The time has come to rise! After five long years, the Italian legends Lacuna Coil are opening the gates to their new pocket world, 'Sleepless Empire'. The concept for the release emerged during the sessions for 'Comalies XX' (2022), recorded in northern Italy between Milano, the members’ hometown, and Como, at SPVN Studios. Production was once again handled by Marco 'Maki' Coti Zelati, and the artwork was thoughtfully created by Italian artist Roberto Toderico, as with their previous albums and ensuring a sense of continuity. A descendant of 2019’s 'Black Anima', this new opus marks their 10th studio album and, according to the band, it “captures, through our eyes, the chaos of a generation trapped in a digital world that never stops, where social media consumes identity and every day pushes us one step closer to becoming soulless zombies”. We embark on this 11 track journey with 'The Siege'. There is no time to lose, we are dropped in the midst of the action with a mix of siren song and battle cry from Cristina Scabbia. This distant call to arms is but the prelude to a heavy breakdown straight off the bat, with black metal-worthy vocals from Andrea Ferro. The power of the song also lies in the mix and relay of the singers' voices. Scabbia taking over again and defying the odds, whilst Ferro’s lyrics mention him having his back against the wall. They empower each other both each other and the listener to fight, and not only that but they are setting the scene of their new universe. The high attack and projection of the drums only increases with time, making it feel like an attack itself. From the get-go, there is an impressive Dave Lombardo style to Richard Meiz’s drums that implores to either start a fight - or end it. No rest for the wicked, we jump straight into the first single off the album: 'Oxygen'. It confirms that we should always expect the unexpected with Lacuna Coil, starting with a punk like scream that would be much more expected from a band like Yonaka. The fascinating mixing of old and new elements comes through with pure power, mixing steamrolling riffs, melodic singing in the chorus, and punk aspects throughout all of it. The individual notes feel dragged and stretched, like fighting underwater to find the surface again, which all comes to life in the music video. Cristina Scabbia commented that “'Oxygen' is a powerful exploration of emotional struggle and inner conflict. The lyrics convey a sense of drowning in a toxic environment, both literally (in the video) and metaphorically, where attempts at salvation, represented by “oxygen” are somehow futile. This song encapsulates the feeling of struggling to break free from what holds us down, when the journey is filled with difficulty. It’s a raw anthem of vulnerability, resilience, and the courage to face what seems insurmountable. Having to stay in the water for so many hours during the video shoot was cathartic for me, the realisation that the pleasant sensation of floating could in an instant become dangerous and deadly if I wasn’t careful was very fitting with the song’s theme.” The band also shares that “throughout every song, the journey is an undercurrent of rebellion, a desperate cry to reclaim oneself in an era that seems to have lost its sense of time and reality.” This is especially notable in the next song, entitled 'Scarecrow'. Its goth opening still brings a twist with a very rave and new wave feel before the gut punch start. They transport us to the 90s, to a fight against cultural norms and expectations. It is noticeably darker and hypnotic, with the vocal fry towards the end brings an industrial feel, with a sense of familiarity replete. This gothic style which we know Lacuna Coil for continues in 'Gravity', through its ominous orchestration and Latin chanting. We seem to have stepped into a monastery and interrupted a ceremony, a ritual. The electronic dissonance in the piece also brings a new wave feel to the intro and the pre-chorus breakdown, connecting with the previous song and reappearing at different points throughout. Feeling like a twist on their first work, the chorus is bound to summon crowds. We reach a strained end with a strings outro that leads us calmly into the next song. The symphonic flourishes lead into 'I Wish You Were Dead'. Its lyrical singing is brought forward, putting all instruments on the back burner with an incredible mix that lets the two singers voices echo out. This track is a reminder of the band’s powerful performances, it is extremely catchy and tells you how perfectly it would translate live. It may be the the record’s shortest track, but its anthemic quality will make you want to play it again and again the moment it stops. We reach the first of the two features on the album. 'Hosting The Shadow' brings none other than Lamb of God’s frontman Randy Blythe. Forming an alliance with Scabbia’s power stance, they've created a dark but intense statement piece in the pairing between the two vocal heavyweights. The band goes to talk of it as “a trip through light and dark, where silence reveals its hidden secrets. Obscure moments can become occasions to evolve, to learn to master one’s own shadow – which is crucial in order to prevail.” The ceremonial aspect comes back swinging in 'In Nomine Patris' (In The Name Of The Father). It feels mystical, with the singing coming through as a solemn lament. Its riffs and long guitar solo building up towards the end make you believe that we are witnessing a continuation of 'Gravity'. It fades out into folkish singing, bringing us deeper into their world like we're crossing the barriers of a dream. The title track keeps us going deeper with its distorted electronic synth - it has an intensely experimental feel where instruments are not what they seem, constantly making you wonder what is really being played. It carries a Middle-Eastern chord progression but is dystopian, distant, and strong in its feel. It extends time and transcends it, making us walk through quicksand and fly at the exact same time. Marco's guitar seems to follow Ferro’s screams, as if walking in his footsteps to find safe ground. It is, perhaps unsurprisingly, the longest song on the record. 'In The Mean Time' provides us with the second feature on the record, this time coming from Ash Costello of New Years Day. The whispers at the start of the track make the screaming to come even more impactful. The combined strength of the singers, with banshee-like vocals from Costello, make it something you can only surrender to. It is a call to stop outside pressure and let individuality rise. As we reach the end, the dreamlike feel still hasn't let up and only once finale 'Never Dawn' finally lets up can we truly wake up from the experience. This final track feels like walking through the desert and seeing an oasis in the distance. The reverberation stuns us into place, like we can hear double and cannot trust what we see or hear to be real. 'Sleepless Empire' is a spiritual album, which flirts with familiarity and newness in equal measures. It balances vulnerability and ultraviolence in a way that makes this album both ethereal and entirely tangible. The production must be highlighted for its high value that manages to keep the band’s sound authentic throughout, with its pristine mix. Every element has its place and role, and everything gets time to shine. This is a collaborative opus that is clearly the result of a common effort and years of transformation and refinement. All fans of Lacuna Coil are bound to be thrilled with the release, finding what they love most about the band in this album whilst still having room for surprises. It truly is friendship season for Lacuna Coil: following their features with Ash Costello and Randy Blythe, the band will be heading out to the UK and Ireland later this year with special guests and friends Blind Channel from Finland. Find them on tour: 15.10 - Limelight, Belfast 16.10 - Academy, Dublin 18.10 - O2 Academy, Bournemouth 20.10 - Academy, Manchester 21.10 - SWG3, Glasgow 22.10 - KK’s Steel Mill, Wolverhampton 24.10 - Rock City, Nottingham 25.10 - Roundhouse, London 26.10 - O2 Academy, Bristol 'Sleepless Empire' will be released on February 14th 2025 via Century Media Records. Words: Lysandre Pons Photo: CUNENE

Manchester-based four-piece Midland Railway have finalised the charge into their self-titled debut album with their recent release 'She Loves Ted Bundy'. Following a slew of singles over the last few years, we can now see what the band are truly capable of when given the opportunity to put their musical talents together to create a fully-fledged album. With their 2022 singles 'A Song For Hannah-Beth' and 'The Mysterious Cities of Gold', they'd certainly left us with a desire to see how their sound would play out across a full album. Once the band released the album's penultimate single 'Bedroom Analysis' we were hoping to hear more of the energy they brought in 'A Song For Hannah-Beth' - not dissimilar to early Arctic Monkeys. We definitely weren’t disappointed when the song sprung to life with a harsh, fuzzy guitar tone. The lead melody drives the song throughout, and - whilst simple -it gives an excellent foundation for the rest of the band to build on, which they most certainly do. The upbeat guitar and clean, bright rhythm section contrast beautifully with the melancholic lyrics, tackling the overbearing and confusing feelings of a recent break up. The tight yet syncopated vocals give the feeling of Justin Hawkins of The Darkness fame, which, when mixed with the hazy garage pop energy of Wet Leg, accumulate into a listening experience that feels like it shouldn't entirely work - but most definitely does. The main criticism we have for the release, which can be seen in quite a few of the songs on the album, is that the mixing seems to favour the instrumental side of the band over the vocals, letting them become slightly muddied in the mix. Of course this comes down to personal preference; some may prefer this style, however we think the cleaner, more audible vocals on songs such as 'A Song For Hannah-Beth' and one of their earlier releases 'The Power Game' suit the band's energy more. Speaking of 'A Song For Hannah-Beth', this is one of the strongest tracks on the release - coming at us with a sweet, indie-inspired melody, and energetic rhythms that are likely to become an earworm, the song begs to be cranked up to 11 and danced to if it's to be truly appreciated. The only potential concern with the song is its placement in the album - immediately following “Bedroom Analysis” seems an odd choice considering the themes in each song. Discussing a rough breakup then jumping into an energetic bop and lovesong, about the titular “Hannah-Beth” is certainly one hell of a juxtaposition, although if the contrast was intended then it comes across admirably. It's clear to see that each track has been thought out, and the overall flow of the album gives you a rollercoaster of energy, peaking with tracks such as 'City of Gold' and smoothly transitioning to slower, more emotionally charged options. No matter what mood or mindset you’re in - there's something on this album for you, which is exactly what we found through our multiple listening sessions. The blend of genres will also give different listeners something to appreciate - regardless of personal taste, there is something for everyone here. We feel that the band's slower tracks hold more power, but that's absolutely no reason to disregard the higher tempo remainder of the album, which is chock full of excellence still. There's very clearly some early punk influence, most obviously can be heard on 'One Day', which when combined with the indie/garage rock vibes from many of the other tracks gives the album a very unique texture, that keeps us listening again and again. Midland Railway's debut album is definitely a worthy listen for anyone. It might not necessarily be the most finely polished album, but which punk album is? Cover to cover the album gives an eclectic mix of genres, musical styles, and influences. There are emotional highs and lows, spikes of energy - and some tracks sound downright angry (Looking at you 'One Day')! We can wholeheartedly recommend it to anyone - and most especially, fans of emotionally charged indie-pop. 'Midland Railway' will be released on February 14th 2025. Words: Chris Brown Photos: Midland Railway

An emotional night full of tension, no one wants this gig to end knowing it will truly be the end. The alternative community have come out in full force for Ithaca’s last ever headline show, queuing in the middle of a shopping centre while those passing by seem confused by the crowd. Forlorn have the difficult task of opening tonight. The crowd is tense as they know tonight will mark the end of something truly special in the heavy music scene. Forlorn bring their unique folk horror inspired metal and truly smash it. The band know it’s the small touches that make a great set best exemplified by the microphone being decorated with foliage. The issue is that the crowd is so tense waiting for Ithaca they aren’t the most active for the set. They still definitely enjoy it albeit reserved in their reaction. Forlorn have started the funeral march to Ithaca’s last headline set with true style. The tension keeps growing for the final Ithaca headline set as Knife Bride take the stage. Knife Bride manage to cut some of the tension of the room with their beautiful riffs and vocals. They achieve the perfect balance of heaviness with calmer moments which takes the set into being a true exploration of their sound. There still isn’t much movement in the crowd likely to the tension still remaining, but theres some mostly with typical horns in the air. Knife Bride’s vocalist knows how to serve vocals and stage presence. They are the perfect act to bring us that last step closer to the final time we will ever see Ithaca headline a gig. The time between Knife Bride leaving the stage and Ithaca coming on could have been slow and impossible to get through but it’s made that little bit easier via the DJ’s song choices which lead to a mini mosh to Slipknot and a sing along to Sk8er Boy. The stage is donned with flowers and an arrangement spelling out the band’s name. This truly is a funeral for the band, not dwelling on the fact it’s ending but celebrating what happened. The band take the stage, lead singer Djamila Boden Azzouz dressed in traditional funeral attire. The tension and atmosphere builds till she removes her vail and hits the stage with some of the most intense vocals ever seen from her. The crowd’s tension finally explodes, the pit becomes frantic and takes up a lot of the venue, people not knowing to cry or join in the chaos. The band are all in sync with each other knowing tonight is the chance to celebrate these songs. The Opening track being Cremation Party is perfect as tonight really has become a party in celebration of Ithaca. The band have the crowd in the palm of their hand, emotions running high for everyone including the band. Those taking a break from pit chaos taking time to have an emotional rest as there appears to be something magical in the air. Djamila Boden Azzouz takes an outfit change revealing she is in a corset. How she can perform such intense vocals in a corset is truly one of the great mysteries of music. The band are truly one with each other, every note tonight seems that extra bit more powerful. The band play old songs, they play new songs, they play everything they can to celebrate the band. The band bring out original bassist Drew Haycock to play Ashes. The crowd goes wild, moshing that extra amount harder to celebrate the origins of the band. The band even debut a new song which sees the crowd calm down to take the time to listen as a collective. Emotionally the crowd is near breaking point as they know the end is coming nearer. After playing Fluorescent, the band take some time from the stage. Dedications sent by fans of the band are played over the speakers, telling the story of why this band is so special. Message after message celebrating the band put tears into the eyes of more and more of the crowd. With each message played a few more fans embrace each other while drying their eyes. The band return to the stage for the encore for 3 final songs to bring tonight to a close. Crowd surfers keep surfing, the moshers go full out. No one wants tonight to end but it must. Tonight is drawn to a close, not a single dry eye in the room. Goodbye Ithaca tonight proved why you were truly great. Words: Will Freeman Photos: Katerina Stepanikova

It was all peace and love at the Manchester Leg of Rise Against’s EU tour, be it the expressions of love between each band or Rise Against's Tim McIlrath discovering the joys of Bovrill. The filing into Victoria Warehouse in Manchester was quick as the weekend's cold snap bit at Old Trafford. The clock hit half seven and opener Spiritual Cramp exploded onto the stage; if south arcade was a battery pack, lead singer Michael Bingham was a packet of batteries on his own, playing get-the-ball-in-the-cup with his microphone with mixed success. He had lots of love to give to his bandmates, though, as he hyped them up in their intros through the first half of their 30 minute set(?). This extended to giving the love to LS Dunes and Rise Against, saying they were overjoyed to be on tour with their best friends and sold the sincerity of the statement. The crowd work however didn’t quite land, with pseudo-sexual quips asking if we liked that and wanting some hype to take a sip of his water. The highlight of these attempts was possibly his doubling down on Manchester being his favourite city in the UK because it feels sad and so is he, met with silence (from a room of elder emos who you’d think would like that sort of thing). The set closed out with Better Off This Way, and the feeling as they left the stage was that their headline shows would be a tour date to watch out for. Anthony Green was also on the love train, as 20 minutes or so later LS Dunes would swan upon the stage. Opening with Permanent rebellion leading into Fatal Deluxe while Green two stepped his way around the stage and guitarist Frank Iero hit his poses in a neat circle on the left side. The vibes were immaculate at the front of the room while Green gave the love right back to Spiritual Cramp and reiterated the joys of being on the road with them. He was clearly pleased with his own set list too, exclaiming “god I love this one!” As the instrumental rang out for Paper Tigers; I’m sure you do, that’s why you put it on! Sonically LS Dunes were beautiful, mixing clean vocals with solid screams over hard rock Melodies to create their elevated post-hardcore sound. The set closed out with gut wrenching 2022, with those who came in the know happy and those who didn’t satisfied. Between LS Dunes and Rise Against the patrons of Victoria Warehouse seemed to swell as the crowd was hugging the pillars at the back of the room; when they emerged onto the stage for their 90 minute set it was a show worth the crowd. Their stage was set with a large red banner and a set of platforms for all of the none-drumming members to play on, with drummer Brandon Barnes set above on his own, and a V formation of lights flashing with shapes and colours throughout the show. Opening with Satellite, the pit began to heat up in the front right, and frontman Tim McIlrath grabbed his megaphone to shout call and response for the double bill opener (nice catch of that megaphone, tech guy, if you ever read this). McIlrath seemed to strike the balance in this show between the noise and working the crowd, opting for his crowdsurf early and managing to salvage losing track of days while they’ve been on the road. Next up on the setlist was Blood Red White and Blue, for which McIlrath draws some perspective on this post 9/11 track as it applies to America's current leadership, before reminding the crowd ‘saturday night is for dancing’ and turning his hand to open that pit back up. This part of the set seemed to be about the elephant in the room for a lot of US bands touring internationally at present - they have to go back. After This is For You, McIlrath muses about turning to your community in the darkest of time for solace and strength before treating Victoria Warehouse to Long Forgotten Sons then Hero of War; the crowd had joined in for this one, swaying back and forth in a way akin to a festival. This section of the show closed out with a touching dedication to the Manchester music scene, with McIlrath taking the time to appreciate the artists from the city that laid the foundations for his work now, then playing Swing Life Away to get the tears pricking at the eyes. The closing section of Rise Against’s set contained the most fun, with Prayer of the Refugee working as an electric shock for Victoria Warehouse as the pit raged and McIlrath hit a very satisfying scream. By the end of Audience of One someone’s shoe had made its way on stage while hopping off stage for the encore allowed McIlrath to brew his best bits of the night. He first shouted out the breakdancer that had been in the crowd, then set up a stand-up esque bit about going to the footy for the first time: he wrote down the chants, was captivated by fan segregation and sober seating, and most importantly discovered Bovrill. The words had barely left his lips when the crowd began to chant it at him - a testament to the country’s beloved beef drink. Though it was hard to glean what he felt about Bovrill as a product at the end of the interaction, I think he got the spirit. This was followed by the final tracks of the night Black Masks and Gasoline and Saviour where Victoria Warehouse let off the last of their steam alongside Barnes and lead guitarist Zach Blair having their closing solos; the pit doughnut had turned into a fully charged force by the third and final ‘one more time’ chorus. Saturday night in the Manchester Warehouse was a celebration of the rock and roll each band loves, and they proclaimed it so. The show was seamless (even if the mics were a little quiet) and it was clear this was a tour of friends doing what they loved together, much like the crowds of people who spent their weekend with them. Words: Julia Brunton Photos: Ely King

Just when you think you've heard it all – along comes an album opportunity described as "redneck black metal”. Jesus wept. This genre is chocked full of regular black metal as it is, but if you have perused the depths of Bandcamp in the last few years you will have seen the genre pushed its very limits. To its credit, though, when it comes to musical diversity - take your pick: There’s cosmic black metal (anything Mesarthim), atmospheric LGBTQIA+ antifascist black metal (Violet Cold – Empire of Love), Dutch schizophrenic torture black metal (Stallagh’s Gulagh). And let’s not forget Dungeon Synth, arguably the most brilliant offshoot the genre has ever produced. It has always been in the nature of black metal to push the corpse-painted envelope into bold new territories that many fear to tread. Then along comes Blood Cult. The Illinois project of one J.R. Preston, truly the P.T. Barnum of this corner of the black metal woods. Trading magic and circus whimsy with the musical equivalent of a hillbilly rocking back and forth in his creaky chair shotgun on lap and straw in mouth. To mention Blood Cult alongside the aforementioned bands would be doing it a disservice, as Blood Cult are a band with tenure. Emerging in 1994, Preston has been around far longer than some of these other yungins’, with more demos than lice that done got in the hardtack again, gosh-dummit! See, Blood Cult ain’t just another dime-a-dozen black metal act plucked from the USBM gutter. No, these lunatics are mixing black metal with punk, rock 'n' roll, bluegrass, and even a sickly twang of hillbilly surf – you ever heard of that? Of course not. It shouldn’t work. But somehow it does. Over the years the style has changed dramatically; 'We Who Walk Behind Rows' has become a cult favourite and 'We Are the Cult of the Plains' has also gotten some rave reviews. But, each time, the sound becomes a tad more refined, and now we end up here at the crossroads with the new release 'We’re Gonna Take Your Soul' - and take it they damn well might. Featuring a well-endowed agronomist holding a shrieking skull, the mind doesn’t know what to expect. The moment this thing comes on you get what it's all about. The opening of 'Demon Seed' is a dissonant strum topped with maniacal laughter, which instantly leads into a cheesy organ and King Diamond-like scream. The entire philosophy of Mr Preston laid bare in the first few seconds. The rest of the song is great too, brimming with D-Movie cheese and that sweet, sweet lo-fi black metal production. Anyone expecting DARKTHRONE should take a hike - this is more 'Sabbath Bloody Sabbath' than 'Transilvanian Hunger'. Oh yes. 'No Escape from Rock' slows things down with a crunchy guitar and steady drumbeat. Listen to those lyrics; “ROCK AN’ ROLL. DEVIL WORSHIP!” - as Shakespeare once said, “Brevity is the soul of wit”, to which Blood Cult have replied, “Hold my moonshine”. It is worth mentioning that solos are absolutely everywhere on this album, festooned into every track like an oversized, gaudy chandelier. The title track is a time warp straight to ‘70s rock excess. 'I’ll Never Go Away' is about a self-professed stalker in the night, full of camp and wonderfully realised. Tracks like 'Bully' and 'Playground Creeper' are both fantastically overt tributes to the Satanic Panic and The Misfits, peeling back the layers of religious hysteria and moralistic fear-mongering with all the subtlety of a grapeshot blast to the sternum. Meanwhile, 'The Devil’s Child' kicks open the gates in honour of the powerful women who’ve carved their names into the hallowed halls of metal history. Then there’s 'In the Full Moon,' a shot of pure, uncut surf-punk venom, resurrecting the band’s early days in a blaze of distortion. It ends with 'Love', an unrepentant jam to close out the madness, featuring some beautifully bit-crushed organs. It’s a hell of a ride - feral, unpolished, and absolutely unrepentant. Agonisingly hard to rate, 'We’re Gonna Take Your Soul' is a Frankenstein’s monster of hillbilly black metal electrocuted into the corpse of 80s proto-metal. This is more of a feeling than an LP – a vibe distilled into an entire album. It undeniably looks to the past rather than the future, and in doing so does something novel. Truly we are in the midst of the post-black metal age. As it stands? This record is a goddamn blast. Wild, unpredictable, and truly genuine in a way metal often forgets to be. Solidly good time if you are ever in the mood for something with all the energy of a Hammer Horror film and the aura of a crusty hillbilly. 'We’re Gonna Take Your Soul' is out now via Illinoisan Thunder. Words: Kiarash Golshani Photos: Blood Cult

Breakfast With Bears are an alternative rock band from London, known for their live performances and emotionally charged music. They’ve recently been growing in the UK music scene and have shared stages with notable acts such as Blvck Hippie, Buds, Brutalligators, and Really Big Really Clever. Next in the works? They've got their highly anticipated new EP 'Conversations' ready for release on Valentine's Day. This album is exactly what we imagine Hayley Williams listens to in her spare time, and is everything any of you elder emo’s need in your lives right now. Everything about this album screams of influence from 2000’s Kerrang, with music that gives you every reason to dance, while the lyrics rip at your heart due to the themes of mental health, love and diversity. This is a deeply personal EP featuring six excellent and diverse tracks, with lead single 'Duplicity' already released on all streaming platforms. First up we have 'Real Talk', which immediately kicks off with the band's signature blend of energetic instrumentals and melancholic vocals, with lyrics about overthinking past conversations and bettering ourselves. This flows smoothly into 'Fickle “Friend”', a song about exactly that. Influences from Paramore’s newest records are attached like an IV drip into this, and we mean that as the highest of compliments. Next up is 'Who’s Sarah Tonin?', which gives us our first love song - albeit not one for a person, it’s a love song all about finding our own happiness. 'Flight Risk' picks up again with lyrics like “maybe I’ll just call my boss and say I’m dead, because I want to, not because I need to” cutting deep into all of us who work crappy 9-5 jobs to just pay the bills. This is possibly the highlight of the release, and one that's so very easy to imagine will be screamed back to the band by fans at numerous concerts to come. Already released single 'Duplicity' has the music and lyrics to match it's two-faced title, feeling oh so upbeat when the tone of the single is just so low. Finishing up the EP is 'For You' which is the actual love song of the release, and ends this EP on a perfect high - yet still with that twinge of melancholia that you both want and expect every emo record to leave you with upon its finale. This album is absolutely one to look forward to for all of you nostalgic emo’s who can’t let your Kerrang phase go. We were told "we poured everything into 'Conversation’ and left nothing on the table”, and it's easy to see that that's not a word of a lie. For those who need their music to talk about mental health, fighting against the discrimination of all people and creating safe spaces in the music industry? This has been made with love to you, for you. 'Conversations' is out on February 14th via Best Life Records. Words: Laura Hughes Photos: Breakfast With Bears

Upon descent into the Stylus the energy was jovial and the room filled with talk among the 20 and 30 somethings that had shown out for Origami Angel and Saturdays at Your Place Last Saturday. The room was padded to around 80% of its capacity when the ambient music rolled a nice minute before the start of Michigan trio Saturday’s at Your Place, opening the night with Hospital Bed and igniting the energy of Stylus. Frontman Esden Stafne ran the crowd work over the course of their 30 minute set, shakily promising a fan a UK headline tour for the trio next year between musings of enjoying being on this side of the Atlantic and a cheeky “F*ck Trump”. Saturdays at Your Place breezed through beautiful melodies, producing a sea of gentle headbangs and giving the pit enough fuel to simmer while Stafne and drummer Gabe Wood traded vocals between each other. The gut-wrenching lyrics of tracks such as Coffee Cups had their blows softened by the genuine graciousness that Saturdays at Your Place emanated and the comfort that grew on-stage, with Mitchell Gulish in particular relaxing into his guitar and starting to mess with his side of the room a little by the latter half of their half an hour. By the time closer Tarot Cards was ringing out the party had officially started. Half an hour later, the screen on the Stylus stage lit up once again, this time with a speedrun of the seminal Pokemon Emerald then opening shop with album track Lost Signal. The speedrun accidentally became the focus of the set for many; the gaze of the crowd and the duo alike became fixated on an impressive two and a half hour run before snapping back into the live show. The set itself was an hour in total, balanced between older tracks such as Escape Rope and Noah Fence and those from the newest projects including Dirty Mirror Selfie and Fruit Wine. Heagy brought his energy when he was playing, be it his two-steps in circles around the stage or the faces he pulled to groups around the room between vocals. Heagy also brought the humour, slipping in the Weezer noise at the end of single Thank You, New Jersey, certifying Origami Angel as silly jokesters; only misstep in the humour would be opting for Ruby over Emerald out of their Pokemon-themed EP, but it can slide. Between tracks, however, Heagy did seem to struggle a little with working the room, hitting the frontman trifecta of ‘how we all doing tonight/can we play some old and new songs for you guys/this has been the best show of the tour’ within 40 minutes of the 60 minute set - the latter of which feeling particularly strained with the knowledge that this was only night two. The pinnacle of awkwardness was possibly the question “what did they say before Lets go?” met with a silence then giggles; they can’t all be winners, Ryland. Nevertheless, the Stylus crowd supported him the best way they knew how, with a couple rounds of “Yorkshire!” to give Heagy something to laugh about before resolving to get back to the tunes. The vibes in the room stayed immaculate, be it those who wanted to mosh and move with the music or those happy to let the set become an epic backing track to the four badges earned in the first hour of the speedrun in the background, while the supporting track throughout the set offered the Sonic humour that made us about to lose our marbles! Now a theme with the Stylus shows, it was not complete without an adorable pair of kids to deliver faith in the future of emo. Donned in noise cancelling headphones, the littleuns headbanged away and took it in turns to run down to the main standing area for their own jumps around with their parents, gaining a deserved wave from Heagy by the end and a healthy amount of coos from those around them. Overall, Origami Angel and Saturdays at Your Place put on a lovely show to watch and successfully matched the grown-up party vibes of the Stylus Crowd on Saturday night - the space felt safe, the room alive, and the crowd sweaty and smiling as they ascended back into the real world at the end of the night. Words: Julia Brunton Photos: Sarah Henry

Coming into the pub on Wednesday an hour before the first opener started playing, there was only few people at that time, mainly the bands and their friends. Going out on a weekday is something many people would not usually do, but if they decide to give it a go, especially for the Midweek Moshpit at the Signature Brew in Haggerston, they are going to be surprised in an extremely exciting way. The first openers, Not Like This, definitely put on an unforgettable performance, as this was their first time playing live. The punk band’s presence, catchy melodies and well-written lyrics were spectacular and it was sad many people just stood around during their set, getting warmed up. Next up was Compounds, a melodic hardcore punk band. The energy in the room was definitely getting more pumped up, as the Reading band’s singer sang in the pit most of the time and the crowd was getting bigger and more hyped. Backed up by brilliant melodies and very emotional lyrics, the band flew through their set swiftly and aggressively. Third and main support was London-based Chaos Reigns, a band that had the most cheers out of all acts that night. The set started off strong with the vocalist Jason Heightman jumping right into the crowd, where he spent majority of their performance. With the spectacular riffs the band is well known for, and the fans moshing to all songs, it is safe to say the band really stole the spotlight. Jason was also very creative in utilising the small venue, from crawling on boxes and tables to letting some fans take him to the stage, which was very entertaining to watch and absolutely made the performance stand out. When you see a band putting up their flag behind the stage, you know the concert is going to be wild. And Nymphic’s set was definitely that. The femme-fronted band brought us their energetic set full of mysteries about the Nymphic Flower spirit and made the pub move around. Sadly, the crowd got smaller after Chaos Reigns, but that definitely did not stop vocalist Stix Warner, bassist Antonio Giannattasio, guitarist George Pitt and drummer Omar Perez to unleash the best of them, as they reclaimed their spot as the headliners. It isn’t hard to spot the influence from acclaimed power machines like Linking Park and Rage Against the Machine, but the band still has their own and, needless to say, unique aura, that makes the listener want more. Although in the middle of the week, the concert definitely had some great names and kickstarted a promising path for Not Like This, who I am sure we will hear about more in the upcoming years. Lightning and staging were very simple for all sets, as the venue was small, but were set up just right and definitely didn’t stop either band in giving the best of them to their audience. Punk concerts like this one definitely show us that the live music isn’t gone and is more relatable than ever, and it is heartwarming to see the mutual support of the bands, as they grow together. Words and photos: Katerina Stepanikova

An air of excitement was in the air at the 02 Academy in Birmingham for Dropkick Murphys' arrival in the UK. As we made our way through the crowd, plenty of eager concertgoers could be heard exclaiming how they had waited years for this lineup. Not only is the Boston punk rock group approaching thirty years as a group, but they also brought American/Ukrainian rockers Gogol Bordello to join them on their European tour. Unfortunately, for most of the United Kingdom, they would miss out on The Scratch. That almost felt like a footnote left out as the Ukrainian group took to the stage, immediately blasting out high-energy tracks. The group started blasting “I Would Never Wanna Be Young Again”, and an air of youthful exuberance overtook the room as their interaction with the crowd saw circle pits open and not a single person stood still. While the high-energy set continued, they would welcome fellow New York band Puzzled Panther, who, while joining in on the set, sang their parts on the collaboration between the two “From Boyarka to Boyaca”. While the set may have been short, it seemed the perfect way to start a show for an intense band like Dropkick Murphys. As the traditional colours lit up the room for the Irish punk rock group, the energy began to pick up even more as "Captain Kelly’s Kitchen" saw chaos break out amongst the crowd. That set the pace for what seemed to be an exhilarating night with the group. Immediately, the high intensity continued as the group broke out into their hit track “The Boys Are Back”. They were certainly looking for trouble, but not in the literal sense. At one stage in the show, a lone crowdgoer beckoned to frontman Ken Casey’s nephew in the balcony area. The lead singer addressed this to the crowd as the fan signalled for the youngster to join the chaos, stating all in attendance were one family. The show did not show any signs of slowing down as more tracks like “Mick Jones Nicked My Pudding” made the setlist. It was not a case of slowing things down towards the end until the final song after their cover of AC/DC’s It’s A Long Way To The Top. Before their encore of “I’m Shipping Up To Boston”, fans were treated to The State Of Massachusetts and Rose Tattoo. Unfortunately, it was time to bid farewell to the group, who delivered their rendition of Until Next Time with the crowd joining them before exiting the stage and ending a thoroughly enjoyable night. Words: Christopher Obrien Photos: Conrad Newton

Another year, another beer, as some fans may say while this Texas-born band make the journey across the waters once again to bring drunken joy and belly laughs galore to the British public. Pop-punkers Bowling For Soup are taking their celebrations international as they ring in the 20th anniversary of their beloved record, 'A Hangover You Don't Deserve'. A record that has brought some of the band's biggest hits of all time into existence, it's time to get down and party the only way they know how: good music, funky dance moves, lifelong friends, and of course, some damn good beer. Opening the night is Florida rock outfit Magnolia Park. Preparing the upcoming release of their new album 'VAMP', the group were ready to kick off the night and the tour in impure style. Known for their unapologetic punk and nu-metal sound, and the outstanding vocals of frontman Joshua Roberts, the crowd were mixed on how to take this heavy start to what was expected to be a calmer and more steadily paced evening. Some were ready to jump and mosh and thrash around, and others were content with just swaying and head-nodding; both styles are acceptable and even with the differences of audience reactions being visible to every eye, it was not a disrespectful reaction. It was very much warm and welcoming on both ends of the spectrum. Playing hits such as the viral hit '10 For 10', the newly released 'SHALLOW', and even their fan-favourite cover of Disney original track 'I2I', there has been at least one track someone in that crowd liked. Whether it's the more bouncy pop-punk style, the down and dirty nu-metal sound, or maybe sitting somewhere in-between, Magnolia Park went down like a treat with the kids and the parents. The second support for the night was the highly anticipated Wheatus. The band who helped soundtrack every alternative kid's adolescence of multiple generations, Wheatus were playing a fun and welcoming set for all fans of all ages with varying knowledge and understanding of the New York group. With a band like Wheatus, one that may have been smacked with the "one-hit wonder" label, is that it takes being in a live environment to make people realise they had a good handful of recognisable tracks that they were likely unaware of. Seeing this bucket-list band live will open eyes and ears to early hits such as 'Wannabe Gangster', 'Leroy', and the second-best charting hit in their history in the UK charts, their modernised upbeat cover of Erasure's classic tune 'A Little Respect'. This is a band that don't demand respect; as per the cover track, they request just a little bit and if given, the payoff will be entertaining. The moment of the night was the close of the set - a moment that to some may have even rivaled Bowling For Soup's upcoming performance. Seeing 'Teenage Dirtbag' performed live should be an experience granted to every misfit kid turned misfit adult, and on this night in Blackpool, that goal was one step closer to being achieved. Now for the night of a lifetime. 20 years in the making and worth the wait of every day, week, month leading to it. Bowling For Soup arrived to the stage in style; over-the-top, visually captivating, and heartwarmingly hilarious style, and went straight into hit single 'Almost'. To celebrate 'A Hangover You Don't Deserve' properly and respectfully, the group announced they will be performing the album in full, start to finish. No skips, no switches. It's rare for a band to do this in recent times, even when celebrating a massive milestone in their discography; the same band didn't even make this a tradition on their last anniversary tour back in 2018. With such great hits, it meant both the favourites and the lesser played songs get stage time - however, this meant their trademark single '1985' was placed third in their setlist and with the confetti set off and the crowd giving a long, loud cheer. It felt out of place but with ideal comedic timing over awkward placement, and if this band knew someone besides music, it was good comedic timing. With singles such as 'Ohio', 'Punk Rock 101' and the inclusion of 'Girl All The Bad Guys Want' and Phineas & Ferb theme 'Today Is Gonna Be A Great Day', the night still catered to a casual fan or an occasional listener. However, with some luck, these casual fans became not-so-casual after hearing this phenomenally fun record in full and with more luck, they gave the record another full spin after the show. Bowling For Soup are a band who accept that things will never remain the same as when they were younger men in the scene. People get older, skin gets looser, and stomachs get bigger, but that doesn't mean the talent goes away. They still play as well as they ever did in their 30-year-long career, and they could keep going for another 30 years, fingers crossed. This was 'A Hangover You Don't Deserve', but a night everyone does. Words: Jo Cosgrove Photos: Nik Bryant

After a four year long wait, Ukraine's biggest metal export Jinjer, featuring a lineup consisting of vocalist Tatiana Shmayluk, guitarist Roman Ibramkhalilov, bassist Eugene Abdiukhanov and drummer Vladislav Ulasevich, are finally about to release their fifth and newest album ‘Duél’. Starting off with ‘Tantrum’, the song throws us into the mix and forms an absolutely perfect introduction to Jinjer's new era of sound. Heavy on both the guitars and the screams, it throws us right into the action without a moment's hesitation. The mockery of aristocracy is a sadly poignant and purposeful use of the bands, clearly well-spent, time, a statement that also rings true for the rest of the album. The first single from the LP, ‘Someone’s Daughter’, is a track all about the hardship of becoming and being an independent woman in this world. The way the song is written is deliberate and thought-provoking, able to go from calm to aggressive at the drop of a hat, matching the lyrics of the song flawlessly. Perfectly placed screams in the song highlight the emotions and feelings of being scared and alone, as well as then mirroring the growth of independence and learning how to stand for yourself over the time. ‘Tumbleweed’, a firm favourite already off of the album, is not as heavy as the rest of the album and definitely takes the tempo down a notch, but this change of pace is most assuredly welcomed. Both the guitar riffs and the drums in this song allow the beginning of the track to feel like a march of some sort, and the lyrics are a clear metaphor for war and a longing for home, which is made all the more powerful by the sad fact that the band's home country of Ukraine is still embroiled in its defence against Russia's invasion. Jinjer have outdone themselves with this album, working to maximise both their uniqueness and ingenuity. Brilliantly placed riffs and vocals make this, and all of the rest of their records, stand out in the genre. If there is a weakness to be found, it would be the lack of slower tracks as listening to the whole album all at once can be little overwhelming. Nonetheless, the musical excellence shown on this release is sky-high, and we should be expecting a serious run up the charts for this formidable project. ‘Duél’ will be released on February 7th 2025 via Napalm Records. Words: Katerina Stepanikova Photos: Jinjer

Heading upstairs with a decent craft ale to the attic-like stage area, the room was already filled with eager rockers awaiting the first support of the night. Tonight’s show had two extra supporting bands sharing the stage alongside our headliners Defences to give us a jam-packed night filled with heavy, alternative rock. First up was 5-piece metal fusion band Alchemize who kicked off their set with such high energy in their performance. They had the crowd jumping from the get-go. Their music was a solid mix of genres, with a lead vocalist who was well-practised in controlling a room. A short, but room-shaking set later, they finished up to huge applause and a full crowd in agreement that we will be seeing Alchemize on a lot more line-ups in the future. The next Manchester-only support came from hardcore Leeds lads The Mechanist and they certainly brought the heavy for the night. With small comedic insights into each song from their lead vocalist, The Mechanist burst into their set with electronic backings, heavy guitar riffs and gutturals that had the crowd enthralled and headbanging with every breakdown. Up next was the main support of the tour ; hometown heroes Crushed by Waves. Having opened Download Festival on the “Boardie Takeover” in 2023, like Defences who did this in 2022, these gritty alternative rockers crashed onto the stage with a cathartic blend of melodic verses and power-house breakdowns. At one point I thought we were all going through the floorboards into the bar downstairs as they had the crowd bouncing for the entire set. Diving into the crowd for the final song, Arran (vocals) finished up by dancing and singing along with everyone whether they knew the words or not. Finishing off with a selfie with the crowd, Tom (drums) trying to find a spot decided to simply fall from the stage into the arms of their fans new and old. Everybody was officially warmed up, energised and ready for their headliners. Setting up the stage with their own mood lighting, an arrangement of candles and stunning white roses to match the gothic-horror aesthetic of singer Cherry Duesbury’s gorgeous look. We were straight into the dark-pop atmospheric sound with beautiful, room-filling vocals from Cherry, heavy instrumental slabs from guitarist Calum, crazy drum beats from Kyle, all mixed together with the screams of vocalist and keyboard player William. Celebrating their signing with Long Branch Records and the November release of their album “Shadowlight” we were given a mix of new and old songs that had the crowd singing, headbanging and pulling out their phone flashlights, whenever a song gave us a slow minute to catch our breaths. Cherry thanked the crowd for their participation and spoke vaguely on the issues of the world right now. She then gave us some understanding behind the new album, looking into ourselves, accepting our inner darkness, but most importantly, coming together as similar entities to share in this melancholy (and enjoy some damn good music while we’re at it). Defences finished up their set with a bang, immediately turning into a small rave as the “Nintendo Wii dance remix” came over the speakers and Cherry jumped into the crowd to join in the fun, ending the night on the chaotic and energetic high it started with. We can guarantee with stage presence and musical talent as good as this, we’re going to see Defences do incredible this year. Words: Laura Hughes Photos: James Smith