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Introducing Warlock A.D’s second debut album, ‘Book II: The Valley of Vâgené’ the sequel to the much-loved and well received ‘Book I: The Resurrection’, featuring their well-known hits such as ‘Skyrimming’, ‘Gerlat of Labia’ and ‘The Resurrection’. This is their second full length album where you will be transported into a new story and journey. Warlock A.D. have begun their new quest in ‘Book II: The Valley of Vâgené’ where the legend continues. Storywise, you're launched into their immersive world from the very beginning on tracks 'A Strange New World (That is not My Own)' and 'The Valley of Vâgené', where you find out that Whiteacre The Nomad has been separated from his brothers following an intense battle with Bol-Saix the Decimator. He finds himself powerless and stranded in a strange new world, the land of Brittanni. He requires the help of Quinn Eilianther the Elven Price, Horatus the Mushroom Wizard and Ahriman Cullblade the Shadow Assassin to ensure their successful getaway to The Valley of Vâgené. The fate of Brittanni rests in these heroes' hands. This makes a smooth transition from the album's start, setting the scene to how they further on their quest. As we continue through the album, 'Nanum Imperium' has deeper growls and symphonic riffs changing it up giving the album a taste of a variety of genres. 'The Golden Showers of Prestønia' begins slower than the other songs, making it the (relative) ballad of the album, featuring elements of female voices - and after listening to this I wouldn’t be recommending drinking the water from Preston… Leading straight into 'By the Path of the Exiled', the band bring us back into their journey through the mountains and paths to then be approached by Rothgar Warsong. This song is very merry, with the flutes in the back transporting you into a tavern where you could be drinking mead, doing some dad dancing, or brawling. After finishing all the mead we're back into a battle song called 'As One, We Stand!' which makes you feel like Whiteacre The Nomad is recruiting you onto the journey. 'Ancient Dragon of Storms Flüffir Mighty Guardian of Valley (Techno Wyrmhole)' adds a different feel to the album, as it sounds like there is a lot more going on behind with the synth and the levels of pitch used throughout, making it very video game-like. It feels like something you would hear as a backing track for a retro game while trying to beat the final boss in the final level - however in 'The Sacred Spears of Brittanni' you hear about how you are going to slay this dragon, bringing it back to its fast-paced journey with plenty of tasty growls and melodic vocals. 'Stormbreather' begins with a retro beginning that is just like playing on a Nintendo 64, whilst the operatic vocals make you feel as if you're inside a storm, which adds to all the elements of the rain, wind, lightning and thunder thorughout. Those, combined with the growls later on, lead to a veritable eruption of a track. ‘The Sword of Cühm’ has a fantastic transition that adds a further twist to this fantasy tale, making us sit on the edge of our seats, smoothly bringing us into the final track of the album that is ‘The Rising Flames of the Eternal Golden Empire Rise’ and made us wonder what is going to happen next. The album rocks and rolls with the fun you could expect of a band who roll for their songs live on stage, and has plenty of fun storytelling to keep you hooked if the music won't do that for you. Hopefully we will get to see more very soon from Warlock A.D and understand how they can continue to further push their story as a fantasy band. 'Book II: The Valley of Vâgené' is released on September 27th via Rockshot Records. Words: Ciara Hicks-Evans Photos: Warlock AD

Florida’s finest Rain City Drive are back with their ever-evolving alt–rock, and their much anticipated second album ‘Things Are Different Now’. Following on from the captivating 2020 release of ‘To Better Days’, this second LP is a clear statement of intent from the band. Now that this album is out in the world, Rain City Drive can continue to push the boundaries of rock with the mix of synths, punchy guitars and amazing vocals. Kicking off this album is the unapologetic ‘Lose My Composure’, which is the perfect opener as it's got some insanely catchy vocals from Matt and screaming riffs. ‘Wish You The Best’ comes next and is a melodic break-up song powering through with pounding guitars and striking vocals once again, as well as some seriously punchy drums. There were some lyrics that really stood in this song as being particularly emotive - ‘I only wish you the best even though you’re the worst, when I'm feeling depressed, I miss the way it hurts’ which is certain to hit a lot of people close to the heart. ‘Concrete Closure’ is an anthem which echoes post break-up songs from the 2000s rock era – it's chock full of melodic guitars and beefy drums with added synths, which really set this track up to be a hit. Coming straight afterwards is ‘Medicate Me', which was the first single to be released from this album, and is a brilliant collab alongside DaySeeker that no-one saw coming. It’s so catchy and is a truly captivating song, and makes for a right proper ear worm. Conversely, ‘Frozen’, the song after, is a striking anti- ballad with an eclectic mix of melodic riffs and meaningful vocals, making for another incredible track with Matt bringing a memorable vocal solo on this track, albeit one that is excellent in such a different way from the track prior. This works it's way into the penultimate track on the LP ‘Neverbloom’, which was the second single to be released prior to the album, and has had the new video for it (below) drop less than a week ago. Matt brings his powerful vocals once again to this track alongside the big guitar hooks that litter the entire runtime. Matt explores the darker side of his vocals with the story telling lyrics on the closing track ‘Sacrifice’. This is the perfect moment for a sonic curveball, pairing roaring synth alongside upbeat dance backing sounds in the perfect way to cap off the Floridians' sophomore album. ‘Things Are Different Now’ is fast-paced, foot-tapping rock album, which carries all of the emotional weight of break-ups, heartbreak, and loss, yet doesn't ever feel sorry for itself or for the listener. The sonic twists and turns throughout the album mimic those of the grief process and how very non-linear it is, allowing you to feel connected to the album in a much deeper way than you otherwise could if it expected you to just gradually get better incrementally. Rain City Drive have set up their stall with this and will need an extraordinary third album to top this. Best songs - ‘Medicate Me’, ‘Concrete Closure’ and ‘Neverbloom’ 'Things Are Different Now' is released on September 27th via Thriller Records. Words: Lisa York Photos: Rain City Drive

No you are not dreaming, Nightwish has awakened generations of fans by releasing a new album, three and a half years in the making. This tenth studio album, entitled ‘Yesterwynde’, came out today and takes its listeners on a 71 minute time odyssey. Approaching the themes of origins, legacy and ancestry, this new opus also walks in the footsteps of ‘Endless Forms Most Beautiful’ and ‘Human :II: Nature’, bringing the trilogy to a close. Quite a lot of expectation to live up to, isn’t it? We are brought back in time by the intro track 'Yesterwynde' which opens on the sound of a film reel turning. It takes a turn from the dynamic built up we are used to as starters of Nightwish’s albums and sets the tone to an unusual album. Transitioning into a dark choir chant, we skip through different times, styles and spaces leading to the clear voice of Floor Jansen acting as a storyteller.  As if to link ties amidst the surprise, the choir connects us into the following song named ‘An Ocean of Strange Islands’ which brings elements instantly recognisable as Nightwish with an alliance of powerful guitar riffs, orchestra and masterful vocals. The band seems to look to its own genesis too, with a theatrical background for the song that evokes an ‘Imaginaerum’ atmosphere mixed with a heaviness we haven’t seen as much of since the ‘Once’ era. Interestingly enough, the song ends with an uilleann pipes melody that doesn’t seem to connect to the next track but correlates with the one we can hear in ‘Spider Silk’ towards the end of the album.  ‘The Antikythera Mechanism’ starts a drastic change straight from its intro with an arrangement we wouldn’t associate with the band but is instead just the start. ‘The Day Of…’ seems to bring a new timeline altogether. With a strong 80s pop feel and synth background, it builds a bubble of confusion before bringing back a choir element towards the middle of the song which also melts into heaviness again that continues into the second pre-released song ‘Perfume Of The Timeless’. While all the elements for success are there, the track leaves an unfinished taste in the mouth. Its catchy chorus, chord progression and jazzy elements are very powerful and looping back to other songs. It contains one of the most impactful and impressive drums breakdown by Kai Hahto but you really need to focus to hear it. The orchestra and keyboards seem more prominent in the mix, burying other parts including the lyrical and leaving us hungry for more. ‘Sway’ comes as a soft, ethereal and epic story preparing you to an adventure we saw hinted in the intro. We can’t help but think that in retrospect this song could have been a good transition right after the intro to prepare for ‘An Ocean of Strange Islands’. Especially as ‘Children of ‘Ata’ brings new elements for the band such as the Tongan choir coming in on an earthy wave landscape before very 80s disco and synth heavy verses breaking into a more recognizable heavy chorus. ‘Something Whispered Follow Me’ keeps us in that era but switches styles by getting into the spirit of an 80s rock ballad. The important storytelling aspect stretched by Tuomas Holopainen can especially be felt in the two following songs, ‘Spider Silk’ and ‘Hiraeth’ which feel more focused and intentional in their communication of the message. They both contain a more gentle but strong touch and edit of what gets featured and highlighted. They each manage to build a distinct universe that deserves to be explored. As we reach the last songs, ‘The Weave’ hits with a powerful bass line by Jukka Koskinen which carries the song throughout, brings forward the drums and gritty guitar riffs. A firework before ‘Lanternlight’ which gives a feeling of outro song. The gentle piano melody and light singing from both Floor and Troy brings a sense of lullaby, of conclusion to a story before a deep slumber. The film rolls once again at the end, bring us full loop to the start. When one adventure finishes, another one starts. We were warned that ‘Yesterwynde’ would not be not easy to digest. While bringing confusion on the first listen, it does create a spider web of cross references throughout this record and the band's whole discography that fans will appreciate. However, being mastered seven times until it reached the form you hear, it makes us question how much is too much? The storytelling may feel like it is getting lost at times under the overpowering instrumentals and chaos. While impactful, it may be taking itself too seriously to some extend and lose details in translation. As with each track and style on this album, each listener’s experience of it is bound to be unique, so hang on tight! Words: Lysandre Pons Photo: Tim Tronckoe

A night full of nostalgia and noughties hits in sunny Margate was kicked off by first support act, four-piece band; SOAP. Busted fans were already familiar with the high-energy band after also being the opening act for them on their 20th anniversary arena tour last year under their previous name, The Tyne. With evident pop rock influence and recommended for fans of Fall Out Boy and Paramore, they were the perfect band to get the crowd warmed up for the unforgettable night. Next up was YouTube star NOAHFINNCE, with an energetic blend of indie and pop-punk vibes, the crowd were certainly getting pumped for Busted. Noah’s impressive vocal range was paired with punchy guitar riffs and an infectious stage presence, drawing the crowd in from vendors as the set continued. With each song, Noah’s fun and dynamic interaction with the audience kept the energy levels soaring with the crowd mirroring his and the band’s enthusiasm. With a UK tour coming this November, NOAH FINNCE is definitely one to watch. Just after the sun set, at 9:15 busted hit the stage with none other than their hit ‘Air Hostess’ and all of the 20 and 30-something crowd were swept into a wave of nostalgia as if no time had passed since we first heard their iconic tracks. The energy was off the charts and this was only the beginning of the hits! Next up were some more fan favorites; ‘Meet You There’ and ‘Loser Kid’, both reimagined on 2023’s Greatest Hits 2.0 reboot. These tracks showcased a slightly more matured and evolved version to the Busted we grew up with, blending their signature sound and lyrics with a modern twist. The crowd however, haven’t changed a bit, singing along to every word with the same passion that the three piece poured into their performance. Busted then followed up with more classics, starting with their chart topping single ‘You Said No’, followed by ‘Everything I Know’ and ‘Sleeping With The Light On’ all taken from their iconic self-titled 2002 debut album. By this point, the nostalgia was in full swing, all singing at their top of their lungs, immersed in the trip down memory lane. The band then launched into a high-energy cover of Hanson’s 1997 hit “MMMBop”, a track that also appears on their Greatest Hit’s 2.0 album. A thirs into the set, the atmosphere was nothing short of electric. Introduced by bassist Matt Willis, ‘Good One’ was the first new song of the night. The catchy 2023 single had the crowd swaying in unison with hands in the air. Despite it being a much newer track, it felt instantly familiar, blending with Busted’s string of classic hits, showcasing the band’s evolution. The crowd absolutely erupted when Busted launched into their iconic hit ‘What I Go To School For’. With the updated lyrics cheekily acknowledging Miss. Mackenzie’s age-now 53-the fans were belting out every word as if it was 2002 all over again. The sea of red ties, throwback Busted T-shirts and smiles in the crowd created a scene that bought everyone back to their school days. The nostalgia didn’t stop there and kept going when they powered right into ‘Who’s David’. Every song seemed to spark more of a reaction than the last, with louder screams and each chorus louder than the last. As the set drew to a close, next was 2004’s ‘Thunderbirds Are Go’, the iconic song written by McFly’s Tom Fletcher and Busted’s own James Bourne, for the film Thunderbirds, ignited the crowd with a sea of flashing lights and swaying hands. The momentum continued with the unforgettable B side ‘3AM’ and ‘She Wants To Be Me’. Charlie’s vocals are still as flawless and powerful as ever. Busted started to close out the night with an electric performance of their legendary single ‘Crashed The Wedding’. With over 31 million streams to date, this iconic track ignited the crowd yet again. Following the performance, we heard a story from bassist Matt Willis about video’s he had seen of McFly bad mouthing them, asking the crowd to scream louder if they thought Busted were better than McFly. They then smoothly moved into their final and most iconic song ‘Year 3000’, with Matt saying that McFly would go off stage and make everyone ask for an encore. Words: Lorna Hayes Cover Photo: Simon Arinze

For the second full-length release from Denver's Glacial Tomb, the general public are about to be gifted a hulking behemoth of metal. 'Lightless Expanse' is a putrid mixture of the foulest music around, with large parts taken from both death metal and black metal but plenty of sludge, doom and even sprinklings of hardcore can be heard on a listen through. Kicking things off with a suitably ominous first track title, 'Stygian Abattoir' sets the scene and sends the average heaviness of the area careening downwards. With chugged riffs, gutturals, and a thoroughly destroyed bass drum the band are setting up for a strenuous 40 minutes of cavernous brutality. Ripping into the second track 'Voidworm', the fourpiece sound as big as any six or seven member group with squeals and blasts every other second. Tempo changes are rife across the whole album, with particularly satisfying examples all throughout this song that will cause your face to contort almost involuntarily. As the listening experience continues, a unique phenomenon occurs whereby you can feel yourself getting both smarter and stupider, as the cosmic sounds and themes make you feel wise beyond wise whilst the brutal riffs and shrieked gutturals bring out the caveman-with-a-club inside us all. 'Enshrined In Concrete' and 'Abyssal Host' provide plenty of both, with technical wizardry being paired up with underbite-inspiring breakdowns. Ben Hutcherson's inhuman vocal displays are a sound to behold, and his guitarring chops are not to be sniffed at either, whilst David Small pummels the low end into submission on bass and Mike Salazar engages in a furious arm-and-leg day at the gym from behind his kit to keep everything pinned down rhythmically. The middle of the album does not let up, nor does it weaken in its writing or song titles. 'Sanctuary', the fifth song of the nine, is perhaps the least interesting title but does more than enough within its four minute and eighteen second runtime to make up for the fact. Immediately afterwards however is 'Seraphic Mutilation' which is a stone cold classic, one meat and two veg, old school death metal song title that we know and love - yet again with more juicy riffs and enough growls to scare off a pack of lions. As the final third of the album rolls into view, we are yet again subject to more artillery drumming, icy guitar and acidic vocals. 'Worldsflesh' and 'Wound of Existence' are the two shortest songs on the album, at 3:36 and 3:35, although the longest track 'Enshrined In Concrete' is only 4:22 so there is not a significant difference anywhere. The final track on the album is the title track, and 'The Lightless Expanse' lives up to its position as album closer and titular song. With gargantuan leads, a club-swinging tempo, and vicious vocals, the trio have smashed each song here. Not only are the small solos dotted throughout wonderfully technical, the consistence of each song is remarkable and every track has something new to really engage with. Whilst it 'Lightless Expanse' is a dense listen and will need attention in order to properly discern songs from each other at a glance, the effort is more than worthwhile as Glacial Tomb have served up one of the best extreme metal releases of the year. For the discerning death metal and black metal fan, this will serve you extremely well as a new album to dig your teeth into, and for those trying to get into the genre then you'll find plenty to love in this sonic abyss. 'Lightless Expanse' will be released on September 20th via Prosthetic Records. Words: Jake Longhurst

156/Silence’s fourth album is a love letter to the scene, combining classic metalcore structure and sounds with dreamy vocals and hardcore riffs to create a dissociative metalcore piece that will make you feel like taking a long walk atop a steep hill on a dark night. Honed skill emanates from one track to the next on this album; where 'Target Acquired' and 'Sleep Spikes' draws you in with a classic hardcore sound, the second single 'Better Written Villain' takes the listener back to pure metalcore with passionate clean vocals and exemplary instrumental. The whole album informs listeners that 156/Silence are in their stride, complete with a three act structure providing eerie eyes in the storm of this project akin to the ones that pierce you on the album’s cover. That is not to say that there has been no room for new elements - 'Blood Loss (ft Carson Pace)', 'Wants I Need (ft Craig Owens)', and even the title track 'People Watching' all include spoken word elements within their runtime. Though unexpected, kudos must be given to a band for trying something different in a genre that can often melt into itself. These tracks create poetry covering themes of marginalisation, the failing of others to meet standards and frustrations with culture that resonate heavily, especially when cut with passionate vocals displaying a warranted anger at the state of the world around 156/Silence. Highlight tracks on this album include initial single 'Unreasonable Doubt', as well as 'Change Agent (ft Trae Roberts)'. The former features walking hardcore riffs and is anchored by its sincerity when you are asked ‘what have you learned from this?’ before being launched into an intimate retelling of trying to break free from another, with the final reprise a reminder that a slowing down does not mean an end. The latter is a pull-no-punches piece of hardcore polished with the inclusion of Trae Robert’s guttural vocals and a multi-part breakdown that could take pride of place on any metal rotation. The final two tracks, 'Terms and Conditions' and 'Healing Process (Leave of Absence)', serve as the crescendo and a culmination of the anger that has built across the previous 12 tracks. 'Terms and Conditions' challenges the intentions of its subject through its explosive beginning and accusatory final bridge, while 'Healing Process (Leave of Absence)' is a six minute ballad where vocalist Jack takes you through every stage of waking up and letting go with raw honesty and finishes with a mantra for the recently healed. Overall, 'People Watching' serves as a metalcore playbook from a band who are not only comfortable in their space but are ready to expand it, and is an earnest and passionate project as willing to show its writers' vulnerabilities as it is to show their anger. 'People Watching' is released on September 13th via Nuclear Blast Records. Words: Julia Brunton Photo: Nick Chase

Synth-rock duo Zetra’s debut album is a shadow-cloaked journey through the universe, catastrophe and rebirth. Storytelling is a strength for the London band, creating fantastical landscapes full of questions and scathing commentary. Their mysterious personas combined with their mystical sound make for a mesmerising odyssey. While ‘Zetra’ is their first full-length album, Zetra have been making music since 2018. They maintain an air of mystery in every part of their public personas, fully committed to the drama, wonder and ambiguity that define their music. They list Gary Numan, Sonic Youth and Deafheaven as influences, and have toured with Creeper, Godflesh and SKYND, so are well at home amongst a variety of their dark and twisted peers.  The album begins with foreboding guitars that transcend into dark, ethereal vocals. The opening track, ‘Suffer Eternally’, is a fitting introduction to the eerie world of Zetra. Surprisingly catchy for a song so soaked in misery, the melody feels spiritual, almost trance-like. This incorporeal flavour is especially palpable in the second track, ‘Sacrifice’. Despite the use of synths, there is an unmistakable feeling of connection to nature - of something bigger than music. It feels as though they have control of the elements - the cry of “we beg for rain and now we face a deluge” is followed by a crescendo that feels as though it embodies the very rain they've been singing about. The entire album is a constant dance between sharp and smooth, mourning and rage, the balance tipping in each direction only briefly. The bite of Svalbard’s Serena Cherry’s growling vocals against the band’s sorrowful harmonies during ‘Starfall’ is cathartic, with an undercurrent of desperation. Their control of tension is remarkable, constantly breaking before being pulled back under. Other features are Kælan Mikla’s Sólveig Matthildur Kristjánsdóttir in ‘Shatter The Mountain’ and Unto Others’ Gabriel Franco in ‘Moonfall’, who blend perfectly into the complex blanket of Zetra’s sound.  The duo’s voices blend together into an indistinguishable voice, which often feels like some form of disembodied being. This fuels their character-building in every instance, especially the hypnotic, manipulative narrator of ‘The Mirror’ - giving voice to the darkness of human nature. At many points throughout the album, the vocals feel as though they could be a distant echo through mountains or even the voice in our heads, feeding the otherworldly ambience.  The end of the album feels somehow both apocalyptic and holy in one go. ‘Gaia’ is a gothic dance through the end of the world, while ‘Moonfall’ is the real climax of the album, and truly does feel like watching the moon fall in slow motion. The theatrical track has twists and turns, showcasing the band’s range while still maintaining their distinct style. ‘Miracle’ is a rebirth, relief from watching the world end and reform.  Zetra leaves us fully converted to their peculiar cult, wondering what will take the place of the world that has just been built and torn down. An undeniably fantastic album for lovers of dark romanticism and layered synth, ‘Zetra’ is a very exciting debut. Catch them on tour with HEALTH across Europe soon. 'Zetra' is released on September 13th via Nuclear Blast Records. Words: Gabriella Bosticco Photos: Zetra

As our collective brat-pop summer has come to an end, driven by the disparate forces of Charli XCX and Oasis, we turn towards autumn and winter - however, contrary to the mighty Green Day we would like to stay awake all September to see some of the amazing gigs coming up this month! Whilst this would usually be done in chronological order, it feels right to allow the behemoth news of Linkin Park's reunion to take first place here, as they're playing London's O2 arena on the 24th of September - less than three weeks post-reunion and they'll be back in the UK! It is a surreal vibe going round OOR HQ after hearing those songs on the livestream on Thursday night, and we hope you're as excited about it as we are. Of course though, that is by no means the only good show happening this month, and to kick off the rest of our list we have The Plot In You. With a smaller fanbase and slightly heavier Bad Omens type sound, any fans of the latter should absolutely consider seeing the former as they travel the UK, it could be your last chance to see them before they inevitably blow up and play massive venues! The tour started last night in London, and carries on to Leeds, Nottingham, Manchester and Bristol over the next five days. Liverpool are being treated today, Saturday the 7th, with NoPlay Festival taking place across three venues in the city and bringing some incredible talent to bear. British underground heroes like Going Off, Grove Street, and Cauldron will all be taking the stage alongside smaller (but no less brilliant) bands like Atheana, Boneflower and Black Coast. At the top of the bill are the phenomenal Heriot, who's upcoming debut album is likely to shatter eardrums and melt faces, as well as the outstanding San Diego-based SeeYouSpaceCowboy, whose third effort 'Coup De Grace' is looking good for many an album of the year list come December. In the middle of the month, Kid Bookie is going out around the UK in support of his upcoming album 'Songs For The Living // Songs For The Dead', and will be kickstarting the tour in London's Rough Trade East, taking his tour around for the next few days before ending up in Kingston on the 18th. For a sneak peak into the album, check out our review here - REVIEW: Kid Bookie - Songs For The Living // Songs For The Dead (outofrage.net). On the 21st and 22nd of the month, Manchester's Aatma will be taken over by Loveday Festival for two glorious days of brilliant heavy music. Headlined by Grief Ritual and El Moono, and with acts like Death Goals, Hour Of Reprisal, Kakihara, Victim Unit and more, this is not a two-dayer to skimp on. The venue itself is also a nice intimate setting, making proceedings even more exciting! Zeal & Ardor's uniquely riveting sound, merging black metal and gospel/spiritual music into one stunning display, will be shown off for one night only in London on September 22nd. For fans of music that is out there and pushing boundaries, Z&A are a must-see, and as this is their only UK headline show of the year it would be very worthwhile to get on down for the evening. Speaking of boundary pushing music, Party Cannon are (from what we're aware) the only band who mix brutal slamming death metal with partying, and they're certainly the only ones who do it with such verve and panache and skill (they are the dumbest and that's a good thing). For fans of music that is likely to lower your IQ, this is one tour you simply cannot miss. Supported by Pintglass, Street Soldier, and Foetal Juice, you are as likely to leave carrying your teeth as not. The tour starts late in the month on the 19th in Cardiff, and carries on until the 28th in Leeds. On that last day, the 28th of September, is another gig but in Manchester. Harbinger will be riffing up a storm over at the Rebellion, with five whole acts in support! The lineup is great with Dekaytah, Dacara, Third Culture, Von and Stranded all playing on the night, so it's more than worth the entry fee and will be a very enjoyable evening without a doubt. Post-rock icons Godspeed You! Black Emperor are also playing a one off show in London this month that is very very sold out, but we can't help but mention it due to the iconic status of the band. They're playing a very intimate show at Troxy, and it will surely be a night to live long in the memory of any and all attendees. On the 29th of September, you might just get to witness it if you can make it past the waiting list. That's the end of our list, but we'll see you in a month for more recommendations! Words: Jake Longhurst Cover Photo: Nic Howells

Many years ago, the worlds of grime and rock were profound in their differences, two gardens, both lush with potential, sat on either side of the fence. With Kid Bookie’s latest offering, the ten track ‘Songs For The Living // Songs For The Dead’, he is here to take a sledgehammer to that fence. Kid Bookie escapes the box, with a Jekyll-and-Hyde-style offering that is set to knock out a few teeth and give it a kiss better by the hook of the next track. From the first note of the opener, Tyronne demonstrates his natural ability to create bangers. With a blistering introduction and a chest burster of a chorus, that’ll have you taking the long way home - ‘AI (Save Yourself)’ throws you into the album and sends you spiralling. The track is a staunch fuck you, drenched in tight harmonies and witty bars, that explore Bookie’s craving to break free from the modern world. As the last chorus rings out, the Londoner dares you to expect more of the same as the solemnly sweet ‘Purgatory’ begins to sound. The gentle, acoustic track can’t help but lull you into deeper thought, as Bookie takes on love in his own way. Drifting through feelings of hopelessness with velvety tones, it’s a tearjerker at the very least, and at the most it’s a tender surprise, wrought in emotion that shows the full spectrum of his ability - not only as a songwriter, but as a vocalist too. If it were most other artists, it could be said that placing such a tender song after one so full of rage would be detrimental to the offering, but not with Bookie. Sure, the transition between the two is a thunderstrike, but don’t be fooled into believing that either song loses out from this; it’s arguably the opposite, Bookie has crafted a listening experience that is designed to make you want more. Which we definitely do. Bookie takes genre as another tool to add to his already very full hitmaker toolkit, and no song feels as though it is pandering to one genre to appease another. From grime to pop-punk in the plucky ‘Love Drunk’, a track oozing nostalgia, Tyronne takes no prisoners in showing how effortlessly he can genre-blend and make a statement. Take some inhumanly fast verses, throw in a couple of skull-crushing breakdowns, and you’ll get the massive single ‘Scars’. This, on the same set as the massive ‘Love Me When You’re Angry’, gives us two songs that are both bubbling with gumption and fully equipped to blow your face off. It’s this gall that gives Bookie his spark and keeps you guessing whenever you do decide to hit 'next'. It's harder to say that the shorter interludes on the album, notably ‘Self control’ and ‘DOWN MY FRIEND’, deserve their place as much, however. They don’t hold the same memorability or unpredictability that we know Bookie is so capable of. They’re nice, which is almost unfortunate in this instance, as they miss out on an opportunity to further make a statement, or keep you interested past the first listen. If Tyronne Hill wants us to know one thing with his latest smash, it would be to expect the unexpected. ‘Songs For The Living // Songs For The Dead’ screams this sentiment from the off right the way through to the dying notes, a diverse set of punches and tickles, stabs and kisses from the opening note to the final chorus. Kid Bookie is constantly defying himself, cementing himself as the man who can do it all. Best Songs - ‘Love Me When You’re Angry’, ‘Scars’, ‘AI (Save Yourself)’, ‘Purgatory’ Words: Charli Marriott Photo: Paul Harries

The talented duo BONES UK, starring Rosie Bones as the lead singer and rhythm guitarist and the gifted Carmen Vanderberg as the lead guitarist. After forming in Camden in 2014 they quickly took off with their unique, rough-edged, electronic pop sound. Now they have delivered 11 new exhilarating tracks on their new album ‘Soft’. This is the duo’s 3rd album as writers after having co-written 'Loud Hailer' with Jeff Beck and released their self-titled, Grammy-nominated, debut album. The album opens with the electronic beat of ‘Bikinis’, to set the tone of the album. Rosie's passionate and captivating vocals draw you in immediately, leaving us excited for what's to come next, whilst the catchy melodic riffs that bounce throughout the song continue throughout the entirety of the album. The next song ‘Me’ starts off strong with the powerful bass, perfectly complimenting the upbeat feel to the song. These first two uplifting songs are an immaculate start, really setting the bar high for the rest of the LP. The track ‘Dopamine’ catches your attention immediately with the first lyrics in the song being “Save me from myself I think I'm going mad”. This song has a more serious sound to it, with a heavier melody and more intense riffs it has a different feel to it compared to what's come so far, and this continues into the next song 'Won't Settle'. 'Won't Settle' starts off with a heavy guitar riff that continues throughout, instantly drawing your attention and impressing the need to hear what comes next. The lyrics within the song seem to talk about the singer's romantic partners and her expectations, tying into the song title of 'Won’t Settle'. 'Knee Deep' is a slower paced track with a melancholic guitar sound which, paired with the emotive vocals over the top, bring about a particularly poignant atmosphere. This song has incredibly beautiful moments, especially with the guitar and the lyrics as they are so easy to relate to. One specific lyric that stands out is “I don't wanna be this deep, I wish I was shallow”, which certainly seems to discuss the overwhelming struggle of being so driven by your emotions that it becomes a burden to feel so deeply. The band then goes into talking about struggling with insecurities with the song ‘Perfectly Imperfect’ which is something that people all over the world can identify with. The song ends with the lyrics “I adore your perfect imperfections” repeating, which sends a wonderful message of loving others not just for their good parts, but also for the bits they themselves may not love. Your imperfections don't define you and while you may notice them, others may not. Another topic talked about throughout this album is heartbreak and relationships. “Us” talks about the metaphoric death of a relationship. This heartbreaking track is written about the grief of a relationship. The rawness of the vocals really brings a tear to your eye in this one, so don't forget your tissues! Loneliness is also very present in this song and continues into the 8th song on the album ‘Fix Me’. While it has a happier feel compared to ‘Us’, you can recognise plenty of the same emotions in the lyrics, as she sings about finding comfort in another person in order to confront the dreaded feeling of loneliness. People can come together and help each other, and music can be a huge driver behind that. This album, especially these last few songs, feel like they could be a catalyst for more of those important conversations that people need but don't have. “Teeth” is an exciting track with a sensual feel to it, really stepping into an area full of feminine energy. We've already reached the third-last song on the album, and even now BONES UK make you want to get up and dance. The last two songs on the album are an incredible ending to this album, the guitar in “Blood” being a real treat. You can hear so much emotion in the vocals, with the screaming really adding to this as you can hear such huge volumes of passion coming from her voice. The final song ‘What If I Died’ brings the album to a close perfectly, shedding light on a very important topic. She sings about death, asking the question, “If I died today would anything change?” This topic is incredibly important to be discussed in the music industry, encouraging listeners that they are not alone, and that they are important as a person, not just an instrument for change. BONES UK have written an album full of relatable songs talking about heartbreak and individuality, something they have stuck with since the beginning of their career. This whole album has a real electronic rock feel to it, similar to their earlier songs but also taking it slow and changing it up for certain tracks. Every song is full of raw vocals and outstanding riffs. The duo have done an incredible job creating a sound that is unique to them, and we look forward to seeing what they will do next! 'Soft' will be released via Sumerian Records on September 13th. Words: Kelsey Mainwaring Photo: BONES UK

Ollie Hayman tells us all about working as a photographer at one of the best new emerging alternative music festivals. Festival season is finally over (aww) - and it’s been a hell of a year for them. Burn It Down in Torquay this year was no exception, two big headliners and multiple big names on the lineup made for an incredible two - day festival in the South West harbour town.  I’ve only started doing festivals this year, but something I quickly realised at Slam Dunk and 2000Trees was that it takes ages to walk between all the stages, missing some parts of acts and not being able to cram full sets in. Burn It Down, however, is completely different with all 3 stages being literally a 30 second walk from each other. The Apple and Parrot, a pub, on one side of the road, and then The Attic and The Foundry being in the same building. Although that might seem fairly cramped, it worked perfectly, with a good enough break between most artists to have a chill for 5 minutes! My weekend started with the incredible Vanitas kicking off the Apple and Parrot stage, and the entire weekend. The Birmingham - based djent band were genuinely incredible, and definitely not one to miss for the future! They released their debut EP, “Chaos Theory” only last month, and in the 2 years since they’ve been together, have really exploded into the scene.  Staying in the Apple and Parrot, were Arimea, who I’ve been meaning to see for a while now, and they did not disappoint. They’ve definitely gained a new fan here, with music reminiscent of Linkin Park and Limp Bizkit, a couple of my favourite bands! My first viewing at the Foundry was the incredible opening duo of Haggard Cat. I genuinely love watching duo’s perform live, because the sound they can make is just something that you can’t recreate with even a 5-piece. Their songs such as “American Graffiti” and “Quit Your Jobs” rocked the first main stage band! After Haggard Cat came my good friends Blank Atlas, with their hard hitting riffs and incredible sound, they’re sure to be main stage soon! Definitely one never to miss if you’re where they’re playing! Then came Grove Street and Darlah, both are incredible live! I remember seeing Darlah support the outstanding As Everything Unfolds in Plymouth, and I’ll always remember how great they were then! To see them playing at a festival in Torquay was amazing! After my lunch “break” came the absolutely world class Graphic Nature. I saw them for the first time supporting Dream State at one of my local venues, and bloody hell they were incredible then. To see them at The Foundry was just an incredible sight, and I managed to catch the majority of their incredible set. Another band who are going places is Tropic Gold, who for some strange reason played the Apple and Parrot stage. They are way too good for that stage, I’ll tell you that now! They really remind me of Bring Me The Horizon in some of their songs, I’m not too sure what it is about them, but they truly are incredible and it wouldn’t surprise me if they’re one of the biggest bands in the next few years! Then came the day one headliners, the incredible Wargasm. I’ve wanted to see them since “The Void Stares Back” - with Enter Shikari. That song blew my mind, and although I didn’t see them play THAT song live, they were still incredible to watch, and I would for sure catch them again! Speaking of which - they’re playing a headline tour at intimate venues around the UK at the end of the year. Do not miss them! Day two was another early start, and a late change of acts saw the incredible COSM opening! I hadn’t heard of them before at all, but I feel like they were one of the best acts of the weekend for sure! Something about their music really called to me and I could definitely get into them.  Another good friend of mine was next, the incredible one man punk band of Boss Cass (FKA Fluff). A recent name change came with the incredible single of “House Always Wins” - which if you really want to know what he’s about, watch the video on YouTube - it’s a brilliant video! Honestly though, he’s incredibly energetic and fun live, and definitely knows how to get the crowd going! Artio are one of the hottest acts on the scene right now. Their incredible music about how Rae (lead singer) feels really can hit home for a lot of people right now, and their debut album “Babyface” is an actual masterpiece. It’s not very often you can say that about debut albums, but this one is.  A very fast turnover between Alt Blk Era and High Regard for me then, and the former being a band I’ve only ever heard a couple of songs from before. However their live performances are definitely incredible, the duo is incredibly talented and they really compliment each other live.  Coming to High Regard, who in my eyes are one of the best bands around right now. I can never seem to stop listening to their music, with “Dead To Me (featuring Charlie Rolfe from As Everything Unfolds)” is just such an incredible song, and one I can personally relate to. I’ve also managed to hear their new single, “Mirror Glass”, and it’s now one of my favourite songs I think ever? Basically what I’m saying is go and say you were there before they headline Wembley. A band that really surprised me was Split Chain, I’d heard of them but have never listened to them before. They were truly brilliant live and super talented. Next was Bex then - who’s set I didn’t catch too much of, but she was super talented and really got the crowd going! She was also fairly Insane, jumping into the crowd from a shelf in a pub! One band I have been waiting nearly a year to see again was Lake Malice. I saw them over in Copenhagen supporting Enter Shikari and had a great chat with the couple after the show! They really are such down to earth people, and absolutely brilliant musicians. Absolutely full of energy and incredibly good music, they are also one not to miss! After Lake Malice came the wonderful  Caskets, and seeing them in a smaller venue was absolutely brilliant. They’ve got a lot of sing along tunes, and hearing the crowd sing to them was outstanding and bone chilling for sure.  Finally came the band everyone had been waiting for. Creeper, day two and final headliners. I’ve been keeping a good eye on Creeper for a while now, but I’ve never had a chance to see them live. They did not disappoint and left me wanting to see them again. The show they put on is something else, and Will’s (lead singer) stage presence is truly something else. He really commands the stage and makes it truly feel like the style they want, cinematic.  Words and Photos: Ollie Hayman

Hailing itself as the UK’s biggest independent metal festival, Bloodstock has become synonymous with massive mosh pits and head-turning lineups. Whilst there were far too many incredible acts to cover, here’s a rundown of our highlights from this year’s fest. Thursday’s Sophie stage headliner Evergrey were forced to use borrowed equipment, with frontman Tom Englund explaining ‘we might sound like shit, but we’ll play anyway.’ If they hadn’t announced that, however, not a single attendee would have known. Blazing through a number of tracks from their newest album, the group had one of the most explosive mixes of the festival, sporting a well- rounded guitar tone and crisp drum sound that enveloped you in each track. From more contemporary songs like ‘Misfortune’ to the group’s classic hits, Evergrey had the whole venue singing along, making this a wonderful end to the festival’s short opening day. Rotting Christ’s Friday performance was well-anticipated by many festival-goers, and the band were far from disappointing. Frontman Sakis Tolis has an enviable stage presence, clearly having the time of his life as the group hit you over the head with crushing riff after crushing riff. Combining that with the haunting chanted vocals of hits such as ‘Dies Irae,’ the group had the entire crowd headbanging in a frenzy, sparking numerous well-deserved mosh pits. The band brought their atmospheric black metal to new heights on the Dio stage, leaving us all exhausted. Hatebreed's 30th anniversary show pulled the biggest crowd we’d seen so far, with countless fans keen to show their love for this juggernaut of hardcore— even a security guard had a tattoo of their logo! The band absolutely delivered, with Jamey Jasta hardly having to sing as legions of diehards screamed out ‘destroy everything.’ Blitzing through a number of the band’s most celebrated hits, Hatebreed were in top form at Bloodstock, turning up the energy to a whole new level: they also unleashed a ‘ball of death’ into the crowd, ensuring that the band’s performance resulted in absolute carnage from start to finish. Despite their popularity, Opeth are a surprisingly niche band to headline Bloodstock. If festival-goers could manage to enjoy their combination of metal with folk and jazz, however, then there’s no debate that the Swedish prog-heads excelled. This special fan-picked setlist was chock-full of crowd favourites, ranging from the brutal riffs of ‘Heir Apparent’ to the soft balladry of ‘In My Time Of Need,’ which got its own ironic mosh pit. The band had dialled in a heavier mix than they normally opt for, ensuring that their death metal passages were meaner than ever, and Åkerfelft’s signature dry humour was the cherry on top of a stunning headliner show. Opeth at Bloodstock, Credit: Nick Davarias A surprise hit, Combichrist’s Sophie stage performance was only half a metal show, and half a full-blown rave! Sporting an infectious combination of industrial metal akin to Rammstein with thumping techno, the group dominated throughout their entire set, getting the entire crowd dancing along. Though some fans were shocked to see the band stay away from the majority of their classic hits, it was more than made up for as the group’s newer songs were undeniably well-received: cuts such as ‘Children of Violence’ rang out across the entire festival, with Andy LaPlegua whipping the crowd up into enough of a frenzy to make this one of the most memorable and exciting performances of the weekend. It was a shame to see Sylosis’ explosive performance come to a screeching halt early on as Josh Middleton’s guitar cut out after the opening track— fixing the issue ate up a considerable amount of time, leaving the band with only 20 minutes to make their mark. Thankfully, Sylosis took the bull by the horns, powering through as many songs as they could manage and playing with an almost desperate intensity. Middleton’s vocals were harsher and more brutal than ever, even as he continued to nail each of his mind-boggling solos, and the rest of the band were more energetic and impassioned than we’ve ever seen them! The band split the entire crowd for a gigantic pit, proving that even in the face of tech issues, Sylosis are still a force to be reckoned with. The performances seemed to only grow in intensity across the weekend as Greece’s Septicflesh brought the house down on Sunday’s main stage. The group’s more theatrical side was on full display, as evidenced by their gigantic banner, though their orchestral inclusions took a backseat to the sheer brutality and volume of their overpowering, unstoppable riffs. The pounding rhythms of ‘Neuromancer’ or ‘A Desert Throne’ had the entire crowd head-banging as one, while the anthemic fan-favourite ‘Anubis’ was a sheer delight to watch. Spiros Antoniou’s vocals were absolutely gigantic, ringing out across the entire festival, and no-one could deny the pain in their neck as the closer ‘Dark Art’ came to an end. After so many crushing performances, it was a breath of fresh air for the aviator- wearing classic rock band Night Flight Orchestra to take to the main stage. The eight-piece act were clearly having a blast from start to finish, constantly dancing around to their own catchy tunes, and the audience were no less engaged— a select few, who had dressed in pilot uniforms, even got brought up to dance the conga! The group played it safe on the setlist, including all their fan-favourites including ‘Satellite,’ ‘Divinyls’ and more, though we certainly weren’t complaining as every track had the whole of Walton-on-Trent singing along. Though the band were one of the softest of the fest, they were also one of the most fun, and they certainly earned their place. With more anticipation for their performance than for anyone else across the whole weekend, it’s shocking to be able to say that Amon Amarth exceeded expectations with their Sunday headliner set. The band undoubtedly had the most theatrical show of the entire festival, transforming the Dio stage into a viking paradise complete with armour-wearing actors, giant rowing ships and even an inflatable world serpent. The band were no less stunning to watch, powering through a plethora of crowd-favourites before ending on the ever-infectious ‘Twilight Of The Thunder God.’ The crowd-surfers and mosh pits were out in full force at every single moment, undoubtedly making this a moment to remember. The show was a celebration of all things metal, and no other performance could have capped off the festival in so much style. Words: Jay Kirby Photos: Nick Davarias