When thinking of Salt Lake City, Utah, its thriving alternative music scene may not exactly be the first thing that comes to mind. But as electronic rock band I Don’t Know How But They Found Me (popularly, and conveniently, shortened to IDKHOW) hit the UK for the first time in almost three years, and their first time in Birmingham in more than five, to tour their second album, 'GLOOM DIVISION', it's a stark reminder of some of the absolutely incredible music coming from the often underrepresented city. We kicked the night off with Balancing Act, a four piece band hailing from both Manchester and London, and the only support act for this tour. Despite being a relatively new band, Balancing Act absolutely smashed their set, and had clearly already built up an active fan base as audience members throughout the venue, including the barricade, could be seen wearing their merch. They played an energetic seven song set with 'She Plays The Theremin' being a clear standout and crowd favourite. IDKHOW opened their headline set with 'SPKOTHDVL', a bass heavy track off their latest album, and from the moment frontman and bassist Dallon Weekes stepped out on stage, playing the intro bass licks of the song, the energy in the room became absolutely palpable. You could tell there were people in the audience who’d been waiting years for this. While the band is technically Weekes' solo project, it's undeniable that the current live lineup of Anthony Purpura (Guitar), Isaac Paul (Guitar) and Ronnie Strauss (Drums) are absolutely crucial to making the band function as a unit. If there’s one thing Dallon Weekes can do, it’s completely and utterly command a crowd. A highlight of the concert was during the performance of "A Letter", a song originally belonging to one of Dallon's previous bands, The Brobecks. Weekes directed the audience in a two-part harmony to accompany his vocals during the song, resulting in a gorgeous sound across the entire venue. Later in the set, during the song ‘Visitation of the Ghost’ (another Brobecks cover), Dallon split the audience in half and walked up and down the center of the room, doing so without any fans trying to reach out and touch him. The band encored with ‘Nobody Likes The Opening Band’, a tongue in cheek song from their first album ‘Razzmatazz’ that was written Kai Roberts, vocalist of Balancing Act, was even brought out to sing a new verse about nobody liking the headlining band, which was met with a lot of amusement from the audience. This was followed by a final Brobecks cover, ‘Boring’, a much mellower and slower song than the majority of the night’s setlist. It was a fitting choice for a final song and made the last few moments of the gig feel incredibly intimate, leaving the night on a high yet almost bittersweet note, as who knows when IDKHOW will tour the UK again? We can only hope it’ll be soon. Words and Photos: Izzy Scott

Outbreak 2024, the return to the BEC Arena and a hot topic of conversation by OB Veterans across the weekend. The end of June brought temperamental weather but that didn’t deter the hardcore kids or emos from packing out the main stage on the Saturday and Sunday. The on-and-off downpours brought some excellent ambience to the moodier sets across the weekend but did make the two inside stages very damp when people decided they had had enough. Friday 28th June opened up the weekend with a smörgåsbord of genres, high energy hip hop, melancholy indie, and hardcore that packed out the room. We walked into the venue to the high-octane sounds of Redveil wrapping up their set to a packed-out Friday mainstage/weekend second-stage crowd. Shortly after the cheers subsided an announcement went out over the PA letting us know that The Garden’s set would be pushed back and onto the other indoor stage due to travel delays. Despite the change of plans and now hour-and-a-half of free time, spirits remained high, and the crowd dispersed for food, drinks, smokes, and some much-needed daylight. A perpetual bugbear of the crowd was just how dark the indoor stages were, even between sets, it made navigating areas while waiting for your eyes to adjust a little precarious. Up after the impromptu break were New York indie-rock, Beach Fossils, a gentle warm-up for us after a long break but a far cry from the act to follow them and fellow New Yorkers, Flatbush Zombies. They tore on stage and got everyone moving, interspersing some old-school crowd work into their set with callbacks and cheers they were right in saying 'It's like math, but it's not algebra: the more energy you give, the more energy you get!' A message that was proven true time and time again over the weekend. After four-and-a-half hours of anticipation, The Garden were in the building and ready to take to the stage. Their fans were the easiest to spot of the day with, now cracked and fading, face paint and embracing the Vada Vada mentality of the band. Fast-paced synthy, punky, dancey songs were blasted by the duo, and the sheer volume of people crammed into the front stage area proved they were well worth waiting for. Remember when the BEC Arena had a roof? Well Devon “Peggy” Hendryx, creator of the one man project we know as JPEGMafia, absolutely blew it off. No DJ or hype man was needed for him to get the crowd giving it everything they had. He played a great mix of songs from his discography with an emphasis on tracks from the 2023 collaborative album ‘SCARING THE HOES’ he released with rap powerhouse Danny Brown. The set was also the live debut for his latest track ‘don’t rely on other men’ which the crowd went wild for. When rap acts take the hardcore stage of Outbreak, they give it their all, and by no means was JPEGMafia an exception to this. The final act of the night Action Bronson brought the good vibes. Being the only hip hop act of the festival to bring a live band with him on stage, he delivered a set just as focused on the instrumentals as his vocals. Whilst the crowd didn't seem quite as enamoured by his set as they were others, his was still a great finish to the first day of the festival. Words: Kayleigh Fryer, Alex Long Photos: Anna Swiechowska

What do you think of when you think of Blackpool? Pleasure beach? Holidays? We think of Boston Manor. They’ve been a band since 2013, with massive musical growth and versatility throughout the years. Recently releasing a string of intimate shows all over the UK. The band plays Yellow Arch Studios in Sheffield which has a friendly underground atmosphere. On the stage there’s an outline of a white balaclava on a black backdrop, minimal stage set up, bright intense lights and a huge feeling of suspense in the room. Fans know in this small room, with a 200 person capacity, that this intends to be an intimate special once in a lifetime kind of show, before the band goes back to also eagerly awaited festival performances and bigger venues. The band opens with a newer release “Container”- the crowd reaction was visibly and emotionally wild. A mosh pit had already begun by the second chorus. The crowd is bouncing, there is high energy and they are perfectly in time with the band. It’s like a hidden understanding between everyone. Five songs in and an accumulation of everyone’s sweat is literally dripping from the ceiling and landing on fans that barely notice they’re so engrossed in the performance. Their fans are die-hard and have a beautiful presence about them. Their music makes us feel powerful, heard and understood. For Crowd surfing enthusiasts this is a safe and welcoming space- as Henry-the lead singer invites fans on stage. He then helps them on to the stage while still giving perfected vocals and stage presence. When he asks for more energy, fans can’t help but deliver. He says “push up” and the crowd who started their show experience at the back end up in the middle. They listen intently to his every word while mesmerised by the band's presence. There’s something beautiful about the way they move so chaotically to his advice. He also at points crowd surfs and ends up in the middle of the pit surrounded by people jumping around him in intense timing. He lifts the mic stand almost hitting the ceiling while simultaneously fans jump the highest they have all night, the friendliest madness that feels like a giant hug. Intimate and delicate chaos, like having a mosh pit in your sitting room but a lot more inclusive and nothing gets broken. A unity of fans who are extremely open and engaging. The band is open and approachable which makes the crowd open. Pits open spontaneously and quickly. It feels insane but safe all at once. Fans know every single word of every single song; even the newest release “Sliding doors” which has a heavy but melodic vibe to it. The energy in the room grows with each song. Expressions on the band's faces prove they’re enjoying this experience as much as the crowd and it makes us feel included, invested and justified in our joy. “Yorkshire, Yorkshire, Yorkshire” chanting was of course included at points of the show, as always in Sheffield and was well received by the band. Henry happily announces how in their early days growing up in Blackpool they didn’t have a wide range of venue opportunities and made the crowd laugh by talking about early day performances in pubs with two punters, this seems unbelievable now from seeing the fans dedication at this show. He speaks about how the band plans on opening up a community centre venue for young musicians. Proving this bands making supportive moves and how much they care about their community. That’s exactly what this “fandom” is- a community of people worldwide together in one tiny space. For the amount of love and people, this is a tiny space and a tiny fraction when summing up the love people feel for this band and the gravity of their impact on fans, musicians and the music scene. The band announces they’ve two songs left and the mood lowers as we could have done this night forever but everyone puts in a final huge wave of energy and the room erupts for “Passenger” with what seems like everyone trying to get on the stage at one, it’s a sea of crowd surfers and the loudest chanting. “Halo” was a beautiful and emotionally provoking song to end on that I don’t think anyone in that room will forget for a long time. It is rare to see a set list where every song is so well received. This show proves that all Boston Manor need is a stage and they will put on a performance of a lifetime. Their music has always been unique, their performance style versatile and they’ve proved they can perform anywhere and captivate any audience from any age range with their immaculate stage presence and undisputable energy. We leave the courtyard to typical English downpours of rain, matching our moods that this night is over. We feel like we’ve been let into the worlds’ best known musical secret and feel on a high for days. Extremely privileged to have attended this incredible show. Words: Tanita Hingerty Photos: Jake Griffin

Much like Birmingham, Marseille is a melting pot of cultures, both with their own very distinct music scenes. Marseille has a well renowned hip hop culture, with Birmingham being the birthplace of heavy metal. This Tuesday night gig, headlined by Marseille’s Landmvrks, perfectly exemplifies both of these scenes, and the mixing of what both of these cities are known for. A volley of drums announced the entrance of Guilt Trip, like a starter’s pistol. A call to mosh was followed by a musical strike like a big spin kick to the chin. And the crowd replied in kind, a pit opened. A whirling, roiling mass of flailing limbs. The Mancunian metalcore maestros made the masses a maelstrom with fan favorite Severance, making the room hot and sweaty early into the evening. Like Moths to Flame blended clean and harsh vocals from the off. This band of buckeyes bombarded the room with bouncy, stompy songs. Like Moths to Flames informed the audience they have been a band for 15 years, and it clearly shows. They sounded just like peak 2009 Kerrang with belters like Preservation of Hate, Bury Your Pain, and Kintsugi which is from their latest album ‘The Cycles of Trying to Cope’. Chris Roetter, the lead singer, complained of his shirt smelling musty, but they were a refreshing aural assault through the sweaty room. An ominous voice over heralded the continuing Ohioan invasion with The Devil Wears Prada. An eerie narration combined with The Devil Wears Prada’s melodic metalcore gave the gig a sense of exciting unease, and had everyone singing along from song one. Being from the land that invented flight, it’s unsurprising that The Devil Wears Prada initiated the crowd surfing for the evening. With songs like Salt and Ritual, the British reputation for loving a sing along was well founded. With Jonathan Gering on keyboard and synth, there was a different feel in the room, almost dystopian. Another well loved classic, Chemical, had the room jumping. Lead singer Jeremy DePoyster flailed his guitar around the stage, really embodying the angst of the song. The Devil Wears Prada is a band with a cult following, and like any good cult, they ended their set with Sacrifice. The room was ready for Landmvrks. Landmvrks began their headline set with the tour’s eponymous track, ‘Creature’, a song mashing together metal core and hip hop. The stage back drop looked like a 90s black light poster of the ‘Creature’ artwork in the very best way. These Gallic behemoths had the room at their mercy while playing Visage, the drum machine being a quirky twist on the evening’s musical stylings. Landmarks have a unique blend of metalcore, hip hop and pop punk which they have really put their stamp on. The acoustic intro to Suffocate by lead singer Florent Salfati felt like an oasis in a desert of breakdowns, which were back in full force for the rest of the song. We were even treated to Hollow from their debut album of the same name. The night ended with the jab and cross of Lost in a Wave and Self-made Black, a perfect end to a night of ferocity from the français heavy hitter. On the day of the gig, it was announced that Landmvrks would be supporting Beartooth on their UK and EU tour later this year, that’s one show worth going to if Landmvrks performance tonight is anything to go by. Words: Brett Smith Photos: Ellie Jones

In a world rife with political instability and corruption, alternative bands have always had their place in the mainstream: the forces that made Nirvana or Green Day so popular in the 90s are still active today, pushing exciting acts like Amongst Liars to the forefront. Named as Great Music Stories’ ‘Band of the Year 2021,’ the group’s blend of rock and electronic elements with poignant political messaging has made them a rising star in the alternative scene. The fact that, purely by coincidence, the band’s sophomore release ‘By Design’ will release on the same day as the UK General Election is pure poetry, and is sure to propel them to new heights— the fact that the album is phenomenal doesn’t hurt either. The most striking aspect of ‘By Design,’ aside from its unorthodox and unsettling artwork, is the unique collection of sounds that come together across the record. On the face of it, the album contains all the expected hallmarks of alternative rock: guitars, bass, drums and vocals are hardly an unusual combination. Amongst Liars are far from typical, however, putting a modern twist on many of these elements. Ian George’s vocals have a distinctive timbre to them that is sure to stick with the listener. His voice ranges between hushed and sorrowful on ‘Say’ to furious and bitter on ‘No Control’ or ‘The Shameful,’ adding to the memorability and excitement of many tracks. Leo Burdett’s guitar performance is similarly characterful, dialling in a rough and brittle guitar tone that perfectly compliments the album’s rock-infused riffs and anthemic choruses— his solos are also distinctive, with the epic dissonance of ‘You Are Not A Slave’ standing out as a show-stopping moment. Most notable of all, however, are James Brumeo’s keys, which help to really set Amongst Liars apart from their contemporaries. On ‘Vice,’ for example, the use of blaring synths pushes the chorus from ‘strong’ to ‘simply gigantic,’ standing out as one of the most anthemic hooks of the year. ‘By Design’ also sports a pair of guest features, to mixed results. Punk rock singer ‘Felin’ slots rather naturally into the title track, trading off melodies against George in a graceful and harmonious manner. Richie Hevanz, meanwhile, feels like a more jarring inclusion on ’No Control;’ his performance is certainly distinctive and characterful, but his nasal inflection does leave something to be desired at times. Amongst Liars’ songwriting shares similar qualities to their sound choices, dialling in a fresh twist on familiar structures and ideas. The album is positively jam-packed with impactful riffs and choruses, sure to make the group’s live shows more chaotic and energetic than ever before. The stripped-back verses of opener ‘Ready For This?’ provide a perfect contrast to its arena-rock chorus, hitting the listener hard with a combination of soaring vocals and blaring guitar riffs— these are only taken to the next level of the metal-adjacent singles ‘You Are Not A Slave’ and ‘By Design,’ which double down on the band’s ability to write memorable and thrilling melodies and guitar riffs. These traits never really fall away across the album’s shockingly consistent tracklist: whether it be the shouted cries of ‘No Control,’ the infectious choruses of ‘Alibi’ or the absolute ferocity of closer ‘Wolf Machine,’ Amongst Liars have truly brought their A-game to these eleven tracks, taking their songwriting to the next level. Even the weakest track on the album— the sorrowful ballad ‘Say’— is a touching and heartfelt moment, albeit plagued by some unfortunate vocal issues and a slight lack of inspiration. Even here, however, the track’s string accompaniments are so lovely as to make the criticism seem almost petty, and the album is nonetheless stronger for the song’s inclusion. It’s almost criminal that we’ve gone this far without mentioning the band’s lyrics and messaging— the sound of ‘By Design’ is so inherently effective that the group hardly needed to pack in so much cutting social commentary and activism, but the record benefits from it anyway. Amongst Liars, in their own words, aim to ‘air anxieties and ask questions about the world we live in,’ though such a tepid description really does Ian George’s work a disservice. Across the tracklist, the band ruthlessly rip apart the systems of capitalism and oppression that they observe in the world, presenting a range of perspectives that illustrate their point wonderfully. Take the single ‘Vice,’ as a prime example of the group’s poignant work in action, as the track’s chorus reads: “Rip me open— bleed me dry. Paranoia’s on the line. No illusion, my old friend. Don’t deny this. Don’t deny this vice.” George consistently uses powerful images to ignite empathy and passion in the listener, often calling for revolution and reform with no holds barred. This contrasts nicely to songs such as ‘Mind’ or ‘Say,’ where mental health becomes a topic of discussion. On the latter, for example, George sings: “So lay me down. Colour me blind. I want to be free of this callous disease that’s eating my mind.” The delivery of these lines never fails to resonate as powerful performances, stylish sound design and an important message come together in this single, stunning package. Simply put, I will be shocked and appalled if ‘By Design’ doesn’t skyrocket Amongst Liars to newfound heights. Across a concise eleven tracks, the band display their most anthemic and impactful songwriting to date, alongside thematic content sure to hit close to home for many listeners. With a UK tour locked in for this July, the band are certainly one to look out for moving forward: if you see them headlines festivals off the back of this release, it should come as no surprise. ‘By Design’ releases on July 4th via Earache Records. Words: Jay Kirby Cover Photo: Vic Payne

It's July, and we're back again with our picks of what you should be looking out for over the next month or so. Now firmly into the swing of summer and festival season, we've got a few picks that go through some staple fests as well as some more intimate shows! See you in the pit! Better Lovers: Better Lovers are playing some warmup shows in the UK before they play 2000Trees Festival, and if you've never seen them before then you're missing a trick! Sounding like Every Time I Die's slightly gnarlier cousin (because the band has three ex-ETID members), Better Lovers are a tour de force of a gripping live hardcore show. Expect pandemonium and moshing galore wherever you see them! 2000Trees Festival: Speaking of 2000Trees Festival, we couldn't mention it and then not tell you all about how wonderful this gem of a fest is. Situated in the Cotswolds, you can wake up surrounded by rolling hills under a clear sunny sky and crack a can open whilst camped 50 yards from the nearest stage - it truly is one of the most chilled out places on the planet. With acts like Burner, Guilt Trip, Crawlers, Blood Command, Unpeople and so many more, any fans of any strain of punk are gonna find something here to love. Mangata Festival: A little smaller than Trees, Mangata Festival is a four stage fest held in Nottingham on July 13th. With a stellar lineup of national and local acts there is plenty to love (and it's also very reasonably priced)! Headlined by Hacktivist, the main stage is in Rescue Rooms along with the second stage, whilst next door in Ghost nightclub and just round the corner in the Tap N Tumbler pub are two more stages, and the TNT stage is even open to the public. Alongside the headliners, there will be sets from Boss Keloid, Pijn, Viscera, Burner, and some excellent local acts like Those Once Loyal, Hidden Mothers, and Blight Town! Bastard Fest: On the same day once more, July 13th, is a brilliantly heavy lineup in Sheffield for Bastard Fest. The aforementioned Hidden Mothers are making a trip to Nottingham before returning right back to Sheffield to open Corporation up, before making way for an onslaught of British metal from Pupil Slicer, Conjurer, Heriot and Empire State Bastard. This ridiculous lineup should be in a far larger venue, so if you've somehow not grabbed a Mangata ticket and are near Nottingham or Sheffield then you don't have any excuse to not be busy on the 13th now! Alkaline Trio: Bringing their latest record out on the road, dark pop-punkers Alkaline Trio are making the trip across the pond to spend most of the back half of July with us in the UK. From the 16th to the 31st, with a couple days off, they're playing up and down across England and Scotland with special guests Slomosa and LOWLIVES, so if you're in the mood for a boogie and a singalong they're gonna be bringing the party! RADAR Festival: One of the UK's newest heavy festivals, RADAR has a prog oriented lineup but with plenty of variation to keep everyone satiated. Held at Manchester's O2 Victoria Warehouse near Old Trafford, the world-leading sound system will make it even easier to enjoy awesome bands like TesseracT, Holding Absence, Ithaca, Car Bomb, and so many others! Alongside an excellent musical schedule, they also have a Masterclass lineup of Q&A sessions and industry insight for those interested, which makes for a valuable addition to what is already a great fest. Head over to Manchester on the last weekend of the month for this! Words: Jake Longhurst Cover Photo: Nic Howells

Scene Queen is here to shake fists at blatant misogyny in the music industry, holding a lens up to the male gaze, and shake hella ass whilst she does it. From twerkle-pits to rage-fuelled screams on records, Scene Queen is here to unapologetically deliver a masterclass in calling out hypocrisy in the music industry, and Hot Singles in Your Area is the perfect delivery. The opening track ‘BDSM’ sets the scene for the entire album, she is reclaiming the phrase bimbo, and making it clear that men suck, and she is not to be messed with. Come for Scene Queen and she will rip your throat out and kiss your vocal cords better as you beg for mercy. Never before have we seen such reclamation over the female body as we have now with Scene Queen, and what a refreshing take that is for an industry overrun with misogyny. Leading into ‘18+’, a track that proves just how angry Scene Queen is at allegations across the music industry and with lyrics such as the below, it’s not hard to see why: “If the shoe fits, shove it up your ass, does prison come with an AA pass?” and “pink wristbands on the guest list, bras hanging off the bus, yeah you get a lot of girls but not one is 18+…get those children off your bus…ted” Whilst no names are mentioned during this song, audio of a statement that hammers home the not-so-subtle meaning of the song is read out midway through it, and the song ends with a scream worthy of a deathcore band and the words “shame on you” spoken in that signature Scene Queen giggle font. We move on to ‘Whips and Chains’ which is a song about revenge on someone spiking a drink, again sticking with the theme. If there’s one thing Scene Queen does exceptionally well it’s balancing a sugary-sweet giggle voice with absolute murderous screams of feminine rage. Perhaps two of the more well-known songs during pre-release, and for good reason, are ‘Pink Push Up Bra’ and ‘MILF’. These songs are anthemic and provide the ideal song to scream along to, especially if you’ve ever been in a less than favourable situation. The tone and message pair wonderfully with the next song, ‘Mutual Masturbation’. ‘Mutual Masturbation’ is an incredibly clever song, with lyrics having multiple meanings and many double-entendres carefully woven into the framework. It’s extremely catchy and definitely one of the best on the album, and we aren’t even midway through yet! ‘Girls Gone Wild’ which features Wargasm begins by poking fun at the traditional “Girls Gone Wild” videos which would always state that the content is suitable for children. Milky Way’s voice harmonising with Scene Queen provides a really interesting texture of audio which works beautifully well. With a vibe akin to ‘The Void Stares Back’ by Enter Shikari ft Wargasm, it’s clear to hear the distinctive Wargasm style coming through. ‘Hot Singles in Your Area’ has a more acoustic/relaxed vibe intro designed to lure you into a false sense of security before a breakdown hits, but this song is also here to keep you on your toes. A chaotic vibe whereby you’re blessed with Scene Queen’s angelic vocals then dragged into a breakdown which whiplashes you into that giggle-font all over again. The album takes a bit of a different turn from this point on whereby ‘Amateur’, ‘Stuck’ (featuring 6arelyhuman), ‘PEG’, and ‘Finger’ all have a summer anthem feel about them, with very catchy hooks; reminiscent of a drag anthem, worthy of a RuPaul runway. ‘Finger’ went down a treat at Download Festival with twerkle-pits forming left, right and centre. One of the best songs on the album, though not for the faint of heart. This is a sexually charged album which is what makes Scene Queen so incredible in her mission to empower people to celebrate their own, and her own, sexuality with lyrics such as: “If God hated gays, the sex wouldn’t be so good!” ‘Climax’ begins with a different feel, and those angelic tones are back, but they’re sticking around this time. It’s a good minute or two until we get a breakdown and it’s quite clear that the album leading up to this point has been the foreplay and this is the album's climax. An explicit, ragefully written, anthemic album celebrating sexuality and destroying misogynists bit by bit. This album has been expertly penned, with outright tones of grit that only years of catcalling fuelled by Rage could spawn, and you can catch Hot Singles in Your Area from June 28th via Hopeless Records.

Read to hear what we thought of the acts at Slam Dunk South 2024. Bob Vylan At the Kerrang! Tent, the air is thick with riotous energy. Excitement brews as Bob Vylan enter the stage to conduct their ‘live stretch & meditation’, making the statement that what they are about to do, is more than just music, it’s a holistic approach to a sacred practice. As the set starts to take its form, it’s evident that the performance is fuelled with Indignation around the biases we face in society. Pair that with a display of advanced athleticism on stage and in the pit and you’ve got yourself an audience filled with chaotic fervour. However, like an on/off switch, Bobby encompasses a different persona whilst he narrates between tracks embodying a banterous character. The duo are keen to iron out the injustices we’ve been served as a community, as they welcome Women & Non Binary folk to the front of the audience to take up space and mosh as they play ‘He’s a man’. This extra-ordinary and multi-faceted band are nothing short of brilliant, inspiring a generation of noisemakers and protestors. Mallory Knox Honestly, it’s as if they never went their separate ways. Mikey’s faultless vocals decorated the Slam Dunk stage as if the band were collectively welcoming us elder emos into the gates of heaven. Each festival goer’s face was painted with nostalgia as Mallory Knox played tunes such as ‘Shout At The Moon’, ‘Getaway’ and the ever popular ‘Lighthouse’ where not a lyric was left unsung by the crowd. Mikey sentimentally recollects that it’s been seven years since they last played together, and you can be sure that each member slipped back into their performing roles with such ease, as if they were exactly where they needed to be. Pale Waves Whilst taking in the die hard and dedicated atmosphere of the fans, I couldn’t help but notice that Pale Waves are somewhat similar to Taylor Swift, only with a darker and more sad girl demeanor. Each lyric proclaimed so passionately, and with every ounce of feeling from all the fan’s lips as they shouted at the top of their lungs. It was very evident that the band has gathered a cult following of likeminded individuals who share a lot of similar experiences. No matter whether vocalist Heather Baron-Gracie was donning the electric guitar, or had switched out for an acoustic, she had the audience in a trance, holding them within an emotional capsule of teenage love and heavy heartedness. The clear crowd favourite was ‘She Is My Religion’ reaching the biggest sing-a-long Boys Like Girls Transporting all their fans back into their world of pop punk, Boys Like Girls played with as much pazazz as they did back in the noughties. With a display of extravagant enthusiasm, Martin Johnson regularly dashed guitar picks into the crowd as they played tunes such as ‘Love Drunk’ and the brilliantly celebrated ‘The Great Escape’. Although unexpectedly, mid song Johnson halts the set with authority, saying “Ok you’ve got your videos now, lets do this for real”. The crowd appear confused at first, but then gladly take a vow of no filming and savour the moment. To the audience’s pleasure, they play ‘The Great Escape’ again from start to finish, whilst giving the song an extra bit of ‘oomph’ to really cherish being back on stage. Each musician demonstrated great showmanship with flamboyancy in every strum, whilst feeding off the audiences frenzy with a thirsty look in their eyes. I Prevail After being diagnosed with Eagle Syndrome, lead singer Brian Burkheiser underwent throat surgery in the early days of May, so unfortunately was missing from the stage. However, I Prevail didn’t hesitate in performing with every ounce of force and power that they usually deliver. The set, which was perfectly placed at sundown gave a perfect introduction to the darkness of evening. With intervals of insidious visuals on the screen behind, it felt as if we were queuing up for the Saw Maze at Thorpe Park. Performing songs such as ‘Self-Destruction’, ‘Bow-Down’ and giving a different meaning to an eagerly anticipated cover of Taylor Swift’s ‘Blank Space’, Eric Vanlerberghe’s commanding distorted vocals summoned something sinister in all the fans as they couldn’t resist the encroachment of the pit. ‘Hurricane’ was the bands confessed special tune to play, and it also proved this was the case for many of the festival goers, as there was a huge explosion of crowd chanting. Words: Hannah Smith (Queen Laya) Photos: Nick Davarias Massive thank you to TRXSH for helping us out with this article. Read our review of Slam Dunk North

Hot on the heels of the Church of GenXsis experience at Download Festival, the POST HUMAN: NeX Gen release was much anticipated - until it was delayed with no anticipated release date, just “soon” is what we heard. The Bring Me The Horizon (BMTH) tour, which kicked off in January 2024, brought about excitement as the crowd were given a sneak listen to some tracks whilst being offered the chance to chant vocals to the tune of "Hello Oli, you fucking knobhead!" which ended up featuring on NeX Gen. The album dropped at midnight - so was it worth the wait? NeX Gen boldly strides into uncharted territories, blending the BMTH signature metalcore intensity with a daring mix of electronic and experimental elements. It could be suggested that this album is a testament to the band's relentless innovation and fearless evolution, offering listeners a visceral yet refined auditory experience. However, long-term fans may question whether the absence of Jordan Fish has positively or negatively impacted on the music… but we’ll leave that up to personal preference. Each track serves as a unique narrative, weaving together themes of dystopia, resilience, and the human condition, all while pushing the boundaries of typical genre conventions. NeX Gen is not just an album; it's a pioneering journey that takes the post-apocalyptic despair from POSTHUMAN: Survival Horror and works in feelings of hope, with a euphonic, post-hardcore-inflected stripe, while still bursting with forward-thinking creativity. “Let’s begin” are the first words we hear on the album, and: “Hello user, this is M8, your personal multidimensional friend. It looks like I have encountered a fatal error. Please boot me using the safe mode and enter the serial number located on the side of my head. For more information go to” After which, the sound crackles ominously as the sound loops back to track one – “let’s begin”. A full circle moment which can be left open to interpretation – did we boot into safe mode and reset the error thereby restarting the album or have we reached a critical point where the genre is changing, and another new era is due? Or perhaps this is another teaser for another digital treasure hunt? The latter is certainly true, given the website set up for M8 which teases additional music, and provides clues for relentless fans desperate to understand the lore that BMTH are laying. With multiple easter eggs, and very little time between release and writing, it’s impossible to have picked up on all of them but the transition between R.i.p (duskCOre) mix into AmEn! really gives a whole new meaning to AmEn!. In fact, it’s worth mentioning that every song transitions beautifully into the next in a very Meteora style – you can definitely pick up on different strands of musical intertextuality. For example, the first half of the album has undercurrents of Deftones running through the track fibres, with liMOusIne nodding to Swerve City and the breakdown in Dear Diary; Deftones-inspired BMTH isn’t something that was on our 2024 bucket list but we’re here for it! The mix of genres could be seen as more of a ‘mixtape’ rather than an album especially to fans of Sempiternal but for fans of Suicide Season, this album is a masterpiece. Lyrically, this is a great era for BMTH, with strong references to religion which has always run deep through the music but is now more prevalent than ever. As for stand-out tracks, as this isn’t quite a no-skip album, p.u.s.s.e.- has almost a dubstep feel to it, providing exciting instrumentals layered under – what sounds like Eve – talking about a simulator; nothing out of the ordinary for recent Bring me the Horizon, but definitely has video-game villain vibes to it. Top 10 staTues tHat CriEd blood, LosT, sTraNgeRs, DiE4U, and Kool-Aid definitely bring the hyper-pop punk, whilst YOUtopia, a bullet w-my name On, and AMeN!, bring about darker, heavier tones, combined with the vulnerability surrounding addiction and mental health brought forward in n/A, (spi)ritual, and DIg It; there’s something for everyone on this album, which is an upside to genre-bending. The downside to it is that it could come across as chaotic and unpolished, but when have BMTH ever cared about sounding chaotic and polished? With guests such as Underoath, beautifully blending mellifluous metalcore tones with Oli Sykes’ post-hardcore screams, Lil Uzi Vert and Daryl Palumbo (Glassjaw) amplifying the incredible ascension into AmEn!, and AURORA serving incredible vocals on liMOusIne, it’s not hard to hear just how good this album is. There are rumours of a second album drop (due to the + on the pre-release teaser: “BMTH invites you to Ascend!+ POST HUMAN: NeX Gen”) which wouldn’t be the first time this has happened this year, but this is purely speculation, although weighted by the additional instrumental tracks on the M8 website. Bring Me The Horizon invited us to Ascend!+ and we ascended; from Count Your Blessings to POST HUMAN: NeX Gen. Now we eagerly await the neX GeN; question is, will it be POSTHUMAN 3 or are we looking at an entirely new era? Knowing Bring Me The Horizon, anything is possible. Cover Photo: Nick Davarias Words: Ellie Archer

It's been a sec, but we're back on it and in perfect time for June, now that Pride Month is upon us! Not only that, it’s also the beginning of festival season proper which is a wonderful feeling, so we’ve got a nice set of gigs and fests for you all here! Download: Ahhh Download Festival, the spiritual home of alt music in the UK. Download XXI is the closest to a soft reset that we’ve seen thus far, with a duo of new headliners in Fall Out Boy and Queens Of The Stone Age, alongside 2017 headliners Avenged Sevenfold, and notably no bands from the 80’s - the first album release from any of the three came in 1998! With a plethora of queer and female bands throughout the bill, this is one of the strongest full lineups we’ve seen in years! Bands like The Callous Daoboys, Enter Shikari, Scene Queen, Bambie Thug, and of course Limp Bizkit will make this a weekend to remember. Flatspot World: On the same weekend as Download, there is a smaller pair of gigs showcasing some amazing hardcore at The Dome in London. Flatspot Records are showing off a few acts on their roster, and it’s sure to be one hectic set of shows. Scowl, Zulu, Chubby and the Gang and Speed will be bringing the heat, and Jivebomb, Stiff Meds, Higher Power and Dynamite are supporting. Foo Fighters: Dave Grohl and co are trucking their mighty post-grunge hard rock goodness across the pond for a couple mighty mighty stadium shows around the UK, playing in Manchester, Glasgow, London, Cardiff and Birmingham. Their latest album ‘But Here We Are’ will be played in front of UK audiences for the first time ever, and the legendary rock group will be playing here for the first time since the Taylor Hawkins memorial show at Wembley. Exploring Birdsong: The relatively elusive Liverpudlian trio Exploring Birdsong are returning to nearly as close to their hometown as they can get, with a show at Manchester's very own Deaf Institute. The genre-bending band have played at festivals across the UK and Europe, and after a London headliner at the beginning of this year they are once again going to be flexing their musical muscles onstage. Underoath: Florida metalcore act Underoath released their seminal album 'They're Only Chasing Safety' twenty years ago, and so for the anniversary they're embarking on a worldwide tour with some amazing support acts. In the UK, they're going to be playing four shows with Static Dress late this month, in Brsitol, Birmingham, London and Manchester. For what promises to be an unforgettable night of 2000's metalcore, get yourself a ticket or two. Outbreak: Outbreak Festival 2023 is where Out Of Rage was born, whilst some of the management team were watching a Trapped Under Ice set. This year's edition promises to once again be a home for some of the best hardcore and emo in music, with American Football headlining as well as bands like Killing Me Softly, Demonstration Of Power, Chat Pile and Poison The Well playing. AC/DC: Scottish Australian Geordie riff gods AC/DC are returning to Great Britain for what could be the very last time to play some of the greatest rock songs in history. Stadium rock hasn’t ever been the same since they hit the top tier, and the heroes of so many guitarists shall be providing one more tours worth of singalong belters. At the very end of this month and early next, the eyes of rock music will be on the United Kingdom as the rock and roll train makes a stop here, one more time. Words: Jake Longhurst Cover Photo: Nick Davarias

American rock band Microwave are back with their much-anticipated album ‘Let's Start Degeneracy’. You can instantly sense the change of direction the band have taken here, feeling like they're telling a story through the whole album. 'Portals' opens the album, and with multiple references to Jesus it gives a strong Christian feel - it almost feels like you are being woken up. As the track sounds out, it begins to feel a lot more trippy, which serves as the perfect introduction to what the band have based their fourth album on; an ayahuasca trip that vocalist and guitarist Nathan Hardy and drummer Timothy Pittard had in Peru. Second track 'Ferrari' has been available for just over a month, offering a more soulful, chilled out sound, with lyrics all about not letting your fear get in the way of living your life. Both are short, calm tracks, giving a slow introduction into the bulk of the album; reinforcing the quote from Hardy - “It’s about letting go of attachments and behaviours that aren’t serving you and trying to shake off your programming and not be motivated by fear and guilt and shame.” The third track ‘Circling The Drain’, which was the first-released track back in 2022, is when the album starts to pick up into a more pop rock vibe. The track feels self-referential - by going between a soft acoustic intro, grungy middle and then back to the acoustic sound of the intro it can make the listener feel as if they really are circling the drain. This song feels like it has strong connections to mental health, and perhaps a connection to life during the Covid pandemic, with lyrics like “I'm here justifying the future”, “Not redeeming the dead” and “My father says, 'You've gotta go on, get along'". Track four ‘Bored of Being Sad”, the most recently released tune, it has a more uplifting feeling and references towards turning around your own fate by changing your attitude to the way you feel; “If you romanticise misery, brother you’re gonna be miserable”. It gives a personal feel but also feels like a good placement in the album for self-reflection, before track five “Straw Hat”, another 2022 release. Another chilled, laid-back vibe giving a summery feel, it starts off feeling like a love letter but moves into feelings of resentment towards the receiver, with lyrics such as “I know that you're spying on me now” and “If you treat people like that, I know that's how you treat yourself”. More than halfway into the album you are hit with the bassy title track “LSD”, and the psychedelic, trippy vibes are well and truly back. It’s hard hitting, with reoccurring lyrics “caught up in shit you don’t believe, trying to shovel a way out” related back to Hardy’s references to his experiences with leaving the Mormon religion, and reflecting on that decision with the writing and creation of this album. Track number seven is ‘Omni’. Right off the bat it has more of an indie, upbeat feel to it, adding to the mix of genres that Microwave have experimented with and fused together. Towards the end of the song there are further mentions and question of religion such as “what’s it like to be a martyr?”, “is it God you blame?” and “are you looking for your new God?”. The band have described this album to feel more like an auto-biography and these questions help us see further into Hardy’s brain; the feeling of doubt, realisation and clarification at the end of his time being part of a Church. ‘Strangers’ opens with a haunting sound, and is followed by a subtle riff around 20 seconds in. The vocals on this track carry more of a sense of resignation, which ties in perfectly with the repeated lyric “I’m ready to leave”. The tempo begins to quicken roughly at the half way mark, suggesting a sense of hope. The song begins to represent the essence of a growth journey and reflects the feeling of letting go of the past, as the album has been described by the band themselves. The penultimate track ‘Concertito’ is another short one. It starts with the familiar sound of a running shower, and is shortly followed by a whimsical piano tune, the vocals sound very carefree, just like someone has been captured in the midst of the joy of singing in the shower. While it is the shortest song on the album, it leaves the lasting impression that there is beauty in everyday moments. It perfectly captures Microwave’s ability to make something so simple have such a strong feeling and impression. The final track, about a natural supplement, ‘Huperzine’ bears resemblance to Frank Ocean from whom they have taken inspiration from for this album. They close out the album with the same laid-back vibe that we were introduced with in the first track. The reference to lucid dreams gives the vibe that by the final track, on the flip side to the first track; they are going back to sleep. This track wraps up the sense of acceptance and moving forward that the whole album has given us – “When you lose everything, thе whole world becomes your home”. This album proves that Microwave have widened their musical boundaries, that they aren’t tied down to any one genre, that they are doing what they do for themselves. Their music is unusual, yet deep and meaningful with lyrics that will resonate with any and all listeners in their own unique way. ‘Let’s Start Degeneration’ is released on April 26th via Pure Noise Records. Words: Lorna Hayes Photo: Good As Gold PR

Originating from Oakland, California, Grumpster are a four-piece punk outfit laced with hometown inspirations of Green Day and their own signature grungy flavours. The self-titled nature of their third album promotes that this is their magnum opus - reflecting all that is Grumpster, and adding bells and whistles. The first single, 'Wither' kicks off the album with classic Grumpster fuzzy guitar riffs and a catchy hook, however does seem to have a more polished sound overall. The touches of emo and pop-punk present throughout this track is a good indicator for the rest of the album - there’s a certain quality that feels current, yet simultaneously something your cool ex-scene kid aunt would play to you as something that “f***ing slapped back in the day”. Bassist and vocalist Donnie Walsh has frontmanned Grumpster since their debut, however this album sees the introduction of longtime collaborator Alex Hernandez on vocals and guitar. Walsh and Hernandez’ vocals together add a new dimension to the album entirely, as Hernandez’ heavier, gruff delivery gives A Day to Remember to Walsh’s The Used. The band’s sound is at once transformed and familiar, as these elements of almost metalcore complement the tones of emo easily. 'Just for Fun' introduces long-term fans to their voice, and the song slides comfortably into the band’s discography without blending into the background. It’s interesting that this is the first album from Grumpster pointedly written with performance in mind - it’s the first album written after they’ve toured at length. This definitely comes through in the energy exuded in every track - there isn’t a moment of downtime. Each minute is filled with purpose, whether it be with the band’s self-deprecating anthemic lyrics or crunchy grungy riffs. The three singles on this album are chosen well, as each shows something different that the band has to offer. 'Bern Needs His Meds' is an instant classic and serves a more serene and thoughtful track in juxtaposition to 'Wither's full-throttle guitar punk. The tempo change here is also refreshing - whilst the pedal-to-the-metal instrumentation is something that’s become familiar of the band, it’s nice to see that a slower ballad is within their skillset. There is one downside to this album, that it somewhat falls into the trap of same-ness often seen in the genre. There are elements of the instrumentation and pacing that ring of other songs on this album, and with bands that have come before them. While this is a common downfall for punk (and anything that has pop-punk as an influence), it’s particularly disheartening to see this on a self-titled album, as this should encompass the best and most distinct work from the band so far. There are some tracks, however, that do seem to attempt to directly combat this - some very notable ones on this album are 'SSBpt2', which is giving emo pirate ship sea-shanty, and 'Waste'. It’s honestly a Waste that this is the final track as it immediately roped me back into the album, what a finale! The inclusion of trumpets is a complete 180 from the rest of the album, unlike anything Grumpster have put out before, and is a pleasant and welcome surprise. Much of the lyricism on this album focuses on misery and low points (with Waste being no exception), however this does feel different, and more hopeful. We’re all hopeless, we’re all lost causes, but we’re listening to this album together, and that’s something. 'Grumpster' will be released on April 26th via Pure Noise Records. Words: Erin Strom