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The rock band Thank from Leeds, as they are officially known, played an incredible set at ArcTanGent festival back in August, with a full crowd gathering at the Elephant stage to hear their distinctive punk vocals and irreverent lyricism. Tabitha Smith had the privilege of sitting down with the full band to talk about their next moves going into the autumn months, with a new label and new single that’s been attracting a lot of attention. The group had arrived a little later to ArcTanGent as their set was on the Saturday, the final day of the festival, but it was revealed that bassist Cameron had been there most of the week. ‘You consume it like a sociopath’, drummer Steve joked, with Cameron claiming that he felt like he’d been at the festival since the previous year. ‘In terms of ArcTanGent…you know what to expect,’ Cameron told me, ‘it delivers that same level of quality, although it does get bigger every time, somehow!’ The group appear to have been going from strength to strength since the release of their new single ‘Writing Out A List Of All the Names Of God’, a title which vocalist Freddy joked was ‘purely to try and make as many journalists as possible stumble over the words’, and it admittedly caught me out too. The band have described the song as a ‘diss track’, and it certainly grabs the listener’s attention, with a personal highlight of mine being the drawn out ‘excuse me’s at the beginning of the song, denoting an impatience that stays and builds throughout. The band told me they released this as a single as they believed it would appeal to existing Thank fans, and it has garnered more attention than they were anticipating. BBC Introducing Sheffield and Leeds have given the track a spin, as well as Radio X and 6 Music, something which Freddy said ‘bodes well’ for the subsequent tracks that are ready to be released soon. ‘Writing Out A List’ has also been very well advertised across the band’s Instagram, something I had to ask them about due to the sheer level of shitposting on their feed. Freddy owned up to the posts, claiming that shitposting is one of his ‘few skills’; ‘I’d say this band is fifty percent making music and fifty percent me being a menace on Twitter and Instagram.’ Personally, I think their social media, whether intentionally or not, will draw listeners in out of pure curiosity. Reaching out to your fans and asking them to buy your merch, while simultaneously calling them all nerds who were wedgied in high school, is just the kind of psychological marketing ploy that would work on someone like me. The band are taking their new music on tour this autumn, with a week straight of gigs across Europe in October, as well as supporting noise rock band Cherubs in Manchester in November, something they seemed very excited for. One of my favourite things about interviewing artists is when they show their enthusiasm for the other bands around them, and Thank were no exception. The group recently signed to Big Scary Monsters, a label each of them have an innate appreciation for. Steve talked about how he used to work as a sound engineer and would hear a lot of BSM’s acts. ‘At the time I was literally just into grindcore, and at first I didn’t get it at all, but by the end I was really hooked on it,’ he explained. Freddy’s association with the label dates back a fair way too, with some of the first vinyls he ever bought being by bands signed to the label, including a seven-inch of ‘Meat Balloon’ by Pulled Apart By Horses. After asking if this signing has created a new era for Thank, Freddy responded that it was definitely ‘a bit of a step up’, but fundamentally Thank are continuing to cement their sound and their name in the scene in the midlands. ‘If there's a new sound or a new angle’, Freddy added, ‘it’ll be largely to do with Steve.’ The upcoming album is the group’s first full-length project with the drummer as part of their ensemble, with the group agreeing that ‘he’s brought a lot to it; not that previous drummers weren’t involved in the writing but Steve’s taken a way bigger part in the writing of stuff. He’s a very talented man!’ Steve’s influence has reached the album art too, with the cover for ‘Writing Out A List’ being a painting by Nick Sheehy, otherwise known as Showchicken, who Steve had been a fan of for some time. ‘His artwork is really sick; he used to do stuff that was a lot more sketchy [...], but the stuff he's been doing recently, it kind of looks a bit like weird CGI, it almost looks like AI art, but it’s fully hand-painted!’ The comment about the AI art by Steve makes a lot of sense, as the frog in the painting looks iridescent and almost like he’s been dreamed into the image. I asked the band if the frog had any significance, and despite the painting already existing before being chosen for the single artwork, the group had had a strange experience with frogs in Bilbao in Spain. The lyric video for ‘Writing Out A List’ shows a frog from their trip, something Steve described as being part of ‘a mad, basque-country bar game; there was a little metal frog and you had to chuck a euro coin into its mouth - it was nearly impossible!’ Alongside these recurring appearances of frogs, Freddy revealed that Cameron also had a phobia of the amphibians. It was established that the frog in the album art was not real and could not hurt Cameron, although Freddy joked that he loved the idea of Cameron jumping out of his skin every time he opened a press email about the song release, seeing the shining frog gawking back at him. As well as having a deep admiration for Big Scary Monsters alumni, Nick Sheehy, and one another, Thank had a lot of love for the acts playing at ArcTanGent too, and I asked them if there was anyone they dreamed of playing with. Steve revealed that after seeing some of their set, he would love to play some shows with Show Me The Body. ‘I feel like even though we’re completely different bands we come from a similar angle of punk stuff, but in a weird way,’ he told me, which I think is a great way of explaining the bands’ stylings. ‘I feel like we probably have shit to chat about anyways,’ he added. Freddy subsequently revealed a hilarious anecdote in which BSM had approached the group, asking them to create a list of dream acts to tour with, with Freddy taking this quite literally; ‘I’d sent them an email like “The Cure, Nine Inch Nails”,’ he laughed. We collectively agreed that it was always best to dream big with these things, even if BSM weren’t quite ready for them just yet. Thank’s dynamic make them brilliant to watch, both on and off stage. In anticipation of their album coming out, the group teased a release party at the Brudenell Social Club in Leeds, which is something to look out for over the coming months. It was a pleasure to talk to all four members, and we can’t wait to hear their next single! Words: Tabitha Smith Photos: Summer Crane

In a world where everything seems a little bit crazy right now, music is always there to help find an escape, and that’s where InRetrospect come in with ‘AGGRO - THE MIXTAPE’. Hailing from Leeds, InRetrospect's British-metalcore-meets-djent sound was started in late 2019 by guitarists James and Jerome, eventually completing their lineup with Nathan, Tobias and Geromme who come together to provide melodic guitars and screaming vocals, making this is a real treat for fans of metalcore, djent, and post-hardcore alike. With their brand of music they're giving the alt scene just what it needs right now, and was more than worth the wait. ‘SWEARDOWN’ opens up the mixtape which really sets the pace for the entire running time, being full of catchy melodic riffs and vocal hooks it is the perfect track to kickstart the ensuing chaos. This leads into ‘IN VAIN’ which is filled with catchy riffs and heavy vocals, making it the perfect track to follow on with before going seamlessly into ‘MiSunderSTooD’, which is more of a melodic track showcasing the bands powerful but dark vocals. This first half of the mixtape really sets the tone for what we should expect from the band, setting powerful, bouncy riffs to big drum beats and talented displays of screaming and singing across the first three songs. The second half begins with ‘OUTCAST (SO WHAT?)’, which gives away its lyrical content in the title, describing a feeling that most people in the alternative community can really identify with - "This time I'm gonna disobey", and "Disguise me as something I'm not" stood out as particularly poignant moments here, amongst the screams and the guitar lines. ‘BETTER SELF’ is another awesome track with a great combination of riffs and vocals that discusses whether it’s ok to better yourself, which has long been an important and under-highlighted topic of conversation around mental health. An ode to anyone who is struggling right now - a powerful song that should definitely be spun a couple times. The final track on this great mixtape is ‘MY.OWN.SKIN’ which was the lead single from ‘AGGRO’ and is yet another track filled with an excellent mix of dark, melodic riffs alongside a mixture of angry, gritty vocals. One lyric that really stands out is "Trapped in my own skin" which more people than ever can surely relate to in modern society. A great track to end on, giving the band plenty of breathing room to evolve their style and expand their scope but simultaneously setting up shop and baring their hearts with a certain sonic brand that'll likely become a household sound if they keep up releasing with this consistency. The whole mixtape has an early 2000’s metal feel, showing off plenty of influence and inspiration however InRetrospect have really hit the nail on the head to create their own sound out of it, with the perfect mix of catchy riffs and dark punchy vocals on each track. All in all, this is an incredible mixtape from InRetrospect, and we're looking forward to seeing what these guys get up to next with their fresh take on the UK metal scene. Best songs - MY.OWN.SKIN, BETTER SELF AGGRO - The Mixtape will be released September 6th on Passion Eight Records. Words: Lisa York Cover Photo: InRetrospect

On a night when the Manchester Ritz was filled to capacity, the anticipation for Rise Against’s performance was palpable. The room being packed with 1500 strong to witness the return of the iconic Rise Against made for some very moist viewing. While a short set of dates for this stop off in the UK, Tim Mcllrath says they’re excited to be in a never before played venue. There’s a palpable excitement, and honesty, as he said “Manchester… We’ve been looking forward to this one”. The venue, brimming with fans from all walks of life, buzzed with excitement as the lights dimmed and the first notes of Satellite rang out. From that moment, it was clear that this wasn’t just a concert; it was a communal experience, a cathartic release for all those in attendance. The crowd screamed the song in unison throughout; it was the perfect opener. To the surprise of many, somewhat of a deep cut followed with ‘Under the Knife’ keeping things going at a relentless pace. While it’s not a “never played” track, its not their most played, and good god did the crowd have some love for it, as well as the last of their opening three, ‘Give it All’. This sandwiching of loved tracks meant the atmosphere in Manchester was off to a soaring start, making it a loud night even for those of us rocking the Loops™. The energy in the room remained at a high but took an emotional hairpin with ‘Make It Stop (September’s Children)’ next up. This is absolutely one of those tracks that people weld a connection to, and in a modern Manchester in the midst of Pride season, put a lump in the throat of many. ‘The Good Left Undone’ and ‘Worth Dying For’ brought the tempo back up, and is a case of something Rise Against do often where there are incredible, poignant moments in the set, before they bring fans a release with the reminder they’re at one of the best rock shows on the planet. It has to be said as well, for tracks that came out nearly 20 years ago, Tim McIlrath’s vocals don’t seem to have aged a day. What’s very telling about Rise Against’s back catalogue is that there is ONE song in this entire set that came out after 2011 (more on what track that is later). ‘Re-Education (Through Labor)’ and ‘Help Is on the Way’ keep things moving on a high by being popular tracks, but do bring the pace down a smidge, which honestly was needed as the paint is peeling off the walls as they reached halfway in the set with the incredible ‘Ready To Fall’, which is usually a lot earlier in the set. The contrast was stark when the band transitioned into 'Hero of War’. The room fell silent, every word hanging in the air as McIlrath tells a story some of these fans will have listened to thousands of times. It never seems to lose its potency. This is certainly the break period in the set as Tim continues the solo effort with ‘Swing Life Away’. Obviously so much is made of the intensity when Principe, Barnes and Blair are all on stage as well, but when Rise Against’s lighter stuff is on show, you can hear a pin drop. Peoples attention is in a vice grip. They followed this with that one track we mentioned earlier that was made after 2011, a new number called ‘Want it All’. This is the only part of the set anyone could consider a lull, as the full outfit returns to the stage, the lights are bright, but the crowd is still. This point in the set had a lot of people spent and such a new number was very jarring for those eager to sing along. Similarly, the inclusion of ‘Like The Angel’ kept things unfamiliar for some fans, as this has only really been getting played in the UK on their post-covid tours. Still bangs for us personally though. A common denominator of this show is that Rise Against have a lot of key tracks as well as one 10/10 album in that 2006 The Sufferer & The Witness, so the bulk of this set is one or two songs off other albums, before a banger from the mid-00’s. Hence, the band going a whopping 4 tracks without dipping into Sufferer means the place came unglued for ‘Prayer of the Refugee’ when it ended the main portion of the set. The energy in the room reached another peak with this one, with the crowd singing along as if their lives depended on it. The minute or so the band was off stage made for somewhat of a ripple amongst the crowd as it set in just what songs were left for their encore. The three Rise Against gave them was nothing short of spectacular. ‘Survive’ has a very special vibe as it is both off the 10/10 album, but also has insanely niche reference that one fellow attendee couldn’t help but mention, that it was on the Smackdown vs RAW 2007 soundtrack. God, life was good back then. ‘Audience of One’ was a surprising inclusion personally, but also definitely got that singalong going in a much happier way than some of their catalogue would. Rise shows are genuinely a bit of an emotional journey, the lighter tinged track right at the end really helped send them home happy. That said, it all came down to ‘Saviour’, a song that has become synonymous with Rise Against’s live shows. The crowd’s energy was unwavering, even as the final notes played out. It was the perfect ending to an unforgettable night. By the time the last chords faded and the lights came up, the Ritz was a sweltering cauldron of sweat and euphoria. The taps had run dry, and fans were left hoarse and exhausted, yet undeniably satisfied. Words and Photos: Nic Howells

Amongst those beautifully British rolling hills called the Mendips sits a place called Fernhill Farm, that not too long ago was lit up by the whirlwind of heaviness that is ArcTanGent Festival. Even in the chaos of that lineup, the Norwegian/Australian group Blood Command stood out for their incessant energy, love of life and living, and their uniform of all Adidas, all the time, always. Sat down in the beating sun, Jake Longhurst chatted to lead singer Nikki Brumen and mastermind behind the band Yngve Andersen. As the interview was taking place a little show of twelve months on from the release of their last album 'World Domination', it was only sensible to ask how dominant they've felt as a band across the world - and with nothing less than complete assurance, Nikki came back to say that herself and the band have been more dominant than ever before - with 16 European festivals attended across the summer, they've kept themselves very busy! Of course we had to ask about how excited they were to play ArcTanGent itself, and Nikki was throwing compliments everywhere about it - "I'm so excited, this festival... it's so well curated, it's so interesting and so different to other festivals I've seen!". She also made a point about the ludicrous lineup and how she didn't recognise half the bands playing, but that her friends pointed out as many bands she did know as she didn't which was a huge positive for her. Yngve went further to make the point that ArcTanGent feels so varied and don't fit into a box, which matches the modus operandi of Blood Command to a tee and makes them feel right at home at the festival. Their latest album also doesn't fit into any one box musically, and whilst discussing it the pair remarked on how similar their music tastes are, so how easy it was for them to add little bits of many different styles across the album in whatever manner they saw fit at any given moment - as if cooking without a recipe and pure guesswork but still coming out with a Michelin star meal. They saw the album as an opportunity to dig into every possible inspiration, and made it as massive a collation of sounds as they could to try and make the quintessential Blood Command record. Whilst going around this summer and touring 'World Domination', the band have been enjoying themselves away from heavy music by trying to learn all of Sabrina Carpenter's 'Espresso', and also writing some new music - if next year's hot girl summer anthem comes from Norway or Australia, then you know who will have written it! Sabrina was not the only one of the pop girlie triumvirate to be talked about though, as Nikki is having herself a brat summer as a diehard Charli XCX fan - the band's bus driver Metal Joe found out that she was a huge fan and managed to get her a triple A pass for her in Melbourne, and the week after her sister got her the brat crop top! The brat crop wasn't allowed onstage with the band though, as it isn't Adidas branded, which we asked the band more about. Yngve, whilst so very casually brandishing a cigarette and a beer in true brat summer style, talked us through his mother's reasoning that all branded clothing was crap, that you would 'pay a lot for clothes that were not really that good'. Adidas however, was the one exception - 'that was worth the money'. This led the band to take it up as an honorary uniform in honour of Yngve's mum, and whilst the band don't have an Adidas sponsor (yet), they still proudly wear the trefoil and triple stripes any time they're onstage. As we didn't have too long left, there was just time to ask one last question of the pair, to find out who might be their dream artist to work with. Yngve dropped Refused almost instantly, and whilst Nikki whistfully mentioned Wendy O. Williams from Plasmatics, who is no longer with us sadly, she backed up Refused as an absolute dream to work with one day. Keeping our fingers crossed, we'd love to hear a Blood Command collab with Refused, just after they've gotten that much-needed Adidas sponsor! With that though, it was time to bid the colourful duo adieu and let them prepare for the violently energetic display we would see later that evening, in their bid to further their world domination that little bit more. Words: Jake Longhurst Photos: Johnathan Dadds

Read what we thought about the acts at Slam Dunk North 2024 All American Rejects Synthetic organs are playing and we know what we’re in for…Sweet familiar orchestral and guitar chords lead us into the song “Swing Swing” and it begins. Tyson-the lead singer has intensely blue eyes which pop on the large monitors, his gaze seems to reach all of us; even those watching from the back of the field. He is holding his stare; while we’re dramatically shouting the words we’ve sung for years in our bedrooms; back at him. He is in a suit, the rest of the band a bit more casual in appearance. Tyson may be dressed formally but he is informal in his manner with the audience and his approach to the performance, it is friendly and nonchalant. The set is quirky, emotional, and a rollercoaster at times. Tyson addresses the crowd and claims, “We raised you” It’s true. He spoke much about time travel on stage and urged us to partake in what felt like a strange New Year’s Eve countdown- we somehow found ourselves all the way back to the year 2002. This led them into playing “My Paper Heart” and there were tears. The announcement was made that it’s Scott ‘Scotty’ Chesak’s (their touring keyboardist who has toured with them since 2011) last show. They played tribute to him by giving him a named and dated plaque and a cake which Tyson threw chunks of into the audience. The rest of the band also played “I for you” to him. We can’t think of a better way to say goodbye to someone. Red Jumpsuit Apparatus Their set was good for the nostalgia and the old school songs they played. “Your Guardian Angel” and “Cat and Mouse” were well received by the crowd. We were transported to our youth, but we’re older now and the energy just wasn’t there. Their most energetic song was their cover of “All the small things” by Blink 182 and this is when they really engaged the crowd. There seemed to be some sound and timing issues throughout the set, the performance sounded tired and out of sync at times although warm and heartfelt at other times. Sometimes it felt quite unenthusiastic and like they were trying to play it cool. Their performance looked mismatched underneath the glittery rain, parts of the set were memorable, but it didn’t fully grab our attention. The Ghost Inside The Ghost Inside introduced themselves by screaming, did we expect anything else? This set was intense, and the band and crowd were consistently bouncing with energy. The music is heavy, but the band members seem light on their feet. The screams are on point and the lyrics direct. Strong and poised. The only bright colour on the stage is the yellow bass, it’s distracting but we notice the impressive depth of the sound more, we’re drawn to it. People are running in all directions, not caring about the slip and slide, hazardous muddy factors that are posed. The band stopped playing for safety of the crowd at one point as someone may have gotten injured in the pit, then were right back to it. The crowd also went right back to slipping, sliding and holding onto each other for dear life. This is the part of the day where we notice mud on people’s upper halves. It’s clear who has gone down in the pit and who has not. Victims of mud. The breakdowns were perfection and the crowd responded promptly and correctly. Disgustingly hardcore, in an amazing way. The Blackout Dramatic music plays, operatic and charismatic. The band takes the stage, we go wild. “Look at him” fans shout; pointing to the lead singer Sean Smith. It’s the blonde hair, sunglasses and pink microphone that make us believe they’re the kind of band that can pull off anything… and they do. Sean gears up like he’s charging his energy; ready to perform. He rolls up his sleeves, places his hands on his knees bouncing eagerly and let’s out the biggest scream into the microphone. They need no introduction. The music plays and the performance is Dancy, hard, fun and extremely energetic. We, the crowd are adoring. Sean jumps into the crowd and has to stand on a crew member’s back to get back up on the stage, proving this band just go for it and don’t think things through, but it really works for them. It’s their sporadic style that makes them unique. Fans are dedicated to their energy as well as their sound. They give it a lot and play all our favourites which we find nostalgic and precise. Sean is caressing the microphone in a fun and playful way throughout the set. They then play “This is why we can’t have nice things” and we erupt as Josh Franceschi- the lead singer of You Me at Six makes an appearance on stage. Their performance styles work so well together and this levels everyone’s energy up a notch. One step closer The rain and mud was bad for their set and this made the crowd lacking. Their performance was raw and they put a lot of energy into it. They spent most of the first half of their set trying to engage what there was of the crowd. It was definitely the weathers fault as their new album has been so well received. They are very fast and energetic on stage. They put a lot into their performance and sound very in sync and powerful live. Towards the end of their set the crowd became fuller and people were engaged, two stepping in the mud, slipping and sliding while mud and grass pats filled the air flying into peoples faces and onto bodies but we didn’t care. We had so much fun. La dispute La Dispute stand out as being one of the best lives acts from this years Slam Dunk festival. They’re an incredibly original but versatile band and have a unique way of delivering storytelling through music. The lyrics of their songs are hitting us in the soul with constant visceral reactions, we are shocked by what they’ve said and find it hard to move onto the next song, constantly being overwhelmed by their presence and talent. The way they deliver their music is nothing but raw and underground. We feel like we’re reading someone’s diary when we shouldn’t be. It’s hard to believe the songs are being performed to us out in the open, we feel like we’ve stumbled upon the festivals best kept secret. We’ve never heard the word “Darling” being adlibbed so aggressively by fans in our lives, it’s frightening. You can feel every emotion in Jordan- the lead singers -articulation. He is pacing back and forth on the stage during this lyrical delivery. The sun is trying to come out and it’s hitting the raindrops that continue to fall, which illuminate and glitter the band in this special performance. LS Dunes The lead singer Anthony moves around the stage wildly with lots of energy. He has magical hand movements, enticing and drawing us in, moving quickly and sharply, almost ninja like. The band pour their hearts and souls into the lyrics, music and the performance. They’re a unique mixture of people making unique sounds, it’s hard to genre it. Anthony is in the crowd and looking all around. He then reaches up to perform to the sky and it feels almost spiritual. Their artistic vision and creative energy are hard to not like. Anthony expresses his gratitude for the crowd. He becomes confused when we chant “Yorkshire” but he looks so happy when the crowd reacts well to their songs. There’s a lot going on at once, the performance is not structured but it works. You can feel their creativity and how they’re all so uniquely talented, them playing together makes for a beautiful combined sound. You Me At Six “Save It for the Bedroom” begins to play. We feel it in the pits of our stomachs, we’re not ready for this. Yellow lights like rays of sun, shine through the band while they play “Lived a lie” the lyrics “We are the believers” is being vocalised by everyone in the field, the stage fades to darkness to match the nostalgic mood of a not-yet- but impending goodbye. Josh’s arms are outstretched like a giant hug for us. There’s cold in our bones but warmth in our hearts; we’re patiently waiting for the cue to let the tears we’re holding back come out. Josh punches the sky into the next song in a flawless but powerful motion which jerks our senses. “Kiss and Tell” plays; highlighting Josh’s angelic voice, his sound is rich but gravelly and unique. Flashing images on big monitors move hazily, like a foggy dream state of memories of the band. These are accompanied by mosh pits that glisten under the sparkling stage lights. Purge sirens blare and lights like lightning bolts are flashing; perfectly timed with drumbeats leading into choruses filled with teenage rage and angst. We’re emotionally attached and never want this to end, our thoughts are interrupted by “Da, da , da da da da DAHHH” “Loverboyyyyy” Josh is belting and we’re belting back, the guitar solo was performed to a high energy of perfection. The show became political. Josh spoke about doing an audition for prime minister. Less Ticketmaster bots and fees? Yes please. Vote 4 Josh… Circle pits to political failures and outrage are prompted. It is the muddiest, slushiest and puddliest mosh pit we’ve ever known. “Room to breathe” is played showing the band’s heavier side and their versatility. Josh’s hands are above his head, he looks stunned by the crowds’ reactions. He then begins spinning around in circles, having fun, the band and audience loving the experience, together- one last time. They put their all into this last festival performance. The stage shows dark ombre fading shadows, it is reflective-almost mirror/ candlelight-like and flickering delicately. The crowd got a solo for “Jealous minds think alike”. Flashing stage lights now become intense, frantic and almost blinding. Is this the end of the world? No, just the end of our youth... Josh tells us a story of when the band was sixteen. They got in a van for a gig and during this trip met Ben Ray who is the director of Slam Dunk, he gave them the opportunity to play here twenty years ago. They want to “end it where we started it.” They dedicated a song to anyone who’s called themselves a “Sixer” since 2010. Josh states “Dream big, don’t be scared of failure, live your life in fucking colour and not in black and white and grey- make the most of it because out there somewhere or someone in the audience tonight is a future Slam Dunk headliner. I was you once and you can do it, I promise you. Dream big and go for it.” “Stay with me” plays. We’re with you. Those three words were all we needed to know in that moment, let everything else go. The sky blackens into night and mascara falls down our cheeks. Everyone gets a little closer to each other, we hold our friends/strangers close to us. We’re swaying in the motions of our emotions. We’re sobbing while hills; all the way to the exit are glittering from lighters held up to the open cloudy sky. The whole field is illuminated and looks breath taking on the monitor. “Always attract” and “Take on the world” evoke 30,000 people chanting the lyrics in unison. We went straight in from holding each other tighter to “Underdog” …they had this planned. Ugly crying turned to smiles, laughter and chatter. “If this is goodbye for some of you, it’s been a pleasure.” Josh announces. “Thank you for the best 20 years of our lives.” Ending on “Beautiful way." Perfection- we’re moshing while tears are flying through the air. Fucked us up, but in a beautiful way. We don’t want it/them to end, the performance and the band. We leave feeling delicate and nostalgic. Words: Tanita Hingerty Photos: Nick Davarius Thank you to are friends at TRXSH for helping us out

“This World Fucking Sucks” is the long-anticipated debut album from punk princess Cassyette. The album promises a unique blend of her home-brewed mother metal mixed with a look at the fast-moving world today, through the eyes of a grieving young woman. After already piquing listeners attention with her no-holds-barred mixtape ‘Sad Girl’ in 2022, the Londoner had no choice but to hit hard with her debut. Cassyette is a mage of subtlety, despite what the album title may have you believe. Weaving in metaphor through her lyrics, catchy hooks double as a war cry to young people everywhere, that emotions are healthy. The album reeks of rebellion, from the opening track to the final notes – boasting a song fit for almost every situation. Whether blasting from a car radio, or through headphones on a work commute – the album truly invites you to confront your demons with a big ‘fuck you!’. The unapologetic ‘Ipecac’ is a powerful musical manifesto, bound to resonate with all those who have dealt with toxicity in the past. Its lyrics display some of Cassyette’s strongest work – making no excuses in purging the unwanted influences from her life. Accompanied by an irresistible, highly polished riff, the future icon demonstrates her sound at its peak. This is carried throughout the album in songs such as ‘Sugar Rush’. This song displays the 31-year old’s effervescent personality through an escalating cadence of 808s, that build into one of the catchiest choruses in her entire catalogue. Also at play are the gut wrenching singles ‘When She Told Me’ and ‘Four Leaf Clover’. The powerful ballads explore the star’s deepest feelings after her father’s unexpected death in 2021. Cassyette’s choice to explore the darker, sadder side of her life in these tracks resonate throughout the entire album and represent the beginning of a vast growth, even since her 2022 mixtape. This is hit home by the scathingly vocal performance that is given to us, allowing Cassyette to hold our hand, while she pours her heart out. This gives the LP a solemn backbone and a much more personal feel. Despite this shift in atmosphere, it would be unfair to say that any of the secret formula that this album is pumped full of is lost, and in fact it feels quite the opposite. It’s when we are driven into the dark by Cassyette, that we truly begin to reach the core of what she is capable of. Although, this sentiment can’t be kept for every song in the album, with heavily produced songs such as ‘Degenerette Nation’ and ‘Sex Metal’ feeling as though they are placeholders between full songs. Not only do they suffer in length but are rooted in a deep yearning to be drenched in Cassyette’s smooth roar, responsible for lighting up bangers such as ‘Porcelain’ and ‘Over it.’ Although this electronically fronted style could work, it is in the execution here that these songs missed the mark, leaving little nuance to go back and search for after the initial listening. Nonetheless, Cassyette continues to persevere. From successes in posting on TikTok from her Essex home to touring with Sheffield metal heroes Bring Me The Horizon on their most recent jaunt, ‘This World Fucking Sucks’ is no deviation from this pattern, and you can be sure she will continue to produce gold. We can only hope that she continues to push the boundaries of what her music achieves sonically and continues to produce work that feels both fresh and timeless, like she has before. This is a debut that kicks down the door and lets us all know, whether we want to hear it or not – Cassyette is here to stay, even if the world is a total mess. Best Songs – ‘IPECAC’, ‘Four Leaf Clover’, ‘When She Told Me’, ‘Sugar Rush’. Words: Charli Marriott

Gunnersbury Park was packed as thousands flooded towards the grounds for the sold-out 30 year celebration of Alt-metal pioneers Korn for their largest UK headline. With over eleven million monthly listeners the increasing fan base braved the 29° weather to see the metal-based line up: Loathe, Wargasm, Spiritbox & Denzel Curry and Korn, although Denzel Curry unfortunately had to drop out due to losing his voice at a prior show. Loathe Pavarotti’s Nessun Dorma echoed across the park as the Liverpool 4-piece took to the stage with lead singer Kadeem France delivering vocal screams with ‘Gored’ while opening the wall of death, with Erik Bickerstaffe accompanying alongside guitar riffs. The band showcased their older and newer tracks throughout with many hits from their 2020 album I Let It In and It Took Everything with onlookers recognising the lyrics and letting the lyricism speak to them. The pits scrambled to open as the surfers readied for dancing on my skin with Sean Radcliffe heavy drum opening, Feisal El-Khazragi on bass helping to lead the sea of arms throughout the soulful vocals and heavy bassline. Giving a shout out to Korn for allowing the band to perform their biggest UK show to date, the pits reopened for Heavy Is The Head That Falls With The Weight Of A Thousand Thoughts. The atmosphere was nothing but electric. Wargasm The unstoppable duo- Sam Matlock & Milkie Way instantaneously infected the crowd with their contagious energy, opening the pits with the title track to their latest project Venom asking the crowd; “that’s a mosh call where’s my fucking pit” the masses scrambled opening serval pits to appease the duo. The energy persisted throughout the set as the band lived up to their motto “angry songs for sad people” with Pyro Pyro, bringing in insane audience participation with hits like 70% dead and D.R.I.L.D.O as waves of vibrant haired headbanging emerged across the park. The duo utilised their insane crowd control asking crowds to repeat lyrics before finishing the set with a clear crowd favourite Spit, with pits opening for the heavier opening and Matlock descending to the crowd to face fans as the song becomes more somber. Spiritbox The crowd erupted as the female-front Canadians took to the Gunnersbury stage, with female-lead; Courtney LaPlante mixing her softer vocals with intense vocal screams. Allowing the audience to either enter the revolving pits or have a more relaxed listening, acting as the perfect warm-up before the main event. Mike Stringer (Guitar), Zev Rose (Drums) & Josh Gilbert (Bass) Accompanied the haunting voice of LaPlante notably with the ground vibrating with pure noise and energy from the musicians while Rotoscope was performed. LaPlante really owned the stage with her impressive stage presence amongst the harsher metal voice aspects, showcasing her experience as a seasoned performer of over 6 years. The band made a push for audience participation with their hit Circle with me as the band demanded pits to open through their lyrics, showing total control of over thousands. Korn The crowd was ecstatic as the masses moved closer to finally see the headline, the usually quiet park was packed with pits erupting immediately as Jonathan Davis started to echo Rotting in Vain accompanied by lightning stage set the atmosphere was exhilarating. The crowd roared with excitement as the band continued through the set, with Here to Stay as Davis’ exclaimed “F*cked up feelings again!” with the audience chanting back.The band’s energy continued leading into Clown featuring chunky basslines from Reginald Arvizu. The 5-piece showed their extensive experience as they celebrated thirty years as a band with a spotlight on drummer Ray Luzier, performing a two minute solo with immense applause before transitioning into a clear fan favourite Blind even three decades after its release. The turn out for the event really indicated how timeless these songs are and how they resonate seeing the newer generation of nu-metal enjoyers. The crowd goes insane as Davis delivers “Are you ready!”, clearly a fan favourite as the song shows reminisce of the bands success and as the crowd sing along with numerous classics such as Falling Away from Me and Coming Undone. The band did a full 180 performing a mashup with We Will Rock You by Queen, which the crowd adored,all knowing the words to British staple, showing the versatility of the nu-metal pioneers. Davis’ stepped back once again allowing his fellow musicians: Brian Welch (Electric Guitar), James Shaffer (Guitar), Ray Luzier (Drums) and Reginald Arvizu (Bass) to showcase their insane cohesiveness as a unit, the members banded together to perform an drum and bass battle which as a staple of their live shows. Davis’ thanked everyone for their support over the past 30 years with a sincere monologue before asking everyone to raise their middle fingers and join him singing Y’all Want A Single with choir of replies, “Fuck That”. Before reappearing on stage with bagpipes for Shoots and Ladders with a second mashup (One by Metallica) with nostalgic metal twist to childhood favourite rhymes. Before closing the night with Twist, Divine and Freak on a Leash. Providing a phenomenal performance ending to their UK headline run, this show will be memorable not only for the band but the crowd too in years to come, hopefully this will skyrocket the metal genre for next year’s festival line ups with many discovering new favourites through the support acts. Words: Grey Morley

Each August, amongst the trees and rolling hills of the Mendip Hills in Somerset, there comes a great rumble from Fernhill Farm. That rumble would be the sound of all manner of band, from the glorious post-rock groups to the frenetic hardcore acts, detouring between melancholic math-rock and deranged djent. The tenth anniversary of this wonderful event took place between the 14th and 17th of August, and Out Of Rage went down to wish them a big happy birthday as well as to take a peek into the wild world of ArcTanGent Festival. Arriving on the Wednesday led us to see a few extra bands, which is always a pleasure for any festival goer. The lineup on this first day was as good as ever, and so the opportunity to catch bands like Hidden Mothers, Din Of Celestial Birds, Curse These Metal Hands, And So I Watch You From Afar and more was too good to pass up. Each set was excellent, and the four mentioned in particular performed stellar sets that were all worthy of being in anybody's top five of the weekend. Thursday was the beginning of the three days with all five stages in use, and we managed to get between all of them a number of times! There was quality up and down the bill, so we chose to start the day with Norwich's Kulk, whose massive sound belied the fact they're just a duo. Their latest album was a stunning listen, and is well worth a look for anyone into their sludgy, Godflesh-esque metal. Catching Pleiades and Oddism afterwards was a refreshing slap to the face of sound, especially with Oddism's vocalist looking so happy to be performing whilst smashing a microphone into his head. Unpeople and Underdark shared a cruel clash spot but we made time for both, and the enormous, swaggering riffs of the former sounded as large as anyone else on the day which paired perfectly with the latter's icy riffs and bone-chilling sonics. Following up with a bit of Urne, it was all about bands beginning with U and none disappointed as the London trio captivated the crowd in a completely expected display of their musical brilliance. Following on from our U-band collection was sets from Doodseskader, Baroness and Kaonashi who each brought something completely different for the audience at ATG, however they were all received incredibly positively by everyone watching. Towards the end of the day, we caught Spiritualised playing a breathtaking set of beautifully melancholic music to tee up the day's headliners, and then caught something that was totally the other end of the spectrum. Tokky Horror's final ever festival set was something to behold, with the Strictly Come Dancing theme leading into Insomnia and then one of the most high energy and chaotic sets that has ever been bookended by sad post-rock, Tokky Horror will be a sore loss to the live scene in the UK. However, the aforementioned headline act was Explosions In The Sky and the hour and a half they played was an exquisite display of musical craftsmanship and emotive power for a stunning finish to the day. The tracks off of The Earth Is Not A Cold Dead Place in particular were received with such an outpouring of emotion that it was impossible not to feel swept up in the set, and from beginning to end it was glorious. Day two was the end of the working week, and to start on Friday we caught Bristol's best Haal for the first half of their set before catching the back half of i Häxa. Moving swiftly into Modern Technology, it was a lovely start to the day that bridged all of the sounds between prog, folk, doom, and noise. British weirdo-metallers El Moono stepped up to the plate to cover for Bipolar Architecture unfortunately being unable to make it, but put on a remarkable set and drew a very healthy crowd which was more than deserved. Following on from them was the black metal band The Sun's Journey Through The Night, whose enigmatic necrotic frontman riled the crowd up for the most uncompromisingly 'trve metal' set of the day, filled with delightfully evil riffs and demonic howls. Our next stop was at Maruja's set of post-punky jazz, complete with wonderful saxophone moments and high energy throughout! It was then back to black (metal) as Ihsahn took to the main stage in a triumphant performance, followed swiftly by Sigh for yet more black metal in one afternoon, complete with fake blood and masses of fans. As the evening went on, it was time for some fun in the shape of the Adidas-clad Norwegian/Australian band Blood Command. Their high energy mix of hardcore, black metal, pop and everything else you can think of is only made better by the violently enjoyable stage show they put on, and tracks like 'Forever Soldiers Of Esther' and 'A Villain's Monologue' were a treat in a live setting. But even they, after their fiery show, couldn't stand up to the Meshuggah juggernaut that rolled onto the main stage in terrifying fashion. Live classics like 'Demiurge' and 'Future Breed Machine' rocked the tent as they would anywhere else, but it was of course the oft-mentioned, rarely played ObZen brainmelter 'Bleed' that stole headlines and blew the roof of the tent right off, as well as plenty in the vicinity. Alas, as it always does, Saturday came too soon, but brought with it plenty of worthwhile sets to catch! Torpor started off our day and gave us a much needed rush to the head in order to really get into the swing of things before Maebe showed off some excellent playing ability that belied their early billing. Thank were our next choice of act, and the Leeds punk quartet smashed their slot with a viscious set, packed with angst and vitriol, and also long song names such as their most recent single 'Writing Out A List Of All The Names Of God'. KENMode took to the stage shortly afterwards, and with all the subtlety of a bull in a china shop they pulverised the ArcTanGent crowd in the most memorable of fashions. The main stage's big screen came into heavy use for the next set, Scaler, whose electronic show was amplified enormously by the mesmerising visuals behind them. Cork's own dance/mathcore blend band God Alone were our next stop and the incredible mixture of groove, bounce, riffs and growls was incredibly enjoyable in a way few bands could replicate. Clashing with them was the NY black metal jazz crew Imperial Triumphant, and whilst they may have been masked that didn't disguise the fun they were so obviously having onstage, ripping through chaotic, abrasive sections with utter aplomb and nuclear energy. As we neared the end of our stay at Fernhill Farm, and we decided to get ourselves over to the second set of the weekend by And So I Watch You From Afar, which ended up being a full playthrough of their new album 'Megafauna' and was worth every second of time we spent there. Nottingham's Earthtone9 made our list too, and having released the album the festival is named after it would've been a veritable criminal act not to see them! The group chugged through an excellent half set before we rushed off to watch the Brontide reunion, which was also more than worth our time. A different end of music to the previous act but their beautiful sound was a wonderful way to round up almost our entire time at the festival, with but one act left on our list before rushing off. Having to get away before final headline act Mogwai was a sad realisation, but it did mean that Electric Wizard would be the last act playing to us which was a very soothing piece of information. The kings of stoner metal retained their crown with a groove laden, weed toking, bong-rippingly good set that could have induced a second hand high off of the dopamine from their riffs for a good thirty miles. Leaving with that ringing in our ears kept the smiles plastered on for miles, and is just another example of the brilliance ArcTanGent always manages to provide. Fernhill Farm, we will be back. Words: Jake Longhurst Photos - Wed: Joe Singh Photos - Thurs: Carl Battams Photos - Fri + Cover: Derek Bremner Photos - Sat: Johnathan Dadds

When KR Rocks 2024 tore the roof off the Ship and Anchor pub, Southport wasn’t in the collective conscience. Perhaps as a fondly remembered childhood seaside visit or a Victorian heritage spot - but as a local, you’d pull the “wool” thing of telling people at university you’re from “near Liverpool”. In recent news, however, Southport has drawn attention for all the wrong reasons, as a town in mourning, and in chaos from far-right aggressors. One thing that seems to be overarching the residual narrative, however, is the true close community of Southport. I saw this in full force at KR Rocks: a small, but fierce, community of local rockers banding together for a common cause. The festival is in its fifth year under its current iteration, raising money for the Southport Kidney Fund in local fundraiser and rocker Debbie Adams’ memory. The first day was the most full-on, with an absolutely stacked line-up ranging in genres. A succession of cover bands homegrown in Southport opened the day – the first being KR Rocks alumni “Debz’ Angels” (formed of friends of Debbie), performing renditions of hard rock classics. The festival, originally Debbie’s project, has been carried forward after her death by longterm friend Ashley Strom. Upon her fifth year as organiser, Ashley said: “it’s been an honour: following discussions with others close to Debbie we decided to continue her event in her memory. It’s been really nice to be able to remember her legacy”. There was something for everyone today. Providing some sonic diversity with some indie hits were Southport-grown “The Violets”, a band formed of kids from college. They have an impressive repertoire already, having just played the first ever Southport Pride. “The Violets” played with a compelling togetherness, and for their few original songs, especially “Chemicals”, it felt like we were front row to the birth of a classic. The whimsical “Vendetta” took to the stage, with their Fleetwood Mac-heavy set bringing along long skirts and tambourines to boot. Some superb maracas work here (a criminally underutilized instrument) and a full set of absolutely nailed tunes. I was sat in the beer garden when my friend came outside exclaiming “You’ve GOT to come back in here, this guy is spinning his guitar around his head!!” I returned inside to see “Sandbags at Dawn” (one word of the band name emblazoned on each of the three musicians’ shirts) giving the crowd absolutely everything they were worth. Massive amounts of energy emanated from their set of fun, jaunty songs – getting close to pioneering the genre of pirate shanty metal. Whilst they went down an absolute storm with the crowd, it definitely seemed the band were powered by the fun they were having themselves up on stage first and foremost, making their trip from Manchester well worth it. One of our favourites of the night was “Chaos Bleak”, the goth-rock trio (performing this time as a duo) with a penchant for darkness. Their synths absolutely permeated the pub, rattling its walls and putting a chic edge on doom and gloom. Trevor and Piers look forward to playing with bands who “[they] only ever see at KR Rocks” year by year, and prove popular with the usually-metal clientele. They also proved popular with a woman at the service station, who somehow pegged them as musicians based on their all-black goth attire and asked for a CD: we hope that Angela from Knutsford services enjoys their new single Death Train. Headlining the Friday were “Last Agony”, metal with bells and whistles. They were extremely technically gifted, clearly having played together as a band for long enough to let the beats of their music flow seamlessly. This hasn’t squashed the passion for the clearly well-trodden paths of these songs: they gave it their absolute all and did not relent, not even during their 9-minute thrash metal hullabaloo which filled the room. “Last Agony” are one of those bands you absolutely have to see live, as it’s a shame to not feel the music and let the bass nearly shatter your sternum. Saturday was a real homecoming for the festival, opening with “Alfie Stix”, a young boy who has grown up drumming with the festival this past few years. The “KR Rocks All-Stars” celebrated this community aspect – a supergroup of musicians and friends of the festival who played live together excellently (with no rehearsal!) for the first time that evening. Currently on an upwards trajectory in the wider rock scene as Planet Rock Fest hopefuls, “Attic Theory” played with a sense of humour as well as pure talent. After the first, the audience clamoured for a second rendition of their metal-reprised Country Roads. Their drummer, Norm, has stuck with the festival since its inception, aiding to keep the memory of Debbie alive. “Second Cities” were unashamedly and undeniably emo – giving a refreshing reminder that the scene is still well and truly alive. Much of emo can be reminiscent of artists gone before, but “Second Cities” have a distinct identity, incorporating electronic elements of industrial with fearsome screams straight from the soul. They made full use of the small venue, taking microphone stands and guitars into the crowd to envelop everyone in their sharp-toothed riffs. The Saturday headliners, Bristol’s “Adam and the Hellcats”, were more than deserving of the spot, demanding the pub’s attention the second they took to the stage with their rallying theme of Tom Jones’ “What’s New, Pussycat?” The whole set was on brand – songs such as “What The Cat Dragged In” thundered through the Ship and Anchor with an enviable cohesion among the musicians and stomping stage presence. Vocalist Cirwen (decked out with cat ears, whiskers, and special cat-faced Mary Janes) carried the force of the band, ripping the venue to the floor with the voice of a thousand Halestorms. The Hellcats’ set was truly impressive, and they had the whole pub moving complete with possibly the world’s first macarena moshpit. Adam had a real conviction to learn guitar: “I’m autistic – once I get a thought in my head, it’s happening.” He’s been appointed lead organiser for next year, and his barrel-at-the-wall attitude bodes well for the future of the fest. Himself and his dad, the drummer for the Hellcats, are huge advocates for “little festivals in backstreets”, expressing that “to support original bands, and original music, is a great thing”. The full scale of the rock and metal community in Southport was employed at KR Rocks, notably with help from the Ship and Anchor pub, and Legacy Records. They’re a local record shop partnering this year, present at the event with a piled-high merch table. Contributions from bands far and wide were raffled at the end of the night – and overall, the weekend managed to raise over £450 for the Southport Kidney Fund. This was an unticketed event, and so this total is entirely from the pockets of generous attendees at the small pub. KR Rocks has stood as an impressive and inspiring show of local fundraising tenacity for five years, promising only bigger and better in what’s to come. It’s a promise of great music, a great cause, and a great chat over a pint. Words: Erin Strom Photos: Ava Glass Erin has been one the first contributors to OOR, and is a Southport local. They have lived in the town for their entire life in the same house. Erin has been involved in K R Rocks through family connections for the past 5 years, since the first iteration of the festival in Skelmersdale. With their friend Ava, they covered the festival days before the tragedy in the town. By publishing this review, Out Of Rage want to empower and celebrate the amazing Southport community. To support Southport Kidney Fund- Follow this link To find out more about K R Rocks- Follow this link

Despite the venue being only half sold, the energy was palpable as Silenzer took to the stage. The few who arrived for their set were soon headbanging and jumping, completely enthralled by the band's high-octane performance and powerful guttural vocals. The singer’s crowd interaction was stellar, transforming the intimate gathering into a fervent mosh pit. A highlight of the set was their cover of Papa Roach's "Last Resort," which had the audience singing along passionately, creating a moment of unity and shared excitement. Remember this was only the first opener… The second act was a masterclass in stage presence and crowd control. As Dymytry appeared in their signature masks, the crowd erupted with screams, immediately captivated. The stage backdrop was drenched in red light, accompanied by cool graphics that set a dark, intense mood. Fans pushed closer, drawn in by the band's magnetic performance and sick stage outfits. The lead singer had the crowd in the palm of his hand, guiding them through a journey of heavy riffs and powerful beats. This being only their third show in the UK, Dymytry undoubtedly gained new fans, solidifying their place in the hearts of metal enthusiasts. Let’s just say i wouldnt want to be on their enemy list. Before Mushroomhead even took to the stage, the anticipation was building. Their gear was covered in sheer black sheets, adding to the suspense. As the stage was swiftly changed over, the crowd buzzed with excitement. The house lights went off, and the audience erupted with screams and cheers as the intro music began, hilariously starting with the Spongebob theme. Red lights bathed the stage as the band snuck on, setting the scene for the chaos to come. From the first song, water flew everywhere, and the drums beat with unrelenting passion, mesmerizing the crowd. The entire room bounced, and the bass reverberated through the floor, creating that unique, exhilarating feeling only a metal show can provide. Every beat seemed to sync with the heartbeat of the crowd, amplifying the collective energy in the room. The singer's antics, grinding against rigging poles and jumping into the crowd, added an element of raw, unfiltered energy that kept everyone on the edge of their seats. His fearless interaction with the audience blurred the line between performer and fan, making the experience feel intimate and personal. This show was an unforgettable experience that fans would regret missing. Mushroomhead delivered a performance that was not only visually and sonically captivating but also deeply engaging, leaving the audience in awe and craving more. Each song was executed with precision, yet there was an unpredictable, almost chaotic element to the show that kept everyone enthralled. The band's elaborate costumes and eerie masks only added to the immersive experience, transforming the stage into a dark, fantastical world. The lighting and stage effects were meticulously designed to enhance the music, with red lights and bright colours in contrast creating an intense, almost otherworldly atmosphere. The synergy between the band's performance and the visual elements was seamless, making every moment of the concert a feast for the senses. The crowd's enthusiastic response was a testament to the band's ability to connect with their audience on a profound level. In conclusion, Mushroomhead's live performance is a must-see for any metal fan. Their ability to blend highenergy music with theatrical stagecraft creates a unique concert experience that is both exhilarating and unforgettable. I would highly recommend going to see them if ever given the chance. Whether you're a longtime fan or new to their music, a Mushroomhead show promises to be a thrilling ride that will leave you buzzing long after the last note has been played. Words: Leah Cox Photo: Nick Davarias

Manchester's RADAR Festival is one of the youngest in the UK alt scene, but already has a solid core audience and this year's event did nothing to stop the growth of their ever-enlarging fanbase. Held at the Victoria Warehouse across the last weekend of July, we caught as many acts as we could! Day one kicked off with a bang - having only released their debut EP at the start of the month, new progressive metal outfit Vower hardly struggle to gather a large excited crowd. As the track kicks in with a selection of harmonious ambient drones, drowning out the eager voices, Vower set off providing an enigmatic and memorable performance. Vocalist Josh McKeown (ex Palm Reader) hypnotises the audience with his masterful ability to switch between strong alluring cleans and powerful white-hot screams. It’s not surprising a band with such heritage within the post-hardcore and alternative metal scene manage to produce such an astonishing all-consuming sonic journey. If their subsidiary festival slot proves anything it’s that Vower are a force to be reckoned with. Storming the stage, Thrown kick off their time on the Sneak Energy stage with an immediate punch to the gut. The Swedish heavyweights envelop the audience in a shroud of DnB followed closely by soaring pitch shifted guitars and blazing vocals from frontman Marcus Lundqvist. Wasting no time the band blast through their zealous set demanding attention with an enigmatic performance. While the crowd are already receptive to their offerings, forming a pit in the centre of the room at the first breakdown, Lundqvist continues to drive the room to move even more. Happy to oblige, a series of crowd-surfers make their way to the barrier while the pit grows larger with every track. Carnage from start to finish, Thrown provide a show like no other forging a connection with the audience through their compelling visceral experience. Next on the Archetype stage, a flurry of lights and ambient drones consume the room as Plini enters. Greeting the audience with a warm smile, the self-taught Aussie instrumentalist begins his set of melodic, evolutionary, progressive instrumental metal. With his signature Strandberg, Plini takes the listener through an aural journey like no other. Featuring intricate melodic guitar work accompanied by technical drums and bass, each transition is smooth and flows between a variety of moods. From soft ambient jazz to fierce dramatic rock peaks, the band effortlessly flows through different genres and time-signatures. Unfortunately cut short due to a late start, the audience display their support with a deafening applause. Friday headliners The Midnight showcase exactly what RADAR is about: diversity, inclusivity and equality. Armed with their impressive collection of 80’s-inspired synthwave ballads, the retro pop quintet adorn a series of purple hues as they open with the intrinsic Neon Medusa. Any questions as to why this band is headlining are quickly answered, a mutual agreement from the crowd in the form of roaring voices and ginormous applause. An intelligent and unique listening experience, The Midnight bring a nostalgic yet futuristic twist within their composition that is fresh and authentic. Day two of RADAR festival saw London metalcore five-piece Ithaca drown out the audience in an instant. Illuminating the stage in a sea of red, the heavy metal outfit barrage the crowd with an eclectic mix of intricate and abrasive guitars. Fused with the powerful, enraged vocals of frontwoman Djamila who prowls the area staring into the crowd with an unrelenting gaze, adamant to lure in each member of the crowd and succeeding. Although faced with technical issues, this did not deter the quintet. Without a moment's hesitation the band continue to drive the crowd into a frenzy, blitzing through the rest of their set mercilessly, leaving no room for dissent. Later in the day jazz-infused trio Dirty Loops provided a set of insanely unique, experimental disco inspired music. Equipped with an arsenal of pop classic covers with Lady Gaga’s Just Dance and a couple of Bieber tracks, the trio artfully transform the songs into modern progressive dance hits that are a welcome change from the short burst of heavier bands. Bass extraordinaire Henrik is a mastermind of complex melodies, flawlessly moving between intricate rhythms while vocalist and pianist Jonah glides effortlessly alongside. This already insane talent layered with the technical prowess of drummer Aron creates an innovative, original sound that is unparalleled. As the last day commences, it is announced that unfortunately Siamese will no longer be able to attend and a secret set will now take place on the second stage. Any speculation is soon put to bed with a quick glance at the fluorescent yellow addition to the merch stand. Second to grace the Sneak Energy stage, progressive metal outfit Adharma supply a wall of sound from start to finish. Vocalist Charlie Draper’s bright alluring vocals blended expertly with the crushing instrumentation makes Adharma a fresh and exciting musical adventure with a very important and authentic message. Pulling a double shift, the surprise set of the day came from self-proclaimed ‘Geezacore’ nutcases Pintglass. Having played a frenzied after-party the night before, the high-vis clad group waste no time in introducing themselves to the boisterous crowd. Amping up the energy by the minute, frontmen Angus Roberston and Ben Mason’s chemistry is unmatched as they herd the crowd into a sizable circle pit. Crushing and unrelenting, Pintglass are a hybrid of contemporary satire and conventional hardcore. Combining old with new, this boisterous bunch are carving their own path within the hardcore scene. The penultimate main stage set comes from Cardiff’s own post-hardcore royalty Holding Absence. Opening with the deeply emotional Like a Shadow, Lucas Woodland's vocal ability is nothing short of phenomenal. There is an indisputable fluidity within Woodland's performance that is backed by the prodigious instrumentation from Carey, Elliott and Green. Closing with ethereal, melancholic ballad Wilt, there is a feeling of warmth that surges throughout the room. As the Welsh quartet draw to a close with a final epic chorus, the audience members begin to disappear in a sea of limbs. Confirming that even within such a diverse bill for this year's event, Holding Absence are unrivalled performers that are a delightful interjection of soaring energy to any line-up. RADAR festival has yet again proven itself as an exceptional weekend of music, with an extensive catalogue of entertainment outside of the typical festival activities. The sense of community at this festival is unmatched, and with any luck it will keep riding this high and getting better every year. Words: Soph Payton Photos: Heather Patterson

As we enter the final month of summer, we're still counting down the days to a number of festivals before the tents are packed up for another nine months, as well as eyeing up the calendar ahead of some very special gigs. There is truly something for any music fan this month, so strap in and check out what we think you should check out! First up is the perhaps unexpected entry of the annual Boomtown fair. This wild four day event is far more than just a music festival, with eight deeply immersive areas across the festival grounds that are each home to a different style of music. Whilst we love artists from all walks of music, hardcore punk is of course our home and so we have a particular eye on Area 404, with such acts as Shooting Daggers, Good Cop, ALT BLK ERA, Soft Play, Gen and the Degenerates and plenty more! There's far far more than we can hope to outline, so frankly we simply suggest going to see what all the fuss is about. Taking a rather different approach is Bloodstock Festival, held across the same weekend but with far fewer stages, a bit more of a niche musically, and some absolutely excellent bands on the bill. Of course we can't not mention Burner and Unpeople, two of the best and brightest live acts in the country right now, but there's also Hatebreed, Xentrix, Sylosis, Opeth, Cauldron, Grove Street, and a whole host of further brilliant live acts to catch. Our first gig recommendation this month comes as Crypta take to the stage three times in the UK - firstly on August 9th, at the Camden Underworld, then the next day at Bloodstock, and on the 11th they play at Glasgow's Garage Attic. The all-female Brazilian death metal act are seriously heavy hitters with some searing riffs and crushing breakdowns in their arsenal, and are far more than worth the price of admission at any of these shows! Not to let the second weekend of August go to waste, Korn are also taking advantage of it to play at Scarborough's Open Air Theatre on August 8th, Halifax's Piece Hall on August 9th, and London's Gunnersbury Park on August 11th. The nu-metal icons have a formidable crew in tow as Loathe will be supporting all three shows, WARGASM on the 8th and 11th, and London will also feature performances by Denzel Curry and Spiritbox. Are you ready? Not to be outdone for amazing London shows, on August 13th 14th and 15th there's going to be something of a unique affair as Frank Carter of the Rattlesnakes and most of the Sex Pistols take to the stage at Bush Hall in order to raise money to keep it around. The venue will no doubt be rocked to its core, as all three shows sold out in seconds, and the opportunity to see a modern punk icon fronting the most iconic punk band ever more than warrants that. Starting on August 14th is one of the UK metal festival scene's best kept secrets, ArcTanGent. Full to the brim with your favourite artists from the weirder walks of music, there will be such clashes as Unpeople's anthemic mosh anthems colliding with Underdark's despairing black metal, and the triple headline threat of Explosions In The Sky, Meshuggah and Mogwai makes for a mean lineup in anyone's books. Chuck a few other names on like Blood Command, Julie Christmas, Maruja, and Curse These Metal Hands, and you are onto a winner. Our favourite space beekeeping noise band Wallowing have one hell of a show to put on later this month. August 23rd and 24th will feature two hectic shows from the heaviest band you need to have heard of, in Alton and London respectively. That London show is also the 5th anniversary of their album PLANET LOSS , and they're rumoured to be putting on the show of all shows for it. Only way to know what happens? Be there to see it. Whilst unofficially a weekend of hedonism after finishing your GCSE's, Reading and Leeds have plenty of great acts on this year. Blink-182 are headlining, The Prodigy are playing (at the same damn time, we've shed innumerable tears over this), Spiritbox are there, Crawlers are on the main stage, and there is far more for any alt lovers or metalheads to dig into, so maybe cast your eyes across those posters and have a little peek before disregarding this one. Finally, on the last two days of the month there will be a jolly old lineup of acts killing it in Torquay for Burn It Down Festival. On the Friday SeeYouSpaceCowboy will be making their first appearance in the UK for far too long, alongside My Only Solution, Calva Louise, Saint Agnes, Cauldron and more, whereas the Saturday features our first cover stars in Death Goals as well as Lake Malice, BEX, Mouth Culture, Unpeople again, Artio, and Negative Frame. With that many quality acts, maybe it's time for a trip down to Torquay! Words: Jake Longhurst Cover Photo: Conrad Newton