Norway's Fixation have prepared the follow up to their 2023 debut album ‘More Subtle Than Death’ with their new EP ‘Speaking In Tongues’. After their debut garnered them the historic honour of being the first metal band to win the Breakthrough Of The Year award at the Norwegian Publishing Awards earlier this year, big things are expected. Fixation are Jonas Hansen on vocals, Martin Selen and Tobias Østerdal on guitar, drummer Ola Dønnem and Øyvind Lunde on bass. Øyvind is the group's newest member, who listeners may know from Yesterdaze and fellow band member Jones's other band Beautiful Beautiful, and was announced as such shortly after single ‘Tyrannical Miracle’ released. Starting off with the eery gradual build up with interlude ‘(grow a flower)’, we get a sense of Hansen singing about wanting to belong. This leads right into the first single ‘Random Acts Of Violence', which has a feel similar to that of Bring Me The Horizon. There's a big melodic chorus, powerful lyrics, and feelings of losing yourself or being alone. Continuing into the second interlude '{pick the petal}', we get a feel of the soundscape that holds the listeners attention all throughout the EP, but then Fixation follow up with the hard hitting track ‘Blue Skies’ - filled with powerful riffs and screams, sprinkled with a heartfelt bridge containing feelings of rage and heartbreak, this holds the title of the EP's strongest track, and even acts as the unofficial title track due to containing the lyric "speaking in tongues". Listeners will also notice upon a lookover of the lyrics of '{grow a flower}', that they are also the names of the interludes. Next up is second single and heaviest track ‘Tyrannical Miracle’, which is a real angry and melancholic journey bursting with crashing drums and a truly thought-provoking chorus - “You say question everything, well can I question you? Make us pray to your illusions. Your tyrannical miracle. Bathe in the blood of the worthy. This isn’t life like I knew it before.” - Fixation are clearly in their stride, and are a real gem from the Norwegian scene. What Fixation has done here is take their listeners on a melodic journey, which may only be 20 minutes but allows them to escape into the sound of emotional turmoil, most especially during last track 'Fever Dreaming'. 'Speaking In Tongues' is a very solid EP and a great progression from the band's debut album, proving that they still have the lightning of that LP but adding in experience, with this being their best work yet. Fixation have a strong and bright future ahead of them if this is anything to go off of! 'Speaking In Tongues' will be released on October 11th via Indie Recordings. Best Songs - Random Acts Of Violence, Blue Skies, Fever Dreaming. Words: Lucas Grayson Photo: Sebastian Ludvigsen

There is nothing quite like a hometown show. The energy from the band and the crowd just hits different on so many levels when they play on home turf. And An Evening With: Haken in London’s O2 Kentish Town certainly delivered on that front. With the show being filmed for future release Haken invited the crowd to dress up as their favourite animal matching the jungle-esque aesthetic of their most recent album ‘Fauna’ and the artwork that goes with it. Looking over the crowd there was a menagerie of creatures slotted between the standard black band shirts, sharks at the barrier, tigers running to the bar, and gorillas singing along in the crowd. Fans were treated to a double bill of Haken as they played two sets, starting with “Fauna” in full cover-to-cover. Playing an album in full is an underappreciated format for good albums and “Fauna” definitely falls into the category of good albums. The lyrically intense, vocal forward record translated very well to the live show. Considering the first single of the album ‘Nightingale’ was put out in April 2022 with the full album released in March 2023, there has been plenty of time for listeners to learn the lyrics, and they sure did! From the opening of “Taurus”, the crowd were already on side, singing back the words, and thriving in the intimate atmosphere of having a full night with Haken, especially when single band lineups are becoming less common. Haken took their time as they played through “Fauna” introducing the songs and chatting with the crowd, it was nice to be guided through the show and not feel rushed by the goal of finishing the playthrough. Sing-alongs galore accompanied Ross Jennings’ impressive lead vocals again highlighting how well-received this album was by the fans. On the third track in, ‘The Alphabet of Me’, Haken brought out Miguel Gorodi on trumpet, showing us that brass well and truly has a place in prog-rock when done as well-balanced as that. And through their first set, there were some more touching moments between songs like Jennings encouraging everyone to do “heart hands” for their self-described “heavy metal love song” ‘Lovebite’. The band stayed remarkably relaxed and were clearly having a lot of fun as they finished up the first act, despite the several hulking cameras and microphones honing in on their every word and movement. A corner of your eye reminder that the night was being filmed in its entirety for DVD. After finishing the album with the light and bouncy ‘Eyes of Ebony’ Haken closed the first of their two sets on the insane sounding ‘Crystallised’, successfully amping the crowd up for the intermission before set two began. We were promised a swift return by Jennings getting ready to leave the stage, “we promised you an evening with Haken, and that's exactly what you're gonna get, this is just the end of part 1”. With the ‘Fauna’ playthrough a huge success, round two was a chance for the hits and crowd favourites. Launching into ‘Puzzle Box’ which got the crowd moving again Haken basked in the buzz of the audience and played through a nice spread of material from their previous releases. Picking a few songs off of each album to satisfy fans of all eras and tastes, they took the chance to show off the breadth of their chops. From the heavy and operatic ‘Drowning in the Flood’ from “The Mountain” to the faster and simpler ‘The Strain’ from the later album “Virus” - complete with drums and keyboard solo which added some depth to the performance. Part 2 of An Evening With: Haken left everyone very satisfied with the gargantuan musical feast they had just experienced. But two sets just weren’t enough for Haken or the fans as they came back on stage for the third and final time of the night, Haken brought the evening with them to a close with the delightfully dynamic epic that is ‘Visions’ before heading off stage to prepare for their European leg of this tour. Writer: Kayleigh Fryer Photographer: Kayleigh Fryer

Established in Blackpool, Boston Manor’s transition from pop punk to alternative rock has been a delight to watch, with their willingness to adapt in an ever-changing music landscape ensuring that every upcoming tour brings a unique experience. This is best exemplified by their latest release, ‘Sundiver,’ that has been placed firmly at the centre of their ongoing UK run as a result of its success. Boston Manor have found themselves playing some of their biggest headline shows to date alongside their compelling supports, Trophy Eyes and Split Chain. Both acts appeal to fans of the headliner due to their fierce interpretations of punk rock and dreamo. Trophy Eyes are reminiscent of the quintet's earlier work, whereas Split Chain draws inspiration from their more recent releases. Together, the involvement of both bands makes for a compelling lineup that is sure to satisfy fans of each of the headliner’s unique eras. Illuminated in fluorescent red, the night began as Split Chain took to the stage. They immediately called upon the crowd to open a mosh pit as the opening riffs of their set reverberated throughout the O2 Ritz. While several concertgoers swiftly answered their call to action, the vast majority of the crowd had been entranced by Split Chains intriguing blend of shoegaze, grunge, and nu metal. This came not only as a result of their creative songwriting but also their remarkable live mix. Thanks to the venue's bassy sound system, their riffs felt extra punchy, allowing the five piece to create the massive soundscapes that were largely responsible for enthralling the crowd. Despite this, Split Chain still managed to generate enough movement to warm up the masses, as they included songs of an appropriate BPM to bounce too and even managed to tempt a number of crowd surfers over the barrier, something that few opening bands are capable of. Up next were Trophy Eyes, who were immediately met with thunderous applause upon making their way to the stage. It's not surprising that Boston Manor and Trophy Eyes share a number of fans, considering that pop punk was the genre in which they launched their careers. It wasn’t long before the stage began to glow blue, and fans started launching their pints into the air while passionately chanting the lyrics to their latest single, ‘Enmore.’ Thanks to a well-crafted setlist, the mosh pits continued to swirl, but those closer to the back of the venue, a number of fans were transfixed on the stage, most likely due to their impressive musicianship. Their drummer, Blake Caruso, didn’t miss a beat, managing to play several complicated fills with precision. From start to finish, Trophy Eyes had complete command over the audience, with nearly the entire venue clapping in time with the beat. Following a final interlude, it was time for the evening's headliner to make their way to the stage. Appropriately, Boston Manor opened their set with ‘Datura (Dawn),’ the same song that opens their most recent record, "Sundiver." Before long, vocalist Henry Cox had been enveloped in a haze of yellow and orange light. One of several instances in which the show's live visuals aligned with the song's title. Following this genuinely intimate and captivating introduction, the rest of the band jumped into gear for their next song, 'Container.' In the opening moments of their show, Boston Manor had the crowd hanging on their every word, and there was a palpable sense of excitement for what was still to come. After opening the live show with two tracks from Sundiver, Boston Manor made sure to include a number of hit songs from their previous releases. ‘England’s Dreaming’ seemed to go down particularly well with members of the crowd screaming back the lyrics ‘bury me’ at every given opportunity. Once the five piece had paid homage to a few of the tracks that were responsible for their success, Cox announced that they were going to play the heaviest song that they had ever written, ‘Sliding Doors.’ Henry quickly demonstrated that he could scream just as well as he can sing, quickly leading to one of the largest mosh pits of the night. Around the midpoint of their set, the opening riffs to ‘liquid’ began to bounce around the walls of the Ritz. Much to the delight of fans, John Floreani of ‘Trophy Eyes’ joined Boston Manor on stage to perform his feature live. Witnessing this collaboration live seemed to be everyone's favourite moment of the show, with Boston Manor once again demonstrating their ability to align the show's visuals with their setlist. The decision to shroud the stage in blue felt fitting given how the song features lyrics about falling out to sea. After playing crowd-pleasers new and old, Boston Manor concluded their set with arguably their best-known song, Foxglove. From the first note to the last, the crowd didn’t miss a beat, belting out every word in time with Blackpool’s rising stars. Henry Cox informed the crowd that this would be their final chance to get involved, and he certainly wasn’t disappointed. Interestingly, Boston Manor chose not to include an encore, which is strange given that they have almost become an industry standard. However, this can be viewed as one final demonstration of their willingness to evolve, and it made the final moments of their show feel all the more authentic. Words: Josh Bicknell Photos: Leah Cox

In the small Manchester venue of Gorilla on a wet and rainy night, fans were lining up right down the road ever so patiently to make their way in. Not wanting to miss a single minute of the triad of punk awaiting them. This was the night that American alt artist Mothica was making her headline debut in the northwest city. Accompanied by her friends in glam band Starbenders, Leeds-based rising stars Artio, and hundreds of dedicated fans, this was going to be a show to remember on a night no one will forget. Opening the show was Artio; one of the most exciting acts coming out of the north right now. Still riding the high of releasing their most recent EP 'Babyface', they took the stage to give the crowd a great range of hits both old and new. Playing a style dubbed as "pronouncore", the audience were positively receptive to what the four-piece were putting out. With a fun and playful back-and-forth from frontperson Rae Brazill, joking with the crowd and egging on their dancing and jumping by comparing them to their previous London attendees. The rib-poking and leg-pulling worked a charm in the venue and Artio made their waves throughout the set successfully, and there's no doubt their listening numbers boosted from that night onwards. Following their warm-up was the second support of the night. A group who have been together for just over a decade, and are finally breaking through the UK scene across the pond from their native land. This very day just so happened to be the day Starbenders released their newest material since 2023: the brand new single 'Tokyo'. They were putting on a 40-minute party for the fans and non-fans alike in the venue room and everyone was moving, grooving, jumping and jamming. Bringing back the flashy fashion of 80s glam rock with the attitude to match, frontwoman Kimi Shelter was ruling the stage; with a tambourine in grasp instead of an iron fist, and powerful vocals in place of a holler. Once the set came to its end, the room erupted in an applause that's usually saved for the grandest of main acts. A telling foreshadow of what this small band's big future is certain to look like. Mothica took the stage in a flurry of red lights and emo vibes, opening with 'The Void' and 'Mirage'. For her first headline appearance in Manchester, one would've believed she was a seasoned performer of the city: every word was being sung back to her, and everyone was dancing and swaying along so comfortably and familiarly. Obviously as someone who has been making music since 2013, and has found herself international recognition from social media success, it seemed almost expected that Mothica would have such a dedicated following outside her United States home. This was solidified when some of her better known hits such as 'buzzkill' and 'VICES' caused an uproar in the most heartwarming way. Being a sensation on and off the stage has never been so evident. Mothica is someone who plants her tongue firmly in her cheek while telling stories of her lowest moments during her teenage life. Discussing drinking alcohol, taking drugs, and hanging out with grown men as an adolescent while trying to solve her depressive bouts, she does this while slipping in some comedic timings about what she had learnt throughout this time. She leads into the artistically emotional 'forever fifteen'; a song she wrote about her suicide attempt and surviving through it. From seeing friends holding hands with tearful friends, to partners comforting their lovers with warm wrapped arms, it was a song that resonated with everyone in the room in one way or another. It takes thoughtful genius and emotional maturity to convey such a strong evocation on a scale to this size, and the magic being worked is awe-inspiring. Not a dry eye in the house, as they say. As the show winds down to a close, the moth-inspired musician pulled a move that can only be described as unexpected. After a range of promoting her original discography, she closed the night with a heavy rock rendition of Smash Mouth's 'All Star', bathed in bright green lighting in homage to its Shrek-based origins. Being her first UK headline tour, let this be the first of many and the first Manchester show of many more. Words: Jo Cosgrove Photos: Ciara Wilkinson

It was a tumultuous build up to the sophomore edition of Misery Loves Company this year; a festival that had, up until a few weeks ago, promised a day packed with twenty-four bands spread across 4 stages at 3 of Bristol’s finest inner city venues. For reasons still unknown this got drastically scaled back to just the 4 acts performing at SWX on Saturday night- and although truly gutted not to be able to see the full original line up- as the saying goes, the show must go on and if there is one thing that you can be certain of, no matter what, the Bristol alternative scene will always turn up. First on the bill are Nottingham based sisters (Nyrobi & Chaya) ALT BLK ERA. With an almost ethereal presence, floating across the stage like horror shop mannequins before assaulting those assembled with an uplifting wall of sound, melding elements of rock, rap, trap drum and bass, alt-dark pop and electronica into a genre bending sound that just works. Despite, or maybe because they are siblings, the sisters sublimely play off of each other on stage; Nyrobi is brash and in your face, delivering the majority of the rap styled vocals, whilst Chaya is more reserved yet has a steely commanding presence; acting as almost yin and yang to each other both girls harmonise their voices together magnificently. During the set they mentioned that they use songwriting as a way to help process the emotions surrounding Nyrobi’s chronic illness. Writing songs together since 2022, ALT BLK ERA’s debut album, Rave Immortal, is due for release early 2025. Tonight's show included an outing of soon to be released single ‘Come On Outside’, alongside crowd favourite ‘Straight To Heart’ and the boppy recent release ‘My Drummer's Girlfriend’. The set was rounded off with another sneak peak from the upcoming album ‘Come Fight Me For It’ which saw the middle fingers of the assembled masses raised high. Nottingham were well represented on tonight’s bill, with independent pop punk powerhouses As December Falls taking to the stage next. What followed was a flurry of high kicks, hair flicks, guitar spins and all round immaculate vibes. The largest circle pit of the night was witnessed during the aptly named ‘Carousel’ with ‘Ride’ seeing the first crowd surfers of the evening. With the twin riffs of Ande and Tim coupled with the uplifting vocals from Beth, you cannot help but have a good time at an As December Falls gig, no one agrees more than drummer Lukas who, although relegates to the darkest corner of the stage, has a constant smile on his face the entire set. If you happen to be seeing one of tonight's headliners on tour next year (but more on them later), you’ll have the chance to see As December Falls in support. The first of the co-headliners are Watford based quartet The Hunna. Their set was a swell of energy that saw the crowd at their most raucous. Before long mic stands were knocked over, t-shirts were off, bass drums were abused as organised mayhem broke out on stage, all coming to a crescendo with the hyper energetic live version of ‘Can’t Break What’s Broken’. In a change of pace from the majority of the set, a highlight had to be shortly after the opening chords to ‘She’s Casual’ rang out, the crowd took over and sang every word, with beans on, for the entire first verse. I have to say that I hadn’t given The Hunna much notice prior to tonight, but I will most definitely be taking a deep dive and searching them out for another show in the hopefully not too distant future. Many may recognise the second co-headliner as one half of ADHD social media awareness duo Rich & Rox; bringing the proceedings to an end as her onstage persona, the recently crowned breakthrough act at this year's Heavy Music Awards, RØRY. Emerging onto stage with what I think was some sort of Face-Hugger from Alien on her back it was clear that RØRY had a lot of fans crammed into SWX. As we all know RØRY has ADHD, this often leads to some over sharing as she admitted that her partner Rich had to run to the local Tescos to grab a disposable razor as she’d forgotten to shave her bikini line despite opting for some very short shorts on stage. RØRY will be heading out on a headline tour in 2025 and will be dragging the peeps from As December Falls along for the ride. RØRY acknowledges that of the 10 songs on her upcoming debut album Restoration, 9 of them are sad, a reflection of her piecing her life back together over her current 6 year journey of sobriety, exploring amongst other things, her bisexuality, the loss of her mother and her own failed attempt at suicide all sprinkled with a little bit of gallows humour. During one interlude she was able to help two fans, Kaitlyn and Becky make their relationship official, “but as I’ve got no songs about love, so here's another sad one”; queue phone lights in the air and ‘Jesus & John Lennon’. Pushing home the message to “not stop yourself from doing anything because you don't think you’re good enough”, using her own experiences as a case study that if you “just try the thing you don’t know where it will take you”, as a nearly 40 year old (happy birthday for this Friday by the way) who she thought the record industry wouldn’t give a chance RØRY is now winning awards, embarking on her own headline tour, releasing her debut album on her own record label (SADCØRE) and even being able to witness her first ever moshpit at one of her gigs (good work Bristol). Summing all of that up and bringing the night to a close, the Bristol crowd was treated to a first play of the new single ‘Sorry I’m Late’. Despite the hiccups in the build up, what was able to be put on Saturday night was a solid show, that I for one thoroughly enjoyed. Hopefully whatever issues caused this year's edition to be scaled back so much at such a late stage can be worked out in time for next year and the festival can return in 2025 at full strength; it would be a huge shame if this was the last time that we saw Misery Loves Company in Bristol. Words and photos: Simon Arinze Despite the hiccups in the build up, what was able to be put on Saturday night was a solid show, that I for one thoroughly enjoyed. Hopefully whatever issues caused this year's edition to be scaled back so much at such a late stage can be worked out in time for next year and the festival can return in 2025 at full strength; it would be a huge shame if this was the last time that we saw Misery Loves Company in Bristol. Words: Simon Arinze Photos: Simon Arinze

Lowen’s 'Do Not Go to War with the Demons of Mazandaran' stands as a profound blend of progressive doom metal and Persian mythology. The six-track album not only offers a musical journey through rich, atmospheric soundscapes but also carries a powerful social message that speaks directly to the ongoing struggles of women in Iran, tying into the Woman, Life, Freedom movement. The band’s willingness to tackle heavy subject matter through both music and narrative sets this release apart from more conventional metal albums. At the heart of the album are tracks like 'Corruption on Earth' and 'Waging War Against God', which boldly criticise the death sentences imposed on women protesting against the Islamic Republic of Iran. These songs reflect the bravery and defiance of women who are fighting for their rights and lives, adding a layer of political and cultural relevance that is deeply intertwined with the music. The album resonates as both a progressive journey and a protest, unafraid to address contemporary issues through a mythological lens. Lowen’s fusion of heavy, doom-laden riffs with Middle Eastern influences creates an atmosphere that feels both ancient and modern. While the genre itself can lean toward a slower side of metal, 'Do Not Go to War with the Demons of Mazandaran' is a dynamic record that shifts between soaring, epic moments and brooding, weighty doom sections. The band creates a carefully balanced soundscape, with atmospheric elements that build tension and allow for release in equal measure. The combination of low-end guitar riffs and intricate melodies works to transport the listener into the album’s mythological world while never straying from its metal roots. Vocalist Nina Saeidi’s performance is one of the standout elements of the record. Singing in both English and Persian, Saeidi’s powerful, multilingual delivery serves as the album’s emotional core. Her ability to seamlessly shift between languages adds a level of authenticity and depth to the band’s narrative. The blend of harsh, almost guttural vocals with moments of delicate, clean singing creates a layered and nuanced vocal performance that complements the complex instrumentation beneath. Tracks like 'May Your Ghost Drink Pure Water' and the closing song 'Ghazal For The Embrace Of Fire' showcase Lowen’s heavier side, where the riffs are at their most ferocious and the semi-blast beats drive the songs forward with a boiling intensity. These songs in particular highlight the band’s ability to blend aggression with a sense of grand scale. The intensity of these tracks contrasts sharply with the more atmospheric and melodic sections of the album, showing off the band’s versatility. 'The Seed That Dreamed of Its Own Creation' is a thought-provoking track that delves into themes of existence, self-awareness, and the interconnectedness of life. Musically, it features a blend of haunting melodies and heavy riffs, creating a dynamic atmosphere that reflects the philosophical undertones of the lyrics. The track encapsulates everything within Lowen’s signature style, combining progressive doom elements with a narrative depth that invites listeners to reflect on their own journeys of creation and purpose. Vocalist Nina Saeidi explains that the track 'Najang Bah Divhayeh Mazandaram' is a warning that serves as a pivotal point in the myth of Mazandaran, a realm in Persian mythology filled with djinn and wealth. Translated, the warning is ‘Do not go to war with the demons of Mazandaran’, the album title. This phrase warns King Kay Kavus against his ill-fated conquest. The song weaves these mythological themes into Lowen's progressive fusion of doom metal and Iranian music, enhancing the narrative with a modern poetic twist. At its core, this album is more than just a collection of songs, it is a statement. Lowen has crafted a piece of art that transcends genre boundaries and speaks to both personal and political struggles. 'Do Not Go to War...' succeeds in offering listeners a deeply immersive experience that is made up of equal parts sonic and emotional. In a year that is already filled with notable metal releases, 'Do Not Go to War with the Demons of Mazandaran' still manages to stand out not only for its innovative sound but also for its courage in addressing difficult, real-world issues. We believe this album is a bold and significant contribution to the metal scene and is a must-listen - not only for fans of progressive metal, but for anyone looking for music with depth, substance, and emotional power. Words: Vee Richardson Photos: Lowen

New York's Drug Church write music that just sounds like them. They are clearly very proud of the fact too, aiming to polish a familiar sound rather than pull some surprises out of the bag. PRUDE is an album with a distinctly cohesive feel to it, the product of a band who really understands their craft. Saying that, however, might incorrectly create the impression that this album is same-y - each of the 10 tracks has a well-defined personality and offers something new. At only 28 minutes in runtime, PRUDE is easily digestible, but an album that leaves you full and satisfied. 'Mad Care' tricks you at first, with a slow, 20-second guitar drone to open the track. It’s not long before you’re dunked straight into the deep end of full-throttle punk. The song is fast-paced and desperate, opening the album’s themes of bad choices and owning up to yourself. Vocalist Patrick Klindon’s lyrics here are blunt and unforgiving, and his brutal delivery might make you want to hang your head in shame if you weren’t headbanging. There are a couple songs that bring out Drug Church’s melodic side, with “Myopic” being one of them. It’s a song that begs you to reminisce on past mistreatment, the gift of hindsight’s glasses bringing it “all to focus”. 'Myopic', along with 'Hey Listen', work to provide PRUDE with a fine seasoning of midwest emo, through beautiful tuneful guitar melodies undercutting gruff, heartfelt vocals. The sound is confident and assertive, never dropping for a second. The lead single, 'Demolition Man', defends a well-established knack from the band for really evocative and vivid lyrics, using extended animal metaphors throughout to convey that mankind is just downright boring by comparison. It’s true - you wouldn’t catch a border collie wasting its days away in a call centre. Could you imagine fitting that tail into an office chair? The track screams of a frustration for everyday humdrum life, calling human nature into question, as if we could be so stupid as a species to fall victim to capitalism’s siren call. It’s a mundanity that we’re entrapped in just for something to do, Drug Church says, to the tune of heavy drums and a constant looping guitar riff towards the end. Thematic, one might argue. What the band does really well is marry together thick, heavy chords with a pleasing and well-timed guitar overlay. There’s somewhat of a motif, heard in 'Myopic' and 'Slide 2 Me', of guitar tones that careen over the tracks, knowing exactly where to start and end to maximise the punches they add. It speaks of a band pushing out tracks like this for over ten years, eager to refine their sound rather than to revolutionise it. Sonically, the album really does have moments of being beautiful - the tones in 'Chow' are just lovely. It lifts the album as a whole to have moments of thunderous hardcore, as well as moments such as with 'Chow' where the band’s message is conveyed a little softer and more sincere in comparison. A potentially divisive theme underpins this track: don’t pretend that you’re right all the time, and that you’re void of criticism. It’s an appeal from the band for listeners to just be authentic, because everything ages badly. The track ends with a plea: “keep your circle small, it’s how you rescue yourself”. The final two songs come as somewhat of a duo, outlining the last scenario in the album and resolving the feelings that have come with it. 'Yankee Trails' is a painfully detailed account of a friend’s struggle to kick a drug habit, taking them across the USA in that pursuit. The song lays the band’s hearts out bare on the table - and in lyrics so raw and open, sometimes it’s easy for melody and instrumentals to take a backseat. They, however, entirely hold their own, elevating the sore frankness of the lyrics to an anthem. 'Peer Review' acts as somewhat of a solvent for the emotions PRUDE has laid bare. It really demonstrates a maturity in all of these complicated feelings, with the line: “You can’t feel superior to the people you’re in it with: these are your peers, man, you’ve just gotta deal with it”. Drug Church’s lyricism is at a peak here: immediately accessible and candid, yet poetic and pointed with each word seeming specifically chosen. 'PRUDE' is most certainly an album worth listening to, and in fact is also an album that's well worth revisiting. It offers so much in every direction: the vocals, instrumentals, pure cathartic emotion, and prompts some serious introspection in its well-trodden but well-articulated themes. It’s not all deep and self-consumed, either, Drug Church have clearly had fun with this album, and it rings through upon listening. 'PRUDE' will be released on October 4th by Pure Noise Records. Words: Erin Strom Photo: Manuel Barajas

It's not often a three-band lineup can deliver pure fun with every act, and it's not often a Monday night gig has such a high-energy crowd. More importantly, it's not often that heavy metal is allowed to be silly—in the best way possible You already know the crowd will be on top form when you overhear someone outside the venue say, "Can't wait to hit the Macarena in the pit." This playful energy sticks with the audience all night. The first band to hit the stage is Street Soldier, hailing from Yorkshire. Whilst the best way to describe them is, 'imagine Limp Bizkit as a hardcore band from the North', their short set was packed with high-intensity metal. The pit opened as soon as they started playing, with spin kicks already in full swing. Street Soldier knew how to work the crowd, from constantly encouraging the pit to showcasing great chemistry on stage. One highlight was watching their drummer run into the crowd to hype up the pit, then sprinting back on stage to keep playing. The perfect way to kick off an evening of fun, energetic metal. Next on stage was Pintglass. It was clear they were a firm favorite with the crowd, as their fans proudly wore the official hi-vis vests. Pintglass stand out in the metal scene with two vocalists on stage, both of whom get their time to shine and work brilliantly off each other. Instead of offering two distinct vocal styles, they focus on keeping the energy consistently high by collaborating throughout the performance. The crowd goes wild for every song, with circle pits moving faster than you’ll likely ever see. The band's personality is best captured by their on-stage banter, centered around the concept that they're are on shift at a construction job. Their conversations are full of workplace-style banter, adding to the fun. One highlight was watching the drummer get angry, only to be calmed down by the crowd singing "Wonderwall"—a perfect example of why they're such a joy to see live. The band was in top form, nailing every note of their nastiest riffs while pulling off equally impressive dance moves. Two-stepping while shredding is no easy feat! Pintglass are clearly already favorites in the scene, but it wouldn’t be surprising to see them headlining venues of this size in the future. Headlining the evening are Scottish slam legends Party Cannon. Best known as one of the silliest bands in the genre, their set is pure fun from start to finish. As soon as they hit the stage, they're accompanied by their mascot for the evening—a guy wearing a giant papier-mâché skull with a party hat. From the first notes, you’re surrounded by sheer metal joy, with everyone in the pit pulling off insane moves, from cartwheels to lightning-fast two-stepping. The band’s mascot holds up a variety of cardboard signs to complement the excellent playing, the most iconic being a giant thought bubble reading “My IQ Hurts.” Balloons and beach balls are tossed into the pit, quickly getting flung around the entire venue. The crowd receives every song with the same enthusiasm, and the band works them into a frenzy. No one in the venue is standing still—everyone goes wild for every track. Party Cannon is known for their interesting audio choices for song intros, often using clips from comedy movies and TV shows. The most famous intro is for their song “Duct Taped to a Flag Pole,” taken from the movie Superbad. As this second-to-last song played, the crowd erupted when they heard the iconic line, “old enough to party,” over the venue speakers, knowing it was time to go all out. The night ended with Party Cannon’s traditional “press-up pit,” where the band encourages the crowd to do push-ups in the pit. For a group that might be seen as a gimmicky joke band, they have the songs and talent to back up their silliness. Every member excels at their instrument and knows how to have a good time. Party Cannon are legends for a reason—they make sure everyone at their gigs has fun. Words: Will Freeman Photos: Ellie Jones

Put on your dancing boots and get ready to rock, The Native Howl is coming out with their genre-bending album 'Sons of Destruction' on October 4th. You may know this Michigan-based quartet from their win in season 1 of the TV series 'No Cover', but they’re now signed with Sumerian Records and ready for more. In this 11 track LP, they're here to show us what their own style, which they've coined as 'thrash grass', is all about. We've had a good listen and trust us, you won’t want to miss this. As if it was looking for a specific genre on an old radio or killing time during a night plagued by insomnia, we come in to changing channels in the start of the first song 'Can’t Sleep'. That is, until we start hearing a catchy melody start to break through the white noise. In no time at all, we’re swiped away in an bluegrass-fuelled fever dream. The explosive banjo start feels like a celebration we’ve been invited to, with the band losing no time inviting the listener into their universe. What is remarkable with this song is how strong all the different instruments are, each having a moment to show unexpected ways to play and merge together. We can quickly feel that everyone’s skill is put forward from the start and comes together to complement one another. We transition into “Mercy” featuring the wonderful and well-known vocals of Lzzy Hale, from the band Halestorm. Unexpectedly, this comes as the perfect definition of 'thrash grass', and masterfully incorporates a heavy metal aspect befitting to their guest. It's blues, it's jazz, it has a high lonesome sound but also rapid tempo and melody changes. It brings all the best raw and gritty elements of thrash as well, to make something wholly new and enjoyable. The middle of the album, and most notably 'B.O.G', 'Sons of Destruction' and 'Waco', create the atmosphere you'd find in an outlaw film's soundtrack, which is explicitly mentioned by the band, and work together to build a strong identity and sense of coherence throughout the record. They display strong and well-measured guitar riffs that once again complement other instruments rather than overtaking them. We also get the opportunity to see more of Alex Holycross’ vocal range with great build ups amongst some deeper, heavier parts. 'No True Scotsman' also piques interest as it seems to evoke the origins of bluegrass - which has its roots in traditional English, Scottish and Irish ballads and dance tunes, while still incorporating blues and jazz. The Native Howl honours genres while mixing them all into their unique sound, spinning it out to play those same instruments heavier and at a speed that evokes the finest of thrash. The piece ends up brilliantly marrying something old and something new, whilst surprising us by highlighting what becomes almost a full-on a cappella singing part. As we get towards the end of the album, we explore songs such as 'In Death' which has a beautiful ballad start that carries out throughout the song, and 'Stockholme Syndrome' that puts a heavy emphasis on melodic elements whilst exploring the dark sides of the human condition. 'Wide is the River' is a beautifully natural song, evoking the wilderness, and brings us back to our roots as fundamentally organic, natural beings. Contrary to their appearance on 'No Covers', the band have chosen to include one in this album and the penultimate song ends up being their single version of the traditional American folk song 'God's Gonna Cut You Down', most notably performed by Johnny Cash on his posthumous album 'American V: A Hundred Highways'. It's delivered in a noticeably lower register compared to the other songs here, in what could be an homage to Cash's brooding style of singing that he was so well-regarded for. They bring a new spin to this timeless classic, but still leave it with plenty of its original character. We arrive at the end of the adventure with the last track 'Devil I've Become'. It begins with an acoustic start, a smooth transition from the previous song. However, the tempo accelerates in the middle of the song and brings back the pace of the first few songs, in a cyclical manner that is intensely satisfying. It gives us the last chapter of the development of the albums own character, meeting us where we started but at the end of a whole journey. An excellent release that creates a familiar yet wholly unknown universe, carrying a Rob Zombie’s “Devil’s Rejects” movie soundtrack feel. It is an album of beautifully organised chaos, and is a true celebration of life in both its light and its darkness. The only thing you can be sure of is that 'Sons of Destruction' will keep you on your toes, not only at every song but at every note. 'Sons of Destruction' will be released on October 4th via Sumerian Records. Words: Lysandre Pons Photos: The Native Howl

When talking about music and football, the homogenised view would likely be that of the Stone Island swagger of Oasis. The current perception would have you believe this is the only band that has ever been played on the coaches to away ends up and down the UK, but the truth is miles away from that. Two-tone ska was the original soundtrack to the football casual, which contrasts dramatically with many peoples ideas of the inclusivity of seventies and eighties football. Following the post-war influx of Commonwealth migrants into the rubble of a bombed-out Britain, a huge cultural clash was bound to occur. Racism was sadly alive and well within politics and society, but music and sport offered a solace. The genre of ska that blossomed in Britain in the golden era of English football was two-tone, which, like its birthplace of the West Midlands, was a mixture of origins and cultures. The working-class rock music of Britain combining with the ska, reggae and rocksteady from Caribbean immigrants was a solid formation for success. The music reflected a working class look at British decline and the prelude to Thatcher’s authoritarianism. The things that inspired bands like The Selector and the Specials resonated with the casual football fan who'd be found causing trouble outside every away end they visited. "Government leaving the youth on the shelf" - Ghost Town, The Specials The hooligan or firm scene was like any alternative scene or subsect of a community: it had a uniform, a style and a sense of unifying estrangement from society. These blokes would most often be found wearing designer European brands like Lacoste, and deliberately dressed sharply to separate themselves from the ‘shirters’, the supporters in replica shirts, who also attended each game. This was slightly different to just going to the football, where you might be able to take or leave the result. This was a full-time love affair with the clothes, the music, the violence and tribalism. It defined you, gave you a sense of identity and community, in a similar way to how punk provided a solace for the 'outcasts' of the late 70's and early 80's. What is possibly more noticeable is that this is actually a subgenre of a subculture. For ska specifically, it was relatively rocking around the West Midlands, where the music represented even more tribalism to boast about. This was a class development as much as it was a regional element. The ska-listening football hard men’s demographic was similar to those joining punk or ska bands. So, when songs like 'Ghost Town' or 'Rat Race' came out, they were hearing their own thoughts from these stylish big-name performers, which is exactly why Oasis resonated so much in the 90's, and still do to this day. The football scene and ska was a way of escaping Britain’s grey dreariness in build-up and early years of Thatcherism. "Just another day, with that endless grey drone" - Three Minute Hero, The Selector Being a football fan in one of these firms was glamourous, exploring the country and maybe even Europe, not only wearing the brands you’d only seen tennis players on television wear but also being seen as a social pariah, you stood out like a punk on the street and middle England raised an eyebrow at you in public. If you wear a Lacoste polo and a Fred Perry tartan jacket today, it's not a million miles off of the two-tone rude boy look. You looked different to the other people around you, both in the street and in the stands, and everyone made quick prejudicial decisions against you in the same way they would for punks then or mods before them - it was as if Ska was destined for the early years of the football casual scene. At this time, England was seeing the first full generation of black players, like Laurie Cunningham, and thus seeing its first proper set of black football fans. In the Midlands, some black fans were accepted into clubs casual scenes, and no better example could be found than the Birmingham City Zulus. The name came from racist chanting by Manchester City fans at Birmingham’s multicultural away following, but the name stuck after several altercations where black Birmingham fans fought bravely side-by-side with the multitudes of white men who otherwise may have seen them in the same racist light. Birmingham wasn’t alone in having black fans - clubs like Coventry City, Ipswich Town and West Bromwich Albion all had a diverse fanbase with their music choice representing just that. Not everyone was as welcoming as the Zulus to non-white members though, with Leeds United and Chelsea being infamous for their fans' racism at this time. This led to crowd trouble when these sides played at St. Andrews or Coventry City’s Highfield Road, as black football fans were rightfully hurt by the neo-Nazi culture these clubs had adopted instead of ska. Ska was a subculture of a subculture, an alternative to the usual less-accepting football fandom. "Policeman comes and smacks me in the teeth, I don’t complain, it's not my function" - Do Nothing, The Specials The music fitted the mentality. It was not too alternative, it felt masculine, you didn’t have to dance or wear make-up. The fast beat meant you could just bob about to it or “have a fight to that type of music” as one former hooligan put it on the Real Football Factory documentary. Violence was far more commonplace at this time, both at football matches and at gigs, and sadly so was police brutality. The black community were regularly over-policed in Britain, and the firm hand of the law was never too far from the back of a football casual's head. Ska once again gave a voice to this in a way other genres music often failed to do. Ska and football became a merging off-shoot of both football hooliganism and music fans, a relative Venn diagram moment that has left a mark on football. Its heyday may well have long since passed, but ska still holds a place in football. In the 2021-2022 season, Coventry City’s third shirt was hailed as a classic, using two tone designs with a nod to the iconic ska look of suspenders. On my last trip to St. Andrews, UB40's 'Food For Thought' reverberated round the venue, and all around that historic ground heads nodded as if it were any low-ceiling packed club back in the late seventies or early eighties. On a more official level, the pre-match anthem of West Bromwich Albion remains 'Liquidator' by the Harry J Allstars. It's amazing how one song can take someone to the calm Caribbean, as the song was intended, and simultaneously can transport another to those heated moments before kick-off, into that fever pitch of expectation and tribalism. In the two-tone heartland of the West Midlands, ska is as much a part of football as a last minute winner or yelling at the referee for any decision that doesn't go your way. The drums and saxophone soundtracked as many incredible moments on the pitch as it did violent moments off it, and will forever be intrinsically linked to football. Words: Dominic Allin Cover Photo: Dominic Allin

Dublin’s favourite two piece band Bicurious are back and better than ever with their new album ‘Your Life is Over Now…’. The Irish alternative/post-rock duo originally formed in 2016, releasing their fan-funded debut singles ‘Sugar Beats’ and ‘T.O.I’ just one year later in 2017 and have since accrued a devoted following in the rock community. The band consists of Taran Plouzane on guitar and vocals, Gavin Purcell on drums, and their undeniable chemistry prevails in every song and show. ‘re(constructed)’, their first album released in 2021, had a large focus on melody and rhythm, differing from this new release where we can experience the potentials of Plouzane’s voice. Drawing influence from Biffy Clyro and Reuben, it is clear to see where they got their lyrical inspiration from - and we will forever be grateful that they did. Whether it be their constant demonstrated appreciation for fans or their unique sound, they always prove to garner interest in the European rock scene. The album starts with the song ‘Coming Around’ setting the tone for the music to come- the math-rock riff, post-rock verses and punk-like vocals mesh together perfectly to make a hopeful tune about the importance of family, something particularly important in their fanbase. The song is very reminiscent of post-rock 90s songs that you would hear walking past a skate park or from the intro to an early 2000s coming of age movie. This nostalgia continues throughout the album and represents a sound that so many of us love hearing. The vulnerability surrounding the theme is also always excellent to see in the rock scene, and pairs so well with the next song on their track list titled ‘Gutless’, which adopts a slightly grungier sound compared to the previous track. As we get further into the listening experience, we encounter ‘Magic Marker’, the fourth song on the album. This is softer than the previous songs in terms of vocals and appears to place more of a focus on lyrics. The song demonstrates their wide range in genre as they embrace a sound that's similar to Midwest emo- a refreshing change that still fits the flow of the album. Moving further through, the seventh song on the album titled ‘Mr Big Time Manager’ acts as an interlude for the album and features a voice clip of a man talking about keys. This brief but comical piece acts as a short break from the loud and bouncy noises that we've previously encountered in the album. It also calls reference to the political voices the duo included in their debut album and previous singles, as well as giving the album even more personality, proving that the band never lost their own artistic voice and still have plenty of vision for each one of their songs. Once our brief break comes to an end, we are reintroduced to the world loud drums and sliding riffs via track eight ‘Blind’ - with a harmonious mix of bouncy strings and heavy hitting that you can’t help but headbang to. Maybe it’s the mental reset we get before the track starts, but it definitely shines as one of the album’s strongest songs and will simply not budge from being played on repeat. The album closes with the eleventh track ‘Crumbled’. The song starts with quite a sombre and soft tune, much like 'Magic Marker', and we are lulled into a false sense of calmness before the drums build and the vocals drop. Suddenly, it feels like we have finished a journey with the band through comedic voice clips, melancholy guitar riffs and family theming, and it’s beautiful. It feels like the perfect song to close with as it utilises and consists of everything that makes Bicurious the band it is. It allows Plouzane to show off his vocal range with Purcell composing a heavy yet freeing drum score for the final song that will remind you just why you love post-rock music. There is absolutely no doubt that ‘Your Life is Over Now…’ will hold a unique and sought-after place in the European rock scene, with enough on their for anyone to find at least one song to enjoy. Bicurious know who they are and they know what direction they want to go in, which is admirable and inspiring at the least - it’s incredibly hard once you start listening to them to not become a fan, so once they become a staple on your playlists you'll be as excited as we are for whatever they plan on doing in the future. You can catch Bicurious on tour across the UK from the 15th of October to the 23rd of November. ‘Your Life is Over Now…’ will be released on October 4th via Big Scary Monsters Records. Words: Jess Leadbeater Photos: Bicurious

Godspeed You! Black Emperor should need absolutely no introduction. Since the releases of their ambitious debut ‘F# A# ∞’ in 1997, and even more so since their magnum opus ‘Lift Your Skinny Fists Like Antennas to Heaven’ was unveiled at the turn of the millennium, the group have garnered nothing but praise for their lengthy arrangements and beautiful instrumental layering, as well as for the sheer emotiveness of their music. Proudly displaying and sharing anarchist ideas and books at their live shows, none of the band’s lineups have ever shied away from political commentary, instead always striving to connect their abstract works to the real world. The group’s latest album, ‘NO TITLE AS OF 13 FEBRUARY 2024, 28,340 DEAD,’ is a clearly indication that this mission has remained: the title contains the death toll in Palestine as of the given date, for one. Clearly, Godspeed are continuing to make music with meaning, even if the music itself hasn’t changed all too much. Perhaps the most beloved aspect of Godspeed’s discography is how the band have, time and time again, captured moods and atmospheres so distinctly, whether it be the hopeful crescendo of ‘Storm’ or the resigned despair of ‘The Dead Flag Blues.’ As one might expect, the group’s newest album is no less emotionally charged, with the promotional text stating ‘War is coming. Don’t give up. Pick a side. Hang on. Love.’ The project’s more ethereal, inspiring moments shine through as strongly as ever - the pleasant melodic lines of ‘SUN IS A HOLE SUN IS VAPORS,’ the beautifully romantic violins of ‘RAINDROPS CAST IN LEAD’ and the heavenly closer ‘GREY RUBBLE - GREEN SHOOTS’ are all gorgeous in their own ways - but it’s in the more despairing, hopeless moments that ‘NO TITLE AS OF 13 FEBRUARY 2024, 28,340 DEAD’ really shines. ‘BABYS IN A THUNDERCLOUD’ continues to build and build for the first seven minutes, reaching a momentous climax with an ambiguous emotion to it. When the track falls away to an isolated guitar and haunting strings, however, it plunges the song into an almost claustrophobically dismal atmosphere. This feeling is only expanded upon on ‘BROKEN SPIRAL AT DEAD KAPITAL’ and ‘PALE SPECTATOR TAKES PHOTOGRAPHERS,’ which were originally the first two parts of a longer track entitled ‘Flames.’ Combining ominous, droning bass notes with grumbling guitars and unsettling electronic sounds, the album is taken to its most terrifying of heights, where the vertigo is almost unbearable. The album is similarly wonderful musically, exploring its rising and falling emotional changes via shifting instrumentation. Many of the record’s quieter moments are filled with ambient sounds and distorted samples, blending spoken word and thunderclaps into the palate. These often fade away into more natural instrumentation, and what a lovely display it is: Godspeed fuse the distorted guitars and bass of a noise rock band with the swelling percussion and gentle strings of a pit orchestra, creating a truly intoxicating listen. The simple but effective melodies of ‘SUN IS A HOLE SUN IS VAPORS’ set up the album’s sonic palate beautifully, while the hopeful top line of ‘BABYS IN A THUNDERCLOUD’ contrasts the dark underscoring superbly. It must be said, however, that none of this is new for Godspeed You! Black Emperor, and many of these elements have been explored much more thoroughly and effectively throughout the band’s discography. While the album’s crescendos are often very satisfying and well-earned, they feel almost muted and withheld compared to the likes of ‘Storm,’ for example, and the LP’s orchestral offerings have arguably grown a little safe, so late in Godspeed’s career. Even if you had never heard any of the group’s previous output, we’d wager that the feeling would still linger that many of the album’s best ideas and moments could be taken much further— if a listener did feel this way, they would be delighted in checking out Godspeed’s first few records. ‘NO TITLE AS OF 13 FEBRUARY 2024, 28,340 DEAD’ continues Godspeed’s tradition of emotional, heartfelt projects that unfortunately lie in the shadow of the group’s momentous releases. Drawing on the tragedy and melancholy of modern times, the album is, no doubt, a genuine and wonderful listen, sporting enough sweeping instrumental progressions and ambient magic to satisfy even the most stone-faced of post-rock fans. It may be nothing new for the band, but it hardly needs to be: the record’s ability to capture today’s pervading sense of hopelessness is proof enough of its success. ‘NO TITLE AS OF 13 FEBRUARY 2024, 28,340 DEAD’ will be released on October 4th via Constellation Records. Words: Jay Kirby Photo: Yannick Grandmont