“How did we get here?” These are the blistering first words and explosive energy on NO CURE’s latest frenzied album It Is Going To Get Dark, an album that boils over with insurrectionary meaning and fury laden through its rhythms as NO CURE examine the world we live in and practically scream “Is anyone else seeing this shit?”. While the recording process saw the four-piece withdraw to a remote cabin as their musical sanctuary, this calm remoteness instead fuelled the intensity in their sound and the shape of their album. It Is Going To Get Dark is a step away from their previous work, having always drawn from their internal feelings and experiences growing up in Birmingham, Alabama, translating their specific anecdotes into a sound that made their unique stories relatable for all listeners. This time, NO CURE look outward at the world around them, the hopelessness and righteous fury simmering across society, and spit back at the “very top of society” in a brazen album with meaty riffs and scathing lyrics delivered in rampant screams. NO CURE have maintained their reputation as a band that refuses to look away from the darker side, their latest work seeing them aiming the lens at those complicit and demanding retribution, while also exploring difficult themes of confronting past traumas and your best never being good enough. From the acidic opener When The Spasms Cease and its driving force of call-and-response heavy metal riffs and screams, an immediate marker that this album will get its grip on you and just tighten with each track, it shifts to Oblivion Crusade’s hardcore elements of squealing guitars and Duncan Newey’s relentless drums over layered screams of “good people don’t eat people”, something that shouldn’t need to be said, yet here we are. Brain Matter Displacement takes on a varied approach to its genres and tempo, racing along for the most part until it drops abruptly to a tempered pace of riffs and weighted pauses, building the anticipation for JAYWAY’s incendiary rapping before it falls back to vocalist Blaythe Steuer’s guttural screams. Barely letting up, we’re propelled into Slowly Turning Blue and its mounting pitch of Aesop Mongo and Kyle Ray’s howling guitars as Steuer addresses past trauma and recovery regression in despairing screams of “just like that it’s like I never left”. Ironclad sees a war of Steuer’s fry screams pitted against hardcore artist Tyler Short’s (INCLINATION) death growls on a backdrop of riffs dripping with venom, while Starved In Sanctuary (My Hands Are In Your Chest Cavity) unleashes a feverish riff, the rhythms changing regularly as a harmonious choir joins in the back before stripping back to an acoustic outro where the emotions fluctuate between yearning and near-nihilistic. Technical prowess comes into play on My World In Flames as additional guitar subtly shifts the menacing tone of the intro hook, rending screams of “sacrifice will never be enough” ripping through the frenetic beats as it pulls us into a staggering breakdown. Convulsing In the Dark is an immediate assault of slick riffs and drums that feel like a bodily impact, the lyrics exploring the sense that you have to have a purpose to “justify your existence” otherwise what’s the point in being alive. The onslaught continues into Sharpen The Blade as the album continues to hold itself as a hardcore heavyweight contender, Skyler Condor (CELL) adding muscle to the visceral track, before it blends seamlessly into the rampaging Purity Spiral, its screaming riffs and sharp beats in contrast to Steuer’s deep growls and Vincent Bennet’s (THE ACACIA STRAIN) excoriating lyrics. I Am Still Fucking Straight Edge speeds through like a bullet train, but 50 seconds is all the band needs to get across exactly who they are as people and how they won’t spare their morals for the comfort of others. Everything I Love Is Dead Or Dying is the final knockout strike on It Is Going To Get Dark, delivering a bombardment of hardcore energy and heavy metal elements over climactic screams. From the first words of the album “How did we get here?” to its skin-splitting, eardrum-rupturing ending, NO CURE gives us a light to follow through the darkest moments, the album a reminder to find purpose in life, to still fight for justice but also protect yourself in doing so. “If you listen to this, I hope you find some sort of resolution. It takes active effort and community for the world not to feel so dark.” say Steuer. Score: 9/10 It Is Going To Get Dark will be released on 10th July 2026 via SharpTone Records. Words: Julia Stark Photos: Nick Chance

Emerging from the unknown and compelling listeners to dance along, London based quartet MOUTH ULCERS are resurfacing the art of darkness in their EP, Silent Pictures. Reviving the sound and aesthetic of 1980s goth, MOUTH ULCERS have carved out a dedicated following with a series of singles that showcase their dark atmospheric sound. With recent live debuts, their success has been captured through sold-out shows across the UK and the Netherlands. Their debut EP, MOUTH ULCERS showcases their take on post punk: blending the genre's familiar grit with a distinctive sound that is unmistakably them. The seven track EP submerges listeners into a misty forest. A gloomy and melodic bass, played by Jamie-Lee Culver sets an atmospheric tone. David Zbirka’s unwavering drumming, punctuated with gradual outbursts, fuels the EP’s hypnotic momentum and irresistible urge to dance. The ominous vocals from Zac Watson and Josephine Rose contribute to the eerie atmosphere. Shimmering guitars highlight the dreamlike feel over the gloomy rhythms. The decision to open the EP with a track about perseverance proves to be a compelling one. Laying the groundwork for the resilience and determination that echo throughout the record, Prevail. Listeners are immersed into the misty gothic soundscape with hypnotic melodies that compels movement. The instrument bridge builds anticipation as listeners are told to “Prevail to the end”. There is a striking contrast between the infectious bass and the mental battles highlighted within the lyrics. There is no other way but to prevail. Western Horror Story introduces the layered vocals of Zac and Josephine. The themes of mental struggles continue as the repetition of “everything leads to nothing” and “I need to be free” emphasises the hopelessness within the narrator. Growing desperation is showcased through the gradual key change in the bridge. The title track, Silent Pictures, opens with a strong guitar melody before unleashing the rhythmic drums. After being consumed by despair, there is a turning point: time. There is an acceptance of the narrator's situation and a search for happiness which results in the lyrics “The silent pictures are fading away.” The track disintegrates into a cloud of distortion. With themes of lost love, Space features the repetition of two verses as Zac takes the lead. A layered and emotional soundscape is embedded as Josephine Rose mirrors the repetition. Opening with an intensely catchy riff opens the track Closer To You. Steady drums are reflective of the compelling and obsessive pulls of love. Due to their lack of self control, there’s a desire to impress their beloved that causes frustration. Satisfy allows the EP to mellow down and build back to the band’s chaos. A dreamlike atmosphere takes shape as the narrator drifts through a landscape suspended outside the flow of time. As drum tempos build, there is a growing desire to find a place where one belongs and be happy. A familiar feeling felt by misfits all around. Closing the EP with a track called The Perfect End is quite funny. The shimmering guitars paired with glimmering synths mocks the normalisation of suppressed feelings. Yet getting through the day can be framed as “the perfect day”. Closing with a pairing of shimmering synths and gentle humming, the track lingers into a calming yet ethereal atmosphere until chimes of church bells bring it to a definitive close. Silent Pictures distils the defying characteristics of modern goth music into a statement. Creating the opportunity to connect with fans through the EP’s danceability and lyrics, MOUTH ULCERS are proving to be a great underground band to indulge in. Score: 10/10 Silent Pictures will be released on 10th July 2026 via Lab Records. Words: Theviya R Karunaharan Photos: Jake Schneider

The world has woken up to Outbreak. Like it or not, at last year's London edition of the festival, we found ourselves in a place where TURNSTILE could headline the same weekend as CHARLI XCX. Now, she’s gone one step further in releasing her own “rock music”. We’re in a reality in which KNOCKED LOOSE could create a song with DENZEL CURRY, and Kim K is about to follow daughter NORTH WEST on a fourteen-date tour of her metal-tinged hyperpop across America. The same kind that Hayley Williams could create a four-track indie-grunge EP under the name POWER SNATCH, and - as of last week- the sleepy-sounding pandemic staple BEABADOOBEE has announced her new record, commandeered by TITLE FIGHT, PINEGROVE and DEFTONES. This is the vision. The festival’s hardcore mentality permeates at the sharpest edges of the music scene, evolving just as much as the artists it has furthered over the years. Open to intense genre-blending, curating to those that fit the moment, on one of the hottest weekends of the year, this northern hub of heavy provides an authentic music experience with a no-barrier sweatfest, following their transatlantic cousins in Furnace Fest and Sound And Fury. Outbreak has not just become a promoter, but a reason to mosh. It not only represents UK hardcore and heavy, but stands alongside a fantastic roster of independent promoters, grassroots venues and DIY organisations that all support the ethos of heavy music. On their 15th anniversary, Outbreak marks the occasion with the anthemic ooze of emo, shifting from the sentimental squeeze of Friday’s THE FRONT BOTTOMS’ headlining spot right into the festival's signature heavy staples on Sunday, including TRAPPED UNDER ICE and HATEBREED. Canadian post-hardcore veterans ALEXISONFIRE front the proceedings on Saturday on the main stage, followed by CONVERGE’s late-night masterclass in full-frontal brutality. Oh… and if that wasn’t enough for one weekend, KNOCKED LOOSE performed a one-off style show in a church at 2 AM. Here’s what we caught at Outbreak 2026. Words by: Spencer Cunningham (SC), Amber Brooks (AB), Andy Nile (AN) and Renee Bennett (RB) POOL KIDS POOL KIDS kicked off our weekend with a storm of energy, while the crowd was pouring in for the first set of the festival, they brought the people to life through their amazing riffs, catchy hooks and the sparking of stage dive fever. The band knows very well how to captivate a room. We’re no stranger to their infectious style as seen in our cover story, but now the likes of Outbreak Festival and its audience are well acquainted too. - SC Photo: Nat Wood LOVE RARELY For Leeds mathcore heavyweights LOVE RARELY, Pain Travels to Manchester for a last-minute show at Outbreak. The Friday crowd, wanting to feel this set in all of its emotional turmoil, opens up a compact but violent push pit, sending limbs flying across the Festival’s third stage. Admittedly, it’s a wildcard booking with the band’s prog-centric sound, but their deep-set ferocity and commitment to the Leeds heavy music scene make them one of the most formidable acts on the UK underground right now. Still, this set was fantastic, and for those leaving the pit at the end of their set, they take with them a dull ache that lingers across the rest of the weekend. - AB JOYCE MANOR JOYCE MANOR's set was the most energetic we saw at Outbreak all weekend, too many stage divers to catch and a pit that almost took up the whole front standing section, it was a balls-to-the-wall, sweaty mess. We loved every second of it. Be it the latest bangers from I Used To Go To This Bar or old classics like Constant Headache and Derailed, there was something for every fan who was lucky enough to be in that room. - SC Photo: Nat Wood KNOCKED LOOSE Since the release of their 2024 album, You Won’t Go Before You’re Supposed To, KNOCKED LOOSE has been using an LED cross in their shows. The cross not only mimics the one visible on the album cover but serves as a reminder of the religious themes that the band has been exploring in their music. As such, it was unsurprising to be greeted by an almost blinding (and blinking) cross upon the beginning of their set. Commenced by the pounding drums of Dylan Isaacs, it was clear that this show was going to be an extraordinary one. The applause from the audience echoed throughout the room as the rest of the hardcore dynamo walked out to Blinding Faith. Throughout the set, the crowd became more energised as vocalist Garris encouraged audience members to ‘make it special’, ‘get the fuck up’ and stage dive. As such, the stage was rarely neglected by stage divers who made use of these special circumstances and continuously flew into the mosh pits full of hardcore dancers. Audience members had much to shed throughout the night as the band (including Kevin Otten’s and Isaac Hale’s bass and guitar) screamed into a constantly moving crowd. The exit of the band after their set left something hanging in the air as the momentum was still felt throughout the room. This show has created hope for the future of the scene as the need for environments like this without barriers was clear. Outbreak has done something right by continuing to host unique events despite the growing size of their brand. A sense of freedom and the ability to fully go wild was created by this show in a way that is not typically experienced at festivals. We hope that Outbreak continues to host shows and festivals like this in the future and creates a bridge between large acts and events and the underground scene. - RB STATIC DRESS A guitarist takes the stage. The crowd is buzzing with anticipation. The opening notes of Safe In Your Skin begin to ring out above the Outbreak crowd, a massive push begins as people fight to get to the front standing area, the buzz has turned into a whirr of energy as Olli Appleyard takes the stage, greeting the crowd nonchalantly with "We are Guilt Trip!". The band jumps right into Nostalgia Kills an apt and frankly hilarious jab at those who actually believed TITLE FIGHT would have shown up. STATIC DRESS proves again that they’re a commanding force in the UK heavy music scene as well as one of the funniest. The initial energy may have come from delusional wishful thinkers, but it never died down while Leeds heavyweights were on stage. - SC Photo: Nat Wood BODYWEB BODYWEB are just heavy and wonderful, aren’t they? Their music is absolutely blistering, and this set was no different. Beautiful melodic vocals, intertwined with beguilingly heavy guitars and harsh screams that push the boundaries of the genre entirely. Another set filled with stage diving, but this time with an aggressive edge. Flailing limbs, hardcore dancing, pure emancipation. You just cannot pin BODYWEB down, and that is the best thing about them. All we know is they are heavy, they are one of the best in the north, and we can’t wait to see what they have happening next. - SC LIP CRITIC LIP CRITIC’s synth-heavy electropunk had Outbreak’s second stage bouncing on Saturday afternoon. A tricky feat considering they were competing for attention with SUNNBRELLA and TOUCHE AMORE, the latter drawing a huge crowd to the main stage. We wandered over, hoping they might scratch a similar itch to MACHINE GIRL, intrigued by rumours of the band featuring two drummers. What we experienced left us playing LIP CRITICS’ two stellar albums on repeat. Their sound (and their live show) felt completely unique: chaotic, infectious, and delightfully goofy in equal measure. The two drummers often seemed to be there as much for flair as practicality, but somehow it all clicked, adding another layer to one of the festival’s most memorable performances. - AN Photo: Anna Swiechowska I PROMISED THE WORLD I PROMISED THE WORLD really did do just all that. For their first time touring outside of the US, they stormed the second stage with their post-hardcore sensibilities, packing the crowd right up to the sound desk. Releasing their self-titled EP earlier this year, the band takes huge influence from the early 2000’s metalcore scene (a genre that deservedly needs its flowers, and it’s long-awaited revival). More was made of crowd-killing in the pit than on the stage, but they hit the perfect synergy of dome-on-dome action as their breakdowns slowed to a satisfying chug. Intense vocals and a real drive for creating carnage that sweetly leans into some shoegaze sensibilities. Yes, we’re impressed! - AB LOATHE Erik Bickerstaffe rings out the founding notes of the US national anthem - JIMI HENDRIX, Machine Gun style - as Liverpool heavyweights LOATHE take on the main stage slot. Two songs in, and the crowd has already had to be stopped for safety. The first rain of the weekend momentarily drenched the crowd in a cold catharsis, but Vocalist Kadeem France repeats himself, telling them that Outbreak is his favourite festival. We’re just over three weeks out from the release of their mythical follow-up record to I Let It In, And It Took Everything, titled A Stranger To You, and the Outbreak crowd is met by a band on the precipice of their next era, seemingly more comfortable and surprisingly cool considering the immense pressure that has been put on them by their fans to deliver. Still, new tracks Gifted Every Strength and Revenant bear the weight of their discography’s high standards, peppered in with favourites New Faces In The Dark and Is It Really You?. Time is still needed to get acquainted with the new tracks, and we’ve seen more explosive sets from the band at the BEC before. This was their biggest crowd, and this is their biggest moment. Next time, they’ll be headlining. - AB Photo: Liam Maxwell ALEXISONFIRE There is much to be said for full album playthroughs, hits of nostalgia and pangs of yesteryear, but this was another beast entirely. The privilege of seeing ALEXISONFIRE headline a stage at Outbreak with Crisis is one of those kismet moments that you just know was meant to be. From the stage diving madness, the onstage bravado and just how incredible these 20-year-olds ' songs still sound through big ass speakers, it feels nigh on impossible to properly communicate just how iconic this moment was for attendees. There were people of all ages moving, singing and holding one another throughout as it should be. There was such an instinctive reaction to this brotherhood unfolding on stage, playing these songs that hold such a special place for so many in attendance. The band's stage presence is unrivalled, both in what the kids today would call ‘aura’ and the sheer unity of these brothers. If you missed it, we truly feel for you. - SC CROWQUILL It’s an early start for CROWQUILL, writing the prelude to a no-holds-barred Sunday of intense brutality. As the second stage squirms with some of the most notable names in extreme music, including HATEBREED and SUICIDAL TENDENCIES, this Leeds metalcore quartet sets the mark with a damaging barrage of stage divers. Those who lay witness to their set also saw the true grit and determination of the Leeds hardcore community, championed by the dominating revolving roster of local bands that give Outbreak its unparalleled reputation. CROWQUILL made their debut with confidence, showering their setlist artillery in vocalist Liam’s bloodcurdling screams, right up until that overpowering final stage invasion. - AB Photo: Liam Maxwell DYNAMITE London Youth Crew legends DYNAMITE brought all the groove-laden, two-step-inducing energy you could hope for on Sunday, packing out the second stage with one of the weekend’s most infectious sets. Amid the chaos, frontman Alex took a moment to deliver a deeply poignant reflection on the loss of his and his wife’s pregnancy, before speaking about the joy of now raising their son. He dedicated the next song to him, creating one of Outbreak’s most heartfelt and memorable moments. The set also featured a parade of familiar faces, with guest vocal appearances from THE FLEX’s Sam Laycock and HIGH VIS’ Graham Sayle, to name just a couple. Even that, though, was eclipsed by Trapped Under Ice, whose seemingly endless stream of guest vocalists may well have set the record for the weekend. - AN FIDDLEHEAD We’ve never seen a guy so mad about a broken microphone stand. Frontman Pat Flynn doesn’t hold back on his hurt, stating he borrowed it from fellow bandmate and BASEMENT guitarist Alex Henery, but this teacher holds back on giving this rowdy crowd its schooling. As our main stage mosh moguls pile on stage to celebrate the recently-released FIDDLEHEAD EP, Baby I’ll Change, they are instead met with an intense love and adoration. It’s true - this hardcore supergroup loves playing in the UK, and they sound immense as they fill the outdoor stage with elated choruses filled with promise. This sound is a world away from 2018’s Springtime and Blind and their infamous Between The Richness record. Most of all, it’s been a joy to see the band come into their own. - AB HAYWIRE HAYWIRE are one of the biggest bands in hardcore right now, from their car park and underpass shows, to their songs with the likes of DROPKICK MURPHYS, the band has proven time and again their strict punk ethics on grand and small stages. Playing on the 2nd stage, HAYWIRE played what was probably the set of the weekend, endless energy, rigorous movement, a TITLE FIGHT cover and an insane amount of crowd involvement from gang chants to divers. HAYWIRE is Hardcore. - SC GLITTERER There’s a moment Ned Russin pauses to see the extent of the crowd. The room has never been this packed, and yet still more people keep flooding in to see GLITTERER. Celebrating their fourth full-length album, titled Erer, we witness the band at their most realised, alongside keyboardist Nicole Dao, the lineup is completed with drummer Robert Zeijlon and guitarist Colin Gorman. Started as a solo project, this record moves into a symphony of honest truths and an emotional frequency conveyed in lingering moments. It certainly connected with a crowd, going through the motions before BASEMENT shut the place down. - AB Photo: Liam Maxwell TRAPPED UNDER ICE For the first time during this swelteringly hot weekend, a cold breeze lingers ever so gently before TRAPPED UNDER ICE mark their place on the Sunday main stage. TUI rarely makes an appearance in the UK, with the last being at Outbreak 2023 (the very set that started Out Of Rage). With TURNSTILE’s Brendan Yates joining the band on drums, the band performed a mythical set punctuated with brashy vocal features from DYNAMITE and HAYWIRE. Bodies piled themselves high on the lower stage, reaching up to meet frontman Justice Tripp’s garisoned cries like a renaissance painting. If this was Glastonbury, TUI would have filled the legacy slot. A good proportion of modern hardcore is shaped by the Baltimore heavyweights, most of whom stood on the side of the stage watching the moment with eyes wide open. Good booking, Outbreak! - AB BASEMENT “BASEMENT are not a nostalgia band,” says vocalist Andrew Fisher. He was right - with the release of their latest record, Wired, earlier this year, their setlists have been spunkicked into a frenzy, aggravated by the bustling Outbreak crowds, who have spent the entire weekend trying to demolish each other. Long gone are the sets that punctuate the British mainstays' vibrant mark on the alternative scene with Covet, the algorithm-busting TikTok breakout that provided a new lease of life a decade after its release. For those at the BEC, an early play was a welcome surprise. The arms-wide scene stealer, complete with a fantastic sung chorus from the audience, sends late stragglers running to the front of the pit. The band know how special this set would be. Headlining Outbreak for the second time in two years, the band’s presence and prestige have doubled, putting them ever-so-sweetly up there with bands like TITLE FIGHT, as influences on the youth of today. With Wired, there is an aggressiveness to the set through tracks like Sever and Deadweight that cut cleanly through their early work between the past and the present. As their most experimental release yet, they filter through the motions, ending in an emotional lull towards the second half of the set with Broken by Design and Pine. Promise Everything came way too soon, but as a final track, it cemented their undying legacy to the shred. - AB

ROZEMARY have moved fast. Formed on the Wirral in 2023, the band went from unreleased local buzz to a widely praised debut EP, the lies they made me believe, in the space of about a year. They've picked up comparisons to LOATHE along the way, building a reputation as one of Merseyside's most exciting heavy exports. it's harder now to breathe arrives less than a year on from that debut, and the title alone hints at a band digging further into the tension that made their debut so compelling. bleed me dry punches you in the face from the opening bar, downtuned guitars chugging beneath a bone-shaking low end. It's riot grrrl refracted through metalcore, worn with a confidence that makes the fusion feel entirely ROZEMARY’s own. Izabel's harsh growls collapse into a clean chorus of real melodic tenderness, and the juxtaposition between the two is satisfying every time it recurs. The breakdown that follows is ridiculously infectious, all sharp edges and barely contained fury. It's a track that finds its beauty precisely in the anger rather than in spite of it. CALCINE's feature drops straight into a siren-like riff on anguish, all alarm and no warning. The tension it creates works entirely in the track's favour, bracing you for chaos before the pit's even opened. There's a sense of claustrophobia woven through the track that feels inspired by VEIN.FM, the anxiety of being boxed in and unable to breathe until it lets you. Once more, it's the contrast that lands the hardest, demon noises dissolving into a chorus pretty enough to pass for relief. Fuzzy distortion opens i won't change..., angelic vocals cutting briefly through before being dragged back into harsher territory. The whiplash is utterly visceral, mirroring the push and pull between vulnerability and aggression that the whole EP seems to be wrestling with. When the clean section breaks through, it arrives like a window thrown open mid-storm. There's an emotional heaviness to the mix reminiscent of LOATHE's own more devastating moments, threaded through with a shoegaze-inspired metalcore quality that sets the track apart from the rest of the EP. lost dives straight back into the demon noises, and it's welcome after the brief calm of the last track. Rapid-fire and melancholic, the track's clean sections play like a furious ballad, the anger never fully letting up even when the volume drops. Shay's drums do a lot of the damage here, burrowing under the skin in a way that's uncomfortable by design. By the time it ends, there's barely any time to catch your breath before the next track pulls it away again. i won't change... left a sentence hanging, and ...if i don't try answers it with a deeply emotive catharsis two tracks later. It's a soft acoustic track that has no business working as well as it does, the range on display across it's harder now to breathe genuinely astounding for it. Izabel's vocals here are gorgeous and vulnerable, pouring her heart out in a way that feels like intruding on a private moment. Few bands would risk something this stripped-back three tracks into an EP. Fewer still would land it this well. The EP ends on rock-inspired, softer ground with no flowers bloom. It's heartfelt in its own sincerity and full of feeling even when the harsh section eventually breaks through. The heavier sections throughout act as a counterweight to the dreaminess, giving the softer moments something to push against. Meanwhile, the chorus already sounds too big for the venues the band are currently playing. It ties in the push and pull together perfectly, the beauty found somewhere inside longing and anger that bleed me dry promised. It fades out slowly, asking you to sit in the quiet it leaves behind. Tenderness and brutality feel like two halves of the same nervous system here, each one sharpened by the other. it's harder now to breathe earns its title by the final track, and confirms ROZEMARY already know exactly what to do with the attention they've been building. With a slot at RADAR Festival confirmed at the end of this month, that attention is only going to grow. Catch them now, before the rooms get too full to get your foot in the door. Score: 9/10 it's harder now to breathe will be released on 8th July 2026. Words: Adrian Chapman Photos: Richard Mukuze

Debut releases often feel like introductions, but CUTSCENE arrive sounding like a band that already knows exactly what they want to achieve. A Piece Of Life blends the urgency of post-punk with thoughtful songwriting, creating an EP that feels just as interested in atmosphere and emotion as it does in heavy guitars and driving rhythms. While the band wear some familiar influences on their sleeve, they never rely on them, instead carving out a sound that feels distinctive through its use of dynamics and melody. One of the EP's biggest strengths is its pacing. Rather than maintaining the same level of intensity throughout, CUTSCENE understands when to pull songs back and let them breathe. Those quieter moments make the heavier sections hit even harder, giving the record a natural sense of movement that keeps every track engaging. Opening track Concrete Line immediately establishes that approach. The tense instrumentation creates an anxious atmosphere before giving way to a well-timed breakdown that provides a noticeable contrast. The transition feels natural, and despite the darker tone, the chorus is surprisingly memorable, making it one of the easiest songs on the EP to find yourself singing along to. That momentum continues with Shrine (Give Me A Chance), one of the catchiest moments on the record. Built around a strong rhythm and infectious melody, it's a song that immediately makes you want to move. Beneath that energy, however, there's a lingering sense of tension that reflects the themes running throughout the EP. It's an excellent example of how the band balances accessibility with emotional weight. The standout track is Steep Mornings. Its introduction grabs your attention almost instantly before gradually expanding into something far more ambitious than a standard post-punk track. At just under five minutes long, it allows the band to explore different textures and ideas without ever overstaying its welcome. The shifts in sound feel purposeful, and the longer runtime gives the song room to develop in a way that many modern rock songs rarely attempt. Elsewhere, Imperium highlights the band's musicianship. The movement between the instruments feels effortless, with subtle production choices and guitar effects adding depth to the track. Rather than relying on constant distortion, the song builds naturally, allowing every instrument to contribute to the atmosphere without overwhelming the mix. The title track, A Piece Of Life, closes the EP on its strongest note. A memorable riff immediately pulls you in before giving way to one of the record's most introspective moments. The dynamic shifts throughout the song allow the emotion behind the lyrics to come through naturally, while the band's ability to balance melody with intensity is at its most effective here. It feels reflective without losing any of the energy that defines the rest of the EP. Throughout the record, vocalist Seb Mason delivers performances that move comfortably between vulnerability and urgency. Alongside the instrumental work from Jack Ellis, Jacob Shotton, and Ollie Little, the songs feel carefully constructed rather than simply loud for the sake of it. Every shift in tempo or dynamic serves a purpose, helping the EP maintain its emotional impact from beginning to end. What makes A Piece Of Life such an impressive debut is that it never feels like a band trying to fit neatly into the current post-punk landscape. Instead, CUTSCENE focuses on writing memorable songs with genuine emotional depth, using strong melodies and thoughtful arrangements to separate themselves from many of their contemporaries. For a debut EP, A Piece Of Life feels remarkably confident. It showcases a band that already understands the importance of balance, combining powerful instrumentation with introspective songwriting and memorable hooks. If this release is any indication of what's to come, CUTSCENE has laid an impressive foundation for the future. Score: 7/10 A Piece Of Life will be released on 10th July 2026 via Heist or Hit. Words: Con Macadam Photos: Isabella Bull

It’s hard to fully understand how huge Scissor Sisters were during the 2000s. They were everywhere, yet they managed to reach the mainstream on their own terms, being openly queer and carving their own musical direction. Formed in New York in the year 2000, they existed at first in the vibrant cabaret scene. The core musical duo of the band is frontmanJake Shears and lead songwriter Scott Hoffman, AKA Babydaddy. Their music originally existed for Jake Shears to dance to on stage before becoming a more standard project. The band then added Ana Matronic to their lineup after performing at one of her club nights. Rounding out the original lineup was the addition of guitarist Del Marquis and the only heterosexual member, Paddy Boom, on drums. Their sound was a combination of everything the members loved: glam rock, pop, musical theatre, guitar-led music and dance. Yet it did not sound like anything that came before, but still felt oddly nostalgic. Scissor Sisters kept performing and writing songs, releasing their first single Electrobix. It isn’t one of the band’s most known songs, but included a cover of Comfortably Numb on it’s B side, which eventually became their first hit in 2004, reaching number 10 in the charts. Their next few singles from their debut album charted in the top 20, propelling their self-titled album to reach number 1 and be the biggest-selling album of 2004 and one of the best-selling albums of all time in the UK. Their level of success in the UK and Europe was never seen in their home country of America. Their next album Ta-Dah, featured their biggest song of all time, the dance floor filler ironically called I Don’t Feel Like Dancing co-written with Elton John. The success of the track and the album led the band to officially become arena-level, with the band playing a massive show at the O2, which was filmed and released. Their music became a mainstay of British media, with many TV shows using the band’s music in any way they could. The band had a place in the mainstream whilst singing songs about trans people, sex workers, gay bars and drugs. They remained unafraid to show the world who they are and gained an audience because of it. Their third album, Night Work, was another hit, but did not see the same level of singles success. The album took the band into a slightly darker direction and turned up some of the dance music influence with heavier synths. The crowning achievement of the album was the Italo disco-inspired track Invisible Light, which featured a spoken word section from Sir Ian McKellen. The band kept refining their song craft and pushed what their sound could be. The band’s last and currently final album is Magic Hour. The album contained their one hit in America and one of the band’s anthems, Let’s Have A Kiki, which has become a club classic. The album was almost purely dance music and had some of the least rock-forward songs the band has ever created, but still had that undeniable charm. Shortly after this release, the band played their last show in October 2012 before taking a 13-year hiatus. Every member of the band kept working on projects outside the band, with the most notable being Jake Shears performing in Kinky Boots on Broadway and Cabaret on the West End. After 13 long years away, the band toured again in 2025 with a revised lineup of Jake Shears, Babydaddy and Del Marquis, with Ana not currently returning due to other commitments. The band performed a UK arena tour with many positive reviews all around. The band also toured America as a special guest of Kesha. In 2026, the band have many open-air gigs and a few festival headline slots, which once again cements them as one of the most unusual and powerful pop acts to ever succeed in the UK. Catch Scissor Sisters at Boomtown this summer. Words: Will Freeman

Detroit has produced some of the finest rock bands in history and EVA UNDER FIRE is one of the latest to proudly carry that flag. Hailing from that gritty, iconic rock landscape, the band is back to deliver “hard rock therapy” with their latest album Villainous when it releases 10th July. Fronted by lead vocalist and song writer Amanda Lyberg who is uniquely qualified to deliver on that promise, as a licensed therapist with a background in trauma and addiction. While Love, Drugs and Misery released in 2022 was their breakthrough record and a solid foundation, this new album takes things up another level, now to uncharted heights for the band in this new era. Villainous feels heavier, darker and more refined, with a confidence far greater than its predecessor. Powered by the thunderous percussion of drummer Dave Miller II, the band unleashes a triple guitar assault, lead guitarist Rob Lyberg, Chris Slapnik bringing the rhythm, Ed Gawlik on bass. All locking in with an industrial alt-rock sound of distorted riffs complete with an electronic edge. First track Awakening hooks you into the album immediately and doesn’t let go from there, the chorus bursting into the anthemic battle cry “With air in my lungs, I scream to the sky!” When this track was released as a single, hype started to build around the band's new direction and the feeling that this was going to be something special. Leading into track two My Own Name the album keeps hold, dealing with the way people try to bring you down but Amanda Lyberg bites back with the visceral vocals and builds up on the lyric “I’m not dead yet!” The vulnerability Lyberg shows in the lyrics of certain songs, captures her therapist expertise, which in turn creates a strong emotional connection with the listener who may have been through similar situations. Tracks like The Words You Say dealing with toxic relationships, gaslighting and the way words can be twisted in ways that can play with your mind, showcase this perfectly. The arc in the middle of this album takes you on an emotional journey of recovery. Don’t Say I’m Ok shows another side that feels unfiltered, visceral and raw in both the lyrics and gripping primal vocality Lyberg brings, making this a stand out on the album. Going then into Hello Hollow dealing with grief, offering a more delicate retrospective moment on the album of how to navigate that. Title track Villainous features a massive guest appearance from Maria Brink of IN THIS MOMENT pushing the industrial rock that popularised the late 90s further with a modern sound. A fierce empowering anthem where Lyberg’s melodic vocal delivery and Brink’s theatrical edge brilliantly intertwine with one another to create a dual female powerhouse moment. Lyrically the track deals with the reality of sticking up for yourself after reaching your limit and finally fighting back. In turn the toxicity in people around you can paint you as the villain simply because they resent that sudden change. Exploring the rest of Villainous and moving into the deeper cuts of the album, tracks like Dark Soul and Safe Word bring that grit from their hometown. Seamlessly mixed aggressive guitar tones, heavy bass blended with futuristic elements that fit well with the tone of the lyrics. Meanwhile on Gasoline drummer Miller II provides a relentless rhythmic beat that anchors the song’s explosive energy. The album closer A Violent End delivers some of the heaviest riffs on the record while balancing the assault with a catchy chorus and beautifully placed softer moments that creates an intriguing dynamic, the album still hooking you in until the very last note. With an up and coming tour in the US with band FIVE FINGER DEATH PUNCH it will be fascinating to see which of these new songs become crowd favourites. Ultimately their new album Villainous proves EVA UNDER FIRE is ready to command the global rock stage with some live music therapy. Score: 9/10 Villainous will be released 10th July 2026 via Better Noise Music. Words: Amy Lynch Photos: Travis Shinn

Formed in New Jersey in 2022, 3 DOLLARS are fighting to stand out amongst the countless young groups itching to leave their mark in the punk scene, but these are more than your average Joes, with most members having spent at least half of their youthful lives perfecting their instruments. The proof lies within their debut EP, Plus Tax, the culmination of the four-piece’s efforts to nail a style that has already earnt them a strong local following, growing international attention and opening gigs for the likes of QUICKSAND and 7 SECONDS. This five track EP’s themes can be defined by the result of naturally reading the words that the title is composed of, being pissed off and fed up. It revolves around adolescence and nostalgia, leaving you wiped out both emotionally and physically if you’re in the mood to rock along to adrenaline packed bangers and sink into lyrical angst. We kick into action with Nauseous, instant relentless post-emo juiciness that effectively serves as an appetiser into the band’s combo of stellar riffs, punchy drums and ardent vocals, wrapped up with very solid production. It plays around with time signatures in a flavourful manner and features a bridge that plants itself into your mind with a highly catchy clash of guitar and drum action. The lyrics offer a reflection on being desperate to escape a situation and bad influence that the voice knows is only eating at him, tension that lingers throughout the record. Like I Said I Would, the following track, found notable success on streaming platforms alongside earlier song The Last Thing I Remember, contributing to their growth in the scene, and it’s not a challenge to see why. The atmosphere immediately grips you, most notably in the guitarwork, mainly offered by Tyler Wachtel on lead and Costas Krassos on bass, enthusiasm matched by drummer Ben Kamel who never falters when keeping the song alive and fresh. It’s the kind of song that would thrive in a small, sweaty room, encouraging you to let loose and escape life for a moment. Every stage exhibits emotion, with hefty lyrics such as “Need to piece together this eulogy for a household name catastrophe” making it easy to depict the themes of crumbling relations. We transition smoothly into the next track, Suppressed Memories, the lead single for the EP, a song that only cements that the party has found their sound, all being layered in a very complimentary fashion. We experience a moment of powerful, strongly held higher pitched vocals, followed by well-placed and executed screams by vocalist Arthur Pawley, who offered some insight into the themes of the track: “this song is about being in limbo, looking for that inspiration to make sure you are doing the right thing…not getting stuck in your past mistakes”. The rapid-fire instrumentals alongside brief moments of pause allow you to experience feelings of breaking apart and holding on, trapped in a cycle by intrusive thoughts of past mistakes. Waking Up Early forces you to face reality, having lyrics that are uncomfortably descriptive of mundane yet depressive parts of life. Another song that excels in having captivating progression, where the collaboration between drums and guitars is so refined that it allows Pawley to effortlessly blend in with them, creating a satisfying mix. Despite sonically similar, each song is distinguishable, taking an approach that has a bit of flair to give each piece its own personality, which even well-established artists can struggle with. Lastly, we close the EP with Untitled #17, a song about wanting to be detached from a situation so desperately that the song about it doesn’t even get the courtesy of having a proper name. This is everything you would ask for from a kickass post-emo song, raging guitar riffs, robust drumming prowess, a voice of pure sorrow and the perfect lyrics to scream in frustration. Pent up resentment let out all at once with as much force as the group’s sound should allow. Plus Tax isn’t merely a debut record, it’s a statement, one that says that 3 DOLLARS are well on their way to becoming a formidable act in America’s post-emo scene and are undeniably one to watch. Score: 8/10 Plus Tax will be released on 10th July 2026 via Smartpunk Records. Words: Paul Cutts Photos: Michael Dubin

Two decades deep into their slow-burning crusade, WITCHSORROW return with The Devil And All His Works, an album that doesn’t so much revisit doom metal’s foundations as sink back into them like they were carved in stone. This is not a reinvention record, nor does it pretend to be. Instead, it is a reaffirmation of purpose: heavy, patient, and utterly committed to the genre’s most monolithic traditions. From the outset, WITCHSORROW make it clear they are still operating on their own gravitational scale. Omnia Finiuntur opens the record with a sprawling sense of inevitability, stretching over ten minutes of slow-burn riffs and suffocating atmosphere. Nothing here rushes. Everything drags deliberately, like iron chains across stone, setting the tone for what follows: a record built on weight rather than speed, mood rather than momentum. That philosophy carries into Bacchus, one of the album’s earlier standouts and a track that feels like the band fully locking into their groove. The riffs are thick and unyielding, while the pacing allows each note to land with real consequence. There’s a ritualistic quality to it all, as if the band are less performing songs and more conjuring them. Hades Chains continues that descent, tightening the atmosphere without increasing the tempo. Here, WITCHSORROW lean into repetition in a way that feels hypnotic rather than redundant. The guitar tone is cavernous, the drums patient, and the vocals buried just enough to feel distant yet authoritative. It’s doom in its most traditional sense: oppressive, immersive, and unashamedly slow. Midway point Altar stretches things further still, acting as the album’s centrepiece in both scale and intent. It is here that the band’s strength in dynamics becomes most apparent. Rather than relying on constant heaviness, they allow space to form between crushing passages, making the heavier moments land even harder when they arrive. The result is a track that feels like a slow ritual unfolding rather than a conventional song structure. If Altar is the ritual, then In Triumph We Rot!!! is the declaration. One of the album’s more direct cuts, it carries a surprising sense of urgency without abandoning the band’s core identity. Lyrically and conceptually, it leans into devotion itself — a life spent in service to doom, not as a style but as a calling. It’s one of the most immediate tracks here, and arguably the closest WITCHSORROW come to an anthem. Lamentation briefly strips things back into a short, sombre interlude, offering a moment of breathing space before the final stretch. It functions less as a standalone piece and more as a threshold, guiding the listener into the record’s closing statement. That final statement arrives with A Quintessence Of Dust, the album’s focus track and most expansive moment of clarity. Featuring a guest guitar solo from EMPLOYED TO SERVE's Sammy Urwin, the track pushes the band’s sound into a more expressive space without breaking its core framework. The solo cuts through the density rather than overpowering it, adding a flash of colour to an otherwise monochrome landscape of doom. Ultimately, The Devil And All His Works doesn’t aim to modernise doom metal, nor does it attempt to escape its lineage. Instead, WITCHSORROW double down on it completely. This is a record built on tradition, conviction, and endurance — a reminder that in the right hands, repetition isn’t limitation, it’s power. For those already drawn to the slow churn of classic doom, this will feel like home. For everyone else, it’s a stark, uncompromising wall of sound that doesn’t ask for attention — it simply takes it. Score: 8/10 The Devil And All His Works will be released on 3rd July 2026 via Church Road Records. Words: Mia Gailey Photos: Leanne Elizabeth

In the midst of one of the hottest weeks in Britain, it’s quite ironic that EMPIRE OF THE SUN would be headlining the legendary Alexandra Palace for three nights, with a show of extravagance, gravitas and style. Covered in sweat but nonetheless feeling the vibes, the ten thousand strong crowd of Ally Pally were treated not only to the talent of this band but the effort of their production design. Starting off the night were SKYSCRAPER who with the lighting of incense, took the audience on an ethereal ride through their psychedelic sound. With plenty of cool reverb and a sound that genuinely makes you want to start floating, these guys were a great little start. Adorned in what seemed like wrestling gear, the singer had a pretty incredible voice, with lots of falsetto and lots of projection to really carry the music to the next level. Although there is currently nowhere to listen to this band's music, we definitely recommend looking out for any official releases, as any fan of the headliner would love them. After them were BALU BRIGADA, who were ultimately held back by the sound mixing here; but that didn’t mean their energy was anything but incredible, a short and sweet setlist was all they needed to hype the crowd up, giving what i can only describe as a crash course of the bangers and greatness of BALU BRIGADA. It was honestly really great to see them get so much crowd participation too with plenty of jumping, swinging of arms and singing along, these two Kiwis were really proving themselves at this set. This isn’t the first time the band have opened for such a big headliner with their 2025 UK stint being on the Clancy Tour for TWENTY ONE PILOTS, where just like at this show, they had a sound and energy you simply can’t resist. Finally EMPIRE OF THE SUN graced the stage with such an insane elegance and beauty; from the outset, the entrance of singer Luke Steele was something to behold, his insane outfit and presence set the standard for the rest of the evening, opening with a new song named Desire, equipped with plenty of smoke and one killer light show it made a statement of this bands flamboyance and vibrance. As the set continued on, Steele came down from the stage to sing with fans, making for a really wholesome moment that really hyped the crowd up for the rest of the set. The moment that truly shone throughout the whole night was when the song We Are The People rolled around, hands were in the air as confetti rained all throughout Alexandra Palace to that chorus everyone knows. As the night went on each song had a moment that really outdid the one before; At one point Steele had the dancers behind him with giant wings to create a really beautiful blackbird dance with changing his red suit for black one, only ever adding to the incredible wardrobe of the band in this show. You would think with how layered and textured EMPIRE OF THE SUN’s music is a modicum of that would be lost live, but that is absolutely not the case here, everything from the sets, to the outfits, to the lights, the energy, the talent on this stage it made for one hell of show that fills you with such an insane sense of joy and community. Words and photos: Ben Blissett

After nearly a decade away THE DILLINGER ESCAPE PLAN return to London for a triumphant show of chaos and power showcasing why they are the reigning monarchs of mathcore. The weather outside is boiling, the venue working as a sanctuary from the blistering heat. The crowd, already sweaty, lacked any of the lethargy you would expect. Opening tonight was FRONTIERER, who managed to get the crowd moving from the moment they played their first note. Crowd surfers within a band’s first song is a rarity yet the band managed to get waves of people. The wall of sound they created hit hard in the way extreme metal should. Heavy and cathartic, it was the best way to bring an audience into a world of left field metal. From the heavy use of whammy pedals to extreme vocals, this is how you open an extreme metal show. Next on the bill was VOWER who occupy a space somewhere between post hardcore and post metal. Atmospheric guitars ringed while going into melodic hard-hitting riffs. They were the least extreme band on the bill but still held their own. Their set worked as a respite, while people still moshed and crowd surfed it felt as if the music was giving the audience a chance to breathe. The band has a fair few fans out in the audience with many of them singing along, being the only chance to do so tonight as the band have more traditional vocals. The band made sure the audience was relaxed and limber enough to survive the headliner tonight. The lights went down, THE DILLINGER ESCAPE PLAN took the stage ready to bring the audience into their world. Music fans from across the spectrum waited for the band, metalheads, prog nerds, punks, hardcore kids and anyone into music outside the mainstream. The first note of the first riff rang through the speakers, the strobe lighting started, within seconds the venue was in a dizzying frenzy of chaos. Every second of this set was important, a chance to have time with a band man thought they would never be able to see. Tonight was also the first UK show that the band’s original frontman Dimitri Minakakis has played in the UK since 2000. The night was a celebration of the band but specifically their early years as many long time fans of the band never got to see Dimitri front the band. For a set so built on nostalgia the band did not rest on their laurels. They could just play the songs and people would go home happy, but they played everything with passion for their craft. The band are brutal live, almost unrelenting yet the unconventional beauty of their music shines through everything. They occupy space in many genres, they are impossible to classify sonically, but when they play they come across so strongly as a metalcore band. The best performance aspects of metal and hardcore come through them, the chaos, the moshing and even that specific walk hardcore musicians do across stage mid song. The band became one beast on stage, an organised chaos of sonic bliss. They challenged the audience to keep the same energy they have and built their reputation through live shows, and the night was one last chance to experience their live show. The audience never wain, they only receive everything with love. In a short set wrapping in at about an hour the band managed to play most of their important early tracks including their transformative APHEX TWIN cover. As the band brought the set to a close with %43 Burnt, the band pushed everything to the extreme one final time, seeing a guitarist jump from the venue's balcony into the crowd is proof of what the band is about. The Dillinger Escape Plan will put everything on the line to follow their vision of what music should be without any regard of what other people may think. They remain one of the most important bands outside the mainstream of music, even when they were away their influence was as strong as ever. This gig was a victory lap, another chance to celebrate their musical glory. Words: Will Freeman Photos: Conrad Newton

Manchester’s Deaf Institute played host to one of the hottest alternative bills of the summer as Florida genre-benders NEVERTEL brought their UK and European headline tour to the city, also accompanied by Australia’s rapidly rising metal-core outfit OCEAN SLEEPER. With NEVERTEL following the momentum of their recent single Otherside as well as OCEAN SLEEPER doing the same with the release of Peace When I’m Dead and Break the Cycle, this was a tour that felt significant well before the doors opened. Both acts arrived in Manchester carrying some serious momentum. NEVERTEL had spent the year expanding their international reach and profile through a successful headline run as well as appearances at major festivals including that of Download Festival, while OCEAN SLEEPER continued to establish themselves as one of Australia's most promising modern metal-core exports following their signing with Rise Records and BMG. Knowing all of that, this bill was a heavy threat of rumbling ribcages and dynamic energy. OCEAN SLEEPER came out and made haste with making their mark on Manchester. Opening with You Kill the Good in Me, the Gippsland four-piece wasted absolutely no time in commanding the room with brutal hooks and relentless energy. A true blend of rib crushing riffs, soaring energy, and definitely their emotionally charged lyricism, translating their energy perfectly into a live setting was nothing short of breath-taking. Next they brought Heaven and Light In My Dark to the table which maintained their presence in the ever-packed room, leaving bodies jumping high in the pit and hands flying higher with every pounding chorus. As the set ran and the pit expanded, the crowd wailed for the band’s newest single release Peace When I’m Dead and didn’t fail to have everyone reaching for the air in a huge wall of death just showing how OCEAN SLEEPER have continuously refined their sound without sacrificing any of the emotional vulnerability that helped build their ever-loyal following. Australian publication Wall Of Sound declared themselves officially “back on the OCEAN SLEEPER train”, describing the band as being currently “at their strongest” while highlighting their mix of clean and scream vocal work being unmistakable. That assessment felt completely justified having witnessed their masterful work inside The Deaf Institute. Tracks including Maybe Death Is All I Need, Forever Sinking and Break The Cycle all reflect a quartet firing on all cylinders yet still growing in confidence and maturity. All of the face melting melodies supplied only seemed to invigorate NEVERTEL even before stepping out on stage. The crowd could sense their electric presence and swelled to fill out the room for what was about to be a chaotic cataclysm of energy. Knowing the chaos that was about to flood the room, NEVERTEL decided to kick off by dropping their most recent single, Otherside unleashing their own raw, modern metal-core sound that echoed throughout the venue and more creating a storm of sweat and screams that emanated from the crowd. Both frontmen Jeremy and Raul effortlessly rocked the room with every vocal and their untapped conviction. So much so, the floor of The Deaf Institute seemed to shift and bend beneath the audience’s feet. Following that, the crowd threw themselves into tracks such as Losing Faith, Did It All and Modified with unparallel momentum shaking the very building itself. What seemed to separate NEVERTEL from their contemporaries was their ability to balance sheer oppressiveness with true accessibility. For example, tracks like Sacrifice and Starting Over share that influence of huge head shaking choruses that get the crowd stuck in with their own backing vocals. On the other hand, tracks like SYM and ICON leaned into more of the band’s hip-hop influences without disrupting that lip biting flow they maintain. The mix of these head thrashing harmonies recalled that of LINKIN PARK, FROM ASHES TO NEW and maybe even BRING ME THE HORIZON but ultimately, these guys know how to do it their own way, in their own style. Their pacing of the set also worked flawlessly with moments of reflection and juxtaposed bursts of energy giving the audience just enough breathing room to make the most of the pit in the center. Even they know when its time to slow down for suspense, and that’s exactly what they brought with more emotional sections. One specifically, amidst Everything In My Mind, they slowed it all down to a smooth mid-verse masterpiece, everyone from the crowd raised their phones lights way up and swayed in unison creating an ocean of blue light, almost reminiscent of the aurora borealis. Every voice created a whirlpool of tactile screams as they accelerated towards a dominant closing stretch. By the end, it was clear Manchester had witnessed two bands that were at significant milestones in their own journeys. OCEAN SLEEPER demonstrated why they are quickly becoming one of modern metal-core’s most intriguing alternative prospects, while NEVERTEL confirmed that their esteemed reputation was fully deserved. For those fortunate enough to be on the inside of The Deaf Institute, it was a reminder of why alternative live music continues to matter. For everyone else, missing this tour looked like a mistake that would not be repeated the next time around. Words and photos: James Smith