HEAVY MUSIC HISTORY: Enemy Of God – Kreator

Although thrash metal is typically associated with the Big Four from the United States, over on European shores, Germany has equal claim to the thrash metal throne. Alongside their countrymen DESTRUCTION, SODOM and TANKARD, Essen’s KREATOR are arguably one of the biggest thrash metal bands on the planet with timeless classics in Pleasure To Kill (1986) and Coma Of Souls (1990) and a consistently solid suite of records at the turn of the Century. A large component of their 21st Century revival is 2005’s Enemy Of God.



It wasn’t always plain sailing for KREATOR. After establishing themselves as an explosive name in the booming thrash scene in the 1980s with the aforementioned Pleasure To Kill and 1988’s Extreme Aggression, which saw the band win legions of US-based fans, as thrash declined in popularity in the 1990s and grunge took its place, the band switched their focus towards adopting more experimental approaches to their music with mixed results.

Sixth album, 1992’s Renewal introduced death metal and industrial influence and, although it introduced KREATOR to a new audience, long-time fans were dismayed at the change in style and by the close of the decade, the band’s declining sales and critical reception had dropped to its lowest point. Fortunately, the band roared back into life as we entered the 21st Century as 2001’s Violent Revolution capitalised on the resurgence of thrash and saw KREATOR return to their roots.

Violent Revolution was a scorching success (and would later be credited as being a catalyst for the early 200s thrash revival) but 2005’s follow-up, Enemy Of God, was the album which demonstrated that KREATOR were building on something truly special indeed. Returning alongside legendary producer Andy Sneap, a man whose extensive CV boasts the likes of OBITUARY‘s Dead (1998) and OPETH‘s Deliverance (2002), as well as producing Violent Revolution, the band spent three months in mid 2004 crafting the album that intended to keep the momentum surging forwards.


Released in January 2005, Enemy Of God demonstrated a ferocious musical assault by KREATOR, with enough blistering solos and necksnapping riffage for fans to feast upon. Building upon their classic thrash foundations with more emphasis placed towards the Gothenburg-style riffing pioneered by the likes of IN FLAMES and AT THE GATES, the record perfectly balances thrash’s heyday with enough modern sounds to be a force to be reckoned with.

Whilst KREATOR‘s past works had never shied away from dark and morbid topics, Enemy Of God saw the band dive into more brutal territory. The title track, a fierce and ferocious opener, sets the tone in thundering fashion and with lyrics such as “War of all wars foreseen before, Freedom’s foundations exist no more, A genocide nightmare, the darkest of days, Chaos devourers all as hope and pride fades”, it’s clear that KREATOR are not fucking about. Elsewhere, the likes of Suicide Terrorist and World Anarchy reflects the stark situation of a post-9/11 landscape with The War On Terror raging in the Middle East against organisations posed as terrorists.

Critically, Enemy Of God was a roaring success for KREATOR. Blabbermouth would rate the record a solid 8/10 citing “Enemy of God should at least prove that there is still a lot of life left in what is undoubtedly one of the most successful and influential German metal exports of all time” whilst the likes of AllMusic and Classic Rock would rate the record the same with 8/10s across the board.

And with a strong reception, the band capitalised on the momentum, spending the next two years touring extensively across the western world. Early 2006 saw the band cross the Atlantic to tour across North America with NAPALM DEATH, A PERFECT MURDER and THE UNDYING while the following year saw the band team up with the legendary CELTIC FROST for a co-headlining European run with incendiary openers WATAIN thrown in for good measure. These tours promoting Enemy Of God solidified the band’s continuing resurgence at that time.

20 years later and in 2025, KREATOR are a juggernaut in the modern heavy music scene. They recently completed a successful co-headlining European and UK run alongside thrash legends ANTHRAX in some of the biggest venues they’ve played on our shores to date, and who can forget the triumphant headlining performance at Bloodstock Festival 2021, in a time where live music was just beginning its recovery post-COVID.

These sublime achievements are recent yes, and much closer to present day than the album’s release 20 years ago. Of course, the band have released four more albums since Enemy Of God, with 2009’s Hordes Of Chaos, 2012’s Phantom Antichrist and 2017’s Gods Of Violence being hailed as some of the best metal this Century, us included here at Distorted Sound. But, at the root of the band’s sustained success is Enemy Of God. It built the foundation for the band for be flying the flag for metal in the here and how and remains a staple of good old fashioned brutal metal 20 years after its release.



Enemy Of God was originally released on January 10th, 2005 via SPV/Steamhammer.

ALBUM REVIEW: The End Will Show Us How – Tremonti

After a stratospheric year with CREED, Mark Tremonti sets his sights on further world domination with the monstrous sixth album from TREMONTI: The End Will Show Us How.



Following 2021’s Marching In Time would seem a tall order to many. However the nature of vocalist/guitarist Mark Tremonti’s career has always been in the path of the underdog. TREMONTI seek to continue their trajectory with opening The Mother, The Earth and I, a murky and grunge tinged soundscape building on its predecessor’s ethos of living in peace. Tanner Keegan’s dense bass tones perfectly set the scene for Tremonti’s squealing guitars. The instrumental itself flawlessly mirrors the circle of life with its cyclical nature paying homage to the “Mother of life and decay”. The dulcet tones of Tremonti’s voice deliver a sleeper cell of an opening track, deploying the heaviness of One More Time to decimate any preconceived notions about where this album will go next. Staccato guitars are threaded together with Ryan Bennett’s percussion. “The day is coming” with the ominous ticking of the pre chorus and Tremonti once again takes the role of the Pied Piper relaying the tale of our doom. Minimal verses collide with belting choruses. Hypnotic interludes juxtapose expertly precise guitar solos. Just two tracks in, the parasitic nature of this album embeds itself in the cerebral cortex.

For those filled with concern that TREMONTI is about to become a CREED spin-off, unhand those pearls. While Just Too Much is dominated by low and slow guitar which slithers through the mind’s eye, the pummelling beat soon drives the slowworm away. This comes at the cost of the vocal track which becomes lost in the sonic quagmire at times. The catchy nature of the vocal hook saves it relatively quickly allowing for the short and spicy solo toward the end to be fully appreciated. Low and slow is the soup du jour for Camp TREMONTI as Nails writhes into the fore. Undulating riffs bump against the lower register of Tremonti’s vocals. It draws the ear. Piques the curiosity. It’s here TREMONTI bears its teeth with graphic lyrics of how we “waste away in this rotting shell” as a result of a torturous world. Nails is wonderfully bleak yet tinged with the ember of TREMONTI-branded determination to persevere. Ember becomes flame, ignited by the speed metal slathered solo which extinguishes as quickly as it burst into existence.


There’s a lot to be said about the enchanting nature of a TREMONTI ballad. They could be lazily compared to CREED and ALTER BRIDGE but the harsh reality is there is no comparison. The two aforementioned bands crack the soul and bleed it dry but as It’s Not Over and the title track go to show, a TREMONTI ballad will render someone a ghost in the shell. They are both examples of Tremonti at the pinnacle of his composition game. It’s Not Over’s seedling intro of guitar and vocal blooms into a bountiful tale of how a person has “been broken before but I’m healing”. Layered instrumentals become vivid petals of a nightshade where less is more. There is no monumental swell or escalation, it all happens organically. The beseechment of “teach us all what it takes to be here” becomes obsolete as the student becomes the teacher. This carries into the title track. Standing at just under six minutes, it simmers in its gestation. Branded as a “passage to the cynic in me”, this “tale of hope that’s never died” has the TREMONTI brood take the role of beacon of hope shepherding the lost through the darkness. Bolstered by a blossoming instrumental, slivers of a solo permeate the track before finally flourishing.

As parts of our psyche flourish, others will atrophy which is the subject of Tomorrow We Will Fail. What we are confronted with though are elements of psych rock with bending notes and stifled drums. Echoed vocals call through muted guitars. Paired with the bass led verse of I’ll Take My Chances, this tandem breathes wonderful new possibilities into TREMONTI. A testament to the band’s willingness to push their boundaries. “Fears rise as shadows fall” nestles against rippling riffs which swell into a monologue suited for spouting atop a horse before The War Of The Ring.

It’s expected of speed metal fan Mark Tremonti to pull a scathing solo from his bag of tricks so it’s a welcome surprise when I’ll Take My Chances expands and gives its crowning moment room to breathe. This is capitalised on when The Bottom is brought into the mix. Another track drawing from elements of psych and grunge, it is also fused with the usual speed and thrash metal influences. On paper (or screen) it seems as if it shouldn’t work but it does. Faster vocals drive the song forward. Usher the protagonist to scrape themselves from the rock bottom in which they reside. Push the listener to “take the boundaries and erase them all”. The targeted subject matter is meant to be the boundaries that hold us back in our lives but that can (and should) also be applied to music.
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TREMONTI soon return to the harshness they have been praised for with Live In Fear. Ominous tones and squealing guitars fuel the paranoia. Spine stiffening vocals urge “the consequence is near” while a scathing solo scuttles into the cerebral cortex and burrows into the impulse for repeat plays. Now That I’ve Made It’s atmospheric opening balances the harshness and perhaps the hubris Live In Fear breeds. “Pride will only break you” is haunting. Tremonti’s vocals improve with each release and this time is no different as it takes the helm of the brain and bathes the pilot of our bones in a much needed reality check.

The soul-stirring jaunt concludes with All The Wicked Things. The six minute closing probes the senses with electronic pulses and a subtle swell of synth. The evocative proclamation of “it takes the end to show us where we start” sends chills through the nervous system. “Humanity’s gone” is punctuated with a sucker punch of a riff from Eric Friedman. From there the duo of Tremonti and Friedman plunge us into a thick and sludgy instrumental which feels disgusting in the best way. The accoutrement of the solo creates the proving ground for scorching aggression in “all I see is red” and the final dive into anger driven depravity with a faster, much higher guitar solo before it explodes and suffocates within the electronics that birthed the track.

At the top of the review, we claimed The End Will Show Us How is a monstrous effort. We also demonstrated there is more than one facet to that word. TREMONTI doesn’t burst in to clock everyone and their Nan with a baseball bat. This album is far more insidious. Slithers into cerebral assassin territory. The End Will Show Us How is thoroughly captivating from beginning to end. The title track may ask “could there be another life that calls to me?” but TREMONTI shows they are right where they should be; at the top of their game.

Rating: 9/10



The End Will Show Us How is set for release on January 10th via Napalm Records.

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ALTERNATIVEEMOFEATUREDGRUNGELIVE REVIEWSMETALCORENU-METALPOP-PUNKPOP-ROCKPOST-HARDCOREREVIEWS

Third time’s a charm? Back in October, 80,000 emos flocked to the annual edition of When We Were Young Festival in Las Vegas, all hoping to catch the bands that captured their hearts god-knows how many years ago. This year presented a unique twists on the past two editions – catering heavily to the nostalgia crowd, When We Were Young Festival promised full album playthroughs of some of their line-ups most iconic bands, including My Chemical Romance‘s ‘The Black Parade’ which would be their only performance that year. With a mouth-watering array of bands to sample, we flew out from the UK ready to capture what went down.


Thursday – October 17th

Before the weekend of When We Were Young Festival began, the organisers corralled some of the lineup together in venues across Vegas to perform at the official sideshows (which naturally immediately sold out). At the iconic Brooklyn Bowl, the trio of COBRA STARSHIP, 3OH!3 and MILLIONAIRES graced the stage one after the other, the room packed wall-to-wall with fans ready to celebrate the headlining band’s first show in over 10 years.

MILLIONAIRES opened the show, debuting the current lineup of Melissa Marie Green and new addition Meredith Hurley. Green had been soft-launching her return since 2021, DJing with the Emo Nite crew in LA where she befriended Hurley. Of course, MILLIONAIRES are famous for their party girl anthems and these scene queens clearly weren’t phased by their massive co-stars on the lineup. They paraded on stage dressed in eye-catching metallics, glitters, and of course oversized bows, amping the crowd up with songs like Party Like a Millionaire, Take Your Shirt Off and closing with the aptly named Alcohol. The duo kicked strongly off the weekend by taking the crowd back to simpler times, with no-frills happy-go-lucky tunes, perfect for those clearly ready to party.

Rating: 7/10

The girls were swiftly followed by Nathaniel Motte and Sean Foreman, making up icons of the 2010’s 3OH!3, framed on stage by a gigantic inflatable pair of yellow hands in their signature gesture, which they repeatedly encouraged the crowd to mimic throughout the set. The band recounted numerous irreverent hits like STARSTRUKK, My First Kiss, DONTTRUSTME in addition to newer songs like LONELY MACHINES, which still ring controversial in 2024. Despite this, it appeared the crowd could not have cared less and the whole room consistently jumped up and down, belting the often misogynistic lyrics. Whether you agree with their tongue-in-cheek ways or not, 3OH!3 certainly know how to rile up a crowd and it is no wonder that they continue to be asked to return year after year.

Rating: 8/10

Finally, the decade wait was over and it was time for COBRA STARSHIP. Arguably the monarchs of the crunkcore era, COBRA STARSHIP‘s legacy remains untouched and the tension was palpable when Gabe Saporta, Victoria Asher aka Vicky T, Nate Novarro and new guitarist Thrash graced the stage. Despite the years passing since their last live performance, frontman Gabe brought the same gusto he did back in the day and gave a strong evermoving performance, despite the odd vocal wobble here and there. Frequently gracing the outstretched arms of the crowd and encouraging the audience to sing and mosh along, the room was truly electric and the audience recanted back song after song, like no time had passed. The band even continued tradition by bringing a fan up on stage to do Travie McCoy’s rap in Bring It (Snakes On A Plane). Oddly, COBRA STARSHIP‘s set ended up being shorter than 3OH!3‘s, but nevertheless included hits from their contracted legacy album ¡Viva La Cobra! such as Guilty Pleasure and Kiss My Sass, as well as the ever-famous Good Girls Go Bad and Pete Wentz Is the Only Reason We’re Famous. This was only the beginning of When We Were Young Festival for the trio of bands, and based on this crowd’s reception, it was the start of a chaotic, beer-fuelled weekend of nostalgia.

Rating: 8/10
Saturday & Sunday – October 19th & 20th

DAISY GRENADE – Pink StageDaisy Grenade live @ When We Were Young Festival 2024. Photo Credit: Channel Purple

As the gates opened sharp at 10am, festival goers pouring in could hear the echoes of DAISY GRENADE christening the Pink [side of the main] Stage. This youthful pop-punk duo comprised of best friends Dani Nigro and Keaton Whittaker were signed by none other than headliner FALL OUT BOY‘s very own Pete Wentz, to his starter label DCD2 Records and controversially were one of the few female-fronted acts on the line-up for When We Were Young Festival. The New York twosome brought their ‘bubble punk’ A-game to the stage, premiering their feisty new song How To Hide A Body and ending with the upbeat Hypocrite. Despite the early start, by the end of their set, fans had flocked to see them and the crowd was surprisingly dense for the first act on the lineup. The girls were beautifully coordinated and sync’d for their performance and brought a polished stage presence to a normally chaotic Vegas crowd – these two are definitely ones to watch in the scene.

Rating: 7/10

UNDEROATH – Pink StageUnderoath live @ When We Were Young Festival 2024. Photo Credit: Chelsa Christensen

When We Were Young Festival brought back many heavy hitters and former kings of the US alternative scene this year, one of the heaviest sounding being UNDEROATH. They were one of the few artists who performed down to the last letter in their contract and as instructed played their album They’re Only Chasing Safety back to front, in order. Drummer Aaron Gillespie, keyboardist Christopher Dudley, lead guitarist Timothy McTague, bassist Grant Brandell and vocalist Spencer Chamberlain did not let their years on some of the other bands tame their performance and brought tonnes of headbanging and crashing melodies to the stage.

Playing the festival in the middle of their US headline tour celebrating the 20th anniversary of this same album, you could spot their hardcore support band STATIC DRESS‘ Olli Appleyard smirking and banging his head at side along with the festival crowd to A Boy Brushed Red Living in Black And White and It’s Dangerous Business Walking Out Your Front Door. UNDEROATH were a refreshing change in sound for the more melodic pop-punk throws of the rest of the mainstage line-up and left the same as they entered, with quiet knowing confidence.

Rating: 8/10

SIMPLE PLAN – Pink StageSimple Plan live @ When We Were Young Festival 2024. Photo Credit: Justin James

There is nothing quite like seeing tens of adults in Scooby-Doo onesies crash the stage mid-set at a festival, and much less hearing the tens of thousands strong crowd go wild for it, but if there is one thing that SIMPLE PLAN do, it’s make you grin ear to ear. (Supposed to be) playing through their album No Pads, No Helmets…Just Balls during the height of the Nevada sun, members Chuck Comeau, Jeff Stinco and Sébastien Lefebvre delivered a truly wholesome and infectiously happy set, with frontman Pierre Bouvier interspersing songs with positive messages and heartfelt thank yous.

Even for a festival playing into the stereotype of emo kids who never grew up, it was clear that SIMPLE PLAN were not only dearly loved by the many fans who figuratively jumped at the chance to hit the bouncing inflatable balls in the crowd, but also by their industry peers as for their performance of “I’m Just A Kid”, the band brought on Boys Like Girls‘ Martin Johnson, Tonight Alive‘s Jenna McDougall, We The Kings‘ Travis Clark and both Derek’s of Mayday Parade and State Champs (Sanders and DiScanio). Alongside the classics “I’d Do Anything” and “Shut Up!”, a mashup of Smash Mouth‘s “All Star”, Avril Lavigne‘s “Sk8er Boi” and The Killer‘s “Mr. Brightside” snuck its way onto the setlist, so it looks like their cheeky charm allowed them to get away with twisting the rules ever so slightly.

Rating: 9/10

PIERCE THE VEIL – Purple StagePierce The Veil live @ When We Were Young Festival 2024. Photo Credit: Sophia Juliette

PIERCE THE VEIL transform the stage into a full scale replica of their 2012 Collide With The Sky album cover. As the lights go up, anxious chatter can be heard amongst the crowd who debate whether they will play Tangled In The Great Escape and spread the rumour that Kellin Quinn of SLEEPING WITH SIRENS may make a guest appearance. The San Diego rockers don’t hold out, opening with May These Noises Startle You In Your Sleep Tonight then ripping straight into Hell Above without pause. They power through the album, notably skipping King For A Day but riling up the crowd at every given opportunity.

Of course there was no chance of PIERCE THE VEIL leaving without performing their most popular song (at least not without the risk of rioting on the streets of Las Vegas). It seems that the copious amount of speculation has failed to adequately prepare fans for the moment Kellin Quinn enters the stage. The crowd erupt in feverish screams as Vic Fuentes announces his arrival right after singing out the opening lines of King For A Day. Ending their set with Hold On ‘till May featuring one last surprise guest, Jenny McDougall of TONIGHT ALIVE, some fans are quite literally in tears as they exit the stage.

Rating: 9/10

JIMMY EAT WORLD – Pink Stage

Building up to the finale headline acts of the evening and with the sun firmly set, JIMMY EAT WORLD opened with the eponymous single to their promised album, Bleed American, getting the crowd off to a good start jumping around. Whilst Jim Adkins sung a flawless rendition of their musical number The Middle, after this song the set as a whole fell flat and felt unremarkable against the earlier high energy performances of the day. The accompaniments of Zach Lind, Tom Linton and Rick Burch to the acoustics Your House and Hear You Me halted the energy of the field and even cued some yawning.

Unfortunately, it felt very stationary and discordant, and despite being a widely known name in the scene, with this lineup they felt somewhat out of place, despite having toured earlier in the spring with FALL OUT BOY to the delight of both fanbases. Whilst technically impressive, this album was possibly a poor and unremarkable choice to have played in full to a crowd of mostly millennial adults trying to push past their tiredness to stay up into the night.

Rating: 5/10

FALL OUT BOY – Pink StageFall Out Boy live @ When We Were Young Festival 2024. Photo Credit: Justin James

Always the outcasts even within the alternative scene, FALL OUT BOY were one of two bands who declined to play through a singular album but instead created a whole stage show specifically for When We Were Young Festival. It was designed to rotate through the band’s years in a TAYLOR SWIF Eras Tour, or as bassist Pete Wentz put it, “designed to be in… a high school auditorium once on a warm Sunday”. In terms of production and stage value, few other bands committed to the intense theatricality of the Chicagoans, complete with flying sheep props, masked cheerleader dancers and a gigantic inflatable bear/boy.

Having spoken very openly in the past about being wary to succumb to creative endeavours based on eras bygone, the foursome curated a sampling of hits and sporadic deep cuts, starting from their first studio album Take This To Your Grave with Chicago Is So Two Years Ago all the way through to their eighth record So Much (For) Stardust with the eponymous closing track. One thing that has dramatically changed since their start in 2003 is their stage presence, and this could be clearly seen that weekend by those who may have last seen them on the infamous Warped Tour. Lead vocalist Patrick Stump used to cower behind his low fitted hat to avoid seeing the crowd, yet now he grooves back and forth with his guitar, completely unafraid to unleash his startling voice and flawlessly execute vocal runs on his grand piano.

Drummer Andy Hurley ripped through the iconic drumlines of Dance, Dance and I Don’t Care whilst flashing grins to the audience, and guitarist Joe Trohman – who once used to leap off stage equipment and swing his instrument roundabout in flashy mannerisms – now simply revels in his trills and lets his sharp riffs speak for themselves. A unique things about FALL OUT BOY fans is that there is no common age – many have joined steadily across the years, with no clear ‘peak’ era to speak of – this reflected well at When We Were Young Festival when the band could cut their vocals and let the 80,000 strong cover their lyrics for them at virtually any point, whether to Sugar, We’re Goin Down or Centuries (they’ve had years to decipher Stump‘s early annunciation at this point).

The final flourish to their finale was the dramatic reveal of their random song chosen by a larger-than-life 80’s Magic 8 ball toy, which resulted in GYM CLASS HEROES’ Travie McCoy taking the stage for a rendition of Cupid’s Chokehold on Saturday, followed by Wiz Khalifa for See You Again on Sunday, sending the crowd wild. Crew dressed like hospital staff tied Wentz into a harness to soar into the sky with a cluster of Up-inspired balloons in hand for their famous closer Saturday, before he made a mad dash to fall into a sea of outstretched arms in the crowd under outpourings of confetti. Undoubtedly, FALL OUT BOY took first place for the best performance and production of the weekend and firmly reminded desert-goers why they remain one of the largest and most revered rock bands in the world.

Rating: 10/10

MY CHEMICAL ROMANCE – Purple StageMy Chemical Romance live @ When We Were Young Festival 2024. Photo Credit: Sophia Juliette

For many, the announcement that not only would MY CHEMICAL ROMANCE be headlining When We Were Young Festival in 2024, but that they would be playing the iconic 2006 album The Black Parade in full for the first time since 2007, came as as a Richter scale qualifying shock.

After a full day of audience anticipation, Ray Toro, Gerard Way, Mikey Way and Frank Iero take to the stage dressed smartly in all black. As heart monitor bleeps echo out across the festival grounds, signifying the beginning of The End, Gerard Way assumes his position and the magic truly begins. The silhouettes of the band are projected onto the backdrop by spotlighting. It’s a hauntingly beautiful.

It’s clear from the off that MY CHEMICAL ROMANCE are still on the same incredible form they were for their 2022-23 reunion tour. Gerard Way commands the audience with his signature blend of enthusiastic bouncing and dramatic flare. The energy from the rest of the band is just as vibrant, and is particularly impressive on Iero‘s part, with the rhythm guitarist having already opened the festival much earlier in the day with a full as part of L.S DUNES.

The energy and the atmosphere are unrelenting as the band thrash their way through each track, the backdrop chopping and changing from silhouettes to swords, to a black widow spider, and back again. The highlights of this incredible set were Kayleigh Goldsworthy joining the stage to play violin for Cancer and Mama, an elevated and more ethereal rendition of Disenchanted, and the unexpected and beautiful reprise of Welcome to the Black Parade at the end of Famous Last Words.

Rating: 10/10

Words: Sash Vee, Alex Morgan

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INTRODUCING: Loose Articles

If you’re struggling to find a new band to listen to, you won’t have to go no further than one of Manchester’s hottest acts, a band that goes by the name of LOOSE ARTICLES. For them 2024, has been monumental. Their debut album, Scream If You Wanna Go Faster, charted in the UK Top 100 and they even had a support slot opening for the one of the world’s biggest rock bands in FOO FIGHTERS who turned their attention toward the four piece after the release of their track Buses. We were lucky enough very recently to sit down and have a chat with two of the four members, drummer Abbie Phillips and guitarist/vocalist Erin Caine.



Our chat took place in one of Manchester’s many cosy little pubs that the city centre has to offer. The Mancunian spirit was bustling inside, friendly conversations were being had in every corner with the added and humorous interruptions of a delightful Glaswegian man. Starting off the conversation, we discussed what it was like to be in a band like LOOSE ARTICLES. An honest answer from both Abbie and Erin tells us that their lives are like “being on a rollercoaster hanging on for dear life”, which is very fitting as Erin told us their name came from a sign post at Alton Towers which said “Secure all loose articles”. The roller coaster analogy continues as the pair explain that their lives have become “exceptionally busy with having to balance the band life, personal life and work which makes you cling on for dear life, it’s been great where we’ve done some incredible stuff but we’ve had a right laugh doing it”.

It very much sums the lifestyle of a punk band which is never the straight and narrow but 2024 has been an exceptional year for the band. After the release of their debut album Scream If You Wanna Go Faster, the band have relentlessly toured it to many plaudits throughout the year. “We’ve been so glad to get it out there, we’ve been doing shows and people are singing back the lyrics which has been nice.” Abbie continues by telling us that the shows are “pinch me moments in cities and countries we’ve never been to before and people are coming to gigs and selling out shows, you’re like why and how on earth has that happened? It’s crazy and heartwarming all at the same time. Each gig has been a great atmosphere where everyone comes to have a laugh and let loose from what’s going on in their lives!”


Whilst being in LOOSE ARTICLES is clearly a great time, it does come with its challenges. Being an all female band in a male dominated genre and industry does present a challenge to the band. Erin describes growing up in Manchester and being surrounded male friends in bands lit a fire in the band in a “if they can do it, we can do it too” way.

As the conversation moves on, Abbie and Erin reveal some exciting news that the band’s project Kick Like A Girl, will be coming back in the next year, a project that has come from experiences that each member of the band has sadly been through themselves where Abbie gives a damning example where someone said to her “I didn’t think you’d be a good drummer because you’re a girl”. “The aim of that is to encourage female and non-binary identifying people into the music industry. From forming a band to sound engineering and managing. Having done it once before, we’ll be starting it next year at some of the same places because we had such a positive response from young women and queer people who have since formed a band who will hopefully be supporting us next year. It’s round two and a bigger version of what we’ve done this year. To be able to do something that provides a space that encourages people feels special.”

LOOSE ARTICLES are a band that shouldn’t be slept on, from their incredible debut album, it’s clear the only way is up for them. They’re a band whose ethos is simple yet incredibly effective. “The band is the escapism for everyone, in the evenings and at weekends. If you look at our lyrics, they’re about daily life struggles because that’s how we all experience and see life. At the same time it’s got to be fun, otherwise what’s the point?” At the end of the day, the world is better for having LOOSE ARTICLES in it. They’re a band for everyone and their shows are places where all are welcome to kick back, dance and take part in a limbo contest. If 2024 is anything to go by, then next year is sure to be even bigger for the band. It’s time we went on the rollercoaster along with LOOSE ARTICLES because it’s going to be one hell of a ride.

Scream If You Wanna Go Faster is out now via Alcopop! Records.

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HEAVY MUSIC HISTORY: This Is War – Thirty Seconds To Mars

Released on December 8th 2009, THIRTY SECONDS TO MARS released their third album, This Is War which resulted in a monumental turning point in the band’s career. Emerging amidst personal and professional turmoil, the album itself solidified the (then) trios reputation as ambitious architects of epic, anthemic alternative rock. This Is War is driven by themes of conflict, survival and resilience and remains a landmark in their discography and a touchstone for the alternative music scene of the late 2000s.



By the time This Is War was being recorded, THIRTY SECONDS TO MARS faced significant challenges. The band had been embroiled in a $30 million lawsuit with their label EMI over a contract dispute. This legal battle fuelled the album’s combative and defiant tone, with frontman Jared Leto describing the project as a cathartic process that reflected both struggles and triumphs for the band. The tension surrounding its creation seeped into the album’s DNA, giving it a palpable urgency mixed with an incredible energy.

On This Is War, the band embraced a more expansive sound, stepping away from the darker, more intimate tones of their 2005 breakthrough album, A Beautiful Lie. This Is War is grandiose, cinematic and meticulously crafted with soaring choruses, layered instrumentation and anthems designed to resonate in arenas and stadiums alike. With the assistance of producers Flood [U2, DEPECHE MODE] and Steve Lillywhite [THE ROLLING STONES, DAVE MATTHEWS BAND], the band honed a sound that genuinely felt larger than life.

Upon its release, This Is War was a commercial success. In the United States, the album debuted at #18 on the Billboard 200, bolstered by strong sales and the success of its singles. In the UK, This Is War performed even better, peaking at #15 on the UK Albums Chart. It’s lead single Kings and Queens became a defining track for the band, reaching #1 on the US Alternative Songs chart and gaining significant radio play. Subsequent singles like This Is War and Closer To The Edge also fared well, with the latter becoming a global hit and a fan favourite, the pair still remain on live show setlists to this day.


Critically, the album received a mixed-to-positive response. While some reviewers lauded its ambition and scope, others found its bombastic nature overwhelming. NME praised the album’s ability to balance emotional rawness with theatricality. AllMusic commended the bands growth, calling it a “bracing and often moving” record. Detractors however criticised its perceived pretentiousness arguing that its grandeur felt hollow. Despite polarizing reviews, This Is War struck a chord with listeners, earning a loyal and fierce following, further establishing THIRTY SECONDS TO MARS as a force in alternative rock.

This Is War arrived at a moment when the alternative rock scene was evolving. The late 2000s saw the rise of genre-blurring acts and a push toward a more polished, cinematic aesthetic in alternative music. THIRTY SECONDS TO MARS’ ambitious production and thematic focus fit perfectly within this trend, setting a precedent for bands looking to balance emotional sincerity with a larger than life presentation. One of the more notable cultural contributions of the album was its integration of fan participation. The Faces Of Mars campaign saw the band featuring the faces of 2,000 fans on This Is War’s cover art. It emphasized the connection and dedication to their community. This initiative not only deepened their connection with their audience but also anticipated the increasingly interactive relationship between artists and fans in the digital age. The albums themes of survival and resilience resonated with a generation grappling with global uncertainty, economics instability and environmental concerns. Many songs throughout the album from Kings & Queens, Closer To Edge, Vox Populi and Hurricane became anthems of defiance and hope, frequently appearing in film trailers, commercials and sporting events, further embedding themselves into popular culture.

The tour itself in support of This Is War was a different beast entirely. The touring cycle was a monumental period for THIRTY SECONDS TO MARS, showcasing the bands ability to blend spectacle with a raw, emotional connection. The band launched their Into The Wild tour in February 2010 and would become one of the most extensive and ambitious tours of their career. It was a pivotal moment that not only cemented their status as global rock icons, but also set a Guinness World Record for ‘Longest Concert Tour by a Rock Band’. The Into The Wild tour spanned over the course of two years, covering six continents and featured more than 300 shows. Performing in over 60 countries, major cities and more remote locations alike. The relentless schedule underscored their commitment to connecting with fans worldwide ranging from arena shows, festivals and more intimate performances.

Looking back, This Is War stands as a defining moment for THIRTY SECONDS TO MARS. It captured the band at a crossroads, transforming adversity into anthemic triumph. While its bombast and grandeur might not appeal to all, the album’s impact on the alternative music landscape is undeniable. Its blend of ambition, audience engagement and emotional resonance has ensured its legacy as a bold and influential work that continues to inspire artists and fans alike. In the decade- plus since its release, This Is War remains a testament to the power of perseverance and enduring appeal of music that dares to aim for the stars.



This Is War was originally released on December 8th, 2009 via EMI.

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Distorted Sound’s Top 20 Albums of 2024

Well, 2024, you’ve been a year. Although events around the globe have made navigating this year a massive challenge, as per usual, we can always find solace in music and this year, we’ve been treated to countless albums of utter brilliance. Narrowing down the quality of this year to just 20 releases is a mammoth task, and after much deliberation and debate amongst the Distorted Sound team, here we go: our Top 20 albums of 2024!



20. Scotland’s Hardcore – DESPIZE

If you have been yearning for an authentic hardcore release this year, DESPIZE have had you covered with their release Scotland’s Hardcore. An utterly bombastic, mountainous wall of sound that blazes seamlessly through from one song to the next from the groove of Sniper, to the industrial edge of Setting Up. DESPIZE are a band that play true to the genre, while also being more than happy to experiment with a variety of approaches.

As expected, DESPIZE throw everything at you in dense, destructive chunks and this collection of songs works perfectly. A slab of classic, heavy hitting hardcore, there’s plenty of tasty breakdowns and deranged moments to enjoy from start to finish. Frayed and rough enough to feel authentic, but super well mixed and put together as a record, Scotland’s Hardcore is a meaty beast that has more than earned DESPIZE on this list.

19. What’s Left Unsaid – FOREIGN HANDS

When you release your debut full-length you need to make sure you make your mark. Frenetic metalcore merchants FOREIGN HANDS understood the brief and came out all guns blazing with What’s Left Unsaid. Melding energetic, hardcore-infused hooks with uplifting melodies in impressive fashion, the quintet proudly wear their inspirations on their sleeves but not without injecting their own explosive, energetic vigour into the mix.

Having recently left the UK and Europe in ruins in support of GUILT TRIP and due to kick off 2025 with a hefty American tour alongside heavy hitters COUNTERPARTS, PAIN OF TRUTH and MALEVOLENCE, it is safe to say FOREIGN HANDS have no intention to take the foot off the pedal.

18. Prelude To Ecstasy – THE LAST DINNER PARTY

Coming in hot at the beginning of the year, THE LAST DINNER PARTY undoubtedly bounced into the world with a true zest for life. Having been one of the worst kept secrets in the scene since starting out, their debut Prelude To Ecstasy has been the breathe of fresh air we’ve all needed.

Hypnotic, energetic there’s something of FLEETWOOD MAC, KATE BUSH or even ABBA’s utter gay abandon for making proper glossy hits. From the euphoric Sinner to Caesar On A TV Screen, there’s a tapestry of talent woven into each song. Being so cinematic, the short film released alongside the record sits has a nostalgic feel of an off kilter indie movie from the seventies. Regardless of whether you chose to experience the album with its visual accompaniment or not, the record has a charm that instantly captivates.

17. Cool World – CHAT PILE

CHAT PILE’s debut, God’s Country, was a scathing look at their world, a microcosm of the horrors wrought in their area. Its follow-up, Cool World, expands that view to, as the name hints, the rest of the world. A wide-angle, panoramic view of suffering rather than the laser focus of before means that some of the earlier ferocity is lost, but never any of the unease or unsettling lyrical content.

Raygun Busch still sounds like a mad preacher, ranting and raving over colossal, often nu metal inspired riffs and bass lines. Odd musical bedfellows, but ones CHAT PILE have alchemised into something riveting; their unflinching depictions of human suffering or oddball lyrics (I Am Dog Now’s chorus) are part and parcel of their fascinating brand of sludge that draws on industrial and nu metal with horror stories made all the more awful because they’re real.

16. A Frame Of Mind – KALANDRA

In their relatively short tenure, KALANDRA have already captivated countless hearts of listeners around the world. Meticulously blending ethereal instrumentation with soothing vocal sequences that are crammed full of relatable subject matter makes it effortless to fall head over heels with their beautiful creations.

A Frame Of Mind tugs on your heart strings and encourages you to dig deeper, uncovering the introspective sentiments scattered throughout by the brilliant Katrine Stenbekk. This release also sees the fearless Norweigian collective venture into new, inventive territories which creates an air of excitement for their future works.

15. Moon Healer – JOB FOR A COWBOY

Back in 2014, JOB FOR A COWBOY transformed from a deathcore frontrunner to a progressive metal marvel with the release of the critically acclaimed Sun Eater. At the peak of their powers they seemingly faded into the shadows, leaving many to wonder whether this was the end.

It may have taken a decade but their triumphant return in the form of Moon Healer set them firmly back on top of the pack where they rightfully belong. Combining the eccentric but fascinating stylings of its predecessor, this monumental effort pushed their creative boundaries even further, providing their existing fan base with a stellar collection of tracks as well as firmly dropkicking the door off its hinges and allowing a whole new host of fans to climb aboard for the ride.

14. The Nothing That Is – FIT FOR AN AUTOPSY

Monstrous deathcore outfit FIT FOR AN AUTOPSY have become an unstoppable force with each passing release. The Nothing That Is continues their path of destruction with huge, stomping riffs, a sea of adrenaline fuelled lyricism and a continuous flow of intensity throughout.

With the masterful skillset of Will Putney at the helm, their swift ascent has been of little surprise but FIT FOR AN AUTOPSY feel more refined, focused and devastating than ever before. Anyone who was lucky enough to witness their recent headline tour will have experienced this first hand. We foresee 2025 being another blockbuster year for one of the most consistent bands on the circuit.

13. Coup de Grâce – SEEYOUSPACECOWBOY

Piano? Saxophone? Lounge jazz? Fear not, SEEYOUSPACECOWBOY haven’t abandoned their roots, just evolved and written an album about the end of the world. Coup de Grâce might open with a serene intro including iRIS.EXE but they’re swiftly back to their hip-swinging sasscore best with Subtle Whispers To Take Your Breath Away as vocalist Connie Sgarbossa snarls her way through and the halftime chorus guarantees crowdsurfers at their famously riotous shows.

The biggest leap on Coup de Grâce is that in embracing the concept album, there’s far more theatricality and flair than ever before; from Lubricant Like Kerosene’s ludicrously catchy chorus to the Courtney LaPlante-featuring To The Dance Floor For Shelter, SEEYOUSPACECOWBOY embrace melodicism and theatrics like never before. It may not be as chaotic as earlier work, but it’s far more cohesive and – dare we say it – accessible, without sacrificing their “sasscore” identity or sound, instead expanding it into incredibly fun new territories.

12. All You Embrace – ONE STEP CLOSER

The sophomore album can be challenging for many bands, but with All You Embrace, ONE STEP CLOSER deliver a masterclass on how to tackle growing pains. The Pennsylvania melodic hardcore group approach the album with confidence not only in their foundations, but with a willingness to approach change in their own way.

On All You Embrace, ONE STEP CLOSER push their sound to encompass a myriad of genres and influences adjacent to hardcore and emo. In leaning into this eclecticism, they create a unique blend of emotionally wrought melodies and energetic riffs to explore identity and insecurity in a strikingly raw and candid way. All You Embrace is an exciting evolution for ONE STEP CLOSER, and one that finds the band laying insecurities bare, weaving various genres into their emotional candour and dynamic hooks to pave a new path for what melodic hardcore can be.

11. Erosion/Avulsion – HIDDEN MOTHERS

It’s been a year for absolute belting debuts, and HIDDEN MOTHERS’ Erosion/Avulsion has set the standard for creative post music. From the post-hardcore Defanged and Violet Sun to the groove of Death Curl, the progressive-hardcore adjacent The Grey, there’s such a huge colour pallet through heavy music through this record.

The way this record manages to turn from soft, almost gentle moments, to heart wrenching and gut punching, is nothing short of superb. Each song has a vast span of ideas to enjoy; earnest arrangements to utterly devastating vocals, it’s all filled with a throughline of considerate songwriting and attention to melodic detail. The work put into making Erosion/Avulsion an experience for the emotional core of the listener is nothing less than staggering. As a debut for the deep breadth of HIDDEN MOTHERS scope, Erosion/Avulsion just demonstrates their unlimited potential.

10. Spiral In A Straight Line – TOUCHÉ AMORÉ

Six albums into their career, TOUCHÉ AMORÉ show no signs of slowing down on 2024’s Spiral In A Straight Line. The post-hardcore group reckon with loss, anguish, and despondency, tying them all together in their most cohesive album to date. On Spiral In A Straight Line, TOUCHÉ AMORÉ harness a particularly haunting energy that sticks with you long after you listen to it.

Balancing razor-sharp lyricism between cathartic crescendos and sorrowful instrumentals, Spiral In A Straight Line finds TOUCHÉ AMORÉ weaving emotional currents throughout every moment of the album. Collaborations from Lou Barlow and Julien Baker compliment and further heighten the album’s melancholic and moving undercurrent. It is exactly what TOUCHÉ AMORÉ do best: enrapturing anthemic moments that still feel rooted in vulnerability. Spiral In A Straight Line offers a brilliantly gut-wrenching album that pierces you through the heart and lingers there unflinchingly.

9. Breathing Through The Wound – SPLITKNUCKLE

Another DAZE entrant on our list is Essex’s SPLITKNUCKLE and their (also debut) album Breathing Through The Wound. They’ve been lurking around the UK hardcore scene for some time now, amassing a dedicated underground following with incendiary live shows and the kind of H8000/death metal-worshipping hardcore that’s the aural equivalent of a brawl in an alley.

Breathing Through The Wound ups the ante on everything they’ve done before, clocking in at a (relatively) swollen 40 minutes. But it’s 40 minutes of brutality and more than justifies its length in a scene famous for shorter releases. Opener Fuck Your Whole Life is a knuckleduster straight to the gut, chugging, two-step riffs and gunshot cracks for a snare drum. It’s hard, it’s obnoxious and it’s so very, very good; SPLITKNUCKLE bring the violence and the death metal for a debut that continues both DAZE’s and UKHC’s proud tradition of being all killer.

8. Coma – GAEREA

Having graced our coveted list back in 2022 with the astonishing Mirage, masked Portuguese collective GAEREA have been one of the brightest lights in the world of black metal. Performing a career defining set at this year’s black metal bonanza, Fortress Festival, in May only whet the anticipation for fourth full-length record Coma. Released in October, Coma took the foundations of the band’s stellar previous releases (namely 2022’s Mirage and 2020’s Limbo) whilst pushing their soundscape to new and fragile new places.

Album opener The Poet’s Ballet is ballsy in the sense that GAEREA are showing their most fragile and delicate state right from the get go, but by God, it works ever so well to build for a release of unbridled black metal fury that would hit similar readings to a detonation of an atomic bomb. From there, GAEREA proceed to engulf you into their vortex through the likes World Ablaze and Hope Shatters, whilst Wilted Flower encapsulates feelings of reflection and triumph. Put simply, Coma is an astonishing record from a band that looks set to become behemoths of black metal.

7. Artillery From Heaven – CONTENTION

CONTENTION aren’t here to fuck about. This year’s debut album, Artillery From Heaven, is a 10-song, 20-minute blast of violent metallic hardcore that goes for the jugular near immediately and doesn’t let up. Opening on Contention and a barrel-chested fight riff before accelerating, it’s fist-swinging hardcore of the best kind. There’s no frills, no genre-bending experimentation, just hard as nails metallic hardcore.

There’s nothing basic about Artillery From Heaven, though. Its guitar tone is reminiscent of the early 2000s in the best way, a buzzing, slicing racket that’s undeniable and demands movement in the pits it will no doubt incite. That it dropped on DAZE – one of the best US hardcore labels running – only underscores its quality. Straight edge hardcore has been resurgent lately and CONTENTION are one of its brightest new bands; an album packed with riffs this tough, dive bombs and sheer aural violence can’t be ignored.

6. Voidkind – DVNE

With their third album Voidkind, Scottish progressive post metallers DVNE delivered a gargantuan, science fiction epic that tightened up some of the excesses of its predecessor Etemen Æenka without sacrificing any of their chops. A deliberately more focused album, but still with an eons-spanning concept about a group eerily similar to Dune’s Bene Gesserit and the lengths man will go to for godhood, Voidkind barrels into being with Summa Blasphemia with its churning guitars, DVNE’s penchant for towering riffs and melodies on full display.

From there, the Scots go on a near-hour long journey through the cosmos, Eleonora offering tumultuous prog while Sarmatæ narrates a great marching of beasts across planets. It all culminates in the sprawling ten minute Cobalt Sun Necropolis, that takes all the various elements DVNE have played with over the entirety of Voidkind while also hinting at some of the sonic journeys to come.

5. Devoured By The Mouth Of Hell – HERIOT

It’s without doubt that HERIOT have had one hell of a year. As ever they’ve played and been booked at every major festival or tour, and their presence as ones to watch has been surging towards this debut release. And by god, what a debut Devoured By The Mouth Of Hell has been. What HERIOT delivered was a record brimming with rabid brutality, infested with malevolent textures and overall battering the senses with apocalyptically good industrial hardcore.

With so many genre-defying tendencies, Devoured By The Mouth Of Hell is such a well crafted journey, rightly bringing in acclaim from old and new listeners. The doom and ambience of Jake Packer’s bass with Julian Gage’s textures in his leadwork are delicious, not to mention the consonantly on point drums of Erhan Alman. Likewise, Debbie Gough and Packer deliver the most hair-raising vocals and bludgeoning rhythms, especially on modern classics like At The Fortress Gate. You’d be hard pressed to find another album this year that makes you want to stank face so hard the entire way through.

4. Only One Mode – SPEED

Possibly one of the most anticipated releases of the year, SPEED’s debut album Only One Mode lived up to its expectations and more. The Sydney hardcore band bring dynamism, energy and charisma to their sound, and their debut album is a testament to why SPEED are one of the most exciting hardcore bands around right now.
Each track on Only One Mode propels you through the album with an unwavering power.

Moving between fierce gang vocals, gritty breakdowns and stomach-churning riffs, SPEED leave it all on the table. Within this, they also strike a balance with their honesty. Their playful weaving of their bands name throughout lyrics is equally met with tracks that reflect on marginalisation, inclusivity and empowerment. SPEED are unapologetically authentic, and it is with this enthusiasm, and insanely dynamic hardcore style that Only One Mode is one of the best hardcore releases of the year.

3. Do Not Go To War With The Demons Of Mazandaran – LOWEN

Having first turned heads back in 2018 with debut A Crypt In The Stars, London-based LOWEN have been forging their own place within the UK’s buoyant heavy music scene thanks to their crushing doom fused with the rich history of the ancient Middle East, particularly their homeland of Iran.

Backed by the ever impressive Church Road Records, the band’s second album – Do Not Go To War With the Demons Of Mazandaran – takes what was special about 2018’s debut and elevates the LOWEN soundscape to staggering new heights. Najang Bah Divhayeh Mazandaran is as atmospheric as it is heavy, whereas the likes of Waging War Against God and Ghazal For The Embrace Of Fire twist and turn with hypnotic glee. It’s a thoroughly poignant record and one that cements LOWEN as one of the most intriguing bands in heavy music in 2024.

2. Absolute Elsewhere – BLOOD INCANTATION

Having taken extreme music by storm with 2016’s Starspawn, BLOOD INCANTATION cemented their reputation as one of death metal’s most forward-thinking and important names in 2019 with the staggering Hidden History Of The Human Race. Five years later and Absolute Elsewhere sees BLOOD INCANTATION firing on all cylinders.

Comprised of two sprawling epics – The Stargate and The Message – Absolute Elsewhere sees the band double down on their expansive sprawling progressive death metal with ample ambience drawn from their experimental Timewave Zero record and the result is one of the most visceral, atmospheric and thoroughly engaging listening experiences you’ll find in 2024. Death metal is in rude health with the ongoing revival showing no signs of slowing down. BLOOD INCANTATION are leaders of the pack.

1. You Won’t Go Before You’re Supposed To – KNOCKED LOOSE

It would be near impossible to talk about the last year in heavy music without KNOCKED LOOSE entering the conversation. 2024 has seen the band bring the scene to new levels, from their appearance on the Jimmy Kimmel show to their Grammy nomination, and all with their third album You Won’t Go Before You’re Supposed To leading the charge.

The album is intense, visceral, and larger than life, whilst also remaining faithful to KNOCKED LOOSE’s sonic precision and lyrical sharpness. Each song stops you in your tracks, commanding brutal breakdowns and piercing riffs to ensure that for the brief 27-minute run time, you are entirely in their world. Collaborations with POPPY and MOTIONLESS see varying influences across metalcore weaving in with their sound, and offering some truly exciting and unexpected moments on the album.

Staking their claim as titans not only of heavy music, but of the modern music landscape, KNOCKED LOOSE deliver a truly captivating, and unmissable album with You Won’t Go Before You’re Supposed To. It’s a once in a generation album, and one that is sure to leave its mark on heavy music for a long time. There would be nothing more fitting for our top spot.

Words: James Weaver, Laura McCarthy, Will Marshall, Dan McHugh, Sammy Andrews

And that rounds off our Top 20 Albums for 2024! It’s been a staggeringly good year for new heavy music and we can’t wait to see what is in store in 2025. Thank you for your continued support. Check out our digital magazines via our store or if you want to support DS, you can subscribe to our Patreon here. See you down the front!

INTRODUCING: Lowen

As we approach the denouement of 2024, when music critics are frantically working on their Album Of The Year lists, one thing is for certain: You’re bound to see Do Not Go To War With The Demons Of Mazandaran, the new offering from LOWEN, make an appearance on more than a few metal journo’s lists. An incredible piece of work that combines BOLT THROWER style riffs with Middle Eastern folklore, political rage, and the jaw dropping powerful pipes of vocalist Nina Saeidi, it has turned more than a few heads since its release in October.



One of the most remarkable things about Demons… is just how much of a step up it is from their 2018 debut, A Crypt In The Stars. While there were glimpses of the band’s vision and talent on that record, the leaps forward they’ve made in their songwriting, performance and production are nothing short of remarkable. Nina and her co-writer Shem Lucas have clearly been hard at work in the intervening years. Recruiting a new drummer, Cal Constantine to bring a thunderous backbeat to the band was just the start of it.

“A lot of stuff happened,” Nina confirms. “When me and Shem started the band I wanted to be distinctly Middle Eastern but taking those ideas and expressing them in a way you hear them in your head is not an easy thing to do when you’re just starting out and finding your feet as a musician. It took us years of study. We worked with ethnomusical archaeologists and I did courses in microtonal singing. It’s a constant work in progress and we’re still studying and improving.”

While their debut was very much in the slow and brooding doom metal oeuvre, the way LOWEN have introduced death metal elements in Shem’s intricate riffing and Cal’s frantic drumming have injected an irresistible vitality to LOWEN’s sound. It’s something that Nina was keen on. “I think death metal is one of those genres where when you mix it with another genre of music it really works. A lot of death metal bands already have a middle eastern influence and I really wanted to highlight that by having an authentic Middle Eastern voice in there.”

And authentic it is. Nina is of Iranian heritage, having been born in exile after her parents fled the 1979 revolution that led to an oppressive religious regime taking power. She finds herself a complex dichotomy of having a deep and personal connection to a place she may never get to visit.


“It’s heartbreaking, honestly. During the writing of the album, my grandmother was at the end of her life, and I had a lot of conversations with her while she was literally on her deathbed, and she was like, ‘when are you going to come and see me?’ It’s such a difficult thing to experience. I could get on a plane and just go and see her, but I would be arrested at the airport. I’d get executed. And I remember growing up like I’d be talking to my grandparents and aunts and uncles, and you’d literally hear the phone tapping as your your conversations are being listened to. So yeah it’s a huge part of my identity that I’ve never been able to fully connect with.”

Unable to visit her homeland, instead she found connection through the country’s rich cultural and literary heritage, most notably the epic poem Shahnameh, or, The Book of Kings, a section of which became the title of the new LOWEN album.

Nina laughs at the suggestion that writing the album must have been like studying for a PhD. “It’s funny you should say that as I’m a PhD drop out. Maybe this album is my thesis! But yeah I was searching for a point to start writing and exploring from and I was reading the Shahnameh because it has so much mythology and the foundational myths of Iran in it. I wasn’t even halfway through and I found the chapter Do Not Go To War With The Demons Of Mazandaran. And I was like, ‘this is amazing’. I told the story to Shem, and he was like, ‘that’s going to be the album title!’ It was the perfect springboard for exploring the rest of the album’s themes.”

Those themes are as heavy as the music through which it is expressed. Through the poetry and mythology, Nina explores weighty topics such as oppression, especially of women, with all her rage expressed through a powerful vocal performance that uses the heart wrenchingly expressive singing style Tahir, rather than the death growls one would usually associate with the style of music from LOWEN. “I think sometimes it’s a lot scarier when you hear anger that’s not expressed as a shout or a word or like a screen, I think you know, like when you get in trouble at school, and like the teacher, instead of shouting at you, talks really quietly.”

To be able to express herself in such an articulate and powerful way took a lot of work. When starting LOWEN, she didn’t even see herself as a singer. “I’ve worked with quite a range of vocal teachers. I worked a lot with someone called Lila de Souza in Hertfordshire. I did some vocal training with a woman that does a lot of people in the West End. She was really Christian though and when she realised what the lyrics were about, she dropped me. We also worked with this amazing musician called Saeid Kordmafi, who collects old folk music from specific towns in Iran and is pitch perfect on a microtonal level.”

If studying epic poems and learning microtonal singing wasn’t enough, Nina also taught herself to play exotic instruments such as the Santur, or hammered dulcimer, a 56 stringed cousin of the guitar, which she used to add further depth to the rich sonic tapestry on Demons… “I had that hand made for me in Iran and it was smuggled across international borders. Not in a super illegal way but you can’t just buy them in the UK at that quality anyway.”

With this level of dedication, passion, and sheer devotion on an artistic and human level it’s no surprise that LOWEN are making such waves across the UK underground metal scene at the moment, and will surely continue to do so for years to come.

Do Not Go To War With The Demons Of Mazandaran is out now via Church Road Records.

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