you, infinite’s self-titled release brings back together Jeremy Galindo and Raymond Brown- founders of the atmospheric, post rock collective, This Will Destroy You- to create a new sonic adventure through their use of bold instrumental pieces. Leaving TWDY to explore a career in medicine, Brown continued to create music on the side. The pandemic sparked a creative shift and brought him back to sharing his ideas with Galindo, thus creating you, infinite. Joined by current members of TWDY; Johnnie McBryde, Ethan Billips, and Nicholas Huft, to record the album, the heft of their talents creates a unique sound and solid instrumental piece from start to finish. Our personal shoutouts are lead single, 'Throughlines', 'The Elder', and a tie between 'Shine Eternal' and 'Dormant'. With crystal-clear production and gorgeous album art pulled straight from the monolithic rule book, you’re in for an instrumental experience like no other. Opening the album, 'Focus On Reflection' is an opening tune to the key of slow and steady. Starting out soft and melodic, and later kicks into second gear without giving too much in the first song. It cuts through the peace with some jazzy guitars, providing the mental landscape of floating through space with a perfectly matched soundtrack. The lead single, 'Throughlines' is a solid track that feels like it’s here to allow the band to ponder the thought of what lies ahead. The song feels like it’s split in two, the latter half being the rocky sibling to the soft percussion-filled beginning. Marked with their signature solid drumming into classic guitar riffs, the track feels like it’s finally time to open the album up; it’s here to say the best is yet to come. Mid-album soundscape 'The Elder', is possibly our favorite. Starting strong with the first feature of heavier guitar and drums, it later is toned down with their iconic soft percussionist edge. The song feels like it could soundtrack any adventure, and wouldn’t be misplaced in a larger-than-life Christopher Nolan film. 'Shine Eternal' provides us with a heavier offering, the most dynamic piece on the album, the background filled with masterful drumming that kicks into high action towards the latter half of the track. An opposing vibe to the peace with sprinklings of nostalgia from previous tracks, 'Shine Eternal' feels like it looks into the future and conjures up feelings of what could be. To round off such an impressive album we have their final track 'Dormant'. Intense drumming leads the way into a rousing album closer that feels larger than life. Here to sum up the parts of its story so far, it brings both the nostalgia and hopefulness to the forefront and slams the book shut on this dreamlike world created within the soundscape of this album. you, infinite’s debut album needs to be prescribed as a way to help keep a hopeful, clear head and escape the everyday noise. This album as a whole is a sweeping masterpiece in instrumental electronic rock. Expect to see you, infinite going to places as big as their sound. 'you, infinite' will be released on February 28th 2025 via Pelagic Records. Rating: 7/10 Words: Elin Gould Photos: you, infinite

Exordium Mors return once again with their black/thrash metal sound that everyone goes crazy for. The New Zealand collective was formed in 2004 and has been treating the death metal community ever since. They now release their newest EP ‘Sworn To Heresy’, which is only made up of 3 songs. However, it does not disappoint and delivers the most chaotic 17 minutes. Trust us when we say there is never a dull moment when listening to this EP! While Exordium Mors are known for their black/thrash metal sound, they are also loved by the metal community for adding death metal into their diabolical mix- both genres can be heard in this EP which is what makes it such an exciting listen. The first track ‘Dawn Of The Crimson Sun’ is jam-packed with the heaviest guitar riffs and the excruciatingly fast picking. However, what draws you into the track is the intense vocal range that can be heard throughout, starting with the snarly-sounding screams before seamlessly going into the admirable death growls. The gang vocals in this track are what makes this one stand out. You can't deny that this song will be a crazy experience live! As this EP goes on, the brutal guitar riffs do not fail to surprise us. For example, during ‘Torquemada’, one moment the riffs are heavy and enjoyable, but the next it completely takes over with these angelic-sounding solos that will make you sit there and appreciate, wishing you could listen forever. ‘Oath’ does the same too but what builds this song is the searing drums. Known as 'The Nomad, this percussionist does everything he can to provide you with the heaviest beats. Exodium Mors does everything it can to make its unique sound out of this world. From start to finish, this EP takes you on a musical journey you have never been on before, delivering all the metal sounds you love packed into one. You will never get bored. From their blood-curdling vocals to the seething guitar riffs and captivating drumming, this is a impressive listen. Rating: 7/10 Words by Kelsey Mainwearing Photos by Exodium Mors

More than two decades into their career Four Year Strong are back in the UK to perform to lifelong fans and promote their eighth full length album ‘Analysis Paralysis’. This electrifying show was held at KOKO in Camden, a staple london venue that was happy to see them return after their last performance in 2017 on the ‘Rise or Die Trying 10th Anniversary tour’. The EU/UK 2025 tour has run throughout all of February and has visited countries such as Germany and France and included 8 UK dates! With continued hits throughout the last 2 decades fans swarmed to catch them live, and boy was it worth it. Shoreline were first to take to the stage, a four piece band that have been releasing music since 2017. The German emo punk/hardcore band have been to the UK twice before but never seen a crowd quite like this. Frontman Hansol Seung wasted no time in telling the crowd to get energised and rowdy and exclaiming how impressed he was when the crowd reciprocated his enthusiasm. This high energy band was a perfect warm up getting fans clapping, cheering and even singing along to them which is a tough feat for the first in any line up. Hansol also took a moment to make a speech about how the band has zero tolerance for homophobia, transphobia, racism etc. which was met with overwhelming cheers and highlighted the decency of the crowd these bands have drawn together. Next up was Koyo, running onto the stage receiving a formidable ovation and almost instantly starting the first of many mosh pits of the night. Fans throwing their hands, running and dancing expressing their enjoyment in any way possible was an entertaining thing to witness. Koyo are a five piece American melodic hardore band that have been growing in the hardcore scene since 2020. One thing to note about their performance was their drummer Tom Higham, his drumming is mesmerizing and truly elevates the sound of their music, especially live. Throughout their set the crowd grew and grew with more fans joining in moshing and jumping with the band. Their energy was enough to get even those at the back of the theatre head banging along. Finally the lights went down one last time, by this point the theatre was jam packed with every fan shoulder to shoulder, the deafening cheers of the fans were something to behold. The four piece American pop-punk band stormed onto the stage to a darude sandstorm remix intro breaking straight into their first song ‘aftermath/afterthought’. You could instantly feel the heat rise in the room as even bigger mosh pits began to open up and every fan in the room was jumping, headbanging and screaming the lyrics with the band. Fans varied in age and gender all came together to experience this band live, some of them newer fans, some of them having listened to Four Years Strong their entire lives but all enjoying it just the same. As the band continued to play hits like ‘Get Out of My head’ and ‘It Must Really Suck to Be Four Year Strong Right Now’ with fans finishing lyrics for them and clapping along with no issues, it was clear this is a crowd that is very familiar with the music. When vocalists and guitarists Dan O'Connor and Alan Day spoke to the crowd they got huge responses and even when asking if anyone was at the show in 2017 there was a surprising response, it's great to see such a dedicated fanbase! As they finally wrapped up their set with their biggest hits ‘We All Float Down Here’ and ‘Wasting Time (Eternal Summer)’ the audience didn't lose an ounce of energy carrying on with circle pits, crowdsurfing and monumental headbanging. But of course as everything does, the show eventually came to a close, fans wiping their sweat and reaching for water - or beer if they preferred. It's fair to say this show was a night that will stay in the hearts of these fans for years to come. Four Year Strong have quite the year set up with a freshly released album, this tour and an incredible summer lined up as they've joined the 2025 Warped tour 30 years line up! We can only hope that Four Year Strong and their opening acts will return to the UK to bring us even more incredible shows. Words: Amy Smyth Photos: Nik Bryant

Originating from Leeds, England, Caskets are a modern metalcore band that made their debut in 2021 with their album ‘Lost Souls’ and have since then taken the scene by storm, gaining millions of streams since the release of the record. They have since released a couple of EP’s and the album ‘Reflections’ that was just released last year, all of which captures this band's immense sound perfectly. They are now travelling around the UK, gracing us with their presence and making sure we have the night of our lives with their electrifying performances. The local welsh band Glass Heart took the stage first, setting the tone for the night beautifully while delivering us with a rhythmic performance that really got the crowd amped up. They released their debut Ep ‘In Opposite’ in December of 2020 and achieved over 300k streams over the year. The vocalist Adamross Williams had irresistible vocal hooks with songs you just can't get enough of. Colorblind walked onto the stage next, coming all the way from the US. The energy was immediately amplified. The lead singer and guitarists knew how to get the crowd going by demanding pits. The guitarists' screams roared through the venue and everyone in sight was banging their head to the sound of their music. Colorblind and Glass Heart definitely gained new fans after their incredible performances that night. After what felt like a long, 30 minute break Caskets finally appeared on stage with beaming lights and as each member came into sight the crowd went wild, everyone immediately pushing forward to the front. As soon as lead vocalist Matthew Flood sang into the mic, everyone in the venue was already screaming the lyrics. Lead guitarist, Benjamin Wilson and rhythmic guitarist Craig Robinson’s riffs echoed through my body and James’s wild drum beats kept you on your feet with the rhythmic sound soaring through the room. We got to hear a mix of old and new songs from the band which I'm sure all fans appreciated. Their stage presence was incredible and they kept it up throughout the entirety of their set. I often saw Matthew interacting with fans, grabbing their hands, allowing them to sing into the mic and at some point even took a fan's phone while singing her favorite songs into her camera. It was obvious the band really has a passion for what they do and love interacting with their fans. Caskets kept their energy up until the very last song, fans were screaming the lyrics and you could tell that nobody in the room wanted the show to end. The concert was overall a breathtaking experience. They had an extraordinary choice of support bands that got the crowd so hyped up for when Caskets came on. The Globe in Cardiff is a small and intimate venue which was great for the band.The staging was simple yet effective, the band's name was on a big banner with the light shining down on it as the band members stood up front and gave an unforgettable performance. Words: Kelsey Mainwearing Photos: Neve Saltmarsh

Bristol Punk-rockers Split Dogs are breathing life back into British punk, and it couldn’t be more exciting! The four piece, made up of vocalist Harry Atkins, guitarist Mil Martinez, bassist Suez Boyle and drummer Chris Hugall, are on a mission to rebuild and remind us of music’s essence, and second album ‘Here To Destroy’ is here to do exactly that. Back in 2015, vocalist Harry Atkins and guitarist Mil Martinez decided to form a band, taking on the name Spilt Dogs, which they pulled from the classic zombie film ‘Return of the Living Dead’. However it wasn’t until 2022 that Split Dogs emerged onto the Bristol punk scene, with bassist Suez Boyle joining the band in 2023. By this time, Suez had already cemented herself into the queer punk scene, having played the first ever Rebellion Festival at just 16 years old! Drummer Chris Huggall then joined the band full time in 2024 after having previously helped design artwork for the band, which completed the current Split Dogs lineup. The infectious energy that powered their live shows combined with their powerful lyrics saw Split Dogs quickly find themselves an integral part of Bristol’s punk scene, a scene that provided a safe space for LGBTQ+ and marginalized people. Fast forward to today and the band are about to release their anticipated second album, under new label Venn Records. Titled ‘Here to Destroy’ and with the cover featuring the band in front of smashed up cars, it’s evident from the get go that Split Dogs aren’t here to be quiet. Opening track ‘Stay Tuned’ proves just that, sounding like something straight out of the 1970s with fast paced guitars and vocals. It solidifies the fact that Split Dogs aren’t here to be in the background, they are here to destroy. With lyrics that call out modern society such as "The future's here/ But we don’t need it/ Burn it all down/ Hit factory reset", it is the perfect way to open the album. Third track ‘Animal’ starts with incredible fast drums and guitar riffs, with group vocals coming in at the chorus to shout ‘Animal’ as Harry Atkins sings "You lock me in your cage, You’re gonna see the animal". It’s incredibly catchy and a song that is bound to be incredible when performed live. ‘Monster Truck’ and ‘Be a Sport’ also both feature incredibly catchy guitar solos, fully showcasing the talent of guitarist Mil Martinez. The album closes just as strongly as it opened with the song ‘All In’, which keeps up with the strong vocals, guitars and drums, which have remained consistent throughout the entire album. Atkins has a powerful, unique voice which adds to the overall atmosphere of each song, with group vocals also a running theme throughout which consistently heighten each song. It’s extremely impressive when you find out the album was recorded over only a three day period, with no autotune, no effects pedals and no computers, the vocals were also recorded completely live, with no cutting and pasting. With Harry Atkins saying they wanted the album to have a "real 1970s rock n roll" feel, the decision to record the album completely live has certainly paid off! Split Dogs have successfully managed to capture the essence of '70s punk rock, whilst putting their own twist on it. If you’re a fan of classic British punk rock then Split Dogs should be at the top of current bands you need to check out! With their live shows not being something you want to miss, Split Dogs will be heading out on a UK tour next month, with dates across the UK and Europe. Upcoming shows include: 28/02 Billy Bootleggers, Nottingham 01/03 The Grace, London 02/03 Daltons, Brighton 07/03 Rough Trade, Bristol 18/03 Supersonic, Paris 20/03 Café Central, Bruxelles 21/03 La Zone, Liége 22/03 Café The Jack, Eindhoven 23/03 Poppodium Volt, Sittard 09/07-12/07 2000 Trees Festival Score: 8/10 ‘Here To Destroy’ will be released on February 28th 2025 via Venn Records. Words: Olivia Hermans Photos: Split Dogs

Eric Bass’ debut solo work ‘I Had A Name’ is a… frustrating project to review. It is equal parts fast paced fun emo rock and a somewhat cringe and unfinished collection of music, that feels like Bass was trying to prove that some of these tracks should’ve made it to other albums by placing them on this effort. Maybe we weren’t the target audience for this project, or maybe it needed another couple of months or an extra pair of ears during its process. This project began its uphill battle with opener 'A World Unseen', which is supposed to be a slow-paced build-up to the rocking in store, but instead suffers from a vocal tempo just a little too fast for its piano backing. The cringe unfortunately rose as the somewhat on the nose calls of prayer repeated, and when the ‘is he a Trump supporter’ train of thought begins to cross the mind keeping said mind open begins to get more difficult (For clarity, this article is not accusing Bass of having specific political views and it is his right to keep them as private or public as he wishes). But back to the positives - third track 'Azalia' is an easy standout for this project, with what sounds like a theremin in the intro and some DnB or hard-style inspired drums forming part of a fantasy rock backdrop, while Bass tells us the story of the titular Azalia and provides a strong proof of concept for 'I Had A Name'. Bass’ military-family background is put to great use in the songwriting in this intense rock ballad, with the vocals that he provides complimenting the themes around this concept well. Next track 'We Can’t go Home' keeps up the pace with almost-rap full sentence bars and elicits the feeling of dad rock made for young people, which is a refreshing energy. Further on in this album, single 'Mind Control' and 'All Good Children - Our Guts' show where it was trying to go: in the former, the themes of Bass’ religious upbringing are woven beautifully into the angst of a thrashy and campy emo rock as he talks about the nature of sin and when to forgive, with the piano outros he’s so fond of working perfectly to close out the carnage. For the latter, a gorgeous acoustic guitar melody opens the ballad, as the horrors of war plague the third act of a concept once ready to ride into battle with glory. These tracks offer nuance around the high fantasy concept that Eric Bass is playing in while never quite preaching to the listener, but the highlight of this album is easily the closing/bonus track 'I Wanna Go To Hell'. Playing on a nursery rhyme style melody and introducing the beloved trumpet into the mix, Bass gives a middle finger with a wink to the classic conventions of confession and good and evil in the faith he’s been exploring in the wake of this project; it’s like the grown up version of Green Day gag tracks like 'All by Myself', complete with a group of ‘la’s and Bass wishing the listener goodnight at the end, which in turn leaves a cheeky smile on our faces when this album does close out. Alas, all this considered, this album was very frustrating. For all the good that exists in it, a cover to cover listen is difficult. Many of these tracks suffer from structural issues, be it the aforementioned mismatched tempos, the messy transitions between parts of songs, or its main structural crime of simply running on. 'We Can’t Go Home' is the first count on this charge, with the last part of this track sounding like the ending thrice before closing out. It darts between Bass’ signature rock sound and piano interludes, giving the song more of a mashup feeling than of an original song of its own. Lyrics throughout pad out this charge, with the great hook of "you can go to hell but you can’t go home" in 'We Can’t go Home' lost in the sea of full-sentence bars that feel more like a diary entry put to music rather than a song written to record. A lot of these tracks are half-great too: the bridge in 'Goodnight Goodnight' is great if you can get past the clunky first half, and the beat behind 'New Graves' is borderline perfection, whilst its lyrics are some of the lowlights of the album. 'If I Had a Name’s overall issue, though, is the sameness; this is a 12 track album made up of three to four songs, each written and performed to varying degrees of success. The nursery rhyme motif was rampant and did not work most of the time, and the same can be said with the chronic use of the piano slowdown which would seemingly appear every time Bass felt he had 16-32 bars to fill or wanted to drive home that this part of the piece was serious or sad. This makes it a difficult project to praise and critique because the elements that work in one song fall flat when used again, leaving us feeling frustrated when looking back on it. Recommending this album based on prior listening then becomes difficult, as it feels like a critique on the artists that would come to mind - again, not that this album is terrible, just not quite where it needed to be for release, which for a project that Bass has been working on for as long as he has feels like a cruel comment. If you like themes of faith, fairytale motifs and…pianos? Then this will be the project for you. Score: 5/10 'I Had A Name' will be released on February 28th 2025. Words: Julia Brunton Photo: Sanjay Parikh

Ichiko Aoba has long been a master of musical storytelling, crafting intimate yet expansive sonic worlds for her listeners. Her upcoming album 'Luminescent Creatures', set for release through her own label hermine, continues this tradition. Following the success of 'Windswept Adan', which transported audiences to an imagined island, Aoba now turns her attention to themes of light, bioluminescence, and connection. The lead single 'Luciférine' takes its name from the molecule responsible for bioluminescence, a fitting metaphor for an album that explores the interplay between light and darkness. The track immediately immerses the listener in Aoba's signature dreamlike atmosphere - her voice floating effortlessly over intricate fingerpicked guitar, gentle strings, and subtle electronic textures. While some of her compositions lean toward minimalism, 'Luciférine' embraces a more layered arrangement, with shimmering synthesizers creating the effect of light rippling across water as if a torch had been cast into the depths. Lyrically, the song reflects on the idea of an inner light residing within all living beings: "Inside each of us, there is a place for our stars to sleep". This poetic imagery deepens the track's meditative quality as Aoba contemplates the quiet, unseen illumination forces shaping the world around us. The melody unfolds like a lullaby - gentle yet intricate in its harmonies - evoking a feeling of weightlessness as if drifting through an endless sea of sound where the boundaries between self and nature dissolve. While 'Luciférine' looks inward, 'SONAR' reaches outward, using sound as a metaphor for searching in the darkness. This track leans more heavily into ambient textures, with Aoba's voice emerging like a distant echo over layers of synth pads and delicate, minimalist percussion. It is a weightless yet profoundly emotive composition, mirroring, sending out signals and waiting for a response. Lyrically, 'SONAR' conveys a quiet longing: "Beyond the darkness, a glimmer of somebody's voice. I am here, although I know not where, and yet I hear it." There is an aching solitude in these words but also a fragile sense of hope—the possibility that connection can still be found even in the vastness of existence. The accompanying music video, directed by longtime collaborator Kodai Kobayashi, enhances this atmosphere, presenting a surreal, dreamlike journey through light and shadow in the digital realm. Led by those two songs, 'Luminescent Creatures' shapes up to be an album of quiet revelations - an exploration of the unseen, the luminous, and the profoundly personal. Aoba has always excelled at blending traditional Japanese folk elements with contemporary ambient soundscapes, and 'Luminescent Creatures' provides a continuation of this approach with an added expansiveness. One of Aoba's greatest strengths as a composer is her ability to create music that feels both intimate and vast. Her songs are often hushed, yet they contain entire landscapes - evoking images of deep oceans, star-filled skies, and untouched wilderness. Her latest release manages to further develop this vision, weaving elements of nature and human emotion into a soundscape that glows softly in the dark. Alongside the album's release, Aoba has announced the most ambitious tour of her career, including an exclusive performance at The Barbican in London, where she will present 'Luminescent Creatures' in full. For this special show, she will be joined by the London-based 12 Ensemble, adding a rich orchestral dimension to her already intricate compositions. Known for her immersive live performances, Aoba will likely bring the album's radiant soundscapes to life in breathtaking fashion. With 'Luminescent Creatures', Ichiko Aoba continues crafting music transcending time and place. The first three singles hint to fans at an album that is deeply personal and expansive - a journey through the unseen forces that connect us, whether through light, sound, or presence. Whilst awaiting the full release, the singles serve as quiet beacons, leading the way into Aoba's luminous world. Following well in her previous works footsteps, 'Luminescent Creatures' is not just an album but an experience that invites us to listen, reflect, and perhaps, in our own way, glow. Score: 8/10 'Luminescent Creatures' will be released on February 28th 2025 via hermine. Words: Kelly Gowe Photo: Kodai Kobayashi

Formed in 2021, Venamoris, which comes from the Latin ‘vena amoris’ or ‘the vein of love’, is the creative powerhouse formed by married couple Paula and Dave Lombardo, who are set to return with their latest album 'To Cross or To Burn'. When their debut album 'Drown In Emotion' was released back in 2023, the pair introduced a bold new musical identity that was at right angles to expectations. Known for his legendary drumming in Slayer and many more iconic acts, Dave Lombardo takes a more nuanced approach here, crafting percussive textures that perfectly complement Paula’s hauntingly beautiful vocals and evocative song writing, to form a duo that delivers a dark and evocative new sound to fans new and old. Steeped in atmosphere and emotion, 'To Cross or To Burn' deepens that vision, exploring themes of love, loss, and existential reckoning. The production is lush yet intimate, with brooding synths, hypnotic rhythms, and moments of raw, unfiltered vulnerability. The record is a striking fusion of darkwave, rock, and cinematic soundscapes, pushing the boundaries of their already eclectic sound. 'Stay With Me' opens the album with a slow atmospheric burn, setting the tone with its eerie melodies and pulsating bassline all while Paula’s smooth voice glides over the arrangement, delivering lyrics that cut deep - feeling almost like a spell has been cast over the listener as we are invited to fall deeper into the world and story Venamoris have crafted through this album. There are a number of standout tracks throughout the album, with 'Spiderweb' being one of them. A fusion of trip-hop beats and post-punk guitars, this track is a mesmerizing journey through shadowy textures and cinematic build-ups. 'Animal Magnetism' - a cover of Scorpions original track - is another standout moment on the album, where this haunting interpretation adds an entirely new dimension to the original track. The addition of sludgy guitars and a gothic ambience breath a fresh perspective into it, giving the song a new lease of life. After what feels like an emotional and personal journey through the tangled webs of love, lust and yearning, we reach the title track 'To Cross Or To Burn' to bring the album to a close. This song reinvents the classic rock sound with a modern, industrial twist. The interplay between Paula’s sultry vocals and Dave’s intricate instrumentals makes for an unforgettable experience, bringing the album and our dark gothic journey to a deeply satisfying end. 'To Cross or To Burn' stands as a testament to Venamoris' artistic evolution. The album moves effortlessly between delicate, intimate moments and grand, cinematic flourishes, making for an immersive listening experience that truly feels as if you have been pulled into a dark gothic world of romance and suspense. The combination of talents from Paula and Dave Lombardo have crafted a record that defies genre constraints, drawing from their vast artistic influences to create something truly unique. Whether you’re a fan of darkwave, experimental rock, or atmospheric soundscapes, this album is sure to resonate. A hauntingly beautiful and deeply introspective record, 'To Cross or To Burn' cements Venamoris as a project worthy of every bit of attention and praise. Score: 8/10 'To Cross or To Burn' will be released on February 28th 2025 via Ipecac. Words: Arcadia Craven Photo: Hannah Verbeuren

The wait is finally over! After years of collaborations with high profile artists, FANALO, the acclaimed guitarist and artist from France, is finally coming back with his self-produced solo album ‘Fanalo’. The self-titled album promises the listener a fusion of genres, and delivers exactly that and more. There is no doubt about FANALO’s talent, as we dive into his guitar mastery from the very beginning of the album. ‘Tribes’ is a spectacular opener, that combines African native instruments and vocals with powerful guitar riffs, that are present throughout all tracks and are a real staple. ‘Hate 4 Sale’ is a completely different story, leaning more into clear vocals, but still keeping up the upbeat melody, reminding the listener of songs from the 90’s, the time when FANALO crashed onto the music scene. Using the typical keyboard sounds from that era brings the whole song together and really makes it to stand out. Moving on, the songs ‘Why’ and ‘New Found World’ do not feel as energetic as the first two, but bring us a pair of catchy choruses and breathtaking guitar solos, that really showcase the artist’s talent. Being written in a real classic rock style, the songs sound amazing and feel like a little break, before ‘Moon’ starts playing. Containing many sound effects and actual voice tapes from journeys to the moon, the atmosphere of the album changes and the listener feels like they are about to start jamming in the space. Having a thoroughly pompous ending, the track is very well made and is absolutely a highlight of the album. ‘STC’ and ‘Die to Live’ continue the trend of hard rock, which suits FANALO’s vocals and expertise, as he worked as a sideman guitarist for Ron “Bumblefoot” Thal during his solo project in the past. The eighth track on the album is called ‘Rebirth’, and dives more into experimental territory by exploring more ethereal sounds, making the name of the song fit perfectly. With no vocals, the focus is on the instruments this time. We have the usual guitar riffs and drums, complimented by keyboard piano, that are piercing the track together flawlessly. The last two tracks, ‘Isolation’ and ‘Rise’, are going back to hard rock, giving us well executed vocals, meaty riffs and energetic solos, departing us with the album in a no-nonsense fashion. ‘Fanalo’, the solo album, is a perfectly balanced mix of genres that stays stuck in the listener’s mind long after they finish listening to it. His terrific multi-talent is remarkable, from executing great guitar riffs to giving us a God-worthy electronic piano experience. Not many artists would be able to combine so many elements together and still make their music sound perfect, but FANALO is an example of someone, who can do it effortlessly. Score: 7/10 'FANALO' will be released on February 28th 2025 via Klonosphere Records. Words: Katerina Stepanikova Photos: FANALO

After 10 years of bringing music to the world, Grima are releasing their sixth full length album. Packed with atmospheric black metal out of Siberia this album should not be missed, with 10 thrilling tracks that can quench any metalheads thirst. This twin brother duo Vilhelm and Morbius continue in the next chapter of their story to bring us an album that is set to honor the spirit of the Siberian Forest, Taiga. The album starts with a calm yet unsettling introduction named 'Intro (Cult)' before moving into the first full track, 'Beyond the Dark Horizon'. This fairly typical black metal track features a repeated bass riff with Vilhelm's impressive roaring vocals, and a short-lived but satisfying guitar solo at the tail end. Throughout the album, instruments like the Russian accordion are used to bring the true sound of folk to their tracks. The next track 'Flight of the Silver Storm' is a longer one with a six minute run time, and this track features a repeating melody built with layers of strings to create a melancholic, almost apocalyptic feeling within the listener. The fourth track on the album, 'Skull Gatherers', opens with an earthy acoustic guitar riff and features electronic synths in the background before plunging into the grit of the song. The song kicks into the classic Grima sound, with builds and breaks that present opportunities for prime head banging at live events. 'Impending Death Premonition' opens with an intro that doesn't exactly seem to lead anywhere until about a minute in, whereby the double time drumming - paired with the same repeated riff - create an impressive segment to grasp the listener. Another segment provides a choir-like layering to the screaming vocals that, although quiet, makes for a pleasant change to the sound of the album. The next track 'The Nightside' is over seven minutes long and entails the same sound as the rest of the album, with a repeating riff and varying drum speeds, however the track does slow into a stripped guitar instrumental about half way, through before featuring not one but two enormous screams from the vocalist of the brothers, Vilhelm. The seventh track on this album is called 'When We Are Lost'. The intro brings a foreboding sense of doom with its desolate chords, and throughout it the song utilizes more melodic elements like guitar and keys to build throughout the song. This is a stand out track on the album, whilst it is one of the longer tracks it is definitely worth a listen for anyone looking for their fix of black metal. 'Curse of the Void' uses a 3/4 time signature, which separates it from the rest of the album, and features the best drumming of the ten tracks, fast paced and impactful grooves to really make your heart race and wonder where the track could possibly go next. During the last minute of the track, there's a wistful guitar solo that then peters out into an atmospheric instrumental at the end. The last full track on the album 'Mist and Fog' is perhaps the most emotive of them all, with the vocals still being perfectly strong screams but using levels of reverb that make it almost like a whisper, an interesting use of effects that really makes it stand out. This song is a slower tempo than the rest of the album until the last few minutes where it really ramps up, bringing the Russian accordion melodies that we've heard in the majority of the tracks. The very last track is a short piece named 'Outro (Memories of a Forgotten Home)'. This one brings back a number of instrumentals that we've heard throughout the album, acting as a neat little packaged up ending to these 10 mysterious tracks. Although the use of an accordion and other folk-like instruments seems to overrule and bring the album's sound down slightly, looking past that there's a great album that's suited for any black metal listeners. The masked brothers and their supporting band members are embarking on a 30 show European tour running from late April to early June, so head to their website to catch them in a city near you. Score: 6/10 'Nightside' will be released on February 28th 2025 via Napalm Records. Words: Amy Smyth Photos: Grima

OVERSIZE is an alternative band formed in the Southwest of England and, after two promising EP’s since 2021, are on the cusp of releasing their debut album 'Vital Signs'. Exploring the dynamics within their music, the songs in this record drift easily between the genres of post-hardcore, alternative metal, shoegaze and emo. It’s filled with atmospheric, loud riffs, alongside magnifying, personal and dreamy vocals. You can feel the inspiration of the bands favourite 90’s alternative musicians, with influences coming from the likes of Smashing Pumpkins, Pixies and Deftones. An album centred on grief; the record begins with 'Stalling' which absorbs you with an opening that introduces the listener to the atmosphere of the album that will follow. This flows into 'Are You With Me?' which is performed beautifully with heavy yet airy guitar riffs. Third on the track list is already released single 'Fall Apart' which brings the post-hardcore influence to the surface, turns the volume up to 11 and leaves the listener wanting more. 'Something Clean' is up next, taking a slow, melancholy approach that gives a hint of emo, before belting out surprising, screamed lyrics to give the listeners something beautiful and raw. Midway through we reach 'Daretomove', another previously released single which throws us back to all the 90’s influence that has gone into this record. Finishing abruptly to set up for the next song 'The Incline' which, while lyrically focused, brings a huge riff met with those heart wrenching, impactful lyrics. Slowing down, we have 'From The Hell' which brings an intense but subtle moment of headbanging to round out the track. Contrasting this, another single 'SALT' brings us back to the overall theme of the album, grief and melancholy, whilst still as loud and magnifying as the rest. OVERSIZE’s most recent release 'Vacant' starts with a heavier track that captures us with lyrics perfectly describing the communication (or lack thereof) with the people surrounding us. Finishing up is their current single 'Vital Signs' which closes out the album with everything you’ve expected from this ten-track record, including more surprising screams showing that this band will be a force to be reckoned with in their hopefully long future. Overall, OVERSIZE’s debut album makes a strong statement into the alternative music scene, giving a genre-bending, impactful record that will be on a lot of repeat playlists. This record is personal to the band and sits nicely within the modern alternative metal playbook, with a touch of nostalgia at its finest. Score: 8/10 'Vital Signs' will be released on February 28th 2025 via SharpTone Records. Words: Laura Hughes Photos: OVERSIZE

Cloakroom, a staple of the shoegaze scene with over a decade’s worth of prior discography, are on the cusp of releasing their latest album 'Last Leg of the Human Table', which the band have referred to as an exploration of “what it means to be human and the high cost of the human experience”. The album takes listeners on a hazy journey through abstract glimpses of life, emotion and longing, whilst all ten tracks act as time capsules to capturing different aspects of humanity, underpinned with an existential insecurity. ‘The pilot’ kicks off the album with a strong reverb that at times feels as though it pays homage to punk or Midwest emo, while Doyle Martin’s vocals give an interesting juxtaposition to the strength of the instrumentation. Conceptually, the heavy guitar and drums feels as though it should drown out the much softer, almost indecipherable vocals, but instead both elements hold equal weight within the track, creating a soundscape that immerses the listener. About three minutes in, a guitar solo takes centre stage, its haunting overtones replicate the previous vocals and flipping this dynamic on its head, reshaping the narrative into something transformative. By comparison, ‘Ester Wind’ opens with a classic ‘rebellious’ 90s sound, the drums taking centre stage and vocals both rhythmic and repetitive. Listening to 'Ester Wind' sounds like staying up too late as a teenager and catching cartoons on Adult Swim. It’s finding a slightly scratched Green Day CD in a local charity shop, and having just enough pocket money to purchase it. The reverberation and distortion, which progresses as the track continues, only add to the nostalgia it creates. ‘On Joy and Unbelieving’ is one of the two shortest tracks on the album, alongside its follow up ‘On Joy and Undeserving’. Where ‘...Unbelieving’ has a lighter energy, slowly built by looping chords that begin to build, until joined by bell chimes, ‘...Undeserving’ has a slower, heavier feel in part through the use of guitar. The soundscape that builds up in ‘On Joy and Undeserving’ comes across as melancholy and even slightly uneasy by the end, which mirrors the musical journey taken between both tracks in the form of ‘Unbelonging’, ‘The Lights Are On’, ‘Bad Larry’ and ‘The Story of the Egg’. ‘Unbelonging’ returns to the movie soundtrack style full of cross-genre references and styles found in earlier tracks. Certain chord progressions reminiscent of the Beatles or The Cure, while Martin’s vocals continue to coat the track in a haze broken through by patches of feedback that create a jarring sense of uncertainty. In comparison, ‘The Lights Are On’ combines many of the influences of ‘Unbelonging’ with stronger elements of indie. This song in particular feels suited to live listening at a gig, on vinyl or even cassette as the use of immersive reverb is slightly undermined through digital streaming. The transition from ‘The Lights Are On’ with its ghostly echoes and soft sounds into the guitar of ‘Bad Larry’ is an intense mid-album wakeup call. This time taking instrumental and vocal influence from country and western music. The chorus is crooned in a southern accent, covering the classic country issues of heartbreak, moving on, loss and life. 'Bad Larry', to quote Martin, “roams free and wants for nothing; living a life of experience and lives by his own rules and dying on his own terms; a life to vilify or envy.” ‘The Story of the Egg’, on the other hand, takes a much more synth-driven sound that replaces the image of a truck stop with a high speed chase on the highway. Fast-paced where the former was stationary, energetic instead of reflective. Instrumentals do the majority of the work to carry the track, while vocals take a literal backseat on a journey that ends with what sounds like the sampling of an 80s radio station. Finally, the album ends with ‘Cloverlooper’ and ‘Turbine Song’. ‘Cloverlooper’ encapsulates and revisits several of the themes, atmospheres and energies of tracks from the beginning of ‘Last Leg of the Human Table’, while ‘Turbine Song’ focuses on the soundscape of uncertainty. Insecurity, and a looping dread for the future that feels both futile and full of potential. It ends with the sound of wind that seems to stretch on forever. Overall, this album was an enjoyable form of escapism. There are clear ties to a multitude of genres, while still being a primarily shoegaze project, and it captures what feels like several different but universal experiences of emotion. According to the band, the aim of this piece is to imbue the listener with responsibility. To take away the idea that, when it comes to the Last Leg of the Human Table, “if one leg were to falter, the whole table will fall”. In this area, it is not apparent how successful they have been at hammering home a message of social responsibility and community advocacy - but as an album, it was an enjoyable listen. Score: 6/10 'Last Leg of the Human Table' will be released on February 28th 2025 via Closed Casket. Words: Q Cummins Photo: Vin Romero