SERPENT SKIES have shared ‘Where Is Your God’, the second and final single from their forthcoming album, Hollow Crown, due on 20 November 2026. Following ‘The Colors of My Truth’, the track turns towards faith, doubt and the collapse of previously dependable beliefs. The release announcement describes a song concerned with what remains when familiar […]
Thank god for the weekend! It’s feeling like winter is rapidly approaching this week, but we’re not quite at the end of year yet with plenty of brilliant new albums to sink our teeth into as we hit the penultimate week of October.
That in mind, here’s the results of last week’s vote! Blackgold brought glory to the nu metal revival with Killaz landing a top three position (and if you like that, check out the last two tracks this week!), while Aussie newcomers Nika landed at number two. But ultimately, the crown could only go to the original symphonic metal queen as Tarja teamed up with Apocalyptica for something truly epic in Tango.
We’ve got a diverse bag for you again this week with new singles from Floor Jansen and Delain, plus a surprise drop from Machine Head. There’s also a healthy showing from emergent and underground bands, so don’t forget to cast your vote in the poll below – and have an excellent weekend!
Floor Jansen – Everything Is Moving On
It probably would’ve been a bit on-the-nose for this to have come out with last week’s shock announcement that Floor Jansen had left Nightwish, but Everything Is Moving On feels like a perfect summation of the confident way the singer is approaching the future. More a pounding, triumphant old school metal track than the usual symphonic grandeur, it’s a great showcase of her powerful voice and shows how she’s expanding her repertoire on upcoming solo album Hytress, due January 15.
Delain – We Are Fire
Talk about a rough month for symphonic metal fans. Diana Leah has announced her departure from Delain after 2023’s Dark Waters introduced her as the new singer of the group. Rather than recruit a direct replacement, Delain have announced plans for a star-studded new album that will feature figures including Marko Hietala and Sharon Den Adel. First single We Are Fire sees bandleader Martijn Westerholt recruit Eluveitie’s Fabienne Erni, Italian singer Paolo Ribaldini and Noa Gruman of Sabaton’s Legendary Orchestra for a typically bombastic and grandiose song.
Evil Invaders – D.S.S. (Death Strikes Suddenly)
Get some thrash in you! Kicking off with a delightful Araya howl, Belgians Evil Invaders are leaning hard on 80s speed with new single D.S.S. (Death Strikes Suddenly). If you’re reeling from the recent death of Cronos, this might tackle the evil itch nicely, new album Weaponized Chaos set for a February 19 release, with the band touring the UK with Heathen the following month.
Vindicta – Idol(l)s
It’s been a year since the line-up of Dogma fractured, and a little under that since former members of the demonic nun group formed Vindicta. Now they’ve announced they’re signed to Napalm Records and put out new single Idol(l)s, a track that adds a spikier edge to the music they were making in their previous incarnation, seemingly poking fun at the situation its members found themselves in.
Machine Head – Sutures
Robb Flynn’s barely let the dust settle on the Unatoned era and is already teasing new music. Sutures is a surprise new single from Machine Head, and feels like an especially feral and vicious release from the group, its hardest edges only slightly blunted by some big, chest-beating melodic passages.
Zilqy – Misfit Toys
Zilqy continue to be one of Japan’s most difficult to pin down metal groups. On new single Misfit Toys the band mix hyperactive beats and heavy breakdowns with joyous, typically Japanese melodic choruses to great effect. Taken from the band’s debut Birth Of Riot – which came out earlier this month – it shows they’re another bright new voice to emerge from the island nation.
The Yagas – Runaway
It’s been almost exactly 18 months since The Yagas released their debut album Midnight Minuet, a gloriously dark alt. metal album that saw actress Vera Farmiga embrace her inner goth. Now the group are back with a new single in Runaway, going full 80s with heavy synth and beats that feel like they should’ve been threaded into the DNA of movies like Lost Boys or Near Dark.
Shooting Daggers – T.R.L.T.
A short, sharp blast of 80s style hardcore punk, London’s Shooting Daggers don’t really need to reinvent any wheels when they make music this viscerally satisfying. Belligerent in the very best way, it’s a great demonstration of this band’s infectious energy.
Defences – Death Of A Dream
Defences are going big on old school nu metal vibes on Death Of A Dream. Chunky, downtuned guitars that make you want to bound around a pit, little record scratches and even electronic effects on Cherry Duesbury’s vocals, it feels like a single that easily could’ve come right as the new millennium hit, but also doesn’t feel dated for the fact.
Dead Signal – Follow The Signal
Sticking in the realms of nu metal inspiration, Italy’s Dead Signal are combining the genre with explosive metalcore to great effect. Sounding like a collision of debut-era Slipknot and Impossibility Of Reasion-era Chimaira, Follow The Signal is the band’s debut single and has us excited to see where they go next.
UCHAYE opens “WAR IS OV3R” with an invitation to leave reality behind. “Denial (Interlude)” introduces reverberating guitars that carry you into another dimension. Then her voice appears, ethereal and mysterious, almost hypnotizing you as it floats through the arrangement. It is an atmospheric entrance, and you can already sense the fire waiting beneath the surface.
That fire comes alive with “Denial.” A gripping guitar riff and pounding, almost ritualistic drums change the atmosphere. The rhythm surrounds you, and UCHAYE moves through it with confidence. You immediately understand that the sacred flame of rock burns in this artist’s heart. There is conviction in the way she delivers this music, and that attitude makes you want to turn up the volume.
“Survive” pushes the energy even higher. The fast rhythm carries a touch of early 2000s punk, bringing back memories of a time when guitars poured out of car stereos and every chorus demanded that you sing along. There is a nostalgic feeling running through this song, but the contagious pace keeps your body firmly in the present. It is difficult to sit still while listening.
WAR IS OV3R – Sound and Atmosphere
“Currency” reveals another side of UCHAYE. The production moves closer to pop, with a more mainstream approach that gives the EP a different flavor. Her personality remains recognizable, though. She brings her cultural background and musical passions into the song, making this change of direction feel natural.
I liked this contrast. After the urgency of the previous tracks, “Currency” gives you another way into her music. UCHAYE sounds comfortable exploring different ideas, and her presence connects the atmospheric passages, the rock intensity, and the pop elements.
Then comes “Live Wire,” and this closing track hits hard. A powerful guitar riff leads the charge while the drums strike like a blacksmith hammering an anvil. You can almost feel the sparks flying. The rhythm has weight, the guitars have bite, and the whole song makes you want to grab a motorcycle and disappear down an American highway.
WAR IS OV3R – Performance and Production
“Live Wire” is a song for renegades, for those moments when you need open space and loud music. It closes the EP with the kind of physical energy that makes rock so satisfying. After the mysterious opening, arriving at this final explosion feels especially good.
Across these tracks, UCHAYE shows versatility and a clear musical identity. Her voice can draw you into a dream, while the heavier arrangements bring out her rebellious spirit. The production gives each song its own character, allowing those different sides of her personality to emerge.
“WAR IS OV3R” introduces an artist with fire, taste, and the confidence to follow her instincts. From the reverberating guitars of the opening to the hammering finale, UCHAYE kept me involved. An EP I recommend to anyone who likes their rock passionate, melodic, and ready to hit the road.
In the summer of 2006, My Chemical Romance came to England to play Reading and Leeds festivals, and to tease their forthcoming third album, The Black Parade, with a special headline show at Hammersmith Palais in west London on August 22. That night the New Jersey emo quintet gave live debuts to two songs from their forthcoming record- I Don’t Love You and Cancer – and showcased three further songs from the album, The End,Dead! and House Of Wolves. It was immediately clear all in attendance that the band’s follow-up to 2004’s Three Cheers For Sweet Revenge was going to be something special.
Later that week, Metal Hammer‘s Katie Parsons caught up with Gerard Way’s band backstage at Reading festival to get the inside story on an album that would soon be recognised as their masterpiece
The backstage field at the Reading Festival is a hive of activity. The guest area is awash in drunken squeals and bloated, beered-up bodies. The occasional ‘funny hat’ lurches by, and the multitude of dancing ladies in the warm light have suntanned ankles clamped into bright floral rubber boots. It may only be mid-morning but the party is already well underway.
Take two steps to the right, however, past a stern-looking security guard, and the green trailer sheltering New Jersey superstars My Chemical Romance houses an entirely different scene.
“A friend of mine killed himself by standing in front of a train,” someone whispers from the corner. “He was 15 years old.”
Donned in black from tip to toe (barring his new blond locks), Gerard Way and his four accompanying musicians (guitarists Frank Iero and Ray Toro, bassist Mikey Way and drummer Bob Bryar) are slouched on a couch, sipping sticky cups of brown soya milk from the small selection of food provided for their pleasure. They’ll be clambering onto the hulking main stage at Reading in 30 minutes’ time. It’s the biggest show they’ve ever played in the UK. Given the cheery excitement just metres away, and the potential exhilaration awaiting them up in front of the gathered thousands, the last thing you’d expect to be talking about is suicide. But darkness seems to overshadow My Chemical Romance wherever they go.
“We actually tried to stay away from death,” says the permanently sullen singer. “We just couldn’t do it.”
Gerard and the band are chatting to Hammer about their upcoming new release The Black Parade – the highly anticipated follow-up to the group’s 2004 release Three Cheers For Sweet Revenge and 2002’s I Brought You My Bullets, You Brought Me Your Love. Thrust into global stardom following a series of massive hit singles and the adoration of a globe-spanning fanbase, My Chemical Romance may see the The Black Parade becoming their biggest and most important album to date.
This is the most theatrical record we have ever made. It really is the record of our dreams.
Gerard Way
“This is the most theatrical record we have ever made,” says Gerard quietly. “It really is the record of our dreams. Just like the other two, it’s a concept album, but it’s the tightest of all three. While the last record was an examination of immortality, this new one looks at mortality. Yes, we have written about death again, but in a much more mature way.”
Why can’t MCR avoid such morbid thoughts?
“Everybody is afraid of death. It’s just that maybe we’re a little more afraid of death than most people,” explains Mikey. “Everyone is going to die. That’s the one thing that absolutely everyone has in common. It’s universal. Death is kind of like the unknown, and I think, as a band, and on this record, we are influenced by the unknown.”
The album’s concept tracks the experiences of a character called The Patient, a narrator who My Chemical Romance use to help weave their shadowy ideas, lyrics, melodies and musical visions.
“At the very beginning of the record, The Patient is dying tragically young in a hospital,” explains Gerard. “Death then comes to him in the form of a parade, because his strongest memory of childhood is of his father taking him to a parade. From that point on in the record, he examines his life, and he meets other characters in the parade that talk about their lives, and by the end, he is someone that chooses to live, as opposed to die.”
Sitting in the confines of the small trailer, the four other members nod in agreement.
“I think that one of our main goals in this band has always been to write songs from the heart,” says Ray.
“For me, it’s like a constant quest to write the perfect song,” notes Gerard. “My current favourite of our arsenal is the new song Cancer. I think it’s the most emotionally powerful song that we’ve ever written. It’s direct, it’s honest, it’s ugly, it’s beautiful, it’s the truth. We played it a few days ago and the response was immediate. People were so affected, it was like they weren’t able to speak for two minutes.”
The lyrics may be written by their enigmatic frontman, but the sentiment of the album directly reflects all of the band members’ urge to give a voice to their fans; a voice for those who might find themselves in a situation where they may be choosing between death and carrying on with life.
“It’s about making a difference,” says Gerard. “It’s about giving those kids a representative.”
It transpires that from the very beginning of their careers, the group have felt a responsibility to give a voice to those who dwell in the ‘dark side’ a little more than others.
“We were originally united as a group because we ourselves were obvious outsiders,” explains Gerard about the band’s dark beginnings. “We were pretty much invisible and insignificant. When nobody pays any attention to you, you realise how mortal you are. That’s why teenagers that are troubled or are seen as outcasts are drawn to death. You have a lot of time to examine that subject when you’re all alone.”
Gerard and his bandmates are now in the lucky position where they can turn their own ‘outcast’ experiences into guidance and relief for others.
“We were people that were able to rise above those feelings,” he explains, “and with our help, others will be able to rise above that too. That’s why we have such a strong relationship with our fans. We can understand.”
We were originally united as a group because we were obvious outsiders. We were pretty much invisible and insignificant.
Gerard Way
Were you shocked into taking action by those that didn’t survive?
“The suicide of my friend was something that really changed my life,” he agrees. “There was a really strange wake where there were all these kids from high school there, all of his classmates – kids. That was strange. That set me on the path of wanting to escape that kind of life in New Jersey, the feeling of being depressed and insignificant.”
Come summer 2006, the band are about as far removed from insignificance as it’s possible to imagine, and the main stage at Reading is about as big at it gets for any band. As for being depressed? It’s hard to accuse Frank, Gerard, Ray and Bob of laughing too much. But Gerard’s little brother Mikey seems slightly more fragile. Throughout the interview, his hands are visibly shaking. His conversation is slow and considered.
“I am not going to diagnose myself, but I probably have ADD. I do have ADD, ’cos I am constantly wandering,” says the bassist.
“Mikey is the eternal kid brother of the band,” says Gerard, smiling at his brother. “He has a lot of heart and is just a bit shy and awkward. We’re very protective of him.”
Mikey also notes that Gerard requires protection as well, pointing out that historical frontmen often faced tragic fates due to a lack of support, and warns that without adequate backing, Gerard would likely flee under an assumed name.
That certainly contradicts the view that MCR is just another name for ‘Gerard’s band’. Though he has taken on most of the answers to the questions we have posed the group, it was made quite clear to Metal Hammer that the singer does not do interviews alone.
“We don’t want the emphasis to just be on one person. Bands are much more exciting than individuals,” laughs Gerard. “That’s why you start a band! And if you always keep that in your head, it’s that kind of unity that makes you stronger. When you just have one individual, that’s when people get depressed, people off themselves, and then you have one person carrying this intense weight on them and they’re this huge celebrity. They don’t have enough strength on their own; they need others. That’s the point of a band, of this band – we need each other. I think everyone in this group wants to carry our responsibility together.”
There is no time that this belief is more apparent than when the five members of My Chemical Romance get up on stage. Sure, Gerard is the ‘frontman’, the spokesman, the voice for the masses, but without the intense musical backdrop of his friends, he could be mistaken for just another madman on a rant.
“There is a degree of leadership that needs to be there on stage,” says Gerard, “and although it is one voice, it’s all of our voices speaking together. The music speaks for itself. The chemistry we have together is the real voice.”
To think there was ever a time when Gerard and the band were outcasts is hard to believe. Up in front of the gathered thousands, they’re worshipped like gods.
Each carries the audience in the palm of their hands, through their individual appeals and characters. There are banners being waved, and every word is sung back at the band with full force. Far from being insignificant, they are now the most notorious young men to ever come out of Newark, New Jersey.
“It was never about notoriety, never about fame,” insists Gerard not long after MCR step off the stage, drenched in their own sweat and bathing in the adoration of their fans. “However, we do seek a certain glory and victory in all this. There’s something really amazing about being able to get up on a stage like this and do this kind of thing.”
And who is this victory over? Is it hitting back at the bullies of your past?
“It’s less about the bullies and more about the victory of giving people like us a voice,” Gerard smiles. “And anyway,” he adds, “the bully is usually the guy that stays in the town, lives in the town, fucks in the town, drinks in the town, dies in the town. Whereas,” he grins, spreading his arms wide across the Reading field, “it’s usually the kid whose wearing black in the corner that ends up doing something significant.”
Half Foot Hog kick off “Wookies Beat Fascism” with “Six Forty Five,” and the sound immediately raises a middle finger to artificial intelligence. You can hear the hours spent rehearsing together, turning sweat and determination into punk this powerful and direct. The rhythm is fast and chaotic, with an urgency that makes sitting still feel impossible.
“Blowing Up The Bathroom At Braums” follows with guitars that practically grate your skin. Within seconds, you wish you were packed into a basement, surrounded by people sweating through their shirts, smelling of beer and armpits, and forgetting everything waiting outside. This music makes you want to get involved, push toward the front, and leave with your ears ringing.
“The Puker” brings an intense guitar riff with a sly attitude. I particularly like how Half Foot Hog play with the backing vocals, giving the chaos another voice to shout through. There is something physical and instinctive about their approach. The music entertains and fires you up, while the lyrics take their swings at authority.
Wookies Beat Fascism – Sound and Atmosphere
“Keto Diet” starts on slightly mellower ground, giving you a moment to catch your breath. That moment does not last long. Soon enough, the band throws everything into the blender again, and you are caught in another rush of guitars and drums. These musicians know how to build anticipation before sending the room sideways.
“Ukraine A Go-Go” is irreverent, powerful, and built like an anthem. Half Foot Hog tackle serious subjects with irony and a directness that suits their sound. The humor has teeth, and the energy gives their words an extra shove. You can laugh and still feel the anger underneath.
The album closes with “Sincerely, Dan Patrick,” a charging track with a strong dose of English punk in its veins. It makes you want to dance, knock back a beer, and surrender to the noise. The band keep pushing, giving the record a final burst of energy that leaves you ready to start it again.
Wookies Beat Fascism – Performance and Production
What I appreciate most about this album is the feeling of musicians feeding off one another. The guitars scrape, the drums drive hard, and the vocals pull you into the commotion. Even at their most chaotic, Half Foot Hog sound like a band that has put in the work. Playing with this much force takes commitment, and you can hear it throughout the record.
The backing vocals add to that sense of shared madness. You can easily imagine these songs coming alive in a small room, with the audience shouting back and the temperature climbing after every track. The recording carries that sweaty, close-quarters feeling.
In a world that often feels wrapped in plastic, “Wookies Beat Fascism” gives me hope. There are still bands willing to rehearse, make a racket, challenge power, and put their whole bodies into a performance. Half Foot Hog delivers punk with dirt under its fingernails, and it feels damn good.
The opening pads of “Skin” create a nostalgic, intense atmosphere that wraps around you like London fog. Then London King’s voice emerges: high, expressive, and full of subtle shades that suggest a secret waiting to be revealed. There is something intimate and ancestral about her delivery.
Those first moments reminded me a little of the atmosphere of Irene Cara’s “Flashdance… What a Feeling.” It is a passing association, sparked by the synth textures and the anticipation they create. King soon leads the song into a more personal space, where every vocal inflection brings the words closer.
The lyrics hit hard. “Skin” gives its deepest emotions room to breathe, allowing their weight to settle without forcing a reaction. King’s phrasing carries much of that intensity; the small changes in her tone make the performance feel vulnerable and direct.
Skin – Sound and Atmosphere
The arrangement fills out gradually. Piano joins the pads, followed by a soft percussive pulse that gives the song movement while preserving its intimacy. These additions pull you further into the atmosphere, building tension without rushing the music toward its peak.
The production leaves enough space to hear the nuances in King’s voice. Her upper register has a fragile edge, yet she can give a phrase considerable emotional force. That combination keeps the performance engaging as the instrumental layers gather around her.
Skin – Meaning and Performance
“Skin” explores hidden pain, invisible illnesses, and the silent struggles people carry through everyday life. Its inspiration makes the listening experience especially heartbreaking: King wrote the song after witnessing her older brother’s quiet battle and his untimely passing. Knowing that background gives the words a devastating weight.
The gradual build feels closely connected to that subject. Emotions that seem held beneath the surface at the beginning become increasingly difficult to contain. King communicates that shift through her voice, letting the performance grow alongside the arrangement.
Toward the end, “Skin” lifts you with it. The music opens up, and the emotion King has carried throughout the song reaches its fullest expression. The sadness remains, but there is a release in those closing moments that makes them particularly moving.
London King has created a beautiful, deeply affecting song. The nostalgic opening catches your attention; her voice and the story behind the lyrics give you a reason to stay. “Skin” deserves a quiet moment and your full attention. I wholeheartedly recommend it.
Exzenya possesses a distinctive mastery in interpreting songs, evoking deep emotions through her unique style. She stands out in today’s music landscape as a pioneer and visionary artist. Her music is infused with the essence of Björk and Kate Bush, yet she carves her own identity within these influences. Her approach allows her to connect with listeners on a profound level.
In “Forgiven For The Last Time,” Exzenya delves into one of the most challenging topics: self-forgiveness. This song is a beautiful, nostalgic ballad that resonates deeply, especially with those who have wrestled with their inner demons. The lyrical content urges listeners to reflect on the times when we are our harshest critics.
Exzenya’s ability to convey emotion is evident throughout the track. Her vocal delivery is rich and textured, making the lyrics profoundly intimate. The melodic structure of the song complements her voice, creating an almost hypnotic effect that draws listeners in. This interplay between her voice and the instrumental arrangements fosters a space for reflection.
Forgiven For The Last Time – Sound and Atmosphere
The song tackles the struggle many face in forgiving themselves, addressing feelings of guilt and self-doubt. Exzenya’s lyrics articulate this internal battle with authenticity, inviting listeners to confront their vulnerabilities.
She skillfully blends her voice with the elements of the production, transforming each note into a brushstroke on canvas. The arrangement of “Forgiven For The Last Time” allows her to showcase her unique interpretive style.
This track does more than simply present its themes; it invites the audience to engage in a deeper dialogue with themselves. Exzenya prompts each listener to consider their own experiences with regret and the journey toward forgiveness.
Forgiven For The Last Time – Performance and Production
Each verse peels back the layers of emotional complexity, illustrating the struggle for self-acceptance. The song resonates with anyone who has ever felt unworthy or trapped in self-doubt. Exzenya’s insight into such themes makes her music a refuge for many.
Exzenya’s “Forgiven For The Last Time” is a powerful expression of self-reflection that resonates deeply with listeners. It captures the intricate process of forgiving oneself and highlights the internal battles many face. This song will undoubtedly leave a lasting impression, engraving its message within the hearts of those who encounter it.
If you love this music: 
