The wait is over, and the stage was set for an unforgettable night as Paradise Fell wraps up their EP launch tour with their final headline date. Songs for ur Head ,their latest sonic masterpiece, has already begun to captivate fans with its haunting melodies and crushing riffs, and tonight in Bristol, the band is ready to unleash it in full force. The energy was palpable, and as the crowd gathers at The Exchange, there’s no doubt this final show was a celebration of their evolution. The night was electric as Love Lost took to the stage for their debut hometown performance in Bristol. With a sold-out crowd and the anticipation building, the band’s explosive energy and raw sound set the tone for what would be an unforgettable evening. As they opened for Paradise Fell, Love Lost wasted no time making their mark, blending heavy riffs, intense screams, and dynamic dual vocals that left the audience buzzing. This was more than just a first gig—it was a statement, and it’s clear there’s plenty more to come from this promising local act. Paradise Fell stormed the stage with the explosive intro of 'Welcome to a World of Beautiful Chaos', immediately igniting the crowd with their raw energy. Frontman Matty commanded the spotlight from the very start, his dynamic vocals and magnetic stage presence setting the tone for what would be a high-octane performance. With every movement and word, he pulled the audience deeper into the experience, creating an instant connection that heightened the energy in the room. The band didn’t slow down, keeping the intensity rolling with an electrifying set that included 'Forever//Evermore', 'Suffocate', and 'Overdose'. Each track pushed the boundaries, ramping up the power and emotion as the set progressed. Matty’s vocals blended seamlessly with the band’s heavy riffs and atmospheric melodies, creating a perfect balance of aggression and depth that kept the audience on their toes. Special praise goes to Harry Acreman, whose guitar solos were nothing short of insane. His shredding riffs brought a raw intensity that sent the crowd into a frenzy. Jordan Bell’s drumming was equally impressive, delivering powerhouse beats that drove the entire performance forward with precision and power. Together, they added an extra layer of depth and complexity to the show, elevating it to another level entirely. A true highlight of the evening came when the band treated the crowd to a sneak peek of an unreleased track, 'California', an acoustic number that showcased a different side of their sound. The intimate, stripped-back performance highlighted Matty’s emotive vocals and gave the audience a rare glimpse into the band’s more vulnerable side. It was a refreshing moment before they returned to their high-energy set. Paradise Fell ended the night on a powerful note, finishing with two fan favorites: Beautiful Life and the much-loved 'Nadiya'. The crowd’s energy reached a fever pitch, singing along and fueling the band's final moments. Matty’s heartfelt connection with the audience, combined with the band’s relentless energy and tight performance, solidified their place as one of the most exciting acts in the scene. By the end of the set, it was clear that Paradise Fell had not only put on an unforgettable show but had left an indelible mark, one that fans will eagerly remember and look forward to experiencing again. The night concluded with the crowd still buzzing, chanting for more, even as the lights came up. Paradise Fell's final show of the tour was more than just a celebration of their latest EP—it was a testament to their growth as a band and their unwavering commitment to creating music that resonates deeply with their audience. Fans left The Exchange with an undeniable sense of anticipation for what’s to come. Words: Mia Gailey Photos: Ben Blisset

Few bands turn self-loathing into anthems quite like Crywank. The UK-based anti-folk project, led by Jay Clayton with Daniel Watson on drums and Jules Noel on bass, has built a cult following through their brutally honest songwriting. Their music swings between humor and despair—sometimes in the same breath—blending intricate acoustic melodies with lyrics that feel like late-night overthinking sessions set to music. And while their records feel intensely personal, seeing them live is something else entirely. There’s an unpredictability, an unfiltered connection between band and audience that makes a Crywank show feel more like a communal experience than a standard gig. Their stop in Southampton was no exception. Johnny Foreigner kicked things off with their signature mix of jittery indie rock and breakneck mathy riffs, their sound bursting with a nervous energy that kept the crowd moving from the first note. Between songs, they kept things lively with their quick-witted stage banter, throwing out quips and even taking playful jabs at Southampton’s football team (earning them a mix of groans and laughs from the audience). Their setlist was the perfect balance of fan-favorites and deeper cuts, with songs like "Johnny Foreigner Vs You," "Cranes and Cranes and Cranes and Cranes," and "A Sea to Scream At" coming through with a mix of nostalgia and urgency. Their ability to seamlessly switch between frenetic, almost chaotic instrumentation and soaring, melodic moments made for an electric opening set. By the time they wrapped up with "Okay 1 More!", the room was buzzing, fully primed for the headliner. Then, Crywank took the stage, and everything shifted. The trio—best known for their brutally honest, self-deprecating anti-folk—immediately made it feel less like a concert and more like a weird, wonderful gathering of like-minded people. Clayton’s presence was both vulnerable and effortlessly funny, making the performance feel personal in a way that few bands can achieve. The setlist spanned their extensive discography, kicking off with "Now I’m Sad (Boo Hoo)" before rolling through classics like "I Am a Familiar Creak in Your Floorboards" and "It’s OK, I Wouldn’t Remember Me Either." Each song carried its own weight, some more delicate and introspective, others spiraling into moments of frenzied energy. Even as Clayton poured their heart out in each song, there was a playfulness to the way they interacted with the crowd—at one point, they restarted a song after messing it up, but rather than getting frustrated, they laughed it off, making the mistake part of the experience. That connection with the audience only deepened as the set went on. Fans swayed along, occasionally calling out jokes and compliments, including one person who called their songwriting "poetic." Clayton, never one to take themselves too seriously, responded by casually mentioning that one of the songs they had just played contained a quote from Invader Zim. It’s that kind of contrast—profound introspection colliding with absurd humor—that makes Crywank so uniquely endearing. Even offstage, the sense of community was palpable. Rather than disappearing backstage after their set, Clayton spent time at the merch table, chatting with fans as if they were old friends. That accessibility, combined with the deeply personal nature of their music, reinforced the feeling that Crywank isn’t just a band—it’s an experience, one that thrives on the connection between artist and audience. The night ended with "I Am in Great Pain, Please Help Me," a fittingly cathartic closer that left the room buzzing. As the final notes rang out, there was a collective sense of release—a moment where sadness, humor, and raw energy all coexisted in the best possible way. Walking out of the venue, you could tell that everyone had been part of something that felt personal, whether they came for the sad songs, the humor, or just to scream along with strangers. Crywank’s music may be steeped in self-doubt, but their live show proves time and time again that they’ve built something truly special. Words: Jason De Medonca Photos: Becca Wheeler

Fans of Coheed and Cambria will feel refreshed to hear their 11th studio album, The Father of Make Believe, is a beautiful balance of the universe they have created and a personal touch that frontman and songwriter Claudio Sanchez had been missing when telling his stories in projects prior. The Father of Make Believe is a monster LP at 14 tracks, but includes everything from C&C’s signature brand of exploratory progressive rock to a more contemporary thrash rock sound that cements the quartet into the foundation of the modern rock scene still 30 years since their forming. The opening tracks on this album frame the project beautifully, with soft opener ‘Yesterday’s Lost’ setting the tone of optimism with a pang of remorse that continues throughout the project, before ‘Searching for Tomorrow’ mixes electro-rock beats and running guitar melodies to create a quintessentially Coheed and Cambria sound. The track builds as it searches like its namesake then bursts into a heavy breakdown and guitar solo, while Sanchez reminds the listener that “it’s good to let go/let them know it’s by design” - a nod to the personal touch he will add throughout the lyrics of this project. Title track ‘The Father of Make Believe’ runs straight after: a ballad crying out for connection in the stars while Sanchez explores the versions of himself he feels people do (and don’t) see of him. This title track is packed with the angst of someone who's never quite settled in their identity, on the backdrop of an ethereal soundscape and some beautiful drumming by Josh Eppard - the fourth wall shatters in this track like a meteor collision, with all the beauty that entails. Coheed and Cambria are going meta throughout this project of self-examination. Single ‘Blind Side Sonny’ is exemplar of this - utilising hardcore conventions to bring the violence to Sonny’s character, the frustrations of C&C's slow and steady rise into the rock zeitgeist can be felt in its cries for blood. That transitions seamlessly into ‘Play the Poet’, keeping the hardcore-style rock sound in this second act while the track seems to call out the box that the high concept approach has put the band in in a satisfying meta commentary. For those lying in wait to dissect the lore implications of The Father of Make Believe, there is plenty to pick apart, but the blend of their classic storytelling and the more personal touch comes wonderfully in the form of ‘Meri of Merci.’ Gentle piano melodies accompany the ode to Sanchez’s grandfather who himself is a cameo character in the wider C&C universe, fleshing out this storyline to one of reunification of his grandparents in the spiritual world with their desire to be with each other in concept. This track tightens the chest with its sincerity in its commitment to feeling the presence of the one you love and determination to reunite with them once more, and is placed perfectly between ‘The Father of Make Believe’ and ‘Blind Side Sonny’ as a moment of reflection before a return to the chaos. The lore drops for The Father of Make Believe are in the form of the 4-part closer ‘The Continuum’, beginning with ‘Welcome to Forever, Mr Nobody’, a hard rock track starting with the call of the robot and telling the story of a maverick lost in his own persona and commitment to his lifestyle. The question of how long you can run ring out where - on the one hand - there is a commitment to change, but the other the threat of this life being forever. Second Continuum ‘The Flood’ is the suspense builder with its almost bluesy-style riffs and drop hat beat in the beginning, and brings back the sentiment of searching that has been woven through this project with the kneejerk of a lack of feeling and an expectation of fear in its lyrics. ‘The Flood’ is the longest of the four at 6:23, yet still builds suspense for the final two tracks in its runtime, building and almost resolving its angst through heavy drums and all-out riffs by its second half. Third up, ‘Tethered Together’ lightens the mood with some nods to love and romance over a sultry melody, with the gorgeous hook of ‘We’ll all sing together from the first verse to the last word’ making this song great for those securely in love, but awful for those just out of it. Finally, closer ‘So it Goes’ rounds out The Father of Make Believe with acceptance, supplementing the themes of coming-to-terms that are present in this project by asking for ways for good to finally return to this journey, before closing out with a big orchestral instrumental and fading out piano notes that indicate their never ending journey is indeed not ending. The only thing that removes some of the emersion from this track is, of all things, its similarity to Take That’s 2006 single ‘Shine’ in lyrical structure and jumpy style, and even the themes of emerging into the light, but noticing this quirk added to the enjoyment of the track overall rather than subtracting from it. If this album must be criticised, it would be on its length. Coming in at 14 tracks and 58 minutes, a cover to cover listen of The Father of Make Believe is a commitment, and album lethargy hits in the second half which can make it hard to appreciate the bangers that can be found there. Though the blend of personal and concept works within each track, the album as it is feels like an LP with an EP tacked onto it when it comes to ‘The Continuum’ tracks; them also feeling more lore heavy indicates this project may have benefitted from having these tracks as a stand-alone work for the lore fans to sink their teeth into, while the rest of the LP could work as the break into the personal that Sanchez was looking for. With all that said though, The Father of Make Believe is a truly wonderful album, one that could not be recommended enough and perhaps one of the first big highlights of the year when it comes to 2025 releases. It’s out to buy and stream this Friday, so keep an eye out for it when it drops! Score: 8/10 The Father of Make Believe will be released on March 14th 2025 via the Virgin Music Group. Words: Julia Brunton Photos: Coheed and Cambria

The lupine Japanese five-piece Man With a Mission are celebrating fifteen years on the rock scene this year, and as a part of the celebrations are releasing a new EP, XV. The band from Shibuya, Tokyo established themselves as one of the leads of the scene in Japan by not only writing songs with a distinctive style to them, but also diving into anime and making such fan favourite songs as 'Seven Deadly Sins'. The celebratory EP has only four new originals, whereas the rest of the EP is made up of live recordings from the Mexican date on band’s latest tour. Full of catchy guitar riffs, great vocals and memorable melody, ‘Vertigo’ is definitely a song worthy of being the opener. The band is using motifs that are very familiar to them, but bends them to make something completely new. By combining rap and singing together, the group give air to two contrasting styles that work together and compliment each other throughout the runtime of the song. ‘Circles’ lets us know who wrote the song immediately, as the style is so distinctive to the band. A little slower than the opener but just as punchy, the track takes the listeners to a musical paradise with all elements clicking wonderfully together. Sang completely in English, as are the first and fourth tracks, the song could be easily be used as an opening or closing song for an anime. The lead single of the EP, ‘REACHING FOR THE SKY’, is the only song from the four new songs that is predominantly written in Japanese. The melody of the song is swift and punchy, and the whole track showcases the band’s talent to the maximum. ‘whispers of the fake’ is the fourth and the last of the new tracks. Starting off acoustic and gradually adding electric guitars, the song carries on in a fairly typical modern rock manner, being a good pick for the “closing” song of the originals. As the song reaches its end, we're surprised by a set of bagpipes playing, in a pleasant and very much welcome surprise addition. After the packed showcase of four new songs, we then reach eight live recordings from the band’s Mexican show on their recent 'Kizuna no Kiseki' tour. Being presented with the band’s fan favourite songs such as ‘Kizuna no Kiseki’, ‘Merry-Go-Round’ or ‘Seven Deadly Sins’, we can go back in time and enjoy the concert from the attendees perspective, even if just in listening. It is a great way to connect the fans more with the band, and live recordings have of course long been a staple of the music world - but to combine a live recording with originals in this fashion feels a little awkward, as either set of songs could have been a release in their own right, but instead they've been pushed together into a slightly bloated 12 track EP. The XV EP is a great way to celebrate Man With a Mission’s anniversary and accomplishments throughout the years, as they are marching forward to more success. New tracks are well written and memorable, alas it is just four of them. It brings a certain amount of nostalgia to listen to the live recordings, although some listeners might choose to not listen to them at all. As the band is coming back to Europe and United Kingdom with their ‘Howling Across the World’ tour in October, we wish them good luck and congratulations on the memorable milestone. Score: 6/10 'XV ' will be released on March 12th 2025 via Century Media and Sony Music. Words: Katerina Stepanikova Photos: Man With A Mission

Since the beginning of its mosh-heavy operation, Download has become the home of the most innovative rock and metal talent in the UK, if not the entire world. The festival’s history is etched deeply into the hills of Donington racetrack as each year passing brings both the best breakthrough talent and rock royalty alike. With it, more and more exciting female acts are paving the way for future generations. Whilst alternative music has struggled to represent women in lineups, it is important to remember the history of the women who broke hallowed ground, turned the volume up and screamed into their microphones that the industry is changing and challenging how we build our lineups and make way for the more diverse headliners of tomorrow. Here is a shortlist of women who made the download of today possible - but it is also important to remember the phenomenal impact that the female acts of Download have commanded across all stages - including In This Moment, Nova Twins, Against Me, Blood Command, Butcher Babies, Baroness, Rolo Tomassi, Hot Milk, As Everything Unfolds and Scene Queen. Plus many more that have made Donnington their own. 2003 - Angela Gossow, formerly of Arch Enemy It’s 2003, and the first iteration of Download Festival was ready for fresh blood. A new generation of black-clad greebos took to Donnington Park to witness the UK’s largest metal festival, crown and sceptre in hand. On the second stage, Swedish melodic death-metalers’ Arch Enemy played an early set, hot off the release of their brilliantly brutal 2003 record ‘Anthems of Rebellion’. At the time, Arch Enemy was fronted by Angela Gossow - a behemoth of the death metal community, who had auditioned for the band four years previously and “wiped the floor with the other contenders”. Her devastating mix of piercing screams and demonic low growls gave unmatched dimension to the band, even after her diagnosis of nodes in 2002, that almost stopped her career entirely. Gossow would front Arch Enemy until the release of 'Khaos Legions' in 2011, replacing current vocalist, Alissa White-Gluz. Arch Enemy would play again in 2004, and again in 2006- safe to say we’re well overdue for their glorious return! The phenomenal Arch Enemy playing Donnington in 2006 2006 - Cristina Scabbia, Lacuna Coil The incomparable Cristina Scabbia took to the Donington Stage a week after her 33rd birthday, just after the release of Lacuna Coil’s iconic 2006 album, ‘Karmacode'. Having played the festival the year before, the gothic-metal group were no strangers to the magnitude of the Download second stage, playing the majesty of their then-four album discography. Leaning into their eclectic roots, Lacuna Coil would play an electrifying cover of Depeche Mode’s ‘Enjoy the Silence’. The band would go on to play the festival four more times, with Cristina setting the record for the most times a woman has performed at Donnington, tying with Halestorm’s Lzzy Hale. Lacuna Coil performing a cover pf Depeche Mode's 'Enjoy the Silence' in 2006 2007 - Hayley Williams, Paramore The first - and only - time Paramore played Donington was in 2007, fresh off the release of their history-making ‘Riot’ album. Their unbearably-short five-song setlist was the breakthrough set for the band in the UK, a long season of festivals had pushed the eyeliner-clad band into the mainstream. Emo was beginning to shape lineups, with My Chemical Romance headlining Download on the same day (what a time to be alive). Vocalist Hayley Williams made the most of the set, dedicating ‘For A Pessimist, I’m Pretty Optimistic’ to a band from the UK press junket, with the words “You know who you are.” The band would cut through the crap with their hit song “Misery Business”, but the highlight of their day, as stated in an interview with NME, would be watching DragonForce perform. Paramore's interview with NME in 2007 2010 - Lzzy Hale, Halestorm Lzzy Hale needs no introduction - 2010 would mark the first out of five times that Halestorm would perform at Download in the UK, eight with the global editions of the festival including Australia and Japan. The vocalist would give a dazzling performance in her red and black knee-length gown, enchanting the entire crowd, with her gritty powerful vocals. Lzzy made her presence known at Donington, after the release of the Pennsylvanian rocker's self-titled album. The band are a fan favourite, singing loudly as an advocate of mental health and known for their consistent touring, sometimes pulling off as many as 250 shows a year. The festival will always be a home for Halestorm as the first ever female headliner of Download’s second stage in 2019. Halestorm performing 'I Am The Fire' during their headlining set in 2019 2011 - Skin, Skunk Anansie It feels pretty full circle, as the British rock band are touring next month, but Skunk Anansie graced the Donington lineup third from top on the main stage in 2011. Reforming in 2009, the band went back to their roots for their fifth studio album 'Wonderlustre'. Vocalist Skin describes her band as “clit-rock”, a rebellious amalgamation of heavy metal and feminist rage. Not afraid to stand up for what they believe in, their fifteen song setlist opened with ‘Yes It’s Fucking Political‘ throwing an eclectic mix of classics and new material. This would be the only time that Skunk Anansie would play the festival, but as Mavis Bayton, author of frock rock would state: “women like Skin, Natacha Atlas, Yolanda Charles, and Debbie Smith are now acting as crucial role models for future generations of black women.” 2016 - Su-metal, Moametal and Yuimetal, Babymetal Download icons Babymetal brought the Harajuku-infused noise to Donington's sleepy hills. The Japanese three-piece, consisting at the time of Su-metal, Moametal, and Yuimetal changed the state of the modern heavy scene with their breakthrough track ‘Give Me Chocolate’, which they performed as special guests for DragonForce in 2015. Andy Copping brought them back the following year to do an entire set, adding the ‘cute’ to the Festival’s greebo-inflused lineup. The three-piece would play twice more, once in 2018 and again in 2024 in the middle of a thunderstorm. A whirlwind career for the band with Moa Metal headlining her first arena at the age of 14. One thing's for sure: Download was never the same again after Babymetal became a regular feature. Babymetal playing 'Distortion' at Download 2016 2022 - Courtney LaPlante, Spiritbox The rise of Spiritbox came out of the darkness of the pandemic. In 2021, the release of their debut album 'Eternal Blue' was the lighting of a long fuse, that in the UK would truly know the extent of the damage during their packed debut set at Donnington. The Avalanche tent witnessed history that day as Courtney LaPlante and her band Spiritbox played an excruciatingly short set, that became one massive sweaty mosh. With the harsh restrictions of lockdown, this was a set that the crowd needed. Spiritbox will return in 2025, but this time for their main stage debut. 2023 - Amy Lee, Evanescence 2023 marked the impressive 20 years of Download. Whilst the music scene has constantly been thriving, the inclusion of women and queer people on alternative lineups has recently gone from strength to strength. Across the bill and on all stages, diversity at Download has been an all-time high. Evanescence, headlining the second stage in 2023 could not be more evident. The black-clad bedroom emos that grew up on the festival were out in full force singing along word for word to vocalist Amy Lee. It was the first time the band had played the festival, and they received an overwhelmingly positive reception, with crowds swarming the entire second stage’s allotted ground. As her melodic vocals dispersed into the swelteringly hot early evening that year, she made her mark on the increasingly hallowed halls of Donington. Download will be back for 2025 featuring the glorious return of Spiritbox, plus many more acts including Poppy, Sophie Lloyd, Jinjer, Mothica, Kittie and many more. Headliners include Green Day, Sleep Token and Korn. Tickets for the festival can be found here.

After five years of waiting, the thrash metal powerhouse from South California, Warbringer, are finally poised to bring us their newest project, Wrath and Ruin. Packed with heaviness and memorable rhythms, the band redefines what they know and challenge themselves to deliver an unforgettable experience. From the energetic and swift opening track, ‘The Sword and the Cross’, to the dark vocal masterpiece ‘Through a Glass, Darkly’, the album offers the listener both chaos and calm, all while delivering an unforgettable performance. Wrath and Ruin is an eight-track album composed of many different elements, that all serve to tie the piece together. The album opener, ‘The Sword and the Cross’, and the following song, ‘A Better World’, are the only singles released, but they both showcase the album’s potential. John Kevill’s striking vocals are taking us right into the action, immediately followed by Carlos Cruz’s jaw-dropping drum work. The guitarists Adam Caroll and Chase Becker are not soon forgotten either, as they're on it from the off. With ‘The Sword and The Cross’ happening in the medieval world and ‘A Better World’ being placed in the present, the two contrast lyrically with each other, yet they work together flawlessly. On the other hand, ‘Through a Glass, Darkly’ tends towards the gothic side of things a little, with the pace of the song slowing slightly. The change of the tone can be heard throughout all instruments, but mainly in Kevill’s voice, starting off the song with whispers only to go straight into a fry vocal, fitting the style of the song excellently. Becker’s and Caroll’s guitar work is stand out, as we can hear in both solos throughout the song. Making our way through the album, we can see Warbringer did not hold back on keeping things modern with some punchy melodies found throughout. The band also clearly took care to think about the transitions between the songs, as we can see in ‘Through a Glass, Darkly’, ‘Cage of Air’ and ‘The Last of My Kind’. These three songs all start off rather slowly, giving the listener a moment to take a breath before diving back into the action. ‘The Last of My Kind’ also features a piano in the intro, a trait that no other song on the album possesses. While the slow transitions are a good way of changing up the pace, it still might be overwhelming for the listener to finish the whole album in one go, as it sometimes feels like we are being thrown from one song to another without a seatbelt. ‘Cage of Air’ is the only song on the album that has a noticeable bridge, which makes the listening experience on that song somewhat different. The acoustics fit well in that part of the track and really tie it together. Focusing on the rhythm across the album, Carlos Cruz’s impressive drumming skills display both his raw aggression and his precision, standing out in tracks such as in ‘The Jackhammer’, where the snare takes its rightful spotlight. As for the bass, it's sadly quite rare to hear Chase Bryant playing in the background due to the two guitars overwhelming power, and it is definitely something that would be worth some attention as it would add more depth to the project. With Wrath and Ruin, Warbringer prove to us that they still deserve to be considered amongst the top modern thrash bands. Whilst there is some space for the band to improve, the album is well made and its strengths overpower its weaknesses. It'll make a good listen for anyone who enjoys the modern metal scene, as it brings together the best elements of that with a healthy dollop of respect for what came before. Score: 7/10 Wrath and Ruin is coming out on 14th March via Napalm Records. Words: Katerina Stepanikova Photos: Warbringer

Easily the heaviest band of the night, Lake Malice delivered a powerful blend of Metalcore and Hyperpop (a new but most definitely welcome addition to my repertoire of genres) elements. We've been to enough gigs to say with perfect utility that you never see this much of a turnout for the opening act on almost any bill. They were clearly more than capable of commanding a room this size and I highly suspect to see them headlining venues of this size and even larger in the very near future. Watch this space. As December Falls took to the stage next, immediately shifting the atmosphere to one of relentless fun. The Nottingham-based four-piece, making waves online with an infectious brand of pop-punk and a healthy dose of breakdown - here and there mind you- they didn’t hold back. Their sound is enough to tickle those early 2000’s roots we all have and slap their own unique lick of paint on top. It was clear they were having the time of their lives, and that kind of enthusiasm is hard to ignore for even the most stoic of audience. Songs like ‘Mayday’ and ‘Carousel’ had the crowd bouncing, with front-woman Bethany Curtis engaging the audience like a seasoned pro. The chemistry between band members was undeniable. They fed off each other’s energy the entire set. They didn’t leave a square inch of the stage un-touched and I was out of breath just watching. This performance proved they’re not just a studio band. They brought their songs to life with a rare variety of charisma and by the time they closed out their set, the room was buzzing, perfectly warmed up for the headline act. Then came RORY. The night’s headliner, stepping onto the stage with the weight of experience behind her. An outlier in all the best ways. Many artists, especially in the mainstream genres, find success in their early twenties and even their teens. RORY’s journey took longer, with the many bumps along the way being laid out for all to hear throughout the entire set, making her presence on stage all the more powerful. There’s something profoundly refreshing about seeing an artist who’s lived through life’s ups and downs before stepping into the limelight—every lyric felt earned, every song more of a poignant reflection than the last. Her set was raw, honest and drenched in emotion. Songs like ‘WOLVES’ and ‘Help Your Friends Get Sober’ struck a deep chord with the audience, with a large number of them holding up signs reading “We’re so proud to see you blossom”. We've never seen such a tangible connection between an artist and their fans. Most artists will give you the same old spiel on stage of how much they appreciate you and this, that and the other. This, however, was something completely different. Hearing people screaming what an inspiration RORY is, thank-yous for helping them get sober and much more. It was cathartic, raw and - most of all authentically Rory. With a lineup that balanced intensity, energy, and raw emotion, the LCR hosted a night that truly felt significant. Lake Malice brought the pits, As December Falls brought the party, and RORY brought the heart. An almost sold-out show like this isn’t just a testament to these artists’ talents—it’s proof that alternative music, in all its evolving forms ( looking at you Hyper-pop), is alive and thriving. Even if it’s a little late. Words and Photos: Joseph McCarthy

After the release of their most recent album, Spiral in a Straight Line, Touché Amoré announced a 37-day EU and UK tour, supported by Trauma Ray for the whole thing. This is already fresh off the heels of a 21-day USA tour at the end of last year, an insight into this band’s incredible work ethic. Of course, there’s still a few noticeable differences here and there, for example, drummer Elliott Babin has recently become a father, and as a result could not come on this tour, according to frontman Jeremy Bolm before thanking his temporary replacement, Sam, for filling in. There’s a few other surprises on the way too, with bands Chalk Hands performing in support for Touché Amoré as well as Trauma Ray at Manchester’s Gorilla venue. Brighton’s own Chalk Hands were up only half an hour after doors opened, to a fairly quiet crowd - the band were surprised people had even shown up to see them at half past 6 in the evening - but that didn’t stop them from making an impression. After a short guitar drone, they launched into their first song, each hit on the drums reverberating through the bones of anyone in attendance. The two guitarists and bass player each had vocal parts at various points - the music itself was already extremely dynamic but these switches throughout songs adds to the effect, it’s exciting and keeps the audience on their toes. Between the songs, their frontman urged the audience to come closer to the stage as “we want to be able to smell you all” before playing some as of yet unreleased songs for an upcoming album, which they announced they were recording nearby. Their performances were tight and engaging the whole way through, and prove themselves to be an exciting live act. After a short half-hour break, Trauma Ray walked onstage, and immediately swung into action, blasting the audience with this tidal wave of distortion. The Texas shoegaze group have been with Touché Amoré for the whole European leg of the tour, and it certainly shows. Their debut album Chameleon released last October, but their confidence shone through as they managed to put together a decisive set of songs. It was half an hour of noisy, distorted walls of sound, with vocalist Uriel Avila’s voice floating above the instrumentation with a Chino Moreno-esque performance. At this point, the crowd was building in numbers, swaying back and forth. The music was extremely heavy and the band didn’t let up at all, but there was still this dream-like quality to it that made them an absolute joy to see live - before walking off to 4 Non-Blondes’ “What’s Up” Before top-of-the-ticket group Touché Amoré had even set foot on the stage, fans were having a great time, singing along to The Beatles’ “Hey Jude” and Aerosmith’s “Don’t Wanna Miss a Thing” playing through the speakers. But upon the band’s arrival onstage, they broke out into lead single off their most recent album Spiral in a Straight Line - “Nobody’s”. Across the course of the set, frontman Jeremy Bolm had a huge grin on his face, clearly enjoying the performance and the crowd interaction. Crowdsurfers were absolutely everywhere, every minute a new audience member would manage to make their way onto the stage then jump back into the crowd. The energy in the venue was electric and you could even feel it from the back of the room, as communal of an experience as any punk-adjacent show should feel. Despite the tour existing to promote their new album, the setlist was fairly balanced, performing a handful of songs off of almost every album, before closing with fan-favourite “Flowers and You” from 2016’s Stage Four. This was, of course, before coming back on stage for one more song, prompted by the audience chanting “Oh Touché Amoré” to the familiar tune of “Seven Nation Army”. The very last song they chose to perform was “Limelight”, lead single from 2020’s Lament, bringing Trauma Ray’s Uriel Avila back onstage for backing vocals towards the end - a great surprise to end a fantastic night of music. Words: Jake Leonard Photos: Ely King

We took the leap into a destructive and aggressive night of noise and sludge with Napalm Death. Starting the night off were ‘BRAT’ hailing from New Orleans who came with a punch, walking out to Darude’s ‘Sandstorm’, this band wanted to enlighten us as to what their self-proclaimed genre ‘Bimboviolence’ and my god did they live up to that name. With some incredible gutturals from frontwoman Liz Selfish coupled with some pop frivolity and dance moves reminiscent of the stage presence of Charli XCX which made for a fantastic performance, they were raw, heavy, violent and best of they did all this in a very girlypop manner. Next up, Full of Hell brought even more noise to decimate Electric Brixton’s speakers, the energy these group of Maryland natives showed the audience their brand of grind-core that had quite a unique couple of idiosyncrasies like some added saxophone, and noises coming from Singer/Frontman Dylan Walker’s board, he even had an extra microphone for some extra distortion to his screams; The anger this band had was impressive, the strength and speed of their playing was something to really admire. After that, legendary New Orleans sludge metal pioneers, Crowbar, graced the stage; changing up the tone a little bit, these guys took us on a journey through their discography, showing us the unadulterated roughness of their earlier work, to the eerie, dark and ethereal doom of their later work – this is where the crowd really kicked into gear with most of the venue floor becoming one giant mosh-pit, crowd surfers galore and many, many heads banging. The singers gruff Louisiana accent only kept this crowd pumping with hyping up as well as killer doom vocals; again, it was just pure pugnacious instrumentals coupled with a crowd that definitely reciprocated that energy. We even got a little bass playing from Napalm Death’s Shane Embury as an added treat. Finally Birmingham’s own Napalm Death joined the stage, blasting the audience with a pure cacophony of noise; admitting themselves later in the gig, they aren’t there to play music, they’re there to make noise, and that they did. Singer Mark ‘Barney’ Greenway using every fissure of his vocal chords to run around the stage, and scream his heart out was a sight that only seasoned musicians like these could pull off, with Shane hitting some bass melodies that genuinely shocked. These men are absolute professionals and making synchronized grindcore that batters your eardrums as well as your body with its vibrations, the pit got crazier, the crowd surfers more abundant, it was not a safe place to be if you weren’t a fan of this music. The peak of this show was when Greenway delivered a socio-political speech about loving thy neighbour no matter their background, to which made him segway in their hit ‘Suffer The Children’ which turned the venue upside down; everyone was banging their head, the pit got bigger and far more crowd surfers were coming over that front barrier. The band did not relent in giving London the grind core they wanted, and in our eyes they went above and beyond to prove to everyone their veteran status. Words and Photos: Ben Blisset

Alt rock duo Vukovi headlined Manchester's O2 Ritz for the first time as they toured their latest album, ‘My God Has Got A Gun’. The deeply personal album, released in January, translated to the stage for a knockout sold-out show with support from Artio and Unpeople. The evening kicked off with queer alt rock band Artio. Don’t let singer Rae Brazill’s short stature fool you - they've got lungs to rival the best of them. Underpinned by the smooth harmonies of Robert Arkle and growl of Jai Akhurst, Artio’s vocals are full and in-your-face. A distinctly Gen-Z band, the Leeds quartet use punky electronics to tackle topics such as mental health and LGBTQ+ rights. Their set included new song Split Soul - heard only on this tour - and viral hit Product of My Own Design. The next band, Unpeople, share Artio’s discontent with society. Fronted by Jake Crawford and Luke Caley, both recognisable from Press to MECO, and freshly-joined bassist Em Lodge, the four-piece is rounded out by Richard Rayner on drums. Their sound balances chant-like singing with heavy screams and guitar, creating a timeless sound that engaged the crowd ready for the main event. The opening acts’ instruments were taken off stage to reveal a transparent neon orange drum kit, glowing under the lights. There were motifs of the ‘My God Has Got A Gun’ (MGHGAG) theming dotted around, with branches of cherry blossom on either side of the stage and painted amps, building anticipation for the band's set. Guitarist Hamish Reilly and touring drummer Martin Sharples-Johnston were the first from Vukovi to appear. Like the MGHGAG album, the show begins with ‘THIS IS MY LIFE AND MY TRAUMA', a short introductory track that builds with a yell of “bang!” and transitions smoothly into the next track. As ‘GUNGHO’ began, vocalist Janine Shilstone burst into view. Shilstone’s red cape-like catsuit (also worn in the SNO music video) added to the hypnotic grace of her movements. Barefoot and brandishing a bottle of Buckfast, she was a commandingly confident performer. Shilstone’s sincerity was the most striking thing about the show. Even amongst the flashing lights, synths and guitars, she maintained a raw connection to the audience. When she got down on her knees to beg for forgiveness during the bridge of SNO, she looked like her life depended on it. Taking a brief break from the fast pace of the rest of the set, ‘Colour Me In’ from their 2017 debut album was a heartfelt interlude that got phone flashlights lit up all around the room. Shilstone perched on the edge of the stage, her legs dangling over the edge as she sang directly to the audience. Throughout the show, Vukovi brought back singers from the opening acts, with Brazil, Crawford and Lodge all making appearances. This twist allowed fans to hear the songs in new ways, with each vocalist bringing a fresh flavour to the well-loved tracks. For the final songs, Vukovi promise the best songs they have ever written, and they mean it. Hopeful ‘I EXIST’ is simultaneously a call to keep living and an undeniable banger, followed by the ‘Run/Hide’, one of the band’s most popular tracks about Shilstone's struggle with Obsessive Compulsive Disorder. Their pièce de résistance of an already stacked set was La Di Da. Em Lodge of Unpeople took on the rage-filled bridge, definitely doing it justice. A high-energy, high-emotion show, we were lucky to catch them at the penultimate night of the tour - their 9th March Glasgow show is currently in the process of being rescheduled due to a power cut. With the amount of force behind Vukovi, it's easy to believe that an electricity grid would struggle to handle them! Words: Gabriella Bosticco Photos: Libby Percival

Buried are officially dropping their first EP, Infect and Replicate, and they’re making sure it hits hard. Formed in 2022, the Phoenix-based crew aren’t complete newcomers by any stretch - bassist Preston Wilson and guitarist Alex Valdés kicked things off with a clear vision, pulling from doom’s ominous weight, thrash’s relentless energy, and the intricate twists of prog to create something that’s heavy as hell but still keeps you locked in. They brought in longtime friend and vocalist Ben Rosputni, whose raw, commanding delivery adds a whole other dimension to their sound. Rounding out the lineup is their newest member, drummer Joe Symons, who steps in with a fresh energy that drives the band forward. With Infect and Replicate, Buried are setting the tone for who they are - brooding, intense, and full of moments that throw you off balance in the best way. The EP kicks off with 'Haunted', and right away, the name makes sense. There’s this creeping, uneasy melody that feels like walking through some abandoned house, the kind where the air is too still, and you’re waiting for something to lunge out from the shadows. Rosputni’s vocals only add to that tension, teetering between restrained menace and full-throttle aggression. The track simmers, keeping things tightly wound - until it doesn’t. In the final stretch, the riffing kicks up, the energy surges, and suddenly, it’s a full-speed descent into chaos. Plunging into 'Loving You' next, which plays things a little differently. It starts slow, almost hypnotic, with a rhythmic pulse that lulls you into a false sense of security - before yanking the rug out from under you. The intensity ramps up fast, catching you off guard in the best way. The contrast makes the heavier moments hit even harder, and the distortion on the guitars adds a raw edge to it all. It’s got that push and pull that makes for a great metal track - unexpected but completely locked in. Continuing onwards, 'Tallies' wastes no time getting straight to the point. Right out of the gate, it’s all intensity - Rosputni’s vocals cut through the mix like a blade, piercing through the wall of guitars. The track feels urgent, like it’s barely holding itself together in the best way, keeping that raw, aggressive energy pulsing all the way through. The EP closes with 'No Saviors', and it’s the kind of track that lingers long after the final note. Right from the start, there’s this uneasy, ticking rhythm paired with a droning guitar that feels like a countdown to something ominous. When the vocals and heavier guitars finally crash in, it’s like the floor dropping out from under you. The slow, almost hypnotic riffing builds this looming tension, giving Rosputni’s vocals even more room to shine - his delivery is raw, intense, and commanding, pushing the song’s weight even further. It’s a fitting closer, wrapping up Infect and Replicate with a feeling of unease that sticks with you. Infect and Replicate is a serious opening statement from Buried. The EP is packed with weight, unpredictability, and an underlying urgency that makes every moment feel alive. It’s heavy, it’s unsettling, and most importantly, it feels like just the beginning. Score: 6/10 Infect and Replicate will be released on March 12th 2025. Words: Jason De Mendonca Photos: Buried

With Tsunami Sea, it’s evident that Spiritbox is a band that does not hold back. With a history of blending ethereal melodies and crushing heaviness, the Canadian metalcore outfit continue to challenge themselves, delivering an album that is fuelled by contrast. From the haunting, balladic title track to the unrelenting ferocity of ‘Soft Spine’, Tsunami Sea absorbs both peace and madness and propels metalcore to new heights while still maintaining intact the band's own sonic identity. In essence, Tsunami Sea is a great album. Spiritbox has mastered the art of writing songs that bounce between moments of tranquility and pure brutality. The title track, ‘Tsunami Sea’, is one of the most intimate songs in the band’s discography, built on atmospheric soundscapes, ethereal vocals, and shimmering guitar lines that ebb and flow like sea currents. Courtney LaPlante's delivery is eerily vulnerable, highlighting her ability to convey raw emotion without resorting to screaming for which she is best known. Far from bursting into heaviness however, the track builds in ferocity over time, achieving a pseudo-post-rock grandeur. In contrast, ‘Soft Spine’ is a relentless, vicious track with Spiritbox in full-on heavy mode. The opening riff is sharp and unpredictable and sets a sense of desperation from the beginning. LaPlante's snarling, venomous voice drives the track along, and breakdowns hit with full force. Even in all ferocity, however, the track is well constructed and has room for each instrument to breathe and shine. A drawback to Tsunami Sea's tracklisting is that there are two songs that are ballad-like in nature, ‘Deep End’ and ‘Tsunami Sea’, which somewhat lessen their overall impact within the framework of the album. Having one softer, atmospheric track can be a powerful contrast to the rest of the album's heavier songs, but with two songs occupying this space, the contrast is not as effective. Both songs are breathtakingly constructed and include LaPlante's haunting vocal range, but their presence creates a feeling that Tsunami Sea's softer moments are not as deliberate within a metal album that is otherwise driven by ferocity. Abrupt song transitions within an album can give an unpredictable ride that is both thrilling and sometimes jarring - unfortunately in Spiritbox’s case, Tsunami Sea leans towards jarring. For example, the transition between ‘A Haven With Two Faces’ and ‘No Loss No Love’, with the latter being all about dark, ominous atmosphere and the former beginning immediately with a ferocious, electronic-infused assault. Such blunt transitions are what contribute to making the album have a chaotic energy, developing a listening experience designed to give the listener whiplash. While this is what keeps the listener on their toes, there are instances where transitions are so abrupt that you’re not given a chance to fully settle into a given track before being catapulted into the next. The rhythm section is a constant standout, however. Bassist Josh Gilbert is more featured than ever, providing a rich, propulsive push to the album's intricate arrangements. His basslines aren't obscured beneath walls of guitar but instead add a further dimension to the sound. Take ‘No Loss No Love’, for example. The bass is crucial to establishing the song's glitchy, electronic-heavy intro before sliding into a groove-based verse. Drummer Zev Rosenberg is equally impressive, with a performance that fluidly alternates between raw power and technical accuracy. Spiritbox songs frequently incorporate unexpected tempo changes and shifting rhythmic structures, and Rosenberg navigates them with ease. ‘Crystal Roses’ is a prime example, beginning with a smooth, almost drum & bass-esque rhythm before shifting to a thumping, direct four to the floor beat. He is able to accommodate the dynamic nature of the album and is largely responsible for Tsunami Sea never getting stuck in a groove, always shifting between moods and textures to maintain an immersive atmosphere. Though there are slight production issues throughout the album, aspects such as the delicate synth layers in ‘Tsunami Sea’ and atmospheric guitar effects in ‘No Loss No Love’ are executed flawlessly. ‘Fata Morgana’ is the only track whose production is somewhat confused, with guitar, synth, and vocal layers fighting for space rather than complementing each other. With the rest of the album being so highly polished, this is a rare miss. Tsunami Sea is a daring and engrossing album that confirms Spiritbox as a prominent modern metalcore band. Whilst there were undoubtedly places that the band could edit or improve, the albums strengths outshine its weaknesses. Overall, it’s a good listen that brings together the best aspects of some great metal genres. Score: 6/10 Tsunami Sea will be released on March 7th 2025 via Pale Chord and Rise Records. Words: Vee Richardson Photos: Spiritbox