Walk across any campsite at a festival, and you will be bound to hear the majestic sound of the Vengaboys. Something about the combination of not washing for a week and good drinks makes the average metalhead go truly feral as soon as the opening bars of to ‘We Like to Party’ get started. With the announcement of the Dutch party animals playing Download's District X, this cements a lifelong friendship between metalheads and Europop. Imagine the record-breaking circle pits as everyone prepares to board the ‘Vengabus’. Download is already one big party, and frankly everyone is already playing them while in camp, so this announcement is potentially one of the most raucous and exciting decisions Andy Copping has ever made. Download has been known as the home of metal in the UK for many years now, and it seems like with a push to book three brand new headliners every year - perhaps it’s time to look outside of metal for new acts across the board. There's only so many metal bands left who haven’t played the festival, so they need to look outside the genre to find new acts who can appeal to the most battle-hardened moshers and may even bring in a new crowd, introducing them to one of the world’s greatest festivals. 1) Pitbull No one else brings the party like Mr Worldwide. With Pitbull finally touring the UK again with great levels of success, he would help Download shift those extra tickets with how dedicated his fanbase is. You will always see his fans donned in the ceremonial bald cap, suit and sunglasses in honour of the icon that is Pitbull. His shows are known for high energy and no other group of people brings more energy to a gig than metalheads. Pitbull brings hits that people can actually sing along with rather than just experience the intensity of metal. Pitbull would prove that Download is a festival for everyone, not just those wanting to go to battle in the pit. Mr Worldwide 2) Paramore Paramore have been asked by fans to play Download for many years now, and they did in 2007. But the call for Hayley and the gang to headline the festival would be something else. So much about their infectious melodies and Hayley Williams’ energy appeals to emo's who just want a little dance or a cry. Their emo friends in Fall Out Boy headlined last year - who share a relatively similar fanbase - and it went down an absolute storm. There is no doubt Paramore would give Download everything, even if they did support Taylor Swift last year. Imagine the firework show they could bring during ‘Hard Times’ - and this time no one will be getting fired! 3) ABBA ABBA are one of the most legendary bands of all time. Metal fans seem to have this strange love of ABBA - invite them to any party, and they will always add some ABBA bangers to the playlist. Although the band have not toured since the 80's, they have created a virtual version of the band, like a boomer version of Hatsune Miku. A secret set from virtual ABBA would be the stuff of legend - imagine hearing ‘Dancing Queen’ and ‘Gimme Gimme Gimme’ while surrounded by some of the biggest ABBA fans under 50. You could even make it into a late night set on the Dogtooth stage, as the band wouldn’t exactly need to sleep then. 4) Jedward For some reason metalheads absolutely love Eurovision, and Jedward are one of the most legendary acts to stem from the contest. Jedward’s name comes from a creative blend of the two member’s names, John and Edward. This creativity extends beyond their name and into their classic songs. Their legendary track ‘Lipstick’ is a true Europop classic at this point and would be one of the highlights of the weekend for sure. Even for those attending who aren’t as familiar with Jedward would still enjoy seeing them cover - and arguably improve - other people's songs, such as their version of ‘Ghostbusters’. They would be one of the best bookings the festival ever had. 5) The Wiggles The Wiggles are one of the first band’s people ever hear. They are the gateway into metal for many young moshers. Bringing out the wiggles to play a set at Download would be one of the best ways the scene could say thank you back to them. Although ‘Fruit Salad’ is nowhere near the heaviest song in the world, it still has that level of power through nostalgia, taking you back to a simpler time where there was no genre, no scenes, no -cores, just bloody good music. The band could arrive on stage in their iconic big red car and take everyone on a journey with them. Sometimes all you need for a good festival act is a bit of nostalgia and positive vibes. 6) Jane McDonald What are metalheads known for? Being dramatic, so why not give them someone to bring actual theatre. Jane McDonald is known for covering a variety of classic musical theatre bangers. Imagine on the main stage seeing our Jane covering ‘Memory’, it would be such a great emotional catharsis for the crowd, letting them know it’s okay to express emotions through crying, not just being violent in the pit. Her range of styles is huge, she could also bring the party vibes with her legendary versions of ‘Jai Ho’ and ‘Cake By The Ocean’. She cut her teeth in the industry entertaining drunken crowds upon cruise ships, so she can definitely handle 100,000 metalheads running off nothing but beer and good vibes. 7) Corey Feldman Corey Feldman is an actor turned greatest musical genius of the past 100 years. No one else can craft a song exactly like him. It was of no surprise when Nu Metal gods Limp Bizkit brought him on tour to open for them. His music is challenging at times which when paired with the lyrical genius of Fred Durst created the true intellectuals gig. This gives him credit in the metal world so he would be a safe choice and would not be rejected by the crowd. Even if people don’t initially accept him for his music they will soon truly fall in love with him due to his choreography on stage, which unbelievably he plans himself. A little culture would help make the lineup more welcoming to academic types, as we all know no one else could write ‘Angelic 2 The Core’ 8) The Cheeky Girls Keeping up with expanding the party feel why don’t Download book and book another cheesy act. The Cheeky Girls are a Romanian pop duo best known for their classic ditty ‘Cheeky Song (Touch My Bum)’. They were a fixture of every bad party of the 2000s due to the camp nature of their music and how catchy the simple phrase of ‘Touch my bum, This is life’. They would work well opening for the Vengaboys soon-to-be legendary headline set, bringing everyone back to the 2000s. 9) Crazy Frog Nostalgia based acts seem to dominate the modern festival scene. Those who were around for the dawn of the legendary Crazy Frog are now old enough to be able to afford their own tickets! Crazy Frog has not performed in public in any capacity for a while now, so getting him as a booking would be the stuff of legend. Imagine the staging he could have, as the lights go out and then you hear over the speakers his legendary battle cry ‘Bing Bing Bong’ while he appears from the smoke on stage. Although not as loved in the metal scene as other acts, he still has his fans and they are dedicated. Words: Will Freeman

Rebellion is a staple of live music in the metal scene that really nurtures smaller bands and allows them a place to be uniquely them, so it was no surprise that Metal To The Masses had chosen this iconic venue to host the Manchester rounds of the competition. With the acts already down to the last sixteen, the pressure was mounting for a coveted spot in the grand final. Being that it was the quarter finals, the quality of bands performing was already incredibly high. Drawing the short straw of being the first act of the night meant bringing the energy, and DWINGLE, a local band with a relatively small online presence, stormed the stage ready to provide just that. Strutting on stage as a four piece in matching uniforms of white shirts, black ties and even darker sunglasses, the crowd knew they meant business. As they launched into their first song, a few fans sporting DWINGLE merch nodded along, but when the song faded and the band properly introduced themselves, it became clear: this wasn’t just a band with a gimmick. DWINGLE absolutely had the talent to back up their schtick. Being the first act on the bill is always a terrifying notion to comprehend, so when DWINGLE rose to the challenge with all the energy they could muster, it blew the crowd's minds and got them into the spirit of the evening. Managing to get a crowd moshing at 6pm on a Sunday evening is no mean feat, but DWINGLE managed to get everyone in the audience on their side. Bringing non-stop energy and entertaining lyrics, DWINGLE have hit a niche that the independent metal scene seems to have been missing for a while, so it was no surprise that they were the first band of the evening to advance to the semi-finals through the crowd vote. Dwingle Second to hit the stage were Covert UK, winners of the judges vote and young up-and-comers. Performing with the skill and finesse of a band that’s been around for decades, Covert UK managed to stir the crowd to their side whilst being the youngest band on the lineup. Most of the band being under the age of eighteen meant they were already starting on a backfoot compared to the other talent that evening, but if the crowd noticed, it definitely didn’t show. Donning impressive blacked out stage makeup which could be seen from the back of the venue, Covert UK’s natural aptitude for heavy riffs and crowd work stood them in very good stead. Their set coexisted with visuals behind them on screen, including a Dr Who reference which brought the set full circle as their guitar work featured notes that sounded like they’d been lifted straight from the show. It came as no surprise that Covert UK were awarded the judges vote, winning them a spot in the next heat. Covert UK are a band with impeccable talent and a fully realised concept, coupled with a unique sound that felt like they’d been playing together a lot longer than their age would suggest. Covert Lantern, third to perform that evening, needed a special mention away from their performance. As well as delivering a killer set, which the crowd ate up, Lantern were there to assist All Out Of Bubblegum (who performed later that evening) when they experienced technical difficulties. Without a second of hesitation, they fostered that sense of community the Welsh take pride in, and jumped to aid Bubblegum by offering their amp to the band to ensure their set could continue. Away from this, their performance was absolute. Imagine a hard-core band with the potential to get the entire crowd going mental, fronted by Mr Poppy from Nativity, and you will have found Lantern. They brought the fun to the evening, treating each audience member as if they were the only person in the crowd. You could see how much effort this band put into entertaining and how much this competition meant to them. Sadly, this energy didn’t translate into a spot in the semi-finals, but we believe Lantern are truly a band to watch out for. Lantern Rounding out the night, All Out Of Bubblegum graced the stage with Fa Caudwell, their vision in pink, leading them out. Marred by technical difficulties with their frontman's guitar, their set started on a rough note. That being said, once issues were said and done, the band bounced back with incredible strength and truly refused to let the evening falter. Their copious amounts of stage presence and crowd interaction meant they could pull it back and deliver a stellar set complete with a wall of death that the crowd delighted in, and gave a huge testament to their professionalism. Musically, their set was tight, punchy, and all the things you expect from a great live band. Their catchy choruses and chants were repeated back to them by both old fans and new, spreading like wildfire across the venue. By the time All Out Of Bubblegum left the stage, the room was buzzing with energy. The bands in this quarter final had truly proven that it was truly anyone's game. All Out Of Bubblegum One of the best things about Metal To The Masses is the love and sportsmanship each band shows for eachother, and both DWINGLE and Lantern deserve a special mention for that, with both bands successfully coming to the aid of All Out Of Bubblegum when they faced equipment failiure on stage. It's a rare thing to see bands lend out their equipment at a regular gig, so to see it happen between bands that were in direct competition with eachother in a high-pressure environment was truly heartwarming. As the event drew to a close, it was clear to the audience just how much of a supportive affair these shows are. Bands congratulating one another, sharing drinks and stories, and standing in the crowd supporting other acts showed how much this meant to everyone involved. An incredible night with first-class bands is what Metal to The Masses promised, and that's exactly what they delivered. Words: Emily Bancroft Photos: Anna Goley

Since their conception, Deafheaven have existed at least in the vague consciousness of metal. Their first release was taken as a sign of promise, before they blew the lid off of their perceived potential with the modern-day classic that is Sunbather. Having created an icon of extreme music already, as well as three further sensational releases - all probing into different areas of their broad stylistic range - it's surely at least heavily improbable that they could do the same thing again twice? Improbable, yes. But impossible, no. Having pretty much created and curated the genre known as blackgaze, there are few adequate comparisons for a band who are so beautiful yet so crushingly heavy, so starkly painful and so gorgeously emotive. Even their immediate sonic peers in Alcest, Agriculture or Sadness can't quite compare to the vast array of sounds and feelings that Deafheaven can conjure. It seemed to all the world that, as far as we could tell, Sunbather would reign supreme at the head of the blackgaze table for aeons to come - but not all is as it seems. Lonely People With Power is the heir to the throne, that blends the beautiful with the brutal to perfection yet again. After the extremely brief and slightly uncomfortable 'Incidental I', the all-but album opener 'Doberman' is a heavyweight aural boxer that throws you about the ring, tossing any preconceived notion of 'yes, but Sunbather' out of the window. George Clarke is in the form of his life, with roiling howls and anguished shrieks alike pouring out of whatever it is you may be listening on, whilst Daniel Tracy pummels his drums into submission and Kerry McCoy, Shiv Mehra and Chris Johnson all rollick in the pandemonium of their assorted strings. Lead single 'Magnolia' introduced us to this new era of excellence, ushering in a new age of Deafheaven with the first serious signs of heaviness since 2019's 'Black Brick'. Anyone who gave it a listen may have cautiously gotten their hopes up for a great album, maybe an 8 or even a 9 out of 10. But they were all of them deceived, for a new iconic blackgaze album has been forged in the fires of San Francisco. Of the nine tracks that follow 'Magnolia', eight of them can stake a claim to being on an end of year best songs list - and that ninth is an interlude barely longer than two minutes, so is dubiously even a true song. 'The Garden Route' comes immediately afterwards, and is a shock to the system to say the least. It stands up there with the VERY best of the band's discography, and is not alone in that fact either. 'Heathen' and 'Amethyst' follow suit, albeit taking two different routes to get there. The former rides a groove that we've not really heard Deafheaven get into before, and swerves in and out of more relaxed cleans and middle-of-the-road heavy (by the standard of the band) in a wondrous concoction of immense enjoyment. The latter, however, builds up and up and up for the first half and then explodes into a freefall, spiralling out into musical oblivion as each band member steps to the fore and delivers a timestopping display, simultaneously. Side C begins with 'Incidental II', a haunting departure from the expected path of this album. That long worn road needs some deviations on occasion, and the perfect time to detour has been found in an unsettling feature by Jae Matthews of Boy Harsher. This follows slickly into 'Revelator', the unofficial title track due to containing that within its lyrics. It's a more gothic side to the usual Deafheaven formula, and runs an ominously reverent sound that feels like descending into depravity masked as martyrdom. Starting out with a simple drum beat, 'Body Behaviour' feels like another real step away until Clarke's vocals reappear, but even then it's still markedly less oppressive and allows a little glimpse of sun into proceedings. Followed by 'Incidental III', the aforementioned dubious song features a reading from Paul Banks of Interpol before it segues into some of the most utterly glorious music put to record thus far in audio history. 'Winona' might be the best song released this year. It is an utter triumph of the Deafheaven concept, bringing their most emotionally devastating writing to the fore and intertwining it seamlessly with a crescendo of breathtaking, crushing weight in sonic form. You will routinely find yourself at a loss for words, or even thoughts, as the band run rampant across the audio files. They are in their element, dancing with the best of themselves in what feels like not only a successful finish to an album, but a triumph. That feels so perfect, and yet they're still not quite done yet. It's time for the final crescendo. 'The Marvellous Orange Tree' takes the baton for the final leg of the relay, and does so in more subtle fashion than most of the rest of the LP - at least until things kick off once more, for this final stretch. The cacophonous brilliance of 'Winona' left long behind, we're riding the last wave into the sunset and crying whilst we do so. The song evokes longing, wistfulness, and the titular feeling of loneliness, yet manages to make them all feel slightly closer to happiness than they should, in a gloriously bittersweet blend of heartwrenching quality that will only let up past the five minute mark, as the album lets you close the final page and shed a tear of finality. It's not even the end of March. But it appears that this writer has found her album of the year already, and it's going to take some serious work to even approach the utter majesty with which Deafheaven have conducted themselves upon Lonely People With Power. This is yet another era-defining album from a band who can't stop winning. Six albums in, and they're still the best band at the genre they created and perfected, with not a contender in sight. If you listen to one album based on a review you read online, make it this one. Score: 10/10 Lonely People With Power will be released on March 28th via Roadrunner Records. Words: Jake Longhurst Photos: Nedda Afsari

Prog rockers Tiberius have graced the scene with their newest album Singing For Company, combining the prog rock prowess they have shown before with some addictive metalcore influences, to craft a sound that exudes quality across all eight tracks. Drawing on themes of faith and crisis, they create an ethereal and sinister sound that’s all too easy to get lost in. The ethereal sound in this album can be heard from the outset, wherein album opener ‘New Revelation’ opens and incorporates a string section that is utilised throughout the project. The track elevates itself through its 5:14 runtime towards a swelling end. The lyrics in each track harken to a priest becoming angered at the religion they’ve sworn to, exemplified perfectly in ‘Soul Saviour's second chorus “soul saviours/fighting but there’s no change at all”. The interlude in 'Soul Saviour' also is simply gorgeous, utilising classical guitar as Grant Barclay talks of a baby born to delusion, before launching once more into a soundscape akin to every instrument soloing at once in the best way, then finishing with that same classic guitar. Listening to ‘Mosaic’, you can instantly tell why it was chosen for a single; Nick Kelly’s drums come into their own with a constantly evolving drumline in the first verse, culminating in 16th note hats mixed with double bass drumming as the bridge and chorus hits. The song built around Kelly’s work is great, with guitars running lighter to foreground the workout happening in percussion. It closes with just vocals and the return of the violins as a short break, before the second half of this project begins. The title track ‘Singing for Company’ is next, offering a sound that is equal parts jumpy and sinister in its calls for other voices to hear its song. The riff trading in the midpoint instrumental is satisfying to the ears; the main motif of “Share your song with me/Share your song for me” equally so, and is an immensely sweet line to boot. The track builds wonderfully, before tragically falling victim to the fade out by the end - perhaps more of a pet peeve than an actual issue, but nevertheless makes this project lose points. The last four tracks on this project contain most of this album's metalcore influences, starting with single ‘Juggernaut’; a pull no punches fusion of prog and metalcore with choral ambience by its end, that once again sends the listener soaring into the ethereal. It is backed up immediately by second album highlight ‘The Iliad Flow’ - another callout track for the group that the subject of this album is railing against, atop another drum workout for its first two thirds, before breaking for a violin section and floor lead build up while Barclay claims that he’s better off alone, then launching into a double teamed drum/guitar solo instrumental. ‘The Iliad Flow’ just gets bigger the longer it goes, before cutting itself off so nonchalantly it feels almost like it's showing off - yet the braggadociousness is deserved for the sheer quality of the music. To close, the Scotsmen break out the bagpipes for the beginning of ‘Touch the Past’, coming in at a whopping 6:43 and calling for backup while it asks for mercy and proclaims that the subject is “not your prophet”. ‘Touch the Past’ is a perfect closing track for this project, from certified bar “Hang them from the spire” in its lull second verse, to its consistent builds up and instrumental releases that hold onto the tension with a vice grip - only to release it like a breeze. The short piano melody is a nice touch at the end too, giving the listener the time to breathe after taking in the madness. All in all, this project is beautiful in concept and execution. The religious imagery of churches and spires, ideas of true religion and disbelief, apostles and martyrs are all contrasted with fire and brimstone revelation-style apocalypse, atop a constantly pushing soundscape where each member has their technical prowess on display. The mix of the piano and violin interludes push this soundscape into a purgatory that is perfectly thematic of the concepts at play, giving a feeling of conflict that feels deeply relevant to the landscape this album is being released in. The only true critique that could be levied at this project is the overuse of the fade out; even the track length isn’t much of a problem due to the structural strength of Singing For Company, but working on other ways to finish tracks would be a benefit to Tiberius. Singing For Company is worth a listen regardless of your preference of subgenre - there is something in this album for everyone, even if it is just an appreciation of the moving parts within it. Score: 7/10 Singing For Company was released on March 21st 2025. Words: Julia Brunton Photo: Calum McMillan

You have just under fifteen minutes left to live - so why not get the sledgehammer out? Baltimore darlings JIVEBOMB are about to release their brutal assault of an EP ETHEREAL, a ten-track firecracker of a record, with each song lasting well under the two-minute mark. At the perfect length to let off some much-needed steam, it pushes the boundaries of hardcore, grindcore and the realms of the extreme with two raised fists. There’s no doubt about it - JIVEBOMB are back for blood. Whatever happens in the pit, stays in the pit. ETHEREAL is JIVEBOMB’s third release, and the most gut-wrenching yet. Recorded in the Circular Ruin Studios in Brooklyn, New York, the record is gritty, intensely pushed to the limits and infused with vocalist Kat Madeira’s unrivalled snarls. Supporting Angel Du$t on their east coast tour in the run-up to the release, they will also have their UK homecoming at the Manchester leg of Outbreak Festival later in June, alongside hardcore royalty Knocked Loose and Speed. ‘THE IMPACT’ is our emphatic opener, pulling us forcefully into the album with guitar static. Heavy chugs build into a cascading drop of sound. We are introduced to JIVEBOMB at its most aggressive - a prowling beast of a track, ready to pounce on any unsuspecting listeners. It’s definitely a loud ‘in-your-face’ listen, something you'd blast on a sunny day to intimidate the neighbours. Picking up the pace with ‘ESTRELA’, we become fully acquainted with Kat’s unrelenting growls, churning the track into a sweaty mess. A spectacular slow-burn breakdown fuels the second half of the song, as we become one with the first single from this new era, ‘SURVIVAL AIN’T TAUGHT’. Still relentless and fast-paced, it loses itself slightly within the pacing of the other tracks but comes back to redeem itself when it changes up its style, employing a monumental blast of sound at the end of the track. Arguably, ‘WISE CHOICE’ is the biggest jewel in the record's crown. Both grimy and groovy, it turns the pit into a dancefloor. This track gives some well-needed breathing room to the listener, with the tight constraints of the record being otherwise blindingly fierce. But it doesn’t last long. ‘FATES DOMAIN’ is tight and imposing, a slow track driven by cut-throat guitars and harrowing wails, whilst the whiplash of 'RHYTHM ZERO' - being the fastest and the most blindsiding track of the record - leaves no room for error. Unpredictability drives this track, as well as an excruciatingly fierce whammy bar. In amongst the slam-sandwich of tracks, 'CHARM' is a brutal follow-up to 'RHYTHM ZERO'. It’s a pneumatic drill of a track that brings with it brutal noise and mortally impending doom. The construction project isn't over yet, with 'MISTAKEN' being reinforced with titanium steel beams, bassy drum manoeuvres and a whole lot of grit - a hard hat and PPE are a must-have when coming in within 10 feet of this album. 'SERAPHIM (MARINA’S SONG)' follows suit, leaving enough room for a guitar solo. It’s built on pure unbridled anger. 'DISFIGURED' brings the album to a close with immense sound and even more ferocity. A final war cry and a fleeting siren bring this damaging chapter of JIVEBOMB’s story firmly to a close. JIVEBOMB, this is an impressive record with a lot of potential. Some moments are so intense that eleven minutes of pure noise is just the right length to stomach it. There is no need for more, the record did what it needed to do. Thoroughly shaken, positively electrifying and, to top it off, it's still a good old-school sludgy record (with actually quite decent production). Live at the BEC is all we need to call it a triumph. Score: 7/10 ETHEREAL will be released on March 28th 2025 via Flatspot Records. Words: Amber Brooks Photos: JIVEBOMB

KAZEA is not a band that easily fits into any single genre box. The Swedish trio, formed by former Orochen members Jonas Mattsson and Rasmus Lindblom alongside drummer Daniel Olsson (Hellsongs) crafts a sound that is both expansive and deeply personal. Blending elements of post-rock, neofolk, and sludge metal, their music is an evocative journey through heritage, pain, and self-reflection. Their debut album, I, Ancestral, is a bold statement, immersing listeners in an atmospheric and cathartic experience that lingers long after the final note fades. From the outset, I, Ancestral establishes its haunting tone. The album opens with 'With a Knife', a short yet gripping track that layers a spoken-word passage over sparse instrumentation. Chains rattle in the background, a sound that will echo throughout the album, adding a sense of unease. As the song progresses, a gentle guitar melody intertwines with the speech, punctuated by the occasional cymbal hit, creating a hypnotic rhythm. Midway through, the guitar distortion shifts, intensifying the atmosphere and seamlessly fusing the speech with the instrumental elements. This interplay between spoken word and music is a defining characteristic of I, Ancestral, lending it a cinematic quality. llowing this eerie introduction, 'Pale City Skin' plunges deeper into KAZEA’s sonic world. The track continues the rhythmic pulse of the opener before erupting into heavier, more immersive instrumentation. The vocals blend effortlessly into the mix, their presence both commanding and ethereal. A sudden shift in guitar distortion once again forces the listener to recalibrate, momentarily disrupting the flow before settling into a new, equally compelling groove. KAZEA excels at these dynamic shifts, keeping the audience engaged and slightly off-balance. The album reaches an early emotional peak with 'Trenches'. Opening with a melancholic guitar passage, the song sets a sombre tone before gradually building in intensity. The dual vocals - one clean, one screamed - create a layered effect, amplifying the song’s sense of desperation and grief. The screams in the final section feel especially raw, as if ripped straight from the depths of anguish. The way the screamed vocals echo behind the clean ones adds an internalized quality, as if voicing an unspoken pain. This track stands out as one of the album’s most emotionally gripping moments. At the album’s midpoint, 'A Strange Burial' revisits the spoken-word approach introduced in 'With a Knife'. The return of the chains, accompanied by slow, deliberate guitar work, reinforces KAZEA’s ability to craft immersive storytelling through music. The song’s pacing encourages contemplation, inviting listeners to absorb the weight of the album’s themes rather than rushing through them. Then comes 'Wailing Blood', where the energy picks up again. A steady, rhythmic drumbeat, almost march-like, propels the song forward as another brief speech plays. The track balances an engaging intensity with an underlying sense of tension. While it may not be the most standout moment on the album, it provides a necessary shift in pacing, preventing the record from becoming too steeped in its own darkness. The final stretch of the album is where KAZEA truly shines. 'The North Passage' offers a brooding, slow-building atmosphere before leading into the album’s climax - 'Seamlessly Woven'. Clocking in at just over seven minutes, the closing track is a masterclass in pacing and composition. The inclusion of ambient sounds, such as the chirping of crickets, adds to the song’s naturalistic and meditative feel. The vocals glide smoothly over the instrumentation, and the introduction of a delicate piano melody enhances the song’s mournful tone. As the album winds to a close, there’s a profound sense of reflection, as if the listener has journeyed through a deeply personal experience alongside the band. With I, Ancestral, KAZEA has crafted a debut album that is as immersive as it is haunting. Their ability to blend heavy, crushing instrumentation with moments of eerie stillness makes for a listening experience that feels cinematic and emotionally charged. The incorporation of spoken word, ambient soundscapes, and dynamic vocal interplay ensures that the album remains unpredictable, never settling into easy formulas. Drawing inspiration from bands like 'Wovenhand', 'Cult of Luna', and 'Neurosis', KAZEA’s sound is a testament to their willingness to explore the boundaries of heavy music. Whether through the mournful beauty of 'Seamlessly Woven' or the raw intensity of 'Trenches', I, Ancestral leaves a lasting impact. As the band themselves have hinted, this is only the beginning of their journey. If this album is any indication, KAZEA is poised to carve out a unique and compelling space in the metal landscape. Score: 9/10 I, Ancestral was released on March 21st 2025 via Suicide Records. Words: Jason De Mendonca Photos: KAZEA

Noisepicker have returned with their second album The Earth Will Swallow The Sun - a collection of sounds built up over the duo’s seven year semi-hiatus, mixed by frontman Harry Armstrong. Drawing influence from his and drummer Kieran Murphy’s relative projects as well as the doom, punk, and blues that brought them to rock in the first place, the duo have paid homage to these roots in this passion project. The album opens with single 'What You Deserve', an eerie rock ballad that sets the pace and atmosphere for this project. The energy is that of dragging a broken leg away from the battlefield, fuelled only by revenge and the indomitable human spirit. This is followed by the first act highlight 'Chew', a cheesy rock song playing on the idea of hating ones face and the mind it contains; though a little on the nose in its lyrics (an issue that will persist throughout the following eight tracks), its echoed chorus and swelling soundscape make it stand out within this project’s first half. 'Tomorrow Lied the Devil' isn’t too far behind its predecessor, but is where the critiques of The Earth Will Swallow The Sun become fully formed. For its positives, the tension is built and maintained well - in particular by Murphy’s drum work, which includes a serviceable outro solo as the track closes out. The use of live mix is also to 'Tomorrow Lied the Devil’s benefit here - the manifesto style lyrics hit more genuinely when the echoes of the vocals can be heard. This said, the first major critique of this project is that of the somewhat forced nature of Armstrong’s husk in his vocals; this is presumably to fit the into the homage of the more traditional subgenres that Noisepicker is aiming for, but the struggles to keep up this tone become more apparent as the attempts to change notes have mixed results. Also, pet peeve one: there should be a comma between 'Tomorrow' and 'Lied'. As the second half of this project sets off the first true lowlight emerges in the form of 'The End of Beginning'. The use of the crashing sea and its harmonies work really well within the track, but in its bid for artistry the lyrical issues begin to shine through. Armstrong begins to list his present participles with increasing intensity, the music behind him beginning to swell as he gets to failing, drowning, breaking then dying - the swelling to his most intense doing words feels as cliché as it is boring to listen to, and when the sea crashing noises return at the end of the track a snort is caught in the throat while remembering that experimentation with different lyrical styles is good and healthy for an artist. Luckily, the next three tracks after this represent the highest quality chunk of this project, starting with 'Start the Flood'. The choppy guitars and live mix complement the vocal choices really well; the scream mixed in adds to the energy, and cringe lyrical choices such as "start the flood/cleanse the blood" are easy to ignore within the headbangabiity and earworm riffs. This is followed up by title track 'The Earth Will Swallow The Sun', where the experimentation works in the project’s favour. Lyrically, Armstrong simply chooses to shout “The Earth will swallow the Sun” over the top of himself and Murphy jamming with one another. There is some odd choices with adding monkey noises into the mix, but the organic feeling of this track conjures the feeling of sitting in a band practice with your friends messing around before real practice - it was “f*cking seamless”. To make a highlight hat trick, it is followed by 'Lorraine in Blood', a sneaky character track embodying the blues influence that Noisepicker have cited for this project; the drums and melody are reminiscent of Henry Mancini’s 1963 Pink Panther theme tune while Armstrong spins a story for the listener of falling out of love, and perhaps even a murder. 'Lorraine in Blood' is wonderfully sinister in its explanation of love turning to hate, bookended with radio static to add to its finding the motive energy. The outro to The Earth Will Swallow The Sun is called 'Lunatics', which feels counterintuitive with its slow tempo and passive feel - the purpose of having it is unclear, bar maintaining the previous track’s atmosphere for an extra couple of minutes, though when listened on repeat it does blend nicely into 'What You Deserve'. It could have not been there, or may have been better used as an intermission or placed before 'Lorraine in Blood' to give it a secret track feel. Overall, The Earth Will Swallow The Sun bats average: if live mix classic rock is what you are looking for this will work for you. The riffs and drumwork were good, though the lyrics were spotty, and the forced husk of Harry Armstrong became more apparent as the project went on. Even with its praise, 'Lorraine in Blood' was slipping into blaccent territory with Armstrong’s homage to the blues, which left conflicting notes on completion of listening. This is a perfectly passable offering - not more, not less. Score: 5/10 The Earth Will Swallow The Sun was released on March 21st 2025 via Exile on Mainstream. Words: Julia Brunton Photos: Noisepicker

Kensington’s genteel atmosphere is disrupted with sounds woken from an age that sleeps far beneath the pavement. That can only mean one thing; WARDRUNA have come to the Royal Albert Hall. The band is only at the beginning of a long-haul odyssey across the globe, dragging their ritualized spectacle from one ancient leyline to the next. Tonight, here in Britain’s classiest concert hall, they stand in support of Birna, their latest offering. A record so staggering it effectively ruined the rest of 2025 for any other album that had the misfortune of following it. Most of that album is sung from the perspective of a she-bear having to navigate the destructive legacy of modern humankind. Now, on spring equinox eve, she has finished hibernating and has crawled out of her cave, starved, and ready to hunt. And what a strange hunting ground this is. The Royal Albert Hall is not your typical venue for the type of crowd it is hosting tonight; it is too sensible, bathrooms are far too nice, and there are actual ushers. The regular smart-casual getup of the clientele is gone, and in their place band tees and battle jackets galore. It looks like a metal show, smells like a metal show, but Wardruna is no metal band. Alas, this is a legacy of Einar Selvik’s far-gone stint in black metal band GORGOROTH. It has been a long time since Wardruna had the likes of Gaahl within their ranks, And yet, the spectre of black metal still shadows over them, an unholy ghost refusing to be exorcised. But first, the precursor to the ritual. The antecedent performance is provided by the wonderful London-based cellist, JO QUAIL. For a venue that also hosts Songs of Praise on Sundays, it is a fantastic contrast to see her with something that looks less like a cello and more scavenged from bones of a long-extinct beast. It is a bizarre, skeletal beast, but Jo demonstrates that it doubles as an entire orchestra as well. Using percussive techniques and a loop pedal, she layers sound upon sound, crafting towering compositions that surge to fill the hall. It’s the perfect invocation for the night ahead. Then—a raven’s caw. The hall plunges into darkness. What begins with simple strings soon unveils into a warm, resonant cascade. This is ‘Kvitravn.’ The Royal Albert Hall is a Roman amphitheatre. The crowd roars, the music swells – the overwhelming feeling of “this is going to be good.” With pulsing lights matching pulsing drums, ‘Hertan’ follows, transforming the venue into the very heart of Kensington itself. The crowd sways, entranced, caught in some kind of shamanist ecstasy. As it ends, ‘Skugge’ begins and the lighting shifts. Suddenly, Einar Selvik is not just a man on stage, but a shadow god. His silhouette stretches across the ceiling, immense and looming like some Norse-feratu, delivering a fable to us lowly mortals in Midgard. And from there, time loses all meaning. ‘Solringen’ summons an eclipsed sun on the backdrop through a prayerful chorus of voices. ‘Heimta Thurs’ builds up then unleashes in a mighty crescendo. A great snow-capped peak rises through the dirge of ‘Lyfjaberg.’ Einar himself becomes the background for a quieter skaldic tune on ‘Voluspá.’ Then comes ‘Tyr,’ and out comes the lurs - gigantic Bronze Age war horns, vestiges of violence from the 6th century BC, so thunderous and bass-heavy they rattle your insides. For ‘Isa,’ the lights penetrate behind Einar as he is bathed in white light, drumming out a melody that has the whole crowd in the palm of his hand. ‘Himmindotter’ unravels into a simulated lightning storm, light and sound crashing together in a cacophonous fever dream. By ‘Fehu,’ the band is giving all that they have, instruments from bygone eras are pounding away and the energy reaches its lofty height. Lindy-Fay Hella, who has been delivering spectral dirges and hypnotic movements all night, spirals through the music. And then, silence. For a moment, nobody moves. Nobody speaks. The spell lingers in the air with the smoke. Then Einar begins to speak. He lays it out, Wardruna’s real philosophy: that it does not serve to “relive” any particular era, but to revitalise the motifs and traditions of the past to create something new. “The cultural pissing contest is irrelevant,” he says. It’s a blunt, slightly bizarre moment. Wardruna has always been honest about their goals, that is to invigorate traditional music and themes, and not to rehash the past. Admittedly, it feels like it leaves no ambiguity on their mission statement, and seems to be to ensure those in the audience that still believe that Vikings shaved the sides of their heads don’t confuse their music with the real sagas. While it is about as subtle as a shotgun shell to the family jewels, it does invoke a sense of openness and maturity about the consumption of art within context that is rarely displayed within the metal sphere. They then give two encores in the form of the torch-laden and haunted ‘Helvegen’ and the quiet bear-lullaby of ‘Hibjørnen’ before it all ends with a shower of applause. What makes a Wardruna live show so special is not just about the spectacle. While it is indeed amazing to behold, what sets them apart from similar (possibly lung-related) groups is their bonafide devotion to authenticity. Many groups go for accuracy, wanting to portray the things they sing about in a manner that satisfies the historian. Yet, there is nothing that satisfies the historian more than bringing history to life. Wardruna songs may not be lifted from an ancient saga, but the feelings evoked throughout must be analogous to those felt in eons past. Instruments pulled from the past are used in new, exciting ways. The inner historian gets giddy at the savvy usage of an instrument such as the lurs. Several times during the show you would find yourself experiencing a skaldic trance, realising that the transferral of knowledge through songs and ritual instrumentation is how humanity experienced stories for a vast majority of their history. It is a timeless feeling. Wardruna brings that ancient phenomenon back into the fold, treading the line between the phenomenal and illusory worlds through the powerful medium of song. At its core, this is a celebration of humanity, of all the madness, triumph, and sorrow that got us from the first fire-lit gathering to wherever the hell we are now. And right now, Wardruna is at the absolute peak of their power. There’s never been a better time to catch them on the road. Words: Kiarash Golshani Photos: Ollie Hayman

The hailing stars of the alternative scene, Oversize, are currently gliding through England, promoting their debut album Vital Signs, that was released in February. Formed in the Southwest of England, the emo-shoegaze five-piece consists of vocalist Sam McCauley, drummer Sam Shutler, bassist George Lewis and guitarists Tazz Edwards and Lewis Lennane-Emm. Gracing the New Cross Inn with their newest release and some oldies, the band was supported by Rosary and Mercury. British emo band Rosary opened the night in style. Founded by the drummer Luke Woods, the Suffolk-based band released their latest single ‘ForYourEyesOnly’ last year, with more coming out this year, as the band mentioned throughout their set. Being influenced by the giants like Green Day, Day To Remember and blink-182, the band’s performance was lively, with breathtakingly beautiful guitar riffs, that were always on point and well executed. The crowd was getting warmed up, so sadly the band did not get much action, but it was noticeable that the fans enjoyed the set. The second supporting band, Mercury, are an alt-rock and post-hardcore band formed in Stoke-on-Trent. With their newest single ‘Why This Hurts Me’ being released recently, the band stuns with their drum work, as their drummer is an absolute beast who is pushing boundaries to maximum. Their set was captivating, delivering memorable guitar riffs and raw vocals, getting the fans excited for more. Although there were some small technical issues before the performance, the band still got the best out of them, giving the audience a great taste of their repertoire. After two supports, it was finally time to unleash all the energy, as the headliner Oversize took over the stage. After their cancelled Manchester concert, that was supposed to take place on Saturday March 15th, the fans welcomed the band with full venue and high energy, that was kept for the rest of the night. The headline set was a shorter one, with the concert lasting a little less than an hour, but was intense, with everyone in the audience singing every word of the songs. McCauley’s vocals were on point the whole time, delivering a memorable experience. Closely followed by Edwards’ and Lennane-Emm’s immaculate guitar jobs, Shutler’s intense drumming and Lewis’ backing of the members with his trustworthy bass, the band was prepared to take onto the iconic venue more than ever and absolutely smashed it to pieces, walking off the stage with a massive at the end of the night. The concert was indeed a memorable experience, with each band performing immaculately. Most of the fans showed up for the first support, which might have something to do with the first set starting a bit later, but it was pleasant to see big crowd for the first set. Overall, the concert was very enjoyable, showcasing a greatly picked line-up of bands, that are all originating from England. A night to remember for sure, as we are definitely going to hear about all the bands more in the future. Words and Photos: Katerina Stepanikova

Almost twenty years ago in Denton, Texas, a metal band was born - that being Memphis May Fire. Known for their impactful lyrics, the band has created a place for themselves in the metal scene. They are set to release their latest album Shapeshifter, which will then followed by their tour across the USA with Casket, Wind Walkers, and Elijah. The album opens with ‘Chaotic,’ a track that captivates with its infectious beat - full of catchy verses and punchy backbeats from Jake Garland's drums. The switch to heavier elements continues, with a spotlight on Matty Mullins' vocals that's followed further with a 'blegh' vocalization often heard in heavier music. ‘Infection’ provides a difference to this, delving into electronic elements and showcasing Memphis May Fire’s willingness to explore differing elements of music. Cory Elder and Kellen McGregor's strings swell as a pair, and work together to support Mullins' emotionally charged vocals, building up to the cough vocalization that then reinforces the song's theme. ‘Overdose’ further expands the album's sound, including electronic introductions, prominent strings, and Mullins' powerful, heavier vocals. The track balances aggression with catchy choruses, effectively showcases the album's theme of self-realization. ‘Paralyzed’ opens heavy, only to subvert expectations with melodic vocals. The whispered vocals mirror those of Hans Zimmer's ‘Electro Suite’, introducing a potentially sinister, villainous intent. McGregor’s use of the technique involving natural pinch harmonies on the guitar heightens the song’s intensity, creating a sense of urgency or panic. ‘Hell is Empty’ showcases Memphis May Fire's talent to play within the genre, incorporating certain metal elements to create an orchestral sound. The slowness acts as a support for the lyrics, often with repeated phrases pushing their meaning. ‘Necessary Evil' is one of the weaker moments here, found lacking its own identity. Its frenetic rhythms initially suggest that a new sound is to come, but ultimately echo previous elements we have already heard, disrupting the album's continuity of ongoing sonic evolution. ‘The Other Side’ offers a short rest, an electronic lull that shines through Mullins’ harmonious vocals, drawing similarities to both Sleep Token and the progressive metal style sound of the 2010s. Title track ‘Shapeshifter’ brings back the album’s initial momentum, presenting intense screamo vocals and guitar shreds, going back to Memphis May Fire’s earlier, heavier sound. ‘Versus’ provides an electronic interlude, with bass swells that create deep emotions within without resorting to heavy breakdowns. ‘Love Is War’ serves as a powerful, climactic finale, featuring classic metal sounds, driving drums, rapid-fire fast guitar riffs, and strong shreds, effectively concluding the album’s diverse sound and story. Looking back on Shapeshifter, Memphis May Fire has delivered art that showcases a diverse range of styles both instrumentally and vocally. The group creates different elements within the album to portray their message and tell a story throughout. While one track, ‘Necessary Evil,’ slightly disrupts the album's flow, the overall experience is undeniably compelling, offering plenty of opportunities for headbanging, singalongs, and more. Score: 7/10 Shapeshifter will be released on March 28th 2025 via Rise Records. Words: Kira Lashmar Photos: Memphis May Fire

The titans of melodic death metal are back! No, this is not a drill, Arch Enemy is about to release their twelfth studio album Blood Dynasty. This opus features eleven new tracks blasting the band’s signature powerful guitar riffs and guttural force, but it is also full of surprises. As we near the 30th anniversary of the band, founding member Michael Amott commented “This is our 12th studio album, and the rule of metal is that you’ve got to keep trying to say the same thing, but in slightly different ways! There’s a degree of familiarity in our sound, which I don’t see as a problem because we’re playing the music we love. But obviously, we’ve got to throw a couple of curveballs in there each time, a few new interesting things to spice it up a little bit. How do you get people talking about your record when it’s the 12th one, you know?”. And that’s why we’re here folks - so let’s talk about it! Before we get into the songs, it’s important to salute the powerful work done on the album’s cover. It grabs your attention and sucks you into its universe before making the slightest sound. In a beautifully decrepit depiction of a royal family, we see crowns resting on decayed skulls, military uniforms draped over their figures, giving hints of what they used to be. A river of blood rising with desperate hands coming out finishes the piece. It questions power, legacy and what makes a community. Expectations are therefore already set high when the opus starts to play, anticipation rising like the river of blood as 'Dream Stealer' loads in. It doesn’t let down, coming out with a very goth opening, full of flair and drama, almost Phantom of the Opera worthy. But before you get used to it too much, hell unleashes with a very fast and bullet-like rhythm. But before you know it, we are diving into a heavy metal arrangement before the chorus. This feels not only like a song but like a catalyst of what’s to come in this album. A mix of styles, something old and something new. We are strapping in for a surprise, expecting influences from many horizons. Last but not least, the back choir on the chorus has an anthemic quality, making this song something that is bound to be exciting live. Like we’re switching gears, 'Illuminate the Path' brings in something that is pure metal. With a great balance between lyricism, heaviness, and screaming, this will make all long-time fans happy. It is almost a comfort song for fans, as they can trust the band’s roots to be the same despite experimentation. It is not without a tad of gothic flair, reminding us of the beginning of the first song, building a red thread as we progress into the tracklist. From the first beat, song three will get you hooked. 'March of the Miscreants' is more than just an average song, it is an absolute powerhouse. It is in your face in the best possible way with a very drum-heavy beat. Daniel Erlandsson takes the lead on this song, it is uplifting to feel the drums at the front with Alissa White-Gluz’s screaming almost following the drums, rather than the much more typical opposite. This track is not only innovative but downright hypnotic, and little to nothing is more exciting than the prospect of a live version. In its form of a battle cry, unifying and bringing people together, it feels like it is tailor-made for an audience. The music itself feels alive and tells a story, with instruments talking to each other., and the explosive end mirroring the feeling it’ll leave you with. Arch Enemy did not hold back and we love to see it. It establishes itself as one of the best songs of the genre already. Needless to say, that feels hard to follow. What do you bring after such a mindblowing moment? 'A Million Suns' is short but sweet, with a speed metal feel that is most definitely interesting but not as memorable as its predecessors. 'Don’t Look Down' continues in the same vein, its most memorable point being that it feels like a continuation of 'March of the Miscreants' with the war cry “stand your ground”, making us wish the song order was swapped for it to follow directly after. Having 'A Million Suns' in between breaks the impact it could have had, merging these songs into a blur even whilst their potential is clear to hear. But then comes 'Presage', an unexpected interlude. Whilst we know the band have done this before, it still comes as a surprise to hear its violin opening. A sweet Spanish guitar follows and gives a welcome, refreshing palate cleanse. It hits like a rest in between fights, to appreciate the sun in a field, and it makes you curious as to what’s to follow, especially as the title track is up next - whereby we enter a new quest, with a more symphonic and lyrical approach. It doesn't go without reminding us of Epica’s symphonic metal instrumentals, in all their grandeur and splendour. 'Paper Tiger' then takes over, the fourth and most recent single teased out of this album ahead of release. The band shared its enthusiasm for the song but also the album, saying “With Blood Dynasty almost here, we thought we’d sneak in another single for you! 'Paper Tiger’ is a personal favorite—these riffs are so much fun to play. The accompanying video was shot on a German airfield last summer with our visionary friend Mumpi. Turn it up and let it roar!”. And indeed it is made to roar with a very heavy metal instrumentalization, guitar riffs, and screams which drag into a higher pitch that is less common for the band. It reminds us to expect the unexpected even in what we know, and not to take things for granted. However, here comes the real treat. With 'Vivre Libre' (Living Free), the band honours Alissa White-Gluz’s Canadian heritage. This cover of a 1985 song by the French hard rock band Blaspheme is nothing short of unexpected. While White-Gluz’s voice is known for its range and adaptability, this immaculate ballad with clean vocals will leave you with a mouth agape., to the point that this track was originally intended as a bonus but has made it to the final cut due to its stunning vocal performance. Unfortunately, 'The Pendulum' suffers the same fate as 'A Million Suns'. It's an enjoyable listen, but it's always hard to follow such an impressive track as 'Vivre Libre'. Then, before you know it, we’ve reached the end with 'Liars & Thieves'. It is a strategic and well thought placement of such an anthem, calling people up for one last round. It encapsulates the spirit of the album well, combines clear singing heavy metal singing and guttural, punchy vocals. It also brings back a strong double pedal drum, which does not miss a mark. Its dragged out ending feels as it is leaving space for the crowd to join, already taking their input into consideration as part of the song for upcoming live shows. Blood Dynasty was recorded in the band’s native Sweden with producer Jens Borgren, who was also on the band’s previous album Will to Power - and you can feel this new opus’ place in the Arch Enemy pantheon. This album is powerful, fully fleshed and takes its audience as an integral part from start to finish. While some songs suffer slightly from the star quality of others, every track is bound to find its crowd and settle itself within the community with time to flourish and exist independently after release. Whilst of course we wish it was longer, two additional tracks will be available in the deluxe editions which do alleviate that somewhat! This is an album made to be lived, experienced and shared, its impact only promising to double once the band hits it on stage. And guess what, you're in luck as the band will be going on a quest through Europe and the UK later this year, so you won’t want to miss this chance! UK dates: 30.10.2025 Wolverhampton (UK) - Civic Hall 31.10.2025 Manchester (UK) - O2 Apollo 01.11.2025 London (UK) - Eventim Apollo Score: 8/10 Blood Dynasty will be released on March 28th 2025 via Century Media Records. Words: Lysandre Pons Photos: Arch Enemy

Gates to Hell are serving blow-your-head-off metal in their second feature length LP Death Comes to All, with the technical prowess to boot. They lay the rage down across 10 quick tracks, then pack up as soon as they arrived, and manage to leave a listener wanting for nothing but waiting for more - a purgatory perfectly fitting the concept of this project. Album opener 'Rise Again' kicks things into high gear immediately, with Story’s vocals jumping straight into this piece of wonderfully structured chaos. Apparent first in this track then throughout the project is the command of pace and tempo that Gates to Hell enjoy; they hop between thrashy punk and tension-building pre-breakdowns without a thought. It doesn’t take them long to get to their standout tracks either, with second offering ‘A Summoning’ slowing it down slightly to make room for the first of Garris’ ankle breaking double bass drum work while keeping up the ‘inside the crazed mind of a killer’ vibe that Death Comes to All appears to be embodying - when Story claims that “all that’s left is bloodstains and a knife” you believe him. As the album hits its stride it's astounding how much Gates of Hell can fit into barely, often sub, two minute track lengths. 'Weeping In Pain' manages a 30 second warm up before launching into its madness while only just hitting the over two minute mark, yet still somehow leaving the brain with the same amount of stimulation as listening to rock operatics. On the topic of 'Weeping In Pain', its closing sample sounds suspiciously like a sped up version of the end of Knocked Loose’s Deep in the Willow - did we go pinching out of our brothers sound library, Trey? On a serious note though, this project is like an exercise book of how to make high quality hardcore: single 'Next to Bleed' is a warpath put to music with Hanson and Lewis’ gorgeous guitar flares and Garris running a marathon behind them on those pedals. The samples that are used, such as the “welcome to hell” in the middle of the ‘21 Sacraments’ breakdown, or the voicemail in ‘Locked Out’, are woven perfectly into the sound mix; you can see the pit pausing for breath in your mind’s eye when you hear that "welcome to hell" before the rampage starts once again. Side 2 highlights include 'Sacrificial Deed' - its a song a girl could dance to, sits at only 1:48 but manages a three act structure and also incorporates the phrase ‘art thou’ in a hardcore song, which is beyond silly and a key part of why it is a highlight. For a technical choice, its follow up 'Death Comes to All' is where the band starts to show off, with a solo from someone in the middle turning into a guitarmony (yes that is guitar and harmony shoved together) at the last breakdown, where another one of those beautifully laid samples offers a false ending before the last eight bars of the track. The big favourite however would have to be the character reveal track 'Crazed Killer', where Story tells this character’s manifesto over a chaotic soundscape that gradually speeds up before a hard cut ending of “In a grave, never to be seen again”. Over its 1:37 run time, the feelings of the build up to the kill before the silence of its aftermath ripple out in a way that is almost concerning - that’s how you know it’s good. Gates to Hell close with 'Fused With the Soil'; it is everything that they have served in this project rolled into one. From the seamless "don’t think for a moment you are not in danger" at the end of its first breakdown, to its bouncy verses mixed with constantly transformative soundscapes working its way into an ambient (almost static) outro. All in all, if you’re looking for metal and hardcore, you will find it at a high quality in Death Comes to all. Its chaos has structure and intention, wanting to show off what this band can do while committing itself to the erratic. The only fault that could be made is how crammed the tracks feel when listening in one go - slow down and enjoy the ride is the phrase that comes to mind. Apart from that, well - it was sick, it was metal. Score: 7/10 Death Comes to All was released on March 21st 2025 via Nuclear Blast Records. Words: Julia Brunton Photos: Gates to Hell