After four decades of performing classic metal music, a regular Joe would struggle to keep things fresh - that’s certainly not the case for ARMORED SAINT, who are once again injecting new life into the classic rock scene with their upcoming album Emotion Factory Reset. Proudly proclaiming they’ve “never repeated ourselves” and that each album “is a snapshot in time”, Emotion Factory Reset demonstrates this well with sounds that resonate with the older fans, but featuring a modern feel to it that doesn’t feel aged - it’s “dad metal” that all ages can appreciate and headbang to. Their ninth full-length album in an illustrious career that’s seen them share the stage with fellow powerhouse bands METALLICA, SEPULTURA, and TESTAMENT, ARMORED SAINT have drawn their inspirations for this album from the sounds they’ve been immersed in for years, an inner look at themselves as a band of allies, and their individual journeys over the course of their time. It’s an introspective album of lyrical word play and powerfully hefty rhythms, but also feels laidback in the sense the band aren’t focused on remaining in the past, instead choosing to surge onward while staying true to their roots. Emotion Factory Reset begins with stirring strings and a triumphing guitar riffs on opening track Close To The Bone, before giving way to fast paced rhythms and John Bush’s raw vocals about hiding his feelings, featuring tearaway guitar solos that would make IRON MAIDEN sit up. Dropping into a palpitating bass line, Every Man-Any Man is one of the more nostalgic tracks on the album, using wordplay to say “every man, any man, has his price”, calling into question the morality of the music scene while adding a mischievous flair to the bridge around bold riffs and thumping drums. Diving headfirst into the snappy drums of Not On Your Life, the pitch of the instruments and vocals feels like a jeering “come and have a go” as Bush sings over rich guitar riffs. Hit A Moonshot’s eerie glitching synth falls into red hot riffs and high-strung licks, with rough vocals layered over harmonious backing vocals, the bass tearing through the melody and the cymbals crash onward in a frenzy, as if they’re in a rush to deliver their nostalgic sound, dropping slightly in pace and lower pitches for the bridge before ramping the speed back up. Slowing down for a more soundtrack-esque and heartfelt melody, Buckeye almost has a 90s grunge-metal feel to it that hints to SOUNDGARDEN, with layered backing vocals, languid riffs and beats, and a bass that has all the time in the world because it knows you’ll stick around. Compromise is the antithesis to its predecessor, racing back in with Gonzo Sandoval’s fiery beats and Joey Vera’s bone-shaking bass, ramping up to a ‘solo-off’ between Jeff Duncan and Phil Sandoval’s ripping guitar solos, Vera making his riffs heard and felt. Fading into a more cinematic, battle-ready intro, It’s A Buzzkill drops into more of a prog-rock anthem with venomous lyrics and striking solos as Sandoval keeps steady time on the drums in a pedal-heavy but understated beat. Throwing Caution To The Wind is the first track that saw the band writing and recording in the studio together, no easy feat with the pressures of modern life. Starting with a rhythm that gets you in a headlock and drags you into a mosh pit, the pace and instruments switching up from rapid-fire to marginally slowed down, before a solo absolutely rips through. A more modern prog-rock drum beat and fuzzed guitar riffs pave the way for Ladders And Slides before it returns more to its classic metal feel, traversing years and genres to compile them into a blend of all their best sounds and inspirations, creating a track that will resonate across more fans of alternate rocks. Echoing fret slides are joined by a dangerous guitar riff, distorted bass, and pummelling, killer drum beat, Bottom Feeders descending into Bush’s derisive lyrics and untempered rage fuelling his emotive singing, showing they have zero time for people who believe themselves better than others. Aptly named Epilogue sees us out on Emotion Factory Reset, with a blistering rhythm and breathless bass line that undercurrents the melody, the whole song meaning business as it shifts slightly into an exultant call of “I am the catalyst” and delectable guitar solo. They may close out with “the end is near”, but ARMORED SAINT have shown they’re nowhere near done claiming their rightful throne in the metal scene. Score: 8/10 Emotion Factory Reset will be released on 22nd May 2026 via Metal Blade Records. Words: Julia Stark Photos: Armored Saint

WREX aren’t just refusing to slow down, they’re torpedoing through the nu-metal-alt scene at breakneck speed, with the release of their new EP SADWORLD. Following a year of non-stop grafting and touring and the promise of another stacked year, whilst finding the time around their 2025 touring slots and everyday life to record the tracks, SADWORLD isn’t just an impressive feat of the band’s production skills and ability to think outside of the box, it’s a journey of emotions from cathartic release to rending fury, in a succinct but solid collection of 5 motley tracks. From humble beginnings starting as “two people with a laptop”, SADWORLD is a testament to the band’s progression and upward trajectory, vocalist Mae Seaton and instrumentalist and producer George Donoghue at the helm with their touring band adding their efforts to the EP, with additional features from other skilled musicians hoping to help elevate WREX to the next level. With open-minded collaboration and audience connection their ultimate goals as a duo, WREX are steadily building their empire brick by brick, SADWORLD signifying five roads leading to the heart of their stronghold. Starting with deceptively soft, mournful vocals from Seaton as guitar and bass buzz in the background, first track Paranoia explodes into crispy drums and shuddering riffs as Seaton and Donoghue harmonise acidic lyrics that could be aimed at a specific subject or their own inner demons. The melody weaves into synths reminiscent of film soundtracks from the turn of the millennium, the thundering riffs and drums surrendering to a strident beat on the breakdown as Seaton’s vocals climb in pitch and Donoghue cuts through with wrathful yells. 111 launches straight in with Seaton’s matter-of-fact, venomous spoken word over a rising, pulsing synth, sudden instruments and yells breaking the stripped back sound, dropping to a whisper then crashing in with a bang. Lethal in its rumbling sound, Donoghue takes the wheel to bring hoarse yells of “you’ll poison yours, I’ll poison mine”. Renowned for being the live track Donoghue flings himself into the crowd for, it’s not hard to visualise throwing yourself around to the beats and screaming back the words in, for a brief moment letting go of control. The first single and video dropped from SADWORLD, Consume is the punchiest and most interlaced with instruments track on the EP, beginning with a command of “when you hear the rhythm, start to move” - you don’t need to tell us twice. Seaton brings scathing lyrics that call out everyone for watching the world fall into chaos while we pay “a service charge for being alive”, and to remember “what’s yours is theirs and what’s theirs is theirs”. Consume is a track for truly feeling the rage at the world’s injustice in a neat package of pounding drums, echoing synths and howls, and guitar and bass that embodies that pit in your stomach looking at the state of the world. An amalgamation of their new sound mixed with abandoned segments from previous EPs, The Noose keeps the heat of this EP burning with a delicious guitar solo introduction, before it descends into a tearing rhythm. Donoghue and Seaton complement each other as a well-oiled machine, with visceral shouts and siren-like vocal runs that snap between emotions. Suddenly dropping to an entirely stripped back sound of soulful piano as Donoghue sings “you wouldn’t believe the things that I’ve seen”, Seaton echoing hauntingly in the background “we’ll find a way to escape, navigate these sinking feelings” - The Noose feels like a hand reaching out when you’re at your lowest, ready to pull you back from the ledge. Subverting expectations, SADWORLD steps away from the alt-metal sound we’ve been raging through to A Thousand Ways’ piano accompaniment, for a poignant ending to this emotional experience. Donoghue bares all in a vulnerable melody of lonely piano and lyrics “I’ve tried a thousand ways of numbing this pain, but it swallowed me whole”, gradually introducing string synths and layering Seaton’s harmonies over his before the track abruptly ends and leaves you wanting more. It’s the dark before the dawn, the anger and upset already spent in the preceding tracks with A Thousand Ways the final emotional upheaval before you have to pick yourself back up. Score: 9/10 SADWORLD will be released on 20th May 2026. Words: Julia Stark Photos: Ethne Lever

JOEY VALENCE & BRAE brought their unwavering positivity and energy to their biggest ever headline set at The Roundhouse. Opening the night was up and coming pop forward hip-hop group WHATMORE who got the crowd warmed up in a brief thirty-minute set showcasing all their influences. Opening with DJ led mixes whilst each member showcases their lyrical flow. The crowd started to dance and celebrate the joy that is live music. The group then transitioned into showcasing their instrumental skills by bringing guitars and bass into the set. This allowed WHATMORE to prove why they have already started to gain a following, their passion for the craft of their music with that alternative pop sheen. The crowd began to showcase their energy that they would only grow for the rest of the night. JOEY VALENCE & BRAE’s DJ Ewook warmed up the crowd even further with a short fifteen-minute set of classic sing-along tracks. This got the crowd in the mood to party with mosh pits already opening up. The crowd was full of anticipation for the night’s headliners. As soon as JOEY VALENCE & BRAE took the stage the crowd began to show their love for the duo. Chants of their name erupted in any gap they had between tracks. Everyone in the room was there to show how much they loved the headliners. When each track hit the crowd reached a new high of energy. The set covered every aspect of the duo’s career and showcased every type of hip-hop they can do. Everything they do on stage is positive. The duo play expertly off each other making sure to show their genuine love of each other. Hugging each other, giving each other praise and exchanging dance moves on stage. Their relationship is what makes their music so likeable, they have passion for their craft that shines through every track. Their stage presence is some of the most uplifting around, they challenge everything that can make music toxic and inapproachable. They fight everything to make their gigs a true safe space for everyone. The main set concludes with the fan favourite The Baddest which creates a surge of power through the audience, the pits reach a chaotic climax, everyone is dancing to see if they are the baddest when the real answer is JOEY VALENCE & BRAE. The duo leave the stage briefly, the volume of the chants forces them to come back near instantly. When they come back they start the two song encore with Punk Tactics which keeps the same energy that has been kept up all night. It’s simply a joy to see JOEY VALENCE & BRAE bounce off each other on stage. The final track of the night is the melancholic Disco Tomorrow which creates a reflective mood in the audience. People crowd surf till the end but it’s an oddly emotional finale. Confetti covers the audience as the song comes to a close, capping off a night of pure joy. JOEY VALENCE & BRAE don’t leave the stage, instead they walk into the crowd and start talking with fans, it’s some of the most casual behaviour you will ever see from music superstars. Words: Will Freeman Photos: Ben Blissett

There's a quote that circulated the room at New Cross Inn on the 4th of May, by one of the organisers: "hardcore exists for shit like this." Not for streetwear. Not for big corporations. For this - an afternoon of music, community, and solidarity that raised over £4,000 for Palestinian relief, packed into one of South East London's most beloved grassroots venues. Punks for Palestine was not an event defined by a rigid definition of being ‘punk’. What followed throughout the day was proof that punk, in its truest sense, is less about how you sound and more about how and why you show up. UNWITNESSED UNWITNESSED opened the afternoon with three songs of London hardcore that set the tone immediately, with deep growling vocals paired with real technical singing, and a pit that formed earlier than anyone expected. For a new band, they command the room with ease. Short, purposeful, and surprisingly heavy for the time of day. MASHAAL MASHAAL brought with them hardcore through diasporic eyes and experiences. The energy is instant and overwhelming, with songs Aliyah and Alhamdulilah hitting hard with the crowd. This is what it sounds like when the personal and political are one and the same, showing that politics and identity constantly intersect. YUNG YUSUF YUNG YUSUF offers a shift in texture: rap over punk-ish instrumentals, raw and rebellious. Closer Coloniser, a direct response to being told to "go back home", lands with the kind of clarity that only lived experience can produce. The crowd listens hard. RITUAL ERROR RITUAL ERROR are the outlier in the best way, as their post-hardcore noise trades moshing for something more unsettling and urgent. One song targeting bands who perform politics as aesthetic without the substance earns a knowing reaction from a crowd that knows when someone is being authentic in their politics. KEMASTRY KEMASTRY arrives as the afternoon's elder statesman, opening with a poem before settling into shamanic UK hip-hop wordplay. Performing on a near-broken voice makes it no less commanding - if anything, it shows his strength and dedication to the Palestinian cause. KILA KOSA KILA KOSA bring South London hardcore that hits with the force of early BRING ME THE HORIZON, bringing cathartic riffs, vocals, and people doing somersaults in the pit. The "free, free Palestine" chant that closes their set is taken up by the whole room. SARSOUR SARSOUR are only on their second-ever live show, and you would never know it. Punk through an Arab lens, rooted in geopolitics and resistance, the Syrian-fronted band pulls three mosh pits and a standing ovation. "This has always been my dream," the singer tells the room. Based on the reception, the room is glad they're here to stay. SHOOTING DAGGERS SHOOTING DAGGERS are everything and nothing at once, with London queercore that swings between slow hope and furious moshing, between emo vulnerability and circle pit energy. Their upcoming album Real Life Things, is previewed with three new songs, one of which makes the whole room sit down. The last three songs are dedicated to women and queer people. "Representation is so important on this stage," they say, and the room erupts. A circle pit on the final song brings the day to its most joyful moment yet. CHINNED And who could forget CHINNED, the Stevenage Grindcore Mafia, reunited for one night only after six hours total of practice across two years. The pit goes harder here than at any point all afternoon. Their set is brief, chaotic, and phenomenal, the vocals cutting through with real force. "It's truly sick to do this one last time," the frontman says, "then we'll probably do this again in eighteen months." The crowd takes it as the promise it's meant to be. £4345 raised. Eleven acts. One room, mixed in age, subculture, and background, united by the understanding that art and music have always been political, and that the work of building a better world happens in exactly these kinds of spaces. Punks for Palestine continues to show the importance of unity and community organisation to fight against the imperialist core that has permitted and enabled the subjugation of the Palestinian people for the past 78 years. Words and photos: Atoosa Salamat

CQ WRESTLING’s second studio album, Resistance, is set to release on 22nd May, packed with emotional and vulnerable tracks that mix grunge with touches of post-punk. The first song on the album, Pacifico, is a perfect opener. A melodic, almost hypnotic riff leads us into the song and keeps us captivated throughout, while the rest of the instrumentals remain relatively simple. The same can be said for the vocals, which fit the song perfectly. Through this simplicity, the vocals feel more intimate and vulnerable. The song explores themes of journeys and the path to change, ideas that are heavily emphasized throughout the track. This makes Pacifico a heavy and emotional introduction that sets the tone for the album perfectly. Innocence starts out with a huge amount of grunge energy. Stripped-back verses lead into heavy, massive choruses. The song almost recalls the likes of NIRVANA, especially during the verses. Thematically, it focuses on the need for change in the world. Lines like “change the rules of the game” effectively emphasize this desire for transformation throughout the song. The next track on the album, Smoke Screen, also refuses to leave this topic behind. Beginning with a slower verse and an almost hypnotic guitar riff, the song initially seems like one of the calmer moments on the record, only to completely erupt into screams and despair towards the end. Shine Not Burn (Under The Sun) is another song that begins slowly. A gritty bassline carries the track, while the other instruments remain mostly stripped back. The song portrays the feeling of loneliness and separation from loved ones. It feels isolated not only because of the sparse instrumentals in the verses, but also due to the well-crafted and intimate lyrics. The most post-punk-inspired track, HEALTH+, starts off explosively. A huge, gritty bassline alongside aggressive drums introduces us to another side of CQ WRESTLING. A side they portray perfectly. As one of the heaviest songs on the album, it stays in your head long after listening and sounds like it would be incredible to experience live. The opposite can be heard on Finish Line. At first, nothing but a simple guitar riff can be heard. Slowly, the distortion increases and more instruments are introduced, allowing the song to evolve into a slow-burning and emotional track about death and fading away at the finish line. This quickly becomes one of the album’s highlights. Its intimacy and emotional depth are rarely executed this well and are genuinely impressive. The song itself feels like an experience, drawing you deeply into both the band’s emotions and your own. Catherine Wheels also maintains a slower tone at first before erupting into a huge, reverb-heavy chorus. Mesmerizing guitar riffs can be found throughout the song, helping to maintain the atmospheric mood that defines the album. Forgive & Regret sounds the happiest out of all the songs on the album and can more or less be considered a love song, although it still remains far from conventional. The track carries a dreamy indie texture throughout, combined with strong lyrics that create a surprisingly catchy moment on the record. All Change arrives with a slightly different approach. Distorted vocals blend with an intimate guitar riff during the chorus, while the verses feel dreamy and stripped back. The distorted vocal effects provide an interesting shift right before the end of the record, refreshing the listener’s attention and keeping the album engaging. Guns In Their Hands, however, starts off rough and raw. An acoustic riff is paired with simple vocals before the song bursts into an explosive chorus, which is definitely one of the most enjoyable moments on the album. Guns In Their Hands offers another emotional insight into the band’s mindset while also standing as an incredibly well-executed and catchy track. The album closes with Soft Top, one final emotional journey from the band and yet another brilliantly executed song that feels intimate enough to truly sense the emotions behind its creation. CQ WRESTLING does an amazing job of moving from soft, intimate verses into catchy, melodic, and aggressive choruses that stay with you long after the music ends and Soft Top is no exception. All in all, Resistance is absolutely worth listening to. From front to back, you can feel the emotion of the band. This level of intimacy is something rarely found on an album. Musically, CQ WRESTLING explores an interesting combination of grunge, post-punk, and dreamy elements, incorporating them into every song without ever making the record feel generic or repetitive. With Resistance, CQ WRESTLING has created an incredible emotional piece of work that everyone should experience at least once. Score: 10/10 Resistance will be released on 22nd May 2026 via Truth Records. Words: Hannah Martin Photos: CQ Wrestling

One of the most promising newer alternative bands, ALT BLK ERA are set to release their newest EP, Our World. After their debut album Rave Immortal, the young band from Nottingham is continuing their journey to the top with a brand new genre-bending project. Tissues is an intimate start to the EP. The track dives into vulnerability and captures what it feels like to be overwhelmed by the world. The chorus portrays this feeling really well with lines like: “Everything’s messed up, a million issues. I’ll be crying my heart out till I run out of tissues,” which showcase the raw emotion of the song perfectly. Musically, ALT BLK ERA are hard to define and sit somewhere between rock, pop, and electronic music. This song reflects that perfectly, combining distorted guitars with a wide range of electronic elements, all delivered in a melodic and pop-inspired way. Lost In The Back Of My Mind takes a slightly different musical direction. It presents itself as much more upbeat, but still doesn’t shy away from combining different genres. Overall, the song leans more towards the electronic side, with a huge chorus erupting throughout, rather than sounding like a “normal” rock song. Lost In The Back Of My Mind explores what it feels like to reconnect with lost parts of ourselves and the struggles that come with it. Their newest single, Silhouettes In The Mirror, is the heart of this EP. The song shows how horrible and disorienting it can be to live in a world full of injustice and violence, reflecting on our actions as humans while barely being able to recognise ourselves anymore. Musically, this track is the absolute highlight of the EP, perfectly utilising electronic and alternative rock elements. It feels incredibly fresh and memorable, which is also largely due to the outstanding vocals. Okay (Cyber Racing) further proves how ALT BLK ERA cannot be confined to a single genre. Glitchy electronic elements are mixed with a huge, dirty bassline, while guitars are only used in moments where they feel impactful and necessary. The rap sections add another refreshing aspect to the track and help create this chaotic, genre-bending mix. The EP ends with the title track, Our World, which functions incredibly well as a closing song. It is the most stripped-back track on the EP, but that makes it stand out even more. The instrumentals and vocals feel epic and expansive, making the song feel like a major highlight. The chorus effectively repeats the phrase Our World, which not only makes the song memorable, but also reminds us of the journey the EP has taken us through. Our World is a genre-bending journey by the talented Nottingham-based band ALT BLK ERA. Moving from electronic to pop, rap, and rock, the EP delivers a unique listening experience and serves as a fantastic introduction to the band’s distinctive style. Score: 9/10 Our World will be released on 22nd May 2026 via LAB Records. Words: Hannah Martin Photos: ALT BLK ERA

Rolling into Manchester for the highly anticipated God Forbid A Girl Goes On Tour, the night promised huge energy from three artists all bringing something completely different to the stage. Opening the night was Canadian indie-pop artist DAWSON GAMBLE, performing a more intimate solo set without the full band behind him. Even stripped back, his mix of catchy melodies, emotional vocals and guitar-driven indie pop instantly grabbed the crowd’s attention. By the final song, the entire room was chanting back at him, proving he’s quickly becoming a rising force in the scene. Next up was ELLA RED, who completely transformed the atmosphere the second she stepped on stage. Dressed in a ballerina-inspired outfit, she danced effortlessly across the stage while commanding the crowd from start to finish. By only the second song, the audience were already singing along, and every time she told the crowd to scream, dance and party, the room answered with huge cheers. One of the standout moments came when she jumped onto the barrier to dance with fans mid-set, making the whole performance feel chaotic in the best possible way. Her second-to-last song had the entire venue singing together and perfectly warmed the crowd up for what was coming next. Then came the main event everyone had been waiting for – LØLØ. With her new album only dropping a few weeks ago, most fans barely had time to learn the lyrics before hearing them live. Somehow, that didn’t matter at all. From the second the journal-style intro rolled into The Devil Wears Converse, the crowd screamed every word back like the songs had been out for years. What followed was pure unadulterated fun. The Floor Is Lava and Debbie Downer sent the Manchester crowd into overdrive, once again proving why the city has one of the best live atmospheres around. During Debbie Downer, LØLØ brought a fan on stage to sing with her and crowned her with a “Debbie Downer” banner and pom-poms were thrown into the audience so everyone could dance along. The highlight songs of the night were Faceplant and u turn me on (but u give me depression). The energy in the room hit another level during both tracks, with the crowd louder and more chaotic than at any other point in the set. One of the most memorable moments of the night came during the acoustic section. LØLØ returned to the journal theme, writing in it on stage with it being announced over the music before dropping it dramatically and disappearing offstage briefly before coming back out for a more emotional run of songs. Between songs, LØLØ constantly interacted with the audience, which made the whole show feel incredibly personal. At one point she joked that Manchester had “taken her toastie virginity”, which immediately led to someone in the crowd shouting asking whether she’d had one that day. Laughing, she admitted she hadn’t because her usual place was too far from the venue, which earned a wave of playful booing from the crowd. Moments like that made the night feel less like a polished arena-style performance and more like hanging out with a friend who just happened to be putting on an incredible show. Whether it was the crowd booing the sound team for not letting her play both Hurt Less and Lonely & Pathetic as they didn't have the time to play both, or the sea of phone lights during Lobotomy & u, every moment felt personal. That’s what makes a LØLØ show stand out — it feels less like a concert and more like a giant therapy session where every single person in the room is part of it. Closing the night with Hot Girls in Hell was the perfect ending. It was easily the loudest song of the night and sent the crowd out on an absolute high. Words: Jack Norris Photos: Nicola Small

There’s a point where a band either folds under pressure or comes back sharper than before. For CATALYSIS, it was never really a question of which direction things would go, just how quickly they could pull it together. Their latest EP, Serpentine, lands as the clearest statement yet of what the band is now. Not a continuation of what came before, but something more intentional, more defined, and, crucially, more reflective of the people currently in the room. “We’re not new guys anymore,” vocalist Andrew Downie explains. “This is the first time with the new lineup that we’ve really been able to go, right - this is the CATALYSIS sound.” That sense of identity has been hard-earned. The band’s current lineup came together under circumstances that, on paper, don’t usually lead to long-term success. A sudden departure, a rushed set of upcoming shows, and a vocalist who initially only expected to step in for a single performance. Instead, Andrew found himself learning an entire set in a matter of weeks, with the band’s future hanging in the balance. “I woke up to a text saying, ‘by the way, you’re the vocalist now,’” he recalls. What followed could have easily been a slow fade-out, but instead turned into a rapid rebuild. Within weeks, a new lineup had formed. Pulled together through long-standing friendships, chance conversations, and a shared willingness to keep things moving. It’s a dynamic that still defines the band now, both on and off stage. “We’re basically just a bunch of friends hanging out,” Andrew says. “Band practice is half rehearsal, half therapy session.” That chemistry feeds directly into Serpentine, which marks a shift away from the more transitional themes of its predecessor. Where The Only Way Out Is Through was rooted in rebuilding and pushing forward, the new EP leans fully into the band’s identity, and particularly their politics. “CATALYSIS has always been quite an angry band,” Andrew explains, “but now it’s more focused. It’s about the things that genuinely frustrate us.” That anger isn’t vague or abstract, either. It’s pointed, intentional, and unapologetic. While the band stops short of turning every show into a lecture, their stance is clear: whether that’s tackling systemic issues, calling out political hypocrisy, or amplifying causes they believe in. “It’s not about telling people what to think,” he says. “But it is about saying ‘these things matter to us’. And if you feel that too, then you’ll connect with it.” That approach extends into how CATALYSIS approach releasing music. Rather than having long gaps between full-length projects, the band have settled into a rhythm of shorter EPs and staggered singles, keeping things moving without losing momentum. “We’d rather write a few songs, put them out, and then do the same again a year later,” Andrew explains. “It keeps things fresh for us, and it means people aren’t just waiting around for ages for something new.” In practice, though, that approach doesn’t always guarantee an immediate reaction. The first track to arrive from Serpentine, Tremors, landed during a quieter period for the band, without the usual run of shows to back it up. “We put it out and then didn’t really gig anywhere,” Andrew says. “So it just kind of sat there. It felt like nothing was happening.” But, as the rest of the EP began to roll out, that changed. By the time Serpentine arrived in full, the response had caught up - both online and in the room at shows, where the newer material had already started to find its footing. Even then, some of the biggest moments came from unexpected places. “There’s a track called Futile that we didn’t think would be the standout,” he adds, “but it just keeps coming up, on streaming, at gigs, everything.” It’s a moment that highlights one of Serpentine’s biggest strengths: its range. The EP pulls together different writing styles and influences from across the lineup, resulting in something that feels cohesive without being predictable. “There’s more input from everyone now,” Andrew notes. “Different styles coming together in a way that just… works.” That collaborative energy extends beyond the studio and into the band’s live schedule, which is set to keep them busy throughout the coming months. A run of UK festival appearances sits alongside some long-awaited international shows in Spain, which quite literally have been years in the making. “It’s been in the works for about three years, so the fact it’s actually happening now - it still doesn’t feel real.” The run kicks off with dates in Dalías and Granada, before bringing the band back to the UK for appearances at Slayfest in Norwich and Call of the Wild in Lincoln. From there, the summer continues with slots at Aberdeen Metalfest, Hammerdown, Northants Rocks, and Big Jimmy Mania in Glasgow. For a band that thrives on the live environment, it’s exactly where they want to be. Even if some of those sets come with their own challenges. “We’ve got an 11am slot at Call of the Wild,” Andrew laughs. “So we’ll be playing to a crowd of hungover people who’ve just crawled out of their tents. That’s going to be… interesting.” Still, it’s all part of the experience. The band’s approach to touring is as considered as their songwriting, deliberately paced and built around maintaining the dynamic that’s made this lineup work. “We always travel the day before. It costs more, but it keeps things stress-free. And we all actually like spending time together, which helps!” Stability isn’t something CATALYSIS take for granted, particularly given how quickly things could have gone the other way for them. So, instead of slowing down, they’ve leaned fully into it: writing constantly, building momentum, and already looking ahead to what’s next. “There’s no real downtime,” Andrew says. “As soon as one thing’s done, we’re onto the next.” Looking ahead, that next step may well tie into a significant milestone for the band, with their 10-year anniversary approaching. While plans are still taking shape, the idea of bringing past and present members together for a celebration is already on the table, making it a full-circle moment for a band that’s been through more than most. “Regardless of what we end up doing, it’s definitely going to be a big celebration of CATALYSIS.” For now, though, the focus remains firmly on Serpentine and everything that comes with it. It’s a release that doesn’t just mark a new chapter, but a turning point where everything clicks back into place. After everything CATALYSIS have navigated to get here, that clarity feels well deserved. Words: Zuzanna Pazola

Hailing from Dundee, RED VANILLA are eager to make their mark on the music industry and their new EP Where I Should Be might just help them on their way. Offering thought-provoking lyrics, catchy guitar riffs and powerful vocals, it is sure to launch them even further on their quest to stardom. The EP follows the release of their debut single Embers in 2022 and their debut EP Day of Grey in 2024, which launched them as a bold new Scottish voice and earnt them support from the likes of Clash magazine, Discovery Music Scotland, and The Skinny Magazine. Whilst only seven songs long, their new EP solidifies them as one of Scotland's most promising up-and-coming bands. It also showcases just how versatile they are - catchy guitar hooks and strong vocals aplenty paired with the ability to write beautiful stripped back songs; RED VANILLA have really shown that there is nothing they aren’t capable of doing. Opening track Electric Blue immediately transports us into the world of this new EP. Melodic opening sounds instantly set the scene, with thought-provoking lyrics and a chorus full of catchy guitar riffs it sets the album off to a promising start, highlighting many of the strengths that RED VANILLA are already known to have. Second track Hazy takes a different approach to the opening track, but showcases exactly what this promising up and coming band can do. Ask Her If She’s Happy is possibly the catchiest song on the EP, with a strong guitar line carrying us through the whole song. It also showcases those strong vocals that we already know vocalist Anna Forsyth has. Whilst sticking to their roots throughout this EP, the band have also made sure to try stuff that we haven’t previously heard from them, showing just how versatile they really are. Play Me Something New is a completely new sound for RED VANILLA, it’s slightly slower than what we might be used to from them and is a perfect song to add to your late evening unwind playlist. The band have cited THE 1975 as one of their influences, which really comes through in parts of this song. The band wanting to try out new songs doesn’t end there with track Sunkissed Pools being their first ever fully acoustic release, which you would never know by listening to it. The beautiful vocals and acoustic guitar carry us through this dreamy song. Finale Oh No, I Got Older talks about time passing without being where you want to be, with a message of not giving up on those dreams. It’s a message that will be sure to resonate with young listeners, and is one of the strongest lyrically on this EP. This is a strong EP from a band that has made it clear they won’t give up until they reach the levels they dream of, and if RED VANILLA continue on the path they are on, there’s no doubt they will get there. Score: 8/10 Where I Should Be was released on May 8th 2026 via R&V Records. Words: Olivia Hermans Photos: Rachel Roams

Sadness does not announce itself with bloodied knuckles and a boot through the door. It is quieter than that. Perhaps crueller, as it seeps in the corners of a room like melancholic damp, turning the wallpaper soft with memory; it makes the floorboards creak with the weight of every ghost you tried to bury beneath them. It does not scream because it does not need to. Patient and pale, until the air curdles around you with what was said and what could never properly be spoken, sadness will wait. MAD HONEY understand that feeling with frightening precision on Bridge Over Cumberland. Where previous material shimmered with the softer warmth of shoegaze and dream-pop nostalgia, this record’s haze is not decorative. The guitars do not float so much as hang over the record like a bruised sky, while the drums drag through the songs with a slow, earthbound ache. Even in its prettiest moments, the album feels like it has dirt under its fingernails and the realisation that you are older than the version of yourself who once believed things would stay golden. Opener I Am a Wall, I Am a House is haunted by acoustic squeaks and close-room intimacy which makes the track feel almost too exposed, as if the listener has walked in on something private and stayed anyway. Tuff Sutcliffe’s voice arrives close, hushed and haunted, singing “I am older now, I see things differently,” with the exhausted clarity of someone who has finally understood the shape of a wound but still has no idea what to do with it. This is an album obsessed with perspective after damage: the strange cruelty of growing enough to understand your pain, but not enough to escape it. Reaching offers an indie-rock pulse pushing through the fog with a little more momentum – yet even here, there is no clean release. The fuzzed-out guitars carry a gorgeous scuff to them, all warmth and abrasion, while Sutcliffe’s delivery remains coolly devastated, as though she is describing the wreckage from just outside her own body. Somehow sharpens that feeling into one of the album’s clearest alt-rock hits. Grunge undertones crunch melodically beneath its dream-pop ache, a sense of romantic fixation warping into exhaustion, and this is felt particularly with the line “You are somehow seeping / Into everything” capturing the album’s emotional centre with brutal simplicity. This is what MAD HONEY keep returning to: the afterlife of attachment. MAD HONEY’s strength here is restraint. Bridge Over Cumberland is not interested in cheap catharsis, the kind where distortion crashes in and everyone gets to pretend the hurt has been exorcised, instead, the band often leave the wound open. Songs flicker into being, smoulder for two or three minutes, then disappear before they can fully resolve. It gives the first half of the album a fragmented quality, like paging through old messages you know you should have deleted. The album arguably becomes more compelling when it sinks further into its own slowcore gloom. Past Together Isn’t Presence is one of the record’s most quietly devastating turns, circling the grief of losing someone who is technically still alive. Moshfeghian’s guitars moving from post-rock shimmer into grungier, heavier collapse, swelling and receding like a tide dragging furniture out of a flooded house. Sutcliffe’s "I’ll try living / What else is there to do?” might be the album’s defining line. There is no triumph in it. No grand survival narrative, just the limp, stubborn continuation of being alive because the alternative has not yet taken you. The latter half of the album feels looser yet more skeletal. Natchez Trace Parkway operates almost like a passageway between states of grief; its slow, mournful pacing, giving the album the feeling of crossing some ancient, blood-warm ground. From there, Marie’s Song drifts into something more fragile – the production, co-handled by Sutcliffe and Lennon Bramlett, gives everything a strange closeness, as though the record is being played at the far end of an empty hall while someone whispers directly into your ear – though without overstating itself. Twelve Boyfriends, with its repeated ache of “Do you see me?”, captures the humiliating tenderness of wanting to be witnessed by someone who is already looking elsewhere. Then comes the behemoth of a title track, a near ten-minute closing piece that gathers the album’s ghosts and lays them out like objects on a table. Bridge Over Cumberland is sprawling without feeling indulgent, patient without becoming passive, until the whole thing begins to buckle under its own emotional weight. It is shoegaze with the glamour scraped off. Slowcore with a pulse under the floorboards. Music that knows wallowing is not always weakness; sometimes it is the only way to prove the feeling still has shape, and in that shape, MAD HONEY find something close to grace. Not healing. Not hope in any clean or marketable sense. Just the small, stubborn miracle of trying to live. Because what else is there to do? Score: 9/10 Bridge Over Cumberland was released on 15th May 2026 via Deathwish Inc. / Sunday Drive. Words: Talia Robinson Photos: Rachel Rector

HYPHEN’s rebel scum tour was the perfect start to the May bank holiday in Newcastle; a curated lineup of the best of contemporary punk and high energy sets making it a ninth birthday to remember for one attendee of Digital. Out of Rage favourite NATIVE JAMES began his set promptly at half seven, opening with lead Confessions of a Sinner single Fallen and quickly getting the crowd moving. The pit opened up for its follow up Hammer and the two steppers would keep their knees high as this turned into Power - only a small break taken for the Queen of the Dammed introduction. At this midpoint the electricity was coursing with Digital, which is what NATIVE JAMES does best, and the heads started banging like a metal Mexican wave. With another line from Queen of the Dammed sample The Rumbling started, now with the addition of bassist — screaming the second line of the hook which added extra flow to its live rendition. By this point the pit was breathing on its own and taking up half of the iconic attic room. After The Rumbling, NATIVE JAMES took the time to thank Digital for coming down early, and with the excited “see you at Download!” calls came the reveal of his intention to have PROFESSOR GREEN in Donnington Park - lucky are those who’ll see Block fully actualised. To finish was Field, an easy crowd pleaser, then unreleased track Never Been Scared which is getting its field test on this run. In short it goes hard - swinging, low pitched electro nu-metal that we can hope comes out sooner rather than later. As mentioned NATIVE JAMES is an Out of Rage favourite who always brings the most every stage he hits; make sure to catch him at Download before there’s no room in his crowds. After half an hour Aussie punk MUDRAT set up for the second ever show outside of their home country, making their presence known with You Don’t Care about Poor People. It was easy for digital to join in the call as MUDRAT swapped from a heavy set walk around the stage and a girlypop flick of the wrist for the cleaner vocal elements. Speaking of easy calls, it took little convincing to get Digital to chant One War Class War as Mudrat mused on being from a working class cities then coming to the UK and exploring Leeds and Newcastle respectively, keeping the crowd chanting “tell them they can get fucked” for the chorus of I Hate Rich Cunts. For We Despise the Bourgeoisie HYPHEN himself snuck out to rap his bridge in a first for the two acts, invigorising the band and crowd alike as the room jumped around with them. This stunt was a present for a 9 year old boy in the crowd for whose this was their favourite song; feelings on the amount of fucks a child that age should hear were pushed to the side for this child to come on stage and have Digital sing him happy birthday with HYPHEN and MUDRAT either side of him. In a tonal whiplash the next beat of the set was MUDRAT’s drummer performing the gutwrenching interlude of Mud, revealing a beautiful singing voice behind their nervous face as MUDRAT drew parallels between the factories in Melbourne and in Newcastle both making parts for the genocidal machine attacking Gaza. The music swelled as MUDRAT called for disruption before MUDRAT played Mud in full, then finished the set with Year of the Rat. This was cheeky and high energy, taking a pit that had been getting bigger and bigger to its most swollen then welcoming him into the centre as MUDRAT lay down and delivered the second verse. MUDRAT were introspective and community driven in their discussion of their politics and able to keep the crowd hyped throughout their musical numbers, while the detour taken to give a young boy a birthday he’ll always remember reminded that through the horrors we can make sure the kids are alright. The final band sent to warm up Digital were Riot Grrrl upstarts GEN AND THE DEGENERATES, with vocalist Gen introducing themselves by name and the band as the degenerates as guitarist Sean Healand-Sloan and drummer Evan Reeves pointed to one another and shrugged “surely not” behind them. Famous opened a set where the fem-presenters in the crowd were getting their time to shake hips, pit giving way for a dancefloor carried by the GEN AND THE DEGENERATES fan in leather trousers screaming every word and dancing as if they had the room to themselves. Follow up Favourite Jumper, Jen explains, is about “sleeping with a lot of people” with a coy smile, when a funky dragged-out chord progression starts playing and they delight about being a bisexual stereotype while looking at Digital through their eyelashes until Favourite Jumper’s breakdown. Here Jen lets loose at the expense of one of their space buns, which they admit defeat on and let down completely as they explain the mental health struggles behind Wahoo. The track itself is catchy and Digital catches onto the ‘wahoo’ quickly while Gen takes their turn performing from the floor; this plus the headbanging makes their left earpiece the next sacrifice, but once fixed it’s time for set closer Girlgotgun. The pit comes back for this and Gen is back doing floorwork, then closing their time on stage with a hard breakdown and a thank you. GEN AND THE DEGENERATES are equal parts honest and cheeky - the charisma of their frontman floods at their feet and they know how to get hips moving. The final half an hour break is spent with the Digital crowd filing onto the Millenium Square balcony, taking in the last of an unusually hot day before “backstreet’s back” lets them know the main event is starting. Out comes HYPHEN in his signature micro shorts, this time paired with a salmon waistcoat adorned with blue birds and flowers. The set opener is This Might be it, and HYPHEN can barely last half a verse before jumping from digital’s stage to dance his way through the crowd. With no break this is followed by This is Great Britain, by which point the room is jumping and ready for a guaranteed punk workout. HYPHEN decides this is the point to go through his mission statement about the suicide in his early 20s and how grateful he his ten years later for his now wife, his music and his growing fanbase; Confidence was the natural pick to follow this statement where his shorts can shake his troubles away as he picked fans in the crowd to sing every line with. Next speech was musing on how easily Britons born and moved get on when there are no politicians forcing them to hate one another, paving the way for the return of MUDRAT to have their first try performing Gary’s Economics live. With HYPHEN's signature “I’m about to start my WWE fight” limber the track kicked and the pit opened, getting right back to the punk workout as MUDRAT darted away for HYPHEN to take Hate Thy Neighbor and The Bear on his own. To follow was Hate Yachts not Dinghys, where Digital took two minutes to scream that hook loud enough to fill the square in a moment that reminded how unpopular anti-immigration sentiment actually is even in the corners of the UK it is often associated with. The final part of Hyphen’s set started with Hydra, followed by I said what I said which fostered the biggest pit of the night. HYPHEN’s final talking section was admitting feeling a little needy with the wants for call and response, then the classic “aren’t I clever” as he explains the line in Deskjob. Digital got it eventually, even managing to switch it from a call and response to a quiet to loud as the whole room crouched then jumped to its final chorus. Penultimately was 3 Pound Pints which electrified Digital for the home stretch, and the first of the moshers jumped to the stage; quickly most of the concert-goers were crowded around the band jumping and two stepping to the final chorus, leading HYPHEN to first tumble over a speaker then get back up, look around and decide that the set closer could be performed exactly like this. As expected this was Marching Powder, which was shouted behind him for the first half before his own urge to move got the better of him, taking his time to weave around the Digital crowd that couldn’t fit then shimmying back up for the final chorus. With an offer to go and talk to him after the show as the chatty man he is, Newcastle’s bank holiday warmup was whistling like a kettle on a stove, and those who weren’t waiting for a quick hello or photo were filing out of the hot attic room into the warm Newcastle air for some reprieve. HYPHEN is always a party, yet once again he has managed to create a night of live music packed with even more infectious energy than the last, and as he mentioned it was worth taking the time to craft his supporting artists for a poster that feels as if it will be in one of those “I wish I could’ve been there” compilations. The community that HYPHEN has built is an unparalleled space of support, solidarity and punk party animals - the sky is too low for the limit. Words: Julia Brunton Photos: Klaudia Skalska

Ipswich’s alt-rock icons BASEMENT became a well-known name throughout the UK grunge scene over a decade ago, mainly thanks to the release of their cathartic second full-length record Colourmeinkindness in 2012, as well as a formidable stage presence that saw them open for acts such as BRING ME THE HORIZON and would establish a cult following that wouldn’t falter even after a half-decade hiatus from releasing music. To celebrate the band’s highly anticipated return with WIRED, the 5-piece announced an intimate tour across UK venues to test the water with their new material and return to their humble roots. This was a no-nonsense ordeal, lacking any support acts to rile up the fans, and as we waited in the dimly lit venue, it became clear that this was a crowd that needed no assistance in amping themselves up. The pit was antsy, those in groups hyped each other up, and those alone fed off this energy, like a chemical reaction created from a feral urge to rock. As the lights dimmed at a sensible 8 pm, the now densely packed Fleece whooped and hollered, eager to get the show started, as the band took to the stage with the titular track of their freshly released album, crashing throughout the room and setting the motion of the pit into swing. As is expected, ANDREW FISHER made certain to make a huge first impression on any audience member experiencing the band for the first time, leaping and careening about while delivering raw, confident vocals as he has done for many years. The momentum held through The Way I Feel, another single from the latest LP, the fans showing approval by shouting the lyrics back at ANDREW. With just a moment to breathe, the first chords of the band’s viral sensation Covet rang out, and immediate pandemonium ensued, fingers pointing in the air and voices calling from each crevice of the venue, plus the first of countless stage invasions, which is, of course, encouraged by the group. The sting of nostalgia and adoration towards the angsty hit was ripe over the floor at that moment. It is without question that the connection between band and audience is akin to family, as frontman ANDREW takes a moment to advise, “this stage is crazy small, if you’re jumping up, be careful, and please be sure to catch people”, said not long after bassist DUNCAN STEWART pulled up a stumbling fan. A few tracks deeper into the set, ANDREW tells the crowd, “We had a message from someone who said their kid is allowed to come to the show because they revised for their GCSEs…this one is for you, good luck with your exams”, toning down the energy with the song Head Alight, a heartfelt track delivered with crushing emotional impact. Taking a glance at the setlist, the frontman then humorously admits that the last song was dedicated to a venue security member who liked the song, showing a deep level of respect and appreciation as a band towards venue staff to take the time to learn this and nod to it. The next track, Time Waster is instead performed in the name of the young fan. The calmer, melancholic section of the set offered a moment of repose before collapsing back into ferocity with Pine, another classic in the discography, as each member poured soul and energy into their performance. Drummer JAMES FISHER (brother of vocalist ANDREW) was far better heard than seen at the back of the stage, yet clearly animated while blasting the beat through the cosy venue. Closing out the high-octane set was the standout punk banger Promise Everything, which summoned a swarm of fans to the stage, with limbs flying all over in a frightening display of adrenaline and hardcore passion. The four standing band members dodged person after person, drenched in sweat, as the frontman grasped the microphone and roared the final chorus of the night. It’s admirable to see the level of respect and community within the fanbase; no attempts to engage with the band were made by those clambering onto the stage, and those in the pit were catching those jumping without hesitation, despite only having moments to put down the last body before the next was hauling at them. The mayhem ceased just as fast as it had begun, as the band disembarked with a wave and a simple “cheers, Bristol”, as the crowd chanted and whistled them off. If there’s any impression to take away from this short yet mighty set, it’s that BASEMENT’s chokehold on the UK’s underground alt-rock scene will not be extinguished any time soon, and we welcome them back wholeheartedly. Words and Photos: Paul Cutts