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Norway's Fixation have prepared the follow up to their 2023 debut album ‘More Subtle Than Death’ with their new EP ‘Speaking In Tongues’. After their debut garnered them the historic honour of being the first metal band to win the Breakthrough Of The Year award at the Norwegian Publishing Awards earlier this year, big things are expected. Fixation are Jonas Hansen on vocals, Martin Selen and Tobias Østerdal on guitar, drummer O la Dø nnem and Øyvind Lunde on bass. Øyvind is the group's newest member, who listeners may know from Yesterdaze and fellow band member Jones's other band Beautiful Beautiful, and was announced as such shortly after single ‘Tyrannical Miracle’ released. Starting off with the eery gradual build up with interlude ‘(grow a flower)’, we get a sense of Hansen singing about wanting to belong. This leads right into the first single ‘Random Acts Of Violence', which has a feel similar to that of Bring Me The Horizon. There's a big melodic chorus, powerful lyrics, and feelings of losing yourself or being alone. Continuing into the second interlude '{pick the petal}', we get a feel of the soundscape that holds the listeners attention all throughout the EP, but then Fixation follow up with the hard hitting track ‘Blue Skies’ - filled with powerful riffs and screams, sprinkled with a heartfelt bridge containing feelings of rage and heartbreak, this holds the title of the EP's strongest track, and even acts as the unofficial title track due to containing the lyric "speaking in tongues". Listeners will also notice upon a lookover of the lyrics of '{grow a flower}', that they are also the names of the interludes. Next up is second single and heaviest track ‘Tyrannical Miracle’, which is a real angry and melancholic journey bursting with crashing drums and a truly thought-provoking chorus - “You say question everything, well can I question you? Make us pray to your illusions. Your tyrannical miracle. Bathe in the blood of the worthy. This isn’t life like I knew it before.” - Fixation are clearly in their stride, and are a real gem from the Norwegian scene. What Fixation has done here is take their listeners on a melodic journey, which may only be 20 minutes but allows them to escape into the sound of emotional turmoil, most especially during last track 'Fever Dreaming'. 'Speaking In Tongues' is a very solid EP and a great progression from the band's debut album, proving that they still have the lightning of that LP but adding in experience, with this being their best work yet. Fixation have a strong and bright future ahead of them if this is anything to go off of! 'Speaking In Tongues' will be released on October 11th via Indie Recordings. Best Songs - Random Acts Of Violence, Blue Skies, Fever Dreaming. Words: Lucas Grayson Photo: Sebastian Ludvigsen

There is nothing quite like a hometown show. The energy from the band and the crowd just hits different on so many levels when they play on home turf. And An Evening With: Haken in London’s O2 Kentish Town certainly delivered on that front. With the show being filmed for future release Haken invited the crowd to dress up as their favourite animal matching the jungle-esque aesthetic of their most recent album ‘Fauna’ and the artwork that goes with it. Looking over the crowd there was a menagerie of creatures slotted between the standard black band shirts, sharks at the barrier, tigers running to the bar, and gorillas singing along in the crowd. Fans were treated to a double bill of Haken as they played two sets, starting with “Fauna” in full cover-to-cover. Playing an album in full is an underappreciated format for good albums and “Fauna” definitely falls into the category of good albums. The lyrically intense, vocal forward record translated very well to the live show. Considering the first single of the album ‘Nightingale’ was put out in April 2022 with the full album released in March 2023, there has been plenty of time for listeners to learn the lyrics, and they sure did! From the opening of “Taurus”, the crowd were already on side, singing back the words, and thriving in the intimate atmosphere of having a full night with Haken, especially when single band lineups are becoming less common. Haken took their time as they played through “Fauna” introducing the songs and chatting with the crowd, it was nice to be guided through the show and not feel rushed by the goal of finishing the playthrough. Sing-alongs galore accompanied Ross Jennings’ impressive lead vocals again highlighting how well-received this album was by the fans. On the third track in, ‘The Alphabet of Me’, Haken brought out Miguel Gorodi on trumpet, showing us that brass well and truly has a place in prog-rock when done as well-balanced as that. And through their first set, there were some more touching moments between songs like Jennings encouraging everyone to do “heart hands” for their self-described “heavy metal love song” ‘Lovebite’. The band stayed remarkably relaxed and were clearly having a lot of fun as they finished up the first act, despite the several hulking cameras and microphones honing in on their every word and movement. A corner of your eye reminder that the night was being filmed in its entirety for DVD. After finishing the album with the light and bouncy ‘Eyes of Ebony’ Haken closed the first of their two sets on the insane sounding ‘Crystallised’, successfully amping the crowd up for the intermission before set two began. We were promised a swift return by Jennings getting ready to leave the stage, “we promised you an evening with Haken, and that's exactly what you're gonna get, this is just the end of part 1”. With the ‘Fauna’ playthrough a huge success, round two was a chance for the hits and crowd favourites. Launching into ‘Puzzle Box’ which got the crowd moving again Haken basked in the buzz of the audience and played through a nice spread of material from their previous releases. Picking a few songs off of each album to satisfy fans of all eras and tastes, they took the chance to show off the breadth of their chops. From the heavy and operatic ‘Drowning in the Flood’ from “The Mountain” to the faster and simpler ‘The Strain’ from the later album “Virus” - complete with drums and keyboard solo which added some depth to the performance. Part 2 of An Evening With: Haken left everyone very satisfied with the gargantuan musical feast they had just experienced. But two sets just weren’t enough for Haken or the fans as they came back on stage for the third and final time of the night, Haken brought the evening with them to a close with the delightfully dynamic epic that is ‘Visions’ before heading off stage to prepare for their European leg of this tour. Writer: Kayleigh Fryer Photographer: Kayleigh Fryer

Lowen’s 'Do Not Go to War with the Demons of Mazandaran' stands as a profound blend of progressive doom metal and Persian mythology. The six-track album not only offers a musical journey through rich, atmospheric soundscapes but also carries a powerful social message that speaks directly to the ongoing struggles of women in Iran, tying into the Woman, Life, Freedom movement. The band’s willingness to tackle heavy subject matter through both music and narrative sets this release apart from more conventional metal albums. At the heart of the album are tracks like 'Corruption on Earth' and 'Waging War Against God', which boldly criticise the death sentences imposed on women protesting against the Islamic Republic of Iran. These songs reflect the bravery and defiance of women who are fighting for their rights and lives, adding a layer of political and cultural relevance that is deeply intertwined with the music. The album resonates as both a progressive journey and a protest, unafraid to address contemporary issues through a mythological lens. Lowen’s fusion of heavy, doom-laden riffs with Middle Eastern influences creates an atmosphere that feels both ancient and modern. While the genre itself can lean toward a slower side of metal, 'Do Not Go to War with the Demons of Mazandaran' is a dynamic record that shifts between soaring, epic moments and brooding, weighty doom sections. The band creates a carefully balanced soundscape, with atmospheric elements that build tension and allow for release in equal measure. The combination of low-end guitar riffs and intricate melodies works to transport the listener into the album’s mythological world while never straying from its metal roots. Vocalist Nina Saeidi’s performance is one of the standout elements of the record. Singing in both English and Persian, Saeidi’s powerful, multilingual delivery serves as the album’s emotional core. Her ability to seamlessly shift between languages adds a level of authenticity and depth to the band’s narrative. The blend of harsh, almost guttural vocals with moments of delicate, clean singing creates a layered and nuanced vocal performance that complements the complex instrumentation beneath. Tracks like 'May Your Ghost Drink Pure Water' and the closing song 'Ghazal For The Embrace Of Fire' showcase Lowen’s heavier side, where the riffs are at their most ferocious and the semi-blast beats drive the songs forward with a boiling intensity. These songs in particular highlight the band’s ability to blend aggression with a sense of grand scale. The intensity of these tracks contrasts sharply with the more atmospheric and melodic sections of the album, showing off the band’s versatility. 'The Seed That Dreamed of Its Own Creation' is a thought-provoking track that delves into themes of existence, self-awareness, and the interconnectedness of life. Musically, it features a blend of haunting melodies and heavy riffs, creating a dynamic atmosphere that reflects the philosophical undertones of the lyrics. The track encapsulates everything within Lowen’s signature style, combining progressive doom elements with a narrative depth that invites listeners to reflect on their own journeys of creation and purpose. Vocalist Nina Saeidi explains that the track 'Najang Bah Divhayeh Mazandaram' is a warning that serves as a pivotal point in the myth of Mazandaran, a realm in Persian mythology filled with djinn and wealth. Translated, the warning is ‘Do not go to war with the demons of Mazandaran’, the album title. This phrase warns King Kay Kavus against his ill-fated conquest. The song weaves these mythological themes into Lowen's progressive fusion of doom metal and Iranian music, enhancing the narrative with a modern poetic twist. At its core, this album is more than just a collection of songs, it is a statement. Lowen has crafted a piece of art that transcends genre boundaries and speaks to both personal and political struggles. 'Do Not Go to War...' succeeds in offering listeners a deeply immersive experience that is made up of equal parts sonic and emotional. In a year that is already filled with notable metal releases, 'Do Not Go to War with the Demons of Mazandaran' still manages to stand out not only for its innovative sound but also for its courage in addressing difficult, real-world issues. We believe this album is a bold and significant contribution to the metal scene and is a must-listen - not only for fans of progressive metal, but for anyone looking for music with depth, substance, and emotional power. Words: Vee Richardson Photos: Lowen

When talking about music and football, the homogenised view would likely be that of the Stone Island swagger of Oasis. The current perception would have you believe this is the only band that has ever been played on the coaches to away ends up and down the UK, but the truth is miles away from that. Two-tone ska was the original soundtrack to the football casual, which contrasts dramatically with many peoples ideas of the inclusivity of seventies and eighties football. Following the post-war influx of Commonwealth migrants into the rubble of a bombed-out Britain, a huge cultural clash was bound to occur. Racism was sadly alive and well within politics and society, but music and sport offered a solace. The genre of ska that blossomed in Britain in the golden era of English football was two-tone, which, like its birthplace of the West Midlands, was a mixture of origins and cultures. The working-class rock music of Britain combining with the ska, reggae and rocksteady from Caribbean immigrants was a solid formation for success. The music reflected a working class look at British decline and the prelude to Thatcher’s authoritarianism. The things that inspired bands like The Selector and the Specials resonated with the casual football fan who'd be found causing trouble outside every away end they visited. "Government leaving the youth on the shelf" - Ghost Town, The Specials The hooligan or firm scene was like any alternative scene or subsect of a community: it had a uniform, a style and a sense of unifying estrangement from society. These blokes would most often be found wearing designer European brands like Lacoste, and deliberately dressed sharply to separate themselves from the ‘shirters’, the supporters in replica shirts, who also attended each game. This was slightly different to just going to the football, where you might be able to take or leave the result. This was a full-time love affair with the clothes, the music, the violence and tribalism. It defined you, gave you a sense of identity and community, in a similar way to how punk provided a solace for the 'outcasts' of the late 70's and early 80's. What is possibly more noticeable is that this is actually a subgenre of a subculture. For ska specifically, it was relatively rocking around the West Midlands, where the music represented even more tribalism to boast about. This was a class development as much as it was a regional element. The ska-listening football hard men’s demographic was similar to those joining punk or ska bands. So, when songs like 'Ghost Town' or 'Rat Race' came out, they were hearing their own thoughts from these stylish big-name performers, which is exactly why Oasis resonated so much in the 90's, and still do to this day. The football scene and ska was a way of escaping Britain’s grey dreariness in build-up and early years of Thatcherism. "Just another day, with that endless grey drone" - Three Minute Hero, The Selector Being a football fan in one of these firms was glamourous, exploring the country and maybe even Europe, not only wearing the brands you’d only seen tennis players on television wear but also being seen as a social pariah, you stood out like a punk on the street and middle England raised an eyebrow at you in public. If you wear a Lacoste polo and a Fred Perry tartan jacket today, it's not a million miles off of the two-tone rude boy look. You looked different to the other people around you, both in the street and in the stands, and everyone made quick prejudicial decisions against you in the same way they would for punks then or mods before them - it was as if Ska was destined for the early years of the football casual scene. At this time, England was seeing the first full generation of black players, like Laurie Cunningham, and thus seeing its first proper set of black football fans. In the Midlands, some black fans were accepted into clubs casual scenes, and no better example could be found than the Birmingham City Zulus. The name came from racist chanting by Manchester City fans at Birmingham’s multicultural away following, but the name stuck after several altercations where black Birmingham fans fought bravely side-by-side with the multitudes of white men who otherwise may have seen them in the same racist light. Birmingham wasn’t alone in having black fans - clubs like Coventry City, Ipswich Town and West Bromwich Albion all had a diverse fanbase with their music choice representing just that. Not everyone was as welcoming as the Zulus to non-white members though, with Leeds United and Chelsea being infamous for their fans' racism at this time. This led to crowd trouble when these sides played at St. Andrews or Coventry City’s Highfield Road, as black football fans were rightfully hurt by the neo-Nazi culture these clubs had adopted instead of ska. Ska was a subculture of a subculture, an alternative to the usual less-accepting football fandom. "Policeman comes and smacks me in the teeth, I don’t complain, it's not my function" - Do Nothing, The Specials The music fitted the mentality. It was not too alternative, it felt masculine, you didn’t have to dance or wear make-up. The fast beat meant you could just bob about to it or “have a fight to that type of music” as one former hooligan put it on the Real Football Factory documentary. Violence was far more commonplace at this time, both at football matches and at gigs, and sadly so was police brutality. The black community were regularly over-policed in Britain, and the firm hand of the law was never too far from the back of a football casual's head. Ska once again gave a voice to this in a way other genres music often failed to do. Ska and football became a merging off-shoot of both football hooliganism and music fans, a relative Venn diagram moment that has left a mark on football. Its heyday may well have long since passed, but ska still holds a place in football. In the 2021-2022 season, Coventry City’s third shirt was hailed as a classic, using two tone designs with a nod to the iconic ska look of suspenders. On my last trip to St. Andrews, UB40's 'Food For Thought' reverberated round the venue, and all around that historic ground heads nodded as if it were any low-ceiling packed club back in the late seventies or early eighties. On a more official level, the pre-match anthem of West Bromwich Albion remains 'Liquidator' by the Harry J Allstars. It's amazing how one song can take someone to the calm Caribbean, as the song was intended, and simultaneously can transport another to those heated moments before kick-off, into that fever pitch of expectation and tribalism. In the two-tone heartland of the West Midlands, ska is as much a part of football as a last minute winner or yelling at the referee for any decision that doesn't go your way. The drums and saxophone soundtracked as many incredible moments on the pitch as it did violent moments off it, and will forever be intrinsically linked to football. Words: Dominic Allin Cover Photo: Dominic Allin

Dublin’s favourite two piece band Bicurious are back and better than ever with their new album ‘Your Life is Over Now…’. The Irish alternative/post-rock duo originally formed in 2016, releasing their fan-funded debut singles ‘Sugar Beats’ and ‘T.O.I’ just one year later in 2017 and have since accrued a devoted following in the rock community. The band consists of Taran Plouzane on guitar and vocals, Gavin Purcell on drums, and their undeniable chemistry prevails in every song and show. ‘re(constructed)’, their first album released in 2021, had a large focus on melody and rhythm, differing from this new release where we can experience the potentials of Plouzane’s voice. Drawing influence from Biffy Clyro and Reuben, it is clear to see where they got their lyrical inspiration from - and we will forever be grateful that they did. Whether it be their constant demonstrated appreciation for fans or their unique sound, they always prove to garner interest in the European rock scene. The album starts with the song ‘Coming Around’ setting the tone for the music to come- the math-rock riff, post-rock verses and punk-like vocals mesh together perfectly to make a hopeful tune about the importance of family, something particularly important in their fanbase. The song is very reminiscent of post-rock 90s songs that you would hear walking past a skate park or from the intro to an early 2000s coming of age movie. This nostalgia continues throughout the album and represents a sound that so many of us love hearing. The vulnerability surrounding the theme is also always excellent to see in the rock scene, and pairs so well with the next song on their track list titled ‘Gutless’, which adopts a slightly grungier sound compared to the previous track. As we get further into the listening experience, we encounter ‘Magic Marker’, the fourth song on the album. This is softer than the previous songs in terms of vocals and appears to place more of a focus on lyrics. The song demonstrates their wide range in genre as they embrace a sound that's similar to Midwest emo- a refreshing change that still fits the flow of the album. Moving further through, the seventh song on the album titled ‘Mr Big Time Manager’ acts as an interlude for the album and features a voice clip of a man talking about keys. This brief but comical piece acts as a short break from the loud and bouncy noises that we've previously encountered in the album. It also calls reference to the political voices the duo included in their debut album and previous singles, as well as giving the album even more personality, proving that the band never lost their own artistic voice and still have plenty of vision for each one of their songs. Once our brief break comes to an end, we are reintroduced to the world loud drums and sliding riffs via track eight ‘Blind’ - with a harmonious mix of bouncy strings and heavy hitting that you can’t help but headbang to. Maybe it’s the mental reset we get before the track starts, but it definitely shines as one of the album’s strongest songs and will simply not budge from being played on repeat. The album closes with the eleventh track ‘Crumbled’. The song starts with quite a sombre and soft tune, much like 'Magic Marker', and we are lulled into a false sense of calmness before the drums build and the vocals drop. Suddenly, it feels like we have finished a journey with the band through comedic voice clips, melancholy guitar riffs and family theming, and it’s beautiful. It feels like the perfect song to close with as it utilises and consists of everything that makes Bicurious the band it is. It allows Plouzane to show off his vocal range with Purcell composing a heavy yet freeing drum score for the final song that will remind you just why you love post-rock music. There is absolutely no doubt that ‘Your Life is Over Now…’ will hold a unique and sought-after place in the European rock scene, with enough on their for anyone to find at least one song to enjoy. Bicurious know who they are and they know what direction they want to go in, which is admirable and inspiring at the least - it’s incredibly hard once you start listening to them to not become a fan, so once they become a staple on your playlists you'll be as excited as we are for whatever they plan on doing in the future. You can catch Bicurious on tour across the UK from the 15th of October to the 23rd of November. ‘Your Life is Over Now…’ will be released on October 4th via Big Scary Monsters Records. Words: Jess Leadbeater Photos: Bicurious

Godspeed You! Black Emperor should need absolutely no introduction. Since the releases of their ambitious debut ‘F# A# ∞’ in 1997, and even more so since their magnum opus ‘Lift Your Skinny Fists Like Antennas to Heaven’ was unveiled at the turn of the millennium, the group have garnered nothing but praise for their lengthy arrangements and beautiful instrumental layering, as well as for the sheer emotiveness of their music. Proudly displaying and sharing anarchist ideas and books at their live shows, none of the band’s lineups have ever shied away from political commentary, instead always striving to connect their abstract works to the real world. The group’s latest album, ‘NO TITLE AS OF 13 FEBRUARY 2024, 28,340 DEAD,’ is a clearly indication that this mission has remained: the title contains the death toll in Palestine as of the given date, for one. Clearly, Godspeed are continuing to make music with meaning, even if the music itself hasn’t changed all too much. Perhaps the most beloved aspect of Godspeed’s discography is how the band have, time and time again, captured moods and atmospheres so distinctly, whether it be the hopeful crescendo of ‘Storm’ or the resigned despair of ‘The Dead Flag Blues.’ As one might expect, the group’s newest album is no less emotionally charged, with the promotional text stating ‘War is coming. Don’t give up. Pick a side. Hang on. Love.’ The project’s more ethereal, inspiring moments shine through as strongly as ever - the pleasant melodic lines of ‘SUN IS A HOLE SUN IS VAPORS,’ the beautifully romantic violins of ‘RAINDROPS CAST IN LEAD’ and the heavenly closer ‘GREY RUBBLE - GREEN SHOOTS’ are all gorgeous in their own ways - but it’s in the more despairing, hopeless moments that ‘NO TITLE AS OF 13 FEBRUARY 2024, 28,340 DEAD’ really shines. ‘BABYS IN A THUNDERCLOUD’ continues to build and build for the first seven minutes, reaching a momentous climax with an ambiguous emotion to it. When the track falls away to an isolated guitar and haunting strings, however, it plunges the song into an almost claustrophobically dismal atmosphere. This feeling is only expanded upon on ‘BROKEN SPIRAL AT DEAD KAPITAL’ and ‘PALE SPECTATOR TAKES PHOTOGRAPHERS,’ which were originally the first two parts of a longer track entitled ‘Flames.’ Combining ominous, droning bass notes with grumbling guitars and unsettling electronic sounds, the album is taken to its most terrifying of heights, where the vertigo is almost unbearable. The album is similarly wonderful musically, exploring its rising and falling emotional changes via shifting instrumentation. Many of the record’s quieter moments are filled with ambient sounds and distorted samples, blending spoken word and thunderclaps into the palate. These often fade away into more natural instrumentation, and what a lovely display it is: Godspeed fuse the distorted guitars and bass of a noise rock band with the swelling percussion and gentle strings of a pit orchestra, creating a truly intoxicating listen. The simple but effective melodies of ‘SUN IS A HOLE SUN IS VAPORS’ set up the album’s sonic palate beautifully, while the hopeful top line of ‘BABYS IN A THUNDERCLOUD’ contrasts the dark underscoring superbly. It must be said, however, that none of this is new for Godspeed You! Black Emperor, and many of these elements have been explored much more thoroughly and effectively throughout the band’s discography. While the album’s crescendos are often very satisfying and well-earned, they feel almost muted and withheld compared to the likes of ‘Storm,’ for example, and the LP’s orchestral offerings have arguably grown a little safe, so late in Godspeed’s career. Even if you had never heard any of the group’s previous output, we’d wager that the feeling would still linger that many of the album’s best ideas and moments could be taken much further— if a listener did feel this way, they would be delighted in checking out Godspeed’s first few records. ‘NO TITLE AS OF 13 FEBRUARY 2024, 28,340 DEAD’ continues Godspeed’s tradition of emotional, heartfelt projects that unfortunately lie in the shadow of the group’s momentous releases. Drawing on the tragedy and melancholy of modern times, the album is, no doubt, a genuine and wonderful listen, sporting enough sweeping instrumental progressions and ambient magic to satisfy even the most stone-faced of post-rock fans. It may be nothing new for the band, but it hardly needs to be: the record’s ability to capture today’s pervading sense of hopelessness is proof enough of its success. ‘NO TITLE AS OF 13 FEBRUARY 2024, 28,340 DEAD’ will be released on October 4th via Constellation Records. Words: Jay Kirby Photo: Yannick Grandmont

Electric Brixton buzzed with anticipation for Stand Atlantic’s headline show. It was part of their tour in support of their latest release 'WAS HERE'. The atmosphere was electric, with fans eagerly awaiting a night packed with high-energy pop-punk, emotional anthems, and unforgettable collaborations. Accompanied by main support Honey Revenge and opener Slowly Slowly, the night promised to deliver on every front—and it did. Opening the night, Australian pop-rock band Slowly Slowly set the tone with a heartfelt and punchy performance. Their laid-back yet emotionally charged set was the perfect warm-up, blending catchy hooks with introspective lyrics. Tracks like ‘Jellyfish’ and ‘Blueprint’ had the early crowd swaying and singing along, while the band’s raw energy ensured that even first-timers were drawn in. Next up, Honey Revenge brought a burst of color and attitude to the stage. Their dynamic sound, a mix of infectious pop-punk and alt-rock edge, captured the growing audience’s attention from the first note. Vocalist Devin Papadol commanded the stage with undeniable charisma, while the band’s performance of ‘Rerun’ and ‘Are You Impressed?’ had the floor jumping. As the main support, they left a lasting impression, priming the crowd perfectly for what was to come. By the time Stand Atlantic hit the stage, the crowd was ready to explode. They opened with a shortened but fierce version of ‘WAKE UP-SIT DOWN-SHUT UP,’ launching into a flurry of tracks that displayed the band’s versatility and infectious energy. Bonnie Fraser’s vocals were sharp and full of emotion, whether belting out the anthemic ‘hair out’ or guiding the crowd through the nostalgic feels of ‘Jurassic Park.’ The energy peaked during ‘WARZ0NE’ and ‘KISSIN' KILLER COBRAS,’ with the band expertly mixing pop-punk grit with their more experimental edge. Highlights like ‘Blurry’ and ‘KILL[H]ER’ had the crowd in a frenzy, with mosh pits and sing-alongs erupting throughout the night. But it wasn’t all chaos—Stand Atlantic knows how to balance intensity with vulnerability, evident in the intimate moments of ‘Toothpick,’ which included a soulful snippet of ‘Drops of Jupiter.’ A standout moment of the night came during ‘NOSE BLEED,’ when Patty Walters of As It Is joined Bonnie on stage for a powerhouse performance. The crowd erupted, feeding off the dynamic energy between the two vocalists, proving how much the scene thrives on collaboration and camaraderie. The set was full of surprises, and none were more welcome than Holly Minto of Crawlers lending her voice to ‘deathwish.’ Her fierce presence elevated the track, adding even more depth to an already high-octane performance. For the encore, Stand Atlantic pulled out all the stops. ‘Coffee at Midnight’ sent the crowd into a nostalgic frenzy, before the night closed with a bang—Devin Papadol reappeared to help the band tear through an exhilarating performance of ‘GIRL$,’ wrapping up the night in true pop-punk style, with the crowd moshing, dancing, and screaming the words back at the band. Stand Atlantic put on a performance that was as relentless as it was fun, proving yet again why they’re a mainstay in the pop-punk scene. With perfectly chosen guests, a diverse setlist, and a crowd that fed off every note, the night was a testament to their growth and energy as a band. For anyone in the audience, it was clear—Stand Atlantic’s reign is only just beginning. Words: Leah Cox Cover Photo: Anna Goley

Since their 2018 debut with ‘My Mind Makes Noises’, the Manchester-made indie rockers Pale Waves have challenged the music industry with every new release, taking a bold and refreshing approach to the rock genre as a whole. They’re never afraid to experiment with their sound on each new album, and all of this has given them a well-deserved rise through the ranks to become one of the UK's standout artists of recent years. ‘Smitten’, their upcoming fourth studio album, is no exception to this rule, delivering an emotional musical journey whilst still retaining the edgy sound we’ve come to expect and love from the band, accompanied by a classic 90's rock vibe. This 90's influence is immediately apparent before you even listen to the album, as the cover is reminiscent of scenes from such iconic sitcoms as 'Friends'. All of this, paired with amazing instrumentals and Heather Baron-Gracie's melodic vocals, feels like we’re being transported back in time and really adds to the whole tone of the album making it a truly immersive experience. ‘Glasgow’ opens the album with a catchy upbeat riff, giving off a real mix of energy that can be best described as witchy indie, and reminds us of yet another 90s classic 'The Craft' and its iconic soundtrack where this would have fit right in. The track features a cheerful sound despite the otherwise solemn message behind the song pointing to a failing love and the slow and painful acceptance of its end. This gives a taste of what you can expect from the rest of the album, which delves even deeper into the band's experiences with life, relationships and a continued exploration into their proud queerness - whilst not shying away from opening themselves up to their fans, more so than ever before. These themes continue throughout the album as each track delivers a variety of raw emotions, where a deep yearning and grief are both prevalent in many of the tracks lyrics, but also a great sense of love and hope are mixed together which makes it feel as if we are on this journey with them, navigating each complex emotion together one track at a time. ‘Gravity’ is a particularly strong track from early in the album, that touches on queer relationships and a person's or their families beliefs stopping them from being who they truly are, loving who they want to love, and the struggles that presents to the people involved. ‘Thinking About You’ is another standout, with an almost ethereal sound and heavy reminders of Alanis Morissette throughout, as it delves into coping and moving on from a love you never thought you’d lose in this soft and impactful track. ‘Last Train Home’ marks the halfway point for the album, giving one of the most emotional deliveries of the entire album so far as it recounts a one-that-got-away scenario. ‘Slow’ brings this album to its bittersweet finale, giving us a departure from the rest of the album's themes, as it delivers a glimmer of hope and the idea of the blossoming of a new love and all of its apprehensions in a light, melodic end to the album. Upon the first listen, there’s no doubting this is an excellent album reaching out strongly to their LGBTQ+ fans especially, each track is well executed and written to tell a story that although deeply personal is one we all have shared and can relate to in our own way. You can feel the passion and every raw emotion, good or bad, that has been poured into this album - with it's fresh sound which wouldn’t have any track out of place in a soundtrack to a 90's show or movie, each consequent listen resonates more than the last, making it easy to get pulled in and lost over and over again. It’s a memorable experience for fans and new listeners alike from start to finish and marks yet another high note for Pale Waves. The future is clearly very bright for the band! You can catch Pale Waves on tour between the 3rd and 17th of October across the UK. 'Smitten' will be released on September 27th via Dirty Hit Records. Words: Arcadia Craven Photos: Kelsi Luck

Gloucestershire's Broken Jaw have mixed punk and metal into one finely tuned partying machine on their upcoming sophomore record, 'No-OnE cArEs!'. With ten songs of varying levels of silly, and a pretty consistent level of heavy, they're here to have some fun and maybe take your eardrums for granted. First up we rock and roll our way straight into the title track of the album, and one thing's for sure - it can never be said that Broken Jaw don't know how to emphasise something. Not only do the album and first song share a title, the first words said are the same and in fact are repeated over and over for an intro until vocalist Nutzie Shelley launches the song off the edge with a monstrous growl. The song features plenty of the standard tenets of both punk and metal, with screams and riffs and pummelling drum lines galore. 'Caviar & Cigarettes' continues this trend, with some particularly impressive double bass drum work as well as some more punky lyrics to begin with and even what sounds like the somewhat late entry of my true favourite instrument, the cowbell! Afterwards comes the second of the singles released thus far, the ludicrous 'Pineapple Pizza'. The only way to describe the treatment of the bass drum in this song is an obliteration, so if you're a fan of your tech death drumming, a large swathe of this will be completely up your street - and any fans of a fruity pizza will also find a lot to latch onto! The third and final single comes immediately afterwards, and 'Chicken Nugs' is another track rife with unseriousness. For those who enjoy a nice post-drink chicken nugget or ten, you'll find a relative love song to that exact activity tucked away at the fourth spot on the album. As we make our way towards the halfway mark we meet 'Melt', which has both the heaviest vocals thus far and then briefly the most snotty, snarky punk vocals right after. This feels a little more nu-metally than the previous songs, with a good groove and bounce as well as some seriously high levels of attitude that'll feel like home to any fans of Korn, Limp Bizkit and Slipknot. Track six, 'One Ply Bogroll', is an ode to the plight of poor quality toilet paper demonstrated wonderfully by the line "F*ck this (x6) one ply bogroll!". 'Serpents Lair' almost goes into straight up death metal, and without a few of the less heavy vocals it would probably class as one! Bassist Josh Hughes and Nutzie are clearly working overtime on vocals, alongside the perenially crazy drummer Sean Watkins. There are also some particularly satisfying pinch harmonics and squeals here, courtesy of Sam Aston and John Virgo's guitar-weilding ability. 'Lighter Fluid' is no less intense, and has yet more of the obscene drumming we've almost come to expect now from Mr Watkins. Yet more riffs spill out of the song, and Broken Jaw feel like they're very comfortably in their stride. Even though we are nearly at the end of the album, the five piece have not slowed up or faltered once yet. 'Milk Guns Honey' threads the needle of nu-metal and death metal for the majority of it's runtime, which seem to be two of the biggest influences over the album and have come together very well here. At the end of the album, the song 'SYSTEM ERROR' meets us face to face to walk us to the pearly gates at the end of the record. Letting the quiet intro lull is into a relative sense of security, they then throw us into the deep end of a nicely swung groove with gutturals galore atop it. This has the feel of the slowest track on the album, but also has the most overtly singalong-able chorus, and right towards the end we even get some more of the mental double bass that's surely plagued the chest cavities of many. On 'No-OnE cArEs!', Broken Jaw have set up shop around a musical concept and defended it with their lives. Whilst I wouldn't suggest that subtlety is their strong suit, they know what they're good at and do it very well - that being, slightly silly and pretty heavy punkish metal. With a mischievous grin and a cowbell, Broken Jaw have come out with a very solid offering that'll keep you entertained throughout. Words: Jake Longhurst Photos: Me

Punk has always been more than just music; it’s a defiant way of life, a cultural rebellion, and a rejection of mainstream commercialism. From its inception, punk has been about raw energy, DIY ethics, and anti-establishment ideals. However, as punk has evolved, the lines that define it have blurred, leading to intense debates within the community. The gentrification of Camden, the commodification of punk aesthetics, and the rise of artists like Yungblud, who straddle the line between rebellion and recognition, all raise the question: where do we draw the line? When does punk cease to be punk? Camden: The Commodification of Rebellion Camden, once the beating heart of London’s punk scene, has transformed dramatically over the decades. In the late 1970s, Camden was more than just a district; it was a symbol of resistance, a place where punks embodied the DIY ethos and challenged societal norms through their fashion and music. The streets were lined with independent stalls selling homemade band merchandise and second-hand leather jackets, representing the unfiltered energy of punk. Today, however, Camden has become a tourist hotspot, and with that, its punk roots have been commercialised. The markets that once thrived on authenticity are now flooded with mass-produced "punk" clothing and accessories, sold to casual consumers and tourists looking for a taste of rebellion. The transformation of Camden from a hub of non-conformity to a commodified attraction forces us to confront uncomfortable truths about the future of punk. Has punk in Camden become a mere product, stripped of its substance and sold to the highest bidder? Many would argue yes. The once-vibrant scene has been repackaged and marketed, turning punks into nostalgic backdrops rather than genuine expressions of rebellion. This gentrification reflects a broader issue within punk: the struggle to maintain authenticity in a world increasingly driven by consumerism. Punk, a movement born out of opposition to capitalism, now finds itself consumed by the very forces it sought to resist. Yet, despite this commercialisation, Camden still holds a special place in punk’s history. It remains a gathering spot for those drawn to its legacy, a place where the spirit of punk lingers, albeit in a diluted form. Camden's transformation challenges us to reconsider what it means to be punk today. Can a movement rooted in anti-establishment ideals survive when its symbols are commodified, or does this evolution signal a broader change in punk’s meaning? Yungblud: Rebellion or Recognition? Yungblud has positioned himself as a voice for misfits and outsiders, channelling the rebellious spirit of punk through his music and persona. His lyrics, which tackle themes of non-conformity and social resistance, resonate with the punk ethos. However, his decision to launch the high-end fashion brand B.R.A.T. has sparked significant debate about his authenticity as a punk artist. The issue is not just the cost of the clothing but the contradiction inherent in Yungblud’s embrace of designer fashion while claiming to uphold punk values. Punk has always rejected mainstream consumerism and the pursuit of profit, so how can an artist who profits from high-end fashion still consider themselves punk? This tension highlights a broader dilemma within the punk community: how to balance success and commercial ventures with punk’s anti-capitalist roots. Some argue that Yungblud’s commercial success and foray into fashion signal a departure from punk’s core values. By engaging with the very consumer culture that punk opposed, he risks undermining the authenticity of his message. Punk was never about capitalising on an image; it was about creating something raw, real, and resistant to commodification. However, others see Yungblud’s actions in a different light. Despite his commercial ventures, Yungblud continues to champion punk’s core values, using his platform to speak out against social injustices and advocate for the marginalised. His initiative at Bludfest, where he launched a free ticket lottery for low-income families, demonstrates a commitment to inclusivity and community - key tenets of the punk ethos. Yungblud’s situation raises critical questions about the nature of punk in the modern world. Does the good he does, and the values he promotes, outweigh the negatives of his commercial success? Can punk adapt to new realities without losing its edge, or does any brush with mainstream success inevitably compromise its authenticity? The Profit Dilemma: When Does Punk Become a Product? The role of profit in punk is one of the most contentious issues within the community. At what point does success render an artist or movement too commercial to be considered punk? Historically, punk has been fiercely anti-capitalist, rejecting the commercialisation of art and culture. But as punk bands and artists achieve mainstream success, their authenticity is often questioned. Take the Sex Pistols, for example. Despite being one of the most iconic punk bands, they signed with major record labels and achieved significant financial success. Some argue they sold out, while others believe they used the system to spread their rebellious message to a broader audience. This debate remains relevant today, especially with artists like Yungblud, who walk a fine line between rebellion and commercialisation. Is profit inherently anti-punk? Or can punk exist within the mainstream without losing its essence? If punk is defined solely by its opposition to the mainstream, then many of its most influential acts could be dismissed as inauthentic. But if punk is about the message and the intent behind the music, then perhaps commercial success doesn’t necessarily negate one’s punk credentials. This debate forces us to confront what truly defines punk: its opposition to the mainstream or the spirit of resistance that underpins it. Modern Media: Dilution or Evolution? In recent years, modern media, particularly platforms like TikTok, have sparked debates about whether punk culture is being diluted. Critics argue that punk has become more of an aesthetic than a lifestyle, focusing on superficial elements rather than the principles that originally defined the movement. While there is some truth to this, it’s important to recognise that modern media also offers new ways for people to discover punk. Every generation has had its own entry point into the culture, and for today’s youth, social media is that gateway. Dismissing those who are new to the scene as "posers" overlooks the potential for genuine engagement with punk values. Instead of gatekeeping, the punk community should guide and educate newcomers, helping them navigate the deeper layers of the culture. The essence of punk - challenging the status quo, rejecting conformity, and forging your own path - remains intact, even as the platforms for discovering it change. Modern media may introduce new fans through different channels, but the rebellious spirit of punk can still thrive if it’s nurtured and directed towards meaningful engagement with the culture. Redefining Punk for the Future The debates surrounding Camden, Yungblud, profit, and modern media highlight the complexity of defining punk in the twenty-first century. The punk community has always been protective of its identity, wary of anything that might dilute its message or betray its values. Yet punk has also evolved, adapting to new contexts and challenges. Perhaps the essence of punk lies not in rigid definitions but in its ability to question and challenge, to resist easy answers and refuse to be boxed in. Punk has always been about pushing boundaries, whether they’re social, political, or even internal to the movement itself. As punk moves forward, the community must grapple with these questions, navigating the complex landscape of authenticity, success, and cultural change. What remains clear is that the spirit of punk - its defiance, creativity, and commitment to challenging the status quo - will continue to inspire and provoke, even as the line defining what is truly punk becomes ever more difficult to draw. Words: Vee Richardson Cover Photo: Nevaeh Anning - Photo of Glitchers In-Article Photo: Emma Shaw - Photo of Frank Carter and the Sex Pistols

Possibly up for the award of longest album title of 2024, Xiu Xiu's '13"Frank Beltrame Italian Stiletto With Bison Horn Grips' arrives for fans in less than a week. The album is a nine song long look into existence and darkness, that may prove as difficult to listen to as it could be rewarding. Right out of the gates, 'Arp Omni' begins as if the prelude to an uneasy album of abrasive noise before sharply pivoting and instantly becoming a heartwrenching ode to a loved one from someone who feels they "have done almost nothing right [their] entire adult life", but spending life with them broke their chains from being "nothing". This immediate gutpunch of a song is but a moment of brutalistic melancholy, though, as 'Maestro One Chord' changes tack wholeheartedly to become a dark, synth/electro based syncopated post-punk soundscape. Bringing abrasive elements, babyish sounds, and a heavy bass to lyrics that at face value appear bizarre should make for an unlistenable mess, but Xiu Xiu's expertise of the fringes of music keep the song from going off the rails, and instead allow it to be a blend of all that can be good about musical boundary pushing. The lyrics paint a picture of a being in space, curious about existence and yet unable to comprehend it's own. The sonics of the track carry on into 'Common Loon', although the lyrics appear to discuss both sides of a discussion about being loved despite changes, with the first verse being one person's fear of losing someone's love due to change, and the second verse is them being told to not worry about it right now as there's nothing to do now. It's a message that many should hear, delivered over another electronic soundscape that, whilst not being soothing or calm, is upbeat and keeps the song from being mournful. The fourth track, 'Pale Flower', introduces more abrasive elements - especially after the first chorus. The song starts off electronic, but slowly descends into relative madness via unsettling stabs and noise breaks that creep into the song almost unnoticed at first. They then abate for the next verse and chorus before you can dig into them too much, but before you know it the duo are back and have you on the edge of your seat, gripping your head and wondering who could have possibly created such a deeply unnerving piece of music. The piece that most quickly comes to mind is the poem Gene Wilder recites in Charlie and the Chocolate Factory, as a vague comparison. As the midpoint of the album looms large, we reach track five of nine, 'Veneficium'. Yet again, the duo feel as if they are discussing life and existence, but now from the point of view of an almost Cassandra-like figure, who has been repulsed by society and knows naught to do but carry on in spite of the horrors that life is certain to bring. Musically again this piece is heavily electronic, but with some consistent noise elements that match the tone of the lyrics to perfection. This existentialism is somewhat continued on 'Sleep Blvd', where the concerns of life and the fears of humanity are left behind as the listener descends into "The Discotheque". The music reflects the lyrics and ups the ante on the techno, drawing from influences of house music as well as harsh industrial to capitalise on the lyrical content. 'T.D.F.T.W.' (The Devil Forgiven That's Why) takes the listener on a real journey between a vast industrial techno soundscape and yet more uncomfortable lyrics. They seem to be about the last moments of life, and the last person you think of as you pass, but truly the lyrics are far too dense to tear apart so easily and will benefit from relistens in order to truly uncover what the duo are actually singing about. The penultimate song 'Bobby Bland' is just as lyrically vague, but with lines about meat being "locked in a toolshed", or "rent by the light of [a] candle" it would certainly appear to be a deeply unsettling set of lyrics about dismembering someone. Musically they help this feeling with all sorts of juxtaposed sounds underneath the permanently unsettling electronic music we've heard thus far, which extends into the final song on the album 'Piña, Coconut & Cherry'. This final song deals with concepts of godly omnibenevolence and the will of a god to act as well as suggesting the decline of religion in the modern world, and also about ownership, happiness, and obsession. The duo's abrasive musicianship comes to a head here with repeated calls of "Fantasy!" coming frantically throughout as if suggesting the whole set of lyrics are untrue, or in a more depraved perspective could be that the subject of the song sees their life as just fantasy, or rather wishes it was - neither of which being particularly good. The LP finishes with both a flourish and a sudden halt, that allow you to take your first full breath since you started listening. Xiu Xiu's new album is likely to be a difficult listen for those not accustomed to abrasive music, but for anyone willing to give it a go they shall be rewarded tenfold by an album with lyrical depth and themes, a wealth of musical expertise, and an unsettling look at the way life can oh so quickly get away from us. Not only is this an excellent album, it's a brilliantly written and composed look at the human psyche and the darker parts of the mind. '13"Frank Beltrame Italian Stiletto With Bison Horn Grips' is released on September 27th via Polyvinyl Records. Words: Jake Longhurst Photos: Xiu Xiu

When you think of Southampton's metal scene, amongst others there is one band that comes to the forefront of your mind - Our Hollow, Our Home. Since previous album 'Burn The Flood', things have changed for the band with an almost completely new line up following an announcement back in February 2023. They released a single 'Downpour' featuring the new members Gaz King (vocals), James Hackett (guitar), Matt Thomason (bass) and Kieran Tonks (drums), alongside the last remaining member from previous line-up Tobias Young (guitar/vocals). 'Hope & Hell' is the long-anticipated last album from the band. In 2024, we unfortunately see the end of the band with this final album, containing the singles 'Funeral Verse' and 'Burial Season' giving fans a chance to prepare for the last farewell. 'Castaway' opens the album and provides fans with a welcome back feeling, featuring a familiar sound and a fresh energy that gives long time listeners a bit of the sound they have come to expect from Our Hollow Our Home. Title track 'Hope & Hell' gives a taste of what this album is going to be bringing, as the new members truly shine with vibrant riffs, hard hitting vocals and powerful drums. Grief is a theme of many of the lyrics on this album, covering the coping stages of raw emotion and differing perspectives on it. 'Burial Season' is rich in the early stages but also moves into the concept of finding hope in the tragedy, reminding listeners that in going through these situations they are not alone. 'Veil Walker' continues this on the journey of the grief of losing a loved one and wishing you could trade their life for yours, whilst also never letting them be forgotten and reminding the listener that in memory they will live on. Ending the first half of the album is 'Lifeline' which further delves into the line of the previous track, dealing with living on to make someone proud even though they're no longer here. If you are a long time fan of the band, you may be familiar with the album 'In Moment / / In Memory'. The band pays homage to it with a sombre piano lead and melody driven track 'In Reflection'. Being the band's most emotion filled song of this album, it feels like a continuation to one of the bands songs 'Parting Gift', with it featuring similar lyrics and sonic concepts. On a first listen, this is a great album that hits all sorts of markers - however, when listening to it more with the band's separation in mind, lyrics like “And when it's over I hope you find your closure“ in the track ‘The Worst In Me‘ do have a different interpretation for the listener. Some may even think of the album differently as whole, with more perspective of how the band's members may be feeling. Bringing a bittersweet conclusion to an incredible swansong to the band's story, they leave fans old and new with this final album. The beautiful thing about music as that even as bands come and go, the music they leave behind acts perfectly as their legacy. What a fantastic way to do it like Our Hollow, Our Home have done here with 'Hope & Hell'. However, whilst the end is nigh for one band, another door has opened and guitarist James has taken the opportunity to continue doing music, not letting what is happening with the band stop him. He is going to display music related bits on his Instagram, and his perseverance is hopefully going to be an example to people that even when times get very hard, and may seem like the end, it's always possible to pick yourself up and keep going, even if it means starting over from the beginning. 'Hope & Hell' is released on September 27th via Arising Empire. Words: Lucas Grayson Photo: Oli Duncanson