After the release of their latest album, Irish duo Bicurious have been on tour across the UK to show off their excellence to the public, with Nottingham-based A-Tota-So joining them as themain support across the tour. We headed to London’s Lexington to catch them, as well as local act Mount Forel starting off the whole event. The aforementioned opening act Mount Forel kicked things off in very suitable fashion, with a sound drenched in curiosity and melancholy. The members of the band hark from all corners of the globe, and their disparate heritages and influences all came together in a beautiful blend of ethereal post-rock and progressive rock. The bass and drums locked in together so tightly you could barely tell it was two separate musicians playing them at points, and the vocals floated atop the music in a wondrous fashion. Mount Forel have all the hallmarks of an excellent band, and with some more time and shows under their belts it wouldn’t be a surprise to see them headlining places like the Lexington in the near future, or even much bigger venues! Touring support act A-Tota-So played a typically great set - as they so often do - with their heavy, progressive style making every moment they spent on stage entrancing and enjoyable. Bringing up a friend of the band, Jethro, to join in for two songs gave a great injection of fun to proceedings, and the group worked their way through some fan favourites to keep spirits high. ‘Far Enough’ is perennially brilliant, and the expectations upon the song hold true in London, and both ‘Choke’ and ‘Squirrel Bait’ went down a treat. Guitarist and vocalist Marty Captain’s custom branded guitar rang out to captivate the audience from beginning to end, and the band walked off to a very well deserved round of applause. Finally, it came time for the headline act. Bicurious’ new album ‘Your Life is Over Now…’ has been received to a plethora of positive reviews, almost overwhelmingly so, and for good reason - it is a stellar record, amongst a collection of other great releases, that make up the duo’s discography, albeit only their second full length album. They leaned heavily on the new material, playing six songs off of their latest LP out of eleven total that made up their set. ‘Gutless’ was a particular high point, as was the rendition of their 2019 single ‘I Don’t Do Drugs, I Just Sweat a Lot’. The energy of both Gavin Purcell and Taran Plouzané on stage cannot be denied, at once getting the crowd going and also keeping time with their most riotous moments. With a show like that, as well as the ever-increasing support of the alternative scene, it won’t be long until they are at every single one of the alt festivals on the British and European circuit. After stepping out of the muggy, sweaty atmosphere in the upstairs venue, the chilly Winter night felt far more bearable, and it was all too easy to keep a pep in the step after a show that plastered smiles across every attendees face. Words: Jake Longhurst Photos: Amy Hannah

Opening for one of the UK’s fastest up-and-coming alt bands is never an easy feat, but BEX delivered an electrifying performance at The Sugarmill in Hanley, worthy of any stage in the country. Her unique stage presence and raw energy captivated the audience from the very start. BEX opened with “Taste Better,” immediately setting a high standard for the evening. Her commanding presence and the song’s intensity energised the crowd, establishing an electric atmosphere from the outset. Her next track, “Filfy,” maintained that energy, leading into “Fight,” which ignited a circle pit and highlighted her ability to engage and energise the audience. “Sum Kinda Syko” proved to be a huge highlight of the set, with another intense circle pit showcasing the song’s power. As the set approached its conclusion, “SunDae” added a whimsical touch, with the use of a bubble blower adding yet another layer to the set. Closing with “SPYD4 K1NG,” she ended on a high note, leaving the crowd exhilarated and setting an incredibly high bar for the rest of the night. Following BEX’s electrifying performance, Karen Dió took the stage, infusing The Sugarmill with a blend of nostalgic and contemporary punk energy. A Brazilian-born, UK-based artist, Dió has been making waves in the punk scene with her dynamic sound and compelling stage presence. Her music, reminiscent of the 2010s riot grrrl revival, brings a fresh perspective to the genre. Opening with a confident presence, Dió quickly established a connection with the audience. Tracks like “Stupid” and “So Funny” stood out, showcasing her knack for blending witty lyrics with punchy melodies. These songs highlight her ability to craft catchy, dynamic punk anthems that resonate with listeners. While her performance may not have been a personal favourite for all attendees, there’s no denying her talent as a musician and performer. Dió’s bold stage presence and commitment to her craft earned her cheers and applause throughout the set. Her inclusion in the lineup added a distinctive edge that complemented the evening’s punk ethos. Karen Dió’s set served as a reminder that live music is deeply subjective. Even for those who didn’t fully connect with her sound, her professionalism and passion for her music were undeniable. Her performance at The Sugarmill further solidified her position as a rising star in the punk scene. WARGASM brought their signature blend of electro-punk and riotous energy to The Sugarmill in full force, delivering a performance that had moments of brilliance but was hindered in parts by inconsistent sound quality. The set began with “Circle Pit,” a track with massive potential but slightly lacking in vocal energy. Despite strong stage movement and showmanship, the opening track didn’t quite deliver the explosive start expected. However, the duo found their stride with “Bad Seed,” which brought their trademark chaos to life and energised the audience. The middle of the set, featuring tracks like “Ride the Thunder” and “Death Rattle,” was unfortunately marred by overly boosted bass that overwhelmed the mix. This issue persisted through “70% Dead” and “Venom,” where low-end distortion detracted from the experience. That said, tracks like “Pyro Pyro” and “Bang Ya Head” were standouts. The latter was a highlight of the night, thanks to its quality and crowd enthusiasm. WARGASM’s connection with fans shone during “D.R.I.L.L.D.O.,” where audience chants amplified the song’s impact, and “Spit,” which carried the energy of an opening song despite being near the end of the set. Closing with “Do It So Good,” they ensured the night ended on a high. While technical issues may have dulled the edge of their performance, WARGASM’s charisma and crowd engagement made for a captivating, high-energy show. Words: Vee Richardson Cover Photo: Ollie Hayman

Hailing from Lubrza, Poland, MISSCORE is made up of 4 talented members - Natalia Rygiel being the voice of the band, Mateusz Dźwigała on bass and keyboard, Krystian Suchorab on guitar and Jack Bielecki on the drums. This band draws in fans of Linkin Park, Bring Me The Horizon and Paramore with their pop-rock sound, and they only dropped their debut LP ‘Drown’ at the beginning of the year but have since increased their following around the EU. They've continue to impress us with their new album ‘Hypocrisy’, which is a sign of good things to come. Introduced with the sound of trumpets, MISSCORE starts off this album strong with the catchy, melodic first song ‘F’. The mixture of clear and screaming vocals works phenomenally, and the way she quickly changes between them adds plenty of depth, making the emotion in her voice evident. The guitar does not disappoint either, with captivating riffs being played throughout and then a rise in energy nearing the end of the song, bringing it to a perfect close. A ticking clock is the first thing you hear in the next song and title track ‘Hypocrisy’, before it fades into the melodic sound that you hear for the rest of the track. The vocals are especially powerful in this song, with a real contrast between the mellow, emotive verses and the soaring choruses making for a hypnotic listen. ‘Away’ starts off with strong guitar and bass riffs rolling across the mix, which sets up expectations nicely for the rest of the song. The soft vocals quickly dissipate into a sharp chorus where everything picks up, including the catchy lyrics that will have you singing every word. The song title is repeated over and over, and by the end of the song will have the listener joining in. ‘Freaks’ begins with a unique beat before changing into a slow guitar, beginning a mysterious sounding verse. Natalia’s vocals are a great mixture of angelic and powerful on this song. The guitar really picks up during the chorus where the vocals become louder. The chorus is a lot more upbeat than the rest of the track, bringing some proper power into the song. ‘Fire’ is a song that talks about trust and lying, and this theme is introduced right from the off when Rygiel sings “you think you're a liar, you cannot trust yourself with any words you say, or it is you that speaks and then acts like a fool.” One part of this song that really sticks out is towards the end where the heavy, distorted screams take over and the guitar bolsters the sound, making this song a really enjoyable listen if you're into the heavier side of life. ‘Tears’ is another exciting listen, immediately jumping into the energetic vocals that quickly pick up the pace throughout the song. Guitarist Krystian Suchorab does an incredible job on this track, really bringing the song together with the strong, melodic riffs that just get better the more you listen. Immediately afterwards, you're greeted with a brutal, fast paced guitar solo on a track called ‘What if.’ This is another one of the heavier songs on the record and it is unique in that you can hear almost everything Natalia’s vocals are capable of. You can hear the swift change in her voice between the verse and the chorus, going from soft and ethereal to a more raw and potent sound. At the end of the song you can even hear her reaching the higher notes and she does an incredible job at it. This song has to be one of the standouts here. The last song you on the album is called ‘Nothing 2 Say’ and it does not disappoint, doing a wonderful job at finishing the release. You can hear screams behind the lead vocals which gives a more intense feeling to the song, as well as the drum beat that steadily increases throughout. The distorted vocals at the end of the track slowly disappear before quickly cutting off, bringing the album to a steady close. ‘Hypocrisy’ is raw, powerful and beautiful. MISSCORE have done an incredible job on this album, making every song into an immersive experience that instantly makes you want to hear more of this band. It is immediately evident that this LP will be loved throughout many different communities, inspiring people all over the world. Words: Kelsey Mainwaring Photos: MISSCORE

Emerging Norwegian band We The Faded are gearing up to release their debut album, ‘TRANSCENDENCE’, which is set to be a diverse listening experience while showcasing the band's unique start, and starting off their contribution to rock music. Forming in 2022, the female-led band has released some tracks from the album, creating suspense and allure for what's to come. They may have only just started out, but We The Faded intends to enter the scene with a bang and leave their mark in the minds of metal fans across the globe. ‘TRANSCENDENCE’ is a unique listening experience. We The Faded has subverted any expectations listeners may have about metal music. The pop elements, when paired with traditional metal components, create a sound that separates them from most conventional heavy acts. Standout tracks, such as opener 'Crisis Mode' and its immediate follower ‘Damage Control’, incorporate complex guitar riffs, piano elements and opening crescendos that allure the listener into their bewitching sound. Tracks vary in style but all share similarities to bands such as New Year's Day and Evanescence. Singer Reeta Paananan presents siren-like vocals which aid in showcasing the story of fragility and self discovery. As the album develops, you get a look into the band's harmonious teamwork. Deep guitar riffs from guitarist Pat Karlsen mirror Paananans’ vocals whilst drummer Kimbo Gusty interjects with rhythmic drums to punch in the gritty lyrics. When talking about how We The Faded have created a diverse album, one song is a particular testament to that - ‘Ghost Of Me’. The song takes listeners back to 2007’s Linkin Park, in the form of a deeply emotional ballad that is perfect for crying your heart out to. The vocal variety swells with the listener's emotions as the track progresses. Two tracks later though, and something completely different comes. The track ‘The Hive’ contradicts the ballad, taking the form of a heavy masterpiece showcasing bassist Robin Fagerland's talent with bass elements throughout. The band incorporates all elements of metal music, even going as far as including modern influences like digital elements similar to Bring Me The Horizon. It truly is a joy to see elements across all genres coming together to tell a story. As ‘TRANSCENDENCE’ comes to an end you’re left with a love for We The Faded signature sound and the story they have just told. The overall story is one of self discovery, passion and we're left with the message to keep going, no matter what. It is always a risk to change traditions for a well-loved genre, especially one that is known for having a lot of traditionalists and haters of modern styles, but We The Faded have done it and done it well. Their mission to create a “blend of metal infused with pop elements” outlines them as leaders of a new sound. The piano elements and atmospheric openings bring in the pop side excellently whilst gritty lyrics, metal vocals and heavy instruments incorporate the heavier side, in a combination that just works. The album challenges convention, and does it harmoniously throughout. It is clear that We the Faded are dedicated to the art of metal music. By releasing the diverse listening experience that is their debut album ‘TRANSCENDENCE’, the band really makes their entrance and showcases their willingness to push boundaries. The whole album is an emotional story told through song. If We The Faded continue challenging conventions they are on track to becoming heavyweights spearheading a new side of heavy music. ‘TRANSCENDENCE’ will be released independently on November 28th. Words: Kira Lashmar Photos: We The Faded

Celebrating the deathcore band's 10th anniversary, DISTANT have released their highly awaited album ‘Tsukuyomi: The Origin’ and it does not disappoint, delivering us with the metalcore sound we love from the band. This album is a reimagination of their debut EP 'Tsukuyomi', and you can expect revamped versions of six of the bands early songs like 'Loveless Suffering', 'The Undying', 'Fleshweaver', along with seven new tracks to bolster the length of the release, and give something entirely new to fans! Starting off with a mysterious sound, you are immediately drawn into this album from the first track ‘The Pale Moonlight’. It sets the tone of what to expect from the entirety of the album, giving us the perfect introduction into it. The iconic screaming comes nearing the end of the track but flows into the next song easily. ‘Fleshweaver’ is a song that will of course be familiar if you were a fan of the band's debut EP. They have done an incredible job at reimagining this track, giving it the boost we didn't know it needed, with more heavy guitar riffs and the talented vocals that we all love. This track is filled with intense screams, making it the perfect song to mosh to. ‘Feast Of Misery’ starts off with low but powerful screaming vocals, accompanied by a harsh drum beat and the brutal riffs that really bring this song together as a whole. This song builds up massively to the end of the track, where we are hit with some intense screaming and punchy drum beats that bounce off the screams perfectly. The next song, ‘Torturous Symphony’, features Matt Heafy of Trivium, and it’s evident that this song is going to be a headbanger as soon as you hit play. Starting off with distorted vocals before going seamlessly into straight up deathcore screaming. The mixture of death growls and more high pitched screaming makes this track a real treat to listen to. The guitar part in the next song, ‘Cradled in Shards of Glass’, really stands out due to the incredibly unique riffs are heard throughout. They're both heavy and dark, yet also bouncy and catchy, tempting you to bang your head as you listen along. The guitarist also does a great job at breaking the song up and introducing the more distorted vocals. ‘Loveless Suffering’ features a wide range of vocals, with the song starting off with more fast paced screaming before diving into the heavy but low growls that we've come to expect and crave. The emotion in this song can be heard clearly throughout with the intense screaming and it is evident that they are passionate about the music they make. ‘The Undying’ is packed with intense and exciting riffs alongside an exhilarating beat that gives this song a different feel to the rest of the album. The guitar solo in this song really showcases the guitarist's talent, sounding incredibly clean showing off their passion for their instrument. The next song is ‘The Apex’ which starts off with a beautiful tune before building up to a harsh beat and an angry growl which contrasts the opening sound greatly. This track is only a short one, however that does not take away from it being an enjoyable listen. ‘Acolytes of Damnation’ features Alex Erian and their vocals work well together. They both have dark vocals that bounce off each other but seamlessly come together creating this crushing song. The guitar riffs are searing throughout, this song is packed with intense and fast paced riffs that compliment the gritty sound of the vocals in a nice way. Up next is the title track ‘Tsukuyomi’, featuring Travis Worland of ENTERPRISE EARTH. The beginning of this track reminds the listener of the start of a film with the intense build up, and angelic voices in the background, that gives a wonderful contrast to the the roaring vocals which is very satisfying to listen to. There is a healthy mixture of low growling vocals along with more high pitched screaming, and it feels like a given that this incredible vocal performance is what really brings this track together. ‘Malice’ featuring David Simonich of SIGNS OF THE SWARM really comes into its own with such a distinctive drum line. The drums become very abrupt between screams, which really brings out the vocals, also highlighting the guitar - which really picks up towards the end where the vocals quickly pick up the pace. The last song, ‘Broken Cross’ makes perfect sense to be placed at the end. Even though it's only a short song, with it being just over a minute long, it delivers us with everything we love from the band, from the iconic death growls to the brutal instrumentation heard throughout the entirety of this album. Deathcore as a genre feels quite stale at the moment, and even at risk of imploding on itself and dying out. But DISTANT has done us proud with this album, delivering us with insane riffs and breakdowns, emotionally raw and brutal vocals, and plenty of brilliant moments throughout. It's easy to say already that one listen will definitely not be enough and you will find yourself headbanging to every track on this album. They're going on tour in 2025, so don't forget to keep a look out in case they end up near you! 'Tsukuyomi: The Origin' will be released on November 22nd via Century Media Records. Words: Kelsey Mainwaring Photos: DISTANT

For those in the know, Hidden Mothers is one of the bands that’ll always draw a smile if their logo is anywhere on a lineup. Their blend of sounds from post-hardcore, black metal, and screamo places them somewhere nearby to Holy Fawn, Thrice, and Oathbreaker, but with more than enough influences to keep them fresh and different. Come November 29th, the Sheffield quartet will be releasing their debut album ‘Erosion / Avulsion’ to mark the end of a four year long journey, and the beginning of hopefully a much longer and more release-heavy one. We caught the band at sunny ArcTanGent 2024 to chat about all things Hidden Mothers. Of course, we couldn’t start without talking about the glorious weather and glorious festival, two things we’re now sorely missing in late November. The band performed at last year's stupendous event, and were so popular that they were invited back to perform on the Wednesday for all the early campers this year. The band remarked that it was slightly nervy playing the day before most people arrived, chiefly because of the ever-present twin worries of “How many people are going to be [there]?” and “Will people take to us?”. Luckily for them, ArcTanGent’s fans are known for giving most things a go, and ended up packing the tent out for almost every single act on the day! Hidden Mothers in particular were provided with an excellent atmosphere that was no doubt helped by a few beers and the wonderful sun - made all the better by the fact that they then had a few days to relax and enjoy themselves with a brilliant soundtrack on at all times. More importantly than their performance though, is the fact that they’re releasing their debut album in just a few days! ‘Erosion / Avulsion’ is the first full release from the band since 2020, and marks a number of dramatic changes since the self-titled EP four years ago. The group used to be a five-piece, for example, but have shed a member since then and also taken a relative left-turn musically - Liam, the bassist for the band, specifically talked about how frustrating they’ve found that with the lack of music they had out until August’s single ‘Defanged’, and he said “Someone will post on Twitter saying ‘Oh, can anyone recommend any new bands’ and we’d say ‘Oh, well, I've got this you can listen to, but it's from four years ago, we don't play the songs anymore, and we don't sound like that anymore’, so it's hard.” After going down to four members last November, the band has gone from strength to strength with the album being recorded and mixed by February, and mastered by April. Having now nearly arrived at the big day, Hidden Mothers themselves are feeling all sorts of feelings, but amongst them is gratitude at finally being able to see people putting names to songs after hearing them for years and years - “We've been sat on these songs since, I’d say lockdown. Well, there's two songs on the album that we've been playing live since then in one form or another. They have had some changes, but we've been playing live since 2021, so it's been a long time coming that we've had this new stuff seeping its way into the set. And yeah, it felt good to play a song [at ArcTanGent] that people have heard. For the last year or so of playing them songs, people always come up saying ‘I really like that song’, and it's so nice to be able to put a name to it and be like, you'll be able to hear that song in [a week] properly.” The band have also been playing to the biggest audiences of their career this year, exposing more people than ever before to these previously untitled songs through a blend of luck, and a steely determination to “stay on peoples radar”. Playing the aforementioned ArcTanGent, Bastard Fest with Empire State Bastard, Heriot, Conjurer and Pupil Slicer, supporting The Callous Daoboys’ second ever UK show last summer, doing a string of shows with Copse, and now being seen on lineups like Reality Unfolds, NOIZZEFEST, Strangeforms and even 2000Trees, they are on a dizzying upwards trajectory that is showing no signs of slowing down. As the band put themselves, “We've been quite fortunate that we sort of skipped that awkward local band phase, and we started playing with some pretty decent bands almost straight away. But over the last 12 months or so, it definitely seems to have picked up some speed.” They’re rapidly becoming a fan favourite in all the right circles of the British heavy scene, and to all intents and purposes they look like a band on the cusp of an explosion, but this hasn’t been a joyride. Having had somewhat of an “identity crisis” after such a dramatic set of changes and such a rapid evolution, as well as struggling with the simple fact of just not having recent music out, a permanent problem that young bands struggle with, could’ve easily caused a lesser band to disband. However, the four-piece have survived the worst of it and are now on the brink of their debut album’s introduction to the world. Not only is it an album to be extremely proud of, it’s also a testament to the fact that they’ve made it this far already and are in the best position of their career. Hidden Mothers, long may you live, and may your reign be prosperous. And for those still asking the names of the songs, the ‘Erosion / Avulsion’ track listing is: Defanged Death Curl Still Sickness Caton Green The Grey Grandfather Violet Sun Haze ‘Erosion / Avulsion’ will be released on November 29th via Church Road Records. You can catch Hidden Mothers live at the following dates next year: January 19th - Reality Unfolds Festival, New Cross Inn, London February 20th - Little Buildings, Newcastle February 21st - EBGB’s, Liverpool February 22nd - Asylum 2, Birmingham February 23rd - Parish, Huddersfield March 8th - Radio City Social, Chelmsford March 9th - Irish Centre, Corby (Matinee show) April 26th - NOIZZEFEST, Fuel Rock Club & Clwb Ifor Bach, Cardiff April 27th - Strangeforms Festival, Brudenell Social Club, Leeds May 24th - Uprising, O2 Academy, Leicester July 10th-13th - 2000Trees Festival, Upcote Farm, Cheltenham Words: Jake Longhurst Photos: Matthew Barsby

The harsh Icelandic tundra conjures images of beautiful glacier-falls beneath elegantly dancing northern lights in the sky - a landscape tailored for the wild rhapsodies of Sólstafir and Skálmöld. These bands effortlessly channel the mood of their homelands, an aural avalanche cascading over frozen cliffsides. Which is why it is so exciting to welcome another contender; Múr. On the album cover are five clean-cut lads gazing wistfully past the camera as if they’re searching for something lost in the void. They seem quite out of place in a genre that typically demands grim beards and mad gazes. It is almost reminiscent of Meet The Beatles. You’re not really certain what to expect. Then the guitars strike. The opener, 'Eldhaf', bursts forth - tight, deliberate, with a nice crunchy guitar over a droning synth - but it does not take long to notice the influences here. The thing with Múr, right from the start is how familiarly their cold fire burns. They namecheck “Devin Townsend and mid-era Opeth” in their description, but this is more than homage; it ventures into pastiche territory. The gleaming from Townsend’s bald head shines over this track, and Múr seems to fly a bit too close to the sun here: The chord progressions? We’re talking 'Accelerated Evolution'. The opening riff? An echo of 'Addicted'. And the vocals? It's hard not to hear some 'Stormbending'. But undoubtedly the ability is bare and present here, albeit to a rather timorous start. The second track, 'Múr' (not to be confused with the album title… and the band), is the heavy-hitter. Kári Haraldsson blares out a beautifully heavy vocal performance reminiscent of Åkerfeldt at his best alongside a wonderful keyboard-tinged solo; seriously talented. There are some strong top-notes of Opeth here, with some aromatic mid-notes and a base note of 'Demiurge' by Meshuggah. The carnage continues with 'Frelsari', where the guitars of Hilmir Árnason and Jón Ísak Ragnarsson are on a warpath, pounding out a diabolical riff while Árni Jökull Guðbjartsson lays down some furious drumming that would burst through handsomely - if it were not so buried in the mix. Such is the tragedy of percussionists; all too often sacrificed at the altar of production. With synths like a siren, the subsequent 'Vitrun' showcases Múr at their most dangerous; pulse-pounding riffs, fantastic duelling vocals, and a synth underneath it all like a veil of rainbows. Superb. The influences are less clear here, but what you can hear is pure Múr, nascent and resplendent. As the album goes on, to paraphrase one Patrick Bateman, you can hear the band coming into their own, both creatively and artistically. 'Messa' continues what 'Vitrun' began, but with an excellent breakdown that linchpins the song. Synthesizers hum as 'Heimsslit' begins, with an intro that could soundtrack the slow-motion death of a central character in some prestige TV drama. You can almost see the panning shot of blood spreading across a snowbank, Haraldsson’s background in film scoring bleeding through in all the right ways. It almost has some Godspeed You! Black Emperor about it. The riveting electronic bass of Ívar Klausen grumbles underneath it all. Very long and very atmospheric, this one is an album highlight – a track that threatens to uproot Sólstafir and Skálmöld from their apex positions as the soundtrack to the Icelandic wilderness. Then comes the finale: 'Holskefla'. A closer that tries to plant a flag in this jagged album but ends up stumbling under the weight of its own influences. When this band leans into Townsend, it seriously leans into Townsend, it’s a feeling that these Strapping Young Lads cannot seem to shake off. What we get is ten minutes of riffage with not a whole lot of variation present as 'Múr' bounces around influences again. And then, just like that, it ends. No crescendo, and no catharsis. With bands like this, you brace for the sprawling outros, but Múr take a different approach it seems – leaving you half-expecting another song to crawl out of the shadows. But in the end, the fact remains - this is a fine album. The most exciting aspect here is the sheer potential of 'Múr', and the real meat of the album here is a solid offering, but there’s a little too much scavenging here - picking bones clean from the carcasses of bigger and older predators. Songs like 'Vitrun' and 'Heimsslit' showcase a new band rising like a great new force in the distance, and you can see the greatness on the horizon. Whether they can carve a path that’s truly their own remains to be seen, but for now, 'Múr' offers a solid debut, stumbling through a sonic tundra with borrowed maps but undeniable determination. An album that is definitely worth a listen - keep your eyes on that horizon, because Múr is rushing towards it at headlong speed. ‘Múr’ will be released on November 22nd via Century Media Records. Words: Kiarash Golshani Photo: Anna Maggy

For us, having a party was very important when we launched. We wanted to celebrate our community in a way that only seemed fitting. Live music is the foundation of Out Of Rage. For Jake and I, we had founded the network at Outbreak Festival because we had a mutual interest in similar bands, and through our background in student media, it seemed like the natural progression of where we wanted to be. I find gigs and festivals especially cathartic in a way that we have a shared experience of music. At the end of the day, that's all we wanted at OOR, a place where we could be a part of the industry, and build ourselves up through the talented people we meet and work with. Our partnership with the University of Nottingham Rock Society for this event was the natural choice. They were amazing for working with us, and the first in a line of many more universities, societies and groups we would want to work with. We are especially keen on working with students, because most of our management have been students, and have been a part of societies and media. Some of us (...Kayleigh) are even working with SU’s to this day. There are loads of incredibly talented young people out there. Writers, photographers, musicians, band managers, creatives, videographers, musicians and anyone else who is ready and willing to enjoy the music we all love. We also want to thank the amazing emerging talent of Wasted Awakening, Systems Fail, Late December and Gender Envy for setting the tone and putting on a show! Also a massive thank you from Jad at the Rock Soc for helping us out logistically. For Rae and Kayleigh for the epic photos. This is the first of many more. You haven’t seen the last of us yet! Photos by Kayleigh Fryer

When Polaris announced the sudden death of their guitarist Ryan Siew, who passed away the week after the band opened the main stage at Download, we thought that it was the end for the Australian metalcore giants. Cancelling their summer tour dates, in the autumn they unleashed Siew’s final lasting legacy, their third release ‘Fatalism’. The album, now retrospectively a eulogy and celebration of the band, is one of their most cathartic releases to date. At Manchester’s O2 Ritz, frontman Jamie Hails addresses the crowd “Ryan wanted us to continue and we will.” Polaris swept through Europe on their headline tour, supported by Paledusk, Thornhill and Silent Planet. For newcomers Paledusk, hailing from Kyushu island in Japan, their association with the Australian metalcore scene signing to both Sharptone and Greyscale Records is unfaltering. Releasing their new EP the week previously, ‘PALEHELL’ showcases the off-the-wall brilliance of harajuku pop infused with abrasive breakdowns. Despite some sound levelling issues, they carried the crowd, even as the opening band, demanding our full attention with intermittent thrashy guitar solos. Finishing with their fan favourite ‘SLAY!!’, they are definitely a band that is a fresh and exciting addition to lineups, anticipating the best and the unexpected. Sometimes you catch a band on the cusp of their breakthrough, and for Melbourne post-hardcore five piece, later hailed by Polaris later as ‘our Australian boyfriends’, this is their time. It's that moment before a band goes big, like when Sleep Token released ‘Chokehold’ or Loathe put together ‘I let it in and it took everything’, that magic is created in the room. With only two tracks released from their upcoming album ‘Obsession’, they commanded the entire crowd and then some. Frontman Jacob Charlton has the most versatile voice in metalcore, going from dreamy choruses to full on Chino Moreno raptor screams. Pausing in anticipation of their monumental breakdowns, the full ensemble unleashes a hellish inferno of sound. It was an unnecessarily short set, but a cathartic one, leaving onlookers to audibly comment ‘Why haven’t I heard about this band sooner?’ At the moment, this is the scene’s best kept secret. Silent Planet graced the stage shortly after, with a tight and energetic set, primarily based around their new release ‘Superbloom’. It was a refreshing update to their sound, pulling away from their emotionally-driven post-hardcore sound, and provided a sticky pit, perfect for thrashing around in. The Texan metalcore collective have a fanbase of diehard fans, who made their presence known during ‘Antimatter’ and ‘Nexus’. However, it wouldn’t be a Silent Planet set without their inaugural monologues, bringing attention to the devastation of war with ’Panic Room’ and the invasion of indigenous American soil in ‘Native Blood’.New staging accompanies the band with their DIY projector backdrop. Watching on from the sidelines, the band are beginning to grow into potentially performing their own headliner slot in the UK. Polaris took to the stage opening with the almighty ‘Harbinger’ the opening track of their current album, followed by its standout track ‘nightmare’ High energy anticipation continued through fan favourite ‘Hypomania’, amassing in a gigantic circle pit. Hailing the UK as their ‘second home’ they pressed on to some of their classics, ‘All Of This Is Fleeting’ and ‘Landmine’ Technically tight, the combination of sound from guitarist Rick Schneider and bassist Jake Steinhauser carried the band into ‘Overflow’. With a brief pause and reflection, Jamie Hails broke into a monologue about the passing of Siew, stopping for a minute to reflect upon the uproar in adoration from the crowd. Chanting ‘Ryan’, the whole band are emotionally raw leading into the cathartic ‘Martyr’. Then, snapping back into action, Hails’ commanded the audience to “snap their necks” to ‘Parasites’ and then performed the most impressive windmill in all of metalcore. With some vocal issues mentioned previously by the frontman, it didn’t matter. The entire set was epic and the atmosphere in the Ritz was kinetic and unapologetic. With a final encore from ‘Pray For Rain’ and ‘Remedy’ it was a spellbinding end to a spectacular performance for all acts, in a celebration of modern heavy music. Most importantly, it was a show you could throw yourself into and just party, and that's exactly how everyone felt that night, leaving to the sound of ‘We Like To Party’ by the Vengaboys. Words: Amber Brooks Cover Photo: Nick Davarius

BEX is our July 2024 cover. Cover credit- Nick Davarias BEX is everything. “I see it all as me,” she tells us during a wet afternoon in the press tent at Download. The nu-punk collective had played the Wednesday, an energising warm up to follow the weekend’s full proceedings. For the 22 year old singer, playing the festival was part of her masterplan, using last year's proceedings to get punters to sign a petition to get her to ‘one day’ perform. A full circle moment, this homecoming performance was “a blur. It was literally the best thing in the world.” “I’ve always wanted to do this. I never had those gap years or going to uni. I always knew what I wanted to do.” BEX has always been creative. Whether it's performing shows and producing music, to creating her own fashion line Scallywags earlier this year, the creation of BEX is one of the most bespoke voices in the upcoming alternative scene. Going independent, making art and playing the main stage at 2000 Trees, we hear it all as we follow BEX across the UK on their summer tour. Bex performing at Download 2024 Adorning a self-made custom dress, admittedly different to her usual style, she brought the ferocity during her newly released do-or-die single ‘FIGHT’ at Download. Part of the BEX experience is the bespoke clothes she makes or upcycles for her live shows. Fashion is as much of a part of BEX as her music. “I think it originally started because I didn’t really like the clothes I could buy in the shops so I just couldn’t find anything that I liked. I needed to learn how to make it. I taught myself.” BEX likes to take inspiration from Vivienne Westwood, evident in her punk aesthetic, but she also loves to look at what ordinary people are wearing, saying: “If I see something that I like, I’ll remember and create.” BEX set up Scallywags, her own clothing brand, to sell one-of-a-kind items on an online shop or at independent markets. She has said she is not a very political person, but does care a lot about the ethics of clothing. “Fast fashion doesn’t have to be fast fashion. If there’s something you really like and you’re going to wear it, it’s okay to get it. Obviously it’s overconsuming that is the problem. That’s what makes it fast fashion.” “Now it’s just so normal to me to want something and then just make it rather. If I want something, I don’t even search for it online. I can make that.” At Scallywags, she does not make clothing for a specific audience. She makes the clothes she loves to make. “I just make clothes. I don’t make clothes for specific genders. There also not specifically for alternative people or goth people. They’re just for anyone. When I do markets, people never even question if this is a boy's jumper.” BEX performing at The Black Heart last year BEX, as a product, is proudly independent. There is no one else quite like BEX. After releasing her 2023 SCUM EP, she dropped her label and began making music herself. “I was with a label last year and it made things easier, but now it's a lot harder. There’s a lot more to think about.” She has released two singles since leaving her label and is hoping to release more music in the future. When asked about who BEX is, she says: “I think I’m just a creative. I don’t think I’m a musician, and I’m definitely not the best musician, but I’m also not the best designer or seamstress. I’m a creative person and I just want to share that.” Passion and drive are the forces behind the art she creates. Whether it's going on tour with Hawxx or Saint Agnes, like she did earlier on this year or performing with Mallavora at their SKIN release show, she knows how to style the entire band with their signature bunny-eared balaclavas. Above: Bex performing at 2000 Trees, Below: Bex customising T-shirts at 2000 Trees Customising T-shirts at 2000 Trees No one did 2000 Trees quite like BEX this year. A bubble gun wielding main stage set on Friday, revealing her brand new chrome logo. Then a trip to Marshall’s House of Fun to customise t-shirts with fans, which ended up with the whole band and crew helping. Bringing her own patches, the tent was so busy, she was moved to another table and overran by an hour. If that wasn’t busy enough, she covered the festival in posters, promoting her upcoming London headliner at Omera. When asked ‘What’s next for BEX?’ the bassist and vocalist grins: “More music. More fashion. Just more of anything.” The real plan is to pursue this lifestyle and let others into BEX’s world. To get tickets to Bex's upcoming tour, please follow this link Photo: Nick Davarias, Design: Josh Paine Words: Amber Brooks Photos and cover design: Nick Davarias

Descending upon the backstreets behind the center of Liverpool, a thriving music community plants its roots along a two street stretch of road. For one day only, Seel Street and Slate Street become the epicenter of the northern hardcore scene, pulling together a celebration of mostly local bands at No Play Festival. Across three venues (The Arts Centre, EBGBS and the Jacaranda), an impressive display of emerging new music was the key focus of the day, with headliners Seeyouspacecowboy… putting the lineup in the festivals history books as a historic and truly sought after lineup for years to come. Yes- Out Of Rage were there- and we want to let you know about the next generation of bands that you should be paying attention to. WitchEater For only releasing their first single last year, Merseyside deathcore’s WitchEater provided a culinary feast of beatdown. A local show for the hometown heavyweights provided a warm welcome to anyone who traveled any further than St. Helens. With the vocalist’s tongue-in-cheek street callouts counterbalancing the oncoming strife from heavy riffs and damaging blast beats, they contribute to the emerging local talent that No Play has to offer. Forager Having played the festival last year, Manchester's-own Forager was a real treat. Hanging on the fringes of hardcore and grunge, their sound culminates in very real and honest lyrics. With the help of Scott from Black Coast (who Forager toured with last year), they flung themselves into each song with such enthusiasm. Encouraging no mosh to their pop-punk inspired song ‘Converse’ was a highlight of their set. But do not let this fool you- they had some moments of intense and exciting energy, especially from their later tracks from their latest EP ‘The Knife’. Rozemary We head to the basement of the Jacaranda to go and watch another local band Rozemary. The room was absolutely packed from the beginning of the set. Whilst the songs progressively got heavier the longer they played, they managed to spin the tiny room into a sweaty mosh. As a new band, their sound was impressive and carried the room, tied together with the embroiled screams from their vocalist. A great start for their No Play debut. Going Off What would Manchester be like without Going Off? As an absolute staple of their local scene, they now cross the M60 to play the Arts Centre in Liverpool. Short bursts of frenzied energy erupt in the pit, as the band plays an assortment of fast paced hardcore punk, each song lasting less than three minutes each (we have checked and verified this). Releasing an absolute firecracker of an album this year called Die Fast, their explosive stage presence was not to be missed on the main stage. TNL VSN Birmingham based TNL VSN were definitely the palette cleanser to a very heavy day. A cohesion of 2000’s angst and longing choruses. Their sound is carried by their vocalist who complimented the band's grungy undertones completely. We will be watching what this alternative five-piece gets up to in the future. Cauldron What can be said about Cauldron that has not already been said about this band and UK deathcore? If they’re not on your RADAR, you need to get to one of their shows ASAP. Cauldron are your favorite metallic deathcore artists favorite metallic deathcore band, fiercely respected in the UK scene. In a live setting the band got the best energy of the day, a brutal skirmish of crowd killing. Vocalist Frazer Cassling caused as much chaos in between songs as much as he did during them, outing other members of the band as Everton fans, and letting the entire crowd know about the horrors he saw outside the venue before the set. Grove Street Southampton hardcore was indeed present at No Play. Grove Street were a very welcome addition with their groove-infused thrash. Defining their sound in their latest release ‘The Path To Righteousness’, the band pulled up to a large crowd and pushed the energy to its limits during their thirty minute set. Cougar screams and nostalgic riffs from the eighties and early nineties, fuelled their energy in a fast-paced and high intensity show. Heriot Encroaching on the release of their highly anticipated first album, Devoured by the Mouth of Hell, Heriot brings their deathcore thrash to Liverpool. Circling through their tracks the bands in-your-face defiant attitude made a great contribution to No Play. Despite a few technical issues, pushing the set back a smidge, they knew how to get the best energy from the crowd. Lending themselves greatly to spinning the room around in frenzied circle pits, they prove to be one of the most promising bands in the UK alternative scene. Seeyouspacecowboy… Nearly rounding off their UK tour (with one show left to go) Southern California’s Seeyouspacecowboy… was an absolute treat of a headliner to finish off the end of the day. The band are known for their unpredictable and chaotic energy on stage, lending themself to a real spectacle in the pit. We join the metallic deathcore heavyweights after the release of their dancefloor punk inspired album Coup De Gras, which translated on to the stage extremely well because of how upbeat the album is. The intensity that vocalist Connie Sgarbossa had with her crowd was a joy to watch. The standout song of the set was Silhouettes in Motion, which got the entire audience moving (including the inflatable shark that the No Play crew threw into the crowd). Finishing on Chewing The Scenery, the band finished a spectacular set, one that would be talked about in No Play’s history for many years to come. Words: Amber Brooks Photos: Izzy Scott

Bringing bands from the disparate locales of San Diego, Leeds and Madrid altogether onto one crazy touring lineup, the queercore screamo geniuses in SYSC steamrollered their way across Europe and into the UK. Out Of Rage managed to send a team to see them, and after letting their bruised bodies and broken eardrums recover this is what they had to say. As the first notes from Madrid screamo act Boneflower's set rang out, it already promised a special evening ahead. Their slightly shoegazey sound, combined with the viciously emotional heft that they so deftly wielded, made for a sonic punch in the gut as nasty as any you'll find. Whilst clearly the least well-known band, they didn't give that thought even one moment of air time and instead set about killing their half hour slot before promptly making a fan out of every single person watching on. Easily one of the best shocks at a gig so far this year, Boneflower absolutely need to be making it onto your Spotify rotation as soon as is possible. After a brief break for everybody's necks, Killing Me Softly showed us exactly why they were chosen to subheadline on this crazy tour. The Leeds-based crew slam dunked their entire set, as each stunningly tight riff and pulverising breakdown carried them further and further through what was a pristine run through of their music. As nominees on our Albums Of The Year list last year the expectations were high, but they decimated any and all doubts or concerns in an instant. The moshpit was also thriving, with Connie from SYSC joining the fray on numerous occasions alongside plenty of excited crowd members. Of course though, both paled in comparison to the almighty headline act that was SeeYouSpaceCowboy. Opening with the first two songs on their third and most recent LP 'Coup De Grace', the Cali quintet showed what it takes to become as beloved as they are in such a thriving scene. The room was bouncing for nigh on their whole set, and there was barely room to move near the stage with moshpits, crowdsurfers, stagedivers and assorted members of bands galore everywhere. The very next track happened to be one of their most enduringly popular songs, 'The End To A Brief Moment Of Lasting Intimacy', to which the reaction might be best described as pandemonium. As the uproarious set continued, each musician got their own chances to shine and took them eagerly, giving rise to varying moments of blissful calm and abrasive chaos. The bands tour-titling album was featured very heavily, with songs like 'Lubricant Like Kerosene', Silhouettes In Motion', and 'To The Dance Floor For Shelter' being received with particular warmth, but the older tracks 'Armed With Their Teeth' and 'Self-Help Specialist Ends Own Life' were up there as the writer's personal favourite moments. Even in the dying moments of the sets finale 'Chewing The Scenery', there was only movement to be seen, with vicious energy to be found in pockets all through the audience. Once the sensational headliners exited stage left, the energy eventually died down, and the onlookers dispersed, it was crystal clear that what we had just been privy to was the last tour that this band should ever play in venues this small. Words: Jake Longhurst Photos: Nic Howells