Inhuman Nature have returned to offer a vampiric hardcore sophomore album Greater Than Death. By combining some of the best bits of hardcore and doom metal over ten tracks, Inhuman Nature have created a sound fit for the Castlevania soundtrack enjoyers. Opening with the scene-setter 'From the Shadows', the listener is introduced to the inhuman man, then is thrown into ‘Dawn of Inhuman Man’, an intentionally messy hardcore hitter which balances the ambience and melody of the doom metal that makes up the other half of this project’s inspiration. This is followed up beautifully by ‘Possessed to Die’ - stabby in its riffs throughout the verses, before breaking down into what can only be described as the guitar equivalent of spinning a record back. The whole track swings while still serving that vampiric and traditional metal feel, scratching an itch in the brain and making it a standout of the first section of this album; no wonder it was chosen for the lead single. This project hits its stride as follow up ‘Servants of Annihilation' rings out, serving a thrashier type of metal while maintaining the technical riffs of the first third; it does contain a god awful guitar/amp static halfway through though, which dampens an otherwise solid offering. The longest track, ‘Fortress of Delusion’, brings it back however - a heavy ballad with a sinister introduction that feels akin to what would play behind a villain's introduction in a cutscene before utilising Inhuman Nature’s signature drop and kick to begin the vocal element, as well as the reintroduction of that guitar-record-scratch that blissfully reminds of the original Aggretsuko theme tune (ifkyk). Longer tracks can often feel bloated, but the six minutes that Inhuman Nature takes on 'Fortress of Delusion' feels warranted as they move between sections with ease. The second half of this project focuses more on the crust and hardcore influences that the London quintet took when writing Greater Than Death, in turn dropping the vampiric feel somewhat. The tracks still groove but the tempo has increased and there is more focus on Simon Grubb’s drum lines rather than Ben Taylor and Mack Stay’s riffs; the title track being a perfect example, starting with a gorgeous round-the-toms floor lead section which sounds just as handy for a warmup as it does impressive for recorded work. The track itself has a more dancey feel than the entries prior, balanced well with more vomit-scream style vocal choices and the “are you ready to die” motif which helps maintain its intensity. Its follow up ‘Mad Man’s Cage’ is one of the best named in terms of its energy: the track feels like it builds and never quite resolved, with its spoken word elements and chaotic second half devolving into a riff trade and swelling outro that gives the energy of crimes being forcibly contained. The final two tracks on Greater Than Death comprise of eerie instrumental warm-up ‘The Maze of Eternity’, then launching into album closer ‘Dead and Buried’, which pulls out all the stops to deliver doom metal realness. The final guitar solo sounds beautiful, though the vampiric energy of the first few tracks doesn’t quite make its return. Greater Than Death is a solid second offering from Inhuman Nature - it strikes a gorgeous balance between its hardcore and doom metal influences to produce a sound in equal parts modern yet traditional. The vampiric vibes of its first three tracks are captivating in a way that doesn't quite last the rest of of the project; it would have been great to feel more of this energy in the second half, but the dive into hardcore conventions still creates a sinister sound that scratches a similar itch as the project’s first half. The use of motifs, such as the pause and drop and that scratchy guitar riff, help to carve out what Inhuman Nature’s signature sound is - it is hard to stand out in the wall of noise that metal and hardcore can be, but for those that like the more traditional metal conventions, then this Inhuman Nature LP is staple listening material. Score: 7/10 Greater Than Death was released on April 25th 2025. Words: Julia Brunton Photos: Inhuman Nature

Hot off the heels of their critically acclaimed ‘Tear Them Down’ EP last year, London hardcore outfit Higher Walls return with No End - a self-released, six-track barrage of unfiltered rage and pure disdain. Based across London, Higher Walls are a politically charged hardcore band known for their uncompromising sound and DIY ethic. Featuring members originally from Moldova, New Zealand, and the UK, the band blends classic hardcore aggression with a modern metallic edge. Since their debut, they've steadily built a reputation in the underground scene, sharing stages with the likes of Grove Street, Splitknuckle, and Death Goals, and earning praise for their intense live shows and socially conscious lyrics. Clocking in at just over 15 minutes, No End wastes no time. It's a tightly wound burst of sonic fury: raw, relentless, and urgent. For the uninitiated, Higher Walls are essential listening for fans of Terror, Nails, and the kind of hardcore that’s as politically charged as it is pit-ready. This is music that demands to be heard loud, fast, and in the thick of a sweat-drenched crowd. Tracks like 'Cloak & Dagger' and 'So Much, For So Long, For So Little' (covered here in our preview) show a band unafraid to confront the world’s hypocrisies head-on. Blistering riffs and breakneck drumming collide with lyrics that seethe against systemic violence, state neglect, and the grinding realities of working-class life. There’s no room for subtlety here, and that’s precisely the point - this is hardcore at its most urgent and unapologetic. In a release packed to the seams with incredible musicianship, it's difficult to highlight any specific track, especially with the EP’s concise six-song format. That said, the opening track 'History’s Eyes' makes a bold, furious first impression. At the same time, closing track 'So Much, For So Long, For So Little' feels like a final nail, driven home with conviction. From start to finish, No End is brutally unrelenting. What truly sets this EP apart though is its unwavering focus. Each track feels like a direct hit to the gut; everything is sharp, efficient, and deliberately composed. There’s no bloat or self-indulgence. The band’s international makeup brings a unique perspective, channelling a broader sense of global unrest into a distinctly London-flavoured strain of hardcore. This is music born of frustration and fury, but it doesn’t wallow - it fights. No End isn’t trying to reinvent the genre, but Higher Walls have undeniably raised the bar. There's clarity in the chaos, driven by tight musicianship, razor-sharp production, and a deliberate pacing that avoids the genre’s common pitfall of becoming a blur. Every choice here feels intentional, every hit lands exactly where it should. This EP is also a reminder of the power of brevity. In just 15 minutes, Higher Walls achieve more than many bands do across full-lengths. They cut straight to the point. Just purpose and passion, zero filler or waste. In a political climate as bleak and frustrating as the UK’s currently, this release couldn’t feel more necessary. Higher Walls are a band with something to say, and they say it loudly. We can’t wait to catch them live later this year in support of this outstanding release. Score: 8/10 No End was released on April 25th 2025. Words: Andrew Nile Photos: Higher Walls

After two albums of volatile noise and crushing intensity, Copenhagen’s EYES return with SPINNER, their third full-length and first for Prosthetic Records. Known for blending the calculated chaos of hardcore with the bleak textures of noise rock, EYES have made a name for themselves both on record and on the stage. But, the release of SPINNER marks a shift that’s more focused, narrative, and arguably more daring. Where 2021’s Congratulations was pure abrasion - like being dropped into a pit of broken glass and feedback - SPINNER trades some of that density for precision. The band hasn’t gotten softer, not even slightly, but their attack now comes with a different kind of intention. The album builds a fictional world inspired by ‘80s anime and the works of manga author Asano Inio, with a storyline that mirrors frontman Victor Kaas’s internal reckoning. It’s a concept record, but not in a traditional sense; more like a scrapbook of painful memories redrawn into something surreal, and then screamed into a mic. The record opens with 'OP1', a brief instrumental that sets a retro-futurist tone. It bleeds straight into 'Better', which slams into gear with furious energy and sets the tempo for much of what follows. Standout track 'The Captain' introduces one of the album’s most compelling characters, someone in a position of authority who nonetheless feels like they’re drowning under pressure. The song’s imagery of a heavy backpack growing until unbearable captures that suffocating contradiction - being at the top, yet feeling like a fraud. It’s theatrical without being corny, the kind of storytelling that feels earned because blistering performances back it. And blistering is the word here - EYES are still a sonic wrecking ball. Tracks like 'Save Face Regularly' and 'Deflating Rooms' tear through genre boundaries, pulling from hardcore, punk, and post-metal moments. But what’s new is how tight the structures are. Each track feels like a chapter: short, punchy, but densely packed with meaning. 'Moving Day for the Overton Window' and 'Clown' are chaotic yet strangely catchy, with riff changes that feel like sudden shifts in mood rather than just technical flexes. There’s also a deeper emotional weight this time around. 'Beelzebub', 'The Hypocrite' and 'Money Mouth' channel frustration and disillusionment in more abstract forms, like dreams spiralling into nightmare logic. SPINNER’s final track is the longest and most expansive, unfolding more slowly and letting its narrative breathe. Here, the band dials back the intensity just enough to make the emotional resonance land that much more forcefully. It’s a fitting closer that feels like an ending, and a reset. Credit has to be given to producer Jacob Bredahl for capturing EYES’s raw, almost suffocating energy in a studio setting. The mix is tight and brutal, yet there’s space when it matters most. Guest vocalists Selma Bahner (Feral Nature, Tower) and Jesse Matthewson (KEN Mode) add new textures without ever stealing the spotlight. Brad Boatright’s mastering, as always, ensures the sonic violence doesn’t lose its clarity. Despite the intensity, SPINNER is not just aggression for aggression’s sake. There’s vulnerability here, hidden under layers of distortion and scream. Through its characters and storytelling, the album becomes a vessel for self-examination. The fictional world that EYES have built gives Victor Kaas room to unpack real emotional scars. The characters may be made up, but the feelings aren’t, which gives SPINNER its staying power. With SPINNER, EYES manage to evolve without losing their teeth. It’s the sound of a band doubling down on who they are while taking bold steps forward. Cleaner production and sharper song writing highlight their strengths, and the emotional weight of the concept adds another layer of depth. It’s a record that hits hard both musically and thematically - a punch to the gut, but one that stays with you after the ringing in your ears fades. EYES don’t just level up on SPINNER - they redefine their limits. Score: 8/10 SPINNER was released on April 25th 2025. Words: Kelly Gowe Photos: EYES

British metalcore heavyweights Employed To Serve return with their brutal new album Fallen Star. This latest offering marks the Woking five-piece’s fifth studio album and their third release on Spinefarm Records, and it might just be their most confident and cohesive work to date. In contrast to 2017’s The Warmth of a Dying Sun, Fallen Star moves away from bleak introspection and cathartic anger, instead embracing more positive themes. This new release emphasizes resilience, with the band highlighting the importance of finding inner confidence, staying true to one's beliefs, and the strength of close-knit groups as key focal points. We’re not arguing that the album pulls any punches - the riffs still slam, and the breakdowns still hit like a freight train - but the outlook is undeniably brighter and bolder than ever. It’s an album about pushing through the storm, not succumbing to it. There’s still the uncompromising heaviness you’d expect from Employed To Serve, but it’s delivered with a sharpened sense of purpose. The guitar work, courtesy of Sammy Urwin, often blends pummelling metalcore grooves with soaring melodic flourishes. At the same time, Justine Jones delivers some of her most commanding vocal performances to date - equal parts fury and focus. The album is stacked end to end with some incredible guest features. The single ‘Atonement’ features the mighty Will Ramos of Lorna Shore, whose signature guttural vocals add extra weight to the already thunderous track. Yet it’s Will’s clean vocals that truly shine here, in an unexpected but incredible inclusion. Elsewhere, Killswitch Engage’s Jesse Leach brings a gravelly emotional depth to ‘Whose Side Are You On?’. Simultaneously, Svalbard's Serena Cherry provides a striking contrast to Jones on 'Last Laugh.' Instead of feeling like mere star-powered gimmicks, each guest's presence feels deliberate - enhancing the songs rather than distracting from them. Both lyrically and musically, this new release doesn’t shy away from the band’s signature aggression. Instead, it refines it. Lewis John’s production is tight, punchy, and polished without sacrificing that raw, razor-sharp edge that’s long been signature to their sound. Guitarist Sammy Urwin’s riffs often veer into melodic territory, offering moments of clarity amid the chaos. Justine Jones remains a commanding presence on vocals, balancing visceral rage with a new-found sense of uplift and resilience. Employed To Serve have always thrived on intensity, but with Fallen Star, they channel that intensity into something more focused, defiant, and ultimately uplifting. It’s a record that hits just as hard emotionally as it does sonically - a celebration of strength through solidarity and survival. Where previous albums wrestled with despair and frustration, Fallen Star offers resistance and renewal. It’s about survival, self-belief, and the unshakable bond that forms between people who face adversity together. This is absolutely the band’s best album to date. Perhaps a bold statement, given the back catalogue full of incredible works, but we stand by it. This career-defining release refines everything they’ve done before while carving out bold new territory. Employed To Serve have long been amongst the UK’s most vital voices in heavy music, and Fallen Star cements their place at the very top of the scene. If you’ve been sleeping on them, now is the time to wake up. In a genre often defined by its darkest moments, Fallen Star is proof that heaviness and hopefulness can go hand in hand. Score: 8/10 Fallen Star was released on April 25th 2025. Words: Andrew Nile Photos: Employed To Serve

Scottish twins Cloth wanted their third album, Pink Silence, to feel like the early morning or later evening ethereal light in the sky that happens when the sun is rising or setting, and it's safe to say they have successfully captured that feeling in their third album. Providing serene goodness with their feather-like approach, Pink Silence really does take you on a journey through the clouds. The duo set the scene for an exciting career with the release of their self-titled debut in 2019, followed by their Scottish Album of the Year Award-nominated 2023 follow-up Secret Measure, which made Cloth one of Scotland’s bands to watch. It's safe to say Pink Silence has further solidified that. Hailing from Glasgow, twins Paul and Rachael Swinton have been accompanied by the likes of Mogwai’s Stuart Braithwaite, Portishead’s Adrian Utley, Owen Pallett and producer Ali Chant (Perfume Genius, PJ Harvey) on this new record, catapulting the duo into a new territory, whilst still encapsulating their usual feather-like approach. Having written music together since childhood, the band have a rare shared history, with Paul writing the lyrics and Rachael providing the vocals. Opening track ‘Pink Silence’ is an immediate attention grabber, starting with serene vocals before drums and guitars accompany in full effect. It is an opening track that perfectly sets the scene for an exciting third album from the Scottish twins. With the aim to push themselves out of their comfort zones and write a few more upbeat, fast tracks for the album, track ‘Polaroid’ draws you straight in with a perfect bass line and accompanying strings that come in at the most perfect moments to keep the listener fully engaged at all times. It’s certainly one of the more upbeat songs on the record whilst still managing to capture that ethereal, serene feel that Cloth do so well. ‘The Cottage’ provides one of the slower, more stripped back songs on the album, but equally captures the serene energy that they have channeled throughout the whole album. Catchy guitars accompanied by Racheal's usual whisper-like vocals makes ‘It’s a lot’ channel a slightly different vibe from the rest of the album. Closing track ‘Write It Down’ continues the consistent vocals and strong guitars that have featured throughout the album and closes the album perfectly. Ultimately, Pink Silence is the perfect album for a chilled out, spring afternoon picnic or car ride. If Cloth’s aim was to take their listeners on a journey into the sky, then it's safe to say they have achieved just that. Cloth will be embarking on a series of in-store shows to celebrate the album release, these include: 28/04 - Rough Trade Bristol 29/04 - Banquet Records, Kingston 30/04 - The Blue Basement, London 03/05 - Shake The High Road, Leytonstone Score: 7/10 Pink Silence was released on April 25th 2025. 7/10 Words: Olivia Hermans Photos: Cloth

Explaining anything Melvins-related to the uninitiated is like trying to sell sand to Bedouins. You’re elated, proselytizing holy gospel about just how significant this group is, how their records all fit together, and how they’re 'low-key responsible for the creation of Nirvana'. Meanwhile, your victim is staring at you stone-faced and utterly numb in listless ennui, giving you that blobfish grimace. It’s only natural, because enjoying a band like the Melvins is a kind of chemical imbalance, a spiritual disorder, maybe even a curse. How can you sell a band that has so many albums, that really do not sound that alike? It is true, Melvins have been around for what seems like eons at this point, and they’re moving briskly from one irregularity to the next. You’d have better odds wagering your kidney on a one-legged rooster race than guessing what they’ll come up with next. These sludge-lords have shifted line-ups many a time; dual basses, double drummers. Now they’re firmly entrenched in their 1983 sequence of albums, with Thunderball being the third, featuring Buzz “King Buzzo” Osborne and founding percussionist Mike Dillard (with bassist Dale Crover seemingly sitting this one out), now with the experimental accoutrements of Ni Maîtres and Void Manes. It’s very unusual these days to see a group putting out albums every year, a veritably 1970s pursuit, but Thunderball finds itself released scarcely under a year since the band’s last offering, Tarantula Heart. These guys seriously put the hustle in. While the last few albums have had some of that whimsy tied to them, featuring amusing Beach Boys covers and explicit how-in-the-hell-is-this-a-real-song-title type tracks, you will not find such humour on Thunderball. Serious face on. What you get is a 35 minute-ish album that delivers the goods in droves. The opening track ‘King Of Rome’ dares to keep it compact and radio-sized, with a catchy hook and stellar guitarwork draped in a sheet of thin electronica. ‘Vomit Of Clarity’ is a passing detour into two minutes of ambient circuitry that feels like somebody leaked kombucha on a modular synth and let it record itself dying in agony. It's not bad. It's not good. It’s two minutes of bleeps and bloops. Then comes the eleven minute brain-bender ‘Short Hair In A Wig,’ a progressive, cyclonic twirl into existential dread while Ni Maîtres and Void Manes concoct loops so twisted it’s a veritable category 4 hurricane. There’s plenty of variation in the drum work and riffs to keep the song from feeling too bulky, while the vocals spell out a dreadful portent alongside condemning drums. ‘Victory Of The Pyramids’ has to be the stand-out track, while also lengthy, it careens into a cosmic blues-boogie that is sludgier than a mud bath. The chorus hits. The chorus is either “Did he go?” or “Billy goat.” It rules. You don’t question it. Penultimate track ‘Venus Blood’ unfurls like a leviathan surfacing, hushed tension, bleak melody, then melodic outro riff buzzling like a thousand tiny electric bees. Then, ‘tis all over. Exuent stage left. So yeah, Thunderball is shorter than Napoleon wading through wet cement. But it doesn’t waste a second. There’s no fat here, no padding. The Melvins seem to provide a damn fine album experience in the short time that they had. They have mastered the art of brevity when they want to. While the electronic collaborators only show up in noticeable ways a few times, the atmosphere they offer, especially in the back-end of the longer songs, adds an unnerving, abstruse zing that keeps things stimulating even when the riffs threaten to wear thin. As fans of the band will know, they can be quite challenging to introduce to the uninitiated. In Thunderball, they might have found their reprieve, because the music here is not only accessible, but an exceptional introduction to the band itself for those that are unfamiliar. While the electronic sounds are novel, they compliment the bedrock sound of the band particularly well. Not to mention, they sound tenured. This is a band that has paid their dues in full and were making music when younger bands were still pottering about in nappies, yet they can still deliver sounds that are fresh and new decades later. Maybe not their most groundbreaking ritual, but a damn solid incantation nonetheless. Whatever is next for the band, it sure won’t sound like this. Score: 8/10 Thunderball was released on April 18th 2025. Words: Kiarash Golshani Photos: Melvins

The Swedish death metal fury Övervåld has returned with a new aggressive EP Vigarv, to remind us that they indeed are still ready to fight for their rightful spots on the scene. Consisting of three members – Rebecca Holms as the vocalist, Joachim Lyngfelt of Crawls on guitar and an ex-member of the Swedish black metal devils Sethorial on drums, Peter Engström, they are playing around with the raw sounds of instruments in death and black metal, creating furious melodies with lots of tension, that do not let anyone predict their next note. Vigarv, which the band self-released, is the second EP of the three-person project and shows off Lyngfelt’s masterful skills with the guitars. It is built on four different tracks, with each one of them being written and sung in Swedish language, uplifting the authenticity of their music and lyrics. The opening track 'Förruttnelse' kicks things off things aggressively, as we delve immediately into the action. Being pulled into a chaotic foray filled with drums and guitars, swiftly accompanied by the gut-wrenching vocals, there is no time to get fully prepared for the deadly riffs the band has in store. Right before we are able to process everything that's going on in the track, we are thrown right into the next one called 'Lögnarnas Tempel', which carries over the furious sounds of its predecessor. This second track proudly reminds us that death metal is indeed etched into the band’s roots, but that they do draw heavily from black metal as well. The third track is the title track 'Vigarv', which gives Engström more room to show off his talent, as the whole track is based around the sound of his drums. Having the amazing Lyngfelt to follow along with him, the song is even heavier than the previous tracks and barley gives the listener room to breathe. As the EP continues into the final track on the release, you can take a brief second to marvel at the brutality of Swedish death metal. The final track, as with the tracks before, is fully loaded with Holms’s terrifying vocals, Lyngfelt’s genius riffs and Engström’s marvellous drum work, closing off the short, yet memorable EP with a fairly good mix of sounds. Apart from being very chaotic most of the time and not giving the listeners space to take the music fully in, which is the nature of such releases, the EP delivered stunning plethora of guitar riffs and raw vocals. Being the second release of the band so far, there definitely is a room for improvement or additions such as bridges or transitions, but overall, Vigarv is a pleasant listen-through that is worthy of the attention. Score: 7/10 Vigarv was released on April 18th 2025. Words: Katerina Stepanikova Photos: Övervåld

King Kraken have dropped their latest album March of The Gods, and if you're a fan of heavy rock looking for a newer band then this is the album for you. The five piece from South Wales have been steadily gaining fans since their first release in 2019. They've had supporting slots with bands such as Monster Truck, South of Salem, Fury, and legends Geoff Tate and Crowbar. 'Scream' kicks off the album strong with addictive melodies and an immersive bassline. Lead vocalist Mark Donoghue wastes no time in flaunting his voice with a catchy chorus, even throwing in some screams. The track is a great example of King Kraken's heavy rock soul, giving every element one would expect from the genre. ‘El Giganto’ is very playful with its lyrics, nostalgic in its rhythms as the lyrics describe the power of a demon in something reminiscent of a 90’s cartoon intro. A razor guitar solo shreds through the second half, before bringing in again that earworm of a chorus that us at Out Of Rage will have stuck in our heads for weeks to come. The next track ‘Berzerka’ begins more stripped back, with booming drums building up to be joined by the screeches of guitars, the bassline keeping low and groovy throughout. Its flow is seductive, accompanied by soulful vocals that grovel and growl about the themes of being left alone, contradictory yet working perfectly together. Next up is the title track, switching between different beats every few bars really keeping the listeners attention. Drummer Richard Lee Mears works hard across the track switching up the beats, using half time beats and fills to create unique sections that would certainly sound entirely different if featuring the same drum beat throughout, a very clever way to bring a lot of variation to the track. ‘Hero’ is next on the roster, instantly standing out by opening with an instrumental reminiscent of something the Red Hot Chilli Peppers might release, but again Mark comes in with his incredibly soulful voice bringing it to a completely different genre. The song is particularly poignant as he sings about his father in what is definitely a stand out song for us, being both captivating and incredibly emotional. Switching it up again, ‘Vigilante’ brings back the tantalizingly groovy bass and roaring guitars, making any listener bust a move. This track is another seamless example of a true heavy rock track, full of rebellious lyrics and even slowing the tempo at the end to perfect headbanging speed. ‘Preacher’ starts with an interesting beat, which takes a moment for the ears to adjust to. It's certainly addictive, incorporating that grooviness we've heard in previous sections of the album, but also slightly more playful like ‘El Giganto’ - these guys are not even slightly afraid to mix things up. The eighth song, the so-called 'Magnum Opus', starts low and booming, drums building up to a quintessential heavy rock riff and beat. Mark opts for a lower register vocal performance, matching up with the low guitar and bass as well as the extensive use of the bass drum. Next up ‘Chainsaw Saviour’ brings visions of sweaty rooms full of battle jackets and long hair, all head banging in synchronization. Musically, it is quite similar to the last apart from a supersonic guitar solo in the second half, showcasing the fast fingers of the guitarists Adam Healey and Pete Rose. The track chosen to close the album is ‘Under The Sun’ which introduces new sounds of reverberating twangy guitars, unseen in the rest of the album. It helps to create that imagery of being in the overwhelming heat of the scorching sun, just as the name and lyrics speak of. The band throws out one last addictive chorus, before closing the entire album with a mass instrumental of all guitars, bass and drums coming together. To sum up the album - this is all a heavy rock fan could want. It brings playfulness, vulnerability and rebellion in its lyrics with instrumentals to match all those cohesively. King Kraken are already booked for a tour with new music in the works so if you enjoy this album, keep your eyes peeled for more - we know we are! Score: 9/10 March of The Gods was released on April 18th 2025. Words: Amy Smyth Photos: King Kraken

Divide and Dissolve, the project of the Black and Cherokee composer and multi-instrumentalist Takiaya Reed, is a sensation on the doom metal scene, combining the genre with Reed’s visions of the world and her experiences. Her new album Insatiable is a mixture of different instruments, all harmonising in a beautiful expression of her visions. The album, consisting dominantly of instrumental tracks, plays with the narrative of the paths of either destruction or compassion which each individual is destined to take, representing Reed’s emotional journey connected to the topic. The opening track, called ‘Hegemonic’, can be interpreted as an introduction to the concept of the release. Heavily using vocals, accompanied by hauntingly sounding guitar, the track instantly touches on the heavy topics the whole release is about. The second track on the album, ‘Monolithic’, kicks off a series of doomy tracks and sounds, representing different aspects of love and oppression. Beginning with a calming, almost soothing saxophone, the song gives us the feeling of security and peace, only to transition right into a chaotic melody of prominently played guitar riffs and heavily used drums, representing the oppressive and violent side of the world . Using the saxophone and other instruments to their advantage, the band have made the tracks ‘Loneliness’ and ‘Provenance’ distinctive enough to give the listeners a new perspective of the music. With ‘Loneliness’ featuring an impressive organ, accompanied by other instruments, the mimicking of the titular emotion is on point. The track creates a dual feeling of hopelessness and lonesomeness, whilst cultivating a mood that suggests trying to find a way out from the misery. Surprisingly enough, the track does not feature any overt doom metal elements, making it a piece to reflect on the previous songs and the ones about to come. ‘Provenance’, on the other hand, is a longer track that, whilst featuring similar traits to ‘Loneliness’, feels completely different. Starting off with calm flute, it transitions into a chaotic tone of guitars and drums, yet again distinctive for the album. The track touches on the topics of indigenous people and people of colour, highlighting the importance of honouring our ancestors while being respectful to each other. Together with the previously mentioned track, these two stand out within the chaos and violence of the other songs, being easily memorable. Another track that stands out from the rest is ‘Grief’. Using slower melodies and vocals, the track, although very short, evokes the titular sense of grief and grieving, making the listener reminisce about their own life and experiences. It feels like a closing of a chapter, leading us to the last song ‘Death Cult’, that consists of hauntingly sounding saxophones, fitting perfectly as the last element of the whole album. Insatiable is a work of art, expressing the urgence of peace and harmony. As much as the tracks can sometimes feel repetitive, there are moments when Reed comes with hope-like sounds, making the listener feel more comfortable and secure. Not only that, but her experimentation helps keep the repetition at bay. The album is a great example of doom metal and the different ways of experimenting within the genre, making it a fascinating album to listen to. Score: 7/10 Insatiable was released on April 18th 2025. Words: Katerina Stepanikova Photos: Divide and Dissolve

Ancient Death are coming in fast and hot with their debut full length album Ego Dissolution - prepare for eight straight tracks of cosmic death metal from a band that are really here to show the world what they're made of. The four piece are from Massachusetts, and feature bassist/vocalist Jasmine Alexander, guitarist Ray Brouwer, guitarist/vocalist Jerry Witunsky, and drummer Derek Malone Moniz. Whilst the band's first four years of releasing music together have shown plenty of promise, this debut has smashed all expectations. The title track throws us straight in at the deep end, opening with shredding guitars and rapid drums before the extended intro eventually pulls us into Jerry Witunsky's cathartic screams. The track slows around the three minute mark, before ripping into a blast beat filled breakdown full of screeching guitar's that the band blend together, to create a cohesive pure metal experience. The momentum does not slow as ‘Breaking the Barriers of Hope’ launches the listener straight back into those same blast beats, as the band terraforms a desolate landscape with their rhythms and melodies. The second half of the track slows in tempo but never in rage, with visions of two stepping mosh pits and crowd surfers being fabricated almost unconsciously. Twanging bass rumblings signal the beginning of 'Breathe - Transcend (Into The Glowing Streams Of Forever)' as it runs much darker than the songs prior. The melancholic bassline drags the rest of the band through and leads the way until, at the halfway mark, it transcends into something more melodic. Ancient Death then present new instruments like bells and synths, before Jasmine Alexander's vocals saunter into the song like a siren, slowly bringing us back around to the guttural screams we’re familiar with. ‘Journey to the Inner Soul’ again differs from the rest, being more weightless and atmospheric; the guitars and drums conjure up a large gaping hole, able to swallow the listener whole. This number is completely instrumental but barely feels as such, the guitars singing a haunting repetitive melody that echoes through to the end as it stands alone. ‘Echoing Chambers Within the Dismal Mind’ shows us the true power of Ancient Death as Jasmine and Jerry share what their screams can invent when put together, giving us layered vocals and screams throughout the track. This use of both vocalists really stands out, creating a fascinating stylistic choice that is very listenable. This is our stand out track from the album, as it varies between patterns and rhythms but comes together cohesively, making you want to hit repeat as soon as it ends. 'Unspoken Oath' pulls us back into the shattering classic death metal tracks, a blueprint for what you'd expect and possibly the least intriguing of the line up - but still not wavering in its quality. Shredding guitars, build ups and breakdowns making it still completely listenable and entertaining, just not quite matching up with the rest of the album. ‘Discarnate’, though, is as incorporeal as its name, a short instrumental track that rings like empty reverberating halls, a guitar melody sings its way through the track hauntingly. The last track ‘Violent Light Decays’ truly showcases everything the band have to give: a breakdown with blast beats only two minutes into the seven minute track, Jasmine’s thick, gravelly screams taking a moment to shine before a slow in tempo that slowly builds into expeditious guitars. The song truly is like a musical roller coaster dragging the listener through hills, drops and 360 loops, speedrunning everything the band can give. The album is incredibly cohesive throughout its eight tracks, and is very well recorded and mixed, with the tracks differing to suit their own styles while still maintaining the overall sound of the band. Although we wish it was longer here at Out Of Rage, we can surely say it's one of the best death metal albums we've featured this year, especially coming from a band that are only four years young! We we can't wait to hear what they conjure next. The band have various live shows lined up in 2025 and we hope they might one day be able to make it across the pond to us in the UK - death metal fans keep eyes and ears peeled as we're sure this album will create some noise. Score: 9/10 Ego Dissolution was released on April 18th 2025. Words: Amy Smyth Photos: Ancient Death

Anoxia are a four piece death metal band from Australia, and are presenting us with their debut full length album Revel In Sin. The band promised "eight tracks of pure, malevolent mayhem" and they've stuck to their word like glue. This is a non-stop violent affair, so any discerning death metal fans may well find something to enjoy here. To ramp you into the album, Anoxia start with the title track - two minutes of crashing instrumental, with a repeating booming melody that leads the listener straight into the first full track, ‘Blood on the Altar’, whilst continuing the same melody. Vocalist Joey Scott pig squeals his way into the track as shredding guitars cover his back, and he manages to maintain a deep growling scream whilst keeping the lyrics totally audible. The song switches tempos regularly, not being chained to any one rhythm for more than a few bars, making you unable to tell where the song is headed. ‘M.N.W’ is next up on the roster, it keeps up with the absolute mayhem of the track prior. Its rhythms are absolutely unrelenting, each section of the song giving another pulsating beat to head bang to. In the last minute of the song, a space opens up for a razor sharp guitar solo to bring it round to a final section of growls, as guitars and bass build together in the back, revealing the sounds of hell and closing out the song. The fourth track, 'Rule By Cold Steel', opens with a high pitched squeal showing the diversity Joey is able to conquer with his voice. The onslaught of this track is a testament to everything death metal, evoking the fiery pits of hell and much more devilish imagery from an audio standpoint. ‘In the Wake of Desolation’ comes crashing in, not wasting a moment but getting straight into the thick of things via the drums of Marco Alvarez. These are some of his best moments, featuring some incredible blast beats and untethered fills. Reaching the three minute mark brings a head banging breakdown once again. featuring a guitar solo that is cut a little too short, but impressionable nonetheless. The next number ‘Dwell in Death’ once again brings no pause to the heaviness of their rhythms, with four minutes of relentless beat switching and gargling screams. The song's name being screamed repeatedly to bring the track to an end was a feature we particularly enjoyed. The band promised non-stop brutality with this album, and after the seventh track it is abundantly clear that no lie was told. ‘Darker Forms of Knowledge’, perhaps the darkest of them all, devours its way into the eardrums of the listener, leaving nothing standing in its path. Sonic guitars, pummelling drums and unforgiving screams come together cohesively on a track that shows exactly what it means to be death metal. 'Merciless Sin’ closes the album opening with an addictive riff, before those vocals once again come screeching in. The track features some significant screams in the second half not quite like those in the rest of the album, making the song stand out amongst others before the sonorous instrumentals pitter into silence and draw the album to a close. For those that prefer variety and duality within an album, this may not be for you, but those death metal fans craving eight tracks of non-stop, bone crushing, gut squelching metal will find themselves very well sated. The album is well put together and recorded, well written, and - of course - immensely musically satisfying for anyone that has the stomach for it. Anoxia have multiple support slots lined up in 2025, so be sure to catch them live if you can and if not, keep an eye out for them! Score: 8/10 Revel In Sin was released on April 18th 2025. Words: Amy Smyth Photos: Anoxia

A constellation of seven local venues mapped out the weekend’s entertainment at Manchester Punk Festival, shining with brilliant underground talent as they pilot kindness and visibility for the transgender community, after the Supreme Court's landmark statement on the definition of a woman. Whilst navigating the darkness and looming uncertainty of queer futures in the UK, solidarity took to Manchester’s streets, not just in the peaceful protest that took place on the saturday afternoon, but in the colossal magnitude of artists that provided safe spaces for the LGBTQIA+ community during their sets. At Out Of Rage, we work incredibly hard to make sure queer voices are heard on our platforms and within our contributor community. We are so proud to be working with MPF, which champions LGBTQIA+ diversity in its lineups across all of its venues. The weekend was a breath of fresh air and an opportunity to let loose, sampling the amazing array of acts the festival has to offer. These are our picks for MPF 2025. Perp Walk Southwest showed up! Perp Walk, who made a massive statement at last year's Outbreak Festival, headed to Manchester to kickstart our weekend into the highest gear possible. With hardcore at the heart of their thrashy sound, the band make itself known to the Manchester audience once again. There were high-intensity performances for all members, and the set was paced with ferocity. In anticipation for their new EP ‘The Freeze’, coming May 2nd, the band circled through tracks new and old, taking in the rowdy crowd and matching their energy. Carrying their tenacity into the False Reality set following their performance, they were right there with the audience in the centre of the pit. False Reality Hot off their tour with Heriot the week previously, False Reality are the shit. Their set at MPF kept up the ferocious consistency of the London hardcore mob since the release of their latest album, Path of Self Destruct. Whilst this was a longer set for the band, even incorporating an unreleased song into the mix, you cannot fault a hardcore band for the short and punchy set. Tight, tenacious and loud, the mosh was intimate, pushed sideways with the ferocity of prowling pitters. When the choruses broke, an impressive display of two-steppers made themselves known and the band, that fed off the high-intensity energy of the crowd. Leaving no survivors to their abrasive sound, False Reality retains the undisputed title of ‘the ones to watch’ in 2025. Victim Unit “If you don't want to see trans people, pluck out your eyes!” Vocalist Lotta Ridgely howls with overwhelming power at the Yes! Basement crowd. In a heated but cathartic moment, all emotion is laid bare for Liverpool avant-garde outfit Victim Unit’s set, dedicated to survivors of sexual assault. The duo, tempoed by Ridgely's love of trap beats and Danny Page's thundering guitar tones, push the experimental into the extreme as the set erupts into a chasm of grindcore-infused noise. Whilst Ridgely paces through the crowd screaming and wailing, there is a wild unpredictability to the band's performance which makes them fascinating to watch. Nothing is off limits -including the bar- which becomes the stage for the final song of the night. A profound silence looms from the crowd as they leave the confines of the basement. Victim Unit made their voices heard. The Menstrual Cramps Presents Avril Lavigne The early beginnings of an epic MPF tradition, late nights at the festival become alive with some of the best performing bands playing signature cover sets. On the Friday night, The Menstral Cramps with their Avril Lavigne set. Playing all the hits, after being on vocal rest for the first time in their career history, it was a rocky start for vocalist Emilia Elfrieda’s rendition of ‘Girlfriend’. However, when the iconic Deadpool defying ‘Without You’ hits the swell of its epic chorus, the band and the audience work wonderfully in unison, making the most of Canada’s favourite punk princess. Regardless, the crowd filled the entire floor of Rebellion, with hands flying high as they became the coolest kids in the club. Donning 2000’s emo attire, the band’s set was remarkably short but a great addition to the evening’s entertainment. Snatch Game A drag queen? How about an entire band of them? Snatch Game is the wonderfully fluid result of what would happen if RuPaul went rock. On the evening of the Season 17 finals, a troupe of drag superstars shantayed down to the Bread Shed, to perform hit classics from the show, alongside covers of queer classics including Gaga, Chappel Roan and Kylie Minogues ‘Padam’. On paper, this may appear chaotic, but rest assured, the band were actually quite good! The best energy of the entire weekend, in fact. With their signature ‘Vogue Of Death’, and their iconic catwalk to ripping guitar shred, it caters for the needs of a significant proportion of the OOR contributor population. For our small but dedicated goth community, the band lean into a satisfying Sisters Of Mercy-esque style. Sorry lads, but we would rather be here than at the Ghost tour. The 'Vogue of Death' Grandma's House Full of nostalgia and warm, fleeting feelings, a trip to Grandma’s House is full of raw, conflicting, but beautiful emotions. Bordering between indie and rock, the band spun the Pink Room into a kinetic frenzy. The band released their new EP, ‘Anything For You’, the week before, the crowd suddenly came down with a bad case of the feels. Whilst the band had some trouble getting the levels right on their audio and asking the technician to add some ‘mood’ lighting halfway through the set, they soon found their rhythm. It was a welcome change to the fast-paced punk that surrounded their lineup. We are excited to see what Grandma’s house does next. Cherym Ireland never sounded so good! Straight off the Marshall roster, Derry-based Cherym took to the MPF main stage. With their feminism inflused pop punk, the three-piece band rocked with a high-intensity set. It was a welcome return for the band, playing the festival for the fourth time, as vocalist Hannah tells the audience. Their sound is catchy- almost sickly good- with their candy-coated pop-punk sound. The band were tight and full of ferocity on the main stage. Cherym delivered a great set, which got the crowd going. As the main stage appeared to be a congregating point for the main body of MPF’s punk audience, Cherym was received well by all. Period Drama A shining set from one of the weekend’s smallest stages, Period Drama were a highlight of the weekend. With only one five track EP to their name, they have established a great sound, infusing that wonderful ‘Three Cheers For Sweet Revenge Era’ sound with real and complex conversations about mental health, queerness and navigating the world. The band were tight, wore their hearts on their sleeve and entertained a busy Yes Basement crowd, throwing a Chapell Roan cover into the mix. The atmosphere was electrifying, soothing and an extension of the LGBTQIA+ protest that had captivated Manchester earlier that day. There is plenty more excitement coming from Period Drama, and Rage will be there watching their every move. Words: Amber Brooks Photos: Libby Percival