many high-energy fan favourites, such as “Who’s Your Daddy,” “Devil Is A Loser” and “Blood Red Sandman.” A welcome contrast to this came about halfway through when the crowd were treated to “Call Off The Wedding” a ballad, dedicated to KISS fans as the song was written with former KISS guitarist, Bruce Kulick, which led to a sea of phone torches in the air. Throughout the whole show Mr Lordi’s talking and joking with the crowd went down a treat. He joked about having to learn the lyrics to certain songs and had members of the crew come on to provide lyrics as his “teleprompter.” This joke did go on, and on, and on again and maybe at times felt a little repetitive, but as he was dressed to the nines in ghoulish, hell monster gear, a small break from singing every now and then can be forgiven. A personal highlight for me was getting to see each member of the band have their own time to shine and showcase their musical talent. Each performing a solo number and small horror sketch involving a crew member entering through the mysterious door and being killed* in various ways, including one small, but effective, beheading. *No crew members were harmed during the making of this show. As the end of the show drew nearer, the song all fans, especially Eurovision Fans, had been waiting for was on the horizon, even though it was joked that it wouldn’t be played, I fear there would have been an actual riot. The famous intro, played by Hella on the keys, was enough to reassure the fans that “Hard Rock Hallelujah” was going to close the show. Just when I thought we had reached peak, punk-horror rock and roll, a confetti cannon exploded and rained down onto a very satisfied crowd. After going into this show without ever seeing them live before, and not knowing what to expect, I can safely say I will be front row at their next UK tour, eagerly awaiting what comes through the mysterious door. Words: Rachel Jones Photos: Dan Brock

As we’re sure everyone has heard by now Sleep Token have been announced as one of the Download Festival 2025 headliners, joining the likes of Green Day and Korn, but how much do you really know about this mysterious masked band? In this piece we aim to give you a brief look into the world of Sleep Tokens lore, bearing in mind that a lot of their story has been carefully pieced together by fans, as the band themselves have spoken very few times and even less so about this world they have created. We will discuss both established lore and some fan theories as well as what is possibly next for this British 4 piece. The Origin of Sleep The most important thing to start with is that their lore centres around Sleep, and no not the activity. Sleep is the deity that rules the world they have created, according to Vessel Sleep is not exactly its name, but the closest word that we have in our language. Vessel tells the story that he was sent by Sleep to spread its message and make others aware of Sleep and its power. He claims that he is a ‘Vessel’ for its message, hence the name, the other members are also Vessels commonly being referred to by their numbers (II, III and IV). Sleep Token call their concerts rituals, referring to them as their way to spread the word of Sleep and hoping that fans of the band will also follow and believe in Sleep. The band offer themselves as a token, remaining faceless and only glorifying Sleep at their shows rather than themselves, this is what brings them the name Sleep Token. They also refer to their songs as offerings, being something that they give to Sleep to show their loyalty. “I [he] encountered Sleep in a dream, with the promise of glory and magnificence if I [Vessel] followed him” is one of very few quotes from Vessel himself, this being from a 2017 interview in the bands very early days and is a key part of how fans can put together fragments of their story. It's also worth noting that Sleep is referred to with different pronouns, not really conforming to one. On the surface Sleep Token's lyrics all refer to Sleep, talking about their love and gratitude to Sleep but also Vessels inner turmoil with coming to terms of how he has given up his life and his identity to serve this god that only uses him. Take Me Back To Eden Stepping away from the lore many fans see a parallel between Vessel's feelings for Sleep and how one might feel about a lover or ex lover, making the lyrics relatable to those that have been in unfavourable relationships. Some theorise that their entire lore is a metaphor for just that and also that ‘Eden’ who is referred to in multiple songs is another lover that treated Vessel better than Sleep. Another large part of Sleep Token's lore is depicted in their Graphic novel ‘Teeth of God’. This book tells a different story but follows in the same vein - I will give a brief description here so please if you would like to avoid spoilers for it then skip the next two paragraphs! In this graphic novel the story of Sleep is told by another person - possibly Vessel in another life or a different Vessel all together - as he witnesses a lunar anomaly. This anomaly sees Sleep emerge from the moon as it is shown in their Take Me Back To Eden album cover and rains all hell on the earth spreading what is referred to as ‘Eden’. This is on the base level a word that represents all the ‘alien’ flora and fauna that Sleep brings with her as she destroys the earth and replaces it with her own. In this story it is described that the world has forgotten about the deity - references to dead gods in their lyrics also point to this - and that Sleep is angry that man has moved on without its reign and it seeks revenge by destroying all humanity. This story also sees a protagonist being chosen by Sleep and being given dreams of the destruction of humanity to make the vessel serve Sleep, much like is described in Sleep tokens lyrics and other pieces of their lore. Although not being the exact same story all roads lead in the same directions with many links lyrically between the novel and the music. Even In Arcadia In this new era of ‘Even In Arcadia’ the new album being released on May 9th we are seeing more references to what we know whilst equally revealing newer pieces of the puzzle to which we have never seen before. To give you just a taste of the chaos that is trying to decode their messages in real time, the most recent single ‘Emergence’ had fans literally travelling the country to put together the pieces just for the song's release. Early in March two instagram profiles appeared called ‘House of Veridian’ and ‘Feathered Host’ whose names have been repeatedly occurring since. These instagram profiles posted co-ordinates in the form of morse codes leading any fans near the destination to venture out of their homes. After mere hours of being posted fans found two QR codes near an observatory which lead them to two similar images. These images overlapped and created the digital cover for their new single and the image files were named ‘Blood’ and ‘Moon’ because of course the single was being released in tandem with the blood moon later that same week. Words: Amy Smyth

Maryland-based solo act Exiled Hope returns with Apocrypha, a sprawling, ambitious concept album that marks the third chapter in a dark fantasy saga built entirely by multi-instrumentalist Sofia Frasz. Fusing blackened power metal with folk, melodic death, symphonic elements, and cinematic storytelling, Apocrypha is both a showcase of Sofia’s artistic evolution and a testament to her unwavering creative vision. Opening track 'The Summoning' begins with a foreboding piano melody, soon layered with string arrangements that aim for grandeur but feel slightly underwhelming in execution. The vocal effects early on give the impression of a voice echoing through a vast, empty cathedral - atmospheric, but not fully gripping. That all changes once the guitar crashes in. Suddenly, it’s a proper metal track, with growling vocals that immediately elevate the mood. From that point forward, Frasz’s confidence behind the mic and her flair for dramatic arrangements start to shine. 'The Day Will Come' follows with an occult rock sensibility - think early Ghost - before falling back into the sweeping theatricality that defines Exiled Hope’s sound. Clean vocal melodies balance the heavier instrumentation, and the track finds a nice midpoint between intensity and melancholy. There’s a strong melodic core here, proving that even amid sonic excess, the heart of the song remains intact. Further into the album, 'Dreamwalker' (featuring Metal Matt) marks a notable shift in tone. A two-part ballad nestled among heavier offerings, the track brings a necessary breath to Apocrypha’s dramatic pacing. Matt’s guest appearance adds a warmth that plays beautifully against Sofia’s more ethereal delivery. The song unfolds gently, with soft acoustic passages and shimmering synths that evoke a dreamlike state. While it never fully abandons the darkness that permeates the record, 'Dreamwalker' offers a glimpse of hope and introspection - like a lull in the storm before the next battle. Later, 'The Silence Is Deafening' brings things back into conflict, thematically and sonically. It’s structured like a lovers’ quarrel, with two distinct perspectives clashing throughout the track. The instrumentation reflects this tension - sharp, dissonant guitar lines tangle with haunting keys and aggressive drums. The track’s emotional chaos is palpable, and its unpredictability stands out as one of the more complex and layered moments on the album. There's a very human pain buried within the theatrics here, grounding the fantastical narrative in something achingly real. Finally, 'Forbidden Majesties' brings the saga to a satisfying close. Acting as the grand finale, it weaves together the sonic palette of the entire record: orchestral swells, furious riffs, and delicate vocal harmonies coalesce into something both cinematic and heavy. There’s a sense of culmination in its arrangement, echoing themes from earlier tracks while still pushing forward. It doesn't feel like the end of the story entirely, but it’s a powerful chapter marker - an exhale after a long, tumultuous climb. Throughout Apocrypha, it’s clear how much growth Sofia Frasz has undergone as a musician. The record is the product of years of development, experimentation, and perseverance, as she balances law school with relentless artistic drive. Her work ethic and passion are embedded in every note, and while the album isn't without its flaws - some early production moments feel unrefined, and a few transitions stumble - there's a strong, clear voice behind it all. Every song feels like a world, every lyric a fragment of a much larger mythos. With Apocrypha, Exiled Hope cements itself as more than just a solo project - it’s a fully-realized universe in progress. Fans of Kamelot, Nightwish, Avantasia, or even the narrative ambition of Cradle of Filth will find much to enjoy here. It’s dark, theatrical, deeply personal, and boldly unafraid to wear its ambition on its sleeve. For those willing to immerse themselves, Apocrypha offers not just a collection of songs, but a journey. And in Exiled Hope’s world, the journey is far from over. Score: 7/10 Apocrypha will be released on April 11th 2025. Words: Jason De Mendonca Photos: Exiled Hope

If the quote “Life is like a box of chocolates, you never know what you’re gonna get” from the Forrest Gump movie was about a band, it would absolutely apply to Benthos. The rising star hailing from Milano in Italy have become a fan favourite in their home country and is quickly creeping into the hearts of other nations. Experimenting with progressive metal and blending in elements from mathcore and post-hardcore, the band creates their unique sound that is both ethereal and heavy. Consisting of the vocalist Gabriele Landillo, guitarists Gabriele Papagni and Enrico Tripodi, bassist Alberto Fiorani and drummer Alessandro Tagliani, the band is promising a 12-track journey into their universe, where everything and anything can happen any second on their new album From Nothing, which is the band’s second full-length album. At the beginning of the release, the listener is welcomed with a brief introductory track named ‘It Starts’, which transitions straight into the titular track ‘From Nothing’. The first track is just a blend of synth sounds, peaking into a chaotic mix, whilst the second one kicks off with vocals and atypically written guitar riffs that stand out from the rest of the instruments. Benthos is already showing off their mastery of using soft and heavy elements in music in a way that will impress anyone who listens to their work. The third track ‘Let Me Plunge’ and the fourth ‘As a Cordyceps’ are shifting the way the band approaches the songwriting, and are already surprising listeners with different styles and patterns. ‘Let Me Plunge’ is an energetic, yet powerful song, that is very heavy on combining drums and guitars, followed by Landillo’s raspy voice. Meanwhile ‘As a Cordyceps’, also one of the three released singles, shifts straight into heavy music and screaming. A notable feature is the use of the robot voice in a break and bridge, that allows for more control over listener’s attention to the recording, as it is a newly introduced feature. The fifth and sixth tracks on the album, ‘Fossil’ and ‘Recompose’, are taking us deeper into the universe of the band. ‘Fossil’ is a wonderful showcase of Benthos’s potential, with the music styles changing very quickly, using similar method of blending multiple music genres together to Sleep Token, only more aggressively. The decision opens up new possibilities for the songwriting, as the tracks are often more complex and interesting, leaving the audience longing for more, and that is exactly what happened with ‘Fossil’. Instrumentally similar to Knocked Loose, but with a kick in a form of screams and clear vocals, the track stays energetic the whole time. Utilising the instruments typical for prog metal and combining them with synth is met with a beautiful harmony that is sort of reminiscent of orchestral music, yet no classical instruments have been used during the recording. ‘Fossil’ surely is one of the most memorable songs on From Nothing, and the transition track ‘Recompose’, that is coming right after, is a brilliant way of giving the audience some time to process the long recording. ‘The Giant Child’ and ‘Pure’, songs number seven and eight, dial the energy right back to eleven. Unfortunately, maybe too quick, as the listeners are still full of the previous recording, that was very long and intense. Being more on the soft side, the rock style elements are complimentary to the atmosphere of the track. ‘Pure’ is on the similar note as ‘The Giant Child’, playing more with synths and heavier vocals. ‘Athletic Worms’, the ninth track on the album, is heavily experimental, throwing together a mixture of heavy guitar riffs, screams, robotic voices and synths. The shortest of the songs that are using vocals, it feels very crowded and chaotic with different sounds, leaving the listener confused by the end of it. The tenth track, ‘Perpetual Drone Monkeys’, on the other hand, is purely based on heavy elements, combined with softer music time to time, with the use of sound effects in the background, that get easily lost in the melody. The experimental prog metal is very prominent in the eleventh track ‘To Everything’ as well, as the effects used in the song are well placed with the instruments, creating a perfect canvas for the ever-changing vocals. It is an energetic and captivating piece, that is well-picked for the last song, that is featuring vocals. The 12th and closing track on the album is called ‘It Ends’, and similarly to ‘It Starts’, it is just a blend of synth sounds, that are turning into a very powerful distortion, as the track comes to the end. The work and ideas put into From Nothing are definitely noticeable, as the band gave us the best they could, blessing us with a well-crafted experimental piece. Without the track ‘The Giant Child’ being placed into a spot that definitely does not compliment it’s potential and the ‘Athletic Worms’ being full of sounds that are not blending together, but rather create a chaotic mess, the album would be a perfect example of well executed experimental album. Nonetheless, Benthos still did an outstanding job with this piece of work, and the time put into making it absolutely paid off. Score: 7/10 From Nothing will be released on April 11th 2025 via Inside Out Music. Words: Katerina Stepanikova Photos: Benthos

The time has come! The symphonic metal giants Epica are back with their ninth studio album, entitled Aspiral. An anticipated release for many, including fans who initially got an early taste by hearing four new songs during The Symphonic Synergy concert at AFAS Live, Amsterdam, last September. But let’s not be greedy - as always the band was mindful to keep their audience fed by releasing not one but three singles ahead of the album: 'Arcana', 'Cross The Divide' and 'T.I.M.E.'. Following 2021’s Omega is not an easy task but Aspiral sets a different course. Stripping it down rather than always going higher, letting out a raw energy that is the essence of the band which is bound to make anyone curious and excited for this opus. Epica is known for its meticulously crafted concepts, and this release is no exception. The album, titled Aspiral, takes its name from a bronze sculpture of the same name created in 1965 by Polish artist Stanisław Szukalski. The sculpture represents themes of renewal and inspiration, fitting symbols for where Epica stands in 2025. Szukalski’s work is renowned for its intricate detail and layered meanings, a quality the band found deeply resonant during the making of this album. Each track carries its own weight and atmosphere, yet together they form a cohesive and powerful whole. This reflects the group’s own creative dynamic: a constant exchange of motivation, ideas, and artistic challenges. Much like the sculpture, the album’s lyrics trace a path from disorder and hardship to beauty and rebirth. To bring this vision into the visual realm, Epica collaborated with contemporary sculptor Hedi Xandt, who transformed their concept into a striking artwork. The result is both a bold artistic statement and a heartfelt tribute. This builds an exciting way into the songs themselves. The album kicks off with 'Cross the Divide', a high-energy track that sets the tone with a touch of dissonance in the intro. An edge that subtly lingers throughout the song. It opens with melodic guitar work that quickly draws the listener in, before transitioning into punchier riffs and delicate keyboard layers during the verse. The chorus ramps up the tempo, delivering a burst of fun, catchy symphonic power metal. While it is unexpectedly different from the album intros we know from the band, it delivers a straightforward punch, an upbeat energy and lyrical momentum that builds as the track progresses. Its infectious hooks and vibrant arrangement make it an unmistakable single choice. 'Arcana' shifts the mood entirely with a smooth, delicate opening that gradually unfolds into a grand, theatrical soundscape. Slower in pace and deeply atmospheric, the track is driven by a darker orchestral arrangement evoking a gothic elegance throughout. The layers of its back choirs add a remarkable depth. From an eerie children's choir just before the chorus to haunting adult voices that open the song and return later, it reinforces the track’s dramatic flair. The vocals take centre-stage, amplified by an echoing effect that expands their emotional range and spatial presence while the instrumentation remains mostly in the background, subtly supporting the melody. Ariën Van Weesenbeek’s drums follow a slow, doom-inspired rhythm, dragging the tempo just enough to add weight and tension. As the song nears its finale it takes a darker turn with punchy guitar chords and fierce growls by Mark Jansen, culminating in an explosive, unexpected ending that leaves you stunned. No time to catch your breath, next up is 'Darkness Dies in Light - A New Age Dawns Part VII', which brings in the 'A New Age Dawns' song series to this album. It begins with a bold, trombone-like intro that feels taken straight out of an epic adventure film, immediately setting a heroic tone. The track carries a strong fantasy flair, blending orchestral grandeur with a sense of narrative-driven urgency. Mark Jansen’s growls make a prominent return here, not just as accents but woven into the fabric of the song, shadowing the guitar lines and then rising to equal prominence alongside the Simone Simons’ clean vocals in the pre-chorus. A Latin-sung choir adds gravitas and ritualistic intensity, hinting at something ancient and powerful. Marked as part VII of the 'A New Age Dawns' saga, the track continues a storyline that began two decades ago with 'The Last Crusade (Part I)', as well as parts II and III, on the 2005 opus Consign to Oblivion. Since then we’ve encountered parts IV–VI in Design Your Universe (2009). With parts VII to IX appearing on this album, fans will finally get to embark on the new chapters of this musical odyssey. The instrumentation itself seems to span eras: what evokes an electronic harpsichord conveys baroque textures, while more subtle electronic elements also creep in toward the end, like echoes of the future meeting the past. As the longest song on the album, 'Darkness Dies in Light' stands as both a sonic journey and a narrative cornerstone - majestic, immersive, and steeped in Epica’s lore. Next up, 'Obsidian Heart' takes a bold step deeper, showcasing a heavier, rawer sound than usual for Epica. The guitars are more prominent here, with djent-inspired riffs cutting sharply through the mix and giving the track a grinding, almost industrial edge. The rhythm is slow and deliberate, echoing the weight and melancholy of doom metal, while the instrumental remains dense and distorted throughout. This raw heaviness creates a striking contrast with Simone Simons’ clear and lyrical vocals that floats above the grit almost like light piercing through darkness. It’s this tension between aggression and elegance that defines the track, making it feel both unsettling and captivating. Just as the weight seems overwhelming, the song closes on a surprisingly delicate, bright note. A single, clear tone that leaves a lingering sense of resolution and contrast, like a glimmer of hope emerging from the shadows. That leads us to 'Fight to Survive' which bursts in with an electronic intro full of static and distortion, channeling a gritty, cyberpunk aesthetic that immediately sets it apart. A megaphone-filtered voice and countdown “3, 2, 1, go!” feels tailor-made to ignite a live crowd. The track launches into a high-octane ride, blending aggressive riffs with industrial rhythms and video game-like energy. It’s chaotic in the best way, like the soundtrack to a futuristic rebellion, with a heavy breakdown that hits hard and challenges the listener. A blistering heavy metal guitar solo slices through the track, adding another layer of intensity. Stylistically, it’s a genre mashup that works melding electronic, metal, and cinematic elements into a thrilling anthem of resistance. And as the song reaches its climax, the shouted word “Fight!” rings out like a rallying cry, leaving no doubt about the track’s message or impact. We take a breath into 'Metanoia' (Greek for 'Repentance') which feels like a spiritual centrepiece of the album, both musically and thematically. It opens with a plaintive violin line, delicate and emotive, accompanied by ethereal, soaring choir vocals that evoke a sense of celestial grace. The atmosphere is light, almost sacred, before the music descends into a powerful drop, unveiling the full scope of Epica’s signature sound. This track feels deeply connected to the band’s legacy, echoing the grandeur of the 'A New Age Dawns' series - not just in style but in substance. As one of the longest songs on the album, 'Metanoia' unfolds like a journey, with shifting moods, layered storytelling, and a cinematic arc creating a red thread that fans will recognize and appreciate. The song concludes with a soft landing like lightly picked chords and a final whisper of violin, leaving the listener with a feeling of closure, reflection, and emotional resonance. You may know it but it will still surprise you, 'T.I.M.E' then stands out as one of the album’s most experimental and theatrical offerings. It opens with an unsettling moment, a child singing softly then suddenly screaming, setting an eerie and almost surreal tone. The guitars pick up the melody the child was murmuring, repeating it with a twisted, carnival-like flair that gives the intro a chaotic, circus-esque atmosphere. From there, the track explodes into a whirlwind of styles, pushing boundaries with dramatic shifts, blast beats, and unexpected rhythmic turns. It's progressive, intense, and unapologetically grand in scope. Mark Jansen’s extreme vocals make a commanding return here, roaring through the mix with raw power, making it his most prominent appearance on the album. This song feels like a descent into madness and revelation all at once, a theatrical spectacle that refuses to be boxed in, proving Epica’s relentless drive to evolve and explore new sonic dimensions. reach 'Apparition' which delivers a tightly woven blend of atmosphere and heaviness, anchored by a Devin Townsend-like groove. The track flows with a hypnotic rhythm, balancing intricate instrumentation with an underlying pulse that keeps it grounded and compelling. There’s a sense of rising tension throughout, building toward an empowering finish where Mark Jansen’s growl tears through with the defiant line: “We will rise.” It’s a powerful closer to a track that feels both introspective and rebellious, embodying resilience through sound and spirit. As we get closer to the end, 'Eye of the Storm' opens with a familiar vibe, reminiscent of classic Epica tracks like the beginning of 'Sancta Terra', but with an electrifying twist. The song starts with a fierce scream leading the charge, rather than the typical clear vocals we’re used to and this raw intensity remains present throughout the track. The song boldly ventures into melodic death metal territory, but keeps a perfect balance between ferocity and melody. The heaviness is unexpected and powerful, unfiltered and unedited. Being the song before last, 'The Grand Saga of Existence' opens with a fairytale-like introduction, complete with twinkling sounds that evoke a sense of magic and wonder. The track feels like a journey through a fantastical realm, with its ballad-like structure and enchanting atmosphere drawing you into a world of imagination and timeless tales. It carries the air of a grand fantasy with the music’s delicate flow creating a sense of awe and reflection, making it one of the most dreamlike and otherworldly tracks on the album. We come to a close with the title track, 'Aspiral'. It begins with a delicate and fluid intro, the soft tinkling of a light piano evoking a sense of calm and introspection. The vocals are ethereal and fragile, as if floating in a dream, with the voice serving as the central instrument, stripped down to its most raw form. As the track unfolds, a distant, spoken monologue from an older man echoes through, adding an air of nostalgia and memory like a moment frozen in time, playing out across layers of sound. The song slowly warps towards the end, with the sound distorting and bending, creating an otherworldly effect that mirrors the song’s themes of change, reflection, and transformation. It's a hauntingly beautiful closing track that feels like an elegy for a moment lost in the passage of time. Aspiral is a versatile, accessible, modern and excellently produced album, on which Epica moves with the times without losing itself. For example, characteristic riffs, vocal melodies and orchestrations pass by that remind us of the early discography, but the epic company also applies elements from modern metal, such as breakdowns, in its compositions. Unlike any of their past albums, it has a sort of outro track, as opposed to ending with a longer track, and it also doesn’t have an intro, instead immediately throwing fans into the thick of things with an intense opening track. Aspiral is a versatile, accessible, and modern album that showcases Epica’s growth while staying true to the essence of what has made them iconic. It’s a stunningly produced work that perfectly blends the band’s signature elements such as characteristic riffs, memorable vocal melodies, and lush orchestrations with fresh influences from contemporary metal. The album navigates through different styles proving the band’s ability to evolve without losing their identity. This approach makes Aspiral one of their most accessible records, yet it never compromises the depth, complexity, and epic storytelling that Epica is known for. In many ways, it feels like a culmination of their journey, a modern masterpiece that both reflects the past and embraces the future. Score: 9/10 Aspiral will be released on April 11th 2025 via Nuclear Blast Records. Words: Lysandre Pons Photo: Tim Tronckoe

Everybody rejoice! Your favourite band's favourite band, the wondrous Scowl, are back and better than ever. The Santa Cruz hardcore punk rockers have returned with their latest full length offering in Are We All Angels, and have drawn on a serious range of influences to create a piece that's sonically distinct from their past, whilst still being inimitably themselves throughout. 'Special' sets things into motion with a drum fill, guitar scrape, and angular riff that instantly slaps a smile onto the face of any listener, before almost tumbling into a melodic chorus that's fit to bursting with confidence and swagger. Verse two is prime time for vocalist Kat Moss, as she yells over the top of her softer vocals in a brilliantly paired set of lyrics and melodies. The song opens everything brilliantly, and superbly shows off the dynamic mastery of Scowl. Second to the plate is previously released single 'B.A.B.E.', which rips and roils through its verses before again opening up into more melodic vocals on the chorus that could all too easily be shouted back by a baying crowd. 'Fantasy' takes the mantle next and starts off a little less direct, although still retains a solidly punked-up groove and rhythm section. Another of the singles comes next, 'Not Hell, Not Heaven', before 'Tonight (I'm Afraid)' starts things off. There isn't much to say for this whole section other than that it's nigh impossible to stop bobbing your head in time, and of course breaking into a two step at all manner of moments. Before continuing our way through this cracking release, it's worth mentioning the beautiful album cover. It appears to depict a moth, and the shadow it's casting, all within a selection of iridescent colours that aptly display the mix of melodic elements shown off within. The droplets of condensation and slight blur serve to make everything feel a little surreal, and all in all it's a surprisingly artistic representation of everything found within its cardboard confines. 'Fleshed Out' gets into a real groove and stays there for most of the duration, making for easy pit and stagediving material in a similar vein to all that's come before. This changes briefly upon the intro to 'Let You Down', which floats away into dreamy territory for a couple of seconds before coming back down to Earth in a deft and upbeat break up track that feels like it could be the best pop punk track you've ever heard. It sticks to the Turnstile instruction book, being just heavy enough to know it's a punk song but incorporating vast swathes of melody, and atypically punk lyrics, to make it stick out within the album, and within the years releases so far. Track eight 'Cellophane' is full of riffs and a little bit of a nasty edge, that's let up on 'Suffer The Fool (How High Are You?)'. The latter feels like it could be one of the slightly less dialled in moments on the album, as whilst it's still a very enjoyable listen it does get repetitive by the end of its 3:16 runtime. 'Haunted' mixes things up a little though, with a slower tempo and a more melancholic feel that refreshes the ears a little for this first of the last two tracks. Finally, the title track arrives and it's right back to the piercing riffs and driving drums of side A in a frenetic finale to cap off an excellent return to form. Scowl may have slightly eased off on their titular facial expression, but by no means have they eased off the gas pedal. Santa Cruz's finest are still right at the top of the punk pyramid, and Are We All Angels is a fine example of why they'll be staying there for plenty of time yet. Score: 8/10 Are We All Angels will be released on April 4th 2025 via Dead Oceans. Words: Jake Longhurst Photo: Silken Weinberg

Throughout their back catalogue, Cytotoxin have - varyingly - pulled on many of the greats, invoking elements of Benighted and Stillbirth, whilst incorporating their own unique narrative ability into their music. The German metal band isn’t afraid of exploring long-abandoned ruins that no one else dares to enter. Serving as a haunting reminder of one of the many failures of humanity, on Biographyte the band delves into the tragic tale of Chernobyl. Taking a biographical approach, each track lingers on the lives of those involved, retelling the story of the thousands whose lives were irreversibly changed in one moment. ‘Hope Terminator’ is a strong lead for the album. Eccentric riffs serve as the backbone of the song from the start; they are the core of the RMBK reactor, spiking up at intervals, jumping and fluctuating. These guitars wrack through your body and soul. The vocals (performed by the immensely talented Sebastian 'Grimo' Grihm) function as the graphite of the reactor, the stabilising moderator, calm and continuous. Where some bands falter in the vocal department, Grimo does not, having this sustained ability to perform gravelly, harsh, emotive vocals without any auditory strain, with his great work preserved throughout the rest of this experience. It evokes the boom of Chernobyl, the rush of firefighters swarming to the reactor, ready to unknowingly sign away the rights of their lives to the radiation. The second track, ‘Condemnisia’, is equally as powerful. The track builds up this tension through the skilled use of the drums, constantly beating away in the backdrop, until it is palpable in the air. There is a real sense of despair that is thick in this track. At the halfway mark, heavy vocals and bass morph into this dejected suffering of pained cries, possibly a grieving father or one of those youthful firefighters succumbing to the radiation, forcing the listener to come to terms with the despondent nature of the album as a whole. It oozes this nuclear style, culminating in this ticking, reminiscent of a Geiger counter, proving the immense amount of creativity poured into this project. ‘Deadzone Desert’ is an atmospheric track that breaks away from the typicality of the album. With wind ripping through barren buildings and the clanging of chains, it exemplifies the sheer sense of abandonment that occurred in the forced removal of the citizens of Pripyat. Through a building riff, it transfigures into the intensity rejuvenated by ‘The Everslave’. Potent and powerful, it carries along the narrative expressed in the first track. An angelic instrumental breaks its way in, though, a similar occurrence happening in 'Eventless Horizon', with the listener poised between the afterlife of heaven and the hell of the world below, stuck in this suffering purgatory as Cytotoxin leaves you privy to both experiences. Where this album falters, though, is with how jarring and disjointed the music feels at times. The lyrical narrative hesitates at points, becoming fragmented as the vocals are severed from the rest of the track, appearing to sit there stagnantly. Individually, the elements are masterfully crafted. The riffs on this album are skillfully produced by the deft hands of Jason ‘Mathias’ Melidonie and Fabrice 'Fonzo' Töpfer, the bass serving as a booming backbone for the piece, the drumming creating this edge with every hit, and the vocals remain melodic despite their gravelly nature, being strong and sustained throughout. They just don’t merge well. It is like Biographyte is a sandwich; each ingredient is good quality, with cheese sourced from far-off regions of France, Iberico ham from the finest regions of Spain, topped with a variety of home-grown produce. But, when put all together, they simply don’t work that well as a whole, leaving a sour taste. Ultimately, this disconnect is the downfall of this album. It lacks the cohesion that is needed to turn a good release into a great one. Still, Cytotoxin’s ability to weave in this intense aggression present in metal into this exploration of the travesty of Chernobyl - whilst still being immensely respectful of the lives lost and the lives still affected by the disaster - is one to be in awe of. They are unparalleled in their unique storytelling dynamic and resounding lyricism. Touring throughout Europe in the upcoming months, this booming federation of nuclear fanatics isn’t one to miss. Score: 7/10 Biographyte will be released on April 11th 2025 via Unique Leader Records. Words: Dylan Milton Photos: Cytotoxin

Parisian trio Storm Orchestra serve gilded age in their most recent project Get Better, combining alt-rock riffs and bouncy beats with commentary on failing expectations and life in the newfound limelight. Though many of the songs feel like safe plays, this aspect adds to the listening experience in its way; is this what you wanted? Get Better opens with ‘Bright Soul', a drum heavy electro rock track which sets an angsty tone for this project that will evolve as the concepts are explored. It is followed by single ‘Drummer’ - a tongue and cheek pop rock number about idolising the stereotypical lifestyle of a percussionist. The nature of this beast means that Loïc Fouquet has some showing off to do and he delivers with a swing beat throughout the track before hitting a china-led breakdown as the track comes to its final chorus. However, the first true standout song is their collaboration with Chunk! No, Captain Chunk! on ‘Crush the Mirrors’. It captivates on intro then in its first chorus hits with killer hook “Breaking my backbone”, which hits immediately then becomes an earworm after one listen. ‘Crush the Mirrors’ is a perfect example of the balance that Storm Orchestra have struck between lighter electro rock sounds and a heavy alternative rock, building the track ready for Chunk! No Captain Chunk!’s Burtrand Poncet to hit a screaming interlude. The lyrics on this offering are also some of the strongest, with verse one’s “I miss those tiny whispers singing for me/I’m always fighting reality” striking right in the teenage angst to scratch an itch not found for years. The meat of this album includes another tongue and cheek rock single in the form of ‘Superplayer’: a certified head bopper playing on football fandom culture to explore being in a relationship where you never quite feel good enough. The stadium-rock style in the chorus and pre-breakdown work really well for this track; as a Makem, finding out that Maxime Gourdard is drawing on his experiences as a Magpie for this track was a shame, but credit where credit is due - it sounds superb. Easier to like is the duo of album tracks that fall at the midpoint: ‘Cut Loose, Somehow’ is exemplary of the angst of this album with it's easy-to-dance-to heavy soundscape (and the adding of three claps, iykyk), while its follow up ‘Désolé’ with JJ Wilde is a tearjerker with ‘If It Means a Lot to You’ energy in its plain and raw lyrics about feeling a love you want slipping between your fingers because of the life you live. JJ Wilde’s feature works beautifully on this track as the other perspective, her lower register and reminiscent lyrics taking the listener back to the last time they held someone they knew they needed to let go. The other side of this delicate balance is brought back in its follow up - ‘We Will Be the Last.’ Coming back in with an angsty alt-rock soundscape it speaks of a party at the end of the world while it proclaims it will be the last, with a broken up breakdown by a switch on and off that sends whatever is in the listener’s hands to the other side of the room. The energy is maintained in follow up ‘Tear Myself Down’, which hops between light building instrumental and full frontal heavy features to give a welcome metalcore feel while still serving party rock. As the crescendo hits, they take that full frontal into half time to produce another standout track on this project. The last third of this album ties Get Better up in a lovely bow. ‘This Game’, a cheeky rock track, has a playful energy to it that would make it a good fit for a singles night in a rock bar through the way it gets the hips swinging, while ‘Our Victory’ feels like the albums official closer with the angst dialled up to max in its rallying cry against the elites and calls to action for those not apart of them. The piano even gets a rocking spin on it within the all-out soundscape, while Fouquet’s drum work is exemplary in driving the track and maintaining its tension. Get Better’s actual final track comes in the form of ‘Trash the Room’, a punk instrumental that asks its listener to do exactly that. It’s punchy yet sticks in the brain despite barely hitting 1:20 in runtime, and leaves the listener with a smile at the end of this project. All in all, Get Better is an easy listen so long as you like rock music. It uses heavy angst without falling into cringe, and matched with the heavy soundscape and electro-rock influences it's just as easy to dance to. Conceptually it gives a party at the end of the world, with its fatalism being disguised under how easy it is to bop along to each track. It is so easy that many of the tracks feel like Storm Orchestra play each song too safe - it would be interesting to hear them explore heavier or less common sounds within their music. That said, it being safe adds to the gilded nature of this project; perfectly polished alternative rock hiding the fatalism that Storm Orchestra explore in the lyrics of Get Better. Score: 7/10 Get Better will be released on April 11th 2025 via Mascot Records. Words: Julia Brunton Photos: Storm Orchestra

Since their inception, Gallus have felt like a band on a leash. As far back as their early singles, it was obvious that a riotous punk band was within them, but neutered by a hesitation to move away from their somewhat bland indie sensibilities. On Cool To Drive, that handbrake is released: gone are the milquetoast melodies spattered across their previous album We Don’t Like The People We’ve Become, replaced with concise, high-velocity punk bangers. Gallus’ newfound vitality is immediately evident on the opening title track. Right from the outset, Paul Ewins’ bone-shaking drumming comes to the forefront, whilst his brother Eamon and Gianluca Bernacci provide wonderfully noisy guitar riffs. These elements combine with Barry Dolan’s shouted tale of self-destruction to create one of the band's strongest songs to date, and the highlight of this EP. Cool To Drive appears to mark a conscious decision from the Glaswegian five-piece to lean into the strongest components of their previous records. As with the opener, ‘Depressed Beyond Tablets’ brings an undeniable frantic energy, and although its lyrics cover mental health issues in a somewhat unnuanced and derivative manner, this doesn’t overshadow the extremely moshable instrumentation. As a now fully-fledged punk outfit, it was only a matter of time until Gallus waded explicitly into social commentary, and they do so proficiently on ‘Perfect Health’. Underpinned by Matthew McGoldrick’s moody bassline, Dolan covers the dystopian modern state of healthcare, from online quack remedies to privatisation, all whilst drawing from his own experiences with body image issues. It is impressive to see someone who has predominantly been an introspective songwriter relate his experiences to a wider societal issue so seamlessly. Unfortunately, this rich vein of lyrical form is not maintained on ‘Just Desserts’. An attempted takedown of pretentious post-punk bands, Dolan’s rapped lyrics are cliched and clunkily delivered, which is a shame, especially given the fantastic groove that accompanies him. Bands such as Sports Team and Yard Act have produced similar, far more cutting attacks on this specific subgenre, and Gallus’ jabs at “high-rolled jeans and pedophile ‘taches” seem petty by comparison. The relentlessly angry closer ‘It Bit’ ensures that the EP recovers from this blip and finishes strong. With a fuzzy bassline to be proud of, Dolan combines an unflinching self-love (“I am Barry and that’s how I like it”) with an aggressive attack on anyone who attempts to stand in his way. Closing with the EP’s heaviest song feels like a statement of intent for Gallus, an affirmation that they are fully committed to the louder direction they've pivoted to on Cool To Drive, and want you to remember it. Though not reinventing the wheel, it is a welcome injection of impetus into their sound, and puts them in a strong position to become one of the UK’s most exciting bands of the late 2020s Score: 7/10 Cool To Drive will be released on April 11th 2025 via Marshall Records. Words: Ali Glen Photos: Gallus

Within Destruction is an innovative three piece metal group from Slovenia consisting of Rok Rupnik on vocals, Howard Fang on guitars and Luka Vezzosi on drums. They've been disrupting the deathcore and metalcore scenes since their formation in 2010, and have gone between the genres across their previous work. Known for their intense sound, the band uniquely incorporates electronic elements and anime samples into their music, adding layers of unpredictability that have captivated fans worldwide. They gained international recognition with their 2016 album VOID which, alongside their irreverent approach to metal, has built them a dedicated global following. Packed with relentless riffs, soaring melodies, and their signature anime-inspired electronic elements, the band’s new album epitomises Within Destruction’s ability to innovate and push boundaries whilst staying rooted in the chaos of modern metal. The album kicks off with the heavy riffs of ‘Animetal’ and Rok goes straight into brutal vocals for the first verse. Heading into the chorus, the track takes more of a techno turn and we hear the band's typical anime character sounds and voices in the background, setting the tone for the album from the get-go. As the song progresses, the singing and screams combine into the metalcore-esque style they've honed. The song finishes up with a squealing solo and a great riff, to tee up the rest of the album in style. Next up comes ‘Demon Child’. This track starts and instantly draws comparisons to bands like I Prevail, using whispered growls to add tension, and as the song develops we hear more melodic singing which then is paired with screaming. This track has more of a techno undertone throughout, and, when paired with the band's heavy guitar riffs, makes for a great listen. Following on from this, we have what we would consider the track with the heaviest screams of the album thus far, ‘Kanashibari’. This track gives a full 3:30 of brutal vocals and breakdowns, but still includes a noticeable techno flare. Think Electric Callboy meets modern deathcore - and there are absolutely no complaints here about that combo! The next track ‘Bitter Embrace’ then takes a more melodic, upbeat turn while still capturing that hard-rocking feel. The clean vocals work towards a very catchy chorus, then as the song develops and begins to break down, more screamed vocals kick in alongside Fang's staple heavy guitar riffs - which are growing to become a key part of Within Destruction’s signature sound across this album. Track five is called ‘Fate/Separate’, and it contains one of the strongest guitar solos on the album. Not to be outdone of course though, the vocal performance is captivating and will draw you in for the duration. The contrast of the screams and clean vocals layer and blend perfectly, leading us nicely into the halfway mark of the album. Next up is ‘Cybergirl’, and this is where the album takes a slight turn vocally. Instrumentally, it remains consistent with the rest of the album thus far, however the singing is in a distinctly higher octave than the previous tracks - these cleans then go into fast-paced screams in the centre of a very catchy chorus. ‘Incomplete’ is next on the album and this is a distinctly softer song than what's come before. While some screams still accompany the clean vocals, they are more in the background, blended behind the main melodic vocals until the second chorus. The track then breaks down in typical metalcore fashion, eventually sounding as if it's been taken from the Bad Omens playbook. Unlike the previous two tracks, ‘Stay 4Eva’ kicks off aggressively, rolling back to the earlier style on the album. It then drifts into a very harmonious chorus, with an unbelievably catchy drum beat from Vezzosi. The verses are noticeably heavier than the choruses, and as the song breaks down at the end it features a techno beat layered with screams. It then drifts into a guitar solo which - despite being notably heavy - has a distinctly animated sound to it, which helps put the bands' own stamp on the music. Another heavy start comes courtesy of the next track, ‘Automation’. The song opens with whispered growls on top on a techno beat and heavy bassline, then as the chorus kicks, in the screams become much more brutal before they're accompanied by the melodic singing midway through the track, and this continues until the end. We're predicting this one to be a fan favourite, due to the distinct sound of the band stamped all over this track! As we approach the end of the album, the next track ‘Torment’ opens with CORPSE type vocals then are accompanied by electronic sounding vocals on top of a high guitar riff and catchy drum beat which leads us into a very catchy chorus. The song then gets heavier towards the end, with some brutal long screams. The final track of the album is ‘A Love That Slowly Died’. This track has arguably the most techno sound on the entire album. The song consists of a very light drum beat and electronic/autotuned vocals until halfway through the song, when the heavy guitar riffs kick in and the metalcore sound is reintroduced. Then, as we go into the last minute of the song, we hear some heavier vocals, which draws the album to a close perfectly. Animetal is filled with catchy memorable choruses, brutal screams which hit on their own yet also blend with the melodic clean vocals, hefty riffs, and massive drums. This album had a target and absolutely hits what it intended - all throughout there is a fun, anime feel and bags of energy. It's undeniable that Within Destruction have hit their stride, and might have cemented themselves into the international metalcore mainstay community with this release. Score: 8/10 Animetal will be released on April 11th 2025 via Sumerian Records. Words: Amy Watson Photos: Within Destruction

Nottingham's very own answer to Killswitch Engage, the five-piece Those Once Loyal have returned from a few years of lineup uncertainty with a new bassist, a new song, and plenty more. The band mix modern metal and hardcore with 2000's metalcore to make a sound that's not only nostalgic and powerful, but also invigorating and intensely enjoyable - yet still keeping a fresh edge that rides the wave of 2020's metal. The band's previous efforts have all sat a little more within the realms of 2000's worship than upcoming single 'Glass Hands', which will be released on streaming services tomorrow. The track is a two and a half minute rampage that's much further into the realms of groovy hardcore than most of their previous output, and certainly takes a lot of influence from the current batch of American hardcore acts doing the rounds, as well as inspiration aplenty from the mighty Northern hardcore scene. As much Malevolence and Knocked Loose can be heard as bands like Desolated and Cauldron. Chatting to the band about the single, they've also revealed that there may well be more to come in the future, with another song somewhere over the horizon that could be with us within the year - alongside a number of great live shows on the way! With a support slot underneath Xentrix and Raised By Owls in Norwich, a hometown show with Hacktivist and InRetrospect, and an appearance at Derby's Nu-Blood Festival too, they're going to keep themselves busy for the future. In conversation with four of the five members of the band, we also discussed a few fun bits such as their favourite shows they'd ever played - which, despite having all of Oscar Gutkowski (guitars), Matt Smith (vocals), Harry Blanchard (guitars) and newly official (as well as previously stand-in) bassist Chayce Swain, three of them mentioned Bloodstock as their first thought. Chayce's slight lack of being there did mildly detract from the fun, as four of them thinking the same one could've been just that much more enjoyable, but another big highlight that was mentioned was the band's support slot opening at Rock City for metalcore staples Atreyu, on the revered Nottingham venue's main stage. Since this track also veers genres a tad for the band, it only felt natural to discuss which other genre they might all choose to mix their staple sound with for a fun exercise in musical creativity. Pretty much off the bat, Harry said that "a bit of mathcore, some sort of chaotic thing, a bit like The Dillinger Escape Plan" would be his direction to swerve in - which was quite the change from Chayce's slightly comedic choice of funk, utilising Oscar's trumpet skills! Matt chucked in a suggestion that drummer Tom might be a fan of adding an nu-metal tinge, before he himself said to chuck some thrash into the blender. Finally, Oscar took a moment to consider how possible it would be to add in some of the indie rock of Bloc Party into their sound, which could be quite the interesting genre fusion. Meandering between chatting about different venues and their pros or cons, a new Muse song with a fight riff, more trumpets and some ska punk, we had a lovely chat about all things Those Once Loyal that could be detailed over many paragraphs, but ultimately boils down to the fact that this band loves heavy music. They're listeners of all sorts, and lovers of live, with plenty of energy and bags of passion. For any fans of such things, and of course any fans of melodic groovy hardcore, then the below video is a little treat before 'Glass Hands' is officially released into the world tomorrow. Those Once Loyal have also released a new hoodie design based on the single, and are prepping for more shows to come. Keep an eye out on them playing near you! Glass Hands will be released on April 11th 2025. Words: Jake Longhurst Photos: Those Once Loyal

Do you remember 2002? You probably don’t. Conflict raged across the globe, the Euro was introduced, the recession carried on, and the film The Scorpion King released in theatres. “What does that have to do with anything?” you scream. Because, my dear reader, EVERYTHING matters. Especially when the first three tracks of The Scorpion King’s soundtrack were the zeitgeist’s soundtrack to a civilization unravelling; GODSMACK, P.O.D., and DROWNING POOL. If you were a moody adolescent in the early aughts, these bands were your gospel, therapy, and a war cry rolled into one. And no matter how much derision this nü-metal burrito generated, it is still undeniably iconic to its age. But now it’s 2025, and somehow the wheels of hell still grind on. Conflict continues to choke the world, late-stage capitalism eats itself, and Dwayne “The Eternal Franchise” Johnson seems to be in every film that comes out now. And yet, at the Hammersmith Apollo, it is time to witness the second coming of The Scorpion King alum. Drowning Pool, whom you might know best from their tenure as the music for early YouTube top 10 lists, dealt with the tragic loss of original vocalist Dave Williams soon after their first album, Sinner. After a rotating lineup of vocalists, they seem to have finally settled on Ryan McCombs of Soil fame. P.O.D. have the honour of being the first overtly Christian band Out Of Rage has ever covered. Their latest offering, Veritas, was released to both acclaim and derision, with the main criticism being a lack of diversity in sound. But through it all, they still deliver some of the hardest rap-metal in the game. As for Godsmack, they have had quite a strange time of late. Just as the band marks their 30th year of existence, longtime guitarist Tony Rombola and drummer Shannon Larkin have exited stage left, handing the reins temporarily to Will Hunt and Sam Bam Koltun as drummer and guitarist respectively. It may not be 2002 anymore, and they may have only two permanent members as of writing, but Godsmack still powers through it all. One look at the crowd at the Apollo and you’re struck by the realization that nü-metal peaked 23 years ago now. There may be similar recession conditions in the world right now, but it seems that the passage of time has left certain nü-metal aesthetics in the dust. They don’t care. The vibe tonight is aggressively pre-2005. No irony. No shame. Just faded JNCO denim and backward baseball caps. Even the Zoomer contingent showed up in their full Fred Durst best. It’s moving in the way a derelict Blockbuster is moving: haunted, dilapidated, and strangely sincere, making you yearn for those years gone by. Drowning Pool The lights dim, and Drowning Pool bursts onto the stage in a pulse-pounding rendition of ‘Sinner’ and it quickly becomes apparent why Ryan McCombs is their frontman as he is doing an absolutely phenomenal job. Tenured and ready to kill, he approaches the songs like a bear to a small animal, with his raspy voice giving the songs all the energy and aggression of a Waffle House after hours. And yet, the crowd hardly moves. Maybe it’s the grim spectre of Monday night, it could also be that their joints don’t move like they did back in the early 2000s. Either way, there’s a hope that their newly announced headliner show in November with Spineshank does not have the same effect. They delve into songs like solipsist anthem for the lonely lunch-table gang ‘Tear Away’ and their solid cover of Billy Idol’s ‘Rebel Yell.’ But what it takes to finally wake the sleeping crowd is that one sentence that hyped-up teenagers everywhere; “let the bodies hit the floor.” And just like that, Pandora's box is kicked open. With a single utterance, a mosh-pit, nay, a maelstrom forms in the crowd so great and so terrible that it makes Moses’ wave look like a paddling pool. ‘Bodies’ are lost in the mighty vortex. And it feels like before you can count to four (nothing wrong with me), it’s all over. Their work here is done, and the crowd who were once asleep are now fearlessly awakened. Coming on with Morricone’s Fistful Of Dollars theme, P.O.D. practically leap onto their instruments. Their backdrop is horrifying, the cover for Veritas, it looks like a jump-scare from an indie game some let’s player overreacts to, and creates an unholy pall over the set. Fittingly opening with ‘Boom,’ the crowd continues to jolt around in electric bliss, pogoing and moshing to the proselytising pandemonium. Ever the humble group, they claim they are just “here to warm you guys up.” The crowd disagrees loudly, die-hards scream along to numbers like ‘Southtown’ and mega-hit ‘Youth of the Nation’ as if their lives depend on it. P.O.D. And when they leave the stage, the dust doesn’t settle. It hangs there, thick and shimmering, like the residue of something momentary. Two acts down, both leaving the stage scorched, while the crowd, now fully resurrected, is left frothing for more. With a loud AC/DC anthem to start things off, Mix Master Mike of Beastie Boys fame appears in a canned music video where he disc-jockeys various rock classics. The first in a long line of “what the actual hell” moments. But this isn’t your dad’s Godsmack show (actually it is and he’s probably in the pit somewhere), for a camera crew shadows their every move - the whole affair being gloriously projected onto a giant TV behind the band. Like watching a rock show while also watching the behind-the-scenes documentary about the rock show. Meta. They galavant into ‘Surrender’ and frontman Sully Erna bounds onstage with the wide-eyed joy of a man who’s had his Weetabix. He is all smiles. ‘You And I’ kicks in with a backdrop of a slowed-down strip show, not so much erotic as it is deeply unsettling, about as sexy as going to the strip club with your dad, it falls pretty flat. The band continues to go backwards chronologically through 30 years of their catalogue for their set, a clever idea, following up with some sincerely goofy jalopy compilation footage for ‘1000hp’ and Sully breaking out the tough-guy voice for angst anthem ‘Cryin’ like a Bitch.’ Yet he ultimately comes across as intimidating as a teddy bear for the whole affair. Somehow, this only makes the performance more endearing. Both Will and Sam show off their skills, and bring enough energy to get the crowd pogoing the night away whilst longtime bassist Robbie Merrill rumbles low like an underground train. Before breaking out the special reserve, Sully engages in a heartfelt speech with the crowd. “No matter how good the footage is,” he says, “you will never be able to recreate the experience with a computer screen!” The conviction in his voice is genuine as he holds his Frankenstein guitar in his hands, he makes sure to mention it’s the same guitar he’s had practically his whole life that composed his first Godsmack song. The audience is moved. It’s an act of genuine emotion rare to see these days. The crowd exhales as one. The connection between fan and band is potent here. They’re survivors of a shared cultural trauma known as the early 2000s. Touching. ‘Awake’ is their greatest performance of the night, with pulsing lights rendering the Apollo into a planetarium. ‘Keep Away’ features the girl from the self-titled album cover robotically oscillating to the music thanks to the distractingly creepy power of AI. It is a misstep for the band and audience members are heard post-show deriding it as “weird” and “stupid that they’re using AI in the first place” which is hard to disagree with. ‘Voodoo’ then galvanises everyone into one giant tribal post-grunge snake cult, as it has the tendency to do. There’s a drum battle between Will and Sully that goes on for far too long but features some very impressive chops from both. Then they leave the stage in the most egregious act of heavy metal peek-a-boo yet before sallying out for three more songs. ‘Under your Scars’ is a heartfelt tribute to the fallen, with Sully breaking out the piano for the occasion, proving he can play literally everything. By the time ‘I Stand Alone’ comes in all of its Prince Of Persia: Warrior Within glory, the mosh-pit has gone large human-whirlpool mode once again. And as if summoned by some arcane spell from the bowels of 2002, Dwayne "The Rock" Johnson, The Scorpion King himself, appears on screen, throwing Sully a sword. And then it’s over. The band takes a picture. The house lights rise. The people shuffle out, sweat-slicken and pulverized. Godsmack have staged a show that is part rock concert, part seminar, and part wake for an era that refuses to stay dead which leaves you wondering; “what the hell just happened?” There is much to be said about the bands performing tonight. They feel like bands out of time. There’s a peculiar dignity in watching bands claw their way through the quicksand of cultural obsolescence. Godsmack have embraced this with a gallows-theatre bravado that permeates their performance; tasteless AI backdrops, uncanny projections of cultural bric-a-brac, and Sully dressed like a sleazy Italian director in some macabre Lynchian fever-dream of a video backdrop. In a world where everything's ironic and not caring is the new cool, sincerity feels like a unicorn’s horn. Just drop the AI crap first. They’ve spent decades being dismissed as Alice In Chains knockoffs, but this reputation is dishonest and wholly inaccurate. The truth is simpler and far less insulting; Godsmack wear their influences on their wrist, is all. Yet in the end, they shockingly don’t seem to reach the heights of their opening acts, .P.O.D. and Drowning Pool are grinding it out in their own ring corner of the metal ecosystem, lifers at this point, dealing out the bangers with those for ears to hear them. And that, perhaps, is the whole damn thesis: it’s not about reinvention. It’s about survival. Reinvention is for sellouts and influencers. These bands aren’t trying to stay relevant, they’re just trying to stay alive. It is precisely that kind of stubbornness that’s practically revolutionary in this day and age. But pedantry be damned, these guys can and still put on a hell of a live show. Crowds eat it up and sometimes it’s sweet to remember those times, when everything seemed to make sense. For now, they stand alone. Words: Kiarash Golshani Photos: Ben Blisset