A night jam packed with the latest up and coming talents of the music industry, The Pale White played at Oslo in Hackney. Only their second headline tour as a group, they showed London exactly what they're made of. The three piece indie rock band from Newcastle have been releasing music since 2016 and have been on the rise ever since. They supported the iconic PIXIES on tour in 2024 and then have set their sights on touring the UK ever since to bring their music to the fans before the release of their new album, 'The Big Sad' next month. The show started with the captivating Hot Stamp, playing to a great turn out, with the crowd giving the band their attention and cheering throughout. This Indie rock band have been around since 2022 and are fronted by a sister duo Jasmine and Poppy that knew exactly how to keep the crowds attention with the lead singer, using her natural angst and movements cleverly with the music. The band sported outfits right out of the 70s making them very cohesive onstage and perfectly matching the punk vibes of their music. The whole room was foot-tapping along with them as they played both old and brand new songs. Overall, the band gave a great performance. Next to take to the stage was Lizzie Esau. With her signature fairy wings, she caught everyone's attention right off the bat. Lizzie has been in the indie rock scene since 2020 and has opened for the likes of Baby Queen, Beabadoobee and The Amazons and it's clear to see how she has such an impressive resume already. The room slowly began to fill throughout her set as she ruled the stage with her presence and talent. Her supporting band helped her along with great interactions between them and even being completely unphased by a technical difficulty, while playing into it and joking with the audience. The engagement of the crowd was impressive as they clapped and even sang along to songs they didn't know. Lizzie is beyond a doubt someone to look out for in the future. As the time slot for The Pale White approached the room filled from front to back with roaring cheers the moment the lights went down. They opened with the track ‘Validate Me’ from their 2023 EP ‘A New Breed’ which instantly had the whole room singing along. It was also great to see despite only being a less than 400 capacity gig, fans had secured the front row from the very beginning waiting just for this set. Carrying on their set the energy only built and built with each song having a louder response than the last. Lead singer Adam took a moment to mention that he felt this show would be “Our definitive London moment” and we would have to agree, the energy in this show was special and the start of something great! The second half of their setlist saw mosh pits starting to open as they encouraged the fans to move and boy did they respond. Even when playing unreleased songs from their upcoming album the energy didnt slow for a moment. That is until the rest of the band exited the stage leaving just Adam to have the crowd lift their flashlights and Lizzie Esau join him on stage for a beautiful duet. He took a moment to shout her out afterwards which is so important for a lead band to bring up their support acts with them, a delightful moment with witness. The last few songs of their set featured hits like ‘Swim For Your Life’ and ‘Infinite Pleasure’ which had mosh pits half the size of the venue opening up as drummer Jack Hope played a very long and musically impressive drum solo. The crowd went crazy. Once again it must be reiterated that the energy in the room was exceptional especially considering the size of the band and the venue. Publications such as NME have even scouted these guys as a "thrilling newcomer to the rock scene" and Out Of Rage completely agree and are excited to follow them on their journey. With the rest of the tour to play, their new album ‘The Big Sad’ out on the April 18th and a yet another tour supporting PIXIES across Europe this summer. They have a big year lined up and bright things on the horizon. If you don't want to miss out on the waves they will make, they are definitely a band to keep a sharp eye on in 2025. Words: Amy Smyth Photos: James Smith

How else should you spend your Sunday, why with face melting virtuosic keyboard solos by the coolest keyboardist currently in prog. Walking into a venue just off Tottenham Court Road you are transported into what feels like a gig from the past. Minimal staging, a few lights and a load of people passionate about prog in a basement venue. Everything about tonight feels casual, a gathering of people just wanting to hear some interesting songs with very little judgment. First on the bill tonight is Sweetpool. A 3 piece act made up of a drummer, a bassist and guitarist on lead vocal duties. Their sound fits well into the prog landscape of tonight, but they don’t sound like a traditional prog act. They have a sound somewhere between The Fall and Hawkwind, psychedelic post punk with driving riffs. The bassist and drummer come on stage in matching hats whereas the guitarist comes on stage with Micheal Stipe reminiscent makeup. The highlight of the set comes from the oddly catchy ‘Magic Food’ which is introduced as being a song about food which isn’t real. They are the least heavy band of the night but bring a great vibe into the venue ready for the rest of the night. Next on the bill for tonight is modern prog metallers Something Or Other. The band are heavy which stands out in the best way possible tonight. Their sound is authentic and lacks any level of pretentiousness associated with prog. The band is made up of two guitarists, a bassist, a drummer and vocalist. Each member excels in their instrument, but their lead guitarist stands out as a pure shredding machine. Her solos are fast, intense and just great fun to watch. The older members of the crowd were most likely unprepared for how heavy this set would be but they enjoy it, so much so to the extent that that their necks don’t stop moving. The most effective part of the set comes as the introduction for their song ‘Scapegoat’ where the band boldly stand up for trans rights, which is more important than ever to be vocal about. The crowd enthusiastically agree as the band then go full steam ahead with the track. A very heavy set that would work well for fans of prog and super heavy music in general. Tonight’s headliners are Kyros. Their take on prog is hard to pinpoint but can be best described as taking the best moments from Duke era Genesis and mixing that with synth pop and a good sprinkling of metal. The band are nothing but pure professionals, down to the smallest details such as decorating the stage with greenery and bringing a custom lighting package. As the band take the stage, they instantly bring their trademark sound. Walking on one by one until the mastermind behind the band takes the stage, keyboardist and vocalist Shelby Logan Warne. There is no getting around the fact she is a pure prog god on the synths. The crowd certainly knows that by going absolutely crazy as soon as she takes the stage. She just exudes charisma. The band are absolutely playing off each other too, from just a generally tight sound to choreographed stage moves proving just how much fun they are having live. Prog doesn’t have to be inaccessible and long winded ; Kyros’ songs are straight to the point and always catchy. Even in the more traditional aspects of prog gigs such as solos, they are never long and they are always a pleasure to watch. All 4 musicans on stage get their chance to shine. The main theme of tonight’s set is just fun, and the crowd completely understands that from singing along to throwing some pretty intense dance moves for a prog gig. Smiles appear on faces effortlessly due to the electric atmosphere. The fact the two support acts lacked synths makes them stand out even more in this set. Shelby really does bring something so magical to music. There is no better feeling in life than seeing a kickass keytar solo. Kyros are an utter joy to watch, blending a unique array of sounds to create their own take on prog. If you see Kyros live you are guaranteed to leave smiling from ear to ear. Words: Will Freeman Photos: Artemi Falzon

Belgian progressive metal band URSA has thrived on intricate compositions, shifting time signatures, and powerful atmospheric moments. With Call of the Infinite, the band marks a turning point, reintroducing their previously instrumental work with the raw intensity of newly added vocalist Jan Buekers (ex-Sons of a Wanted Man). The result? A record that feels urgent, cohesive, and undeniably heavy; a true statement of where URSA stands today. After gaining recognition through instrumental singles, the band’s decision to incorporate vocals was a bold one. With Call of the Infinite, URSA ensures their music isn’t just revisited but fully realized, pushing their sound into even more intense and emotionally charged territory. Recorded, mixed, and mastered by guitarist and founding member Alexandre Belli, this album cements the band’s identity while also paving the way for their future. Right from the start, Call of the Infinite sets a gripping tone. The album opens with 'Hitch', a brief yet eerie 26-second track featuring a distorted speech snippet that disorients before plunging headfirst into 'Deconstruct'. The first full song wastes no time, overwhelming the listener with dense, intricate guitars and Buekers’ ferocious screams. Just over a minute in, the track takes a momentary step back, shifting into a rhythmic guitar section with the repeated lyric “you hold on” serving as an emotional anchor - before diving back into the chaos with Buekers’ growled delivery. It’s an intense, gripping opener that lays the groundwork for what’s to come. Following immediately behind is 'Erase', which begins with an abrupt, jagged guitar riff that cuts through the air like a blade. Buekers’ vocals maintain their aggressive edge throughout the song’s early moments, only to give way to a melodic, almost hypnotic guitar solo. Just as the listener settles into this brief moment of calm, the track shifts back into its heavier elements, creating a sense of push-and-pull tension that keeps things unpredictable. Next comes 'Major', the second shortest track on the album at just under four minutes. It passes by in a blur, keeping the intensity high but allowing for moments of striking guitar work to break up the relentless aggression. The balance between heaviness and melody remains a defining feature, showing URSA’s ability to weave intricate soundscapes without losing their visceral energy. The album continues with three more full-length tracks, each offering its own twists and turns, before reaching 'Arcas' - a short, haunting instrumental piece that acts as a prelude to 'Primordial Crown'. This final song, first introduced to audiences as the band’s debut single with vocals, serves as a climactic ending. The balance of blistering riffs, crushing vocals, and atmospheric elements makes it a fitting closer, encapsulating everything Call of the Infinite represents. With Call of the Infinite, URSA proves that they’re not just refining their sound but redefining it. The decision to add vocals to their already intricate compositions was a risk, but one that pays off - Jan Buekers brings an emotional depth and intensity that elevates the music to a new level. From gut-punching heaviness to haunting melodic interludes, this album delivers a listening experience that is both immersive and relentless. For fans of bands like The Ocean, Intronaut, and ERRA, URSA’s latest offering is a must-listen, and with live shows planned across Belgium, the Netherlands, and Germany, there’s no doubt that Call of the Infinite is just the beginning of a bold new chapter for the Belgians. Score: 8/10 Call of the Infinite will be released on March 15th 2025. Words: Jason De Mendonca Photos: URSA

All Against haven't ever shown signs of holding back their aggression thus yet, and their latest album Straight Down To Hell reinforces their status as a powerhouse in modern metal. This eight-track onslaught showcases the band’s relentless energy, technical prowess, and unapologetic aggression, making it a brutal statement that demands attention. Hailing from Portugal, All Against merges influences from European and American metal traditions, creating a sound enriched with the intensity of thrash and groove metal giants while adding a distinct Iberian ferocity. The band has developed a reputation for their unyielding live performances, and ability to blend traditional heavy metal with modern extremities, making Straight Down To Hell a monument to, and demonstration of, their evolution. The album begins with the title track and it's no quaint intro track - 'Straight Down To Hell' is a sprawling, nine-minute epic that sets an ominous tone. A slow build transitions into thunderous riffs and explosive drumming, establishing an atmosphere of chaos and destruction. The ambitious structure shifts between high-speed aggression and crushing breakdowns, while guttural vocals amplify the album’s dark themes. Following this, 'Inner Mayhem' maintains the album's intensity with a blistering pace and razor-sharp guitar work. The track showcases the band’s technical abilities, featuring relentless drumming whilst fusing thrash influences to a modern metalcore edge, in a way that feels current and seriously ferocious. 'Nação Valente e Imor(t)al', notable for its title and connection to Portuguese heritage, references a line from A Portuguesa, the national anthem. This incorporation imbues the song with a sense of pride and defiance, transforming it into an anthem of resilience. The haunting melodies combined with aggressive instrumentation create a depth that resonates deeply, making it a standout moment on the album. 'Narrow Streets of Disgrace' provides a shorter yet equally potent outburst of rage, clocking in at just under three and a half minutes. This track launches into rapid-fire riffs and relentless drum blasts, embodying the raw essence of All Against's sound. In contrast, 'Nepotism', the album's shortest track, leaves a lasting impact through its jagged rhythms and searing vocal delivery, ensuring its intensity is felt across its entire runtime. As the album progresses, 'Out of the Box' and 'Professional Hater' continue the auditory assault. The former showcases groove-heavy experimentation with shifting tempos, allowing brief moments of breath before exploding back into aggression. 'Professional Hater' stands out with a commanding chorus, and a breakdown that's surely poised to become a fan favourite moment during live performances. The album concludes with 'Upside-Down Humanity', a five-minute finale that encapsulates everything Straight Down To Hell represents - unrelenting, fierce, and uncompromising. The album's balance of technicality and raw aggression is what makes Straight Down To Hell such a compelling listen. Produced at Nox Messor Sound Studios, the mix ensures every instrument is audible, enriching the immersive listening experience. The guitar work delivers intricate solos and devastating riffs with finesse, while the drumming remains relentless, seamlessly transitioning between high-speed attacks and bone-crushing breakdowns. Lyrically, the album addresses themes of corruption, societal decay, and personal struggle, conveyed with a sense of urgency that feels relevant yet timeless. Incorporating Portuguese cultural references and language, particularly on 'Nação Valente e Imor(t)al', enriches the band's identity while maintaining universal appeal. All Against crafts not just music but anthems of fury and defiance, where each song acts as a battle cry against complacency. Overall, Straight Down To Hell is a triumph for All Against, capturing the essence of their sound while pushing their boundaries to deliver a heavy, meticulously crafted album. Fans of thrash, death metal, and modern metalcore will find much to love. As the band embarks on this next chapter, one thing is certain - All Against is ready to dominate, taking no prisoners. Score: 7/10 Straight Down To Hell will be released on March 14th 2025 via Raging Planet Records. Words: Kelly Gowe Photos: All Against

20-year-old Westislonely has announced her forthcoming debut EP Even a Worm Will Turn, and after listening to this short but sweet four track record, it's clear that this star is making a bold statement in authentic rock and roll. Manchester’s own Westislonely has taken in all the influences of her childhood: the shared experience of listening to her older brother’s favourite songs; learning how to play the guitar and write music; she has then poured all of those into this raw, emotionally charged EP. Starting off the EP is ‘Guilty Pleasure’, the artist's most recent release, and it brings plenty of energy from the off, setting the standard for what West can achieve in just three minutes. It gives us an early noughties indie vibe, mixed up with a dose of feminine rage. The lyrics will resonate with anyone out there who has been enthralled with someone who wasn’t worth a single minute of your time. Flowing smoothly into ‘Cliché’, we get an acoustic sounding piece which will remind millennials of their Avril Lavigne phases, and will introduce younger generations to angsty, heartbreaking pop rock - these are the songs you grow up with, that help you express both your love and hate. Next up is ‘Human’, showcasing West’s stunning vocals and lyrical creativity, giving us something heartbreaking yet beautiful about growing up, feeling suicidal and not wanting to bring others down with us. Finishing up the EP is ‘Empty Space’ giving us the song that audiences will be singing back to West in future shows. Turnstile have a huge influence on this record and its energy which is particularly clear here, and there’s something about the way West brings these singles together that creates something nostalgic yet brand new in a similar vein to GLOW ON's magnificent take on hardcore. It’s a talent most attempt but just can’t quite get right, and West has perfected it in this less than 15-minute record. If Even A Worm Will Turn does anything, it shows vulnerability. The release gives us pieces of nostalgia, and genre-bends into an authentic, beautiful listening experience that's straight from the heart and soul. This EP is going to be a standout in 2025, and Westislonely should be on everyone's radar going forward now. Score: 7/10 Even A Worm Will Turn will be released on March 14th 2025 via the RCA Label Group. Words: Laura Hughes Photos: Westislonely

Chicago industrial metal powerhouse Derision Cult returns with Mercenary Notes Pt. 2, the next chapter in their blistering, politically charged soundscape. What began as Dave McAnally's solo project has evolved into a full-force collaborative effort, merging industrial grit with razor-sharp social commentary. If Pt. 1 was the blueprint, this latest release is the fully realized machine - pounding, aggressive, and unafraid to make a statement. With Sean Payne of Glitch Mode Studios on production, Pt. 2 dives headfirst into themes of AI overreach, social media manipulation, and personal freedom - territory that feels more relevant than ever. It doesn't just rant about modern dystopia; it sounds like it, fusing thrash-fueled chaos with industrial precision. Legendary guitarist Reeves Gabrels (David Bowie, The Cure) and cowpunk pioneer Pete Berwick bring even more firepower, adding layers that make this more than a straightforward industrial release. It's a little smarter, a little sharper, and a hell of a lot meaner. The result is a release that doesn't just continue the Mercenary Notes narrative, but also deepens its impact both musically and thematically. Dave McAnally's vocals carry an unmistakable resemblance to Rob Zombie - gritty, commanding, and dripping with attitude, though slightly more restrained in their delivery. Zombie's influence is intentional, as the band cites the former White Zombie frontman as a significant inspiration for the album. This is especially clear in the track "Influence", which radiates that iconic and unmistakable swagger and energy. Meanwhile, "Joker's Wild (and Kings are Dead)" sounds like it could have been ripped straight from a 2000s skateboarding highlight reel or a Viva La Bam soundtrack - and we mean that in the best way possible. It's reckless, brash, and unapologetically fun, cutting through the heavier themes with a shot of adrenaline. Injecting a dose of reckless energy into the EP's already potent mix. Musically, Mercenary Notes Pt. 2 strikes a careful balance between industrial grit and thrash-fueled chaos, keeping things both unpredictable and punishingly precise. Sean Payne's production ensures that every element - from the jagged distortion to the pulsating electronic layers - feels razor-sharp, adding to the album's relentless energy. Compared to Pt. 1, there's a noticeable refinement in how the aggression is channelled; it's not just about hitting hard but about delivering impact with precision. Lyrically, McAnally remains unapologetically direct, confronting the listener with dystopian imagery and biting social critique. However, the messaging sometimes borders on heavy-handed, hammering home its themes in a way that doesn't always leave room for interpretation. Still, there's no denying the passion behind the words, and for fans of industrial metal with a message, this EP delivers in spades. Overall, Mercenary Notes Pt. 2 is a hard-hitting, well-crafted industrial metal release that delivers both sonically and thematically. Derision Cult have refined their sound with expert production and a well-rounded approach, ensuring every track hits with precision and purpose. The EP's themes of AI, media distortion, and personal freedom are undeniably relevant, though the commentary sometimes feels a little too on the nose. While it effectively continues the foundation of Pt. 1, more evolution or differentiation would have made it stand out even further. That said, it's still a thoroughly enjoyable listen—intense, thought-provoking, and a testament to Derision Cult's ability to merge aggression with insight. Score: 7/10 Mercenary Notes Pt 2 will be released on March 14th 2025 via Glitch Mode Recordings. Words: Andrew Nile Photos: Derision Cult

The wait is over, and the stage was set for an unforgettable night as Paradise Fell wraps up their EP launch tour with their final headline date. Songs for ur Head ,their latest sonic masterpiece, has already begun to captivate fans with its haunting melodies and crushing riffs, and tonight in Bristol, the band is ready to unleash it in full force. The energy was palpable, and as the crowd gathers at The Exchange, there’s no doubt this final show was a celebration of their evolution. The night was electric as Love Lost took to the stage for their debut hometown performance in Bristol. With a sold-out crowd and the anticipation building, the band’s explosive energy and raw sound set the tone for what would be an unforgettable evening. As they opened for Paradise Fell, Love Lost wasted no time making their mark, blending heavy riffs, intense screams, and dynamic dual vocals that left the audience buzzing. This was more than just a first gig—it was a statement, and it’s clear there’s plenty more to come from this promising local act. Paradise Fell stormed the stage with the explosive intro of 'Welcome to a World of Beautiful Chaos', immediately igniting the crowd with their raw energy. Frontman Matty commanded the spotlight from the very start, his dynamic vocals and magnetic stage presence setting the tone for what would be a high-octane performance. With every movement and word, he pulled the audience deeper into the experience, creating an instant connection that heightened the energy in the room. The band didn’t slow down, keeping the intensity rolling with an electrifying set that included 'Forever//Evermore', 'Suffocate', and 'Overdose'. Each track pushed the boundaries, ramping up the power and emotion as the set progressed. Matty’s vocals blended seamlessly with the band’s heavy riffs and atmospheric melodies, creating a perfect balance of aggression and depth that kept the audience on their toes. Special praise goes to Harry Acreman, whose guitar solos were nothing short of insane. His shredding riffs brought a raw intensity that sent the crowd into a frenzy. Jordan Bell’s drumming was equally impressive, delivering powerhouse beats that drove the entire performance forward with precision and power. Together, they added an extra layer of depth and complexity to the show, elevating it to another level entirely. A true highlight of the evening came when the band treated the crowd to a sneak peek of an unreleased track, 'California', an acoustic number that showcased a different side of their sound. The intimate, stripped-back performance highlighted Matty’s emotive vocals and gave the audience a rare glimpse into the band’s more vulnerable side. It was a refreshing moment before they returned to their high-energy set. Paradise Fell ended the night on a powerful note, finishing with two fan favorites: Beautiful Life and the much-loved 'Nadiya'. The crowd’s energy reached a fever pitch, singing along and fueling the band's final moments. Matty’s heartfelt connection with the audience, combined with the band’s relentless energy and tight performance, solidified their place as one of the most exciting acts in the scene. By the end of the set, it was clear that Paradise Fell had not only put on an unforgettable show but had left an indelible mark, one that fans will eagerly remember and look forward to experiencing again. The night concluded with the crowd still buzzing, chanting for more, even as the lights came up. Paradise Fell's final show of the tour was more than just a celebration of their latest EP—it was a testament to their growth as a band and their unwavering commitment to creating music that resonates deeply with their audience. Fans left The Exchange with an undeniable sense of anticipation for what’s to come. Words: Mia Gailey Photos: Ben Blisset

Few bands turn self-loathing into anthems quite like Crywank. The UK-based anti-folk project, led by Jay Clayton with Daniel Watson on drums and Jules Noel on bass, has built a cult following through their brutally honest songwriting. Their music swings between humor and despair—sometimes in the same breath—blending intricate acoustic melodies with lyrics that feel like late-night overthinking sessions set to music. And while their records feel intensely personal, seeing them live is something else entirely. There’s an unpredictability, an unfiltered connection between band and audience that makes a Crywank show feel more like a communal experience than a standard gig. Their stop in Southampton was no exception. Johnny Foreigner kicked things off with their signature mix of jittery indie rock and breakneck mathy riffs, their sound bursting with a nervous energy that kept the crowd moving from the first note. Between songs, they kept things lively with their quick-witted stage banter, throwing out quips and even taking playful jabs at Southampton’s football team (earning them a mix of groans and laughs from the audience). Their setlist was the perfect balance of fan-favorites and deeper cuts, with songs like "Johnny Foreigner Vs You," "Cranes and Cranes and Cranes and Cranes," and "A Sea to Scream At" coming through with a mix of nostalgia and urgency. Their ability to seamlessly switch between frenetic, almost chaotic instrumentation and soaring, melodic moments made for an electric opening set. By the time they wrapped up with "Okay 1 More!", the room was buzzing, fully primed for the headliner. Then, Crywank took the stage, and everything shifted. The trio—best known for their brutally honest, self-deprecating anti-folk—immediately made it feel less like a concert and more like a weird, wonderful gathering of like-minded people. Clayton’s presence was both vulnerable and effortlessly funny, making the performance feel personal in a way that few bands can achieve. The setlist spanned their extensive discography, kicking off with "Now I’m Sad (Boo Hoo)" before rolling through classics like "I Am a Familiar Creak in Your Floorboards" and "It’s OK, I Wouldn’t Remember Me Either." Each song carried its own weight, some more delicate and introspective, others spiraling into moments of frenzied energy. Even as Clayton poured their heart out in each song, there was a playfulness to the way they interacted with the crowd—at one point, they restarted a song after messing it up, but rather than getting frustrated, they laughed it off, making the mistake part of the experience. That connection with the audience only deepened as the set went on. Fans swayed along, occasionally calling out jokes and compliments, including one person who called their songwriting "poetic." Clayton, never one to take themselves too seriously, responded by casually mentioning that one of the songs they had just played contained a quote from Invader Zim. It’s that kind of contrast—profound introspection colliding with absurd humor—that makes Crywank so uniquely endearing. Even offstage, the sense of community was palpable. Rather than disappearing backstage after their set, Clayton spent time at the merch table, chatting with fans as if they were old friends. That accessibility, combined with the deeply personal nature of their music, reinforced the feeling that Crywank isn’t just a band—it’s an experience, one that thrives on the connection between artist and audience. The night ended with "I Am in Great Pain, Please Help Me," a fittingly cathartic closer that left the room buzzing. As the final notes rang out, there was a collective sense of release—a moment where sadness, humor, and raw energy all coexisted in the best possible way. Walking out of the venue, you could tell that everyone had been part of something that felt personal, whether they came for the sad songs, the humor, or just to scream along with strangers. Crywank’s music may be steeped in self-doubt, but their live show proves time and time again that they’ve built something truly special. Words: Jason De Medonca Photos: Becca Wheeler

Fans of Coheed and Cambria will feel refreshed to hear their 11th studio album, The Father of Make Believe, is a beautiful balance of the universe they have created and a personal touch that frontman and songwriter Claudio Sanchez had been missing when telling his stories in projects prior. The Father of Make Believe is a monster LP at 14 tracks, but includes everything from C&C’s signature brand of exploratory progressive rock to a more contemporary thrash rock sound that cements the quartet into the foundation of the modern rock scene still 30 years since their forming. The opening tracks on this album frame the project beautifully, with soft opener ‘Yesterday’s Lost’ setting the tone of optimism with a pang of remorse that continues throughout the project, before ‘Searching for Tomorrow’ mixes electro-rock beats and running guitar melodies to create a quintessentially Coheed and Cambria sound. The track builds as it searches like its namesake then bursts into a heavy breakdown and guitar solo, while Sanchez reminds the listener that “it’s good to let go/let them know it’s by design” - a nod to the personal touch he will add throughout the lyrics of this project. Title track ‘The Father of Make Believe’ runs straight after: a ballad crying out for connection in the stars while Sanchez explores the versions of himself he feels people do (and don’t) see of him. This title track is packed with the angst of someone who's never quite settled in their identity, on the backdrop of an ethereal soundscape and some beautiful drumming by Josh Eppard - the fourth wall shatters in this track like a meteor collision, with all the beauty that entails. Coheed and Cambria are going meta throughout this project of self-examination. Single ‘Blind Side Sonny’ is exemplar of this - utilising hardcore conventions to bring the violence to Sonny’s character, the frustrations of C&C's slow and steady rise into the rock zeitgeist can be felt in its cries for blood. That transitions seamlessly into ‘Play the Poet’, keeping the hardcore-style rock sound in this second act while the track seems to call out the box that the high concept approach has put the band in in a satisfying meta commentary. For those lying in wait to dissect the lore implications of The Father of Make Believe, there is plenty to pick apart, but the blend of their classic storytelling and the more personal touch comes wonderfully in the form of ‘Meri of Merci.’ Gentle piano melodies accompany the ode to Sanchez’s grandfather who himself is a cameo character in the wider C&C universe, fleshing out this storyline to one of reunification of his grandparents in the spiritual world with their desire to be with each other in concept. This track tightens the chest with its sincerity in its commitment to feeling the presence of the one you love and determination to reunite with them once more, and is placed perfectly between ‘The Father of Make Believe’ and ‘Blind Side Sonny’ as a moment of reflection before a return to the chaos. The lore drops for The Father of Make Believe are in the form of the 4-part closer ‘The Continuum’, beginning with ‘Welcome to Forever, Mr Nobody’, a hard rock track starting with the call of the robot and telling the story of a maverick lost in his own persona and commitment to his lifestyle. The question of how long you can run ring out where - on the one hand - there is a commitment to change, but the other the threat of this life being forever. Second Continuum ‘The Flood’ is the suspense builder with its almost bluesy-style riffs and drop hat beat in the beginning, and brings back the sentiment of searching that has been woven through this project with the kneejerk of a lack of feeling and an expectation of fear in its lyrics. ‘The Flood’ is the longest of the four at 6:23, yet still builds suspense for the final two tracks in its runtime, building and almost resolving its angst through heavy drums and all-out riffs by its second half. Third up, ‘Tethered Together’ lightens the mood with some nods to love and romance over a sultry melody, with the gorgeous hook of ‘We’ll all sing together from the first verse to the last word’ making this song great for those securely in love, but awful for those just out of it. Finally, closer ‘So it Goes’ rounds out The Father of Make Believe with acceptance, supplementing the themes of coming-to-terms that are present in this project by asking for ways for good to finally return to this journey, before closing out with a big orchestral instrumental and fading out piano notes that indicate their never ending journey is indeed not ending. The only thing that removes some of the emersion from this track is, of all things, its similarity to Take That’s 2006 single ‘Shine’ in lyrical structure and jumpy style, and even the themes of emerging into the light, but noticing this quirk added to the enjoyment of the track overall rather than subtracting from it. If this album must be criticised, it would be on its length. Coming in at 14 tracks and 58 minutes, a cover to cover listen of The Father of Make Believe is a commitment, and album lethargy hits in the second half which can make it hard to appreciate the bangers that can be found there. Though the blend of personal and concept works within each track, the album as it is feels like an LP with an EP tacked onto it when it comes to ‘The Continuum’ tracks; them also feeling more lore heavy indicates this project may have benefitted from having these tracks as a stand-alone work for the lore fans to sink their teeth into, while the rest of the LP could work as the break into the personal that Sanchez was looking for. With all that said though, The Father of Make Believe is a truly wonderful album, one that could not be recommended enough and perhaps one of the first big highlights of the year when it comes to 2025 releases. It’s out to buy and stream this Friday, so keep an eye out for it when it drops! Score: 8/10 The Father of Make Believe will be released on March 14th 2025 via the Virgin Music Group. Words: Julia Brunton Photos: Coheed and Cambria

The lupine Japanese five-piece Man With a Mission are celebrating fifteen years on the rock scene this year, and as a part of the celebrations are releasing a new EP, XV. The band from Shibuya, Tokyo established themselves as one of the leads of the scene in Japan by not only writing songs with a distinctive style to them, but also diving into anime and making such fan favourite songs as 'Seven Deadly Sins'. The celebratory EP has only four new originals, whereas the rest of the EP is made up of live recordings from the Mexican date on band’s latest tour. Full of catchy guitar riffs, great vocals and memorable melody, ‘Vertigo’ is definitely a song worthy of being the opener. The band is using motifs that are very familiar to them, but bends them to make something completely new. By combining rap and singing together, the group give air to two contrasting styles that work together and compliment each other throughout the runtime of the song. ‘Circles’ lets us know who wrote the song immediately, as the style is so distinctive to the band. A little slower than the opener but just as punchy, the track takes the listeners to a musical paradise with all elements clicking wonderfully together. Sang completely in English, as are the first and fourth tracks, the song could be easily be used as an opening or closing song for an anime. The lead single of the EP, ‘REACHING FOR THE SKY’, is the only song from the four new songs that is predominantly written in Japanese. The melody of the song is swift and punchy, and the whole track showcases the band’s talent to the maximum. ‘whispers of the fake’ is the fourth and the last of the new tracks. Starting off acoustic and gradually adding electric guitars, the song carries on in a fairly typical modern rock manner, being a good pick for the “closing” song of the originals. As the song reaches its end, we're surprised by a set of bagpipes playing, in a pleasant and very much welcome surprise addition. After the packed showcase of four new songs, we then reach eight live recordings from the band’s Mexican show on their recent 'Kizuna no Kiseki' tour. Being presented with the band’s fan favourite songs such as ‘Kizuna no Kiseki’, ‘Merry-Go-Round’ or ‘Seven Deadly Sins’, we can go back in time and enjoy the concert from the attendees perspective, even if just in listening. It is a great way to connect the fans more with the band, and live recordings have of course long been a staple of the music world - but to combine a live recording with originals in this fashion feels a little awkward, as either set of songs could have been a release in their own right, but instead they've been pushed together into a slightly bloated 12 track EP. The XV EP is a great way to celebrate Man With a Mission’s anniversary and accomplishments throughout the years, as they are marching forward to more success. New tracks are well written and memorable, alas it is just four of them. It brings a certain amount of nostalgia to listen to the live recordings, although some listeners might choose to not listen to them at all. As the band is coming back to Europe and United Kingdom with their ‘Howling Across the World’ tour in October, we wish them good luck and congratulations on the memorable milestone. Score: 6/10 'XV ' will be released on March 12th 2025 via Century Media and Sony Music. Words: Katerina Stepanikova Photos: Man With A Mission

Since the beginning of its mosh-heavy operation, Download has become the home of the most innovative rock and metal talent in the UK, if not the entire world. The festival’s history is etched deeply into the hills of Donington racetrack as each year passing brings both the best breakthrough talent and rock royalty alike. With it, more and more exciting female acts are paving the way for future generations. Whilst alternative music has struggled to represent women in lineups, it is important to remember the history of the women who broke hallowed ground, turned the volume up and screamed into their microphones that the industry is changing and challenging how we build our lineups and make way for the more diverse headliners of tomorrow. Here is a shortlist of women who made the download of today possible - but it is also important to remember the phenomenal impact that the female acts of Download have commanded across all stages - including In This Moment, Nova Twins, Against Me, Blood Command, Butcher Babies, Baroness, Rolo Tomassi, Hot Milk, As Everything Unfolds and Scene Queen. Plus many more that have made Donnington their own. 2003 - Angela Gossow, formerly of Arch Enemy It’s 2003, and the first iteration of Download Festival was ready for fresh blood. A new generation of black-clad greebos took to Donnington Park to witness the UK’s largest metal festival, crown and sceptre in hand. On the second stage, Swedish melodic death-metalers’ Arch Enemy played an early set, hot off the release of their brilliantly brutal 2003 record ‘Anthems of Rebellion’. At the time, Arch Enemy was fronted by Angela Gossow - a behemoth of the death metal community, who had auditioned for the band four years previously and “wiped the floor with the other contenders”. Her devastating mix of piercing screams and demonic low growls gave unmatched dimension to the band, even after her diagnosis of nodes in 2002, that almost stopped her career entirely. Gossow would front Arch Enemy until the release of 'Khaos Legions' in 2011, replacing current vocalist, Alissa White-Gluz. Arch Enemy would play again in 2004, and again in 2006- safe to say we’re well overdue for their glorious return! The phenomenal Arch Enemy playing Donnington in 2006 2006 - Cristina Scabbia, Lacuna Coil The incomparable Cristina Scabbia took to the Donington Stage a week after her 33rd birthday, just after the release of Lacuna Coil’s iconic 2006 album, ‘Karmacode'. Having played the festival the year before, the gothic-metal group were no strangers to the magnitude of the Download second stage, playing the majesty of their then-four album discography. Leaning into their eclectic roots, Lacuna Coil would play an electrifying cover of Depeche Mode’s ‘Enjoy the Silence’. The band would go on to play the festival four more times, with Cristina setting the record for the most times a woman has performed at Donnington, tying with Halestorm’s Lzzy Hale. Lacuna Coil performing a cover pf Depeche Mode's 'Enjoy the Silence' in 2006 2007 - Hayley Williams, Paramore The first - and only - time Paramore played Donington was in 2007, fresh off the release of their history-making ‘Riot’ album. Their unbearably-short five-song setlist was the breakthrough set for the band in the UK, a long season of festivals had pushed the eyeliner-clad band into the mainstream. Emo was beginning to shape lineups, with My Chemical Romance headlining Download on the same day (what a time to be alive). Vocalist Hayley Williams made the most of the set, dedicating ‘For A Pessimist, I’m Pretty Optimistic’ to a band from the UK press junket, with the words “You know who you are.” The band would cut through the crap with their hit song “Misery Business”, but the highlight of their day, as stated in an interview with NME, would be watching DragonForce perform. Paramore's interview with NME in 2007 2010 - Lzzy Hale, Halestorm Lzzy Hale needs no introduction - 2010 would mark the first out of five times that Halestorm would perform at Download in the UK, eight with the global editions of the festival including Australia and Japan. The vocalist would give a dazzling performance in her red and black knee-length gown, enchanting the entire crowd, with her gritty powerful vocals. Lzzy made her presence known at Donington, after the release of the Pennsylvanian rocker's self-titled album. The band are a fan favourite, singing loudly as an advocate of mental health and known for their consistent touring, sometimes pulling off as many as 250 shows a year. The festival will always be a home for Halestorm as the first ever female headliner of Download’s second stage in 2019. Halestorm performing 'I Am The Fire' during their headlining set in 2019 2011 - Skin, Skunk Anansie It feels pretty full circle, as the British rock band are touring next month, but Skunk Anansie graced the Donington lineup third from top on the main stage in 2011. Reforming in 2009, the band went back to their roots for their fifth studio album 'Wonderlustre'. Vocalist Skin describes her band as “clit-rock”, a rebellious amalgamation of heavy metal and feminist rage. Not afraid to stand up for what they believe in, their fifteen song setlist opened with ‘Yes It’s Fucking Political‘ throwing an eclectic mix of classics and new material. This would be the only time that Skunk Anansie would play the festival, but as Mavis Bayton, author of frock rock would state: “women like Skin, Natacha Atlas, Yolanda Charles, and Debbie Smith are now acting as crucial role models for future generations of black women.” 2016 - Su-metal, Moametal and Yuimetal, Babymetal Download icons Babymetal brought the Harajuku-infused noise to Donington's sleepy hills. The Japanese three-piece, consisting at the time of Su-metal, Moametal, and Yuimetal changed the state of the modern heavy scene with their breakthrough track ‘Give Me Chocolate’, which they performed as special guests for DragonForce in 2015. Andy Copping brought them back the following year to do an entire set, adding the ‘cute’ to the Festival’s greebo-inflused lineup. The three-piece would play twice more, once in 2018 and again in 2024 in the middle of a thunderstorm. A whirlwind career for the band with Moa Metal headlining her first arena at the age of 14. One thing's for sure: Download was never the same again after Babymetal became a regular feature. Babymetal playing 'Distortion' at Download 2016 2022 - Courtney LaPlante, Spiritbox The rise of Spiritbox came out of the darkness of the pandemic. In 2021, the release of their debut album 'Eternal Blue' was the lighting of a long fuse, that in the UK would truly know the extent of the damage during their packed debut set at Donnington. The Avalanche tent witnessed history that day as Courtney LaPlante and her band Spiritbox played an excruciatingly short set, that became one massive sweaty mosh. With the harsh restrictions of lockdown, this was a set that the crowd needed. Spiritbox will return in 2025, but this time for their main stage debut. 2023 - Amy Lee, Evanescence 2023 marked the impressive 20 years of Download. Whilst the music scene has constantly been thriving, the inclusion of women and queer people on alternative lineups has recently gone from strength to strength. Across the bill and on all stages, diversity at Download has been an all-time high. Evanescence, headlining the second stage in 2023 could not be more evident. The black-clad bedroom emos that grew up on the festival were out in full force singing along word for word to vocalist Amy Lee. It was the first time the band had played the festival, and they received an overwhelmingly positive reception, with crowds swarming the entire second stage’s allotted ground. As her melodic vocals dispersed into the swelteringly hot early evening that year, she made her mark on the increasingly hallowed halls of Donington. Download will be back for 2025 featuring the glorious return of Spiritbox, plus many more acts including Poppy, Sophie Lloyd, Jinjer, Mothica, Kittie and many more. Headliners include Green Day, Sleep Token and Korn. Tickets for the festival can be found here.

After five years of waiting, the thrash metal powerhouse from South California, Warbringer, are finally poised to bring us their newest project, Wrath and Ruin. Packed with heaviness and memorable rhythms, the band redefines what they know and challenge themselves to deliver an unforgettable experience. From the energetic and swift opening track, ‘The Sword and the Cross’, to the dark vocal masterpiece ‘Through a Glass, Darkly’, the album offers the listener both chaos and calm, all while delivering an unforgettable performance. Wrath and Ruin is an eight-track album composed of many different elements, that all serve to tie the piece together. The album opener, ‘The Sword and the Cross’, and the following song, ‘A Better World’, are the only singles released, but they both showcase the album’s potential. John Kevill’s striking vocals are taking us right into the action, immediately followed by Carlos Cruz’s jaw-dropping drum work. The guitarists Adam Caroll and Chase Becker are not soon forgotten either, as they're on it from the off. With ‘The Sword and The Cross’ happening in the medieval world and ‘A Better World’ being placed in the present, the two contrast lyrically with each other, yet they work together flawlessly. On the other hand, ‘Through a Glass, Darkly’ tends towards the gothic side of things a little, with the pace of the song slowing slightly. The change of the tone can be heard throughout all instruments, but mainly in Kevill’s voice, starting off the song with whispers only to go straight into a fry vocal, fitting the style of the song excellently. Becker’s and Caroll’s guitar work is stand out, as we can hear in both solos throughout the song. Making our way through the album, we can see Warbringer did not hold back on keeping things modern with some punchy melodies found throughout. The band also clearly took care to think about the transitions between the songs, as we can see in ‘Through a Glass, Darkly’, ‘Cage of Air’ and ‘The Last of My Kind’. These three songs all start off rather slowly, giving the listener a moment to take a breath before diving back into the action. ‘The Last of My Kind’ also features a piano in the intro, a trait that no other song on the album possesses. While the slow transitions are a good way of changing up the pace, it still might be overwhelming for the listener to finish the whole album in one go, as it sometimes feels like we are being thrown from one song to another without a seatbelt. ‘Cage of Air’ is the only song on the album that has a noticeable bridge, which makes the listening experience on that song somewhat different. The acoustics fit well in that part of the track and really tie it together. Focusing on the rhythm across the album, Carlos Cruz’s impressive drumming skills display both his raw aggression and his precision, standing out in tracks such as in ‘The Jackhammer’, where the snare takes its rightful spotlight. As for the bass, it's sadly quite rare to hear Chase Bryant playing in the background due to the two guitars overwhelming power, and it is definitely something that would be worth some attention as it would add more depth to the project. With Wrath and Ruin, Warbringer prove to us that they still deserve to be considered amongst the top modern thrash bands. Whilst there is some space for the band to improve, the album is well made and its strengths overpower its weaknesses. It'll make a good listen for anyone who enjoys the modern metal scene, as it brings together the best elements of that with a healthy dollop of respect for what came before. Score: 7/10 Wrath and Ruin is coming out on 14th March via Napalm Records. Words: Katerina Stepanikova Photos: Warbringer