Low ceilings, sticky floors and a bass that you can feel in your bones: Kid Bookies headline show in London at The Lower Third was the epitome of all things grunge. Kid Bookie is a familiar name to many fans of metal in the UK right now as he's moving up in the new genre splicing metal community. Bookie has been active in the scene since 2009 and worked with massive names including Slipknot's Corey Taylor, Wheatus and Good Charlotte. His own music blurs the lines between genres including elements of metal, pop punk and rap it draws in fans of all different genres making his audience incredibly diverse. The ‘Dead or Alive’ tour has been marketed as a funeral of the old era of Kid Bookie asking his fans to wear black to mourn with him whilst simultaneously welcoming the new era. The venue slowly filled as the openers Weller took to the stage, the crowd stepping forward to give the band their attention. Weller have been releasing music 2020 and have been catching attention across the UK with their singles ending up on BBC radio stations. Their music follows Bookies genre bending footsteps and blends the likes of punk and metal which worked perfectly to hype up the crowd and bring up the energy. Lead vocalist Charlie Weller took a moment to mention how the band had only been given three days notice for the show but this did not show at all in their performance. Charlie showed impressive range vocally from singing to screaming to rapping, switching effortlessly. Weller brought crazy energy to the stage making the crowd despite being small give them back that energy tenfold with head banging, cheering and applause. The band definitely gained a few new fans that night. The venue started to fill as the time slot for Kid Bookie approached, the energy from Weller still in the air as the fans started to grab their spots to see the set. Kid Bookie trampled onto the stage getting straight into his first song, much of the crowd jumping along with him instantly. Bookie has a song for every type of fan as he switches between rap tunes, to more vocal pop punk then to heavy head banging, mosh pit opening numbers. The best part of seeing such a genre bending artist is not knowing what to expect next especially as he played newer unreleased songs, giving fans a taste of what's to come. The rap sections of Bookies sets are truly impressive as he spits lyrics rapidly without slipping and keeping rhythmically perfect. Rap is a large part of Bookies music with his earliest collaborations being with Dot Rotten who was the first to recognise his talent and bring him onto a BBC performance at the age of only 16. His experience and time in the industry pays off in his performance. Between tracks Bookie took the time to give the crowd motivations, reiterating his out with the old in with the new mindset and urging fans to leave behind anything and anyone holding them back from chasing their dreams. It was clear to see the fans in the room were not just there for the music but to talk and socialise with people that have mindsets like their own, Bookie has done a great job at creating a tight knit community that is welcoming and kind, polarising the popular opinion that fans of these genres are anything but that and kicking those opinions out the door. The accompanying band at this show had no issues keeping up with Bookies energy and brought the heat and noise that his set needed, all of them looking the part and playing their instruments without fault. As the show continued the fans got more and more rowdy with drinks being spilt and mosh pits beginning to open up, they hyped each other and offered back the enthusiasm they were given. No part of the stage was left unexplored and Bookie paraded up and down singing directly with his fans making sure every person in the room was involved. Bookie continued to push boundaries, his screams echoing through the room as the crowd sung back every word, the cheers after each song overwhelming to the ears despite the small room. However the set purely wasn't long enough as the crowd demanded an encore and of course Bookie had to deliver, his song ‘Love Me When You're Angry’ having everyone in the room reciting the lyrics along, clearly one of the favourites of the night. The largest mosh pits of the night opened up for this one until Bookie left the stage with the words “Have long in your hearts for those who stand next to you” an inspiring message that is sure to stick with those fans for time to come. As the house lights finally rose the room burst into conversation with everyone explaining how fun the show was and what a good time they'd had, there was a special sense of community in the room that was great to see. Kid Bookie is definitely a name to watch moving into 2025 with his name appearing more and more, we can only expect him to move into bigger and better things. Words: Amy Smyth Photos: Claire Cabanac

Telepathy are a four piece band that includes three brothers from Poland and a guitarist from England. The band was formed in 2011, and have been steadily releasing music since 2014. Their new album Transmissions is seven tracks long, with some being as long as 15 minutes due to their use of instrumental storytelling and the fact that they incorporate samples from radio transmissions - hence the name of the album - to move that story along. The album opens with a nine minute arrangement ‘Oath’, the perfect soundtrack that drags you into the world they've created. Shredding guitar riffs and a mixture of psychedelic synths and crashing symbols bringing the tempo up and down giving the listener a real sense of journey through the song. The track sets the tone for this album, using samples from radio transmissions in Poland the band bring in their history and culture to add more layers to the music. It's difficult to believe they were able to conjure this in just one day! Next is ‘Augury’, which in its name refers to a sign of what the future will hold. It holds more structure than the last track, staying pretty unvaried in its riffs and beats, but it does however lead right off of the first track with a satisfying transition that the listener may not even realise. The third track ‘Knife Edge Effect’ is more on the synth heavy side, creating an apocalyptic mood bringing in those samples of radio transmissions to build on top of that. The second half becomes very drum-centric, yet still keep a good hold of the melancholy vibe, changing the end product yet still sticking mostly to the original recipe of the song. ‘Tears in Fibre’ is the second longest track on the album with a 14 minute run time. It starts off slow and a light and mesmerizing guitar riff, joined by layered synths and eventually a crashing drum beat. Five minutes in, the song comes to a slow, using a sample of a phone call the listener could discern a desolate world with the music bringing such strong emotion. The kind of track that could perfectly theme a world overridden with chaos to then turn uninhabited and mournful. A break in the album is bought on by ‘A Silent Bridge’ which brings a sample of a radio transmission and emotive synths to back it. It centres around the sample, yet again bringing the album back to its core and continuing with the message to practice the art of living. The next track is the longest, at 15 minutes long, yet ‘End Transmission’ seems to pass in the blink of an eye. The number starts much heavier compared to its neighbouring tracks on the album with thick earthy guitar riffs, and not even halfway through the song transforms introducing shredding riffs and a heavy groove, the kind perfect for headbanging. Booming drums then build as synths wash into the background and guitars play a repetitive and haunting melody bringing that approaching final boss fight energy, with minor chords being added at the end of the riffs later on truly keeping the listener on their toes. The end of the song leads to the heaviest section so far, before leading to a sample of a speech that brings a message of hope and living life to the fullest, again circling back to the message of the album. The last track ‘Home’ brings a more uncertain feeling than the rest, bridging on an almost nostalgic sound. In the second half of the song it picks up again, bringing in more metal sounds while withholding that slight hint of hope in its chords. The end of the song sounds much like the fifth track, and explores the use of synths to back up these radio transmission samples. Transmissions tells a full story of losing hope and helplessness, before finding that hope again in the shape of a new world to explore and make your own, and listening back to front this is so audibly apparent. On paper, this album may be labelled as instrumental metal, but it reaches far beyond that - each section of each song brings a new sound, and the clever use of samples and sounds throughout is both engaging and unrestrained to any one genre. Score: 9/10 Transmissions was released on March 30th 2025. Words: Amy Smyth Photos: Telepathy

The technical prowess of the tech metal quintet Pravitas is on full display in The Parasitic Divine, running the gauntlet of the genre - from heavy hitting pure metal to tracks fitting for a supervillain or Doom-style game. This project opens with some stunning guitar runs akin to playing classical guitar on an electric, but the drums take over by its follow up 'Delusions of Morality', which stands out immediately from its beginning tracks. Kicking immediately with a thrashy first act, Les Harrison runs his first marathon on the double bass pedals over the first three minutes of this 4:30 minute piece, but by 2:30 the guitar solos have returned to create a metal orchestra with heavy replayability. The fill at minute four scratches an itch in the brain too. One of our favourite elements of this album is the tracks that feel like they belong in a game as a supervillain's intro music. ‘Once There was Only Dark’ embodies this energy the most: a track made to show off the technical prowess of guitarists Richard Barnes and Joseph Taylor as they trade shreds and bounce off each other, all the while playing with 8-bit style guitar plug-ins. This track sandwiches its hardcore vocals between guitar solos, getting heavier when Sellers is on the mic before rolling back and letting Barnes and Taylor have their time in the sun in a freeflow. This track in particular stands out for how seamless it is, and has to be one of the strongest on The Parasitic Divine overall. Another satisfying element about this project is how well the names embody their tracks. Exile manages to build tension in its intro and maintain it in such a way that the track feels like a journey into the unknown; there is a level of sneak that brings the images of living in exile into the mind. 'The Crustacean' swings its beat just enough to have a shanty energy around it, and its follow up 'Breakneck' moves at that kind of a speed. The main critique for this project, however, is that a couple of these tracks come over as filler as the album trucks on. For all that 'Breakneck' moves fast and packs a punch, apart from its speed there is not much to say. Its follow up, 'Hightower', is an improvement with catchy riffs and a floor lead jungle groove on its breakdown, but has steered itself more into hardcore compared to the tech metal offerings in the rest of the project. Its follow up 'The Eye of the World' is forgettable, though the use of the piano melody is a nice touch; none of these tracks are bad, but the initial wow has worn off by this point and the tracks have begun to feel like more of the same. When this album closes, though, the point of the song names made earlier comes back through 'Monolith'. Working as a culmination of all the elements in this project prior, it begins with a sinister intro and maintains that energy throughout. The midpoint ambience is effective as the midpoint breakdown charges itself, then becomes a breakbeat as the midpoint of the song plays out. The guitarists send it one last time from 3:34 before a refreshing cleaner vocal rings out in the last chorus; the finale breakdown is played safe, but that breakbeat gets to make its return in the finale and leaves the ears satisfied. Overall, The Parasitic Divine is a well executed exercise of technical prowess - each showing their skills to the highest level while complementing each other with ease. You would not know that this was Sellers’ first stint as vocalist for Pravitas as he fits right into their sound, with his scream working well on the electronically infused and hardcore focused outputs alike. The main thing that keeps this project down is the filler within the second half, and some somewhat bloated track lengths - less of the latter may protect from the former - but this does won't stop us recommending The Parasitic Divine for a listen. Score: 6/10 The Parasitic Divine was released on March 30th 2025. Words: Julia Brunton Photos: Pravitas

When 2025 has concluded, it is entirely possible that The Squirrely Years Revisited will be remembered as the most surprising release that it produced. Few could have foreseen industrial-metal pioneers Ministry revisiting their early synthpop material, not least because of the countless times that their ever-outspoken frontman Al Jourgensen has viciously decried it. The resurrection of songs from ‘In Sympathy’ – the band’s debut LP, which Jourgensen has refused to sign for anything less than a $1000 donation to charity – is nothing short of miraculous, and yet here they stand, reworked and remastered, on an album dedicated to their celebration. This unlikely reconciliation with his past is heartwarming on a personal level, but has prompted a fascinating re-evaluation of Ministry’s awkward beginnings. Were the Squirrely Years dense with hidden treasures, or are they best left in hibernation? The answer to this question lies somewhere in-between. On the surface, it is easy to see why Jourgensen dismissed this collection of songs for so long. This album is relentlessly cheesy, and constantly straddles the border between delightful and ridiculous. To its credit, The Squirrely Years Revisited starts strong, with the funk-inspired guitars of 'Work For Love' as well as 'Here We Go’s piercing synths staying on the right side of the line. The first sign of trouble comes on 'All Day', which is derailed by its bizarre use of sound effects and vocaloid. The clang of hammer-on-metal which permeates the song becomes headache-inducing very quickly, not helped by the evil chipmunk vocals which accompany Jourgensen. Both of these prove to be recurring problems, with tracks like 'Just Like You' and 'We Believe' being stylistically reminiscent of a child playing with their “My First Keyboard” set, as well as Jourgensen sounding as if he’s recording his vocals from underwater throughout the record. 'Revenge', already a chugging dirge of a song, suffers from this the most, with the misery being compounded by the return of 'All Day’s rogue blacksmith. Perhaps unsurprisingly, given the direction that earned them their notoriety, Ministry find the most success when leaning into the gothic end of early-80s alt-pop. Both 'Everyday is Halloween' and 'I’m Not an Effigy' sound like The Sisters of Mercy at their most darkly bombastic, whilst 'I’m Falling’s instrumentals could plausibly pass for a rejected Cure cut from the Pornography era. All three tracks serve as a joint high-water mark for The Squirrely Years Revisited, and provide a fascinating insight into an alternative timeline in which Ministry morphed into rivals with late-era Depeche Mode. Unfortunately, Ministry fail to match these peaks in the second half of the album. Though 'Same Old Madness' is not meritless, it is impossible to shake the lingering feeling that it could be the accompaniment to a particularly difficult Sonic The Hedgehog boss battle. This unease is dwarfed by 'I’ll Do Anything For You', one of the least romantic love songs in recent memory. This album’s palate does not lend itself whatsoever to matters of the heart, with its ludicrous synths and foreboding vocals completely undercutting the track’s central declaration. Following this, the aforementioned 'Just Like You' and 'We Believe' fail to revive the album after this low-point, before one last appearance from Ministry’s resident metalworker on closer 'Over The Shoulder' marks a merciful end to a dismal side B. Though The Squirrely Years Revisited is a fascinating epilogue to Al Jourgensen’s war with his younger self, it does also serve as a reminder that the opinions we all form when we’re young and stupid aren’t entirely without value. At points in the tracklist, the album shows glimpses of a synthpop band brimming with potential, but these are outweighed by an inescapable maximalism that makes it difficult to take seriously. For fans of industrial metal, it is an inessential oddity, and for fans of 80s alt-pop, it all too often borders on parody. Score: 3/10 The Squirrely Years Revisited was released on March 28th 2025. Words: Ali Glen Photos: Ministry

Behemoths of rock'n'roll The Darkness are back with their highly anticipated eighth studio album. Promising their well known flair for the dramatics, uptempo rock beats and a sprinkle of ridiculousness, Dreams On Toast could well be be their best album to date. Bringing to the forefront exactly who The Darkness are, ‘Rock and Roll Party Cowboy’, is the perfect reintroduction into everything these icons of British rock stand for. Exhibiting their aptitude for the farcical, ‘Rock and Roll Party Cowboy’ is four and half minutes of the perfect 80s classic rock rift behind incredibly comical lyrics. Any listeners experiencing The Darkness for the first time will automatically have their vibes on lock from this brilliant album opener. Feeding straight into ‘I Hate Myself’, the second track on the album which resembles the sounds of the 70s mixed with a small dusting of ska, thanks to the impeccable use of the saxophone. Sounding like it could be lifted straight from A Night At The Opera by Queen, ‘I Hate Myself’ showcases the Hawkins' brothers ability to write a unhappy refrain with an old fashioned melody and make it into a hit so catchy it will have you dancing alone round your bedroom. Sticking to the 70s aesthetic, ‘The Longest Kiss’, track six of the album is the brainchild of old school The Darkness, and yet another classic rock influence, ELO. One of the shorter tracks on Dream On Toast, ‘The Longest Kiss’ packs a serious punch. Think 2000’s rom-com montage music, with bluesy guitar and a heavy drum beat. It perfectly encapsulates the reason The Darkness have been at the top of their game since 2003, they can seamlessly blend multiple genres of music all the while making it sound original, and unique to them. Being on the top of their game for so long, allows The Darkness to have a sense of musical superiority when it comes to marketing the album. Frontman and all round diva (in the best sense of the word) Justin Hawkins described this album by saying “we popped out a dozen bangers before lunch. And these bangers we present to you here.” This attitude is carried on into ‘Walking Through Fire’. A more authentic sound than the rest of the album, showcasing their prowess, Hawkins sings “we’re only doing this cause it’s fun, don’t even think my mum bought the last one”, once again proving that The Darkness make music just because they love it, and in no other song is that more evident than ‘Walking Through Fire.’ Some would say that after seven studio albums, a band may start to lose their sparkle. But more than 20 years after The Darkness burst onto the British rock scene, they have once again donned their bedazzled catsuits and produced a belter of an album. The Darkness have been showcasing the sheer amount of fun this album brings to fans all across the UK on their Dreams On Toast tour, and the fun only promises to continue with Justin Hawkins taking to the District X stage at Download Festival in July. Score: 8/10 Dreams On Toast was released on March 28th via Cooking Vinyl. Words: Emily Bancroft Photo: Simon Emmet

Lauren Babic has gained a lot of attention over the years within the metal community - specifically for her covers - but this time she's here to show us her first original solo metal EP, Too Much and Never Enough, and we think that any metalcore fans should be listening along. Lauren has been taking part in releases since 2013 and has been incredibly consistent since, with her covers gaining millions of views and listeners, and her experience shows across this four track EP. Being a female vocalist in a male dominated genre is nowhere near easy, however Lauren shows her ability to more than compete here. The first track 'Sanctuary’ starts fast and heavy, with classic metalcore beats along with layered synths and strings to bring a satisfying tune, Lauren's sublime vocals bringing the exact sound the song needs to really feel complete. A minute and a half in, Lauren showcases her own truly impressive scream, that'll blow any listener away - regardless of if you're a fan already, or a new listener. Next up is ‘Breathe You In’ which starts off with a more sultry beat, building with shredding guitars and an addictive bassline to accompany. The end of the song features layered vocals and harmonies that continue and trail out to bring it to a close effortlessly. Although this song doesn't feature screaming, it still is vocally charming as Lauren shows what she can bring to the table. On the contrary, ‘I’m Bored’ opens with coarse gravelly vocals both high and low pitched, the darker bassline ripping through the song. This tune is a clear stand out to demonstrate the vocal capability Lauren has, and is our personal favourite here at Out Of Rage. Featuring a cough to break the song and an ever so satisfying “blegh”, which we all know that the metalcore community loves oh so much, as well as the breakdown which presents a half time beat that is certain to make any listener head bang along. The last track ‘Let It Die’ kicks off once again with guttural screams before the pre-chorus and chorus being a disgustingly gratifying mix of heavenly light vocals and raspy notes, all the while with Lauren freely switching between the two. A phenomenal ending to the EP that sums up all the incredible talent shown through the four songs. Although short, this EP is a great way to kick off her first solo venture into the world of metalcore, Lauren Babic has gained a lot of attention over the years, and we can only hope that these songs can get her name even further out - we hope to see more from her soon. Score: 9/10 Too Much and Never Enough was released on March 28th 2025. Words: Amy Smyth Photos: Lauren Babic

Backxwash has electrified the experimental hip-hop scene for much of the decade now, releasing three seminal albums at the start of the decade before taking somewhat of a break. She has been known for the dark and often oppressive-feeling instrumentation and samples within her music - for example, I Lie Here Buried With My Rings and My Dresses’ includes the song ‘BURN TO ASHES’ featuring Michael Go, which samples one of the moodier moments in Godspeed You! Black Emperor catalogue. Her previous album His Happiness Shall Come First Even Though We Are Suffering was surprise-released on Halloween 2022, and quickly became the perfect soundtrack for its season - this body of work has garnered her plenty of acclaim in the experimental and industrial hip-hop world, being held in a similar regard to clipping. or Injury Reserve/By Storm, with a queer twist. Her music has always tackled queer themes with a dark and claustrophobic backdrop, though this newest album, Only Dust Remains, peels back a layer and reveals some brightness. First single ‘WAKE UP’ features some of her most impassioned vocals yet, as she repeatedly yells “Wake the fuck up!” before a beat switch - it marks two distinct points in the song, the second section feels significantly more reflective with its more stripped back instrumentation compared to the pounding drums of the first five minutes of the song. The lyrics still cover heavy topics, with themes of self-loathing throughout. Second single ‘9th Heaven’, on the other hand, also faces death, but with a confident feel to her delivery - “I feel so motherfucking free” is the line she chooses to close her vocal with, and she does it over a chorus of “The drummer coming”, accompanied by a rush of percussion to outro the song on a bombastic note. These two singles were already fantastic, and as it turns out, emblematic of the quality of the album as a whole. Opener ‘Black Lazarus’ is a slow-burner that rises into a sea of synths, with each snare hit feeling like a bomb exploding. With lines like “As they… pray for me, but ain’t nobody here saving me”, it does feel like a continuation from her previous work, as she not only looks inward, but also outward, with her frustration directed at the lack of action in places like Gaza, which comes up again later on the song ‘History of Violence’. For the last two minutes of the song’s runtime, she reflects on the plight of the Palestinian people and reactions to it. “Never mention the victims or you’re in league”. It’s a harrowing picture of suffering she manages to paint in this song. Elsewhere on the album, she continues to bend genres, embracing a shoegazey side on ‘DISSOCIATION’. Her and Chloe Hotline’s vocals fit the ethereal, noisy instrumentation perfectly despite their respectively aggressive and graceful approaches. The album ends on “Only Dust Remains”, a breather after the relative intensity of the previous few songs, driven by a piano melody and choir towards the end, repeating “away from me” - it’s a strangely euphoric way of ending a fantastic album. The shift away from more metal-influenced instrumentation might be a surprise to many listeners, but she entirely sticks the landing, showing off a wide range of depth in the instrumentation on display, as well as these quite abstract and poetic lyrics. Score: 9/10 Only Dust Remains was released on March 28th 2025 via Ugly Hag. Words: Jake Leonard Photo: Méchant Vaporwave

Alien Weaponry have woven nuanced social commentary and their Māori history into a full-throttle third offering. They interchange Te Reo Māori with English within and between tracks to call out the intricacies of living under imperialism, the impending doom of world war, and the harm of social media across the 11 tracks on Te Rā, producing a culturally relevant and sonically impressive project as a result. Album opener ‘Crown’ jumps straight in with a Bring Me The Horizon-style feel as the verses hop between clean vocal and screams; it also features one of the many perfect hooks that can be found throughout this project, with the line “Culture for profit and death to the sound” found within its chorus. Keeping a metalcore feel, it hits its breakdown quickly after chorus three before bringing that hook back for its final reprise - then we are hooked for the rest of the project. Around half of this project is written in Te Reo Māori, starting with the second track and single Mau Moko (to get a tattoo, a book about tattooing in Māori culture). It is the first of Te Rā’s tracks to include the military-style instrumentals and sound conventions, with its urgent guitars paired with deep military drums and Haks in its breakdown as well as a section stylised to be an army chanting in unison. These huts are also present within 'Tama-nui-te-rā' (the personification of the sun), which starts as a slower pace nu-metal track before devolving into a sinister beat then picking it up for the outro. This track stands out for the strength of resolve in its verses and layered harmonies in its chorus, as well as the perfectly done breakdown ripe for opening it up to. In this album’s second half, track 'Taniwha' (creatures that live in rivers within Māori mythology) is unashamedly metalcore, and is elevated with its feature of Randy Blythe of Lamb of God threatening the listener with poetry of the long white cloud before his verse; a fitting element when considering domination of white and western culture within the hardcore space. It is followed by the strongest song pair on the project - 'Ti Riri o Tāwhirimātea' (a god and warrior within Māori myth), a metalcore ballad consisting of heavy swung drums and passionate guitar solos that has kept up the use of the military chorus. Then comes 'Ponaturi', taking Te Rā into a sinister space sonically as it builds with screamo-vocal raps that ring like a manifesto then closing out with intense guitar solos by Raharuhi de Jong. These tracks build perfectly towards the album's closer - a two minute thrash metal offering that encompasses everything that has made this album work so far. For the English speaking songs, the themes cover the state of the world from multiple angles: '1000 Friends' is an accusatory number about the distance that social media has put between us and is exemplary of the quality of Alien Weaponry’s songwriting - “1000 friends/alone again” hits deep as a hook, while the soundscape drives on as if mimicking the speed of the digital world. ‘Myself to Blame’ stands out as one of the English tracks through its change of focus to interpersonal relationships. Its a raw apology on the back of sinister yet swelling riff, it picks up its tempo as Raharuhi de Jong begins to admit betrayals of trust and wrongdoings as the track wears on before slowing itself right back down to proclaim ‘How can you accept me when I have torn you down’. It is a chest tightening ballad begging for one more chase; it builds the world the listener is invited into beautifully, then leaves some silence at the end for the wrongdoings of the listener to marinate. All in all, Te Rā is an album with lots to say and nuances to its points. Utilising metalcore and nu metal conventions to convey the feelings of conflict that Alien Weaponry feel being knowledgeable of the world they live in while still needing to take an active role. The songwriting is high quality, the riffs encourage a head bang, and is an enjoyable listen in its entirety. Score: 6/10 Te Rā was released on March 28th 2025 via Napalm Records. Words: Julia Brunton Photos: Alien Weaponry

Since the Swedish wonders Allt released their first song on September 2020, it was obvious the band has potential and a gift to make it far. Fast-forward to the present and Allt is breaking the metal scene, playing their first headlining tour with many concerts sold out and a nomination in the ‘Best International Breakthrough Artist’ category for the Heavy Music Awards. The metalcore five-piece consists of the vocalist Robin Malmgren, drummer Adam Björk, bassist Samuel Mills and guitarists Olle Nordström and Viktor Florman. Profiler supports Allt during the UK leg of this tour with Atlas. The british nu-metal and metalcore band Profiler was formed in 2017 and has been taking on the music scene rapidly. Hailing from the city of Bristol, the four-piece band is well known for their captivating guitar and bass, with Mike Evans’s distinctive vocals. Their debut album ‘A Digital Nowhere’ came out last year, with the deluxe edition being released this February, and it surely has been a record of memorable tracks. Showcasing their album with their older singles during the set, the band kept an energetic aura in the venue from the first song, and the audience definitely enjoyed every second of it. Next in line was the mysterious Finnish band, Atlas. Heavily inspired by their native mythology and poetry, the band brought different energy onto the stage. Using just guitars, bass, drums and vocals, the members are able to produce symphonic-like melodies that sound completely otherworldly, leaving everyone listening in awe. The set started off with an impressive intro by the drummer Aku Karjalainen, and then moved immediately into a dramatic performance filled with Patrik Nuorteva’s primordial screams and Leevi Luoto’s hauntingly beautiful backing vocals. Paired with his bass skills and Tuomas Kurikka’s and Aleksi Viinikka’s guitar riffs, it was indeed an unforgettable experience. After two amazing support bands, it was finally time for Allt to claim their place in the spotlight and show the fans why they deserve the prestigious nomination. The band started off very heavy with the song ‘A Flash of Light’, that made the crowd move from its first tones and started a brutal moshpit, that did not quiet down until the end of the set, making it easier for the band to interact with the fans. Malmgren brought the audience his raw vocals, that were amazing to listen to live. At one point of the night, the band was graced by a massive wall of death after asking for it. Taking over half of the floor, it surely was a sight to behold. At the end of the set, the audience was delighted when the band came back for two encore songs, with the second one being sang with Atlas’s bassist Leevi Luoto, who together with Malmgren sounded heavenly. Overall, the night gave the fans one of the best concerts in a while, with all three acts smashing their sets. Profiler were an excellent choice for the British openers, as the audience loved them and the energy they brought with them was unmatched. Paired up with their catchy songs, they surely do know how to put on a great show. Atlas and Allt are both established bands on the scene, who do know what they are doing and aways bring something new to the table. The evening surely was sweaty, as the heating was very much on, but was enjoyed by everyone in The Underworld regardless. Words: Katerina Stepanikova Photos: Jack Walsh

For london-based LGBTQIA+ heavy music fans, events that celebrate both their queerness and also their tendencies for running headfirst into a mosh pit are very few and far between, which can unfortunately make it pretty difficult for these individuals to find people with similar interests. This lack of alternative-specific spaces in London and its surrounding areas prompted queer event organisers Glass Closet Events to partner up with Rockin’ Queers to create ‘Smells Like Queer Spirit’, an event specifically tailored to queer individuals with an alternative side. From insanely talented DJ’s and performers to up-and-coming artists/bands, ‘Smells Like Queer Spirit’ has something for every queer alternative human out there. The event gives queer alternative people the much-needed chance to socialise with others with common interests and dance til’ their docs are worn through in a safe and inclusive space, and also offer pay-what-you-can options for tickets to the event. Rockin’ Queers and Glass Closet Events also always work their hardest to ensure that each and every event space that they use is accessible and inclusive, so the event is open to absolutely everybody! ‘Smells Like Queer Spirit’ launched on 16th March 2024, and has been making waves across the queer event scene ever since due to the event being one of the only queer spaces tailored exclusively to alternative individuals, not to mention it being an absolute rager of a night! Labelled as ‘part social, part dance party’, ‘Smells like Queer Spirit’ celebrated its first birthday with a jam-packed celebration at 229 in Euston, London. The event featured astonishing live performances, such as sets from Rockin’ Queers’ very own founder DJ GayMerGirl, who has hit the decks at Voodoo London which is one of the capitals largest alternative club nights, and DJ Luna Tunes from the queer DJ collective ‘She They Press Play’, who has performed sets at multiple festivals, namely Download Festival and 2000 trees. BE N!CE Attendees were also mesmerized with performances from stunning local queer burlesque dancers Scarlet and April Alors, who left the room with everyone’s jaws hitting the floor and cheering in awe (and also pondering how a human being could possibly be that flexible). The featured band of the night was BE N!CE, an up-and-coming punk band with influences from post-punk and grunge from London, who took the stage by storm with their vigorous tracks and insane riffs leaving the room totally pumped for the remainder of the night, and are well worth checking out if you’re into the loud and high-energy punk vibes. On the flip side, the event featured a chilled-out quiet room with comfortable sofas and tables for attendees to quietly spend time together in a more relaxed environment, with fidget toys, temporary tattoos, bracelet making and more at their disposal. This specific edition of ‘Smells Like Queer Spirit’ also featured a table for BE N!CE in the quiet room where you could take a look at the bands’ merch and hear more about what they’ve got in the works at the moment such as future shows and new music. The quiet room also contained an alt clothing/gig t-shirt swap rail for guests to give up their old threads in return for a fresh new style, and as difficult as it can be choosing your newest ink, the room held a table full of the sickest temporary tattoos to try out from local queer artists’ flash designs, nothing makes a tattoo decision easier than being able to try it out for yourself! So if you’re feeling like moshing the night away with other alternative queer individuals, then keep an eye out for the next ‘Smells Like Queer Spirit’, see you in the pit! Keep up to date with Rockin' Queers via their Instagram Words and photos by Becca Wheeler

Fresh off the back of a mighty 2024, Mouth Culture visited Blackpool for the first time and left their mark on Blackpool’s best independently run live music venue: Bootleg Social. Something to note about Mouth Culture is that this is a band that simply don’t stop – from touring with The Blackout, to a European leg, playing packed out tents at Download, Truck Fest, 2000 Trees, and then an entire tour run supporting You Me At Six on their final UK tour, somehow whilst releasing their latest EP: ‘Whatever The Weather’. From the posters decorating the walls showing other artists that have also graced the Bootleg stage, to the intimate atmosphere across the venue, this was the ideal place for Mouth Culture to greet the Blackpool music scene. Supported by Kiwi, and LoveRarely, this was a show not to be missed. Opening with the anthemic ‘No Shame’, the crowd moved closer to the stage to embellish in the charismatic stage presence of vocalist, Jack, who made sure he connected with the crowd at every stage. ‘Sharkbait’ and ‘Dead In Love’ continued giving the Culture Club (Mouth Culture Fans) the ideal opportunity to scream lyrics back to the band, whilst ‘Rat Bag’ gave us the opportunity to listen to the newest song in full after seeing teasers on social media. Towards the middle of the set, we were treated to a small throwback from ‘Mishaps of My Mid- Twenties’ with ‘Johnny Cold Shoulder’ which paid perfect fan service to the Culture Club fans, and showed just how versatile Mouth Culture are. ‘Little Wednesday’, ‘Catch You Tomorrow, Sunshine’ and ’15 Missed Calls’ gave the band perfect opportunity to demonstrate exactly what they are capable of. Sometimes, the slower songs give the audience time to get a drink but not on this occasion – the audience were enamoured with just how raw and passionate these particular songs were. Contrasted with ‘Cherry Red Rage’ and ending on ‘Don’t Pull Up’, this was a setlist crafted to perfection, truly emphasising the incredible versatility that Mouth Culture can display. Seamlessly transitioning between upbeat tracks and more introspective songs, this highlighted not only their lyrical prowess but also their ability to connect emotionally with the audience. Finishing the set on ‘Don’t Pull Up’ erupted the room, with the audience continuing to jump and dance along. It became clear quite early on that Mouth Culture is not just another emerging artist; they are quickly establishing themselves as a significant force on the music scene. By the end of the show, it was evident that Mouth Culture had solidified their place in Blackpool’s live music scene. Overall, Mouth Culture’s gig at Bootleg Social was a memorable event filled with energy and passion, showcasing why they are absolutely one of the most exciting new acts to hit the scene. Words: Ellie Archer Photos: Mia Gailey

Hailing from a crossfire of wildly eclectic musical influences and growing up in north-east London, self-described “chaos merchant” Deijuvhs is slamming onto the scene with Cemetery Scum, a mixtape with a desire to blend dirty Y2K influences with rowdy nu-metal anthems. Setting up what Deijuvhs (pronounced day-u-VHS) is all about, Cemetery Scum kicks into being with ‘Comatose’ and ‘Lotus’. Leaning massively into the nu-metal elements of the genre, ‘Comatose’ embodies a new style of music, ‘hoodpunk,’ a moniker coined by Deijuvhs to fit the cutting-edge sound he’s creating. Away from boxes and labels, Deijuvhs has managed to craft a niche in the alt scene, but more importantly in the Black-British alt scene which can be felt within the meaty riffs and lyrics of ‘Lotus’. Ideas of being left behind and surrounding yourself in an environment which would only foster bad energy showcase the place that Deijuvhs is writing from. This is also evident in ‘Devil May Cry’, the final song of the mixtape. One of the more mellow but deeply moving songs featured on Cemetery Scum, ‘Devil May Cry’ is a powerful track that stems from Deijuvhs emerging from addiction. Openly talking about this Deijuvhs has said “I used to think I needed drugs to be creative.” In exact contrast to that point ‘Devil May Cry’ features some of the most hauntingly poetic lyrics featured on a nu-metal based mixtape for a long time. “The devil may cry sometimes but even he knows how to smile,” is a lyric that will carry this mixtape far into the future to be heard for generations to come. The softer tones of this song really allow the listener to hear the North-East London accent of Deijuvhs that is so distinctly his, and that truly proves his point that you can find catharsis in writing and being creative regardless of upbringing or where you’re from. You have to make these opportunities for yourself. It seems very apparent by track six, ‘Neo Massacre’, that Deijuvhs takes huge inspiration from all things noughties. Hitting immediately into a lick that wouldn’t sound out of place on a Korn album, you are then met with vocals that you’d expect to hear from the likes of Travis Scott or Playboi Carti. But that is exactly the calling Deijuvhs has set up for himself, and it really works. ‘Neo-Massacre’ also features the innovative work of young British producer, Ghosty, on the beat which adds an extra depth that this song may otherwise have lacked. In keeping with the noughties theme, ‘Zombie’, an introspective breakup song, is a track that wouldn’t feel out of place on a Kerrang TV Friday night in the early 2000s, following your first ever break up, Kerrang on full blast thinking your life is over, that is ‘Zombie’. And it hits on a life changing moment that everyone has experienced, but Deijuvhs has a talent for making the listener feel like all the experiences he is singing about are unique. Within the relatively short two and a half minutes, Deijuvhs can relate to most of the population lyrically while still creating a beat that demands to be heard. Embarking on a UK tour in June, Deijuvhs certainly has enough material on this mixtape to keep crowds engaged. This is the kind of entertainment the modern nu-metal scene is missing, the rap style lyrics of the Y2K era blended with the modern pulsating beats of rap, all encased with hefty guitar riffs. Deijuvhs has done exactly what he set out to do, he has created his own genre and put himself centre stage. Listeners of Cemetery Scum are in for a wild ride. Score: 7/10 Cemetery Scum will be released on March 28th 2025. Words: Emily Bancroft Photos: Deijuvhs