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:


Like SOMETIME IN FEBRUARY on Facebook.
Album review

METALLICA – Official Recording Of M72 Syracuse, NY Show

Metallica have checked in with the following update:

“From full concert audio and select live video clips to dozens of photos and the setlist, we’ve got everything you need to relive the April 19th stop in Syracuse, NY. Enjoy the gig from Syracuse mixed by The Metallica Audio Team, now available to stream through nugs.net, download at LiveMetallica.com, or go old-school and pick up the CDs at Metallica.com.”



Metallica performed at JMA Wireless Dome in Syracuse, New York, on April 19. The band has shared official videos of “One” and “Creeping Death” from the show.

Watch JINJER Perform At Hellfest 2025

On June 19, Ukrainian extreme metallers Jinjer performed at Hellfest 2025 in Clisson, France. Check out pro-shot video of their entire show below courtesy of ARTE Concert.

Setlist:

“On The Top”
“Duél”
“Green Serpent”
“Fast Draw”
“Vortex”
“Teacher, Teacher!”
“Judgement (& Punishment)”
“Hedonist”
“I Speak Astronomy”
“Perennial”
“Someone’s Daughter”
“Pisces”







Answering the overwhelming demand from fans across the continent, Jinjer have now added a second leg of dates to their European tour schedule, bringing their explosive live show to the United Kingdom, Ireland, Spain, Austria, Poland, Finland, Sweden, and Norway.

Armed with their most dynamic and daring album to date, Duél (out early 2025 via Napalm Records), Jinjer are ready to return to headline Europe for the first time in over six years. Kicking off on January 23, 2026, in Cologne, Germany, the four-piece will bring its signature blend of technical groove metal, progressive elements, and powerhouse vocals back to the stage in full force. The newly added leg kicks off in Glasgow, United Kingdom on February 27, 2026, before the tour wraps up in Hamburg, Germany on March 2, 2026. Tickets for all dates are on sale now and moving fast.

Don’t miss your chance to witness one of the most influential modern metal bands at the height of their power. With a fierce new record, an unrelenting stage presence, and a legion of loyal fans across the continent – this is the tour to watch in 2026. Dates are listed below.


Festivals:

June
25 – Viveiro, Spain – Resurrection Fest
26 – Ysselsteyn, Netherlands – Jera On Air
28 – Oslo, Norway – Tons Of Rock
29 – Lisbon, Portugal – Evil Live Festival

July
2 – Roskilde, Denmark – Roskilde Festival

North American Tour supporting Babymetal w/ Bloodywood:

July
5 – Milwaukee, WI – Summerfest
6 – Maryland Heights, MO – Saint Louis Music Park
8 – Chicago, IL – Aragon Ballroom
9 – Minneapolis, MN – The Armory
11 – Denver, CO – The JunkYard
14 – Vancouver, BC – Doug Mitchell Thunderbird Sports Center
15 – Kent, WA – Showare Center
17 – San Francisco, CA – Masonic
18 – San Francisco, CA – Masonic
20 – Las Vegas, NV – The Pearl
21 – Salt Lake City, UT – Utah First Credit Union Amphitheatre
23 – Phoenix, AZ – Arizona Financial


North American Tour supporting Trivium w/ Heriot:

October
31 – North Myrtle Beach, SC – House of Blues

November
1 – Virginia Beach, VA – The Dome
2 – Montclair, NJ – The Wellmont Theater
4 – London, ON – Centennial Hall
6 – Quebec City, QC – Videotron Centre
7 – Wallingford, CT – Toyota Oakdale Theatre
8 – Portland, ME – Cross Insurance Arena
10 – Warren, OH – Packard Music Hall
11 – Buffalo, NY – Buffalo RiverWorks
12 – Lancaster, PA – Freedom Hall
14 – Gary, IN – Hard Rock Live Northern Indiana
15 – Milwaukee, WI – The Eagles Ballroom
16 – Cincinnati, OH – The Andrew J Brady Music Center
18 – Indianapolis, IN – Egyptian Room at Old National Centre
19 – Waukee, IA – Vibrant Music Hall
22 – Winnipeg, MB – Burton Cummings Theatre
24 – Edmonton, AB – Midway Music Hall
25 – Calgary, AB – Grey Eagle Event Centre
26 – Missoula, MT – The Wilma
28 – Spokane, WA – The Podium
29 – Garden City, ID – Revolution Concert House

December
3 – Riverside, CA – Riverside Municipal Auditorium
5 – Albuquerque, NM – Revel
6 – Oklahoma City, OK – The Criterion
7 – Fayetteville, AR – JJ’s Live
9 – Springfield, MO – Shrine Mosque
10 – Kansas City, MO – Uptown Theater
12 – New Orleans, LA – The Fillmore New Orleans
13 – Dothan, AL – The Plant
14 – Orlando, FL – Hard Rock Live

EU Headline Tour 2026:

January
23 – Cologne, Germany – Palladium
24 – Tilburg, Netherlands – O13
25 – Brussels, Belgium – AB Brussels
27 – Glasgow, Scotland – SWG3 (NEW)
28 – Dublin, Ireland – Olympia (NEW)
29 – Manchester, England – O2 Ritz (NEW)
30 – Birmingham, England – O2 Birmingham Institute (NEW)
31 – London, England – O2 Kentish Town Forum (NEW)

February
2 – Paris, France – L’Olympia
3 – Lyon, France – Transbordeur
4 – Toulouse, France – Bikini
7 – Madrid, Spain – Wagon (NEW)
8 – Bilbao, Spain – Santana 27 (NEW)
11 – Zurich, Switzerland – X-tra
12 – Stuttgart, Germany – LKA
13 – Wiesbaden, Germany -Schlachthof
14 – Munich, Germany -Tonhalle
16 – Budapest, Hungary – Barba Negra
17 – Vienna, Austria – Gasometer (NEW)
19 – Prague, Czech Republic – Sasazu
20 – Leipzig, Germany -Felsenkeller
21 – Berlin, Germany – Astra
22 – Warsaw, Poland – Progresja (NEW)
24 – Helsinki, Finland – Kulttuuritalo (NEW)
25 – Tampere, Finland – Tavara Asema (NEW)
27 – Stockholm, Sweden – Fållan (NEW)
28 – Oslo, Norway – Sentrum Scene (NEW)

March
1 – Copenhagen, Denmark – Amager Bio
2 – Hamburg, Germany -Grosse Freiheit 36



Over the past 15 years, Jinjer have built a reputation as one of modern metal’s most fearless and forward-thinking bands. Rising from the Ukrainian underground to international acclaim, their blend of progressive groove, technical precision, and raw emotion has earned them over 250 million global streams and views. From viral hits like “Pisces” to the crushing intensity of Macro and the dark complexity of Wallflowers, their discography continues to redefine what heavy music can be. Their latest album Duél features multiple music videos with multi-millions of combined views to date and broke into the charts at #2 US Hard Music Albums, #6 US Current Rock Albums, #2 CAN Hard Music Albums, #3 France Metal, #7 UK Rock & Metal and beyond.

Order Duél here



Duél tracklisting:

“Tantrum”
“Hedonist”
“Rogue”
“Tumbleweed”
“Green Serpent”
“Kafka”
“Dark Bile”
“Fast Draw”
“Someone’s Daughter”
“A Tongue So Sly”
“Duél”

“

GUS G. & RONNIE ROMERO Release New Single / Video “My Premonition”; European Tour Dates

Guitarist Gus G. (Firewind) and vocalist Ronnie Romero (Elegant Weapons) have teamed up once again, releasing the new single “My Premonition”. Check out the official video below, pick up the song here.






Gus and Ronnie have announced dates for their Convergence European Tour 2025. The schedule is available below.

October
10 – Santander, Spain – Escenario
11 – Madrid, Spain – El Sol
12 – Zaragoza, Spain – Sala Lopez
13 – Barcelona, Spain – Wolf
14 – Mallorca, Spain – Full Metal Holiday (Sold Out)
17 – Rome, Italy – Crossroads
18 – Bologna, Italy – Alchemica
19 – Bergamo, Italy – Druso
21 – Nürnberg, Germany – Hirsch
22 – Bensheim, Germany – Rex
24 – Hamburg, Germany – Bahnhof Pauli
25 – Isernhagen, Germany – Bluesgarage
26 – Leipzig, Germany – Hellraiser
27 – Augsburg, Germany – Spektrum
28 – Munich, Germany – Backstage
29 – Aschaffenburg, Germany – ColosSaal
30 – Bielefeld, Germany – Lokschuppen
31 – Oss, Netherlands – Groene Engel


November
1 – Amersfoort, Netherlands – Fluor
2 – Drachten, Netherlands – Iduna
4 – Warsaw, Poland – Hybrydy

Make sure you are following BraveWords Records on YouTube so you don’t miss any future videos by Paul Di’Anno’s Warhorse, The Chris Slade Timeline, Jack Starr, Prophets of Addiction, ASKA, Crimson Glory, Lillian Axe and more!

ALBUM REVIEW: Xenotaph – Fallujah

ALBUM REVIEW: Xenotaph – Fallujah


Despite suffering a myriad of changing personnel over their near two-decade career, it’s remarkable that FALLUJAH remain at the summit of technical and progressive death metal. The San Francisco-based band’s blend of intricate and visceral tech death alongside serene atmospherics is a match made in heaven that has been more refined with each subsequent release. 2022’s Empyrean saw a welcome return to form after 2019’s divisive Undying Light, album number six Xenotaph sees FALLUJAH ascend to a height previously thought unfathomable.



Largely, this down to the brave, organic, and effortlessly natural evolution of the FALLUJAH soundscape, spearheaded by vocalist Kyle Schaefer, who consistently impresses with a wide and dynamic vocal range throughout the record. From sultry opener In Stars We Drown, that gives the first glimpse into the band’s new and expanded palette, through to the alluring chorus in Labyrinth Of Stone, a track which ebbs and flows from blistering technicality to reflective passages, leading from the front in a career defining studio performance, Schaefer‘s ability to twist and contort vocally helps drive the record’s lasting impact across its lean 42 minute run time.



It’s not just vocally where we’ve seen an expansion of the band’s greatest traits. Musically, Xenotaph is a bountiful buffet of atmospheric heavy tech death. Kaleidoscope Waves boasts a passage of play where guitarist – and sole original member – Scott Carstairs leads a jazz-fusion dance of elaborate technicality which will have you desperate to hit the replay button. Similarly, the way in which The Crystalline Veil allows each component of the band’s makeup to shine is incredibly slick and the elaborate musicianship is quite simply, a joy to listen to.


But, where Xenotaph really excels in the way in the band take each individual component and present it as one exhilarating cohesive listening experience. The way in the band demonstrate their multifaceted personas is quite simply, astonishing, and when it unleashes, it packs the force of a tsunami. Take Step Through the Portal and Breathe, for example. A staggering piece of brilliance, the way in which the band twist and contort their musical maelstrom whilst maintaining pinpoint precision is devastatingly brilliant and it’s closing solo is nothing short of stunning. Elsewhere, A Parasitic Dream duels and dances against a dizzying amount of shred and it’s supporting atmosphere is wholly immersive, whereas The Obsidian Architect has enough ferocity and technical shred that feels akin to 2011’s The Harvest Wombs.
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At this point, we’re wondering just how far FALLUJAH can ascend to, as their trajectory and musical craft is in a league of its own. Building upon the renewed sense of purpose achieved through Empyrean, Xenotaph sees the San Francisco natives at their creative zenith, delivering a record that sets the benchmark for technical death metal in 2025 and beyond.

Rating: 9/10



Xenotaph is out now via Nuclear Blast Records.

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