Employed to Serve seem to reappear just when we need them most. Releasing 'The Warmth of a Dying Sun' in post-Brexit 2017, 'Eternal Forward Motion' in Trumpian 2019, and 'Conquering' in Covid-ridden 2021, they act as a barometer for the state of the planet, seeming always to know when we need a death metal rallying cry to get us through all gestures wildly this.

Now, here we are in 2025, with all the scars of the past ten years being reopened and replaced by global fascism, climate disasters, and a Warped Tour lineup that… well, let's just say it leaves a lot to be desired. Thankfully, Employed to Serve have taken the pulse of the world around them and returned with their searing call to arms, 'Fallen Star'.

An amalgamation of hardcore breakdowns, ferocious death metal guitar lines, and relentlessly pulsating nu-metal drumming, it is an album that represents a band at full-throttle. Whether it's in the almost glam metal feel of the licks and riffs in opener 'Treachery', the soaring chorus of title track 'Fallen Star', or the swirling cult-like aura of 'Breaks Me Down', Employed to Serve have set fire to the rulebook and started the revolution – and you're all coming along for the ride.

'Fallen Star' is the latest in a catalogue that never stays in one place too long, one that refuses to give in to hackneyed clichés and tired assumptions that all metal musicians are full of hate. If anything, lead vocalist Justine Jones is the opposite, instead taking her cues from the bands that determined to create music that felt progressive rather than oppressive.

In many ways, this is where the album title came from. Partly drawing from the artwork of 'The Warmth of a Dying Sun', the ever-evolving nature of celestial bodies felt like a good place to start when thinking about the resilient, powerful message that lies at the heart of 'Fallen Star'.

Employed to Serve are themselves a band who have had to embody this act of evolution several times over the course of their ten-year career, changing musicians pretty much every album cycle before this one, with the only constant being Justine and her husband-slash-vocalist-slash-guitarist Sammy Urwin. Now, they've found a formula that works, keeping the same lineup that created their critically acclaimed knockout 'Conquering'.

Employed to Serve aren't a band to play it safe, splicing together myriad metal sub-genres to create the melodic yet murderous sound that has made them heavyweights of the British metal scene. Trying to combine sounds from thrash metal, death metal, hardcore, mathcore, and about fifteen other identifiable sub-genres could easily result in a sound too massive to tame. Instead, 'Fallen Star' is a considered, hand-picked selection of tracks and concepts that creates nuance in amongst the addictively gnarly soundscape.

Employed to Serve's reputation precedes them, allowing them to call on the help of some of the biggest names in metal to add that final sprinkling of magic that lets 'Fallen Star' shine so brightly. From Lorna Shore's Will Ramos to Killswitch Engage's Jesse Leach and Svalbard's Serena Cherry, they were the final piece of the puzzle.

Just in case you'd got this far and thought, blimey, this metal band lark sounds a doddle, it does come with its pitfalls:

That the quintet managed to channel so much time and work into 'Fallen Star' – including bathroom studio time – is made even more admirable by the fact that they all work full-time alongside the band, with Justine heading up both Church Road Records and Since Always Press alongside husband Sammy, managing to immerse themselves totally in the music scene that has given them both a home since they were fourteen-year-olds. More importantly, though, they've found a way to balance it so that they get the most from every facet of their impressive portfolio.

This sense of community has always been at the very centre of Employed to Serve, always standing tall as a band for anyone and everyone, summed up nicely in the phrase 'Heavy Metal Unity', something that Justine is understandably proud to promote at every turn.

Justine feels this particularly strongly as, still, metal tries to find a way to battle against the male bias that has long been a criticism of the genre. It's telling that this album cycle has seen an aesthetic change, with Justine ditching the oversized graphic tees in favour of flowing dresses and a red lip, a celebration of femininity that would have been frowned upon in the scene until relatively recently.

As bands and artists such as Spiritbox, Poppy, and Pupil Slicer fight their way to the top, maybe metal is finally addressing the blatant sexism and misogyny that made it such an unwelcoming place for young female performers.

While there's still a way to go, there are plenty of metalheads actively encouraging the inclusion of people who have traditionally felt exiled from the scene, an act that Justine feels is managing to promote instead of patronise bands who are – let's be honest - non-male and non-white.

Justine's focus on metal for the masses aligns with a renaissance in the scene, one that's seen Sleep Token and Spiritbox sell out arenas, Gojira smash up the Paris Olympics opening ceremony, and Knocked Loose and Poppy bring banshee screams and pig squeals to Jimmy Kimmel's late-night show in the US.

As much as metal is back in fashion, the scene is facing the same financial problems as bands and artists in all other parts of the industry. As a band member, record label and PR firm owner, Justine feels this particularly acutely.

Even in this world, where profit continues to overpower public morale, Employed to Serve are determined to bring an undimmable sense of empowerment to their music. There's arguably never been a more important time for bands to take up the mantle of morale boosting, fan healing therapists. It's a role that Justine cherishes, one that explains Employed to Serve's enduring appeal and status as one of the most exciting metal bands around.