As 2026 draws to a close, it seems near impossible that anyone could come in as a late contender for everyone’s favourite release of the year. Storming out of left field, GLASS BRIDGES has slammed their new EP In Reverence To All That We Are in our welcome ears, lovingly crafted and mixed with tracks that have a lot to say without feeling like a one-way conversation. Scrap your current list, this EP has earned a place on it. Hailing from South England, the 4-piece are as friendly and approachable as they look, their infectious energy bounding across the stage on their live shows. It feels somewhat at odds with their damning sound, a cathartic outlet that spears through the meat of current injustices and the pervading loneliness so many of us feel. In Reverence To All That We Are gives the listener the words missing from their heart, a descriptor of their emotions and a shared sense of togetherness - but more than this, it tells us this feeling isn’t forever as long as we fight for something better. In Reverence To All That We Are opens with immediate theatricality on Pray, a crushing intro of haunting vocals and bass that shatters into a declaration of “I am not a stranger to the dark” and the terrifying reality of returning again and again to an inescapable mentality, over a curated backdrop of guitars and drums, every instrument crisply featured without drowning each other out in an impressive feat of mixing. We plunge into a breakdown of piano and Simone Cutifani’s sweeping vocals so cinematic the emptiness from the absent instruments is palpable, capturing the feeling of folding into the swirling void of depression and sinking beneath waves that feel turbulent to us and calm to onlookers. Wish is especially hard-hitting for anyone from a broken home, the opening lines noticing the generational trauma gifted by parents and shared with siblings, the chorus showing how this can be broken by finding your place of healing with chosen family. Distorted riffs give way to a drumbeat exercising extreme control, before unleashing on the chorus and running in tandem with the bass. It’s the breakdown that demands attention and steals your breath, stripping completely away to a menacing pulse of synths, climbing steadily to a precipice of shattering drums and guitars, a positively delectable bassline ringing out over double pedals and fretboard runs in a way that will have you salivating for more. Rage is exactly what you think it is. Static collapses against the breathless weight of addictive riffs and wall-of-noise drums, distorted echoing vocals bringing an exhausted frustration and untameable ferocity to the track as the instruments continue to pummel with white-hot energy. The pre-chorus drops into a layered vocalisation full of malcontent at the treatment of girls and women, before bursting into a vow to anyone identifying as female that we'll get fucking loud at the “last of a dying breed” oppressors until they “get the fuck back out”. An onslaught of righteous anarchy that combines industrial elements with alt-rock hooks and metal power to be worn as armour. We delve back into the final cinematically stirring Absolution, taking a more grunge form that builds into soaring vocals centred on the feeling of worthlessness and desperately breaking the cycle against stripped back instrumentals in the first third, before reaching peaks with high vocals and a crescendo of guitars and drums that will undoubtedly be impressive to hear live. Everything falls away for a moving segment of Cutifani proclaiming she’s “so over it, I’m so done with it” and how she longs to escape the grip of anxiety and depression - it’s a sentiment shared by so many who feel perhaps this time the sadness won’t return, only to feel bitterly defeated when it does, with a final breakdown of cataclysmic instruments that echo the moment you realise you have power over your own mind. Score: 9/10 In Reverence To All That We Are will be released on 13th November 2026 via Year of the Rat Records. Words: Julia Stark Photos: LJRphotography / @loztogs

Not everything needs to end in a spectacular breakdown. Sometimes the hardest part is picking yourself up, looking at the absolute state of everything and deciding to get on with it. For CRAWLERS, LIVE WITH THIS feels like exactly that kind of reckoning. Following the grief and loss explored on TURN OFF THE TV, the four-track EP shifts the narrative towards something altogether different: growth, acceptance and learning to make peace with the things that have shaped you. Not necessarily moving on, and certainly not pretending everything is suddenly wonderful, but recognising that the past isn't going anywhere and finding a way to live alongside it. It's a change in perspective rather than a clean break, and that distinction gives the project its weight. Opening with BIRTHDAY, the EP begins its next chapter before BORN SCREAMING comes crashing in with grunge-soaked riffs and a gloriously unapologetic attitude. There's an almost sarcastic ‘fuck it’ running through the track, capturing the familiar experience of waking up and willingly signing yourself up for another 24 hours of whatever fresh hell the world has decided to throw your way. It's a suitably defiant response to the daily chaos: if the options are laugh, scream or simply get out of bed and do it all again, CRAWLERS seem happy to choose all three. The track's grungier edge also gives the EP a welcome burst of bite, keeping its more reflective themes from becoming too comfortable. DIRTY PARTS OF HEAVEN takes a more introspective turn. Written during a period of recalibration for Holly, the track looks back on those fleeting moments of connection found on dancefloors and in bathroom stalls. There's something wonderfully human about its subject matter, particularly when considering the relationship between escapism, alcohol and the need to feel connected to something. It's nostalgic without being entirely sentimental, looking back at the thrill of those nights while questioning whether the things we once relied on to feel alive are actually necessary to experience that same connection. The idea isn't to dismiss those memories, but to understand them differently. Sometimes growing up means realising the feeling you were chasing was never entirely about what was in your glass. Then there's SURE OF IT, which delivers one final powerhouse vocal statement. There's no tiptoeing around the message here. It's a call to stop fighting what's already happened and start facing whatever comes next. The sense of looking forward feels particularly fitting after the EP's moments of reflection; rather than tying everything up with an impossibly neat bow, CRAWLERS leave the listener with a push towards acceptance. What makes LIVE WITH THIS particularly interesting is the shift in perspective. CRAWLERS aren't trying to recreate the emotional weight of TURN OFF THE TV, nor are they offering some glossy, neatly packaged version of healing. Instead, the EP acknowledges that growth can be messy, that acceptance doesn't erase what happened and that finding peace doesn't mean every question has been answered. The last couple of years have clearly been a period of reckoning for the band. Yet, as Holly explains, they've found their way back to the group that started in a shed in Warrington, only now with more confidence, experience and a much clearer understanding of what matters. Their fans and the inner circle surrounding CRAWLERS remain at the centre of it all. There's something fitting about that return to the band's beginnings: not going backwards, but recognising what made the whole thing worth pursuing in the first place. At four tracks, LIVE WITH THIS doesn't hang around, but it doesn't particularly need to. It's a concise statement of intent from a band embracing change rather than running from it. There's still plenty of grit, plenty of attitude and enough emotional honesty to stop this feeling like a simple exercise in positive thinking. It may be a shorter chapter, but it feels like an important one in understanding where CRAWLERS go from here. CRAWLERS have spent time sitting with the uncomfortable stuff. Now they're learning to live with it. And frankly, that's a far more interesting place to start than pretending everything is fine. Score: 8/10 LIVE WITH THIS will be released on 13th November 2026 via Nettwerk. Words: Mia Gailey Photos: Jess Meade

KINGDOM OF GIANTS has never been a band particularly interested in standing still. Throughout their discography, from Every Wave of Sound to Passenger, they have continually explored new sounds and pushed their metalcore foundations in different directions. With Usurper, out November 13th via SharpTone Records, the band takes that adventurous spirit even further, delivering an album that blends modern metalcore with industrial influences, electronic textures, synths and even unexpected touches of saxophone. The result is a record that feels both familiar and refreshingly different, with a strong identity of its own. One of the most immediately striking aspects of Usurper is its cinematic atmosphere. It carries itself almost as a heavy soundtrack of an 80s-90s science-fiction film. Its electronic elements create an occasionally eerie, futuristic feeling, while the industrial undertones give the heavier passages an additional layer of grit. Yet, despite all this experimentation, KINGDOM OF GIANTS never loses sight of what makes a good metalcore record: memorable choruses, crushing breakdowns and a convincing balance between clean vocals and aggressive screams. The opening track, Respawn, makes that clear from the very beginning. Electronic textures establish an almost spooky atmosphere before a huge scream announces the arrival of the heavier side of the band. From there, the song settles into an infectious groove, combining industrial flavoured metalcore and a catchy chorus. It is a slap of an introduction that immediately sets the tone for what follows. Out Of Step takes a slightly more melodic approach, with subtle strings adding depth in the background. Its chorus is another highlight, proving that the band knows how to write hooks without sacrificing the heavier elements of its sound. Then comes Reign, one of the album's highlights. The electronic flair is pushed further into an almost cyber atmosphere. The track manages to feel both faster and languid at the same time, balancing urgency with a hypnotic groove. Anchored by a strong performance, assured songwriting and polished production, it showcases just how comfortable KINGDOM OF GIANTS have become with their evolving sound. The breakdown is particularly satisfying, but it is the overall composition and its ability to move between different moods that make this such a standout. The band continues to play with unexpected textures on A Part Of You, featuring GABI ROSE. It takes a more relaxed, almost dreamy direction, with a slower chorus and a surprising saxophone solo that adds a welcome change of setting. The electronic and industrial elements return on Void Of Form with a noticeable 1980s electro influence. The synths give the track a nostalgic yet futuristic quality, while the heavier guitars and powerful breakdowns ensure that things never become too comfortable. The Edge Of A Dream follows a similar path but brings considerably more weight and speed to the guitars. Its longing, melodic chorus almost feels like a ballad you want to sway to before the band pulls the rug from underneath your feet with some particularly heavy breakdowns. This contrast between vulnerability and aggression is one of the album's greatest strengths. Slower and more atmospheric, Roll Credits feels exactly like its title suggests: the closing scene of a film, with the scenery passing by through the window of a moving car. There is a melancholic feel to it, and the distant sirens towards the end only reinforce that impression. It is almost surprising that the album continues afterwards, as the track would have made a perfectly fitting closer. They however make it clear that they’re not done yet with Jaguar which brings some of the record's strongest guttural and fry screams, alongside particularly heavy breakdowns. 10 Cent Martyr shifts the focus back towards soaring melodies and an expansive chorus, while Gods Of Karma embraces distorted electronic sounds and even flirts with screamo in certain moments. The final track, Past Life, completes the journey by bringing back all the elements that make the strength of the record. What makes Usurper work so well is the way KINGDOM OF GIANTS brings all these different influences together without making the record feel fragmented. The electronics, industrial elements, melodic passages and heavier metalcore foundations all serve the same overall vision. The production also deserves credit, giving every layer enough space while maintaining the impact of the instruments and vocals. This modern, carefully constructed sound makes for highly enjoyable and remarkably catchy tracks that stick with you long after they end. The band proves once again that metalcore does not have to follow a fixed formula. They are building their own playground and it is an exciting place to be in. Score: 7/10 Usurper will be released on 13th November 2026 via SharpTone Records. Words: Lysandre Pons Photos: Andreas Wockinger

Ten years is a long time between albums, particularly for a band that helped shape an entire genre. Yet WALLS OF JERICHO return with System Error: Humanity sounding remarkably comfortable in their own skin. Across fifteen tracks, the Detroit outfit embrace the metallic hardcore foundations that have defined their career, while incorporating enough modern influences to keep things feeling fresh. There’s an undeniable sense of nostalgia in hearing a band so closely associated with the genre’s formative years deliver new material that captures so much of what made their earlier work special. Rather than attempting to reinvent themselves after a decade away from the studio, WALLS OF JERICHO demonstrate exactly why their influence has endured. From the outset, System Error: Humanity makes very little effort to ease listeners in. True Til' Death establishes the album's aggressive foundations with crushing riffs, punishing rhythms and Candace Buckingham's immediately recognisable vocal delivery. It's a statement of intent that sets the tone for much of what follows, with the band rarely allowing the intensity to drop for long. There are plenty of familiar metalcore hallmarks throughout, from dissonant guitar work and thrash-inspired passages to enormous breakdowns, but there's something particularly satisfying about hearing these elements delivered by a band that helped establish the blueprint in the first place. Even the more familiar moments carry a certain weight when you consider just how long WALLS OF JERICHO have been doing this. That isn't to say the album feels like a collection of recycled ideas. There's a confidence in the songwriting that comes from decades of experience, with individual tracks finding ways to stand out without straying too far from the band's established identity. The Flame is a particularly enjoyable example, featuring a fantastic guitar solo midway through that transitions straight into a crushing breakdown. It's a relatively simple combination, but one that demonstrates just how effective this style of songwriting can be when executed properly. Elsewhere, the guest appearances add another dimension to the album, particularly on Broken Mouths Can't Speak, which features LAMB OF GOD's Randy Blythe. His vocals complement Buckingham's brilliantly, creating an interesting contrast between their respective approaches. The track also opens with a brief, much calmer instrumental passage, almost lulling listeners into a false sense of security before exploding back into full ferocity, making the contrast all the more effective. For all its aggression, however, System Error: Humanity isn't quite the relentlessly bleak record its title might initially suggest. Its overarching themes revolve around resistance, self-determination and standing up against the people and systems that seek to control us. There's plenty of anger directed towards those in positions of power, but beneath that frustration is a surprisingly uplifting message. Rather than accepting that humanity is inherently doomed, the album argues that people still have the ability to create something better, even if that responsibility ultimately falls upon us rather than those who should be looking out for us. Tracks like Agency, Borrowed Ground and Last Judgement reinforce this sense of collective defiance, giving the album's aggression a genuine sense of purpose. This determination is also reflected in some of the more personal lyricism. Beginning explores the process of reclaiming your identity in the face of doubt, while The Flame touches on resilience and finding strength through adversity. There's a recurring suggestion that survival itself is an act of defiance, particularly in a world that rarely makes things easy. It's an interpretation that becomes increasingly relevant when considering the album's length and sheer intensity. Fifteen tracks of metallic hardcore is a considerable commitment, and while there's plenty to appreciate throughout, the similarities in its overall sound can become a little tiring around the halfway point. For listeners unfamiliar with the band, this might make the album somewhat less accessible than it could have been. However, it's also difficult to imagine wanting WALLS OF JERICHO to abandon the very sound they helped pioneer. The relentless nature of the record almost becomes an extension of its lyrical themes: the struggle never really stops, but neither should the determination to keep fighting. One of the album's most interesting moments arrives towards the end with A Brighter Fire. Its atmospheric instrumental passages and entirely clean vocal delivery offer a considerable departure from the aggression that dominates the preceding tracks. The imagery of funeral rites and rising from the ashes gives it an almost cathartic quality, reinforcing the album's recurring themes of survival and renewal. Positioned as the penultimate track, it provides a welcome moment of breathing room without feeling disconnected from everything that came before. It's a reminder that the band's songwriting can make an impact without relying entirely on sheer heaviness. Of course, none of this would be quite as effective without Buckingham at the helm. Her vocal performance is consistently commanding, maintaining an incredible level of intensity across an album of this length. It's particularly impressive considering the decades she's spent recording and performing this style of music, with her delivery continuing to feel powerful and controlled rather than simply relying on aggression for its own sake. She's an unmistakable presence throughout, and another reminder of her importance to the development of heavy music. System Error: Humanity is a welcome return from a band with very little left to prove. Its length and occasional lack of variation might prevent it from being the most immediately accessible release, but there's something admirable about WALLS OF JERICHO remaining so committed to their roots while still delivering material that feels relevant. This isn't an exercise in nostalgia or an attempt to recapture past successes. It's a record built around the same anger, conviction and determination that have driven the band for decades, with a message that feels just as important now. Ten years later, WALLS OF JERICHO haven't lost their edge, and System Error: Humanity is a fitting reminder of why they helped shape the genre in the first place. Score: 8/10 System Error: Humanity will be released on 13th November 2026 via Napalm Records. Words: Zuzanna Pazola Photos: Mateo Torres

While some may argue that there is only so much one can achieve with just a bass and drums, ROYAL BLOOD continues to evolve their rock and roll sound which showcases the full extent of their artistic expression. After three years, Dead Company is used as a positive mantra to keep pushing for both the band and Mike Kerr’s progression throughout their personal life. Nostalgia plays a huge role within the current music climate and it’s evident that ROYAL BLOOD are pulling elements from their self titled album Royal Blood, and How Did We Get So Dark. Providing both high energy tracks that get listeners ready for combat and slower tracks that force reflection, the ten track album has something for everyone. The first four tracks of the album offer familiar territory for fans, building on their growing affection for each single. The title track, Dead Company, explores themes of being surrounded by negative influences and how that could bring your own self worth down. The perseverance to survive and conquer one’s own destiny sets the tone for the rest of the album. The first single, Ten Over Ten, highlights an all or nothing determination that pushes people towards their goals. Featuring whiplash inducing drums and storming bass, fans were thrown back to the roots of ROYAL BLOOD. Swallow The Bomb is an adrenaline fuelled track that is driven confronting and digesting one’s inner monologues and doubts. One that transforms introspection into an irresistible urge to dance. Mother Never Told You is characterised by a chorus filled with pounding drums by Ben Thatcher and the thrilling gnarly bass riffs produced by Mike Kerr. Accompanied by steady verses, the track channels a similar essence to Honeybrains. Take Em All takes an indie rock route whilst rejecting lingering ties to the past and acting towards personal liberation. The slower pace to Take Em All contradicts the energetic and riff heavy tracks before. Themes of being trapped by impending doom and past dreams appear within the middle of the album. Opening with intricate bass melodies, Ride explores themes of attempting to outrun any impending doom. Constantly being on the move and keeping yourself distracted can lead to burn out. Yet a motivation floods the track. Rear View Mirror highlights being trapped by your current troubles and big dreams. The narrator is tired of constantly looking back and has a deep understanding that they should move forward. Determination and resilience floods the tracks with a catchy chorus. Driven by heavily distorted bass lines, Tapping Out explores the journey to sobriety. Mike Kerr offers hope and encouragement to those facing similar struggles, helping to make sobriety more accepted in the rock scene. The powerful song contains an infectious chorus built for echoing throughout stadiums. Sandwiched between the middle and the end of the album, two tracks help mellow the pace of the album: Nowhere To Be Found and The Closer. Whilst Nowhere To Be Found is the least complex song, anchored by a steady groove, there is a prominent focus on the lyrical depth explored. There is a constant reminder that “You are the narrator of your own story” as every characteristic can be accepted and used to positively change one’s life. The final track, The Closer, opens with a moody yet restrained atmosphere before offering steady instrumental from the duo. Acknowledging the support of loved ones gives the narrator a more optimistic perspective. Featuring an instrumental finish, The Closer is guided by steady drums and a spiraling bass that carries the song to its definitive end. Whilst some tracks find homes in new playlists and some become forgotten, the overarching lyrics strike a motivational passage as they explore their own life experiences. ROYAL BLOOD have proven their ability to evolve their sound whilst playing on nostalgia. There is more to explore with just a bass guitar and a drum set. Score: 9/10 Dead Company was released on 6th November 2026 via Warner Records. Words: Theviya R Karunaharan Photos: Royal Blood

Since the release of her new album it's just my opinion, GIRLI has been touring Europe including the UK, spreading the joys and struggles of female rage, being queer and the ups and downs of being in love. Out of Rage joined GIRLI and GEN AND THE DEGENERATES at Manchester's Band on the Wall for one of the final shows of the tour, this was particularly special as because it was three shows from the end, GIRLI let us know that she would not be holding back, she “doesn't care if she loses her voice, we're gonna have a good time.” Opening the evening was Liverpool based GEN AND THE DEGENERATES with their self described “punk inspired trash pop”. Despite some technical difficulties, Gen didn't let anything stop her from bringing a truly fun and feral energy to the stage, dancing along to songs such as Hotter On The Internet, Sex Symbol and Girl God Gun. GEN AND THE DEGENERATES has found a modern alt-pop sound with the core of queer positive, anti-diet culture, anti-establishment, proper british punk attitude which is fully encapsulated in the lyrics of Anti-Fun Propaganda but is prevalent throughout their entire discography. We'll definitely be looking forward to their upcoming album in the new year! Starting the setlist we were immediately introduced to the new album and to quintessential GIRLI themes of self image and queer love through the rose tinted lens of alt-pop with Blue Sky and Squirm, followed by an evident crowd favourite I Really Fucked It Up which any GIRLI fan new or old hold close. She then dove back into the new album with stories of first queer crushes, unrequited love and the pain of heartbreak, all while keeping the crowd upbeat with Romantic Sadness, Lifestyle and Don't Make Me Cry. We were then transported back to 2019, without breaking the theme of fun love and upbeat heartbreak with Friday Night Big Screen from her first album Odd One Out, giving OG fans and any fan of a good rom-com a healing bout of nostalgia and Nothing Hurts Like a Girl. We were then immersed into the show as the crowd was asked if they had any opinions to share with the room, in theme of the album title It's just my opinion, giving the crowd the opportunity to be vulnerable and connect to each other and to GIRLI herself as she followed this with an “opinion she has, but wishes she didn't” leading us into I Don't Like Myself from her 2021 EP Damsel in Distress. There had also been a challenge to the audience set for this tour, to find the best Slogan tee. GIRLI had worn a slogan tee for each show (for this show the tee read “I Think She's Gay with a self facing arrow) and gave a showcase of audience tees in the show, supporting trans rights, how great queerness is and how great women are. After seeing how we were dressed, we got transported back to the album for Better Undressed and The Answer. After the apparent disappointment of the US tour not including this song, we were promised that mistake would not be made again as she then played an acoustic rendition of Bones which hit the crowd in a whole new beautiful way. The set was ended with more new and old fan favourites with Pedestal, More Than a Friend and the true WLW anthem, Matriarchy. No brilliant show however is ever really over without an encore of the hardest hitting songs and that is exactly what we were given. Starting with Letter To My Ex, an all too relatable song that we all wish we could have written about how you can love and hate someone all at the same time because of all the things that you went through during that relationship. And lastly, the song we had all been waiting for from the album, Slap On The Wrist, this song is a personal story that hits home with too many female, and male, survivors of sexual assault. “This song I play last because it it so full of rage, and rage inspires action”, these words have stuck with us since they were spoken and will for a long time for a lot of people in the crowd that night. This show was full of community, acceptance and catharsis to a high energy soundtrack. GIRLI has created a fanbase that is unafraid to feel their feelings, good or bad, and speak out about worldly injustices whether that's through singing along or voicing their opinion through a microphone or on a t-shirt and it was a privilege to be a part of that for the night. Words: Alexandra Winterbottom Photos: Emily Champion

Fifteen years after its release, DEAF HAVANA returned to the stage to celebrate the enduring legacy of Fools and Worthless Liars, an album that not only reshaped the band's trajectory but also became a defining record for a generation of alternative rock fans. The venue was packed long before the headliners took to the stage, with anticipation building throughout the evening as fans prepared to revisit a record that has soundtracked countless lives since 2011. Before that nostalgia-fuelled celebration could begin, THE DANGEROUS SUMMER were there to deliver a special performance of their beloved album Reach for the Sun in its entirety, providing a fitting companion piece to the night's main event. Sometimes playing a full album in order can land somewhat awkwardly, especially if the most popular songs and singles are littered around the tracklist. THE DANGEROUS SUMMER had no issues with this, the crowd embracing every track as AJ Perdomo's vocals were complemented by lead guitar and backing vocals from Marcus Leopard, alongside MALLORY KNOX members Dave Rawling on drums and James Gillett on guitar. In between tracks from the album, including Where I Want to Be, title track Reach for the Sun, fan favourite The Permanent Rain and closer Never Feel Alone, Perdomo told tales of touring with DEAF HAVANA for the initial release of Fools and Worthless Liars, stating how they love coming back to the UK. Their set reminded the crowd why the record remains such a cherished release within the scene, setting an emotional tone that carried through the evening. By the time DEAF HAVANA emerged, the crowd was truly ready to celebrate both the past and the lasting impact of an album that still resonates 15 years on. Playing Fools and Worthless Liars meant returning to an album the band have confessed to having a "love/hate" relationship with in retrospect, but throughout the set, this couldn’t have been less true. Running through the tracks, including opener The Past Six Years, which gives a shout out to Mike from LOWER THAN ATLANTIS and Jon from YOUNG GUNS, to guaranteed singalong I Will Try and the soul-baring Anemophobia, frontman James Veck-Gilodi and lead guitarist Matty Veck-Gilodi put every ounce of energy they had into performing. They both spoke at multiple points during the set to convey their love and thanks to the crowd for the support throughout the years, for the changing line up and the constantly evolving sound. Continuing through the album, they delivered the ultra nostalgic Hunstanton Pier, the haunting Leeches, before finishing the album play through with the sincere love song 54, to rapturous applause. At the end of Fools and Worthless Liars, DEAF HAVANA wasted no time in smashing out even more of a trip down memory lane, through the back catalogue of their over 20 year career. The crowd were treated to Everybody's Dancing and I Want To Die, 22 and Caro Padre from their third studio album Old Souls, before closing with Fever from 2017’s All These Countless Nights album. The atmosphere was built on a mutual exchange of energy, each song strengthening the bond between band and crowd, before they left the stage briefly, only to return and throw everyone back to the beginning, back to the time where the band have been constantly encouraged, pleaded with, even heckled at, to return to. Walking back onto the stage, with a renewed sense of accomplishment and the cocky charm that fans have grown to know and love, Veck-Gilodi proclaimed “This is for the day ones!” before launching into Friends Like These, with the crowd erupting in sound and movement from every corner of the venue. For years, the track has been forgotten about by the band, put back into the archives despite fans’ pleas to perform it, before making a return at Slam Dunk festival, complete with vocals from THE BLACKOUT’s Sean Smith. Crowd surfers glided across the venue, landing in front of the stage, with Veck-Gilodi high fiving as many as he could as they passed. His partner and fellow musician, SIERRA ANNIE, got in on the action too, crowd surfing her way to the barrier. Smiles All Round, the track that introduced fans to a new sound after the original screamer in the band departed, was welcomed back into the setlist for the first time in years, with fans taking in the last of the nostalgia for the evening. The night closed with an unexpected change of pace, with Happiness from All These Countless Nights slowing things down in a way that rounded off the set perfectly. Many fans thought that they would never hear Fools and Worthless Liars in its entirety and even less thought they would ever get to see Friends Like These performed ever again, but if nothing else, DEAF HAVANA are a band that never let their fans down, even at the risk of a little discomfort. In revisiting the record, they demonstrated just how timeless these songs remain. Rather than feeling like a nostalgic look backwards, the performance felt as vital and heartfelt as ever, proving that some albums never lose their power and for that reason, Fools and Worthless Liars remains every bit as special as the day it was released. Words: Lou Viner-Flood Photos: Joshua Cunningham

What band suits a halloween gig more than VENUS GRRRLS, their goth-grudge musical style coupled with their horror aesthetic made for a show that absolutely fit the night. A costume contest, a perfect opener and a candlelit set up, these lot brought the spooks to Bodega. To begin the night, local goth outfit HYSTAMINE took to the stage and absolutely set the tone, with singer Salem abusing the microphone with powerful screams and beautiful melodic singing to start the Halloween night right. The band continued through a hefty setlist showcasing a plethora of how intense their sound is, the atmospheric tones of this band are incredible - think Twilight meets THE CURE, and you have the energy HYSTAMINE carry. Couple that with the incredible drum sections, technical bass and riffs that’ll chew on your brain in the best way, this band definitely have a bright future ahead of them, and it’s safe to say the crowd felt this and energy and were loving it. As if floating like a group of angels, VENUS GRRRLS took to the stage and introduced their set with a song we could only describe as a ghostly tune in a haze of mist, this band absolutely harboured the Halloween feeling, building up to the more energetic parts of their set with a great intensity. Their grungy tones and seriously heavy riffs made it dangerous to stand near the large speakers Bodega is well known for, they blasted their sound and infectious tunes to an audience who were lapping it up. Some very obvious devoted fans were among the audience singing back every lyric like their life depended on it, and quite honestly it was a great example of the kind of community this band nurture. Their whole aesthetic and style is so seductive, a comparison they often make themselves by calling their fans The Coven; they are certainly a group of witches who are able to lure you in with a heavy but also angelic sound that is hard to find done so well nowadays. A real standout for this set was the performance of Divine, the band gave it their absolute all and the audience was very loud and gave back a lot of energy; either that or the fantastic Frank-N-Furter costume contest winner were absolutely a highlight for a very spooky Halloween gig. Words and photos: Ben Blissett

Just like that, Halloween is over for another year - a tragic time for alternative people around the world. Some would have you believe it's time to start celebrating Christmas already, but at Out of Rage we believe the best thing to celebrate right now is just how much music is coming out at the moment. Here's what we've been listening to lately: Track of the Week: Enter Shikari - Lightyears It has already been a month since ENTER SHIKARI announced their indefinite hiatus starting from the end of next year, but in that time we’ve been blessed with two surprise new singles already. The latest is Lightyears that came out last week, its synthy and upbeat melody feel hopeful alongside the sentimental lyrics of “even though you are not here, I can still feel you lightyears away,”. The message of the latest tracks have been ones of love, and with the last sixty seconds this is definitely a tune that will be belted out by the crowd at future shows. It comes just in time for the band making its way around the country in the coming weeks. Words: Danielle Henderson Almira Elfeky - I don’t want to fall in love AMIRA dropped the second track I don’t want to fall in love from her new album It was only a dream last week. In contrast to the single Beatdown that dropped in September, I don’t want to fall in love has a pop-like feel, embracing a 2010s inspired beat. At least it does in the beginning; the latter part of the song launches you into a screamy soundscape with a punchy gothic bass beat. Its incredibly catchy and somewhat nostalgic vibe will no doubt have you hitting that repeat button for the rest of the week. Words: Danielle Hendersonon Defences - Death of a Dream “I get to decide how I wanna show up” - from the off, Death of a Dream’s dominating lyrics delivered in a dangerous, low spoken-word set a new tone and a new era for alt-metal unit DEFENCES, a jagged industrial metal beat breaking through the intro before launching itself into a medley of relentless drums and roaring guitars. Lead vocalist Cherry Duesbury at first seems to give herself a pep talk with affirmations that she can be whoever she wants to be, but as the track moves into a heavier cadence and William Alex Young’s tearing screams join Duesbury’s it becomes more of a defiant yet bittersweet oath to herself and the listener, a cautionary tale that to become the person you’re meant to be you have to make sacrifices, played out over a rhythm that echoes the sheer grit DEFENCES possess. Words: Julia Stark Enemy Inside - Rag Doll (ft. As Everything Unfolds, Lake Malice) The era of the female fronted metal power collab is here, and it is so good to see. ENEMY INSIDE called on Charlie Rolfe (of AS EVERYTHING UNFOLDS) and Alice Guala (of LAKE MALICE) to deliver the single Rag Doll that somehow encapsulates everything you love about metal music - soaring clean vocals, crushing screams and shredding guitars into a song that should be too much with so many vocal performances on it, but somehow it’s not. It’s so well balanced that every voice gets its moment to shine - and all under three minutes of run time! If you like any of these bands, they are unmatched together. Words: Jade du Preez Eville - SLAY SLAY does not leave any crumbs. Opening with the hardest scream, straight into the angriest verse imaginable. EVILLE are loading up on the aggression with this song, paired with the melodic chorus which whips back into the aggression with the second verse and throughout. Slay is the lead single on their upcoming EP Bratpocalypse, and they appear to be building an entire world around this EP, with the activity of the mysterious everythinc. Don’t miss them on their UK headline in February 2027. Words: Kei Wells Gaerea - Shallow The Portuguese five piece take another side step from their post black metal roots with new single Shallow, which was released as a four track EP with piano, acoustic and remix versions of the same song. Shallow is multi-faceted; its overarching melody is stunning, reaching for softer moments and still hitting those heavier forces in a way that is perfectly balanced. Shallow acts as a natural progression following the release of Loss earlier in the year, and sees the band collaborating with other artists for the first time that span across several genres. Words: Danielle Henderson Hannah Wicklund - The Pier HANNAH WICKLUND is a woman unleashed on her new single The Pier, channeling the raw blues and soaring, emotional vocals she’s known for. Crushing and delightful in equal measures, the track builds towards a guitar solo that showcases why she is the powerhouse of modern blues. Both the lyrics and composition are passionate and poetic, toeing the line of flashy but in the effortless, confident way that HANNAH WICKLUND handles her best tracks. This is undoubtedly HANNAH WICKLUND at her finest, and at such a young age the future truly is limitless for her. Words: Jade du Preez LEAP - Bury Me LEAP might be touring Europe right now but they found the time to drop their latest single Bury Me just in time for a string of UK dates to wrap up the year. And there is no doubt that this song will be a crowd favourite when they do come to play it live. The chugging guitars pair so well with the raspy vocals until for a brief second they do battle right before the final act, only to drop away into a spoken word segment that makes the final chorus zing. If this single, paired with their September release (Bloodlines) is anything to go off of, the next phase of LEAP’s evolution will be one to watch. Words: Jade du Preez Mothica - My Confession MOTHICA’s latest single My Confession combines the best elements of her characteristic “bummer pop” as a dreamscape of whispered vocals climb towards a catchy, guitar driven chorus. Unafraid of playing with silence, this track allows the lyrics to demand more effect than your average emo pop offering. Never quite moving out of the lethargic vocal range, the song embraces a depressive mood that is so well suited to the lyrical journey. Another impressive release from MOTHICA as they head out on tour with Of Mice & Men. Words: Jade du Preez Native James - DUMB BRUDDAH Following his previous song of the summer, Never Been Scared, NATIVE JAMES has displayed his talents in catchy tunes and genre blending with new single DUMB BRUDDAH. Perfectly combining UK grime elements with good old nu-metal, Dumb Bruddah is an unforgettable track. You can hear influences from huge artists such as KORN in the instrumental elements and the post chorus is undoubtedly reminiscent of early SLIPKNOT, all combined with Grime to create an incredibly unique sound. Make sure you don’t miss him on tour with UNPEOPLE in January 2027. Words: Kei Wells PAVÉ - Spine Manchester-based PAVÉ have steadily inserted themselves into the alt-rock scene, developing their sound into something meaty that pays homage to their influences whilst showing their own spirit. Spine feels like a step up from their previous work, in one way holding onto a DIY “playing with my best mates” feel but also injecting a renewed energy with catchy rhythms and vocals pushing outside the comfort zone. The lyrics are a “fuck you” to an unnamed antagonist, though holds back on its substantiality for the most part before sweeping into the chorus. The rapid-fire second verse elevates Spine to where it deserves to soar, the drums and distortion effects giving it a knife-sharp edge to help carve out a PAVÉ shape in your playlist. Words: Julia Stark Rage Doll - Low Blow Blurring boundaries within alternative rock, the London and Liverpool based band, RAGE DOLL have returned with their single Low Blow. The song opens with a wave of distorted guitars, instantly immersing listeners in themes of love and betrayal. Seamlessly fusing Slavic and South Asian influences, the track features catchy Russian vocals against a tapestry of intricate South Asian instrumentation, curating a seductive and sensual environment. RAGE DOLL are cementing themselves as an act to watch as they draw deeply from their heritage and push the boundaries of experimental sound. Words: Theviya R Karunaharan Sleep Theory - Giving In There has been some build up to the latest SLEEP THEORY release, unlike their previous donations which served as more of a drive by EP or single release with little fanfare (as frontman Cullen Moore has said in the past, if he wants to release new music he will). And Giving In comes at the perfect time, handing new fans a fresh single to enjoy as the band tour Europe with nu-metal legends PAPA ROACH, whilst their other 2026 releases (their iconic pop covers that scratch a Punk Goes Pop itch, and Paper Hearts (Reimagined)) service the long time fans. SLEEP THEORY are a band only growing in confidence and it’s evident in this single, Cullen’s vocals drive a catchy R&B inspired numetal track that sounds as exciting as their biggest hits. Words: Jade du Preez Zetra - Adrena After two years since their self-titled album, ZETRA are ready to open a new era with a single Adrena. Visuals of the music video channel a nostalgic MTV aesthetic, utilising glitchy textures and integrated information about the track. Driven by rhythmic drums and heavily reverbed guitars, the track opens with an evolved sound that hooks listeners instantly. The bridge is fuelled by intricate guitar riffs and familiar synths. The lyrics explore themes of obsession, thrill of chaos and surrender. As the song fades out with an electronic synth, fans are quick to offer it a home in their playlists, ecstatic for more new releases from ZETRA. Words: Theviya R Karunaharan Editor: Naomi Colliar Duff Photos: Various Artists

During the opening night of their UK wide tour, BURNER descended upon Billy Bootlegger’s in Nottingham to bring a night full of heavy hitting anthems. They were joined by local bands EPITAPH and ROGUE LIMB as well as their main support, WORM OUT. It did not take long at all for the venue to begin filling up to show their support for the two local bands. Both bands demonstrated skill within both hardcore and deathcore respectively, bringing a high energy to warm up the crowd ahead of the main acts of the evening. When Ireland’s WORN OUT took to the stage, the energy was really turned up a gear. They were heavily reminiscent of modern hardcore, similar to KNOCKED LOOSE but with hints of pure metalcore akin to bands like SYLOSIS. It was not long at all until the pits began to form with frontman Xander Coughlan taking the opportunity to get involved, diving head first into the action during their first song. WORN OUT brought a unique sound with hints of break-core in the drumming and a guitar and style that screamed modern metal with a touch of power chords and beats that are heavily influenced by hardcore. With many attendees already dripping with sweat, the atmosphere grew even more charged as the stage was set for BURNER’s arrival. Their set delivered purely modern heavy metal fused with original death metal, seen in the tremolo picking on the guitars and blast beats undertoning on the drums. Heavy breakdowns are where the modern metalcore side truly shone through, cementing BURNER as an act these concert goers would certainly not forget anytime soon. The impressive vocals from frontman Harry Nott saw a mixture of high and low pitch screams all from a single vocalist. The guitar riffs served as a heavy reminder of early KILLSWITCH ENGAGE, mixed with elements of MASTODON. Performing a selection of older music such as A Vision of the End as well as some tracks off their latest album No One Is Coming To Save Us, there was plenty for fans new and old to bang their heads to. Finishing off their set with one of their newest songs Agni Kai, there was a single member of the audience that was not involved in the mosh pit that formed as a result. The energy was ecstatic and I truly believe that no one wanted that moment to end. Overall, the inspiration from varying genres of metal combined with the electrifying performance makes BURNER a band that could easily be suited for fans of metal in all of its formats. If you enjoy heavy music and high energy mosh pits, I would highly recommend you catch these on their next tour. Words and photos: Elena Meadows

Not many bands could tear the metal community away from their spooky antics on Halloween night, but when SKINDRED put up the Bat signal for an evening at Alexandra Palace, few turned down their duty to Dred Bounce the night away. And SKINDRED did not disappoint, turning to friends SPINESHANK and ALIEN ANT FARM for support, Newport’s finest armed themselves with lasers, smoke machines, confetti canons and more sequinned costume changes than a Taylor Swift Eras concert. SPINESHANK opened proceedings and put every inch of their 30 years of nu-metal experience into their performance, getting so lost in their own music and the fanfare of playing Alexandra Palace, that the end of their set was a surprise to them too. They practically had to be dragged from the stage, announcing that their set was over with no indication to the crowd that the end was nigh - and the crowd were so enamoured with the band they could have played on well into the night with no complaint. Part of that exceptional performance was in part to their latest investment in James Mills, vocalist for SEVERANCE, who filled in on bass and vocals (and hype), giving a standout performance. With big shoes to fill, ALIEN ANT FARM followed, trotting on stage to the Nightmare Before Christmas theme just to make sure the crowd knew this was a Halloween show (the copious amount of zombie makeup on both support acts did the trick too). And if ALIEN ANT FARM did anything correctly that night it was cement the fact that every band should have a backup vocalist armed with a shaker that waltzed across the stage with his mic stand; a thoroughly enjoyable addition to what was a double whammy of brilliant opening acts. ALIEN ANT FARM on the other hand did know when to end their set, and it was just in time for a walk off before re-entering the stage for the cover everyone was waiting to hear - MICHAEL JACKSON’s Smooth Criminal. Now when SKINDRED took to the stage, it was not the first time the crowd had glimpsed frontman Benji Webbe, who’d walked across the stage dressed as a doctor for each of the support acts before departing for a costume change - the first of many that evening. And when Benji decides to slip into something a little more comfortable, that typically means fur coats, sequins, hats of every variety, clashing colours, tassels and spiked sunglasses, all of which made an appearance throughout the show. But at no point did Benji’s antics detract from what was an unmissable spectacle. The music after all was as rambunctious as Benji’s style - brash, loud, campy, and exactly what the doctor ordered. Marching on stage to a remix of Star Wars’ Imperial March - this would not be the only rehashed cover to make an appearance that night - it took two songs before SKINDRED were deploying the confetti cannons and four songs for the sparks to fly. It is an unspoken rule that Ally Pally requires the absolute most that bands have to offer, be that theatrics, production and the majority of their budget, and that can be a daunting prospect for some bands. Not for SKINDRED though, who seemed thoroughly at home amongst the lasers and lights. Whatever magic makes SKINDRED so special is so well suited to Ally Pally that a residency should be considered. Rattling through 90 minutes of music that passed by in a heartbeat, the band perfectly balanced their numerous hits with tracks from their latest album You Got This that blended so effortlessly it was hard to discern their recent releases from their golden oldies, both in performance and crowd reception. But of course there had to be a sprinkling of that quirkiness that SKINDRED are loved for, and that came in the form of multiple snippets of covers delivered between songs or mashed together in a longer bass soloing segment, allowing Benji to change wardrobe once again, but also showed off the chops of their bass player Tommy Gleeson. It’s not often that the bass player gets their moment in the spotlight (although incredible showmanship from all three bands’ bass players seemed to be a constant theme for the evening), but it was a welcome interlude in a set so full of dancing, bouncing, a random marriage proposal and Newport Helicopter-ing that it worked with surprising effect. Forever the eccentric frontman, Benji Webbe took his usual charisma to another level to charm the Ally Pally crowd, which also gave him license to playfully tear into them when they didn’t behave for him. Benji doesn’t believe in inside thoughts it would seem, and that is one of his greatest strengths. There’s an unhinged authenticity to the man that is essentially endearing, whether he is expressing his genuine thanks or speaking to himself like a madman. Swearing at the audience, telling them to watch him (as if they could miss the man in the massive checkerboard fur coat and brown top hat); but at the heart of it all, was a mutual respect that was palpable. SKINDRED were buoyed by the turn out, the legion of rabid fans that wanted nothing more than to scream their music back to them, and the crowd couldn’t thank the band enough for their years of service. And as the evening came to an end, in an unforgettable shower of neon confetti and smoke, SKINDRED left 10,000 people united in the feeling that they’ve been instilling for almost 30 years, that no matter what was to come, as their latest album attested, “you got this.” Words: Jade du Preez Photos: Kelsey Tomlinson

For BLIND CHANNEL frontman NIKO MOILANEN, stepping away from the spotlight was a chance to rediscover what making music meant to him and his bandmates. After 20 months away from touring and publicity, the Finnish band returns with Painstream, their sixth album, out now via Century Media Records. The break wasn't about giving up. It was about finding a different way forward. “We really needed to get rid of the deadlines” Niko explains. “We had no idea if we were gonna come back and when. We just knew that we were not going to quit on music.” Free from pressure, the band experimented, questioned old habits and even tried writing happier songs, although “that didn't really work out,” he laughs. The result is an album that returns to their roots while exploring heavier, more cinematic and introspective territory. Across twelve tracks, pain emerges as a shared human experience rather than something that divides us. “We want every song to be a journey and an exploration of the world, ourselves and humanity” Niko says. Photo: Aslak Junntu The theme wasn't planned. After writing around forty songs and narrowing them down to twelve, the band noticed a common thread. “Every single one of those songs is, one way or another, about pain.” That realisation also made them think about their approach to music now compared to their earlier work. “We've done those albums about partying and this almost nihilist aspect, like the world's burning and we're all going to die, so let's just party. And that was us in our twenties, but right now we have to look around us and see that there are actually a lot of things that matter to us a great deal, and we want to sing about those things. We want to encourage people to see and believe those things.” he reflects. Their defiance remains, but now it comes with a willingness to ask difficult questions: can pain connect people who otherwise have little in common? “I don't think it necessarily answers it, because I couldn't answer it myself. None of us could.” Niko admits. The band has faced its own uncertain periods, including moments where they wondered whether they'd reached the end. “But it wasn't. Actually, now we're closer than ever and in a better place.” For Niko, music can make those difficult experiences feel less lonely. “I try to be specific enough so people feel that I'm writing from the heart and it's very personal, because they are personal texts. But at the same time, I try to also make it a bit abstract.” He shares lyrics with his bandmates to see whether they recognise their own experiences in them, aiming to leave listeners room to find their own meaning, too. “We want to make songs of importance,” he says. “If the song can make the tiniest difference, then it's worth writing and releasing.” That sense of purpose shapes the album's relationship with art and entertainment. “I don't think they're exclusive things. I think a great song can be both.” But while entertainment can offer an escape, Niko believes art should challenge us. “Great entertainment encourages you not to think, you can just turn your mind off and be entertained, whereas great art encourages you to think.” For BLIND CHANNEL, Painstream is about making people reflect, not simply feel the impact of the music. Hope also found its way into the record, unbeknownst to all. Niko describes the opus’ sequencing as “a zooming in and out”, moving between questions about the universe and humanity and more intimate struggles. Writing Diana also helped the band recognise how much they wanted to embrace a heavier sound. “All of us went, ‘I always wanted to do a heavy song like this!’” Niko recalls. Each member had assumed the others preferred their established style. By speaking more openly and letting go of expectations, they found renewed creative freedom. “Stripping off anything that we didn't feel 100% authentic or comfortable with and just seeing what comes out” he says. “Painstream is what came out of that.” Into The Void, featuring OF MICE & MEN's Aaron Pauley, expands the album's cinematic scope while asking an uncomfortable question about life on Earth. “Are we alone in the universe? And if we are, we're not doing a very good job about it!” Niko says. A long-held collaboration, the track combines electronic textures, heavy riffs and contrasting vocals. “I think he nailed it the first time,” Niko says of Pauley's contribution. Film and anime soundtracks also supported the cinematic aspect of the record, with composers HIROYUKI SAWANO, LUDWIG GÖRANSSON and HANS ZIMMER among Niko's inspirations. Rather than relying on heavy guitars alone, the band wanted to build atmosphere and tension. That cinematic ambition never came at the expense of humanity. During recording, they chose authenticity over technical perfection. “We're gonna go with the human take while recording, which has the little crack in my voice, which isn't perfect,” Niko explains. “Art is not supposed to be perfect. It is not what we're looking for.” Instead, “We want connection, we want shared humanity.” Being so open and vulnerable can, however, be frightening. “It's really terrifying. Saying this is who I am, and what if people don't like it?” he admits. The positive response to the first singles has encouraged the band to keep growing without losing the freedom they found during their break. “It's the safe space to actually be exactly who we are,” Niko says. “And I hope we never lose that.” Painstream marks a different kind of rebellion: facing what hurts instead of turning away. It offers no easy answers, only the possibility that pain, experienced differently by everyone, can become a point of connection. Beneath the heaviness, anger and uncertainty lies a simple belief: we don't need to have everything figured out to understand one another. Sometimes, being honest about what we feel is enough to remind us that we're all human. Words: Lysandre Pons