Hailing from Amiens, the relatively new French progressive metal band, March of Scylla are breaking away from the world of EP’s with their debut album Andromeda. Promising a niche in the dark prog scene, March of Scylla can confidently say they are starting to leave their mark. Fans of Gojira, Sleep Token and Architects are absolutely going to want to tune their ears into this one. Kicking off with ‘Ulysses’ Lies’, the album bursts to life with heavy drum beats encapsulated by haunting, almost choir-like tones, cruising beautifully into heavier vocals. Keeping the melodic vibes going into solid vocals can often lead to the meaning and lyrics of songs being lost, but March of Scylla have hit the wonderful balance of having both, throughout the album, following themes of existential anxiety and deep emotional struggles. Setting the tone for the rest of the Andromeda, ‘Ulysses’ Lies’ is a five minute powerhouse that really establishes what the album is going to build into. Amiens is famous for its Gothic cathedrals, so it’s no surprise that ‘Death Experience’ carries on the religious undertones of this album with a building, angelic melody forcing its way through to a full bodied drum rhythm. The kind of tempo that makes you stop in your tracks, your foot will start tapping, your head will start bouncing and before you know it, you’re imagining March of Scylla performing this in one of those very cathedrals. That’s where it belongs. It fits in their image unapologetically. With an album title like Andromeda, March of Scylla have given themselves the gruelling task of making their music live up to the tales of the Greek mythology they are based on. Thankfully, it seems they have done their research. ‘To Cassiopeia’, is one of the shorter songs on the album - but one that really leans into the darker elements of the progressive metal genre. Cassiopeia was the disdainful mother of Andromeda in Greek Myth, and this song confines that story in music. You can hear angst and rage all within the low guttural groans and echoey beat, coupled with draughty wind sounds to create a dark chilling piece of music. The distinct lack of instruments in ‘To Cassiopeia’ helps to break up the album and makes the launch into ‘Dark Matter’ even more intense. Some of the songs through the middle of the album, ‘Storm Dancer’ and ‘BlaAst’ - whilst still being incredible on their own - tend to get a bit lost when looking at the album as a whole. They are placed within an album self described as a “thought provoking musical journey” where both the beginning and end are thoroughly elevated with a fully realised conceptualisation, and here it just feels like there's something missing that gives them an emptier feeling than the rest of the album. But - the magic of a band like March of Scylla is that these songs could lend themselves to a small crowd of 50 in a local French venue, or to a sold out show of thousands across the globe. Andromeda being March of Scylla’s debut album leaves you to imagine that they are only going to go on to produce great things. The combo of melodic but heavy vocals, layered perfectly with meaty guitar riffs and well thought out concepts, marks March of Scylla as an absolute band to watch. Their music more than belongs in the dark progressive scene, and with a debut album like Andromeda we are very excited to see where they go from here. Score: 7/10 Andromeda will be released on March 7th 2025 via Klonosphere and Season Of Mist. Words: Emily Bancroft Photos: March of Scylla

The start of a new month meant Pengshui’s awaited tour hit Exeter. The lineup was nothing short of spectacular, with the powerhouse Native James as well as grime-metal four-piece DeadWax in support. First up was the latter of the two, and here’s how that went down. He and his band were met with an already packed Exeter Cavern. The job of a support band is always to warm up the crowd and it’s safe to say that was the case. His fusions of rap and metal created what felt like an instant record of mosh pits for the venue. Even though his set was only 30 minutes long, it really packed a punch, playing his hits such as ‘Power’ and ‘Hammer’ which made the crowd go absolutely crazy - there wasn’t a single person standing still in the venue! His insane stage presence was obvious - practically hanging off the stage fixtures and hyping up the crowd. DeadWax was up next. The Leeds based grime-metal band had one of those extremely imposing stage presences. Their bass - driven riffs made songs you can dance as well as mosh to, it felt a weird feeling seeing audience members two-step then punch each other! Even their guitarist was joining in (on stage, unfortunately)! Although a shorter set than opener Native James, there was a feel that this band were going to go far in their careers, even having only been around since 2019. Songs such as ‘Northern Behaviour’, ‘Believe Me’ and ‘Disconnect’ were hits in the small venue, basically making the entire floor a mosh pit! Then came Penghsui. Unfortunately their set was only about an hour long, but they definitely used that time extremely well. Their high-energy performance was truly captivating, fusing dubstep and metal in one and playing the synth parts through a bass was something that seemed like it shouldn’t work, but did! The band made it one of the few times the Cavern has seen crowd-surfing, and the few that went up must have hit their heads on the low ceiling, but it was definitely a sight to see! Native James and the lead singer of DeadWax made another appearance during Pengshui’s set, both being brought back on for songs which fit their respective backgrounds, with the latter helping with a dubstep infused song, and the former supporting with a grime-based song. The DeadWax lead singer decided he would crowdsurf during his song, creating chaos in the pit, but it was definitely worth it. One thing that must be said about Penghsui is their crowd engagement is top-tier. At every given opportunity, the crowd were involved in some way, shape and form, whether that’s them singing parts or whether it’s the lead singer messing with them! During their song “Shoes Off”, he got crowd members to, actually, take off their shoes, and there must have been about half of the crowd who did it! One of the phrases the lead singer said near the end of the set was that they “shout at people and have a nice time” which was evident in their engagement with the crowd! The band's influences are obvious in their music. Bands like The Prodigy and Enter Shikari must be influential in some way, moreso the latter as they’ve remixed two of their songs! Speaking of which, Pengshui have a remix of “Omen” which the band actually asked them to make, which must be one hell of a highlight of their career. They played this live and it went down a treat with the crowd, with 100 people all well and truly dancing along to their version of the legendary song. It ended with the lead singer being on facetime to his grandad, where he got everyone to say a “hello” to him! It was definitely one of the most wholesome moments the Cavern has ever seen! Pengshui are suddenly a must-see band for everyone. They’re chaotic, but in the best of ways, and if you like that, go see them. You won’t be disappointed. Words and Photos: Ollie Hayman

Hypermass are set to unleash their second EP Apparition Day on March 7th, marking their inaugural release with Seek & Strike Records. This five-track offering sees the band expanding their sound in new and compelling ways. While staying grounded in the heavy, groove-driven foundation that defined their debut album Empyrean, this EP pushes things further - folding in elements of jazz, blues and electronic music while maintaining the band's razor-sharp edge. The Norwegian metal quintet is known for their blend of melodic death and thrash metal, crafting their unique sound since they first formed in 2012. The lead single 'Headcase' wastes no time in making an impact. Built on a foundation of tight, punchy riffs and an undeniable groove, it leans more into a punk-infused energy than the band's previous output. It's bold, and it works - everything is meticulously crafted, layered with subtle nuances that make it feel fresh on each listen. Lyrically, it's as straightforward as Hypermass gets: a descent into madness, laid bare, without metaphors or ambiguity. The band has likened it to a throwback to 90s metal, and the comparison holds up - it’s got that raw, almost infectious quality that makes it feel perfect for rowdy, sweat-soaked crowds. That sense of groove remains central throughout Apparition Day, but the EP is anything but one-note. Each track carves out its own identity, a deliberate move from the band, who said that they wanted the release to feel like a collection of distinct moments rather than a singular concept. That's not to say there isn't cohesion - Hypermass have always had a knack for blending aggression with melody, and that balance is on full display here. Thematically, the EP takes a sharp look at modern society, touching on the human condition and the ways in which convenience often creates creativity and connection, Artificial intelligence features as a major talking point, with the band questioning the blind embrace of technology without considering the consequences. It's a timely, thought-provoking subject, forcing listeners to think more deeply as the band powers through riffs. While Apparition Day marks an evolution in Hypermass’s sound, it never loses sight of what has made the band so compelling in their previous releases. The EP thrives on contrast, as tight riffs meet melodic flourishes, the blend of genres is appealing and flows well despite its differences. The fusion of genres makes for a listen that constantly surprises and entertains. There's a clear desire to keep things fresh, but it doesn't feel forced or self-indulgent - every shift in tone serves the bigger picture. Lyrically, the band is as direct as ever - Apparition Day feels immediate and personal. The frustrations with modern life and society as a whole, technology's encroachment on human creativity, and the loss of meaningful connection are laid bare, adding another layer of weight to the already massive sound. Yet, as dark as the themes may be, there's an undeniable energy to the music that keeps it from feeling bleak. Apparition Day solidifies Hypermass's place in the modern metal landscape. It's ambitious, yet accessible, technical without feeling overwhelming, and above all is an enjoyable record to listen to. Whether you're a long time fan or new to the band, this is a release to listen to. Score: 8/10 Apparition Day will be released on March 7th 2025 via Seek & Strike records. Words: Jason De Mendoca Photos: Hypermass

Imagine if you will; a truck - an old bastardized muscle machine, paint scorched by the sun, engine howling with mechanical despair - hurtling down an endless stretch of cracked desert highway. Sandstone buttes and mesas are pockmarking the landscape onto the horizon, while dust roars from the tires and vanishes into the dry wind. There’s a maniac behind the wheel with a left-handed cigarette burned down to the filter. The hula girl on the dash shimmies violently. Lucky dice clatter against the rear-view mirror like old bones. It’s a hundred miles to anywhere and they’re going nowhere. Fast. Sailing to the fiery sunset, to the higher-landed regions, and to the lower verge of supernaut heaven… This ayahuasca-esque vision must have invaded the brain of a group of Finns at some point (in this case a concoction of Fear and Loathing and the Finnish national epic, the Kalevala - we are a very cultured mag after all.) This, dear readers, is Kaiser. Their music is the sound of iron meeting stone, of great storm clouds listing low over darkened desert. In other words, a hell of a lot of fuzz. The seasoned metalhead thinks many things when thinking of metal from Finland. Namely operatic, symphonic, and folky jams - with riddles of fiddles and a crapload of songs about drinking. What they do not think of is what can be branded as “desert doom sludge metal”. This is the equivalent of a band living in the badlands making songs about how they long to be making snow-angels in the tundra. Macabre. Doom metal is a sub-genre so large and diverse that it can be analysed independently of its mother genre. It has become its own empire, ruling over record store bins and Bandcamp’s trending section with an iron fist. We are currently in something that can be described as the “High-Sabbathian” era. Riffs and tones grow larger and more complex every year as punk and prog influences in equal measure infiltrate the sound, and the amplifiers crush under the weight of the increasingly hazy tones that rattle their mechanical innards. Kaiser seem to fall squarely into the Truckfighters/Kyuss/Fu Manchu area of the doom metal dustbowl. Formed in the fevered humidity of late summer 2013, they are the meeting of Otu, RiQ, and Pex. This monosyllabic trio have been slinging riffs for over a decade in this amalgam, and their newest record aims to melt the ice away. Their first album 1st Sound arrived on this earth in 2018, and now, seven years hence, we have their second full LP; 2nd Sound. Clearly alumni of the Peter Gabriel School of Naming Albums. The first track 'Brotha' crashes through the gate like a thundering stallion, ranch hands fruitlessly sprinting after it as he bucks his way out of the stable. And brother, that horse is wild. Solid, solid jam. Great performance from Otu, whose voice soars across the vastness of the riff. The tone achieved here stretches throughout the album. It is a warm mix, in fact the mid-dynamic range has all but been swallowed up by the distorted beast that roars throughout. Like 'High Octane Supersoul' before it on 1st Sound, by the end of the song, you’ve got veins in your teeth and blood up to your elbows. Ready to kill. If 'Brotha' is the wild horse, '1.5 Dozen' is the bandit that rides him. Quite a bouncy jam that would set any live venue alight. 'Meteorhead' begins with a Graveyard-esque movie sample before the beatdown begins. This song is badass, methinks. It’s filled with more attitude than nineties WWE and rumbles low and slow like a Louisiana cookout. They channel Chris Cornell and Soundgarden on the fourth track 'Oversized Load' (don’t laugh). It’s a heaving, throbbing track that runs thick (DON’T LAUGH) and quietens the pace a bit. The riff nags accusingly, in a sort of neener-neener manoeuvre, whilst Otu continues to belt out like a lost vocal stem from Badmotorfinger. 'Stood Still' is the honorary 'Planet Caravan' of this record. A descant in eastern that sounds like it should be played in a candlelit tavern full of crusaders debating whether God has abandoned them. The vocals are stylistically crushed as RiQ’s drums and pads accentuate the air. Then you have 'Awaken Monster', which channels something similar to early Sergeant Thunderhoof. The opening riff wails like a prehistoric beast caught in tar underpinned by an even heavier riff like a great herd of riffiphants. This track also features a brilliant bass performance from Pex who bellows beneath this song like a slumbering god. 'A Clockwork Green' is as thoughtful and intelligent a composition as anything that was on Sabbath’s Volume 4. There’s genuine feeling here, and a more psychedelic direction until it hurtles back into its breakneck speed, then withdraws back into a more affable outro that mirrors its intro. 'Aftershock' is one hell of a closer. At ten minutes long, it is mammoth-sized, with a mammoth-sized riff to compensate it. It descends slowly with a simple drum and guitar tandem before bursting forth in erratic eruptions. At this moment, the epiphany struck that this album would be absolutely killer to see live. For the non-doom oriented, there is literally no better feeling on planet earth than the guitar riffs literally vibrating in your ribcage. What Kaiser has here is definitely a rib-rattler. Excelsior. At the surcease of aural flagellation, you are left wondering how the hell a band like this has slipped under your radar for so long. This album is so thick it won’t spread on toast, won’t leak through a sieve, and won’t even submit to desperate sawing of a butterknife on a cold winters morning. It is the cheese on pizza that still sticks to it even when you pull it a metre away. You can quote us on that. Bottom line; it is a very welcome addition to the hallowed halls of the doom-lords, a fine ornament to any stoner rock playlist that would make the casual listener scramble for their Shazam app like a televangelist caught in a brothel raid. They’ve crafted a record that doesn’t just lean on the usual tropes of the genre, but delivers something solid, cohesive, balanced, and heavy without being a mind-numbing slog. While the guitar pedal knobs remain hot-glued down, what you get here is a record that moves with purpose like a fat old lion - one that recognizes how to make a nasty riff stick without bludgeoning you over the head with it for ten straight minutes. Striking that fine balance between mind-melting excess and the kind of taut, honed precision. It’s loud, sure, but it’s also varied enough to keep from feeling like one long and droning wall of sound. The most solid of stoner rock records, Kaiser come into 2025 a force to be reckoned with. This is a band primed for domination of the UK, and definitely one worthy of a spot at the mighty Desertfest to tremble the venues until the paint chips on the walls and the floorboards disintegrate into pathetic kindling. Kaiser have done something great here that is definitely worth your time, fellow doomers, be sure not to miss this when it releases. To quote from another famous Kaiser ; “Why, man, he doth riff the narrow world like a colossus, and we petty reviewers walk under his huge tone and peep about the amplifier to find ourselves dishonourable graves.” Score: 8/10 2nd Sound will be released on March 7th 2025 via Majestic Mountain Records. Words: Kiarash Golshani Photos: Kaiser

There is a coziness to Divorce’s debut album – an intimacy akin to being in the backseat on a roadtrip with a group of friends as you regale and involve each other with stories from your lives. Every element of the record serves the creation of this comfiness, from the touches of country and folk sprinkled throughout, the production fresh from a studio on a remote Yorkshire farm, and at the core of it all, the unmistakable closeness between songwriting duo Tiger Cohen-Towell and Felix Mackenzie-Barrow. Cohen-Towell and Mackenzie-Barrow have been writing music together since they were teenagers, and it shows in the subtle ways they complement one another across Drive to Goldenhammer’s runtime. Immediately, on the opener 'Antarctica', their voices dance around each other, before converging in harmonies as a country-style violin further affirms the homeliness. It is fitting that this song recounts a shared experience between the two, a drive to Mackenzie-Barrow’s dad’s house in which the pair saved a calf at the side of the road. It is these small yet significant moments between the two that provide the basis for the whole album. Together, Tiger and Felix invite you into their lives, navigating their respective personal journeys that its title implies. 'Lord', for instance, tracks Tiger’s story of accepting queer romance amongst a backdrop of guilt. “Lord, I’m letting go”, screams its euphoric chorus. The moody waltz 'Fever Pitch' deals with said guilt’s resurgence, whilst 'Karen' uses its titular character to explore their shared insecurities about becoming washed up in the music scene. On the other side of this coin, and kicking off the album’s record’s best run, is lead single 'All My Freaks', a naively optimistic tune about making their way through the music industry. The bright, Naked and Famous-esque synths provided by Adam Peter-Smith particularly accentuate the track’s positivity. 'Hangman' once again shifts the album’s tone, its resentment and frustration blazing over the intricately picked guitar line that holds it together. Mackenzie-Barrow has stated that this song was written during his time as a social care worker, articulating his exhaustion at the sector being systemically overlooked and under-supported. “The world of social care is hidden in a society that likes to pretend it doesn't exist, but it is vital and deserves much more focus and investment than it currently receives”, he stated, and his views are effectively delivered by the inherent tension that makes the track captivating. Drive to Goldenhammer’s most important moment, however, is the multi-part 'Pill'. Another exploration of queerness, the song begins with futuristic synths and robotic, one-note vocals, signifying Tiger’s struggle to come to terms with themself. Eventually, though, this deliberately stilted beginning gives way to an incredibly warm second half, presumably representing the movement towards joy in self-acceptance. If the album has one central triumph, then it is this song. With its unconventional structure and changes in instrumental palate, it guides the listener through the complex emotional journey at its core with incredible grace and poise. Though the album does trail off somewhat through the slow and spacey 'Old Broken String' and 'Where Do You Go’s plodding moodiness, closing track 'Mercy' provides an aptly heartwarming conclusion. On a record that’s success hinges on a songwriting duo coming together, bound by inimitable friendship, it is fitting that the final words you hear as it fades out are: “I’ll always love you like that”. This closing line is perhaps the thesis for the album overall: no matter what tribulations each of us goes through, everything is surmountable with the support of our loved ones. Divorce’s breakout success is, fittingly, testament to this, and their best flourishes come through when this message takes centre stage. Score: 7/10 Drive to Goldenhammer will be released on March 7th 2025 via Gravity and Capital Records. Words: Ali Glen Photo: Flower Up and Rosie Sco

After a long awaited return to the UK, Set It Off hit the stage for their highly anticipated 2025 tour, Selling out every show along the way. Joined by an extremely strong lineup of support acts - TSS, Call Me Amour, and Point North the excitement was undeniable as they took over Manchester’s O2 Ritz. Opening the night, TSS (formally The Sunday Sadness) wasted no time in igniting the crowd. Their stage presence and striking image set the tone for a high energy performance that never lost momentum. Kicking off with “Would You Be My Therapy?” The band had the audience fully engaged. Moving seamlessly through their set with tracks such as “KILLING ME” and “The Wrong Way”, TSS performed with confidence proving they belonged on stage. Next up, UK based Call Me Amour kept the adrenaline flowing touring their recently released self-titled EP, They launched into “Happy Hell” instantly hyping up the crowd with a whirlwind of mosh pits. During “Blackout”, Frontman Harry Radford lept over the barrier weaving through the audience all while delivering powerful vocals. Ensuring no fan was left out, he even made his way to the accessible viewing area mid set. Tracks like 'Chasing Bugs', 'Good Day' and 'Bloom' maintained the intensity, Solidifying their reputation as a must see band. Los Angeles based trio Point North followed, met with deafening cheers. Opening with “WORLD vs PEACE” they immediately had the crowd jumping, shaking the venue floor. Keeping the energy high with “Into The Dark (feat. Kellin Quinn)” and “STITCH ME UP”, their unique sound was met with an overwhelming response, as fans sang loud enough to nearly drown out the band. A standout moment came during “Below The Belt” when Set It Off’s Cody Carson joined frontman Jon Lundin for an unforgettable duet, sending the crowd into a frenzy of cheers and jumping. As the lights dimmed, the room erupted into chants of “Set It Off!”, anticipation reaching a high. Beginning with 'Wolf In Sheep’s Clothing (Reborn)' the band commanded the stage from the beginning, With Cody Carson leading room wide mosh pits throughout the night. Especially during 'The Haunting' when Cody pointed the mic to the crowd, Urging them to sing louder. The setlist perfectly blended new and old favourites, including 'Evil People' and 'Kill the Lights' keeping the energy electric. Between songs, heartfelt speeches were made to thank the audience for their unwavering support, (Bringing some fans to tears). A highlight of the night saw drummer Maxx Danziger swap places with Carson for an explosiveperformance of “I’ll Sleep When I’m Dead”, Earning roaring applause. As the set neared its end with “Killer In The Mirror” and “Why Worry”, The audience refused to let the energy die down. Chanting “Set It Off!” after the band had left the stage, They were rewarded with a powerful encore of “Punching Bag”, closing the night with an electrifying high. From start to finish, every act delivered the best performances possible. With Set It Off proving exactly why their return to the UK was so highly anticipated. A night of boiling temperatures, emotional highs and unforgettable moments. This was not a tour to miss. Words: Shanice Harrison Photos: Ely King

Whitechapel's ninth studio album Hymns in Dissonance sees the Tennessee deathcore titans returning to their heavier roots, delivering an unrelenting, brutal listening experience. After experimenting with melody and progressive inclinations on The Valley and Kin, the band has once again taken up their more brutal inclinations. However - this is far from a step backward, it actually comes a huge leap forward that merges their trademark ferocity with the more subtle song writing they've honed over the years. A perfect merging of the band's unrelenting aggression and newfound nuance, this album is undoubtedly Whitechapel at their most brutally brilliant. From the beginning of Hymns in Dissonance, it’s apparent that Whitechapel have recaptured the unrelenting violence of their past sound. Opener ‘Prisoner 666’ sets an ominous tone with a foreboding guitar lead before plunging into a frenzy of blast beats, dissonant riffs, and Phil Bozeman’s distinctive guttural vocals. His performance is as venomous as ever, switching between deep growls and his signature mid-range snarl. The song’s lyrical themes of both physical and psychological confinement help to reinforce the album’s overall atmosphere of bleakness. The repetition of “I bear the number 666” is particularly chilling, making for an instant standout moment. The title track only helps to further cement the album’s uncompromising demeanour. Through a dizzying exhibition of guitar techniques, topped off with some brutal chugging breakdowns, the song demonstrates the precision of guitarists Ben Savage, Alex Wade, and Zach Householder. The band’s use of shifting tunings between drop G and drop F adds a layer of crushing heaviness, perfect for Bozeman’s visceral storytelling. Lyrically, the song deals with cultism and blind followership, providing an additional layer of darkness to the already suffocating soundscape. ‘Diabolic Slumber’ introduces an unsettling atmosphere before plunging into a maelstrom of tightly coiled aggression. The song’s composition is particularly interesting, contrasting moments of unnerving quiet with total sonic annihilation. The breakdowns are nothing short of monolithic, re-establishing Whitechapel’s position as one of the heaviest bands in modern deathcore. Bruising, technical, and downright merciless are the three things you most want to see from a band of this genre, and they've got all three ticked. Bozeman’s vocal range is put to good use, switching seamlessly between his cavernous lows and more raw, mid-range roars. The song’s thematic focus on sloth, one of the seven deadly sins, ties into the album’s broader exploration of human depravity. Tracks ‘A Visceral Retch’, ‘Hate Cult Ritual’, and ‘Mammoth God’ find Whitechapel truly at their most brutal. These songs call back to the band’s first releases, bringing back their relentless blast beats, palm-muted riffing, and crushing atmosphere. What makes these songs so compelling though, is that they refuse to rely on outright brutality as a crutch. The band incorporates subtle melodic undercurrents, adding depth without diluting the heaviness of their sound. Few bands can counterbalance sheer brutality with dynamic, engaging songwriting in the same way that Whitechapel do on Hymns In Dissonance. One of the highlights of the album is ‘Ex Infernis’, a track that briefly detours from the all-out assault to create something more atmospheric. The creepy vibe and layered guitars on the track provide a moment of respite, though the sense of tension never truly dissipates. It’s a testament to Whitechapel’s ability to build tension without sacrificing their signature intensity. Whitechapel's rhythm section deserves particular praise on Hymns in Dissonance. The bass can be the thing that truly makes or breaks an album, particularly when competing with three guitars on each track, and Gabe Crisp delivers an ground-shaking low end that underpins every song. Drummer Alex Rudinger delivers a technically flawless yet utterly devastating performance. His precision behind the kit, particularly on his breakneck double bass runs, means that the album is never stagnant or plodding. Lyrically, the album walks the grounds of internal anguish, religious disillusionment, and existential terror with both ease and finesse. Bozeman remains one of the most compelling lyricists, not just in deathcore, but in modern metal overall, and his vivid imagery only works to enhance each song’s tension. His ability to convey raw emotion, be it through guttural lows or unsettling spoken-word passages, renders Hymns in Dissonance all the more captivating. The production, helmed by Zach Householder, is impeccable. Every instrument is given enough space in the mix for the album's layered compositions to breathe, even while they maintain their crushing impact. The guitars slice like a knife, the drums pound like a hammer, and Bozeman's vocals are placed just so in the midst of the sonic maelstrom. Too often deathcore can come across as messy, however Whitechapel have consistently set the guide for how to navigate the genre perfectly and create something that feels clean and polished without compromising on brutality. As heavy as Hymns in Dissonance certainly is, it never feels one-dimensional. Whitechapel have succeeded in balancing the deathcore brutality of their older material with the more advanced songwriting skills they’ve developed on their last few albums. What we’re left with is an album that’s somehow both nostalgic and forward-thinking. In summary, Hymns in Dissonance is a huge success for Whitechapel. They’ve reasserted their dominance with this record, a vicious, uncompromising, and masterfully crafted return to their heaviest roots. Long-time fans will appreciate the return to their heavier inclinations, and newer fans will have plenty to sink their teeth into. Vicious, relentless, and masterfully crafted, this is one of the band’s strongest releases to date. Score: 8/10 Hymns in Dissonance will be released on March 7th 2025 via Metal Blade Records. Words: Vee Richardson Photo: Alex Morgan

Kodok is the sound of silence speaking louder than words. This haunting, atmospheric album takes listeners on a journey into introspection and isolation. With the title translating to "silence" or "loneliness," the record delves deeper into its signature blend of ambient and post-rock, incorporating darker, more experimental elements this time around. Following their well-received previous works, Kodok stands out with its rich, emotionally complex soundscapes that balance melancholy with moments of beauty. For listeners seeking a deeply immersive, thought-provoking experience, Kodok provides both a sonic escape and an emotional release—perfect for those who appreciate music that invites introspection and reflection. With its subtle yet powerful exploration of silence and sound, Kodok challenges the listener to embrace stillness and find meaning within it, making it an essential listen for fans of atmospheric music. The album is a testament to The Grey’s ability to evolve while staying true to their unique vision. The album highlights The Grey’s ability to create immersive, atmospheric soundscapes with strong, well-composed tracks. While the repetitive guitar and drum pairings maintain a cohesive vibe throughout, some moments feel a bit predictable. Despite this, the album shines in its emotional depth and the band's ability to craft memorable, evocative moments. While it may lack some dynamic variety, it remains a compelling listen for fans of atmospheric, introspective music. 'Painted Lady' by The Grey opens with a heavy, atmospheric blend of distorted guitars and precise, individual drums that set an intense tone. Halfway through, the track slows down, shifting into a more brooding, ominous atmosphere. The drums become increasingly unsettling, building a sense of tension and dread. The song’s ability to seamlessly shift from power to subtlety showcases The Grey’s skill in creating a dynamic, emotional journey. With its mix of heavy instrumentation and haunting, slower passages, 'Painted Lady' is a compelling listen for fans of atmospheric and post-rock music. 'La Bruja (Cygnus)' and 'Sharpen the Knife' showcase The Grey’s heavy instrumentation but differ greatly in mood and style. 'La Bruja' is a seven-minute track built on strong drum and guitar riffs, with a skillfully composed, repetitive structure that emphasizes its hypnotic groove. It offers a more methodical, cohesive feel compared to other tracks on the album, though its repetitive nature may feel a bit too familiar for some listeners. On the other hand, 'Sharpen the Knife' is raw and aggressive, driven by screamy vocals and heavy guitars and drums that embody pure anger. Where 'La Bruja' is controlled and immersive, 'Sharpen the Knife' is explosive and emotionally charged, creating two distinct but equally powerful listening experiences. 'Don't Say Goodbye' stands out as one of the most hauntingly beautiful tracks on the album. With its ethereal atmosphere, the song creates a mood that lingers long after it ends. The heartfelt lyrics, particularly the poignant line, “Don’t say goodbye unless you mean it,” strike a deep emotional chord, resonating with anyone who’s ever faced the weight of parting. The track is more guitar-focused than many others on the album, with the instrument weaving in and out, adding both warmth and melancholy to the piece. 'AFG' follows a familiar pattern with its repetitive guitar and drum pairings, reminiscent of earlier tracks on the album. While the song is well-composed, showcasing The Grey's signature ability to craft tight, cohesive structures, it doesn’t quite stand out in the way some of the other tracks do. The repetitive nature, while consistent with the album's overall vibe, feels somewhat predictable here, and it lacks the impact needed to serve as a strong conclusion. As a result, 'AFG' doesn’t quite deliver the powerful finish that the album deserves, leaving it feeling a bit anticlimactic. In conclusion, The Grey’s latest album is an atmospheric journey that pulls listeners in with its emotional depth and immersive soundscapes. While the repetitive guitar and drum pairings create a consistent vibe, they occasionally feel predictable, with a few tracks missing that extra spark. Still, the album shines in its ability to evoke introspection and resonate deeply with its audience. For fans of atmospheric, emotionally charged music, this album delivers a compelling experience. It may not break new ground in terms of dynamics, but Kodok delivers a captivating listen that solidifies The Grey's place as masters of haunting, immersive music. Score: 7/10 Words: Mia Gailey Photos: The Grey Score 7

bdrmm’s latest album Microtonic is a leap forward for the Hull-based band. With a sound that seamlessly blends their established shoegaze roots with bold, exploratory elements of electronic music, this record stands as their most ambitious and expansive work to date. As Ryan Smith aptly states, “I think this is the best thing we've ever done,” and it’s hard to argue otherwise after hearing the ten tracks which make up the album. Microtonic shows bdrmm moving beyond the confines of their previous genres, exploring a landscape of both new and familiar tones and atmospheres. From the get-go, it’s clear the band has broken free from the constraints that once defined their sound. Ryan explains how a newfound creative freedom emerged, largely fueled by his recent embrace of electronic music—drawing from influences as diverse as dance, ambient, and experimental electronica. That openness to new genre’s and sounds is present throughout the album. While the band’s signature layered guitars and hypnotic rhythms still play a prominent role, they are now woven into a far richer, more varied composition. Take the track 'Infinity Peaking', for example. This is where bdrmm begin to display their full potential, as post-rock guitars merge effortlessly with serene, synth-laden grooves that wash over the listener in a gentle yet captivating manner. Its euphoric yet melancholic vibe matching the kind of musical moment that would soundtrack a dreamlike, late-night dancefloor. Ryan's story of writing the track in the warmth of Málaga adds a layer of context, with the heat of the Spanish city helping to shape a song that feels liberating and expansive. The album’s willingness to embrace new collaborators is another striking feature of Microtonic. The inclusion of Working Men’s Club’s Syd Minsky-Sargeant and Nightbus’ Olivesque adds a fresh dynamic to the album’s sound, and perhaps nowhere is this more evident than on Goit, the record’s opener. With Minsky-Sargeant’s haunting vocals, the track dives into a darker, more experimental territory, with a number of dance rhythms. This track serves as an early indication of the album’s dystopian themes, which Ryan notes are rooted in the unease the band has felt since the lockdown period. It’s an unsettling yet compelling experience, encapsulating the anxiety and strangeness that spread through the modern world. Perhaps most impressive about Microtonic is how it balances its bold experimentation with a deep sense of coherence. Despite its diverse influences, from shoegaze and post-rock to electronica and dance, the album remains unified. Every track feels part of a larger narrative, with the band’s collaborative approach to songwriting—focusing on cut-and-paste techniques rather than traditional jamming—allowing for more vulnerability and creative synergy between band members. The result is an album that breathes with life and energy, each track adding to a grander sense of self-discovery. In many ways, the album is allegedly the sound of bdrmm becoming the band they’ve always wanted to be. Their ability to seamlessly combine the brooding atmosphere of their early days with the progressive, forward-thinking sound of their current era shows a group unafraid to take risks and explore uncharted territory. As Ryan notes, “This is a true expression of who we are,” and it’s hard to deny that this album captures the band in their purest form yet. With Microtonic, bdrmm have not just delivered their strongest work to date—they’ve redefined their sound, offering up a daring and expansive record that pulses with life and freedom. Both fans of the band and newcomers alike will find much to be excited about here, as bdrmm boldly carve their own path. Score: 8/10 Words: Emily Howarth Photos: bdrmm

On Monday February 24th, Gibson's London store, the Gibson Garage, celebrated its one year anniversary. To mark the occasion, not only were two of the UK's most entertaining live acts asked to come down, but Merc Clothing also got involved and made a line of clothes in collaboration with Gibson. We headed down to check out the bands, and see what all the fuss was about. The limited edition clothing line will be sold at the Gibson Garage, and is inspired by the British music scene across the decades. It draws particular influence from the Mod scene, and cuts a sharp figure onstage or off. The line features a tshirt with a black Les Paul and Mod symbol, a black crewcut shirt with the Gibson and Merc logos, a polo with the same, and a very sharp looking bomber jacket. In order to commemorate the event fully, two of the UK's best live acts were asked to perform, and promptly rocked the socks off of everyone in attendance. Blue Stragglers drove their fuzzy, distorted blues through the speakers and jammed as hard as any band you'll see, with plenty of grit and boatloads of fun. It was then Kid Kapichi's turn, and they didn't disappoint - the snarky Hastings group kept things as riotous as ever, with songs like '999' and 'Sardines' adding a political edge to their set, whilst 'Tamagotchi' gave them space to be a bit more light-hearted. It was a pleasure and a privilege for Out Of Rage to attend the event, and we're sure to see some of the management team repping one or two of the items from the new clothing line here and jamming out to some Kid Kap! Words: Jake Longhurst Photos: Daw Bell PR

Fast paced rock and roll, mosh pits and head banging what more could you want from a Gig, Split dogs provided exactly that! Split Dogs are a four piece British band packed with energy, they've been releasing music since 2022 and have been growing steadily with their shows bringing in more and more fans every time they are growing rapidly within the rock and roll scene. After the release of their second album ‘Here to Destroy’ in September the band are embarking on their tour to play these new songs live to their fans. Their sold out show at The Grace lived up to all our expectations, the ‘Here to Destroy’ Tour is the band's first ever UK headline tour consisting of 6 different dates all being either sold out or low on tickets. First to take to the stage was their opener just for this London show, Club Brat. This band embodies classic British punk metal but with all new blood, with only two officially released singles they are very new to the scene but that did not stop them from ruling the stage. As their band started their set it took some a moment to figure out the lead singer instead of being on the stage, spent the whole set in the front of the pit, a clever way to compensate with the small stage whilst bringing up the energy of the crowd by singing and dancing with them. This 5 piece band had the crowd's attention with their confidence and stage presence, any punk fan should be watching for their next gig, definitely not one to miss and we're sure they will continue to grow! In the moments leading to Split dogs set starting the room started to pack out with fans shoulder to shoulder all the way to the door. As soon as the music began the entire room was foot tapping, head banging and even moshing, not one person could stand still. Their female lead vocalist absolutely rules the stage with her raspy vocals and non stop energy, it's a wonder how she keeps up her energy throughout the entire set but it reverberates through the crowd and is reciprocated right back. After a couple of songs the guitarist shouted out for some movement creating an instant mosh pit that just grew throughout each song, by the end of the set the most pits were over half the size of the venue itself. The fast paced drums paired with angry, addictive lyrics ramped up the energy in the room, some fans even decided to crowd surf despite the low ceiling, a great sign of an exceptional gig. Fans in the crowd spent the whole show singing along and cheering with some great banter between the crowd and band members throughout the set, as well as great chemistry on stage between the band members, it was abundantly clear that this band loves what they do! Split Dogs are set to continue this UK tour with shows in Brighton and Bristol, then carry on to play some various shows in Europe. If you're a fan of fast paced rock and roll or even just want to see a new band live, Split Dogs are definitely a great way to fill that live music shaped hole! Words: Amy Smyth Photos: Jenny Parker

“Tragic friendship called inside the fog,” Mikaels voice haunts the venue with the wickedness of a thousand vengeful souls, “pouring venom, brew deceiving.” The forceful words slither into the ears of the devoted, a congregation swaying in a ritualistic delirium. Some are weeping. Parts of the crowd hold hands in a Danse Macabre. Arms go up in religious fervour. It is a garden of unearthly delights, and every soul here partakes in the fruit. But let’s rewind a bit first. This is OPETH we are talking about here, isn’t it? One of the most consistently high-quality live bands in metal right now? The crème de la crème? The magicians of melancholy? The tsars of guitars? Yes, of course they’re amazing. They have always been amazing. You don’t walk into a Michelin-star restaurant and expect anything less than an unforgettable meal. Before anything else, let us delve into the science of why Opeth these days are amazing. Aside from the fact that they are all top-notch virtuoso musicians with a touring crew tighter than a cave diver’s wet dream, what makes this era of Opeth particularly enthralling is simple: Mikael Åkerfeldt has returned to the inhuman growls of old. It’s as if every internet squabble over his clean vocals eroded away into obscurity overnight. Truly a sight to behold. And with their new record, “THE LAST WILL AND TESTAMENT,” the band has created the audio equivalent of a peace treaty. Just enough growling to satisfy the death metal crowd, and plenty of progressive rock elements to please the equally demanding prog fans. It is a tenuous balancing act delivered with unshakable confidence of artisans who know they are untouchable. Their previous jaunt into the UK at Bloodstock last August was a by-request party by all accounts, with performances so strong across the board that the Dio stage could barely contain them. They told us they would return. And now, here they are, standing before us once more, grinning like they know something we don’t. And maybe they do. Trips to the Roundhouse in Camden always take the form of a pilgrimage. The metalheads march together from the station, a slow pilgrim’s progress towards their circular pantheon. Though once inside, beers flow like holy water, and they all watch as the words “GRAND MAGUS” light the screen in Old English Text MT font. Grand Magus were also at Bloodstock with Opeth a few places back from their performance, and once more they come to support their Swedish brethren. Grand Magus are a band with great riffs, solid musicianship, and frankly – quite catchy songs. Yet this is not enough for the crowd. A few hands go up, but most in attendance are merely undergoing the wait. But they do not have to wait long, because before you can say “die,” the lights have gone down and Opeth are walking out to Aphrodite’s Child. At once, "§1" begins, and it is a wonderful opener, the ambassador of this new reconciliatory era for the band. It sprawls out across the crowd in great spectral tendrils and Mikael’s voice, a mix of soaring cleans and abyssal growls, commands the night - culminating in the thunderous refrain: “THE LAST WILL AND TESTAMENT OF FATHER.” Then comes the real gut-punch. “Master’s Apprentice.” A song so towering, so perfectly wrought in brutality and beauty, that the room tilts on its axis – a very welcome addition to the setlist. It is the highlight of the night, an unholy union of light and dark, and the moment when every soul present remembers - oh yes, Mikael Åkerfeldt still has the greatest growl in metal. Then the leviathan awakens fully with “The Leper Affinity,” its teeth gnawing, its talons raking through the room with Blackwater Park-era fury sounding like it just walked out of the record. Before “§7” starts, Mikael, ever the sardonic raconteur, muses that it’s “fucking difficult to play.” Humble as ever, they make it look effortless. Especially drummer Waltteri Väyrynen, a man with a phenomenally large shoe-size judging by how quickly he managed to supersede Martin Axenrot. Not a note missed, not a beat out of place, it is drumming par excellence. Proven by someone in the crowd screaming “WALTTERI” whenever there’s a lull, beckoning to their new rhythmic favourite. The set takes a melancholic turn with “Häxprocess” and “In My Time of Need,” the latter prompting a sea of swaying bodies and misty eyes. And then a deep cut, “The Night and the Silent Water,” a pleasant surprise - gracing the Roundhouse once more - from “Morningrise.” Mikael’s growls add an air of menace to its gentle tides. The bellowing ever-present undertow beneath the song exhibits the brilliant playing of long-time bassist Martín Méndez. “§3” once again proves the power and legitimacy held by their latest contribution, and then, Opeth’s signature banter returns. Mikael meanders into an anecdote about his schoolboy football days before snapping back into the abyss with “Ghost of Perdition.” And thus, we return to the introduction. Yet it is Fredrik Åkesson’s moment to lord over his guitar, and the crowd responds with metal-induced mania. With the new closer, “A Story Never Told,” they leave the stage to play heavy metal peek-a-boo. They then dive into the much-loved “Sorceress,” with keyboardist Joakim Svalberg really baring their chops thoroughly. Heads move like bobbles on a dashboard, swaying to the marching rhythm. Finally, they end with the pièce de resistance, “Deliverance.” It is a towering, earth-shattering closer, album-quality material. The incredible and iconic outro pounds out with blaring lights, and then it is over. Unfortunately. The setlist is structured in a logical way, bookended by predominantly death metal with a middle section focused on the more sombre offerings. A noble gambit, though one that left the middle section slightly burdened under the weight of its own wistful melancholy. The faithful grew restless, shifting in their beer-sticky purgatory, eager for the return of the beast - melodeath head and prog fan alike. It also might be the result of the amount of alcohol being toted around the venue, with Mikael barely able to get a word in sometimes as someone yells something inflammatory at him just to get a reaction less like a deity and more like a beleaguered older brother pestered by his drunk and belligerent siblings. Yet, they brought it hard and heavy as they so consistently do, with a quality that is impossibly hard to match in today’s sphere of touring groups. It leaves Opeth with their greatest competitor – themselves. In our humble opinion, a more dynamic placement of songs might have served them well. But that is the smallest of quibbles, a nit to pick in the mane of a lion. Opeth are as good – or even better – than many who have seen them say they are, and they have earned every accolade. To miss them on their next jaunt around the grey isles would be to miss a band to tell your children about. We undeniably find ourselves in the midst of an Opeth renaissance. And we follow this age of sonic enlightenment with bated breath, eager for whatever arcane and magnificent thing these Swedish wizards can conjure next. So to answer Mikael’s question posited just before the encore; “Haven’t we been fucking great?!” It is a resounding yes. Words: Kiarash Golshrani Photos: Tyler Whiting