Every year, Metal to the Masses offers up one of the most exciting battlegrounds in the UK’s grassroots metal scene. With a slot on the mighty Bloodstock Festival lineup as the prize, bands go all-in, throwing riffs, sweat, stage props and sheer willpower into the ring to prove they deserve their moment on one of the country’s biggest metal stages. This semi-final at Rebellion Bar, Manchester, was no exception, drawing a packed-out room and a surge of atmosphere from the opening moments. With over 100 people crammed in, the energy only got wilder as the night went on. Leader opened the night with deathly screams and commanding stage presence, shaking the walls before the sun had even fully set. Crowd-surfing kicked off early as the thrash metal band delivered a fierce set that got bodies moving and set a high bar for the rest of the evening. Next up, VMBRA brought an electrifying set led by their powerhouse female vocalist, blending prog and traditional metal in a way that grabbed attention right from the first song. The band’s onstage energy was undeniable, sending ripples through the crowd as their performance carved a space for them among the night’s fiercest contenders. Images: Left Leader, Right - VMBRA By the time DWINGLE hit the stage, the room was stacked and the atmosphere ramped up to full-blown pep rally chaos. Armed with flags and determined to make their set feel like a presidential campaign party, they stirred the crowd into a frenzy, demanding full audience engagement and landing every punch. Then came Phallic Rage, and true to their name, subtlety was nowhere on the agenda. Inflatable cows bounced over the audience, plushie dicks were gleefully hurled into the crowd, and a guy dressed as Elvis burst out just in time for their namesake song. The band’s “Milk Me” t-shirts and balloon-strewn antics had the room howling with laughter, but they backed up the humour with tight, punchy playing that kept the pit alive and thrashing. Images: Dwingle - Left, Phallic Rage - Right Closing the night was guest headliner Dacara, delivering a sharp, polished set. Their presence was a reminder of what’s waiting for the winners just around the corner - a slot at Bloodstock, bigger stages, and a chance to carry this local fire onto the national metal scene. In the end, it was DWINGLE and VMBRA who secured their place in the final. Both bands proved they could not only command a room but also leave a lasting impression, and now they’ll battle it out for that coveted Bloodstock slot. Images: Dacara This semi-final didn’t just showcase individual talent, it captured the beating heart of the UK’s underground metal scene. Expect the final to be even louder, weirder, and more unforgettable. We absolutely can’t wait. Words and Photos: Katie Edwards

There’s a line in the song ‘Anna Begins’ that says; “Oh” she says “You’re changing” but we’re always changing, it does not bother me to say.” It’s inevitable. It’s 2025, for Christ's sake. Everything has changed. Trying not to look at the pains that come with the present, society looks to the past to see how they got here. And who better to swan-dive into this swamp of nostalgic existentialism than Counting Crows, the patron saints of melancholic navel-gazing. To many they’re the band that feature on various film soundtracks and dominated many a bedroom of flannel-clad Hikkikomoris looking longingly at birds on telephone wires. Their sudden, dramatic success is down to the strong emotions evoked in their music. The bittersweet melodies contrasting with singer/songwriter Adam Duritz’s loquacious lyricism that once spoke of longing to be recognised, then sharply turned into wishing he was invisible. That's the Crows' magic: making you feel like your pain was universal and vaguely poetic, even when it wasn’t. It appears that it took a global pandemic to convince them to finally get out of the funk and back into making music. Society fell apart, people learned to bake bread badly, and somewhere in that isolationist haze, Counting Crows remembered they were, in fact, a band. And in 2021, they came out with an EP called Butter Miracle, Suite One. Initially a prelude to another EP, namely Suite Two, it appears that it’s had a thorough re-look, with some additional material added to form a full LP. Their first album in 11 years. That’s a long time in dog years - or music years - heck, even plague years. In a real sense, this album is about dealing with change. Gone are the dreadlocks of Duritz, that salacious rock ‘n’ roll star hairdo, tangled symbols of yearning for fame. That was a very long time ago, the Crows are extant now in an unrecognisable world. The amazing thing is how beautiful that change can be. The opener ‘With Love From A-Z’ is a bluesy slow-jam, a loving tribute, omnipresent, as if Duritz is a great spirit watching over the dejected ones. ‘Spaceman In Tulsa’ follows, a nostalgic jam that will make you feel old and young at the same time. In the vein of songs like ‘Get Back’ and ‘Mmm mmm mmm mmm,’ it concerns a varied cast of characters with rough upbringings channelling their energies into performing. Feeling liberated, but always different. It seems that they have finally come to terms with their stardom, that great and elusive beast now tamed and rolling around in the litterbox. It is followed by ‘Boxcars’ in all of its upbeat rock glory. The drums of Jim Bogios drive the beat forward whilst the guitar efforts of Immerglück, Bryson, and Vickrey crunch through Duritz’ soaring lyricism. There’s a political penchant to these lyrics, decrying the dangers of convention; “we are numb-struck, dumb, left out in the sun, and we’re sick of everything.” This is their protest song, maybe. ‘Virginia Through The Rain’ is a slow-jam like their beloved ‘A Long December.’ An amende honorable, sombre and serious. ‘Under The Aurora’ is a Beatles-esque number that smacks of a grown-up ‘Mr. Jones.’ From “Believe in me, ’cause I don’t believe in anything,” to “I want to believe in something.” It’s the sound of somebody still paying attention, still searching, even when the world’s louder and more chaotic than ever. It’s ‘Ashes to Ashes’ to their ‘Space Oddity,’ decades have passed and reconciliation is nigh. From then on the EP songs comprise the rest of the album. It’s a concept suite, half rock opera, half therapy session. ‘The Tall Grass’ evokes imagery of loss of innocence, with a rabbit in death throes and Duritz asking the listener; “can you see me?” ‘Elevator Boots’ is a 70s throwback with echoes of peak Elton John about one-night-stand’s on the road and how they only serve the nefarious high that some musicians are junkies for. Next is ‘The Angel of 14th Street,’ a cautionary tale to not dwell on the past, "If God is dead why am I here, did he leave a light on for me?” The last song is ‘Bobby and the Rat Kings,’ a number surprisingly similar to Springsteen’s ‘Thunder Road’ complete with piano. It ties the themes of the EP together in a nice little bow, resolving the character’s arcs and presenting a band on the mend, a band who made pining cool, with time being the greatest healer of all. Hoo boy. What a listen. Perhaps Butter Miracle was an apt title, as this thing is dense and miraculously realised. In a social media dominated world many rock bands are faced with the reality that some of their material has grown stale with the times. No such dilemma exists for the Crows as they are on top form, masterfully mixing their solemnity with pertinence and through this re-appraising their previous works. The miracle of Butter Miracle, if there is one, isn’t that it’s a comeback. It’s a continuation. Counting Crows have learned, they have let the passage of time ebb and flow over them, let it change them. And somehow, against the odds, they still sound like themselves. Only older. And perhaps much better for it. There is a real, palpable passion behind this album, like a tenderly made crochet job. Their die-hard fans will eat this up like communion wafers. And the civilians tuning in on the radio might feel a pang too, but this isn’t the Counting Crows you used to cry to in your bedroom at 17. This is Duritz weathered and wounded, finally coming in from the cold and the rest of the band blasting out their bluesy finery. The yearning is still there, yeah, but it has metamorphosed. It’s muted. It’s nodding with seasoned eyes saying, “Yeah, kid, I remember.” Coming with it is an unusual serenity, the Duritz you once knew seems to finally be at ease with his songwriting and the vestibules of fame and fortune. To quote the great Little Richard, he got what he wanted, but he lost what he had. And in this case, that’s not just okay. That’s beautiful. Score: 8/10 Butter Miracle, The Complete Sweets! will be released on May 9th 2025 via BMG. Words: Kiarash Golshani Photos: Counting Crows

Spacey Jane have long held Australia’s attention since their dreamy breakout album Sunlight. Formed in Perth, Western Australia in 2016 and following the release of their vulnerable sophomore album, Here Comes Everybody, the indie-rock quartet has made significant waves on the international stage. As one of the many twenty-something Aussies navigating a quarter-life crisis in London, I’ve certainly noticed the increasing popularity and unique energy that Australian artists bring to the global music scene across varying genres. From the popularity of Ocean Alley and Dom Dolla, to the indie giants Tame Impala and the recent rise of Royel Otis, and even the return of nostalgic acts like Empire of the Sun, one thing is certain - we do not miss! The common thread tying these artists together? Their deep gut-punching and nostalgic tracks that force you to question with mild discomfort: Who am I? Where am I? And how did I get here? This kaleidoscope of questions and decisions, spanning the past, present and future, leave many of us trying to make sense of ourselves, our choices and the people who have made us who we are. A kaleidoscope that feels hard to express on a good day. A kaleidoscope that can make us dizzy in its beauty. If That Makes Sense cleverly weaves these thoughts through the personal and lyrical genius of lead, Caleb Harper, helping us bring our own vulnerability to the table. To put it simply: this album is like ointment—it seeps deep and slowly into the skin, then muscles, and forces you to knead out the knots. It’s pleasurable and painful all at once, much like album themes of falling in and out of love, overcoming trauma and moving forward. The new synth-inspired sound creates layers of meaning in each track by utilising a wider range of instrumental elements than their previous albums. Ultimately, it is this new melting pot of sounds which forces us to seek someone to hold us, trust us, and guide us through this dizzying kaleidoscope rather than avoiding it… if that makes sense. So, the details of the tracks themselves? Described as their “most ambitious record to date”, fans of the band’s pre-2020 tracks - and even their most recent releases - may feel like they’re being plunged into unknown waters without a floatation device. This initial feeling of discomfort, like looking through a kaleidoscope, or the dream-like effect of light reflecting on water, should not be feared. Die-hard fans should have faith in Mike Crossey’s production, which rings similar to The 1975 but ultimately does not distract from Spacey Jane’s distinct and authentic sound. The album breaks the unsure surface with an unskippable instrumental intro that melts like butter into the first track, 'Through My Teeth'. The vibe of this track provides the album’s cornerstone, with the band reflecting it is “like a contradiction of forgiveness and anger, love and breakdown”. Whilst the song is ultimately upbeat, whimsical and somehow hopeful, the lyrics echo with loneliness and defeat. Self-described by Harper as “[not] trying to be anything in particular”, the following tracks oscillate between confident rage and “whispers of uncertainty”. Plunging the listener straight into a more sombre mood, the third track on the record, 'Whateverrrr', opens with a deep and distorted sound. It encapsulates the relentless nature of waking up with intense dread due to an uncontrollable situation, but ultimately resigning ourselves to the passage of time and ‘getting on with it’. The tiring feeling of this song effectively conveys the agony of mourning the normalcy and healthy reality that could have been. Thereafter, the dramatic and therapeutic singles 'All the Noise' and 'How to Kill Houseplants' are interrupted by what will be an adored crowd sing-along 'Impossible to Say', which all continue to ride the wave of varying emotions through deeply personal lyrics that feel far too familiar. Particularly relatable is Harper’s metaphor of understanding that “love is a garden” needing to be watered yet lamenting that “it hasn't rained and it's starting to show”. This exploration of what we need to do for love to be equally fulfilling, and the tension between that ideal and our ability to achieve it, ignites a conversation that is both vulnerable and valuable for us all. This reaches a devastating, guitar-heavy peak forming the summit of the album in track seven, 'I Can’t Afford to Lose You'. For the writer, this track feels like the screeching release we stumble on after bouts of chaos, disappointments and set-backs, particularly in a romantic partnership. It is not dissimilar to trekking to the top of a gruelling mountain, hitting each checkpoint on time, only to be met with a view clouded by fog. For my current relation to the themes of this song, it has undoubtedly become my favourite from the album. But then 'So Much Taller' provides a fast-paced reprieve, referring to the well known “black dog” but juxtaposing this with a tune that makes you (maybe just me) want to dance ridiculously in front of someone, despite the doubtful and self-hating mantras repeated in the song. Tracks nine, ten and eleven pull the listener back together with a tired thread of infatuation, slow burning, waiting, wondering and worry, before track twelve, 'Ily the Most', completes this segment with a melancholy and romantic piano melody reminiscent of UK duo Oh Wonder. The lyrics, “If you ever left I couldn’t bury your ghost,” haunt the listener like the shifting patterns in a kaleidoscope, with the recurring themes of mourning, loving, and the lasting imprint of human connection constantly reconfiguring and offering new emotional perspectives. Sounding like a hopeful yet unsure resolution, the final track 'August' circles the listener back to the dreamy sounds of the intro and opening track, providing the reassurance that life really is a cycle of highs and lows. There is undeniable beauty in that, and it is what Spacey Jane does so well - capturing the human experience - as they leave the listener with Peppa Lane’s hypnotic backing vocals singing the title of the album itself. Ultimately, as Harper states, If That Makes Sense is “hard to give a theme other than an overwhelming sense of confusion and a less than successful attempt to tie up emotional loose ends”. It uncomfortably - but beautifully - reminds us of the constants that we all draw from in our human experience, in familial and other forms of love. It is our deeply personal connections to other humans which help us make sense of ourselves. Perhaps the beauty, however, is accepting that making sense of it is inherently messy and inconclusive - and that’s okay. Score: 9/10 If That Makes Sense will be released on May 9th 2025 via Concord. Words: Victoria Stobbie Photos: Spacey Jane

Ever since their conception in 2009, Lorna Shore have been a staple in the deathcore community. Known for their innovative vocals that make you wonder how a human can do such incredible things with their vocal chords, insane drum skills and not without their drama, they are also well known in the community for their sudden shift in vocalist in 2020 and their viral moments on metal TikTok during lockdown. Taking to the Opus Stage at Download in 2025, here we breakdown Lorna Shore’s ten best songs. 10) Godmaker There couldn’t be a top ten breakdown of Lorna Shore without mentioning some of their earlier work with vocalist Tom Barber. Maleficium was Lorna Shore’s second EP, and with that came a lot more experimentation. They had already set out who they were as a band, with their apocalyptic lyrics and valid deathcore vocals on their first EP, so when Maleficium came around a few years later, fans were surprised with the opening track ‘Godmaker’. Far from their usual style of kicking straight into deathcore essentials, ‘Godmaker’ started slower with a solid minute of tinkering sounds and sparse electro beats. While this song still features some iconic Lorna Shore elements, it feels too far away from their black metal style we know and love of the band today, and feels a little more mainstream metal. 9) Immortal 2019 was a massive year for Lorna Shore, musically as well as structurally. They brought out 4 singles, ending with the almost seven-minute epic, ‘Immortal’. With this single, they moved more into their era of black and deathcore mixed with symphony orchestra that is uniquely them and helped the band to start carving their niche in the deathcore scene. As much of a powerhouse as this song is and as much as 2019 was a mega year for Lorna Shore, it unfortunately cannot feature higher on the list due to vocalist CJ McReery, who was dropped from the band later that year for allegations of sexual abuse. 8) Bone Kingdom Flashing back to the band’s first release, Bone Kingdom, the title track of the EP comes in at number eight. When this song came out in 2012, Lorna Shore were newcomers on the scene, hailing from New Jersey and just trying to stake a claim in the metal world. ‘Bone Kingdom’ would help them do just that. Whilst it isn’t one of their more technical songs, ‘Bone Kingdom’ is featured on this list due to the evocative lyrics. Once again introducing the apocalyptic, semi-religious undertones, the lyrics of ‘Bone Kingdom’ express images of fallen idols and self-hatred that resonate deeply with the listener, and that are becoming of most Lorna Shore songs. 7) Wrath Some of Lorna Shore’s best technical skills come from drummer Austin Archey. Perhaps in no other song is that more evident than ‘Wrath’, on the 2022 album Pain Remains. Archey has inhuman drumming abilities, drumming with a ferocious tempo whilst still achieving complete accuracy of the rhythm and vibe of the song. Archey is a drummer that has impressive studio skills, but then manages to replicate those studio songs almost perfectly live, a feat that most bands lose at least in some part on the transition from studio to gig. ‘Wrath’ is Archery’s most impressive to date, and is a perfect showcase of his distinct style and skillset. 6) Pain Remains I: Dancing Like Flames The next few spots on this list are reserved for what Lorna Shore has coined “The Pain Remains Trilogy.” The final three tracks on the Pain Remains album of 2022 move away from what the band typically write about. Moving away from rage-driven anthems, the Pain Remains trilogy explores the world of loss and grief. ‘Dancing Like Flames’ kicks off this three-part saga with haunting lyrics about losing someone close and not being able to continue on, coupled with Ramos’ voice that here, unlike some other Lorna Shore songs, truly cuts the listener deep. ‘Dancing Like Flames’ perhaps isn’t as poignant as the rest of the trilogy, so it sits at number 6 on this list. 5) Pain Remains II: After All I’ve Done, I’ll Disappear When talking about this trilogy, it is important to recognise the torment guitarist Adam De Micco went through. Pouring his soul into the music, which features some of the most beautiful breakdowns that integrate seamlessly with the brutal guitar that features at the forefront of this track, De Micco almost abandoned the album altogether. After combating his personal turmoils, Lorna Shore eventually released Pain Remains, and the result was a 20-minute epic that fans ate up and resonated deeply with. Releasing a deathcore ballad is a very unique concept that doesn’t often fit well with fans of an established genre, but on ‘After All I’ve Done, I’ll Disappear’ we find a true exception to the rules. 4) Pain Remains III: In a Sea of Fire One of the longer tracks on the list, ‘In a Sea of Fire’ ends the Pain Remains trilogy with an almost ten-minute chronicle of the expressiveness of grief. This song truly encapsulates what Lorna Shore are able to do, not just specifically as a deathcore band, but as a band in general. Producing an album of such high calibre, while provoking emotion in each and every second, is mesmerising. Black metal screams bringing tears to listeners' eyes whilst performing the most mind-melting guitar solos is a feat bands only dream of, not only is it rare, it is practically unheard of in deathcore. And Lorna Shore does it incredibly well, particularly with ‘In a Sea of Fire’. 3) To The Hellfire When Lorna Shore announced new vocalist Will Ramos would be permanently joining the band back in 2021, fans were understandably sceptical, as here was an already established band seemingly doing well for themselves. But Ramos completely shook that up and helped them to further cement who they are in this industry. ‘To The Hellfire’ is a perfect example of this, here you have a formula that works. Guttural vocals, breakdowns, exciting lyrics and orchestral backing, all mixed with the charismatic frontman energy and expert technical knowledge Ramos provides. ‘To The Hellfire’ bridged the gap between old and new Lorna Shore, they found the genre they fit, invented their own school of vocals and have stuck to it, proving that Ramos was the ingredient Lorna Shore were seemingly missing. 2) Cursed To Die If you wrap all the elements of a Lorna Shore track mentioned in most tracks above, the inhuman drumming, the truly one of a kind vocals, lyrics that rip you apart, and put them all into one song that sums Lorna Shore up, you would have found ‘Cursed To Die’. While being one of their shorter tracks, ‘Cursed To Die’ packs such a punch. The gutturals halfway through the song are quite literally face melting, once again mixed with a melodic solo from De Micco on guitar, making this a very close contender for the top spot. While this is quite possibly one of Lorna Shore’s most iconic tracks, it just misses out on number one. 1) Welcome Back, O’Sleeping Dreamer And finally, the top spot on this list is reserved for none other than the seven minute behemoth that is ‘Welcome Back, O’Sleeping Dreamer’, the opening track from their most recent album, Pain Remains. This song may not be Lorna Shore’s most technical song, or their most divisive. It may not exhibit the pure emotion shown in other songs mentioned in this list, but the reason ‘Welcome Back, O’Sleeping Dreamer’ deserves the top spot is that this song makes a killing when performed live. Fans go wild when the epic track kicks into being with the religious orchestral vocals, slowly making way to the drop when Lorna Shore storms the stage and announces exactly who they are. The merciless drums, Ramos’ vocals that quite literally come from so deep within they are basically inhuman, all being carried by authentically heavy guitar. This song is Lorna Shore. And when played live, not only does it showcase just how true to their sound this band is, but the fans eat up each and every second. Genuine, exciting fan experience at a gig is at heart what every band aspires to for their songs, and ‘Welcome Back O’Sleeping Dreamer’ will always be that song. No Lorna Shore top ten would be complete without having this song included, but for us number one is where it belongs. Catch Lorna Shore at Download Festival this June Words: Emily Bancroft

Noizzefest returned to the beautiful and bustling city center of Cardiff, Wales amongst the seemingly unusual amount of hen parties happening for its second year running, and it was definitely one for the heavy metal books! With the festival being held between Fuel Rock Club and Clwb Ifor Bach on opposing sides of the same street, you would’ve been more likely to get whiplash from sprinting back and forth to see the phenomenally eardrum-bursting line up that the festival had in store than you were from the constant headbanging. Noizzefest was first held in Cardiff in 2024 to mark the 10th anniversary of the heavy music publication Noizze, the festival had such a great turnout in its first year that they just had to come back for more. The publication and now also the festival was founded by Jac Holloway, who at the time was working in the legendary Fuel Rock Club where half of Noizzefest is now held. The publication has come full-circle back to where it began and is cracking the very foundations of the two buildings with some of the best up-and-coming alternative bands that the heavy music scene has to offer. The artists are staggered between the two venues in order for audiences to make it to their favourite acts uninterrupted and with ease, and the first band to bring the heat to Fuel Rock Club was Falselove. Upon the release of their new EP, they had plenty of fresh tracks to share with the crowd, and they ate up every single bite. It’s a nerve-wracking ordeal being the first band to break the anticipation at a festival, but Falselove warmed up the audience with such ease with their Metallica-esque sound and singer Jacob Eynon’s vocals bringing the music to staggering new heights. Next up on the day's itinerary was Sleemo on the upstairs stage of Clwb Ifor Bach, a three-piece alternative and punk group from Norwich who’s stage presence and energy sent the crowd into a moshing frenzy. This is a band who doesn’t let the stage confine them as they were more than happy to bring the energy off the pedestal and into the audience of their own accord, really solidifying their place as one of the highest-energy groups of Noizzefest 2025. After a quick sprint back over to Fuel Rock Club, the audiences already-shattered eardrums were met with the insanely powerful riffs and astonishing vocals of South Wales born post-hardcore band Atlas Theory, the audience could’ve sworn that they had seen debris falling from the ceiling from vocalist Eve Jones’s screams which blended perfectly with the pounding drum beats and deafening riffs from Joel Davies on guitar, Christ Jeffries on bass and Owen Holcombe on the drums. If you’re in the mood for a good old metal growl and to let off some steam, Atlas Theory are a must-see. Hyperpop-inspired queercore trio Gender Warfare were up next to burst out onto the upstairs stage of Clwb Ifor Bach, and their sound incited a feral energy from the crowd that only their music can manage to drag out of an audience, evident by the amount of hair that was swooping around in the sea of fans. Their in-your-face, perfectly crafted lyrics and breaking down of gender stereotypes left the audience feeling an intense sense of liberation and also a dire need for the earplug dispenser downstairs. Hertfordshire is known for churning out some of the biggest names in the Indie and Alternative world with the likes of Declan McKenna and Enter Shikari originating from the London border, and High Regard is one of the latest groups from the area to break out onto the scene and onto the stage of Fuel Rock Club. With vocalist Georgia Casey hitting the pop-punk high notes and the remainder of the bands’ unreal riffs, High Regard had the entire room pumped with feral energy and set the bar for the rest of the festival insanely high, they are a must-see act and are touring around the UK for a large part of this year. Love Rarely, an insanely talented five-piece alternative math rock ensemble from Leeds, were next up on the itinerary and vocalist Courtney Levitt’s astonishingly earsplitting screams were laced with raw emotion and got the entire room in their feels in a crying mid-headbang type of way. The band are newbies to the heavy music scene with their first EP being released in March of last year, so if you get the chance to see them perform make sure to give them the loudest cheers and feralest screams possible! A light-hearted change of tone was up next when Orchards blended indie-pop and math rock upon the Fuel stage with their optimistically infectious energy and fun dance moves (and the best facial expressions in existence from lead vocalist Lucy Evers). Getting the entire audience bouncing with elation over exhaustion at this point of the day was no easy feat, but Orchards managed it with such ease and had the entire venue partying with them. The British capital has blessed us with much musical talent in the past, and genre-bending alt-rock group Unpeople is fast topping that list since beginning their journey and releasing their first EP in 2023. They bossed the upstairs stage of Clwb Ifor Bach with passionate discontent for the state of the world and gave an unforgettable and energetic performance specially tailored for all the other ‘Unpeople’ among them. Last but certainly not least and a fantastic way to end a whiplash-inducing day of great music, we had Knife Bride thrashing on the upstairs stage of Fuel with the venue bursting at the seams with doting fans. With lead vocalist Mollie Buckley’s ethereal voice effortlessly merging with the string-snapping riffs from Craig Glynn and Sean Windle, the venue echoed with raw melodic bliss through the entire city of Cardiff. Noizzefest is a festival you will want to experience if you are looking to discover tons of new and upcoming artists in the heavy music industry - and who knows? You may just find your new favourite artist there. Words: Billie Wheeler Photos: Simon Arinze

In a genre built on catharsis, defiance, and emotional bloodletting, My Gnawing Pains Will Never Rest feels less like an album and more like an exorcism. The full-length debut from South Carolina’s Your Spirit Dies is a visceral, unflinching dive into pain - personal, spiritual, and generational. But more than just a collection of breakdowns and blast beats, it’s a bold mission statement from a band that refuses to be buried by the expectations of their origin, scene, or past. From the opening seconds of 'Trenches of Pain', it’s clear the group has found a brutal clarity. Brandon Byars’ voice is a weathered, furious instrument, alternating between unhinged bellows and ragged spoken passages that linger like scars. Tyler Dorman and Holden Hall’s guitars don’t just riff - they spiral, screech, and collapse, merging classic metalcore crunch with blackened tremolo picking and eerie atmospheric textures. Backed by Keagan McChesney’s thunderous bass and Brannon Crumpton’s airtight drumming, the band’s sound is somewhere between Trustkill-era chaos and a funeral procession through hell. That foundation gives way to some truly standout moments. 'Serpentine', featuring Zao’s legendary Dan Weyandt, is a venomous diatribe aimed squarely at the narcissists in our lives. Weyandt’s unmistakable howl meshes seamlessly with Brandon’s unfiltered delivery, making the track feel like a cursed sermon being shouted from opposite ends of a collapsing cathedral. The breakdown hits like a betrayal, and the lyrics sting just as sharply. On 'In The Depths of Grief', the emotional weight becomes almost suffocating. Written in part about Brandon’s aging mother and the quiet dread of watching loved ones fade, the song melds melodic dissonance with earth-shaking heaviness. It’s deeply personal without ever slipping into melodrama - just raw, unprocessed hurt delivered with conviction. “You will die alone”, he growls at one point, and it doesn’t sound like a threat. It sounds like a truth we try not to name. Throughout the record, Your Spirit Dies flirt with a broad palette of influences without ever diluting their core aggression. There’s the melodic finesse of Killswitch Engage, the grimy chaos of Napalm Death, and the ominous noise-laced textures of Godflesh. But it’s not just the music that carries cinematic weight. Giallo horror samples, including The Beyond and even screams from MaXXXine’s Mia Goth, are stitched into the seams of the album, adding a surreal, nightmarish texture that heightens the tension without becoming gimmicky. 'Unjust God' might be the band’s boldest artistic leap. A slow-burning, black metal-tinged reflection on faith, suffering, and religious trauma, the track simmers with rage before erupting into a haunting clean chorus. It’s not an anti-religion rant so much as a cry for understanding in a world that often feels designed to break you. “I stare into the eyes of an unjust god”, Brandon confesses, and the conviction in his voice is chilling. Carson Pace of The Callous Daoboys injects his signature chaos into 'Night Pierces My Bones', pushing the track to a fever pitch, while Blaythe Steuer of No Cure joins the fray on 'A Snow in Summer', a song that delivers a nihilistic verdict on the human race: “We ruin everything”. It’s as scathing as it is infectious. Closing the album is 'An Effigy of Failure', a reimagined early track that now sounds like a declaration. The band has levelled up since its original incarnation, and here, the song’s mix of fury and finality feels earned. “Life on earth is a living hell, and I fear death no longer”, Brandon screams - less as a lament, more as a liberation. What makes My Gnawing Pains Will Never Rest stand out isn’t just its technical prowess or guest features - it’s the sense of real human struggle bleeding through every second. This is a band of Southern kids who weren’t 'supposed' to make it, who clawed their way out of the cracks, and whose music doesn’t shy away from ugliness, grief, or doubt. And yet, somehow, it’s still affirming. Still cathartic. Still hopeful, if only in the sense that screaming your truth out loud is better than swallowing it. In a landscape where so much metalcore can feel plastic or performative, Your Spirit Dies delivers something terrifyingly real. Score: 9/10 My Gnawing Pains Will Never Rest will be released on May 2nd 2025 via MNRK Heavy. Words: Jason De Mendonca Photos: Your Spirit Dies

Metamorphosis is the new upcoming album from Bristol’s amphibious five-piece Froglord. It broadens the band’s already comprehensive lore about Herman, the human and the almighty Frog Lord, who “Is sent back every 1000 years by the Ancient Ones to protect and restore the natural balance on the Earth.” With the singles ‘Herman’ and ‘Cryptids’ already unleashed, alongside the excellent cover of Aerosmith’s fan favourite song ‘Sweet Emotion’, the band is getting ready to share their newest blessing from the Lord himself with the public. We talked about their upcoming album; the singles released so far, and had a bit of a chat about the band’s concerts and festivals. When asked why the frontman of the band “chose the path of amphibious swamp rock”, we had a bit of laugh after he admitted that “that’s a question [he] asked [him]self” as well, but quickly followed up by explaining that the frog is an animal followed him throughout his life, and is now almost a mascot for him. The band also mentioned that the band name is “a little bit tongue in cheek towards the whole Stoner Doom scene.”. They then jokingly added that the creation process went something like this: “Yeah, let’s come up with something really, really daft, and we’ll come up with a name. But you’ll put like lord or wizard, or goat or bong, something like that.” We then shifted our hands onto the main reason this interview was going on, their upcoming album, Metamorphosis, due for release on the 2nd of May. “It’s the fifth album in the tale of the Frog Lord. Essentially, there was the original trilogy. So there was an amphibian ascending army of frogs, sons of Frog Lord, that ended with Frog Lord ultimately dying, awaiting his rebirth in his next incarnation. But we’re currently now in prequels. This Metamorphosis is the tale of how Herman the human becomes Herman the mystic toad, who we then see in the album The Mystic Toad”, in a rough summation of the lore of the previous albums. Following this part of the conversation, we then get into the recording and writing process, wondering if there were any issues along the way. “When we wrote 'The Emergence of the Toad', the penultimate track, that was one of the tracks that we collaborated on when we originally wrote it together. The first attempt we tried was like “Right, we’re going to write this really big, powerful, doomy track for the end of the album”. But yeah, it’s got a very big, powerful feel and when we originally sat down to wrote it we might have had a bit of a smoke beforehand, and we just jammed out for about 10 minutes like a little idea. I was doing some vocals. And then we came back to it the next day and was like “Mate, we just rewrote ‘Empress Rising’ by Monologue.” Froglord then explained that the song inspired them in writing the final track, but they reworked the melody so much that it does not resemble it anymore. We changed the focus after this to the only cover song on the release, the cover of ‘Sweet Emotion’ by Aerosmith, that has been given a big kick from the band. We asked why the band chose this specific cover, to which they responded that “We were driving back from a gig in Plymouth, and we had like a playlist of just random things on. And then ‘Sweet Emotion’ came on, and I thought “This would be a good song to cover”. And then two weeks later, I sort of had the bones of it and (to a second band member) told you guys that we were doing a cover of it.” Continuing straight onto the song ‘Cryptids’, that came out on Friday April 4th, we asked the members to describe the song without directly describing it. “It’s like the main one from Trainspotting. I think it’s got that kind of vibe, but like a sludgy, sludgy stoner vibe.”, explained one member to us. The second member went into more detail: “It’s the one song where I actually will turn around and say, Rob Zombie-esque! It’s very much got a Rob Zombie vibe. So it’s the best way I would say.”. They then continue that “You know, it’s a lot more upbeat. It’s a much more unique track on the record. I think that’s why we wanted it to be one of the singles, because we were trying to get the singles, all three of them, as a showcase of the, I suppose, diversity of the record itself.” After talking a bit more about ‘Cryptids’, they said that: “ It’s always one of those things when releasing a record, seeing which ones people like. You’ve always got your pre-existing beliefs of what’s going to be people’s favourites, or at least what’s your favourite. And then a lot of the time, maybe some will come out, which, you know, it’s always an exciting time. It’s really good to hear from someone else, or get feedback from another point of view, or take it as saying, like, “Okay, if this song’s doing really well, maybe we need to look in that kind of more direction more, but keeping to our roots at the same time.”" From the interesting talk about the band’s upcoming release and some of the tracks, we moved onto their concerts and festivals, they are set to play this summer. With the exciting line up of shows they have, our curiosity got the better of us as we asked each member what gigs they are looking forward to the most. “DesertFest in London is the standout. We’re headlining a stage on Saturday. And like, when we started this, the DesertFest was the dream. It was like “Yeah, that’s not gonna happen.”, but then it did. I mean, we are not playing the Roundhouse, but the fact that we have been asked our first time to headline a stage on Saturday is just a really humbling kind of moment.” Closing up the interview, we have asked the band if they have any upcoming plans after their big release and summer tour. “We are working on a collaboration with a group at the moment. By the end of the year, we have more plans to go touring Europe. We played up in Poland this year, and that was such a reception. So we definitely want to go back out there and do as many countries across Europe as we can.”. They then added that they have already started to work on the next album. “I think we started that months ago to be honest, like here and there. It’s kind of like “I’ll write something, send it to you (other band member), and you piece it together a little bit, and then come back.”. It’s very early, but it just comes together like that.” With any luck, we can expect a continuation of the Froglord saga very soon. Words: Katerina Stepanikova Photos: Froglord

Froglord, the amphibious stoner metal force hailing from the swamps of Bristol, are coming back with the much-awaited continuation of the story of Herman, The Man, and his journey to become Herman The Toad, in order to save the world and become the spiritual guide of the Frog Lord himself. The new album, aptly titled Metamorphosis, is the fifth instalment in The Tale of The Froglord, and consists of eight tracks that are all in keeping with the lore of the band, and a ninth one being a cover of the hit ‘Sweet Emotion’ by Aerosmith. The tracks on the album are all unique in their own way. For example, the song ‘Herman’, which was also the first single from the album, is a catchy song about the protagonist and his mission that - whilst primarily leaning on the guitars and drums - uses a number of other sounds within the melody such as harmonica, that are not typical for the band’s songs or genre, yet adds more depth to the song. As we can hear in ‘Herman’, but also other songs such as ‘Mutation’, the vocalists often change their voices to compliment the music, playing around with tones, depth, clear vocals, and screams. In some instances, it is an important finishing touch, but in other cases, such as ‘Mutation’ and ‘Follow The Star’, it can get a bit overwhelming, especially when combined with such heavy drums and guitars. Throughout the album, we hear a band that's not only using their own knowledge of the genre to their advantage, but also going beyond this as they're not afraid to experiment with different styles. This is shown very clearly in the fifth track on the album, ‘Cryptids’, which is also the most recently released and final single before the grand release. Froglord do always know how to execute their doomy riffs and gloomy lyrics to perfection, and this song is a notable example of it. Paired up with a catchy synth and tempo that makes you want to head-bang for the duration of the track, it guarantees a spectacular explosion within the crowd. As the story of the all-mighty Frog Lord progresses further throughout Metamorphosis, we are getting closer and closer to the grand finale, in the form of the last original song on the album that concludes the transformation of Herman into his toad form, named simply ‘Emergence Of The Toad’. Utilising sludgy riffs and swift drums, the track is most certainly one of the strongest on the album. The vocals heard across the song fit the atmosphere well, giving us a serious and grand finale to Herman’s big alteration, allowing us to see how it all links into the rest of Froglord's discography and lore. At the end of the album, the band decided to include a cover of Aerosmith’s classic song ‘Sweet Emotion’. The band give the song a very shiny new coat here, that causes it to fit in very nicely with the rest of their songs, yet managing to stay true to the original song in a combo that's likely to be an absolute fan-favourite. The combination of sludgy stoner metal and classic rock gave the band an opportunity to experiment with their limits, and they've made it well worth their time. Metamorphosis is a complex album, continuing with the legacy of Herman The Man, that is well written both musically and within the band's own lore. Froglord have once again proved that they can play around with any music ideas and transform them into songs that are not just catchy, but also groovy and . Although the combination of different sounds and voices can sometimes be quite challenging, especially after listening to the album for a while, it is still a fascinating piece to listen to, and absolutely worth checking out if the cultof amphibious metal sounds like your cup of tea. Score: 7/10 Metamorphosis will be released on May 2nd 2025. Words: Katerina Stepanikova Photos: Froglord

Slung’s debut album In Ways feels like a pressure valve being slowly, deliberately released. Across its eleven tracks, the Brighton-based four-piece navigate trauma, power, and identity through tightly controlled chaos and emotionally honest songwriting. With each member bringing their own history, both musical and personal, the result is a record that feels tense, deliberate, and above all, human. The album opens with 'Laughter', a song that wastes no time getting to the core of what makes Slung tick. Guitarist Ali Johnson lays down serrated riffs while drummer Ravi Martin pushes everything forward with precision. But it’s Katie Oldham’s vocals that land the heaviest blows. The song is about the damage inflicted by an emotionally absent parent, and her delivery walks the line between vulnerability and confrontation. It’s a powerful introduction that sets the tone for the rest of the record: personal pain refracted through tight, bruising songwriting. Where 'Laughter' burns, 'Collider' simmers. Originally built around a demo from Zac Jackson of El Moono, the track follows a fictional cult who communicate with their deity through psychedelics. Despite the surreal concept, there’s a quiet unease running through it. Steady drums and restrained distortion make it feel like a fever dream slowly rising to the surface. Oldham’s vocal performance pulls it all together, never overselling the weirdness, just letting it unfold. 'Heavy Duty' deals with generational trauma and the imprint of patriarchal expectations. Written with Annie Dorett of CLT DRP, it captures a different kind of heaviness - the quiet, exhausting kind that sits in your bones. There’s a weariness to the way Oldham sings “you’re dragging me down,” but also a defiance. The track never fully explodes, instead lingering in the tension between what’s been inherited and what needs to be unlearned. It’s one of the album’s most affecting moments, not because it’s the loudest, but because it leaves space for reflection. Elsewhere, the band digs into stories that are less autobiographical but no less sharp. 'Limassol', which began with Sick Joy’s Mykl Barton, turns a sun-bleached Cyprus resort into the setting for a slow-motion heartbreak. 'Come Apart', another standout, sounds like it could soundtrack the opening credits of a late-night crime series. Originally a demo by Projector’s Lucy Sheehan, the track blends desert guitar tones with creeping tension. Both songs feel cinematic, but never detached. There’s always something grounding them, whether it’s Vlad Matveikov’s undulating basslines or the clarity of Oldham’s storytelling. The album’s final two tracks, 'Nothing Left' and 'Falling Down', pull the curtain back completely. Written in the aftermath of a painful breakup with a long-time friend and collaborator, these songs don’t try to be anything but raw. 'Nothing Left' in particular wears its melodrama proudly. Oldham has said she initially felt embarrassed by how over-the-top it was, but that’s part of what makes it land. There’s a kind of catharsis in how the vocals bend and stretch, especially in the final note - a nod to Paramore that feels earned rather than imitated. As a debut, In Ways doesn’t feel like the start of something tentative. It’s not a toe dipped into the water. It’s a full-body plunge. The band’s live energy is already central to how they present themselves, and this record captures that with tightness, urgency, and the sense that nothing is being held back. Slung has made something that feels specific, personal, and sharp-edged, while still being inviting. There are moments of catharsis, but also moments of restraint, storytelling, and strange beauty. In Ways doesn’t offer easy resolution. It sits with discomfort, names it, and makes something powerful out of it. Score: 7/10 In Ways will be released on May 2nd 2025 via Fat Dracula. Words: Jason De Mendonca Photos: Slung

Bristol is a city that’s proud of its punks. The likes of The Cortinas and The X-Certs built the scene, paving the way for IDLES to host 10,000 people on the Downs, supported by a swathe of Bristolian bands who followed in their wake. It is entirely possible that KNIVES’ founders, Jay Schottlander and Erin Cook, were inspired by the city-wide joy of that day, as their band exploded into the university campus bars across the city soon after. 3 years on, their debut album GLITTER attempts to take that frenetic energy and fuse it with wide-ranging influences, from hardcore to experimental jazz. All too often, though, these efforts get bogged down by a dogged commitment to the same monotonous song structure, creating a largely unrewarding and ear-fatiguing listen. GLITTER opens with by far its best shot, as ‘The Dagger’ excellently combines the crunchy guitar tones of Kid Kapichi with shout-rapped vocals that wouldn’t seem out of place on a Rage Against The Machine album. Each instrument is given space to flourish within the mix, whilst all complimenting Schottlander’s commentary on the rise of the far-right. It’s a total home run of a track, which makes the drop off that follows it all the more baffling. On ‘The Dagger’, KNIVES prove that they can structure a track to be musically and structurally captivating. For much of the rest of the album, they try their utmost to make you forget that fact. There are a handful of highlights – ‘Eat Thy Neighbour’ builds well with its abrasive drumming patterns, and ‘You Think You Know’ features fun interplay between the guitars and vocals – but for the most part, GLITTER is stymied by the same formulaic structure that the vast majority of tracks rigidly stick to. A promising melody runs through the first verse, which then inevitably gives way to a chorus which is little more than a wall of noise. The song then grinds to a halt for a quietened, spoken word pre-and-post-chorus, before the final chorus erupts once more. This framework is fine (if nothing special) on a single, but hearing it repeated time-after-time grows extremely tiresome, and makes a relatively short runtime feel unending. It is perhaps overly cynical to critique a punk album for being repetitive; after all, repetition is a staple of the genre. However, KNIVES pride themselves on their incorporation of far-reaching inspirations into their sound. Frustratingly, glints of this expansiveness are in fact sprinkled throughout the record. ‘PhD’ pairs the lead guitar line with Izzi Allard’s sax in a surprisingly dynamic manner, whilst Ben Marshall’s bassline shines at the beginning of ‘Chroma’. These are the two most notable – but far from the only – times that a sonically interesting element springs up in a song, only to be trampled by a stiflingly busy chorus. They consistently drown out everything distinct in the songs’ makeup, including its lyrics. Jay Schottlander is clearly trying very hard in his vocal performances. When discernible, his lyrics are evidently painstakingly crafted and passionately delivered, much like the aforementioned Rage Against The Machine, who the band have previously listed as one of their biggest touchstones. However, when listening to this album, you find yourself asking if “some of those that work forces, are the same that burn crosses” would’ve hit nearly as hard if you couldn’t hear Zack de la Rocha over the instrumental. The Rage frontman himself would have struggled to be heard on these songs, and with respect, Schottlander’s voice does not have the power nor the ferocity of his inspiration. KNIVES are not a band without potential. Though GLITTER is a largely aggravating experience, it is bookended by two extremely effective tracks. The latter of these, closer ‘I See Them Fall’, is unlike anything else on the album. An eerie, finger-picked acoustic guitar track that plays with the preset expectation of relentless noise, but wisely chooses to stay the course and close the record on a refreshingly disconcerting note. Like on the opener, KNIVES exhibit here that when they show restraint, they can capably conjure up a great song. If they are able to do this more often, building on the glimmers of potential amongst the earsplitting tedium, then their next offering will consign GLITTER to a mere growing pain. Score: 3/10 GLITTER will be released on May 2nd 2025 via Marshall Records. Words: Ali Glen Photos: KNIVES

Broncho's Natural Pleasure is perfectly described by its name. From the slightly blurry image of a bee on a flower as the cover, to the sunny, blissfully fuzzed-out tones within, everything here screams to an album with a feeling and a vibe in mind more than anything else. The quartet from Tulsa is comprised of Ryan Lindsey (vocals,guitar), Ben King (guitar), Penny Pitchlynn (bass), and Nathan Price (drums), and this release marks their fifth as a group. Having slightly abandoned the rockier, more insistent end of their sound in favour of the corner of their sonic playground best saved for teary-eyed daydreaming in the sun, the band have returned to soundtrack your hot girl summer break ups and main character moments with excellence. Kicking off the album is 'Imagination', which marks the start of this dreamy exploration of Broncho's most vibe-based release yet. Taking plenty from shoegaze and dream pop, with a healthy dose of American 2000's indie and a little bit of British art rock a la Radiohead, the group are fusing a number of things into one magically cohesive piece of music. This flows seamlessly into 'Funny', injecting some self-aware lyrics and lightheartedness into proceedings. The path takes a slight detour across tracks three and four, as 'Cool' and 'Get Gone' up the intensity ever so slightly. The drums become a little more overt in the mix, and this one-two combo is certainly the most energetic part of the album - albeit this is not saying much, as the band are still cool as a cucumber even here. Without the pure lucid daydream feel of the first two, it allows the listener to embed themselves further into this glorious world that's being fashioned in sonic form, and serves to set us up to lose ourselves into the soundscapes to come. The late afternoon sun is still beating down heavily as we arrive at 'I Swear', which pairs wonderfully with later track 'You Got Me' in how casually and desperately both tug at the heartstrings. Ryan Lindsey's vocals are at their most comforting here, making for a sound akin to being hugged softly and warmly by a dear friend or loved one. The lyric in the latter of "You got your mom, and you got me" is pristinely beautiful, and can and will bring you to tears if you so let it. The album continues in similar fashion throughout the rest of the songs, with small detours towards the towns of pure indie on 'Think I Pass', folk on 'Way into Magic', and honky-tonk on album closer 'Dreamin', whilst never really leaving the sun-drenched road they've driven on all album. As the forty-odd minutes of music make their way to a close, you might well be stuck deciding between crying because it's over or smiling because it happened - but instead of choosing, why not do both? This album deserves that much. Over twelve tracks, 41 minutes, and countless gorgeous moments, Broncho have painted themselves as veritable masters of sunny weather hope and melancholy, with a dash of blissful elation and a side of love, by way of nature, friends, family and the best bits of being alive. If this was the soundtrack to a film, you would be torn in two emotionally by the end, weeping whilst laughing and smiling and totally unsure of how to feel except to feel as much as possible. If you need to feel, please listen to Natural Pleasure. You won't be let down. Score: 9/10 Natural Pleasures was released on April 25th 2025. Words: Jake Longhurst Photos: Broncho

A Day to Remember stands as one of the most genre-defying bands in modern rock. Since emerging from Florida’s underground scene in the mid-2000s, the band have built quite a reputation for effortlessly blending the heaviness of hardcore with the energy of pop punk. A Day to Remember’s sound is as impactful in a pair of headphones as it is in a packed venue. Their music strikes a rare balance—vulnerable yet aggressive, melodic yet ferocious. While their style has evolved across albums, the band has maintained a clear identity, continuing to produce anthems that resonate with fans. 10) I’m Made of Wax, Larry, What Are You Made Of? This fan favourite track kicks down the door with fury. One of the most iconic ADTR songs, featuring Mike Hranica of The Devil Wears Prada adding another layer of aggression, it’s the perfect example of their hardcore roots. This track has so much energy and really signifies what early ADTR were all about. Chugging riffs, massive breakdowns and sing-along choruses, make this song a setlist staple at their shows. 9) Exposed Catchy, angsty, and energetic—this is peak ADTR without sacrificing their edge. A song that stands out on this album, due to how heavy and intense it is. This song aims at corruption, media manipulation, and political deception. It calls out how truth gets twisted, how leaders prioritise power over people, and how public trust is eroded. The song really takes you back to the band’s heavier roots with the thrashy guitars, pounding drums and Jeremy McKinnon’s intense screaming vocals. 8) Mr. Highway’s Thinking About the End “DISRESPECT YOUR SURROUNDINGS!” Enough said. This song is a mosh-pit detonator that always hits hard. This song is just pure chaos – in a good way! This song is heavy throughout with brutal down-tuned riffs, double kicking drum and of course that iconic breakdown, that is so legendary it became a meme in itself. This song is so much heavier and darker than most of the other songs off ‘Homesick.’ 7) Sticks & Bricks A fiery first track off this album, it really sets the tone for an edgier, more aggressive album. Jeremy McKinnon goes full beast mode in this song. From the first note, this one is pure rage and riffs. This song channels the feeling of being betrayed, underestimated and being taken for granted, it is about hitting a breaking point and deciding you are done with biting your tongue. It is really one of those songs that lights the room on fire the second it starts. 6) Monument One of the standout tracks from “For Those Who Have Heart”, this song is so underrated. There are pounding blast beats, chunky breakdowns and clean vocal hooks, this song really fuses both the hardcore and pop punk genres that embody ADTR as a band. The song is about feeling invisible despite having accomplished something. It hits hard, and you can see that this is when the band decided to take on a more melodic sound without losing that intensity they had with previous tracks. 5) The Plot To Bomb The Panhandle Another one from the album “For Those Who Have Heart.” This song is essentially about being betrayed. The song is about being betrayed by someone close to you and saying goodbye to this toxic person. Fast palm-muted riffs and aggressive rhythm guitars drive the verses, and you can really grasp the feeling of rage and frustration throughout them. The fast-paced drumbeats combined with the ringing riff throughout the song on top of the versatility of Jeremy's clean and harsh vocals, blend so well together, giving the song a perfect balance between both hardcore and pop-punk genres. 4) Violence (Enough Is Enough) One of the band's most urgent and confrontational songs. It highlights how society has become desensitised. The song confronts themes such as violence, societal decay and the exploitation of power. Musically, this is one of the band's heaviest songs with crushing breakdowns and powerful vocals that perfectly combine with the lyrics of the song. The verses are pure aggression, leading to a shift when the chorus comes in with clean vocals and a more melodic instrumental. 3) Naivety A standout track from Bad Vibrations, bringing a wave of melodic clarity to an album that is so aggressive. This song presents itself as a fast-paced, upbeat pop punk anthem. The guitar hooks and punchy riffs give it a youthful, fun feel. However, this track explores ideas such as a loss of innocence and getting older. It’s a nostalgic reflection on simpler times and the realisation of life-changing. 2) The Downfall of Us All From the “da-da-da-da-da” intro chant to its explosive chorus, this is the ADTR anthem. It perfectly defines who they are: melodic, heavy, and energetic. The guitars are sharp and explosive with palm-muted chugs, the drums are relentless, and Jeremy’s vocals shift between powerful, fierce screams and melodic cleans. This all combined really highlights the band's dynamic and emotional range. This song still resonates just as powerfully now as it did when it was first released, whether you’re a first-time listener or as a longtime fan. 1) 2nd Sucks Full-on aggression. This track is brutal, bold, and beloved by metalcore fans. That Mortal Kombat distorted soundbite “Fight” is Iconic. Musically “2nd Sucks” is a change from their typical balance of pop punk and metalcore, there are no clean vocals and no sing along choruses. The song is tight and aggressive, it hits hard and has an emphasis on rhythm and punch – it really plays into the theme of a fight. The song is about those who pretend to be something that they are not, and you can really hear this call out within the lyrics. This song is the perfect reminder of ADTR’s hardcore roots and is why I have ranked it No. 1. Words: Sita Gee