Some bands and their music need time to find their way into fans’ hearts, and some bands need to release only one EP and one album to achieve that. The latter is very much the case with German newcomers Senna. Consisting of Simon Masdjedi (vocals), Tobias Stulz (guitar/vocals), Marcel Dürr (guitar), Fabian Cattarius (bass) and Leon Dorn (drums), the band is all about their own creativity and vision, and has been since day one, which is certainly paying off! They are currently gearing up for their newest release Stranger To Love, and their upcoming tour with Chaos Bay in the Autumn. Throughout eleven songs, Stranger To Love takes us on a storytelling adventure full of varying soundscapes, melodies, and vocals. As the band’s fans know from their debut EP, none of the members of Senna are afraid to let their imagination run wild, and as we can see from their first song on the album, 'Hurricane', they are ready to blend melodies to create their own world. The opening track on their debut release is prone to reminding us of softer music genres, right before dropping into swift guitar riffs and heavy vocals, reminding listeners that the band’s forte is indeed hard rock and progressive post-hardcore. As the audience progress deeper into the album, Senna’s ability to tackle instrumentation with ease in between lyrics becomes more prominent. Notable examples are the songs 'Blackout', 'Bodyguard', and 'Cliffhanger'. In the first mentioned example, the band stays safely in hard rock territory, seemingly making 'Blackout' a calmer song. However, the sound suddenly changes into synths, Masdjedi starts to scream, and Dorn’s captivating drums are given a well-deserved time to shine, before changing the pace back to calmer and even bringing in a bit of violin synth. On the other hand, 'Bodyguard' instrumentally sounds like some of Bring Me The Horizon’s pieces, in terms of melody, composition and breakdowns. Although it bears these similarities, it still stays true to the band’s roots and is an excellent piece to listen to. The last of the three songs mentioned, 'Cliffhanger', is composed differently to the previous two. Instrumentally, the song is faster, with a great amount of Stulz’s and Dürr’s guitar riffs featured, along with Cattarius’ bass lines. The track does feature a hefty amount of screams, as well as clear vocals, making it incredibly satisfying, as the soundscape is constantly changing. It surely is a standout track on the album, although all eleven tracks showcase the band’s potential. The album also features Our Mirage on the last track on Stranger To Love, called 'Polarised'. The song is a welcomed addition to the already stacked album, featuring exploding vocals from both Masdjedi and Our Mirage’s own Timo Bonner, who has been present throughout the entire track. The song is not groundbreaking, as it does sound remarkably like the band’s other recordings, but it still boasts some memorable riffs and elements that are sure to excite. Altogether, Senna’s debut album is a remarkably crafted piece, featuring a number of well written songs that have a potential to push the band forward. Although some of the tracks do sound similar to other notable bands, this is bound to happen within the broader range of hard rock and progressive post-hardcore - but the band absolutely put a lot of emphasis on keeping the music as true to their core as possible, while breaking the boundaries of the styles they find themselves most rooted in. This has certainly paid off in terms of their overall performance, and Senna is almost duty-bound to be put on the charts sooner or later, so keep your ears open as you'll surely hear more about them soon. Score: 8/10 Stranger To Love will be released on May 23rd 2025 via SharpTone Records. Words: Katerina Stepanikova Photos: Senna

Last Friday have seen the O2 Forum Kentish Town shaking, as the Canadian quartet PUP took over the iconic building for a night full of singing, dancing, and jumping. Currently celebrating the release of their newest album, Who Will Look After The Dogs?, the band finished their UK tour with the London date and is currently touring across Europe until the end of May. Joined by the British Goo and American illuminati hotties for the British leg of their tour, the band members Stefan Babcock (lead vocals, rhytm guitar), Steve Sladkowski (lead guitar, backing vocals), Nestor Chumak (bass, backing vocals, keyboards), and Zack Mykula (drums, backing vocals, percussion) toured eight cities, before returning to London for an evening to remember. Opening the night with a half-empty floor and an audience who is just getting ready to party can be a tricky task, but the indie-pop-meets-punk-rock five-piece Goo smashed their opening act without any doubt. Hailing from the city of Keighley in West Yorkshire, the band already has some amazing performances under their belts, so it is no surprise that they went right into action that night. Their set was mostly calmer, leaning more towards the indie-pop side of their repertoire, however, their punk-rock songs, performed later in their set, absolutely surprised the whole audience, and were met with a big applause, that was then deservedly repeated at the end of their set, as it was also their last performance with PUP, as they did not follow them to Europe. Next up was the Californian quartet illuminati hotties, who recently played their Tiny Desk concert. Fronted by Sarah Tudzin and playing mostly indie-rock, the band was met with a wider audience during their performance and even received the first mosh pit of the evening. As the band’s set progressed, so did their music, as it kept going heavier with each upcoming song. Promoting their upcoming album Nickel On The Fountain Floor, that is coming out in less than ten days, the band played the singles “777” and “Wreck My Life”, featuring the frontman of PUP Stefan Babcock, making the crowd go feral throughout the whole song and being even more excited for the headline act. At the end of their set, illuminati hotties received massive cheers from the audience, who visibly enjoyed the performance. As the lights went dark, the whole Forum burst into a never-ending cheering, finally welcoming the main band of the night, PUP, onto the stage. Since the first note, every single person in the audience sang every single word of each song, and the whole floor transformed into a massive chaos, as there were many mosh pits and fans were just jumping and dancing around, making the balcony shake for its dear life. The band was overwhelmed by the excitement for the entirety of the show and expressed their gratitude multiple times, as they were getting through their signature riffs and breakdowns. During the concert, Babcock noticed a sixty-seven-year-old fan at the front row holding up a sign that read that it was his birthday the day of the event, and the whole venue, together with the band, wished him happy birthday. As the band continued swiftly with their energetic set, they announced to the audience that there were only two songs left on the setlist, and that “encores are fucking lame, so we don’t do them”, to prepare the fans for the end of the night. Right after that heart-breaking announcement, the band welcomed, to a big surprise of the audience, Sarah from Illuminati Hotties to sing with them and Tanisha from Goo to play the guitar, which was a great experience, as both respective artists absolutely smashed their parts. After that performance, there was only one song left, and although the fans were chanting for more, it was time for the band to leave the stage it, and their fans had to accept that the unforgettable concert is over. All three bands were amazing throughout the evening, and each one of them brought their own unique music and styles. The audience took little longer to appreciate the support bands, but once they got into the mood, it was an absolute pleasure to watch the excitement. PUP do know, how to make their fans enjoy the whole evening, and surely they are already planning to come back, as the support from the audience was very strongly felt. Words: Katerina Stepanikova Photos: Ace Cheng

Suburbs rejoice, Sports Team are back! The irreverent indie rockers have been thinking characteristically outside of the box in the promotion of their latest album Boys These Days, giving fans the opportunity to shoot them with paintballs virtually in exchange for CD purchases, engaging in surprisingly competitive hot dog eating contests, and offering cash rewards at gigs to the closest lookalike of lead singer Alex Rice. The question, as ever, is can the music match the wildness of the antics? After the lukewarm reception to their sophomore record Gulp!, the six-piece have returned with a refreshed instrumental palate. The wry critiques of Middle England remain, but the blaring guitars which were previously central to their sound take a backseat. Instead, glitzy saxophones and keys are deployed, evoking memories of 80s new wave which, despite a couple of eyebrow raising moments, provide the group’s music with a much-needed new depth. Immediately, on the opening songs 'I’m In Love (Subaru)', Sports Team put their fans on notice that things are changing around these parts. The first sound on Boys These Days is a luscious sax solo, accompanied by choral vocals angelically praising the track’s titular automobile. Although a far cry from their previous work musically, Rob Knaggs’ lyrics reassure listeners that the joyous absurdity that got them this far is still present in abundance. The song is a love letter to a rally car, for pity’s sake! What could be more Sports Team - except perhaps a sequel dedicated to the road it’s driving along? The record’s title track continues the “new sounds, old themes” trend, as caustic parodies of the older generation’s critiques towards the youth of today are underscored by honky-tonk piano, violins, and even an errant harmonica. If The Style Council had written Sports Team’s breakout hit 'Here’s The Thing', it would doubtlessly have sounded something like this. 'Moving Together' follows, an oddly jaunty track that exposes a weakness in their greater diversity of sound. The mix is very cluttered, seemingly the product of too many ideas being thrown at it and none sticking. Consequently, this track lacks the catchy quality that so much of the South Londoners’ music can claim. The same is not true of 'Condensation', the strongest of the album’s singles, and a brilliant blend of old and new Sports Team. The album’s glossy production is deployed fantastically here, taking what is ostensibly a straightforward song and adding bells and whistles that make it a particularly dynamic listen. 'Sensible' is similarly a highlight, successfully conveying both the banality of the average young professional’s lives and the fear of becoming one with its muted acoustic guitar and hastily delivered vocals. 'Planned Obsolescence' marks Knaggs’ only appearance as vocalist on Boys These Days, as he modernises The Divine Comedy’s 'Gin Soaked Boy' with a nihilistic twist. Though he is not a note-perfect singer, the messiness of his vocals, as well as the whistling throughout, hammer home the pointlessness of life Knaggs describes in its lyrics. At this point, Boys These Days takes a brief break from satirising the world around them to focus on the state of play across the Atlantic. 'Bang Bang Bang' is a commentary on gun violence in the United States, set to a guitar riff ripped straight from a spaghetti western. Sports Team have long been aware that humour is the easiest way to get a point across, and the contrast between the soundscape and messaging in this tune is by far its best deployment on this record. 'Head To Space' has a similar oxymoron at its core, longing for the escapist life of an astronaut whilst being acutely aware of space tourism’s wastefulness. This internal conflict has become surprisingly topical, given Katy Perry’s recent foray into the cosmos, but this track succeeds by understanding the appeal of space travel, rather than straightforwardly rejecting it as a destructive pastime of the super rich. Of course, it is very tempting to decry the likes of Perry, and even more so Jeff Bezos or Elon Musk, for chasing an interstellar vanity project when the one world we have burns, but by painting in shades of grey, Sports Team ensure that they don’t stray too far into preaching to the choir. Not everybody can be Billy Bragg, and for bands such as Sports Team, making music that is enjoyable matters far more than music that is agreeable. After 'Bonnie', a slightly misconceived effort to incorporate a funk groove into their repertoire, comes the album’s closer 'Maybe When We’re Thirty'. This is truly quintessential Sports Team: a song that simultaneously pokes fun at and finds romance in Britain. Even with their constant pisstaking, you always get the sense that they love their homeland, idiosyncrasies and all, and nothing captures that more than this track. Their ability to find and express both the frustration and joy in ordinary British life is one of the biggest reasons for their success, and although they have upped the sonic glamour on this album, this heart remains core to their success, and central to this album’s strongest moments. Combining this heart with a previously unseen musical adventurousness makes Boys These Days a refreshing addition to their catalogue, and opens up a range of directions that their sound could take going forward. Score: 7/10 Boys These Days will be released on May 23rd 2025 via Distiller Records. Words: Ali Glen Photos: Sports Team

LA’s House of Protection have barely existed for a full year, yet they’re already charging into their second release while staying busy on the road. Stephen Harrison and Aric Improta are scene veterans and clearly didn’t feel like Pulling Teeth (wink) with the slow approach. Their new record Outrun You All drops this Friday via Red Bull Records, so here’s what to expect: Intro track ‘524å§ł€€-°’ is a literal welcome. This time, they directly reference “The House of Protection” as a real thing, whereas before it had only appeared in the lyrics to ‘Pulling Teeth’. It hints at a growing theme, a cult, society, or something more. Musically, it carries the same dreamy lounge vibe they’ve had since the end of their debut single ‘It’s Supposed To Hurt’, often used to bookend the more chaotic tracks. Naturally, it leads into February’s first single, ‘Afterlife’, which is heavier and more blunt than earlier material. Dual vocals and modulation are the main stars in the track, and feels very deliberately placed at the beginning of the record given how final it’s subject matter is. ‘Godspeed’ is the first non-single track fans are treated to, and it takes that coasting speed of ‘Afterlife’ and immediately ups the pace. It has some near-hyperpop elements, as well as sections of very deep, industrial guitar and bass. As always, Improta is dead-on with percussion, before letting loose into one of his trademark cacophonies to finish out the track. This track could’ve made waves before release, especially after touring with the genre-straddling Poppy. It would’ve drawn a lot of eyes towards them for their sound, if the US tour the duo just completed with her didn’t already. It tows the line between dance and rock perfectly, as we’ve come to expect(?) from the unpredictable duo. Given the relative proximity to record release day when House of Protection released ‘I Need More Than This’, there's not much that needs saying about the brilliant third single. It leans into a throwback 2000s rock sound. It carries a lot of atmosphere in a very simple musical arrangement, and has proved popular with fans so far considering it is quickly catching up to the other singles on stream volume, despite being out for substantially less time. This was the best single they could have brought out so close to the record, considering how literally it translates, and it has drawn so many extra eyeballs to Outrun You All. Then comes ‘Fire’, which - for all those trivia fans looking up House of Protection for the first time - has been in their arsenal since their second ever show in London’s Underworld. It’s sample-heavy with an almost rap edge, blending their past projects in surprising ways. It manages to blend elements of both Harrison’s and Improta’s individual work in the past, as well as their joint venture. Harrison taps into hardcore roots, channeling The Chariot, while Improta’s drumming recalls his work with Night Verses that he got so much praise for just last year. The order for the track is certainly controlled chaos, and seems even more destined for the live shows than ever given it’s persistent “F-I-R-E” chant through the latter half. The genre-hop continues into ‘Phasing Out’, though aside from the drum and bass element, this isn’t totally unfamiliar ground for House of Protection. ‘Phasing Out’ is very similar to ‘Being One’ off the previous record, right down to the prolonged and altered vocal line consisting of the song’s title, though this carries a bit more energy than its ancestor from last year. ‘Being One’ served a very specific purpose on Galore as a sort of catharsis, ad well as giving Harrison a chance to climb in and amongst the crowd at intimate shows, ‘Phasing Out’ may be the next evolution of that bit. Finally ‘Slide Away’, which feels like just the right song to wrap up the record, amalgamates all the experimenting they have done on the record for the final four minutes of listening. It feels very reflective and mature, considering just how chaotic the band have managed to be in their first year of existence. There’s notes, drum beats, and screams that all hang on for that moment longer and “Slow things down” - exactly as the song suggests. It’s a hot commodity for fans nowadays, when a band has that one specific song they can play live, and it sets in for a viewer that the people they idolise are up on stage in that very moment, ‘Slide Away’ feels like that song. It’s emblematic of how big House of Protection are going to be, how they will make you feel something. Outrun You All is expertly produced. Some may not love it - but it feels like the exact record House of Protection needed to make. It delivers on the promise they’ve shown live and pushes their sound into new territory, as well as probably raising a few eyebrows. The faces you have seen sprinting around the room at full tilt for over a year just stopped dead in their tracks, held their arms out and said “Be angry, be sad, be lost”. Outrun You All feels like a risk, because they wanted to show us something new. “House of Protection loves me, and there’s nothing I can do about it.” Score: 9/10 Outrun You All will be released on May 23rd 2025 via Red Bull Records. Words: Nic Howells Photos: House of Protection

Krematorium’s sophomore album Sinister Seduction is, in a word, fun. Pulling inspiration from 80's thrash metal and the new wave of heavy metal, the Croatian quartet have put together eight characterful songs filled with personality, and killer riffs to boot. Album opener ‘Stonehearst Asylum’ doesn’t ease the listener into its soundscape, starting as fast as the album means to continue and giving the energy of the song a band would be playing in a bar in a slasher movie that becomes background noise as the killer starts his spree. This vibe is solidified with the maniacal laugh that ends the track. Its follow up ‘Moonshine Rider’ serves the first of the riff heavy tracks that are emblematic of the project from its first-verse solo while Domagoj Fišeković sings of riding motorbikes at night and wanting to break free atop a floor lead bride before the second shred of the 4:16 track. Even with the themes of being trapped and alone, the feeling is that of a group of technically brilliant musicians messing around in the studio after listening to too much Slayer - in the best way possible. As usual, it is the third instalment on Sinister Seduction that stands out in its first half - ‘Manhunt’. Still packed with riffs, but this time they're accompanied by stabby double bass drums, and a tempo that gets the adrenaline pumping as if one is being chased. This keeps up until the final instrumental, where a beautifully executed half-time breakdown is gifted to the ears; whether it is Erik Perušić or Sebastian Živković shredding on top of it in the final stretch, it scratches the solo-craving itch in the brain wonderfully. Upon hitting the midpoint there comes the upbeat-feeling ‘Go Getter’, a jumpy NWOTHM offering, and ‘D.F.T.E’, which somehow manages to get even faster with less stoppages, just at the moment on the record where the standard midpoint lull on each track was starting to get a little repetitive. This said, the even-less-break structure gets a tad repetitive from here on out, which is a shame as each track on Sinister Seduction is solid-to-banger status, leading to the feeling that Krematorium may be best seen live to fully enjoy their work. In any case, Krematorium do send it sky high in the final three tracks of Sinister Seduction; ‘Scream 'n' Shout’ gives a more hardcore feel than the rest of the tracklist, most notably in places where they opt out of the live mix but keep a more raw screamed vocal. Its soundscape is also the one that pulls the least punches, launching into its solo with a welcome guitar screech before the shredding begins - it would’ve been nice for Dorian Perušić to have a little more time in the sun from behind the kit, but alas, this is not the way with riff metal. ‘Reign of Terror’ is the longest offering, clocking in at just under five minutes, but makes the most of it through a more-is-more approach: more speedy guitar solos, more group-shouted choruses, and more funky sounding scales to separate each part. There is a little more love given to Perušić in the second act instrumental too which was nice to hear. For closer ‘Blackened Sky’, they opt for a swinging soundscape as the track develops, still pulling no punches to get the blood pumping one more time, as they close out the album with apocalyptic thrash metal combined with all the trimmings. It’s hard not to listen to Sinister Seduction without a smile; frankly, the smile on Domagoj Fišeković’s face can almost be heard in his recording of vocals. The whole project feels like friends jamming the same songs they’ve played for years - polished in their execution but laid back in their performance, which adds an air of jolliness to a long-labelled satanic genre. Sinister Seduction is an ideal addition to any thrash enjoyers repertoire, and by the sounds of it you might need to keep an eye out for Krematorium, so you don’t miss them in a city near you. Score: 8/10 Sinister Seduction will be released on May 23rd 2025 via Witches Brew. Words: Julia Brunton Photos: Krematorium

Maryland’s Thus Spoke Zarathustra smashed into the deathcore scene with all the subtlety of a sledgehammer, and their sophomore album, I’m Done With Self-Care, It’s Time For Others Harm, is proof of their unrelenting force. Freshly signed to Prosthetic Records, the band wastes no time making it clear: this is deathcore with brains, bile, and a fierce, unapologetic edge. Rooted in horror and existential dread, the album digs deep into the battle between healing and harm, self-improvement and chaos - blurring the lines between growth and vengeance. Guitarist and main songwriter Andy Reynold leads this charge, channelling the spirit of mid-2000s MySpace-era deathcore while injecting it with fresh venom. But this isn’t just a nostalgic trip; Thus Spoke Zarathustra revive the genre’s chaotic core with sharper teeth and a cinematic, twisted scope. From the very first moments, the album isn’t just heavy - it’s an intense experience, soaked in anxiety and introspective nihilism, that sticks with you long after the breakdowns fade. Right from the opener 'GGO', the band drags you into their dark conceptual world. The track starts with eerie harsh noise before exploding into a maelstrom of triple-guitar melodic death metal leads and crushing riffs. It perfectly sets the stage for an album that’s as dynamic as it is brutal. The momentum doesn’t stop with 'I Can’t Save You', a brief but explosive track that channels desperation and emotional wreckage through relentless riffs and raw vocals. Then comes 'Gage Lanza 2: Return of the Red Hammer', which layers complex guitar interplay over driving rhythms, creating a dark and powerful atmosphere. It’s technical but never at the expense of heaviness - a fine line the band walks throughout the record. One of the album’s highlights is 'I Never Believed in Magic Til My Dog Turned into a Snake'. This track perfectly captures the horror-inspired themes with furious blast beats and punishing breakdowns. The song’s narrative of twisted transformation and vengeful rage hits hard, pulling the listener even deeper into the album’s dark world. 'The Final Blow Will Bring Blood' continues the assault with a menacing groove packed with menace, while 'Santosha' shifts gears slightly, adding a more atmospheric touch. The tension builds here, punctuated by bursts of intricate guitar work that keep the listener hooked. 'All I Feel Is Cold' lives up to its title with chilling riffs and an oppressive atmosphere, thickened by the band’s trademark triple-guitar attack. The sonic density reaches a peak on 'The Difference Between You and Me Is I Never Got Caught', which channels pure aggression through precise, punishing riffs and unrelenting energy. 'Mithrandir' keeps the pace furious - a short, sharp blast of intensity that doesn’t let the momentum drop. Then the album closes with 'Bereft of Light', bringing the record full circle with a blend of crushing heaviness and haunting unease, leaving you with that lingering feeling of existential dread. Throughout I’m Done With Self-Care, It’s Time For Others Harm, Thus Spoke Zarathustra expertly balance complexity and savagery, pushing deathcore’s boundaries with a vision that feels both deeply personal and brutally unflinching. In today’s scene, where many bands either stick to tired formulas or polish their sound to bland perfection, Thus Spoke Zarathustra stand out by embracing the chaotic roots of deathcore while forging their own dark, twisted path. This album is a refreshing dose of raw energy and creativity that fans of the genre - and newcomers alike - will find exciting. Ultimately, I’m Done With Self-Care, It’s Time For Others Harm is a powerful sophomore effort that cements Thus Spoke Zarathustra as a band to watch. Their fearless approach and tight execution make this more than just a brutal listening experience - it’s a meaningful journey through pain, chaos, and twisted self-reflection. It’s heavy, it’s intense, and it leaves you eager to see what they do next. Score: 8/10 I’m Done With Self-Care, It’s Time For Others Harm will be released on May 23rd 2025 via Prosthetic Records. Words: Mia Gailey Photos: Thus Spoke Zarathustra

Fresh off their recent fourteen date UK tour, Skunk Anansie are back with their seventh studio album, and first in nine years, The Painful Truth. Whether you are a new fan, or a seasoned follower of the band, who have been a major part of the UK music scene for nearly 30 years, this album is one not to miss. With the band having been dealt some difficult cards in the last five years, there was a time they were close to calling it a day, but they are back, and as determined and resilient as ever. When Skin, the enigmatic and powerful lead singer, describes her band as a "clit-rock" group, you shut up and you listen. Since 1994, Skunk Anansie have been bringing their unique mix of rock and punk influences, with reggae beats. Skin’s powerful, wide-ranging voice, coupled with the oft heavy but always necessary lyrics, shows exactly why she is a crucial role model for current and future generations of black women, and singers everywhere. The Painful Truth starts with the storming ‘An Artist Is An Artist’, barging straight into Skin telling the listener exactly how she feels, raging against ageism with every line ‘She don’t roll down her sleeves, pick up her Zimmer frame and leave, put down her pen put on her hat, because of menopause’. It is clear from the first few lines that the band are taking no prisoners with this album, making sure that the world knows that they are back and not taking any shit. Electro-beat filled ‘This Is Not Your Life’ sounds to us like it will become a firm live favourite; with the lyrics hitting the listener with a reminder that "This is not the way it should be", but could turn some long-term fans away from the album, as it is a definite change in sound, leaving the heaver rock chords to later songs. ‘Shame’ flies in as the third track, with the emotional and powerful lyrics looking at generational gifts or curses, depending on how you view them, with lyrics like "I got Love from my mother, pain from my dad", but brings back the familiar alternative Skunk Anansie sound that they are best known for. With lyrics like "Head in a daze, thought I was killin'", ‘Lost And Found’ tells a story to the listener, drawing you in, with the keys backing Skin’s powerful, velvety tones. Though it could be another track which could lose the fans of the heavier sound Skunk Anansie are known for, the closing out with a guitar solo will remind everyone why they are listening. Through the second single from the album, ‘Cheers’ with its urgent beat and melodic bass line, Skin’s recognisable accent comes screaming at you with each line with a reminder to "Cheers, have one more glass", on a song with more simplistic lyrics that found elsewhere on the record. The softer, more vulnerable, yet still rhythmic 'Shoulda Been You' incorporates Skin’s reggae-rooted beats, featuring catchy lyrics supported by heavy bass guitar and drums, showcasing a more stripped back, personal reflection. ‘Animal’ brings the raw, powerful lyricism heard throughout the album to a head, with the darker, religious connotations, with repeated chants of "I am an animal!" begging to be screamed from the crowd to the stage. With lyrics like "You fell in love with girl, who fell in love with a boy, who fell in love with me", not only are we transported back to the classic Skunk Anansie song ‘Secretly’ which famously featured on the soundtrack to 1999 romance thriller ‘Cruel Intentions’, we are sure the silky, soulful, and complicated love song ‘Fell In Love With A Girl’ will be the new bisexual anthem of the summer, with its choral intro coupled with more funky bass lines. Trumpets open the albums penultimate song ‘My Greatest Moment’, where Skin states "Nothing’s gonna feel this good, this is my greatest moment", telling a career reflective story, with her soft, soulful tones piercing through each line. The album closes with the delicate piano based ‘Meltdown’, with the return of the emotionally charged lyrics, giving the listener a quiet end to an otherwise loud and energetic album. This finale will surely satisfy listeners, but will no doubt leave them with more questions than answers to the question on the tips of many a tongue - Skunk Anansie are back, but are they the same as before? For some, The Painful Truth will be an unexpected shift from the darker, alternative rock veteran fans are used to from Skunk Anansie, but by understanding the shifts in the life behind the band and their rediscovery of just why they play music, it is clear that this album is not only a solid return from them, but a new era of pushing boundaries and redefining just what Skunk Anansie are all about. Score: 9/10 The Painful Truth will be released on May 23rd 2025 via FLG Records. Words: Lou Viner Photos: Skunk Anansie

Danish punk band Pleaser have been experimenting since their first release back in 2021, their unique, chaotic and adrenaline-fuelled sound hard to pin down to any one specific genre. They combine elements of intensity and youthfulness, with frenzied rage and bold emotions they want us to bear witness to. With their latest album Begging Guitars, one thing is made certain – they are unequivocally punk. The album is an energetic, high-speed chase, capturing the true disorder and destruction of the human experience. Lead single and title track 'Begging Guitars' leads us directly into the mayhem, a fast and punchy introductory tune that lets us know exactly what we're in for. It barely lets up, only slowing the tempo down for the start of a guitar-heavy instrumental halfway through. Almost immediately, the fast, razor-edge tunes pick back up - a recurring theme. The band say this is a song about "letting go and not expecting or indulging in perfection from oneself or others", and that's certainly evident. It's messy and chaotic, but in a charming style that follows them in each song to follow. 'Here for the Sins' chases up the strong opener with the dual vocals of Suo Fei and Annie Marie Nyvold, the track frequently switching between the shouty, punky vocals the band are known for, and melodic, memorable passages over their heavy riffs. Their second single release and third song on the album, 'Ride', captures the essence of the record in a bottle. With unpredictable vocals that never quite seem to go where you’d expect, over a catchy bassline by Olle Bergholzall, the song immediately establishes the themes of escaping from the ordinary, with fierce emotions over an accelerating journey of life’s extremes. A third of the way in, the tempo begins to slow. The pounding, rhythmic drumbeat from Oliver Nehammer gains dominance. The guitars and bassline soon join him in a repetitive riff that picks up speed, foot on the pedal and rapidly accelerating. It's a song that's just begging the audience to indulge in the chaos with them - if some songs ask for a mosh pit, 'Ride' doesn't just bring up the question, it demands a pit be made and it had better be made right now. Fourth track 'The Pounding Chest' is a good breather with its slower pace, a pit-stop along the race the album takes us on. However, where the band are best is when they're revelling in discordance, and this song steps off that road in a less-than-memorable way. Their vocals are strong, but the track struggles to find its place. One of the longer songs in this release, the next track 'Anthem' clocks in at around four minutes. There's a slow build-up in the first minute-and-a-half that at first seems like it would drag, but almost as soon as you start looking at your watch, wondering where the action is, it appears and the song kicks into gear with a rolling drumbeat and catchy guitars. 'Lighten Up' is one that doesn’t make you wait for the good stuff. It moves off at a speedy pace, coming to an apparent, abrupt close after two minutes. The guitars fade out, and the drums cease. Then, a bass strum. Immediately we're back in the thick of it. With a messy, discordant breakdown, the vocals and instrumental fight for dominance in true punk fashion. Their third and final single release, 'Hey Girl' is yet another catchy song, slightly reminiscent of Bratmobile. Optimistic, with catchy hooks and duelling vocals that emphasise their punchy lyrics about the love in female friendships. Following that is another standout, 'My Fantasy', a track that carries some searingly strong emotions in their memorable lyrics, with almost all of that emotion being focused into anger. It's a slightly heavier song, with an aggressive darkness encroaching on the upbeat, light-hearted sound the album primarily consists of. Final song 'A Vow of Bliss' wraps up the album with a collaborative build up of drums and bassline, guitar riff joining halfway through before the familiar dual vocals from previous songs make a welcome reappearance after a minute. It's a solid closer that doesn't overstay its welcome, bringing us to a soft end after nine high-speed tracks. Overall, Begging Guitars is Pleaser at their most cohesive, though a question persists - is that to their detriment? Their strongest songs on this record have their own, unique qualities to bring them ahead, while others blend together in ways that make them hard to distinguish from each other. There are times when the vocals and instrumental clash in a messy, unrefined way that works on some tracks, though others make you wish you could reach out to the mix and turn the volume up on the vocals. Ultimately the album has its standouts in 'Ride', 'Lighten Up', and 'My Fantasy', while others seem destined to become album-only listens. Score: 6/10 Begging Guitars will be released on May 23rd 2025 via Part Time Records. Words: Naomi Colliar Duff Photos: Pleaser

Hailing from South Wales, the female rock trio Häxan has wowed audiences with their big riffs and vocals since 2016, making appearances at festivals such as Download, Bloodstock, and Malmo Rock Festival in recent years. Composed of Sam Bolderson (vocals and guitar), Harriet Wadeson (bass), and Jess Hartley (drums), they know exactly how to deliver bags of driving energy that you just can’t get enough of. The band’s upcoming EP, Death Of Me, is the highly anticipated follow up release to their debut album White Noise, which came out in July 2020. This EP is a great blend of metal and rock influences, bringing a unique flair to a familiar sound and truly showcasing the band’s evolution since their last release. The EP’s first and title track, ‘Death Of Me’ is stirring and anthemic, with an incredibly catchy melody delivered by Sam’s superb vocals. The lyrics are particularly striking, exploring themes of betrayal and the inner conflict of wanting to escape but knowing, in the end, that you wouldn’t even if you had the chance. It's an excellent track to kick off the EP! We quickly move on to ‘Sirens’, driven forward by punchy drums and soaring vocals throughout. Again, the lyrics hold a powerful message, all about you willingly committing yourself to your own damnation, and knowing it’s too late to do anything about it. It’s an entrancing track that definitely feels like it’ll be a crowd favourite at live shows. The third track, ‘Thirteenth Hour’, starts off with stripped back instrumentals and just Sam’s commanding vocals, immediately making a lasting impression and solidifying it as a stand out track on the EP. We get haunting laments of “where are you now?” and “my time is running out”, followed by the electrifying power of the full instrumentals kicking in. This is a really masterfully crafted track that shows off the band’s talent incredibly well. Following on from that, ‘Burn Alive’ hits you with one of Häxan’s signature big riffs, capturing your attention right from the into and holding onto it for the rest of the song. There’s an ace instrumental section near the end of this track, steadily building up to another impressive riff and a final chorus that will absolutely be stuck in your head for days - in the best way possible, of course! The last song, ‘Collide’, rounds off this EP really nicely - we get a final taste of those impressive vocals and uncompromising energy, providing a satisfying ending but still leaving you curious to hear more from the band. The little bit of a breakdown at the end and following tempo change keep things interesting, though definitely could’ve been a bit longer to have an even bigger impact. Death Of Me marks a great return from Häxan and sets an exciting precedent for what is yet to come. If you’re looking for some good old rock but still crave something more novel and unique, this is the EP for you. You can catch Häxan on their upcoming Girls Just Wanna Have Funerals UK tour in June 2025. Score: 8/10 Death Of Me will be self-released on May 23rd 2025. Words: Zuzanna Pazola Photos: Häxan

Straight out of Follo, Norway are Korean Cars with their debut EP '#1'. Korean Cars have put together a blend of melancholic post-rock and noisy post-hardcore, with a nineties and noughties throwback feel. The band is formed by members of Rumble in Rhodos, Infidels Forever, Arms on Fire and Insense. The self-stated influencers of this album are; Failure, Trail of Dead, Helmet and Explosions in the Sky. There is, however, a statement of edge and freshness here - easy enough to promise, but often very difficult to deliver! Korean Cars’ first mini-album comprises six tracks, with three being fully instrumental and the other three featuring vocals. The album opener 'Magalomaniac' is a technically impressive instrumental experience carried along by evolving guitar melodies, setting the tone for what’s to come on the rest of the album. The next track along is 'Drömtorp', which hits with a surprising swagger reminiscent of a Gallagher brother on a particularly moody day. The echo vocals and cutting riffs really stand out here, sending the listener on a nostalgia trip that will especially appeal to enthusiasts of Britpop. For the writer, this is easily pick of the album. The third track, 'Cheese Me Macaroni', opens strongly, with thumping drum beats soon followed by kicking guitar work, making for an upbeat and catchy instrumental. There’s a clear prog-rock influence here, as more and more is gradually layered on in the build up to an energetic crescendo that would not be out of place in the climax of a Hollywood blockbuster. The fourth song 'Treeline Siren' leads you to believe that you’re set for a moody instrumental, before the vocals offer a surprising yet almost romantic feeling intervention around the halfway point. Fifth on this album is '1979'; a highlight being that it's got a really catchy, head-bopping rhythm, that almost initially feels like a departure from the moodiness of the rest of the record. This builds up though into a brilliantly natural transition to vocals - the title of this track implies a look into the past and that’s exactly what the listener gets; another high point on this album. The conclusion of the album, the track 'The Billion Trillion', really does set out to end on a high. The confident blend of percussion, guitars and bass combine with electronic elements to form an enthralling, almost hallucinogenic progressive number where you just can’t predict what’s coming next. The best way to describe this track is the soundtrack to finding your way through a labyrinth; the twists and turns all part of the journey. If a somewhat strange blend of prog-rock and Britpop, garnished with just the slightest hint of grunge, is your kind of thing, then this debut record from Korean Cars is really worth a listen! A word of caution however: the mixing of this album offers a vinyl-esque listening experience that, on a laptop, a phone or even in the car can come across a little fuzzy and muddled in places. While a higher quality audio setup might improve things, we fear we may not have heard these songs at their best. Despite this, it’s a promising debut and it’d be great to hear what twists and turns Korean Cars could bring to a full length album. Score: 7/10 '#1' will be released on May 23rd 2025 via MAS-KINA Recordings. Words: Dulce Mendes Photos: Korean Cars

Formed in Hudson Valley, New York in 2018, metallic hardcore band Age of Apocalypse have quickly established themselves as one of the most compelling voices in modern heavy music. Blending the aggression of hardcore with eerie melodies, metallic heft, and a sense of theatrical grandeur, their sound feels both classic and forward-thinking. In a scene often defined by repetition, they stand out as true innovators. Following up their incredible 2022 debut, Grim Wisdom, the band are back with their second full-length album, In Oblivion - a record that sharpens their distinct identity while expanding their sonic palette in rich, new ways. Produced by Taylor Young (Twitching Tongues, God's Hate), this latest release ultimately benefits from his seasoned ear for blending melody with aggression. His experience with clean vocals in the genre, especially with Twitching Tongues, plays a vital role in shaping the album’s dynamic, moody tone. The album also features a handful of standout guest appearances, including Taylor’s brother Colin Young (Twitching Tongues, God's Hate), Shaun Alexander of Demonstration of Power, and Graham Sayle of High Vis - all of whom bring their own weight and character to the record without overshadowing its core. Dylan Kaplowitz’s vocals have taken a huge step forward since the release of Grim Wisdom back in 2022. His performance is more refined and expressive, yet no less intense. With a voice that’s become instantly recognisable - soaring, dramatic, and near-operatic - Kaplowitz cements himself as one of the most unique vocalists in contemporary hardcore. His delivery is integral to what makes Age of Apocalypse stand apart from their peers. The band have been steadily building anticipation for In Oblivion with a string of monthly singles, beginning with the hauntingly powerful 'Mortal Coil' back in March. More recently, they dropped the towering 'Gilded Hatred,' an album standout that showcases everything Age of Apocalypse do best. The track features the aforementioned stunning guest appearance from Demonstration of Power’s Shaun Alexander, who lays down some powerful vocals on top of an already brutal track. Across its ten-track run, In Oblivion shakes up the formula for modern metallic hardcore - ambitious, emotionally charged, and remarkably cohesive. There's something to be said of Dylan Kaplowitz's vocal work on this release. It feels like a major step forward from the band’s earlier EPs and debut LP. Showcasing more range and control than ever before. There's also a clear sense of clarity and focus, not just in his vocal delivery, but in the band’s songwriting overall. Age of Apocalypse have developed a sound that appears far more deliberate, more refined, and more confident than ever before. In Oblivion is a bold and confident step forward for Age of Apocalypse. These are massive, emotionally charged songs that stretch the boundaries of what metallic hardcore can be, trading relentless aggression for atmosphere, tension, and a sense of genuine grandeur. It’s an album that feels cinematic in scale without sacrificing the raw heart that made the band stand out in the first place. Rather than simply reworking familiar ideas and trademarks of the genre, Age of Apocalypse continues to carve out a space entirely their own. They have maintained a truly unique sound. The clean vocals - soaring, haunted, and commanding - are a defining feature, and we only hope there’s more of them to come. If this is the direction the band continues to follow, they might just be shaping the future of the genre. Put simply, In Oblivion is essential listening for fans of hardcore and all adjacent genres. Age of Apocalypse head out on a European tour in support of the release in September this year, starting in the UK. Support will come from Balmora and Cross of Disbelief. Score: 8/10 In Oblivion will be released on May 23rd 2025 via Closed Casket Activities. Words: Andrew Nile Photos: Age of Apocalypse

Coming out of the misty volcanic islands of the Azores, Dark Age Of Ruin makes a strong first impression with their debut album False Messiah And The Abstract. Portugal might not be the first place that jumps to mind when you think of black metal, but this record proves that the fire absolutely burns just as fiercely there as it does in Scandinavia. Two years on from the release, we've come to listen. The Azores are a place where isolation and religion have shaped life for centuries. These islands have always sat on the edge between tradition and wildness, with deep Catholic roots running through generations. That kind of environment is perfect breeding ground for the kind of heavy, dark reflection that black metal thrives on, and Dark Age Of Ruin taps into that in a big way. A a taste more generally of Portugal is also present throughout. This is not just an album that could have been made anywhere. You can hear the echoes of old cathedrals and isolated hills. Portugal has a long history of Catholic dominance and cultural struggle, and that tension feels embedded in every note. The album opens with 'An Heretic Overture'; a slow, brooding instrumental that does exactly what an intro should do. It sets a mood, creeping in like early morning fog over a mountain chapel. It builds tension without needing to explode right away. You can tell the band is in full control of the pacing. When the title track 'False Messiah And The Abstract' kicks in immediately afterwards, it becomes clear we are not in for a half-hearted effort. The riffs are razor sharp, the vocals are absolutely unhinged, and the drumming never lets up. There is a real sense of purpose here. This track lays out the major themes of the album in no uncertain terms - faith, ruin, and the weight of belief gone wrong. Third track 'Crucifixion... The Last Drop Of Blood' is a standout moment. It plays with both tempo and mood, dropping in and out of blast beat-driven chaos to give space for atmosphere to breathe. The guitars grind like old bones, and the vocal delivery feels like a sermon given at the end of the world. This is where you start to notice that the band is not just here to be loud. They are constructing something with layers and intent. 'Golgotha' changes the pace. It starts slow, almost mournful, and slowly builds into a grand, sorrowful march. It has a more emotional feel, but never sacrifices heaviness. You can feel the religious weight pressing down in this track. It feels more like a procession than a song, and that ritualistic energy really sticks with you. 'Sacrificium Of The Lambs' picks the pace back up with a sense of urgency. The melodies buried under the aggression are especially striking here. It feels like the band is letting just enough light in to make the shadows seem darker. There is a balance between fury and control that really works. 'Son of Satan' hits right after with plenty of pure, classic black metal energy. This one is fast, punishing, and straightforward in its assault. There are no frills, just raw fire. If you grew up on early black metal and love that cold, relentless sound, this one will feel like coming home. 'The Oracle' slows things down again. It is a more haunting, reflective piece that feels like a descent into a dream or vision. There is a hypnotic quality here that stands out from the rest of the album. It gives a moment to catch your breath while still holding the overall mood. 'Blasphemy', however, gets straight to the point. It is short, aggressive, and leaves a mark. This is one of those tracks that would absolutely crush in a live setting. No wasted time, just full force. Closing track 'Tenebrous Heathen' ties everything together. It carries the same themes and sound, but adds a sense of finality. It is grand, heavy, and feels like the last chapter of a very dark book. Everything that works about the album shows up here. The riffs are strong, the vocals are passionate, and the whole track is soaked in tension. What really makes False Messiah And The Abstract stand out is its clear vision. The band knows exactly what kind of story they are telling. There is a strong theme of spiritual decay, rebellion, and ritual. It is not just about sounding evil. It is about questioning belief and wrestling with the ghosts of faith. The production is also worth noting. It keeps enough grit to feel raw while letting each instrument have its space. If you enjoy the dark philosophical heaviness of bands like Mgla, the raw spiritual aggression of Watain, or the atmospheric weight of Gaerea, you will find a lot to love here. Classic black metal fans will feel at home, but anyone who appreciates meaningful structure and haunting melody in their heaviness will get something from this too. False Messiah And The Abstract is a confident, brooding, and gripping debut from a band that clearly has a lot to say. Dark Age Of Ruin brings intensity, atmosphere, and purpose in equal measure. This is a release that demands attention, and deserves it. Score: 8/10 False Messiah And The Abstract was released on May 19th 2023. Words: Kelly Gowe Photos: Dark Age Of Ruin