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They Fear Us. Not only the title of Ithaca’s exquisite second album, but also a mission statement, ‘They’ being those who are opposed to the wonderful revolution of queerness, acceptance, diversity, support and love that Ithaca are a huge part of. The band put on a show on Saturday the 25th of November in London at The Dome, playing through the album in its entirety for the first (and possibly only) time ever. It was a small bill, having just the headline band and then Wallowing, who were opening the show - in stunning fashion might I add! Playing a forty minute set that started at 20:00, the band seemed genuinely bowled over at the brilliant turn out of fans who came to see them play through a phenomenal set of sludgy doom and grindcore. The unique look of alien beekeepers creates an amazing onstage presence, and the aesthetic of their electronic board covered with pedals, LEDs, switches and more makes the whole set feel even more chaotic and exciting. They started heavily and carried that on through every second onstage, each moment of music causing the atmosphere to become that much more caustic. Upon finishing, the audience erupted into a chorus of cheering and clapping that was more than deserved - Wallowing are on tour with Conan in February and March, make it down for a brilliant show. Of course, no matter how good the support act, we knew that Ithaca would show up and cause absolute pandemonium. Playing They Fear Us in full, joined by some extra musicians to make the evening even more special, the set started with ‘In The Way’ and immediately a circle pit formed that stayed open for the duration bar a couple small exceptions for when the crowd was in tears. The band's singer Djamila Boden Azzouz alternately howled as if possessed and sang like a siren above a soundtrack of squealing guitars, stinky riffs, thick basslines and wonderful drumming. Bassist Dom Moss ran about the stage, during the title track he must’ve covered more ground than anyone else in the entire venue whilst simultaneously laying down some absolutely filthy sounds, and gurning like a professional. Song number six ‘Number Five’ was a personal highlight, with moshing galore and heaviness abound; guitar lines from Sam Chetan-Welsh and Will Street bringing about some seriously hectic pits. After having a stunningly heavy set of tracks shoved down our throats (all willingly), it was time for the more emotive part of the album to begin, with a tear jerking speech from Sam about trauma and healing, particularly being defined by the quote ‘your trauma does not define you’. This led into their song ‘Fluorescent’, which had equal parts of the crowd sobbing or elbowing each other. Going from that into ‘You Should Have Gone Back’ had the crowd slowing down in the pit, and then it was time for an announcement. Djamila asked two friends of the band, Liam and Lindsay, to join the band onstage. Through misty eyes the audience looked on as Liam proposed to Lindsay, and every single person cheered as he got down on one knee and asked her to marry him, with the volume swelling as she said ‘of course I will’. Then, as guest vocalist Yansé Cooper came onto the stage for ‘Hold, Be Held’, it seemed like there was only one course of action for anyone in the room and it was to cry. This final song of the main set was a beautiful moment and will stay with every single person who was in attendance for years to come, as the keyboard, oboe and trumpet being added to the sound of Ithaca’s main band boosted the already immense power of the song. The band took a collective bow and walked offstage for a moment, allowing everyone to take a moment and breathe. The additional musicians then took their leave, and we were treated to one last song in the form of first album banger ‘Impulse Crush’ to finish the evening. With that, the London five piece left the stage for the final time, leaving nothing but sweat on the stage, and hundreds of awed audience members standing stunned. The November cold felt that little bit easier to deal with after one of the very best shows of the year. Words: Jake Longhurst Cover Photo: Jake Arthur

I love Rock City for a gig. Perfect balance between an intimate atmosphere but still a big enough capacity for those ‘you sing it’ moments to give sizzling goosebumps. The iconic Nottingham venue is especially well suited to high energy artists that encourage you to leave your inhibitions in the cloakroom, turn the floor into a sweat-forest, and ask ‘would you like to say, “fuck it” with me?’ A perfect choice for the relentless McFly and their superb support act LostAlone. Despite having a significant presence on the rock scene since 2005, I was a novice in my experience with LostAlone. That was until the Derby based ensemble roared onto the stage in Nottingham, providing evidence that youth is eternal if you live with a rock and roll state of mind (at least when on stage). Lead singer Steven Battelle, who is credited as a co-writer on several tracks on McFly’s Power to Play album, and who has recently been working alongside Danny Jones and Dougie Poynter as part of their writing and production team SideQuest, helmed the group expertly, bringing showmanship and mouth-watering guitar solos worthy of his ‘demented genius’ title. The audience was particularly entranced with G.U.I.L.T.Y and their closing number The Last Drop Of Forever which delivered opportunities for punky chanting that achieved the two optimum goals of any support act; created new fans and got the room buzzing for the main event. LostAlone showed absolutely no cobwebs after returning to the scene after a hiatus from 2014-2022, and I will be seeking out a headline appearance. After 20 years of watching McFly in the UK’s biggest arenas, seeing them switch to smaller venues for the Power to Play Tour was an intriguing surprise. The Rock City crowd was excited by this change, and for the final night of the tour, provided the same noise and elation as a 10,000 strong arena as soon as the first brassy notes of YMCA (their go-to walk- on song) enveloped the room. Part of the decision to tour smaller venues, I believe, is because of Power to Play’s return to their honest rock ‘n’ roll roots, and the sweaty and close environment that necessitates. This theory was immediately confirmed by the show’s opening mirroring that of the album, with the explosive Where Did All the Guitars Go? and Land of the Bees setting the tone. This was followed up with the anthemic One for the Radio from the album Radioactive which many fans say is the most stylistically similar to the band’s latest outing. McFly continued their successful habit of rotating fan favourites from varying albums from tour to tour, including the likes of Corrupted, Friday Night (a personal favourite), Too Close for Comfort, and Everybody Knows, all of which have missed out in previous tours but were received with adoration, especially by a lucky fan who kept up the tour tradition of playing the cowbell (because there can never be too much) during Everybody Knows. One detail Galaxy Defenders (if we’re doing fandom names) are loving about Power to Play is the increased concentration of Dougie Poynter. The bassist, who’s personalised merch always sells out the fastest, up until this date has always taken a more fleeting role when it comes to leading the vocals. He excels on his bass, the song Lies being an everlasting fan- favourite is example enough of this, as Dougie carries the bridge with a solo that invokes the bad-smell recognition face amongst musicians (you know the one), but vocally reserved his talents for occasional harmonies as well as the occasional feature. However, the bands return to its classic rock and pop punk influences, Dougie has grasped his opportunity with vigour. His crowning moment comes in the deliciously Blink 182 reminiscent I’m Fine, which brought out the buried emo ‘kid with long hair’ of everyone in attendance. Here feels an appropriate place to praise the influence of Mark Hoppus of the previously mentioned Blink 182 on McFly’s recent releases, as a frequent collaborator and co-writer. Hoppus penned the lyrics for Route 55 whilst undergoing chemotherapy, for fans in Rock City aware of this fact, seeing the upbeat tune performed was even more special. Throughout the night Danny Jones and Tom Fletcher’s vocal performances were as exceptional as fans have come to expect, 20 years of practice together is bound to make for a well-oiled machine, even when a guitar dies right before a big solo and you have to fill in with your mouth – great Job Danny, we hardly noticed – but their performances were most awe-inspiring during Not Alone and All About You which they performed as a duo. It was a mesmerising display of talent and a testament to a long-standing collaboration. The harmonies in Honey I’m Home also deserve a mention, I’d been looking forward to seeing them live for months and they lived up to my unreasonable expectations. One the drums it was clear all night that Harry Judd was enjoying the return to rock ‘n’ roll roots as much as anyone. Linear fills and tom-work maintained the punchy and bouncy energy all night, and all McFly fans know how much the four of them love a bounce. Also, credit to Sabian Cymbals, because Judd’s ride cymbal was perhaps the best I’ve heard – delicate on the rim but the bell had fierce attack – top craftsmanship. Perhaps the thing Judd did throughout the night that fans were most grateful for however, was inject his charm just enough to convince his band mates to dig out a sneaky extra song in the shape of That Girl all the way from their debut album – I love last night of tour presents. Overall, McFly delivered their usual level of brilliance infused with irresistible charisma, humour, and boundless energy, seemingly renewed by the rediscovery of their musical origins. They were unafraid to claim their status as a band that adore their poppy sing-a- longs like Obviously and Star Girl whilst simultaneously cherishing their harder hitting rock bangers. It was unadulterated enthusiasm from the moment LostAlone stepped on stage to the very last pic thrown into the crowd by Danny who seemed desperate for the tour to not be over. Throughout their career McFly at times have had to suffer the ugly view of noses stuck up high in the air. Excluded from circles as they were deemed not heavy enough to be rock music. If you are one of those people, it’s completely your loss. Get over yourself, get down to the ‘mushpit’ and have the best fucking time! Words: Jack Knapton Photos: Jack Knapton

Nottingham’s Bodega has stood as a proud place of musical enrichment for many years. Serving itself as a venue for early shows for artists such as Coldplay, the Arctic Monkeys, Frank Carter & The Rattlesnakes, and many more storied names. Tonight seemed like another such evening - we were about to get battered braindead by Going Off, Pupil Slicer, and Employed To Serve. Manchester’s Going Off opened the evening with a pleasant dash of hardcore goodness, to warm up the crowd and start the mosh pit off nice and early - even getting the odd audience member on the mic and some good old karate kicks and windmilling arms. With a sixteen song set over in less than half an hour, it was a proper dose of true hardcore that is always welcome in my eyes. Pupil Slicer then took to the stage for a very different style of set, choosing to play only four songs across half an hour; but when each song is a masterpiece it’s a completely allowable decision. No Temple and Departure In Solitude were a stunning first half of the set, before Blossom gave us a moment of introspection set to a nice heavy soundscape, and The Song At Creations End closed their set in spectacular fashion. This being arguably the best song on their incredible new album ‘Blossom’. Props to whoever made their physical setlist too, the small footnote saying thank you was a fun touch! Once both acts had vacated the stage, and some Pupil Slicer merch was bought, it was time for the mighty Employed To Serve. Having seen them at Nottingham’s Motorpoint Arena opening for Gojira just this year, to see them in a 200 capacity room was sensational. Woking’s finest had the room in upheaval, with mosh pits galore for the entire set. Their groove-ridden sound was built to melt faces at close range and it was impossible not to headbang along with songs like Exist, Eternal Forward Motion, and Conquering. Having seen all of these bands at least once before (this was my sixth time seeing Pupil Slicer, Slicer Nation ‘til I die), in varying sizes of venues, it was not only incredibly enjoyable but genuinely a privilege to see them in such a small room. The energy was electric, the noise was visceral, and the whole evening was a stunning success in showing off the very best of British metal. Long may these bands reign.

There’s been a trend of late in metal, with tour lineups becoming more varied and allowing for fans of different genres and subgenres to get their fill in one night. TesseracT seem to have noticed this and gone all out, by combining their own djenty progressive sound accompanied by the technical wizardry of Germany’s Unprocessed, and the mathcore madness of The Callous Daoboys, who’ve come all the way from Atlanta to open up each night of this madcap tour. Each band brings something to the table, so the only way to see just how this lineup might pan out live was to go and witness it ourselves. As mentioned, The Callous Daoboys are a truly wild group, who have a penchant for vicious live shows packed with energy. They opened up the show to an already pretty well packed out room with one of their most-listened to songs ‘Star Baby’. The aggressive introduction abruptly cuts into their most melodic live moment, with a maximalist post-punk/pop-rock outro that invites a singalong from the audience. Following it up with another song off their celebrated second album ‘Celebrity Therapist’, they went into ‘Violent Astrology’ before ripping out two stellar UK live debut’s from their latest EP - first up was ‘Pushing The Pink Envelope’, which went down a treat, before lead vocalist Carson Pace told everyone to dance or else he “would fuck [their] moms” and launched into the phenomenal ‘Waco Jesus’. The American six piece kept things moving between songs, so barely gave themselves a moment to breathe before another second album belter with ‘What Is Delicious? Who Swarms?’, and then gave us all a delightful few moments of madness with two final tracks off of their debut album ‘Die On Mars’. A one-two punch of ‘Blackberry DeLorean’ and the single most chilling message you will ever hear, ‘Fake Dinosaur Bones’. The whole set was riveting, and set the night up in good stead for the crowd. The unenviable job of following that opening set was given to Unprocessed who certainly made life easier for any reviewers by having a set full of single word song titles, most of which being only a single syllable, a far cry from either of the other two acts on the lineup! Kicking their set off with ‘Hell’, the Teutonic group showcased a flurry of high speed guitarwork that was as much a joy to watch as it was to listen to. They had the audience jumping and dancing along to their melodic electro-djent style of prog metal. Whilst the first half of the set felt a little more technical, the last few songs felt like they really captured the pop and electronic sensibilities of the band. ‘Thrash’ was excellent, and led brilliantly into ‘Deadrose’ before ‘Glass’ gave everyone a moment to calm down. They encouraged the audience to pull out the phones and lighters for a proper singalong, which looked absolutely amazing in person as the band were visibly lit up even in such a large venue. Finale ‘Haven’ was a perfect blend of their melodic and heavy side, with riffs galore and a ton of dancing going on too. Making for a great bridge between opener and headliner, Unprocessed performed excellently and showed off a whole new style of music in the process too! Headliners TesseracT had one thing above either support that really elevated their set - their lights show was phenomenal, and made them look absolutely brilliant onstage! And whilst both other bands had a good number of fans in the audience, TesseracT held sway over almost every single person in attendance which did give their atmosphere a little bit of an edge too! Playing a substantial volume of tracks off of their phenomenal latest offering ‘War Of Being’, the crowd loved them. James Monteith, the Peter Crouch of metal guitarists (because of his height, not his goal scoring ability), struck an imposing figure whilst his hands flowed up and down the neck of his guitar song after song, and Jay Postones held the group together behind his kit through time signature changes and tempo changes all while dropping a flawless set. Opening with ‘Natural Disaster’ and ‘Echoes’ from the aforementioned latest album, Dan Tompkins started as he meant to go on, delivering towering vocals for every minute of their lengthy set. Third up was the brilliant ‘Of Mind - Nocturne’ which gave room for Alex Kahney to stretch his fingers and watch numerous crowd members' jaws hit the floor, whilst Amos Williams stalked the stage on his bass. Wrapping up the first few songs, they then pulled out the opening track from their 2015 album ‘Polaris’ and so the seven minute epic ‘Dystopia’ flowed out of the room’s oversized speakers to wash over a joyous audience - this would be the only song played off of ‘Polaris’ however, and the five piece moved into a run of four songs including three from ‘Sonder’, playing through ‘King’, the title track off of ‘War Of Being’, then ‘Smile’ and ‘The Arrow’. Each one was greeted with cheers and whoops, and the light show gave a sense of progression by subtly changing up for each track, whilst illuminating the stage and band members throughout. The end of the main set arrived all too soon, after ‘Legion’, ‘The Grey’ and ‘Juno’ were given a thorough run through, and before we knew it TesseracT had taken their leave of absence. Not to be discouraged though, the typical chants of ‘One more song!’ were taken up and the group walked out to deliver us an utterly glorious double of ‘Concealing Fate, Part 1: Acceptance’ before finishing with its counterpart ‘Concealing Fate, Part 2: Deception’. The progressive heavyweights not only curated a brilliant lineup, but also a brilliant setlist that they played through showcasing their enormous collective experience, to what can only be described as a gleeful audience. It seemed like a different place after TesseracT had finally finished, with smiles plastered everywhere that had been largely vacant on the rainy walk over, but after three imperious sets of live music each and every attendee looked to be buoyed up on their way home, many taking one last look back into the venue as if to try and capture just a couple seconds more from such a spectacular night. Cover Photo: Nic Howells Words: Jake Longhurst

For the grand finale of their monumental headline tour, Hawxx brought down the house at London’s iconic Grace venue, a dimly lit space adorned with a mix of neon lights and vintage concert posters, creating an electric atmosphere that perfectly complemented the night's lineup. The stage was set for an unforgettable evening, and Hawxx, along with supporting acts Jay Taylor and punk powerhouse BEX, delivered a performance that exceeded all expectations. Jay Taylor, adorned in a mix of eclectic outfits, confidently took to the stage, immediately capturing the audience's attention with their autotune-heavy tunes. The room's atmosphere became charged with a palpable energy as some fans enthusiastically embraced their unique sound, while others observed with a hint of curiosity. However, Jay's resilience and commitment to the craft became evident as they immersed themself into their character, gradually winning over any sceptics as the set progressed. The stage lights flickered and pulsed in sync with the beats, creating a dynamic visual backdrop that added another layer to the performance. BEX, the charismatic punk force, stormed the stage next, instantly commanding the crowd with her unrelenting energy. Dressed in a riot of colours, and fueled by punk spirit, she effortlessly transitioned between songs, maintaining an infectious momentum that captivated the growing audience. The intimate venue reverberated with cheers and applause, and BEX's stage presence, amplified by her spirited performance, left an indelible mark on all the Hawxx fans eagerly awaiting the main event. As she closed her set with the unreleased 'Sunday,' complete with a burst of bubbles during the final chorus, the anticipation in the room reached a fever pitch. When the moment came for Hawxx to take the stage, the crowd erupted in a chorus of cheers and applause. The opening chords of 'Embrace The Ugly' resonated through the venue, setting the tone for an evening of musical brilliance. The lighting shifted dramatically, casting bold shadows across the stage, as 'Death Of Silence' and 'If Not Now, Then When' followed, stirring the audience into a rhythmic dance. 'Trust Your Rage' was a pivotal moment allowing fans to unleash their wild side, with the pulsating bass and electrifying guitar riffs creating an atmosphere of controlled chaos. 'Reckless' and 'Death Makes Sisters Of Us All' further solidified the bond between the band and their London faithful, with the intricate interplay of instruments echoing through the venue. As 'Fathertongue' began, the entire room became a choir, singing along to every word, creating a sense of unity among the diverse audience. 'The Worst Thing' unleashed a heavy barrage on The Grace once more, the intensity building with each thunderous beat. 'Soulbreaking Machines' served as a moment of reprieve, enticing the room and giving everyone a second wind for the band's final two songs. 'Dogma' and 'Bite (Holiness In Fuck)' brought the night to a climax, with Hawxx delivering an encore-worthy performance that left the crowd exhilarated and yearning for more. The lighting intensified, casting dramatic shadows that danced across the stage, creating a visual spectacle that mirrored the sonic brilliance of the band. Hawxx’s evolution, evident in their performance, showcased not only their musical prowess but also their ability to connect with a diverse audience. The combination of electrifying music, captivating visuals, and an intimate venue created a concert experience that transcended the ordinary. As the final chords faded away, the lingering cheers and applause echoed the sentiment of the night – Hawxx have not only conquered their biggest headline tour but have left an indelible mark on the London music scene. The future undoubtedly holds even greater heights for this remarkable band. Words: Nick Davarias Photos: Nick Davarias

On a miserably wet Thursday in Camden, two of Sweden’s finest and an independent quartet of Nottinghamshire brilliance took the stage at the beautiful Electric Ballroom. In only one of two UK nights on Normandie’s UK & Europe Tour 2024, and Normandie’s biggest UK headline to date, it’s fair to say the energy was indeed nothing short of electric. Self Deception, a band who “create whatever the f*** they feel like” according to their website, punched out of the gates with pure rock anthems - and unanticipated references to Matthew McConaughey. Heavy drums and screeching guitar line their tracks, and Andreas Clark’s rock-racked voice punctuates the ears though tracks including ‘Fight Fire with Gasoline’, ‘The Scandinavian Dream’ - and yes, ‘Matthew McConaughey’. Not to mention, in a move to outdo themselves, the four-piece even left the stage for an encore. If your gig experience needs more large pink balloons being set loose over the audience, they can do that for you too. As December Falls came up next, getting the audience dancing to pop punk bangers ‘Go Away’, ‘Alive’ and ‘Little by Little’. From Ande Hunter jumping up on the amps to thrash out a guitar solo, to Bethany Clark's powerful vocals taking the crowd on a euphoric ride, they set the tone and got everyone moving. There were clear fans of As December Falls in the crowd, whooping as they intro-ed ‘Join The Club’ and celebrating their success as an un-signed, completely independent band, doing what they know and smashing their set out of the park. Then the time for the headliners, post-hardcore band Normandie with a more electronic feel of their most recent album, ‘Dopamine’. From start to finish the crowd was in the palm of their hands, as the room quaked with hundreds of people jumping. Punching right into the set with ‘Serotonin’, an angry beast of a song, the audience was right there with them screaming the lyrics back. Then came the classics - ‘Jericho’ and ‘Holy Water’, off previous albums, both have an anthemic quality to them that ripped through the building. Yellow balloons bearing the smiley-face logo of ‘Dopamine’, given out at the merch stand, bounced back and forth over the crowd as they returned to the new album with ‘Hourglass’, a moody guitar riff the central focus of the melody, and frontman Philip taking Dani Winter-Bates of Bury Tomorrow’s scream through the breakdown (which, he did admit, he quite enjoyed doing). With a discography as impactful as Normandie’s, they had plenty of choice to go to for their set list, flicking between older hits such as ‘Awakening’ and ‘Renegade’ and giving ample space for ‘Dopamine’ through ‘Butterflies’, opening powerhouse ‘Overdrive’, smoother ballad-like ‘Sorry’ and simply sublime ‘Flowers for the Grave’. One thing they like to do, to keep things fresh, is give the audience some choice over what tracks get played; through Instagram Stories vote, Mission Control was picked to thump drums from the stage, and the live audience later selected the iconic long-standing shout-it-at-the-top-of-your-lungs hit Collide over Colourblind. Handing over to guitarist Håkan Almbladh and bassist Lucas England to deliver the votes, we’ll gloss over the fact Philip was unaware of what songs were prepped and happy to go with the flow, even lamenting that Collide which no longer appears on their set list as a regular track sounds better when the audience wants to hear it. For their encore in the now extraordinarily hot and sweaty Electric Ballroom (once again, from all of the jumping), Normandie cranked out the big guns. ‘Babylon’, ‘Hostage’ and ‘White Flag’, all bonafide bangers got their rightful place, and a little visit from ‘Ritual’ off the new album too. Philip remarked that this gig was nerve-inducing owing to it being their biggest headline thus far, but it didn’t show in the vocals or in any aspect of the band’s stratospheric performance. Not every band can say they have a back catalogue of 100% winners, but Normandie certainly does, and we can’t wait to see where their return to the UK in the future takes them. Words: Ali Gibson Photo: Ali Gibson

Towards the end of the UK and European leg of The Angels & Villains Tour, Born Of Osiris brought an entourage of multiple other heavy bands with them to Nottingham’s Rescue Rooms. With the early start time of half past six, Nottingham’s black-clad BOOCrew rocked up nice and early for the oncoming onslaught of heaviness. Crown Magnetar ripped straight into their set without giving much more than a brief ‘Hello!’ before diving straight into the deep end. As a band on their first ever UK tour, they had a very respectable crowd and kept interacting with everyone throughout their whole set. The four piece are based in Denver, Colorado, and played a slamming technical brand of deathcore that shares as much with tech-death bands like Archspire and Cryptopsy as it does with gargantuan presence of the likes of Lorna Shore and Carnifex. They might well have been the heaviest opener Rescue Rooms has seen in a long time, and they delivered a set worthy of that mantle. In a short twenty minutes they managed to crush all expectations of them, and showed off why they need to tour the UK again asap. Swedish group Aviana appeared onstage amidst an introductory voiceover, and rapidly gave an exquisite demonstration of how good a show a band playing so low down on a bill can put on. With most of the band wearing a hooded cloak-cum-veil, there was an air of mystery about them, and the smoke machines surrounding them gave us some stunning visuals of these enrobed figures wreathed in tendrils of smoke. Being treated to another short set, the Swedes made use of every second of it and ruled the stage with their four song setlist comprising ‘Rage’, ‘Anomaly’, ‘Oblivion’ and ‘Obsession’. Their alt-metal sound was a great fit on the lineup, and their unique look captivated the audience long after they’d left the Rescue Rooms stage. Headlining the tour was Born Of Osiris, and they ripped Nottingham a new one with a barnstorming set chock-full of bangers new and old. ‘White Nile’ was a phenomenal first song of the set, and the in-part tour namesake ‘Angel or Alien’ went down a treat. The Chicago fivesome showcased their technically demanding, aggressive brand of metalcore flawlessly, and in the process got numerous metalheads headbanging, moshing, and of course throwing the odd pint. The end of their set was made up of a number of their best songs, as well as their latest single ‘A Mind Short Circuiting’ which sounded as good in person as it does on record. After that, they rounded the set off in style with a left-right-left combo of ‘Bow Down’ into ‘Brace Legs’ and finally ‘Machine’, which of course had the room bellowing along even though the show had begun four hours previously! Whilst the whole evening had been a long one, the time had flown by with each set being a joy to watch. After each of the other bands set their stall, Born Of Osiris finished things with a flourish and capped the night off brilliantly, leaving to rapturous applause Words: Jake Longhurst Photos: J. Asha Sitarz (Photos taken in London)

Doing things because of spite is generally not encouraged. However, doing things because of Spite, the notable Californian deathcore group, is in fact highly encouraged and welcomed in the community. Such things include going to Nottingham to see the stunning lineup they've chosen to tour with, featuring a veritable who's who of current aggressive American -core music. As comfortably the smallest band on the bill, Colorado's Mouth For War were opening up proceedings, but belied their youth and ripped the very air to shreds with a dominant set. The energy they played with, combined with the raw heaviness in songs like 'Roses In Place Of Your Ashes' made the whole set a defining statement of intent. You would never have known they were only touring the UK for the first time as they played like a band with years of touring under their belts and allowed every speck of vitriol to show through the entire half hour they were onstage, culminating in the song 'The Devil' which is about "harming paedophiles", a sentiment that was echoed back tenfold by the whole crowd. Every second of their stellar metallic hardcore was worth listening to - Mouth For War, take a bow and please return soon. Taking the mantle next were Connecticut's Boundaries, whose breakdown flecked metalcore was a perfect transition from the previous band into the rest of the set. The pits opened up nigh on instantaneously, everyone who wasn't moshing was headbanging, and the whole atmosphere was intensely enjoyable. Having only just released their fourth album on March 29th, we got to hear plenty of new songs alongside some of their older material which made for a great set, no matter how many times you'd seen them before. Splitting their setlist evenly to three songs each of off most recent release 'Death Is Little More', 2022's 'Burying Brightness' and 2020's 'Your Receding Warmth', it was a varied set that more than shared the love between their previous work and recent tracks too. Providing main support, Bodysnatcher joined us from Florida. The hellish gutturals combined with incredibly satisfying breakdowns and clear crowd support kept everyone's energy high. Songs like 'Black of My Eyes' and 'Take Me To Hell' enjoyed excellent crowd participation, and new single 'Murder8' went down a treat. It was, however, final song 'King of the Rats' that had the biggest reaction of the night up until then, with a huge roar in response to it starting and movement the entire way through. Possibly the best single word to describe the Bodysnatcher fans would be frenzied, as they kept pushing and screaming and jumping all set in a huge display of love for the band. Finally, headlining the entire event, Spite entered the fray all the way from California and gave an example to each attendee of how much fun ridiculously heavy music can be. On their Dedication to Flesh tour, they filled half their fourteen song set with tracks off of the new album. The title track and 'Crumble' were particular hits, but each song went down a storm, although considering the album came out nearly two years ago that was almost expected! However, the rest of the set was just as popular, with hits like 'Kill or Be Killed' stirring up a storm, and an encore of 'Despise' into 'Death Sentence' was a phenomenal way to finish off such a consistently excellent night of live heaviness. Featuring four incredibly heavy bands on one bill, riffs galore, barely a single clean vocal and innumerable breakdowns, the entire night was a riot. Every band gave Nottingham their best, and will all no doubt be welcomed back with open arms whenever they may return. Words: Jake Longhurst Photos: Ellie Jones

April has arrived, and with it Spring may have finally sprung! The weather is looking better, temperatures are a bit more mild, and most importantly it’s a new month of music! However, not all things revolve around music, and this month it is Autism Awareness Month. Autism and other forms of neurodivergence affect millions of people in all sorts of ways, so if you aren’t aware of how autism can manifest and affect people then this month is a good time to educate yourself on it! It’s also Girls Behind The Rock Show's Diversity Awareness Month, which we are huge fans of. Diversity in music lineups and music journalism is enormously important, and whilst it is improving we can all do better. There’s also some big news on UK venues, with the new Co-op Arena in Manchester opening its doors for the first time, and London’s Brixton Academy reopening too! Now, onto the music. Bob Vylan are heading on tour to celebrate their new album ‘Humble As The Sun’ which is coming out tomorrow, and sure to be a thoroughly enjoyable listen. The grime-punk duo cover incendiary political messages which have rarely, if ever, been as important as they are now. With Palestine being occupied, LGBT rights being encroached upon, and discrimination at a UK high, Bob Vylan are a band of our time and signify the changes we need to make. Oh, and they also happen to be fucking brilliant live too. Not to leave Bob Vylan as the only group with a new political punk album of late, Kid Kapichi released their third LP ‘There Goes The Neighbourhood’ in late March and, having just embarked on a record release tour, are off again on a full UK tour supported by Dead Pony and Dumb Buoys. Tackling immigration issues, the police and even love, Hastings’ own aren’t afraid to talk about anything - the one consistent theme is how great every song is. Another early April tour is the Dream State and Graphic Nature tour, which is one hell of a lineup, and also fits wonderfully into this month - Dream State have one of the coolest female vocalists in the game, Jessie Powell, who is ceaselessly promoting diversity, and Graphic Nature’s song ‘Fractured’ is about struggling with autism. Both bands are live powerhouses, and having them tour together will make for a phenomenal set of shows all across the UK this month. One of the heaviest tours of the year is hitting this month, as Spite roam the United Kingdom with Bodysnatcher, Boundaries, and Mouth For War all tagging along. The colossal weight of this tour cannot be overstated - each band could comfortably wreck a building with the sheer aggression of their music, so putting them all on one lineup is quite possibly a safety hazard that should absolutely be witnessed. Any fans of the various -core’s will particularly enjoy this, going from Mouth For War’s metallic hardcore brutality to Boundaries’ metalcore, and deathcore from Bodysnatcher and Spite. This is likely to be an intense, visceral show, and will need to be seen to be believed. Speaking of heavy tours, the all UK lineup of Sylosis, Burner and Harbinger is not one to trifle with. Opened by technical deathcore merchants Harbinger, and followed by Burner’s pulverising blend of blackened death metal and hardcore, with British heavyweights Sylosis headlining the whole thing. After supporting Lamb Of God and Malevolence, Sylosis are taking themselves around the country on an almost entirely sold out tour, so any spare tickets should be grabbed ASAP! April has far more than it’s fair share of excellent heavy lineups, but this one provides a little more than the rest: Pupil Slicer are playing with Coilguns and God Alone, but won’t be playing any old set - the London group are playing their stunning second album ‘Blossom’ in full at every show on the tour. On what is their first ever headline tour, they’re taking Swiss noise band Coilguns and Irish mathrock group God Alone to make up the rest of the bill. Don’t wait any longer than you need to to grab a ticket, this will be wonderful. For a slightly less heavy evening, you could go and see punk rockers Millie Manders and the Shut Up who are touring across most of this month! They’ll be taking the Angry Side Tour all around the UK from the 10th of April right up till the 27th, and will be joined by either power-punk band Voodoo Radio or emo pop riffers All Ears Avow as main support, so check out both and catch whichever show you can! Finally, NOIZZE UK are celebrating their tenth anniversary as an online publication and are running their very own day festival, NOIZZEFEST. With an amazing lineup of bands including VEXED, CLT DRP and Burner, as well as some friends of Out Of Rage in Wallowing and our first cover artist Death Goals! If you’re near Cardiff on April 27th then you’d best get yourself down to see this phenomenal lineup of bands, and support the British scene! Words: Jake Longhurst Cover Photo: Jake Griffin

Please Mr Postman, bring me a letter… He's done one better. London-based psychedelic rock band The Deniros have released their first single of 2024, which as fans of their live shows over the last two years will tell you used to be a staple in their set list until it was retired for a bit while it got a polish and what a polish it is. With influences such as Jimi Hendrix, The Beatles and early 2000s indie bands, The Deniros possess a nostalgic quality while maintaining complex guitar solos and a community-based vibe at their shows. ‘Step No More’ is a well-written and interesting track with passionate, drawling vocals, and no shortage of heavy riffs they've captured the same feeling you get listening to 70s rock of a similar style. It's managed to drag that kind of soul back from then, stick it in a white suit and do a more modernised take on it whilst not being oversaturated. There are differences between their last release and this one as the band has two separate leads with different inspirations and lyric writing styles. The song itself is about accidentally licking an LSD stamp when going to post a letter and then walking into your partner cheating on you but you're too high to care is a world away from the societal issues and mosh pit solos of ‘Squire’, however, keeps the same kind of energy that flows through their back catalogue, since they've seemingly made their brand of psychedelic rock and soul. It's got less edge as a result making it closer to one of their much earlier tracks ‘Here with you’ which makes it a fun and energetic sing-back track as opposed to a more agro one. It's enjoyable that the members all take turns to write over just one of them doing so as it always gives different takes on the same influences. The Deniros have been working behind the scenes for a while building up a dedicated fanbase around their music as well as tackling social issues and as a result they've gained a lot in a short time but it didn't come without work behind the scenes. As a result, they'll be playing O2 Islington on 27th April as well as a year of busking, festivals and more songs to be recorded. Their Road to Deniros series showcases what they've been getting up to since late 2022 and their journey to eventually get to the man himself, Mr Robert De Niro. Words: Kitty Aurora Photos: Provided by The Deniros

Powerhouse Finnish folk metallers Korpiklaani are back with their twelfth studio album ‘Rankarumpu’; with shamanic frontman Jonne Järvelä returning to form penning the lyrics for the majority of the record. Reflecting Järvelä’s move from the city to the secluded lakes and forest of the Finnish countryside, this new setting has definitely inspired the themes explored in this new album; the Finnish landscape, scandinavian legends, and with just a little bit of the raucous camaraderie that we have come to know the band for sprinkled in for good measure. The album opens with a metaphorical punch to the face with the extremely catchy and velocious ‘Kotomaa’, translated as ‘Homeland’. Detailing the blue skies and snowy white lands of the band's Finnish home; the tempo and sonic chaos of this opening number, allows you to imagine that it would not feel out of place soundtracking a few rowdy nights out down at the Green Dragon in Hobbiton. The real headbanging anti war monolith, ‘Tapa sen kun kerkeet’ (translated to ‘Kill it when you can’) follows. Järvelä’s delivery and the fierceness of the music carries through into the meaning of the song. ‘Rankarumpu’ is the first studio outing of former Turisas violinist Olli Vänskä, getting stuck straight into proceedings he is responsible for possibly the catchiest tune on the record, track 4 ‘Saunann’ (‘To the Sauna’). With lyrics penned by drummer Samuli Mikkonen, this toe tapping jig, will surely be a favourite amongst fans. Those who attended the recent UK and Ireland tour can attest to this as they would have witnessed the chaos of ‘Saunann’ in the flesh as part of Korpiklaani’s supporting set. The titular ‘Rankarumpu’, described by Järvelä as a “conscious tribute to the band and its members, summing up what Korpiklaani is”, is an impassioned chuggy romp that you will find impossible to stay still to. This is immediately followed by ‘No perkele’ (‘Well the devil’ or ‘Well god damn’), which opens with the once again strong fiddle work of Vänskä, fingering a tune that is oddly familiar (reminiscent of Slipknot’s ‘Wait and Bleed’ perhaps). Perkele being both an evil spirit of Finnish folklore and a modern day profanity in Finland; you’ll find this particular track a real ear worm. It’s catchy and we will be humming along to it for days to come. The album sticks the landing with the soaring ‘Harhainen höyhen’ (‘A Stray Feather’), this time bringing in wind instruments and more of a banjo tone in the guitars. Järvelä goes into full shaman mode, with his chant-like lyrics. The song really builds to a melodic anthemic finish to the record. This track in particular feels like it is best listened to whilst surrounded by woodland on an astrologically important day of the year. Stepping away from the slightly slower tempo of recent records, such as 2018’s ‘Kulkija’ and most recently 2021’s ‘Jylhä’. ‘Rankarumpu’ see’s the sextet back to their high tempo best. Korpiklaani have always been experts of blending traditional instruments in with the more mainstream harsh vocals, rousing riffs and fierce drum beats of their music; but fans of the more folky sounds will be pleased with not only the skill of the extremely talented Vänskä on violin and Sami Pertula on accordion, but also the way that those instruments are pushed to the forefront and are truly celebrated on this album. Sadly the depths and nuances of the lyrics will elude all but those fluent in Finnish ( as this whole album is penned in the band's native tongue). However, ‘Rankarumpu’ appears to continue the band's evolution into themes that have a deeper meaning to them since their first release back in 2003. Die hard fans will surely agree, although (to our english speaking ears at least) the record appears to lack an out-and-out lyrical drinking song in the vein of past favourites: ‘A Man With a Plan’, ‘Beer Beer’, ‘Jagermeister’ or ‘Vodka’. ‘Rankarumpu’ is a familiar foray back into the high tempo folk chaos that they would have fallen in love with some twenty something years ago. Soon to embark on a headline North America Tour (supported by Visions Of Atlantis and Ilumishade); UK fans will be able to catch Korpiklaani headlining, what is sure to be a highlight party set, on the Sophie Lancaster Stage on Saturday August 10th at this summer's edition of Bloodstock Festival in Derbyshire. ‘Rankarumpu’ is released April 5th via Nuclear Blast Records. Words and Cover Photo: Simon Arinze

Hailing from the town of the same name, Swedish sludge metal act Horndal have used their music as a means to tell the extraordinary tales of their home, as well as to speak out against the systems of oppression and capitalistic greed that have plagued it throughout its history. After the success of 2021’s ‘Lake Drinker,’ the group are back once again with their 3rd LP ‘Head Hammer Man,’ bringing both their epic storytelling and brutal performances to new heights. From the haunting chimes that kick off the record, Horndal create a chilling atmosphere that persists throughout ‘Head Hammer Man;’ few moments break away from this crushing sense of dread and despair that ties perfectly into the album’s lyrical content. Across its ten tracks, the LP tells the story of Alrik Andersson, who fought to keep Swedish iron workers on strike in the early 20th century in the face of food shortages and military evictions. Though he was successful, Andersson was subsequently blacklisted from work throughout Sweden, eventually leading him to spend the final years of his life in Chicago. Weaving excerpts from his speeches into the anthemic title track, Horndal have used this album as ‘a chance for his story to live on,’ and have masterfully drenched every song in the appropriate melancholy. Tracks such as ‘Fuck the Scabs’ or ‘Famine’ are laced with such poignant and honest imagery that you would swear the band were speaking from personal experience: the twisted imagery of ‘hunger is a knife, starvation is a gun’ and the captivating simplicity of ‘they don’t need what they have, we don’t have what we need’ persistently tug at the listener’s heartstrings. Brilliantly, Horndal also present the cold and calculated view of the antagonists, such as the haunting final remarks detailing the rights— or lack thereof— of third class passengers as Andersson undertakes his voyage across the Atlantic. This would all be for nought, however, if the band had not delivered such captivating and electrifying musical content. Across its 43-minute runtime, ‘Head Hammer Man’ is consistently brutally heavy, packing in crushing riff after crushing riff while never growing stale or monotonous, largely due to the record’s palpable energy. Levahn’s vocals are simply massive, being perfectly suited to a story this sweeping and emotionally gripping— from the naked rage of ‘The Shining Specter’ to the hair-raising growls of ‘Famine,’ his performance is raw and even frightening at times. The rest of the band is similarly impassioned, transitioning between clean and distorted playing seamlessly without sacrificing character. This is only further uplifted by the group’s uniquely fuzzy guitar tone that will likely be many listeners’ first impression of the band. This praise cannot, unfortunately, be said for the drum production, which is consistently thin and underwhelming throughout— a great shame, given the ferocity with which Levahn is obviously hitting those cymbals. The album’s songwriting also stands out as a cut above the rest. The gigantic opening title track sets the mood with its thunderous guitar riffs and driving rhythms, thrusting the listener swiftly into a pounding verse and subsequently terrific chorus— seriously, try not to sing along to the domineering statement of ‘I am the head hammer man.’ ‘Calling: Labour’ keeps the energy high soon after while also showcasing Horndal’s capacity to write more melodic sections, sporting triumphant guitar leads straight out of a power metal record. This mix of intense heaviness and more eerie passages continues throughout ‘Head Hammer Man,’ continually keeping things fresh and engaging. ‘Fuck the Scabs’ has the frenetic drumming and blazing tempos of a prime Slayer song, while the album’s most grandiose moment, ‘The Shining Specter,’ incorporates unexpectedly well-suited brass and clean guitar moments that make it feel more like a dark and twisted symphony than a metal track. While cuts such as ‘Exiled’ or ‘Creature Cages’ may not be quite as memorable as their contemporaries, not a single moment feels superfluous as Horndal excel from start to finish. Much like Alrik Andersson, Horndal deserve so much more recognition than they’ve been given; on ‘Head Hammer Man,’ the group prove that they are a force to be reckoned with in modern metal. Their 3rd LP is emotionally gripping, wonderfully ambitious and straight-up heavy in a way few bands are brave enough to pull off in 2024. This album speaks to a band with a clear and precise vision, and hopefully to one with a bright future ahead of them. 'Head Hammer Man' is out on the 5th of April via Prosthetic Records. Words: Jay Kirby Photo: Daniel Liljas