Electric Brixton buzzed with anticipation for Stand Atlantic’s headline show. It was part of their tour in support of their latest release 'WAS HERE'. The atmosphere was electric, with fans eagerly awaiting a night packed with high-energy pop-punk, emotional anthems, and unforgettable collaborations. Accompanied by main support Honey Revenge and opener Slowly Slowly, the night promised to deliver on every front—and it did. Opening the night, Australian pop-rock band Slowly Slowly set the tone with a heartfelt and punchy performance. Their laid-back yet emotionally charged set was the perfect warm-up, blending catchy hooks with introspective lyrics. Tracks like ‘Jellyfish’ and ‘Blueprint’ had the early crowd swaying and singing along, while the band’s raw energy ensured that even first-timers were drawn in. Next up, Honey Revenge brought a burst of color and attitude to the stage. Their dynamic sound, a mix of infectious pop-punk and alt-rock edge, captured the growing audience’s attention from the first note. Vocalist Devin Papadol commanded the stage with undeniable charisma, while the band’s performance of ‘Rerun’ and ‘Are You Impressed?’ had the floor jumping. As the main support, they left a lasting impression, priming the crowd perfectly for what was to come. By the time Stand Atlantic hit the stage, the crowd was ready to explode. They opened with a shortened but fierce version of ‘WAKE UP-SIT DOWN-SHUT UP,’ launching into a flurry of tracks that displayed the band’s versatility and infectious energy. Bonnie Fraser’s vocals were sharp and full of emotion, whether belting out the anthemic ‘hair out’ or guiding the crowd through the nostalgic feels of ‘Jurassic Park.’ The energy peaked during ‘WARZ0NE’ and ‘KISSIN' KILLER COBRAS,’ with the band expertly mixing pop-punk grit with their more experimental edge. Highlights like ‘Blurry’ and ‘KILL[H]ER’ had the crowd in a frenzy, with mosh pits and sing-alongs erupting throughout the night. But it wasn’t all chaos—Stand Atlantic knows how to balance intensity with vulnerability, evident in the intimate moments of ‘Toothpick,’ which included a soulful snippet of ‘Drops of Jupiter.’ A standout moment of the night came during ‘NOSE BLEED,’ when Patty Walters of As It Is joined Bonnie on stage for a powerhouse performance. The crowd erupted, feeding off the dynamic energy between the two vocalists, proving how much the scene thrives on collaboration and camaraderie. The set was full of surprises, and none were more welcome than Holly Minto of Crawlers lending her voice to ‘deathwish.’ Her fierce presence elevated the track, adding even more depth to an already high-octane performance. For the encore, Stand Atlantic pulled out all the stops. ‘Coffee at Midnight’ sent the crowd into a nostalgic frenzy, before the night closed with a bang—Devin Papadol reappeared to help the band tear through an exhilarating performance of ‘GIRL$,’ wrapping up the night in true pop-punk style, with the crowd moshing, dancing, and screaming the words back at the band. Stand Atlantic put on a performance that was as relentless as it was fun, proving yet again why they’re a mainstay in the pop-punk scene. With perfectly chosen guests, a diverse setlist, and a crowd that fed off every note, the night was a testament to their growth and energy as a band. For anyone in the audience, it was clear—Stand Atlantic’s reign is only just beginning. Words: Leah Cox Cover Photo: Anna Goley

Since their 2018 debut with ‘My Mind Makes Noises’, the Manchester-made indie rockers Pale Waves have challenged the music industry with every new release, taking a bold and refreshing approach to the rock genre as a whole. They’re never afraid to experiment with their sound on each new album, and all of this has given them a well-deserved rise through the ranks to become one of the UK's standout artists of recent years. ‘Smitten’, their upcoming fourth studio album, is no exception to this rule, delivering an emotional musical journey whilst still retaining the edgy sound we’ve come to expect and love from the band, accompanied by a classic 90's rock vibe. This 90's influence is immediately apparent before you even listen to the album, as the cover is reminiscent of scenes from such iconic sitcoms as 'Friends'. All of this, paired with amazing instrumentals and Heather Baron-Gracie's melodic vocals, feels like we’re being transported back in time and really adds to the whole tone of the album making it a truly immersive experience. ‘Glasgow’ opens the album with a catchy upbeat riff, giving off a real mix of energy that can be best described as witchy indie, and reminds us of yet another 90s classic 'The Craft' and its iconic soundtrack where this would have fit right in. The track features a cheerful sound despite the otherwise solemn message behind the song pointing to a failing love and the slow and painful acceptance of its end. This gives a taste of what you can expect from the rest of the album, which delves even deeper into the band's experiences with life, relationships and a continued exploration into their proud queerness - whilst not shying away from opening themselves up to their fans, more so than ever before. These themes continue throughout the album as each track delivers a variety of raw emotions, where a deep yearning and grief are both prevalent in many of the tracks lyrics, but also a great sense of love and hope are mixed together which makes it feel as if we are on this journey with them, navigating each complex emotion together one track at a time. ‘Gravity’ is a particularly strong track from early in the album, that touches on queer relationships and a person's or their families beliefs stopping them from being who they truly are, loving who they want to love, and the struggles that presents to the people involved. ‘Thinking About You’ is another standout, with an almost ethereal sound and heavy reminders of Alanis Morissette throughout, as it delves into coping and moving on from a love you never thought you’d lose in this soft and impactful track. ‘Last Train Home’ marks the halfway point for the album, giving one of the most emotional deliveries of the entire album so far as it recounts a one-that-got-away scenario. ‘Slow’ brings this album to its bittersweet finale, giving us a departure from the rest of the album's themes, as it delivers a glimmer of hope and the idea of the blossoming of a new love and all of its apprehensions in a light, melodic end to the album. Upon the first listen, there’s no doubting this is an excellent album reaching out strongly to their LGBTQ+ fans especially, each track is well executed and written to tell a story that although deeply personal is one we all have shared and can relate to in our own way. You can feel the passion and every raw emotion, good or bad, that has been poured into this album - with it's fresh sound which wouldn’t have any track out of place in a soundtrack to a 90's show or movie, each consequent listen resonates more than the last, making it easy to get pulled in and lost over and over again. It’s a memorable experience for fans and new listeners alike from start to finish and marks yet another high note for Pale Waves. The future is clearly very bright for the band! You can catch Pale Waves on tour between the 3rd and 17th of October across the UK. 'Smitten' will be released on September 27th via Dirty Hit Records. Words: Arcadia Craven Photos: Kelsi Luck

Gloucestershire's Broken Jaw have mixed punk and metal into one finely tuned partying machine on their upcoming sophomore record, 'No-OnE cArEs!'. With ten songs of varying levels of silly, and a pretty consistent level of heavy, they're here to have some fun and maybe take your eardrums for granted. First up we rock and roll our way straight into the title track of the album, and one thing's for sure - it can never be said that Broken Jaw don't know how to emphasise something. Not only do the album and first song share a title, the first words said are the same and in fact are repeated over and over for an intro until vocalist Nutzie Shelley launches the song off the edge with a monstrous growl. The song features plenty of the standard tenets of both punk and metal, with screams and riffs and pummelling drum lines galore. 'Caviar & Cigarettes' continues this trend, with some particularly impressive double bass drum work as well as some more punky lyrics to begin with and even what sounds like the somewhat late entry of my true favourite instrument, the cowbell! Afterwards comes the second of the singles released thus far, the ludicrous 'Pineapple Pizza'. The only way to describe the treatment of the bass drum in this song is an obliteration, so if you're a fan of your tech death drumming, a large swathe of this will be completely up your street - and any fans of a fruity pizza will also find a lot to latch onto! The third and final single comes immediately afterwards, and 'Chicken Nugs' is another track rife with unseriousness. For those who enjoy a nice post-drink chicken nugget or ten, you'll find a relative love song to that exact activity tucked away at the fourth spot on the album. As we make our way towards the halfway mark we meet 'Melt', which has both the heaviest vocals thus far and then briefly the most snotty, snarky punk vocals right after. This feels a little more nu-metally than the previous songs, with a good groove and bounce as well as some seriously high levels of attitude that'll feel like home to any fans of Korn, Limp Bizkit and Slipknot. Track six, 'One Ply Bogroll', is an ode to the plight of poor quality toilet paper demonstrated wonderfully by the line "F*ck this (x6) one ply bogroll!". 'Serpents Lair' almost goes into straight up death metal, and without a few of the less heavy vocals it would probably class as one! Bassist Josh Hughes and Nutzie are clearly working overtime on vocals, alongside the perenially crazy drummer Sean Watkins. There are also some particularly satisfying pinch harmonics and squeals here, courtesy of Sam Aston and John Virgo's guitar-weilding ability. 'Lighter Fluid' is no less intense, and has yet more of the obscene drumming we've almost come to expect now from Mr Watkins. Yet more riffs spill out of the song, and Broken Jaw feel like they're very comfortably in their stride. Even though we are nearly at the end of the album, the five piece have not slowed up or faltered once yet. 'Milk Guns Honey' threads the needle of nu-metal and death metal for the majority of it's runtime, which seem to be two of the biggest influences over the album and have come together very well here. At the end of the album, the song 'SYSTEM ERROR' meets us face to face to walk us to the pearly gates at the end of the record. Letting the quiet intro lull is into a relative sense of security, they then throw us into the deep end of a nicely swung groove with gutturals galore atop it. This has the feel of the slowest track on the album, but also has the most overtly singalong-able chorus, and right towards the end we even get some more of the mental double bass that's surely plagued the chest cavities of many. On 'No-OnE cArEs!', Broken Jaw have set up shop around a musical concept and defended it with their lives. Whilst I wouldn't suggest that subtlety is their strong suit, they know what they're good at and do it very well - that being, slightly silly and pretty heavy punkish metal. With a mischievous grin and a cowbell, Broken Jaw have come out with a very solid offering that'll keep you entertained throughout. Words: Jake Longhurst Photos: Me

Punk has always been more than just music; it’s a defiant way of life, a cultural rebellion, and a rejection of mainstream commercialism. From its inception, punk has been about raw energy, DIY ethics, and anti-establishment ideals. However, as punk has evolved, the lines that define it have blurred, leading to intense debates within the community. The gentrification of Camden, the commodification of punk aesthetics, and the rise of artists like Yungblud, who straddle the line between rebellion and recognition, all raise the question: where do we draw the line? When does punk cease to be punk? Camden: The Commodification of Rebellion Camden, once the beating heart of London’s punk scene, has transformed dramatically over the decades. In the late 1970s, Camden was more than just a district; it was a symbol of resistance, a place where punks embodied the DIY ethos and challenged societal norms through their fashion and music. The streets were lined with independent stalls selling homemade band merchandise and second-hand leather jackets, representing the unfiltered energy of punk. Today, however, Camden has become a tourist hotspot, and with that, its punk roots have been commercialised. The markets that once thrived on authenticity are now flooded with mass-produced "punk" clothing and accessories, sold to casual consumers and tourists looking for a taste of rebellion. The transformation of Camden from a hub of non-conformity to a commodified attraction forces us to confront uncomfortable truths about the future of punk. Has punk in Camden become a mere product, stripped of its substance and sold to the highest bidder? Many would argue yes. The once-vibrant scene has been repackaged and marketed, turning punks into nostalgic backdrops rather than genuine expressions of rebellion. This gentrification reflects a broader issue within punk: the struggle to maintain authenticity in a world increasingly driven by consumerism. Punk, a movement born out of opposition to capitalism, now finds itself consumed by the very forces it sought to resist. Yet, despite this commercialisation, Camden still holds a special place in punk’s history. It remains a gathering spot for those drawn to its legacy, a place where the spirit of punk lingers, albeit in a diluted form. Camden's transformation challenges us to reconsider what it means to be punk today. Can a movement rooted in anti-establishment ideals survive when its symbols are commodified, or does this evolution signal a broader change in punk’s meaning? Yungblud: Rebellion or Recognition? Yungblud has positioned himself as a voice for misfits and outsiders, channelling the rebellious spirit of punk through his music and persona. His lyrics, which tackle themes of non-conformity and social resistance, resonate with the punk ethos. However, his decision to launch the high-end fashion brand B.R.A.T. has sparked significant debate about his authenticity as a punk artist. The issue is not just the cost of the clothing but the contradiction inherent in Yungblud’s embrace of designer fashion while claiming to uphold punk values. Punk has always rejected mainstream consumerism and the pursuit of profit, so how can an artist who profits from high-end fashion still consider themselves punk? This tension highlights a broader dilemma within the punk community: how to balance success and commercial ventures with punk’s anti-capitalist roots. Some argue that Yungblud’s commercial success and foray into fashion signal a departure from punk’s core values. By engaging with the very consumer culture that punk opposed, he risks undermining the authenticity of his message. Punk was never about capitalising on an image; it was about creating something raw, real, and resistant to commodification. However, others see Yungblud’s actions in a different light. Despite his commercial ventures, Yungblud continues to champion punk’s core values, using his platform to speak out against social injustices and advocate for the marginalised. His initiative at Bludfest, where he launched a free ticket lottery for low-income families, demonstrates a commitment to inclusivity and community - key tenets of the punk ethos. Yungblud’s situation raises critical questions about the nature of punk in the modern world. Does the good he does, and the values he promotes, outweigh the negatives of his commercial success? Can punk adapt to new realities without losing its edge, or does any brush with mainstream success inevitably compromise its authenticity? The Profit Dilemma: When Does Punk Become a Product? The role of profit in punk is one of the most contentious issues within the community. At what point does success render an artist or movement too commercial to be considered punk? Historically, punk has been fiercely anti-capitalist, rejecting the commercialisation of art and culture. But as punk bands and artists achieve mainstream success, their authenticity is often questioned. Take the Sex Pistols, for example. Despite being one of the most iconic punk bands, they signed with major record labels and achieved significant financial success. Some argue they sold out, while others believe they used the system to spread their rebellious message to a broader audience. This debate remains relevant today, especially with artists like Yungblud, who walk a fine line between rebellion and commercialisation. Is profit inherently anti-punk? Or can punk exist within the mainstream without losing its essence? If punk is defined solely by its opposition to the mainstream, then many of its most influential acts could be dismissed as inauthentic. But if punk is about the message and the intent behind the music, then perhaps commercial success doesn’t necessarily negate one’s punk credentials. This debate forces us to confront what truly defines punk: its opposition to the mainstream or the spirit of resistance that underpins it. Modern Media: Dilution or Evolution? In recent years, modern media, particularly platforms like TikTok, have sparked debates about whether punk culture is being diluted. Critics argue that punk has become more of an aesthetic than a lifestyle, focusing on superficial elements rather than the principles that originally defined the movement. While there is some truth to this, it’s important to recognise that modern media also offers new ways for people to discover punk. Every generation has had its own entry point into the culture, and for today’s youth, social media is that gateway. Dismissing those who are new to the scene as "posers" overlooks the potential for genuine engagement with punk values. Instead of gatekeeping, the punk community should guide and educate newcomers, helping them navigate the deeper layers of the culture. The essence of punk - challenging the status quo, rejecting conformity, and forging your own path - remains intact, even as the platforms for discovering it change. Modern media may introduce new fans through different channels, but the rebellious spirit of punk can still thrive if it’s nurtured and directed towards meaningful engagement with the culture. Redefining Punk for the Future The debates surrounding Camden, Yungblud, profit, and modern media highlight the complexity of defining punk in the twenty-first century. The punk community has always been protective of its identity, wary of anything that might dilute its message or betray its values. Yet punk has also evolved, adapting to new contexts and challenges. Perhaps the essence of punk lies not in rigid definitions but in its ability to question and challenge, to resist easy answers and refuse to be boxed in. Punk has always been about pushing boundaries, whether they’re social, political, or even internal to the movement itself. As punk moves forward, the community must grapple with these questions, navigating the complex landscape of authenticity, success, and cultural change. What remains clear is that the spirit of punk - its defiance, creativity, and commitment to challenging the status quo - will continue to inspire and provoke, even as the line defining what is truly punk becomes ever more difficult to draw. Words: Vee Richardson Cover Photo: Nevaeh Anning - Photo of Glitchers In-Article Photo: Emma Shaw - Photo of Frank Carter and the Sex Pistols

Possibly up for the award of longest album title of 2024, Xiu Xiu's '13"Frank Beltrame Italian Stiletto With Bison Horn Grips' arrives for fans in less than a week. The album is a nine song long look into existence and darkness, that may prove as difficult to listen to as it could be rewarding. Right out of the gates, 'Arp Omni' begins as if the prelude to an uneasy album of abrasive noise before sharply pivoting and instantly becoming a heartwrenching ode to a loved one from someone who feels they "have done almost nothing right [their] entire adult life", but spending life with them broke their chains from being "nothing". This immediate gutpunch of a song is but a moment of brutalistic melancholy, though, as 'Maestro One Chord' changes tack wholeheartedly to become a dark, synth/electro based syncopated post-punk soundscape. Bringing abrasive elements, babyish sounds, and a heavy bass to lyrics that at face value appear bizarre should make for an unlistenable mess, but Xiu Xiu's expertise of the fringes of music keep the song from going off the rails, and instead allow it to be a blend of all that can be good about musical boundary pushing. The lyrics paint a picture of a being in space, curious about existence and yet unable to comprehend it's own. The sonics of the track carry on into 'Common Loon', although the lyrics appear to discuss both sides of a discussion about being loved despite changes, with the first verse being one person's fear of losing someone's love due to change, and the second verse is them being told to not worry about it right now as there's nothing to do now. It's a message that many should hear, delivered over another electronic soundscape that, whilst not being soothing or calm, is upbeat and keeps the song from being mournful. The fourth track, 'Pale Flower', introduces more abrasive elements - especially after the first chorus. The song starts off electronic, but slowly descends into relative madness via unsettling stabs and noise breaks that creep into the song almost unnoticed at first. They then abate for the next verse and chorus before you can dig into them too much, but before you know it the duo are back and have you on the edge of your seat, gripping your head and wondering who could have possibly created such a deeply unnerving piece of music. The piece that most quickly comes to mind is the poem Gene Wilder recites in Charlie and the Chocolate Factory, as a vague comparison. As the midpoint of the album looms large, we reach track five of nine, 'Veneficium'. Yet again, the duo feel as if they are discussing life and existence, but now from the point of view of an almost Cassandra-like figure, who has been repulsed by society and knows naught to do but carry on in spite of the horrors that life is certain to bring. Musically again this piece is heavily electronic, but with some consistent noise elements that match the tone of the lyrics to perfection. This existentialism is somewhat continued on 'Sleep Blvd', where the concerns of life and the fears of humanity are left behind as the listener descends into "The Discotheque". The music reflects the lyrics and ups the ante on the techno, drawing from influences of house music as well as harsh industrial to capitalise on the lyrical content. 'T.D.F.T.W.' (The Devil Forgiven That's Why) takes the listener on a real journey between a vast industrial techno soundscape and yet more uncomfortable lyrics. They seem to be about the last moments of life, and the last person you think of as you pass, but truly the lyrics are far too dense to tear apart so easily and will benefit from relistens in order to truly uncover what the duo are actually singing about. The penultimate song 'Bobby Bland' is just as lyrically vague, but with lines about meat being "locked in a toolshed", or "rent by the light of [a] candle" it would certainly appear to be a deeply unsettling set of lyrics about dismembering someone. Musically they help this feeling with all sorts of juxtaposed sounds underneath the permanently unsettling electronic music we've heard thus far, which extends into the final song on the album 'Piña, Coconut & Cherry'. This final song deals with concepts of godly omnibenevolence and the will of a god to act as well as suggesting the decline of religion in the modern world, and also about ownership, happiness, and obsession. The duo's abrasive musicianship comes to a head here with repeated calls of "Fantasy!" coming frantically throughout as if suggesting the whole set of lyrics are untrue, or in a more depraved perspective could be that the subject of the song sees their life as just fantasy, or rather wishes it was - neither of which being particularly good. The LP finishes with both a flourish and a sudden halt, that allow you to take your first full breath since you started listening. Xiu Xiu's new album is likely to be a difficult listen for those not accustomed to abrasive music, but for anyone willing to give it a go they shall be rewarded tenfold by an album with lyrical depth and themes, a wealth of musical expertise, and an unsettling look at the way life can oh so quickly get away from us. Not only is this an excellent album, it's a brilliantly written and composed look at the human psyche and the darker parts of the mind. '13"Frank Beltrame Italian Stiletto With Bison Horn Grips' is released on September 27th via Polyvinyl Records. Words: Jake Longhurst Photos: Xiu Xiu

When you think of Southampton's metal scene, amongst others there is one band that comes to the forefront of your mind - Our Hollow, Our Home. Since previous album 'Burn The Flood', things have changed for the band with an almost completely new line up following an announcement back in February 2023. They released a single 'Downpour' featuring the new members Gaz King (vocals), James Hackett (guitar), Matt Thomason (bass) and Kieran Tonks (drums), alongside the last remaining member from previous line-up Tobias Young (guitar/vocals). 'Hope & Hell' is the long-anticipated last album from the band. In 2024, we unfortunately see the end of the band with this final album, containing the singles 'Funeral Verse' and 'Burial Season' giving fans a chance to prepare for the last farewell. 'Castaway' opens the album and provides fans with a welcome back feeling, featuring a familiar sound and a fresh energy that gives long time listeners a bit of the sound they have come to expect from Our Hollow Our Home. Title track 'Hope & Hell' gives a taste of what this album is going to be bringing, as the new members truly shine with vibrant riffs, hard hitting vocals and powerful drums. Grief is a theme of many of the lyrics on this album, covering the coping stages of raw emotion and differing perspectives on it. 'Burial Season' is rich in the early stages but also moves into the concept of finding hope in the tragedy, reminding listeners that in going through these situations they are not alone. 'Veil Walker' continues this on the journey of the grief of losing a loved one and wishing you could trade their life for yours, whilst also never letting them be forgotten and reminding the listener that in memory they will live on. Ending the first half of the album is 'Lifeline' which further delves into the line of the previous track, dealing with living on to make someone proud even though they're no longer here. If you are a long time fan of the band, you may be familiar with the album 'In Moment / / In Memory'. The band pays homage to it with a sombre piano lead and melody driven track 'In Reflection'. Being the band's most emotion filled song of this album, it feels like a continuation to one of the bands songs 'Parting Gift', with it featuring similar lyrics and sonic concepts. On a first listen, this is a great album that hits all sorts of markers - however, when listening to it more with the band's separation in mind, lyrics like “And when it's over I hope you find your closure“ in the track ‘The Worst In Me‘ do have a different interpretation for the listener. Some may even think of the album differently as whole, with more perspective of how the band's members may be feeling. Bringing a bittersweet conclusion to an incredible swansong to the band's story, they leave fans old and new with this final album. The beautiful thing about music as that even as bands come and go, the music they leave behind acts perfectly as their legacy. What a fantastic way to do it like Our Hollow, Our Home have done here with 'Hope & Hell'. However, whilst the end is nigh for one band, another door has opened and guitarist James has taken the opportunity to continue doing music, not letting what is happening with the band stop him. He is going to display music related bits on his Instagram, and his perseverance is hopefully going to be an example to people that even when times get very hard, and may seem like the end, it's always possible to pick yourself up and keep going, even if it means starting over from the beginning. 'Hope & Hell' is released on September 27th via Arising Empire. Words: Lucas Grayson Photo: Oli Duncanson

Introducing Warlock A.D’s second debut album, ‘Book II: The Valley of Vâgené’ the sequel to the much-loved and well received ‘Book I: The Resurrection’, featuring their well-known hits such as ‘Skyrimming’, ‘Gerlat of Labia’ and ‘The Resurrection’. This is their second full length album where you will be transported into a new story and journey. Warlock A.D. have begun their new quest in ‘Book II: The Valley of Vâgené’ where the legend continues. Storywise, you're launched into their immersive world from the very beginning on tracks 'A Strange New World (That is not My Own)' and 'The Valley of Vâgené', where you find out that Whiteacre The Nomad has been separated from his brothers following an intense battle with Bol-Saix the Decimator. He finds himself powerless and stranded in a strange new world, the land of Brittanni. He requires the help of Quinn Eilianther the Elven Price, Horatus the Mushroom Wizard and Ahriman Cullblade the Shadow Assassin to ensure their successful getaway to The Valley of Vâgené. The fate of Brittanni rests in these heroes' hands. This makes a smooth transition from the album's start, setting the scene to how they further on their quest. As we continue through the album, 'Nanum Imperium' has deeper growls and symphonic riffs changing it up giving the album a taste of a variety of genres. 'The Golden Showers of Prestønia' begins slower than the other songs, making it the (relative) ballad of the album, featuring elements of female voices - and after listening to this I wouldn’t be recommending drinking the water from Preston… Leading straight into 'By the Path of the Exiled', the band bring us back into their journey through the mountains and paths to then be approached by Rothgar Warsong. This song is very merry, with the flutes in the back transporting you into a tavern where you could be drinking mead, doing some dad dancing, or brawling. After finishing all the mead we're back into a battle song called 'As One, We Stand!' which makes you feel like Whiteacre The Nomad is recruiting you onto the journey. 'Ancient Dragon of Storms Flüffir Mighty Guardian of Valley (Techno Wyrmhole)' adds a different feel to the album, as it sounds like there is a lot more going on behind with the synth and the levels of pitch used throughout, making it very video game-like. It feels like something you would hear as a backing track for a retro game while trying to beat the final boss in the final level - however in 'The Sacred Spears of Brittanni' you hear about how you are going to slay this dragon, bringing it back to its fast-paced journey with plenty of tasty growls and melodic vocals. 'Stormbreather' begins with a retro beginning that is just like playing on a Nintendo 64, whilst the operatic vocals make you feel as if you're inside a storm, which adds to all the elements of the rain, wind, lightning and thunder thorughout. Those, combined with the growls later on, lead to a veritable eruption of a track. ‘The Sword of Cühm’ has a fantastic transition that adds a further twist to this fantasy tale, making us sit on the edge of our seats, smoothly bringing us into the final track of the album that is ‘The Rising Flames of the Eternal Golden Empire Rise’ and made us wonder what is going to happen next. The album rocks and rolls with the fun you could expect of a band who roll for their songs live on stage, and has plenty of fun storytelling to keep you hooked if the music won't do that for you. Hopefully we will get to see more very soon from Warlock A.D and understand how they can continue to further push their story as a fantasy band. 'Book II: The Valley of Vâgené' is released on September 27th via Rockshot Records. Words: Ciara Hicks-Evans Photos: Warlock AD

Florida’s finest Rain City Drive are back with their ever-evolving alt–rock, and their much anticipated second album ‘Things Are Different Now’. Following on from the captivating 2020 release of ‘To Better Days’, this second LP is a clear statement of intent from the band. Now that this album is out in the world, Rain City Drive can continue to push the boundaries of rock with the mix of synths, punchy guitars and amazing vocals. Kicking off this album is the unapologetic ‘Lose My Composure’, which is the perfect opener as it's got some insanely catchy vocals from Matt and screaming riffs. ‘Wish You The Best’ comes next and is a melodic break-up song powering through with pounding guitars and striking vocals once again, as well as some seriously punchy drums. There were some lyrics that really stood in this song as being particularly emotive - ‘I only wish you the best even though you’re the worst, when I'm feeling depressed, I miss the way it hurts’ which is certain to hit a lot of people close to the heart. ‘Concrete Closure’ is an anthem which echoes post break-up songs from the 2000s rock era – it's chock full of melodic guitars and beefy drums with added synths, which really set this track up to be a hit. Coming straight afterwards is ‘Medicate Me', which was the first single to be released from this album, and is a brilliant collab alongside DaySeeker that no-one saw coming. It’s so catchy and is a truly captivating song, and makes for a right proper ear worm. Conversely, ‘Frozen’, the song after, is a striking anti- ballad with an eclectic mix of melodic riffs and meaningful vocals, making for another incredible track with Matt bringing a memorable vocal solo on this track, albeit one that is excellent in such a different way from the track prior. This works it's way into the penultimate track on the LP ‘Neverbloom’, which was the second single to be released prior to the album, and has had the new video for it (below) drop less than a week ago. Matt brings his powerful vocals once again to this track alongside the big guitar hooks that litter the entire runtime. Matt explores the darker side of his vocals with the story telling lyrics on the closing track ‘Sacrifice’. This is the perfect moment for a sonic curveball, pairing roaring synth alongside upbeat dance backing sounds in the perfect way to cap off the Floridians' sophomore album. ‘Things Are Different Now’ is fast-paced, foot-tapping rock album, which carries all of the emotional weight of break-ups, heartbreak, and loss, yet doesn't ever feel sorry for itself or for the listener. The sonic twists and turns throughout the album mimic those of the grief process and how very non-linear it is, allowing you to feel connected to the album in a much deeper way than you otherwise could if it expected you to just gradually get better incrementally. Rain City Drive have set up their stall with this and will need an extraordinary third album to top this. Best songs - ‘Medicate Me’, ‘Concrete Closure’ and ‘Neverbloom’ 'Things Are Different Now' is released on September 27th via Thriller Records. Words: Lisa York Photos: Rain City Drive

No you are not dreaming, Nightwish has awakened generations of fans by releasing a new album, three and a half years in the making. This tenth studio album, entitled ‘Yesterwynde’, came out today and takes its listeners on a 71 minute time odyssey. Approaching the themes of origins, legacy and ancestry, this new opus also walks in the footsteps of ‘Endless Forms Most Beautiful’ and ‘Human :II: Nature’, bringing the trilogy to a close. Quite a lot of expectation to live up to, isn’t it? We are brought back in time by the intro track 'Yesterwynde' which opens on the sound of a film reel turning. It takes a turn from the dynamic built up we are used to as starters of Nightwish’s albums and sets the tone to an unusual album. Transitioning into a dark choir chant, we skip through different times, styles and spaces leading to the clear voice of Floor Jansen acting as a storyteller. As if to link ties amidst the surprise, the choir connects us into the following song named ‘An Ocean of Strange Islands’ which brings elements instantly recognisable as Nightwish with an alliance of powerful guitar riffs, orchestra and masterful vocals. The band seems to look to its own genesis too, with a theatrical background for the song that evokes an ‘Imaginaerum’ atmosphere mixed with a heaviness we haven’t seen as much of since the ‘Once’ era. Interestingly enough, the song ends with an uilleann pipes melody that doesn’t seem to connect to the next track but correlates with the one we can hear in ‘Spider Silk’ towards the end of the album. ‘The Antikythera Mechanism’ starts a drastic change straight from its intro with an arrangement we wouldn’t associate with the band but is instead just the start. ‘The Day Of…’ seems to bring a new timeline altogether. With a strong 80s pop feel and synth background, it builds a bubble of confusion before bringing back a choir element towards the middle of the song which also melts into heaviness again that continues into the second pre-released song ‘Perfume Of The Timeless’. While all the elements for success are there, the track leaves an unfinished taste in the mouth. Its catchy chorus, chord progression and jazzy elements are very powerful and looping back to other songs. It contains one of the most impactful and impressive drums breakdown by Kai Hahto but you really need to focus to hear it. The orchestra and keyboards seem more prominent in the mix, burying other parts including the lyrical and leaving us hungry for more. ‘Sway’ comes as a soft, ethereal and epic story preparing you to an adventure we saw hinted in the intro. We can’t help but think that in retrospect this song could have been a good transition right after the intro to prepare for ‘An Ocean of Strange Islands’. Especially as ‘Children of ‘Ata’ brings new elements for the band such as the Tongan choir coming in on an earthy wave landscape before very 80s disco and synth heavy verses breaking into a more recognizable heavy chorus. ‘Something Whispered Follow Me’ keeps us in that era but switches styles by getting into the spirit of an 80s rock ballad. The important storytelling aspect stretched by Tuomas Holopainen can especially be felt in the two following songs, ‘Spider Silk’ and ‘Hiraeth’ which feel more focused and intentional in their communication of the message. They both contain a more gentle but strong touch and edit of what gets featured and highlighted. They each manage to build a distinct universe that deserves to be explored. As we reach the last songs, ‘The Weave’ hits with a powerful bass line by Jukka Koskinen which carries the song throughout, brings forward the drums and gritty guitar riffs. A firework before ‘Lanternlight’ which gives a feeling of outro song. The gentle piano melody and light singing from both Floor and Troy brings a sense of lullaby, of conclusion to a story before a deep slumber. The film rolls once again at the end, bring us full loop to the start. When one adventure finishes, another one starts. We were warned that ‘Yesterwynde’ would not be not easy to digest. While bringing confusion on the first listen, it does create a spider web of cross references throughout this record and the band's whole discography that fans will appreciate. However, being mastered seven times until it reached the form you hear, it makes us question how much is too much? The storytelling may feel like it is getting lost at times under the overpowering instrumentals and chaos. While impactful, it may be taking itself too seriously to some extend and lose details in translation. As with each track and style on this album, each listener’s experience of it is bound to be unique, so hang on tight! Words: Lysandre Pons Photo: Tim Tronckoe

A night full of nostalgia and noughties hits in sunny Margate was kicked off by first support act, four-piece band; SOAP. Busted fans were already familiar with the high-energy band after also being the opening act for them on their 20th anniversary arena tour last year under their previous name, The Tyne. With evident pop rock influence and recommended for fans of Fall Out Boy and Paramore, they were the perfect band to get the crowd warmed up for the unforgettable night. Next up was YouTube star NOAHFINNCE, with an energetic blend of indie and pop-punk vibes, the crowd were certainly getting pumped for Busted. Noah’s impressive vocal range was paired with punchy guitar riffs and an infectious stage presence, drawing the crowd in from vendors as the set continued. With each song, Noah’s fun and dynamic interaction with the audience kept the energy levels soaring with the crowd mirroring his and the band’s enthusiasm. With a UK tour coming this November, NOAH FINNCE is definitely one to watch. Just after the sun set, at 9:15 busted hit the stage with none other than their hit ‘Air Hostess’ and all of the 20 and 30-something crowd were swept into a wave of nostalgia as if no time had passed since we first heard their iconic tracks. The energy was off the charts and this was only the beginning of the hits! Next up were some more fan favorites; ‘Meet You There’ and ‘Loser Kid’, both reimagined on 2023’s Greatest Hits 2.0 reboot. These tracks showcased a slightly more matured and evolved version to the Busted we grew up with, blending their signature sound and lyrics with a modern twist. The crowd however, haven’t changed a bit, singing along to every word with the same passion that the three piece poured into their performance. Busted then followed up with more classics, starting with their chart topping single ‘You Said No’, followed by ‘Everything I Know’ and ‘Sleeping With The Light On’ all taken from their iconic self-titled 2002 debut album. By this point, the nostalgia was in full swing, all singing at their top of their lungs, immersed in the trip down memory lane. The band then launched into a high-energy cover of Hanson’s 1997 hit “MMMBop”, a track that also appears on their Greatest Hit’s 2.0 album. A thirs into the set, the atmosphere was nothing short of electric. Introduced by bassist Matt Willis, ‘Good One’ was the first new song of the night. The catchy 2023 single had the crowd swaying in unison with hands in the air. Despite it being a much newer track, it felt instantly familiar, blending with Busted’s string of classic hits, showcasing the band’s evolution. The crowd absolutely erupted when Busted launched into their iconic hit ‘What I Go To School For’. With the updated lyrics cheekily acknowledging Miss. Mackenzie’s age-now 53-the fans were belting out every word as if it was 2002 all over again. The sea of red ties, throwback Busted T-shirts and smiles in the crowd created a scene that bought everyone back to their school days. The nostalgia didn’t stop there and kept going when they powered right into ‘Who’s David’. Every song seemed to spark more of a reaction than the last, with louder screams and each chorus louder than the last. As the set drew to a close, next was 2004’s ‘Thunderbirds Are Go’, the iconic song written by McFly’s Tom Fletcher and Busted’s own James Bourne, for the film Thunderbirds, ignited the crowd with a sea of flashing lights and swaying hands. The momentum continued with the unforgettable B side ‘3AM’ and ‘She Wants To Be Me’. Charlie’s vocals are still as flawless and powerful as ever. Busted started to close out the night with an electric performance of their legendary single ‘Crashed The Wedding’. With over 31 million streams to date, this iconic track ignited the crowd yet again. Following the performance, we heard a story from bassist Matt Willis about video’s he had seen of McFly bad mouthing them, asking the crowd to scream louder if they thought Busted were better than McFly. They then smoothly moved into their final and most iconic song ‘Year 3000’, with Matt saying that McFly would go off stage and make everyone ask for an encore. Words: Lorna Hayes Cover Photo: Simon Arinze

For the second full-length release from Denver's Glacial Tomb, the general public are about to be gifted a hulking behemoth of metal. 'Lightless Expanse' is a putrid mixture of the foulest music around, with large parts taken from both death metal and black metal but plenty of sludge, doom and even sprinklings of hardcore can be heard on a listen through. Kicking things off with a suitably ominous first track title, 'Stygian Abattoir' sets the scene and sends the average heaviness of the area careening downwards. With chugged riffs, gutturals, and a thoroughly destroyed bass drum the band are setting up for a strenuous 40 minutes of cavernous brutality. Ripping into the second track 'Voidworm', the fourpiece sound as big as any six or seven member group with squeals and blasts every other second. Tempo changes are rife across the whole album, with particularly satisfying examples all throughout this song that will cause your face to contort almost involuntarily. As the listening experience continues, a unique phenomenon occurs whereby you can feel yourself getting both smarter and stupider, as the cosmic sounds and themes make you feel wise beyond wise whilst the brutal riffs and shrieked gutturals bring out the caveman-with-a-club inside us all. 'Enshrined In Concrete' and 'Abyssal Host' provide plenty of both, with technical wizardry being paired up with underbite-inspiring breakdowns. Ben Hutcherson's inhuman vocal displays are a sound to behold, and his guitarring chops are not to be sniffed at either, whilst David Small pummels the low end into submission on bass and Mike Salazar engages in a furious arm-and-leg day at the gym from behind his kit to keep everything pinned down rhythmically. The middle of the album does not let up, nor does it weaken in its writing or song titles. 'Sanctuary', the fifth song of the nine, is perhaps the least interesting title but does more than enough within its four minute and eighteen second runtime to make up for the fact. Immediately afterwards however is 'Seraphic Mutilation' which is a stone cold classic, one meat and two veg, old school death metal song title that we know and love - yet again with more juicy riffs and enough growls to scare off a pack of lions. As the final third of the album rolls into view, we are yet again subject to more artillery drumming, icy guitar and acidic vocals. 'Worldsflesh' and 'Wound of Existence' are the two shortest songs on the album, at 3:36 and 3:35, although the longest track 'Enshrined In Concrete' is only 4:22 so there is not a significant difference anywhere. The final track on the album is the title track, and 'The Lightless Expanse' lives up to its position as album closer and titular song. With gargantuan leads, a club-swinging tempo, and vicious vocals, the trio have smashed each song here. Not only are the small solos dotted throughout wonderfully technical, the consistence of each song is remarkable and every track has something new to really engage with. Whilst it 'Lightless Expanse' is a dense listen and will need attention in order to properly discern songs from each other at a glance, the effort is more than worthwhile as Glacial Tomb have served up one of the best extreme metal releases of the year. For the discerning death metal and black metal fan, this will serve you extremely well as a new album to dig your teeth into, and for those trying to get into the genre then you'll find plenty to love in this sonic abyss. 'Lightless Expanse' will be released on September 20th via Prosthetic Records. Words: Jake Longhurst

156/Silence’s fourth album is a love letter to the scene, combining classic metalcore structure and sounds with dreamy vocals and hardcore riffs to create a dissociative metalcore piece that will make you feel like taking a long walk atop a steep hill on a dark night. Honed skill emanates from one track to the next on this album; where 'Target Acquired' and 'Sleep Spikes' draws you in with a classic hardcore sound, the second single 'Better Written Villain' takes the listener back to pure metalcore with passionate clean vocals and exemplary instrumental. The whole album informs listeners that 156/Silence are in their stride, complete with a three act structure providing eerie eyes in the storm of this project akin to the ones that pierce you on the album’s cover. That is not to say that there has been no room for new elements - 'Blood Loss (ft Carson Pace)', 'Wants I Need (ft Craig Owens)', and even the title track 'People Watching' all include spoken word elements within their runtime. Though unexpected, kudos must be given to a band for trying something different in a genre that can often melt into itself. These tracks create poetry covering themes of marginalisation, the failing of others to meet standards and frustrations with culture that resonate heavily, especially when cut with passionate vocals displaying a warranted anger at the state of the world around 156/Silence. Highlight tracks on this album include initial single 'Unreasonable Doubt', as well as 'Change Agent (ft Trae Roberts)'. The former features walking hardcore riffs and is anchored by its sincerity when you are asked ‘what have you learned from this?’ before being launched into an intimate retelling of trying to break free from another, with the final reprise a reminder that a slowing down does not mean an end. The latter is a pull-no-punches piece of hardcore polished with the inclusion of Trae Robert’s guttural vocals and a multi-part breakdown that could take pride of place on any metal rotation. The final two tracks, 'Terms and Conditions' and 'Healing Process (Leave of Absence)', serve as the crescendo and a culmination of the anger that has built across the previous 12 tracks. 'Terms and Conditions' challenges the intentions of its subject through its explosive beginning and accusatory final bridge, while 'Healing Process (Leave of Absence)' is a six minute ballad where vocalist Jack takes you through every stage of waking up and letting go with raw honesty and finishes with a mantra for the recently healed. Overall, 'People Watching' serves as a metalcore playbook from a band who are not only comfortable in their space but are ready to expand it, and is an earnest and passionate project as willing to show its writers' vulnerabilities as it is to show their anger. 'People Watching' is released on September 13th via Nuclear Blast Records. Words: Julia Brunton Photo: Nick Chase