FESTIVAL REVIEW: Fortress Festival 2025

Having established itself as the leading black metal festival on UK soil last year, it feels like that Fortress Festival 2025 is bigger and better than ever before. Having AGALLOCH as a European exclusive headliner certainly helps, with the festival being sold out months in advance. As the sun shins against the backdrop of the historic Scarborough Spa on the seafront and aural darkness booms from within, a truly international collective gather to bask in the black metal festivities. Here’s what went down.



Saturday, May 31st

NEMOROUS – Main StageNemorous live @ Fortress Festival 2025. Photo Credit: Sabrina Ramdoyal Photography

Formed from the ashes of underground favourites WODENSTHRONE, new entity NEMOROUS arrive to kickstart the weekend with a triumphant display of UK black metal. Arriving against the backdrop of Scarborough Spa‘s grand main room, demonstrating their collective years of experience, NEMOROUS are atmospherically thick, and their confident stage presence ensures their musical delivery packs a punch. Performing their upcoming debut album in its entirety to a packed crowd thanks to effortless ticket exchange from the festival crew, NEMOROUS set the bar for the weekend’s action high, and it’s a bar that rarely dips.

Rating: 8/10

PERENNIAL ISOLATION – Ocean RoomPerennial Isolation live @ Fortress Festival 2025. Photo Credit: Sabrina Ramdoyal Photography

Making their UK debut, Barcelona’s PERENNIAL ISOLATION may be blessed by the Mediterranean sun, but their blend of atmospheric black metal is icy sharp. Their set at Fortress Festival sees a full album run through of 2021’s Portraits – a criminally overlooked record in the black metal world – and we’re treated to a performance that is razor sharp. The smaller confines of the Ocean Room work in favour for the quartet, with a heavy atmosphere swirling from moments of aural bliss through to passages that tremble with ferocity. Renditions of Autumn Legacy Underlying the Cold’s Caress and Unceasing Sorrows from the Vastness’ Scion sees the band soar, cementing their addition to this year’s stellar lineup.

Rating: 9/10

AQUILUS – Main StageAquilus live @ Fortress Festival 2025. Photo Credit: Sabrina Ramdoyal Photography

Having travelled from literally the other side of the planet to perform exclusively at Fortress Festival, there’s an instant admiration towards Australian outfit AQUILUS. And for good reason too. Helmed by band mastermind Waldorf, the band’s presentation of folk-infused atmospheric black metal sounds absolutely stunning against the backdrop of the Spa‘s main room, a running theme over the weekend. Flanked by his live band, Waldorf leads his compositions with confidence, and the harmony with his bandmates – in particular violinist Hayley Anderson – helped keep the sound incredibly immersive. And for music of this ilk, in the live environment especially, that is essential. Here at Fortress Festival, consider it a job very well done.

Rating: 8/10

DARKHER – Theatre

Normally utilised for the festival’s supporting In Conversation series, day one of Fortress Festival sees the all-seated theatre transformed into a series of sublime palette cleansers. Having impressed on previous metal festival circuits – including Damnation Festival in 2016 – DARKHER‘s band of reflective doom-tinged neofolk is an experience that is nothing short of transcending. Supported by an accompanying percussionist, project mastermind Jayn Maiven has a spellbinding impact on the seated spectators with the power of her voice alone, allowing of subtle changes in pitch and tone to have an enormously emotive affect on those experiencing it. This is music that speaks to the soul.

Rating: 9/10

SULDUSK – Ocean RoomSuldusk live @ Fortress Festival 2025. Photo Credit: Sabrina Ramdoyal Photography

It’s another Aussie debut for SULDUSK who arrive at Fortress Festival having only recently taken to the live circuit. Since 2016, helmed by Emily Highfield, the band’s approach to blending black metal with neofolk is nothing groundbreaking, but by God, it sounds incredible live. Showing no signs of inexperience live, SULDSUK captive from start to finish in a strong contender for set of the festival. Complemented by Hayley Anderson‘s stunning work on the violin (for the second time today), the band’s sound croons with melancholy before building to explosive crescendos. Material from last year’s Anthesis – Verdalet and the title track – sound impeccable and Highfield‘s vocals cut through the mix with the utmost ease. With a sound that go toe to toe with the heavyweights of their style, SULDUSK are a special, special band and their performance will live long in the memory.

Rating: 10/10

THE GREAT OLD ONES – Main StageThe Great Old Ones live @ Fortress Festival 2025. Photo Credit: Sabrina Ramdoyal Photography

It’s appropriate that against the iconic Scarborough Spa, the tide crashes against the seawall. Enter THE GREAT OLD ONES. The Lovecraftian disciples have forged a distinct sound since emerging from Bordeaux in 2009, and at Fortress, they unleash a sound that soundtracks the awakening of Cthulhu from the ocean depths. Splashed with progressive flourishes, their black metal twists and contorts and echoes moments of sinister melody, with material from this year’s excellent Kadath (In The Mouth of Madness, Me, The Dreamer and Under the Sign of Koth) all sounding utterly monstrous on the big stage. Although material from 2017’s breakout album – E.O.D. (A Tale of Dark Legacy) – is glaringly absent, it’s a strong and confident set from one of black metal’s rapidly rising cults.

Rating: 8/10

SYLVAINE – Theatre

Judging by the fact the queue is snaking down the stairs into the lower foyer of the venue, there is great anticipation for SYLVAINE to close the Theatre. Helmed by multi-instrumentalist Kathrine Shepard, rather than her usual amplified post-black metal affair (which is fucking excellent in its own right), at Fortress, Shepard guides us through a much sombre and reflective live experience, and it is absolutely breathtaking. Holding the room at bursting capactiy to stunned silence where you could hear a pin drop demonstrates the sheer power of Shepard‘s musical ability, her voice speaking directly to the heart. In a day of wave after wave of blastbeats, to have a moment of tranquillity like this makes what we experienced all the more special, and moving to a few to tears with the power of her voice alone speaks volumes. In SYLVAINE, we have a real gem on our hands.

Rating: 9/10

AKHLYS – Ocean RoomAkhlys live @ Fortress Festival 2025. Photo Credit: Sabrina Ramdoyal Photography

AKHLYS took listeners on a mesmerising journey into the realm of atmospheric black metal, artfully blending haunting textures with powerful instrumentals. Their immersive soundscapes crafted an ethereal world where guttural vocals and intricate riffs stirred a distinctive sense of dread. This emotional richness was further enhanced by ambient elements, broadening their musical horizons and weaving together themes of darkness and existential reflection. The live performance at the Ocean Stage left a profound mark, as the quartet’s intensity and passion resonated deeply with the audience. Each member infused their unique energy into the set, contributed to a captivating atmosphere that kept the crowd spellbound. Every song evoked intense emotions, making the experience unforgettable. AKHLYS not only delivers a concert but also invites fans to delve into profound themes through their art, ensuring their impact lingers long after the final note fades away.

Rating: 8/10

1349 – Main Stage1349 live @ Fortress Festival 2025. Photo Credit: Sabrina Ramdoyal Photography

Given the fanfare surrounding the return of AGALLOCH on European shores the following day, it would be understandable if there was reduced anticipation and expectation for Norwegian vanguards 1349. The Norwegians deliver the icy chills, serving a reminder as to why they have enjoyed a career that is within touching distance of three decades. The likes of Atomic Chapel, Through Eyes of Stone and I Am Abomination dispatched with hellish fury, spearheaded by frontman Ravn‘s intimidating stage presence and wicked snarls. Elsewhere, tunes from last year’s The Wolf & The King slotted seamlessly into the band’s live arsenal, with The God Devourer and Inferior Pathways in particular sounding utterly monstrous. Despite early technical issues blighting the band’s initial momentum, once recovered, the band keep the momentum surging and deliver a good, if not slightly predictable, display of high octane black metal, a fitting end to the first day of Fortress Festival. And you can’t really complain with that.

Rating 8/10

Sunday, June 1st

ABDUCTION – Main StageAbduction live @ Fortress Festival 2025. Photo Credit: Sabrina Ramdoyal Photography

Representing homegrown talent, the rise of ABDUCTION has been one of the UK black metal’s most brightest sparks in recent years. The tail end of the 2010s saw mastermind A|V‘s profile rise, but 2022’s Black Blood and this year’s Existentialismus has seen ABDUCTION cement their status as one of our island’s top exports for the scene. At Fortress Festival, the band is tasked with kicking off day two and through a full album run-through of their latest record, what we experience is a statement of intent. In a blistering and white hot performance backed with some impressive and macabre video imagery, the band – spearheaded by A|V – are captivating to watch. It certainly helps when you have material like A Legacy of Sores and Truth Is as Sharp a Sword as Vengeance in your arsenal. A powerful and assured performance from a band that looks set to be a figurehead for UK black metal for years to come.

Rating: 9/10

BELORE – Ocean RoomBelore live @ Fortress Festival 2025. Photo Credit: Sabrina Ramdoyal Photography

Epic sweeping atmospheric black metal blesses the Ocean Room as French outfit BELORE start the day’s action on the festival’s second and in their debut appearance on our shores, they make a good impression. Pulling largely from last year’s Eastern Tales, the band – led by mastermind Aleevok – weave a complex and sprawling musical landscape, with The Valley of the Giants and Storm of an Ancient Age in particular demonstrating the quality on offer. It’s this uncanny ability that lies at the beating heart of Fortress Festival, quality undiscovered gems.

Rating: 8/10

DÖDSRIT – Main StageDödsrit live @ Fortress Festival 2025. Photo Credit: Sabrina Ramdoyal Photography

Having to withdraw at the eleventh hour last year, Swedish blackened crust metallers look to make up for lost time and proceed to give one of the best performances of the entire weekend. With the Main Stage packed to capacity, we’re treated to a band that is on scintillating form, all the more special given Fortress Festival is their UK debut. The likes of Irjala and Nocturnal Fire – from last year’s sublime Nocturnal Will – show the band at their brilliant best, with the extended lead solo work in Nocturnal Fire being dispatched to glorious perfection. Watch this space, because we have a truly special band on our hands.

Rating: 10/10

AUTUMN NOSTALIGIE – Ocean RoomAutumn Nostalgie live @ Fortress Festival 2025. Photo Credit: Sabrina Ramdoyal Photography

Having to follow the exhilarating DÖDSRIT is an almighty challenge, and for a portion of AUTUMN NOSTALGIE‘s set, there’s a worry that their UK debut will be one to forget. Technical problems renders the band unable to perform, but once these issues are mercifully resolved, the Slovakians conjure a hauntingly immersive atmosphere. The guitar work in particular is the key here, as the riffs intertwine and dance in shimmering tranquillity and a nice steady rhythm makes experiencing the band’s craft a pleasure. Despite the setback, a strong and impressive performance from a band who will hope for a better role of the dice next time.

Rating: 7/10

MOONLIGHT SORCERY – Main StageMoonlight Sorcery live @ Fortress Festival 2025. Photo Credit: Sabrina Ramdoyal Photography

Seemingly coming out of nowhere, Finland’s MOONLIGHT SORCERY may have more akin to CHILDREN OF BODOM than their compatriots in their native black metal scene, but their exhilarating and theatrical black metal is absolutely wicked. With Fortress Festival being just the third show in the band’s budding career, there’s a lot riding on whether the Finns can replicate the sheer intensity of 2023’s Horned Lord of the Thorned Castle. And boy, do they deliver. Igniting an aural maelstrom that rarely dips in its intensity, the band keep the audience breathless. The likes To Withhold the Day, The Secret of Streaming Blood and Into the Silvery Shadows of Night all highlight what a special prospect we have on our hands. Brilliant, brilliant stuff.

Rating: 9/10

ARISTARCHOS – Ocean RoomAristarchos live @ Fortress Festival 2025. Photo Credit: Sabrina Ramdoyal Photography

Another prime cut from the UK’s ever fruitful black metal scene, not much is known about ARISTARCHOS, but what becomes immediately clear as they level the Ocean Room, Fortress Festival have struck gold once again. Crafting an atmosphere and with visually striking robes is nothing new, but if done correctly, can really enhance the impact of a performance and here, the band deliver. Feeling akin to SCHAMMASCH in places, their black metal swirls and builds, all with pinpoint ferocity from a drummer who keeps the pace whitehot. Fuelled by two excellent full-lengths under their belt, their set at Fortress Festival stakes a claim for one of the best performances of the weekend.

Rating: 9/10

ULCERATE – Main StageUlcerate live @ Fortress Festival 2025. Photo Credit: Sabrina Ramdoyal Photography

Despite a career spanning over 25 years, it’s only been the last decade or so where New Zealand’s ULCERATE have enjoyed breakout success within the confines of our world. Their brand of unorthodox and suffocating technical death metal is an almighty musical beast, and with the likes of 2016’s Shrines of Paralysis, 2020’s Stare into Death and Be Still, and last year’s Cutting The Throat of God all having a stake in the best extreme metal of recent years, much anticipation awaited the trio ahead of a rare appearance on our shores. And we’re treated to a masterclass in musical extremity. Their set pulls from their most recent two records, and through merciless renditions of To Flow Through Ashen Hearts or The Dawn Is Hollow, the band conjure, instil and smother a foreboding sense of dread as their dizzying musicianship works effortlessly in a feat of masterful control of their instruments. There is quite simply not another band like them.

Rating: 10/10

FORTERESSE – Main StageFortresse live @ Fortress Festival 2025. Photo Credit: Sabrina Ramdoyal Photography

Having last performed a show six years ago, scoring Quebec’s FORTERESSE for this year’s festival is a triumph. Judging from the overwhelming demand for the exclusive shirt on offer, this is a big deal, signalling the festival’s ability to cater perfectly for this corner of the metal world. Performing as the penultimate act on the Main Stage, the band’s primal and relentless surge of low-fi black metal injects that much needed adrenaline for the day’s closing stages. A cacophony of blistering riffs, pummelling drums and pained howls cascade and wash over the crowd, with the likes of Spectre de la rébellion and La lame du passé being dispatched with ruthless intent. A technical mishap disrupts what should be a triumphant finale, but after dusting off the misstep with a thumping rendition of Vespérale to finish on a high, experiencing FORTERESSE felt like a “I was there” moment.

Rating: 9/10

FEN – Ocean RoomFen live @ Fortress Festival 2025. Photo Credit: Sabrina Ramdoyal Photography

FEN, hailing from the United Kingdom, evoked profound emotions during their headlining live performance on the Ocean Stage, supplying the audience with a deeply immersive experience. The intricate guitar work, haunting melodies, and dynamic rhythms embodied a juxtaposition of darkness and beauty. Each composition unfolded akin to an epic journey through delicate landscapes. The band’s unwavering dedication to their craft was evident as they actively engaged with the audience, fostering a profound connection that significantly enhanced the emotional resonance of their music. With lyrics frequently inspired by nature and introspection, FEN‘s performance resonated on multiple levels, leaving their Fortress Festival crowd enchanted and contemplative, while the quartet demonstrated both an impressive stage presence and a steadfast commitment to their art, establishing themselves as a prominent force within the black metal scene.

Rating: 9/10Agalloch live @ Fortress Festival 2025. Photo Credit: Sabrina Ramdoyal Photography

Given the immense quality of the curated billing, the festival weekend had featured many great moments, but to welcome back Portland’s AGALLOCH as returning heroes topped the list by a country mile. Having announced the band immediately after last year’s festival, in their first European appearance, their first appearance on UK shores for a decade (something John Haughm comically notes at during the set), AGALLOCH‘s headlining set at Fortress Festival had the enormous weight of anticipation, but as the opening notes of Ghosts of the Midwinter Fires unfold, a tidal wave of sheer ecstasy is unleashed. Using the adoration of the crowd as their lifeblood, the band throw themselves – quite literally – across the stage and run through an extensive walk through their discography, with each folk-laden black metal epic performed expertly well. Whether it’s the sheer release of emotion experienced during Falling Snow, the doomy and mourning croons of Fire Above, Ice Below, or the thumping Dark Matter Gods, experiencing AGALLOCH – especially after such a long time – feels euphoric, helped by the fact the band are on scintillatingly good form. A defining moment for Fortress Festival, cementing it as a set that will live long in the memory.

Rating: 10/10

Words: James Weaver, Sabrina Ramdoyal

Check out our extensive photo gallery of the action at Fortress Festival 2025 from Sabrina Ramdoyal Photography here:

Epica: Music Connects Us As Humans

Photo Credit: Tim Tronckoe


Forging their own path through the ranks of symphonic metal, the mighty EPICA bring us album number nine Aspiral and once again demonstrate their mastery of this style of music. Now at over twenty years since the band came to be lead vocalist Simone Simons reminisces over the leap of faith she took when beginning her long journey with EPICA.
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“Everything went really fast when I decided to quit high school and pursue a career in music. My parents were not thrilled with that decision, but I was very headstrong. I just needed to know where that would take me but I had no idea it would become what it is now. We got on that high speed train as EPICA and we never really stopped. Recently a fan tagged me on a post on Instagram of me doing some vocals for the very first album. It asked ‘did Simone back then realise what she would become twenty two years later’ and the truth is I had no idea I was just guided by intuition and a passion for music.”



Despite achieving every young person’s dream of leaving school to become a successful musician, Simone does have words of caution for those who may consider following her example.

“It’s quite rare for that to happen, dropping everything to join a band and it paying off so well. I wouldn’t recommend it to everybody but I do always like to encourage people to follow their dream and not think you are stuck living your life the same way as everyone else. But of course it is hard work and comes with a lot of sacrifice. We had connections to get on tour early on but those first few years we didn’t make money. I had to use allowance money from my parents to buy batteries for my in ear monitors or we slept on couches with our friends and families. If you want to drop out of high school and dream of being a famous musician overnight, that’s not how it works. You have to put in more hard work, perseverance and persistence than you think.”

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Nine albums later and becoming one of the leading bands of symphonic metal, Aspiral once again showcases EPICA as one of the most grandiose and epic bands in the scene. When considering how Aspiral came to be, Simone says, “after our last album, Omega, we released an EP called The Alchemy Project where we worked with other talented musicians and we experimented there a little bit by trying new things. We wanted to see how the metal community would react to something like that and the response was very positive so we felt like we had more freedom for whatever came next. It was a chance to rediscover EPICA and that’s really what kickstarted Aspiral. Each song individually has a different source of inspiration. The lyrics on the title track for example were inspired by an art piece from a Polish sculpture. That’s just one of many of course, every song has its own meaning so you could say our biggest inspiration is just a love of music and art.”

A number of tracks on the album are part of EPICA’s long developed epic masterpiece, A New Age Dawns. With parts appearing across various EPICA releases, Aspiral brings three more parts bringing the total up to nine parts. After years of adding to this sprawling musical narrative, Simone reveals that the song finally feels complete. “Mark intended this song to end with this, our ninth album. This is the conclusion of A New Age Dawns intentionally on album nine and with nine total parts. The number nine stands for completion and wholeness. I couldn’t tell you if that was his plan all the way back when the prologue was written way back when, but certainly when writing for this album the conclusion felt right.”



Despite this chapter of EPICA closing, the band are always looking ahead to whatever story is coming next. “There will definitely be another epic journey to come. We’re very philosophical in this band, very spiritual and incredibly passionate. I’ve mentioned this a lot already but the passion for music is what has driven us and still does to this day as well as seeing the response to what we do. Music is one of the most beautiful things in life and it’s what connects us humans all around the world. We’ve been a hard working touring band but we have a big team of people that make it all happen. It’s not one person, it is a whole team of people that are equally important and vital in their own way and together we are EPICA.”

Aspiral is out now via Nuclear Blast Records. View this interview, alongside dozens of other killer bands, in glorious print magazine fashion in DS121 here:

The Callous Daoboys: Welcome To the Museum of Failure

“Luckily, we’re a pretty polarising band!” Carson Pace, vocalist with Atlantan mathcore mavericks THE CALLOUS DAOBOYS is sat on the other end of a Zoom call, a few weeks ahead of the release of their hotly-anticipated – and utterly phenomenal – third album, I Don’t Want To See You In Heaven. Asked about the pressure of expectations following the smash Celebrity Therapist, he’s animated and passionate about discussing it and how they approached creating it entirely on their own terms. “People are already expecting the unexpected,” he smiles of their ability to upend expectations at a moment’s notice.



One of the big reasons for I Don’t Want To See You In Heaven’s success is that the band refused to replicate previous successes. “Pleasing people wasn’t a part of it,” Pace explains. “The pressure was to make sure that we made something good, the focus was on the song, and instead of being ‘let’s write a song with a big breakdown’, let’s make sure it’s an actually good song. That also happens to have a big breakdown,” he grins. The seeds started to be sown for this new era far earlier than people might realise, too.



“We finished recording Celebrity Therapist in September 2020. People don’t realise we sat on that for two years,” he begins, explaining that the writing process began before the actual release of Celebrity Therapist in September 2022. “I would say about 50% of this record was written last year, but the other 50% is from 2021 to now.” As we talk, it becomes clear that Pace and his bandmates have taken as much time as they could to learn as much and write the best songs they could. “So many people get caught up in trying to redo older songs, or fix their errors,” he starts, “but my philosophy has always been, you can always write something better.”

If it sounds simple on the surface, it was harder to put into practice, with the band bouncing demos back and forth, asking each other whether they felt songs were too indulgent or if they were on the right track. The ultimate goal was to create the best possible album they could. When asked if he feels this is a more mature record, he agrees to an extent. “It’s mature in that we are older now and have different tastes. When I was writing Die On Mars the only thing I wanted to do was be an insane mathcore band. We’ve done that, and I’m glad we kind of still are an insane mathcore band. But the philosophy of this album is that you only have one chance to immortalise yourself through art.”


A lofty goal, to be sure, but one that Pace is committed to pursuing. “We were like, how do we quit our jobs forever,” he admits simply, “This is the only thing I’m good at. I’m incompetent in most other areas of life. This is the only thing I like doing, I don’t like working a customer service job, I don’t even really like money. I like having enough to live, so I was asking, how do I keep this going and make something timeless?” If you’ve heard I Don’t Want To See You In Heaven, you know for certain that they achieved that goal.

Although, it perhaps isn’t a more mature record in some ways, Pace grinning, “I yell ugga ugga boo ugga boo boo ugga, so is it really more mature?” (referring to the wonderfully-named Douchebag Safari that also opens with a Wii Sports-esque jingle). Their ability to poke fun and have entertaining song titles is extremely intact – see also Idiot Temptation Force, for instance – but the music itself takes itself as seriously as Pace takes his desire to be in a band full-time, making art that he loves. “The goal was to make something so undeniable that it becomes our everything.”
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The idea of immortalising themselves through art also became a way to frame the record; with two tracks, the intro Collection Of Forgotten Dreams and penultimate Opt Out, creating a museum setting that posits the existence of a Museum of Failure 300 years in the future, in which the album is displayed as an exhibit. The album then, naturally, asks the question of whether it was a failure at all, given the album has lasted 300 years and is now in a display. But just don’t call it a concept album, as Pace isn’t the biggest fan of the title.

“When bands of our ilk do concept records, I truly hate it. I think it’s so stupid. There’s something inherently fedora trenchcoat about concept albums,” he opines. “But then, [our album] also is, in the sense that it’s being presented conceptually.” The idea itself is one that Pace is very fond of, enjoying not only the concept of a Museum of Failure but the way in which a world can be established that the album exists in. “I’ve never really heard a band do that, and it was such a cool idea. Plus there’s all the packaging of the album like a museum brochure.”

There are still tie-ins; as the album’s press notes explain, the album does examine failure in a sense, but it also chronicles Pace’s own feelings and mental state over the course of its creation. There’s lines singling out working at Guitar Center (“I don’t care if my former coworkers see this, that was the worst job I ever worked in my life. I hate Guitar Center!”) but there’s also an entire song dedicated to the love and gratitude he has for this iteration of the band, as the mid-career FALL OUT BOY echoing Distracted By The Mona Lisa shows.

Throughout its many twists and turns, from the JUSTIN TIMBERLAKE-referencing Lemon to the mathcore freakouts of Schizophrenia Legacy and flirtations with beatdown hardcore on Tears On Lambo Leather, despite the disparate threads that make up the album and its frequent, baffling turns across a myriad of genres, it’s a remarkably cohesive piece, not only because of its conceptual framing device.

There’s clearly been a huge amount of dedication and work gone into the album, with Pace’s declaration that they didn’t want to repeat themselves ringing particularly true. There’s no Star Baby to close, sure, but Country Song In Reverse is without a doubt one of their finest-ever moments, as its twelve minutes ricochet from mathcore to lounge samples to ambient and brass-infused post metal.



One recurring theme across I Don’t Want To See You In Heaven is sacrifice, and how much Pace and his bandmates are willing to give up to make THE CALLOUS DAOBOYS work without the need for a day job. Distracted… is the clearest summation, in some ways, of this. “That’s me saying you people [his bandmates] make all of the sacrifices worth it. I’m so grateful for the people I’m in a band with, I don’t think every band gets this lucky. We are, truthfully, just six people that love hanging out with each other so much. They get on my fucking nerves all the time, but they’re my family and we truly love what we do together. I’m proud to say I’m in my favourite band.”

I Don’t Want To See You In Heaven is out now via MNRK Heavy. View this interview, alongside dozens of other killer bands, in glorious print magazine fashion in DS121 here:

HEAVY MUSIC HISTORY: Astro-Creep: 2000 – Songs of Love, Destruction and Other Synthetic Delusions of the Electric Head – White Zombie

“Perhaps you’d better start from the beginning.” These seven words, sampled from the 1957 Hammer Horror classic The Curse of Frankenstein, kick off Astro Creep: 2000 – Songs of Love, Destruction and Other Synthetic Delusions of the Electric Head (or simply Astro-Creep: 2000), the fourth and final studio album from New York’sWHITE ZOMBIE. And to truly grasp the significance of both the band and this record, you have to go back to where it all began.
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Formed in 1985 on the gritty streets of New York City, back when the city still had a dangerous underbelly, WHITE ZOMBIE took their name from the 1932 Béla Lugosi horror film. They carved out a niche in the underground with a unique brand of grimy noise rock, sharing sonic territory with contemporaries like PRONG and COP SHOOT COP, but with an added obsession for horror, sci-fi, and B-movie sleaze that set them apart.



Their early albums, 1987’s Soul-Crusher and 1989’s Make Them Die Slowly, made waves in the underground scene, but it was 1992’s La Sexorcisto: Devil Music Vol. 1 that changed everything. The band shifted towards a groove-driven, sample-heavy sound that amplified their love of the bizarre. It was weird, wild, and it worked.

Their visibility skyrocketed thanks to appearances in the Brendan Fraser/Steve Buscemi/Adam Sandler rock comedy Airheads, and breakout tracks like Thunder Kiss ’65 and Black Sunshine dominated MTV. Perhaps most notably, Beavis and Butt-Head gave them the kind of approval that, at the time, could launch a band into the stratosphere. Suddenly, WHITE ZOMBIE were one of the biggest metal acts on the planet, emerging just as grunge was starting to lose its hold on the mainstream.



Recorded in late 1994 with legendary producer Terry Date, Astro-Creep: 2000 would turn out to be WHITE ZOMBIE’s final studio album, though they didn’t know it at that time. In hindsight, what a way to bow out.

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Now featuring drummer John Tempesta (ex-EXODUS and TESTAMENT), the lineup – Rob Zombie (vocals), Sean Yseult (bass), Jay Yuenger (guitar), and Charlie Clouser (keys/programming) – took everything that worked on La Sexorcisto and pushed it to the extreme. The result? A sleazy, industrial-tinged metal odyssey that was as outrageous as it was infectious.

Blending metal, funk, punk, and industrial with perfectly placed samples (from cult classics like The Omega Man, The Haunting, and To the Devil a Daughter, to an eerie interview with Manson family member Patricia Krenwinkel) Astro-Creep: 2000 is a fever dream of horror, paranoia, and raw energy. The lyrics, heavily inspired by The Texas Chainsaw Massacre and other genre fare, only add to the nightmarish vibe.



Opening with Electric Head, Pt. 1 (The Agony), the album pulls listeners headfirst into WHITE ZOMBIE’s twisted world. It’s a relentless ride through tracks like Super-Charger Heaven, Real Solution #9, I, Zombie, and the iconic More Human than Human, songs that became bona fide anthems. Elsewhere, trippy cuts like El Phantasmo and the Chicken-Run Blast-O-Rama and Blood, Milk and Sky reveal the band’s more psychedelic, unhinged side. Together, it’s the definitive WHITE ZOMBIE experience.

With the album out, the band hit the road hard, playing with the likes of KYUSS, THE MELVINS, and the Ramones. Their UK return came at Donington 1995, personally invited by METALLICA to join a stacked lineup that included MACHINE HEAD, SLAYER, and CORROSION OF CONFORMITY. As the eerie opening of Electric Head, Pt. 1 played out over the PA, anticipation gave way to chaos. WHITE ZOMBIE delivered a scene-stealing set, repeating the feat at Reading the very next day and firmly establishing themselves as the hottest band in US metal.

Their headline UK tour followed soon after, with Astro-Creep: 2000 at the heart of the setlist. The tour was met with critical acclaim and brought in waves of new fans, many of whom had only just caught up with the band’s wild ride.



Sadly, it didn’t last. WHITE ZOMBIE split just a year later, following the release of Supersexy Swingin’ Sounds, a remix album of Astro-Creep: 2000 cuts. A massive co-headline US arena tour with PANTERA came and went, but the band never returned from its hiatus. Instead, the members moved on to other projects, with ROB ZOMBIE launching a hugely successful solo and film career.
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While Zombie’s solo work may have sold more records and filled bigger venues, he’s never topped Astro-Creep: 2000. It remains not only WHITE ZOMBIE’s finest moment, but one of the most essential and enduring metal albums of the 1990s. A record that, even in 2025, still sounds just as thrilling, chaotic and vital as the day it was released.



Astro-Creep: 2000 – Songs of Love Destruction and Other Synthetic Delusions of the Electric Head was originally released on April 11th, 1995 via Geffen Records.

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LIVE REVIEW: Download Festival 2025 – Saturday

Photo Credit: Matt Higgs


With one scorcher of a day down and minimal rain in sight, Download Festival enters its second day of celebrations, with a slew of bands taking to the stages before another brand new headliner, this time from a band who’ve been around less than a decade, but have made their presence felt not only across the scene but the entire festival, weaving flower garlands into the sound tower and a pop-up merch shop. But before that, there’s another barrage of quality bands to get through.







STATIC DRESS – Apex StageStatic Dress live @ Download Festival 2025. Photo Credit: James Bridle

Rumours have been swirling of an 11am secret set by TRIVIUM on the Opus Stage – not helped by Matt Heafy goading and trolling on Instagram – but that doesn’t stop a dedicated core turning out for STATIC DRESS‘ slot opening the Apex stage. They’re a little late starting but once they get into the swing of it, their blistering post-hardcore certainly chases away any lethargy from the pits, and the occasional blast of pyro sears the air. It’s a stellar showing from the Northern rabble rousers.

Rating: 9/10

LOATHE – Apex StageLoathe live @ Download Festival 2025. Photo Credit: Danny North

LOATHE have a tall order to follow STATIC DRESS, and coming onstage nearly 15 minutes late doesn’t help them. They quickly win the crowd over though, their blend of crushing riffs and ambient passages getting pits moving and arms waving. Kadeem France is on remarkable form too, commanding the crowd with ease as they make the most of their early slot and the crowd kick up huge dust clouds in response.

Rating: 8/10

SPLIT CHAIN – Avalanche Stage

With some clear sound issues in the beginning, this did not stop SPLIT CHAIN from delivering a set that no band of just two years should be able to pull off. Playing all their biggest tracks for the loyal fans in the tent; the pits immediately erupted as the two steppers took to moshing as the band gave it their absolute all. Possibly the only thing that could make it better would maybe be the possibility of stage diving to really bring in the bands true post-hardcore elements, which naturally isn’t possible on such a big tent. Regardless, SPLIT CHAIN made for a set that should cement them as a frequent Download Festival band.

Rating: 9/10

POPPY – Apex StagePoppy live @ Download Festival 2025. Photo Credit: Danny North

Forever enigmatic, forever entertaining. POPPY gives an incredibly entertaining set that relied heavily on her latest album Negative Spaces to give the crowd one of the stand out performances on an already stacked line up on the Apex Stage today. From pop-rock to metalcore, the short set had pretty much everything that kept the intrigued crowd on their toes. A robot voice drove the narrative of the show before POPPY began talking to the crowd as she demanded enormous mosh pits to the likes of Concrete, V.A.N and They’re All Around Us, skipping around the stage without breaking a sweat, all the while screaming the lyrics towards the audience in the intense afternoon heat.
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Rating: 8/10

PALAYE ROYALE – Apex StagePalaye Royale live @ Download Festival 2025. Photo Credit: Todd Owyoung

It has taken PALAYE ROYALE eight long years to reach the Apex Stage of Download Festival, so the Vegas brothers are out to make the most of their biggest UK crowd to date. Opening with Showbiz from their most recent album Death Or Glory, leading man Remmington Leith is clearly in his element, his natural showmanship shines on stage as he commands the audience from the get go, at one point crawling across the stage toward the crowd in a move reminiscent of Gerard Way‘s iconic 2011 Reading performance (if you know, you know). The band are undeniably electric on stage, and despite the heavy focus on their more recent material, they still find time for fan favourites Mr Doctor Man (including a breakdown into THE DOORS‘ People Are Strange), You’ll Be Fine and No Love In LA. While on stage, the band also confirmed an upcoming UK tour in November, to the feverish excitement of the crowd. Closing out with For You and ending their time on stage with a heartfelt thanks to the fans and a reminder for those who can to call their moms, it was an emotional rollercoaster outing for all.
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Rating: 9/10

MOTHICA – Avalance Stage

Over on the Avalanche Stage and making her Download Festival debut, rising alt-pop star MOTHICA is greeted by a very busy tent and raucous cheers even when she’s line checking. After an early rendition of her remix of BMTH‘s Can You Feel My Heart, she quips about “new hair-a, new era… They definitely all say that” before introducing an unreleased song off her as yet unannounced next album. It leans more into rock than before, its melodies as melancholic as ever. She admits it’s her first show after going to rehab last year to get sober, and it’s a particularly poignant affair and there’s minimal signs of stage rust. Instead, it reintroduces MOTHICA to the world, ready to take it on once more, and ends on a surprise note as she plays an exuberant cover of SMASH MOUTH‘s All Star bidding somewhat tongue in cheek to be on the Shrek 5 soundtrack.

Rating: 9/10

ANAAL NATHRAKH – Dogtooth Stage
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Anaal Nathrakh live @ Download Festival 2025. Photo Credit: Gobinder Jhitta

At odds with the glorious sunshine, ANAAL NATHRAKH‘s furious, grinding extremity casts an evil pall over the Dogtooth Stage. Forward! lives up to its name, industrial samples backdropping driving riffs and sledgehammer drumming. The crowd lap it up, chaos engulfing the front sections as limbs fly and a dust cloud is kicked up by the pit. There’s a smattering of rarities that have seen either minimal or no plays on UK tours before as well as the crowd favourites, and it marks why the band became such a vital force in UK extreme music. Here’s hoping we see more from them sooner rather than later.
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Rating: 8/10

THE DARKNESS – Opus StageThe Darkness live @ Download Festival 2025. Photo Credit: Todd Owyoung

If you wanted some flamboyant cheesiness and even a christmas song, a set by THE DARKNESS over on the Opus Stage was the one for you. As always, this was a show that was just fun. A short but sweet set that contained songs old and new. Unfortunately the show itself is plagued by sound issues as it fell foul to the wind where the sound at times struggled to make its way across the crowd who at times could frustratingly hear SHINEDOWN‘s performance over THE DARKNESS. Nevertheless, Justin Hawkins and co kept their cool to keep the audience entertained, particularly with the ever enjoyable and legendary track I Believe In A Thing Called Love which saw the crowd in absolutely fine voice, fruitfully and humorously attempting to match Hawkins’ falsetto but to no avail.

Rating: 7/10

SYLOSIS – Dogtooth StageSylosis live @ Download Festival 2025. Photo Credit: Carolina Faruolo

It barely needs saying, but SYLOSIS are great. An undersung titan of UK heavy music, they’ve grown into riff-slinging masters of their craft and today’s set on the Dogtooth only reaffirms that. Opening with the scorching Pariah into Empty Prophets, it begs the question how it’s been allowed that they haven’t graced Donington for ten years. The start of a rainy spell drives more and more people into the tent, filling out an already busy space. Josh Middleton sounds imperious, possessed of a commanding bark as well as his prodigious riffcraft, culminating in a set that batters, bludgeons and is an anthemic love letter to heavy fucking metal.
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Rating: 9/10

SEX PISTOLS – Opus StageSex Pistols live @ Download Festival 2025. Photo Credit: Andrew Whitton

Despite the pouring rain, the Opus Stage area overflows with fans eager to catch the group current frontman Frank Carter describes as “the greatest punk band of all time”. There’s no denying their lasting legacy, and with Carter at the helm, they have a new lease on life it seems. It was a somewhat slippery start, with Pretty Vacant having to be restarted multiple times as Carter attempted to perform from the middle of a giant circle pit. This is a move he quickly admits was likely not the wisest given the relentless rain and sloped field, but the crowd sing along just as eagerly every single time. The legends of punk power through their 17 song set covering off Holidays In The Sun, E.M.I and their infamous cover of My Way to name but a few. As a rainbow crosses the sky, Carter takes a moment to appreciate the beauty of it and, when challenged on this, we’re treated to a brief but characteristic rant about rainbow flags and Palestinian flags being the most punk things possible in 2025. The punk icons close out with a lyrically updated Anarchy In The UK before the crowd make their way in droves towards the Apex stage for SLEEP TOKEN. The fiery set and enduring onstage chemistry of the legendary Cook, Jones and Matlock mean this felt like a truly authentic and blistering SEX PISTOLS performance, and one we’re sincerely glad we got to witness.

Rating: 8/10

SLEEP TOKEN – Apex StageSleep Token live @ Download Festival 2025. Photo Credit: Sarah Louise Bennett

As soon as the gates opened for the festival, it was quite obvious that this was going to be SLEEP TOKEN‘s weekend. An astronomical rise over the last couple of years has seen the anonymous quartet have an astronomical rise from playing small stages at Download Festival to headlining it. You can feel the anticipation, the hype and the excitement filtering through the crowd the entire weekend as the band delivered a headline that is sure to go down in history on the hallowed turf. As soon as the curtain drops and the incredible staging revealed, the crowd are instantly transported to the world of Arcadia, with staging so immersive you genuinely believe you are there yourself. Opening on Look To Windward, Donington are treated to career-spanning hits both old and new. The Offering, The Summoning and Alkaline were all met with the same joy, but it was all the new songs that stood out.

Emergence pummels, Caramel helps the crowd share in the frustrations of the band while Damocles tugs on the heart strings. For a band that says absolutely nothing to the crowd throughout a show, by the sheer presence they command on stage is captivating. That’s particularly true of mastermind and frontman Vessel, whose form hulked around the stage as he gives the performance of his life and displays his humorous dancing style to boot. He commands such a presence, you almost feel like he is not of this earth as you become more and more immersed in the world of SLEEP TOKEN. If they pull out all the stops like this for a festival headline set, then whatever comes next is going to be truly special. Forget arenas, stadiums beckon to play host to future sacred moments in time, and we cannot wait.

Rating: 9/10

Words: Will Marshall, Alex Morgan, Ed Walton, Ben Blissett

And that wraps up our coverage of the Saturday of this year’s Download Festival! Keep posted to Distorted Sound as we bring you our coverage of Sunday’s action!

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ALBUM REVIEW: Imperium Delirium – Shadow of Intent

Connecticut-based SHADOW OF INTENT picked their name from a ship within the lore-heavy Halo universe, which initially made it hard not to draw connections between the two. However, after their first two albums, they started exploring more existential themes. Both existing fans and newcomers will be intrigued by the themes presented within the lyrics of their new album, Imperium Delirium, confusion, betrayal, and suffering, the darker realities that we all can face.



With the opener Prepare To Die, the listener is pulled into an eternal wasteland with no escape. Drums echo the sound of war, and vocals sound like they’re coming straight out a blender.



In Flying The Black Flag, the guitars and strings at the beginning are reminiscent of the calm before a great battle is about to take place, setting the stage for a beast to be unleashed. Double kickers and echoing layers launch you into madness, which accelerates the pure speed and force of the vocals. Infinity of Horrors begins with a kick before a whirlwind of sound drags you along. The vocals halfway through reveal a clear Norwegian symphonic black metal influence. It evokes a volcanic landscape or a towering dark castle, bleak, majestic and dramatic.
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Mechanical Chaos chugs along with machine-like consistency which brings out the feeling of being spun through two cogs in an engine. The drums here are insane, and the bell grooves cut through with precision. They Murdered Sleep and The Facets of Propaganda bring more orchestral elements, while aggressive blast beats and shrieks from Ben Duerr will wrap themselves round your spinal column and rip it out with no mercy.

Feeding the Meatgrinder, featuring the mighty Corpsegrinder is so choppy there isn’t a chance to catch a breath because you’re being diced up by Chris Wiseman’s guitar work, assaulted with Ben’s vocals, and shot with spiraling blasts provided by Bryce Butler on drums.


Vehement Draconian Vengeance scratches the melodic death metal itch with some serious arm-swinging spirit. All elements come together to knock you down, only to open into a piano piece that closes the track. Meanwhile, Beholding the Sickness of Civilization is heavy and complex, maintaining its energy from start to finish.

Apocalypse Canvas stands as an instrumental and puts the focus on the guitars, they deliver sharp, precise riffs which keeps the momentum going. Impeccable grooves from bassist Andrew Monias weave through the track, adding warm tones.



No Matter the Cost begins with an industrial vibe and opens into theatrical piano and deep roars. Imperium Delirium, the closing track, delivers, its a symphonic standout that brings together all the essential elements, orchestration, brutality and atmosphere.

SHADOW OF INTENT continue their trajectory of growth, pushing toward a more aggressive and polished sound. Some of the melodic elements present in earlier records feel a bit more subdued here but the sheer unstoppable force from SHADOW OF INTENT is loud and clear. They prove once again why they remain at the forefront of modern deathcore.

Rating: 9/10



Imperium Delirium is out now via Blood Blast Distribution.

INTRODUCING: Sometime In February

Guitar-driven progressive instrumental music has come a long way since the heyday of shredders like JOE SATRIANI and STEVE VAI. Whilst the technical virtuosity continues to escalate, modern bands in the scene place ever more importance on the quality of songwriting and the shape of the sound beyond the guitar. Bringing their take to the scene are North Carolina outfit SOMETIME IN FEBRUARY, fronted by Tristan Auman, who moonlights as a touring guitarist for progressive metal legends BETWEEN THE BURIED AND ME. The band shall release their major label debut, Where Mountains Hide, this year – an exciting blast of guitar wizardry, riffs and breakdowns living comfortably alongside earworm melodies.
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Auman kicked off SOMETIME IN FEBRUARY in 2020 with some solo demos before recruiting Scott Barber to record a first EP in 2021. The addition of Morgan Johnson on bass solidified the band as a trio, playing local shows in and around North Carolina and recording their self-released debut album in 2023. However, the prog sound wasn’t always Auman‘s intention. “At the time, I wasn’t even listening to much heavy music or progressive, technical stuff,” he shares, rattling off shoegaze, emo and post-rock as his main genre listening habits at the band’s inception. “But I always would go back to the more technical stuff. I kind of figured out that was my roots. I felt my baseline was progressive rock, progressive metal at its core.”

The primary influence on Auman was DREAM THEATER, serving as a branching-off point for djent bands like PERIPHERY, modern prog bands HAKEN, and instrumental acts like INTERVALS. But it’s clear that PLINI is a key influence, as well. “He’s a great songwriter and not just a wonderful guitar player,” eulogises Auman. “It’s very singable, discernible melodies in his songs. Of course, he shreds, but it’s all in service to the song itself.” That philosophy, of the central importance of songwriting, permeates Auman‘s approach. “I definitely would prefer to be known as a songwriter than a guitarist, because that’s my voice, essentially. Playing really fast on a guitar is the tool that I use to do that. I would much rather be a unique writer than the best guitarist on the planet.”
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The new album Where Mountains Hide shows that focus on strong songwriting. It packs in tons of fiddly riffs and memorable hooks in a blazing, frenetic package. The writing process is, in Auman‘s words, “vibes-based” – sometimes drawing on personal meanings, but focused more on evocation of feelings than any direct storytelling. More than anything else, the album is infused with a sense of fun and light-heartedness, even in its heaviest moments. This stemmed from the first writing session for the lead single, Palantir. The band embraced its upbeat melodies, carrying that vibe throughout the writing process. “Overall, it’s more light-hearted than I was expecting,” says Auman. “I love writing angry stuff. I love writing sad stuff as well. [But] It’s kind of refreshing to have written a positive album. I’m not mad about it!”

Auman‘s time touring with BETWEEN THE BURIED AND ME has also had an impact. Despite their legendary status in the North Carolina heavy music scene, he was a late convert. The relationship with the band began when Auman worked with BTBAM lead guitarist Paul Waggoner in a coffee shop. Joining them on tour has encouraged Auman to up his game with SOMETIME IN FEBRUARY. “I don’t want to come home from tour with BTBAM and then play music that I don’t feel would be up to a certain standard, like theirs.” As well as encouraging higher standards, some more direct influences are evident – in particular, some rapid, attention-deficit switch-ups in style and mood. “There’s definitely some moments on this album where you can tell – it’s a bit more riffy, a bit chunkier, a bit heavier, and that’s where you can kind of see that influence,” says Auman.
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The focus on songwriting & sound craft and a growing professional ethos led to SOMETIME IN FEBRUARY calling on several collaborators. As well as a featured solo from Waggoner, BTBAM bassist Dan Briggs made several musical contributions. “There’s a lot of subtle things that Dan did. It’s not limited to one particular instrument. If you hear something in the background but can’t quite decipher what it is, it’s probably Dan getting up to something. Which was perfect!” The band also recruited Eric Guenther from THE CONTORTIONIST to support on sound design. “He really did level up this record, and we were very happy with the results.” Both contributions show an intent from the band to elevate their work beyond the guitar hero realm into something greater.
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With the new album ready to go, the band are eager to push forward, particularly with live shows and touring. Auman is particularly keen to get out on the road supporting bands that SOMETIME IN FEBRUARY look up to, to continue learning and absorbing. A first-ever international appearance is scheduled in the UK this August as the band play ArcTanGent Festival. “We’re stoked!” Grins Auman. Though his touring commitments with BTBAM means it’ll be a busy weekend, playing three sets in two days. Given the talent and quality on show, this will hopefully be the first of many opportunities to experience this exciting young band play here. SOMETIME IN FEBRUARY bring both virtuosity and fun back into instrumental progressive music; expect to see much more from them in the future.

Where Mountains Hide is out now via InsideOut Music. View this interview, alongside dozens of other killer bands, in glorious print magazine fashion in DS119 here:


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