Norfolk duo Kulk have a great band name. Not only does it look good in a funky metal logo, it also works nicely for size on a show poster, sounds very satisfying to say, and - perhaps most importantly - is based on their mutual love of Home Alone, and the actor who plays Kevin, a certain Macauley Culkin. They are of course far more than their love of the cheeky Christmas classic, as the East Anglian pair have managed to weave the magic and mystery of their home into their music and live shows. Jade and Thom, the couple who make up Kulk, describe the band as "simultaneously an exploration of human suffering and an extension of our own relationship", and feel that their music is infected with love for people, even with its inherent heaviness and brutal power. The same goes for their last release, 2024's 'It Gets Worse' - the album is, in many varying ways, influenced by the county of Norfolk and the people within it, and the history woven into the fabric of life within it, but at its core 'It Gets Worse' is "a people record". Jade and Thom themselves are also people people, our interview with them at ArcTanGent Festival was a joy to partake in and we saw them a number of times across the weekend after the fact, and they always had a smile on their faces. Speaking of 'It Gets Worse', the duo's third album, it had been two and a half years between records, but more than half of that time was spent writing, rewriting, recording, and rerecording, until they were both happy with it, even if it meant "sacrificing some of the accessibility for a better record." However, one notable part not written by either is a guitar solo featuring Adam from the band Pigs Pigs Pigs Pigs Pigs Pigs Pigs. Adam asked them if they'd have him on the album, and the two jumped at the chance - but couldn't manage to make studio time stick! Eventually, whilst out on the road together, he sat down in a green room backstage at a show in Ipswich and did ten takes of the solo straight into a PC. Thom took the recordings home, grabbed his two faves, panned them hard left and right and put them through some amps and plug ins and then the solo was done! The live response has also been excellent for the record, with fans singing the lyrics back to the band and showing proper recognition at different songs, which was a real first for the band - which leads wonderfully onto Kulk's next big adventure, recording a live set inside a recreation of an Iron Age house in Dorset, the Earth House. The pair already had a more primal and mystical feel than most bands, so to put them into a faithful recreation of a Saxon house provides a whole new level of mystical power to their live show. Featuring five previously released songs and one unreleased track, it's a hypnotic watch that will draw you in and leave you in a trance for the entire duration of the alluring, crushing performance. The connection between the two is clear to see, as is their connection to the house and the atmosphere within it. After the fact, they were predictably unable to say anything but positives about the entire experience - “Performing in a space like this was surreal, even with mics, cameras, drums and amps it still felt like we had traveled back in time. Every note and every snare was sublime, each minute we were there you considered the thousands of years that led to this point, insignificant and powerful simultaneously." The director, Ali White, also had plenty to say about the wonderful time spent there - “I knew we needed a band whose sound personified the Neolithic magic of the Earth House space - and Kulk were an obvious choice. Their hypnotic and brooding grooves are harnessed from elsewhere and we saw it unleashed in real time. Filming live sessions can be awkward in their intimacy but we were all united and acted as conduits for something powerful that day. What we witnessed happen in the space was a transcendent experience. It came together very easily, all we had to do was make sure we could capture it and I hope the video goes to show some of the energy that flows between these two unique artists, as individuals and as a unit. What you see is exactly as it happened, no overdubs, edits or camera tricks. It was a pleasure to collaborate with such a creative force and I won’t forget the mud walls vibrating any time soon.” With such a force of nature, it's never truly possible to predict what will happen next - but even though they are so primal and powerful, Kulk have managed to deftly and delicately work their way up the pile and will soon be right at the top. Kulk's Earth House Session will be released on YouTube on January 31st, via Earth House Sessions. Words: Jake Longhurst Photos: Kulk

What better way to kick off the new year than with a ferocious hardcore lineup at Manchester’s Gulliver’s? Nestled in the heart of the Northern Quarter, this quaint venue was the perfect setting for an adrenaline-fueled evening on a chilly January night. Opening the show were local supports WitchEater and Torn Between, both a welcome surprise given that neither band had been advertised as part of the lineup. First to take the stage were Liverpool’s WitchEater, whose intense blend of deathcore and hardcore immediately captivated the crowd. Their set was a spine-crushing assault from start to finish, effortlessly setting the stage for Torn Between’s equally thrilling performance. Their faster, thrashier take on hardcore got more two-steppers into the pit, while their skill as songwriters was evident in how their music played with space. Despite their intensity, they knew exactly when and how to tease a crushing breakdown with a brief moment of silence. Together, both acts did a phenomenal job of warming up the crowd, leaving them fired and ready for the main support, Divine Hatred. Following a brief changeover, Divine Hatred took to the stage, wasting no time pummelling the crowd with slamming riffs and pulverizing breakdowns that made the floor creak under the weight of their movement. The Sheffield-based five-piece immediately commanded the room, their ferocious opening sparking a wave of hardcore dancing and windmilling that didn’t let up for the duration of their set. As the pit continued to surge, one particularly energetic crowd killer marched around its edges. This added some extra intensity into the fray, with this energy peaking around the midpoint of their set. Divine Hatred stood out most for their thick, quaking guitar tone and their drummer’s blistering speed, creating a wall of sound that ricocheted throughout this intimate attic-style venue. Breakdowns came and went, each one hitting harder than the last, keeping the crowd fully engaged until the final moments of their set. After their exit, everyone eagerly waited to see how Wristmeetrazor would harness this newly established energy. When Wristmeetrazor finally took to the stage, their striking all black attire paired with touches of white makeup was immediately eye-catching. Their gothic aesthetic was perfectly suited to Gulliver's old-world charm, setting the tone for the dark performance that was yet to come. The crowd moved closer to the stage, and the pit was transformed into a slightly less hazardous space. This was to be expected with their sound leaning more towards screamo-infused metalcore opposed to Divine Hatred's spin-kicking hardcore. That being said, Wristmeetrazor's music was no less emotive, as was quickly demonstrated after they launched into their opening track, 'Turn On, Tune In, Drop Dead.' What stood out most was the sheer energy and commanding stage presence Wristmeetrazor brought to their performance, with each member of the band giving it their all, owning every inch of the stage. Before long the American five piece had ripped through four tracks all pulled from their latest record, Degeneration, retaining the energy that divine hatred had worked so hard to establish. The second half of their set featured a few deeper cuts from some of their previous albums, most notably the song ‘Last Tango in Paris’ that they created in collaboration with ‘Knocked Loose.’ Before leaving the stage, vocalist Justin Fornof took a moment to praise the UK’s Northern hardcore scene, expressing his admiration for the standout performances by WitchEater and Torn Between. With that, another night of explosive moshing was concluded, as the crowd spilled out into the chilly January night. Words: Josh Bicknell Photos: Kieran Atkinson

It’s Friday night at Birmingham’s O2 academy and we are witnessing Welsh pop-punk rockers - Neck Deep, et al., perform on the first night of their sold out Dumbstruck Dumbfuck 2025 UK tour with supports The Wonder Years and One Step Closer. Charged with the all-important duty of kicking off the proceedings and setting the pace on this opening night of a much-anticipated tour, are Pennsylvania’s - One Step Closer, a band who have been making waves since their inception in 2016 and are tonight delivering their brand of melodic hardcore punk. Their presence is masterful; commanding the crowds attention from the moment they took the stage. The band’s aggressive style and raw energy quickly got the crowd moving. Vocalist ​​Ryan Savitski tantalizingly barked, “Don’t be a fucking pussy!” before they tear into “Blur My Memory”, with some of the crowd feeling hedonistically compelled to dive into the pit. One Step Closer's distinct sound blends traditional hardcore elements with a more modern edge that gives their music an emotional punch while still maintaining that intense, all-important energy. Their set comprised songs relating to emotional themes of alienation, self-doubt, and personal growth; all delivered in a fast, heavy, and aggressive musical style. It was clear that these sensual elements resonated deeply with the crowd whilst monitoring their animated facial contortions as they vehemently sang along. Tracks like "Leap Years" and "Dark Blue" showcased the band’s ability to build anthemic choruses during the breakdowns, and it didn’t take long for the crowd to get behind them, moshing and shouting along to every word. One Step Closer showed their natural prowess in owning the stage, rousing the crowd, and suitably creating the buzz that remained throughout the show. Next up, another Pennsylvanian band, active since 2005. The Wonder Years, a band known for their emotive, storytelling lyrics and their ability to balance personal introspection with a roisterous, punk-rock sound. The boys took Neck Deep on their first ever pop-punk tour back in 2013, Lead singer Dan Campbell beamed throughout with a massive grin calling on Birmingham to sing with him. Talking between songs about the inspiration behind some of the band’s lyrics, making the performance feel like a shared experience rather than just a concert. One of the standout moments was the band’s performance of "I Just Want to Sell Out My Funeral", which felt almost anthemic, with everyone in the venue shouting the chorus in unison. The crowd’s reaction was a testament to how well The Wonder Years connects with their fans. The band’s set was a masterclass in pacing and emotional range, shifting from moments of raw intensity to quieter, more reflective songs that allowed the crowd to catch their breath before diving back into the chaos. The joy in the room spikes with eager anticipation as multi-award winners Neck Deep finally take to the stage, bouncing out to the tour's nominal track “Dumbstruck Dumbfuck” as they work the stage, confetti cannons mark the start of a night of celebration. Since their self-titled album dropped last year, Neck Deep have kept themselves very busy, not least trekking across Europe on Sum 41's final stint. From the moment the lights went down the venue was filled with the sound of thousands of voices singing along to every word, and the connection between the band and the crowd was electric. Frontman Ben Barlow made sure to engage with the audience, constantly thanking them for their support and interacting with fans throughout the set. After their classic, balladic but heavy “December”, they come back with a mighty encore, spanning three belters, finishing off with fan favourite “In Bloom”. With all the energy and enthusiasm you’d expect from one of pop-punk’s biggest acts, the band’s mix of catchy hooks, heartfelt lyrics, and high-energy punk-rock sound made for a perfect headliner, and they delivered one of the most exciting and electric performances of the night. Fans left knowing they had witnessed something special, a night that perfectly captured the spirit of punk rock. Each band brought their own unique flavour to the table; creating a diverse yet cohesive show that kept the crowd engaged from start to finish. Whether it was One Step Closer’s hardcore aggression, The Wonder Years’ emotional storytelling, or Neck Deep’s anthemic punk-rock, the show delivered in every way. Words and Photos: Kieran Atkinson

Making animals of their crowds, the supergroup ‘Better Lovers’ have stormed through Manchester on their UK tour with unrelenting force. Endless amounts of crowd surfers even when the band wasn’t playing is a testament to the energy of the band that they bring to each sweat-soaked show they play. Exploding onto the stage with ‘Lie Between The Lines’ the boys immediately made sure they got up close and personal despite the barricade with plenty of visits to the barricade and of course on top of the crowd. Greg Puciato turned said crowd into a choir for the chorus of ‘Sacrificial Participant’ Each member of ‘Better Lovers’ demonstrated incredible crowd work with everyone attending hanging onto to every word, note and command of the stage, as demonstrated by guitarist 'Jordan “Goose” Buckley’ standing on a monitor turned upwards screaming, “CIRCLE PIT, CIRCLE PIT!” into Puciato’s microphone. For a band that began playing with only one original song written and now touring their first album, ‘Highly Irresponsible’, the hype is very real with this collection of veterans in the rock and metal circuits. Adding to the marketing of the new albums vinyl and merch variants, the band had also teamed up with ‘spookyvibesfx’ to release a ‘Better Lovers’ themed Night Terror Overdrive guitar pedal that was used on the recordings of the album. A chance for guitarists to have the beautiful and vibrant artwork of ‘Highly Irresponsible’ on their boards, at least for those who got their hands on the limited run of them before they all very quickly sold out. The experience under the belts of all members of this outfit is apparent through the pin point accuracy of every note and tempo change, demonstrated incredibly through song eight of the set, ‘The Flowering’. Every song in the set felt like a test of the crowds endurance, with the only respite being fifteen seconds of the intro to ‘God Made Me an Animal’ an it’s calmer forty second bridge section. ‘Better Lovers’ are an all or nothing band that will try their very best to annihilate everyone in their vicinity. Following ‘Love as an Act of Rebellion’ all bets were off and it was time to rip into their debut single ’30 Under 13’, clearly a measure to finish off survivors of the set, and that they did. Crowd surfing was the only escape from the never-ending chaos of which there was an endless supply of from the first to last note Electrifying-chaos is an under statement to describe the nature of a ‘Better Lovers’ show. They definitely are a must-see band who are most likely going to have a long and exciting life ahead of them. Words: Andrew Magennis Photos: Nik Bryant

If you’re looking for a new fix of rockin' and rollin' hardcore metal, this up-and-coming band may be just what you're looking for! This collection of talents came together in 2019 - from bands such as Outcry Collective, Polar and Hildamay - and have been infiltrating the underground scene since 2022. The band have cultivated a heavy style that's in the vein of Every Time I Die, Beartooth and Underoath, and hit similar lyrical themes too. This EP covers a wide variety of concepts, from fighting your inner demons to the pressures of modern day life in an unforgiving society. The EP is comprised of 6 songs; the previously released 'To The Core', 'Under the Wire' and 'Two Of A Kind' to be accompanied by new songs 'Cut The Rope', 'Double Barrelled' and 'Which Way The Water Flows'. The EP kicks off hard and heavy with 'Cut The Rope', one of the brand new tracks to come with this EP. It showcases the band's genre and energy with a building mesh of distorted guitars and booming drums. The lyrics, sung by Steve Sitkowski, explore the themes of living in a broken society and how common people can band together in tough times, injecting an encouraging message to fight for what you believe in. The second song “To The Core” starts much faster, jumping straight into action, whilst the subject matter flips and becomes an homage to true rockstar tropes. As the chorus kicks in, an added layer of melodic harmonised vocals accompany the main raspy aggressive vocals, bringing a distinct difference to the last track. It's also worth noting an impressive scream from the main vocalist at around the two and a half minute mark, which is one of the stand out moments on the EP. 'Under The Wire' opens with an addictive guitar riff as well as bringing back the more melodic side of the band, which is then followed by a section that's not quite rap metal, truly showcasing the band's versatility just in the opening moments. The lyrics of this song discuss the personal demons that an individual might face, and the members have stated before how they'd like to help listeners expel their personal demons as they strive to do this themselves through songs just like this one. Next on the roster is 'Double-Barrelled', which follows the themes of the last song but with a much more melodic chorus that's reminiscent of early Don Broco albeit with much more distorted instrumentals and an added layer of screaming that blend together very pleasantly. 'Two Of A Kind' opens differently to the rest of the EP, with a more melodic style of screaming in the verses rather than the chorus, like they've opted for in the other tracks. For the chorus, the song then breaks up the beat that's absolutely perfect for headbanging, and you can almost see how a live show would look going into that chorus. The EP closes on the track 'Which Way The Water Flows', which certainly feels like it'll be the one with the most sticking power right now. The song comes in fast and heavy, then gradually builds into a chorus that will be stuck like glue in your head once you've finished listening, and you may even want to put it straight back on! Going into the chorus is an impressive drum fill from drummer Nick Jones, followed by a repeating phrase of guitar riffs leaving not an ounce of stillness in the instrumental. This chaos then slows down to a much calmer, borderline lo-fi guitar solo accompanied by synths for a slow outro to the EP. State Of You are absolutely a band to keep a watchful eye on going into 2025, their rise into the scene has been anything but slow and we expect they'll continue this through the year! To accompany the release of this EP, State Of You will also be hosting a release party at The Black Heart in London on January 25th. 'On A Knife's Edge' will be released on January 24th via Silent Cult. Words: Amy Smyth Photos: State Of You

The long dry January is almost over, and with it comes a new acoustic album from Pet Needs! After a fantastic year of touring following their February release of the album “Intermittent Fast Living”, this alt/punk four piece from Colchester, Essex took themselves away to the tiny Welsh village of Borth along with Mike West to create an acoustic record of all their favourite tunes from their previous three albums. Featuring four songs from each title, this is as full of the bands personality as it gets. Starting with 'Outline' from their 2021 debut album 'Fractured Party Music', you are immediately introduced to an acoustic single that shows acoustic doesn’t have to mean slow and brooding, but can in fact take everything from a loud, punk perspective, unplug it and become a raw, vulnerable hit. The other singles from 'Fractured Party Music' are 'Scratch Card', which shows off some extraordinary guitar and banjo work, and later in the album comes a personal favourite from both that record and this album, 'Punk Isn’t Dead (It’s Just up for Sale)' which is already available to listen to on all the usual streaming platforms! This then flows seamlessly into the final song of the record, 'Overcompensating'. Before the mid-point, you’re treated to the single 'Ibiza in Winter' from their 2022 Frank Turner- produced album 'Primetime Entertainment', which slows down to give you something to sing along with at the top of your lungs. Completely changing the pace at the mid-way mark, there is 'Fear for the Whole Damn World', which may well be the most emotional song on the album. The lyrics are the stand-out throughout this song, complimented by the beautiful piano playing. This blends perfectly into 'Lost Again' where they pick back up the guitar and turn up the volume for an incredible start to the second half of the album. From their most recent record 'Intermittent Fast Living', the band chose to feature the single 'Fingernails' to really get you out your seat and up dancing. 'The Burning Building' has some guitar work which really needs to be commended alongside the passionate vocals from lead Johnny Mariott. The two other singles from 'Intermittent Fast Living' chosen by the band for this album are 'The Age That You Were' and 'Self-Restraint'. This album sums up the collective effort the group have put in over the last few years, whilst also giving them some breathing space to get creative and enjoy their own work in other ways. If you’re a fan already, you’re going to love what they’ve done with this, and if you’re new to Pet Needs, this is the perfect album to summarise their last 3 records and show you what they’re capable of. 'Kind of Acoustic' is out on January 24th via Xtra Mile Recordings. Words: Laura Hughes Photos: Pet Needs

Of all the beings prowling the wilds of the northern hemisphere, none have been given greater reverence than the bear. A beast of savage majesty and atavistic gravitas, it has stalked the dreams of humankind since we first huddled around campfires and shivered under the stars. Consider the findings at Basura Cave in Savona, Italy: scientists uncovered the ancient remains of a cave bear, encircled by ritual pellets and carved stalagmites, evidence that Neanderthals may have exalted it as a guardian spirit, a deity who ruled the space between man and nature. The Sami people of Finland believed bears could understand human speech, have a language entirely of their own, and act as divine intermediaries between gods and humans. Even the word “bear” itself is a linguistic dodge – originally a Proto-Indo-European euphemism meaning “the brown one”. Born from the ancient terror that uttering its true name might summon the beast, an omen of swift and brutal destruction. Fast-forward a few thousand years to our current world, the bear has been coldly demystified. Our so-called 'kinship' with this ancient creature has been hacked apart and indexed into sterile taxonomic tables and evolutionary charts whilst we destroy their habitats, oblivious to the raw, pulsating life force that still thrums beneath nature’s surface. This is the vision rousing Einar Selvik who stands as the spiritual nervous system of Wardruna, the Norwegian dark folk ensemble that stands defiant against the soul-numbing tide of modernity. Emerging in 2003 by Einar and Gaahl (both formerly of Gorgoroth) as a method of creating new compositions with old instruments to construct raw and ritualistic soundscapes. In the present, Gaahl has vanished into legend, and Selvik remains at the helm, forging ahead with a very prolific back-catalogue including the TV series 'Vikings' and 'Assassin’s Creed: Valhalla'. 'Birna' in particular poses the question: why have we shunned our oldest god? More than merely asking, Wardruna chants, howls, and drums it into the marrow of our bones. This album, like all of Wardruna's works, defies conventional review. It does not beg to be dissected track by track; it demands immersion, flowing as a cohesive whole like an ancient river cutting through ice-bound fjords. Sure, tracks can (and will) be marked, but that misses the point entirely. This is music that will ideally be consumed in the midst of fog-laden forests or beneath a leaden sky on an early winter’s morn, when the earth breathes impurities of the ground from mist, and something ursine stalks in the heart of the woodland. The opening track, 'Hertan' (Heartbeat), sets the stage with visceral force. It crawls beneath your skin, its primal rhythm echoing the pulse of earth itself. A recurring heartbeat motif thrums throughout the entire album, securing the listener into a primal and strangely maternal force. Layered with an eclectic cacophony of primeval instruments and vocals that beckon like a dirge rising from the depths of time, it creates a cocktail of exhilaration that would have driven Norse berserkers into frenzied battle in some forgotten, blood-soaked century. By the second track, 'Birna' (She-Bear), the tempo transfigures into a more solemn melody. A lament for the hibernating bear, it feels like a funeral procession winding through a snow-draped forest, questioning whether she will ever rise again. It’s mournful, meditative, and beautifully heavy. By 'Ljos til Jord' (Light to Earth), the sensation of being enveloped by nature becomes almost overwhelming. The forest closes in and curls around as the melodies are invoked with hermetic precision. Every note, every whisper of sound is as the very order of nature itself - nothing wasted, everything in its place. By the time 'Dvaledraumar' (Dormant Dreams), a sprawling 15-minute odyssey, arrives, the self has dissolved completely. No longer a spectator – the listener becomes part of the ritual. It is a slow, entrancing plunge into icy water, evoking the shadowy grandeur of Wardruna's iconic 'Yggdrasil' album. The experience continues with 'Jord til Ljos' (Earth to Light), a personal favourite, where rain-soaked atmospheres build into an expansive, confident soundscape punctuated by throat singing. The lyrics speak of returning light, of longer days and cold rains, of waiting. And then comes 'Himmindotter' (Sky Daughter), a hymn to the ancient bears, echoing with Tolkien-like melancholy and resolve: “Show me who I was when I roamed widely, before mankind’s path turned.” It is a plea for lost dignity, a cry for the forgotten wild. 'Skuggehesten' (Shadow-Horse) abandons the bear motif in favour of a metaphor of a dark horse, complete with more whinnies than the hundred acre wood. With thunderous drums it charts the journey of a warrior overcoming darkness, emerging into light. It’s a standout - a fragment of the album as ferocious as it is ominous. Finally, the album closes with the breathy, ritualistic duo 'Tretale' (Voice of Trees) and 'Lyfjaberg' (Healing Mountain). The latter, a four-year-old composition, finally finds its place here, rustling with leaves and echoing ancient chants, as if the Ents march once more to war. By the end, the repeat button begins to look awfully tempting. Wardruna's latest ursine offering is more than just another notch in their already formidable discography, it is an audio-ritual realized with obsessive precision and atavistic reverence. Wardruna does more than resurrect a world we have forsaken – we are reminded that it never truly went away. It waits in the misty forests, in the silent, watchful eyes of creatures we no longer fear. The question is not just whether the bear will rise again, the question is whether it will forgive us when it does.The skalds are not looking to the past on 'Birna', but fixing their eyes on the future and our place within nature. Not merely an album, but a truly transformative experience that ensures 2025 is off to a roaring start. Anyone with an open mind, a love for nature, and the magic of pre-electric folk sounds must give this a try as Wardruna continues to go from triumph to triumph. ‘Birna’ releases on the 24th of January via Music For Nations/Sony. Words: Kiarash Golshani Photo: Morten Munthe

You've heard of guttural singing, but what about guttural albums? Kathryn Mohr puts us under a dark spell with upcoming release 'Waiting Room'. She not only puts into the world something from deep within, but also absorbs the environment around in a unique full circle process. The Oakland-based artist self-recorded this 11 part performance in a one month period spent in eastern Iceland. This opus was birthed in a windowless concrete room, lit with a string of multicolored light bulbs (which made their way into the album art), located inside an old fish factory in Stöðvarfjörður. However, whilst it may have been birthed in a veritable cell, this Icelandic stacking doll piece knows no borders. It opens on 'Diver', which sets the tone with an ethereal sound. From the start we can feel the world around us, without necessarily being able to identify what part we are listening to. It remains enigmatic with its crackling and atmospheric sounds at the forefront. Mohr’s softly sang voice seems untouchable, behind a veil. We can feel in it her wanders around the shoreline, recording furtive moments through sounds. 'Rated' then takes us by surprise, teaches us to expect the unexpected with its distorted and doomy feel. We are looking for something without any distinct goal in mind. The inspiration Mohr takes from horror comes through crystal clear on this unsettling piece, and it also brings both industrial and new wave elements with a dark synth underneath. The isolation of the tiny fishing village transpires, bringing about feelings of want throughout. 'Driven', the lead single of the album, is refreshing and ruminative. The strong bass seems to be guiding it, allowing more lyric-driven, clear singing to take up space. Those feelings of want becoming stronger and turning into a languid rhythm. We are in the waiting room, where time seems to expand in a hallucinogenic manner. It has a cinematic quality to it, bringing to mind a non-descript indie film about love, choices and (bad) decisions. 'Petrified' continues in the same vein with a haunted indie folk twist. The loop rhythm on the guitar, intentionally out of tune, adds to the distortion and atmosphere. Everything is slightly out of place, and just enough to make you wonder how you feel without giving anything away at first. This is enforced by her voice being sat in the background, as if drowning and losing control. We enter a surprisingly grungy track in 'Take It', its gritty vocals and levelled guitar are reminiscent of an early Pretty Reckless sound. The distant vocals echoing in our heads almost feel like voices whispering in our heads, under the chaotic umbrella of everything that's happening. We end on an out of tune guitar fading away, which brings us on perfectly into the next piece. With a very distorted riff, 'Elevator' begins. As it does, the sound of static does too, like headphones starting to break. The mix of genres fascinates just as the atmosphere does, reminding the listener in part of a Nine Inch Nails instrumental. but with a hint of punk singing. It is both hectic and languishing. When talking about this song, Mohr evokes PJ Harvey and early Hole influences, finding herself deep in reverb and dissonance. But what about the origins of the song? The artist highlights how desensitised people can be as “Young people are exposed to all sorts of media, without reason or care. It’s the same in life – you never expect what will happen next or how horrible it might be. One second you’re watching a nature documentary, the next moment autoplay is showing someone getting their arm ripped off in an elevator. The unexpectedness of horror, how it’s thrust upon you, imposed, by other people, governments, personal demons, algorithms or pure chance is shocking to me.” The logical continuation is the song 'Prove it', which presents different piano keys, all out of tune, starting off the track. The strong distortion reminds us of ice cracking, before distorted chords are tested within the song's body. We're trying to find our footing, trying to find a melody on unstable grounds, which seems to continue through 'Horizonless' in a hushed shadow under a doomy guitar. We may have found a melody, but it does not seem to have distinctive lyrics, only sounds, until they fade away. That is, until 'Cornered' shocks us awake with static and a phone ringing, before going to an automated message letting us know that the number is not attributed. The horror creeps in again, eerily similar to an old tv or radio but not quite the same, instead it may be the sound of some program happening, or recording being made. There seems to be life but we can’t be sure, as there is a clinging feel, like someone being active around the house. Despite being the second longest track on the LP, it contains no singing. That goes to show just how important atmosphere building is in Mohr’s universe. We are once again caught by surprise with 'Wheel', which has an almost Lacuna Coil-like quality in its rhythm, with some parts being almost spoken. It is in line with 'Take It', but has a very different vocal style. Here we are in a more exhausted version, singing as if it’s a last breath. But Mohr keeps trying one more time until the last song, the title track, 'Waiting Room'. The owls sing this song open, inviting what feels like a distorted organ in. There is a notable echo in the singing, summoning all the horror past to create a haunting and ethereal finale. We keep on waiting for something without being sure what. This vortex ending spirals us in drowning screams and broken records. 'Waiting Room' is a catharsis of emotions, spaces, destruction and rebuilding. It carries affection, pain and reinvention of self. It confronts the violence of the human nature, but also our ability to love. By creating a dream-like space, Mohr gives us an opportunity to question and explore for ourselves without direct threat. She pulls herself out of the waiting room to let us question it, as well as to consider what might crawl out of the shadows when there is nothing and no one to distract us. Trust us, this album is worth a listen. 'Waiting Room' will be released on January 24th via The Flenser. Words: Lysandre Pons Photo: Senny Mau

It was a big 2024 for sibling duo ALT BLK ERA that started with a steady stream of supporting slots for the likes of Tom Morello, then spending the summer on the festival circuit including Reading & Leeds and Download, and finally gearing up for the release of their debut album 'Rave Immortal' at the end of this month. After pouring through their first full-length project, we sat down with Nyrobi and Chaya to talk about evolutions in sound, working with Wheatus and where the progression of their sound heading into album one. The ALT BLK ERA sound is notoriously hard to pin: 'Rave Immortal' is a mix of heavy guitar melodies and drum and bass elements, mixed with new-wave reminiscent goth beats, and rap, singing and screaming. The evolution of this sound can be heard when progressing from their EPs to this debut effort: they muse that the evolution of their sound is linked to the evolution of their tastes. This is true for Cheya in particular, who began this project as a young teen at the point where she would be exploring her music tastes fully for the first time - from the goth of the first EP that manifested into alt-pop to the metal influences present in 'Rave Immortal'. The pair describe the album as more mature and refined - "We know what we’re doing now" says Chaya, even with the caveat of not knowing if they'll put this album into the ‘experimental’ camp that includes their earlier output by album two or three. "It's a concept album, which starts with 'Upstairs Neighbours'. I get about an hour around when my meds kick in..." where Nyrobi then explains the narrative of those neighbours running them out the house. The elder of the duo’s health problems are a prominent theme in 'Rave Immortal', with the first act of the album featuring moving synth ballads including 'Straight To Heart' and 'Come On Outside', detailing the heavy weight that Nyrobi’s health issues impose on her and her sister, who supports her struggle. The race from her neighbours in 'Run Rabbit', then, could be the power that she feels when she is able to perform and put energy into her naturally big personality. Some of the key components of the foundation of ALT BLK ERA are The Prodigy and the pairs' mum, who introduced them to the former and pushed the siblings over lockdown into making and promoting their own music. Nyrobi tells me they were watching bands perform on YouTube and "couldn't find anyone who let themselves go on stage" when mum suggested the 90s rave-rock outfit, laughing her off at first before looking them up and getting hooked. They love the "freedom" and revealed that they watch a little clip of them performing before going on stage because that's how they want to act. "I still feel like we’re learning from them": it can be heard in the thrash dance tracks such as Run Rabbit or Upstairs neighbours embody that push for freedom. As for mum, her role in the band is creative, business, and practical all in one. She acted as chauffeur and chaperone when they first started gigging, taking them to bars for shows. They’d get to these bars and the owners would discover that Chaya was underage: "they’d be like you can’t be here... we’re like - you booked us!" Mum was also ‘proofreader’ during the writing and recording process, reminding Nyrobi to pronounce the Bs in rabbit she was missing when they were recording 'Run Rabbit'. She’s also their co-manager, leaving the admin side in good hands while the duo do what they do best - grow. The growth of ALT BLK ERA was pretty quick, driven by their TikTok strategy to promote music released in the height of the pandemic. Again suggested by mum and again fought back on as "It was a dance thing…I’m not dancing" Nyrobi tells us, but once the app expanded its scope they gave it a try, to great success. They’ve built a community from their social media presence - so much so that "Everyone we know now is through music and online". They’ve built their community from the ground up, having not been involved in the heavy scene as listeners before joining as artists. They reminisce on their first gigs being a "sea of middle aged men" and that their debuts at festivals such as Glastonbury and Download were also their first time attending, but between the first regular attendees to their gigs and their online presence they found people they trust and fans that are "[their] kind of person". The future for ALT BLK ERA looks even bigger: they recently released a collaboration with rock legends Wheatus, which came about in the Download press room when they noticed a follow from the band on twitter. They texted a thank you, then got the courage to send them the finished demo of 'My Drummer’s Girlfriend' and had a “throw your phone on the bed once you’ve sent the text” moment in the form of asking them to hop onto the track. Cut to two days of recording at Spotify studios in London and the two can’t help but pour love and respect onto their name. "They just got better and better" says Nyrobi, on being in the studio for those two days - "So giving, so caring, so not selfish". Telling us how they celebrated 100k monthly streams on Spotify with them with absolute earnest, regardless of the numbers Wheatus pull, and that the experience drips from them when they’re in the studio; "you can tell they’re professionals…[they]made me want to be a better singer", 'Rave Immortal' is an eclectic, fast paced project, playing with concepts of breaking free and embracing the loudest parts of yourself thoughtfully over genre-bending beats with a drum and bass flavour. There are tracks for everyone on this album: from the indie rock of 'My Drummer’s Girlfriend' and gothic influences on 'Hunt You Down' or 'Catch Me If You Can' to the thrashy rave style tracks such as 'Upstairs Neighbours' or title track 'Rave Immortal'. To see the album in person, you can catch ALT BLK ERA on their in-store tour starting on the 24th in Bristol, or in April for their full tour from the 15th. Alternatively, you can catch their album release party January 25th at Nottingham Saltbox or January 30th at Kingston PRYZM. 'Rave Immortal' will be released on January 24th via Earache Records. Words: Julia Brunton Photos: Dean Chalkley

What can be said about this fantastic debut LP from Waldo’s Gift… It’s riveting, exciting, unique, downright impressive and that’s not even the half of it. This album is not quite like anything we've heard before, instantly slapping the listener across the face with the complex and intense riffs of ‘Candifloss’. This song is so gorgeously mixed for a debut album, and it's astonishing how well the bass, the guitar and the drums were so sonically intertwined with each other in such a kinetic manner. The entire release manages to take experimental jazz to the next level, combining it with a myriad of influences and genres, and creating something closer to post punk. It's nigh impossible not to absolutely adore the motions this album goes through - the intensity of the opener continues into the title track, which blends all this instrumentation for another punch to the throat, all the while showcasing the incredible synchronicity of this Bristolian trio. A few tracks in however, you're met with a bit of a surprise, as these three wild musicians dial it back and take the LP in quite a different direction. With some much less intense, almost laid back tunes, Waldo's Gift really sell the rest of their sound and take us back to their root, inadvertently fleshing out the sonic profile of the album as a whole in the process. If you like intense guitar riffs with crazy pinch harmonics and shreds that are able to showcase the sheer talent of their player, if you like bass that will make your subwoofer cause an earthquake, and if you like drums that are completely unique and would be a nasty day at the office for any other drummer to replicate, this LP will have you sorted. 'Malcolm's Law' will be released on January 22nd. Words: Ben Blissett Photo: Waldo's Gift

Well it always had to happen. The last day of a festival eventually rolls around, no matter what you do to pretend it won't. Luckily, when that festival is Reality Unfolds, it's not so bad because it's just a bloody brilliant day full of awesome live music! There was a healthy range of styles on display which kept it fresh and distinct from the first two days, and frankly we're already discussing who we'd like to see play at 2026's edition of this brilliant festival. Grey Market Opening the day was actually the curtain call of a little band named Grey Market, who are fronted by Theo, the brains behind Reality Unfolds. They played a half hour set with some amazing covers, eccentric moments, wonderful originals, a new song that won't ever be properly recorded, and most of all bags and bags of heart and soul. From beginning to end, the set felt like it hit everyone in the room right in the centre of the chest, and even at its most violent and careening was still an emotive display. There surely couldn't have been a more powerful way to sign off on Grey Market's time as a band than with so many friends watching them on and loving every second. Church Of The Rat From final shows to first shows, Reality Unfolds doesn't mess about. The second band on the bill was Church Of The Rat, who were debuting as a live act, and they sounded very much like a British answer to Every Time I Die and Better Lovers. Whilst the crowd wasn't so rampant for their set as you might expect from a hardcore band, that can very easily be attributed to their debutant status, and in mere months they're sure to have people diving all over the stage, accompanied by their roiling riffs and sneering snarls. Uncertainty Next up was Uncertainty, a Bristol based queer hardcore band who piled as many riffs and gruff guttural yells into their slot as physically possible. They were the first act of the day to really get some movement going, and finished their set with some serious pit action. Stage divers and crowd throwers were the order of the day, but the commando crawlers were back in fine form, and of course crowdkilling was still kept in great business by the unruly fans of this unruly (and brilliant), part balaclava'd, band. Flesh Creep Flesh Creep jumped up to play next and instantly stood out amongst the rest of the room, simply due to their singer wearing - of all things - a suit. He looked very good in it and the colour was lovely, a nice charcoal grey, and it made for a very pleasant juxtaposition within their aesthetic and sound. Speaking of their sound, they have a savage hardcore sound that fits seamlessly into the musical backdrop of their home, Birmingham, that's comprised of raucous guitars and some incredible drumming that deserves its own paragraph! They played a full set of nasty, abrasive hardcore and an awful lot of fun was had. CADY Fifth to play was the insane trio of CADY, who's emoviolence/screamo sound stood out immensely on the day for all the right reasons. Being a year and a half down the line from their most recent album, and twelve years into their time as a band, their music has become a wildly brilliant combination of heaviness, emotion, melody, deft beauty and raw anguish that sinks its teeth into you and never lets go. Another drummer shoutout is needed, because the technique and speed displayed was glorious throughout their entire set. Whilst the crowd didn't get moving during their set, no moshing or crowdkilling was needed to appreciate the brilliance of what was on offer. Hidden Mothers Sheffield's finest Hidden Mothers took to the stage next, and whilst they've been gathering a very healthy head of steam for some time - and released a spectacular debut album in November - their set at Reality Unfolds was a thing to behold. Right from the off, the ethereal post-hardcore foursome mixed some of the very best of melancholic heaviness with sparkling guitars and pounding drums, but the contrast of the sung, heartfelt moments with the brute force breakdowns gave their set an air of unspoken brilliance that is difficult to put into anything resembling words. All else that needs saying is that we implore you to go and see them live, it will do things to you. Perp Walk Going from a set to cry at to a set full of people throwing each other, Perp Walk gave us a shot of adrenaline to get the last few hours done with plenty of moshing yet. Their momentous set at Outbreak last year showed them ruling the roost on a big stage, but they haven't forgotten how to kill a small venue and promptly did just that. 'The Gavel' was a particular crowd favourite which was made abundantly clear by the sheer number of arms and legs being flailed with reckless abandon, in true Reality Unfolds fashion, to show the audience's collective appreciation for an excellent set of hardcore tunes. Shooting Daggers From one hardcore band to another, we then were greeted by Shooting Daggers and their more downtempo, punky style of hardcore. With a fuzzy sound, plenty of delay on the vocals, and loads of good vibes in tow, the trio played a very well-received set that ran through a lot of their recent debut 'Love & Rage', as well as inciting an audience wide chant of "Free, free Palestine" and standing up for queer people and identities throughout. They were slightly less hectic than Perp Walk and so managed to give everyone a moment of respite, whilst still carrying their message across brilliantly as the day neared its end. Sorcerer The penultimate band of the weekend was one that could, based purely on the merit of their aggression and stage presence, headline any hardcore festival the world over. Paris' own Sorcerer were the final fix of hardcore on a weekend full of the stuff, but they delivered every ounce we could've asked for and then carried on pouring till the glass was overflowing. The supremely dark and foreboding sound of theirs was amplified tenfold onstage, and the audience reacted in kind to become a baying mass of spinning, whirling dervishes in frenzy. For any fan of spin kicks and stage diving who wasn't sure about booking that romantic weekend to Paris, here's your new reason to get it sorted now. Stormo To cap off a stunning weekend, we look no further than Italian screamo stalwarts Stormo. The aggressive, abrasive nature of their sound mirrors hardcore very heavily, and yet the vocal delivery and rhythmic patterns keep them so distinct from it in a way that absolutely tantalised every onlooker at the New Cross Inn. The pit was kept busy, the band didn't stop moving, and towards the end the air was thick with gratitude and love. After six long years of not playing in the UK, to finally see them back was a real treat, and even more so when it came at the end of such a brilliant weekend. That's all for this year's gobsmackingly wonderful edition of Reality Unfolds! Thanks for checking out our coverage of this beautiful little corner of the UK heavy music scene, we can't wait to see more shows at the New Cross Inn and run into Theo some more, and we're already checking to see next years dates so we can book them off work. See you there! Words: Jake Longhurst Photos: Lizzie Jones

Day two at Reality Unfolds was, in many ways, very similar to day one. It was full of amazing bands playing brilliant sets, there were loads of breakdowns and filthy riffs, and my back STILL hurts. However, apart from that last one, there's a key difference - there were a ton more of them! With twelve bands on from 13:00 to 22:30, the day was jampacked with phenomenal musical ability from start to end and barely gave us a minute to breathe before we staggered out into the cold night air to get some rest. Each band also played with a Palestinian flag behind them, which was made more potent and poignant given the fact that the ceasefire has just come into effect as of this morning, hopefully putting an end to some of the horrors the Palestinian people have endured. We sadly missed both Supernova and Final Dose, due to bus issues and needing to eat respectively, but have heard that both bands played excellent sets! Please make sure to check them out as well as all the bands below whose sets we did manage to get to. Blood Gutter Our first act of the day was Blood Gutter, one of a few BN1 hardcore bands on who all had amazing support both from the crowd and each other. They played a death metal oriented brand of hardcore that was custom built for swinging fists and slamming into each other, and that - combined with their bruising energy - made them a great way to start off our day, shaking off the weariness of the day before. 'Friend Of Mine' was a particular highlight, getting everyone on their feet in seconds. AKU Straight afterwards came AKU, another one of the BN1 crew, who spat out a multitude of rough-n-ready hardcore punk songs for the excited audience. With a singer dressed like a punk Freddie Mercury and a barrelful of piss and vinegar at the ready, they put on a great show early in the day. Finishing with their song 'In Automatic', the audience bought in hard and got on, across, and off the stage plenty - far more than you'd usually see at two o'clock in the afternoon on a Saturday in January! Supera Morza Manchester's Supera Morza played the most punk-driven set of the weekend thus far, full of riffs, yells, fuzz and fun. The crowd was a lot less mobile than the first few acts, partly due to the smaller impact of hardcore on the band's sound compared to everyone else who'd played, but that didn't stop Supera Morza from tearing through their set and showing themselves off brilliantly. For fans of old school grunge, Deftones, and pure punk, there's absolutely loads to love in this exciting four piece. Vaticinal Rites Mixing up the genres of the day, Vaticinal Rites brought some good old fashioned death metal along to Reality Unfolds. Last year's death metal moment came from Ancient Rivalry and they went down a treat, and Vaticinal Rites were no different. Drawing the crowd in using their 90's style death, with a pinch of black metal thrown in too, they had plenty of moshers pacing back and forth across the New Cross Inn floor (you may be noticing a trend, Saturday featured an awful lot of crowd movement). Playing a number of songs off of their 2024 debut album 'Cascading Memories of Immortality', there is plenty more in the tank for them hopefully! Stranglehold Stranglehold played more hardcore to get us right back to where we'd been before Vaticinal Rites, and for a band who only released their first demo in late November they sounded phenomenal. Their set was fit to bursting with riffs, and had enough gruff yelling to do a remake of Full Metal Jacket with! The crowd clearly agreed, with plenty of people diving straight into the pit from the first note to the last. 'Fire Within' was a particularly great moment, with a deeply satisfying drum opener that then promptly led to yet more two-stepping and crowdkilling. No Relief No Relief were the third of the BN1 bands on the day, and whilst all three of the Brighton bands were phenomenal, No Relief took the cake for crowd participation, garnering a truly crazy level of moshpit activity and stagediving that hadn't been touched up to that point in the festival, even by Friday's most hectic set from Dry Socket. The band are currently on tour with lineup mates Broken Vow, and are nearing the end of a long European and UK leg, but somehow still had more than enough energy to tear the New Cross Inn a new one and raise the bar on everyone else yet to play. There were stage divers left right and centre, spin kicks, crawlers, everything you've ever seen in a pit and then some - even Broken Vow joining them onstage - happened during this breathtaking No Relief show. Malignant Malignant are a band from Athens, and their set was one of the most straight-up evil live shows that this writer has ever seen. The bar had been raised the set before, and they matched that and then some. Their vitriolic, pummelling metallic hardcore riled up the crowd into a baying frenzy of seething maniacs who, at moments, caused genuine fear. It was a momentous set that was truly mindboggling to watch, and showed off a band who's future is blindingly bright. 'Unrestrained' was one of the many unbelievable high points, and made for one of the best single song performances this weekend. They've said that they're hoping to return to the UK later this year for a full tour, and if they do we will be at the very front for every second of any shows we make it to! Broken Vow One of the best, and most bittersweet, sets of the weekend thus far was Broken Vow's. The American's are on their last ever tour, joined by No Relief, and the show was their fifth last ever as a band, which was made even worse by the fact that they were just so damn good. Yet more energy poured from band to crowd and crowd to band, in a set that just kept giving us everything we wanted. The singer's Reading FC shirt was a bemusingly contrasting clothing choice compared to the vicious furore that they whipped up within the room, although it must be respected that he chose to wear it on a day that Reading lost 3-1 at home to the team one place above them in the table. I'm sure that won't be remembered anywhere near as much as how well Broken Vow played, marking yet another stellar performance on a day seemingly incapable of having anything but. Bitterwood Glasgow's Bitterwood kept things fairly simple with their burly slam set, allowing the crowd to lower their IQ to single digits for most of their playing time. With 'bree's' aplenty, and riffs galore, the Scots swept the crowd away into yet more crowdkilling and two-stepping. It was slightly concerning when the frontman needed to leave the stage mid-song, about halfway through their set, and sadly this meant we didn't get to see their cover of the Beyblade theme song (all the more reason to see them again!), but when he returned he said it was "just a tactical chunder", and then proceeded to drop the back half of the set with as much excitable energy as before, and likely a happier stomach. Ringworm The final act of the day was truly something to behold. Headliners Ringworm haven't played in the UK for 16 years, so to see them finally walk onstage and rip through a collection of underground metallic hardcore classics was not only ludicrously enjoyable, but a real privilege. The audience were in absolute pandemonium, multiple times crawling up and over each other onto the stage and up the support pillar at the front just to be one of the twenty-odd people yelling into the microphone at any given moment. It might be best summed up by organiser Theo's baffled explanation of "What the FUCK just happened" as the band wrapped up their encore, with a grin plastered onto his face that likely will still be there as he reads this. Ringworm at the New Cross Inn was a set to be remembered, and will go down in Reality Unfolds history. After such a bonkers day, we've got one last set of bands ahead who are sure to blow us away as well, so stay tuned to our socials for updates on the day, and of course for our final day review! Words: Jake Longhurst Photos: Lizzie Jones