There are few bands who can execute long tracks so effortlessly yet interestingly, so as to keep their audience engaged and on their toes for the whole duration, as Genune. Hailing from Cluj-Napoca in Romania and founded in 2012 by Dragoș Chiricheș (guitars, synths, acoustic guitar), who was then joined by Cosmin Farcău (guitars), István Vladăreanu (bass, vocals), Abel Păduret (drums) and Victor Neicutescu (vocals), the band started gaining more attention in 2018 and since then found themselves in the genre of atmospheric post-black metal. On Infinite Presence, the band’s third full-length album, the members explore the themes of time, consciousness, identity, and existence through a modernist poet's lens, delving deeper into an introspective journey that was foreshadowed by the band’s previous albums, giving us different perspectives of remembrance and gratitude throughout six tracks. The first three tracks are all very energetic, with the first two having similar melodies, and the third one being little different. 'The Sun Will Always Shine' and 'Little Fountains' start with quick drum work, before transitioning into more relaxed bridge, giving the listeners space to explore the soundscape of the songs. Combining screaming with clear vocals, the band creates changing atmosphere within the tracks, making the listeners explore their music throughout their feelings and emotions. On the other hand, the third track on the album, 'Stay a Little Longer', begins a little differently, putting more emphasis onto the guitars yet shifting it onto drums during the song. During the song we're introduced to some synths, a new sound on the album, that sound very urgent as they start to morph into unpleasant sounds towards the end of the song. One track on the album is set to grab the listener’s attention immediately, and it is the title track 'Infinite Presence'. Starting off quite differently to the rest, we get a beautiful acoustic guitar, providing a stark contrast to the heavy sounding drums and electric guitars on the other tracks. Containing no vocals, the song’s purpose could be either to reminisce about one’s own presence, achievements and goals, or simply to provide a little breather from the long tracks and running lengths, to absorb the melodies and sounds of the past songs. After this particular track, we are left with two more songs on the album, 'To Not Grow Old' and 'I Want You Here'. This fifth track starts off very swiftly again, giving us the atmospheric sound of drums and guitars. The song sounds like an ordinary black metal piece, until out of nowhere, we get to hear some very prominent synths that evoke the 80s and 90s and are complimented by the ongoing guitars and drums, creating an immersive blend of sounds, that is entrancing to listen to. At the end, the song transitions straight into 'I Want You Here', which continues with the outstanding riffs and drums. The track is over nine minutes in run time, making it the longest on the album, and although the beginning is impressive, there is nothing standout about the song until the end, when we get some soft ending melodies, making it a little harder to stay through the whole song. Although the album has only six tracks, they all are long enough to have to make time to listen to them. Some of the tracks are very repetitive, and apart from a bridge now and then, there is not much going on to keep the listeners engaged for the span of the time. The addition of occasional synths, however, makes the listening experience more exciting, as well as the well executed drum work and guitar work. It is a well-made album with an interesting message to tell and is a good choice to listen to for anyone, who likes to discover new sounds in their music. Score: 6/10 Infinite Presence was released on May 17th via Consouling Sounds. Words: Katerina Stepanikova Photos: Genune

Gothic prog is the theme for Root Zero’s debut album Dark Rainbow - a mix of choppier metal riffs and hardcore screams, with transcendent clean vocals and pensive piano melodies. The Cardiff-based act have gathered from all corners of Wales to form this sextet, though the roots of Root Zero come from keyboardist and co-vocalist Giacomo Fidero way back in 2016. Cut to 2025 and these roots have grown into a spot at Bloodstock last year off the back of winning South Wales’ Metal to the Masses competition, and the perfection of their live shows has prepared them for their first full length studio project. All the elements in Dark Rainbow are gorgeous; the technical elements on the guitar sound stunning throughout - first full song ‘Inner Turmoil’ is well balanced between the these technical elements and hardcore influences with screaming vocals, swapping between Sasha Bannister’s siren singing voice and Fidero’s low hanging scream. The only note here appears to be the choice to mix some of the clean vocals live but not others; an effective choice for the ambient vocals but throws off the track somewhat in its spoken word. Other elements of note are the use of Italian vocals in 'Notti D-Inverno', with Fidero opting for beautiful clean vocals for its first verse. This track stands out among the first half as the ethereal rock that Root Zero markets itself as, building to its chorus before a vocal-trading second verse between Italian and English before the instrumental breakdown that sees the swaying riffs from the first half finally get their time in the sun. The two-part solos conjure images of stone beaches at sunset when the stars begin to appear in the sky on one end while the sun sets on the other, and it's all too easy to disassociate into the song. The blending of the rough-around-the-edges-metal influences with the ethereal soundscapes comes in 'Ignis Fatuus', where Bannister’s vocals spend more time atop the metal side, and some of the ethereal is mixed with the screams before a pull-no-punches breakdown that feels refreshing around the midpoint of this project. The switch up on its follow up ‘Tumbleweed’ was also welcome, with swelling first act vocals and the militaristic guitar beneath the harmonies sounding gorgeous. At the midpoint of this project comes, so does five minute ambient interlude ‘Depression’; experimental in that the drums appear to have been recorded through a cathode which adds to the spacey feelings that attempt to emulate long term depression, but are nevertheless an odd choice sonically. It is also from here that Root Zero jump the prog shark, with the tracks leaping from a reserved 4-6 minutes to over 11 on the title track, and then 8 and 9 minutes to close out. Criticising this project is to criticise prog as a genre: drawn out ambience to link sections that could all be separate shorter songs and hold the attention better. The elements in said title track include the harder style soundscape utilised throughout the full-band sections, with this harder style curating an Evanescence-like energy. This culminates in a midpoint breakdown akin to a knight traversing the tunnels to find the face that matches the name on his parchment, but a lot of this feels drowned by the minutes spent playing the same notes on a guitar or piano backed by a slight ambient sound. Many of these elements would work wonderfully in a live show, but minutes spent putting this on record can feel like adding the chaff to the wheat. Penultimate track 'Lilitha' nevertheless is one of the highlights - a horror movie style lullaby where the piano feels well placed, the drumming in the first breakdown is exemplary with the winding down runs before more of the siren style vocals for the track’s interlude. It's only drawback is the drawn out feeling in between more fleshed-out sections of the song. When the album closes with ‘The Infection’ it is hard to say what hasn’t already been said; sections such as its chorus are beautiful, and the gothic yet celestial soundscape sits perfectly as a background track, making active listening a difficult task. For the prog lovers this may be for you - a gothic take on the subgenre, with plenty of subversive elements that switch it up somewhat from its contemporaries. As a debut album it is a strong and cohesive project from Root Zero, that gives them a strong foundation for their live music career, but this is not the project to get a new listener into the genre. Score: 7/10 Dark Rainbow was released on May 16th 2025. Words: Julia Brunton Photos: Root Zero

Estonian quartet Pridian have hit their stride on Venetian Dark, the first album under their new name, giving a spaceship metalcore energy - complete with seamless programmed elements and soul searching, heavy soundscapes. Venetian Dark is textbook in the best sense of the word; it takes what the listener looks for it metalcore and does it with ease. Album opener ‘The Downfall of Apathy’ starts with a beautifully chopped violin before morphing into that textbook metalcore sound, hitting its ethereal stride with a little help from the electronic plucking programmed into the back of a heavy hitting soundscape, then follow up ‘Cyanide Dreams’ gets straight into it with screamed vocals before resolving into a gorgeous blend of celestial ambience and deep bass riffs. The LP really hits its stride in ‘Out for Blood’: proof of concept with the full integration of the celestial electronic elements and an addictive electric guitar riff reminiscent of Sempiternal-era Bring Me The Horizon. The vocals pull no punches until the programmed bridge offers the perfect breather, before a screeching breakdown that nearly sent this laptop across the room. ‘Out for Blood’ came, saw, and sent it in a timely fashion, then had its baton picked up by ‘Darker Tides’ - from standout lyric "the waves of time are crashing over" to the nautical vibes in its opening verses. It’s second half breaks things down with military style drumming and a broken vocal backing, that captivates without commanding too much attention; a pity it finished on a fade out. Pridian have mentioned Sleep Token as a favourite in their own listening habits, which can be heard in ‘DINY’ in its synthy beginnings and vocals mixed into a whisper for its first minute, but Robert Leht’s drumwork is the highlight for this track. The hidden snare within a double bass line is always a hit, but the entrancing drum and bass influenced double bass buildup into the treble heavy solo searches for its resolve in a way that is hard to ignore. The whole track is an ode to angst that doesn’t take a breath until its end, and is one of the standout on the project overall. At the midpoint of this album comes single ‘Near Dark’ - an easy rock radio or release radar hit with its pretty metalcore sensibility, followed by ‘Ruin’, opening with a Gregorian chant style vocals and yet more pretty drums before a well executed 180 into a thrash style offering, then ‘Idolust’, the best named track on the project that gives off bags of Wage War energy to be heard throughout the rest of Venetian Dark. As for the second act of Venetian Dark, ‘Void Renaissance’ is the standout. It has the most party energy with its fast tempo and lightly distorted swinging guitars in the beginning, then taking a detour into deathcore before falling into a sinister void in its third act, utilising an eerie piano melody to keep the time on its final breakdown and finishing on said eerie piano. ‘Void Renaissance’ lures the listener into a sense of security before pulling them into this creepy space for but a minute, which makes it effective in the sci-fi worldbuilding; in something as large as space the black holes are never too far away. ‘Synthetic Salvation’ is here to show off Pridian’s programming skills in an ambient track before rounding out the project with ‘Convoy’, coming in with a cyclical sound and a track that reminds the listener of Periphery in its build and screeching electric guitar melodies, though the choice to mix the vocals under the instrumentals here does leave something to be desired. The release closes with ‘Endless’: proof first of all that Pridian have their intros perfected, while bringing back the Wage War energy in a punchy take-no-prisoners finale where Laur Lindmäe hits the guttural screams in a welcome surprise. The sinister vibes from ‘Void Renaissance’ make a return for the last act of ‘Endless’, this time through the Gregorian chant and the piano atop a double bass workout that breaks for a second before swelling into a second but equally sinister finish. All in all, Venetian Dark is a playbook on electro-infused metalcore: gorgeous melodies matched with deep soundscapes that are emblematic of what listeners look for in metalcore, matched with programmed elements that accentuate instead of overpower and add to the sci-fi worldbuilding that Pridian have constructed. No frills, some flare, and a solid listen. Score: 8/10 Venetian Dark was released on May 16th 2025. Words: Julia Brunton Photos: Pridian

Formed in 2009, Full Of Hell are known for their unrelenting blend of grindcore, death metal, noise, and power electronics. Over the years, they’ve built a reputation as one of extreme music’s most boundary-pushing acts, thanks to a prolific discography that includes collaborations with The Body, Merzbow, and Primitive Man. Now the Pennsylvania grindcore giants are back with their latest EP offering, entitled Broken Sword, Rotten Shield. This new release follows up on last year's critically acclaimed studio album Coagulated Bliss, and their collaboration with Andrew Nolan Scraping the Divine. Produced by Kevin Bernstein and released by Closed Casket Activities, Broken Sword, Rotten Shield’s release is followed by a stacked North American tour, with the likes of Harm’s Way, Kruelty, Jarhead Fertilizer, and Clique. Lyrically, Broken Sword, Rotten Shield weaves together themes of love, grief, and inevitable loss with a warped, dark fantasy-esque narrative. It conjures images of noble quests and loyal, doglike guardians - symbols of the pure, unwavering bonds we form in life - only to watch them fall to ruin in a brutal confrontation with mortality. It's a short but emotionally loaded journey, where the mythic and the personal collide in genuine Full Of Hell fashion, with overwhelming force. The release kicks off, again in typical Full Of Hell fashion. Title track 'Broken Sword, Rotten Shield' sets the stage for a seven-track auditory onslaught. Frenzied blast beats, jagged riffs, and Dylan Walker’s signature vocal abrasion tear through the mix with surgical brutality. The title track reveals the album’s central theme: that in the face of time and death, all living things are equal. It’s a clear statement of intent for the record - relentless, raw, and unflinchingly aggressive - reminding listeners that, while the band continues to evolve, their core remains rooted in pure sonic violence. From there, the EP rarely lets up, barrelling through moments of noise-drenched grind and scorched-earth hardcore with vicious precision. Despite the EP’s overwhelming intensity, there are a sprinkling of moments where the chaos gives way to reflection and clarity. 'To Ruin and the World's Ending' stands out as a perfect bookend to the release. Drawing the curtain with a sense of grim finality. Slower and more deliberate than the tracks before it, the song unfolds like a funeral procession—bleak, sludgy, and heavy with emotional weight. It ties the EP together both thematically and sonically, reflecting on the destruction left in the wake of loss and the quiet devastation that follows. Broken Sword, Rotten Shield is yet another incredible release in an already impressively expansive and varied discography. You’d be forgiven for thinking there would be some pure filler among these releases. Still, every single release is a well-crafted, tightly polished creative endeavour that shines on its own merit. Broken Sword, Rotten Shield is no exception to this. Following on from Coagulated Bliss was always going to be a monumental task, as the band’s sixth full-length studio album is truly a thing of beauty. Yet Broken Sword, Rotten Shield takes such a bold, creative, and thematic turn, making it an undeniable standout release for the band. Score: 9/10 Broken Sword, Rotten Shield was released on May 16th 2025. Words: Andrew Nile Photos: Full Of Hell

London metalcore quartet Confessions Of A Traitor are back three years after their last album with This Pain Will Serve You. The album delves deep into the complex and raw emotions of grief and loss, through haunting melodies and powerful lyrics, which the band use to great effect in order to explore the experience of mourning, and the journey toward healing. First up, we have 'Starve' - is a hard-hitting rager that creates an impactful opening. The tight riffs and accelerated tempo, along with MacConville’s screamy vocals, immerse the listener in what to expect from the album, and set the pace of exactly what is to come. Next up is 'Fatal Frame', which certainly possesses the band's signature sound, however we also hear a very welcome addition in the form of punchier and more modern-leaning riffs. We hear more of Brand’s vocals in the chorus too which, alongside McConville's, creates an effective contrast and undeniable hook. 'Doomsayer' is the heaviest and darkest song on the album. It showcases the band's sharper metalcore sound in an almost apocalyptic way. MacConville’s ability to move from throat-shredding rage to ghostly clean vocals adds layers of depth, and this song will stay with you long after the final note ends. We then get to 'Midnight Sun', where the ferocious guitars of Brand and Darnell lead this track, offering riffs that transition seamlessly into its catchy chorus. The lyrics, along with haunting vocals, bring the song to life even more. 'Still Haunted' is the lead single of the album, inspired by MacConville’s best friend’s loss of a partner to suicide. The track is a soundtrack of grief and every scream, every lyric feels earned. Haunted, layered vocals that hit you right in the feels, along with a thunderous climax makes this track one of the band's most emotional songs to date. Following this we have 'Love You Left Behind', to kick off the second half of the record. This song has a moody and immersive tone filled with texture and contrast, which elevates the track into something rich and very listenable. Vocally, this track is probably the most melodic from the album, where we really hear the core of MacConville’s clean vocals. 'Noble Bloom' shows off the band's versatility with brutality and ethereal cleans. The dynamic shifts make the breakdowns hit even harder. Olward’s drumming in this track is nothing short of thunderous, bringing it all together as an onslaught. 'Hail Mary' stays on the same track, where screams are paired with clean vocals to give that soul shuddering metalcore sound. Heavy with religious symbolism alongside Mike Felker’s (Conviction) guest vocals, they all fuse together seamlessly creating a song that feels massive in every aspect possible. As we approach the end of the album, we have 'Let It Consume Me' and 'The Sins I'm Yet To Answer For', which feature two of the heaviest breakdowns on the entire album. Vocally they portray sheer agony, and the guitar riffs almost scream alongside them, setting a cinematic atmosphere in both tracks. 'Half Life' closes the album, and features an appearance from Charlie Hewitt of UK nu-metal revival band Black Coast. The track has a hardcore-style aggression with some of their heaviest riffs to date, and brings the album to a vigorous end. The pain which has been portrayed throughout this album is quite remarkable. Amongst some excellent musicianship, and especially some fantastic vocal displays, this ability to draw from such raw emotion is the key to why This Pain Will Serve You is a cut above the rest. Score: 8/10 This Pain Will Serve You was released on May 16th 2025. Words: Amy Watson Photos: Confessions Of A Traitor

Hailing from Finland, Svarta Havet was formed in 2018, and since then have taken on a mission to focus on antifascist, feminist, trans and queer politics. Having its roots in DIY punk and hardcore scene, the band blends together different styles in their songs, making unique sounds in the process. The band already demonstrated its talent in 2021, when its debut album JORD/VATTEN saw the daylight, and they promised to push their boundaries even further this time. In their newest album Månen Ska Lysa Din Väg, translated to English as “The moon will light your way”, the band takes us on a journey with them through eight tracks, each of them having distinctive features and sounds. The members Lotta, Joakim, Anders and Jara worked closely together with the renowned producer Mikael Neves to produce a vibrant yet heavy album packed with their focal themes, earpiercing screams, and outstanding riffs. As we can see throughout the entirety of the album, the band primarily focuses on the topics of Western colonialism, capital greed and the lack of sustainability, voicing their cry for a change. Walking us through different topic in each of the songs, the band starts the album with the track 'Göm Dig', which translates in English to 'Hide Yourself', and explores the urgency of reconnecting with nature and the impact of Western culture not only on humankind, but on our planet as well. Throughout heavy, tearful riffs and urgent screams, the band warns us of our impact on society and the world around us. Finishing off the track with piano gives the listener a real sense of sadness and pain here, as if the band are trying to help us feel what will happen without this reconnection. On the other hand, the third track on the album 'Avgrunden', translated in English as 'Abyss', starts off slowly, only with a synth and a sad guitar riff, before the vocalist Lotta starts singing about her lack of hope for the future if we don't start to take care of the planet, its flora, fauna and inhabitants. The song is a heartbreaking cry to humanity for keeping up with sustainability, and to be mindful of every little thing they do, as everything has an impact on the environment. As the melody breaks into an explosion of urgent drums and guitars, we do get the chance to listen and sympathise and think about our own actions. Two stand-out features on Månen ska lysa din väg are the songs 'Djur' and 'Under Staden'. While 'Djur', translated to 'Animal', is a weighty song about the cruel nature of some people, whose greed drives them to killing and torturing animals for fun, making them no more than beasts, the second song 'Under Staden', or in English, “Under The City', is a cry about animals and insects, who had to adapt to survive in urban spaces. Both songs are similar in melody and composition, as well as in their message, and altogether are a crucial element of the album. Overall, the album dives deep into the struggles surfacing with companies, who are taking over the world, and it boasts many important messages that should be shared with the world. Even though many of the songs sound repetitive, and seem to jump from one topic to another without giving a bit of time to comprehend what is going on, it's still a solid piece of work that represents the bands values well. Score: 6/10 Månen Ska Lysa Din Väg was released on May 9th via Prosthetic Records. Words: Katerina Stepanikova Photos: Svarta Havet

On Revenant, Recall the Remains take a confident leap from potential to purpose. Having spent the last few years refining their hybrid metalcore-deathcore sound across the UK underground, this self-released debut full-length feels like the culmination of everything the band have built so far, and a statement that they’re just getting started. The album wastes no time. Opener ‘Fairfield’ launches with razor-edged riffing and a feral dual-vocal performance from Jacob Collins and Jordan Barnes. Their interplay is the band’s not-so-secret weapon: brutal screams and clean hooks never feel tacked on, but instead feed the emotional momentum of each track. It’s a dynamic that not only showcases their range, but also makes their songs instantly memorable. What sets Revenant apart from the wave of metalcore-deathcore hybrids is its sheer commitment to crafting moments. Every track on this album has at least one section designed to snap necks live or stick in your head for days. ‘Cerberus’ drops into mechanical, groove-laden breakdowns that echo early deathcore, while ‘The Night Will Bleed’ leans into eerie atmospherics without losing its teeth. Elsewhere, ‘Empty Woods’ provides a haunting (but definitely not calm) reprieve, allowing melody and reflection to take centre stage before crashing back into chaos. There’s an undeniable theatricality to the record’s structure. It flows like a journey, with peaks and valleys rather than a wall of constant aggression. That pacing shows maturity; the band aren’t just throwing everything at the wall, they’re deliberate, letting heaviness hit harder by placing it in contrast with silence, melody, and dynamics. Lyrically, Revenant is steeped in grief, resilience, and reckoning with mortality. It wears its heart on its sleeve, and there’s a tangible rawness in how those themes are delivered, especially in the emotional climax of the title track. This isn’t just heaviness for the sake of brutality; it’s grounded in something real, something lived-in. Production-wise, it’s slick without losing punch. Each instrument has space to breathe, with the mix giving equal weight to vocal texture, percussive depth, and riff clarity. For an independent release, the quality is impressively high and does justice to the band’s genre-blending ambitions. Revenant is a huge step forward for Recall the Remains. It’s a record that bridges scenes. Deathcore kids will find plenty to sink their teeth into, but there’s just as much here for fans of modern metalcore, melodic death metal, and beyond. More than anything, it proves the band have both the chops and the vision to break out of the underground. With Revenant, they don’t just arrive, they erupt. Score: 7/10 Revenant was released on May 1st 2025. Words: Vee Richardson

There aren't many bands who can do what Atlanta, Georgia's The Callous Daoboys do, and for good reason. Their blend of math rock, post-punk, abrasive metalcore, hardcore, pop and plenty more is so outlandishly unique, you'd struggle to find anyone who can write music in any fashion even vaguely resembling theirs. With their third album I Don't Want To See You In Heaven all but upon us, it's time to dive back into the richly diverse set of chaos-driven soundscapes that them there Daoboys just love to plate up. This latest LP of theirs is a conceptual masterclass, and is also an incredibly vulnerable piece that reflects the last few years of lead vocalist Carson Pace's life in every inglorious detail and facet. As Pace himself states - “Everything is very singular and personal. I’m not making an album commenting on anything societal or political this time, this is an album just for me. It’s every emotion I’ve felt and sobering thought since 2021. I can only make this album now, not in three years when I’m thirty, not ten years ago when I was seventeen. This is the snapshot of 24-27. A scrapbook of trial and error, or better yet, a Museum of Failure." Speaking of a "Museum of Failure" - the band have been doing some work with that in their advertising, and in the first track of the album, 'I. Collection of Forgotten Dreams', they have a voiceover as if a museum tour guide is discussing the album many centuries from now, as if in that very museum. The overarching concept though is even more deft and subtle, so to again look to Pace - “The album is an artifact that’s been preserved, and hundreds of years in the future, you’re listening to this album in the museum. It’s a known failure, but the narrative is ‘if it survives forever, is it truly a failure?". Moving on into the album proper takes us into somewhat well-charted territory. Track two goes by the name of 'Schizophrenia Legacy', and is a blistering assault on the senses that careens and ducks and dives in a way that could only ever be written by this group. There is not much room to breathe across the next three tracks either, with 'Full Moon Guidance' and lead single 'Two-Headed Trout' adding plenty more caustic heaviness and razor sharp riffing, before the first guest spot obliterates everything as Orthodox step up to bat on 'Tears on Lambo Leather'. This ruthless, abrasive onslaught is given up briefly on 'Lemon' and 'Body Horror For Birds', as the former becomes the best pop/funk/triphop track you've heard in your life, with a brief and controlled explosion as it comes in to land. The latter is the calmest moment thus far by some significant stretch, and features 1ST VOWS across a five and a half minute ambient, shoegazey, dreamy piece of music that allows the listener to float away for a spell, before being ripped out of that daydream by other lead single, 'The Demon of Unreality Limping Like A Dog', in all its mathy glory. Having never been a band to rest on their laurels, there's no chance of that happening here either - 'Idiot Temptation Force' signs you up for karate classes with an expert and expects you to try and fight them on the first day, in an altogether disgustingly heavy experience - until the enormous tone shift joined by a steel drum and brass section. There is genuinely no way in hell that this should work, but there is somehow STILL something that stitches this together and keeps things cohesive. 'Douchebag Safari' is not only a phenomenal name, it's also another of the whiplash inducing moments in The Callous Daoboys' discography. Leaping from a relaxed electronic track into a grinding, synthy, mathcore behemoth, no punches are pulled. Another of the album's singles pops up here, with 'Distracted by The Mona Lisa' taking a delightful moment to let some of their less intense heaviness ring out. Then comes time for the second shortest piece on the album, the penultimate track, 'II. Opt Out', which ultimately acts to tee up the gargantuan final track that is the twelve minute long 'III. Country Song In Reverse', featuring low before the breeze. The near three minute intro just builds tension before the first of many explosions of sound in this anguished, twisting trip through hell that manages to make you smile and quiver in fear mere seconds apart. I Don't Want To See You In Heaven is a once-in-a-generation release. Any other band who attempted this would fail. This is a singular album in so many ways, not least because only one band could ever have pulled it off. It feels like it might be too early to call it, but we could be witnessing the beginning of an era-defining arc of music. The Callous Daoboys don't just break the glass ceiling on LP3, they have smashed any and all expectations in a manner that will be analysed by music journalists, fans, and musicians alike for years to come. Their reign is inevitable, and it might be best if we sit back and let them take the wheel already. Score: 10/10 I Don't Want To See You In Heaven will be released on May 16th 2025 via MNRK Heavy. Words: Jake Longhurst Photos: The Callous Daoboys

The Swedish trio Cavern Deep have returned with another dive into the depths of doom, whilst wrapping up their conceptual trilogy, with The Bodiless (Pt.III). It’s slow, gloomy and weirdly tantalizing. The band appear to have stuck to their hypnotic, crushing doom roots and this final chapter really leans into the storytelling approach. The opening and title track, 'The Bodiless', wastes no time setting the mood - as the longest song on the album, we find ourselves delving straight into the thick, eerie vibe that it embodies. Yeah, it’s heavy, but not only in the sense of its riffs making you gurn - it has an immersive borderline oppressive atmosphere that draws you in. Martin Harvey (Slomatics) provides guest vocals, which have an echo that could come from the depths of the sea. This song is slow and gradual - just like a well told story. 'Queen Womb' and 'Putrid Sentry' definitely turn things up a notch with a constant push and pull within the riffs. By now, the album feels thick and heavy with a distant floating of psychedelic sound in the background. It doesn’t feel too chaotic - the soundscape gradually attempts to suffocate the listener within its grasp (in a good way), like pouring all their feelings into a pot and letting it stew. 'Moskstraumen' takes a completely different turn, making this the big curveball moment within the album. Featuring an unexpected otherworldly feel from Martin Ludl playing the saxophone, his eery brass melts into the sound like a faint haunting, without disturbing the heaviness of the storm. Combine that with vocals feeling like they are echoed from a god, this track gives a powerful transformative tone of dread. We then step into a surreal, hazy space in 'Galaxies Collide' where everything slows down. The guitars drift like waves, pulling you under with an ancient feel. The drums stay patient, suspending your perception of time all throughout the run time. The heaviness carried throughout the album looms and yet calms, as the story starts to come to an end. The guitar and vocals together develop into an ethereal performance three minutes into the song, with the highs and lows more than pulling their weight into creating one big release of emotion Coming to a closing chapter with 'Full Circle' providing a slow, drawn out exhale. Still carrying the weight of all the music that has come before, yet it is no longer crushing but a tired heaviness - like you are in the thick fog. Yet it feels right, like this murky downward spiral just had to end this way. Nothing explodes, nothing resolves cleanly - it just fades in its own time. It’s a good note to end the trilogy on. The Bodiless (Pt. III) is a powerful piece, but you can always sense that it's able to hold itself back from just overrunning the listener with an onslaught of pure heaviness. This record creeps in, slowly wrapping itself around you track by track. Cavern Deep have developed something really immersive here. It's heavy, but there’s a strange beauty to how restrained and patient it all is. If there was ever a prime time and place for an LP, this is definitely one to sit with late at night, with your headphones on, when everything’s quiet and a bit weird. Score: 8/10 The Bodiless (Pt. III) was released on May 9th 2025. Words: Fern Seymour Photos: Cavern Deep

Australian metalcore five-piece Make Them Suffer have steadily built a reputation as a band worth experiencing. They’ve been touring since 2011 and have performed countless headline shows, as well as securing a high-profile support slot for Bring Me The Horizon’s ‘Nex Gen Down Under Tour’ last year. It’s clear that their dedication, despite numerous sudden changes in band members over the years, is paying off. Now, Make Them Suffer take on Glasgow’s respectable mid-sized venue of Slay, supported by fellow metalcore outfits from across the globe: If Not For Me, Conjurer, and Resolve. With the queue down the street being in high spirits and an air of excitement being felt even from outside, it was time to see what the night had to offer. It’s hard to believe that Pennsylvanian metalcore unit If Not For Me were the evening’s opening act, as they performed to a room still filling up but crackling with anticipation. We knew it would be a night to remember when they bounded onstage and launched into ‘Demons’ from their 2024 album ‘Everything You Wanted’; their explosive energy and stage presence immediately setting the tone. Their set was a powerful showcase of mostly their latest album, breaking it up in the middle with their 2024 single, ‘Say It To My Face’. They thanked the crowd, promising to return before ending with the reverberating riffs of ‘Feel Me Now’. In a surprising contrast to the dynamic American four-piece, sludge-metal masterminds Conjurer emerged onto the eerie blue-lit stage with quiet composure. They opened with fan-favourite ‘Choke’ from their 2018 album ‘Mire’, and the rest of their set was a deep dive into their 9-year discography. This unfolded beneath flashing blue and red hues, creating a sense of ominous urgency. While their sound occasionally bordered on repetitive, it was undeniably immersive, prompting the first pit of the night to explode. Before the final track, ‘Retch’, they promised a new album later this year. In a final moment of connection, bassist Connor Marshall flounced into the centre of the pit as the final notes rang out, a delighted crowd encircling him. With the crowd still buzzing, the venue erupted into dramatic serenading and a sense of camaraderie as ‘Non, Je Ne Regrette Rien’ slithered out of the speakers. Riding on the playful energy, French metalcore powerhouse Resolve stormed onto the stage, immediately electrifying the room with the intense riffs of ‘Human’, the title track of their 2024 album. The already ferocious crowd wasted no time continuing the chaos. The band powered through a brutal and relentless set, taking us to a new extreme with songs like ‘Smile’ and ‘Sandman’. With almost no time to rest, the energy in the room never faltered. Midway through, they spoke to the crowd in French, which was met with a round of good-natured booing. They wrapped up their dynamic set with ‘Older Days’, their more deathcore-inspired collaboration with Switzerlands finest, Paleface Swiss. After such an explosive ending, it was undoubtedly time for Make Them Suffer to take the stage. The crowd was ravenous for more, only taking the first symphonic notes of ‘Epitaph’ to send the room into a frenzy. Sean Harmanis’s instantly recognisable growls combined with Alex Reade’s smooth vocals as the chorus hit created an unmatched wave of adrenaline that swept across the venue. The set was an engaging exploration of their discography and journey as a band, featuring heavy-hitters from their acclaimed 2020 album, ‘How to Survive A Funeral’, such as ‘Bones’ and ‘Soul Decay’, to their self-titled latest album from 2024. One standout was ‘Mana God’, with Harmanis’s guttural vocals, whilst occasionally buried beneath the sonorous drumming, creating a visceral intensity in the room, feeling especially noticeable following the more melodic ‘Uncharted’. The band’s energy was overflowing, and the venue could barely contain it. Just before the crushing breakdown of ‘Hollowed Heart’, the band raised a Scottish flag, causing a reception of thunderous cheers from an already rowdy crowd. As the end approached, Sean rallied the audience one final time, declaring that it was “everyone's last chance to give it their all”. The gentle opening notes of ‘Widower’ lulled us into a brief moment of calm, and as the savage riffs kicked in, so did the onslaught of crowdsurfers and an eruption of a circle pit ready to pounce. With If Not For Me, Conjurer, Resolve and Make Them Suffer delivering one unforgettable performance after another, the evening was a celebration of what metalcore thrives on: pure emotion, intensity, and fiercely loyal fans. Next time they hit the road - which will undoubtedly be soon, given their track record - make sure you check them out, as if this night was anything to go by, seeing them cause carnage in a smaller venue may soon be a rare opportunity. Words: Chloe Sodeau Photos: Libby Percival

With 27 years of pure metalcore chaos, thirteen studio albums and two Eps under their belt, the German-based Caliban are bringing their fans their latest album called Back From Hell, followed up by the Back To Hell tour. Their London show was the last one in the UK, as they are heading back to mainland Europe to finish off what they started, but it surely was one for the books, as the night was pumped with excitement, emotions and moshpits. Being supported by In Hearts Wake, Cabal and Assemble The Chariots, the band made an absolute sure to get their fans to feel the atmosphere before they took over the stage. The first support band of the night was Assemble The Chariots, that is originating from Finland. Bringing the audience their symphonic death metal combined with deathcore, the band absolutely killed their set, although the audience was not as interactive as it could have been. Nonetheless, the band’s performance was still very impressive, as their repertoire keeps growing since 2008, and the current vocalist Onni Holmström is an outstanding performer, who fits the narrative of the band perfectly. Supported by the captivating drummer Sami Mäntylä, innovative bassist Mikael Reinikka, who is the newest member of Assemble The Chariots and the punchy guitarist and one of the founding members Kevin Apostol, the four-piece showed their appreciation to the fans multiple times during their set, not taking any second for granted. Second on stage was one of the heaviest bands on the current metal scene, the infamous Danish folks, Cabal. Promoting their newest album, Everything Rots, the band was welcomed with endless applause and big moshpits, making it obvious that they are indeed fan-favourites on this tour. Throughout their set, the band kept interacting with their fans, especially Andreas Bjulver, the vocalist of the band, who on many occasions turned his microphone towards the fans in the first rows, giving them the once-in-a-lifetime opportunity to sing with their idol. The deadly riffs and breakdowns the band is well known for were hitting hard the whole time, and by the end of their set, the audience was even more hyped for the two upcoming bands. Third, and the last support of the night, was no one else than the band hailing all the way from Australia, the infamous In Hearts Wake. Focusing primarily on spirituality, environmentalism, global warming and other social issues in their work, the band brought a different atmosphere to the already established crowd yet was welcomed with even greater appreciation than the previous artist. The set was a bit chaotic, as there was many things happening at the same time, from heavy riffs, to two dancers on the stage, that showed up out of nowhere, to then the lead vocalist taking off his top and ending up the set with a very spiritual talk about the pandemic, but surely it was an interesting experience for anyone, who did not know the band beforehand. Nonetheless, it was still an amazing performance and In Hearts Wake do deserve the growing recognition they have been receiving lately. After three very successful supporting bands, it was finally time for Caliban to take over The Dome and show London, how they do it in Germany. From the first second, the whole floor transformed into a mixture of a big pit and a dance floor, diving those two only with people, who were running in between both of them. The lead singer of the band, Andreas Dörner, started interacting with the fans almost immediately, and it was obvious the band was ready to put on an unforgettable show. Playing some of the new songs from the Back From Hell album, as well as their classics, such as “Nothing Is Forever” and “virUS”, they absolutely showcased their own talents and expertise in making unforgettable metalcore melodies. Brilliantly chosen lightning assured the audience of not missing anything, that was happening on the stage, which was just a little cherry on top of the whole show. By the end of it all, the band added three encore songs, which did not stop their fans to long for more, but made everyone sing along even more than before. Caliban is a master of live performances, as the lineup was colourful and helped the atmosphere in the venue to get very energetic and fun. From Assemble The Chariots to In Hearts Wake, the fans enjoyed all three support bands, making it very special, as the waiting for the headliner felt a bit too long sometimes. The show was one to remember for a long time and not only for the fans of the bands, but also for the bands themselves, who definitely appreciated the love they received throughout the evening. Words and Photos: Katerina Stepanikova

There’s a special kind of energy that pulses through The Flapper during Metal to the Masses. Part gig, part battle, part gathering of Birmingham’s underground faithful, it’s a proving ground for new blood looking to storm the hallowed stage at Bloodstock. This round delivered a thrilling mix of chaos, craft, and charisma — a reminder of how diverse the local metal scene really is. Dying Addiction opened the night with a no-nonsense slab of straight-up, classic-leaning death metal. Their set was tight, aggressive, and satisfyingly old-school, with the kind of chunky riffing and guttural vocals that never go out of style. There’s a sense of precision to what they do, even when things get filthy — a locked-in rhythm section drove the whole thing forward, and the band’s frontman commanded the stage like a seasoned pro. No gimmicks, just raw power. Dying Addiction Equinox brought a very different vibe: proggy, technical, and full of ambition. Their set leaned heavily into complex arrangements and odd time signatures, but never at the expense of intensity. The guitarist delivered a few genuinely jaw-dropping moments, effortlessly moving between melodic leads and punishing chugs, while the vocals walked a tightrope between ethereal and unhinged. Equinox are a band who challenge the audience and reward the focused listener. It wasn’t the most immediately accessible performance of the night, but it was one of the most rewarding. Equinox Things took a chaotic left turn with Mantis Defeats Jaguar, who injected the night with a welcome dose of mathcore-inflected carnage. Their stage presence was pure mayhem: angular riffs, blast beats, screamed vocals, and sudden tempo shifts that threw the crowd into whiplash. What could have felt disjointed was pulled together by their sheer commitment. This is a band that thrives on tension and unpredictability, and they delivered some of the most exciting moments of the evening. Their vocalist in particular deserves a shoutout — equal parts frontman and rabid prophet, he owned the chaos. Mantis Defeats Jaguar Then came BLDSUGR!, whose name suggests a sugar rush, but whose sound hits more like a steel-toed boot. Their brand of hardcore-punk-metal fusion was relentless, loud, and dripping in attitude. While the set occasionally flirted with collapse under its own fury, there was something captivating about the messiness — like a basement gig barely held together by duct tape and adrenaline. Their frontwoman spat lyrics with venom and charisma, rallying the crowd with zero fear. BLDSUGR! might not be the cleanest band of the night, but they were arguably the most fun. BLDSGR! Rounding out the competition was Ionosphere, a band whose atmospheric, post-metal leanings offered a welcome comedown — without sacrificing heaviness. Their soundscapes were immersive, balancing lush guitar textures with cavernous low-end and thunderous drums. While their stage presence was more restrained than some of the earlier acts, the emotional weight they brought made them stand out. There’s a sense of scope to Ionosphere, like they’re building toward something larger than the room they’re playing in. They’re definitely one to watch for fans of Cult of Luna or Russian Circles. Ionosphere With the audience buzzing and ballots being counted, guest headliners Eradikator took to the stage to remind everyone what seasoned, road-tested metal sounds like. Their thrash-laced set was delivered with absolute confidence, full of groove, aggression, and razor-sharp musicianship. The crowd — a mix of diehards and curious newcomers — responded immediately. There’s a polish to Eradikator that doesn’t come at the expense of grit. Their new material sounded tight and fiery, and their performance proved why they’re one of the Midlands’ most respected heavy acts. Eradikator By the end of the night, it was anyone’s guess who would walk away the winner. Each band brought something unique to the table — from the raw tradition of Dying Addiction to the art-damaged math of Mantis Defeats Jaguar. That’s the beauty of Metal to the Masses: it’s not about finding the “best” band in a technical sense, but discovering who connects, who pushes boundaries, and who has the fire to take it all the way to Bloodstock. Words: Jason De Medonca Photos: Conrad Newton