Standover’s studio debut …When a Clenched Fist is No Longer an Option is a punchy hardcore playbook filled with dirty crashes and metallic soundscapes that cover every rhythm of the genre throughout its 10 tracks. It strikes a good balance of swinging angst and thrashy chaos, moving between each seamlessly. …When a Clenched Fist is No Longer an Option opens on the swinging angst side with ‘Gloom’, serving layered screams pushing anguish over a manifesto of misery, then picking up the pace with ‘The Noose’. The mixing choices in this track stand out with the choice to call and response with a radio in the prechorus before a pull no punches breakdown. The swing is brought to the uptempo tracks in ‘Doomed’, with a classic metal style intro to a satisfying “Go!” before launching into a manifesto of promised suffering and the anger it brings. The latter half of the track is punctuated with a half time breakdown that appears to be a signature for Standover; a textbook convention but executed skillfully throughout the project. The final Pre-interlude track is ‘Off the Leash’, the first filler-feel track on the album, but still nicely chaotic and armed with a violent breakdown that’s hard to fault. The Interlude features a scene about the uncontrollable nature of deep seated rage, then hits the swinging chord progression for the beginning of ‘Watch it all Burn’, whose highlight is the midpoint guitar solo. A winding gorgeous shredding melody that transforms into a power riff as the drums in the back deepen from a ride lead to the floor lead that backs a politician’s press release waffle - a nod to the politically-charged nature of Standover’s music as they proclaim “we’re all f**king doomed”. Follow up ‘End You’ is a great warm up track, which switches to a punch in its riffs while maintaining trading melodies as it resolves into upward scales and more searching solos in its breakdown. It is the perfect intro to project standout ‘Forever Contempt’, which over its two-and-a-half minutes fits in a full build up complete with low scream, punk infused verses with a head banging stop and start motif before filling out its sound with constant double bass rolls picking up in the breakdown into evil military rolls on the foot. The final third of ‘Forever contempt’ is relentless until its crisp China cymbal finish, saying what it needs to say then packing up with efficiency - no notes. ‘Dead to Me’ is the other piece of filler though has a punchy beginning before a downward- winding tempo, but album closer Slave pulls this right back up in its own introduction, staying relentless into its chorus. The breakdown is swung and is honestly anticlimactic for a closer, having little variation of its runtime then ending with a wind down/fade out that leaves the listener wanting in not the greatest of ways. The fade in on ‘Gloom’ does make for an effective cyclical feeling when listening to this album on repeat, however. Overall, the word for …When a Clenched Fist is no Longer an Option would be punchy. The thrashy elements were welcome and were balanced well with the swinging soundscapes, and no-messing short tracks are always welcome in a genre that likes to keep it pushing. This to the point that ‘Slaves’ seemed to struggle for content in its slightly longer runtime, but that is not to begrudge a band that may need to keep their stamina throughout a set. As mentioned a couple of these tracks came over as filler - though not ideal, neither ‘Dead to Me’ nor ‘Off the Leash’ are bad tracks by any stretch of the imagination. …When a Clenched Fist is no Longer an Option has everything a harcore fan would want for discovering a new band tied in a chain link bow, and is absolutely worth the listen. Score: 8/10 …When a Clenched Fist is No Longer an Option was released 9th June 2025 via Gutter Prince Cabal. Words: Julia Brunton Photos: Standover

Parisian hardcore crew The Prestige have just recently dropped their latest full length album, AMER, and it’s a riveting ride. Mixing together a concoction of the abrasiveness of Converge, the emotional heft of Counterparts, and the ominous inevitability of life itself, AMER is a deeply unsettling journey that you can’t help but continue on, even though you’re sure it’s only taking you further and further downwards. The eleven songs vary fairly substantially in length, with two of them around a minute in length and another two over six, so there’s plenty of room for variety here - clearly The Prestige don’t feel hemmed in by hardcore’s traditional sensibilities. The album careens between the more expected brute-force runs of screams, downtuned riffs, and machine-gun drums, all the way to eerily ominous moments of almost-calm, that m anage to make you feel like there could just be something watching you. The album opening is a phenomenal three track run; title track ‘Amer’ sits, appearing to be ever so dainty as the minute long intro, before it’s followed up by ‘Bête Noire’ and ‘Léger de Main’. However, dainty would not be the word for any moment on this album. The muscular guitars of The Prestige rip through the listener’s headphones, trying their best to drag you back through and into the uncompromising world of this French experimental hardcore group. All three hit like trains, with just enough of the skincrawling atmosphere included so as to never let you feel comfortable, even with the otherwise ferocious sounds of the rest of the album whirling you into a state of madness. We’re then met by ‘Enfants terribles’, which brought to mind another French heavy band’s album of a similar name, but the writhing heaviness of the former is a far cry from the overt technicality of the latter. ‘Voir Dire’ came next, and as a previously released single fans have had plenty of time to get used to it. It’s all but ready made for a live setting, and is awash with intensely evocative lyrics. As vocalist and guitarist Alex Diaz said about the track: “‘Voir Dire’ is a poignant exploration of inner struggles and family legacies, blending poetry and melody to capture the essence of our humanity.” Track six, ‘Négligée’, follows on with the poignant lyricism and raw vocals, but as the longest track here - over six minutes - it takes its time to evolve and to grow into what ends up being an incredibly potent emotive piece of music. ‘Ingénue’ gives listeners a brief break, as one of the least overtly aggressive moments across the album, before ‘Marquee’ and ‘Apaches’ extend the crushing intensity of the album nearer and nearer the end of the 37 minutes we are given. The last two songs take eight minutes between them, with ‘Petite Mort’ lasting just two and finale ‘Cri de coeur’ taking a full six to close the album off. ‘Petite Mort’ is arguably the most comforting The Prestige has ever been, but ‘Cri de coeur’ takes the atmospheric intensity found throughout, blends it with some of the hardcore sounds they’re so good at, and makes for a phenomenally dark and unsettling album closer. With lyrics describing the emotions experienced after losing his grandfather, Alex Diaz is at his most devastating here. AMER is unashamedly powerful, suffocatingly dark at times, and always stupendously emotional. French hardcore is doing better than ever, and this album is a glorious example of the scene’s brilliance. With this release, The Prestige have truly pushed their heads above the parapet and are making a claim to be one of the country’s best and brightest. Score: 9/10 AMER was released on June 6th 2025 via Banshies. Words: Jake Longhurst Photos: The Prestige

In the city of Nashville, Tennessee, there is a band. Their name is Orthodox. Their music is absolutely anything but. On this fourth album in their time as a band, they’ve managed to increase the intensity, the aggression, and the songwriting ability across the board. A Door Left Open is as close to a horror movie atmosphere as hardcore gets, with an unsettling atmosphere that leaves everything feeling a little bit off pervading the entire record. As is expected by the group, it addresses various topics and themes of religious and anti-religious schools of thought, as well as a reoccurring nightmare signer Adam Easterling dealt with on tour, and the idea that sadly, life is out to get you. Much as is to be expected, the album rips out of the gate in a foaming, frothing, frenetic frenzy of furious guitars and seething vocals. ‘Can You Save Me?’ kicks the door down, making no pretences that this band is here for anything other than ruination. Fans of the band may be well aware already of the infamy their live shows hold, even within the hardcore scene, and the live experience has been kept in mind here on these furious pieces of music. The track opens in much the same way you’d expect their live show to, and then rolls straight into breakdown tempos to whip things into a riot in seconds.’Body Chalk’ comes next, and at barely a minute long it’s not a grower, so it makes up for that by just blowing the doors off the recording studio. Track three ‘Dread Weight’ has all the heft suggested by the track title. The breakdown at the end notwithstanding, it’s a bruising song with gnarly riffs throughout - and then the breakdown is a straight up facemelter. Fourth track ‘Blend in with the Weak’ includes the voice of Matt McDougal, of the well known metalcore act Boundaries, and his abrasive gutturals bring a welcome level of bonejarring mania to proceedings. However, even these two excellent tracks don’t quite compare to the behemoth in fifth, ‘Godless Grace’. The riffs are powered by some unholy energy, the vocals and lyrics are brutal as anything, and the drumming is artilleristic. The last minute or so will likely bring the listener out in uncontrollable gurns. Tracks six and seven, ‘Keep Your Blessings’ and ‘Scared Place’ respectively, are both the type of nasty that will get the spin kickers excited, and the crowdkillers smiling in that very unnervingly gleeful way they do just before everything erupts. Both are full to the brim of that exact unnerving energy that the record was intended to have, and both are built for the chaos of an Orthodox live show. ‘Step Inside’ takes the tempo down a tad but not the ruthlessness, nor the visceral rage, so is merely a slower pace for people to mosh to. ‘One Less Body’ is notable here for two reasons. It’s the only song on the record with any clean vocals, and those vocals are performed by the legendary Brann Dailor of Mastodon. The track opens with a massive yell of “What the fuck” to get it going, the riffs are groovy, it’s all going smoothly for the band at this point. Lead single ‘Searching For A Pulse’ is about the aforementioned nightmare - “This is about a reoccurring dream I would get every time we left for tour that my house was burning down and I couldn’t make it home in time to save it," explains vocalist Adam Easterling, revealing it would crumble to ash as he finally made it back. "I tried to write something that encapsulates an overall fear and eventual submission to being powerless." The track perfectly captures the emotional devastation, whilst still keeping the energy and aggression where it’s expected to be. On the last stretch of the album, Comeback Kid’s own Andrew Neufeld joins Orthodox for ‘Commit to Consequence’, the penultimate track of the LP. The song is full of more swing than a jazz band, and yet still the belligerence of the band manages to overcome any sense of fun to keep things as rabid as possible. The final song here is ‘Will You Hate Me?’, capping each end of the record with a question. This is the longest piece on the album, and it takes its time, allowing the song to expand and flow out into the only song that isn’t blind anger, allowing for a moment of reflection on the last half hour of devastation, even as such lyrics as “Death offers no relief, only certainty” wash over you, before the final crushing blow hits and silences the LP. Orthodox don’t know how to make a bad song, and that much is blatantly obvious here. The group have released one of this year’s very best hardcore albums in A Door Left Open, and have more and more doors opening up in front of them as we speak. Score: 9/10 A Door Left Open was released on June 6th via Century Media Records. Words: Jake Longhurst Photos: Orthodox

Outbreak Festival returns in June 2025 to Manchester’s BEC Arena and for the first time ever, London’s Victoria Park. Often hailed as the leading UK hardcore festival, Outbreak 2025 is sure to be an exciting, action-packed 3 days, split across 4 stages! While the opening day, 13th June, in London brings us a smaller line-up, it is bound to be no less electrifying. To make sure you don’t miss out on seeing some of the hottest acts this year, we’ve collated this list of the top ten bands that are must watches at Outbreak, for you lucky readers. Slowdive Headlining at this year’s Outbreak Festival, this innovative shoegaze band has been giving us legendary live performances since 1989. With their dreamy vibe, fantastic visuals and immersive sound layers that engulf you, the atmosphere of their set is sure to be breathtaking. You can expect to hear extraordinary basslines, and a good mix of newer tracks and their classics, compiled for a perfectly flowing setlist. Recently, they performed at the Brooklyn Paramount, where they opened with “When the Sun Hits” to an electric audience – wildly singing along to every word. Slowdive performances draw in a chilled crowd, who can often be seen gently swaying to the ethereal music, eyes closed, before breaking into song when a fan favourite starts, creating a collective experience rather than a roaring mosh pit. Julie Julie’s set at Outbreak is sure to be insane! This up-and-coming band is definitely one to put on your watchlist as remarkable things can be expected from them. Their genre is a blend of hardcore, and shoegaze and every set is packed with raw emotion and energy, ensuring a thrilling atmosphere. You’ll be shook by their passion and intensity on stage – it’s going to be a set you won’t easily forget! Their debut album, “My Anti-Aircraft Friend” was released last year. It is a beautifully wild listen, with hard hitting heavy drums, distorted guitars and gossamer, hazy vocals – we can’t wait to hear some of the tracks on it at Outbreak. Superheaven Bringing us mind-blowing live performances since they first took to the stage in 2012, you can look forward to an atmospheric wall of sound, blended shoegaze, and grunge. An unreal experience! The stage presence this group has is mega, giving us emotionally charged music and so much energy. Superheaven draw in diverse, enthusiastic crowds, a real community you can expect to see singing along, head-nodding and a hint of vape smoke, rising from the masses. They recently played a gig at the Brooklyn Steel during their 2024 reunion tour – here they performed several classic songs, and the audience got hyped up quickly, excited to watch them again after their long hiatus. Trust us, you won’t regret seeing them at Outbreak! Pest Control Pest Control are going to bring a pure adrenaline, chaotic show to the stage at Outbreak. Their blend of hardcore and thrash metal creates an infectious, frenzied mosh pit of fans who aren’t scared to get rowdy and intense. Speakers blasting an aggressive, raw sound – producing a notable set you don’t want to miss. Their stage presence is intense, making every one of their performances unforgettable. Pest Control dropped their most recent album, “Don’t Test the Pest,” in May 2024, we can expect to hear some tracks on this played in their set at Outbreak! Pain of Truth This band is a must-see due to their hard-hitting raw energy, and hardcore/metal sound that’s perfect for moshing. Pain of Truth’s genre can often be described as metallic or beatdown hardcore. Their pits open up into brutal, and aggressive, super energetic crowds. Heavy breakdowns are part of their iconic sound and Pain of Truth’s crowds always match their crazy performances - stage diving and totally losing themselves in the power of their music! While we can’t say what exactly is going to be on their setlist at Outbreak Festival this year, we expect there to be a number of tracks from their 2020 album, “No Blame… Just Facts,” and some EP’s from their early days. Witch Fever A four-piece doom-punk band hailing from Manchester, UK, Witch Fever was formed in 2017 and since then they’ve shot to fame, defied many expectations – breaking genre boundaries, and they released their debut album “Congregation” in 2022. They’re known for really connecting with the audience and bringing a ton of vivacity to their shows. Witch Fever blends punk, noise rock and doom with distorted, heavy guitars and gorgeous but intense vocals. Sure to put on an outstanding performance as usual at Outbreak, especially with it being the return to their home town, on Sunday - 15th June at the BEC Arena. Deafheaven Deafheaven combines shoegaze with black metal - their music often has features of harsh vocals, blast beats mixed with melodic passages to create such a unique sound. They can be considered quite differently to other bands at this year’s Outbreak festival, but their music still packs a punch, and their set is sure to be a memorable one! Their best album is largely considered to be their 2013 release, “Sunbather”, and we think there’s a fairly good chance Deafheaven will perform tracks from this at Outbreak. Their most recent live show was at Sick New World festival in 2024 where they played a medley of tracks from their discography, many of these being from their last album, “Infinite Granite” and of course, from “Sunbather”. This set was well received and there was so much positive energy, and fans headbanging along. Contention Formed in Florida in 2019, Contention is a band in the metalcore genre. They’ve gained a powerful reputation in breakneck speed, and are rising stars within the metal scene. They blend elements of punk, metal and hardcore to produce their music. Their shows often create sweaty, intense, beer-fuelled crowds and you can often leave one of their performances with that “been in a mosh pit all night” aroma – a sure sign of having had a great time! The nature of the band makes them perfect for a festival setting and they’re absolutely going to rock the stage at Outbreak 2025. Drug Church Drug Church is a rock band known for their honest, raw lyricism. They deliver a killer mix alt-rock, grunge, and punk, creating an abrasive, but catchy sound. Drug Church always put on an extremely amped-up show, guaranteed to stick with you. “Hygiene” - their most recent album was dropped in 2022, and it delves into societal issues and personal struggles, which has resonated with many listeners and garnered them new fans. We hope several tracks from this will be on the setlist at Outbreak! Some tracks from their earlier albums, like “Cheer” and “Hit Your Head” are also expected to be in their set. We’re sure you’ll have an outstanding time watching them at Outbreak regardless! Kumo 99 Since forming in 2022, LA based duo, Kumo 99 has quickly built a dedicated following, becoming wildly popular within the DnB scene. Their live shows are totally unique – aggressive punk mixed with electronic dance sounds and a captivating stage presence that will grab your attention. A chance to see their raw, pure energy live! Since their performance at Coachella 2025, fans online have been raving about how superb they were! Their Coachella set paired punchy vocals with rhythmic beats and awesome light shows were added into the mix to create an experience like no other. Catch them at Outbreak so you don’t miss out on the chance to hear one of their digital hardcore sets live in the UK! Words: Elliott-Jae Boulton

This year’s M2TM Manchester Finals was nothing short of legendary. Held at the iconic Rebellion venue, the night brought together a stunning mix of local talent, past champions, and guest bands to celebrate the very best of the underground metal scene. With pits erupting, bodies flying, and riffs shaking the walls, the spirit of Manchester metal was alive and thriving. The competition was fierce, the vibes were electric, and one band rose above the rest. Rhum Knuckles Kicking off the day in true rock ’n’ roll fashion, Rhum Knuckles brought their signature blend of classic rock covers to the stage, instantly setting the tone for a day of high-energy performances. With tight musicianship and a clear love for the genre, they had the early crowd singing along and moving from the first chord. A perfect opener, their set felt like a warm embrace from rock’s golden era. Rupcha Farms Rupcha Farms came in swinging with a genre-bending mash of political rap, pure energy, and heavy riffs. Imagine The Prodigy being filtered through a metal lens, and you’re still only halfway there. With razor-sharp lyrics, pounding beats, and hooks you’ll hum for days, they had the room bouncing and thinking in equal measure. Their ability to mix catchy choruses with a pointed message makes them not just entertaining, but important. Easily one of the most unique acts of the night. Higher State Higher State didn’t just perform, they purged. With overwhelming heaviness and unflinching intensity, their set was a visceral, emotional release that hit like a punch to the chest. Blending crushing breakdowns with beautifully chaotic instrumentation, they delivered a set that was as cathartic as it was technically brilliant. Every scream, every riff, every beat felt purposeful. Higher State are a force of reckoning for anyone needing to feel something raw and real. A stunning, standout performance. Pulverise Flying the flag for the Nu metal revival, Pulverise took to the stage with relentless energy and total command. Their fusion of chunky riffs, big hooks, and infectious swagger brought serious early 2000s energy, reimagined with a fresh, modern twist. The band had the crowd moving from the get-go, channelling a frenetic mix of all our favourite bands. Pulverise didn’t just revive Nu metal, they reminded us why it ever ruled in the first place. Beyond Extinction Beyond Extinction came to destroy, and destroy they did. Their set was a masterclass in relentless heaviness, featuring earth-shattering breakdowns, monstrous vocals, and a sound so dense it could crumble walls. The pit action spoke volumes, these guys know exactly how to whip a crowd into a frenzy. Combining aggression with precision and flair, they left the crowd in a state of beautiful destruction. Pure, unfiltered filth, and we loved every minute of it. Competion Finalists: Technologist Returning veterans Technologist opened the competition side of the night with brute strength and groove-laden aggression. Having previously reached the 2022 semi-finals, they hit the stage this year sounding more refined, more confident, and heavier than ever. Their unique blend of groove and death had the audience moving, heads banging, and fists pumping. With razor-sharp execution and undeniable stage presence, Technologist reminded everyone that they’re not just here to compete, they’re here to conquer. A ferocious opening shot for the finals. Competition Finalists: VMBRA VMBRA’s set was nothing short of spectacular. With not one, not two, but three powerhouse vocalists at the helm, they delivered a genre-defying performance that seamlessly fused melody, brutality, and atmosphere. Every member brought something unique, and the chemistry between them was electric. Their new material added depth to an already impressive repertoire, and their command of the stage was unmatched. VMBRA delivered a set that felt huge, cohesive, and fearless, taking the energy in Rebellion to another level entirely. Competition Finalists: Covert One of the youngest bands on the bill, Covert proved that age is nothing when you’ve got talent and presence in spades. With a gripping blend of hardcore and deathcore, their sound was tight, punishing, and surprisingly mature. Their stage show had all the energy and polish of seasoned veterans, and the crowd reacted accordingly. If Covert are this good now, it’s frightening to think what they’ll be in five years. Manchester metal has a bright future, and it might be wearing Covert’s name. Competiton Finalists: DWINGLE DWINGLE brought chaos, colour, and charisma in a set that felt like a metal gig fused with a fever dream. Shirtless, sparkling, and constantly in motion, they turned Rebellion into a disco-metal playground with pits, stage dives, and crowd chants aplenty. Their theatrical flair was balanced by tight musicianship and clever songwriting that proved they’re so much more than just a party band, they’re serious entertainers. The most fun set of the night by a mile, and one no one will forget them anytime soon. Square Wild 2023 winners Square Wild returned to Rebellion with a set that reaffirmed why they’re one of Manchester’s most celebrated prog rock outfits. Funky basslines, tight drumming, and soaring vocals all blended seamlessly into a sound that was both polished and pleasantly off-kilter. With their mix of prog, punk, and pure fun, they delivered a vibrant, energetic set that had the crowd grinning from ear to ear. If Square Wild were a victory lap, they ran it with flair and style. Hellbearer Fresh off their 2024 win, Hellbearer returned to last year's stomping ground and didn’t hold back. Despite battling technical issues, they powered through with a vengeance that reminded everyone exactly why they took the title last year. With blistering speed, snarling vocals, and enough energy to level the building, they left nothing behind. Hellbearer’s resilience and power under pressure made for a compelling, triumphant set, and further cemented their status as one of Manchester’s most formidable metal acts. The Crawling As headliners, The Crawling delivered a crushing finale that combined death metal brutality with doom-laden atmosphere. Their sound was suffocating in the best way; dark, slow-burning, and endlessly heavy. From the first ominous riff to the final note, they held the room in a trance-like grip, proving they belong on much bigger stages. A perfect closer for a night that celebrated every shade of heaviness the underground has to offer. M2TM Manchester has proved once again that this city’s underground metal scene is thriving with creativity, energy, and pure fire. Every band brought their A-game, but it was VMBRA who rose to the top, earning a well-deserved slot at Bloodstock Open Air. With a stacked lineup, a packed venue, and a crowd that brought relentless passion, this year’s finals weren’t just a competition, they were a celebration of everything we love about metal. Until next year, we can’t wait to see what you have in store! Catch VMBRA at this years Bloodstock Festival, taking place 7-10 August 2025. Headliners are Trivium, Machine Head and Gojira. Words: Vee Richardson Photos: Ace Cheng

Almost three decades into their career, West Virginia’s Byzantine proves once again why they remain one of modern metal’s most fiercely underrated acts with the release of their seventh studio album, Harbingers. The band delivers a stunningly diverse and technically masterful body of work, one that’s equal parts aggressive, melodic, and deeply human, which will surely catch the listeners attention and reel them in. Led by founding vocalist and rhythm guitarist Chris “OJ” Ojeda, Byzantine has always operated at the intersection of groove, thrash, and progressive metal. On Harbingers, that formula is not only intact, it’s evolved. This is their first major release since their 2020 EP Live from Trident Music Facility, and it’s immediately clear the band has poured every ounce of themselves into this record. The album opens on a meditative note with 'Consequentia', a brief - but impactful - introductory piece featuring harmonic guitar lines and ethereal vocals. It’s a soulful, almost spiritual invitation into the chaos to come, establishing a cinematic scope and tonal depth that runs throughout the album. The next song, 'A Place We Cannot Go', wastes no time shifting gears. It’s a riff-heavy, high-energy beast of a track driven by thunderous drums and Ojeda’s signature vocals. A drum build-up leads into a surprisingly melodic chorus, adding dimension without compromising the track’s sheer intensity. Then comes 'The Clockmaker’s Intention', a standout moment on the album. Its powerful riffs and precision drumming form a solid backbone, but it’s the piano, an incredible subtle touch that elevates the song. It’s a masterclass in balancing heaviness with beauty, a theme that continues to echo throughout Harbingers. Mid-album highlight 'Riddance' is a full-throttle mosh anthem. With rapid-fire guitar work and whiplash-inducing time signature changes, it’s Byzantine at their most technical and aggressive. Alongside the equally as hard hitting title track 'Harbinger', this track is about society leaders overcome by greed, doing anything and everything to continue their ultimate race for power. Closing track 'Irene' begins with delicate acoustic strumming, offering a moment of reflection before erupting into a swirling storm of emotion, while still showcasing beauty within the chaos. Across its nine tracks, Harbingers is not just an album, it’s an experience. Whether it’s through intricate musicianship, clever compositional twists, or raw vocal delivery, Byzantine makes sure each moment counts. Perhaps more importantly, with the release of this record, Byzantine hasn’t just returned, they’ve raised the bar. For long time fans, it’s a triumphant continuation of the band’s legacy. For newcomers, it’s a perfect entry point into one of metal’s most creative and consistent forces, having a taste of everything for any type of metalhead to headbang along to. Score: 10/10 Harbingers will be released on June 13th via Metal Blade Records. Words: Sage James Photos: Byzantine

Buckcherry first crashed onto the rock scene in the late 90's and have kept their foot on the gas ever since. They’ve toured alongside the likes of Alice Cooper and Steel Panther, achieved multiple Billboard Top 200 debuts, and most people will, at the very least, recognise their hit songs ‘Crazy Bitch’ and ‘Lit Up’. Now, Buckcherry are back with the upcoming release of their eleventh album, Roar Like Thunder, a massive 25 years after their first release. Roar Like Thunder has an incredibly sharp production driven by big riffs, heavy rhythms, and is dripping with that sleaze we all expect to hear from the band. This album is in no way a reinvention, but that’s not a bad thing. If anything, it’s a bold reiteration of who exactly Buckcherry are. They’re not here to chase trends or experiment with their sound, they do what they’ve always done, they do it well, and they know it. The title track, ‘Roar Like Thunder’ opens the album with a frantic rhythm and a super catchy chorus. It’s a great opener that sets your expectations high, without putting forward the best the album has to offer just yet. We then dive into ‘When the Sun Goes Down’, with its punky and frenzied instrumentals. They’re paired with frontman Josh Todd’s gritty vocals and cheeky lyrics about being captivated by a badass lady, so we’re sure this one will quickly become a fan favourite upon release. The third track, ‘Come On’, channels the iconic sound of AC/DC right from the very first notes. It’s a stompy and groovy summer anthem that takes us nicely into the next song, ‘Talkin’ Bout Sex’. As the title suggests, this is the token cliche track of the album - it’s likely what many casual listeners who only really know ‘Crazy Bitch’ would expect to hear. That by no means makes it a bad song though, the chorus is an absolute earworm and there’s a gorgeous riff in the second half of the song that makes it really stand out. ‘Blackout’ is up next, and on first listen you may just think it’s a song about partying like there’s no tomorrow, especially with how grungy the vibes of this one are. However, the lyrics add a much more sombre tone to the song. Josh sings “when I blackout, I let my loved ones down”, touching on the harsh reality of addiction and the hardcore party lifestyles that the music industry still heavily glamourises. This track is quite profound, and one of the best on the album. We briefly move back towards a groovier vibe with ‘I Go Boom’, which features some kickass horns and a really fun guitar solo. It’s full of explosive (forgive the pun) energy and will definitely be an exciting one to see live! The seventh track, ‘Set It Free’ is still super punchy but a bit slower, and more of a toe-tapper than a head-banger. We get some more emotionally profound lyrics about letting yourself be whoever you want to be, which is a sentiment we totally agree with. ‘Hello Goodbye’ continues with the softer sound, giving us a little bit of a break from the intensity of the previous tracks. It’s the closest we get to a ballad, though it’s no less powerful than the rest of the album. The gorgeous songwriting and heartfelt lyrics like “I’m so ashamed of the truth and the lies” make this a really hard-hitting track. The penultimate track, ‘Machine Gun’, circles back to that AC/DC influence we heard earlier in ‘Come On’, but with the classic Buckcherry swagger thrown on top. Finally, we get to the closing track of the album, ‘Let It Burn’. We’re quickly hit with incensed instrumentals, bringing the album full circle and reviving the vigour that the previous couple songs had held back from unleashing. The song sends a clear message that these guys don’t plan on slowing down any time soon, and frankly leaves us wanting even more. Overall, this album feels like a very natural progression for such a well-established band. Buckcherry aren’t here to prove anything, they’re here to tell us they still know how to rock out and are never going to stray far from that raw, guitar-driven sound. Returning fans will enjoy the familiarity behind these fresh tracks, and any newcomers will regret not paying attention sooner! Score: 9/10 Roar Like Thunder will be released on June 13th 2025 via Earache Records. Words: Zuzanna Pazola Photos: Buckcherry

In the ever-evolving and progressing genre that is metalcore, Midwest quartet Archers are here to show exactly why they are a part of the latest set of bands moving the genre forwards. Their next release, Temporary High, is a five track EP set to be released just in time for the band's first ever appearance at the UK's own Download festival, and it's bound to make some new fans out of anyone in attendance Archers started their musical journey together in 2015, and less than a decade later have been able to tour with bands such as Catch Your Breath, From Ashes to New, Magnolia Park and Imminence. Hopefully that means that you may have heard of these guys before, but if not, we think any fans who enjoy the blending of metal with any genre should be tuning into Temporary High! The EP launches straight into the heavy metalcore sound of ‘Better Off’, as lead singer Nathanael Pulley perfectly blends his deep growling with smooth melodic vocals. The song utilizes trap beats at times, and even some melodic rapping which Nathaneal pulls through into a scream at the end, which ended up being one of our personal highlights of the whole EP, even at just a minute and a half into the first track. ‘Wide Awake’ opens with electronic synths creating a spacious and airy sound, perfectly reflected in the opening vocals. The drums slowly build to a compelling chorus that you'll certainly find stuck in your head. Drummer Grayson Mesarosh flawlessly set the tone of each section, using half beats and ravenous fills to take advantage of every moment, which will be ideal for moshing at their upcoming shows. The next track, 'Safe Now', slows the momentum to present an unmasked side of the band, starting with a slow piano that employs a symphonic use of backing vocals and hums. The song is wondrous and full of raw emotion, a deep bass humming throughout. In the second half of the song, drums gradually build in the peripheral, before launching into a full scale chorus. The lyrics are powerful being mirrored in the tone of Nathaneal’s voice - both in higher and lower forms, and even growing into growls at points - this song will surely be a tear jerker for the fans. ‘Never Enough’ picks the EP right back up, with shredding riffs and a deep beat, mixed with sultry aggressive lyrics that portray a relatable rage. The band added electronic elements throughout, but those are more in the background for this one, keeping the instruments in the forefront. The breakdown is the perfect tempo for some earth-shaking moshpits, before leading into a packed final chorus to close the song out. The last track on this EP takes things back to the trap beats heard in the beginning, starting off with more pop influence than its predecessors. The chorus sees the full band come back in, to support the built up dynamics with full drums and guitars. ‘Crooked Smile’ has Nathaneal using the upper register of his vocals. which stay buttery and smooth while opportunistically accenting lines with growls. To summarise, this EP is five tracks compacted with the punch of a full album - the mix of genres and emotions throughout make it one hell of a rollercoaster. We anticipate that many metalcore fans will adore this EP, and we hope that it brings attention to the bands talent, even with non-fans. The band have a full schedule to smash this year, so be sure to head to their socials to see where you can hear these and so many other bangers live! Score: 9/10 Temporary High will be released on June 13th 2025 via SBG Records. Words: Amy Smyth Photos: Archers

New England natives Death Rattle have finally brought their fans their long anticipated album The Moral Chokehold, after eight long years of waiting, and it is jam-packed with riffs from the first song to the last. Coming from an area that has a long history of producing some of the most influential metal acts in modern metal, the band's working towards achieving the same success, and it's abundantly clear that they are not going to be stopped anytime soon. Featuring a number of meticulously constructed pieces, The Moral Chokehold is a promising release that's been very thoroughly thought through when pieced together, and it is a stunning comeback after a long time without new music. The first three tracks, 'The Light', 'Malthusian Dependency' and 'Nietzche, and the Fall' all share many similarities in the execution of the melody, featuring heavy riffs and drums, but are divided when it comes to rhythms and technicality. The band is well-known for these elements, alongside with the raw intensity and passion of their delivery. These have been evident since the start of the album, and it is exactly these qualities that make these three songs stand out on the album, together with Trey Holton’s voice, that can easily give a person goosebumps. On the third song of the album, 'Nietzche, and the Fall', listeners are able to hear a harmonious euphony right before Ryan Vanderworlk’s guitar drops and delivers a bone-chilling bridge, only for the harmonies to pick up again after some harshly delivered screams to deliver the line “Where is the meaning? Where is the meaning in this life?”. On the other hand, in 'The Light' and 'Malthusian Dependency', we do not get as many vocal harmonies, so the sound purely relies on Holton’s raw vocals, which are paired well with Vanderwolk’s guitar, Brown’s bass and Morin’s drums. The album changes its rhythm a little with the track 'Veils of Consciousness', diving deeper into slower, yet very dynamic melodies. The usage of synths throughout the recording give it a new dimension that pairs well with the sound of the snare drum. It is also the only track, that does not use any vocals, meaning the sound of the song relies purely on the usage of instruments and the execution, which went well. Providing a somewhat sought upon escape from the intensity, complexity, and in some cases repetition of Death Rattle’s records, it is a well-placed track, sitting right in the middle of the album. After this little break, the album continues with the intense music. Finishing off with the track 'The Darkness', the band closes their newest project with a heavy metal drop that's all about guitar and drum work, giving the audience a variety of sounds, and once again the track features some interesting harmonies. The last song does not feel as intense as the rest of the release, yet the music is fitting its name in sense of the lyrics and usage of instruments, and it is still an interesting piece to listen to. The Moral Chokehold is a good comeback album for a band that's already been touring with some well-known names, and its composition is very good. Although some of the songs do sound similar in nature, there are pieces on the release, such as 'Nietzche, and the Fall', that boast unique elements which makes them stand out from the other songs. It is a very enjoyable album to listen to and definitely is suitable for anyone who enjoys metal with a little bit of intricate instrumentalism. Score: 8/10 The Moral Chokehold was released on May 30th 2025 via M-Theory Audio. Words: Katerina Stepanikova Photos: Death Rattle

The experimental quartet from Philadelphia, Kaonashi, is swinging into summer with full force as their third studio album I Want To Go Home, accompanied by a UK and European tour, has just landed. Assembled by the lead vocalist Peter Rono, drummer Pao, bassist Ryan Jones and guitarist and vocalist Alex Hallquist, the band's breaking out from the known genres and sub-genres to create their own unique sound, and has been met by various opinions about their journey. In I Want To Go Home, the band aims to push the musical boundaries even further than before, brushing off labels and monikers with their music. Although many songs sound similar at the first listen, which is little confusing, after listening to the songs for a few minutes, it is possible to hear some influences from other genres and bands, such as tempos, snare and guitar work. Vocally, Rono’s voice is very similar to that of Bryan Garris from Knocked Loose, as the listener may hear in each of the songs. His voice is very prominent in the song 'When I Say', which is not only lyrically excellent, but also features very prominent guitar parts that are present throughout the whole song, as well as a big punchy bass line that forms the core of the melody. On the other hand, in the song 'Fly On The Wall (An Orange Sidewalk Paved Around Your Feet)', the band features clear vocals from both Rono and Hallquist for majority of the track, making it an interesting change after mostly screaming in the previous tracks. Featuring Hallquist’s riffs, as well as Pao’s drum work, the song otherwise does not stand out visibly from the rest of the album, but it is an amazing piece to change the narrative a little. I Want To Go Home also features a spectacular transition between two songs that's featured right at the beginning of the project, namely 'Confusion in a Car Crash' into 'Fairmount Park After Dark'. The former features an extensive guitar work that resembles a Middle Eastern melody with no words, before cutting off and going right into the brutal sounds of the second track. Featuring heavy sounding drums, crying guitar and humming bass, lead by Rono’s distinctive voice, the song starts off a long line of energetic songs that are sure to make for a good healthy moshpit or two. The album not only displays Kaonashi’s yearning for freedom from the constraint of genre labels, but also a guest appearance from Anthony Green, the current vocalist of L. S. Dunes and The Sound of Animals Fighting. The song 'J. A. M. I. E.' is just a little over two minutes long, but resembles fairly typical post-hardcore music in nearly every way, albeit with a little twist at the end in terms of the acoustic guitar changing tones. Apart from featuring the well-known singer, the song gets lost with the rest of the tracks on the album, if one does not pay attention to it. The album is not a bad release, but it is also not a revolutionary one. Many of the tracks sound remarkably similar melodically and lyrically, making a full listen not so exciting. On the other hand, the guest appearances were an excellent choice to change the listening experience a bit. It is also important to note that Hallquist’s guitar lines are as sharp as they can be, Jones’s bass is punchier than a boxer, and Pao’s snares are always on point. It is certainly an interesting piece to listen to, and would be recommended for anyone who is not afraid to experiment with different styles, or likes their music to be unpredictable and surprising. Score: 6/10 I Want To Go Home was released on June 6th 2025 via Rude / Equal Vision Records. Words: Katerina Stepanikova Photos: Kaonashi

Hardcore pop punk band Stateside have released their highly anticipated LP ‘Where You Found Me’ under their new label Pure Noise Records. Having been on the road for the past three years, their new LP is described as an exciting collection of their experiences on tour and also the emotions and hardships that come with touring around the world. There are features with exciting artists and having released three songs on the album ahead of release day, fans were buzzing with excitement whilst they waited for the rest of these tracks. Stateside have taken their sound to a new level with this album, exploring the emo/rock side to their sound and it is passionate, emotional and inspiring! This LP is an emotional rollercoaster, but starts with the upbeat song ‘Heads Up Big Guy’ that leans into their pop punk sound - but also touches upon their more hardcore side. with some screamed vocals sprinkled in. Within the scene the band have come through, this is not heard all that much, but Stateside capture this sound flawlessly and their talent really shines through, as we see what direction the band wants to take. One of the songs that was released prior to the album is titled ‘Stay Sweet’, featuring Joe Taylor of Knuckle Puck and, entirely unsurprisingly, their voices come together to create a stimulating listening experience. While Joe’s vocals aren't heard so much throughout, their voices together really compliment each other, with Joe’s voice being a little deeper and adding a richness to the vocal mix. We're certain that fans of Knuckle Puck and Stateside will share a love of this song and bring people together because of it. Similarly to the first track we hear on the LP, ‘Vista Verde (So Far So Good)’ features a lot of upbeat guitar riffs. However, this song is less positive, and in actual fact it feels like being on the road and missing your loved ones - or more specifically. losing that loved one or the relationship you had with that person. While the song feels upbeat, the lyrics are a different story that plenty of listeners will find they relate to. The topic of loss seems to be a prevalent theme in this LP, and it is mentioned in many of the tracks; ‘The End's Not Near It’s Here’ captures the emotions of losing someone while not being ready to, but knowing you still have to let go, in a beautiful way. “I’m not ready, I’m not” is chanted a number of times throughout this song and it's even in the background overlapping other vocals, which really captivates the audience and gives us an emotionally healing listening experience. ‘Like A Rosary’ and ‘Aly’s Song (So Close So Far)’ are beautifully composed songs with lyrics that have a real depth of meaning. These will both impact people in a plethora of different ways, yet both also contain thrilling riffs that will instantly boost your mood and have you singing and dancing along. These songs live will be an incredible experience, so let’s hope they're added to the setlist on their upcoming tour! The band have definitely dealt with their fair share of hardships while on tour, and they've captured these feelings on this LP to create something truly special, which is relatable to everyone. This album has a lot more slow songs than fans will be used to, although considering the feel of the album it’s a good fit. ‘On A Clear Day You Can See Forever’ is an example of this - it starts off with a slow guitar riff and soft vocals, and even when the guitar picks up, the riffs remain soft and have a nostalgic feel to them. ‘Bitter Spring’ is about the season coming whilst you're still missing what used to be and mourning a relationship you once had. There is a lot of emotion layered into this song and when we listen to it we feel the nostalgia and sadness that's present, but also the anger hidden beneath. The screaming is a great touch and it's not heard throughout the album very regularly, but when it is, it comes in unexpectedly and it sweeps you off your feet. ‘California Calls You Home’, featuring Vamachara, has the same feel to it, although the theme of this track is all about missing home and longing to go back. Towards the end of the track, we hear a high pitched screaming and it really brings a lot to the song. It is not something we see in pop punk very often, but Stateside definitely knows what they're doing! Stateside ends their album with ‘Mile Marker’ and it is a real banger; in fact, it brings the whole album together and finishes it off with a feeling of hope that you can get through whatever you’re going through. With lyrics such as “I’m feeling fine so let's talk about what's on your mind”, it almost feels like the ending of a chapter. It is abundantly clear from listening that Stateside are a band of many genres, feelings, and sounds, and every song on this album captured a different emotion. This album has perfectly demonstrated their enormous talent, hard work, and ability to provide a brilliant project, so the future is shining for Stateside! Score: 9/10 Where You Found Me was released on June 6th 2025. Words: Kelsey Mainwaring Photos: Stateside

It’s a beautiful spring. Trees sway in the cool breeze while the sun looks down happily upon the earth. The insects feed off of the flowers, the birds feed off of the insects, and they make merry in their nests back on the trees. It’s warm and wonderful. It is not the kind of environment you would associate Katatonia with, that’s for sure. For nearly three decades, these Swedes have specialized in weaponized melancholy. From their early doom-laden dirges to their sleek gothic makeovers of the 2000's, the band has been less about stylistic boundaries and more about sustained emotional weight. Even though they’ve changed their styles more than a chameleon at a disco - well… at least until 2006. Since then, they've settled into a lush, sorrow-soaked identity that’s been soundtracking breakups, spiritual crises, and long walks in the rain ever since. Originally helmed by Jonas Renkse and Anders Nyström, Katatonia’s core has now shed one of its architects. Anders has bowed out, presumably as he harkened back to the time when they were a far heavier band. Now, it’s just Jonas Renkse steering this melancholy ship. The departure marks the end of an era, sure, but Katatonia was already evolving into Jonas’ personal baby. And this baby? It’s come in the form of a deer on fire next to a telephone tower, it’s Nightmares as Extensions of the Waking State (gesundheit). With that title alone, expectations are strangely opaque. The lingering question is: “will they permanently return to their heavier roots?” The short answer: No. The long answer? Noooooooooooooooooooooooooo. Instead, Katatonia have doubled down on the windswept melancholy they’ve refined since The Great Cold Distance, adding just enough distortion to get their heavy puritans cautiously optimistic without scaring off fans who discovered them through ‘My Twin.’ To their credit, this one is notably heavier than 2023’s Sky Void Of Stars - right off the bat the opener, ‘Thrice’, launches from a synthy prelude into some pretty crushing riffs. It kind of feels like some of the better late-era Dream Theater offerings. The lyrics are classic Katatonia: “The nightmares shut out/Behind the curtain for now/We’re running through a field of evening grass". It’s dark, it’s moody, and it sets the tone beautifully. ‘The Liquid Eye’ is another strong example of the album’s architecture; interweaving heavy passages with more soft, restrained movements. The dynamics move briskly and confidently. Then comes ‘Wind of No Change’, a title likely to leave the Scorpions scratching their heads as to what happened to their wind. It’s a meditation on the desolation of modernity, complete with a choral arrangement belting out “hail Satan” over a dark, stomping riff. Before you take it too seriously, it also delivers the fabulously deadpan line: “And lord Jesus/Or what’s his name again”. Satanic flourishes aren’t Katatonia’s usual domain, but when a track hits this hard, you let it slide. Excellent song. ‘Lilac’ veers into progressive territory, its arrangement punctuated by moments of subtle silence behind the vocals which lend the track a lighter touch. The guitars, meanwhile, can’t seem to decide whether to erupt or withdraw, giving the track a simmering tension like a pot boiling over. Fans of modern-era Katatonia will more than likely find much to appreciate here. The following track, ‘Temporal’, opens with a standout riff layered over warm synths and a melancholic guitar line that soars across the mix. It’s a highlight; bittersweet, cinematic, Katatonia at their most refined. The solo, though brief, cuts like an ice-cold knife through the heart. It serves as the album’s centrepiece: that baroque candelabra in the middle of the table that everybody seems to be talking about. The second half kicks off with ‘Departure Trails’, which unfortunately doesn’t quite live up to its predecessors. It’s atmospheric, yes, but at the same time it feels weighed down by a mild case of filler-itis. Then again, there’s probably someone out there for whom this is their song, and the rest of the world “just doesn’t understand” it like they do. The next track ‘Warden’ blends in so well with ‘Departure Trails’ that it sounds a bit like they’re the same song at first. It distinguishes itself with a stronger chorus and a few sanguine guitar flourishes. Credit is also due to the drumming, which ranges from tight rock beats to more restrained, jazz-tinged phrasing, nuanced and unpredictably expressive. ‘The Light Which I Bleed’ carries a whiff of Peter Gabriel’s So if Gabriel leaned more into overdriven guitars. The chorus is deviously catchy, and the instrumental layers grow richer with repeated listens. As for the lyrics, gloomy as all hell: “I’ve come to pay you again/The worthless currency of being.” Sheesh. Then there’s ‘Efter Solen’, sung entirely in Swedish. And that’s not even the strangest thing about it - it’s fully electronic. In an album leaning slightly heavier than usual, it’s a bold swerve, and somehow, it works. Finally, ‘In the Event Of’ brings the record to a close. It’s apocalyptic in tone, describing a world unravelling under the weight of something nuclear or worse. There’s something wrong with the sky like the narrator is witnessing the same Armageddon as Dan Swanö’s Uncreation. It feels like Jonas is narrating the end of days, while the guitars quietly mourn beside him. The lyrics capture a perfectly terrifying outlook: “If you read this it means you still have eyes.” The drums rumble to a hell of an ominous closer. With that last downer, the album fades into black. Well, well, well, Jonas. Even without Anders, you’ve managed to deliver a record that is satisfyingly heavy, yet still grounded in the band’s modern identity. Turns out it can be done. But don’t get it twisted; Nightmares as Extensions of the Waking State is still first and foremost another modern Katatonia album. Yes, there are nods to their heavier past, but the clear intent is progression. The heavier accents are just that – accents. They continue to evolve on their own terms, even if some fans (and some former members) are requesting them to ebb back toward their doomier roots. It’s heavier, but not heavy enough to be a reinvention. It’s bolder, but not radical. It’s Katatonia; self-assured, sorrowful, and still soul-shattering. As they look to the future, it might be that they’ll discover another direction that will bring them a whole new legion of fans, bossa-nova Katatonia, anybody? Anything is possible at this point and it is a true testament to the enduring legacy of this band that they can reinvent their sound so many times and still come out with such good material. The sky’s the limit. But for now, they’re finely tuning what they’ve already got. And what they’ve got is damn good. Score: 8/10 Nightmares as Extensions of the Waking State was released on June 6th 2025 via Napalm Records. Words: Kiarash Golshani Photos: Katatonia