In Conversation with Royal Sorrow
IN CONVERSATION WITH ROYAL SORROW INTERVIEW Interview by George Bicknell Intro by Caitlin Taylor 14 August 2026 Before he headed to RADAR festival, writer George Bicknell shot over some questions to the Finnish Prog Metal group Royal Sorrow, covering their own music, their connection to the UK and which artists they had been enjoying. You can read about George’s time at the festival here, including his thought’s on the bands set. What is it that you guys enjoy about coming to perform in the UK? UK is one of our favourite countries to play in! People really know how to be loud and have a good time. The gig we played in Radar was one of our favourite ones all time! Such a lovely crowd & fun festival! Are there any bands in particular you are looking forward to seeing at RADAR festival? We saw so many good bands there… unpeople, Voyager and Skindred were awesome. Our buddies in Ihlo, ten56. and our fellow Finns LUNA KILLS played banger shows. Animals As Leaders – that’s always in the holy shit -tier (+ the light show was crazy!). There was also a familiar face in Einar Solberg‘s band as Eero plays bass for Einar too. Such a great line up! Photo by @claire.alaxandra How would you describe your sound to anyone who hasn’t heard any music from Royal Sorrow? Anthemic prog metal. Dark, introspective journeys turned into soaring melodies and crushing riffs, fused with a touch of Nordic melancholy You released your debut album last year. If you could recommend one song from that album to a new listener, which would it be and why? Uff, it’s like choosing your favourite kid. If we have to do it: our first single Metrograve. We think it sets the tone very well and shows what our band is about. You bring a lot of different styles of music together to create your distinct sound. Are there any artists or specific styles of music that inspire you most? We have a background in a lot of different genres and love to fuse all kinds of various elements together. Our biggest influences overall are bands like TesseracT, Katatonia and Leprous (to name a few), but nowadays the spark of inspiration usually arrives from something completely out there that’s not metal. It’s usually very inspiring to go to say an A Cappella -concert or a rap gig and figure out ways to bring the unique flavours from there to the Royal Sorrow context. Are there any artists from Finland that you would recommend to us? Yes definitely! The previously mentioned Luna Kills are so good. Have to give a shoutout to Wolfram – awesome melodic rock/metal with very memorable melodies. Rioghan has a really interesting sound too, they have this unique hypnotic feel to their progressive metal. And one more: snapir – super nice experimental electronic music. Haven’t heard sounds like these anywhere else. We are all about highlighting underrated artists here at TNAM. Are there any artists that you think deserve more appreciation? Oh yeah! There would be so many but let’s go with: – unpeople – such a great genre-bending band. – Atoma – atmospheric post-rock/metal. The album “Skylight” is so good, so excited that they are releasing music again. – Moses Yoofee Trio – a crazy talented fusion jazz trio. Check them out! You Might Also Like Recent Posts
Review: RADAR Festival 2026
Photo by @oli.duncanson REVIEW – RADAR FESTIVAL 2026 Everything the world of progressive music has to offer under one roof [2027 Ticket Link] By George Bicknell Header Image by Oli Duncanson 9 August 2026 The thing I was immediately struck by upon arriving at the O2 Victoria Warehouse in Manchester was how much everyone attending absolutely loves RADAR Festival. Whether it was in the crowds of either stage, sat amongst everyone in the outside courtyard, or browsing the stalls at the extensive music and gaming market upstairs, everywhere I looked I could tell that the care put into tailoring every aspect of this event has successfully built such a strong sense of community. It’s easy to see one of the reasons why everyone who comes to RADAR has such an affinity for the festival, and that is the incredibly interesting lineups that the organisers curate from the worlds of progressive metal and modern heavy rock. I was only able to attend the Saturday of this year’s festival, but even then, partly thanks to the festival’s no-clash set-up, I was still able to catch such a variety of different bands. Amongst the likes of Welsh nu-metal legends Skindred, current rock radio darlings unpeople, and Australian metalcore trailblazers Northlane, there was an incredible collection of exciting smaller bands ready to explode onto much bigger stages. Photo by @likeanao “I think we might have some weebs in this crowd,” suggests frontwoman Emma Shippen before launching into a rapturously received cover of the Attack on Titan theme. If there was ever a band that’s going to feel at one with the delightfully nerdy RADAR community, it would be Dacara, who expertly weave the aesthetics and sounds of video games and anime into their energetic brand of electronic-infused metal. Dacara harnesses a level of controlled chaos for their live performances that amplifies their already lively songs to sound absolutely huge. Shippen shows off some dynamic, soaring vocals, and all of the band have great chemistry with each other onstage. For the first set of a long day of music, it was thoroughly impressive to see Dacara command such a high level of energy from the crowd, and you can only get that kind of reaction with an absolutely killer set of tunes. Photo by @oli.duncanson Someone may have visited the stage while EVILLE were powering through their set and not gotten their head around the sight of frontwoman Eva Sheldrake rapping about how good she looks in her new bikini top and dancing in said bikini top to the tune of chugging modern metal instrumentation. I can only imagine how boring life would be as that person. Luckily, RADAR is a festival that embraces individuality and uniqueness, so a band like EVILLE, who are willing to embrace fun and femininity in a genre that can be overcrowded by a lot of self-serious men, are a more than welcome presence on this stage. It helps that EVILLE’s tunes have the perfect balance of catchiness and genuine power. One minute you’re shuffling your feet to some incredibly groovy riffs and glitchy production, and then you’re being blown away by the combined harsh vocals of Sheldrake and bassist Jude Richards. EVILLE refer to their sound as ‘brat metal’ and, based on the fact that a room full of bearded metalheads were screaming along to a song called ‘BR4T MBL’, I think many people would happily hear more of something like this. Photo by @charliebluck I have been listening to Glass Bridges for a couple of years now, and one of the things I was most looking forward to was hearing Simona Cutifani’s gorgeous vocals live, and I certainly wasn’t disappointed. Indeed, atmospheric and propulsive alternative rock anthems like ‘Breathe’ and ‘Pray’ reach new heights live thanks to Cutifani’s emotional performance. For such a short set by a band that has only been active for a few years, you feel like you are seeing a well-seasoned live act power confidently through a string of certified classics, with guitarist Sam Canfield a particularly commanding presence onstage. With songs and performances like these, Glass Bridges are only going to continue their rapid rise, and by how busy the crowd got as the set progressed, RADAR definitely proved fruitful in getting even more fans on board. Photo by @claire.alaxandra I got right to the front for this set, which I feel like was the best possible place to take in the full majesty of Royal Sorrow’s theatrical brand of progressive metal. Getting to be up close and watch each member of the band expertly perform some of the most technically impressive instrumentation was a truly exciting honour. The band’s command of crafting addictive metal melodies was on full display; songs like ‘Samsara’ and ‘Release Your Shadow’ sounded like they could blow the roof off arenas thanks to the imposing, professional performances, particularly from the frontman and guitarist Markus Hentunen, whose vocals effortlessly slid between smooth and soaring. I know there will be many curious attendees in that crowd who won’t be able to get those choruses out of their heads after that set, and the sight of the band triumphantly headbanging over their guitars in perfect synchronicity is an image I won’t be able to get out of mine. Photo by @charliebluck If you came to the festival looking for a party, London nu-metal sextet BLACKGOLD were the band to provide you with everything you could’ve hoped for. A fair few ‘masked’ bands tend to shrink behind the costumes that hide their identity, but that is certainly not the case with BLACKGOLD. All the band members were bursting with so much charisma and energy that the small stage could barely contain them, which, between that and the several enthusiastic crowd-surfers they inspired into action, surely gave the brilliant security team quite the headache. The hard-hitting guitar riffs combined with frontman Spookz’s old-school hip-hop flow to create a delightfully nostalgic yet irreverent sound that would get even the most cynical listener bouncing
Ones to Watch: RADAR 2026
Ones to Watch: RADAR 2026 It’s that time of year when mind-bending riffs and sweaty circle pits fill the O2 Victoria Warehouse as part of RADAR Festival. 2026 promises to be another celebration of everything metal and progressive, but here are TNAM’s picks for who you should definitely keep your eye on. By George Bicknell 29 July 2026 Graphic Nature This London quartet has spent the entire 2020s dropping banger after banger, taking the sounds of nu-metal and giving it a distinctly modern, British edge. Having experienced their sets first-hand a few times now, I can’t wait to hear that crushing guitar sound signal the opening of a truly terrifying mosh-pit again. Eville Describing their trademark sound as ‘brat metal’, EVILLE has combined hyperpop and metalcore to create an incredibly addictive sound, and the commanding, attitude-filled presence of frontwoman Eva Sheldrake makes them a true must-watch. Maebe Hearing the work of instrumental progressive metal and math-rock band Maebe is an utterly transportive experience that mostly reminds you of the joy you get from witnessing musicians who have truly mastered their craft get the chance to show off their skills. Royal Sorrow Blending elements of theatrical, symphonic pop with intricate, progressive metal instrumentation, Helsinki’s Royal Sorrow sound absolutely huge, but the scope of their sound never stops their songs from being emotionally and sonically hard-hitting. rozemary Coming hot off the release of their scintillating second EP, ‘it’s harder now to breathe’, Merseyside’s rozemary are bringing metalcore back to its hardcore roots in excitingly manic fashion. Glass Bridges An alternative rock band firmly on the rise, Glass Bridges seem destined to conquer much bigger stages very soon with their atmospheric instrumentals, gorgeous vocals and choruses that sound like they should be raising the roof off arenas. – Buy tickets here – You Might Also Like Recent Posts
IN CONVERSATION WITH WOUNDER
IN CONVERSATION WITH WOUNDER ARTIST PLAYLIST By Eli Callingham 21 February 2026 Introduce yourself. I’m Sonny, I write and record under the name ‘Wounder’. I’ve been making music a very long time – 10 years. Been using this name the last two years for more metal-adjacent stuff. How was the show tonight? The show was cathartic as fuck I cant lie. Life’s been annoying recently and this was a really good outlet. It was one of them ones where you kinda go into it and you’re just like expecting it to be fucking hell to be that vulnerable but no, I got a lot out of it. It was nourishing for sure. How would you describe your music to someone who hasn’t heard it before? I kinda grew up on UK Bass music my whole life. Both my parents were into Drum & Bass in the 90s, I was raised on that from a very young age and I think for me the main point in my music at the moment is combining that – growing up on metal music and bass music. It’s kind of finding that – this sounds really wanky – but just finding a bit of catharsis in obnoxiously loud bass lines and combining that with the scream. For me that’s a way I can kind of get shit off my chest. Big bass, fucking screaming, guitars and shit. It’s a weird mix of genres and it’s cathartic to me, and hopefully it will be to whoever listens to it. [Later over voice note he clarified this idea more] “The main crux of it was sort of like, we use it [bass] in a very functional way. It’s supposed to get people moving, which I love, but there’s often nothing emotional about its use. It can be very clinical, and just serves this one purpose. From a young age, in the same way that I’d find listening to metal music cathartic, I found a fat banger will achieve a similar form of catharsis. You know if you’re having a bad day and you need to fucking shed something, I always found that music was quite good for it. You know the whole sound spectrum, it’s the range that drives the most force, and that can be harnessed emotionally. I think sometimes the violence of hard bass can actually do a lot for the soul and for release.” What inspires you? Some days it will just be like “I gotta get something off my chest” and there’s no sonic reference, it’s purely instinctual. But at the same time, sometimes it will just be that I hear a piece of music and I’m like “I gotta offer something to the world that’s similar to this”. It’s a really big mix but I’d just say like living in general, just consuming music, experiencing things. Music to me is just an outlet, a way to get things out.something, I always found that music was quite good for it. You know the whole sound spectrum, it’s the range that drives the most force, and that can be harnessed emotionally. I think sometimes the violence of hard bass can actually do a lot for the soul and for release.” Are there any underground artists you’ve been listening to? I got three actually. The first one is a more local person, 300SkullsAndCounting. He’s in this band Mitsubishi Suicide as well, he’s fucking amazing. I love his shit. He’s got his own lane, he’s doing something incredibly unique and it’s worth checking out. There’s a black metal artist I’ve been really enjoying called Volahn. He released an album called Popol Vuh last year and to me that’s like the most horrifying metal music I’ve ever heard. It’s like if you put a cosmic horror story into sound, it’s just terrifying. I want to shout out this album called Handwriting by Khonnor. It’s from like 2004, you might need to fact check that [FACT CHECK: it is]. I think if you look at a lot of the twee, indie electronica that’s really picking up motion now, you can really find a starting point in this guy’s music. Are there any gig venues, spaces or event series you’re excited about at the moment? I’m very excited about this one gallery in Haggerston called Final Hot Desert. In 2023 we did a show together. It was for a really good artist called John Knight. It was a homage to how he grew up in the Cincinnati hardcore scene and he was bringing different materials he would see in those venues. I played there at the private view and that was still my favourite gig I’ve ever done. I’m not even an art guy, I like music above all art forms because of the accessibility and no matter who you are, no matter what education you’ve had, the privilege of, if you hear something raw you’re just going to connect to it and that’s something that other art forms can’t really achieve. But I will say that at Final Hot Desert there is a baseline you can always connect with, even for someone like me who doesn’t have the context of reading a bunch of smart people books. What’s a song everyone should add to their playlist? The Myth Arc by The Body. The Body are one of my all time biggest inspos, so much of my sound I owe to listening to their shit since I was a kid. That song specifically, that’s so inspiring to me. It’s just a really good fucking juxtapositon of abrasive texture and really gut wrenching female vocals and melody – it’s just a perfect mix of the macho noisy side but it’s also got a real feminine touch to it. I’m not a big fan of overly macho metal music. Any final words of wisdom? Something that helped me was detaching my ego from what I do and not seeing good music as a way to validate yourself. I think
FRIEND CRUSH CURATED BY LAUREN AUDER // WOUNDER REVIEW
FRIEND CRUSH CURATED BY LAUREN AUDER // WOUNDER REVIEW TNAM.UK By Eli Callingham 21 February 2026 On Monday 26th January, somewhat of a dreary night, I made my way to East London’s Shacklewell Arms for a ‘Friend Crush’ event programmed by Lauren Auder. An eclectic lineup featuring performances by Wounder, Jennifer Walton and Lauren Auder herself, who played new material that was due to be released on that Friday [praxis out now]. ‘Wounder’ is the alias of Sonny Holland, London based artist and producer, and purveyor of heavy music who has cemented himself in the broad underground scene over the last few years by playing at a number of event series for those in the know (BalaX, Borough, Genesys and Trauma Unit), recording and playing his own music as well as producing for others. He has previously released music under ‘crimson//chaos’ (RIP). With Wounder, Sonny sits comfortably in both the electronic and metal worlds, fusing heavy basslines, detailed sound design and walls of distorted guitars with fry scream vocals, and choppy vocal processing. Working adjacent to ‘post-club’ while channeling a distinctly post-genre sensibility, he plays with established conventions while reshaping them into something distinctly his own. Through both our conversation and his output you can tell he has eclectic taste, something that’s also evident in his collaborations. His latest album, ‘Builder’, released through Final Hot Desert in August 2025, features notable collaborations with Australian producer Sus1er, a figure known for his work across rap and dance styles, and London based underground veteran Felix Lee, both known for their genre-bending approaches. He plays in the latter’s live band contributing live electronics. Great performance clips found [HERE]. Audio of which is found [HERE]. At Friend Crush, he performed a stripped back thirty-minute set. His equipment, an assortment of devices – a sampler, pedals, MIDI keyboard and laptop organised on a table to the left of the stage which was also used to lean against in moments of respite. He seemed as comfortable with this setup as he is with a live band. He navigated the set’s dense material with ease, the highlights being ‘I Never Said That I Didn’t Mean It’ and ‘Tell Him I Too Have Known’. Abrasive, tremolo-picked guitar tones punctuated the set, interspersed with texturally juxtaposed synths and pads that were more prominent in the live mix, than on the released material. The bass cut through and remained as a constant yet welcome onslaught – my only gripe was not experiencing it on a larger sound system. The tracklist tastefully alternated between blast beats and electronic drums. An ebb and flow from the more frantic to morose cuts. The audience’s response reflected this mix of styles: both head-banging and bobbing, moves associated with the two genres. The black metal influence and stylisation on his work is undeniable – throughout his instagram feed and previous shows he’s seen sporting corpse paint and using the titular vocal fry common to the genre, but what I found with this live show was a performance style more confrontational and synonymous with noise artists. As reference, this Prurient performance comes to mind. It was an incredibly animated performance, an embodied practice that included him collapsing on the ground, beating his chest, leaping off the stage and contorting his frame. He acted as a vessel for the music, with the same cathartic release as a noise performance but with more grace and less violent movement. It allowed the audience to feel comfortable enough to draw close and enclose him in a circle. As the show concluded parts of the mic stand lay scattered across the floor. No mic stand is safe – he corroborated that is a common occurrence at his shows. He quietly and calmly packed up his equipment, pedals, and power supply in a black duffel rucksack and adjourned for a quiet cigarette outside of the venue. After his performance he kindly gave some of his time for this interview [Click Here]. You Might Also Like Recent Posts
｡✯New Single Release✯: Jar Of Blind Flies “Not Your Baby”
｡✯New Single Release✯: Jar Of Blind Flies “Not Your Baby” Jar of Blind Flies have continued to maintain a tight grip on their local music scene, deservedly fixed in a top-podium position alongside Brighton’s growing hall of fame. 14.02.24 Words by Kristian Floate https://www.youtube.com/watch?v=bnCiaUJoEks After numerous live circuits across the UK in 2023, and consistent sell-out hometown appearances, Maddy (vocals), Jake (bass) and Marley (drums) have re-rooted back to their recorded work with a brand new anthem – ‘Not Your Baby’. As the first release from the Brighton-born trio since 2022, this is set to be an unbeatable valentines day treat! With cascading cymbal-heavy drum work intertwined with lovingly fuzz-kissed bass runs, Jar of Blind Flies have played homage to the grungier noise-laden punk fusions that have grown to define their sound. Flowing parallel to Maddy’s angelic harmonies, it’s this contrast that ties the trio together and sets them far apart from the rest, while offering a glimpse into a gritty 90’s nostalgia that underlines the trio’s influence. Each verse opens up playful call-and-response between Maddy and Marley, nodding to their earlier release ‘Crawl Back Inside’ and setting the tone for a chant-worthy live staple piece. ‘Not Your Baby’ Is a refreshing insight into a band that have honed in on their sound while simultaneously progressing to new, heavier terrain – something that these three blend seamlessly with reflective tear-jerkers such as ‘Dolly’ and mesmerising microtonal masterpieces like ‘Angels’, two tracks from 2022’s debut album ‘MÍÀ’. As early risers to the DIY revolution in Brighton, Jar of Blind Flies always had a natural flair for quality production and riveting live shows. The trio were quickly swooped up under the wing of Marshall, recording ‘Not Your Baby’ in a studio graced by the notable Kin Nun, Nova Twins and more! Bassist Jake Smith explains: ‘Recording at The Marshall studio was a whole new level for us. Going from the relatively DIY recording style of our early songs to recording in a 250-capacity amphitheatre with every bit of tech you could ever imagine was a Real culture shock. The way the recordings have come out is levels above what we could’ve hoped for’. The track is a collaborative effort, combining the forces of Tidalwave’s Alessandro Cogolo and Sam Allen in the production process. The unstoppable duo are a vital puzzle-piece to Brighton’s ever-diversifying music scene, and responsible for tracking, mixing and mastering tracks from emerging artists that have since propelled under the global spotlight (Lambrini Girls, Currls). Maddy, Marley and Jake have always emphasised the importance of these resources in their local music scene – especially one that has nurtured the talent of so many, and ‘Not Your Baby’ is no exception. With the trio firmly embedded in a flurry of noisy alt-rock sweetness, they’ve earnt the attention of fellow high-risers CLT DRP, supporting their hometown headline on 23rd March , and headlining Blondies showroom in London on May 2nd. ‘Not Your Baby’ will be released on February 28th, and after this exclusive first-listen – it’s set to be a soundtrack to 2024! View this post on Instagram A post shared by Jar Of Blind Flies (@jarofblindflies)
NEW SINGLE RELEASE – MANDRAGORA ‘BEDROOM’
NEW SINGLE RELEASE – MANDRAGORA ‘BEDROOM’ Blazing debut single from Bristol based 5 piece nu-metalcore band, teasing us with a hint of their upcoming EP later this year. 18.12.23 Words by Tom Heath https://www.youtube.com/watch?v=fyU5-BvMCUQ Blazing debut single from Bristol based 5 piece nu-metalcore band, teasing us with a hint of their upcoming EP later this year. Mandragora have an impressive list of sold out shows under their belt, as a band that have clearly hit the spot in their local scenes. Bands playing heavier music always face the challenge of trying to re-interpret various sub-genres in a modern format – how do you translate your influences in a way that actually represents who you are and where you’re from? Mandragora have very much found their unique interpretation of a sound that can be difficult to define, and they’re owning it. Influenced by the likes of Trivium and Rage Against The Machine, BEDROOM is a single that manages to subtly blend all the different sub-genre influences to inject much needed freshness into the formula for modern audiences. The song revolves around crunchy riffs that are simple but hit hard, repeating cycles that build you up and then smack you down again – always reminding you that they mean business. The vocals are a satisfying mix of punky, full force shouting and occasionally screams that beckon the next breakdown. Saying that, they’re by no means relying on this full force approach alone, and manage to split the song up with high end lead parts which maintain the simplicity of the style but give you a melody to hold on to – punctuating that fuzz of their overall groove. Mandragora will be taking part in the Underdog Microdog Competition this year, as well as supporting Copenhagen Hard Rock group Black Orchid Empire on the Bristol show of their headline tour. If this new single proves anything, it’s that this is without a doubt a band you want to see live. View this post on Instagram A post shared by MANDRAGORA UK (@mandragorabanduk)
NEW SINGLE RELEASE – Vaermina ‘Real Panic’
NEW SINGLE RELEASE – Vaermina ‘Real Panic’ 22.11.23 Words by Holly Eve Vaermina’s new release will leave you angsty, after unveiling their first track ‘Real Panic’ ahead of their album drop ‘Tantrum’ out on the 24th of November. https://www.youtube.com/watch?v=wrL_shq6qPg The London-based band have a lot to shout about in their new single that is defining a genre for alternative listeners, Holly Frape finds out. Experimental doom punk ‘outfit’ Vaermina have released their new single ‘Real Panic’. It comes as a pre-release to their sophomore album ‘Tantrum’. Contrast to their debut ‘Lovebots’, a recollection of glitchcore laced with hardcore percussion and esoteric structure. The band has since departed from this in ‘Real Pain’ honing the sound into the realms of punk. Artfully pushing the boundaries of the genre, through tight performances punchy production and catchy melodies, Vaermina has begun to carve themselves into the experimental escapism of the ‘Doom – punk ‘genre. Immediately, as the track begins, the listener is met with heavy, gritty guitar riffs and drums that accompany it parallel. Having absorbed the opening passage to the composition, you would be forgiven for thinking this may be a run-of-the-mill hardcore punk song. However, having spent any amount of time listening to Vaermina, you know this is not the direction that this is headed. As soon as the jarring vocal enters, the sentiment that this is any constrictive song writing will be dissolved in the vocal concoction of Caitlin Power’s unique talent. The melody which runs contrapuntal to the music, drives the rhythm. The childlike sarcasm in the phrasing imminently marries the destruction of the vocal and rhythm section in sacred unity. Despite this notion, the song already has defined its catchy hook, which will linger in your ears for days to come. Following this, an Avant-garde synth enters, leading us through a short and chaotic instrumental passage of brash and atonal nature. This may not be entirely what is known as standard musical practice, yet nothing would serve the song in its place. The track shifts gear with the intrusion of the deeper vocal which disconcerts the listener, the warbled electronic preaching is authentic in their sound. Following the offbeat song structure, the trio have positively excelled in nailing and honing the art of sonic expression with careful and deliberate songwriting. Which culminates a sensory feast for all who listen. Vaermina is single-handedly moving the alternative scene in a new direction. Caitlin Power, Ozario Argentero, and Gabriel are constantly experimenting with what they will come up with next. If the new single is anything to go by, we will be welcomed with various influences, an ode to many artists from Punk’s past intertwined with electronic chaos. Vaermina’s next release promises to be a project that is born out of anger, descent and offbeat expression. Perhaps in a similar vein to Bikini Kill, Hole, 100 Gecs and Death Grips. Vaermina’s sophomore album ‘Tantrum’ is out on the 24th of November. Image Courtesy of @vaermina.xoxo Instagram. You Might Also Like