Synth-rock duo Zetra’s debut album is a shadow-cloaked journey through the universe, catastrophe and rebirth. Storytelling is a strength for the London band, creating fantastical landscapes full of questions and scathing commentary. Their mysterious personas combined with their mystical sound make for a mesmerising odyssey. While ‘Zetra’ is their first full-length album, Zetra have been making music since 2018. They maintain an air of mystery in every part of their public personas, fully committed to the drama, wonder and ambiguity that define their music. They list Gary Numan, Sonic Youth and Deafheaven as influences, and have toured with Creeper, Godflesh and SKYND, so are well at home amongst a variety of their dark and twisted peers. The album begins with foreboding guitars that transcend into dark, ethereal vocals. The opening track, ‘Suffer Eternally’, is a fitting introduction to the eerie world of Zetra. Surprisingly catchy for a song so soaked in misery, the melody feels spiritual, almost trance-like. This incorporeal flavour is especially palpable in the second track, ‘Sacrifice’. Despite the use of synths, there is an unmistakable feeling of connection to nature - of something bigger than music. It feels as though they have control of the elements - the cry of “we beg for rain and now we face a deluge” is followed by a crescendo that feels as though it embodies the very rain they've been singing about. The entire album is a constant dance between sharp and smooth, mourning and rage, the balance tipping in each direction only briefly. The bite of Svalbard’s Serena Cherry’s growling vocals against the band’s sorrowful harmonies during ‘Starfall’ is cathartic, with an undercurrent of desperation. Their control of tension is remarkable, constantly breaking before being pulled back under. Other features are Kælan Mikla’s Sólveig Matthildur Kristjánsdóttir in ‘Shatter The Mountain’ and Unto Others’ Gabriel Franco in ‘Moonfall’, who blend perfectly into the complex blanket of Zetra’s sound. The duo’s voices blend together into an indistinguishable voice, which often feels like some form of disembodied being. This fuels their character-building in every instance, especially the hypnotic, manipulative narrator of ‘The Mirror’ - giving voice to the darkness of human nature. At many points throughout the album, the vocals feel as though they could be a distant echo through mountains or even the voice in our heads, feeding the otherworldly ambience. The end of the album feels somehow both apocalyptic and holy in one go. ‘Gaia’ is a gothic dance through the end of the world, while ‘Moonfall’ is the real climax of the album, and truly does feel like watching the moon fall in slow motion. The theatrical track has twists and turns, showcasing the band’s range while still maintaining their distinct style. ‘Miracle’ is a rebirth, relief from watching the world end and reform. Zetra leaves us fully converted to their peculiar cult, wondering what will take the place of the world that has just been built and torn down. An undeniably fantastic album for lovers of dark romanticism and layered synth, ‘Zetra’ is a very exciting debut. Catch them on tour with HEALTH across Europe soon. 'Zetra' is released on September 13th via Nuclear Blast Records. Words: Gabriella Bosticco Photos: Zetra

As our collective brat-pop summer has come to an end, driven by the disparate forces of Charli XCX and Oasis, we turn towards autumn and winter - however, contrary to the mighty Green Day we would like to stay awake all September to see some of the amazing gigs coming up this month! Whilst this would usually be done in chronological order, it feels right to allow the behemoth news of Linkin Park's reunion to take first place here, as they're playing London's O2 arena on the 24th of September - less than three weeks post-reunion and they'll be back in the UK! It is a surreal vibe going round OOR HQ after hearing those songs on the livestream on Thursday night, and we hope you're as excited about it as we are. Of course though, that is by no means the only good show happening this month, and to kick off the rest of our list we have The Plot In You. With a smaller fanbase and slightly heavier Bad Omens type sound, any fans of the latter should absolutely consider seeing the former as they travel the UK, it could be your last chance to see them before they inevitably blow up and play massive venues! The tour started last night in London, and carries on to Leeds, Nottingham, Manchester and Bristol over the next five days. Liverpool are being treated today, Saturday the 7th, with NoPlay Festival taking place across three venues in the city and bringing some incredible talent to bear. British underground heroes like Going Off, Grove Street, and Cauldron will all be taking the stage alongside smaller (but no less brilliant) bands like Atheana, Boneflower and Black Coast. At the top of the bill are the phenomenal Heriot, who's upcoming debut album is likely to shatter eardrums and melt faces, as well as the outstanding San Diego-based SeeYouSpaceCowboy, whose third effort 'Coup De Grace' is looking good for many an album of the year list come December. In the middle of the month, Kid Bookie is going out around the UK in support of his upcoming album 'Songs For The Living // Songs For The Dead', and will be kickstarting the tour in London's Rough Trade East, taking his tour around for the next few days before ending up in Kingston on the 18th. For a sneak peak into the album, check out our review here - REVIEW: Kid Bookie - Songs For The Living // Songs For The Dead (outofrage.net). On the 21st and 22nd of the month, Manchester's Aatma will be taken over by Loveday Festival for two glorious days of brilliant heavy music. Headlined by Grief Ritual and El Moono, and with acts like Death Goals, Hour Of Reprisal, Kakihara, Victim Unit and more, this is not a two-dayer to skimp on. The venue itself is also a nice intimate setting, making proceedings even more exciting! Zeal & Ardor's uniquely riveting sound, merging black metal and gospel/spiritual music into one stunning display, will be shown off for one night only in London on September 22nd. For fans of music that is out there and pushing boundaries, Z&A are a must-see, and as this is their only UK headline show of the year it would be very worthwhile to get on down for the evening. Speaking of boundary pushing music, Party Cannon are (from what we're aware) the only band who mix brutal slamming death metal with partying, and they're certainly the only ones who do it with such verve and panache and skill (they are the dumbest and that's a good thing). For fans of music that is likely to lower your IQ, this is one tour you simply cannot miss. Supported by Pintglass, Street Soldier, and Foetal Juice, you are as likely to leave carrying your teeth as not. The tour starts late in the month on the 19th in Cardiff, and carries on until the 28th in Leeds. On that last day, the 28th of September, is another gig but in Manchester. Harbinger will be riffing up a storm over at the Rebellion, with five whole acts in support! The lineup is great with Dekaytah, Dacara, Third Culture, Von and Stranded all playing on the night, so it's more than worth the entry fee and will be a very enjoyable evening without a doubt. Post-rock icons Godspeed You! Black Emperor are also playing a one off show in London this month that is very very sold out, but we can't help but mention it due to the iconic status of the band. They're playing a very intimate show at Troxy, and it will surely be a night to live long in the memory of any and all attendees. On the 29th of September, you might just get to witness it if you can make it past the waiting list. That's the end of our list, but we'll see you in a month for more recommendations! Words: Jake Longhurst Cover Photo: Nic Howells

Many years ago, the worlds of grime and rock were profound in their differences, two gardens, both lush with potential, sat on either side of the fence. With Kid Bookie’s latest offering, the ten track ‘Songs For The Living // Songs For The Dead’, he is here to take a sledgehammer to that fence. Kid Bookie escapes the box, with a Jekyll-and-Hyde-style offering that is set to knock out a few teeth and give it a kiss better by the hook of the next track. From the first note of the opener, Tyronne demonstrates his natural ability to create bangers. With a blistering introduction and a chest burster of a chorus, that’ll have you taking the long way home - ‘AI (Save Yourself)’ throws you into the album and sends you spiralling. The track is a staunch fuck you, drenched in tight harmonies and witty bars, that explore Bookie’s craving to break free from the modern world. As the last chorus rings out, the Londoner dares you to expect more of the same as the solemnly sweet ‘Purgatory’ begins to sound. The gentle, acoustic track can’t help but lull you into deeper thought, as Bookie takes on love in his own way. Drifting through feelings of hopelessness with velvety tones, it’s a tearjerker at the very least, and at the most it’s a tender surprise, wrought in emotion that shows the full spectrum of his ability - not only as a songwriter, but as a vocalist too. If it were most other artists, it could be said that placing such a tender song after one so full of rage would be detrimental to the offering, but not with Bookie. Sure, the transition between the two is a thunderstrike, but don’t be fooled into believing that either song loses out from this; it’s arguably the opposite, Bookie has crafted a listening experience that is designed to make you want more. Which we definitely do. Bookie takes genre as another tool to add to his already very full hitmaker toolkit, and no song feels as though it is pandering to one genre to appease another. From grime to pop-punk in the plucky ‘Love Drunk’, a track oozing nostalgia, Tyronne takes no prisoners in showing how effortlessly he can genre-blend and make a statement. Take some inhumanly fast verses, throw in a couple of skull-crushing breakdowns, and you’ll get the massive single ‘Scars’. This, on the same set as the massive ‘Love Me When You’re Angry’, gives us two songs that are both bubbling with gumption and fully equipped to blow your face off. It’s this gall that gives Bookie his spark and keeps you guessing whenever you do decide to hit 'next'. It's harder to say that the shorter interludes on the album, notably ‘Self control’ and ‘DOWN MY FRIEND’, deserve their place as much, however. They don’t hold the same memorability or unpredictability that we know Bookie is so capable of. They’re nice, which is almost unfortunate in this instance, as they miss out on an opportunity to further make a statement, or keep you interested past the first listen. If Tyronne Hill wants us to know one thing with his latest smash, it would be to expect the unexpected. ‘Songs For The Living // Songs For The Dead’ screams this sentiment from the off right the way through to the dying notes, a diverse set of punches and tickles, stabs and kisses from the opening note to the final chorus. Kid Bookie is constantly defying himself, cementing himself as the man who can do it all. Best Songs - ‘Love Me When You’re Angry’, ‘Scars’, ‘AI (Save Yourself)’, ‘Purgatory’ Words: Charli Marriott Photo: Paul Harries

The talented duo BONES UK, starring Rosie Bones as the lead singer and rhythm guitarist and the gifted Carmen Vanderberg as the lead guitarist. After forming in Camden in 2014 they quickly took off with their unique, rough-edged, electronic pop sound. Now they have delivered 11 new exhilarating tracks on their new album ‘Soft’. This is the duo’s 3rd album as writers after having co-written 'Loud Hailer' with Jeff Beck and released their self-titled, Grammy-nominated, debut album. The album opens with the electronic beat of ‘Bikinis’, to set the tone of the album. Rosie's passionate and captivating vocals draw you in immediately, leaving us excited for what's to come next, whilst the catchy melodic riffs that bounce throughout the song continue throughout the entirety of the album. The next song ‘Me’ starts off strong with the powerful bass, perfectly complimenting the upbeat feel to the song. These first two uplifting songs are an immaculate start, really setting the bar high for the rest of the LP. The track ‘Dopamine’ catches your attention immediately with the first lyrics in the song being “Save me from myself I think I'm going mad”. This song has a more serious sound to it, with a heavier melody and more intense riffs it has a different feel to it compared to what's come so far, and this continues into the next song 'Won't Settle'. 'Won't Settle' starts off with a heavy guitar riff that continues throughout, instantly drawing your attention and impressing the need to hear what comes next. The lyrics within the song seem to talk about the singer's romantic partners and her expectations, tying into the song title of 'Won’t Settle'. 'Knee Deep' is a slower paced track with a melancholic guitar sound which, paired with the emotive vocals over the top, bring about a particularly poignant atmosphere. This song has incredibly beautiful moments, especially with the guitar and the lyrics as they are so easy to relate to. One specific lyric that stands out is “I don't wanna be this deep, I wish I was shallow”, which certainly seems to discuss the overwhelming struggle of being so driven by your emotions that it becomes a burden to feel so deeply. The band then goes into talking about struggling with insecurities with the song ‘Perfectly Imperfect’ which is something that people all over the world can identify with. The song ends with the lyrics “I adore your perfect imperfections” repeating, which sends a wonderful message of loving others not just for their good parts, but also for the bits they themselves may not love. Your imperfections don't define you and while you may notice them, others may not. Another topic talked about throughout this album is heartbreak and relationships. “Us” talks about the metaphoric death of a relationship. This heartbreaking track is written about the grief of a relationship. The rawness of the vocals really brings a tear to your eye in this one, so don't forget your tissues! Loneliness is also very present in this song and continues into the 8th song on the album ‘Fix Me’. While it has a happier feel compared to ‘Us’, you can recognise plenty of the same emotions in the lyrics, as she sings about finding comfort in another person in order to confront the dreaded feeling of loneliness. People can come together and help each other, and music can be a huge driver behind that. This album, especially these last few songs, feel like they could be a catalyst for more of those important conversations that people need but don't have. “Teeth” is an exciting track with a sensual feel to it, really stepping into an area full of feminine energy. We've already reached the third-last song on the album, and even now BONES UK make you want to get up and dance. The last two songs on the album are an incredible ending to this album, the guitar in “Blood” being a real treat. You can hear so much emotion in the vocals, with the screaming really adding to this as you can hear such huge volumes of passion coming from her voice. The final song ‘What If I Died’ brings the album to a close perfectly, shedding light on a very important topic. She sings about death, asking the question, “If I died today would anything change?” This topic is incredibly important to be discussed in the music industry, encouraging listeners that they are not alone, and that they are important as a person, not just an instrument for change. BONES UK have written an album full of relatable songs talking about heartbreak and individuality, something they have stuck with since the beginning of their career. This whole album has a real electronic rock feel to it, similar to their earlier songs but also taking it slow and changing it up for certain tracks. Every song is full of raw vocals and outstanding riffs. The duo have done an incredible job creating a sound that is unique to them, and we look forward to seeing what they will do next! 'Soft' will be released via Sumerian Records on September 13th. Words: Kelsey Mainwaring Photo: BONES UK

Ollie Hayman tells us all about working as a photographer at one of the best new emerging alternative music festivals. Festival season is finally over (aww) - and it’s been a hell of a year for them. Burn It Down in Torquay this year was no exception, two big headliners and multiple big names on the lineup made for an incredible two - day festival in the South West harbour town. I’ve only started doing festivals this year, but something I quickly realised at Slam Dunk and 2000Trees was that it takes ages to walk between all the stages, missing some parts of acts and not being able to cram full sets in. Burn It Down, however, is completely different with all 3 stages being literally a 30 second walk from each other. The Apple and Parrot, a pub, on one side of the road, and then The Attic and The Foundry being in the same building. Although that might seem fairly cramped, it worked perfectly, with a good enough break between most artists to have a chill for 5 minutes! My weekend started with the incredible Vanitas kicking off the Apple and Parrot stage, and the entire weekend. The Birmingham - based djent band were genuinely incredible, and definitely not one to miss for the future! They released their debut EP, “Chaos Theory” only last month, and in the 2 years since they’ve been together, have really exploded into the scene. Staying in the Apple and Parrot, were Arimea, who I’ve been meaning to see for a while now, and they did not disappoint. They’ve definitely gained a new fan here, with music reminiscent of Linkin Park and Limp Bizkit, a couple of my favourite bands! My first viewing at the Foundry was the incredible opening duo of Haggard Cat. I genuinely love watching duo’s perform live, because the sound they can make is just something that you can’t recreate with even a 5-piece. Their songs such as “American Graffiti” and “Quit Your Jobs” rocked the first main stage band! After Haggard Cat came my good friends Blank Atlas, with their hard hitting riffs and incredible sound, they’re sure to be main stage soon! Definitely one never to miss if you’re where they’re playing! Then came Grove Street and Darlah, both are incredible live! I remember seeing Darlah support the outstanding As Everything Unfolds in Plymouth, and I’ll always remember how great they were then! To see them playing at a festival in Torquay was amazing! After my lunch “break” came the absolutely world class Graphic Nature. I saw them for the first time supporting Dream State at one of my local venues, and bloody hell they were incredible then. To see them at The Foundry was just an incredible sight, and I managed to catch the majority of their incredible set. Another band who are going places is Tropic Gold, who for some strange reason played the Apple and Parrot stage. They are way too good for that stage, I’ll tell you that now! They really remind me of Bring Me The Horizon in some of their songs, I’m not too sure what it is about them, but they truly are incredible and it wouldn’t surprise me if they’re one of the biggest bands in the next few years! Then came the day one headliners, the incredible Wargasm. I’ve wanted to see them since “The Void Stares Back” - with Enter Shikari. That song blew my mind, and although I didn’t see them play THAT song live, they were still incredible to watch, and I would for sure catch them again! Speaking of which - they’re playing a headline tour at intimate venues around the UK at the end of the year. Do not miss them! Day two was another early start, and a late change of acts saw the incredible COSM opening! I hadn’t heard of them before at all, but I feel like they were one of the best acts of the weekend for sure! Something about their music really called to me and I could definitely get into them. Another good friend of mine was next, the incredible one man punk band of Boss Cass (FKA Fluff). A recent name change came with the incredible single of “House Always Wins” - which if you really want to know what he’s about, watch the video on YouTube - it’s a brilliant video! Honestly though, he’s incredibly energetic and fun live, and definitely knows how to get the crowd going! Artio are one of the hottest acts on the scene right now. Their incredible music about how Rae (lead singer) feels really can hit home for a lot of people right now, and their debut album “Babyface” is an actual masterpiece. It’s not very often you can say that about debut albums, but this one is. A very fast turnover between Alt Blk Era and High Regard for me then, and the former being a band I’ve only ever heard a couple of songs from before. However their live performances are definitely incredible, the duo is incredibly talented and they really compliment each other live. Coming to High Regard, who in my eyes are one of the best bands around right now. I can never seem to stop listening to their music, with “Dead To Me (featuring Charlie Rolfe from As Everything Unfolds)” is just such an incredible song, and one I can personally relate to. I’ve also managed to hear their new single, “Mirror Glass”, and it’s now one of my favourite songs I think ever? Basically what I’m saying is go and say you were there before they headline Wembley. A band that really surprised me was Split Chain, I’d heard of them but have never listened to them before. They were truly brilliant live and super talented. Next was Bex then - who’s set I didn’t catch too much of, but she was super talented and really got the crowd going! She was also fairly Insane, jumping into the crowd from a shelf in a pub! One band I have been waiting nearly a year to see again was Lake Malice. I saw them over in Copenhagen supporting Enter Shikari and had a great chat with the couple after the show! They really are such down to earth people, and absolutely brilliant musicians. Absolutely full of energy and incredibly good music, they are also one not to miss! After Lake Malice came the wonderful Caskets, and seeing them in a smaller venue was absolutely brilliant. They’ve got a lot of sing along tunes, and hearing the crowd sing to them was outstanding and bone chilling for sure. Finally came the band everyone had been waiting for. Creeper, day two and final headliners. I’ve been keeping a good eye on Creeper for a while now, but I’ve never had a chance to see them live. They did not disappoint and left me wanting to see them again. The show they put on is something else, and Will’s (lead singer) stage presence is truly something else. He really commands the stage and makes it truly feel like the style they want, cinematic. Words and Photos: Ollie Hayman

Hailing itself as the UK’s biggest independent metal festival, Bloodstock has become synonymous with massive mosh pits and head-turning lineups. Whilst there were far too many incredible acts to cover, here’s a rundown of our highlights from this year’s fest. Thursday’s Sophie stage headliner Evergrey were forced to use borrowed equipment, with frontman Tom Englund explaining ‘we might sound like shit, but we’ll play anyway.’ If they hadn’t announced that, however, not a single attendee would have known. Blazing through a number of tracks from their newest album, the group had one of the most explosive mixes of the festival, sporting a well- rounded guitar tone and crisp drum sound that enveloped you in each track. From more contemporary songs like ‘Misfortune’ to the group’s classic hits, Evergrey had the whole venue singing along, making this a wonderful end to the festival’s short opening day. Rotting Christ’s Friday performance was well-anticipated by many festival-goers, and the band were far from disappointing. Frontman Sakis Tolis has an enviable stage presence, clearly having the time of his life as the group hit you over the head with crushing riff after crushing riff. Combining that with the haunting chanted vocals of hits such as ‘Dies Irae,’ the group had the entire crowd headbanging in a frenzy, sparking numerous well-deserved mosh pits. The band brought their atmospheric black metal to new heights on the Dio stage, leaving us all exhausted. Hatebreed's 30th anniversary show pulled the biggest crowd we’d seen so far, with countless fans keen to show their love for this juggernaut of hardcore— even a security guard had a tattoo of their logo! The band absolutely delivered, with Jamey Jasta hardly having to sing as legions of diehards screamed out ‘destroy everything.’ Blitzing through a number of the band’s most celebrated hits, Hatebreed were in top form at Bloodstock, turning up the energy to a whole new level: they also unleashed a ‘ball of death’ into the crowd, ensuring that the band’s performance resulted in absolute carnage from start to finish. Despite their popularity, Opeth are a surprisingly niche band to headline Bloodstock. If festival-goers could manage to enjoy their combination of metal with folk and jazz, however, then there’s no debate that the Swedish prog-heads excelled. This special fan-picked setlist was chock-full of crowd favourites, ranging from the brutal riffs of ‘Heir Apparent’ to the soft balladry of ‘In My Time Of Need,’ which got its own ironic mosh pit. The band had dialled in a heavier mix than they normally opt for, ensuring that their death metal passages were meaner than ever, and Åkerfelft’s signature dry humour was the cherry on top of a stunning headliner show. Opeth at Bloodstock, Credit: Nick Davarias A surprise hit, Combichrist’s Sophie stage performance was only half a metal show, and half a full-blown rave! Sporting an infectious combination of industrial metal akin to Rammstein with thumping techno, the group dominated throughout their entire set, getting the entire crowd dancing along. Though some fans were shocked to see the band stay away from the majority of their classic hits, it was more than made up for as the group’s newer songs were undeniably well-received: cuts such as ‘Children of Violence’ rang out across the entire festival, with Andy LaPlegua whipping the crowd up into enough of a frenzy to make this one of the most memorable and exciting performances of the weekend. It was a shame to see Sylosis’ explosive performance come to a screeching halt early on as Josh Middleton’s guitar cut out after the opening track— fixing the issue ate up a considerable amount of time, leaving the band with only 20 minutes to make their mark. Thankfully, Sylosis took the bull by the horns, powering through as many songs as they could manage and playing with an almost desperate intensity. Middleton’s vocals were harsher and more brutal than ever, even as he continued to nail each of his mind-boggling solos, and the rest of the band were more energetic and impassioned than we’ve ever seen them! The band split the entire crowd for a gigantic pit, proving that even in the face of tech issues, Sylosis are still a force to be reckoned with. The performances seemed to only grow in intensity across the weekend as Greece’s Septicflesh brought the house down on Sunday’s main stage. The group’s more theatrical side was on full display, as evidenced by their gigantic banner, though their orchestral inclusions took a backseat to the sheer brutality and volume of their overpowering, unstoppable riffs. The pounding rhythms of ‘Neuromancer’ or ‘A Desert Throne’ had the entire crowd head-banging as one, while the anthemic fan-favourite ‘Anubis’ was a sheer delight to watch. Spiros Antoniou’s vocals were absolutely gigantic, ringing out across the entire festival, and no-one could deny the pain in their neck as the closer ‘Dark Art’ came to an end. After so many crushing performances, it was a breath of fresh air for the aviator- wearing classic rock band Night Flight Orchestra to take to the main stage. The eight-piece act were clearly having a blast from start to finish, constantly dancing around to their own catchy tunes, and the audience were no less engaged— a select few, who had dressed in pilot uniforms, even got brought up to dance the conga! The group played it safe on the setlist, including all their fan-favourites including ‘Satellite,’ ‘Divinyls’ and more, though we certainly weren’t complaining as every track had the whole of Walton-on-Trent singing along. Though the band were one of the softest of the fest, they were also one of the most fun, and they certainly earned their place. With more anticipation for their performance than for anyone else across the whole weekend, it’s shocking to be able to say that Amon Amarth exceeded expectations with their Sunday headliner set. The band undoubtedly had the most theatrical show of the entire festival, transforming the Dio stage into a viking paradise complete with armour-wearing actors, giant rowing ships and even an inflatable world serpent. The band were no less stunning to watch, powering through a plethora of crowd-favourites before ending on the ever-infectious ‘Twilight Of The Thunder God.’ The crowd-surfers and mosh pits were out in full force at every single moment, undoubtedly making this a moment to remember. The show was a celebration of all things metal, and no other performance could have capped off the festival in so much style. Words: Jay Kirby Photos: Nick Davarias

The rock band Thank from Leeds, as they are officially known, played an incredible set at ArcTanGent festival back in August, with a full crowd gathering at the Elephant stage to hear their distinctive punk vocals and irreverent lyricism. Tabitha Smith had the privilege of sitting down with the full band to talk about their next moves going into the autumn months, with a new label and new single that’s been attracting a lot of attention. The group had arrived a little later to ArcTanGent as their set was on the Saturday, the final day of the festival, but it was revealed that bassist Cameron had been there most of the week. ‘You consume it like a sociopath’, drummer Steve joked, with Cameron claiming that he felt like he’d been at the festival since the previous year. ‘In terms of ArcTanGent…you know what to expect,’ Cameron told me, ‘it delivers that same level of quality, although it does get bigger every time, somehow!’ The group appear to have been going from strength to strength since the release of their new single ‘Writing Out A List Of All the Names Of God’, a title which vocalist Freddy joked was ‘purely to try and make as many journalists as possible stumble over the words’, and it admittedly caught me out too. The band have described the song as a ‘diss track’, and it certainly grabs the listener’s attention, with a personal highlight of mine being the drawn out ‘excuse me’s at the beginning of the song, denoting an impatience that stays and builds throughout. The band told me they released this as a single as they believed it would appeal to existing Thank fans, and it has garnered more attention than they were anticipating. BBC Introducing Sheffield and Leeds have given the track a spin, as well as Radio X and 6 Music, something which Freddy said ‘bodes well’ for the subsequent tracks that are ready to be released soon. ‘Writing Out A List’ has also been very well advertised across the band’s Instagram, something I had to ask them about due to the sheer level of shitposting on their feed. Freddy owned up to the posts, claiming that shitposting is one of his ‘few skills’; ‘I’d say this band is fifty percent making music and fifty percent me being a menace on Twitter and Instagram.’ Personally, I think their social media, whether intentionally or not, will draw listeners in out of pure curiosity. Reaching out to your fans and asking them to buy your merch, while simultaneously calling them all nerds who were wedgied in high school, is just the kind of psychological marketing ploy that would work on someone like me. The band are taking their new music on tour this autumn, with a week straight of gigs across Europe in October, as well as supporting noise rock band Cherubs in Manchester in November, something they seemed very excited for. One of my favourite things about interviewing artists is when they show their enthusiasm for the other bands around them, and Thank were no exception. The group recently signed to Big Scary Monsters, a label each of them have an innate appreciation for. Steve talked about how he used to work as a sound engineer and would hear a lot of BSM’s acts. ‘At the time I was literally just into grindcore, and at first I didn’t get it at all, but by the end I was really hooked on it,’ he explained. Freddy’s association with the label dates back a fair way too, with some of the first vinyls he ever bought being by bands signed to the label, including a seven-inch of ‘Meat Balloon’ by Pulled Apart By Horses. After asking if this signing has created a new era for Thank, Freddy responded that it was definitely ‘a bit of a step up’, but fundamentally Thank are continuing to cement their sound and their name in the scene in the midlands. ‘If there's a new sound or a new angle’, Freddy added, ‘it’ll be largely to do with Steve.’ The upcoming album is the group’s first full-length project with the drummer as part of their ensemble, with the group agreeing that ‘he’s brought a lot to it; not that previous drummers weren’t involved in the writing but Steve’s taken a way bigger part in the writing of stuff. He’s a very talented man!’ Steve’s influence has reached the album art too, with the cover for ‘Writing Out A List’ being a painting by Nick Sheehy, otherwise known as Showchicken, who Steve had been a fan of for some time. ‘His artwork is really sick; he used to do stuff that was a lot more sketchy [...], but the stuff he's been doing recently, it kind of looks a bit like weird CGI, it almost looks like AI art, but it’s fully hand-painted!’ The comment about the AI art by Steve makes a lot of sense, as the frog in the painting looks iridescent and almost like he’s been dreamed into the image. I asked the band if the frog had any significance, and despite the painting already existing before being chosen for the single artwork, the group had had a strange experience with frogs in Bilbao in Spain. The lyric video for ‘Writing Out A List’ shows a frog from their trip, something Steve described as being part of ‘a mad, basque-country bar game; there was a little metal frog and you had to chuck a euro coin into its mouth - it was nearly impossible!’ Alongside these recurring appearances of frogs, Freddy revealed that Cameron also had a phobia of the amphibians. It was established that the frog in the album art was not real and could not hurt Cameron, although Freddy joked that he loved the idea of Cameron jumping out of his skin every time he opened a press email about the song release, seeing the shining frog gawking back at him. As well as having a deep admiration for Big Scary Monsters alumni, Nick Sheehy, and one another, Thank had a lot of love for the acts playing at ArcTanGent too, and I asked them if there was anyone they dreamed of playing with. Steve revealed that after seeing some of their set, he would love to play some shows with Show Me The Body. ‘I feel like even though we’re completely different bands we come from a similar angle of punk stuff, but in a weird way,’ he told me, which I think is a great way of explaining the bands’ stylings. ‘I feel like we probably have shit to chat about anyways,’ he added. Freddy subsequently revealed a hilarious anecdote in which BSM had approached the group, asking them to create a list of dream acts to tour with, with Freddy taking this quite literally; ‘I’d sent them an email like “The Cure, Nine Inch Nails”,’ he laughed. We collectively agreed that it was always best to dream big with these things, even if BSM weren’t quite ready for them just yet. Thank’s dynamic make them brilliant to watch, both on and off stage. In anticipation of their album coming out, the group teased a release party at the Brudenell Social Club in Leeds, which is something to look out for over the coming months. It was a pleasure to talk to all four members, and we can’t wait to hear their next single! Words: Tabitha Smith Photos: Summer Crane

In a world where everything seems a little bit crazy right now, music is always there to help find an escape, and that’s where InRetrospect come in with ‘AGGRO - THE MIXTAPE’. Hailing from Leeds, InRetrospect's British-metalcore-meets-djent sound was started in late 2019 by guitarists James and Jerome, eventually completing their lineup with Nathan, Tobias and Geromme who come together to provide melodic guitars and screaming vocals, making this is a real treat for fans of metalcore, djent, and post-hardcore alike. With their brand of music they're giving the alt scene just what it needs right now, and was more than worth the wait. ‘SWEARDOWN’ opens up the mixtape which really sets the pace for the entire running time, being full of catchy melodic riffs and vocal hooks it is the perfect track to kickstart the ensuing chaos. This leads into ‘IN VAIN’ which is filled with catchy riffs and heavy vocals, making it the perfect track to follow on with before going seamlessly into ‘MiSunderSTooD’, which is more of a melodic track showcasing the bands powerful but dark vocals. This first half of the mixtape really sets the tone for what we should expect from the band, setting powerful, bouncy riffs to big drum beats and talented displays of screaming and singing across the first three songs. The second half begins with ‘OUTCAST (SO WHAT?)’, which gives away its lyrical content in the title, describing a feeling that most people in the alternative community can really identify with - "This time I'm gonna disobey", and "Disguise me as something I'm not" stood out as particularly poignant moments here, amongst the screams and the guitar lines. ‘BETTER SELF’ is another awesome track with a great combination of riffs and vocals that discusses whether it’s ok to better yourself, which has long been an important and under-highlighted topic of conversation around mental health. An ode to anyone who is struggling right now - a powerful song that should definitely be spun a couple times. The final track on this great mixtape is ‘MY.OWN.SKIN’ which was the lead single from ‘AGGRO’ and is yet another track filled with an excellent mix of dark, melodic riffs alongside a mixture of angry, gritty vocals. One lyric that really stands out is "Trapped in my own skin" which more people than ever can surely relate to in modern society. A great track to end on, giving the band plenty of breathing room to evolve their style and expand their scope but simultaneously setting up shop and baring their hearts with a certain sonic brand that'll likely become a household sound if they keep up releasing with this consistency. The whole mixtape has an early 2000’s metal feel, showing off plenty of influence and inspiration however InRetrospect have really hit the nail on the head to create their own sound out of it, with the perfect mix of catchy riffs and dark punchy vocals on each track. All in all, this is an incredible mixtape from InRetrospect, and we're looking forward to seeing what these guys get up to next with their fresh take on the UK metal scene. Best songs - MY.OWN.SKIN, BETTER SELF AGGRO - The Mixtape will be released September 6th on Passion Eight Records. Words: Lisa York Cover Photo: InRetrospect

On a night when the Manchester Ritz was filled to capacity, the anticipation for Rise Against’s performance was palpable. The room being packed with 1500 strong to witness the return of the iconic Rise Against made for some very moist viewing. While a short set of dates for this stop off in the UK, Tim Mcllrath says they’re excited to be in a never before played venue. There’s a palpable excitement, and honesty, as he said “Manchester… We’ve been looking forward to this one”. The venue, brimming with fans from all walks of life, buzzed with excitement as the lights dimmed and the first notes of Satellite rang out. From that moment, it was clear that this wasn’t just a concert; it was a communal experience, a cathartic release for all those in attendance. The crowd screamed the song in unison throughout; it was the perfect opener. To the surprise of many, somewhat of a deep cut followed with ‘Under the Knife’ keeping things going at a relentless pace. While it’s not a “never played” track, its not their most played, and good god did the crowd have some love for it, as well as the last of their opening three, ‘Give it All’. This sandwiching of loved tracks meant the atmosphere in Manchester was off to a soaring start, making it a loud night even for those of us rocking the Loops™. The energy in the room remained at a high but took an emotional hairpin with ‘Make It Stop (September’s Children)’ next up. This is absolutely one of those tracks that people weld a connection to, and in a modern Manchester in the midst of Pride season, put a lump in the throat of many. ‘The Good Left Undone’ and ‘Worth Dying For’ brought the tempo back up, and is a case of something Rise Against do often where there are incredible, poignant moments in the set, before they bring fans a release with the reminder they’re at one of the best rock shows on the planet. It has to be said as well, for tracks that came out nearly 20 years ago, Tim McIlrath’s vocals don’t seem to have aged a day. What’s very telling about Rise Against’s back catalogue is that there is ONE song in this entire set that came out after 2011 (more on what track that is later). ‘Re-Education (Through Labor)’ and ‘Help Is on the Way’ keep things moving on a high by being popular tracks, but do bring the pace down a smidge, which honestly was needed as the paint is peeling off the walls as they reached halfway in the set with the incredible ‘Ready To Fall’, which is usually a lot earlier in the set. The contrast was stark when the band transitioned into 'Hero of War’. The room fell silent, every word hanging in the air as McIlrath tells a story some of these fans will have listened to thousands of times. It never seems to lose its potency. This is certainly the break period in the set as Tim continues the solo effort with ‘Swing Life Away’. Obviously so much is made of the intensity when Principe, Barnes and Blair are all on stage as well, but when Rise Against’s lighter stuff is on show, you can hear a pin drop. Peoples attention is in a vice grip. They followed this with that one track we mentioned earlier that was made after 2011, a new number called ‘Want it All’. This is the only part of the set anyone could consider a lull, as the full outfit returns to the stage, the lights are bright, but the crowd is still. This point in the set had a lot of people spent and such a new number was very jarring for those eager to sing along. Similarly, the inclusion of ‘Like The Angel’ kept things unfamiliar for some fans, as this has only really been getting played in the UK on their post-covid tours. Still bangs for us personally though. A common denominator of this show is that Rise Against have a lot of key tracks as well as one 10/10 album in that 2006 The Sufferer & The Witness, so the bulk of this set is one or two songs off other albums, before a banger from the mid-00’s. Hence, the band going a whopping 4 tracks without dipping into Sufferer means the place came unglued for ‘Prayer of the Refugee’ when it ended the main portion of the set. The energy in the room reached another peak with this one, with the crowd singing along as if their lives depended on it. The minute or so the band was off stage made for somewhat of a ripple amongst the crowd as it set in just what songs were left for their encore. The three Rise Against gave them was nothing short of spectacular. ‘Survive’ has a very special vibe as it is both off the 10/10 album, but also has insanely niche reference that one fellow attendee couldn’t help but mention, that it was on the Smackdown vs RAW 2007 soundtrack. God, life was good back then. ‘Audience of One’ was a surprising inclusion personally, but also definitely got that singalong going in a much happier way than some of their catalogue would. Rise shows are genuinely a bit of an emotional journey, the lighter tinged track right at the end really helped send them home happy. That said, it all came down to ‘Saviour’, a song that has become synonymous with Rise Against’s live shows. The crowd’s energy was unwavering, even as the final notes played out. It was the perfect ending to an unforgettable night. By the time the last chords faded and the lights came up, the Ritz was a sweltering cauldron of sweat and euphoria. The taps had run dry, and fans were left hoarse and exhausted, yet undeniably satisfied. Words and Photos: Nic Howells

Amongst those beautifully British rolling hills called the Mendips sits a place called Fernhill Farm, that not too long ago was lit up by the whirlwind of heaviness that is ArcTanGent Festival. Even in the chaos of that lineup, the Norwegian/Australian group Blood Command stood out for their incessant energy, love of life and living, and their uniform of all Adidas, all the time, always. Sat down in the beating sun, Jake Longhurst chatted to lead singer Nikki Brumen and mastermind behind the band Yngve Andersen. As the interview was taking place a little show of twelve months on from the release of their last album 'World Domination', it was only sensible to ask how dominant they've felt as a band across the world - and with nothing less than complete assurance, Nikki came back to say that herself and the band have been more dominant than ever before - with 16 European festivals attended across the summer, they've kept themselves very busy! Of course we had to ask about how excited they were to play ArcTanGent itself, and Nikki was throwing compliments everywhere about it - "I'm so excited, this festival... it's so well curated, it's so interesting and so different to other festivals I've seen!". She also made a point about the ludicrous lineup and how she didn't recognise half the bands playing, but that her friends pointed out as many bands she did know as she didn't which was a huge positive for her. Yngve went further to make the point that ArcTanGent feels so varied and don't fit into a box, which matches the modus operandi of Blood Command to a tee and makes them feel right at home at the festival. Their latest album also doesn't fit into any one box musically, and whilst discussing it the pair remarked on how similar their music tastes are, so how easy it was for them to add little bits of many different styles across the album in whatever manner they saw fit at any given moment - as if cooking without a recipe and pure guesswork but still coming out with a Michelin star meal. They saw the album as an opportunity to dig into every possible inspiration, and made it as massive a collation of sounds as they could to try and make the quintessential Blood Command record. Whilst going around this summer and touring 'World Domination', the band have been enjoying themselves away from heavy music by trying to learn all of Sabrina Carpenter's 'Espresso', and also writing some new music - if next year's hot girl summer anthem comes from Norway or Australia, then you know who will have written it! Sabrina was not the only one of the pop girlie triumvirate to be talked about though, as Nikki is having herself a brat summer as a diehard Charli XCX fan - the band's bus driver Metal Joe found out that she was a huge fan and managed to get her a triple A pass for her in Melbourne, and the week after her sister got her the brat crop top! The brat crop wasn't allowed onstage with the band though, as it isn't Adidas branded, which we asked the band more about. Yngve, whilst so very casually brandishing a cigarette and a beer in true brat summer style, talked us through his mother's reasoning that all branded clothing was crap, that you would 'pay a lot for clothes that were not really that good'. Adidas however, was the one exception - 'that was worth the money'. This led the band to take it up as an honorary uniform in honour of Yngve's mum, and whilst the band don't have an Adidas sponsor (yet), they still proudly wear the trefoil and triple stripes any time they're onstage. As we didn't have too long left, there was just time to ask one last question of the pair, to find out who might be their dream artist to work with. Yngve dropped Refused almost instantly, and whilst Nikki whistfully mentioned Wendy O. Williams from Plasmatics, who is no longer with us sadly, she backed up Refused as an absolute dream to work with one day. Keeping our fingers crossed, we'd love to hear a Blood Command collab with Refused, just after they've gotten that much-needed Adidas sponsor! With that though, it was time to bid the colourful duo adieu and let them prepare for the violently energetic display we would see later that evening, in their bid to further their world domination that little bit more. Words: Jake Longhurst Photos: Johnathan Dadds

Read what we thought about the acts at Slam Dunk North 2024 All American Rejects Synthetic organs are playing and we know what we’re in for…Sweet familiar orchestral and guitar chords lead us into the song “Swing Swing” and it begins. Tyson-the lead singer has intensely blue eyes which pop on the large monitors, his gaze seems to reach all of us; even those watching from the back of the field. He is holding his stare; while we’re dramatically shouting the words we’ve sung for years in our bedrooms; back at him. He is in a suit, the rest of the band a bit more casual in appearance. Tyson may be dressed formally but he is informal in his manner with the audience and his approach to the performance, it is friendly and nonchalant. The set is quirky, emotional, and a rollercoaster at times. Tyson addresses the crowd and claims, “We raised you” It’s true. He spoke much about time travel on stage and urged us to partake in what felt like a strange New Year’s Eve countdown- we somehow found ourselves all the way back to the year 2002. This led them into playing “My Paper Heart” and there were tears. The announcement was made that it’s Scott ‘Scotty’ Chesak’s (their touring keyboardist who has toured with them since 2011) last show. They played tribute to him by giving him a named and dated plaque and a cake which Tyson threw chunks of into the audience. The rest of the band also played “I for you” to him. We can’t think of a better way to say goodbye to someone. Red Jumpsuit Apparatus Their set was good for the nostalgia and the old school songs they played. “Your Guardian Angel” and “Cat and Mouse” were well received by the crowd. We were transported to our youth, but we’re older now and the energy just wasn’t there. Their most energetic song was their cover of “All the small things” by Blink 182 and this is when they really engaged the crowd. There seemed to be some sound and timing issues throughout the set, the performance sounded tired and out of sync at times although warm and heartfelt at other times. Sometimes it felt quite unenthusiastic and like they were trying to play it cool. Their performance looked mismatched underneath the glittery rain, parts of the set were memorable, but it didn’t fully grab our attention. The Ghost Inside The Ghost Inside introduced themselves by screaming, did we expect anything else? This set was intense, and the band and crowd were consistently bouncing with energy. The music is heavy, but the band members seem light on their feet. The screams are on point and the lyrics direct. Strong and poised. The only bright colour on the stage is the yellow bass, it’s distracting but we notice the impressive depth of the sound more, we’re drawn to it. People are running in all directions, not caring about the slip and slide, hazardous muddy factors that are posed. The band stopped playing for safety of the crowd at one point as someone may have gotten injured in the pit, then were right back to it. The crowd also went right back to slipping, sliding and holding onto each other for dear life. This is the part of the day where we notice mud on people’s upper halves. It’s clear who has gone down in the pit and who has not. Victims of mud. The breakdowns were perfection and the crowd responded promptly and correctly. Disgustingly hardcore, in an amazing way. The Blackout Dramatic music plays, operatic and charismatic. The band takes the stage, we go wild. “Look at him” fans shout; pointing to the lead singer Sean Smith. It’s the blonde hair, sunglasses and pink microphone that make us believe they’re the kind of band that can pull off anything… and they do. Sean gears up like he’s charging his energy; ready to perform. He rolls up his sleeves, places his hands on his knees bouncing eagerly and let’s out the biggest scream into the microphone. They need no introduction. The music plays and the performance is Dancy, hard, fun and extremely energetic. We, the crowd are adoring. Sean jumps into the crowd and has to stand on a crew member’s back to get back up on the stage, proving this band just go for it and don’t think things through, but it really works for them. It’s their sporadic style that makes them unique. Fans are dedicated to their energy as well as their sound. They give it a lot and play all our favourites which we find nostalgic and precise. Sean is caressing the microphone in a fun and playful way throughout the set. They then play “This is why we can’t have nice things” and we erupt as Josh Franceschi- the lead singer of You Me at Six makes an appearance on stage. Their performance styles work so well together and this levels everyone’s energy up a notch. One step closer The rain and mud was bad for their set and this made the crowd lacking. Their performance was raw and they put a lot of energy into it. They spent most of the first half of their set trying to engage what there was of the crowd. It was definitely the weathers fault as their new album has been so well received. They are very fast and energetic on stage. They put a lot into their performance and sound very in sync and powerful live. Towards the end of their set the crowd became fuller and people were engaged, two stepping in the mud, slipping and sliding while mud and grass pats filled the air flying into peoples faces and onto bodies but we didn’t care. We had so much fun. La dispute La Dispute stand out as being one of the best lives acts from this years Slam Dunk festival. They’re an incredibly original but versatile band and have a unique way of delivering storytelling through music. The lyrics of their songs are hitting us in the soul with constant visceral reactions, we are shocked by what they’ve said and find it hard to move onto the next song, constantly being overwhelmed by their presence and talent. The way they deliver their music is nothing but raw and underground. We feel like we’re reading someone’s diary when we shouldn’t be. It’s hard to believe the songs are being performed to us out in the open, we feel like we’ve stumbled upon the festivals best kept secret. We’ve never heard the word “Darling” being adlibbed so aggressively by fans in our lives, it’s frightening. You can feel every emotion in Jordan- the lead singers -articulation. He is pacing back and forth on the stage during this lyrical delivery. The sun is trying to come out and it’s hitting the raindrops that continue to fall, which illuminate and glitter the band in this special performance. LS Dunes The lead singer Anthony moves around the stage wildly with lots of energy. He has magical hand movements, enticing and drawing us in, moving quickly and sharply, almost ninja like. The band pour their hearts and souls into the lyrics, music and the performance. They’re a unique mixture of people making unique sounds, it’s hard to genre it. Anthony is in the crowd and looking all around. He then reaches up to perform to the sky and it feels almost spiritual. Their artistic vision and creative energy are hard to not like. Anthony expresses his gratitude for the crowd. He becomes confused when we chant “Yorkshire” but he looks so happy when the crowd reacts well to their songs. There’s a lot going on at once, the performance is not structured but it works. You can feel their creativity and how they’re all so uniquely talented, them playing together makes for a beautiful combined sound. You Me At Six “Save It for the Bedroom” begins to play. We feel it in the pits of our stomachs, we’re not ready for this. Yellow lights like rays of sun, shine through the band while they play “Lived a lie” the lyrics “We are the believers” is being vocalised by everyone in the field, the stage fades to darkness to match the nostalgic mood of a not-yet- but impending goodbye. Josh’s arms are outstretched like a giant hug for us. There’s cold in our bones but warmth in our hearts; we’re patiently waiting for the cue to let the tears we’re holding back come out. Josh punches the sky into the next song in a flawless but powerful motion which jerks our senses. “Kiss and Tell” plays; highlighting Josh’s angelic voice, his sound is rich but gravelly and unique. Flashing images on big monitors move hazily, like a foggy dream state of memories of the band. These are accompanied by mosh pits that glisten under the sparkling stage lights. Purge sirens blare and lights like lightning bolts are flashing; perfectly timed with drumbeats leading into choruses filled with teenage rage and angst. We’re emotionally attached and never want this to end, our thoughts are interrupted by “Da, da , da da da da DAHHH” “Loverboyyyyy” Josh is belting and we’re belting back, the guitar solo was performed to a high energy of perfection. The show became political. Josh spoke about doing an audition for prime minister. Less Ticketmaster bots and fees? Yes please. Vote 4 Josh… Circle pits to political failures and outrage are prompted. It is the muddiest, slushiest and puddliest mosh pit we’ve ever known. “Room to breathe” is played showing the band’s heavier side and their versatility. Josh’s hands are above his head, he looks stunned by the crowds’ reactions. He then begins spinning around in circles, having fun, the band and audience loving the experience, together- one last time. They put their all into this last festival performance. The stage shows dark ombre fading shadows, it is reflective-almost mirror/ candlelight-like and flickering delicately. The crowd got a solo for “Jealous minds think alike”. Flashing stage lights now become intense, frantic and almost blinding. Is this the end of the world? No, just the end of our youth... Josh tells us a story of when the band was sixteen. They got in a van for a gig and during this trip met Ben Ray who is the director of Slam Dunk, he gave them the opportunity to play here twenty years ago. They want to “end it where we started it.” They dedicated a song to anyone who’s called themselves a “Sixer” since 2010. Josh states “Dream big, don’t be scared of failure, live your life in fucking colour and not in black and white and grey- make the most of it because out there somewhere or someone in the audience tonight is a future Slam Dunk headliner. I was you once and you can do it, I promise you. Dream big and go for it.” “Stay with me” plays. We’re with you. Those three words were all we needed to know in that moment, let everything else go. The sky blackens into night and mascara falls down our cheeks. Everyone gets a little closer to each other, we hold our friends/strangers close to us. We’re swaying in the motions of our emotions. We’re sobbing while hills; all the way to the exit are glittering from lighters held up to the open cloudy sky. The whole field is illuminated and looks breath taking on the monitor. “Always attract” and “Take on the world” evoke 30,000 people chanting the lyrics in unison. We went straight in from holding each other tighter to “Underdog” …they had this planned. Ugly crying turned to smiles, laughter and chatter. “If this is goodbye for some of you, it’s been a pleasure.” Josh announces. “Thank you for the best 20 years of our lives.” Ending on “Beautiful way." Perfection- we’re moshing while tears are flying through the air. Fucked us up, but in a beautiful way. We don’t want it/them to end, the performance and the band. We leave feeling delicate and nostalgic. Words: Tanita Hingerty Photos: Nick Davarius Thank you to are friends at TRXSH for helping us out

“This World Fucking Sucks” is the long-anticipated debut album from punk princess Cassyette. The album promises a unique blend of her home-brewed mother metal mixed with a look at the fast-moving world today, through the eyes of a grieving young woman. After already piquing listeners attention with her no-holds-barred mixtape ‘Sad Girl’ in 2022, the Londoner had no choice but to hit hard with her debut. Cassyette is a mage of subtlety, despite what the album title may have you believe. Weaving in metaphor through her lyrics, catchy hooks double as a war cry to young people everywhere, that emotions are healthy. The album reeks of rebellion, from the opening track to the final notes – boasting a song fit for almost every situation. Whether blasting from a car radio, or through headphones on a work commute – the album truly invites you to confront your demons with a big ‘fuck you!’. The unapologetic ‘Ipecac’ is a powerful musical manifesto, bound to resonate with all those who have dealt with toxicity in the past. Its lyrics display some of Cassyette’s strongest work – making no excuses in purging the unwanted influences from her life. Accompanied by an irresistible, highly polished riff, the future icon demonstrates her sound at its peak. This is carried throughout the album in songs such as ‘Sugar Rush’. This song displays the 31-year old’s effervescent personality through an escalating cadence of 808s, that build into one of the catchiest choruses in her entire catalogue. Also at play are the gut wrenching singles ‘When She Told Me’ and ‘Four Leaf Clover’. The powerful ballads explore the star’s deepest feelings after her father’s unexpected death in 2021. Cassyette’s choice to explore the darker, sadder side of her life in these tracks resonate throughout the entire album and represent the beginning of a vast growth, even since her 2022 mixtape. This is hit home by the scathingly vocal performance that is given to us, allowing Cassyette to hold our hand, while she pours her heart out. This gives the LP a solemn backbone and a much more personal feel. Despite this shift in atmosphere, it would be unfair to say that any of the secret formula that this album is pumped full of is lost, and in fact it feels quite the opposite. It’s when we are driven into the dark by Cassyette, that we truly begin to reach the core of what she is capable of. Although, this sentiment can’t be kept for every song in the album, with heavily produced songs such as ‘Degenerette Nation’ and ‘Sex Metal’ feeling as though they are placeholders between full songs. Not only do they suffer in length but are rooted in a deep yearning to be drenched in Cassyette’s smooth roar, responsible for lighting up bangers such as ‘Porcelain’ and ‘Over it.’ Although this electronically fronted style could work, it is in the execution here that these songs missed the mark, leaving little nuance to go back and search for after the initial listening. Nonetheless, Cassyette continues to persevere. From successes in posting on TikTok from her Essex home to touring with Sheffield metal heroes Bring Me The Horizon on their most recent jaunt, ‘This World Fucking Sucks’ is no deviation from this pattern, and you can be sure she will continue to produce gold. We can only hope that she continues to push the boundaries of what her music achieves sonically and continues to produce work that feels both fresh and timeless, like she has before. This is a debut that kicks down the door and lets us all know, whether we want to hear it or not – Cassyette is here to stay, even if the world is a total mess. Best Songs – ‘IPECAC’, ‘Four Leaf Clover’, ‘When She Told Me’, ‘Sugar Rush’. Words: Charli Marriott