The harsh Icelandic tundra conjures images of beautiful glacier-falls beneath elegantly dancing northern lights in the sky - a landscape tailored for the wild rhapsodies of Sólstafir and Skálmöld. These bands effortlessly channel the mood of their homelands, an aural avalanche cascading over frozen cliffsides. Which is why it is so exciting to welcome another contender; Múr. On the album cover are five clean-cut lads gazing wistfully past the camera as if they’re searching for something lost in the void. They seem quite out of place in a genre that typically demands grim beards and mad gazes. It is almost reminiscent of Meet The Beatles. You’re not really certain what to expect. Then the guitars strike. The opener, 'Eldhaf', bursts forth - tight, deliberate, with a nice crunchy guitar over a droning synth - but it does not take long to notice the influences here. The thing with Múr, right from the start is how familiarly their cold fire burns. They namecheck “Devin Townsend and mid-era Opeth” in their description, but this is more than homage; it ventures into pastiche territory. The gleaming from Townsend’s bald head shines over this track, and Múr seems to fly a bit too close to the sun here: The chord progressions? We’re talking 'Accelerated Evolution'. The opening riff? An echo of 'Addicted'. And the vocals? It's hard not to hear some 'Stormbending'. But undoubtedly the ability is bare and present here, albeit to a rather timorous start. The second track, 'Múr' (not to be confused with the album title… and the band), is the heavy-hitter. Kári Haraldsson blares out a beautifully heavy vocal performance reminiscent of Åkerfeldt at his best alongside a wonderful keyboard-tinged solo; seriously talented. There are some strong top-notes of Opeth here, with some aromatic mid-notes and a base note of 'Demiurge' by Meshuggah. The carnage continues with 'Frelsari', where the guitars of Hilmir Árnason and Jón Ísak Ragnarsson are on a warpath, pounding out a diabolical riff while Árni Jökull Guðbjartsson lays down some furious drumming that would burst through handsomely - if it were not so buried in the mix. Such is the tragedy of percussionists; all too often sacrificed at the altar of production. With synths like a siren, the subsequent 'Vitrun' showcases Múr at their most dangerous; pulse-pounding riffs, fantastic duelling vocals, and a synth underneath it all like a veil of rainbows. Superb. The influences are less clear here, but what you can hear is pure Múr, nascent and resplendent. As the album goes on, to paraphrase one Patrick Bateman, you can hear the band coming into their own, both creatively and artistically. 'Messa' continues what 'Vitrun' began, but with an excellent breakdown that linchpins the song. Synthesizers hum as 'Heimsslit' begins, with an intro that could soundtrack the slow-motion death of a central character in some prestige TV drama. You can almost see the panning shot of blood spreading across a snowbank, Haraldsson’s background in film scoring bleeding through in all the right ways. It almost has some Godspeed You! Black Emperor about it. The riveting electronic bass of Ívar Klausen grumbles underneath it all. Very long and very atmospheric, this one is an album highlight – a track that threatens to uproot Sólstafir and Skálmöld from their apex positions as the soundtrack to the Icelandic wilderness. Then comes the finale: 'Holskefla'. A closer that tries to plant a flag in this jagged album but ends up stumbling under the weight of its own influences. When this band leans into Townsend, it seriously leans into Townsend, it’s a feeling that these Strapping Young Lads cannot seem to shake off. What we get is ten minutes of riffage with not a whole lot of variation present as 'Múr' bounces around influences again. And then, just like that, it ends. No crescendo, and no catharsis. With bands like this, you brace for the sprawling outros, but Múr take a different approach it seems – leaving you half-expecting another song to crawl out of the shadows. But in the end, the fact remains - this is a fine album. The most exciting aspect here is the sheer potential of 'Múr', and the real meat of the album here is a solid offering, but there’s a little too much scavenging here - picking bones clean from the carcasses of bigger and older predators. Songs like 'Vitrun' and 'Heimsslit' showcase a new band rising like a great new force in the distance, and you can see the greatness on the horizon. Whether they can carve a path that’s truly their own remains to be seen, but for now, 'Múr' offers a solid debut, stumbling through a sonic tundra with borrowed maps but undeniable determination. An album that is definitely worth a listen - keep your eyes on that horizon, because Múr is rushing towards it at headlong speed. ‘Múr’ will be released on November 22nd via Century Media Records. Words: Kiarash Golshani Photo: Anna Maggy

For us, having a party was very important when we launched. We wanted to celebrate our community in a way that only seemed fitting. Live music is the foundation of Out Of Rage. For Jake and I, we had founded the network at Outbreak Festival because we had a mutual interest in similar bands, and through our background in student media, it seemed like the natural progression of where we wanted to be. I find gigs and festivals especially cathartic in a way that we have a shared experience of music. At the end of the day, that's all we wanted at OOR, a place where we could be a part of the industry, and build ourselves up through the talented people we meet and work with. Our partnership with the University of Nottingham Rock Society for this event was the natural choice. They were amazing for working with us, and the first in a line of many more universities, societies and groups we would want to work with. We are especially keen on working with students, because most of our management have been students, and have been a part of societies and media. Some of us (...Kayleigh) are even working with SU’s to this day. There are loads of incredibly talented young people out there. Writers, photographers, musicians, band managers, creatives, videographers, musicians and anyone else who is ready and willing to enjoy the music we all love. We also want to thank the amazing emerging talent of Wasted Awakening, Systems Fail, Late December and Gender Envy for setting the tone and putting on a show! Also a massive thank you from Jad at the Rock Soc for helping us out logistically. For Rae and Kayleigh for the epic photos. This is the first of many more. You haven’t seen the last of us yet! Photos by Kayleigh Fryer

When Polaris announced the sudden death of their guitarist Ryan Siew, who passed away the week after the band opened the main stage at Download, we thought that it was the end for the Australian metalcore giants. Cancelling their summer tour dates, in the autumn they unleashed Siew’s final lasting legacy, their third release ‘Fatalism’. The album, now retrospectively a eulogy and celebration of the band, is one of their most cathartic releases to date. At Manchester’s O2 Ritz, frontman Jamie Hails addresses the crowd “Ryan wanted us to continue and we will.” Polaris swept through Europe on their headline tour, supported by Paledusk, Thornhill and Silent Planet. For newcomers Paledusk, hailing from Kyushu island in Japan, their association with the Australian metalcore scene signing to both Sharptone and Greyscale Records is unfaltering. Releasing their new EP the week previously, ‘PALEHELL’ showcases the off-the-wall brilliance of harajuku pop infused with abrasive breakdowns. Despite some sound levelling issues, they carried the crowd, even as the opening band, demanding our full attention with intermittent thrashy guitar solos. Finishing with their fan favourite ‘SLAY!!’, they are definitely a band that is a fresh and exciting addition to lineups, anticipating the best and the unexpected. Sometimes you catch a band on the cusp of their breakthrough, and for Melbourne post-hardcore five piece, later hailed by Polaris later as ‘our Australian boyfriends’, this is their time. It's that moment before a band goes big, like when Sleep Token released ‘Chokehold’ or Loathe put together ‘I let it in and it took everything’, that magic is created in the room. With only two tracks released from their upcoming album ‘Obsession’, they commanded the entire crowd and then some. Frontman Jacob Charlton has the most versatile voice in metalcore, going from dreamy choruses to full on Chino Moreno raptor screams. Pausing in anticipation of their monumental breakdowns, the full ensemble unleashes a hellish inferno of sound. It was an unnecessarily short set, but a cathartic one, leaving onlookers to audibly comment ‘Why haven’t I heard about this band sooner?’ At the moment, this is the scene’s best kept secret. Silent Planet graced the stage shortly after, with a tight and energetic set, primarily based around their new release ‘Superbloom’. It was a refreshing update to their sound, pulling away from their emotionally-driven post-hardcore sound, and provided a sticky pit, perfect for thrashing around in. The Texan metalcore collective have a fanbase of diehard fans, who made their presence known during ‘Antimatter’ and ‘Nexus’. However, it wouldn’t be a Silent Planet set without their inaugural monologues, bringing attention to the devastation of war with ’Panic Room’ and the invasion of indigenous American soil in ‘Native Blood’.New staging accompanies the band with their DIY projector backdrop. Watching on from the sidelines, the band are beginning to grow into potentially performing their own headliner slot in the UK. Polaris took to the stage opening with the almighty ‘Harbinger’ the opening track of their current album, followed by its standout track ‘nightmare’ High energy anticipation continued through fan favourite ‘Hypomania’, amassing in a gigantic circle pit. Hailing the UK as their ‘second home’ they pressed on to some of their classics, ‘All Of This Is Fleeting’ and ‘Landmine’ Technically tight, the combination of sound from guitarist Rick Schneider and bassist Jake Steinhauser carried the band into ‘Overflow’. With a brief pause and reflection, Jamie Hails broke into a monologue about the passing of Siew, stopping for a minute to reflect upon the uproar in adoration from the crowd. Chanting ‘Ryan’, the whole band are emotionally raw leading into the cathartic ‘Martyr’. Then, snapping back into action, Hails’ commanded the audience to “snap their necks” to ‘Parasites’ and then performed the most impressive windmill in all of metalcore. With some vocal issues mentioned previously by the frontman, it didn’t matter. The entire set was epic and the atmosphere in the Ritz was kinetic and unapologetic. With a final encore from ‘Pray For Rain’ and ‘Remedy’ it was a spellbinding end to a spectacular performance for all acts, in a celebration of modern heavy music. Most importantly, it was a show you could throw yourself into and just party, and that's exactly how everyone felt that night, leaving to the sound of ‘We Like To Party’ by the Vengaboys. Words: Amber Brooks Cover Photo: Nick Davarius

BEX is our July 2024 cover. Cover credit- Nick Davarias BEX is everything. “I see it all as me,” she tells us during a wet afternoon in the press tent at Download. The nu-punk collective had played the Wednesday, an energising warm up to follow the weekend’s full proceedings. For the 22 year old singer, playing the festival was part of her masterplan, using last year's proceedings to get punters to sign a petition to get her to ‘one day’ perform. A full circle moment, this homecoming performance was “a blur. It was literally the best thing in the world.” “I’ve always wanted to do this. I never had those gap years or going to uni. I always knew what I wanted to do.” BEX has always been creative. Whether it's performing shows and producing music, to creating her own fashion line Scallywags earlier this year, the creation of BEX is one of the most bespoke voices in the upcoming alternative scene. Going independent, making art and playing the main stage at 2000 Trees, we hear it all as we follow BEX across the UK on their summer tour. Bex performing at Download 2024 Adorning a self-made custom dress, admittedly different to her usual style, she brought the ferocity during her newly released do-or-die single ‘FIGHT’ at Download. Part of the BEX experience is the bespoke clothes she makes or upcycles for her live shows. Fashion is as much of a part of BEX as her music. “I think it originally started because I didn’t really like the clothes I could buy in the shops so I just couldn’t find anything that I liked. I needed to learn how to make it. I taught myself.” BEX likes to take inspiration from Vivienne Westwood, evident in her punk aesthetic, but she also loves to look at what ordinary people are wearing, saying: “If I see something that I like, I’ll remember and create.” BEX set up Scallywags, her own clothing brand, to sell one-of-a-kind items on an online shop or at independent markets. She has said she is not a very political person, but does care a lot about the ethics of clothing. “Fast fashion doesn’t have to be fast fashion. If there’s something you really like and you’re going to wear it, it’s okay to get it. Obviously it’s overconsuming that is the problem. That’s what makes it fast fashion.” “Now it’s just so normal to me to want something and then just make it rather. If I want something, I don’t even search for it online. I can make that.” At Scallywags, she does not make clothing for a specific audience. She makes the clothes she loves to make. “I just make clothes. I don’t make clothes for specific genders. There also not specifically for alternative people or goth people. They’re just for anyone. When I do markets, people never even question if this is a boy's jumper.” BEX performing at The Black Heart last year BEX, as a product, is proudly independent. There is no one else quite like BEX. After releasing her 2023 SCUM EP, she dropped her label and began making music herself. “I was with a label last year and it made things easier, but now it's a lot harder. There’s a lot more to think about.” She has released two singles since leaving her label and is hoping to release more music in the future. When asked about who BEX is, she says: “I think I’m just a creative. I don’t think I’m a musician, and I’m definitely not the best musician, but I’m also not the best designer or seamstress. I’m a creative person and I just want to share that.” Passion and drive are the forces behind the art she creates. Whether it's going on tour with Hawxx or Saint Agnes, like she did earlier on this year or performing with Mallavora at their SKIN release show, she knows how to style the entire band with their signature bunny-eared balaclavas. Above: Bex performing at 2000 Trees, Below: Bex customising T-shirts at 2000 Trees Customising T-shirts at 2000 Trees No one did 2000 Trees quite like BEX this year. A bubble gun wielding main stage set on Friday, revealing her brand new chrome logo. Then a trip to Marshall’s House of Fun to customise t-shirts with fans, which ended up with the whole band and crew helping. Bringing her own patches, the tent was so busy, she was moved to another table and overran by an hour. If that wasn’t busy enough, she covered the festival in posters, promoting her upcoming London headliner at Omera. When asked ‘What’s next for BEX?’ the bassist and vocalist grins: “More music. More fashion. Just more of anything.” The real plan is to pursue this lifestyle and let others into BEX’s world. To get tickets to Bex's upcoming tour, please follow this link Photo: Nick Davarias, Design: Josh Paine Words: Amber Brooks Photos and cover design: Nick Davarias

Descending upon the backstreets behind the center of Liverpool, a thriving music community plants its roots along a two street stretch of road. For one day only, Seel Street and Slate Street become the epicenter of the northern hardcore scene, pulling together a celebration of mostly local bands at No Play Festival. Across three venues (The Arts Centre, EBGBS and the Jacaranda), an impressive display of emerging new music was the key focus of the day, with headliners Seeyouspacecowboy… putting the lineup in the festivals history books as a historic and truly sought after lineup for years to come. Yes- Out Of Rage were there- and we want to let you know about the next generation of bands that you should be paying attention to. WitchEater For only releasing their first single last year, Merseyside deathcore’s WitchEater provided a culinary feast of beatdown. A local show for the hometown heavyweights provided a warm welcome to anyone who traveled any further than St. Helens. With the vocalist’s tongue-in-cheek street callouts counterbalancing the oncoming strife from heavy riffs and damaging blast beats, they contribute to the emerging local talent that No Play has to offer. Forager Having played the festival last year, Manchester's-own Forager was a real treat. Hanging on the fringes of hardcore and grunge, their sound culminates in very real and honest lyrics. With the help of Scott from Black Coast (who Forager toured with last year), they flung themselves into each song with such enthusiasm. Encouraging no mosh to their pop-punk inspired song ‘Converse’ was a highlight of their set. But do not let this fool you- they had some moments of intense and exciting energy, especially from their later tracks from their latest EP ‘The Knife’. Rozemary We head to the basement of the Jacaranda to go and watch another local band Rozemary. The room was absolutely packed from the beginning of the set. Whilst the songs progressively got heavier the longer they played, they managed to spin the tiny room into a sweaty mosh. As a new band, their sound was impressive and carried the room, tied together with the embroiled screams from their vocalist. A great start for their No Play debut. Going Off What would Manchester be like without Going Off? As an absolute staple of their local scene, they now cross the M60 to play the Arts Centre in Liverpool. Short bursts of frenzied energy erupt in the pit, as the band plays an assortment of fast paced hardcore punk, each song lasting less than three minutes each (we have checked and verified this). Releasing an absolute firecracker of an album this year called Die Fast, their explosive stage presence was not to be missed on the main stage. TNL VSN Birmingham based TNL VSN were definitely the palette cleanser to a very heavy day. A cohesion of 2000’s angst and longing choruses. Their sound is carried by their vocalist who complimented the band's grungy undertones completely. We will be watching what this alternative five-piece gets up to in the future. Cauldron What can be said about Cauldron that has not already been said about this band and UK deathcore? If they’re not on your RADAR, you need to get to one of their shows ASAP. Cauldron are your favorite metallic deathcore artists favorite metallic deathcore band, fiercely respected in the UK scene. In a live setting the band got the best energy of the day, a brutal skirmish of crowd killing. Vocalist Frazer Cassling caused as much chaos in between songs as much as he did during them, outing other members of the band as Everton fans, and letting the entire crowd know about the horrors he saw outside the venue before the set. Grove Street Southampton hardcore was indeed present at No Play. Grove Street were a very welcome addition with their groove-infused thrash. Defining their sound in their latest release ‘The Path To Righteousness’, the band pulled up to a large crowd and pushed the energy to its limits during their thirty minute set. Cougar screams and nostalgic riffs from the eighties and early nineties, fuelled their energy in a fast-paced and high intensity show. Heriot Encroaching on the release of their highly anticipated first album, Devoured by the Mouth of Hell, Heriot brings their deathcore thrash to Liverpool. Circling through their tracks the bands in-your-face defiant attitude made a great contribution to No Play. Despite a few technical issues, pushing the set back a smidge, they knew how to get the best energy from the crowd. Lending themselves greatly to spinning the room around in frenzied circle pits, they prove to be one of the most promising bands in the UK alternative scene. Seeyouspacecowboy… Nearly rounding off their UK tour (with one show left to go) Southern California’s Seeyouspacecowboy… was an absolute treat of a headliner to finish off the end of the day. The band are known for their unpredictable and chaotic energy on stage, lending themself to a real spectacle in the pit. We join the metallic deathcore heavyweights after the release of their dancefloor punk inspired album Coup De Gras, which translated on to the stage extremely well because of how upbeat the album is. The intensity that vocalist Connie Sgarbossa had with her crowd was a joy to watch. The standout song of the set was Silhouettes in Motion, which got the entire audience moving (including the inflatable shark that the No Play crew threw into the crowd). Finishing on Chewing The Scenery, the band finished a spectacular set, one that would be talked about in No Play’s history for many years to come. Words: Amber Brooks Photos: Izzy Scott

Bringing bands from the disparate locales of San Diego, Leeds and Madrid altogether onto one crazy touring lineup, the queercore screamo geniuses in SYSC steamrollered their way across Europe and into the UK. Out Of Rage managed to send a team to see them, and after letting their bruised bodies and broken eardrums recover this is what they had to say. As the first notes from Madrid screamo act Boneflower's set rang out, it already promised a special evening ahead. Their slightly shoegazey sound, combined with the viciously emotional heft that they so deftly wielded, made for a sonic punch in the gut as nasty as any you'll find. Whilst clearly the least well-known band, they didn't give that thought even one moment of air time and instead set about killing their half hour slot before promptly making a fan out of every single person watching on. Easily one of the best shocks at a gig so far this year, Boneflower absolutely need to be making it onto your Spotify rotation as soon as is possible. After a brief break for everybody's necks, Killing Me Softly showed us exactly why they were chosen to subheadline on this crazy tour. The Leeds-based crew slam dunked their entire set, as each stunningly tight riff and pulverising breakdown carried them further and further through what was a pristine run through of their music. As nominees on our Albums Of The Year list last year the expectations were high, but they decimated any and all doubts or concerns in an instant. The moshpit was also thriving, with Connie from SYSC joining the fray on numerous occasions alongside plenty of excited crowd members. Of course though, both paled in comparison to the almighty headline act that was SeeYouSpaceCowboy. Opening with the first two songs on their third and most recent LP 'Coup De Grace', the Cali quintet showed what it takes to become as beloved as they are in such a thriving scene. The room was bouncing for nigh on their whole set, and there was barely room to move near the stage with moshpits, crowdsurfers, stagedivers and assorted members of bands galore everywhere. The very next track happened to be one of their most enduringly popular songs, 'The End To A Brief Moment Of Lasting Intimacy', to which the reaction might be best described as pandemonium. As the uproarious set continued, each musician got their own chances to shine and took them eagerly, giving rise to varying moments of blissful calm and abrasive chaos. The bands tour-titling album was featured very heavily, with songs like 'Lubricant Like Kerosene', Silhouettes In Motion', and 'To The Dance Floor For Shelter' being received with particular warmth, but the older tracks 'Armed With Their Teeth' and 'Self-Help Specialist Ends Own Life' were up there as the writer's personal favourite moments. Even in the dying moments of the sets finale 'Chewing The Scenery', there was only movement to be seen, with vicious energy to be found in pockets all through the audience. Once the sensational headliners exited stage left, the energy eventually died down, and the onlookers dispersed, it was crystal clear that what we had just been privy to was the last tour that this band should ever play in venues this small. Words: Jake Longhurst Photos: Nic Howells

We have not had the delight of having the American alternative metal heavyweights The Plot In You touring in the UK since the pandemic. Before the release of one album ‘Swan Song’ and two EP’s with a third on the way, the world had drastically changed for the band from Hancock County, Ohio. Not only has drummer Michael Cooper joined the lineup, but the band have gained a following big enough to sell out their UK and EU tour with time to spare. At Manchester’s Academy 2, it is time to take in the atmosphere alongside stateside friends Invent Animate and UK posthardcore openers Acres. Acres are a relatively new band, releasing their first album ‘Lonely World’ just after The Plot In You were last in the UK. After taking a little while for the crowd to warm up and get acquainted with the Portsmouth metallers, they began to run through their tracks with great ease. In the already packed venue, the pit opened up and swarmed as the band hit the breakdowns on some of their biggest hits, ‘My Everything’ and ‘Hold On’. Whilst their new release ‘Lost’ was a magnificent addition to the setlist. A great start to the evening and a warm introduction to the band. Texan posthardcore quintet Invent Animate have had an interesting trajectory in the last few years. A new vocalist Marcus Vik, alongside signing to label UNFD has propelled the band into a stunning new era crowned with their 2023 album ‘Heavener’. Breaking new ground, this set was a stark contrast to their last UK support tour with ERRA because the band only played songs from this new album. So depending on whether you like the band's old sound, your experience of this set may have been tainted. The band were very enthusiastic about only playing new songs. Overall, it was still a great set regardless, so not a total leap into the unknown. Their on stage presence was energetic and matched the pace of the audience. The interaction with the crowd was crazy, splitting the room in two from the stage to the sound desk as they asked for a second wall of death. Celestially cladded in all white and interlacing their songs with cerebral ambient sound, this new era of Invent Animate was an evolution. We’re looking forward to where the elevation of their new sound takes them. The Plot In You came on to the stage in an explosive start, with red confetti pooling into the audience after an almighty scream from vocalist Landon Tewers, signalling the start of their opening song, ‘Don’t Look Away’. High intensity continued with ‘Divide’ but the tempo was brought down with ‘All That I Can Give’. It’s worth mentioning that in this set all of the tracks from the bands two new EP’s were played, with their new release ‘Been Here Before’, marking the beginning of a third in this golden trilogy of EP’s. The band’s new sound did not feel out of place, compared to their earlier discography. ‘THE ONE YOU LOVED’, a single off of fan favourite album ‘Dispose’ allowed the audience to open up as metalcore became heavy dancefloor pop. A palette cleanser for the heavy trio that came afterwards in ‘Crows’, ‘Paradigm’ and new track ‘Been Here Before’, forcing the pit to close up and come together with each of the band's damaging breakdowns. ‘Enemy’ , the climax of these high-intensity songs, was a standout highlight. The contrast between the sleek understated verses gave moments for the crowd to throw themselves into the pit in unison. ‘Closure’ followed suit slowing the audience down into a much needed break of ferocity. A moment of lamentation followed with ‘Left Behind’ The band left the stage for an encore and as Guitarist Josh Childress gave the opening notes to ‘DISPOSABLE FIX’ the whole crowd knew what was coming. Making sure they get as many crowd surfers down as possible, the band put everything they had into their finale, finishing on the emotive ‘FEEL NOTHING’. Words: Amber Brooks Photos: Izzy Scott

As we get the skeletons out of the closet for halloween, we find ourselves back again with an old friend. Balance And Composure have released their first record in eight years, and it truly is an album we thought we would never get. In keeping with the spooky theme it's called ‘with you in spirit’. We got an early haunt from the band in July as they played the UK for the first time in ten years, including a London show and a warm welcome at Outbreak - where they had to reschedule their slot for 11am the morning after they were originally meant to play, but still received a glorious welcome. When a band comes back after a long time, how much can we hope for them to live up to our expectations? Recently with bands like Linkin Park and Oasis making their long-awaited comebacks that we know won't be entirely the same, but we still will feel a sense of nostalgia. With age, comes a time of reflection. At the fourth record from the Pennsylvania post-hardcore outfit, we may have lost the summer sun from 2016’s ‘Light We Made’. The band’s new approach is darker, in contention with the longer nights we are now facing heading into October. ‘with you in future'’s new sound feels like rawness and weathering of time has added to its value, pushing the overdrive for it to linger within the boundaries of grunge. There is no doubt that this is a path we have travelled before. Jon Simmonds' vocals are as familiar as kicking up fall leaves. Catharsis and longing still take centre stage, with lyrics that crush and make you feel something. As with anything that takes a lot of thought, the construction of the songs are complex, at times layering compassionate vocals with twinkly guitars and percussion forms the heartbeat of the song; faint but keeping everything alive. ‘Restless’ may feel like an introduction filled with accountability stating "nobody knows where I’ve been", but it's cut deep for the first song on the record. With ‘Ain’t it Sweet’ feeling fully awake, with its fast paced attitude, it pushes the song to a point of frustration, until ‘Any Means’ crosses that line and plummets like a comedown. These songs feel sporadic, full of dynamic guitar parts and beautifully chaotic attempts to salvage the album’s natural rhythm. Like memory or thought, these songs can meander and take on narratives of their own in a way that always is meaningful or needed. Whilst ‘Cross To Bear’ sinks heavy waves of overwhelming guitar parts, it feels entirely raw. Impressive pre-choruses are the standout of this track giving immense depth to the track. ‘Believe The Hype’ feels the most out of place within this record, the lyrics are desperate, showing another side to the record where optimism fades and desperation takes over. It’s a song that builds into a wall of noise, up until ‘Lead Foot’ takes over. Another lull to the album’s narrative, again it takes its time to have a much-needed period of reflection. The record now hits a point of regular rhythm and uses it to drive it forward. ‘Sorrow Machine’ ironically feels like the first point of optimism for the track, which elevates the band’s sound, now in a major key. ‘A Little Of Myself’ returns itself to the Balance And Composure we love: apologetic, needing reassurance but undeniably human. ‘Closer to God’ is the highlight of this record. The fullness of the track with its uplifting choruses and wandering guitar make this a delight to listen to. It compliments the band’s final track, the eponymous ‘With You In Spirit’, perfectly to make for a bright and much needed conclusion. Balance And Composure have reached a point of reconciliation with themselves and their direction as a band, to the point where they have created something beautifully tactile. Without looking to much into how we got here, it does feel like this album is a reconciliation of where they have been for the past eight years, a retelling that may have gotten a little lost in the middle, but its strength lies in its ending. A return of a very talented act that are very well-respected in the post-hardcore landscape, and we are very thrilled to have them back. 'with you in spirit' is released on October 4th via Records. Words: Amber Brooks Photos: Balance And Composure

As the nights grow longer, Sólstafir emerge from the shadows with a follow-up album to 2020’s 'Endless Twilight of Codependent Love'. The band, who's name translates to 'crepuscular rays' in Icelandic (referring to sunlight piercing through dark clouds at dusk), have gone back to their pioneering roots with their upcoming opus 'Hin helga kvöl' (The Holy Suffering). Recently announced to be signing with Century Media Records, they perform an expansion rather than a reinvention after over 20 years of leading the Icelandic scene and performing across the globe. Known for their atmospheric and heartfelt sound, we can tell from the first notes that this offering comes from the depth of their souls. The album opens with 'Hún andar', which was the second single to come out ahead of the album’s release. It loses no time taking us into a dark and heavy universe, and with its ethereal sound and chant it sets the scene, painting a vivid picture of Iceland’s scenery with just a few notes before transitioning into a deep guitar melody. We can already hear the masterful drum rhythm by Hallgrímur Jón Hallgrímsson, that balances the melody to bring depth to the song without being overwhelming. We oscillate between life and death throughout the track which feels like a reverent lament. Lead singer Aðalbjörn Tryggvason expressed that this piece, which translates to ‘She Breaths’, "... is an obituary to a living person whom [he] love[s] very much, but the mind is gone due to mental illness and drug abuse.” This ode of love and pain will seep into your bones until the last note. Next comes the title track and first single, 'Hin helga kvöl', which is nothing short of a war cry. It also carries some faint whiffs of the band’s black metal roots with catchy guitar breakdowns and even heavier drums, whilst being amazingly frenetic, with aggressive vocals that throw us into a marching chant. These explosive parts are then followed by a deeper, more emotional chant, that evoke the sense of a renewal or even rebirth. When asked about the meaning behind this lead track, guitarist/vocalist Aðalbjörn Tryggvason said “It is a song about dying. It is about the realisation that you will die sooner than later and consciously witnessing the end of your own world. It is one’s own personal idea of Ragnarök - or Armageddon. What happens afterwards? Are we reborn or are we simply food for the worms…”. We arrive on a grand finish, making us feel as if there is an afterlight we have earned it. This is no other than a beacon of hope shining through the heaviest of times. We come back to 'Blakkrakki' which is a shorter track, but one full of suspense. It carries an uncertainty that ties in with the previous track, making us wonder where we now stand. It takes a turn with a more post metal orchestration that's both new and yet also familiar, displaying the strong identity of Sólstafir and its ability to adapt and overcome. The song sticks with you with its layered composition, and its lingering guitar parts. These qualities carry on in 'Sálumessa', with a languishing guitar rhythm and repeated drum segments, that feel as if they’re pulling the fabric of time. It takes the road of a more pained ballad, without the doom stylings of previous songs, and builds into a powerful mid section. Being the longest song on the opus, it positions itself as a melancholic and haunting anthem which will keep you in a chokehold for over 7 minutes. With 'Vor ás' we enter a more post metal and experimental part of the saga. It carries the legacy of the previous pieces while adding back new elements, such as backing vocals, for the first time towards the end of the chorus. It continues honouring their roots and reintroducing them by bringing in a feel and heaviness that evoke their second album 'Masterpiece of Bitterness'. 'Freygátan', on the other hand, brings a piano led start with an emphasis on voice and ambient sounds. These gentle touches make “Grýla” even more impactful as it hits. It's almost a punk song in its approach, with a very gritty singing and instrumentation that keeps us on our toes. 'Nú mun ljósið deyja' takes over with a bang in a very fast paced black metal track that leaves the listener breathless. As we reach the end, it's impossible to know which way the record will go after the excellent variety we've been treated to so far. The final call 'Kuml' begins with a chant and ambient sound which brings us full circle as it takes after the first track. However, just as it feels safe to assume the track is understood, comes a long instrumental bringing out a saxophone that will leave you stunned. The echo chants that come in afterwards feel like the moment the band look across their shoulders at the rest of the album in memory, as if wrapping up the album by looking back across it all. 'Hin helga kvöl' is not an album, but the sound of a poetic Edda that should be integrated and passed over as the old tales were. Each story is unique and brings something old, something new and all the emotions in between, so make sure not to miss the landing of this Icelandic magic. 'Hin helga kvöl' will be released on November 8th via Century Media Records. Catch the band on the UK leg of their tour at these dates: 20.11.24 - Concorde 2, Brighton 21.11.24 - Club Academy, Manchester 23.11.24 - Queen Margaret Union, Glasgow 24.11.24 - Electric Brixton, London Words: Lysandre Pons Photos: Sólstafir

When it comes to fusion rock, the line between creating a full and hearty masterpiece that’s packed with jaw-dropping genre-bending segments and making a pile of scattered mess is very thin. It’s what makes fusion rock either so beautiful or so woeful, but when it comes to Swedish fusion rock band Goat and their latest, self-titled, project, they've shown that they most certainly know how to produce the former. Not much is known about the Swedish alternative group - we don’t even know the definite number of members within the band. However, even upon the first listen it’s impossible to ignore the group's chemistry, which is not only at the forefront of their sound but also firmly found hand in hand with the talent of each member. The album doesn’t even feel like a project in places, devolving almost into a jam between friends from all different genres and walks of life, united by a love of music. Throughout their new album, Goat have displayed how good music is far more than just a few sound waves that vibrate nicely when they hit our ears; they’ve shown us that real music has a feeling to it; it has a soul, it has character. This is made especially evident no more than halfway through the first song on the album as the mind-altering samples wash over you like a sort of psychedelic which is swiftly followed by a guitar and keyboard solo which sound almost intertwined, it's through the song ‘One More Death’ that we realise that this is not just any old intro track, but a gateway into their vast and palpable musical world. The term 'palpable' is not used loosely here, as moments on this album utilise a plethora of instrumentals and styles of play that, when fused together, will have you feeling on the verge of overwhelmed. There are moments in each song where instruments really have their opportunity to shine such as the horns and woodwind on ‘Goatbrain’ which provide off a relaxed but thick jazz fusion, the thin but heavily distorted guitar tone on ‘Dollar Bill’, which when mixed with some wah gives off a furious growl similar to that of an exotic big cat, or the use of bongos mixed with the keyboard and guitar in ‘Frisco Beaver', which make for an absolutely monstrous fusion track. But it’s not all fast-pace and guns blazing on this album - tracks such as ‘Fool’s Journey’ and ‘The All Is One’ are two of their more relaxed tracks, and they each offer a nice calming and chill vibe in their own way. On the one hand, ‘Fool’s Journey’ uses what sounds like a bamboo flute, as well as some classical piano and incredibly soft drums to create a soothing oriental vibe, all to construct the perfect environment for your brain to switch off and allow the music to take control. Yet with ‘The All Is One’, the use of birds as an audio sample paired with the acoustic guitar gives off a very warm energy; one that can be compared to listening to music around a campfire with friends, and what makes it ever better is the echoed guitar seeping into the mix, adding a sense of nostalgia and closure to the project. It’s as if Goat are saying a near goodbye with this track, before they swiftly kick into the outro track, ‘Ouroboros’. While the instrumental ability displayed on this album is nothing short of pure instrumental prowess, it almost has to be in order to support the vocals at points as they can occasionally come across as strained or shrill. Granted, the beauty of a band (particularly one spanning so many genres and instruments) is that if one member sounds lacking in any way, the others members can fill up that space and make the album sound more full, but when you have a group that's so diverse in sound and all these different sounds are being hurled at you in unison, it’s often up to the vocalist to provide that cherry on top. Unfortunately on this album, it just doesn’t have that lead vocalist quality in some songs, and the vocals often get trumped by the guitars or keyboards instead. Don’t be mistaken, it doesn’t feel like the singer is an accessory that could be done without on this album, simply just that there's more potential to be unlocked. If you’re a fan of fusion rock then this likely going to be for you - alternatively, if you’ve never listened to it before and need an album to break the ice, then this could also well be for you. Goat have really hit the nail on the head of what makes a good fusion rock album by combining multiple elements from instruments spanning across genres to make an album that is hearty, yet not overbearing. While in places the vocals do sound slightly lacking, we can confidently say that whether you’re in the mood for something that sounds kick ass and has a sense of swagger about it like ‘One More Death’ and ‘Frisco Beaver’ or something more relaxing such as ‘Fool's Journey’ or ‘The All is One’, these guys have you covered. 'Goat' will be released on October 11th via Rocket Recordings. Words: Alex Walden Photos: Goat

There’s something great about a reasonably sized punk venue, the intimacy and cosiness of it all makes you feel as if you’re doing your bit to support the local scene by doing no more than just entering the place. Naturally it felt fitting to see Newcastle’s own punk quartet Fast Blood open up in support of Toronto hardcore legends Fucked Up for a night of perfectly-orchestrated chaotic energy, however as the night progressed, the cracks did start to appear both on stage and in the mix for both bands. Fast Blood’s most recent project, Sunny Blunts can only be described as the audial version of a massive punch square in the face, therefore it felt fitting to have the group open so suddenly and aggressively as they did Usually it’s a very bold play to start off your show with no intro and just to dive straight on into it but for Fast Blood, this bold play ended up paying off. It’s never easy being the first act on but with music so rapid and intense, they did a damn good job at setting the pace for the night within the first few songs. Despite this, ultimately it wasn’t enough to cover up the group's shortcomings of the night. After announcing that they were still feeling pretty rough after a heavy night on the town the night before, it all became clear just how shattered they really were. In areas of Gone for Good and Pulling Teeth the vocals came up a little flat which naturally began to trickle down to the instrumentals as they began to sound almost naked as they were missing the extra bit of grit from the vocals. It suddenly became clear that this energy was pulled out as more of a last-ditch effort to push through the final show rather than to rile up the crowd. Despite making note of how surprising the amount of energy from opening act Fast blood was straight from the go, they couldn’t hold a candle to Toronto Natives Fucked Up due to the theatrics of vocalist Damien Abraham. The defining factor of what makes a good frontman in a hardcore band is their ability to essentially control the crowd; there are countless frontmen and women in hardcore groups who’ve been gifted with the superpower that allows them to switch into the superhuman version of themselves but what separates Abraham from the rest is how when he steps on stage, he almost becomes possessed by his microphone. As each song starts, you can see him stare at his microphone with a look of horror and helplessness as if it beckons him closer until it consumes him like an evil spirit and he lets out a set of absolutely walloping bellows for the next 2-3 minutes. Abraham doesn’t make music in Fucked Up, Fucked Up makes Damien Abraham and man is it a spectacle to see live. From throwing and catching his mic like a lasso, wrapping the cable around his face and even performing with water battles stuck to his face to look like some form of weird, recycled gas mask. It’s very evident that Abraham loves his job. While Abraham does an excellent job of getting the blood pumping, unfortunately it was pretty much the only stellar part of the night as in terms of sound, the concert was a muddy, unintelligible mess. Don’t be mistaken it had its moments, Bassist Sandy Miranda had an amazing tone which cut through the monitors incredibly as well as guitarist Mike Haliechuk who had an amazing solo to round off the show but other than that, it was impossible to distinguish anything else throughout the entire night. Aside from Abrahams little speeches in-between songs, roughly 3 lyrics in total were actually intelligible that night which is fine for a die-hard fan, but for someone who discovered them that night, they aren’t going to have a clue what songs they actually heard if they want to listen to them again. Ultimately, it was a night of ill health and muddy audio quality for Fucked Up and Fast Blood, between the raging hangovers and borderline unintelligible audio quality it’s easy to argue that these bands aren’t worth it, however the personalities of both groups make it so that even despite the flaws, you never really focus on them. The moment that vocalist Abigail Barlow lets out a scream or that Damien Abraham sticks another bottle to his face or pours it all over himself, it suddenly all fades away. You’re simply left in awe at the spectacle of it all. Words- Alex Walden Photos- Adam Lang

As Delilah Bon’s headline tour heads towards the home straight by the time it reaches Manchester’s own Deaf Institute, it brings with it a new found weight and brevity in the wake of the rights of women across the world. With the American election reaching its landmark conclusion, the importance of protecting body autonomy was put on the line for the first time since the historic turn of Roe V Wade, the abolition of the constitutionalised right to abortion in the US. More than ever, this tour has never felt so important or so inspiring. Supporting Delilah was Tillie. A Georgia native who uses soft-rock and pop to speak her mind. Clad in a Harajuku-style suit, she was the perfect warm-up for the show, speaking words of advocacy for queer and women’s rights. Most of her songs encouraged her to speak about why she wrote them or her incoming UK headline tour in 2025. With a welcoming response from the crowd, she provided insight into the realities of growing up in a southern US state. Whilst the sound mixing made it hard to understand her lyrics during her song, the energy from the set was cheery and calming. From what we could hear, her vocals were on point, as she (and her drummer) pushed through her set with ease. Tillie had a great stage presence which really made the set go quickly. Delilah starts her set with a phone call from Harry Dick, which she later details as an amalgamation of right-wing men, usually from America, who actively criticise her music on the internet. Accompanied with her girls Ruena and Hela, she gets herself on stage for her explosive opener ‘Brat’ (and no… not the Charli XCX version) She seems to confront Harry head on with ‘Grown Ass Men’ which is a track about normalising masculine stereotypes with women. She then dedicated ‘Chiquitita’ to all the older women who should have divorced their husbands. ‘I Don’t Listen To You’ was a crowd pleaser, with most of the crowd loudly chanting the lyrics. Delilah vocally was impressive, rapping quickly with such clarity in the lyrics. ‘Bad Attitude’ -in the same vein- warmed up the crowd immensely, giving the opportunity to bring the energy, as a bubble gun started from the centre of the pit A massive credit to Ruena and Hela for their performance, as they added so much depth to the set, as well as hyping up the crowd, with Ruena playing bass during some of the songs. When they performed as other characters, in vaudeville outfits with baseball bats for ‘Clown’, which as a deeper cut for Delilah went down immensely well with the crowd, they enhanced the atmosphere of the song. When they came out as policemen, torches shining and booking members of the crowd for ‘Freak Alert’, they wore skirts with dildos on them and threw a giant inflatable phallus around. Inevitably, the pair were celebrated by Delilah in ‘My Girls’. ‘The Internet’, a standout track from Delilah’s ‘Evil Hate Filled Female’ album is next. LGBT+ flags were raised in tribute to queer solidarity. Making sure queer people have a voice is an important part of Delilah’s music (as discussed in our latest magazine issue!) and feature heavily in her lyrics. She makes sure everyone feels welcomed at her shows, with Safe Gigs For Women in attendance. Her heartfelt song ‘War On Women’ is dedicated to transgender women before she performs it. Bassist Ruena holds up her bass, showing the words “We will not be silenced” on the back. The live shows also highlight all the immense work that goes into Delilah Bon, as she has made the outfits and her backdrop by herself. All the songs are created and produced independently without a label. Also massive shout out Delilah Bon’s mum who mans the merch stall and does social media for her daughter before and during her set. This tour is a labour of love. Delilah finishes off her set with an ‘angry’ section of her shows. ‘I Wish a Bitch Would’, a song that incited a riot in France, was one of the loudest songs of the night. When Delilah Bon was asked to respond to this landmark decision of Roe V. Wade, she turned to songwriting and with impassioned rage by crafting ‘Dead Men Don’t Rape’, the self proclaimed “most important song of her career”. The outcome was nothing short of a Delilah Bon phenomenon, with her listeners using the song as a way to channel their emotions and let it speak on the impassion of their own bodies. At her shows, this has become a spectacle of solidarity, loud and confrontational. ‘Evil Hate Filled Female’ follows, with her final song ‘Maverick’ an impassioned song about self confidence is last, channelling all the aggressive energy into something deeply positive. Words: Amber Brooks Photos: Lizzie Jones