After a momentous summer festival run, Kent punk duo SOFT PLAY (formerly Slaves) are back in action touring their first album since their change in name, HEAVY JELLY. With it being their highest charting album to date, what better way is there to celebrate than a sold out show at Manchester Academy? Starting us up for the night we had Panic Shack, an all female indie punk four piece from Cardiff, and there wasn’t a square inch of the stage that these girls didn’t absolutely dominate. Frontwoman Sarah Harvey utterly commanded the crowd, running through a setlist just felt like hit after hit after hit. Exploring niche lyrical themes such as meal deals, missing lighters and being grossed out by people's kids, Panic Shack share the same kind of strange sense of humour that SOFT PLAY have built their music on. It’s not often you get to see a sold out Manchester Academy crowd yell out "I DON'T WANNA HOLD YOUR BABY!" At about 9pm, SOFT PLAY finally took the stage, walking out to ‘All Things Bright and Beautiful’, the opening to their first track on the new album. The choral music gave a brief moment of peace before guitarist Laurie Vincent began tearing out the heavy opening riffs of the song, with vocalist and drummer Isaac Holman screaming down the mic as he beat along to the guitar. Despite only working with just two instruments at any one time, they had no issues shaking the venue to its core as they worked down their setlist. Walking through the crowd, you could really see and understand the sheer scope of SOFT PLAY’S appeal. There were people here from just about every demographic and background, all united for one night of music. It's worth noting how many young kids, repping merch from IDLES, Yard Act, Sprints (and a litany of others), have come here with their parents. The barricade was occupied by giddy ten year olds, taking crowd surfers and cups of beer to the head like absolute champions. The post punk revolution is here, and it's being led by primary school children. The setlist was made up of classic Slaves tracks and new SOFT PLAY hits. ‘Sockets’, a clear crowd favourite that the band have been playing for years, and ‘Girl Fight’ which turned the crowd into one huge brawl for the song’s fifteen second duration. A highlight of the gig was ‘Everything and Nothing’, where Isaac’s vocals were backed solely by Laurie on mandolin for the contrastingly personal number. But nothing else quite got the crowd going more than ‘Punk’s Dead’, one of the lead singles for the new album and the defining song of this stage in the band’s career. Written as a response to backlash from fans for changing their name, it’s the song that gave this band their nickname, ‘Soft Cunts’, which was used as the stage backdrop for this tour. Frankly, it looked absolutely exhausting to be a member of this band, but Isaac and Laurie have been consistently bringing this energy to every show. This two week, thirteen stop UK tour is everything both old and new fans could have wanted and more, and it’s not long before they head down under to give their Aussie fans a taste of the chaos. Words and Photos by Izzy Scott

Meryl Streek is the frontman of a politically-outspoken Irish avant-garde punk band from Dublin. The group began when he left his former band to try and give a voice to those he saw struggling in his home country, wanting to devote his life to helping others the best he can. His debut album '796', which was mostly recorded in his then-home of Vancouver, has become one of the most important political records of the decade thus far, shining a light on important issues in Ireland and he continues to do so on the new LP ‘Songs For The Deceased’. The record starts off with ‘Welcome’ which sets the tone of the record instantly, talking about the increasing poverty problem in Ireland and the corruption of the government. The epilogue includes a series of people talking about these problem with such harrowing stats as “1 in 6 people working in Ireland are still living in poverty”, before underlining the ongoing issues that the people of Ireland are facing. ‘Fine Jail’ starts off strong with a singular scream that launches into a catchy beat. This goes on for most of the song before the vocals begin, shouting about the problems they have with the people in charge of the country - “There are 5 million people in this country and these are the dickheads we have making decisions” and “They can only bleed you for so long until you come back fighting”. Meryl Streek are back and they are using their voice for good once again. This then seamlessly slips into the next track ‘Bertie’, which starts off with vocals almost immediately. The anger in his voice is evident as he sings about yet more issues he's passionate about. This song is filled with unique riffs that grow heavier towards the end, serving to highlight his vocals. ‘If This Is Life’ is a beautiful song that talks about what he wants out of life and how hard it is to achieve that with the way the world is going. It's best summed up with this extended quote from the song - "20-29 year-olds are living at home with their parents, policy decision after bad policy decision, it's the number one thing. People need to take their power, people need to raise their voice, it won't change unless the young generation really stand up". The sentiment continues in ‘Counting Sheep’, which has an almost eerie sound to its beat, turning into an angry and emotional chorus. There is one lyric that particularly stands out - “Trying to live and survive when everyone around you is a sheep with a desk job”. This crucial line does an impeccable job at describing how easy it is for the young generation to succumb and fall into a 9-5 job when almost everyone wants more out of life. ‘Dogs’ is next, which starts off with a different vibe to the other songs we've heard so far, with an almost techo-feeling beat, but evolves into a much more traditional punk sound by the end of the song and feels quite different to most of the album. ‘By One's Hand’ discusses the repetitive feeling of life working a 9-5 job whilst struggling with poverty. This track really picks up towards the end, the raw vocals really bringing a sense of anger to the song. This is just further evidence that Streek really cares for what he sings about, with the passion in his voice removing any doubt on the matter. Moving onto the next song ‘Paddy’ which is a really important one for the band. Meryl dedicates this song to his uncle, which is a beautiful sentiment and shows the importance of family even whilst you're combatting oppression. After an interlude allowing a brief moment to breathe, the next song is ‘Gambling Death’ which starts off really strong with a heavy riff and gritty vocals, singing about the struggles of both gambling addiction and suicide. The band uses a clip stating "Six and a half thousand suicides were registered in the UK, that's 686 more deaths than the previous year". Next comes ‘Terrance’, a song that talks about a boy of the same name, who was only 18 years old when he was thrown in jail after a massive case of police injustice, simply because he bought a paintbrush in a shop. Meryl Streek speak up on this case that has been swept under the rug, as they dedicate this song to him and use his experience to speak up about the corrupted police force. ‘The Industry’ really stands out as it talks about something that isn't discussed a lot within music, discussing the extreme prices some people pay to get into gigs and festivals along with the struggles of being an artist within the industry. ‘Murder’ begins with a slow but melodic riff that becomes more distorted as the song progresses. Opening with the line, “You got a life sentence but got out after five years on good behaviour, got time to do it again”. This is something that happens far more often than it would appear, even for very serious cases, and the band do a good job shining a light on this issue. Bringing the LP to a close, ‘The Stardust’ is a heartfelt song about a nightclub in Dublin that burnt down, leading to the deaths of 48 people. The group names every single one of the victims in this song. It is a case that will never be forgotten about. Those affected by the fire, as well as dealing with injury or loss, had to campaign for over thirty years for the causes of the fire to be re-examined - until finally in 2009 the original finding that the fire was caused by arson was retracted. This track raises awareness on the issue, but makes the point that justice still needs to be served. Meryl Streek and his band have outdone themselves with this LP: every song discusses important issues and the injustices in the world. Whilst plenty of artists raise awareness of large issues, the specificity with which Streek has named issues is damning and raises a number of serious cases to argue against the Irish government and legal system. An album that will likely be lauded by many, this is a vital and political statement for the modern day. 'Songs For The Deceased' will be released on October 25th via Venn Records. You can catch Meryl Streek on tour across the UK and Ireland in stores from October 25th to 29th, across UK venues from November 6th to 15th, and in Irish venues on November 29th and 30th. Words: Kelsey Mainwaring Photos: Meryl Streek

Since its debut in 2023, Beyond The Music Festival has been a regular event in the busy city of Manchester to discuss all things music industry. From performance to production, to promotion and predictions of the future, Beyond The Music was born out of a love of the art and a need to keep it moving and grooving for many generations to come. Fighting trials and setbacks in the UK and beyond, 2024 brought on discussions of Manchester’s growth as an industry hub, the real threat of artificial intelligence against artists and producers, and some words of encouragement from members of parliament who want to keep music alive and well in Manchester and beyond. Wednesday Opening the conference was a lighthearted keynote conversation between Apple Music’s Dotty and Manchester-born rapper Aitch. An artist who has been vocal about growing the northwestern city’s music scene and advocating for more resources for the industry, the viral star linked together his own rise to fame with the potential for others to have the same luck without having to spend out of pocket to travel to the capital London. Mentioning the likes of Bugzy Malone, a fellow Mancunian who reached stardom in the hip-hop world, he stressed how important it is to have everything a musician needs right at their doorstep over down at the other end of the country. When it comes to smaller artists who have to put their own money into travelling on tour and renting studio space, Aitch encourages more record labels and recording studios to set up camp in Manchester. Music should not only thrive in the streets of London. Thursday As Thursday began in the conference, Mercury Prize winner Tom Gray took to the stage to give an abridged history lesson on the events of the music industry... and it was a “messy” one. Looking at the highs and lows of the industry over the decades, Gray didn’t shy away from the downright ugly and amoral parts. Going into slight detail on the controversies of payola in radio plays, and highlighting the race and gender inequalities that existed and still exist behind the scenes, this was an enlightening talk to attend. Many may not be aware of everything that happened while music was becoming more digital and increasingly accessible around the world. Some outside of minority spaces may have been unaware of how many barriers some have to break down to just do what they’re most passionate about. Everyone learnt that history shall only be learnt from, and never repeated. Later that morning, Co-operatives UK’s Rose Marley took hold of a talk about the grassroots side of the industry. In hopes of recognising where help is needed and how their goals can be reached, with people representing the likes of Music Venue Trust, Warner and BPI pitching in their ideas to come to a consensus. The grassroots scene is vital to the music industry altogether; no one picks up a guitar and instantly becomes an arena-selling superstar without some work underground. Discussing how to expand the scene, touching upon the repeated conversation of putting more money into grassroots venues in the city and around the country, and how to make live music more accessible for disabled fans, it felt like an overdue sit-down and discussion. Since COVID, grassroots music has been suffering and venues have been shutting their doors left and right. If the doors are kept open, and people are walking through, then there is a chance. Given the time for a last-minute talk to the conference due to cancelling an appearance earlier in the day, Manchester mayor Andy Burnham addressed Beyond The Music. Bringing together serious and humorous talking points, including referencing the world-shaking Oasis reunion, Burnham was there to talk about what he and Manchester City Council are working towards to allow the city’s music to continue thriving. One of Burnham’s best received talking points was surrounding his still commencing Bee Network: Greater Manchester’s private transport organisation that is taking over the city’s bus and tram networks, with plans to take on train lines. Receiving a round of applause following his mention of the recently opened Co-op Live Arena and the return and expansion of Manchester’s night bus services, Burnham has shown to have gained his people’s trust and support as he has shown his own for them back. Friday As Friday commences and everyone prepares for the last day of talks, one of the most important discussions opens on the floor: the use of artificial intelligence in music and how it should be regulated. A hot topic in all fields and industries as its popularity grows, artificial intelligence (AI) has been recognised as a greatly useful and easily accessible tool. However, as found from this talk and chatter in the years beforehand, there’s very few regulations and very vague laws in the UK and beyond. Compared to legislation which is being discussed in the United States, the UK’s lawful restriction on AI in businesses is ambiguous and still open to unethical use. Now that musicians are having their voices copied by this software, being used to produce songs they have no ownership or knowledge of, the industry’s biggest names are coming together to ask for just one thing: protection. Speaking in tribute of Manchester music legend Tony Wilson, the newly appointed Secretary of State for Culture, Media and Sport Lisa Nandy gives both a personal speech about the importance of the city's music scene and an open Q&A about how the government can offer more for the industry in the entirety of the UK. Wilson, a man who helped form Manchester's legendary status as founder of the Hacienda nightclub and co-founder of Factory Records, is synonymous with Manchester himself. Over 17 years since his passing, the city still thrives as it did in Wilson's heyday and Nandy - someone who witnessed his effect firsthand as a Manchester-born citizen - feels it's right to keep his legacy alive as long as possible. When being asked about how the government can bring security to the music and entertainment industry, especially in underfunded areas such as in education, Nandy promised to fulfil her duties to the best of her abilities. Only time will tell if she can put the money where her mouth is, but if this is true, then Manchester will be singing their song for the rest of eternity. Nearing the end of the festival is the discussion on what the future of music holds and what everyone in the industry can do to guarantee its longevity and its development in the right ways. Music is more than the voice that sings the lyrics and the hands that strum the guitar chords. As the world turns and time goes by, music should catch up with everything and everyone else. With mention of the grassroots scene and how to keep that alive to bring artists into the bigger and louder spaces, and how technology can be harnessed to allow for new feats to be reached, the future’s brighter than it once was. Live music should be improved to allow for more accessibility. Smaller artists should utilise the tools available at their fingertips. Before anyone knows it, the 2030s and 40s will be coming along and the trends no one can think of will be rocking and rolling through the airwaves. It's only a matter of time. Words: Jo Cosgrove

With the release of ‘SE/CT’, VEILED have given us our first taste of the real depths of their ability. The band have always shown their influences off - obvious influence from the likes of Motionless In White, Cradle Of Filth, Infant Annihilator and even Death are all-over their fantastic 2023 release ‘The Black Rite’. Whilst the bands earlier work is impressive, ‘SE/CT’ is a step-up that takes the best parts of ‘The Black Rite’ - the guitar work, production and especially the vocals have all improved – as well as, by all appearances, the band finding a more melodic sensibility which doesn't come across as forced so much as a natural evolution of their sound. The album starts out with an intro track also entitled ‘SECT’, a slow and ominous melody clocking in just over minute to set the tone of the record before we arrive at ‘Forgive Me’. The first full track on the album is punchy, metallic and takes no prisoners. The riffs that the track’s been built around have a chunky, almost thrash metal feel to them and yet notes of a neo-classical flair can also be felt throughout. The vocals are also on point, as the frontman’s screams are theatrical and ever-present throughout, however as the track winds down it’s hard not to worry about the potential for self-parody across the rest of the record. ‘The Sentence’ is next on the album; acting as one of the singles, you might expect more from this song and whilst the guitar harmonies are excellent, even straying into the world of djent at times, there is just something missing from ‘The Sentence’. The vocals lack depth and rely too heavily on the drums - even though the drums are still fairly monotonous - as well as the aforementioned guitar harmonies which seem to be doing most of the heavy lifting. On the next track ‘Lament’, the star of the show is the guitar, switching between a chuggy, bluesy main riff to a more technical style of playing in the chorus. It’s refreshing to see that the drums have some character to them here, not leaving the guitars to carry the song. It must also be noted that ‘Lament’, ‘Hellbound’ and ‘Deathchoke’ feel more like different parts of the 11 minute epic, rather than individual songs. This is the highlight of the album, with each piece of the puzzle tying seamlessly together with the others to develop the concept of the LP – that being a dystopian police-state who are actively hunting the band for reasons unknown, which we’re led to believe could tie into the band’s origin. As we reach ‘The Root of Mans Impurity’, it marks the beginning of the second act of the album - and things have gotten a lot darker here. There is clear influence from In Flames, especially within the vocals where the frontman is clearly using almost the fullest extent of his abilities as a vocalist. Vocal chops aside, arpeggiated riffs and fat drums make ‘The Root of Mans Impurity’ the perfect opener to the second half the album which, along with the sludgier next track ‘Tides’, will doubtless be added to the bands setlist on their upcoming tour. ‘Asphyxiate’ and ‘The Awakening’ serve to act as one drawn out transitional track. ‘Asphyxiate’ sets an aggressive mood, which – albeit feeling a little slapdash - marries well with the ‘The Awakening’, where the band treats us to a touch more world-building as the album’s story is brought back into focus. It is obvious by this point that the world the band has constructed is one in which their hunters are afraid of the threat the band poses to the dystopian society of the world. The band are described as a cult-like organization responsible for leaving mysterious notes, abduction and more, and are called the SECT. ‘Hear Me, Pain’ is a thunderous onslaught of heavy metal magic, reminiscent of a call to the Norse gods. The drums and guitar are interlocked and move with an almost pulsating rhythm, like a heartbeat being shocked by 15,000 volts. The band have tapped into a primal energy across the song, which will surely reach its full potential in a live setting. The frontman, for his part, is channelling his inner Max Cavalera as the vocal performance throughout the track is both ferocious and awe-inspiring, so we can only hope they play this on tour. ‘Omen of Torture’ is an assault on the senses in the best way possible - the darkness and sheer ferocity of the first few seconds share sounds with some early Darkthrone. This being the second of the album’s two singles, the more conventional sound is back although it is a lot less in your face when compared with ‘The Sentence’ and is certainly much better executed. Closing out the album is ‘Reverie’, a fantastic blend of nu and industrial metal that soundly carries us across proverbial finish line. The band is crying out into the void, with an eery fairground carousel noise that crafts the image all is lost, that the fight was all for nothing, despite their best efforts - a bittersweet send-off as we are left wondering whether the SECT will rise anew. ‘SE/CT’ is a solid effect by a band who are determined to be taken seriously by the world at large and, although it is monotonous in places, this fact is mitigated by the record's overarching narrative of the band being hunted by a totalitarian police-state and them leading a rebellion from the shadows. This storyline makes this into far more than a simple deathcore album, as made clear by the bands willingness to experiment with various sub-genres, taking aspects of thrash, neo-classical, nu metal and more over the duration of the album. This is a very good start for VEILED, however there is room for improvement – with any luck the kinks will be worked out ahead of the next release and we’ll have a real force on our hands! 'SE/CT' will be released on October 18th via Seek & Strike. Words: Frankie J Jupiter Photos: VEILED

We are so excited to announce that our first Out Of Rage Magazine cover star is Delilah Bon! With her exciting new album ‘Evil Hate Filled Female’ release and UK tour homecoming next month, we couldn’t think of anyone else better to front our first full-length magazine. This issue will champion LGBTQIA+ artists and activism, so alongside Delilah’s cover, we have a non-binary panel featuring Gen from Gen and the Degenerates, Evan from Taurine, B from Lynskey and Soph from Atheana. In this no-holds-barred interview, we discuss identity and social media, making lineups more equal, and working as a non-binary artist in the UK. We also have exclusive interviews with SeeYouSpaceCowboy, Artio, Ugly Club and Kyros, with an introduction from We Are The Weirdos and a queer anthems playlist from the Outcrew Podcast Alongside this, our contributors let us know which LGBTQIA+ artists they have been listening to in some mini album reviews. We have options to buy the digital copy on it's own, and also a digital copy with a kickstarter to get a print copy. If we get enough orders of the kickstarter, we will give you a print copy. Please fill out the Google form in the patreon bio with your address and we will email you with updates. If we don't get enough of the sales quota- please note that you will be supporting an independent and queer publication who gives opportunities to individuals regardless of ability and background. Click here to get your copy! Delilah Shoot: Nick Davarias Non-Binary Panel Shoot Photo: Kayleigh Fryer

A small, secluded bar in a side street of the busy Camden atmosphere, with the unpredictable potential for a night of treasured memories and people from all walks of life. The New Roses created that very atmosphere in The Black Heart bar. A soulful, captivating, hard- rock band from Wiesbaden, Germany, consisting of 6 members. The band creates a modern day rock sound, blended with 80s twists. On the 4th October 2024, the band released their new album Attracted to Danger, which is the focus of their current tour, their first night kicking off in The Black Heart, London. Their sound consists of heavier, hooking melodies and riffs, you can really tell that they take influence from the likes of Guns n Roses, AC/DC, and Metallica. The support for the tour was the wonderful Leonie Jakobi who brought a 1970s classic rock style to start us off. She is typically accompanied by a band as reflected in her already released music, however this time we were treated to a stripped back performance. Leonie stood on the center of the misty stage, lights beaming down with just her, a bottle of water and a white stratocaster. Leonie not only brought a warm stage presence, but connected with her audience almost straight away by giving us a backstory of where shes from and how she got to where she is today. Her opening number was a one titled “Bedroom Eyes” and with just a tap on the distortion pedal, her voice and guitar bring the stage to life. Her versatility throughout her set is what made this performance so special, with rollercoasters of emotions and sing along classics such as a cover of Here I go again. Leonie also brought some comedy to the set with the backstory for her song 'Car Crash with Fireworks' detailing that the inspiration for this arose from an Instagram Reel. This song was a great hit as it had a real hook that was bound to linger in many people’s minds for days. Between songs you could hear a pin drop, the anticipation as to what wonders Leonie would bring to the stage next. After playing some new music, she ended the set on a final sing along classic. The crowd roared when the first line of 'Any Way You Want It' began, it really brought a special moment to the end of Leonie's set, with everyone singing along from start to finish. And just like that, with a smile, a word of thanks and a wave, Leonie left the stage and manned the merch table. The level of anticipation rose, along with some fill music, slight rustles amongst the crowd as we await the main act. The lights stayed glistening, bouncing off of the magnificent yellow 'The New Roses' backdrop. With three more mics mounted and a setlist placed by the drum kit, the lights dimmed and darkness swallowed the room. The excitement felt electric as the five members braced the cramped stage, explosions of applause and hollers brought instant smiles to the musicians’ faces. Timmy took center, with lead guitarist Norman Bites, Bassist Hardy W-Heart to the left. Dizzy Prezley took the right, with a peripheral of drummer Urban Bez who was placed directly under a spotlight. As this was the first night of the tour, the band started by playing thanks, and getting a feel for the energy in the room. This followed with the opener, 'When you Fall in Love' , a hair raising track that felt animatingly exciting the second that first strum of the electric is heard. Timmy’s voice personified the rock atmosphere, the rasp and passion across the stage connected us all. In touching moments further into the set, fans passed round glow-sticks for everyone to wave around, creating smiles near and far. In a dedication to Leonie and her leopard print jumpsuit, the band played The Lion in You with meaty guitar riffs and a thrilling chorus. Following this number, power ballads such as 'Glory Road' and 'Thirsty', which brought The Black Heart to life for an incredible sing along. As fate would have it, they band came back for an encore, starting with an emotional number from Timmy with 'Hold Me Up' on the acoustic, followed by an electrifying end with Down by The River. The experience and atmosphere that this band created for the first night of the Attracted to Danger tour was definitely not one to forget. The Black Heart was an incredibly fitting choice of venue, with ominous, mysterious lighting leading you to the bar with a staircase to the left which led you up to the stage, a perfect start to a gig with this rock group. Words: Emily Perry

Blasting forth with romantic harmonies that suit perfectly for the rapidly darkening autumn days, Pale Waves is here to remind us to believe again in falling in love with people that we really should not fall in love with. Tuesday night- under the cover of darkness in the center of Birmingham at the O2 Institute- we were invited to go and see Pale Waves for their ‘Smitten’ 2024 UK tour. From our balcony view, there was whole crowd packed into all areas of the venue, of various styles and ages, all excited and ready to see the nights live music. The stage adorned with a red velvet backdrop, two chandeliers which match that of the album covers side line the drum stand, Greek inspired statues and ivy crawling between the metal stands of the setup is a gothic dream come to life. Our opening act in support is swim school, a Scottish band three-piece with an alternative indie sound. Make no mistake, they might have a smaller fanbase but that does not mean they don’t give their all for a performance. With two guitars and a drummer they are able to command a room full of excited fans while having the perfect balance of songs to get the crowd ready for the main act. The shifting of riffs and taking the time (and courage) to drop to just lead vocals before once again bursting forth with their choruses, they are surely a band to have on your radar. We can’t wait to see where they will go next! The audience is enraptured by the whimsy of it all, notably a large following of alternatives and queerness is celebrated- in line with Pale Waves’ members itself. The whole gig and album ‘Smitten’ remind us of the confusion of falling in love with the right person at the wrong time, mixed in with heartbreak and still being enthralled with young lovers. Which in turn reminds us of many experiences we are sure we can all relate to. Pale Waves is a band that celebrates all of its members and takes joy in bouncing off of one another, this is highlighted by the wide use of the stage and taking time to connect with each band member throughout every song. While some bands might struggle with this, Pale Waves embraces it- most notably when all three guitarists, Heather Baron-Gracie, Hugo Silvani and Charlie Wood, play to our drummer, Ciara Doran, with backs turned to the crowd but we can see the elation on our drummers face. To note a crowd favourite moment, we were able to pick between two Pale Waves songs: Unwanted or Red. We would like to say it felt like a close call to us, but the hearts of Birmingham were set on Red! With lighting to suit this was certainly a crowd favourite and we would urge if you are thinking about delving into Pale Waves to give this one a listen as it gives a great overview of their style and artistic aesthetic. Getting to hear most if not all of the songs from the new album is extremely exciting, and seeing fans who already know every single lyric from every song can’t stop us from getting fully immersed in the gig. One of the biggest cheers from our captive audience when our lead singer and guitarist, Heather Baron-Gracie, introduces one of the next songs with “this one’s for the lesbians!” We would definitely recommend giving Pale Waves a listen if you are into pop-punk, rock and queer life stories. If there is one thing Pale Waves isn’t against its celebrating queerness in all of its forms and complexities. Words: Tyler Whiting Photos: Kelsi Luck

The brains behind Soccer Mommy, Sophie Allison, has always written about her life in a particularly candid way that’s helped make her one of the most interesting and beloved artists in the indie rock scene over the last decade. Using her music as a way to explore her feelings and understand the challenges faced with growing up, she has worked to develop her sound from the demos she wrote in her bedroom to become an artist who’s confident using new production styles to grow her sound and break the stereotypes around singer-songwriters. Never wanting to fit the mould, she has always tried new things on each album she’s done to date, making every single Soccer Mommy record unique. Her upcoming fourth album ‘Evergreen’, set for release on the 25th of October, marks a significant return to her roots while showcasing her evolution as an artist. Since her previous album ‘Sometimes, Forever’ released in 2022, Allison has experienced a profound and personal loss in her life. The songs on the new album have been written in a way that takes you on a journey of change and reflections during this period in a way that is both emotionally raw and endearingly funny. Keeping true to herself, the songwriting leads the songs over the whole course of the record. The first track on the album, ‘Lost’, features a delicate, dreamy soundscape, characterised by lush instrumentation and a soothing melody that contrasts with its introspective lyrics. The song creates a sense of vulnerability, with Allison’s vocals conveying feelings of uncertainty and longing. The lines “Lost in a way that don’t make sense” and “Lost like the things I never said” capture the deeper emotions faced through the internal struggle of dealing with loss in her life. The mixture of acoustic guitars and subtle synths help create the aforementioned dreamlike atmosphere when listening, complimenting the theme of doubt and uncertainty. Despite the feelings of disconnection being produced throughout the song, there’s also the feeling of hope and potential for rediscovery. This is focused on during ‘Driver’ a couple of tracks later, which goes into finding someone who accepts you and is there to help you through your struggles. Even if you’re struggling to keep focus or keep going, there’s someone there who can keep you on track, be patient with you and the benefits of having someone there in your life. There is a tonal shift in the middle of the album, when Sophie sings an upbeat song called ‘Abigail’ about her in-game wife in Stardew Valley. Placed where it is in the middle of the album, it helps create an air of light-heartedness amongst numerous less happy emotions. It helps with the listening experience of the album to have a break from so much isolation with a fun, easy-going song. ‘Dreaming Of Falling’ shows a real insight into how Allison was feeling during the time of writing. The song starts with strong vocals with minimal instrumentation, creating a strong sense of detachment in the stark intro. Allison sings about how she feels like she’s just existing, not fully living despite being there. It’s like she feels stuck in the middle, continuously falling, but never hitting anything, as well as losing her grasp on her memories and watching from an outside perspective as she changes. The lyrics are very powerful, especially when it starts to build up with sentences like “Slipping through my fingers ‘till they’re empty once again” and “Seeing the light is an awful trick when I keep going down”, that hold such heavy emotional implications for someone whose life feels like perpetual freefall. The songs on ‘Evergreen’ highlight Soccer Mommy’s continued evolution as an artist. She masterfully combines catchy melodies with introspective lyrics, creating a compelling listening experience. Each song offers a unique perspective on personal experiences, showcasing her growth while honouring the roots that first drew listeners to her music. As anticipation builds for the full album release, it’s clear that ‘Evergreen’ promises to be a significant addition to Soccer Mommy’s discography. The blend of personal storytelling, catchy hooks, and rich production will likely resonate with both long-time fans and newcomers alike. With its exploration of complex emotions and relatable themes, ‘Evergreen’ is poised to solidify Soccer Mommy’s place in the indie music landscape even further, and create a lasting impression on the listener. 'Evergreen' will be released on October 25th via Loma Vista Records/ Words: Con Macadam Photo: Zhamak Fullad

Saturday night at the New Cross Inn was one for the storybooks - a legendary hardcore band making a one-off return, a band who’ve been a staple of the British scene for a decade calling it quits, and a band who only played their first live show together in January staking a claim to be one of Britain’s best live hardcore bands. Still In Love opened proceedings as young upstarts in comparison to the other two names on the bill, but were anything but out of their depth. The group found their feet after all of half a second, and set the tone with a cacophonous set that worked its way through nigh on their whole discography, making every stomach-churning breakdown and brain-bruising riff a moment to behold. Could there have been a better band for the opening slot of this specific show? I really don’t know if there could have been. GEIST, meanwhile, were playing a set at an entirely different part of their career. After ten years of the North-East boys decimating stages and venues up and down the UK, they’ve sadly decided to throw in the towel. However, of all dates to wrap up their time with us they couldn’t have chosen any better, with a sensational performance that even included a song they’d written and never previously performed; christening it ‘The New Song’ on their final performance. The atmosphere was muted, with the whole crowd far quieter than in either of the other two sets, but with an enormous round of applause after they finished which was absolutely deserved. We can only hope that each member carries on creating music in some way, so as to carry on their amazing creative outlet. Finally came time for the headline act - 14 years since their last UK show, and 18 since their last-but-one album (their most recent being this year), The Hope Conspiracy provided a portal in time to some of the best hardcore shows of the 2000’s. The audience was utterly bonkers, crashing upon the stage like a wave and flowing round the room, stepping up to the microphone all night, and bringing all the energy of an enormous explosion. Opening with ‘Those Who Gave Us Yesterday’, an air raid siren started blaring to signal the beginning of what might be the bands last show (which is just another reason that this show was a lot for even the most hardened hardcore veteran), and playing through hit after hit till they finished up with ‘They Know Not’, as the crowd gave every last iota of energy they had left. Some people will ask you if you saw Slipknot’s Download headline set in 2009, some will ask if you saw the My Chemical Romance reunion shows, and some will ask if you got lucky enough to buy an Oasis ticket - but for those in the know, being able to say you saw this lineup at the New Cross Inn one cold October night will trump any and all comers. Words: Jake Longhurst Photos: Gabby Adler

In their debut album, LA rock duo Dead Posey take on self-empowerment in a nightmare world. Dead Posey formed in 2014, with singer Danyell Souza on lyrics and creative production, and Tony Nova on instruments and music production. Their bold sound has flavours of goth, alt rock and punk, blending together to create an angsty, tough vibe. Dead Posey's influences include Depeche Mode, Hole and Nine Inch Nails, but also true crime, Edgar Allen Poe and Salvador Dali. ‘Are You in a Cult?’ is a loud, fearless album that combines all of these with a bite. ‘Zombies’ opens the album with screamy, punky energy. It sets the spooky tone for the album, inviting “the damned and the dead”. Souza’s husky growl is akin to Taylor Momsen, with a sincere power to it. When she sings “If you wanna stop me, you'll have to kill me,” it's impossible not to believe her. ‘Are You in a Cult?’ revels in darkness, woven with anti-conformist anthems. ‘She Went Bad’, a track about rejecting societal expectations and truly being yourself, celebrates unmasking no matter what anyone thinks. This confidence echoes through the whole album, with upbeat songs like ‘Can't Take Me Down’ and ‘Russian Roulette’ that could motivate anyone to kick down doors. ‘Darkside’ stands out as a slightly softer, more romantic track, but still has that thread of rebellion. Gloomy yet seductive, the instruments are reigned in as Souza calls for an intense, unconventional relationship - “like Bonnie and Clyde.” ‘Darkside’ is a song that could appeal even to people scared off by the punch of the rest of the album, without losing those already under the band’s spell. Dead Posey's gothic world provides a backdrop for real-world critique. ‘Welcome to the Nightmare’ tells the story of an unwell America, turning melodies and symbols associated with American Pride on their heads. While ‘C.U.L.T’ was written in 2020, its relevance has only grown. Criticising the divided culture that blindly follows idols and influencers online and in politics, the track speaks directly to the everyday people who have been sucked in. The warning track leans towards hypnotic tones, an interesting way of echoing the cults in question. There are undeniable feminist tones, particularly in ‘sorry i'm not dead’, which spits in the face of misogyny and refuses to bow down to the standards of the patriarchy. It begins with stuttering bass lines reminiscent of 80s pop, but builds into a rage-filled reminder that women are free-thinking people with as much a right to the world as anyone. While Dead Posey have a distinctive style, this album is anything but predictable. Their cover of New Order’s ‘Blue Monday’ is a real highlight, taking the iconic layers of the original hit and roughing them up. Where the original song is cool, Dead Posey turns up the heat. The result feels much rawer, much angrier, and is a masterclass in taking on an iconic song. This gritty album is an intimidating debut which makes it clear that Dead Posey don't back down. Well worth a listen for misfits, rebels and lovers of all things spooky, ‘Are You in a Cult?’ is driven by pure emotion and disillusionment. ‘Are You in a Cult?’ will be released on October 18th via Position Records. Words: Gabriella Bosticco Photos: Dead Posey

Halloween is looming large, the temperature is dwindling ever closer to single digits, and we have our latest preview - coming a bit later than it otherwise should, we're also covering a bit of November! Having just released our first magazine as a publication, it's already been a very busy month and there's plenty more to come, so here's a look at some of things we'll be covering, and all the shows you should be at! First up is a show tonight in London that is one of the biggest nights in hardcore this year - fabled band The Hope Conspiracy are playing a sold-out New Cross Inn - it's been 14 years since they last played, and 18 since they were releasing music before they got back together this year! Playing with Geist and Still In Love, their only UK show is bound to be utterly crazy and will surely go down in UK hardcore history, not to mention causing plenty of ears to be ringing for a couple of days. Shortly afterwards, one of our absolute favourite up-and-coming bands will be playing their first ever headline show in London - Unpeople are going to be storming The Grace in Islington for their debut headliner on October 15th! Alyx Holcombe is in charge of the evening, and not only is she doing a bit of management, she's also doing some DJing, so it's set to be a phenomenal evening of music with a BBC Radio host and some of the best riffs in the British underground, all under one roof. Frank Carter and the Rattlesnakes sadly announced they're going on a hiatus soon of unknown length, and so have two shows that, for the moment, are their last on British soil. On October 1th and 16th, Brighton and London are the lucky cities who will be able to pay homage to the Rattlesnakes, who've provided so very many of us with the very greatest of punk rock shows, right from the first songs released off Blossom to the final notes of Dark Rainbow. They will be missed immeasurably, so if you can find a resale ticket for either of the shows you'd best do your damnedest to get a hold of it. Next up, with slightly less of a sad twinge to the tour is Bicurious. Playing in Glasgow, Sheffield, Manchester, London and Brighton to promote their latest album (which we did review and thoroughly enjoyed!), the Irish duo are on the road once more and will make for five wonderful evenings of live music. Taking place between the 15th and 19th of the month, there is a lot happening this week but it's all worth getting to! HEALTH are also hanging around the UK later this month, and will take on the masses at Birmingham, Manchester, Glasgow, Dublin, Liverpool and London from the 15th to the 20th. Alongside the masters of 'cum-metal' are the bands Gost and Zetra, who will each craft two glorious atmospheres in heavy music before the headline act arrive to bring the house down. Chelsea Wolfe will be bringing her latest album to the UK late in the month, and will be going between Dublin, Belfast, Glasgow, Manchester, London, Leeds, Brighton and Bristol. Her latest album 'She Reaches Out To She Reaches Out To She' is a tour de force and will be phenomenal in a live setting, so from October 25th to November 2nd there will be a Chelsea Wolfe show to get to. Finally, at the beginning of November is the behemoth of extreme metal, the one and only Damnation Festival. Manchester's BEC will play host to two nights of unbelievable sets - from the mighty NAILS and Cradle Of Filth, to Decapitated and Ne Obliviscaris. There are an absolute sea of sensational sets lined up across both nights, and to anyone who's spent much time in extreme metal the weekend will likely ruin you from running between stages to catch even a glimpse of every act. However, that is entirely the point, so get your running shoes on and may your path be speedy! Words: Jake Longhurst Photo: Bicurious

Saturday, at the legendary Dome in Tufnell park in London, saw the staging of the very first Imperial Age Festival, an event that was devised by the members of the band Imperial Age alongside some of their dedicated fans (who would ultimately turn private investors for the event; a couple of whom I got chatting to over the course of the evening as they dedicatedly held their ground right at the front of the stage). Ultimately the brainchild of Aor and Jane (singers from Imperial Age), an event that could bring the local metal community together as a sort of thanks for welcoming the pair to the place that they now call home following their move from Russia (via Turkey) at the start of the conflict in Ukraine. Putting on an event like this for the first time cannot be a small feat; and with some last minute changes (original headliner Orden Ogan having to unfortunately pull out due to illness and a venue change from the originally planned O2 Academy in Islington), what everyone involved was able to put on can only be described as a success. That being said, however, if you are a fan of good old fashioned sword waving, first bumping, head banging, armour wearing, swashbuckling, power metal, then this was definitely the event for you. First out onto the, shall we say atmospheric, stage (if there is one criticism that I could have of the night it was the venues very…very…liberal use of the fog machine on stage) were Spanish symphonic pirate metal seven piece, Crusade of Bards; who, for the first act of six, were greeted by a surprising large crowd for so early in the day. The combined male and female vocals of Eduardo and Eleanor (with the occasional addition of keytarist Paulo) harmonised well off of each other. As a whole delivering a rounded symphonic sound, the set, including ‘The Northwest Passage’ and ‘The Rise of the Kraken’, was, despite some audio issues within the venue that were quickly rectified, a nautical romp of an opening act. Second act on the bill, featuring the second keytar of the night and clad in an array of armaments, were local London based symphonic outfit, Pythia. Acknowledging that it has been some years since their last release, they promised the crowd that new material is in the works. Their music revolves around themes of life, love, passion and the supernatural; they brought their set to a close with probably their most popular track ‘Sarah (Bury Her)’. If you prefer your power metal to have more of an 80’s NWOBHM flavour with just a sprinkling of Elder Scrolls lore added on top, then the next band, Southampton's own, Battle Born, are most certainly up your street. Starting their set off with an intense drum line from Charlie (who was sadly relegated to the gloomiest corner of the stage), the crowd were assaulted with a high tempo wall of sound as the remaining members of the band burst onto stage for the opening self-titled number ‘Battle Born’. Lead singer Jack is a blur of motion on the stage bringing a level of energy that is unmatched by any other band on the night, working the crowd both during and in between songs. Twin riffs provided by Will and Tom on guitar (Will winning the prize for most complete musician on the night, running double duties on lead guitar and keyboard with backing vocals added to his resume as well), the group are rounded out by bassist Matt (who some say is still spinning around in circles somewhere with the biggest smile on his face). Their sword waving, drinking horn raising, head banging set is a blast of energy from start to finish; including fan favourites ‘Power Force’ and ‘Meridia’ alongside the first live play of their new single ‘Magic and Steel’. I have to admit that I have a particular soft spot for this band, tonight was the 9th time that I’ve been lucky enough to see them perform over recent years and their development over that time is clear to see, judging from the reaction from the crowd, the praise levied on them by the headliners later in the evening and conversations I was privy to on the tube on the way home, many others agreed; surely securing a host of new fans willing to ‘Bring The Metal Back’. One thing that you can guarantee at a Battle Born gig is that you will have a fun time. For those who missed out tonight, or those who cannot wait to get their next Battle Born fix; the lads let the crowd know that they are heading out on a mini tour of the UK next week supporting fellow NWOBHM revivalists, and one of the most talked about bands in British metal at the moment, Tailgunner. Starting off the second half of the evening and with a bit of a gearshift to all those who have come before (and who we will see after) are Suffolk based Ghosts of Atlantis. Although distinctly symphonic, their sound is much heavier and to the extreme end of dark symphonic metal, emerging onto the stage in ragged coats with their faces streaked in blue and white paint, for the first time tonight the staging perfectly matched the atmosphere of the music on show. Their music embodies themes of fantasy and Greek mythology with unsurprising references to Atlantis. Although maybe not everyone in attendance’s cup of tea, there was a noticeable section of the crowd who were there specifically to see the four piece perform. Ghosts of Atlantis were musically polished and delivered a technically accomplished and engaging set, including songs ‘The Lycaon King’, ‘March of the Titans’ and ‘Lands of Snow’; with the atmosphere created I personally felt transported into the content of their songs. Towards the end of the set we got a play of new single ‘Behind the Wall’ a track which seeks to tackle mental health and loss, specifically looking to break down the barriers to men discussing their mental health issues. The fifth band of the evening, and making their debut appearance on a UK stage, Italians, Alterium. Having only formed in 2022, the fact that this quintet have made it to second on the billing is a testament to both their polished sound but also their super catchy brand of symphonic power metal. The duelling guitars of the super talented Alessandro and Paolo provide the backing for Nicoletta’s powerful vocals. Highlights from their set included a punchy cover of Sabaton’s ‘Bismark’ that had the entire crowd fist pumping in unison; “as every good power metal album needs a ballad” (queue a waltz between the guitarists on stage) ‘Crystalline’; and the pirate friendly, yet drum fierce, ‘Heroine of the Sea’. Last up, chief architects of the evening, and recently promoted headliners, Imperial Age. Headed by Aor and Jane, the band is now rounded by a predominantly British cast of instrumentalists; from what I can gather tonight was the first outing for this particular line up on stage together, but with the show that they put on you would never know that they had not been performing these songs together for years. Listening to Aor explain the journey that both Jane and himself had been on and how the band has had to evolve over recent years, before giving thanks to the other bands on the line up alongside the fans, promoters and venue staff who helped to make this first edition of the festival a reality, it is clear to see the drive and passion that he has not only for his music, but also the metal scene within the nation's capital. Onto the music, and what Imperial age delivers is good old fashioned symphonic power metal in its purest form. The set begins with ‘Windborn’ and gets progressively heavier as it continues; seeing Aor’s tenor vocals play off of Jane’s mezzo-soprano (the later also providing a contrasting set of heavy vocals on occasion) as the crowd are treated to the likes of ‘The Way is The Aim’ and ‘And I Shall Find My Home’. At one point the crowd were instructed, and duly obliged, to split and form the first meaningful mosh pit of the evening. The main set comes to an end with the heaviest song so far, newest single ‘Gnosis’, most of the band leave the stage for the briefest of moments whilst drummer Manuele gets up on his drum riser and chugs his way through a bottle of wine to the cheers of the crowd. The rest of the band return for their encore, a song that Aor has dubbed the “drummer killer” (hopefully the bottle of wine hadn’t kicked in too hard for Manuele at this point) ‘Call of the Towers’; Aor relishing the fact that the rest of the band don’t know yet that the rest of the upcoming album will be of a similar tempo. On the whole the festival, despite experiencing a few teething problems, was largely a success, although you have to wonder what scale the event could have reached if it were able to have staged that big ticket headliner and remained at its original higher capacity venue. Words: Simon Arinze Photos: Simon Arinze