Title track ‘The Darkest Place I’ve Ever Been’ starts proceedings and, from the start, demonstrates the raw and visceral energy that LANDMVRKS possesses. Vocalist Florent Salfati’s croons give way to guttural screams, layered upon frantically placed drum work, setting the pace of the album from the beginning.  ‘A Line in the Dust’ is a chuggy one, with face-melting riffs and blast beats, while ‘Sulfur’ and ‘The Great Unknown’ crushes bruising riffs with explosive drumming. This French quintet knows how create a dynamic environment; the captivating ‘La Valse du Temps’ showcases the band’s ability to switch between a roaring and heavy atmosphere, to sections that are more melodic and almost bittersweet.

However, a true delight of this release is hearing Salfati’s rapping in his mother tongue; ‘Creature’ and ‘Blood Red’ are a couple of tracks where his talent shines through, and one could argue is very akin to the late Chester Bennington of Linkin Park. But it’s ‘Sombre 16’, an almost interlude-like track, where Salfati really demonstrates his talent – throughout the course of the album, he boasts the versatility of his wild vocal range, from stunning clean vocals to energetic rapping to furious screams.

And there’s no denying the band are ferocious when ‘Deep Inferno’ feels like a punch to the throat within the first 15 seconds – the riffs are savage and ruthless, perfectly complementing Salfati’s vocal work, with hooks that pull you in mercilessly. ‘Requiem’ follows a similar path and is packed with vivacious drumming and energy that’s almost feral. The entirety of the album has allowed LANDMRVKS to flex their musical muscles, with enormous choruses, heavy melodies, and brutal breakdowns, providing the perfect soundscape for Salfati to layer his captivating vocals upon, which are full of heart and power. A strong performance from a slick band.

As the closing chords of ‘Funeral’ echo – a heart-breaking, piano-led track – it’s even more clear that LANDMVRKS have a created a technically solid and enjoyable release in the form of ‘The Darkest Place I’ve Ever Been’. There’s no denying that fans will devour this release and find themselves filled with renewed vigour, ready to scream the lyrics from the depths of their souls, as LANDMRVKS have found a way to consistently deliver a new, authentic sound.

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All the work Spiritbox has undertaken in the past four years since ‘Eternal Blue’ has been poured into their newest offering. ‘Fata Morgana’ opens proceedings with beautiful, choppy guitar-work and pummelling drum work. It’s ethereal and haunting, a perfect soundscape for Courtney LaPlante to demand and command the listener’s attention right from the start. If this is a sign of things to come for the rest of the album… then it’s time to buckle the fuck up.

‘Black Rainbow’ pulses with frantic energy; it’s relentless in its delivery, overflowing with pure power. The riffs are crisp, and the electronic undertones allow Spiritbox to confidently show that they refuse to churn out the same songs over and over. In a similar vein, ‘A Haven With Two Faces’ is another stellar example of the power LaPlante commands with her voice – her solid screams work perfectly with her clean vocals.

Singles ‘Soft Spine’ and ‘Perfect Soul’ need no introduction. The former is still as visceral as the day it was released – it’s aggressive and packs a powerful punch, whilst the latter demonstrates how wide and varied LaPlante’s vocal range can be. ‘No Loss No Love’ was the final glimpse Spiritbox offered fans before ‘Tsunami Sea’s release. The isolation that LaPlante displays during her brief spoken-word passages is a delight, especially when they segue into bone-crushing riffs.

But it’s ‘Keep Sweet’ that will leave listeners slack jawed with it’s poignant lyrics. LaPlante’s vocals are steady, and soar and swell with each guitar lick, each riff, each crushing drumbeat. It’s a stunning track, marrying intense power and poised energy effortlessly, and demonstrates how Spiritbox have constantly evolved and pushed themselves since their debut release ‘Eternal Blue.

And then there’s title track ‘Tsunami Sea’ which is, put simply, devastating. LaPlante’s vocals carry a haunting undertone, marred with something akin to heartbreak, amid Stringer’s clever guitar work. Lines of “You only love the ideation of me” are steeped in melancholy and are staggering; it almost takes your breath away, as it’s such an incredibly raw and powerful line, and one that will surely resonate with most, if not all, who listen to this.

‘Crystal Roses’ is an awe-inspiring display of the hypnotic and entrancing electronica that Spiritbox enjoy flirting with. Stringer’s backing vocals are a brilliant accompaniment to LaPlante’s, adding an incredible depth and layer to this track. There is a chance that some die-hard fans may be put off by what feels like a massive change in the band’s musical direction, but Spiritbox have been playing with these more progressive elements in their newer singles, so it shouldn’t come as too much of a surprise.

Colossal is the best way to encapsulate ‘Ride the Wave’. The choruses are tremendous and are awash with pulsating synth elements. Rounding off this momentous release is ‘Deep End’, which one could argue is the closest that Spiritbox have come to a ballad; lyrics of “Would have lived for you / would have died for you / dived in the deep end / I couldn’t see straight” are beautifully passionate and end ‘Tsunami Sea’ on a high.

From start to end, Spiritbox have demonstrated how much their confidence has grown – ‘Tsunami Sea’ is progressive and truly pushes the boundaries of metal. The band are ushering in a new era, one that’s bright and exciting. ‘Tsunami Sea’ is a true work of art; every step Spiritbox take in their journey will be watched with bated breath.

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Upon listening to the album, it’s almost unbelievable that this is Architects’ 11^th album. It would be easy for them to create a carbon copy of their previous album; their fans would love it, regardless. But the group have refused to let their music become stale, and it’s evident that they’re continuously working to keep their music fresh and invigorating.

But, during opening track ‘Elegy’, there’s a lingering feeling that Architects almost feel downtrodden – lyrics such as, “Cause I gave you all a part of me / I found you at the murder scene / You questioned my integrity again” are delivered in an almost weary, pleading tone. On the flip side, the line of “You’ve written out my elegy / Written out my elegy again, again, again” is almost a triumphant pushback. An elegy is typically a lament for the dead, but it’s as if Architects are showing that they are far from dead.

Singles ‘Whiplash’ and ‘Blackhole’ are both ambitious and aggressive, pumped with complex and bruising guitar riffs. Then there’s ‘Everything Ends’, which is the perfect stadium anthem; with more electronic-based undertones, this track allows Sam Carter to (yet again) show off his flawless range. His clean vocals are staggering and truly soar – hearing Carter’s range broaden over the years has been breath-taking, and this song is a fantastic example of how he has learnt to command his vocals and what he can offer when fully unleashed.

‘Brain Dead’, featuring House of Protection, crushes brutal drum work and frenetic energy into this colossal powerhouse. Cries of, “Can anyone handle the pressure?” and pleas of “Stay away, stay away, stay away” are monolithic, creating a frantic and desperate atmosphere.

It’s difficult to fully describe the feelings and emotions that ‘Evil Eyes’ invokes upon listening to it. Yet again, the chorus is simply huge, and Carter’s vocals are a force to reckon with; the easy switch from his guttural screams to his powerful clean vocals elevate this track. It doesn’t hurt that you can easily identify the electronic elements from Jordan Fish, but that’s not a bad thing – it adds another layer to this already stunning track. This can also be applied to ‘Broken Mirror’ – Architects haven’t been afraid to bear their hearts even more on their sleeve.

‘Landmines’ is packed with beautiful breakdowns and anger, and then there’s ‘Judgement Day’, which features jaw-dropping guest vocals from Amira Elfeky – they’re ethereal and soft, providing a fantastic contrast against Carter’s furious vocals.

‘Curse’ and ‘Seeing Red’ are rapid-fire tracks, brimming with visceral power and pummelling guitar work. The latter is a clapback to critical fans, demonstrated with the sarcastic line of “I’ll never grow tired of your great advice.” But fans, even the most critical, will find themselves easily falling in love with this release – every track is stunning, and easily demonstrates Architects mastery.

‘Chandelier’ signs off ‘The Sky, The Earth & All Between’ with a beautiful flourish, and simply confirms why Architects are firm favourites within the metal scene. Despite some familiarity, this album shows the band’s innovative flair – filled with intense energy and clout, Architects have created something quite special.

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The first volume, Tropo, consists of some absolute belters, including ‘Better Before’ which sees Underoath’s Aaron Gillespie lend his vocals to the incredibly powerful track and is quick to mark itself as a standout song. Then there’s ‘Bloodrush’, which wouldn’t sound out of place on a Fall Out Boy album – it’s layered with delicious hooks and fun guitar licks, and Josh’s vocals are staggering and huge. However, ‘Paradise’ ends the first volume on a relatively weak note and feels quite flat, especially when compared to the previous, high-energy tracks.

Strato, the following volume, starts off strong with ‘24 Hours’ and there’s no denying that Josh possesses an impressive vocal range, full of pure, burning passion and energy. But then there’s ‘Hollow’, which feels a touch jarring; the slightly slower pace of this track feels like a dip in the running order. ‘Panic’ and ‘Wildfire’ follow in a similar fashion and while they’re decent tracks on their own, it feels like they struggle to fit in with this particular release.

Meso kick off with ‘The Devil of Decisions’, which is packed with solid drum work and strong riffs that complement Josh’s vocals. ‘Hurts Like Hell’, a collaboration with Normandie, feels jauntier and then there’s ‘Obey’ featuring Kellin Quinn, which is utterly delightful – the duality of Josh’s and Kellin’s vocals add extra layers and depth to this track.

The final volume of Thermo marks the end of this release. ‘Fatally Fractured’ slows things down a bit, before ‘ICU’ and ‘Parasite’ up the ante again, laying down some strong vocals atop of explosive riffs. ‘The End’, so aptly named for a final track, signs off this album with a flourish, ending on a decent note.

Whilst ‘A T M O S P H E R I C S’ is a fun album, it feels a little too all over the place to truly know where Hands Like Houses are trying to land. It feels a stretch too long and some of the songs quite easily blend into each other; however, it’ll be incredibly interesting to see where the band go next in this new era.

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Title track ‘Forgiving Spree’ is a bouncy start to the album, packed with bold guitar licks and Stewart’s huge, yet refined, vocals. It’s a fantastic sign of things to come as the album progresses through; ‘Gimme the Wrench’ is simply colossal, and it’s not hard to imagine how well-received it’ll be on their next tour. Despite how early it is in the album, it’s easy enough to state that ‘Gimme the Wrench’ is a definite highlight.

‘‘Love Letters’ is a sugary sweet love song; dripping with both tenderness and power, Stewart’s lyrics really shine through, showcasing the utter adoration he holds for his wife, a recurring theme throughout the album – lines such as, “When I’m out of your reach / but you’re the only one who can hear me” may seem almost too saccharine, but they fit the tone of this album so incredibly well. ‘How Are You Mine’ is similar; fun guitars and clever drum work comes together to create a hugely entertaining track dedicated to his muse.

Therefore, ‘Hurricane’ is quite a stark contrast that’s sandwiched between them; on first listen, it could easily be mistaken as another love song (“My heart is thumping / my throat keeps lumping / I’m part of something bigger than me”), but belies something darker and more heart-breaking. It’s an open and raw regaling of the loss Stewart and his wife faced when she miscarried; despite the delicate subject, Stewart has recounted what is a tragic story with gentle grace.

‘All Time’ will be the perfect summer soundtrack – when the sun makes an appearance again – and leaves you feeling giddy, thanks to the buoyant and lively atmosphere. Then there’s ‘That’s That’, a simply wonderful and curiously fun celebratory break-up song, with lines of “Well, that’s that / I’ll never be the one you’re thinking about” that will be sung with some gusto and enthusiasm.

‘Meltdown Masquerade’ is simply infectious and is packed with melodies and delicious harmonies, and is another standout on this release. Signing off with a flourish in the form of ‘Born Free’, SLOWLY SLOWLY dial things down in a rather bruising and heartfelt manner, which feels a touch jarring after packing the rest of the album with songs that are more likely to get crowds dancing. However, that’s not to say it’s a bad song – the opposite. It’s a brilliant look at the wide range and scope the band possess, and shows their tremendous talent to lean into both upbeat optimism and aching realism.

SLOWLY SLOWLY have brought a huge and vibrant splash of colour to a grey and miserable winter month. ‘Forgiving Spree’ is testament to the band’s power and is a brilliant and creative piece of work, and does what they set out to do – they really have created a solid rock album with no fillers.

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Nevertheless, ‘Five Arrows’ is unyielding in its power and a gift that no one will turn down. ‘We Won’t Sleep’ pulses with energy and bruising riffs. Lines of, “It’s all about to blow / Stand back, stand back” may be seen as quite on-the-nose, but it’s easy to envision a call-and-response with their fans in a small, heaving venue.

‘Unkillable’ and ‘A New Mentality’ continue the heavy tread throughout the release. ‘Unkillable’ – a track written after Polar injected new life into their line-up with a complete change in guitarists, bassist, and drummer – makes the themes of survival and resilience the beating heart of this anthem. ‘A New Mentality’ follows a similar thought process; it’s Polar’s way of proudly stating that change is in the air, and you can get on board or be left behind. Your choice.

Striking riffs and unwieldy drum work come together to form ‘House of Cards’, which also showcases Adam Woodford’s huge vocals. That’s one thing Polar still have buckets of – raw talent and energy, culminating in tracks such as ‘Dawn of a New Age’ and ‘All Hail the Tyrant’.

Single ‘Swimming With Sharks’ is, put simply, quite stunning. The pounding drum work, riffs that will leave tremors in their wake, coupled with massive and robust vocals created a single that left fans aching for new music. And when you look at the lyrics like, “These are deadly waters / the current pulls me under / all this time / I’ve been swimming with sharks”, it’s not hard to see why this track was chosen as a single, especially after the huge change in line-up.

‘Soak It in Tragedy’ is a really beautiful instrumental, before segueing into ‘The Hills Are Alive With the Sound of Violence’ and ‘Paranoia’. Both tracks are crushing and pack a punch, which is what Polar have been consistently delivering with this release.

‘Need_Want’ is almost desperate in its delivery. Lines of “I don’t need saving / I want to fall down” coupled with a female vocalist, who’s shining vocals are almost delicate compared to Woodford’s, is quite breath-taking and simply adds more depth and layers to this outstanding track.

Then there’s ‘Closing Curtain’, so aptly named for the finale. It doesn’t lose any of the tenacity and power that Polar have demonstrated throughout the course of ‘Five Arrows’, which is testament to the new blood injected into this group. Polar has absolutely nothing to fear when this album is released – fans will devour it in its entirety.

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‘PEACE OF MIND’ opens this album with a huge punch of power, before segueing into ‘LEAVE ME ALONE’. Bruising guitar work opens this absolute powerhouse of a song – it simply brims with pure, unadulterated rage. Electronic undertones are punctuated with war cries of, “Leave me the fuck alone!” It’s not hard to imagine that one line being screamed with gusto in a sweaty venue, packed with flying bodies and pits.

There’s a visceral energy throughout ‘RAINBOWS’, before kicking off into single and title-track ‘SELF HELL’, which needs no introduction. The first single released from this album in late 2023, it’s a track that’s confident of its strength without being cocky and arrogant. Deep riffs are paired perfectly with fun lyrics of, “Let’s praise the love inside of us.”

‘NO FEELING IS FINAL (feat. Aether)’ is, simply put, an absolutely sublime interlude – it’s ethereal, invoking a curious sense of mystery. It’s a perfect palate cleanser, before the opening chords of ‘DOPESICK’ strike.

The clean vocals on ‘DOPESICK’ are staggering – their power could cut glass; the vocals are that immense. Fin Power lends dynamic and skilled vocals, strengthening an already solid track. It’s the first of two utterly brilliant back-to-back tracks, as ‘DOPE’ follows straight after. The clash of Lawrence Taylor’s guttural screams and the roars from MALEVOLENCE’s Alex Taylor are simply staggering. Layered with bruising riffs and crushing drum work, ‘DOPE’ is yet another highlight and a track that will go down a storm for fans.

Single ‘TO THE FLOWERS’ is incredibly melancholic – there’s an air of despair beneath the lyrics. The guitar work is clever and bold, layered over drumming that’s dynamic and oozing with pure energy. This track reflects a wide spectrum of human emotion; from distress and sorrow to an elation and ecstasy that soars, it’s not hard to understand why this single caused an emotive and loved response from fans.

Another interlude, in the form of ‘OUT OF THE BLUE’ is another haunting instrumental piece, and really showcases just how diverse While She Sleeps are. ‘ENEMY MENTALITY’ is brawny and beefy, full of electric power and clout.

Closing track ‘RADICAL HATRED RADICAL LOVE’ throws even more weight behind what is already an excellent, awe-inspiring album. While She Sleeps don’t seem to miss, and ‘SELF HELL’ is just testament to their maturity as a band over the last few years and is the perfect package to showcase their immense and never-ending talent.

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Kicking off with ‘Beautiful Agony’, vocalists Joel Quartuccio and Michael McGough immediately showcase just how brilliant and strong their duelling vocals are; Quartuccio’s rough and ready screams perfectly complement McGough’s softer yet soaring vocals. ‘Swallowed By the Earth’ and ‘Purest Love’ rage with pure emotion and power, the latter proving to be particularly emotive with a dark undertone and punchy guitar work.

By far, one of the most beautiful tracks of this release is ‘…Gave It a Voice So That My Heart Could Speak’ with flawless vocal work shining alongside clever riffs and tidy drum patterns. Lyrics like, “When we feel the lowest, we must press on the hardest / Don’t wait, just be the change / Don’t let your anger be misplaced” are truly gut-wrenching and are written with intent, speaking directly to the soul.

‘Flesh and Bone’ and ‘Gloom’ convey simply gorgeous melodies, punctuated with aggressive harmonies and bursts of adrenaline. The intricate melodies that make up the last few moments of the former are stunning, whilst the latter brims with power from beginning to end. The strength and energy of ‘Paradise In My Mind’ sees McGough’s vocal range truly elevate whilst working in some delicious vocal licks, whilst ‘Snake’ displays some truly towering riffs that pulse with dark energy.

Title track ‘Death Can Wait’ is another standout. It’s simply stunning, and the power it exudes is staggering. The vocal cries of the track’s title feel like a call to arms – a call to live life to the fullest before the inevitable happens to each and every being. Again, the way Quartuccio and McGough’s differing vocal styles come together to create such beauty is truly astounding.

Rounding off with ‘The Fullness of My Being’, a sensational track to sign off with, it’s clear that Being As An Ocean are hitting back hard with this release. Full of power and bruising riffs, ‘Death Can Wait’ is another perfect example of the evocative power this band wields.

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‘Cellar Door’, the final single that was teased before the release of this EP, is a brutal and crushing opening. Potentially one of the heaviest songs they’ve written to date, ‘Cellar Door’ is aggressive and resplendent with Mike Stringer’s masterful guitar work. It’s powerful, almost demonic in its delivery and sets an incredibly high bar for the rest of this release – and Spiritbox don’t fail to match the same energy during the entirety of ‘The Fear Of Fear’.

Segueing into ‘Jaded’, this truly demonstrates the flair and diversity of Courtney LaPlante’s vocal range – she shows excellent execution, with a mix of her trademark guttural screams and her gorgeous clean vocals, which could neatly cut glass due to just how powerful her vocals are. In particular, the opening lyrics almost knock you off your feet – lines of, “I feel alone in my body / I feel a silence underneath” and “It was violent and rough / I was never enough” are conveyed in an almost poignant manner.

Then there’s ‘Too Close / Too Late’ which is utterly breath-taking. LaPlante’s ethereal vocals and the magical atmosphere of this track are combined with alluring guitar work that make this a huge standout. The bridge simply roars with emotion – hearing LaPlante’s plaintive cries of “I know where I wanna go / But it’s too close, and it’s too late this time” before frenetic drum work kicks in is enough to make you hit the rewind button and listen to it repeatedly. And still, you wouldn’t get bored of it.

There’s a million different ways to describe just how beautiful and overwhelming this song is; ‘Too Close / Too Late’ will surely be a firm favourite amongst fans. From start to end, it soars and swells with both emotion and heartbreak – it leaves you short of breath, and almost of the edge of tears with just how gut-wrenching it truly is.

Moving swiftly onto ‘Angel Eyes’, this really kicks it up a notch – dripping with colossal power, it’s a track that grabs you by the shoulders and demands undivided attention. Plied with rage and enormous potential, the riffs are commanding, the vocals are gigantic, and the entire vibe is absolutely electrifying.

‘The Void’ needs no introduction – the track that started the painful wait for this EP is as perfect now as when it was released back in April. Dynamic and vibrant, it’s nothing short of sheer brilliance. And ending with ‘Ultraviolet’, Spiritbox showcase yet another perfect example of their versatile range. With an electronic undertone to lift LaPlante’s vocals to an even higher plane, it seems that Spiritbox have kept the best until last – graceful yet aggressive, it’s awe-inspiring and bold. The final bridge alone, overflowing with dominant beauty and LaPlante’s last, quivering notes, will leave you desperate for more.

Some may argue that Spiritbox are the hottest band on the scene, but there’s really no need to argue – it’s a pure and simple fact. ‘The Fear Of Fear’ has, yet again, cemented exactly why Spiritbox is the name that is currently on everyone’s lips. A masterful and brilliant release, this will barely whet the appetites of fans who only want to see and hear more from this devastatingly brilliant band.

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Opening track ‘By The Time You’re Reading This’ is a perfect example of Theresa Jarvis’ utterly incredible vocal range. The line, “By the time you’re reading this / I’ll be gone” simply transcends to another plane – her vocals are staggering, and this is only a mere taste of what’s to come. ‘PANIC’ layers slick guitar riffs over clever drum work, and is a perfect example of just how well YONAKA can blend a mix of pop and an edgier form of rock to create something that’s unique and eclectic.

Then there’s the title track, which takes on a slightly more sinister feeling; slick riffs crushed with a charged electric energy creates a monster of a song. Electric elements and hammering drum work combine beautifully, highlighting just how brilliant this song truly is. Expect to be singing and dancing along to it in next to no time when you next see the band take to the stage.

‘Give Me My Halo’ leads with a poignant piano track, and allows Theresa to once again show off her vocal range – softer and more delicate, yet filled with absolute power, it’s simply awe-inspiring. Then, ‘I Want More’ ups the ante again; fast and furious, it’s almost jarring when comparing the difference between this track and the calmer number that preceded it. But that’s what YONAKA do best – go from one extreme to the other in a smooth and seamless blink of an eye. ‘I Don’t Care’ follows in a similar vein, with soaring hooks and catchy riffs, with captivating vocals layered on top.

‘Hands Off My Money’ ends this EP on a brilliant high note – sassy and smart, it drips with massive melodies and is a delightful punky ear worm. YONAKA are back, and they’re bigger and better than ever; there’s no doubt about it.

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