The ‘Here To Stay’ tour arrives at Birmingham's Asylum for the 13th date of its 15 show European tour. This purpose-built venue focuses on rock/metal/alternative music genres and boasts a sound system that uses, they say, ‘the same gear that Metallica use’. First up, a gentle introduction to the show with an acoustic set from London based alt rock artist - Less Than Hollow, formed in 2021, and on this occasion ‘unplugged’. Formed in 2021, and usually supported by his talented band mates, Adam Jerome decided to go solo, and does a sterling job filling the venue with an amazingly full band sound with just his acoustic guitar and vocals, truly a top performer, and a stunned crowd reciprocated warmly with their involvement and visible praise. An excellent cover of Bon Jovi’s ‘It’s My Life’, highlighted further Jerome’s ability to create a big, big, sound. The act has previously supported such heavy weights as Sleep Token, FOZZY, and Puddle of Mudd. Next up, Dovecage, a female fronted pop punk quartet hailing from Charlotte, North Carolina, formed in 2020. This tour brings them to the UK for the first time, and although the crowd didn’t seem to know who they were, or what to expect, their confusion soon waned, and they let the band know that what they were laying down, was being warmly received. They profess their musical influences to come from the likes of Paramore, Foo fighters, and Blink-182, and have adopted the tagline ‘Underground Music For Our Generation’ to succinctly communicate their brand message. They began with ‘Bittersweet Goodbye’ immediately pumping energy into the crowd and promoting their engagement. Lead singer Kiara looked good and projected her presence well. They flawlessly performed their set featuring all 5 songs from their up-coming self-titled EP and will have gleaned from their reception by the crowd that they will be welcomed back. The penultimate performance of the evening is proffered by what is usually a trio, but presents here tonight as a quartet, of hard rockers formed in 2017- Killakoi, another band coming from Charlotte, North Carolina, experiencing their first UK tour. This tight knit group, forming strong bonds as childhood friends, are no strangers to playing sold out shows and enjoy an ever-growing fan base. They claim their influences come from grunge, metal, pop, and active rock, and put them all to good use in delivering an exciting, highly energetic performance. Lead vocalist Jordan Mattacchione delivers a superb vocal style and bellowed out deep but tuneful lyrics with aplomb, with the grunge element of their repertoire being most prevalent. Their song writing abilities are impressive with ’Better Off Dead’ and ‘Not For Nothing’ having a powerful and truly anthemic feel that takes you there. Their cover of Korn’s ‘Here To Stay’ was evidently a most welcome addition to the set and the headbangers where attending to duty in force! If the headliners weren’t waiting in the wings, the crowd may well have fiercely demanded more! Then finally... Lansdowne. Formed in 2006, an alt metal quintet from Boston, USA. Moments before the band take the stage, their pre-recorded introduction begins. Powerful sounding music with fast resonating drums and bass strings, injected with urgent sounding chanting from a male choir; if you can imagine. This suddenly gives way to a lone, fast-paced,180 bpm ticking synth beat, overdubbed with a well enunciated English female accent saying - “Welcome to the Lansdowne experience. You have waited patiently, and you are all looking very sexy out there in the crowd. Are you ready?” The band emerge and the guitarist begins playing along with the tempo of the synth beat that is still chugging away in the background. The drummer explodes into action and the band are rocking! Kicking it off with ‘Conquer them all’. These heavily built men exude an almost intimidating presence with their angry defiant stamping and lunging, visually complementing the awesome energy in their music, and they maintained this through the whole of the set. They ploughed into their songs with very little talking, it was a serious hard-hitting performance with their hit song ‘Burn Brighter’ and ‘Here To Stay’ off their new EP. The crowd loved it, singing and moving, reflecting the energy back at the stage. All support acts were now in the crowd, supporting and enjoying the headliners. Awesome! Words and Photos by Kieran Atkinson

An album release of landmark proportions - Sheffield post-hardcore outfit Hidden Mothers signify their arrival proper on to the British heavy music scene with their first album ‘Erosion / Avulsion’. A highly anticipated debut, prophesied by their aggressive and abrasive performances at Mangata and ArcTanGent. The band are another spoke to the great wheel of Church Road Records, which already churns the ever-flowing stream of emerging UK metal talent. Whilst it feels we have already heard so much about Hidden Mothers - with festival appearances at 2000Trees and Reality Unfolds already announced for next year - ‘Erosion / Avulsion’ is the defining moment for the band, taking meaningful influences from Deafheaven, Holy Fawn and Converge. The album has winds of great change, which charter each single’s direction into deep waters of emotion. There are moments of challenge with imbued war cries full of emotion, but also sections that heal and become empowering points of reflection. Like a hero’s tale, it has an unmistakable charm and resilience that is truly captivating. We arrive on the shores of ‘Erosion / Avulsion’ with as much conviction and clarion as the invading Vikings at the Battle of Maldon, empowered by a black metal outburst where everything is on the line. As much as it seems like an impenetrable outer shell, we get to know the deep inner workings of Hidden Mothers as ‘Defanged’ progresses. Swelling choruses with driving guitars akin to Black Peaks overtake this power and channel it into deep indulgent vocals. With ‘Death Curl’, we see the nature of these two sounds meld and compete, championed by the cascading vocalists - one with harsh shrieks, and the other richer sung tones - as the song builds in pace and emotion. Climaxing in an absolutely ferocious breakdown signified by a truly terrifying joint scream, the instruments take over with dexterity and ease. This becomes a point of tension for both sides to have their spectacular moment. A change in pace follows on ‘Still Sickness’. Bordering on Ben Howard-esque indie, it serves as a refreshing moment of clarity, finishing with those same anguished screams. However, this outburst does not feel the same as before, but rather provides a greater understanding to the listener about the feelings found within the album. It pushes itself quite nicely into ‘Caton Green’ a two-and-a-half minute interlude of calm. ‘The Grey’ is another moment of tension, less ferocious than before, but still with a lot to prove. Fast cyclical drums carry this song, with lingering clean guitar to push it along. Vocals appear lower in the mix, complimenting the overall sound as an instrument in itself. Finishing on a climax, this moment of turmoil feels slightly repetitive, but it is still a fascinating listen. When the first chord of ‘Grandfather’ makes a statement, it is a real moment of triumph in the album. Bardic, full of backstory and captivating, it grounds the album in a moment of power. Whilst it may just be a vocalist and a guitar, its simplicity gives it contrast to the rest of the album. During the eleventh hour, Hidden Mother adds ‘Violet Sun’ to the mix. Full of suspense, it uses its abrasive power to fully immerse the listener in the moment. Vocals and damaging bursts of instrumentation unite to truly make this a spectacle. Heading into the final track ‘Haze’, this nicely ties the album up into a moment of comfort, holding you after the catastrophe. As an album charged with a lot of electrifying emotion, this vulnerability is satisfying and fulfilling. That is, before there is a real moment of positive action, with fast plunging guitars that choose to feel compromise. Euphoric reflection seems to churn up the direction of the album with fast build ups and emotional drops that really give this album life. Hidden Mothers - this is a truly defining body of work. With the tenacity and power to put them on the map, it is a strong statement of what emotions the band can conjure up. Whilst the song's structure of soft then heavy may feel repetitive - like the light into the darkness - it's an absolutely thrilling listen, that is made to be listened to the entire way through as an album. Shining through the record time and time again, it's the vocals that give it pace and punctuation, weaving their anguish and pain into a time-honoured Church Road Records style of using your instruments to truly immerse the listener in the moment. Hidden Mothers are ones to watch and are sure to grow within the ecosystem of what makes British post-hardcore truly special. Words: Amber Brooks Photo: Matthew Barsby

North-West duo Lynskey are serving chaos-core realness in their 3rd EP 'here, this is for you', by combining markers of heavy genres from metalcore to hardcore punk. Full of tongue-in-cheek lyrics from B Murray and Saul Gerrard, and sprinkled with raw honesty, if this is the example of their sound to a tee then it's well worth the listen. The album opens with 'KiCKiT', jump-scaring the listener with the opening riff and some rap singing reminiscent of the nu metal in the middle of its resurgence, but settles into a surround-sound punk style that gets the head bopping. Though its components sound a little blocky, they come into their stride as ‘You Got the Scatterbrain, Perk’ starts playing. Offering more emo conventions with its beautiful melody and heartfelt lyrics, it sounds like a blend of 'You Brought Me Your Bullets, I Gave you My Love' and 'Three Cheers for Sweet Revenge' by My Chemical Romance, then finishes with a faultless breakdown. Don’t worry B, the blegh is not too much. Next song up is 'Something Somewhere Else in 5_4', carrying on the emo vibe with a metalcore sound sprinkled in. Lynskey has created a sound that is fast paced while having a slowed down melody which is impressive in of itself, but after this the listener is treated to highlight: 'Keanu'. This song is the easy standout of 'here, this is for you' - it feels like a gift on listening. B shows off their vocals in the first half when detailing their growing feelings for critically acclaimed actor Keanu Reeves in an unexpectedly meta and nuanced commentary of parasocial relationships. The lyrics cover how feelings grow for an actor when they appear in multiple movies of interest, metadiscussion of the fear of the referee hearing your reference in your work, and finishes with a gold star outro ripe for throwing things to. The closing track is the chaotic 'm-m-m-METAL', which mixes Deftones-style riffs and bouncy electric beats to offer the listener some frenetic energy in the closing track. It contains a certified bar in the line "I’m talking shit and yet I’m frightened", but the outro is a little slow and blocky in comparison to the rest and falls down in comparison somewhat, bar the very last few bars with its ‘sprint’ motif. 'Keanu' could well have been a better closer, but this does not at all take away from the quality of the project overall, and provides yet another perspective on the Lynskey sound. 'here, this is for you' is a brilliant consolidation of sound for Lynskey, showing off the fact that B and Saul are clearly able to use different subgenres in a cohesive way, that is satisfying to the ear. Bouncy and full of personality, we can only hope to catch Lynskey on tour in the near future. 'here, this is for you' will be released on November 29th via Society Of Losers Records. Words: Julia Brunton Photo: El Atkinson

Packed into the smaller basement room of the O2 Institute 2 in Birmingham, after waiting outside in the snow and slowly feeling the warmth seeping back into the skin. With people pressed tightly together in a completely full room and trailing up staircases, anticipation thrums in the air. For Chrissy Costanza, a chance to debut her brand new EP ‘VII’ as a solo artist, and for VOILÀ to showcase ‘Glass Half Empty’ which is their third double album. The Spin the Bottle tour is nothing short of a success, with all of its UK dates already sold out, it truly is one of the hottest tickets in town. A prerecorded voice silences the crowd, 3 rounds have been created to warm up our “singing voices”. Each round consists of snippets from 3 songs, each a classic that most if not all of us know. It certainly does the trick of getting us ready and excited for the main show to start, featuring some classic emo, punk and rock from the likes of Fall Out Boy, Panic! At The Disco and many more. Whispers of magic and mysterious forces, alluding to the supernatural transfix our focus as Chrissy and VOILÀ take to the stage. It’s an unusual style of show with both headliners taking charge for the first song, titled ‘Caught It’. All three performers jump around and engage with the audience, then the stage is handed over to VOILÀ for the next three songs to kick off. VOILÀ's energy is intoxicating, it’s impossible to not be wrapped up in it and in turn feed the same energy back. The smaller venue is perfect for that exclusivity intimate concert vibe the duo work so well with. Confidence oozes from the two, which in turn only encourages the audience- we are allowed to let loose tonight. We spoke to a fan of VOILÀ before the show, the community of fans lovingly referred to as “the magicians”, and we can see what they mean when they assured us this would be a great gig. Chrissy explodes back to the stage, twirling, jumping and encouraging all to join her in singing along. It’s clear all of our artists enjoy working together, Chrissy and VOILÀ; made up of Luke Eisner and Gus Ross have collaborated on songs before and both on their new EP and Album. The tour is no different with Luke joining Chrissy during her time on stage, the two collaborated on her new EP together, it’s only fair he is invited to share the stage. Chrissy is a natural performer, known for being the lead singer in Against The Current, it’s great to see her breaking her own boundaries with a solo tour. Her sound is a mix of Rock/Indie and Alternative but she saves space for the slower softer songs too, which in true modern day fashion are light by phone torches in a slow ripple across the crowd. One feature of the Spin The Bottle tour is the chance to spin the wheel, which picks an audience member to join Chrissy and VOILÀ on stage each night. The wheel has a variety of songs written in each section which when the lucky audience member spins and the arrow lands on is what is played next. Our show landed on ‘ Misery Business’ originally by Paramore, which Chrissy made her own spin on and backed by the harmonies of the crowd. The mix of high energy later on in the evening from VOILÀ and then in contrast the slower but still just as powerful songs from Chrissy give the evening a well rounded feel. We have been able to explore a range of different genres and styles, and witness firsthand how much this tour means to both of our headliners. We love the new sounds both Chrissy and VOILÀ are developing and hope to hear many more songs in collaboration together in the future. The Spin The Bottle tour continues its sold out gigs with the last UK date in London and then onto Europe, and is sure to keep asking audiences “Do you believe in magic?” Words and Photos: Tyler Whiting

When it comes to bands that throw every metal genre into their sound, Cane Hill and supports The Gloom In The Corner are some of the best out there. In Manchester’s Rebellion, we were treated to high intensity energy, staggeringly brutal breakdowns and some melodic mastery. The Gloom In The Corner are a band that won’t let anything get in their way. Hailing from Melbourne Australia, the band came a long way to play for a U.K. crowd and no technical difficulties were going to stop them shaking the room. Having their laptop crash on them one song in gave the band an unexpected gap to fill. This gave them a perfect chance to bring out the famous Australian humour and a little merch plug to help fund a new laptop which would be less likely to interrupt their set. By the words of vocalist Mikey Arthur “it’s not a Gloom show unless something goes very wrong” but the Manchester date of the tour was the first for laptop issues. When the technical issues were resolved the band went right back into tearing the roof off the place as if nothing had happened. All the members were tight, sounding great moving quickly in between crushing breakdowns and melodic choruses. Admittedly they were a great choice to support Cane Hill. Their new song The Jericho Protocol also went down well with the crowd. We are expecting big things with their future. When vocalist Elijah Witt graced the stage to open the Cane Hill set he greeted the crowd with the words “what’s going on, we’re Oasis” much to the amusement of the audience. Then Guitarist Elijah James Barnett then ripped into the crushing opening riff “The Midnight Sun”. The band have come over to the U.K. to give live debuts to songs from their album “a piece of me i never let you find.” which was released at the start of November. Cane Hill have expressed their fondness of U.K. crowds, with Elijah Witt stating that they want to bring their new music to the U.K. before anywhere else because as a band it’s where they most enjoy playing. The set was naturally focused heavily on the new record playing 7 songs- but this didn’t mean to say they also played songs from all previous albums. It was a perfect blend of all eras of the band's sound which pleased fans new and old alike. The band have flawless chemistry with each other from years of playing together and it really shows just how connected they are throughout every song. Even in the time between songs when Elijah Witt was talking to the crowd, he timed it perfectly to give the rest of the band time to retune their instruments and lead right into the next song. The band were very active on stage and the crowd matched the intensity with bodies and limbs flying all over in the mosh pit. The lack of barrier was taken advantage of by a crowd members who surfed onto stage to belt out a scream alongside the vocalist before hopping back down into the mosh pit. Energetic movements of the band even went as far as a mic stand being unintentionally knocked over mere inches away from guitarist Elijah James Barnett and nearly hitting him. As well as guitar James serves as backing vocals in the live shows- mostly during choruses- but the volume of the crowd singing along came close to drowning him out. The audience was very invested in the set which was most evident when the band engaged the crowd by asking them to wave their arms in the air and the room was a sea of hands moving perfectly in unison. Closing the set on the song “Time Bomb” from their debut EP Cane Hill finished out a high octane night of metal and sent the crowd home very happy. Words: Alex Long Photos: Libby Percival

Dutch Synphonic Metal superstars Within Temptation and German metalcore band Annisokay for headed to the OVO Arena Wembley for an unforgettable night of music. Taking the stage first, Annisokay delivered a solid 45-minute set, drawing in the audience with their amazing stage presence. From the very start, it was clear that this band wasn’t here to simply warm up the crowd—they were here to leave an impression, and certainly did on me! Tracks like 'Human' and 'Like A Parasite' personally stood out, showcasing their ability to balance heavy breakdowns with clean and lovely vocals. The LED screens displaying fitting loops of graphics really just complimented their set perfectly, enhancing the atmosphere more than your bog standard “band-on-stage-with-in- house-lighting” A big standout moment for me came during their performance of 'Get Your Shit Together', when the crowd’s flashlights illuminated the arena. It looked like a mesmerising sea of twinkling lights. Though the audience was relatively static for most of the set, Annisokay's charismatic energy, mainly during their cover of Linkin Park’s 'One Step Closer', managed to draw some movement and engagement which was great to see. The absolute highlight of their set was undoubtedly when Within Temptation's VERY OWN Sharon den Adel joined them for a guest spot on 'Like a Parasite', elevating an already mind-blowing vocal performance. Annisokay proved themselves as worthy openers, blending strong basslines, dynamic breakdowns, and polished vocals to prime the audience for what was to come. By the time Within Temptation took the stage at 9:00 PM, the atmosphere in the arena had shifted. The crowd, initially reclusive,fully exploded with some of the loudest cheers as the band emerged amidst a haze of CO2 jets. Sharon den Adel, adorned in a striking headpiece and a stunning ballgown-like dress, commanded attention as she took her place on a platform high above the rest of the band. The stage design was nothing short of breathtaking, with LED screens displaying gothic imagery of burning churches, graveyards, and blood-splattered cathedrals. Chandeliers hung from above, adding an elegant touch to the dark, dramatic atmosphere which was only spotted after a few songs once my eyes had finally stopped fixating on the screens behind. From the very first note, Within Temptation delivered a crash course in live performance. Sharon’s vocals were as clean and powerful as ever, cutting through the mix with clarity and elegance, the sound in the venue overall was 10/10. The band was joined by Ukrainian musician Alex Yarmak during 'A Fool’s Parade', for a powerful moment on stage and a warm tribute for the Ukrainian people in his country’s conflict. Nightwish’s Tarja Turunen also accompanied the band as a guest vocalist for sensational performances of the songs 'The Promise', 'I Feel Immortal' and 'Paradise (What About Us)'. Seeing these 2 legendary female metal vocalists on stage simultaneously was truly delightful. The setlist was a journey through the band’s remarkable discography, which has only grown stronger with time. Fans sang along and headbanged in unison, particularly during anthems like 'The Reckoning' and 'Paradise (What About Us?)'. Though the crowd’s energy dipped at moments becoming almost completely static, it eventually surged back during the eighth song of the night, reigniting the wonderful atmosphere Sharon and the rest of the band had intended. A particularly heartfelt moment came when Sharon spoke about freedom and individuality, encouraging the audience to “be proud of who you are.” This message resonated deeply, not just with myself but with everyone in that arena. From the intricate guitar solos to the stank-face-worthy drumlines, everything felt perfectly balanced. The visuals, music, and Sharon’s stage presence combined to create a performance that felt less like a concert and more like a cinematic experience that I would happily relive. Within Temptation has a discography that many bands would envy, and they proved once again why they’re considered one of the greatest symphonic metal acts of their era. Not a single song felt like filler, and their ability to hold the audience in the palm of their hand was brilliant to witness firsthand. The OvO Arena became beaming with life from the second it opened its doors to the fans eager to get inside. Everyone from all ages were overjoyed to be there, you could see it in their faces. From Annisokay’s feisty opening act to Within Temptation’s transcending headlining set, the evening was a real victory for metal fans! Both bands showcased the power of live music to transport, unite, and inspire. If you ever get the chance to see Within Temptation live, take it. Few bands deliver such a stunning blend of music, visuals, and emotion. Words: Leah Cox Photos: Lorna Leahy

After the release of their latest album, Irish duo Bicurious have been on tour across the UK to show off their excellence to the public, with Nottingham-based A-Tota-So joining them as themain support across the tour. We headed to London’s Lexington to catch them, as well as local act Mount Forel starting off the whole event. The aforementioned opening act Mount Forel kicked things off in very suitable fashion, with a sound drenched in curiosity and melancholy. The members of the band hark from all corners of the globe, and their disparate heritages and influences all came together in a beautiful blend of ethereal post-rock and progressive rock. The bass and drums locked in together so tightly you could barely tell it was two separate musicians playing them at points, and the vocals floated atop the music in a wondrous fashion. Mount Forel have all the hallmarks of an excellent band, and with some more time and shows under their belts it wouldn’t be a surprise to see them headlining places like the Lexington in the near future, or even much bigger venues! Touring support act A-Tota-So played a typically great set - as they so often do - with their heavy, progressive style making every moment they spent on stage entrancing and enjoyable. Bringing up a friend of the band, Jethro, to join in for two songs gave a great injection of fun to proceedings, and the group worked their way through some fan favourites to keep spirits high. ‘Far Enough’ is perennially brilliant, and the expectations upon the song hold true in London, and both ‘Choke’ and ‘Squirrel Bait’ went down a treat. Guitarist and vocalist Marty Captain’s custom branded guitar rang out to captivate the audience from beginning to end, and the band walked off to a very well deserved round of applause. Finally, it came time for the headline act. Bicurious’ new album ‘Your Life is Over Now…’ has been received to a plethora of positive reviews, almost overwhelmingly so, and for good reason - it is a stellar record, amongst a collection of other great releases, that make up the duo’s discography, albeit only their second full length album. They leaned heavily on the new material, playing six songs off of their latest LP out of eleven total that made up their set. ‘Gutless’ was a particular high point, as was the rendition of their 2019 single ‘I Don’t Do Drugs, I Just Sweat a Lot’. The energy of both Gavin Purcell and Taran Plouzané on stage cannot be denied, at once getting the crowd going and also keeping time with their most riotous moments. With a show like that, as well as the ever-increasing support of the alternative scene, it won’t be long until they are at every single one of the alt festivals on the British and European circuit. After stepping out of the muggy, sweaty atmosphere in the upstairs venue, the chilly Winter night felt far more bearable, and it was all too easy to keep a pep in the step after a show that plastered smiles across every attendees face. Words: Jake Longhurst Photos: Amy Hannah

Opening for one of the UK’s fastest up-and-coming alt bands is never an easy feat, but BEX delivered an electrifying performance at The Sugarmill in Hanley, worthy of any stage in the country. Her unique stage presence and raw energy captivated the audience from the very start. BEX opened with “Taste Better,” immediately setting a high standard for the evening. Her commanding presence and the song’s intensity energised the crowd, establishing an electric atmosphere from the outset. Her next track, “Filfy,” maintained that energy, leading into “Fight,” which ignited a circle pit and highlighted her ability to engage and energise the audience. “Sum Kinda Syko” proved to be a huge highlight of the set, with another intense circle pit showcasing the song’s power. As the set approached its conclusion, “SunDae” added a whimsical touch, with the use of a bubble blower adding yet another layer to the set. Closing with “SPYD4 K1NG,” she ended on a high note, leaving the crowd exhilarated and setting an incredibly high bar for the rest of the night. Following BEX’s electrifying performance, Karen Dió took the stage, infusing The Sugarmill with a blend of nostalgic and contemporary punk energy. A Brazilian-born, UK-based artist, Dió has been making waves in the punk scene with her dynamic sound and compelling stage presence. Her music, reminiscent of the 2010s riot grrrl revival, brings a fresh perspective to the genre. Opening with a confident presence, Dió quickly established a connection with the audience. Tracks like “Stupid” and “So Funny” stood out, showcasing her knack for blending witty lyrics with punchy melodies. These songs highlight her ability to craft catchy, dynamic punk anthems that resonate with listeners. While her performance may not have been a personal favourite for all attendees, there’s no denying her talent as a musician and performer. Dió’s bold stage presence and commitment to her craft earned her cheers and applause throughout the set. Her inclusion in the lineup added a distinctive edge that complemented the evening’s punk ethos. Karen Dió’s set served as a reminder that live music is deeply subjective. Even for those who didn’t fully connect with her sound, her professionalism and passion for her music were undeniable. Her performance at The Sugarmill further solidified her position as a rising star in the punk scene. WARGASM brought their signature blend of electro-punk and riotous energy to The Sugarmill in full force, delivering a performance that had moments of brilliance but was hindered in parts by inconsistent sound quality. The set began with “Circle Pit,” a track with massive potential but slightly lacking in vocal energy. Despite strong stage movement and showmanship, the opening track didn’t quite deliver the explosive start expected. However, the duo found their stride with “Bad Seed,” which brought their trademark chaos to life and energised the audience. The middle of the set, featuring tracks like “Ride the Thunder” and “Death Rattle,” was unfortunately marred by overly boosted bass that overwhelmed the mix. This issue persisted through “70% Dead” and “Venom,” where low-end distortion detracted from the experience. That said, tracks like “Pyro Pyro” and “Bang Ya Head” were standouts. The latter was a highlight of the night, thanks to its quality and crowd enthusiasm. WARGASM’s connection with fans shone during “D.R.I.L.L.D.O.,” where audience chants amplified the song’s impact, and “Spit,” which carried the energy of an opening song despite being near the end of the set. Closing with “Do It So Good,” they ensured the night ended on a high. While technical issues may have dulled the edge of their performance, WARGASM’s charisma and crowd engagement made for a captivating, high-energy show. Words: Vee Richardson Cover Photo: Ollie Hayman

Hailing from Lubrza, Poland, MISSCORE is made up of 4 talented members - Natalia Rygiel being the voice of the band, Mateusz Dźwigała on bass and keyboard, Krystian Suchorab on guitar and Jack Bielecki on the drums. This band draws in fans of Linkin Park, Bring Me The Horizon and Paramore with their pop-rock sound, and they only dropped their debut LP ‘Drown’ at the beginning of the year but have since increased their following around the EU. They've continue to impress us with their new album ‘Hypocrisy’, which is a sign of good things to come. Introduced with the sound of trumpets, MISSCORE starts off this album strong with the catchy, melodic first song ‘F’. The mixture of clear and screaming vocals works phenomenally, and the way she quickly changes between them adds plenty of depth, making the emotion in her voice evident. The guitar does not disappoint either, with captivating riffs being played throughout and then a rise in energy nearing the end of the song, bringing it to a perfect close. A ticking clock is the first thing you hear in the next song and title track ‘Hypocrisy’, before it fades into the melodic sound that you hear for the rest of the track. The vocals are especially powerful in this song, with a real contrast between the mellow, emotive verses and the soaring choruses making for a hypnotic listen. ‘Away’ starts off with strong guitar and bass riffs rolling across the mix, which sets up expectations nicely for the rest of the song. The soft vocals quickly dissipate into a sharp chorus where everything picks up, including the catchy lyrics that will have you singing every word. The song title is repeated over and over, and by the end of the song will have the listener joining in. ‘Freaks’ begins with a unique beat before changing into a slow guitar, beginning a mysterious sounding verse. Natalia’s vocals are a great mixture of angelic and powerful on this song. The guitar really picks up during the chorus where the vocals become louder. The chorus is a lot more upbeat than the rest of the track, bringing some proper power into the song. ‘Fire’ is a song that talks about trust and lying, and this theme is introduced right from the off when Rygiel sings “you think you're a liar, you cannot trust yourself with any words you say, or it is you that speaks and then acts like a fool.” One part of this song that really sticks out is towards the end where the heavy, distorted screams take over and the guitar bolsters the sound, making this song a really enjoyable listen if you're into the heavier side of life. ‘Tears’ is another exciting listen, immediately jumping into the energetic vocals that quickly pick up the pace throughout the song. Guitarist Krystian Suchorab does an incredible job on this track, really bringing the song together with the strong, melodic riffs that just get better the more you listen. Immediately afterwards, you're greeted with a brutal, fast paced guitar solo on a track called ‘What if.’ This is another one of the heavier songs on the record and it is unique in that you can hear almost everything Natalia’s vocals are capable of. You can hear the swift change in her voice between the verse and the chorus, going from soft and ethereal to a more raw and potent sound. At the end of the song you can even hear her reaching the higher notes and she does an incredible job at it. This song has to be one of the standouts here. The last song you on the album is called ‘Nothing 2 Say’ and it does not disappoint, doing a wonderful job at finishing the release. You can hear screams behind the lead vocals which gives a more intense feeling to the song, as well as the drum beat that steadily increases throughout. The distorted vocals at the end of the track slowly disappear before quickly cutting off, bringing the album to a steady close. ‘Hypocrisy’ is raw, powerful and beautiful. MISSCORE have done an incredible job on this album, making every song into an immersive experience that instantly makes you want to hear more of this band. It is immediately evident that this LP will be loved throughout many different communities, inspiring people all over the world. Words: Kelsey Mainwaring Photos: MISSCORE

Emerging Norwegian band We The Faded are gearing up to release their debut album, ‘TRANSCENDENCE’, which is set to be a diverse listening experience while showcasing the band's unique start, and starting off their contribution to rock music. Forming in 2022, the female-led band has released some tracks from the album, creating suspense and allure for what's to come. They may have only just started out, but We The Faded intends to enter the scene with a bang and leave their mark in the minds of metal fans across the globe. ‘TRANSCENDENCE’ is a unique listening experience. We The Faded has subverted any expectations listeners may have about metal music. The pop elements, when paired with traditional metal components, create a sound that separates them from most conventional heavy acts. Standout tracks, such as opener 'Crisis Mode' and its immediate follower ‘Damage Control’, incorporate complex guitar riffs, piano elements and opening crescendos that allure the listener into their bewitching sound. Tracks vary in style but all share similarities to bands such as New Year's Day and Evanescence. Singer Reeta Paananan presents siren-like vocals which aid in showcasing the story of fragility and self discovery. As the album develops, you get a look into the band's harmonious teamwork. Deep guitar riffs from guitarist Pat Karlsen mirror Paananans’ vocals whilst drummer Kimbo Gusty interjects with rhythmic drums to punch in the gritty lyrics. When talking about how We The Faded have created a diverse album, one song is a particular testament to that - ‘Ghost Of Me’. The song takes listeners back to 2007’s Linkin Park, in the form of a deeply emotional ballad that is perfect for crying your heart out to. The vocal variety swells with the listener's emotions as the track progresses. Two tracks later though, and something completely different comes. The track ‘The Hive’ contradicts the ballad, taking the form of a heavy masterpiece showcasing bassist Robin Fagerland's talent with bass elements throughout. The band incorporates all elements of metal music, even going as far as including modern influences like digital elements similar to Bring Me The Horizon. It truly is a joy to see elements across all genres coming together to tell a story. As ‘TRANSCENDENCE’ comes to an end you’re left with a love for We The Faded signature sound and the story they have just told. The overall story is one of self discovery, passion and we're left with the message to keep going, no matter what. It is always a risk to change traditions for a well-loved genre, especially one that is known for having a lot of traditionalists and haters of modern styles, but We The Faded have done it and done it well. Their mission to create a “blend of metal infused with pop elements” outlines them as leaders of a new sound. The piano elements and atmospheric openings bring in the pop side excellently whilst gritty lyrics, metal vocals and heavy instruments incorporate the heavier side, in a combination that just works. The album challenges convention, and does it harmoniously throughout. It is clear that We the Faded are dedicated to the art of metal music. By releasing the diverse listening experience that is their debut album ‘TRANSCENDENCE’, the band really makes their entrance and showcases their willingness to push boundaries. The whole album is an emotional story told through song. If We The Faded continue challenging conventions they are on track to becoming heavyweights spearheading a new side of heavy music. ‘TRANSCENDENCE’ will be released independently on November 28th. Words: Kira Lashmar Photos: We The Faded

Celebrating the deathcore band's 10th anniversary, DISTANT have released their highly awaited album ‘Tsukuyomi: The Origin’ and it does not disappoint, delivering us with the metalcore sound we love from the band. This album is a reimagination of their debut EP 'Tsukuyomi', and you can expect revamped versions of six of the bands early songs like 'Loveless Suffering', 'The Undying', 'Fleshweaver', along with seven new tracks to bolster the length of the release, and give something entirely new to fans! Starting off with a mysterious sound, you are immediately drawn into this album from the first track ‘The Pale Moonlight’. It sets the tone of what to expect from the entirety of the album, giving us the perfect introduction into it. The iconic screaming comes nearing the end of the track but flows into the next song easily. ‘Fleshweaver’ is a song that will of course be familiar if you were a fan of the band's debut EP. They have done an incredible job at reimagining this track, giving it the boost we didn't know it needed, with more heavy guitar riffs and the talented vocals that we all love. This track is filled with intense screams, making it the perfect song to mosh to. ‘Feast Of Misery’ starts off with low but powerful screaming vocals, accompanied by a harsh drum beat and the brutal riffs that really bring this song together as a whole. This song builds up massively to the end of the track, where we are hit with some intense screaming and punchy drum beats that bounce off the screams perfectly. The next song, ‘Torturous Symphony’, features Matt Heafy of Trivium, and it’s evident that this song is going to be a headbanger as soon as you hit play. Starting off with distorted vocals before going seamlessly into straight up deathcore screaming. The mixture of death growls and more high pitched screaming makes this track a real treat to listen to. The guitar part in the next song, ‘Cradled in Shards of Glass’, really stands out due to the incredibly unique riffs are heard throughout. They're both heavy and dark, yet also bouncy and catchy, tempting you to bang your head as you listen along. The guitarist also does a great job at breaking the song up and introducing the more distorted vocals. ‘Loveless Suffering’ features a wide range of vocals, with the song starting off with more fast paced screaming before diving into the heavy but low growls that we've come to expect and crave. The emotion in this song can be heard clearly throughout with the intense screaming and it is evident that they are passionate about the music they make. ‘The Undying’ is packed with intense and exciting riffs alongside an exhilarating beat that gives this song a different feel to the rest of the album. The guitar solo in this song really showcases the guitarist's talent, sounding incredibly clean showing off their passion for their instrument. The next song is ‘The Apex’ which starts off with a beautiful tune before building up to a harsh beat and an angry growl which contrasts the opening sound greatly. This track is only a short one, however that does not take away from it being an enjoyable listen. ‘Acolytes of Damnation’ features Alex Erian and their vocals work well together. They both have dark vocals that bounce off each other but seamlessly come together creating this crushing song. The guitar riffs are searing throughout, this song is packed with intense and fast paced riffs that compliment the gritty sound of the vocals in a nice way. Up next is the title track ‘Tsukuyomi’, featuring Travis Worland of ENTERPRISE EARTH. The beginning of this track reminds the listener of the start of a film with the intense build up, and angelic voices in the background, that gives a wonderful contrast to the the roaring vocals which is very satisfying to listen to. There is a healthy mixture of low growling vocals along with more high pitched screaming, and it feels like a given that this incredible vocal performance is what really brings this track together. ‘Malice’ featuring David Simonich of SIGNS OF THE SWARM really comes into its own with such a distinctive drum line. The drums become very abrupt between screams, which really brings out the vocals, also highlighting the guitar - which really picks up towards the end where the vocals quickly pick up the pace. The last song, ‘Broken Cross’ makes perfect sense to be placed at the end. Even though it's only a short song, with it being just over a minute long, it delivers us with everything we love from the band, from the iconic death growls to the brutal instrumentation heard throughout the entirety of this album. Deathcore as a genre feels quite stale at the moment, and even at risk of imploding on itself and dying out. But DISTANT has done us proud with this album, delivering us with insane riffs and breakdowns, emotionally raw and brutal vocals, and plenty of brilliant moments throughout. It's easy to say already that one listen will definitely not be enough and you will find yourself headbanging to every track on this album. They're going on tour in 2025, so don't forget to keep a look out in case they end up near you! 'Tsukuyomi: The Origin' will be released on November 22nd via Century Media Records. Words: Kelsey Mainwaring Photos: DISTANT

For those in the know, Hidden Mothers is one of the bands that’ll always draw a smile if their logo is anywhere on a lineup. Their blend of sounds from post-hardcore, black metal, and screamo places them somewhere nearby to Holy Fawn, Thrice, and Oathbreaker, but with more than enough influences to keep them fresh and different. Come November 29th, the Sheffield quartet will be releasing their debut album ‘Erosion / Avulsion’ to mark the end of a four year long journey, and the beginning of hopefully a much longer and more release-heavy one. We caught the band at sunny ArcTanGent 2024 to chat about all things Hidden Mothers. Of course, we couldn’t start without talking about the glorious weather and glorious festival, two things we’re now sorely missing in late November. The band performed at last year's stupendous event, and were so popular that they were invited back to perform on the Wednesday for all the early campers this year. The band remarked that it was slightly nervy playing the day before most people arrived, chiefly because of the ever-present twin worries of “How many people are going to be [there]?” and “Will people take to us?”. Luckily for them, ArcTanGent’s fans are known for giving most things a go, and ended up packing the tent out for almost every single act on the day! Hidden Mothers in particular were provided with an excellent atmosphere that was no doubt helped by a few beers and the wonderful sun - made all the better by the fact that they then had a few days to relax and enjoy themselves with a brilliant soundtrack on at all times. More importantly than their performance though, is the fact that they’re releasing their debut album in just a few days! ‘Erosion / Avulsion’ is the first full release from the band since 2020, and marks a number of dramatic changes since the self-titled EP four years ago. The group used to be a five-piece, for example, but have shed a member since then and also taken a relative left-turn musically - Liam, the bassist for the band, specifically talked about how frustrating they’ve found that with the lack of music they had out until August’s single ‘Defanged’, and he said “Someone will post on Twitter saying ‘Oh, can anyone recommend any new bands’ and we’d say ‘Oh, well, I've got this you can listen to, but it's from four years ago, we don't play the songs anymore, and we don't sound like that anymore’, so it's hard.” After going down to four members last November, the band has gone from strength to strength with the album being recorded and mixed by February, and mastered by April. Having now nearly arrived at the big day, Hidden Mothers themselves are feeling all sorts of feelings, but amongst them is gratitude at finally being able to see people putting names to songs after hearing them for years and years - “We've been sat on these songs since, I’d say lockdown. Well, there's two songs on the album that we've been playing live since then in one form or another. They have had some changes, but we've been playing live since 2021, so it's been a long time coming that we've had this new stuff seeping its way into the set. And yeah, it felt good to play a song [at ArcTanGent] that people have heard. For the last year or so of playing them songs, people always come up saying ‘I really like that song’, and it's so nice to be able to put a name to it and be like, you'll be able to hear that song in [a week] properly.” The band have also been playing to the biggest audiences of their career this year, exposing more people than ever before to these previously untitled songs through a blend of luck, and a steely determination to “stay on peoples radar”. Playing the aforementioned ArcTanGent, Bastard Fest with Empire State Bastard, Heriot, Conjurer and Pupil Slicer, supporting The Callous Daoboys’ second ever UK show last summer, doing a string of shows with Copse, and now being seen on lineups like Reality Unfolds, NOIZZEFEST, Strangeforms and even 2000Trees, they are on a dizzying upwards trajectory that is showing no signs of slowing down. As the band put themselves, “We've been quite fortunate that we sort of skipped that awkward local band phase, and we started playing with some pretty decent bands almost straight away. But over the last 12 months or so, it definitely seems to have picked up some speed.” They’re rapidly becoming a fan favourite in all the right circles of the British heavy scene, and to all intents and purposes they look like a band on the cusp of an explosion, but this hasn’t been a joyride. Having had somewhat of an “identity crisis” after such a dramatic set of changes and such a rapid evolution, as well as struggling with the simple fact of just not having recent music out, a permanent problem that young bands struggle with, could’ve easily caused a lesser band to disband. However, the four-piece have survived the worst of it and are now on the brink of their debut album’s introduction to the world. Not only is it an album to be extremely proud of, it’s also a testament to the fact that they’ve made it this far already and are in the best position of their career. Hidden Mothers, long may you live, and may your reign be prosperous. And for those still asking the names of the songs, the ‘Erosion / Avulsion’ track listing is: Defanged Death Curl Still Sickness Caton Green The Grey Grandfather Violet Sun Haze ‘Erosion / Avulsion’ will be released on November 29th via Church Road Records. You can catch Hidden Mothers live at the following dates next year: January 19th - Reality Unfolds Festival, New Cross Inn, London February 20th - Little Buildings, Newcastle February 21st - EBGB’s, Liverpool February 22nd - Asylum 2, Birmingham February 23rd - Parish, Huddersfield March 8th - Radio City Social, Chelmsford March 9th - Irish Centre, Corby (Matinee show) April 26th - NOIZZEFEST, Fuel Rock Club & Clwb Ifor Bach, Cardiff April 27th - Strangeforms Festival, Brudenell Social Club, Leeds May 24th - Uprising, O2 Academy, Leicester July 10th-13th - 2000Trees Festival, Upcote Farm, Cheltenham Words: Jake Longhurst Photos: Matthew Barsby