ALL POINTS EAST has teamed up with OUTBREAK to bring one of the heaviest lineups the London-based festival has seen. With DEFTONES set as their headliner and a stacked roster full of punk and metal bands coming from all over the planet. We were invited by OUTBREAK to come along and review the madness, so here’s how our day went. SHOW ME THE BODY Opening up the day at the North Arena were SHOW ME THE BODY, and there is no way you would've guessed they were first on by the crowd they pulled. The tent was about half full and gradually grew throughout their performance, bringing a bigger crowd than even some bands playing after them. SHOW ME THE BODY are an American post-hardcore band, and they came along to ALL POINTS EAST with their A game. The energy from the band and crowd was immense, with the crowd shouting every word of each song, mosh pits and crowd surfers throughout the set, as well as the band getting into the crowd themselves. It was a great lasting impression for the very opening of the festival day. DEAFHEAVEN Next in the same tent was DEAFHEAVEN. Coming out to cheers, a huge pit pushing out to the very edge of the crowd opened up during their set. The blackgaze metal band commanded the crowd. “Open the fucking floor now”, lead vocalist George Clark yelled, getting everyone off their feet. It was a set where you could tell that lots of people in the crowd were familiar with the band and their music, but it was also bringing in lots of surrounding people just looking for a good time to mosh, and they decided DEAFHEAVEN was just that. MANNEQUIN PUSSY Playing on the West stage, which is the second biggest stage - being only just smaller than the main stage - was MANNEQUIN PUSSY. The indie punk rockers brought all their rage with them; the band are famous for their emotionally raw lyrics paired with the powerful feminine rage presented by the whole band, but mainly from lead vocalist Marisa Dabice. The multi-talented band also switched roles, with bassist Colins Regisford taking lead vocals for their song Pigs Is Pigs. Their set was littered with prominent speeches about the state of fascism, racism and xenophobia - gaining huge cheers from not just the fans but also those just casually viewing. JPEG MAFIA Meanwhile, on the other side of the festival at the East stage, JPEG MAFIA was bringing an insane fusion of experimental hip hop. Bringing in samples from a huge range of genres, including of course, metal. The pits during his set were non-stop, with the crowd being the rowdiest yet; mosh pits threw up dust clouds visible from the other side of the lawn. He even added an iconic cover of Carly Rae Jepsen’s Call Me Maybe, which of course got the whole festival singing along and smiling. OVERGROWN Behind the mainstage crowd is the smallest stage at the festival, the rising stage. OVERGROWN played one of the slots on this stage, a small up-and-coming nu-metal band from Scotland. The four-piece were the perfect fit for the DEFTONES lineup, with a sound massively inspired by the headliner and a very well-executed performance. Their vocals were clean and smooth while the distortion of the instrumental assaulted your eardrums; they had multiple mosh pits and crowd surfers despite playing the smallest stage. Passersby were drawn into the crowd as the sound of the band attracted them; they are definitely some rising talent to keep an eye on. ECCA VANDAL The X-stage was graced by the mighty ECCA VANDAL, the crowd spilling out of the sides of the stage, all cramming in to try and get a good view. This South African alternative rock singer and songwriter came all the way from Melbourne, Australia, for her performance, and the crowd made sure it was worth her time. Her music drew in a large, mainly female audience, with her call-out “Any girls in here today?” gaining an overwhelmingly loud cheer. The audience was loud throughout, shouting every word and pouring their hearts out to the music while ECCA did the same, dancing, jumping, two-stepping, and even getting into the crowd herself. AFI AFI having one of the biggest sets of the day on the West stage drew a strong crowd and passionate gathering. Fans from the very front all the way to the back were shouting lyrics and throwing their fists in the air in unison. AFI themselves embody everything that is rock, the lead vocalist Davey Havok being flamboyant and expressive in his performance, never staying still even for a moment. He sang every word into the crowd while fans sang them back to him, really connecting with the audience while the band rocked their instruments, using as much of the stage as possible. They played their hits like Miss Murder and Girl’s Not Grey as well as tracks from their latest album Behind the Clock and Holy Visions. AMYL AND THE SNIFFERS Second to last on the Main East Stage was the legendary AMYL AND THE SNIFFERS. The band have made a name for themselves as one of the biggest pub/ punk rock names in the current day despite only debuting in 2019. “You know it's gonna be a good set when I've already lost one of my eyelashes lead vocalist Amy Taylor joked during the second song. Their music is jam-packed with unapologetically feminine rage, which was reflected heavily in the crowd. The whole of the lawn was on their feet, headbanging, dancing, screaming the lyrics as loud as their lungs could take. The whole bands energy on stage was impeccable but its vital to note that Amy really ruled that stage and took it as her own, having the perfect golden hour sunward facing set made her shine as she smiled bright and interacted with her fans for the duration of the set, not taking a moments set, her pure joy was incredibly infectious. IDLES Headlining the East stage loudly and boldly was the British post-punk band, IDLES. Opening the set exactly as expected, politically, with the track Levitator and the lyrics “As if the war is won Against you racist cunts”. The whole festival was amped up with rage, fans being crowd surfing over the barricade with limps and bloody noses - we wish them all a speedy recovery, of course - but the smile on their faces didn’t fade for a moment. The band paraded the stage, multiple of them taking their instruments into the crowd with them while they played songs like Rottweiler, I’m Scum, and Never Fight A Man With A Perm. With the set being an hour long and in between album cycles, the setlist felt like a greatest hits with everything that any fan wanting to see them could expect to hear. DEFTONES And of course, finally at the main Stage of the festival, every single person made their way over after all the other sets had ended for the incredible headliner DEFTONES. If you were anywhere near Victoria Park on Sunday, you would’ve seen hundreds of people gathering in the many different iconic DEFTONES T-shirts, and this is where they were all headed. The band with almost 40 years of experience have garnered such a wide fanbase for their unique sound, paving the way for other nu-metal and alternative metal artists. Pulling nearly 50,000 attendees made it DEFTONES' biggest UK show to date, and despite being so far into their career, they played with all the vitality and passion of a fresh band. They opened with the iconic Be Quiet and Drive (Far Away) coming onto the stage to cheers that could burst your eardrums. Despite having so many oldies to play to the crowds nostalgia they also have hits like my mind is a mountain, locked up and milk of the madonna from their 2025 album private music which is also widely regarded as one of the best modern alternative metal albums. This meant no matter the next track that was spun, the crowd went wild for it all, new and old. Lead vocalist Chino Moreno bounced around the stage, barely pausing for a moment, portraying the desperation in the music with his body perfectly. It was also very impressive to see the band using their own controls and pedals instead of having an automated system or someone side stage controlling it, as most bigger bands do. It really shows the band's passion is still burning strong, with the love for live music and performing to fans being at the front of their priorities. The band closed the day perfectly, being one of the most metal days London has seen this summer, we hope to see OUTBREAK and the All Points East Festival team up again to give us more banger line-ups like this in future years. Words: Amy Smyth Photos: Ben Blissett

Following the breakthrough success of 2024’s People Watching, 156/SILENCE return with From A Distance, a record that finds the Pittsburgh quintet further refining the dark, cinematic identity that has become central to their sound. While their previous releases have often thrived on unpredictability by jumping between metallic hardcore, mathcore chaos, and experimental detours, their sixth album feels like a band narrowing their focus. Rather than throwing every idea at the wall, From A Distance immerses itself into the particular atmosphere of the beauty within a world collapsing in on itself. The album opens with Control Burns, immediately establishing this world 156/SILENCE intend to create. A chilling spoken-word introduction gives way to ominous electronics and a slow-burning instrumental, before the band’s familiar heaviness crashes through. It is an effective opening statement, introducing an album that feels less like a collection of individual songs and more like a carefully constructed soundtrack to something much darker. No Arms brings a more immediate modern metalcore groove, blending nu-metal influence with the band’s more melodic instincts. There is a clear confidence in the way 156/SILENCE incorporate cleaner vocals and more accessible hooks following the success of People Watching, though they never fully abandon the aggression that has defined their career. This balance between melody and brutality is where the band’s evolution becomes most apparent. An unexpected highlight of the record arrives with An Early Exit, a track that sees 156/SILENCE embracing a dreamier, almost ethereal approach. For a band so often associated with crushing breakdowns and chaotic intensity, its willingness to slow down is a reminder of the creative freedom they have built for themselves. It perfectly embodies guitarist Jimmy Howell’s statement that “nothing is ever off the table”. Rather than feeling like an unnecessary detour, the track feels like a natural extension of the band’s growing palette. The influence of horror media is clear throughout, with the band embracing the uneasy tension of games like Silent Hill and Resident Evil. This distinctly gothic edge to 156/SILENCE’s interpretation of metalcore culminates with Collateral and the inclusion of CRIPPLING ALCOHOLISM, a gothic post-punk/noise band far from the realm of modern metalcore, adds an unpredictable edge to the track’s snarling vocals and frantic pacing. Similarly, Mike Hranica’s appearance on Cannon Fodder feels like a fitting collaboration, bringing together two bands that have long occupied the darker corners of modern metalcore. Where bands like THORNHILL have explored atmosphere through shoegaze textures and progressive songwriting, 156/SILENCE approach it from a darker, more hostile angle, replacing dreamlike melancholy with something closer to a psychological thriller. However, From A Distance is at its most interesting when the band allows themselves to step outside of their established formula. Order & Entropy and Swept From Under (Call of the Void) both lean heavily into cleaner vocals and atmospheric songwriting, creating a more spacious and vulnerable side to the band. These moments may not hit with the same immediate impact as their heavier material, but they demonstrate a willingness to experiment rather than simply recreate the sound that earned them a larger audience. The latter track in particular captures the album’s darker themes, exploring intrusive thoughts and the overwhelming presence of negativity with a sense of genuine unease. Thankfully, the closing stretch provides one of the album’s strongest moments. The title track, featuring Alex Reade of MAKE THEM SUFFER, acts as the emotional centrepiece of the record. Vocalist Jack Murray describes the track as “a love song” and “probably the most Twin Peaks-inspired song” on the record - a bizarre pairing at first glance, given that few things immediately spring to mind less than romance and David Lynch’s surreal nightmare world. Yet somehow, it makes perfect sense within 156/SILENCE’s universe. Beautifully melancholic while still carrying the weight and atmosphere that defines the album, it feels like the culmination of everything 156/SILENCE have been building towards. The album’s greatest strength is also its greatest weakness. By committing so completely to its bleak, cinematic identity, From A Distance rarely breaks the atmosphere it creates. The immaculate production ensures the mood is unwavering with huge guitars and the delightfully unsettling energy throughout, but by the latter stages, individual moments begin to bleed into one another. When the band do step outside that shadow, as on An Early Exit and the title track, the contrast is immediately striking. From A Distance is not 156/SILENCE reinventing themselves once again, instead, it is the sound of a band fully embracing one particular corner of their identity. At its best, that focus creates some of the most atmospheric material of their career. At its weakest, it leaves the record feeling trapped within its own darkness. Beneath the crushing guitars and sinister soundscapes, From A Distance is ultimately a record about vulnerability, connection, and the difficult process of confronting the darker parts of ourselves. Yet even when the songs begin to blur together, the ambition behind them remains clear - this is a band still searching for new ways to make heavy music feel unsettling. Score: 7/10 From A Distance will be released on 4th September 2026 via Pure Noise Records. Words: Adrian Chapman Photos: Errick Easterday

The Japanese black metal icons are back and ready for business. SIGH have been masters of the genre for three and a half decades now, and have never failed to leave an indelible mark on anyone who’s spent time listening to their unique brand of heaviness. Alongside the trio of Mirai Kawashima, Dr Mikannibal and Nozomu Wakai this album sees them joined by Frédéric Leclercq of KREATOR on bass and drummer Mike Heller of FEAR FACTORY and MALIGNANCY. The album title Goh-ka has three potential meanings, those being firstly 業火, or ‘infernal fire scorching sinners’, secondly 劫火, ‘a huge fire that burns down the world at the end of time’, and finally 業果, the simplest and least fiery definition, ‘karma’. The primary theme behind the album is Kuso-zu; a series of Buddhist paintings and illustrations depicting all nine stages of a human's decomposition after death, created to encourage meditation on the impermanence of life, the inevitability of death, and the detachment from physical beauty and worldly attachment. It shows the harsh reality that no matter how beautiful you are, you’ll be dead and rotting sooner or later. The artworks on the cover and in the booklet of Goh-ka are therefore Kuso-zu themselves. It’s difficult to approach this as a selection of songs, and might be simpler to contemplate as one larger scale piece of music. With four separate songs referencing the Kuso-zu - namely the songs beginning Kuso-shi and a number - it’s clear to see the deep influence that the concepts above have had writ large across the face of the entire LP. Musically, it also draws deeply from classically Japanese instrumentation and sounds, as well as the progressive black metal sound they’ve fostered across many years of work. With lyrics in Japanese, it may not be immediately obvious to the average British listener what’s being sung about, but the emotion behind the lyrics and music help you find your way into the minds of SIGH more than well enough to dive into the heart of this record. One notable moment of the album that’s worth mentioning specifically is Unputenpu, the single that features OPETH’s Mikael Åkerfeldt, however whilst listening to it alone is excellent it still finds an even better place once nestled firmly into the heart of the album. With gorgeous highs and lows found throughout, riffs that chug and delicate melodies that soar ever so high, there’s a depth and density to the release that should make the listener pause their day to truly engage with it. Every new moment brings something different to the table, and there are such a vast array of sounds on offer that it almost acts as a what’s what of influences on SIGH. Close inspection shows more than the obvious black metal and Japanese stylings, revealing classic metal, doom metal, psychedelic rock, classical music, and hell even moments that sound a little power metal-y. The hour-long runtime may seem daunting at first, especially when coupled with foreign lyrics, but neither should stop anyone from getting into this spectacular album. Unfolding more and more of itself as you delve onwards, the rich tapestry of sounds and feelings put to record here makes for a wonderful listening experience and will reward those who try it handsomely. Score: 8/10 Goh-ka will be released on 4th September 2026 via Peaceville. Words: Jasmine Longhurst Photos: Poko

Bristol hardcore upstarts CIRCUMVENT are on the cusp of releasing their debut EP, Feel The Cold, and it’s a great start to recorded life for the dancey punks. Releasing on the fantastic Betrayed By Life Records, the five-track release is short, to the point, and plenty of fun. Opening with a self-titled sub-two minute rager, it’ll be side to side on this call to arms from beginning to end. The customary location namedrop of “Bristol hardcore!” is prominently featured within the lyrics, whilst the chugging guitars serve their primary purpose of raising heart rates and blood pressure fantastically. Next up is Not Your Mate, which is comfortably the longest song on here at nearly three minutes, and is - rather unsurprisingly - about not being someone’s mate. Calling out their apathy over a big rock riff, there’s no compromise or subtlety here, just anger and lots of room for spin kicks. Third on the EP is the song Dead End Path, and it’s the most aggressive on the release. With lyrics flying out at breakneck speed for the first half of the song before a delightfully hefty change up to a half-time section that’s bound to cause some serious gurning, this makes for a particular highlight of ours on the EP. The penultimate track to be heard is Hurt My Feelings, a track that, even by hardcore standards, makes a quick exit - certainly not overstaying any welcomes with its one minute runtime. Our neck tendons are standing up preemptively even just listening to it, and it’s sure to be one song that will serve the live arena better than anything. Rounding up the five songs comes the EP’s titular track, Feel The Cold. Another that runs over two minutes, it’s quite melodic to start before a good old fashioned fuzzy riff kicks the door in and gets things back in order. Whether you feel the cold or not, you definitely won’t need another layer with this on as it’s bound to be sweaty whenever this comes up on the setlist. There’s loads to love here. Across the entire EP we find less than ten minutes of music in five songs, all of which have some choice guitar parts, great groove, and bags of energy. It’s a release rooted in the community and DIY sensibilities of hardcore and is clearly written by people embedded in that same culture. The wheel isn’t being remade, but that isn’t the point - for fans of hardcore to dance to, you’re firmly in the right place at a CIRCUMVENT show. Score: 7/10 Feel The Cold will be released on 4th September 2026 via Betrayed By Life Records. Words: Jasmine Longhurst Photos: Oz Davy

To most, it’d seem like CHAT PILE have risen to relative ubiquity extremely quickly. You’d be strapped to find a modern noise rock or sludge metal band that haven’t been compared to them at some point. As quick as their rise might feel, frontman Raygun Busch, for example, has been in various bands over the past 20 years, only finally seeing some success with CHAT PILE. This is also in spite of the odds being against the group from the start, with them struggling to book any gigs at all in their hometown of Oklahoma City. As it happens, Oklahoma City is a place which inspires much of their core identity, with their name being a reference to piles of toxic waste that townies would use to hang around, play and do whatever, really. It’s a poignant image of the societal rot that the band tends to write about in their music, just on a micro level rather than a macro level. Their breakthrough was 2022’s God’s Country, their debut album with The Flenser. As with the rest of their discography, it’s very much its own thing; much looser performances than on later albums, less emphasis on things like tone and riffs and more on atmosphere, most notably on opener Slaughterhouse and closer Grimace_Smoking_Weed.jpg. 2024’s Cool World, on the other hand is a much more direct record. Tighter performances, more emphasis on the metal side of their stylings, almost gothic guitar tones, and more affecting lyrics and melodic choruses like on Shame and Masc. We also can’t ignore last year’s In The Earth Again, a collaboration with local American Primitivism artist HAYDEN PEDIGO, who’s been having a great few years himself. He happened to live a few blocks away from bass player Stin, and as such the recording process was relatively simple. Once again, a new direction from the band, taking more influence from folk and blues traditions as per PEDIGO’s contributions. It never feels like the two artists clash, however. They both have a sense of americana embedded within their music, a vital part of CHAT PILE’s songwriting over these early releases. With this in mind, you’re left wondering - is there anything CHAT PILE can’t do to push the envelope of noise rock? We’ve not even mentioned their early EPs, monumental 2023 Roadburn performance and ensuing live album, split EPs with artists like PORTRAYAL OF GUILT and NERVER, or their Sub Pop-released single Masks / Sifting (not to be confused with their songs Mask, The Mask or Masc - and yes, they have performed all four in a row before). These all have completely new things to offer from the group, most of which being essential listens to understand the ways in which the group have progressed. All this is to say that the prospect of a third full-length LP from such a prolific group, as inevitable as it may have felt, would be impossible to pin down. What could they possibly do to twist the conventions of noise rock, an already ever-evolving genre, this time? Well here we are, with their new album Who Loves The Sun, whose title feels a little ironic with it being released mere days after Summer ends. A direct reference to the VELVET UNDERGROUND track of the same name, though the band claim that the name was chosen in “not any profoundly meaningful way”. Of course, finding an interview or live performance where Raygun doesn’t speak about film at least once is like finding a needle in a haystack (just watch the episode of Amoeba’s “What’s In My Bag” series featuring them), so it makes sense that the visual components of their work have more intention behind them than something like the album title - and Who Loves The Sun might have their most striking cover yet. A photograph of old, dilapidated buildings contrasted by sleek and futuristic skyscrapers in the background. Tech corporations and the rise of artificial inte lligence being built by way of treading on everything beneath it, and an all-encompassing apathy towards what is happening - a suitable metaphor for the modern era, and one we’ll be seeing more of as we dive into the record. In fact, it couldn’t be more clear from the opening track, Creature, that this is exactly what we’re dealing with here. Raygun is clearly enraged about the climate crisis, or more accurately, the powerful people who have allowed us to get to this point. Every CHAT PILE album has an unabashedly politically-motivated song towards the start, notably Why? And Shame. Those songs felt more like passive observations, as heartbreaking as the lyrics were - the difference here is that Raygun is more than happy to point a finger at the perpetrators. Lyrics like “please don’t tell me we couldn’t stop this [...] cause this is what you always wanted” and “don’t let them hide” show him directly placing the blame for this on the CEOs and governments, and anyone who’s ever told you that we all have a part in preventing this - and it feels more like a call to action than an acknowledgement. All this over pounding drums, a cold and metallic bass tone underpinning the verses, and a vocal performance that switches between tired almost-speak-singing in the verses, and blood-curdling screams in the chorus that aptly match the words being spoken. Creature also features uncharacteristically melodic guitar parts, and as noisy and abrasive as the guitars themselves might sound, it wouldn’t be out of the question to call them catchy - but it’s nothing compared to the next track and first single Deep Blue, which confidently announces its presence with the most memorable set of hooks in the band’s entire discography. Stin claims that “...it sounds like CHAT PILE doing a BILLY SQUIRE song. It’s our Lonely Is The Night, which is actually a fake LED ZEPPELIN song so who knows what the hell we’re actually doing here?”. And in fairness, we don’t fully know what he meant by that either. That same distinct suffocating atmosphere present in CHAT PILE’s music is very much present here, and the emphasis is suitably placed on those wailing guitars, but something just feels different about it, and to some extent comparing it to a classic rock track makes sense - this is hook heaven. The lead riff implants itself in your head immediately, there’s the spidery pre-chorus riff, and a complete change in chord-progression during the chorus which seamlessly connects itself back to that lead melody. Just incredible stuff all around. Same Rules, in spite of its title, shakes everything up. The first two and a half minutes of this consist of straight-forward gothic rock. Just listen to those electronic drums, sharp, bright guitar tone, and creeping bassline and imagine one of the gothic rock icons of the 80s singing over it rather than Raygun, whose vocals on here are the one grounding element. That combined with a breakdown in the second half, both reminding you that you are, in fact, listening to a CHAT PILE record. It feels like living in one of the 80s b-movies that Raygun loves so much, and it’d be hard to believe that it’s not a huge influence on this song. All that being said, Same Rules, as great a song as it is, also serves to slows the pace of the record down a bit, winding the listener in before the utterly monolithic fourth track, PEN I S MALL. The thing you have to remember when listening to CHAT PILE is that when they appear to be at their silliest on the surface, you’re likely about to hear one of the best songs of the year (also see Grimace_Smoking_Weed.jpg). The title is actually in reference to a vandalised sign in Penn State Mall, with the song itself following construction workers at a mall, Greg and Ray, as well as their manager Simon. Lyrics like “Greg dreams about owning a Harley. Greg and Ray live under the same boot.” and “Hard to believe but your whole life can pass, as a series of acts of subordination” are chilling reminders that not only the American dream, but capitalism as a whole preys on peoples’ aspirations and the basic need to exist. The exploitation of workers and physical conditions people are put in just to survive is present just from the opening lines - “it’s time to work under the blazing hot sun, it’s time to smash your shins to bits”. All this is complimented by the heaviest instrumentation in the band’s entire body of work. The real standout here, though, is Raygun’s performance. It’s made from the stuff of nightmares, with an absolutely demented, almost militaristic delivery on every line. It sounds like he’s in physical pain while performing this, as if he’s forcing the lines in the chorus out through gritted teeth. The song slows down in the second half, accompanied by a bong rip and a few coughs, before launching into a sustained breakdown that challenges the intensity of even the most unrelenting of a genre like no wave. When they perform the chorus again, much slower this time, to close out the song, it feels as though the song is destroying itself, consuming itself in a fashion akin to the ouroboros. A perfect anthem to personify the horrors of simply trying to get by day-to-day. We’re not even halfway into the tracklist yet and CHAT PILE still have plenty of tricks up their sleeve. Shrine and its constant push and pull between quiet and loud, seemingly switching between the two on a whim. It feels like a song structure pulled straight out of something from one of the great 90s grunge albums, an era whose music the band have never been shy about adoring. Intruder is the first and only time you’d be able to call a CHAT PILE song “groovy”, with a tight, mid-tempo rhythm, a ridiculously catchy bridge to the chorus featuring backing vocals from Claire Hannah and Brittany Sawtelle, and a manic vocal performance in the chorus. Passages like “someone told me a storm is coming, someone told me this house needs haunting” make it feel like a gothic folk story, told from the perspective of the monster hiding under the bed. There’s more gothic imagery elsewhere on this album too, second to last track Family Funeral is absolutely full of it. The conversational tone of the lyrics is reminiscent of what they were doing on God’s Country, with every line sounding like Raygun is on the verge of some sort of nervous breakdown. It’s a story about the narrator moving elsewhere with a partner to find a new life, with no way back. “Where am I supposed to go? Where am I supposed to go now?” Raygun yells in a passage before revealing that the narrator has killed their children and themself, ending on the line “and though it hurts me, I needed to hurt you”. HAYDEN PEDIGO returns on this track, lending his hand in helping to make a slow-paced five-minute track go by in what feels like mere moments. The song devolves into insanity during the last minute as more and more layers of vocals and tape noise are added, before abruptly ending. At this point, we reach closing track October All The Time. Compared to the rest of the album, this feels like a brisk walk in the park. Mostly centred around a single acoustic guitar being strummed, it’s the perfect way to wind the album down after forty minutes of sheer insanity. Of course, it ends on a noisy breakdown, but you were probably already expecting that. Of course, CHAT PILE realise this as well, and being ever-subversive, keep it brief. The distorted guitars and drums are present on here for less time than the 30 seconds of relative silence that close the song out. To quote one of Raygun’s main literary influences on this album, T. S. Eliot, “this is the way the world ends, not with a bang, but a whimper” - perfectly in keeping with the theme of apathy underpinning this entire project. CHAT PILE have once again proven that they can effectively do anything. God’s Country was a great album, but ultimately it felt like a showcase of a band who had the potential to do something incredible. Cool World was nearly that album, it just suffered from a few misses in the production department and a few tracks that slightly missed the mark. Who Loves The Sun, however, is that album and more. Every problem that either of those previous albums might have had are no longer present here, and there’s a noticeable increase in ambition and variety here. It’s hard to point to one song and say it sounds exactly like another, there’s so many different styles they manage to tackle here. Even so, they pass each assignment with flying colours, with some utterly transcendent moments - perhaps at least one you could point to on each individual track. This is the CHAT PILE we’ve been waiting to hear all these years, and easily their definitive release - dare we say their masterpiece, and hopefully the first of several. The sheer level of craftsmanship on display here is unparalleled, orchestrated by a band at their absolute peak. All we can do is hope for more. Score: 10/10 Who Loves The Sun will be released on 4th September 2026 via The Flenser. Words: Noise Leonard Photos: Ryan Lawson

Japanese alt-metal quartet SIM are finally releasing their 7th full length studio album HOOMAN AFTER ALL. Having already released three singles and receiving a great amount of love the album has been long awaited by many fans. The album has a variety of huge collaborations as well as being labelled the band's most comprehensive and energetic record to date. SIM dabble in a range of genres all centering around metalcore and ska punk but their production style from debut has been messy and genre hopping in the best way possible. Debuting in 2008 with Silence Iz Mine, the band have been grinding ever since receiving huge amounts of love across the world for the unique blends. They broke through in the scene along with the release of The Rumbling, famously one of the most iconic songs coming from the popular anime Attack On Titan. The first track on the album is FiVE TiMES DEAD (by my wallet), the first single released in April of this year. The song crashes in with a heavy intro, blasting your ears with a sonically crushing opening and setting the tone for the rest of the album. It falls more towards the metalcore realm with an energetic beat that brings in drum and bass elements and features those signature syncopated chords from the reggae genre. No two bars of the song are the same with a half time break down, the chorus is the only familiarity you’ll find in its sequence. BLiNDEYES is the next track featuring Yukina of HANABIE., a Japanese metalcore band formed in 2015. This song was also a prereleased single and was a long awaited collaboration with the two bands having a huge fanbase and sound overlap; it was only a matter of time before the two got on a track together. Third in the track list is the first of the unreleased songs in the album, greeting the fans ears for the first time, DALALA. Opening with a speeding nu-metal beat and distorted vocals and guitar to accompany before switching keys into the chorus bringing a fresh major key tone. It takes a second for the ears to adjust but SIM make it work, a bold choice that certainly pays off and just plays even further into how unique their sound is. HOLD MY BEER is the next on the roster, immediately leaning towards the ska punk side of their sound, before swerving towards an upbeat metalcore sound for the chorus. It features a guitar solo in its second half, the lyrics in that last minute are incredibly catchy as well as a perfect two stepping beat, you can practically see how much a live crowd would lap up especially that last minute of the track. Karen’s Son opens with chanting of the name Karen which would be a great way to get a crowd involved at live shows. The song reminds us a lot of the famous Stacy's Mom by Fountain of Wayne but instead uses the track as a diss, a clever counterpart to the original. It really switches up the album with that 2000’s punk rock vibe. The Sniffing Cats Ska is up next and is very much a signature track for SIM, it has everything that makes the band who they are. With its outlandish lyrics, combinations of ska, metal and punk and even large brass sections throughout the song, it’s upbeat and catchy. The brass sections are brought in collaboration with HEY-SMITH, another Japanese punk band that famously features these arrangements of trumpets in their tracks. The title track HOOMAN AFTER ALL comes half way through the album and is another signature track for SIM. It leans more towards the ska genre with smaller metal elements added into the chorus. The track and its lyrics are extremely catchy, the band chose right in making this the title of the album, you're certain to have this song crawl its way into your ears by just reading the title after listening to it. GHOST iN TOKYO opens with a public transport announcement which it then cleverly refers to through the song. The track is very jumpy with a chanting chorus, another really catchy moment in the album. This is one of our stand out tracks of the album, a song that keeps all the elements SIM love to add to their music but the sound feels less chaotic. It's definitely a track that can help introduce an individual to the band rather than throwing them in the deep end. Next on the album is ZiON which features Masato from COLDRAIN, another iconic Japanese metal band. Masato is their vocalist and adds some really powerful and soulful vocals to accompany lead vocalist MAH’s loud and mighty vocals bringing a great blend. BLACK SUBMARINE opens with those signature syncopated beats before MAH comes in with his first full rap in the album. The track has that classic hip-hop beat while having nu-metal guitars, this might be the track that crushes the most genres into one. But once again SIM make it work flawlessly, even having a metalcore breakdown with an upbeat punk chorus its blends seamlessly. FREEZE ME UP was the last prereleased track before the album's full release and is featured as an opening credits song for the new gen anime BLACK TORCH. With the huge success of The Rumbling and its millions of streams FREEZE ME UP has also opened a gateway to those that may not be into the metal scene to hear SIMs unique sound. Closing out the album is Sailing On, ending the record with an upbeat and slightly more laid back vibe. The song encapsulates a sound of hope, its lyrics encouraging you to be unapologetically yourself and “keep sailing on”. It still contains those metal elements and screams but overall brings back that 2000s punk sound. The album is loud, chaotic and full of ear worms, all in the best way. SIM are a band that are no stranger to bending the rules of what a metal band can be and this record just proves that even more. The production is flawless and the album is sure to be well received not just by domestic fans, but also those across the globe like us. The band are set to play a huge Europe tour in 2027 including multiple UK dates so if you like the sound of the album, they are definitely a great band to catch live! Score: 8/10 Hooman After All will be released on 2nd September 2026 via UNFD. Words: Amy Smyth Photos: Kohei Suzuki

ArcTanGent is a festival built for its community. For 3 days or 4 (if you’re really up for it) you will be surrounded by likeminded music fans who enjoy a good mix of everything heavy, experimental and well written. It’s a music festival where the music shines louder than anything else possibly could. Platforming many artists who wouldn’t typically get a place at a festival in the UK, the biggest strength of the festival is curation. You can enter the festival knowing no one on the line-up and leave with seeing multiple life changing sets and have some new favourite bands. Even when you aren’t finding out about new bands by seeing them, you’ll leave with a list of even more bands to check out by some of the most informed festival goers you will ever see. If festivals are seen as escapism then this festival is an escape from the every day and an escape from many of the most toxic parts of large festivals. Everyone is equal at ArcTanGent where you’ll see bands watching other bands in the crowd. The line between fan and band is blurred as many of the bands will share their love of the festival on stage. Words: Will Freeman (WF) and Zuzana Pazola (ZP) Photos: Conrad Newton PAPANGU Brazilian prog rock and avant-garde metal outfit PAPANGU delivered one of Wednesday's most culturally rich sets, drawing a packed crowd to PX3. Their sound goes far beyond conventional progressive metal, incorporating elements of jazz and Brazilian folk music into dense, unpredictable arrangements. The result was technically adventurous without losing its sense of identity, with the band's cultural influences woven into the music rather than simply used as decoration. There was a particularly compelling quality to hearing such distinctly Brazilian influences within ArcTanGent's typically genre-fluid environment. With the tent heaving and the band clearly commanding the attention of everyone inside it, PAPANGU demonstrated exactly how progressive music can be both musically challenging and deeply rooted in a sense of place and culture. (ZP) SVALBARD It seems as if the hidden theme of this year’s festival is finality. This is the last year the festival will take place at Fernhill Farm, and this is the last performance ever of post metal giants SVALBARD. As soon as the band hit the stage the emotions are already in full swing. Most of the crowd have seen SVALBARD grow through the scene, playing many small gigs until this moment of finality. The band are as tight as ever, heavy and brutal with that little something extra they always bring. The band are playing with everything they have fighting back tears. It feels in every millisecond of silence between songs that everyone may collectively flood the tent with tears. If this is the last time we ever see SVALBARD then what a truly great way to remember them, a band who always did things on their own terms and became one with the metal scene. (WF) OVERHEAD, THE ALBATROSS OVERHEAD, THE ALBATROSS brought a distinctly cinematic quality to Wednesday's Yohkai stage, blending synths, shoegaze and post-rock into a set that felt both cathartic and deeply reflective. There was an almost filmic quality to the band's sound, with the expansive instrumentation creating the sense of a soundtrack unfolding in real time. That emotional connection was particularly evident during closing track Paul Lynch, with the crowd screaming its final words back at full volume. Compared with some of the more abrasive and chaotic acts elsewhere on the ArcTanGent bill, the set was certainly on the tamer side, but that proved no hindrance to its appeal. The packed-out response and sheer warmth from the crowd made it abundantly clear why OVERHEAD, THE ALBATROSS are so beloved. (ZP) CARDIACS CARDIACS are simply one of the best bands to ever exist. Inspiring bands from across the spectrum from BLUR to FAITH NO MORE, they are one of a kind. They have long been known as your favourite musician’s favourite band and their set showcased everything they are. Bathed in theatrics and a dedication to late front man Tim Smith, the band bring you into their world. Sitting somewhere between punk, prog, chaos and demented circus music, they play everything note perfect. Midway through the set the virtuosity of the band is in full swing with Fiery Gun Hand when Kavus Torbai and Mike Vennart (ArcTanGent regular and now frontman of CARDIACS) trade solos off each other. The true climax of the set happens during Dirty Boy which has become an anthem for the band. The build of the song to the final lyrics of ‘Over and Out’ lingers in the air for two minutes of musical bliss. They truly are one of the best bands to ever do it in every incarnation and form they have taken. (WF) OTAY:ONII OTAY:ONII's Thursday performance was less a conventional gig and more an exercise in experimental performance art. Described as one of the most inquisitive and genre-defying artists of her generation, the set made a convincing case for the description, veering between moments of completely overwhelming distortion and hysterics before dropping into eerie ambience and unexpectedly gentle melodies. It was certainly not an experience designed for everyone, but its refusal to settle into anything predictable was precisely what made it so compelling. OTAY:ONII entered the crowd for both her opening and closing songs, creating an oddly intimate atmosphere despite performing inside one of the festival's largest tents. Surreal, confrontational and at times genuinely disorientating, the performance demonstrated just how far experimentation can be pushed when there is no interest in staying within conventional musical boundaries. (ZP) SIKTH The Wednesday tradition at ArcTanGent used to be a day of the best bands of the last year, and now it’s become a general day of booking fan favourites. SIKTH are a very typical band for the fest having played here before. A progressive metal band that turns up the metal to maximum with elements of mathcore thrown in for good measure, their music is a thickly dense, complicated wall of metal that will blast your face off. When you are not standing in awe of the instrumentals, you have a tough time knowing where to look with duel vocalists of the band Justin Hill and Mikee Goodman running around stage. For many there it was a nostalgia trip of a band they’ve grown up with and for others it was simply a set of great music. (WF) WITCH SORROW Being asked during the middle of the set “are you having a sinful day” sums up the metal nature of WITCH SORROW. Sonically and spiritually very old school heavy metal with a lot of doom metal influence running through their sound, they are everything great about classic metal without being stagnant. They clearly love everything metal which is evident when Serena Cherry of recently disbanded band SVALBARD briefly comes on stage to provide some metal growls. A true celebration of everything metal. (WF) BUCKET BUCKET turned PX3 into one of Thursday's sweatiest tents, bringing a DIY garage-punk energy that collided with elements of noise, hardcore and industrial music. The performance was relentlessly energetic, with the band's enthusiasm proving highly infectious as the crowd threw themselves into the chaos. From outside the tent the mosh pit looked positively punishing, while inside the sheer number of people packed into the space made getting anywhere near its centre a challenge in itself. Rather than feeling overwhelming, however, the density of the crowd only added to the atmosphere, with everyone seemingly determined to make the most of the opportunity. The combination of rawness and unfiltered energy made for a gloriously physical live show. (ZP) PSYCHONAUT PSYCHONAUT are one so ArcTanGent coded through and through. Their post metal sound and attention to musical detail is what draws so many at the festival to them, intense and intricate without being pretentious, and their live show offers a note perfect rendition of their tracks. As heavy as the music is, it isn’t for moshing it’s for taking in with the crowd headbanging in unison. The band work in blending every mood they offer which leads to songs flowing as if a stream of consciousness. You do have to be in the right mood to experience them, but if you are you’re in for a treat. (WF) TONY DANZA TAP DANCE EXTRAVAGANZA Playing their first ever UK show TONY DANZA TAP DANCE EXTRAVAGANZA brought their chaotic vibe to the festival even though a few members were unable to make the gig. Despite lacking members for the UK dates of their tour, they brought the full force of their chaotic sound. As soon as the band announced a competition to see who could crowd surf the most the entire tent complied with the request and a tsunami of bodies erupted. With so many people crowd surfing traffic jams appeared at the barrier for people to complete their journey. The band have a great sense of humour and the crowd appreciated finally having the chance to see them live. Truly one of the highlights of the festival. (WF) IGORRR IGORRR's Thursday night performance was nothing short of breathtaking. Known for combining breakcore, black and death metal, baroque and classical music, electronic production, and trip-hop into something almost impossible to categorise, the project has evolved from a solo endeavour into an extraordinarily ambitious live band. The presence of a classical vocalist only heightened the sense that something completely unique was unfolding on stage. Every element felt larger than life, with the combination of music, lighting, and atmosphere transforming the Main Stage tent into something approaching a cinematic experience. Abrupt shifts between styles somehow remained cohesive, creating moments that were simultaneously brutal and completely surreal. Their music is difficult enough to describe on record; experienced live, it became almost overwhelming in the best possible way. (ZP) CHELSEA WOLFE CHELSEA WOLFE is probably one of the more accessible headliners ArcTanGent has ever had, yet her set was truly uncompromising. A visual treat which blended well with the thick musical atmosphere she created. A blend of folk music with many dark elements and alt rock song structures, she truly is a master of her craft. The audience fell quiet during her set, not out of dislike, but so they could bask in the atmosphere of the set. Only being an hour and fifteen set it did feel like she could have gone slightly longer for a headline set, but she filled every second. Proving her connection with the metal community she brought out a member of ALCEST to provide some wonderful metal vocals. It was a true experience of the beauty of atmospheric story telling. (WF) MOKSHA MOKSHA is the new project of Sam Chetan-Welsh, best known as the guitarist of ITHACA, but this band feel almost the total opposite. Musically they sit somewhere between mid-west emo and symphonic prog complete with horns and truly beautiful vocals. A lot of the audience knew nothing about the band other than the ITHACA connection, so truly did not expect anything like this, yet the band truly captivated everyone present, opening the set instructing the audience through breath work to help bring the spiritual connection to the crowd. For a band so early in their career they feel so complete. Despite only having one single out their music already feels like something truly classic. They fit in a breath of fresh air among the heavier music of the week whilst still having excellent guitar work. (WF) CONJURER One of the most anticipated performances of the weekend, CONJURER more than lived up to expectations on the Main Stage. Often described through the overlapping labels of sludge, doom, and post-metal, the band's music is ultimately far too expansive to be contained by any single genre descriptor. Their heaviness was immense, but it was matched by an equally strong command of atmosphere, with moments of ambience and beauty woven through the crushing riffs. The set also carried an important message, with the band openly expressing their support for the trans community and affirming that trans people have always existed and always will. The declaration was met with an enormous response from the crowd, making an already powerful performance feel even more significant. CONJURER demonstrated that extreme heaviness and genuine emotional depth can coexist effortlessly. (ZP) WITCHFEVER Bringing their gothic alt rock sound to ArcTanGent proving why they keep getting bigger, WITCHFEVER always seem confident on stage as they know what they do well. Their music always sounds just as powerful live as it does in the studio. Engaging the crowd in circle pits and general shenanigans, they have a true maturity in their stage presence. The band are proud of how far they have come working hard every step of the way to build their place in the musical landscape. WITCHFEVER feel like at every stage you see them the next time will be on a much larger stage, they keep growing and you should get into them before they headline arenas. (WF) NAPALM DEATH There is very little to say about NAPALM DEATH other than they are literally NAPALM DEATH. True legends of the heavy music world unafraid to bring their anti-fascist and inclusive message wherever they play, their music is as powerful as ever and watching Barney Greenway run around on stage whilst looking like he is being chased by bees is always wonderful. As soon as he hits the stage it’s like a switch is flicked and he has every single riff travel through his body at once. They are one band that every heavy music fan will see at some point and for good reason, they are legends. Their music washes everything away leaving only a new sense of self. Very few bands hit as hard as NAPALM DEATH do, uncompromising for over 40 years. (WF) KULK KULK proved that an enormous sound does not necessarily require an enormous band, with the duo producing a genuinely colossal performance on PX3. Describing their music as an exploration of human suffering and an extension of their own relationship, the band's approach was suitably intense, combining crushing heaviness with a chaotic and deeply physical live presence. The contrast between the size of the line-up and the sheer scale of the sound was particularly impressive, with the duo filling the stage sonically despite having only two members. The crowd responded in kind, producing one of the most energetic and reactive audiences of the entire festival. KULK's performance was heavy, unpredictable and impressively controlled, demonstrating just how much impact two people can generate when every element of the performance is working at full force. (ZP) PRIMUS As Friday's headliners, PRIMUS had the unenviable task of following an entire day of genre-defying performances, but their arrival immediately turned the Main Stage into one enormous party. Few bands are as capable of making genuinely strange music feel this accessible, with their blend of metal, funk, punk, country, roots rock, and experimental psychedelia held together by Les Claypool's unmistakable bass playing and witty, often surreal storytelling. The audience's traditional cries of "Primus sucks" were met with exactly the kind of knowing enthusiasm the phrase demands, adding to an atmosphere that felt less like a headline performance and more like thousands of friends getting together to celebrate a band they all love. Beneath the humour and eccentricity was some astonishing musicianship. By the end of the set, it was difficult to imagine anyone leaving without a massive smile on their face. (ZP) MEATDRIPPER Describing themselves as a psych-sludge band, MEATDRIPPER combined the hazy qualities of psychedelic and punk rock with the crushing weight of doom and sludge. The result was a sound that felt simultaneously enormous and strangely hypnotic, built around layers of heavy instrumentation and riffs that seemed to accumulate on top of one another. The vocals added another dimension entirely, adopting an unusual, almost trance-like quality that complemented the band's heavier passages rather than simply sitting above them. There was a surprisingly strong atmospheric element to the performance, with MEATDRIPPER demonstrating that sludge can create a sense of space as effectively as it creates sheer weight. The set was a particularly effective demonstration of how psychedelic textures and crushing heaviness can coexist without either side losing its impact. (ZP) PUPIL SLICER PUPIL SLICER brought an appropriately feral conclusion to their PX3 appearance, delivering a hectic and chaotic set to a tent packed well beyond comfortable capacity. The ensuing mosh and circle pits kicked up enough dust to turn the room into a haze, but there was little sign of anyone caring as the crowd threw themselves into the chaos. Beneath the apparent disorder, however, was an impressive level of precision and planning. PUPIL SLICER's music may feel completely unhinged in the moment, but the live performance revealed just how much control is required to make that chaos work. Their DIY sensibility remained firmly intact, however, giving the set a raw and immediate quality that clearly resonated with the audience. Judging by the response, PUPIL SLICER remain very much a band with big things ahead of them. (ZP) JO QUAIL How can one of the loudest sets of the festival only be a cello with trombones? JO QUAIL brings a set of instrumental intensity that features compositions that build gradually, musically so outside of the world of metal but playing to a festival that embraces music no matter what genre. The volume of the set just washes over the crowd; the use of volume is like nothing else at the festival. Delicate cello parts that then build up complimented by percussion and six trombones, it looks like a classical concert but hits like a wall of death. Truly outstanding music and probably the best crowd to watch it in. (WF) A.A. WILLIAMS A.A. WILLIAMS brought a beautifully atmospheric closer to the Bixler stage on Saturday, delivering a performance that demonstrated just how heavy music can feel without relying on conventional abrasion or aggression. Ethereal, heart-wrenching, and often breathtakingly expansive, the set built its weight through gentleness, moments of near silence, and enormous instrumentation rather than sheer volume. Williams' vocals were consistently exceptional, carrying an extraordinary amount of power while remaining perfectly suited to the delicate passages surrounding them. Her guitar work was equally impressive, with a formidable pedalboard helping shape the vast sonic landscapes that filled the stage throughout the performance. There was something particularly fitting about experiencing such a reflective and atmospheric set towards the end of ArcTanGent's final year at Fernhill Farm. As the festival prepares to move to a new home, A.A. WILLIAMS provided a suitably poignant closing note for one of its stages. (ZP) CHAT PILE When the band aren’t playing their front man is talking about festival films, a lot of CHAT PILE’s charm comes from how earnest they are as people and in their music. The dustiest mosh pit of the week with many covering their mouths to make breathing a little easier, but this does nothing to quell the passion of the crowd. The last time they played the festival they played a lot earlier in the day and now they are high up on the main stage. ArcTanGent gets bands just at the right time and CHAT PILE feel like soon they may be too big for the festival. Their music has a groove that runs through it just enough to help people navigate the chaos - you can dance, you can mosh, but you will have to survive the dust. The band still keep their DIY roots close, but they are polished despite the stank their music has. One of the most engaging frontmen of the weekend. (WF) CULT OF LUNA AND JULIE CHRISTMAS Mariner has become one of the most legendary post metal albums of the last ten years and it felt like after CULT OF LUNA AND JULIE CHRISTMAS finished touring that would be the end of the album. Yet ten years later the album comes to life once more so even more people can experience the beauty of the project. The band members are basked in darkness lit from behind, their shadows only leading into the atmosphere of the album. Julie Christmas has been signed by festival goers so she can bring them into the performance of the album, not that you could see anything other than her silhouette on stage. The band sound pretty much note perfect to the album despite how much time has passed. The audience stand in awe of the musical perfection take place. There aren’t many festivals that would have anything like this as a headliner but ArcTanGent knows how to choose something truly special to headline. It’s fitting as an end to the festival, likely the last time this album is ever performed as the last notes to be played at Fernhill Farm ring out. Next festival will feel like a rebirth. (WF) See you at your new field in 2027, ArcTanGent!

Nothing says a gig is a hardcore gig more than a performance in an unexpected place. Tucked away in Southampton is the Edmund Kell Unitarian Church. An unassuming building from the outside, but a transformative space that is perfect for a hardcore show. The show was everything that a UK hardcore fan could dream of. It gave the reminiscing feel of a basement gig whilst showcasing talents of the present and future. With no barrier, a homemade set up of amps and cabs, and the house lights on, it was an experience for all that both played and attended. No frills, no hiding behind the grandeur of staging. Just talented performers showing an audience what the Southampton hardcore scene has to offer. Starting the evening were FULL CLIP, a band who have only just emerged on the Southampton hardcore scene. Taking to the stage for their live performance debut, the audience would never have known that this collaboration of established performers were taking to the stage together for the first time. As enthusiastic and polished as a new band can be, you could feel the energy building throughout the set and with a duo of vocals to give you a brilliant blend of sounds, there is some true promise of excellence woven through each song they played. No sooner did FULL CLIP come off stage, HYPNOTIZE had their turn. Opening with the shouts of ‘ thanks for coming home’, they truly brought the noise. For a set that was happening before it had even reached 7pm, there was a true sense of excitement as the vocalist encouraged the audience to come closer and mosh with him. With a cohesive sound, it reminds audience members that anyone can work hard to make great music. CURFEW took to the stage next. Full of angst and solid breakdowns, this band truly showed the audience why Southampton hardcore bands should be on everyone’s radars. With guttural growls and guitars that complimented the vocals brilliantly, it was the perfect signifier of why the local hardcore scene is something to be admired. The collective nature of the Southampton Hardcore (SOHC) is truly admirable. COLLECTIVE ON A DEBT seems to be capturing the scene in shows that elder generations could have only dreamed of. Each band knows the other and respects the talents that each other holds. They jump in to help each other out, support with gang vocals, and truly bring the noise to the room so that it feels electric. It’s an inspiring scene that comes together to celebrate all things hardcore. Starting the second half of the bands on the roster is CONCRETE JUNGLE. A band filled with more energy than you could ever expect from a band. From the vocalist jumping into the audience, shouting mosh steps to others, to the rest of the band holding the song down for the audience, it was an infectious energy. At one point, you had to question who was in the band and audience members jumped into the performers area, screamed down the mic, and had their own go at being a singer in a form of unity between everyone in the room. NOT WITHOUT PUNISHMENT took the main headline slot. With a sound that is jam packed with mosh opportunities, riffs galore, and growls aplenty, these Southampton hardcore up and comers are definitely ones to watch. Filling their set with solid songs, you could see that they had refined their craft and are a band on the cusp of taking the next step. Professionalism ran throughout, and even when the fire alarm went off in the building during the set (due to the sheer heat of the room - no fires present) the crowd and band came together to solidify the power of the Southampton scene. Finally the band everyone was there to see took to the stage. DESOLATED haven’t played a show like this in a long time. Guitarist Richy announced to the audience and nights like the one they were playing were something that the youth of the generation before could have only dreamed of, that the scene is something special and this show was a time to celebrate. Opening with The Beginning, this was a no holds barred show and the band played as if this was a festival headliner moment. Cramming in as many songs as possible, the first part of their set finished with The End. Ten years after the album of the same name had been released, it felt like a cathartic moment for the band. Like the end of one chapter had finished and allowed them to then treat the audience with some tracks from the newest album Finding Peace. Victims 2.0 really ramped the night up a notch with bodies flying around the room and people taking their opportunities to scream down the microphone and back at the band. Ending the set with End Of The Line and Death By My Side, DESOLATED truly showed that paying back to your roots can truly give those memories of a lifetime. With an audience filled with friends, family, and fans, it felt like a Kodak moment. But as vocalist Tony climbed atop an Orange cab during Death By My Side, audience members crowd around, screaming the lyrics back at the in a moment that truly felt like DESOLATED had made it. Whilst it wasn’t their usual gig set up these days, it truly felt like they were home. Words and photos: Laura Davies

MOVEMENTS have always been a band of contrasting ideas. Their music can sound magnificently giant while dealing with emotions that make the world feel incredibly small. For their fourth album, Happier Now, the Californian post hardcore quartet lean further into that emotion, leaning more into the confidence and melancholy of 2023’s RUCKUS!. Opening with Pulse, the scene is set for what is to come for the rest of the album. With angular riffs and layered harmonies that feel reminiscent and fresh at the same time, you feel the familiarity of a MOVEMENTS record whilst also feeling like this is a fresh take too. Jumping straight into lead single Dissolve Me as the second track, the angsty guitar riffs give audiences a catchy stand out track. Vocalist Patrick Miranda sings ‘Should I go headfirst into the concrete?’ over a background of guitars, feeling like an anthem for the lost and socially awkward. The next few songs reveal something messy, emotionally charged, and frank. Everything Is Fine has the lyrics ‘I’m so fucking anxious I could die - what a perfect illustration of my life’. Leaning into honesty and rawness that has previously been seen from bands such as REAL FRIENDS and THE DANGEROUS SUMMER. The layers that appear in the title song Happier Now show listeners that happiness isn't necessarily a destination to reach, and getting older or more successful doesn't magically quiet the thoughts that have followed you there. The maturity that comes across in this album compared to previous doesn’t take away from the fact that at the heart of this album is a post hardcore record that screams MOVEMENTS from the opening bars to the closing ones. By the time the second single Back In My Ways hits, we have met the middle of the record. The song seems on the surface to be a slow burner that has a gradual escalation to a crescendo of emotionally charged vocals and screams, feeling like a cathartic release that is going to become an anthem for the sad seasons. Live By The Sword feels like a turn in the album. The aggression fuelled lyrics with layered vocals and heavy riffs that feel full of resentment and anger. The bassline pushes this agenda alongside the lyrics that make this a standout track on the record, almost leaning into punk as opposed to post hardcore. Similarly, Everyone I’ve Ever Been feels like a song laced with determination and despair at the same time. Lyrically, this album feels like a beautiful juxtaposition. With the idea that life is happier now, blended with the uncomfortable idea that feelings can return even when they seem to be fine on the outside. The atmospheric guitars and emotional vulnerability remain throughout this record, but they're now accompanied by a stronger understanding of determination and restraint. The guitars retain the hazy, emotionally charged quality that has defined MOVEMENTS as a band, but the hooks increasingly feel designed for something much bigger. Moving towards the closing songs of Fragile Hands and Separate, it truly feels like this is an album cemented in the band's history as something poetic and honest. Fragile Hands feels like a song of hope and despair, like a last ditch attempt to reach someone that will always be just outside of a grasp, ending with a haunting play of chords. Separate feels like the defeated yet determined ending that this album needs as Miranda sings ‘I gave all of me… nothing left to see’ in an angst fuelled song that feels like the perfect closing song for this album. The conflict that runs through this album is ultimately what makes Happier Now as compelling as what it is. MOVEMENTS aren't attempting to recreate past records, nor create a brand new sound. Instead, this feels like an attempt to pull all the best parts of previous records into something altogether spectacular. They no longer sound like a band searching for an identity, they’ve worked out where their place is in the music-sphere and it’s solidly in the sweet spot of nostalgia and reminding us it’s okay not to be okay. Score: 8/10 Happier Now will be released on 4th September via Fearless Records. Words: Laura Davies Photos: Adam Alonzo

EAST EXCHANGE haven’t just exploded onto the airwaves this year, they’ve conquered their first festival season that saw them claim slots at 2000 Trees, The Great Escape, and Outbreak to name a few, gaining these laurels and further traction with less than a handful of singles drip-fed to fans over the last year. Fans need wait no longer to drink their musical fill as EAST EXCHANGE launch their debut EP torn between ties, an eagerly anticipated record of powerhouse vocals and quintessential grunge. It’s a testament to the Liverpool four-piece and lifelong friends who rightfully earned their festival season and growing acclaim from their hard graft, effusive approach to live shows and their fans, and a curated sound that pays homage to the old and new and something in between, a sound that is uniquely theirs and yet calls to their influences. torn between ties feels like a love letter to the 90s grunge that inspired them and a heartfelt text to modern rock, weaving time and genres into a sound that doesn’t fit in any box but fits snugly in your ears. Having been kicked out of their recording space and resorting to a “freezing, run-down warehouse” to find their sound and bring the vision together, torn between ties sounds entirely confident in who the band want to be and who’s influenced their journey to date. With predominantly 90s grunge laying the base foundation for them, the four-piece combine the gritty riffs of NIRVANA and steady rhythms of SMASHING PUMPKINS with solos and hooks reminiscent of SOUNDGARDEN, whilst injecting modernity with layered clean notes and crafted harmonies, emotionally wrought lyrics, powerhouse vocals and husky tones that will fill the void YOU ME AT SIX have left. Opening track unspoken. eases us into a melody that feels like it’s rising to a pinnacle of major chords, suddenly flipping the switch into a rhythm that feels granular and unflinching with minor notes underlying the increasingly darkening calls of “you’re broken”. fall. is a tale of desperation, the push/pull of trying to hold onto a love that isn’t right and won’t last, the vocals echoing as a backdrop to a climbing riff before it all comes crashing back down together. lily. isn't merely another “love song”, it's devotion, yearning, a full confession, against soaring guitars and the heartbeat of bass - it's a hair-raising melody that belongs in epic love scenes. bleed. returns to timeless grunge with filthy beats and reverbed guitar, vocalist Sonny K toeing a line between powerhouse notes and emotionally charged lyrics that roughen his voice. torn. feels like a homage to early FOO FIGHTERS and the definitive power of grunge instrumentals, riffs and beats colliding as the vocals swoop up for a heartstopping moment. Their most recently released single ghost. treads between classic and modern alternative rock, a reverbed guitar ringing out before everything crests into a wave of powerfully driven instrumentals and bitter yells of “do you know my name”, the overwhelming feeling that fills these lyrics painting a story of despair and delivered in a way that feels like Chris Cornell is back with us. The spirit of 90s grunge and alt-rock has been a feeling chased by so many desperate to recapture the vulnerability, grittiness, and strength that can only be found in anthemic rhythms, substantial hooks, and expressive words. EAST EXCHANGE embody everything we’ve been clinging to for decades and gives it fresh breath, the bittersweet sentiments and gutsy melodies a resurgence of grunge rock. Score: 9/10 torn between ties. will be released on 4th September 2026 via AWAL. Words: Julia Stark Photos: Dylan Cox

There are few bands in extreme metal with the ability to make the past feel as immediate as BEHEMOTH. With I, Scvlptor, the Polish legends revisit their roots, reshape familiar material and push into new territory, creating a release that feels less like a conventional stopgap and more like a statement of becoming. Due for release on September 4th, the opus contains eight previously unreleased tracks: seven studio recordings and one live performance. Rather than releasing a traditional studio album, we’re offered a cabinet of curiosities of sorts. It features handpicked peeks at BEHEMOTH's identity, connecting the band's formative years with the immense, uncompromising force of its present day form. The title track, I, Scvlptor, is a grandiose opener built like a centrepiece. With a slower build-up adding layers of dark atmosphere, it carries the kind of epic weight that has become synonymous with BEHEMOTH while refusing to simply repeat the formulas of the past. As Nergal explains, the song is “rooted in the tradition of monumental tracks like O Father O Satan O Sun!, Lucifer or Nieboga Czarny Xiądz, while at the same time opening a new chapter.” The song's concept is described as “a metaphor for the endless process of shaping oneself”. However, the song goes beyond nihilism, it puts an emphasis on the battle to move forward and it musically sounds like one. Horns emerge first, surrounded by distorted, dark electronics that immediately establish an eerie atmosphere. Then the drums and strings arrive, gradually laying the foundations for something increasingly heavy, as if the listener is being pulled deeper and deeper into a dark tunnel. When Nergal's voice enters, it is strong and commanding, leading an army into battle. The track repeatedly seems to widen, becoming less an individual performance and more a call for others to join the march. It reminds the listener that this is going to be more adventurous than a simple collection of archival material. Lord ov the Horizons immediately shifts gear. It surprises us with a considerably more melodic approach, driven by a gothic-sounding guitar and lyrical singing before suddenly turning into vicious black-metal screams. Vocally, this is one of the most interesting tracks on the release. It moves through a surprisingly wide range of approaches, switching between more traditional singing and harsher screams without making the transitions feel forced. The drums also alter the pace between slower parts and others that are bullet-like in speed. The guitars are also given room to shine, with solos that can be appreciated rather than simply being buried underneath the overall assault. It gives the song a dynamism that feels experimental without abandoning its roots. It declares that the band is not afraid of pushing themselves and try something different. The track has an overall well-distributed composition with enough variation to remain unpredictable, and it hints at directions the band could explore further in the future. Rise of the Blackstorm of Evil stands as the longest song and is a blast from the past. It is one of the most important pieces in terms of connecting the band's past and present. Originally written in 1992, the song reflects the influence of acts such as SAMAEL, CELTIC FROST and HELLHAMMER. This new recording keeps the original structure but gives the guitars some sophisticated polish, reworking them into two interlocking layers, while the lyrics have also been slightly revised. The difference is a much tighter and sharper performance than the one heard on The Return of the Northern Moon. Yet the song's original spirit remains intact, which is ultimately what makes the re-recording worthwhile. Its position also makes sense within this opus. After the more experimental track, this one brings the last two back together with commanding vocals and a more rhythmically varied sound, giving the release a broader sense of movement. At some points though, the voice seems to disappear slightly behind the instruments and has a harder time keeping us hooked. If Rise of the Blackstorm of Evil allows the listener to wander, In Thy Pandemaeternum grabs them by the collar and doesn't let go. Hectic and aggressive from the first seconds, it wastes no time establishing itself as arguably the heaviest track here. Everything feels extremely tight, with the guitars, drums and vocals working together as one rather than competing for attention. Despite its length, the second longest track, it somehow feels short. There is so much happening that the track seems to race past, maintaining its intensity without becoming monotonous. There is also a distinctly theatrical quality to the arrangement, particularly during the “let them feast” chant before a sharp guitar solo. It is one of those moments that would make you buy a live show ticket, crossing fingers that this makes it on the setlist. Originally featured on 1998's Pandemonic Incantations, this is the second early BEHEMOTH track to receive a revamp. The arrangement remains largely familiar, but the production makes a considerable difference. What once fought for space within the dense original mix now emerges with much greater definition. We scored a wild card with Begotten. It introduces yet another nuance to the record. Its drums and guitars almost feel like 1980s heavy and gothic metal before the song accelerates, creating a completely different atmosphere. This mixes old with new, as it was written during the sessions for The Shit Ov God but was ultimately left off the album because the band felt it didn't fit with the other material at the time. It first appeared on the Metal Hammer exclusive Vnholy Psalms and is now given a chance for a much wider scene. It still doesn't slot perfectly into this record, but it doesn't necessarily need to. It feels like a deliberate interruption, another piece of BEHEMOTH's journey that has been given a home. Its atmosphere remains dark and commanding, but the way it gets there is sufficiently different to make it one of the more intriguing inclusions. The decision to include a cover of VENOM's In League With Satan feels like not only looking at the band’s past but also its influences and roots. And that turns into one of the most memorable moments on I, Scvlptor. The drums and bass are particularly catchy, working with the guitar hand in hand, building layers of sonic violence. There is a strong unity and community feel to the song. Like it is meant to be sung collectively, gathered in some enormous hall after a battle. We can easily see this becoming a live favourite, bringing fans together. Shagrath of DIMMU BORGIR makes a guest appearance, reinforcing this gathering of forces. Where the previous song brings some of the most important influences in the studio, The Return of Darkness and Evil does it on stage. This BATHORY cover is anchored to the crowd and place, reminding everyone that the band is a force to be reckoned with live. I keeps bringing peoples together with Sakis Tolis of ROTTING CHRIST joining them live in Athens. After so much carefully controlled studio production, hearing the band in a raw and electric setting is a refresher we didn’t know we needed. Closing with a second version of Lord ov the Horizons is perhaps the most unusual choice on the record. The rough mix offers a glimpse into what happens between recording a song and arriving at the finished version. It isn't a radically different interpretation, nor does it sound like a primitive demo. Most of the key elements are already there. What changes is the balance. There is less clarity and refinement than in the final version. For some, the differences may not be substantial enough to completely justify including two versions of the same song on an eight-track release. But it does bring an interesting perspective and reflection on the album itself now that it’s almost over. It already makes it a new past to be reinvented. I, Scvlptor works because it could have been disjointed but isn’t. It is unconventional but assumed as such. Nergal describes it as “more of a compilation”, while also insisting that the fact it contains songs nobody has heard before makes it “a significant release” for the band. There are moments when the record feels voluntarily (or not) fragmented. But the contrasts are also what give it personality. Like the sculptor in the title track, BEHEMOTH are still working on themselves. They are taking familiar forms, breaking them apart, sharpening some edges, exposing others and occasionally revealing something entirely unexpected underneath. The final shape isn't necessarily the point but the act of sculpting is. Score: 7/10 I, Scvlptor will be released on 4th September 2026 via Nuclear Blast Records. Words: Lysandre Pons Photos: Grzegorz Gołębiowski

Collaborating with other artists has long been a way for respected bands to reach different audiences while fusing their respective styles to create something new, particularly through a single release. MOTIONLESS IN WHITE featuring Corey Taylor is one recent example, but it is far rarer to see two bands come together to create an album release where both bring their own identity to the table. Rarer still is a project that feels like a genuine contest between the two, with each side effectively battling it out across the record. FIRE SALE and THE CORPS have done exactly that with Split Decision. FIRE SALE are an American punk rock supergroup featuring veterans of the 1990s and 2000s punk scene. Formed in 2021 by guitarist Chris Swinney, formerly of THE ATARIS, the band recruited lead vocalist Pedro Aida, formerly of THE IRON ROSES, bassist Matt Riddle, formerly of FACE TO FACE, alongside Brad Edwards on guitar and Matt Morris on drums. Their sound is rooted in high-energy melodic punk and skate punk, blending driving guitar hooks with rich vocal harmonies while exploring difficult subjects surrounding mental health and emotional vulnerability. THE CORPS are a high-energy melodic skate punk band from Vancouver, British Columbia. Over the last decade, they have embraced the spirit of 1990s skate punk, combining driving guitars, powerful drums and infectious choruses. Their lyrics frequently explore real-world personal and societal issues through the lens of a comic-book dystopia, with a particular affection for the DC Universe. Dan Garrison on vocals and Dan Stenning on drums and vocals are the band’s two original members, with Morgan Farrell joining on lead guitar and Dave Derksen on bass in 2024. Split Decision is a four-track release, with each band contributing two songs. Two companion videos are also planned to accompany the release. The opening track comes courtesy of FIRE SALE with the intensely personal Kill The Noise. The song tackles the daily struggles associated with mental health and the challenge of overcoming them. A gnarly guitar riff opens the track and continues to echo throughout, even once the drums and vocals enter. The lyrics feel like an almost desperate cry for help, yet they are never drowned out by the instrumentation, which makes the vulnerability of the song particularly effective. A brief guitar solo provides another standout moment, with Swinney’s guitar cutting through the track before the vocal harmonies gradually drift towards the conclusion, ultimately giving the impression that the noise has finally been silenced. It is a powerful and emotionally effective opening track. FIRE SALE’s second contribution, Dies Irae, moves firmly into the 1990s skate punk territory that the band executes so well. It is the kind of song that would not feel out of place on the soundtrack to the Tony Hawk Pro Skater franchise. The track is built around an explosive and erratically brilliant bassline from Matt Riddle, while the guitars and drums provide the frantic energy that defines FIRE SALE’s sound. It is an unapologetically in-your-face track that tackles the current social and political climate. The song refuses to ignore the issues around it, and nor should it. Explosive, fast and packed with attitude, Dies Irae captures much of what makes skate punk such an enduring genre. THE CORPS step up to the amps for Imposter Syndrome, opening their side of the split without dropping the tempo FIRE SALE established. Face-melting guitar riffs rip open the track before cascading arpeggios combine with rapid-fire drums. The bass drum then drops into an almost a cappella-style break before the vocals kick in. There is a gritty quality to the production and performance that works particularly well, while the track carries echoes of the early days of THE OFFSPRING. It is the fastest song on the split, yet it never becomes messy or loses control. That frantic energy perfectly complements the subject matter, with the lyrics exploring anxiety, overthinking and the feeling of the mind rapidly becoming overloaded. The track comes full circle by ending in a similar fashion to how it began, bringing the addictive guitar work back to the forefront. It makes for a frantic but controlled introduction to THE CORPS’ contribution. The final track, Another World, switches things up with a more mid-tempo approach, and this is where THE CORPS’ individuality really flourishes. Drawing on the band’s affection for comics and superheroes, the song manages to explore the pain of missing someone and longing for somebody who remains unreachable. That combination of comic-book imagery and genuine emotional vulnerability is an impressive trait. The melody is addictive, while the guitar work and lyrical flow create an atmosphere that feels considerably more reflective than the preceding track. Combined with the meaning behind the lyrics, it is a song that should resonate with a lot of listeners. It is also worth complimenting the creative album artwork. Split Decision uses the style of an old-school boxing promotion cartoon, with both boxers lying flat on the canvas. It is a simple but effective visual representation of the concept, suggesting that both bands entered the project as competitors but leave it as equals, embracing whatever the record and its reviews bring. What is perhaps most interesting about Split Decision is that it does not always feel like a battle between two bands. In places, it barely feels like two separate bands have produced the record at all. FIRE SALE and THE CORPS have clearly gelled creatively, producing a release that feels remarkably cohesive while still allowing both bands to retain their individual identities. The balance is particularly effective. Both bring their own tempo, guitar style and lyrical themes, but there is enough common ground to make the four tracks feel connected rather than simply placed alongside one another. The result is a split that could potentially open the door to further collaboration, whether creatively or on stage. Heartfelt lyrics, 1990s-inspired rhythms, infectious guitar work and the occasional solo seemingly designed for air guitars and mosh pits - there is plenty to enjoy here. For a release built around two bands effectively stepping into the ring against one another, Split Decision ultimately proves that the biggest winner does not have to be either FIRE SALE or THE CORPS. It can be the record itself. Score: 8/10 Split Decision will be released on 4th September 2026 via Negative Progression Records. Words: David Waites Photos: Fire Sale & The Corps