We are extremely happy to offer our very first EVERYDAY METAL tee.
Featuring a huge SUPPORT LOCAL HEAVY METAL back print, our shirts are designed in house and printed by the very talented Redwood Press on 100% combed cotton.
Check out our behind the scenes video below and you can get your tee in our online store.
California metalcore collective THE GHOST INSIDE return to Australia for their first headline tour in over a decadethis October joined by special guest BLEED FROM WITHIN.
Opening proceedings on Sunday 19 October in Fremantle, the Going Down Under Tour will make stops in Adelaide, Melbourne and Sydney before closing out in Brisbane on Sunday 26 October.
Armed with passion and determination that has captivated a global audience for decades, THE GHOST INSIDE forge the new wave of American metalcore dexterity with the urgency of punk and dauntless melodies, all of which have permeated and fortified across six studio albums, countless tours and millions of streams.
Starting life in the mid 2000s, THE GHOST INSIDE have spent decades releasing captivating bangers like Engine 45, Avalanche, Aftermath, Wash It Away and Pressure Point; songs that are anthems for outcasts but also outings that offer oscillations between captivating catharsis, gripping ferocity and chest-thumping choruses. While THE GHOST INSIDE have always channeled notions of resilience, perseverance and vulnerability, the group’s harrowing bush crash experienced in 2015 followed by the pandemic surrounding their 2020 self-titled return release only heightened the group’s sonic potency, firmly turning adversity into triumph and ultimately emerging in 2024 with their sixth studio album, Searching for Solace.
Most recently touring in Australia supporting Parkway Drive last year, touring nationally as part of Parkway Drive’s massive 20th anniversary headline run, THE GHOST INSIDE have previously shared stages around the world with Underoath, A Day To Remember and Every Time I Die, and are imminently set to join Volbeat on a North American run starting next month.
Glasgow metal pioneers BLEED FROM WITHIN have relentlessly evolved and enamoured since first forming back in 2005, expanding their early deathcore leanings into an irresistible blend that captures grooves, searing riffage, hypnotic grooves and much more into their signature sound. Recently releasing their seventh studio album, Zenith, last month, BLEED FROM WITHIN were praised by KERRANG! for their “ear-gouging vocals and stomach churning grooves” while Metal Hammer declared the band as “one of the UK’s most vital and consistent metal bands”. From incorporating bagpipes into their beautiful brutality through to commanding stages alongside Slipknot, Bullet For My Valentine and Trivium, BLEED FROM WITHIN also stormed the mainstage at the UK’s Download festival in 2024, further cementing their stake as a must-see act for the ages.
Don’t miss your chance to witness two international metalcore juggernauts tearing through Australia this October – tickets for the Going Down Under Tour will definitely be going fast!
Early bird pre-sale tickets on sale: Wednesday 21 May @ 9am local time
To Gain Early Ticket Access Register Here -> https://daltours.cc/TGI_AUS25
General tickets on sale: Friday 23 May @ 9am local time
Tickets from destroyalllines.com
Destroy All Lines Presents
THE GHOST INSIDE
GOING DOWN UNDER TOUR
WITH SPECIAL GUEST
BLEED FROM WITHIN
TOUR DATES:
SUNDAY 19 OCTOBER – METROPOLIS, FREMANTLE
TUESDAY 21 OCTOBER – THE GOV, ADELAIDE
THURSDAY 23 OCTOBER – THE FORUM, MELBOURNE
FRIDAY 24 OCTOBER – ENMORE THEATRE, SYDNEY
SUNDAY 26 OCTOBER – THE TIVOLI, BRISBANE
General tickets on sale: Friday 23 May @ 9am local time
Tickets from destroyalllines.com
EVERYDAY METAL – SUPPORT LOCAL HEAVY METAL
Relentlessly pushing boundaries and breaking new ground, Movie Club continues to use their Venice Beach locale to influence them both sonically and visually. Introducing Black Mamba – the band’s 7th studio record and their heaviest songs yet – a three song release centered around the Year of the Snake. The songs were recorded and mixed by Mike Kriebel (Oh Sees, Ty Segall) and feature continnued collaboration with with bassist Tim Lefebvre (David Bowie) and David Ralicke (St. Vincent) on baritone sax. The band is releasing a 7’’ and double music videos alongside the digital drop, all due out on Friday, June 6th. Movie Club has been working feverishly towards the dream since 2018, with drummer Jessamyn Violet and guitarist Vince Cuneo gathering momentum towards their Psychedelic Circus West Coast tour June 10th-19th in celebra on of the duel releases of the Black Mamba EP as well as Jessamyn’s second novel Venice Peach (out June 10th through Maudlin House).
“The way we were able to weave these releases together is pre y wild and unexpected,” Jessamyn says. “We shot a spoof trailer for my book that ended up bleeding into the other two music videos, plot-wise, in a really fun way. I’ve savored every minute of this past year’s crea ve process and am so grateful to be able to make it happen in these trying mes. We believe art is absolutely essential—especially right now—and we all must do whatever it takes to keep going.”
Introducing Grindhouse Venice, the music video package for singles “Python” and “Black Mamba” that is basically a 10 minute short film. It features a quick funny trailer at the top, then dives into the music video for “Python” directed and edited by Jessamyn, featuring Vince as a Venice clown goofing around town. Immediately following is the music video for “Black Mamba” – directed and edited by Vince and featuring Jessamyn as an assassin taking out select shady characters around Venice. The two also shot the videos themselves, assuming all the roles needed to get the job done. This double music video presentation and format draws reference from Quentin Taran no and Robert Rodriguez’s 2007 director double feature film Grindhouse.
“Since this group is centered around our love for cinema and how music can enhance a visual, this was one of the most fun projects we’ve taken on as a band,” Vince says. “There was a point where I had to get into my clown suit four times in a week. It felt like it was my new day job. What I enjoyed most was that we live in a place where people told me they liked my ‘outfit’ instead of saying they liked my ‘costume.’ To me, that sums up Venice Beach: Accepting of anyone and anything.”
Keep up to date with Movie Club on social media:
EVERYDAY METAL – SUPPORT LOCAL HEAVY METAL
Cover shot – SOLENCE
The world can be cruel, but electronic metal group SOLENCE offers a simple cure.
The charming quartet of high-energy Swedes is defined as much by their endless optimism as their boundless talent. Their upcoming fifth album, ANGELS CALLING, due out
October 3 via Better Noise Music, combines big pop hooks and electro savvy with the heavy yet melodic intensity of trailblazing Swedish metal into a distinctive international sound equal parts hypnotic and uplifting.
“‘Where Were You..? is a fast and fun song about a friend letting you down when you needed them the most,” says guitarist David Strääf. “The song really keeps the tempo up with a big chorus, modern production and a very heavy, bouncy and genre bending breakdown!”
SOLENCE returns with fresh visuals, a new look, and a retrofitted sound that combines the best of their past with a look into the future for both the group and the genre. “For some reason, I’ve always felt like my time on earth is limited, as if I might die young,” frontman Markus Videsäter explains. “Our music is about making the most of life, relationships, and passion before heaven calls us home.”
Based out of Los Angeles and originally hailing from Sweden, SOLENCE’s lineup consists of frontman Markus Videsäter alongside guitarist David Strääf, keyboardist Johan Swärd, and drummer David “Viking” Vikingsson. They focus all its energy on uplifting anyone in a dark state of mind to a brighter place. “SOLENCE is all about having a good time,” Videsäter declares. “Our message to our existing fans and potential new ones is that we want to bring the fun back into rock n’ roll.”
“Storytelling is a lot of fun,” he continues. “I write about motivation and how to get myself up in the morning. So, yes, there’s still a lot of that. We bundle it up in a lot more energy and craziness. ANGELS CALLING is so cool. I love every single song. I’m so excited about how massive it feels.”
ANGELS CALLING is the follow-up to their EPBLUE MONDAY (Better Noise Music), released this past January with three new songs: “F**k The Bad Vibes,” “A Banger A Day Keeps The Doctor Away,” and “Who You Gonna Call? (Solence),” which Houston Chronicle highlighted in their “Top 50 Best Underground Music Videos of 2024” list. It also includes two remixed versions of their hit track, “Good F**king Music” by Swedish-based producer MVRE and L.A.-based producer kodeblooded (Asking Alexandria, Charlotte Sands).
The band have built a dedicated global audience on past tours opening for bands including Five Finger Death Punch, Ice Nine Kills, Electric Callboy, We Came As Romans, and The HU, in addition to festival appearances across Europe (Rock For People Festival, Graspop Metal Meeting, Resurrection Fest, Tuska Festival, Nova Rock Festival) and the U.S. (Aftershock, Louder Than Life, Blue Ridge Rock Fest). A SOLENCE performance is a participatory sport, with audiences encouraged to sing and bounce along.
Lauded as one of Pandora’s “Rising Rock Artists To Watch In 2023,” SOLENCE have to date garnered over 358 million cumulative streams over 940k monthly Spotify listeners, and over 96 million video views since their formation in 2012. The band started by releasing heavy renditions of well-known pop hits from the likes of Imagine Dragons, Fall Out Boy, Ed Sheeran, Britney Spears, and Queen before breaking out with their 2019 debut album BROTHERS. It was quickly followed by their sophomore album, DIRECTION, which saw them achieve their first Active Rock radio charting with “Animal In Me” which became SiriusXM Octane’s most-played track in 2020. Octane’s Sr. Director, Music Programming Vincent Usuriello described SOLENCE’s sound as “a dynamic fusion of rock, metal, and pop elements, with powerful vocals, electrifying guitar riffs, and infectious melodies, creating an immersive sonic experience.” In 2021, SOLENCE released their third album, DEAFENING, which showed their range of inspirations from music to anime, gaming, sci-fi, and even philosophy and soon followed with their fourth album HOPE IS A CULT in 2023. Amidst writing new material for SOLENCE, Videsäter and Strääf have lent their songwriting skills to pop acts including Jason Derulo and Bebe Rexha.
In 2025, SOLENCE continues to spread its life-affirming message. “‘Until I hear the ‘Angels Calling’ reminds us that life is way too short to worry about doubt or making mistakes,” Markus Videsäter points out. “We never know when our time is up, so let’s make the most of it while we can!”
Here’s the track listing for ANGELS CALLING:
1. Angels Calling
2. Monsters In My Head
3. Where Were You..?
4. MESS
5. <alive
6. Dead_Alive
7. Wish You The Worst
8. Dangerous To Love
9. All of the Pain Must Go
10. Angels vs Demons
Connect with SOLENCE:
WEBSITE | FACEBOOK | INSTAGRAM | TWITTER | YOUTUBE | TIKTOK
Japanese black metal legends Sigh have shared the first offering from their new record I Saw The World’s End (Hangman’s Hymn MMXXV), announced last month.
Speaking on the new single Death With Dishonour, bandleader and songwriter Mirai shared, “this should be one of the simplest songs by Sigh but at the same time it’s got one of the strongest choruses in our repertoire. With a double-speed drumming and the real trumpet and violin, this re-recorded version sounds 100 times more violent and symphonic than the original. By the way, the ending is an homage to “Last Man Alive” by my favorite thrash metal band, Whiplash.” The single is accompanied by a new video by directed by Costin Chioreanu –
STREAM/DOWNLOAD ‘DEATH WITH DISHONOR’
This year Sigh celebrate 35 years of existence. With a career that has seen the release of 12 studio albums, countless worldwide shows, and a relentless dedication to pushing boundaries, they have firmly cemented their status as one of the most revered and influential cult acts in extreme metal.
To celebrate, Sigh have decided to revisit their 2007 opus, Hangman’s Hymn. A compositional powerhouse in its own right, Hangman’s Hymn was notably Sigh’s first concept album, blending fast 80s thrash metal influences from bands like Wehrmacht, Sarcofago, and Repulsion with classical music—particularly German symphonies. However, Hangman’s Hymn was often seen as not fully meeting the band’s own standards in terms of execution and production. As a result, frontman Mirai Kawashima has taken it upon himself to do justice to this at times overlooked masterpiece of intricate songwriting by re-recording it with the current Sigh sound and delivery, under the title I Saw the World’s End – Hangman’s Hymn MMXXV. Set for release on Peaceville on 13th June.
I Saw The World’s End (Hangman’s Hymn Mmxxv) Will Be Released On White + Gold Marble Vinyl, Classic Black Vinyl, Jewel Case Cd And Digitally
Pre orders at
I SAW THE WORLD’S END (HANGMAN’S HYMN MMXXV)
Introitus / Kyrie (MMXXV) [04:30]
Inked in Blood (MMXXV) [03:13]
Me-Devil (MMXXV) [03:19]
Dies Irae (MMXXV) [00:40]
The Master Malice (MMXXV) [04:46]
The Memories as a Sinner (MMXXV) [03:30]
Death with Dishonor (MMXXV) [03:08]
In Devil’s Arms (MMXXV) [04:32]
Overture (MMXXV) [01:14]
Rex Tremendae / I Saw the World’s End (MMXXV) [05:18]
Salvation in Flame / Confutatis (MMXXV) [05:22]
Finale: Hangman`s Hymn / In Paradisum / Das Ende (MMXXV) [04:47]
Cover shot – THE DILLINGER ESCAPE PLAN
THE DILLINGER ESCAPE PLAN have reformed for one last epic tour to celebrate the anniversary of their landmark album, Calculating Infinity. “Chaotic. Intense. Incredible. Unforgettable. Unmissable!” – REVOLVER Magazine’s “Greatest Live Band Of All Time”
We are not at all surprised to announce The Dillinger Escape Plan show at The Northcote Theatre in Melbourne on August 13 has SOLD OUT! Second and final show on August 14 now on sale. There will be no more shows added to the tour and there will be no “venue upgrades”. This is it!
When REVOLVER, which is by every metric the world’s top heavy rock magazine, ran a comprehensive survey of music fans and critics, in search of the 5 Greatest Live Band Of All Time, the results were decisive, clear and overwhelming. Beating the likes of: Metallica, Iron Maiden, Tooland Pantera to the summit was THE DILLINGER ESCAPE PLAN at Number One!
‘’1. THE DILLINGER ESCAPE PLAN: When it comes to irreverent, no-holds-barred onstage antics, none did it better, or more boldly, than spazzcore innovators The Dillinger Escape Plan. Throwing sanity, restraint, common sense and the band members’ own personal safety to the wind, the quintet approached each show as its own unique, arcane ritual, baptizing audiences with blood, sweat and chaos. No one ever left a Dillinger show without a memory — and possibly even a scar — to treasure for life, and a story to shock, astound and horrify disbelieving friends and family with. DEP bid fans farewell at the end of 2017, as possibly the world’s last truly dangerous rock band.”
Following an 8-year hiatus, The Dillinger Escape Plan return for a very limited number of live shows to commemorate their groundbreaking album Calculating Infinity and so much more.
For those who have witnessed The Dillinger Escape Plan live before, we know that you will be there. For those who have not, life has given you a second chance. Grasp it with gratitude!
THE DILLINGER ESCAPE PLAN August 2025 Australian Tour Dates
Sunday 10th August PERTH, Metropolis Fremantle
Tuesday 12th August ADELAIDE, The Gov
Wednesday 13th August MELBOURNE, Northcote Theatre – SOLD OUT
Thursday 14th August MELBOURNE, Northcote Theatre – New Show
Saturday 16th August SYDNEY, The Enmore
Sunday 17th August BRISBANE, The Tivoli
TICKETS ON SALE NOW FROM: https://thephoenix.au/the-dillinger-escape-plan/
Words – @rixoncaptures
Photos – @djsedick
It was time for some melodic death metal in Melbourne on Saturday night. In all my years of gigging and concert-going, I’ve somehow missed ever coming to the Croxton before; a venue complete with red damask wallpaper and a black chandelier in the entryway. The opening time for doors was delayed by half an hour, meaning the early to arrive fans became very well acquainted with one another as the front bar of the venue quickly filled as compactly as the mosh would be inside.
The night began with Orpheus Omega. The stage was awash with red lights as the band’s drummer Matt Themelco took to the stage alone, and slowly joined by the remaining four members; three clad in ominous hoods and one in a mask. I couldn’t spot the lead vocalist as the harsh screams began, as the two mics on stands were unattended, until I realised that the Hannibal Lecter style open-mouthed mask WAS the microphone. Lead guitarist Chris Themelco roamed around the stage freely through tracks Emberglow and Beacons without being trapped behind a mic stand as the perfect combination of vocalist and guitarist, with the ability to reach out and gesture boldly to all parts of the crowd like a vocalist but also headbang and jump around like a guitarist. I haven’t seen anything like it before and I commend the ingenuity.
The band announced that tonight’s show would be drummer Matt’s last show with them after 18 years, and launched into his favourite track Winds of Change. The mosh pit split open for the first time of the night, with a circle pit orbiting around videographers filming Orpheus Omega’s set. The band held control over the crowd from this moment onwards, commanding a sea of phone torches to illuminate Lighthouse and a wall of death during Sealed In Fate as rhythm guitarist Luke Ashley and bassist Leon Monaco stop atop the barrier to play the final breakdown of their set. While their sound has the classic combination of anthemic choruses, fast paced power chords and double kicks driving each song, Orpheus Omega have a uniqueness that makes them stand out among their peers both with keytar player Campbell Hill providing synths and clean vocals in place of backing tracks, and their on-stage personality of high energy antics.
Returning to Australia for the first time in 6 years, our main support band for tonight was Omnium Gatherum. The Finnish group burst onto stage and had the crowd bewitched from the beginning. Opening with Slasher, vocalist Jukka Pelkonen acknowledged the punters at the barrier with fist bumps, direct pointing and metal horns, and this personal recognition made their set feel like a true dedication to everyone in the room. This was continued with guitarists Jope Koto and Markus Vanhala, and bassist Mikko Kivistö all leaning forward over their foldback speakers and stage risers as far as possible to offer their music directly to the crowd through tracks Reckoning and Soul Journeys. Their sound was methodical; heavily layered with harmonised guitars and backing vocals from keyboardist Aapo Koivisto as well as Jope, Markus and Mikko. Drummer Atte Pesonen made his job look easy as he smiled through the near constant double kicks and cymbal hits of Skyline. The driving beat was accompanied by wide power stances and synchronised headbanging from all.
Their synchronicity continued as I noticed that the six band members were all clad in matching denim vests and wrist sweatbands featuring the band’s logo: the shape of two hands throwing metal horns with the fingers pointing in towards each other, which many a fan were spotted holding up instead of regular horns. These all black outfits contrasted the all white instruments, a calculated decision to make their on stage appearance as clean and eye-catching as possible. With this level of crowd participation and shared energy between band and fans, it could have been believed that Omnium Gatherum were tonight’s headliners, finishing their set with New Dynamic and standing arm in arm with a grandiose bow.
The room lights dimmed and the stage glowed a foul, acidic green. The sound of the acoustic guitar intro of 1696 flooded the speakers before Insomnium took to the stage, luring the crowd closer and any punters still outside to forward in. Vocalist Niilo Sevänen opened with “Show me the horns, Melbourne,” and I don’t think those metal horns lowered back down for the entire set. Omnium Gatherum member Markus Vanhala reemerged on stage as part of the headlining act as well, performing double duties on guitar with no indication of tiring out from his previous set. He knocked guitar necks with fellow guitarist Ville Friman like saying cheers to a shared beer during 2022’s single White Christ. Two rows of lights illuminated kept drummer Markus Hirvonen well lit at the back of the stage (much to the delight of my photographer pal Dan. You’re welcome, Dan) even with his low-sitting cap and cymbals perched high on their stands obscuring his face.
And Bells They Toll felt like a half time break as the song’s tempo slowed and gave the crowd a moment to catch our breaths, however after that the energy of the night didn’t quite recover to the same level as the start of the set. Perhaps that was due to the half an hour delay pushing this moment well beyond 11pm, or maybe the crowd simply tuckered themselves out with their previous push-pitting. During Witch Hunter, as guitarist Ville took up the role of vocalist and sung the bridge, Niilo stepped away from his microphone and came to Ville’s side to perform the harmony over his band mate’s shoulder in a moment of brotherhood. While the usual encore build up was somewhat soft and tired sounding, I spotted what I think was the first crowd surfer of the night during While We Sleep as the crowd submitted their last reserves of energy over to the band, closing with 2019 album Heart Like A Grave’s title track.
After 8 long years between Australian tours, Insomnium were welcomed to the stage like an old friend. With a career spanning 3 decades, the Finnish powerhouse of melodic death metal took us through tracks from all stages of their musical lifespan and proved to us that they’re not slowing down. As long as it doesn’t take them the better part of a decade to visit us again!
Huge thanks to The Croxton crew and CULT ETIQUETTE PR fro having us.
EVERYDAY METAL – SUPPORT LOCAL HEAVY METAL
Words – @redonthemic
Photo – @photo.amai
When it comes to metal gigs, you always hope for a lineup that not only delivers high-octane energy but also showcases the diversity and evolution of the genre. This very show featuring Currents, Chelsea Grin, Bloom, and Heavensgate was set to exceed every expectation. From metalcore’s melodic chaos to deathcore’s pure sonic punishment, this a night to remind everyone why heavy music continues to thrive.
As I walked down the stairs into 170 Russel in Melbourne, there’s an unmistakable feeling in the air reminiscent of the calm before a sonic storm. Tonight isn’t just another gig, it’s a gathering of the heavy music fans in Melbourne wether they’re new listeners or MySpace era legends, a ‘core’ communion where breakdowns and top tier vocals reigns supreme and the mosh pit is both battlefield and brotherhood. With the lights low and the amps stacked high, the venue felt like a pressure cooker ready to explode with anticipation. If you weren’t ready for chaos, you came to the wrong place.
Heavensgate were set the task of opening the night and turning it up to 100 with no time to waste. having never seen this Melbourne quintet live before I was excited to see how they performed , guitarist David headed out followed by bassist Aki and drummer kofi, soon followed by vocalist Nazareth , they ripped straight into their set and called for war from our keen patrons.
Opening with the explosive “OBLIVION,” the band wasted no time setting the tone. The track’s crushing breakdowns and swirling dissonance grabbed the audience by the throat, and they never let go. Frontman nazareth tharratt commanded the stage his presence amplified by the atmospheric lighting and strobe-heavy production.
The set continued with “VIOLENT JOY” and “COMFORT IN THE SLOW DEATH,” two standouts from their AND ALL I LOVED, I LOVED ALONE EP. The crowd, a mix of die-hard fans and newcomers, moved as one — a sea of swinging limbs, screaming along to every word. The transitions between tracks were sharp, with the band demonstrating a mastery of both technical execution and emotional delivery.
“GINSICK” and “CHEMICAL HEAVEN” brought the energy to a fever pitch. The contrast between shimmering leads and bone-rattling chugs created an almost cinematic experience — moments of vulnerability quickly drowned in sonic violence. The band’s chemistry was undeniable, tight and cohesive without ever feeling sterile.
They closed the set with “RATKING,” a feral anthem that had the pit at its most chaotic. It was a perfect finale — equal parts cathartic and destructive, leaving the venue ringing with feedback and the crowd roaring for more.
In a genre often criticized for being saturated and repetitive, Heavensgate stands out with their fearless experimentation and deep emotional core. Their Melbourne performance wasn’t just a gig — it was a visceral, communal release. With this kind of momentum, Heavensgate is no longer just one to watch — they’re already here, and they’re carving out something truly special.
On a night loaded with genre heavyweights, it was Bloom—second on the bill—who delivered one of the most emotionally resonant performances of the evening. Playing to a packed venue, the Sydney melodic hardcore outfit proved why they’ve become one of Australia’s most talked-about rising acts.
Following a fierce opening, Bloom took the stage with quiet confidence and quickly shifted the atmosphere from aggression to introspection without sacrificing intensity. Opening with “The Service,” the band established their signature contrast between ambient melodies and visceral breakdowns, immediately drawing the audience into their emotionally charged world.
Frontman Jono Hawkey’s presence was magnetic. Whether screaming from the gut or delivering haunting cleans, he performed like every word hurt to say—and meant it. “Bound to Your Whispers” and “Siren Song” followed, and you could feel the crowd growing more invested with each song. The pit softened into swaying bodies and raised hands, with fans singing along to every anguished lyric. It was a stark shift from the chaos of Heavensgate, but no less powerful.
Musically, the band was razor sharp. Guitarists Jared Staal and Oliver Sweeney wove bright, sorrowful leads into crushing riffs, while drummer Jarrod Ritchie added dynamics that guided the emotional arcs of each song. In a live setting, Bloom doesn’t just play music—they create space for reflection and release. Their ability to channel melancholy into something cathartic is where they shine brightest.
Mid-set highlights like “In Passing” and “Daylight” had the crowd entranced. These weren’t just slow songs to catch your breath—they were moments of shared vulnerability. You could see people with eyes closed, mouthing the lyrics as if they were their own. By the time Bloom launched into “You & I” and “Cold,” they had won over even the fans who’d come purely for the heavier headliners.
They closed with “Maybe in Another Life” and “The Works of You,” two emotionally devastating tracks that left the crowd in a stunned, reverent silence before erupting into applause. It was a performance that didn’t rely on spectacle or stage tricks—just pure, honest music performed with heart.
In a lineup stacked with brutality and technical prowess, Bloom offered something different: a deeply human connection. Their set felt like a reminder that heaviness isn’t just about sound—it’s about weight, and Bloom carries it masterfully.
As the night continued with Currents and Chelsea Grin, Bloom’s set lingered in the air like a bruise you don’t mind pressing. Their upward momentum is undeniable, and if this performance is any sign, Bloom is more than ready to take the next step—from support act to headliner.
Chelsea Grin’s return to Melbourne was nothing short of carnage. Packed shoulder-to-shoulder inside 170 Russell, the energy in the room was electric before the band even hit the stage—and the second they did, all hell broke loose.
From the opening notes of “hostage,” it was clear the crowd was ravenous. The pit erupted instantly, but what stood out wasn’t just the volume or the chaos—it was the interaction. Fans weren’t just watching Chelsea Grin perform; they were part of it. Mic grabs came fast and furious, with Tom Barber regularly holding the mic out as if daring someone to match his ferocity. Dozens obliged, screaming lyrics with vein-popping passion.
Barber’s performance was masterful. He makes what’s objectively some of the most brutal vocal work in metal look effortless. From deep, cavernous lows to shrill, razor-sharp highs, he delivered each scream with surgical precision. No strain, no misstep—just pure, unrelenting control. Tracks like “playing with fire” and “Recreant” showcased his full range, jumping between fry screams, false cord growls, and tunnel-throat lows with an ease that left jaws on the floor. Even as bodies flew over the barricade and stage dives became routine, he never lost focus or presence.
The band behind him was just as locked in—guitar tones were razor-sharp, the drums thunderous, the pacing relentless. But it was Barber’s voice that commanded the night, cutting through the mix with terrifying clarity.
At one point during “orc march ,” a wave of fans rushed the front, jumping up for mic grabs and crowd-surfing toward the stage in a non-stop loop of chaos. Security could barely keep up, and it was clear: Melbourne showed up to throw down. But it wasn’t reckless, There was a sense of control in the chaos, a collective purge of energy and emotion, and Chelsea Grin were the perfect catalyst.
By the time they closed, the crowd was soaked, breathless, and still screaming. Tom let the final line hang in the air before nodding in appreciation, a quiet gesture that said it all.
Currents closed out the night in Melbourne with an explosive, high-octane set that showcased why they’re at the top of their game. As the headliner for the Hell & High Watertour, they took the stage at 170 Russell with intensity and precision, delivering an unforgettable performance that was as emotionally charged as it was sonically punishing.
Opening with “Never There”, Currents immediately set the tone for the evening. The song’s blend of melodic hooks and aggressive riffs hit hard right from the start, drawing the crowd in with its power and energy. Vocalist Brian Wille wasted no time in commanding the room, his guttural lows and soaring cleans cutting through the heavy instrumentation with ease. His dynamic vocal performance immediately stood out, shifting between brutal screams and impassioned, melodic highs without missing a beat.
As they moved through their set, the band’s musicianship was on full display. Guitarists Chris O’Toole and Ryan Castaldi traded blistering riffs and harmonized melodies, creating a wall of sound that felt both intense and cathartic. Their ability to seamlessly blend technicality with emotion was key to keeping the crowd engaged throughout, as they moved effortlessly from thunderous breakdowns to soaring, melodic passages. Tracks like “The Death We Seek” and “So Alone” were highlights of the set, the crowd singing every word back to Wille, who fed off the energy and gave it right back, his powerful stage presence making it clear he’s a frontman who understands the emotional weight his band carries.
The rhythm section, led by drummer Matty Poyner, was a force to be reckoned with. Poyner’s technical precision and ability to shift from rapid blast beats to groove-heavy patterns kept the energy in the pit alive, sparking wave after wave of crowd-surfers and stage-divers. It’s rare to see such control and intensity in a live setting, and Poyner nailed it time and again, pushing the band through each song with relentless drive.
The crowd was electric throughout the entire set, moshing and singing along with every track. There was an undeniable sense of camaraderie in the room, with fans feeding off Currents’ energy and throwing it back tenfold. The pit was a constant swirl of bodies, and at times, it felt like the entire venue was moving as one—highlighting the deep connection between the band and the audience.
As they neared the end of their set, the band dropped “Apnea” as their final track, which brought the show to a thunderous close. The song’s emotionally charged breakdown hit like a sledgehammer, leaving the crowd in a frenzy, headbanging and moshing with abandon. The sheer power and intensity of the performance made it clear: Currents had left everything on the stage. The final, crushing notes of “Apnea” lingered in the air long after the band had walked off, leaving the crowd in awe of what they’d just witnessed.
Currents proved once again why they’re leading the charge in modern metalcore. Their headlining performance in Melbourne was a masterclass in blending aggression with melody, and they delivered a set full of technical prowess, emotional depth, and raw power. With their live presence so tight and their energy so magnetic, it’s clear that Currents are not just making a name for themselves—they’re cementing their place as one of the genre’s most exciting and formidable acts.
A huge thanks to the 170 Russell Crew and BIG MOUTH PR for having us.
EVERYDAY METAL – SUPPORT LOCAL HEAVY METAL
Words – Shelby Lane
Photos – @benshootspeople
Guess who is back by unpopular demand?!
The correct answer is: Me! After a small and restful hiatus, I thought I would dust myself off by reviewing Simple Plan and The Offspring at Rod Laver Arena. You know, not a terrifying feat at all…
Braving the unforgiving Autumnal evening breeze, I made it intact to Rod Laver Arena without being blown away to Port Phillip Bay or French Island.
I must admit, my mood was certainly lurking somewhere dark, moody, and overall, probably in a comfortable bed in the multiverse BUT nothing better could quash my dastardly mood than an evening with these legendary lads. I felt even more out of sorts as this was the first concert I have reviewed without my best friend. I felt somewhat naked despite the obscene amount of clothing I was sporting. Alas, I was a brave girl and forged onward as Ben made his way over for a quick chat before joining the congregation of fellow photographers. I shuffled my way inside, joining the masses of people milling through the halls of Rod Laver filled with excited fans, donning their finest Simple Plan and The Offspring merch. I made the fatal error of buying the tour poster (not the mistake, folks) BEFORE the show started thus leaving me to carry it around. First world girly problems, am I right? The poster is stunning by the way.
Okay, enough of that! Strap in and get excited with me because I suspect Simple Plan and The Offspring will musically cure my foul mood.
Formed in Montreal, Quebec, Simple Plan have been going strong since 1999 with hit albums such as No Pads, No Helmets…Just Balls, Still Not Getting Any… and Harder Than It Looks and many more. Simple Plan had performed at the Vans Warped Tour every year from 1999 to 2005, performed at the 2010 Winter Olympics closing ceremony in Vancouver and, even did the theme music for an episode of What’s New, Scooby-Doo? Save a crumb of notoriety for the rest of us, please! I can fondly look back to my teen years where Simple Plan heavily featured in the soundtrack to my youth alongside The Offspring funnily enough. Kicking off their toe-tapping set, Simple Plan jumped straight in, starting off strong with ‘I’d Do Anything’ which healthily energized the packed, excited, and delighted onlookers. Personally, I thought that my already foggy memory would do me a disservice however, lyrical muscle memory kicked in and I found myself belting out every single word with booming enthusiasm. Core memories unlocked, people! The minute ‘Shut Up!’ started I was immediately thrown back to my ‘It’s not a phase, Mum’ period and immediately reverted to my 15-year-old self. No fringes or volleys were harmed in the process by the way. From ‘Worst Day Ever, Jet Lag (Featuring the ever-lovely Erin Reus), Addicted (featuring all of the crowd yelling HEARTBREAKER with puffed chests) and Thank You- the entire crowd was in a joint state of pure unadulterated nostalgic fueled joy.
Simple Plan powered through their electrifying set, undeterred by a small technical hiccup, which Pierre playfully joked about, causing the crowd’s furrowed brows to ease into smiles. ‘Are you guys still with us? Alright let’s keep it going!’ commanded Pierre as the band seamlessly transitioned into ‘Welcome To My Life’- another anthemic ballad for the young, unseen and lost. Hands held high and waved around like migratory birds building anticipation as we near the crescendo with Pierre thanking Melbourne with matched excitement and enthusiasm. Well, the excitement levels were perfectly challenged when a flock of oversized beach balls were deployed into the pit to amplify the beachy vibes of ‘Summer Paradise’- safe to say I was a little jealous but my little vantage point could not have been any more perfect. Did you think the excitement peaked there? Absolutely not! The band jokingly drew comparisons to our fine country with theirs, Canada, declaring that things were the same here but better. Mutual declarations of love were displayed as plans of moving to Australia were discussed to an eager crowd yelling ‘YES PLEASE’. Both the band and the crowd shared a mutual sense of gratitude, a feeling that hadn’t been felt since Simple Plan’s last Australian tour in 2019 but the fun and adoration did not stop there.
Much to the surprise of fans, Simple Plan playfully busted out ‘What’s New Scooby-Doo?’ and the crowd erupted into chaotic laughter, a reaction that was only heightened when a group of fans stormed the stage dressed as the iconic dog himself. People were dancing, vibing, and laughing like it was a raucous house party from 2009 — a scene I’m all too familiar with. Jinkies! It’s back to the Mystery Machine for our Scooby friends as Simple Plan’s set was coming to a close. Rounding out their infectiously fun set we began our descent with ‘Somewhere I Belong’ a thunderously fun track from their split single with State Champs and We The Kings! All of these throwbacks may result in whiplash or worse, the dreaded crick neck. Capping off their set with their signature showstopper song ‘Perfect’ all together and as one, in a powerful display of unity, the crowd sang with an intensity that echoed throughout the venue. A sea of flickering phone lights swept across the stadium, enveloping the surroundings like glowing fireflies in a dark cave thus amplifying the atmospheric coupling of teen sentimentality and overwhelming excitement was a perfect signing off message from Simple Plan.
Some might say they ended quite perfectly?! I am sorry, I had to. My mood has certainly shifted and it’s all thanks to Simple Plan! Hopefully they make their way back to Australia soon so we can do this all over again!
I guess the next act needs no formal introduction but I am going to do it anyway. I am merely speaking out of sentimentality but, The Offspring has been a constant in my life, from stumbling upon my dad’s lone copy of ‘Pretty Fly For a White Guy,’ to my cousins playing them on repeat and subtly shaping my taste, all the way to now, as a (questionably) grown woman who does not go a day without listening to them. Originally known as Manic Subsidal, The Offspring’s 40-year career alongside Punk rock titans such as Green Day, NOFX, Pennywise, Rancid and Bad Religion have been lauded as the revivalists of mainstream Punk rock since the 1990’s. Breathing new life into So-Cal skate punk, melodic pop-punk, and alternative hardcore their music tackles themes like rebellion, social issues, alienation, and socio-political commentary through the lense of their trademark humor and satirical edge.
Starting the booming countdown with AC/DC’s ‘Thunderstruck,’ the crowd eagerly watched as the minutes and seconds ticked down, their anticipation building with each passing moment. The show kicked off with a roar, as the band launched into their classic “Come Out and Play.” With the crowd instantly hooked, it was clear that this wasn’t just another concert—it was an experience. The familiar chords rang out across the arena, sending waves of nostalgia through the audience while reinforcing just how timeless Offspring’s music really is. Fans of all ages were jumping, singing, and reliving their favorite memories as they were swept up in the energy of the moment. Dominating their high-energy and punchy set with All I Want (Anyone remember Crazy Taxi?), Want You Bad, Staring at the Sun and Hammerhead I have not seen such sustained energy from one of the world’s most iconic Punk rock bands. Each drum beat, guitar riff, and soaring vocal hook was executed with effortless precision and artistry, sparking a small circle pit to erupt on the floor.The only dance move I could muster was the ‘white lady shoulder shimmy’ which is pretty funny thing to bare witness to but, I wasn’t going to be that rude person that blocked everyone’s view. Rollicking along, The Offspring continued to impressively power through and absolutely did not miss a beat by saying ‘We’re just gonna keep playing! We have a bunch of songs we are gonna play, do you wanna hear it? There will be some old shit and some new shit and some more old shit’- yes please, give it all to us!
Large streamers were shot into the crowd, blanketing them as ‘Looking Out For #1’ seamlessly transitioned into ‘Original Prankster’- another crowd favourite. Accompanied by pyrotechnics, inflatable skeletons, and dancing lights that bathed the stadium in vibrant blue tones we were barely at the halfway point! The Offspring jumped into a deliciously fun medley of Deep Purple’s ‘Smoke On The Water, Black Sabbath’s ‘Iron Man’ and KISS’ ‘Detroit Rock City’ before their iconic high-octane punk rock infused cover of Edvard Grieg’s ‘In The Hall of the Mountain King’. Did you think the covers were over? Absolutely not! The Offspring further treated us to their lively and fresh take on The Ramone’s ‘Blitzkrieg Bop’- one of my all time favourite classic punk rock tracks. ‘HEY HO LET’S GO’ rang out, reverberating through our bones as the crowd exploded into a frenzy of dancing, raised fists, and wild limbs flying from the circle pit- I was absolutely itching to partake but knowing my luck, I would have ended up with several broken limbs or worse, a sore back and neck. As the raucous crowd began to tone down, the house lights dimmed and the stage was filled with smoke as a stunning white piano was wheeled onto the stage. Oh, no I think I know what is about to unfold. Dexter, on his lonesome, approached the piano with a gloomy disposition as he slowly muses us with the 2021 stripped back version of ‘Gone Away’. The emotions were heightened with its stripped back and simple nature which almost pushed us over the edge until the rest of the band resumed their positions and finished up ‘Gone Away’ in its original 1997 rock version. Do not emotionally tease me like that again!
A quick shift in genre dynamic, ‘Why Don’t You Get a Job’, ‘Spare Me The Details’ and ‘Pretty Fly (For a White Guy) ‘ brought us out of our sombre state and we were invigorated once again. On a high note, The Offspring said farewell to us with ‘The Kids Aren’t Alright’. The lyrics remain painfully relevant in 2025, reflecting a collective sense of hopelessness amid ongoing war, civil unrest, economic struggles, and the growing rise of fascism. For those of us who often feel overlooked, there’s comfort in knowing we’re not alone. Bands like The Offspring have a rare gift for making people feel genuinely seen and heard, without any pretension or showy theatrics. It’s as if the weight of societal pressures lifts, and in those moments, we no longer feel so isolated in the world. This is why live music is so important, it is a bonding experience not just between your fellow punters but with the band that’s performing. No matter the scale of the concert, it remains intimate and sacred whether you’re on the barrier with your ribs being crushed or, squinting from the nosebleeds.
Just when you thought the fun was over and it was time to head home (boo). They energetically came back on stage to further treat us to the encore of our dreams. Belting out ‘You’re Gonna Go Far Kid’ and ‘Self Esteem’ was the goodbye kiss we all desperately needed. A roaring yet exhausted crowd blissfully bid them farewell and a humbled ‘Thank you’ was given. What a great way to spend Wednesday evening!
Even better that I had dumplings at almost midnight with my mind buzzing and whirring with excitement. Sleep? Don’t know her.
I was to express my gratitude and humble thanks to Simple Plan, The Offspring, Rod Laver Arena and Dallas Does PR. Thank you for having me! It’s has been a great hoour and joy
EVERYDAY METAL – SUPPORT LOCAL HEAVY METAL
Cover shot – GHOST / Mikael Eriksson
Transcending genre and defying trends, GHOST’s SKELETÁ has debuted at #1 on the Billboard 200. The #1 album in the country, SKELETÁ accrued sales of 86,000 in the week since its April 25 release via Loma Vista Recordings.
Currently the world’s biggest-selling album and the week’s lone Top 10 debut, SKELETÁ’s first week haul bests the nearly 70,000 moved by its predecessor IMPERA in its first week of release. SKELETÁ also landed at #1 on the U.S. Album, Vinyl Album, Indie Store Album, Independent Album, Rock Album, Rock and Alternative Album, and Hard Rock Album charts. Internationally, the album bowed at #1 in the GRAMMY-winning theatrical rock outfit’s native Sweden as well as Germany, Australia, Austria, Belgium, Switzerland and Finland, #2 in the UK, Netherlands and Norway, #4 in France and #6 in Ireland, among others.
In addition to being the first time a hard rock album has topped the Billboard 200 since 2020, SKELETÁ has racked up the biggest sales week for a rock, hard rock or alternative album in 2025—as well as the biggest vinyl sales week for any hard rock LP since the dawn of the Luminate era in 1991 and the most for any rock album since 2023.
The coming of SKELETÁ was heralded by three singles/videos that trended Top 10 on YouTube, as GHOST garnered #1 spots on Tik Tok’s #NewMusic, iTunes and Amazon’s Best Sellers. First up was Satanized—dubbed a “catchy goth-rock epic” by VICE, followed by the Lachryma—a fixture on Spotify’s Viral Charts, both globally and in key territories like the US, UK, Germany, and more deemed “economical, vicious, and contemporary, but tinged by ‘80s rhapsody” by PASTE and “phantasmagoric” by REVOLVER, and Peacefield, the monolithic anthem opening both the new record and GHOST’s massive live rituals on its current SKELETOUR WORLD TOUR 2025.
Featuring the flesh and bone debut of frontman Papa V Perpetua and having sold half a million tickets and counting, the SKELETOUR WORLD TOUR 2025 kicks off a North American swing that will begin July 9 in Baltimore and include GHOST‘s historic first-ever headlining show at New York’s Madison Square Garden on July 22. With more shows to be announced soon, the SKELETOUR WORLD TOUR 2025 ritual experience promises to expand the GHOST community to attract its largest and most diverse audiences to date. From lifelong disciples to the curious uninitiated first-timers to the outcasts and others who find solace in the ritual, all are welcome to escape the travails of daily life and to become one with the enthralling GHOST ritual. Tune into the band’s own GTV for exclusive coverage of all things GHOST and SKELETOUR, as host Vanessa Warwick welcomes any and all to join the Ghoulbangers’ Ball for in-depth and behind the scenes coverage available only HERE.
SKELETÁ – OUT NOW
VIA LOMA VISTA RECORDINGS
Cover shot – NAUGRIM
Emerging Australian melodic death metal force Naugrim unleashes their crushing new single, Desolation, a raw exploration of loss and the hollow aftermath of grief. Combining the razor-edged riffs of At the Gates, the emotional intensity of In Flames and the punch of early As I Lay Dying and Parkway Drive, the track is a relentless yet melodic storm out now with a haunting, light-in-the-darkness music video.
Hailing from the mist-shrouded peaks of the Blue Mountains, Naugrim carves their sound with equal parts melancholy and fury Desolation dives into the disorienting first days after losing someone close, balancing despair with fleeting moments of clarity. The accompanying video mirrors this struggle, contrasting shadows and stark light to reflect the song’s emotional weight.
“‘Desolation’ isn’t just about pain—it’s about that surreal, numbing oblivion where the world changed and moved on, and you’re left behind. We wanted to capture how grief isn’t linear; it’s complicated, angry, and sometimes strangely beautiful. This song is for anyone who’s stared at the ceiling at 3 AM, wondering how to keep breathing.”–Greg McManus Vocals.
Dont forget to check out more from NAUGRIM on social media – @naugrimau
EVERYDAY METAL – SUPPORT LOCAL HEAVY METAL
