Ichiko Aoba has long been a master of musical storytelling, crafting intimate yet expansive sonic worlds for her listeners. Her upcoming album 'Luminescent Creatures', set for release through her own label hermine, continues this tradition. Following the success of 'Windswept Adan', which transported audiences to an imagined island, Aoba now turns her attention to themes of light, bioluminescence, and connection. The lead single 'Luciférine' takes its name from the molecule responsible for bioluminescence, a fitting metaphor for an album that explores the interplay between light and darkness. The track immediately immerses the listener in Aoba's signature dreamlike atmosphere - her voice floating effortlessly over intricate fingerpicked guitar, gentle strings, and subtle electronic textures. While some of her compositions lean toward minimalism, 'Luciférine' embraces a more layered arrangement, with shimmering synthesizers creating the effect of light rippling across water as if a torch had been cast into the depths. Lyrically, the song reflects on the idea of an inner light residing within all living beings: "Inside each of us, there is a place for our stars to sleep". This poetic imagery deepens the track's meditative quality as Aoba contemplates the quiet, unseen illumination forces shaping the world around us. The melody unfolds like a lullaby - gentle yet intricate in its harmonies - evoking a feeling of weightlessness as if drifting through an endless sea of sound where the boundaries between self and nature dissolve. While 'Luciférine' looks inward, 'SONAR' reaches outward, using sound as a metaphor for searching in the darkness. This track leans more heavily into ambient textures, with Aoba's voice emerging like a distant echo over layers of synth pads and delicate, minimalist percussion. It is a weightless yet profoundly emotive composition, mirroring, sending out signals and waiting for a response. Lyrically, 'SONAR' conveys a quiet longing: "Beyond the darkness, a glimmer of somebody's voice. I am here, although I know not where, and yet I hear it." There is an aching solitude in these words but also a fragile sense of hope—the possibility that connection can still be found even in the vastness of existence. The accompanying music video, directed by longtime collaborator Kodai Kobayashi, enhances this atmosphere, presenting a surreal, dreamlike journey through light and shadow in the digital realm. Led by those two songs, 'Luminescent Creatures' shapes up to be an album of quiet revelations - an exploration of the unseen, the luminous, and the profoundly personal. Aoba has always excelled at blending traditional Japanese folk elements with contemporary ambient soundscapes, and 'Luminescent Creatures' provides a continuation of this approach with an added expansiveness. One of Aoba's greatest strengths as a composer is her ability to create music that feels both intimate and vast. Her songs are often hushed, yet they contain entire landscapes - evoking images of deep oceans, star-filled skies, and untouched wilderness. Her latest release manages to further develop this vision, weaving elements of nature and human emotion into a soundscape that glows softly in the dark. Alongside the album's release, Aoba has announced the most ambitious tour of her career, including an exclusive performance at The Barbican in London, where she will present 'Luminescent Creatures' in full. For this special show, she will be joined by the London-based 12 Ensemble, adding a rich orchestral dimension to her already intricate compositions. Known for her immersive live performances, Aoba will likely bring the album's radiant soundscapes to life in breathtaking fashion. With 'Luminescent Creatures', Ichiko Aoba continues crafting music transcending time and place. The first three singles hint to fans at an album that is deeply personal and expansive - a journey through the unseen forces that connect us, whether through light, sound, or presence. Whilst awaiting the full release, the singles serve as quiet beacons, leading the way into Aoba's luminous world. Following well in her previous works footsteps, 'Luminescent Creatures' is not just an album but an experience that invites us to listen, reflect, and perhaps, in our own way, glow. Score: 8/10 'Luminescent Creatures' will be released on February 28th 2025 via hermine. Words: Kelly Gowe Photo: Kodai Kobayashi

Formed in 2021, Venamoris, which comes from the Latin ‘vena amoris’ or ‘the vein of love’, is the creative powerhouse formed by married couple Paula and Dave Lombardo, who are set to return with their latest album 'To Cross or To Burn'. When their debut album 'Drown In Emotion' was released back in 2023, the pair introduced a bold new musical identity that was at right angles to expectations. Known for his legendary drumming in Slayer and many more iconic acts, Dave Lombardo takes a more nuanced approach here, crafting percussive textures that perfectly complement Paula’s hauntingly beautiful vocals and evocative song writing, to form a duo that delivers a dark and evocative new sound to fans new and old. Steeped in atmosphere and emotion, 'To Cross or To Burn' deepens that vision, exploring themes of love, loss, and existential reckoning. The production is lush yet intimate, with brooding synths, hypnotic rhythms, and moments of raw, unfiltered vulnerability. The record is a striking fusion of darkwave, rock, and cinematic soundscapes, pushing the boundaries of their already eclectic sound. 'Stay With Me' opens the album with a slow atmospheric burn, setting the tone with its eerie melodies and pulsating bassline all while Paula’s smooth voice glides over the arrangement, delivering lyrics that cut deep - feeling almost like a spell has been cast over the listener as we are invited to fall deeper into the world and story Venamoris have crafted through this album. There are a number of standout tracks throughout the album, with 'Spiderweb' being one of them. A fusion of trip-hop beats and post-punk guitars, this track is a mesmerizing journey through shadowy textures and cinematic build-ups. 'Animal Magnetism' - a cover of Scorpions original track - is another standout moment on the album, where this haunting interpretation adds an entirely new dimension to the original track. The addition of sludgy guitars and a gothic ambience breath a fresh perspective into it, giving the song a new lease of life. After what feels like an emotional and personal journey through the tangled webs of love, lust and yearning, we reach the title track 'To Cross Or To Burn' to bring the album to a close. This song reinvents the classic rock sound with a modern, industrial twist. The interplay between Paula’s sultry vocals and Dave’s intricate instrumentals makes for an unforgettable experience, bringing the album and our dark gothic journey to a deeply satisfying end. 'To Cross or To Burn' stands as a testament to Venamoris' artistic evolution. The album moves effortlessly between delicate, intimate moments and grand, cinematic flourishes, making for an immersive listening experience that truly feels as if you have been pulled into a dark gothic world of romance and suspense. The combination of talents from Paula and Dave Lombardo have crafted a record that defies genre constraints, drawing from their vast artistic influences to create something truly unique. Whether you’re a fan of darkwave, experimental rock, or atmospheric soundscapes, this album is sure to resonate. A hauntingly beautiful and deeply introspective record, 'To Cross or To Burn' cements Venamoris as a project worthy of every bit of attention and praise. Score: 8/10 'To Cross or To Burn' will be released on February 28th 2025 via Ipecac. Words: Arcadia Craven Photo: Hannah Verbeuren

The wait is finally over! After years of collaborations with high profile artists, FANALO, the acclaimed guitarist and artist from France, is finally coming back with his self-produced solo album ‘Fanalo’. The self-titled album promises the listener a fusion of genres, and delivers exactly that and more. There is no doubt about FANALO’s talent, as we dive into his guitar mastery from the very beginning of the album. ‘Tribes’ is a spectacular opener, that combines African native instruments and vocals with powerful guitar riffs, that are present throughout all tracks and are a real staple. ‘Hate 4 Sale’ is a completely different story, leaning more into clear vocals, but still keeping up the upbeat melody, reminding the listener of songs from the 90’s, the time when FANALO crashed onto the music scene. Using the typical keyboard sounds from that era brings the whole song together and really makes it to stand out. Moving on, the songs ‘Why’ and ‘New Found World’ do not feel as energetic as the first two, but bring us a pair of catchy choruses and breathtaking guitar solos, that really showcase the artist’s talent. Being written in a real classic rock style, the songs sound amazing and feel like a little break, before ‘Moon’ starts playing. Containing many sound effects and actual voice tapes from journeys to the moon, the atmosphere of the album changes and the listener feels like they are about to start jamming in the space. Having a thoroughly pompous ending, the track is very well made and is absolutely a highlight of the album. ‘STC’ and ‘Die to Live’ continue the trend of hard rock, which suits FANALO’s vocals and expertise, as he worked as a sideman guitarist for Ron “Bumblefoot” Thal during his solo project in the past. The eighth track on the album is called ‘Rebirth’, and dives more into experimental territory by exploring more ethereal sounds, making the name of the song fit perfectly. With no vocals, the focus is on the instruments this time. We have the usual guitar riffs and drums, complimented by keyboard piano, that are piercing the track together flawlessly. The last two tracks, ‘Isolation’ and ‘Rise’, are going back to hard rock, giving us well executed vocals, meaty riffs and energetic solos, departing us with the album in a no-nonsense fashion. ‘Fanalo’, the solo album, is a perfectly balanced mix of genres that stays stuck in the listener’s mind long after they finish listening to it. His terrific multi-talent is remarkable, from executing great guitar riffs to giving us a God-worthy electronic piano experience. Not many artists would be able to combine so many elements together and still make their music sound perfect, but FANALO is an example of someone, who can do it effortlessly. Score: 7/10 'FANALO' will be released on February 28th 2025 via Klonosphere Records. Words: Katerina Stepanikova Photos: FANALO

After 10 years of bringing music to the world, Grima are releasing their sixth full length album. Packed with atmospheric black metal out of Siberia this album should not be missed, with 10 thrilling tracks that can quench any metalheads thirst. This twin brother duo Vilhelm and Morbius continue in the next chapter of their story to bring us an album that is set to honor the spirit of the Siberian Forest, Taiga. The album starts with a calm yet unsettling introduction named 'Intro (Cult)' before moving into the first full track, 'Beyond the Dark Horizon'. This fairly typical black metal track features a repeated bass riff with Vilhelm's impressive roaring vocals, and a short-lived but satisfying guitar solo at the tail end. Throughout the album, instruments like the Russian accordion are used to bring the true sound of folk to their tracks. The next track 'Flight of the Silver Storm' is a longer one with a six minute run time, and this track features a repeating melody built with layers of strings to create a melancholic, almost apocalyptic feeling within the listener. The fourth track on the album, 'Skull Gatherers', opens with an earthy acoustic guitar riff and features electronic synths in the background before plunging into the grit of the song. The song kicks into the classic Grima sound, with builds and breaks that present opportunities for prime head banging at live events. 'Impending Death Premonition' opens with an intro that doesn't exactly seem to lead anywhere until about a minute in, whereby the double time drumming - paired with the same repeated riff - create an impressive segment to grasp the listener. Another segment provides a choir-like layering to the screaming vocals that, although quiet, makes for a pleasant change to the sound of the album. The next track 'The Nightside' is over seven minutes long and entails the same sound as the rest of the album, with a repeating riff and varying drum speeds, however the track does slow into a stripped guitar instrumental about half way, through before featuring not one but two enormous screams from the vocalist of the brothers, Vilhelm. The seventh track on this album is called 'When We Are Lost'. The intro brings a foreboding sense of doom with its desolate chords, and throughout it the song utilizes more melodic elements like guitar and keys to build throughout the song. This is a stand out track on the album, whilst it is one of the longer tracks it is definitely worth a listen for anyone looking for their fix of black metal. 'Curse of the Void' uses a 3/4 time signature, which separates it from the rest of the album, and features the best drumming of the ten tracks, fast paced and impactful grooves to really make your heart race and wonder where the track could possibly go next. During the last minute of the track, there's a wistful guitar solo that then peters out into an atmospheric instrumental at the end. The last full track on the album 'Mist and Fog' is perhaps the most emotive of them all, with the vocals still being perfectly strong screams but using levels of reverb that make it almost like a whisper, an interesting use of effects that really makes it stand out. This song is a slower tempo than the rest of the album until the last few minutes where it really ramps up, bringing the Russian accordion melodies that we've heard in the majority of the tracks. The very last track is a short piece named 'Outro (Memories of a Forgotten Home)'. This one brings back a number of instrumentals that we've heard throughout the album, acting as a neat little packaged up ending to these 10 mysterious tracks. Although the use of an accordion and other folk-like instruments seems to overrule and bring the album's sound down slightly, looking past that there's a great album that's suited for any black metal listeners. The masked brothers and their supporting band members are embarking on a 30 show European tour running from late April to early June, so head to their website to catch them in a city near you. Score: 6/10 'Nightside' will be released on February 28th 2025 via Napalm Records. Words: Amy Smyth Photos: Grima

OVERSIZE is an alternative band formed in the Southwest of England and, after two promising EP’s since 2021, are on the cusp of releasing their debut album 'Vital Signs'. Exploring the dynamics within their music, the songs in this record drift easily between the genres of post-hardcore, alternative metal, shoegaze and emo. It’s filled with atmospheric, loud riffs, alongside magnifying, personal and dreamy vocals. You can feel the inspiration of the bands favourite 90’s alternative musicians, with influences coming from the likes of Smashing Pumpkins, Pixies and Deftones. An album centred on grief; the record begins with 'Stalling' which absorbs you with an opening that introduces the listener to the atmosphere of the album that will follow. This flows into 'Are You With Me?' which is performed beautifully with heavy yet airy guitar riffs. Third on the track list is already released single 'Fall Apart' which brings the post-hardcore influence to the surface, turns the volume up to 11 and leaves the listener wanting more. 'Something Clean' is up next, taking a slow, melancholy approach that gives a hint of emo, before belting out surprising, screamed lyrics to give the listeners something beautiful and raw. Midway through we reach 'Daretomove', another previously released single which throws us back to all the 90’s influence that has gone into this record. Finishing abruptly to set up for the next song 'The Incline' which, while lyrically focused, brings a huge riff met with those heart wrenching, impactful lyrics. Slowing down, we have 'From The Hell' which brings an intense but subtle moment of headbanging to round out the track. Contrasting this, another single 'SALT' brings us back to the overall theme of the album, grief and melancholy, whilst still as loud and magnifying as the rest. OVERSIZE’s most recent release 'Vacant' starts with a heavier track that captures us with lyrics perfectly describing the communication (or lack thereof) with the people surrounding us. Finishing up is their current single 'Vital Signs' which closes out the album with everything you’ve expected from this ten-track record, including more surprising screams showing that this band will be a force to be reckoned with in their hopefully long future. Overall, OVERSIZE’s debut album makes a strong statement into the alternative music scene, giving a genre-bending, impactful record that will be on a lot of repeat playlists. This record is personal to the band and sits nicely within the modern alternative metal playbook, with a touch of nostalgia at its finest. Score: 8/10 'Vital Signs' will be released on February 28th 2025 via SharpTone Records. Words: Laura Hughes Photos: OVERSIZE

Cloakroom, a staple of the shoegaze scene with over a decade’s worth of prior discography, are on the cusp of releasing their latest album 'Last Leg of the Human Table', which the band have referred to as an exploration of “what it means to be human and the high cost of the human experience”. The album takes listeners on a hazy journey through abstract glimpses of life, emotion and longing, whilst all ten tracks act as time capsules to capturing different aspects of humanity, underpinned with an existential insecurity. ‘The pilot’ kicks off the album with a strong reverb that at times feels as though it pays homage to punk or Midwest emo, while Doyle Martin’s vocals give an interesting juxtaposition to the strength of the instrumentation. Conceptually, the heavy guitar and drums feels as though it should drown out the much softer, almost indecipherable vocals, but instead both elements hold equal weight within the track, creating a soundscape that immerses the listener. About three minutes in, a guitar solo takes centre stage, its haunting overtones replicate the previous vocals and flipping this dynamic on its head, reshaping the narrative into something transformative. By comparison, ‘Ester Wind’ opens with a classic ‘rebellious’ 90s sound, the drums taking centre stage and vocals both rhythmic and repetitive. Listening to 'Ester Wind' sounds like staying up too late as a teenager and catching cartoons on Adult Swim. It’s finding a slightly scratched Green Day CD in a local charity shop, and having just enough pocket money to purchase it. The reverberation and distortion, which progresses as the track continues, only add to the nostalgia it creates. ‘On Joy and Unbelieving’ is one of the two shortest tracks on the album, alongside its follow up ‘On Joy and Undeserving’. Where ‘...Unbelieving’ has a lighter energy, slowly built by looping chords that begin to build, until joined by bell chimes, ‘...Undeserving’ has a slower, heavier feel in part through the use of guitar. The soundscape that builds up in ‘On Joy and Undeserving’ comes across as melancholy and even slightly uneasy by the end, which mirrors the musical journey taken between both tracks in the form of ‘Unbelonging’, ‘The Lights Are On’, ‘Bad Larry’ and ‘The Story of the Egg’. ‘Unbelonging’ returns to the movie soundtrack style full of cross-genre references and styles found in earlier tracks. Certain chord progressions reminiscent of the Beatles or The Cure, while Martin’s vocals continue to coat the track in a haze broken through by patches of feedback that create a jarring sense of uncertainty. In comparison, ‘The Lights Are On’ combines many of the influences of ‘Unbelonging’ with stronger elements of indie. This song in particular feels suited to live listening at a gig, on vinyl or even cassette as the use of immersive reverb is slightly undermined through digital streaming. The transition from ‘The Lights Are On’ with its ghostly echoes and soft sounds into the guitar of ‘Bad Larry’ is an intense mid-album wakeup call. This time taking instrumental and vocal influence from country and western music. The chorus is crooned in a southern accent, covering the classic country issues of heartbreak, moving on, loss and life. 'Bad Larry', to quote Martin, “roams free and wants for nothing; living a life of experience and lives by his own rules and dying on his own terms; a life to vilify or envy.” ‘The Story of the Egg’, on the other hand, takes a much more synth-driven sound that replaces the image of a truck stop with a high speed chase on the highway. Fast-paced where the former was stationary, energetic instead of reflective. Instrumentals do the majority of the work to carry the track, while vocals take a literal backseat on a journey that ends with what sounds like the sampling of an 80s radio station. Finally, the album ends with ‘Cloverlooper’ and ‘Turbine Song’. ‘Cloverlooper’ encapsulates and revisits several of the themes, atmospheres and energies of tracks from the beginning of ‘Last Leg of the Human Table’, while ‘Turbine Song’ focuses on the soundscape of uncertainty. Insecurity, and a looping dread for the future that feels both futile and full of potential. It ends with the sound of wind that seems to stretch on forever. Overall, this album was an enjoyable form of escapism. There are clear ties to a multitude of genres, while still being a primarily shoegaze project, and it captures what feels like several different but universal experiences of emotion. According to the band, the aim of this piece is to imbue the listener with responsibility. To take away the idea that, when it comes to the Last Leg of the Human Table, “if one leg were to falter, the whole table will fall”. In this area, it is not apparent how successful they have been at hammering home a message of social responsibility and community advocacy - but as an album, it was an enjoyable listen. Score: 6/10 'Last Leg of the Human Table' will be released on February 28th 2025 via Closed Casket. Words: Q Cummins Photo: Vin Romero

Italy’s Spoiled has been through the wringer, but instead of letting setbacks slow them down, they’ve come back swinging with 'Collapse', their first full-length album. This isn’t just a continuation of what they’ve done before - it’s a statement. Fifteen tracks of pure crossover thrash chaos, played at blistering speeds and packed with enough aggression to start a riot. The album is dropping as a jewel case CD, complete with an 8-page booklet, thanks to Portuguese labels Gruesome Records and Selvajaria Records - and with recording handled at the legendary 16th Cellar Studio (known for some of extreme metal’s heaviest hitters), you already know it’s going to sound absolutely lethal. If you like your thrash served at 250 BPM with a sneer, Spoiled’s got you covered. The album’s lead single 'Zombie Hunters' came out swinging, setting the tone for 'Collapse' in just over a minute of unfiltered carnage. The band describes it as a critique of substance abuse, and it hits with all the subtlety of a bottle smashing over your head. It doesn’t waste a second - machine-gun drumming and frantic riffing drive everything forward, with the guitars mimicking the restless, unpredictable energy of a high. Danny Boy’s vocals are packed with venom, spitting out lines that make it clear he wants nothing to do with the chaos of addiction. It’s a short, sharp burst of frustration - fast, brutal, and completely uncompromising. Then there’s the title track, which feels like the album’s mission statement distilled into two minutes of pure destruction. There’s no build-up, no easing in - just an immediate onslaught of speed-picked riffs that slice through the mix like a rusted blade. The drums are a full-force battering ram, relentless in their assault, while the guitars rip through thrash-fueled patterns that wouldn’t feel out of place on an early D.R.I. record. Danny Boy is at his most feral here, spitting out lyrics with a frantic urgency that matches the song’s breakneck pace. It’s the kind of track that makes you want to break something - or at least throw yourself headfirst into the nearest pit. 'Rotting Sun' is pure chaos from the first note, refusing to slow down for even a second. This track doubles down on the mayhem with some of the most unhinged riffing on the album. The guitars twist and turn at breakneck speed, riding on top of a percussive assault that barely lets up for a second. There’s a real sense of urgency here, with everything feeling like it’s constantly on the verge of total collapse - but that’s where Spoiled thrives. It’s an all-out crossover thrash assault, tailor-made for violent, beer-soaked mosh pits. As a whole, Collapse doesn’t just keep the energy high - it barely lets you catch your breath. Spoiled knows exactly what they’re about, and they’re not here to reinvent the wheel. But honestly? They don’t need to. The riffs are razor-sharp, the drumming is relentless, and every song feels like it’s sprinting towards total obliteration. Given the band’s turbulent journey, this album isn’t just a collection of thrash anthems - it’s a battle cry. Crossover thrash has been making a serious resurgence lately, and Spoiled has just staked their claim as a band worth paying attention to. If you’re in the market for a record that hits fast, hard, and without an ounce of mercy, 'Collapse' is exactly what you need. Score: 7/10 'Collapse' will be released on February 27th 2025 via Gruesome Records and Selvajaria Recordings. Words: Jason De Mendonca Photos: Spoiled

Walking towards the iconic Electric Ballroom, the queue outside is already filled with metal fans waiting for the doors to open. When I finally come inside, there are few people claiming their spots by the barricade, but most are just picking their merchandise or deciding what drink they should get at the bar. After half an hour the lights dim down and the crowd cheers a bit, welcoming the first opener DESERT STORM onto the stage for their short, but punchy set. Putting on a show definitely isn’t an issue for them, as they have some good guitar work and the vocalist Matt Ryan can sing and scream without a single issue, however the crowd is tough to break easily tonight, and apart from few cheers here and there, sadly there wasn’t a lot going on below the stage. The atmosphere on the floor stays relaxed, as URNE are swiftly taking over the stage. This London-based three piece comes in with heavy-themed lyrics and greatly executed solos. Vocalist Joe Nally nails down the screams with perfection, while also using his amazing clear vocals in some of the tracks. The band showed their gratitude for the opportunity to tour with KVELERTAK and talked about the struggles to get where they are now, and also hinted on their upcoming album. They absolutely smashed their set and definitely got the fans ready for what was about to come. As the floor was getting busier and it was harder to move around, the fans were getting more impatient and happy to finally see their favourites. The lights suddenly go down and the intro track starts playing, leaving everyone speechless for a second. Then a massive cheer bursts through the crowd as the members of KVELERTAK began coming on the stage. As the intro drifts into the first track, ‘Krøterveg Te Helvete’, a big moshpit opens up close to the stage, welcoming the band back in London with a pompous style. After the grand start of what’s about to become one of the most memorable concerts, the band continues to play their hits, with the frontman Ivar Nikolaisen diving into the crowd multiple times with no hesitation. Continuing with their set, the crowd saw a meticulously picked setlist of their favourites, showcasing the band’s craftsmanship. In between the well executed crowd interactions and amazing riffs, the band gives few thankful speeches. When they mention their last concert in London was ‘seven prime ministers ago’, the crowd bursts in laughter. KVELERTAK jumped through their set like nothing and by the time they played their hit and second to last song ‘Mjød’, it was obvious the night is getting close to the end. With the last song ‘Bråtebrann’ playing, everyone in the crowd and the band put all the energy they had left to make the moment as precious as possible, with the crowd singing the lyrics more than before, knowing it is the last time for a while. Basking in the spotlight and cheered up with a massive applause, the band finally left the stage, leaving behind only the memories of the night and their instruments. The concert truly was a one-of-a-kind experience, with a great choice of support bands. Seeing a well known band interacting with their fans throughout the whole evening feels more intimate, even in a bigger venue like the Electric Ballroom, and truly makes the fans long for more. The staging was very simple, with a big banner in the background listing the band’s name, yet complimented by the lightning, that was very mesmerising, especially from the back of the venue. KVELERTAK definitely know how to put on a good performance and are breath-taking to see live. Words: Katerina Stepanikova Photos: Libby Percival

Frank Turner is making his way onto the stage for the 3000th time in his career, on an Alexandra Palace stage which has started to feel like home turf. It is the fifth time he has headlined the iconic North London venue, on top of the countless shows in surrounding bars across his 20-year career. There remains a faint ridiculousness, to both him and his audience, that he ever made it out of those bars in the first place. The irony of his opening two songs, The Ballad of Me and My Friends and I Knew Prufrock Before He Got Famous – both odes to not quite making it – being sung back at him by 10,000 people is not lost on anyone, least of all Turner himself, who permanently exudes a level of bewilderment at his status. How then, did this perennial journeyman find himself to be a reliable arena filler two decades in? The answer to this question can be found on the uniform for the evening. On the back of the limited edition Show 3000 shirt is a fill-in-the-blank prompt which says “my first show was ____”. More than a fun gimmick, it is an ingenious piece of marketing that, deliberately or otherwise, demonstrates his story to a tee. Frank Turner is an export of quite a fruitful mid-2000s London scene, responsible for names such as Jamie T, Florence + The Machine, and Justin Hayward-Young of The Vaccines. Whilst these contemporaries exploded, he toiled, playing show after show to comparatively modest fanfare. Though the fruits of this labour were not as immediately recognisable, it is at an event such as Show 3000 where they can be seen most starkly, because, if the t-shirts are to be believed, virtually no one in attendance is at their first Frank Turner show. As the limelight evaded him, Turner had to build his stock through alternative methods, and, following the punk instruction manual, he chose to do it through relentless gigging. His fiercely loyal fanbase largely spawned from accruing a handful of believers at each of the 2999 previous shows, admiring not only his perseverance, but also the genuine skill he possesses in front of a live audience. When you’re 3000 not out, you learn a thing or two about crowd control, and Frank has got it down to a fine art. All of this is to say that Ally Pally’s patrons very much know what they’re in for, and they want more of it. So much so, that when Frank introduces the two rules of his shows, the crowd recite them back to him. “Rule 1. Don’t be a dick!”, gets perhaps the loudest cheer of the night, whilst “Rule 2. Sing along if you know the words!” is adhered to by nearly everybody. Single digit t-shirt wearers and newcomers alike join in with the monosyllabic singalong to new favourite Do One, whilst 2009’s Try This At Home still manages to generate crowd-surfers and circle-pits. This is one of the advantages to Frank’s slower route to the top: because so many of the crowd have been there for the journey, each song, regardless of age or streaming numbers, is greeted with the same warmth. It is helpful, with this in mind, that the songs from Turner’s latest effort, Undefeated, are enthusiastic punk rock cuts, perfect for an audience who were clearly gagging for opportunities to participate. No Thank You For The Music’s intuitive clap-alongs and Girl From The Record Shop’s infectious, Ramones-like energy came across strongly, and allowed The Sleeping Souls, Frank’s band, to flex their muscles. Having been a full time ensemble since 2009’s Poetry of the Deed, the Souls are a well-oiled machine. New drummer Callum Green is the only replacement in the band’s history, and fits in seamlessly, adding a newfound strength and urgency to the older tracks in particular. Anti-fascist anthem 1933 benefits from his power, as does the shouty break-up lament Plain Sailing Weather. Though Turner’s show is enhanced by the Souls’ presence, he does not wilt when faced with the chance to go solo for a short spell. Songs like The Road and Long Live The Queen doubtlessly found their final form at acoustic nights, so it feels fitting that they get wheeled out in this state on the big occasion. Of course, The Sleeping Souls aren’t benched for long, returning midway through The Way I Tend To Be to complete a closing run to the main set of staples. If Ever I Stray, Recovery, and Photosynthesis are punctuated only by the raucous, minute-long Never Mind The Back Problems, to send the unlucky few who had to catch an early train home happy. Never one to short change an audience, Frank and The Souls returns for the encore with the title track to his latest album. Undefeated is an oddly intimate reflection on Turner’s unlikely rise, and undoubtedly a risky pick, but one which is seen to pay off when phone torches illuminate the palace. The energy isn’t dampened for long, as Polaroid Picture and Get Better spark the pits up once more, before Four Simple Words caps off the night. Frank has no hesitation in jumping straight into the crowd for this final number, before leading everybody in ballerina spins in the tune’s brief slower sequence. Seeing 10,000 people all clumsily shuffling in circles seems like a fittingly bizarre way to conclude a night celebrating one of the UK’s unlikeliest success stories. Throughout the course of his career, Frank Turner has had to compensate for his slow start, and his modus operandi to achieve this was always going above and beyond in his live show. He could be forgiven for taking it easy now that his place is secure, so it is all the more commendable that, even on a victory lap, he is still coming up with new and inventive ways to keep the audience involved. Turner once proudly proclaimed himself not just to be an artist, but an entertainer – inverting the perceived hierarchy of musical merit – and this is clearly a mantra which he lives by to this day. The live show is evidently Frank’s primary focus, and on a night so important to both him and his fans, it was impressive (if unsurprising, given his experience) the level to which he delivered. Words: Ali Glen Photos: Dan Brock

Originally from Reading, this 3 three-piece math-punk band is sure to heighten your senses with their exquisite use of electronics and noise. Masquerader features bass, drums, electronics and vocals, utilizing each instrument in unique ways, focussing on creative noise and electronic build-ups. Their upcoming release ‘Closer to Death’ coincides with their first ever tour of back-to-back dates, kicking off on the 26th of February. The band will be making noise in Brighton, Portsmouth, Bristol and Exeter. The band’s Spotify description states “spinning heads and keeping crowds guessing”, which is definitely the perfect way to describe this EP! 'Closer to Death' drops you into a world of abstract synths and intricate structures. Starting with ‘Vertical Video’ we are immediately immersed with little introduction, with a short rave-style build-up and hit with an explosion of vocals and noise. Powerful riffs continue throughout with strategic drops in pace followed by clever breakouts of electronics. The bass riffs paired with the vocal melodies compliment for a balanced sonic spike, a heavy take in comparison to their previous records. We then come to track two, aptly titled ‘Pyre’. This track is such an interesting listen, the constant tricky drum rhythms compliment the pace and context of the lyrics “To wake you up to break the structure up”. Arpeggiated melodies and high end tones engulf this, and those along with with Danny’s powerful vocals make for such a strong track! The build up throughout this track brings immense anticipation with a sudden end with an airy, isolated synth. This synth is placed perfectly and leads us onto the final track; ‘Worse than the Wolf’. A long introduction leads us into a wall of noise, layers of noise allow listeners the chance to really listen and really fall into the sounds, especially those listening through headphones. It almost encapsulates the feeling of overwhelm, when listening to the lyrics we get a feel for confusion and emotion from a possible past event, which pair with the twisting drones and eclectic soundscapes of this track. Unlike the previous two tracks, in 'Worse than the Wolf’ we are met with a heavier, meaty guitar riff that adds a contrasting texture which fits the mood of the overall sound. The order of the three tracks works well, with the build-ups becoming more and more heavier and lyrics dispersing, it is a great listen for those exploring the sound of synths paired with heavier guitars. Although there were parts were the noise overpowers the vocals slightly, the structures and use of sound is cleverly put together. This EP is a great representation for the band’s sound, their use of noise and unpredictable buildups as the tracks develop definitely makes this a must listen! We cannot wait for the future of Masquerader and the future of their sound! Score: 8/10 'Closer To Death' will be released on February 25th 2025. Words: Emily Perry Photos: Masquerader

The Devil Wears Prada stop off at Club Academy in Manchester for one of the last shows on their sixteen stop Europe and UK tour. Bringing SENNA, Ocean Grove and Kingdom of Giants along for the ride, It’s a real cultural melting pot of bands, with artists coming from Germany, Australia, and the United States. SENNA get us started nice and early, beginning their set with ‘Lavender’, off their first EP ‘A Moment Of Quiet’. ‘High Note’ is another incredible live track, bringing a bit more of a heavy grunge vibe to the basement venue. Despite being the first bang to play on a pretty full bill, SENNA bring total headliner energy to the stage, and it’s a real treat for the people who chose to show up early for these guys. The second band on the bill tonight is Melbourne based nu metal group Ocean Grove. Having released their fifth studio album, ‘ODDWORLD’, in November of last year, the majority of the setlist is their new material. Bassist Twiggy Hunter takes the microphone to perform ‘RAINDROP’, one of their standout new tracks. Despite their short setlist, we’re still treated to a few Ocean Grove classics, including ‘Stratosphere Love’ off their second album, and ‘Junkie$’, an OG all timer. The band are long due some UK headline shows, and we can only hope they’ll be back over the pond soon enough. Kingdom of Giants are up next. Hailing from Northern Carolina, this post-hardcore six piece aren’t playing around. Recently releasing their latest EP, ‘Bleeding Star’, we’re treated to a setlist mostly of new hits. ‘Wasted Space’ is a clear standout track, and it’s clear how much the band’s sound has changed and evolved over the years after hearing them play some of their older tracks. The future of metalcore is looking bright. It’s time for the main event, and the room is packed at this point. The Devil Wears Prada jump right in with ‘Mammoth’, slamming the crowd with a fat hit of nostalgia. We’re already off to an amazing start. It’s really worth noting how gorgeous their harmonies sound in this venue, it’s a testament to how well seasoned they are as a band, but also to their incredible live sound tech. They follow Mammoth with ‘Watchtower’, taking us from 2011 all the way to 2022. Like with the previous band, their evolution as a band is so apparent when hearing these old and newer songs together. They have to restart ‘Noise’ three times, frontman Jeremy DePoyster saying “One of these six people fucked up the song!”, before eventually admitting it was him forgetting the lyrics, much to the amusement of the audience. The band finish up with ‘Sacrifice’ and ‘Hey John, What’s Your Name Again?’. The pits have already been pretty brutal up to this point, but Jeremy shouts out “Manchester, I wanna see someone fucking die!”, and I’m sure you can imagine the energy in the room got turned up way past eleven for these last couple songs. The Devil Wears Prada haven’t had a headline tour in the UK in over twelve years, and its amazing to see their Manchester show fully sold out, and it looks like the band are more than welcome back over here soon. Words: Izzy Scott Photos: Kieran Atkinson

Satan’s Satyrs kicked the night off with a unique, high-energy set, wasting no time in showing people what they were about. The Virginia-based quartet are a blend of doom, punk, and classic rock with a touch of glam sleaze, creating a sound that’s equal parts chaotic and captivating. Some songs carried the ominous groove of early Sabbath, while others leaned into a more swaggering, upbeat rock ‘n’ roll vibe, showing off their wide-ranging influences. One of the most refreshing things about their set was their DIY attitude. After their set, the band were found running their own merch table, a rare sight at a venue as big as the O2 Ritz. It’s this hands-on approach that makes them feel so authentic, reinforcing the connection between artist and audience. The mix on the night was solid, with a particularly punchy bass tone that cut through the wall of guitar fuzz beautifully. However, the vocals did sit a little too low, which made them hard to pick out at times. Despite that, they powered through any sound issues like pros, delivering a killer set packed with energy, groove, and grit. This was their fifth time playing Manchester as an independent band, and it’s clear they’ve built something special. If tonight was anything to go by, they won’t be staying underground much longer. If Satan’s Satyrs were all fire and fury, Unto Others brought a brooding intensity that turned the atmosphere on its head instantly. Their blend of gothic rock and heavy metal wrapped the room in a dark haze, with deep, resonant vocals shining through melodic yet crushing instrumentals. Unto Others proved that energy isn’t just about speed or aggression, it’s about mood, and they nailed it perfectly. From the moment they stepped on stage, their presence was undeniable. Gabriel Franco’s vocals had that perfect mix of melancholy and power, shifting effortlessly between haunting croons and full-throated intensity. There was a sense of theatre to their performance in the best way, amplified by the moody lighting and their carefully crafted soundscapes. What really stood out was their ability to balance stark emotional passages with heavier, more driving sections. The set had a natural ebb and flow, keeping things engaging without ever feeling repetitive. The audience was fully drawn in, swaying through the more atmospheric moments before erupting into headbanging when the riffs kicked in. Unto Others proved once again that they’re a band with a unique ability to bridge gothic rock and heavy metal. Their performance was polished yet deeply emotive, and left a lasting impression on every person in the room. Closing the night, Green Lung saw the level of performance that we’ve come to expect from them as fans, and surpassed it tenfold. Their mix of classic heavy metal, folk horror storytelling, and progressive rock flourishes created an immersive experience that had the crowd hooked from start to finish. The energy in the room was undeniable. While their doom and classic rock influences were front and centre, they had a vibrancy that set them apart from more traditional doom bands. The moment they launched into their set, the crowd was right there with them, completely captivated by their eerie yet exhilarating sound. A standout addition to the night was The Oosettes, whose backing vocals gave an extra layer of richness to songs like ‘May Queen’ and ‘Songs of the Stones’. Their harmonies added an almost ceremonial feel, elevating the band’s already grand, atmospheric sound. Tom Templar commanded the stage with ease, blending occult-inspired theatrics with genuine charisma. His vocals soared over the band’s dynamic instrumentals, while the chemistry between band members was seamless. Every transition in their set felt effortless and purposeful. The crowd’s response said it all. Fans across the rock and metal spectrum were united in appreciation, hanging onto every riff and chorus. Green Lung’s ability to pull in such a broad audience speaks to the strength of their songwriting and the power of their live show. This was more than a mere gig, it was an experience from start to finish. Green Lung’s ability to translate their unique sound and aesthetic into such a compelling live show proves that they’re ready for even bigger stages. The night was a perfect showcase of just how diverse and exciting heavy music can be. Satan’s Satyrs brought raw, untamed energy, Unto Others delivered gothic intensity, and Green Lung wrapped it all up with their spellbinding, doom-infused storytelling. What made it truly special, though, was the connection between the bands and the audience. From start to finish, there was a shared energy that made the whole night feel bigger than just three sets, it was a celebration of heavy music in all its forms. For those who missed it, this gig was a testament to how the underground scene is thriving, and these bands are leading the charge. If you haven’t seen them live yet, now’s the time. Words: Vee Richardson Photos: Simon Arinze