Alt metal purveyors, SOiL, are touring the UK throughout November for the first time since 2019, for a 9-day stint, performing an ‘All SCARS set’ for the first time, featuring songs exclusively from their 2001 hit album ‘Scars’, their major label debut that afforded them their first taste of mainstream success. Sales of the album were bolstered by the popular singles ‘Halo’ and ‘Unreal’, both achieving rewarding exposure time on MTV. Their efforts to this point earned them the Metal Edge magazine - Readers’ Choice Award for ‘Next Big Thing’. The band hail from Chicago, Illinois and formed in 1997. They have racked up over 2 million album sales worldwide, and tonight, at the midway point of their tour, they entertain a hedonistic crowd at the 2,000-capacity venue Rock City, in Nottingham’s city centre, winner of Kerrang! magazine's Venue of the Year for ten consecutive years. Supporting SOiL where 3 superb nu metal acts: The Union Underground, Nonpoint, and Hed P.E., who did not disappoint at all. First up, The Union Underground, formed in 1996 and based out of San Antonio, Texas, who started the night with a bang. They set a blistering pace, high energy from the start! Performing selections from their hit debut ‘An Education In Rebellion’ including the songs ‘South Texas Death Ride’ and ‘Killing The Fly’, as well as the classic ‘Across The Nation’, their finale, and a song adopted by ‘World Wrestling Entertainment’ as the theme their RAW brand until October 2006. The crowd went crazy for this, and singer/ frontman Bryan Scott was in fine voice. Next up; Nonpoint, who formed in 1997, are from Fort Lauderdale, Florida. They began with ‘Breaking Skin’ and with dreads flying they vehemently maintained the pace and intensity, helping prepare the way for the headliners. Final song to finish their set was ‘Bullet With A Name’ a fan favourite. Preceding the headlining heavyweights, the third band take to the stage, Hed P.E., typeset as (həd)p.e., formed in 1994 and hail from Huntington Beach, California. The crowd were loving it, and with the buzz now at a high point; this band do a sterling job of sustaining it with their genre-melding style of ‘G-Punk’ / ‘rapcore’, incorporating elements of gangsta rap, punk rock, and reggae. With the venue now filled by a crowd in a state of eager anticipation, it’s time for the main act to witness the adoration. SOiL came on with all guns blazing, and tore into their first number, ‘Breaking Me Down’ which promoted some serious head banging, arm waving, and jumping around, with the high-spirited revellers in visible chorus and some manically bouncing off each other. After playing ‘Inside’, singer Ryan McCombs professed that he really liked the lyrics, they reminded him of what life would be like without the amazing fans they have amassed over the years and went on to announce that Nottingham had never let them down. Towards the end of the set the closing strains of ‘Black 7’ rang out to merge with the beginning of their best-known hit ‘Halo’ and crowd participation is now spiking in readiness for what they are about to receive. After a short break they returned for 2 encores, the first, Black Betty, originally performed in 1939 by Lead Belly, but this rendition more akin to Ram Jams 1977 rocked-up version, a difficult fit it might be said, but performed in their own inimitable style, they successfully made it their own, and the crowd loved it. The show ended with ‘Pride’, from their 2004 ‘Redefine’ album. Words and photos: Kieran Atkinson

Lake Malice didn’t just perform; they transformed the atmosphere. They took to the stage greeted by an initially sluggish Wednesday night crowd, and by the time they left that stage, the room was electrified, a feat in itself for any band. They played as though the room was full and still managed to make it feel intimate. Despite an eight-song opening slot, Lake Malice brought the intensity of a full headlining gig, captivating the audience and making every moment feel like it was crafted specifically for them. The band’s connection to the crowd was undeniable, with many of the audience members having followed them throughout this tour. A standout moment came with the explosive drum solo introducing their track “Mitsuko.” This solo brought the energy in the room to its highest point of the set, showcasing the raw power and skill of Emily Ainger, and setting up the heavy riffs and intense atmosphere that “Mitsuko” brings. Highlights of the setlist included “Stop the Party” and “Black Turbine,” powerful showcases of the band’s talents and of Alice’s impressive vocal range. She moved seamlessly from guttural screams to haunting melodies, infusing each song with emotion and intensity that left the crowd wanting more. These songs exemplify Lake Malice’s ability to blend aggression and melody, creating moments that resonate long after the show. One song that could have been added to the set was “Power Game”. However, wanting to hear it live is simply a personal wish, and the set didn’t lack anything without it, a testament to just how engaging their entire repertoire is. Lake Malice is a band that truly connects with their fans. The genuine love between the band and their supporters was evident in every interaction, shared grin, and chant from the audience. They turned what could have been a routine show into a memorable, charged experience, leaving everyone in awe of their electrifying sound and raw talent. For any fan of alt-metal, or any fan of great music in general, looking for a live show that resonates with passion and energy, Lake Malice have proven that they’re a band to keep on your radar. Blackout Problems delivered a level of energy unmatched by any gig in recent years. They opened with the first three tracks from their latest album, “RIOT”, setting a tone of intensity and purpose. Opening with “DNA” was a brilliant choice, capturing the crowd’s attention and immediately giving a taste of the passion and emotion that would define the rest of the set. Every track felt like a complete experience, but standout songs “TROUBLE,” “MURDERER,” and “GERMANY, GERMANY” made a powerful impact. That said, calling them standouts feels almost unfair, as each song brought something unique and resonated deeply with the audience. The gig itself was more than just a set of songs; it felt like a carefully curated piece of performance art. The band’s pure passion and commitment were clearly visible, turning each moment into something meaningful that will stay with their fans. Vocalist Mario was especially magnetic, unafraid to dive into the crowd to build connection and energy. At one point, he climbed on top of a flight case in the middle of the audience, adding a thrilling, immersive layer to the show. Later, during their final few songs, he joined the crowd again, bringing a deeply personal touch that bridged the gap between band and fans. The decision to include two acoustic tracks, “STASH” and “ONATRAIN,” mid-set added a refreshing touch and balanced the pace of the show. These quieter moments allowed for a breath of reflection, showing a different side of Blackout Problems and drawing the audience even closer. The entire gig felt like being with family. It’s rare to experience that level of connection at a show, and Blackout Problems delivered it with ease, sincerity and passion. They left the crowd uplifted and connected, a feeling that fans would undoubtedly love to experience again. With this tour, Lake Malice and Blackout Problems are quickly establishing themselves as a dynamic force within the alt-metal scene. Both bands bring relentless energy to the stage, each with their unique style, but when they share a lineup, the synergy is undeniable. Their performances, whether solo or together, are marked by an intensity that few can match, pushing the boundaries of heavy music and leaving audiences absolutely exhilarated. A true highlight was their collaborative performance of “Quicker than Death,” which was nothing short of phenomenal. Both bands moved and interacted on stage as though they were one, seamlessly blending their energy and presence. The result was a powerful display of musical chemistry, showing how they amplify each other’s strengths, bouncing off each other to create a fully immersive experience for the crowd. Not only do Lake Malice and Blackout Problems complement each other, but they elevate the live experience, making any show they both perform a must-see event. Their ability to connect deeply with their audiences and deliver electrifying, unforgettable performances sets them apart as powerful forces in today’s musical landscape. It takes something remarkable to make a small, mid-week gig feel unforgettable, yet both Lake Malice and Blackout Problems achieved that and beyond. Their passion, connection, and undeniable chemistry brought a unique magic to the night that few bands can pull off. Both bands left a lasting impact, earning themselves a well-deserved spot as regular features on this reviewer’s playlists. Words: Vee Richardson Photos: Libby Percival

Full Of Hell are known for the fear-inducing sound of their grinding, abrasive music. Andrew Nolan is known for his crushing industrial signature. Together, they have created the album 'Scraping The Divine' in what can only be described as a massive display of heretical sound production. With a variety of styles displayed prominently at varying points across the LP, both artists have got plenty of fingerprints on the project and even in their least influential moments, still display notable creative direction throughout. The LP acts less like a collection of songs, and more like one undulating piece of eerily unsettling noise with some nice dividing lines to better organise the screeches, howls, and shrieks that pierce the incessant, driving machinations of the audio below. The first few songs allow the music to unfold and evolve, with opener 'Gradual Timeslip' flowing into 'Heat Death From the Pyre' and lead single 'Burdened by Solar Mass', introducing the music of the album with three aggression-fuelled explosions of energy and volume. With blast beats, violent noise, machinery and ragged guitars, it's a pretty violent way to kick the album off. The group slow things down somewhat on second and last single 'Sphere of Saturn', as well as fifth track 'Hemlock Gnosis' and sixth track 'Blessed Anathema'. Bringing in a little of the hiphop influence from Andrew Nolan, there's a notable synth undercurrent that builds a heavier, choking atmosphere within the tumultuous fog of noise that pervades the record. Getting over halfway with track seven 'Facing the Divide', we slip a little back to the abrasion of the first few songs but still staying with this more industrial tempo and hiphop influence, each meeting a nice halfway point before continuing. Track eight 'Approaching the Monolith' shows of Full Of Hell's musical forte most keenly of all the songs here, with a 1:29 run length and a devastatingly heavy grindcore sound, with just a hint of Nolan's synths and production. Afterwards comes 'Extinguished Glow', that lets the atmosphere of unease really take over once more and 'Common Miracles' does nothing to deter its juggernaut of discomfort. The penultimate song on the album, 'Irradiated Sands', lets the groups collective urge for droning noise to come to the fore, and relatively allows for a calm before the storm of final song 'Paralytic Lineage'. The track stays with the sense of unease that had been previously fostered, before slowly working up for a crescendo finish to the LP that also flows right back in where we started, to let the years most caustic release feel like one neverending ode to the worthlessness of humanity, our tiny place in existence, and the insignificance of said existence within the universe. Such a nihilistic record needs the music to back it up, and of course this record absolutely has that. Full Of Hell and Andrew Nolan's partnership has been fruitful indeed, with a truly unholy effort coming to life from their calloused hands. 'Scraping The Divine' is a monument to the futility of humanity and our place in the wider universe, and stands as a sonic equivalent of any misanthropy that could be mustered up during the listen. Words: Jake Longhurst Photo: Jake Ballah

As time passes, making something new becomes increasingly challenging and keeping an overfed and overstimulated audience of listeners even more. However, going back to your roots is one way to do it, and Sergeant Thunderhoof spared no effort with their 5th studio album, 'The Ghost of Badon Hill', and have gone the extra mile by taking us on a journey through time. This new opus is a folklore-inspired concept album set in the 4th century AD, and more precisely during Somerset’s famous Battle of Badon. After their last acclaimed album ‘This Sceptred Veil’, the Somerset quintet comes back with the promise of a six track tale charged in epically raw emotion and Arthurian mysticism. The curtain opens on 'Badon' which sets our scene. From the first note, it builds an atmospheric and nature-oriented vision of a battlefield with air flowing, creating the calm before the storm. The band comes in as our bards telling the tale. Soon, the flare of marching drums compromises the peace, to remind us that this is a pre-battle lament. We can feel the intensity and anticipation through its huge chorus with a heartbeat-like rhythm and a deeply powerful sound. It is emotional and ritualistic, a masterful display of unity and resonance. We transition into 'Blood Moon', the album’s leading single. It loses no time in surprising us with some different vocals, as Daniel Flitcroft does a display of strength with gritty and powerful vocals giving a glimpse of his range. The track has an impactful progressive metal quality with its amplified guitar-driven sound, power chords and dissonance. Jim Camp’s dense bass and Darren Ashman’s drums remind us that we are stepping into the action and progressing in the story. 'The Orb Of Octavia' gains more ground with a Tool-like orchestration, lower and slower but rhythmic and precise nonetheless. The low-pitched vocals feel suspended in time, as if we are floating through a battlefield and able to look around at all that is happening around the band and listener. It builds up into a heavier sound which perfectly brings us on to the next song on the album. We enter 'Salvation For The Soul' with Darren Ashman’s drums taking the lead, feeling full of power and bombast. As we’re making our way towards the end already, this track feels like a renewal of strength, an encouragement or rallying cry by a fellow soldier. This is used as a stepping stone for Flitcroft’s lyrical musings, showing his wide range once more from high to low pitch. It ends on a ferocious note, a call to arms to make our way furtther into the listening experience. The pain of the battle is felt throughout 'Sentinel' with a thicker, doom metal inspired sound. Its slower tempos, repetitive rhythms and low-tuned guitars build a feeling of dread that leaves us biting our nails for the last song. The addition of the piano at the end creates an unexpected softness, uncertainty and vulnerability that allows for some introspection on the rest of the album, before our final charge. The 45 minute long adventure comes to an end with 'Beyond The Hill'. Opening on a resonating bass, we heed its last call and warning. This almost eleven minute long conclusion takes us back through everything that we've listened through, with distortion and a lot of tempo variations. As the song fades, you can hear the sound of birds making their way back to cycle right back to the natural opening of the album, and showing the futility of battle, as nature will return right after we're done fighting. 'The Ghost of Badon Hill' is story-rich, textured and immersive. It grabs us in from the first note and does not let go. Sergeant Thunderhoof have accomplished a total victory with this masterful piece of music, that will captivate you from beginning to end. There will not be another release like this, so come release day make sure you've blocked out an hour to fully absorb everything on display here - and don't forget to join them in battle to hear it all live too! 'The Ghost of Badon Hill' will be released on November 15th via Pale Wizard Records. Their next battlefields will be: November 22nd - Saltbox, Nottingham November 23rd - Corporation, Sheffield January 31st - Planet Desert Rock Weekend, Las Vegas March 1st - Glastonbury Calling, Glastonbury March 13th - Hard Rock Hell Festival, Yarmouth Words: Lysandre Pons Photos: Sergeant Thunderhoof

HollowKin, a powerful new metal quintet from Bath, are poised to unleash their debut EP ‘Confessions & Failures’. Formed only at the end of 2023, the band has already crafted a collection of gripping tracks with a sound that merges heavy riffs and dissonant lyrics. This EP marks a significant milestone in their journey as they explore the intricate themes that shape their sound and storytelling. Setting the tone for the EP, opening track ‘Tomorrow at Dawn’ brings an unsettling arrangement of echoing notes paired with a distorted voice recording, leaving a feeling of unease. It acts as a warning that phases the listener into the journey they are about to embark on with the EP. HollowKin then introduce ‘A Pilgrimage’, which wastes no time jumping straight into the choppy riffs and hard-hitting vocals. Featuring melancholic verses akin to those on Bring Me The Horizon’s ‘Don’t Go,’ it’s hard not to feel the gravity of the song when there are lyrics as emotive and poignant as “I rest my head on an epitaph which lays unread.” Continuing the EP’s poignant message, ‘Leech’ not only showcases the band’s musical stamina with the intro but also churns out a head-banging groove before the first verse even kicks in! The track is fuelled by pain and anger, which is most keenly felt in lines like “You take from those who need it more, to fill your aching hands with gold”. Full of screams filled with raw emotion, and a final chorus that is elevated when the melody shifts, this song acts as an unfiltered release of despair that can and should be listened to on repeat. ‘Devil In Your Garden’ has a deceivingly chilled intro before the EP picks up the pace with layered vocals, dynamic guitar and bass lines, and tension-building sound effects. Imagery-defying lyrics pair with more reflective sections like “it took this pain for me to know that serpents can still have space to grow” help to tell the story that even amidst the struggle, there is potential. The track finishes up with an energetic breakdown and panned guitar parts during the bridge that scratch an auditory itch when wearing headphones. Wrapping up with ‘In Heresy’ which seems to sound larger upon every subsequent listen, using brutally descriptive verses to build depth all the way to the chorus, creating a massive, anthemic sound. When listeners take in the second half of the song, it’s hard not to feel as though they are watching a live performance, confronted by a driving kick drum, and layered backing vocals that resemble a stadium singing. This makes it the perfect track to conclude the EP. HollowKin have delivered a relentless and formidable EP with ‘Confessions & Failures’ that follows a path of hurt, anger, observation, and growth. Each track builds upon the last, weaving a narrative that resonates deeply with the listener, creating a world where vulnerability meets raw intensity. With masterful instrumentation and thought-provoking lyrics, HollowKin have invited listeners to confront their own confessions and failures. 'Confessions & Failures' will be released on November 15th. Words: Beth Oakley Photos: HollowKin

Emos and queers of all ages flocked to the Leeds University student union on Tuesday for the penultimate date of Noahfinnce’s current UK tour. Backed up by American rocker Taylor Acorn and recent scene explosion South Arcade, Finnce has deftly created a safe space for the queer and the neurodivergent alike, with moving scenes of the youth of both groups a standout feature of this evening of pop rock. The entry into Leeds Stylus was an unexpected farce: the doors did not open until 7:20, with South Arcade due to be on at 7:30, and after then it took at least an additional 20 minutes to get into the venue. South Arcade began their set at 7:45, now 15 minutes behind schedule, with the line still stretching around the corner. This was uncharacteristic for the venue as voiced by attendees, with odd quirks such as being separated for a search despite not having a bag and tickets being scanned twice, with workers scanning both down the line and at the door. Despite this, when the show got going there were no hitches and an immaculate energy within the venue. South Arcade came out to their intro and lead with Danger, which had hit Tiktok by storm in the last few months and for good reason. South Arcade brought the energy and lived up to their self proclaimed mission of warming the crowd up for the next two acts- they operated in sync and with a boatload of personality and band chemistry, and looked to be loving every second. They treated the crowd to new single Moth Kids, then followed up with unreleased track 2005, which went down a storm with the pit who by this point had electrified and seemed to like this the most. By the time the set closed the buzz they made could be classed as mission complete. Next up was Taylor Acorn joined by her two piece band and clad in some gorgeous leather flare pants. The guitarist brought dance moves akin to Frank Iero in his MCR Revenge era days, but overall Acorn gave us a more subdued and older performance compared to the battery pack that was South Arcade. Treating us to the underlyingly-toxic I Think I’m in Love and a break for an acoustic track that moved the crowd, then two songs from the end came personal favourite and title track from her most recent album Certified Depressive. Though South Arcade brought out more energy, a lone group of friends managed to start the first pit of the night at Taylor Acorn’s closing track, and we thank them for their service. Finally, headliner Noahfinnce began his intro, utilising the staging of multiple TVs identical to those on his debut album, where the channels were flicked through for a variety of programming before bursting onstage for his opening number. He and his band were electric and moved around each other as if they were jamming in the garage, interweaved with some exemplary crowd control and participation. The smiles on Noah’s face emanated ‘I can’t believe this is my life’, coupled with the ADHD-bounding around the stage that makes him made to be a rockstar. The talks with the crowd were some of the highlights of the set, from the quips of wishing he had been in his high school burn book because he doesn’t want to be left out to the back and forth about being emo, culminating in him convincing the crowd to turn to the individual to their left and screaming in their face, finishing off with “let’s get ready to cry!” as he started to play. A similar chuckle was the queer line of questioning, with Stylus being its quietest when asked if there were any straight people in the room. was not just Noah who had plans in store, with a fan printing and distributing purple stars to concertgoers to be held over torchlights during emotional track Asthma Attack- he had tried to joke his way out of the emotion by saying he doesn’t play this song on a ukulele anymore because they’re “cringe and gay” and turning it into a crowd chant, but as the stars entered the sky a genuine surprise and appreciation crossed his face as he realised what Stylus was treating him to. The setlist was a healthy variety of tracks from his debut album and older releases from his previous EPs. Tracks such as headcase and the aforementioned Asthma attack were both popular and resonant with a crowd populated with the queer and neurodiverse community that made up Stylus on Tuesday night, while title track Growing Up On The Internet went down a storm (even if the remix of the sound of dial up and reconnecting internet was lost on some of the younger members). The energy never stopped on the stage, and by the closing track a pit was coaxed once again with someone in a wrestling mask running straight towards it. The main takeaway from this show was the immaculate energy that surrounded the Stylus. Everyone was friendly and trading excitement for the download announcement that came in the middle of the evening, respectful to the staff despite the delays and the beautiful mix of grown up gender diverse people and gender diverse kids donned in flags with their parents behind them made for an emotional sight. Another beautiful moment came ⅔ into the set where on the balcony a mother and her two kids were headbanging in unison- they seemed to be there for the eldest, but were enjoying live music as a family. Witnessing the comfort of the next generation was moving; the space felt safe and supportive, and when leaving the venue the importance of openly queer and neurodiverse musicians resonated deep within. Words: Julia Brunton Photos: Izzy Scott

After an explosive EP entitled 'Kink', The Rattlebacks are back with their eagerly awaited debut album 'Sidewinder'. The Brighton quintet began its journey in 2021 with childhood friends Coxy (rhythm guitar) and Max Horn (lead guitarist) recruiting bassist Jack “The Hell” Hollamby and drummer Seth Markes. After a two and half year long quest for the right vocalist, they found their perfect match in Josh Clarke. Together they breathed new life into the hard rock genre while still allowing space for nostalgia with nods to bands such as Guns N Roses, Alice In Chains or Alter Bridge. The band noted that “this debut album has been a lifetime in the making, made with the sole intention of reinvigorating the hard rock genre. These fans don’t want rehashed versions of what has been before, they want a band forging their own path and this is the first taste of us doing just that. Hard rock fans have deserved better for far too long, and we believe we’ve delivered the record that fans of the genre have been missing for decades.” We got the opportunity to listen to 'Sidewinder' ahead of its release, so does it hold up to the hype? From the get go, we are thrown into a strong 80's hard rock feel with a very catchy loop rhythm coming back on the chorus on 'The Taste'. This is not only a rallying cry, but also a ballad and an anthem. It has a slightly experimental quality with a very balanced mix. The bass build up feels new, creating a powerful transition into the guitar solo and lyrical explosion. This track undoubtedly feels like a future classic with an early Metallica quality, from the heaviness and a notable stadium rock feel to it - be prepared for it to be stuck in your head forever! After this epic start we do not get a chance to breathe, we’re hit with 'Dementia Lounge' which is none other than the album’s first single. It establishes the band as a style shapeshifter, mixing elements until what comes out is purely their own. It is clearly based in classic rock, but has a lot of heavier influence at the same time. The gravelly vocals and arrangement evoke grunge, and it also has an almost punk twist with its frantic start and rhythm. It's an immediate ascension from the first song, locking the listener’s attention in. Once again the band change gear when getting into 'Gods', which has a jaw dropping glam rock essence, but is followed by 'How Calm The Silence' which definitely makes the Alter Bridge influence feel more like an homage here. The latter also has an unexpected chorus that you'll be very excited to discover, with clean vocals contrasting with distorted strings. 'Open Your Mind' brings back the stadium vibe we could clearly see on the opening track, in a smart and well-placed recap of what the band is all about mid-album. This is without a doubt an anthem that should be sung by hundreds. It is very audience-oriented, especially in its chorus building crowd-like back vocals and a guiding rhythm with the bass. It feels like a love letter from the band to its audience, inviting us in. We then get back into the changing channels dynamic for this last part of the album. 'Please Me' will surprise you with a contemporary hard rock twist, while 'Swing' is a lot heavier from the start. It again catches you off guard with a doom-reminiscent instrumentation and repetition while still being true to its hard rock roots. 'Behind You' keeps us on our toes with a classic ballad feel which makes you think that you know the words before it's even really started. It brings in some strings too, giving a more modern twist on a classic format, and its powerful built up in the middle through to the end is the perfect transition into 'Waste'. This piece, just like 'Lady in Wait' right afterwards, seems to jump forward in time and bring the 90's into the mix. You will struggle not to think of Limp Bizkit during both songs, in a welcome twist to the formula. The last song of the release is none other than 'Lazy Brian'. It rolls out as an open conclusion, bringing in elements of multiple previous songs into a callback and finale that manages to ask the listener if they've enjoyed everything previous, and answer it for them with a resounding yes. In a manner of speaking, this album brings us back to the future, in that it is a timeline and style connector. The Rattlebacks have poured oil over a genre that sometimes feels like a dying flame, reminding everyone that hard rock can be innovative and fresh. It honours those who came before while adding their own unique touch to the musical pantheon. 'Sidewinder' is raw but soft, energetic and a coming together call. The band is also currently on tour in the UK, so fluff up your hair and don’t lose a chance to see them near you. 'Sidewinder' will be independently released on November 15th. Words: Lysandre Pons Photo: Blackham Images

Heroes of the ska-punk scene for over 30 years, Less Than Jake are back in action on their new EP 'Uncharted'. The Floridian five-piece - frontman/guitarist Chris DeMakes, bassist/vocalist Roger Lima, trombonist Buddy Schaub, saxophonist Peter 'JR' Wasilewski, and drummer Matt Yonker - paved the way for ska to be a more recognised and followed genre and now have added seven new tracks to their already sizeable discography. Since 1992, Less Than Jake have built and kept a loyal fanbase from all over the world. 'Uncharted' is the band’s long awaited and highly anticipated first release since 'Silver Linings' was released in 2020. ‘Broken Words’ starts the EP off with a pure pop-punk guitar riff, straight from the early 2000’s for the first few seconds, before the Less Than Jake magic happens and the iconic brass instrumentals kick in, along with DeMakes' vocals, creating that upbeat melody and skanking fun which we all know, love and have definitely missed. ‘Walking Pipebomb’ follows in its wake, where we hear DeMakes and Lima’s line by line call-and-response vocals in the first verse, followed by their harmonies in the chorus. ‘Not My Problem’ then portrays DeMakes' essence of storytelling within his songwriting perfectly before heading into the next track, ‘Brand New Day’ which, rhythmic ska chorus aside, has an early Blink-182 feel to it in what is a pleasant shift from the norm. The next track is ‘Sunny Side’ which comes preloaded with catchy vocals and hooks such as “I keep my sunny side up and dirty side down”, which you could well imagine being chanted by the bands numerous fans, singing along on tour. The song ends on a drum beat which is almost made to clap along to in time, just as the song breaks down. Nearing the end of the release comes ‘Dead Days (Over and Over)’, which is exactly the track you would come to expect from the band, with the frequent and fundamental use of brass instruments. The final track, ‘Shake Loose The Truth’, finishes the album with a very positive message. The lyrics, again, reflect the bands story telling abilities but in a more memorable and relatable song, all about dealing with bad times by “surrendering to the ride and enduring the rough times”. DeMakes tells fans over an upbeat guitar riff “I promise you’re not alone” in what ends up being the most sentimental moment of the EP, finishing off the release with a heartfelt, feelgood piece of music. 'Uncharted' sounds exactly how you want and expect a Less Than Jake EP to sound; high levels of energy and lots of brass, placing it perfectly in the niche which they have created for themselves. It's a sunny piece of old school ska punk done exactly how it should be, with a welcome dose of positivity. 'Uncharted' will be released on November 15th via Pure Noise Records. Words: Amy Watson Photos: Less Than Jake

Leeds-based band Thank are one of the United Kingdom's most exciting post-punk bands, and after 2022's 'Thoughtless Cruelty' they are on the verge of the release of their second record, 'I Have A Physical Body That Can Be Harmed'. Having performed at ArcTanGent just after the single 'Writing Out A List Of All The Names Of God' dropped, and completed a UK and European jaunt recently, the four piece are ready to take over the airwaves. Opener 'Control' is an excellent introduction to the band - beginning the album with lead vocalist Freddy Vinehill-Cliffe's unhinged, unnerving lyrical delivery right at the fore, with an unsettling instrumental that underpins him before breaking into a groove that's equally likely to get your hips swaying as to get the two steppers flocking. Single 'Woke Frasier' picks up the baton right where 'Control' left it, with inane lyrics and an abrasively noise-driven post-punk groove holding the fort to keep the song on track. Complaining about the constant calls of 'wokeism' by holding up a mirror to the concept, it's a clever song with excellent musicality. 'Do It Badly' is a thoroughly excellent song that pushes the punk end of Thank's influence through the roof, in a frenetic and shouty whirlwind of energy that's going to appeal to fans of bands as wide ranging as Chat Pile, the Sex Pistols, and the Arctic Monkeys. The drum lines Steve Myles plays run rampant throughout, whilst bassist Cameron Moitt somehow holds the piece together with his funky fusion of heavy and groovy bass. Fourth track 'The Spores' veers sharply from the punk ideology of 'Do It Badly', and starts out firmly embedded in doom metal, with a seven minute runtime that only reinforces any associations made there. With a lyrical reference made to Black Sabbath in the form of Freddy mentioning "Iron Man", the doom metal parallels seem all but guaranteed before guitarist Lewis Millward runs a jagged sprint across his guitar's neck to jar every nerve in your body and elevate the song into a furious post-punk monolith. As soon as the world's first doom-cum-post-punk track passes, a song entitled 'Down With The Sickness' lurches into view - but is mercifully not a cover of the Disturbed track. Lewis' synths rule the roost for most of the song, and Freddy embraces his best Yard Act impression whilst still staying in the realms of the slightly concerning, and the track gradually becomes one that could easily get mentions in end of year lists. 'Barely' marks the top of the second side of the LP, and starts with Steve laying down a tight groove for the band to gradually encroach upon, and happens to also be the title-track-to-be, with the lyrics "I have a physical body that can be harmed" appearing within. Whilst so far they've been excellent, track seven 'Smile Politely' feels like the moment where the band cross the threshold from writing chaotic, heavily sarcastic, noisy abrasive post-punk that doesn't ever quite fall apart, to chucking the kitchen sink into the mix a little bit. It stumbles around feeling a little overwritten and under thought-out, and whilst it's still by all means a listenable song, it's surrounded by far more intelligent songs so is likely to come out in the wash. With that though, the eighth track brings Thank right back to their cynical best on 'Dead Dog In A Ditch', a sub-two minute sprint that's as close to drummer Steve's beloved grindcore as the band have come thus far. It's imbued with the energy of bands like Napalm Death and Pig Destroyer - albeit not the unrestrained violence both lyrically and musically - and will cause moshpits by the dozen. 'Perhaps Today' comes in ninth position, with more overt post-punk influence rearing its head, and discusses the heavenly ascension of humans and dogs, the Rapture, and yells about the end of days. That brings us to the end, with lead single 'Writing Out A List Of All The Names Of God', which features an absolute belter of a bassline from Cameron and plenty of pummelling percussion courtesy of Steve. The energy levels are sky high, and there is menace dripping off of this song so thickly you can feel it. Lewis' guitar sprays discordant distortion left right and centre, whilst Freddy screams bloody murder about "all of the different names of God". With 'I Have A Physical Body That Can Be Harmed', Thank have entered the conversation for one of the UK's premier post-punk bands, with a snap of their fingers. Nigh on everything is as you'd want from a band who have been posited as a politically savvy post-punk foursome, they positively ooze sarcasm and derision, and have blended a multitude of genres in a way that is highly recognisable and incredibly enjoyable, whilst almost never letting the music detract from the point of each song. A concoction of bitter vocals, rampant basslines, careening guitars, pulverising drums and distressing synths that all come together in potent fashion, the rock band Thank from Leeds deserve every bit of praise coming their way for an album that could hold sway over the Six Music production execs like a hypnotist, and one that will deserve every spot it takes on Album Of The Year lists. Marvellous work. 'I Have A Physical Body That Can Be Harmed' will be released on November 8th via Big Scary Monster Records. Words: Jake Longhurst Photos: Thank

The crowd in need of political catharsis is met with the best band to administer it. The first band on tonight is 3-piece electronic punk band CLT DRP. The two standouts of their sound are the impressive vocals and the manipulation of a single guitar. Punk isn’t a genre known for it’s vocals being great, typically most bands are lyrics first vocals second. Yet seeing a band that combines both within a punk context is wonderous for an opening act. The use of guitar in CLT DRP was impressive seeing where the guitarist could take the songs with differing combinations of pedals giving each song a new flavour. As a 3 piece band it’s hard to create a full sound with limited instrumentation, yet CLT DRP gave a powerful albeit short set. Next to take the stage is rapper Hyphen accompanied by a guitarist and drummer initially. Hyphen exudes charisma on stage, from his choice out stage outfit being the campest short shorts, to funny quips in between songs. This unapologetically political set touches from everything that has been in the backdrop of culture for the last few years. Anti-tory songs featuring witty lyrics that help set the mood that tonight is about rebellion not complacency. High energy is the key to the greatness of this set. From coming on stage to the Backstreet Boys to running through the crowd. The crowd receives every complaint against the system with open arms. Hyphen matches the attitudes of the crowd making everyone feel seen and heard. One of the great joys of this set was when Hyphen brought on a trumpet player. The trumpet makes any set infinitely greater adding that extra element of natural energy to the set. Hyphen gave the crowd the perfect energy to be ready for what was about to come Both CLT DRP and Hyphen have set the perfect tone for Bob Vylan. Both bands reflect the two primary camps Bob Vylan fits into. CLT DRP being punk and Hyphen being rap. Bob Vylan walk onto stage with a crowd in need of some release from the chaos of the world that week. The set starts with Bob Vylan “stretching and mediating” accompanied with the bands signature sound. The audience try to follow along best they can in the limited space of the venue. This gets the moshers ready for the night as they seem ready to go as hard as they can. After the relative calm of the stretching the band tares into the first song. The crowd explodes with energy, passion and love for the band. The band leads the crowd through the perfect tonic for the last week. This follows with the talk between songs being cool and collected when the world seems anything but. The band gives thanks to everyone who made tonight possible from opening bands to crew. The band gives its biggest thanks to the crowd for listening to the band no matter when they first found them. The band keeps bringing energy tonight with every song treated as an anthem of rebellion and passion. A few more songs hit the crowd like a thunderstorm of music and then the band brings their charts award for number one hip-hop album. The band aren’t fully a rap band nor are they fully punk they are simply Bob Vylan. Their sound reflects the last 30 years of British alternative music with elements taken from many areas. This is the future of music, sounds that don’t need genre, existing as they want not being forced to change. The crowd reflects the vast appeal of the band from Radio 6 dads, punks, young people looking like they were taken directly from Reading and Leeds festival, hip-hop heads. The crowd is full of everyone who exists near any kind of alternative music. The music speaks fully but the staging adds to the energy tonight. The band’s best moments are heightened by the use of pyro, the stage metaphorically being on fire becomes a reality. The band is at one with the crowd, crowd surfing, singing while joining in with the moshers. The band are everything you want in a live act, energetic, passionate and playing nothing but bangers. Bob Vylan are really of the best acts to come out the UK in the last 10 years and they will keep getting bigger. They have almost universal appeal with their sound and can fit neatly into many scenes. They are a definite must see band. Words: Will Freeman Cover Photo: Jake Griffin

Hailing from Southern California, punk icons zebrahead - Adrian, Ali, Dan, Ben and Ed - are back with the follow-up to previous 'III' & 'II' EPs, which had been previously released in 2021 and 2023. ‘I’ is set to be the final instalment of the trilogy. The EP is full of influences from artists like Sum 41, Yellowcard and Billy Talent, but whilst their fingerprints can be felt clearly, it's still a very obvious zebrahead release. Kicking off this EP is the punchy track ‘I Have Mixed Drinks About Feelings’, which really sets the tone for the rest of the running time of this collection of songs. Fans of zebrahead will already know how catchy their songs can get – this is no different. A real earworm of a track, with some thoroughly addicting vocals from Adrian and co. Going straight into the title track ‘Pulling Teeth’, and as expected it’s another upbeat, fast paced song with catchy drums from Ed alongside plenty of raging vocals making this a great follow-up track showcasing yet again exactly what zebrahead are all about. This leads into ‘Sink Like A Stone’, which contains a serious message about mental health - which, even in the current day and age of openness and transparency about it, has a huge stigma surrounding it. The track is a true anthem, the guitars are melodic and upbeat, and the rapped vocals bring something new to the EP. This makes for an excellent checkpoint on the EP, not only because of its slightly differing musical style to the songs before but also because of its relative tonal shift, to bring a new light onto the release. ‘Doomsday on the Radio’ comes next, offering an unapologetic punk-fuelled track, formed of punchy vocals that go hand in hand with the rapped ones making this a classic piece of zebrahead work. All in all, it makes for a great penultimate track. As we reach the final track ‘Puppet Stringers’, it feels like there's a strong Sum 41 influence throughout this. Alongside the roaring guitars and punchy vocals, the perfect mix of rap and blasting drums make it a perfect ending track. It’s all too easy to imagine just how good this would be to hear live at a show, ideally at a summer festival with the sun going down! The EP has a real free flowing concept that manages to drag the listener into what feels at once like a story, and also a message about the state of the world. The best thing about this release is that, whilst it clearly talks about the world we live in, listening to this will also give you a welcome break from it. This EP is a great release from a band in their prime, and makes the future of zebrahead feel all the more exciting. Words: Lisa York Photo: Susanne Mueller

Following the release of their 2024 album Hollywood Suicide, Ghøstkid are once again hitting the road with an updated roster of dark and foreboding tracks. Best known for their ethereal aesthetic, the looming presence of Halloween has intensified the atmosphere surrounding their European tour, allowing their already brooding discography to feel even more immersive in a live setting. Joining Ghøstkid on tour are Within Destruction and SETYØURSAILS, whose unique interpretations of hardcore and metalcore diversify the lineup, making each show all the more thrilling to attend. Kicking off the show were SETYØURSAILS, whose refined take on melodic metalcore quickly had the crowd off their feet. Their setlist was primarily built around their last two albums, Bad Blood and Nightfall, but also occasionally included some of their older, heavier tracks too. As one would expect from a band with several years of experience, their instrumentals were tight; however, what was most impressive was Jules Mitch’s stellar vocal performance. After seamlessly transitioning between clean choruses and visceral high-pitched screams, she also found some time to engage with the crowd. A standout moment from the show was when she pointed out bassist Nicolai Hoch’s Manchester United jersey, quickly polarising a number of football fans within the crowd. Metalcore is a genre that has felt somewhat stagnant lately, yet their polished performance was pleasantly surprising. SETYØURSAILS are certainly a band worth getting yourself down early for. Up next were Within Destruction, who were by far the heaviest band on the lineup. The Slovenian three-piece has been rapidly rising in popularity, having carved out an interesting niche by blending popular culture with hardcore music. Many of their songs draw inspiration from or make references to anime, making them a delight for fans of the subculture. Their live show leans into this theme even further, with vocalist Rok Rupnik sporting a Death Note shirt, and their setlist primarily built around 'Yokai' and 'Lotus', also featuring their recent singles 'Animetal' and 'Demon Child', which align with their chosen aesthetic. Standout moments from Within Destruction’s set included their use of sampling during the breakdown of 'No Way Out' and their unique take on the wall of death. Rupnik instructed the crowd to split the room but subverted expectations by asking everyone to walk toward one another slowly and give each other a hug. He quipped that this was for regulatory reasons, but it created an amusing dichotomy, as their live show had been an unrelenting force of blast beats and breakdowns up until that point. After a thrilling night, it was finally time for Ghøstkid to take to the stage. Dressed in black leather outfits that exuded a moody, sinister vibe, each band member donned striking white face paint accentuating their ghoulish appearance. This haunting look was enhanced by a haze of orange and purple light, perfectly capturing the Halloween spirit and setting the mood for what was to be an immersive and theatrical performance. Ghøstkid swiftly launched into their set with ’BLACK CLOUD,’ a fan favourite from their most recent album. The thunderous instrumentals and haunting vocals immediately captivated the audience, and before long, Club Academy had become a maelstrom of mosh pits. The set maintained its relentless energy with heavy hitters like 'FSU,' 'CRØWN,' and 'UGLY,' each track further contributing to the atmosphere they had worked so hard to build with their haunting production. Midway through, the band kicked things up a notch as the guitarists called for fans to circle around them, sparking a massive pit that well over half the venue got stuck into. Ghøstkid’s setlist struck a perfect balance between newer tracks like 'HOLLYWOOD SUICIDE' and fan-favourite classics, keeping the crowd fully immersed. For the encore, they unleashed 'START A FIGHT" and "THE SICKNESS,' giving the night an explosive finish. We thoroughly recommend checking out Ghøstkid's live show; their immersive performance and dynamic setlist provide an ideal way to spend a cold October night. Words: Josh Bicknell