After an explosive EP entitled 'Kink', The Rattlebacks are back with their eagerly awaited debut album 'Sidewinder'. The Brighton quintet began its journey in 2021 with childhood friends Coxy (rhythm guitar) and Max Horn (lead guitarist) recruiting bassist Jack “The Hell” Hollamby and drummer Seth Markes. After a two and half year long quest for the right vocalist, they found their perfect match in Josh Clarke. Together they breathed new life into the hard rock genre while still allowing space for nostalgia with nods to bands such as Guns N Roses, Alice In Chains or Alter Bridge. The band noted that “this debut album has been a lifetime in the making, made with the sole intention of reinvigorating the hard rock genre. These fans don’t want rehashed versions of what has been before, they want a band forging their own path and this is the first taste of us doing just that. Hard rock fans have deserved better for far too long, and we believe we’ve delivered the record that fans of the genre have been missing for decades.” We got the opportunity to listen to 'Sidewinder' ahead of its release, so does it hold up to the hype? From the get go, we are thrown into a strong 80's hard rock feel with a very catchy loop rhythm coming back on the chorus on 'The Taste'. This is not only a rallying cry, but also a ballad and an anthem. It has a slightly experimental quality with a very balanced mix. The bass build up feels new, creating a powerful transition into the guitar solo and lyrical explosion. This track undoubtedly feels like a future classic with an early Metallica quality, from the heaviness and a notable stadium rock feel to it - be prepared for it to be stuck in your head forever! After this epic start we do not get a chance to breathe, we’re hit with 'Dementia Lounge' which is none other than the album’s first single. It establishes the band as a style shapeshifter, mixing elements until what comes out is purely their own. It is clearly based in classic rock, but has a lot of heavier influence at the same time. The gravelly vocals and arrangement evoke grunge, and it also has an almost punk twist with its frantic start and rhythm. It's an immediate ascension from the first song, locking the listener’s attention in. Once again the band change gear when getting into 'Gods', which has a jaw dropping glam rock essence, but is followed by 'How Calm The Silence' which definitely makes the Alter Bridge influence feel more like an homage here. The latter also has an unexpected chorus that you'll be very excited to discover, with clean vocals contrasting with distorted strings. 'Open Your Mind' brings back the stadium vibe we could clearly see on the opening track, in a smart and well-placed recap of what the band is all about mid-album. This is without a doubt an anthem that should be sung by hundreds. It is very audience-oriented, especially in its chorus building crowd-like back vocals and a guiding rhythm with the bass. It feels like a love letter from the band to its audience, inviting us in. We then get back into the changing channels dynamic for this last part of the album. 'Please Me' will surprise you with a contemporary hard rock twist, while 'Swing' is a lot heavier from the start. It again catches you off guard with a doom-reminiscent instrumentation and repetition while still being true to its hard rock roots. 'Behind You' keeps us on our toes with a classic ballad feel which makes you think that you know the words before it's even really started. It brings in some strings too, giving a more modern twist on a classic format, and its powerful built up in the middle through to the end is the perfect transition into 'Waste'. This piece, just like 'Lady in Wait' right afterwards, seems to jump forward in time and bring the 90's into the mix. You will struggle not to think of Limp Bizkit during both songs, in a welcome twist to the formula. The last song of the release is none other than 'Lazy Brian'. It rolls out as an open conclusion, bringing in elements of multiple previous songs into a callback and finale that manages to ask the listener if they've enjoyed everything previous, and answer it for them with a resounding yes. In a manner of speaking, this album brings us back to the future, in that it is a timeline and style connector. The Rattlebacks have poured oil over a genre that sometimes feels like a dying flame, reminding everyone that hard rock can be innovative and fresh. It honours those who came before while adding their own unique touch to the musical pantheon. 'Sidewinder' is raw but soft, energetic and a coming together call. The band is also currently on tour in the UK, so fluff up your hair and don’t lose a chance to see them near you. 'Sidewinder' will be independently released on November 15th. Words: Lysandre Pons Photo: Blackham Images

Heroes of the ska-punk scene for over 30 years, Less Than Jake are back in action on their new EP 'Uncharted'. The Floridian five-piece - frontman/guitarist Chris DeMakes, bassist/vocalist Roger Lima, trombonist Buddy Schaub, saxophonist Peter 'JR' Wasilewski, and drummer Matt Yonker - paved the way for ska to be a more recognised and followed genre and now have added seven new tracks to their already sizeable discography. Since 1992, Less Than Jake have built and kept a loyal fanbase from all over the world. 'Uncharted' is the band’s long awaited and highly anticipated first release since 'Silver Linings' was released in 2020. ‘Broken Words’ starts the EP off with a pure pop-punk guitar riff, straight from the early 2000’s for the first few seconds, before the Less Than Jake magic happens and the iconic brass instrumentals kick in, along with DeMakes' vocals, creating that upbeat melody and skanking fun which we all know, love and have definitely missed. ‘Walking Pipebomb’ follows in its wake, where we hear DeMakes and Lima’s line by line call-and-response vocals in the first verse, followed by their harmonies in the chorus. ‘Not My Problem’ then portrays DeMakes' essence of storytelling within his songwriting perfectly before heading into the next track, ‘Brand New Day’ which, rhythmic ska chorus aside, has an early Blink-182 feel to it in what is a pleasant shift from the norm. The next track is ‘Sunny Side’ which comes preloaded with catchy vocals and hooks such as “I keep my sunny side up and dirty side down”, which you could well imagine being chanted by the bands numerous fans, singing along on tour. The song ends on a drum beat which is almost made to clap along to in time, just as the song breaks down. Nearing the end of the release comes ‘Dead Days (Over and Over)’, which is exactly the track you would come to expect from the band, with the frequent and fundamental use of brass instruments. The final track, ‘Shake Loose The Truth’, finishes the album with a very positive message. The lyrics, again, reflect the bands story telling abilities but in a more memorable and relatable song, all about dealing with bad times by “surrendering to the ride and enduring the rough times”. DeMakes tells fans over an upbeat guitar riff “I promise you’re not alone” in what ends up being the most sentimental moment of the EP, finishing off the release with a heartfelt, feelgood piece of music. 'Uncharted' sounds exactly how you want and expect a Less Than Jake EP to sound; high levels of energy and lots of brass, placing it perfectly in the niche which they have created for themselves. It's a sunny piece of old school ska punk done exactly how it should be, with a welcome dose of positivity. 'Uncharted' will be released on November 15th via Pure Noise Records. Words: Amy Watson Photos: Less Than Jake

Leeds-based band Thank are one of the United Kingdom's most exciting post-punk bands, and after 2022's 'Thoughtless Cruelty' they are on the verge of the release of their second record, 'I Have A Physical Body That Can Be Harmed'. Having performed at ArcTanGent just after the single 'Writing Out A List Of All The Names Of God' dropped, and completed a UK and European jaunt recently, the four piece are ready to take over the airwaves. Opener 'Control' is an excellent introduction to the band - beginning the album with lead vocalist Freddy Vinehill-Cliffe's unhinged, unnerving lyrical delivery right at the fore, with an unsettling instrumental that underpins him before breaking into a groove that's equally likely to get your hips swaying as to get the two steppers flocking. Single 'Woke Frasier' picks up the baton right where 'Control' left it, with inane lyrics and an abrasively noise-driven post-punk groove holding the fort to keep the song on track. Complaining about the constant calls of 'wokeism' by holding up a mirror to the concept, it's a clever song with excellent musicality. 'Do It Badly' is a thoroughly excellent song that pushes the punk end of Thank's influence through the roof, in a frenetic and shouty whirlwind of energy that's going to appeal to fans of bands as wide ranging as Chat Pile, the Sex Pistols, and the Arctic Monkeys. The drum lines Steve Myles plays run rampant throughout, whilst bassist Cameron Moitt somehow holds the piece together with his funky fusion of heavy and groovy bass. Fourth track 'The Spores' veers sharply from the punk ideology of 'Do It Badly', and starts out firmly embedded in doom metal, with a seven minute runtime that only reinforces any associations made there. With a lyrical reference made to Black Sabbath in the form of Freddy mentioning "Iron Man", the doom metal parallels seem all but guaranteed before guitarist Lewis Millward runs a jagged sprint across his guitar's neck to jar every nerve in your body and elevate the song into a furious post-punk monolith. As soon as the world's first doom-cum-post-punk track passes, a song entitled 'Down With The Sickness' lurches into view - but is mercifully not a cover of the Disturbed track. Lewis' synths rule the roost for most of the song, and Freddy embraces his best Yard Act impression whilst still staying in the realms of the slightly concerning, and the track gradually becomes one that could easily get mentions in end of year lists. 'Barely' marks the top of the second side of the LP, and starts with Steve laying down a tight groove for the band to gradually encroach upon, and happens to also be the title-track-to-be, with the lyrics "I have a physical body that can be harmed" appearing within. Whilst so far they've been excellent, track seven 'Smile Politely' feels like the moment where the band cross the threshold from writing chaotic, heavily sarcastic, noisy abrasive post-punk that doesn't ever quite fall apart, to chucking the kitchen sink into the mix a little bit. It stumbles around feeling a little overwritten and under thought-out, and whilst it's still by all means a listenable song, it's surrounded by far more intelligent songs so is likely to come out in the wash. With that though, the eighth track brings Thank right back to their cynical best on 'Dead Dog In A Ditch', a sub-two minute sprint that's as close to drummer Steve's beloved grindcore as the band have come thus far. It's imbued with the energy of bands like Napalm Death and Pig Destroyer - albeit not the unrestrained violence both lyrically and musically - and will cause moshpits by the dozen. 'Perhaps Today' comes in ninth position, with more overt post-punk influence rearing its head, and discusses the heavenly ascension of humans and dogs, the Rapture, and yells about the end of days. That brings us to the end, with lead single 'Writing Out A List Of All The Names Of God', which features an absolute belter of a bassline from Cameron and plenty of pummelling percussion courtesy of Steve. The energy levels are sky high, and there is menace dripping off of this song so thickly you can feel it. Lewis' guitar sprays discordant distortion left right and centre, whilst Freddy screams bloody murder about "all of the different names of God". With 'I Have A Physical Body That Can Be Harmed', Thank have entered the conversation for one of the UK's premier post-punk bands, with a snap of their fingers. Nigh on everything is as you'd want from a band who have been posited as a politically savvy post-punk foursome, they positively ooze sarcasm and derision, and have blended a multitude of genres in a way that is highly recognisable and incredibly enjoyable, whilst almost never letting the music detract from the point of each song. A concoction of bitter vocals, rampant basslines, careening guitars, pulverising drums and distressing synths that all come together in potent fashion, the rock band Thank from Leeds deserve every bit of praise coming their way for an album that could hold sway over the Six Music production execs like a hypnotist, and one that will deserve every spot it takes on Album Of The Year lists. Marvellous work. 'I Have A Physical Body That Can Be Harmed' will be released on November 8th via Big Scary Monster Records. Words: Jake Longhurst Photos: Thank

The crowd in need of political catharsis is met with the best band to administer it. The first band on tonight is 3-piece electronic punk band CLT DRP. The two standouts of their sound are the impressive vocals and the manipulation of a single guitar. Punk isn’t a genre known for it’s vocals being great, typically most bands are lyrics first vocals second. Yet seeing a band that combines both within a punk context is wonderous for an opening act. The use of guitar in CLT DRP was impressive seeing where the guitarist could take the songs with differing combinations of pedals giving each song a new flavour. As a 3 piece band it’s hard to create a full sound with limited instrumentation, yet CLT DRP gave a powerful albeit short set. Next to take the stage is rapper Hyphen accompanied by a guitarist and drummer initially. Hyphen exudes charisma on stage, from his choice out stage outfit being the campest short shorts, to funny quips in between songs. This unapologetically political set touches from everything that has been in the backdrop of culture for the last few years. Anti-tory songs featuring witty lyrics that help set the mood that tonight is about rebellion not complacency. High energy is the key to the greatness of this set. From coming on stage to the Backstreet Boys to running through the crowd. The crowd receives every complaint against the system with open arms. Hyphen matches the attitudes of the crowd making everyone feel seen and heard. One of the great joys of this set was when Hyphen brought on a trumpet player. The trumpet makes any set infinitely greater adding that extra element of natural energy to the set. Hyphen gave the crowd the perfect energy to be ready for what was about to come Both CLT DRP and Hyphen have set the perfect tone for Bob Vylan. Both bands reflect the two primary camps Bob Vylan fits into. CLT DRP being punk and Hyphen being rap. Bob Vylan walk onto stage with a crowd in need of some release from the chaos of the world that week. The set starts with Bob Vylan “stretching and mediating” accompanied with the bands signature sound. The audience try to follow along best they can in the limited space of the venue. This gets the moshers ready for the night as they seem ready to go as hard as they can. After the relative calm of the stretching the band tares into the first song. The crowd explodes with energy, passion and love for the band. The band leads the crowd through the perfect tonic for the last week. This follows with the talk between songs being cool and collected when the world seems anything but. The band gives thanks to everyone who made tonight possible from opening bands to crew. The band gives its biggest thanks to the crowd for listening to the band no matter when they first found them. The band keeps bringing energy tonight with every song treated as an anthem of rebellion and passion. A few more songs hit the crowd like a thunderstorm of music and then the band brings their charts award for number one hip-hop album. The band aren’t fully a rap band nor are they fully punk they are simply Bob Vylan. Their sound reflects the last 30 years of British alternative music with elements taken from many areas. This is the future of music, sounds that don’t need genre, existing as they want not being forced to change. The crowd reflects the vast appeal of the band from Radio 6 dads, punks, young people looking like they were taken directly from Reading and Leeds festival, hip-hop heads. The crowd is full of everyone who exists near any kind of alternative music. The music speaks fully but the staging adds to the energy tonight. The band’s best moments are heightened by the use of pyro, the stage metaphorically being on fire becomes a reality. The band is at one with the crowd, crowd surfing, singing while joining in with the moshers. The band are everything you want in a live act, energetic, passionate and playing nothing but bangers. Bob Vylan are really of the best acts to come out the UK in the last 10 years and they will keep getting bigger. They have almost universal appeal with their sound and can fit neatly into many scenes. They are a definite must see band. Words: Will Freeman Cover Photo: Jake Griffin

Hailing from Southern California, punk icons zebrahead - Adrian, Ali, Dan, Ben and Ed - are back with the follow-up to previous 'III' & 'II' EPs, which had been previously released in 2021 and 2023. ‘I’ is set to be the final instalment of the trilogy. The EP is full of influences from artists like Sum 41, Yellowcard and Billy Talent, but whilst their fingerprints can be felt clearly, it's still a very obvious zebrahead release. Kicking off this EP is the punchy track ‘I Have Mixed Drinks About Feelings’, which really sets the tone for the rest of the running time of this collection of songs. Fans of zebrahead will already know how catchy their songs can get – this is no different. A real earworm of a track, with some thoroughly addicting vocals from Adrian and co. Going straight into the title track ‘Pulling Teeth’, and as expected it’s another upbeat, fast paced song with catchy drums from Ed alongside plenty of raging vocals making this a great follow-up track showcasing yet again exactly what zebrahead are all about. This leads into ‘Sink Like A Stone’, which contains a serious message about mental health - which, even in the current day and age of openness and transparency about it, has a huge stigma surrounding it. The track is a true anthem, the guitars are melodic and upbeat, and the rapped vocals bring something new to the EP. This makes for an excellent checkpoint on the EP, not only because of its slightly differing musical style to the songs before but also because of its relative tonal shift, to bring a new light onto the release. ‘Doomsday on the Radio’ comes next, offering an unapologetic punk-fuelled track, formed of punchy vocals that go hand in hand with the rapped ones making this a classic piece of zebrahead work. All in all, it makes for a great penultimate track. As we reach the final track ‘Puppet Stringers’, it feels like there's a strong Sum 41 influence throughout this. Alongside the roaring guitars and punchy vocals, the perfect mix of rap and blasting drums make it a perfect ending track. It’s all too easy to imagine just how good this would be to hear live at a show, ideally at a summer festival with the sun going down! The EP has a real free flowing concept that manages to drag the listener into what feels at once like a story, and also a message about the state of the world. The best thing about this release is that, whilst it clearly talks about the world we live in, listening to this will also give you a welcome break from it. This EP is a great release from a band in their prime, and makes the future of zebrahead feel all the more exciting. Words: Lisa York Photo: Susanne Mueller

Following the release of their 2024 album Hollywood Suicide, Ghøstkid are once again hitting the road with an updated roster of dark and foreboding tracks. Best known for their ethereal aesthetic, the looming presence of Halloween has intensified the atmosphere surrounding their European tour, allowing their already brooding discography to feel even more immersive in a live setting. Joining Ghøstkid on tour are Within Destruction and SETYØURSAILS, whose unique interpretations of hardcore and metalcore diversify the lineup, making each show all the more thrilling to attend. Kicking off the show were SETYØURSAILS, whose refined take on melodic metalcore quickly had the crowd off their feet. Their setlist was primarily built around their last two albums, Bad Blood and Nightfall, but also occasionally included some of their older, heavier tracks too. As one would expect from a band with several years of experience, their instrumentals were tight; however, what was most impressive was Jules Mitch’s stellar vocal performance. After seamlessly transitioning between clean choruses and visceral high-pitched screams, she also found some time to engage with the crowd. A standout moment from the show was when she pointed out bassist Nicolai Hoch’s Manchester United jersey, quickly polarising a number of football fans within the crowd. Metalcore is a genre that has felt somewhat stagnant lately, yet their polished performance was pleasantly surprising. SETYØURSAILS are certainly a band worth getting yourself down early for. Up next were Within Destruction, who were by far the heaviest band on the lineup. The Slovenian three-piece has been rapidly rising in popularity, having carved out an interesting niche by blending popular culture with hardcore music. Many of their songs draw inspiration from or make references to anime, making them a delight for fans of the subculture. Their live show leans into this theme even further, with vocalist Rok Rupnik sporting a Death Note shirt, and their setlist primarily built around 'Yokai' and 'Lotus', also featuring their recent singles 'Animetal' and 'Demon Child', which align with their chosen aesthetic. Standout moments from Within Destruction’s set included their use of sampling during the breakdown of 'No Way Out' and their unique take on the wall of death. Rupnik instructed the crowd to split the room but subverted expectations by asking everyone to walk toward one another slowly and give each other a hug. He quipped that this was for regulatory reasons, but it created an amusing dichotomy, as their live show had been an unrelenting force of blast beats and breakdowns up until that point. After a thrilling night, it was finally time for Ghøstkid to take to the stage. Dressed in black leather outfits that exuded a moody, sinister vibe, each band member donned striking white face paint accentuating their ghoulish appearance. This haunting look was enhanced by a haze of orange and purple light, perfectly capturing the Halloween spirit and setting the mood for what was to be an immersive and theatrical performance. Ghøstkid swiftly launched into their set with ’BLACK CLOUD,’ a fan favourite from their most recent album. The thunderous instrumentals and haunting vocals immediately captivated the audience, and before long, Club Academy had become a maelstrom of mosh pits. The set maintained its relentless energy with heavy hitters like 'FSU,' 'CRØWN,' and 'UGLY,' each track further contributing to the atmosphere they had worked so hard to build with their haunting production. Midway through, the band kicked things up a notch as the guitarists called for fans to circle around them, sparking a massive pit that well over half the venue got stuck into. Ghøstkid’s setlist struck a perfect balance between newer tracks like 'HOLLYWOOD SUICIDE' and fan-favourite classics, keeping the crowd fully immersed. For the encore, they unleashed 'START A FIGHT" and "THE SICKNESS,' giving the night an explosive finish. We thoroughly recommend checking out Ghøstkid's live show; their immersive performance and dynamic setlist provide an ideal way to spend a cold October night. Words: Josh Bicknell

Illinois' Molder have not held back on their love of all things dead, decaying, decomposing and otherwise damp - and their no-bones adoration holds true right through third album 'Catastrophic Reconfiguration'. The album is fit to bursting with innards, necrotic tissue, blood, pus, reanimation and everything else you'd expect, as well as a suitably slimy album cover, designed and painted by Mexican oil painter Julian Felipe Mora Ibañez who, it's fair to say, has absolutely nailed the brief for a gory, gooey, grotty death metal album cover. But, whilst it looks like a great death metal album, in the spirit of Louis Walsh it must be asked, does it sound like a great death metal album? This can be addressed almost immediately: if you like 90's death metal then it is without a doubt a great death metal album. From the opening title track right through to the finale 'Nothing Left To Ooze' (possible contender for song title of the year), the riffs are cavernous, the gutturals are thick and choking, the basslines are enormous and the drums are incessant. Everything on this album feels specifically placed to ensure maximum death metal-iness in a tight, sharp package, which is exactly what the band were aiming for. As put by vocalist Aaron Pantke, "We simply wanted a shorter, nastier, and more professional sounding record than what we've done before.” The band achieved that and then some, with an LP that sits under 35 minutes across ten songs and never once gives you room to breathe, for fear of inhaling the stench of some rotten corpse. The record is a sonic evolution for the band in some ways though, as whilst it's still recognisably a Molder record, they've brought in guitarist Carlos Santini (who, it turns out, is not actually a smaller version of the famed guitarist Carlos Santana) to join the writing process for the first time. This has provided a rounder, more dynamic sound to the recording that shows through on relistens as well as the first time round, and helps keep the guitars meshed tightly to everything else. The recording process was also a new one for the band, as most of the tracking was done in the band's basements, in hopes of a more vigorous element being found in the music - and in this they have succeeded! Recording engineer Matt Aguilar has his fingerprints all over the record, and Greg Wilkinson (of Autopsy fame)'s mixing and mastering allows the newfound energy and freneticism to really show through. Each song feels, rather than a disparate piece of writing or a part of one continuous whole, like a facet of a greater collection. The album flows brilliantly, and whilst there isn't masses of change throughout the album, the feel of each song is unique enough to allow for recognisability, whilst never straying from the Molder path. From the stomping riffs that open 'Overdue Burial' and the glacially heavy intro on 'Bursted Innards', to the pounding aggression with which Pantke spits what resembles the chorus of 'Frothing' and the echoing, needly solo that ups the tempo on 'Corpse Copulation', it all fits into one big, rabid, death metal package. Over the last few years, genre-blending has become almost the norm in metal's underground, largely for the better. However, when bands can get into a groove as slick as the one Molder are in here then sticking firmly within the wheelhouse of death metal is thoroughly encouraged. If they're even halfway likely to spew out any more excellent releases of similar heaviness and bile-coveredness, then we must preserve them at all costs. 'Catastrophic Reconfiguration' will be released on November 8th via Prosthetic Records. Words: Jake Longhurst Photo: Alex Ford

Newport’s award-winning metal reggae rockers Skindred grace Hull’s Asylum with the first of their latest run of shows dubbed the ‘Smile (Again)’ tour. This 1000 capacity nightclub and live music venue has played host to the likes of Primal Scream, Enter Shikari, and Gary Numan. The band once again offer up their genre-traversing version of heavy metal and infectious energy for endorsement by another horde of thrilled and devoted fans. Very likely a jaw dropping experience for those encountering this musical phenomenon for the first time. The band love to shine a light on new and emerging talent and of the many acts chosen to support them on this Autumns tour, tonight it’s the turn of Motions and As December Falls, both highly energetic and acting as fitting accompaniments, and both were thoroughly enjoyed. First up, the Teesside metal outfit: Motions, fronted by Jonny Grant, delivered their heavy, dark and melodic brand of serious groove driven metal, enhanced by a well-balanced mix of strings, synth and female vocals. They rampaged through their set with angst-ridden vigour and did not disappoint. Next up were the mighty As December Falls, from Nottingham with their refreshing brand of alt metal and pop punk, featuring the striking voice of lead singer Bethany Curtis, and rendering an altogether jauntier, less serious vibe with an impressive stage presence. They won Best UK Breakthrough Artist at the Heavy Music Awards in 2023 and it's very clear as to why. Audience anticipation is high as the lights dim and the familiar strains of ‘The Imperial March’ from Star Wars, can be heard as the bands usual entrance music. They take to the stage with flamboyant frontman Benji Webbe appearing last. As the roar of the crowd subsides, Webbe begins playfully whipping the crowd into a state of excitement with his rallying banter, accompanied by subdued, laid back guitar sounds distorted by a pedal effect. Webbe yells out a countdown, “1, 2… 1,2,3,4”, then suddenly, boom! A simultaneous burst of heavy cymbals, percussion, and piercing flickering bright light, and the crowd begin jumping, head banging, and arm waving frantically as the sound of the band in full flow washes over them, many engaging in the time-honoured practice called the Newport helicopter, a ritual devised by Webbe and rolled out for the first time during their 2011 appearance at Download Festival. It involves removing your shirt, holding it aloft by one end and rapidly swinging it around, helicopter style. Webbe admits he wasn’t sure his idea would take off, but professes, “people loved it!”. Webbe, forever the showman, engaged in multiple costume changes throughout the show and looked resplendent in his eccentric attire. To further enhance the theatrics, he gambols around the stage: hopping, skipping, and jumping, while frequently approaching the front to gesture and flex towards the crowd with hip hop style four finger salutes and the like, making sure he addresses the width and depth of the venue as he points. The frontman’s impressive array of vocal techniques perfectly align with the many different styles of music performed. With their straight metal renditions, he either uses a Jamaican rap vocal style, or is equally adept at delivering an impressive well-rounded rock singing voice with vibrato. For a few seconds they played a dancehall style of reggae with Webbe effortlessly adopting a toasting style of vocal delivery. He stands out as a clever and accomplished vocal impersonator in his own right. The mélange of genres proffered here blend together perfectly, and often mid song, adding a new dimension of aural intrigue and excitement to the more discerning ear. The electronic percussion and synths deployed when delivering ‘Hip Hop’ and ‘Dubstep’ styles with prominent sub bass used for earth shattering effect. These constant ingenious style changes come naturally according to drummer Arya Goggin and pose no major challenges, they are assisted and guided by Webbe’s vocal style of the moment in helping the band slip into a particular playing style and rhythm. These are the unique and endearing qualities that intrigue and fascinate the listener and help recruit new conscripts to their already healthy and exponentially rising fanbase. Skindred's formula of style melding, affords them critical acclamation from diverse musical awards bodies, winning both Kerrang and MOBO awards, among others, for 'Devotion' and ‘Best Alternative Music Act’ respectively. A typically outstanding performance then from the inimitable Skindred, with the crowd left visually and aurally treated, wanting more, and very likely to return. Words and Photos: Kieran Atkinson

The intrigue at the core of Man/Woman/Chainsaw’s emergence from the ever fruitful London post-punk scene is quite a simple one: how can a band so young already have developed such an expansive yet simultaneously messy sound? Youth be damned, through their impressively distinct early singles, as well as a chaotic live show which sent word of mouth endorsements travelling through the capital like the Tube, they have earmarked themselves as a band to know for those in the know. 'Eazy Peazy', their debut EP, should do little to dampen this enthusiasm, although at times does reveal a band who are yet to fully forge their own identity separate from their many influences. The EP’s opening track 'The Boss' sees Man/Woman/Chainsaw wear their local inspirations on their sleeves, sounding like what would happen if Lily Allen and black midi collaborated, complete with prominent discordant strings and noisy guitars from the latter and a compelling story of a dysfunctional, plausibly abusive relationship from the former. It is a characteristically lofty ambition of the five-piece to want to meld these particular worlds, and one that at times pays off spectacularly, with the opening, scene-setting lyrics meshing perfectly with the chaos of the instrumental beneath it. Unfortunately, however, the track is overcooked very slightly by the chorus, where the shouts of vocalist Vera Leppanen are drowned out somewhat by Lola Cherry’s cacophonous drumming. 'Eazy Peazy' is produced by Gilla Band’s Daniel Fox, and his fingerprints are most evident over the next couple of songs, 'Sports Day' and 'Maegan'. The former’s fuzzy, repeating motif bassline evokes memories of the producers’ own group, although the stellar keys and violin on the chorus from Emmie-Mae Avery and Clio Starwood respectively move the track in a more melodic direction than you’d expect from the Dublin outfit. 'Maegan', meanwhile, does not escape this trap: this minute long wall of noise, interspersed only with the occasional interjection of the title being repeated, is nestled comfortably in the Gilla Band wheelhouse. Any concerns that Man/Woman/Chainsaw are unable to step out from the shadow of their predecessors should be assuaged by 'Ode To Clio', the EP's wonderful lead single. The explosion of hard rock that takes place in the second half of the track feels painstakingly earned by its beautiful beginning, portraying a heartbreakingly bittersweet tale of love and yearning despite imperfection. Ironically enough on a song which is dedicated to her, it is Starwood who proves to be the MVP of this track, with her soaring violin lines holding the whole thing together: bringing the emotional edge out of the quieter passage and reminding the listener of the build-up during the louder finale, cementing it as a satisfying pay-off to the song as a whole. Although they have prided themselves on a style which they describe as “orchestral mayhem”, 'Eazy Peazy’s best moments take place when Man/Woman/Chainsaw show restraint from throwing all of their ideas at the wall and seeing what sticks. Like 'Ode to Clio' before it, 'Grow a Tongue In Time' demonstrates this perfectly. It is a dreamy, folk-inspired number, whose sparse arrangement allows Avery’s haunting keys and Leppanen’s excellent vocals to come to the forefront. Man/Woman/Chainsaw are at their best when they allow these individual elements to shine, rather than having to fight each other for air as took place on some of the EP’s earlier tracks. This is not to say, though, that the group should only be encouraged to strip back their sound, as the closer and almost-title track 'EZPZ' demonstrates. Here, Cherry’s polyrhythmic drumming is the star, providing the song with an foreboding atmosphere which sets the tone perfectly. Meanwhile, the rest of the band builds on this base with what I imagine Fairport Convention would’ve created had they made their start in the contemporary London post-punk scene - in particular, its cascading crescendo enshrines this track as one of the EP’s highlights. 'Eazy Peazy' is not the work of a finished article, but this makes Man/Woman/Chainsaw all the more exciting. For every time that they do get lost in imitations of their idols, there is another where they manage to incorporate their forebears into a style that maintains their distinctiveness and highlights their strongest attributes. As they progress, and begin to develop an understanding of themselves as a band, I expect them to flourish into a group who leave their own fingerprints on whatever style they pursue. Even at a very early stage in their careers, this EP clearly shows that they have the capability to do exactly that. 'Eazy Peazy' will be released on November 8th via Fat Possum Records. You can catch Man/Woman/Chainsaw on Thursday the 7th and Friday the 8th of November in Cardiff and Bristol respectively, as well as on Wednesday January 3rd in Bognor Regis. Words: Ali Glen Photo: Ella Margolin

Both bands on the bill revering the antithesis to overnight success, tonight witnessed the collision of Italian gothic metal and Finnish violent pop. It was an eagerly anticipated supporting slot from Blind Channel ahead of their hiatus which cemented an energetically disparate foundation for the night. They indulge their sound with cheeky boy band feel, tempering with some strategic hip-hop laced nu-metal wonder. From the stomping-electro number DEADZONE to the slicker-than-slick XOXO, they’re injecting confidence in our bones and we’re finding the antidote in jumping around— unsurprisingly, many fans in the venue were here solely for Blind Channel, leaving promptly after. Whilst the smoke machines may have obscured most of our view of our support act, the rush of bodies to the front for our headliner didn’t help much either. Despite their Download appearance, the band are sorely sought after as a live act. The jagged juggernaut of Blood, Sweat, Tears perfectly encapsulates the unrestrained darkness at the heart of what Lacuna Coil represent. As an opener, it’s a sonically charged compilation of Andrea Ferro’s guttural snarls juxtaposed magnificently with the precise nuance of Cristina Scabbia’s soaring vocals. Vocals which undeniably, dominatingly deserve all the praise and flowers she deserves: every note is hit and held exceptionally clear, whilst the run and range of Scabbia’s voice is unbelievably consistent. Flanked by projected imagery and videos to accompany each song; armed with a nineteen song setlist artillery, this sense of consistency is scaled upwards into a fiery bluster of surround sound symphonies. Recent material Reckless and Apocalypse are ascendant, uniting anthems of this new-age, nu-metal-esque band. Their near thirty year run as a band has seen their sound evolve from the traditional gothic metal grandiose, a medley run-through of tracks from their reconstructed Comalies XX album showcasing this with beautiful regard. They garner just as much vitality in the mosh pit as our oldest track on offer, Our Truth—and the truth of tonight's show is passion. Passion is the underlying thread of their musicality. Perhaps that’s the Italian stereotype speaking for itself, yet every track boils over with unadulterated, appreciative passion for what this scene means; it’s a sentiment reflective in the wide-eyed smiles of both the performers and the pit. With raised fists, synchronised clapping, and acoustic call-backs, there’s the feeling that Lacuna Coil are so finely tuned into their audience that is only tangible in these grassroot venues. “Music is therapy,” Cristina takes a moment amongst all the noise to connect with the audience. “With this night, I want you to inhale all the positive energy and bring it back home with you until the next time Lacuna Coil are in town!” 'Now Or Never' seemed to become a pivotal point at which Ferro’s microphone was actually turned on—we jest, but whether by the grace of their sound technicians or a second wind of breath, Andrea was loud. Spitting heavily, snarls in full force to rival that of the bass, he became your sole focus on that stage. Strobe lighting hammering their silhouettes into our retinas, 'My Demons' was a true crescendo of the band’s strengths: kickdrum going ten to the dozen and a sonically empowered guitar solo, we’re enraptured with the noise reverberating around the venue. Their new album 'Sleepless Empire' may not be releasing until Valentines Day, yet they lovingly bestow upon us singles Hosting The Shadow, In The Meantime and Never Dawn. It’s a testament to the band that they’re consistently at the top of their game and have a fan base who’re consistently tuned into their sound. Chants of ‘Bloodstock! Bloodstock!’ are well received, Cristina agreeing: “Bloodstock? Fuck yeah, we’ll see you at Bloodstock!”. It seems we just can’t get enough. Lacuna Coil are a band unafraid to be a hauntingly familiar medley to the soundtracks of our lives. There’s an intriguing harshness and emotional depth to their musicality that we can all relate to, and with their infamously featured Depeche Mode cover curating a singalong, they urge that whilst you should Enjoy 'The Silence', you should also enjoy the music. Words: Talia Robinson Photos: Dan Ayres

Defences’ third and latest release, ‘Shadowlight,’ marks an exciting step in the band’s journey, their debut with Long Branch Records. Formed in Hertfordshire, UK, Defences blend atmospheric soundscapes with fierce, gripping riffs, creating a space where tension meets release. With each track echoing themes of personal challenges and resilience, the album invites listeners to fully immerse themselves - especially through headphones, where its layered production delivers a truly cinematic experience. The album opens with ‘The Curse,’ which evolves from an eerie, resonant synth into a powerful drop, expressing the relentless stress of facing life’s battles. Whispered wording in the bridge showcases the exhaustion of repetitive struggles, “we work so hard just to get left in the dark, just to do it all over again”. This notion of endurance underpins much of the album, drawing the audience deeper with each song. In ‘Gold In The Dark,’ Defences confront their trauma head-on. This isn’t just a song; it’s a reckoning with the burdens that many bear. “Did I deserve this? Am I worthless?” screams keyboardist and vocalist William Young through layers of sound, making ‘Gold In The Dark’ feel like a visceral confrontation of self-doubt. The track’s intense build-ups and punishing breakdown mirror the chaos of battling these dark thoughts. 'Perish' wastes no time. One breath, one rasped word: “Perish”. Then, everything erupts - gritty riffs, ethereal vocals, and a thunderstorm of sound. Featuring lines like “I'm thinking it's time I made friends with my shadow”, the song explores accepting inner demons and healing, while panning effects add mesmerizing depth, creating a vivid aural landscape. ‘Ego(Maniac)’ is dynamic and fast-paced, propelling listeners forward with snapping drums and vibrant keys, before closing with a sombre piano and static crackle that lingers. The line, “no escape, I’m making you take a look in the mirror”, adds to the intensity of the mood, leaving a haunting sense of unease. In contrast, ‘Silence & The Sound’ explores growth, with tranquil verses and a chorus that opens like a breath of fresh air. Imagery of colours changing with the setting sun and birds singing at the end offer a serene moment of calm, reinforcing the album’s message of finding beauty and inspiration in difficult moments. With powerful lyrics about dealing with change, ‘Breathe It In’ moves into acceptance, rising through pulsating synths to the cathartic line, “just gotta breathe it in”. It’s a journey of release, portraying the dual strength of both letting go and holding on. ‘Inspirit’ shifts into a more serene, ambient soundscape that captures the essence of loss and grief. With hard-hitting phrases like “the space you left feels so heavy,” that reflect on pain and recovery, reminding listeners that “time will heal.” This beautiful piece resonates deeply, inviting contemplation and solace in the face of sorrow. The struggle of striving without reaching the finish line is vividly portrayed in ‘The Almost’, underscored by the compelling line, “don’t want a lifetime of living in the almost”. The song expresses frustration in a “perpetual race”, and features an electrifying breakdown, before shifting back to a driving bass, encapsulating the difficulties faced with the tenacious pursuit of success. With melodic guitar riffs and lyrics reflecting life’s fleeting moments, 'Greatness' is a powerful reminder that “nothing is permanent”. A dissonant second verse creates a feeling of restlessness, building to the bold line, “this too shall pass, live for now, can’t get it back”, encouraging embracing the present. The track’s flowing outro echoes “get it back”, which leaves a lasting sense of hope. The entire album has been building up to the final track, navigating a path of life’s difficulties, overcoming challenges, and personal development. ‘Shadowlight’ beautifully embodies this evolution, exploring the transition from comfort in darkness to an embrace of the light. It illustrates the profound experience of shedding self-doubt and achieving comfort in personal identity, and declaring, “I’m done hiding from my own shadow”. Defences have crafted a rollercoaster of sound with their album ‘Shadowlight’, which stands as a testament to their artistic growth and resilience. The seamless transition between ambient reflection and dominant riffs creates an immersive experience that concludes with an empowering message. Defences not only deliver a compelling collection of songs but also invite listeners to join them on a journey of transformation, making ‘Shadowlight’ an album that lingers long after the final notes fade away. 'Shadowlight' will be released on November 8th via Long Branch Records. You can catch Defences at their album release show on November 9th at the Camden Assembly in London! Words: Beth Oakley Photo: Fordtography

Fresh off their sold-out UK and EU tour, American alternative metal band The Plot In You have graced our ears yet again with the third continuation of their EP release, 'Vol. 3'. Formed in 2010, the band has accumulated resounding support across the world, and with another headline tour of the US about to begin, there was never any doubt that we were in for a treat of alternative music excellence. Starting off is the band's lead single 'Been Here Before'. Released in early August, the track paved the way for fans to get excited about the next era of The Plot In You. Drummer Michael Cooper wastes no time in opening up the song with his heavy rhythmic stylings of chaotic early 2000s punk nostalgia. The melody, reminiscent of early Bring Me The Horizon, contrasts with the gritty, meaningful lyrics sung by vocalist Landon Tewers. Tewers’ voice is powerful and raspy, yet harmonious when the song reaches its climax around the one-minute forty mark. Tewers' vocal range showcases the singer's professional ability and contributes to the band's success as heavyweights leading the future of alternative music. Meeting us in the middle is 'Pretend' a track that further displays the band's signature polished production sound. This song allows the bass and guitar to shine through and shows off the band's ability to work harmoniously. The deep bass swells played by bassist Ethan Yonder shine through multiple times, creating a perfect head-banging rhythm and a strong backbone for the track. Alongside this come the fast shreds of guitarist John Childress. Childress’s shreds vary wildly, from being enormously prominent to lulling down when needed, echoing Tewers' vocals, and yet again presenting that signature sound. Both then round out the song in spectacularly heavy fashion. Following the pattern of previous volumes, The Plot In You’s final track 'Spare Me' is a heavy screamo masterclass. Tewers showcases healthy heavy vocals throughout at various depths, whilst a number of angelic glitchy interjections and a piano finish allow you to revel in Tewers' talent. Childress mirrors the vocals on his guitar, emphasizing the emotion and depth of this standout track. The build-up towards the end and the piano finish round out the EP perfectly, leaving you speechless at what is ‘Vol 3’. The Plot In You has been an interesting band to follow, especially in the past few years. The band has released a constant stream of great music, differing slightly in sound each time whilst still staying true to the band. Their versatility is a part of the reason they are quickly becoming leading players in the rock scene of the 2020's. You never know what they might release, but you do know that it will be a polished anthem every time. We can’t ever predict what's coming next, but if they continue with this uphill climb we will be listening. 'Vol. 3' will be released on November 8th via Fearless Records. Words: Kira Lashmar Photos: The Plot In You