Easily the heaviest band of the night, Lake Malice delivered a powerful blend of Metalcore and Hyperpop (a new but most definitely welcome addition to my repertoire of genres) elements. We've been to enough gigs to say with perfect utility that you never see this much of a turnout for the opening act on almost any bill. They were clearly more than capable of commanding a room this size and I highly suspect to see them headlining venues of this size and even larger in the very near future. Watch this space. As December Falls took to the stage next, immediately shifting the atmosphere to one of relentless fun. The Nottingham-based four-piece, making waves online with an infectious brand of pop-punk and a healthy dose of breakdown - here and there mind you- they didn’t hold back. Their sound is enough to tickle those early 2000’s roots we all have and slap their own unique lick of paint on top. It was clear they were having the time of their lives, and that kind of enthusiasm is hard to ignore for even the most stoic of audience. Songs like ‘Mayday’ and ‘Carousel’ had the crowd bouncing, with front-woman Bethany Curtis engaging the audience like a seasoned pro. The chemistry between band members was undeniable. They fed off each other’s energy the entire set. They didn’t leave a square inch of the stage un-touched and I was out of breath just watching. This performance proved they’re not just a studio band. They brought their songs to life with a rare variety of charisma and by the time they closed out their set, the room was buzzing, perfectly warmed up for the headline act. Then came RORY. The night’s headliner, stepping onto the stage with the weight of experience behind her. An outlier in all the best ways. Many artists, especially in the mainstream genres, find success in their early twenties and even their teens. RORY’s journey took longer, with the many bumps along the way being laid out for all to hear throughout the entire set, making her presence on stage all the more powerful. There’s something profoundly refreshing about seeing an artist who’s lived through life’s ups and downs before stepping into the limelight—every lyric felt earned, every song more of a poignant reflection than the last. Her set was raw, honest and drenched in emotion. Songs like ‘WOLVES’ and ‘Help Your Friends Get Sober’ struck a deep chord with the audience, with a large number of them holding up signs reading “We’re so proud to see you blossom”. We've never seen such a tangible connection between an artist and their fans. Most artists will give you the same old spiel on stage of how much they appreciate you and this, that and the other. This, however, was something completely different. Hearing people screaming what an inspiration RORY is, thank-yous for helping them get sober and much more. It was cathartic, raw and - most of all authentically Rory. With a lineup that balanced intensity, energy, and raw emotion, the LCR hosted a night that truly felt significant. Lake Malice brought the pits, As December Falls brought the party, and RORY brought the heart. An almost sold-out show like this isn’t just a testament to these artists’ talents—it’s proof that alternative music, in all its evolving forms ( looking at you Hyper-pop), is alive and thriving. Even if it’s a little late. Words and Photos: Joseph McCarthy

After the release of their most recent album, Spiral in a Straight Line, Touché Amoré announced a 37-day EU and UK tour, supported by Trauma Ray for the whole thing. This is already fresh off the heels of a 21-day USA tour at the end of last year, an insight into this band’s incredible work ethic. Of course, there’s still a few noticeable differences here and there, for example, drummer Elliott Babin has recently become a father, and as a result could not come on this tour, according to frontman Jeremy Bolm before thanking his temporary replacement, Sam, for filling in. There’s a few other surprises on the way too, with bands Chalk Hands performing in support for Touché Amoré as well as Trauma Ray at Manchester’s Gorilla venue. Brighton’s own Chalk Hands were up only half an hour after doors opened, to a fairly quiet crowd - the band were surprised people had even shown up to see them at half past 6 in the evening - but that didn’t stop them from making an impression. After a short guitar drone, they launched into their first song, each hit on the drums reverberating through the bones of anyone in attendance. The two guitarists and bass player each had vocal parts at various points - the music itself was already extremely dynamic but these switches throughout songs adds to the effect, it’s exciting and keeps the audience on their toes. Between the songs, their frontman urged the audience to come closer to the stage as “we want to be able to smell you all” before playing some as of yet unreleased songs for an upcoming album, which they announced they were recording nearby. Their performances were tight and engaging the whole way through, and prove themselves to be an exciting live act. After a short half-hour break, Trauma Ray walked onstage, and immediately swung into action, blasting the audience with this tidal wave of distortion. The Texas shoegaze group have been with Touché Amoré for the whole European leg of the tour, and it certainly shows. Their debut album Chameleon released last October, but their confidence shone through as they managed to put together a decisive set of songs. It was half an hour of noisy, distorted walls of sound, with vocalist Uriel Avila’s voice floating above the instrumentation with a Chino Moreno-esque performance. At this point, the crowd was building in numbers, swaying back and forth. The music was extremely heavy and the band didn’t let up at all, but there was still this dream-like quality to it that made them an absolute joy to see live - before walking off to 4 Non-Blondes’ “What’s Up” Before top-of-the-ticket group Touché Amoré had even set foot on the stage, fans were having a great time, singing along to The Beatles’ “Hey Jude” and Aerosmith’s “Don’t Wanna Miss a Thing” playing through the speakers. But upon the band’s arrival onstage, they broke out into lead single off their most recent album Spiral in a Straight Line - “Nobody’s”. Across the course of the set, frontman Jeremy Bolm had a huge grin on his face, clearly enjoying the performance and the crowd interaction. Crowdsurfers were absolutely everywhere, every minute a new audience member would manage to make their way onto the stage then jump back into the crowd. The energy in the venue was electric and you could even feel it from the back of the room, as communal of an experience as any punk-adjacent show should feel. Despite the tour existing to promote their new album, the setlist was fairly balanced, performing a handful of songs off of almost every album, before closing with fan-favourite “Flowers and You” from 2016’s Stage Four. This was, of course, before coming back on stage for one more song, prompted by the audience chanting “Oh Touché Amoré” to the familiar tune of “Seven Nation Army”. The very last song they chose to perform was “Limelight”, lead single from 2020’s Lament, bringing Trauma Ray’s Uriel Avila back onstage for backing vocals towards the end - a great surprise to end a fantastic night of music. Words: Jake Leonard Photos: Ely King

We took the leap into a destructive and aggressive night of noise and sludge with Napalm Death. Starting the night off were ‘BRAT’ hailing from New Orleans who came with a punch, walking out to Darude’s ‘Sandstorm’, this band wanted to enlighten us as to what their self-proclaimed genre ‘Bimboviolence’ and my god did they live up to that name. With some incredible gutturals from frontwoman Liz Selfish coupled with some pop frivolity and dance moves reminiscent of the stage presence of Charli XCX which made for a fantastic performance, they were raw, heavy, violent and best of they did all this in a very girlypop manner. Next up, Full of Hell brought even more noise to decimate Electric Brixton’s speakers, the energy these group of Maryland natives showed the audience their brand of grind-core that had quite a unique couple of idiosyncrasies like some added saxophone, and noises coming from Singer/Frontman Dylan Walker’s board, he even had an extra microphone for some extra distortion to his screams; The anger this band had was impressive, the strength and speed of their playing was something to really admire. After that, legendary New Orleans sludge metal pioneers, Crowbar, graced the stage; changing up the tone a little bit, these guys took us on a journey through their discography, showing us the unadulterated roughness of their earlier work, to the eerie, dark and ethereal doom of their later work – this is where the crowd really kicked into gear with most of the venue floor becoming one giant mosh-pit, crowd surfers galore and many, many heads banging. The singers gruff Louisiana accent only kept this crowd pumping with hyping up as well as killer doom vocals; again, it was just pure pugnacious instrumentals coupled with a crowd that definitely reciprocated that energy. We even got a little bass playing from Napalm Death’s Shane Embury as an added treat. Finally Birmingham’s own Napalm Death joined the stage, blasting the audience with a pure cacophony of noise; admitting themselves later in the gig, they aren’t there to play music, they’re there to make noise, and that they did. Singer Mark ‘Barney’ Greenway using every fissure of his vocal chords to run around the stage, and scream his heart out was a sight that only seasoned musicians like these could pull off, with Shane hitting some bass melodies that genuinely shocked. These men are absolute professionals and making synchronized grindcore that batters your eardrums as well as your body with its vibrations, the pit got crazier, the crowd surfers more abundant, it was not a safe place to be if you weren’t a fan of this music. The peak of this show was when Greenway delivered a socio-political speech about loving thy neighbour no matter their background, to which made him segway in their hit ‘Suffer The Children’ which turned the venue upside down; everyone was banging their head, the pit got bigger and far more crowd surfers were coming over that front barrier. The band did not relent in giving London the grind core they wanted, and in our eyes they went above and beyond to prove to everyone their veteran status. Words and Photos: Ben Blisset

Alt rock duo Vukovi headlined Manchester's O2 Ritz for the first time as they toured their latest album, ‘My God Has Got A Gun’. The deeply personal album, released in January, translated to the stage for a knockout sold-out show with support from Artio and Unpeople. The evening kicked off with queer alt rock band Artio. Don’t let singer Rae Brazill’s short stature fool you - they've got lungs to rival the best of them. Underpinned by the smooth harmonies of Robert Arkle and growl of Jai Akhurst, Artio’s vocals are full and in-your-face. A distinctly Gen-Z band, the Leeds quartet use punky electronics to tackle topics such as mental health and LGBTQ+ rights. Their set included new song Split Soul - heard only on this tour - and viral hit Product of My Own Design. The next band, Unpeople, share Artio’s discontent with society. Fronted by Jake Crawford and Luke Caley, both recognisable from Press to MECO, and freshly-joined bassist Em Lodge, the four-piece is rounded out by Richard Rayner on drums. Their sound balances chant-like singing with heavy screams and guitar, creating a timeless sound that engaged the crowd ready for the main event. The opening acts’ instruments were taken off stage to reveal a transparent neon orange drum kit, glowing under the lights. There were motifs of the ‘My God Has Got A Gun’ (MGHGAG) theming dotted around, with branches of cherry blossom on either side of the stage and painted amps, building anticipation for the band's set. Guitarist Hamish Reilly and touring drummer Martin Sharples-Johnston were the first from Vukovi to appear. Like the MGHGAG album, the show begins with ‘THIS IS MY LIFE AND MY TRAUMA', a short introductory track that builds with a yell of “bang!” and transitions smoothly into the next track. As ‘GUNGHO’ began, vocalist Janine Shilstone burst into view. Shilstone’s red cape-like catsuit (also worn in the SNO music video) added to the hypnotic grace of her movements. Barefoot and brandishing a bottle of Buckfast, she was a commandingly confident performer. Shilstone’s sincerity was the most striking thing about the show. Even amongst the flashing lights, synths and guitars, she maintained a raw connection to the audience. When she got down on her knees to beg for forgiveness during the bridge of SNO, she looked like her life depended on it. Taking a brief break from the fast pace of the rest of the set, ‘Colour Me In’ from their 2017 debut album was a heartfelt interlude that got phone flashlights lit up all around the room. Shilstone perched on the edge of the stage, her legs dangling over the edge as she sang directly to the audience. Throughout the show, Vukovi brought back singers from the opening acts, with Brazil, Crawford and Lodge all making appearances. This twist allowed fans to hear the songs in new ways, with each vocalist bringing a fresh flavour to the well-loved tracks. For the final songs, Vukovi promise the best songs they have ever written, and they mean it. Hopeful ‘I EXIST’ is simultaneously a call to keep living and an undeniable banger, followed by the ‘Run/Hide’, one of the band’s most popular tracks about Shilstone's struggle with Obsessive Compulsive Disorder. Their pièce de résistance of an already stacked set was La Di Da. Em Lodge of Unpeople took on the rage-filled bridge, definitely doing it justice. A high-energy, high-emotion show, we were lucky to catch them at the penultimate night of the tour - their 9th March Glasgow show is currently in the process of being rescheduled due to a power cut. With the amount of force behind Vukovi, it's easy to believe that an electricity grid would struggle to handle them! Words: Gabriella Bosticco Photos: Libby Percival

Buried are officially dropping their first EP, Infect and Replicate, and they’re making sure it hits hard. Formed in 2022, the Phoenix-based crew aren’t complete newcomers by any stretch - bassist Preston Wilson and guitarist Alex Valdés kicked things off with a clear vision, pulling from doom’s ominous weight, thrash’s relentless energy, and the intricate twists of prog to create something that’s heavy as hell but still keeps you locked in. They brought in longtime friend and vocalist Ben Rosputni, whose raw, commanding delivery adds a whole other dimension to their sound. Rounding out the lineup is their newest member, drummer Joe Symons, who steps in with a fresh energy that drives the band forward. With Infect and Replicate, Buried are setting the tone for who they are - brooding, intense, and full of moments that throw you off balance in the best way. The EP kicks off with 'Haunted', and right away, the name makes sense. There’s this creeping, uneasy melody that feels like walking through some abandoned house, the kind where the air is too still, and you’re waiting for something to lunge out from the shadows. Rosputni’s vocals only add to that tension, teetering between restrained menace and full-throttle aggression. The track simmers, keeping things tightly wound - until it doesn’t. In the final stretch, the riffing kicks up, the energy surges, and suddenly, it’s a full-speed descent into chaos. Plunging into 'Loving You' next, which plays things a little differently. It starts slow, almost hypnotic, with a rhythmic pulse that lulls you into a false sense of security - before yanking the rug out from under you. The intensity ramps up fast, catching you off guard in the best way. The contrast makes the heavier moments hit even harder, and the distortion on the guitars adds a raw edge to it all. It’s got that push and pull that makes for a great metal track - unexpected but completely locked in. Continuing onwards, 'Tallies' wastes no time getting straight to the point. Right out of the gate, it’s all intensity - Rosputni’s vocals cut through the mix like a blade, piercing through the wall of guitars. The track feels urgent, like it’s barely holding itself together in the best way, keeping that raw, aggressive energy pulsing all the way through. The EP closes with 'No Saviors', and it’s the kind of track that lingers long after the final note. Right from the start, there’s this uneasy, ticking rhythm paired with a droning guitar that feels like a countdown to something ominous. When the vocals and heavier guitars finally crash in, it’s like the floor dropping out from under you. The slow, almost hypnotic riffing builds this looming tension, giving Rosputni’s vocals even more room to shine - his delivery is raw, intense, and commanding, pushing the song’s weight even further. It’s a fitting closer, wrapping up Infect and Replicate with a feeling of unease that sticks with you. Infect and Replicate is a serious opening statement from Buried. The EP is packed with weight, unpredictability, and an underlying urgency that makes every moment feel alive. It’s heavy, it’s unsettling, and most importantly, it feels like just the beginning. Score: 6/10 Infect and Replicate will be released on March 12th 2025. Words: Jason De Mendonca Photos: Buried

With Tsunami Sea, it’s evident that Spiritbox is a band that does not hold back. With a history of blending ethereal melodies and crushing heaviness, the Canadian metalcore outfit continue to challenge themselves, delivering an album that is fuelled by contrast. From the haunting, balladic title track to the unrelenting ferocity of ‘Soft Spine’, Tsunami Sea absorbs both peace and madness and propels metalcore to new heights while still maintaining intact the band's own sonic identity. In essence, Tsunami Sea is a great album. Spiritbox has mastered the art of writing songs that bounce between moments of tranquility and pure brutality. The title track, ‘Tsunami Sea’, is one of the most intimate songs in the band’s discography, built on atmospheric soundscapes, ethereal vocals, and shimmering guitar lines that ebb and flow like sea currents. Courtney LaPlante's delivery is eerily vulnerable, highlighting her ability to convey raw emotion without resorting to screaming for which she is best known. Far from bursting into heaviness however, the track builds in ferocity over time, achieving a pseudo-post-rock grandeur. In contrast, ‘Soft Spine’ is a relentless, vicious track with Spiritbox in full-on heavy mode. The opening riff is sharp and unpredictable and sets a sense of desperation from the beginning. LaPlante's snarling, venomous voice drives the track along, and breakdowns hit with full force. Even in all ferocity, however, the track is well constructed and has room for each instrument to breathe and shine. A drawback to Tsunami Sea's tracklisting is that there are two songs that are ballad-like in nature, ‘Deep End’ and ‘Tsunami Sea’, which somewhat lessen their overall impact within the framework of the album. Having one softer, atmospheric track can be a powerful contrast to the rest of the album's heavier songs, but with two songs occupying this space, the contrast is not as effective. Both songs are breathtakingly constructed and include LaPlante's haunting vocal range, but their presence creates a feeling that Tsunami Sea's softer moments are not as deliberate within a metal album that is otherwise driven by ferocity. Abrupt song transitions within an album can give an unpredictable ride that is both thrilling and sometimes jarring - unfortunately in Spiritbox’s case, Tsunami Sea leans towards jarring. For example, the transition between ‘A Haven With Two Faces’ and ‘No Loss No Love’, with the latter being all about dark, ominous atmosphere and the former beginning immediately with a ferocious, electronic-infused assault. Such blunt transitions are what contribute to making the album have a chaotic energy, developing a listening experience designed to give the listener whiplash. While this is what keeps the listener on their toes, there are instances where transitions are so abrupt that you’re not given a chance to fully settle into a given track before being catapulted into the next. The rhythm section is a constant standout, however. Bassist Josh Gilbert is more featured than ever, providing a rich, propulsive push to the album's intricate arrangements. His basslines aren't obscured beneath walls of guitar but instead add a further dimension to the sound. Take ‘No Loss No Love’, for example. The bass is crucial to establishing the song's glitchy, electronic-heavy intro before sliding into a groove-based verse. Drummer Zev Rosenberg is equally impressive, with a performance that fluidly alternates between raw power and technical accuracy. Spiritbox songs frequently incorporate unexpected tempo changes and shifting rhythmic structures, and Rosenberg navigates them with ease. ‘Crystal Roses’ is a prime example, beginning with a smooth, almost drum & bass-esque rhythm before shifting to a thumping, direct four to the floor beat. He is able to accommodate the dynamic nature of the album and is largely responsible for Tsunami Sea never getting stuck in a groove, always shifting between moods and textures to maintain an immersive atmosphere. Though there are slight production issues throughout the album, aspects such as the delicate synth layers in ‘Tsunami Sea’ and atmospheric guitar effects in ‘No Loss No Love’ are executed flawlessly. ‘Fata Morgana’ is the only track whose production is somewhat confused, with guitar, synth, and vocal layers fighting for space rather than complementing each other. With the rest of the album being so highly polished, this is a rare miss. Tsunami Sea is a daring and engrossing album that confirms Spiritbox as a prominent modern metalcore band. Whilst there were undoubtedly places that the band could edit or improve, the albums strengths outshine its weaknesses. Overall, it’s a good listen that brings together the best aspects of some great metal genres. Score: 6/10 Tsunami Sea will be released on March 7th 2025 via Pale Chord and Rise Records. Words: Vee Richardson Photos: Spiritbox

Guiltless are coming out guns blazing with debut album, Teeth to Sky - though it’s not exactly their first rodeo. This album follows last year’s EP Thorns, but on top of that, much of Guiltless’ line-up have decades of experience in other sludge metal bands (A Storm of Light, Generation of Vipers and Intronaut). That - combined with influences from no-wave and industrial metal outfits such as Swans and Godflesh - guarantees an interesting listening experience, even if the musicality doesn’t match those two bands genre-wise. Those bands’ attitudes towards music are very visible though, and shine across Teeth to Sky - their approach here results in some of the most visceral and arrestingly noisy music in recent memory. The album opens on ‘Into Dust Becoming’, starting on sustained guitar feedback before kicking into gear with this distorted, dissonant riff that wouldn’t feel out of place on a Chat Pile record. It creates an unsettling feeling of claustrophobia, and that’s before the vocals have even started - the drums pick up the pace as lead singer Josh Graham screams “Til time’s arrow strikes my throat”, a perfectly apt line to describe the themes of the finality and nothingness of death littered throughout the rest of the album. It’s described in a way that puts this violent imagery into the listener’s mind while still being extremely poignant, with lyrics throughout the album managing to achieve a similar effect. One such case being the next track, ‘One is Two’, which presents this idea of the duality of the human condition. Lines like “are we beast, are we man, or are we both, saved and damned” display the concept unequivocally. This lyrical motif appears again on the back half of the album, on ‘Lone Blue Vale’ - one of the more doom-oriented cuts on the album. In fact, the slower moments on here are where it seems to shine through the most. The sheer amount of power felt on tracks like ‘Our Serpent In Circle’ and closer ‘Illumine’ cannot be understated, particularly on the latter. Closing the album on possibly the most intense note so far, and the longest song on the record, is already a great sign. But the song is defined by the underlying distortion that permeates throughout almost the entire track. Keyword being almost - the middle of the song takes everything out of the mix other than drums and a guitar in the left ear, briefly turning quieter as it builds to the conclusion - it’s worth noting that the vocals feel very quiet in this section. It’s slightly jarring, but the band manage to make up for it with a masterful display of dynamics, building up towards a brutal outro section to the song, the perfect way to wrap up the album. Teeth to Sky is an album that manages to consistently impress the listener, despite some songs feeling similar at times - the slow and methodical approach they take at points on this album is deeply cathartic to the listener, and rewards them at almost every turn. Guiltless are definitely a band to look out for if this debut is any indication, and this album is well worth a full listen. Score: 8/10 Teeth To Sky will be released on March 7th 2025 via Neurot Recordings. Words: Jake Leonard Photos: Guiltless

Dawn Of Ouroboros, the four-piece band from Oakland, California, is counting down the days before their second album, Bioluminescence, is released into the wild. The eight-track album promises a rollercoaster full of emotions and catchy lyrics depicting nature, which has been a staple for the band since their beginning. This time, the album is inspired by the ocean and its flora and fauna, diving deep into the mysteries of its depths (pun absolutely intended). With the absolute vocal powerhouse that is Chelsea Murphy, supported by Tony Thomas on guitars and synths, Ian Baker on bass and piano, and Ron Bertrand on drums, the listeners are taken on a musical journey. It all starts with the title track, ‘Bioluminescence’, and within the first few seconds this sets the boundaries sky high. The band is not scared of starting the track with heavy guitars and drums, and we can hear some pretty intense riffs even this early in the album. The second track ‘Nebulae’ takes us all the way to space, to admire the beauty and danger of such a breathtaking natural spectacle. As in the first track, we can hear Chelsea’s clear vocals blended perfectly with her screams, complimenting the aggressive melody. ‘Slipping Burgundy’ is a fair bit slower, but is still a very powerful track. We can hear some clear vocals this time round, lining up well with the sadness of the song, before going back to powerful screams and guitars. The fourth song on the album ‘Poseidon’s Hymn’ has a rather different melody to it. Depicting the story of the Greek god Poseidon and introducing us to his destiny, the band is starting to shift into mythology whilst still being loyal to the oceanic theme of the album. Containing a well executed guitar solo, the song takes the listener and puts them straight into the epicentre of everything the band has had going on thus far. The fifth song ‘Dueling Sunsets’ features prominent drums that are full of rage and fire, which engage the listener and help them carry on through the plot of the song. We can hear some synths in the second half of the song that distinguish it from the rest of the album, and give the listener a nice change from the usual set of melodies the band employ. ‘Static Repetition’ starts quite calmly, before transitioning into a paradise of electric guitars and riffs. “Symphony begins, not orchestrated, entranced by the steady pulse of wheels on steel" is a notably memorable quote from the song, describing a morning in a big city that's full of the hectic lives of its inhabitants. ‘Fragile Tranquility’ is again little slower than the other songs, but does not miss out on anything as it is one of the heaviest songs on the album. Being shrouded in the mystery of mythological tales, the song can be interpreted as a description of the other side of the veil of life. The last song on the album happens to be one of our favourites - ‘Mournful Ambience’ is not very long and does have just a handful of lyrics, but it sounds otherworldly with its synths, clear vocals and the piano as its main instrument. The song sounds like a true departure from the world of Bioluminescence, earning its rightful place as the final goodbye. Having quite an irregular theme, the album definitely offers a fresh perspective on the black and death metal genres. All the parts blend together in a deeply satisfying fashion, albeit sometimes almost too much to the point where the listener could easily get lost in all the different sounds that are happening at the same time. The balance of screams and clear vocals is well established throughout the album though, and we do appreciate the occasional surprise with synths or piano, and would definitely like to see the band use more in future wherever it compliments their music. It's clear that Dawn Of Ouroboros put a lot of work into their latest release, and it has certainly paid off. Score 7/10 Bioluminescence will be released on March 7th 2025 via Prosthetic Records. Words: Katerina Stepanikova Photo: Rob Watkins, Watkins Media

Big things are happening for the UK based sludge/doomgaze/post-rock band Vordermann, as they are finally releasing their very first EP Feeding on Flowers/ into the world. The five-piece from Stoke-On-Trent, who say they're influenced by such names as Torche, The Melvins and Mogwai, did their homework precisely and gives us three songs that are fresh and crisp. The first track is called ‘Cloudpiercer’ and was released earlier this year as a single. Moving at a fairly slow pace, it boasts very pre-apocalyptic atmosphere with fitting vocals and well played guitar, introducing us to the themes of the EP. Leading to a punchy bridge, we get a brief conversation in the background, supported by a mix of drums, guitars and synth, peaking into a breakdown, that complements the beginning of and simultaneously ends the track. ‘Delirium Tremors’, the second track on the EP, is written in a similar style, but the melody is a bit more upbeat and energetic. Being longer than the previous one, the song combines different paces, leading to a big, pompous build up. The track can be interpreted as one’s quest to make the world a better place, feeling hopeful and full of motivation. The last track, ‘Saint Banger’, has a completely different melody to it. Sounding like an epilogue, the songs tells us a story of defeat and hope, without actually using any words except the conversation in the background that has followed us throughout the whole EP. Using the guitars and drums, the band makes the instruments talk to the listener in a way that truly helps you feel the music that much more. The build up in this song is breathtaking and really showcases the bands talent and potential. The last part of the song - with vocals now - could be interpreted as the last attempt to save everything and everyone, a scream of relieve and urgency. The craft that went into making Feeding on Flowers/ is remarkable and really showcases the band’s genre of choosing, and the influences that contributed to the birth of the EP and the band. We can hear different melodies and well-sounding clear vocals. It is also abundantly clear that the band is not afraid to experiment with different elements in their music and that helps massively in order to make it unique and interesting. However, some of the elements in the songs are quite repetitive, such as the recordings in the background, or the build-ups in every song, but despite this the tracks are well executed. The EP is an absolute must-hear for anyone who likes discovering small bands and unconventional sub-genres. Score: 7/10 Feeding on Flowers/ will be released on March 7th 2025. Words: Katerina Stepanikova Photos: Vordermann

London’s Electric Brixton venue has been home to plenty of the most impressive heavy tours of the last few years. Even in the last couple of months it’s held shows from Misery Signals, Cattle Decapitation and plenty of others. But last night’s show might be one of the most talked about of those for years to come, as three apoplectic bands turned up and turned the room inside out. Paleface Swiss sold out their whole headline tour for their latest album ‘Cursed’, and just their name and the promise of their crushing live show alone was enough to sell a very healthy majority of tickets, but with the addition of The Acacia Strain’s pounding deathcore and Desolated’s spittle-flecked hardcore, it was a surefire recipe success. Now, as we rewind to the events of the night and it’s abundantly clear just how successful it really was, we can look back and see quite how obvious it was that the show would be so brilliant. The first sign should’ve been the absolutely enormous queue that more than comfortably wrapped all the way around the corner and carried on for some distance, with a significant proportion of the punters rocking their own Paleface merch in preparation for the night to unfold. Once in the building, even before the first notes of Desolated’s set rang out, the excitement was more than even just palpable - it was visible on the faces of most everyone in the room! Desolated then began proceedings with a stunning display of how not to observe health and safety practice within crowds, as they riled up a pit full of spin kickers, crowdkillers and more within a song or two. Their utter disdain for anything other than causing mayhem was a joy to behold, and with riffs upon breakdowns upon riffs upon breakdowns they mercilessly careened through a half hour set that could have carried on for far longer, but was immeasurably enjoyable whilst it lasted. Notable highlights would be ‘Victim’ and ‘Another Realm Of Misery’, but if there was more room then their whole set would make an easy inclusion into the highlights reel of the evening. The Acacia Strain’s set was in a similar vein, but with more brutal vocals, more squeals (both vocal and guitar pick), and more moshers. As Paleface Swiss’ noose hung ominously above the stage, adding a morbid atmosphere to proceedings, the hardcore tinged deathcore crew walked onstage to a chorus of whoops and cheers, before abruptly switching up and getting into sixth gear to kick off the set. The fashion with which they dispatched their crushing setlist was incredible, and their professionalism shone through as they displayed their massive experience at running a crowd that’s already full of energy excellently. ‘CHAIN’ went off like a bomb had been let off, and ‘Feed A PIgeon Breed A Rat’ was truly a sight to behold. Finishing with ‘Carbomb’ left no room for breath, and certainly brooked no argument that The Acacia Strain had laid the Electric Brixton to waste. As the evening’s headliners arrived on the stage, the volume in the room easily tripled. Paleface Swiss have been going from strength to strength of late, and their London show might be one of the finest examples of it. As the European quartet began their set with ‘Hatred’, the room erupted into a sea of movement, with crowd surfers and moshers and spin kickers all taking up space in the middle somewhere, just trying to be as involved as possible in the pulverising power of Paleface. The band have notably a little less hardcore influence than their support acts, and whilst that did mean that they had a little less two stepping and mosh calls, the melodic elements they did incorporate soared high into the night above the audience. Their carefully crafted blend of modern and old school deathcore with bits of hardcore, metalcore, nu metal and modern alt music gives them plenty of points for a huge variety of fans to latch onto and enjoy, giving them a scope that their supports just didn’t have. As the set progressed, songs like ‘...and with hope you’ll be damned’ tore the Electric Brixton a new one and gave their lighting technician plenty of time to shine. The visual show was stunning, and when vocalist Marc Zellweger joked about coming back to play the Wembley Arena next time, it felt less and less like a joke the longer the set carried on. We could quite easily be watching one of the next big arena headline bands on the circuit - and with it all to play for, they hit for six. The one-two punch encore of ‘Pain’ and ‘Love Burns’ was received rapturously by an audience who could not do anything but scream their love for the band, and walking out into the cold Sunday evening air after they’d finished felt like the end of an era for the Swiss group, and the beginning of something that much bigger. Words: Jake Longhurst Photos: Lizzie Jones

After their 40th anniversary tour, Destruction is back with their 16th full length album Birth Of Malice. The German thrash metal band debuted in 1982 and have been non-stop ever since - being inspired by Iron Maiden, they have ruled the thrash metal scene for years and they've returned to do it yet again. This twelve track album is packed with plenty of full force German thrash metal for the new generation of thrash fans. 'Birth Of Malice' is a short intro to the album that creates plenty of atmosphere, with an instantly Teutonic vibe being apparent with the mix of strings and building vocals. ‘Destruction’ launches the listener straight into the guts of the album, with devastating drums and descending guitar riffs giving every classic characteristic of thrash metal, exactly as you would expect. This song has the repeating lyric “We’re destruction” which is of course the title of the song AND the name of the band, so adds a slight layer of humour to the song. The third track ‘Cyber Warfare’ tackles the all-too relevant topic of technology taking over the world, which the music reflects in the intro using electronic and glitch-like sounds. The vocals on this album, produced by Marcel Schmier, are aggressive and clear in tone to perfectly match the tones of the guitars. ‘No King - No Masters’ gives fire to the themes of rebellion as it talks of challenging those in power. This track is fast paced and brutal as it introduces ripping guitar solos in the second half, whereby any listener can envision how a mosh pit to this song would look. The next track ‘Scumbag Human Race’ follows in the same vein, expressing the doom of the human race. The vocals on this one are more deep and raspy, displaying Schmiers vocal duality. Layered guitars come in later in a monumental building solo that feels suitably epic in scope and scale, before meeting a sudden end with the lyric “Going straight to Hell". ‘God of Gore’ jumps straight into intense riffs and vocals wasting no time getting going. It also switches into a more syncopated drum beat, with a strong bassline giving a bit of separation to the rest of the album. ‘A.N.G.S.T’ follows on and creates a different tone to the rest of the album, being more downbeat and hitting a tempo perfect for headbanging. As the layered vocals and guitar riffs rise and fall together, the song escalates to its climax. Track number eight ‘Dealer of Death’ continues to comment on the political climate, professing the band's anger with those in power. It follows in line with the rest of the album, featuring shredding guitar solos and booming metal vocals. ‘Evil Never Sleeps’ is a stand out track here, with the riffs being incredibly satisfying from the start - this song also seems to have the best auditory balance of all the songs and includes some more melodic layered vocals that would be perfect to scream along to live. The melodies in the addictive chorus give it an edge against the rest of the album and also separate it musically, as a lot of the other tracks can blend together if listened to in a row. Nearing the end of the album, the track ‘Chains Of Sorrow’ features the sounds of the titular chains in its intro, as well as a bouncy drum beat to get a crowd moving. The dramatic lyrics are reflected in the fast paced guitars and classic thrash metal drums, using lots of cymbal interplay. ‘Greed’ opens slightly differently to the rest of the album with a drum solo from drummer Randy Black, showcasing his talent throughout the song - having no trouble staying in time whilst delivering intense, fiery beats. The last song is the band's own rendition of ‘Fast As A Shark’, originally released in the year of the band's formation by Accept, another German heavy metal band. The band have really made it their own, putting their own spin on the song to help it match the rest of the album. Although this album lacks some variety within its tracks, every track is high quality, well produced and a great display of the talent of a band that has been named as one of the big four in German thrash metal. It’s consistent and unwavering, with every track being fast paced, heavy and each having their own special message to the listener. Destruction also have plenty of shows lined up for 2025 following the album release, so be sure to go to their website if you enjoyed this album and keep an eye out for any shows near you! Score: 7/10 Birth Of Malice will be released on March 7th 2025 via Napalm Records. Words: Amy Smyth Photos: Destruction

Swedish sludge/post-metal band K L P S (formerly known as KOLLAPS\E) are on the verge of releasing their second full length album. The self titled record is comprised of six tracks that are all packed with well recorded and polished metal, which comes together incredibly cohesively to create a real journey of a listening experience. The four piece band, formed in 2018, have set out to find their own unique sound in the bustling world of complex metal. This album, although only their second to be released, is a great example of such a sound - it doesn't stick to rules or within any bounds that the metal genre might create, and instead blossoms in a beautiful yet tragic way. Track one, ‘SUBVERSE’, throws you right into the deep end with a perfect headbanging beat and masterful screams from lead vocalist Daniel Wallenburg. The sections of this song waiver between heavy breakdowns and artistic instrumentals that utilize the moments of calmness to create an atmospheric sound. ‘KATARSIS’ kicks off with synths that lead into another heavy cadence - here, the bass and guitar riffs really rule the roost as the rest of the song plays around them. A more melancholy kind of ambience is created on this track, one could easily picture an apocalypse soundtracked by this song. The fact that it's also entitled 'KATARSIS' is is very well portrayed as the song comes together, showing a huge build up then release of emotion. Third up on the record is ‘TRIBULATION’, an eight plus minute long track that starts off slow and builds, using moments of calm between bars to create hard hitting moments. The guitar plays a very key part in the instrumentals, repeating a haunting yet addictive melody as the rest of the instruments build around it. The best part comes just before the five minute mark, when the instrumental is broken to bring back the desolate vocals and some intense hypnotic rhythms. 'NATTSVART’ is the heaviest track here, with a more fast paced tempo and even deeper screams. The title - meaning 'Black Night' in Swedish - is astoundingly apt and is reflected tremendously in the music, creating a soundscape that matches the name perfectly. The arrangement creates a real gothic aura - again, breaking between the heavy segments to deliver powerful instrumentals. The penultimate track ‘UNDERTOW’ displays some of the best vocals from across the album, the vocals being aggressively guttural and presenting a perfect showcase of the bands ability to vary from their more instrumental focused songs. It also features an unexpected - yet pleasant - use of synthlike basslines in the second half, showing their lack of fear when being experimental, and it absolutely pays off! The last track on the album ‘AUREOLA’ refers to the light that radiates from a body presented as holy in its title, yet the booming drums and sorrowful riffs almost portray the exact opposite, like an entrance to hell or a journey into the depths of the earth. Later bringing in layered vocals, this slows into an instrumental and then grows into the meat of the song - the song keeps you waiting before finally dropping into an immensely satisfying finish. Featuring guitar solos, bass riffs and emotive melodies, there's truly nothing this song is missing - it is a stand out track. All in all, this album holds anything that a sludge/post-metal fan could be looking for especially for those that look out for more atmospheric instrumental in their music. K L P S are lined up to play at Västerås Doom Fest later this year but we hope to see them playing more shows soon, one can only imagine how intense these songs would be in a live setting! Score: 9/10 K L P S will be released on March 7th 2025 via These Hands Melt. Words: Amy Smyth Photos: K L P S