Formed in 1993, GARBAGE are one of the influential alternative rock bands of the last few decades. Over the years they have crossed into many genres, but the grunge-y sounding electro pop is what they’re most known for. This year, they have embarked on a UK co-headline tour with SKUNK ANANSIE which includes a festival date at Bearded Theory. If you’re going to the festival and looking for a bit of an introduction to the band look no further, we’ll run you through how they formed, what they’ve been up to recently, tracks to look out for, and their three decade spanning legacy. The members of the band, vocalist Shirley Manson, Guitarist/Bassist and keyboardist Duke Erikson, guitarist and keyboardist Steve Marker, and percussionist Butch Vig have stayed the same since the beginning with no lineup changes. At the band’s inception, the Americans Vig, Marker and Erikson were keen to get a female singer in the mix for their new music project, and after seeing the music video for Manson’s previous band ANGELFACE, they invited her to record with them. Manson relocated to the US from her native Scotland and by 1994 they started to push out demos. Their first album was a huge success, and since then they haven’t looked back. Eight studio albums later and even with the odd hiccup here and there, the four-piece are back for good and performing at large venues across the world. In the last few years, the band have been touring the UK and Europe quite regularly, with a co-headline tour with NOEL GALLAGHER’S HIGH FLYING BIRDS in 2023, followed by a group of dates of festivals and shows in the summer of 2024. Last year saw them touring in light of their eighth studio album, Let All That We Imagine Be the Light. Prior to the coheadline tour with SKUNK ANANSIE kicking off, the group have shows in Mexico and The Dominican Republic planned in the coming weeks. It’s likely that you’ve already heard GARBAGE’s biggest track, Only Happy When It Rains, from their first album, whether you were conscious of it or not. Its moody multi-layered groove draws you in, and even since its release it has remained one of their top songs. From the same album, Stupid Girl compiles electronic beats and effects with fuzzy guitars. Their ability to combine raging rock riffs with electronic pop elements are what makes the band so special. Highlights from their second album include I Think I’m Paranoid and Push It which add a bit of fieriness to its predecessor. From the latest album, tracks like There’s No Future in Optimism and Hold definitely lean more into the electro pop side, with Manson’s sullen voice giving the songs a darker edge. In short, GARBAGE are a big deal. Their long spanning career and following only prove this. Over the years they have performed some unforgettable live sets that you should check out immediately, particularly their performance at Bizarre Festival in 1996, and at TRNSMT festival in 2024. This is a band that for a lot of people will play into their nostalgia whilst simultaneously capturing the interest of the newer generations with their iconic sound and aesthetic. Not to mention they have probably been an influence to many of your favourite artists, musicians such as HAYLEY WILLIAMS and even LADY GAGA have sung their praise for the band’s inspiration in their own work. Outside of their artistry they have always been vocal about contemporary issues and continue to fight the good fight. If you’ve learnt anything from this, it’s that GARBAGE are a cool, nostalgic force with female rage that’s always on the right side of history. Words: Danielle Henderson

On a lush sunny Saturday, Cardiff’s infamous Womanby Street finds itself lined with black band t-shirts darting between its legendary venues – Fuel Rock Club and Clwb Ifor Bach. What’s the occasion? Noizzefest. Since 2024, Noizze magazine has brought its favourite upcoming heavy hitters to their home city. After the closure of The Moon, this year they have moved venues, upgrading the capacity and calibre of artists across three stages. HAMMARTIA The day starts by darting up Clwb’s stairs to find HAMARTIA on stage. Labelled as “Ones to watch” by Noizze themselves, Singer Sophie Smith treats us to soaring harmonies against modern metalcore soundscapes, reaching out to the audience as her vocals rise. They close the set with their latest release, Synthetica. The audience’s necks are warmed up with a djentish breakdown, and eventually relieved with more lifting, harmonic catharsis. THE GREY Downstairs, THE GREY bring us back to the ground. They slow the pace with devastating weight, despite consisting of only three members. Everything about their presence matches the heaviness of the music – The lights are almost completely dimmed, and Bassist and occasional Vocalist Andy Price menacingly paces the space between the stage and the crowd, lifting his bass like a trophy in short-lived gaps. Guitarist Charlie Gration fiddles with his pedalboard to finely craft the atmospheric elements, rocking on the wah pedal. It’s a thirty-minute onslaught of escapism, as Price explains before he takes up the mic for the final song only. PEACH PEACH take the stage on Clwb’s top floor. Vocalist Ellie Godwin’s presence is enchanting. Her hands jitter and rise in parallel with her vocals, controlled shrieks sitting between smooth, frustrated lyrics. Opting for a Baritone guitar instead of bass, PEACH’s sound sits somewhere between grunge and desert rock. It’s surprisingly heavy, but light enough to position Godwin’s vocals at the forefront of their sound, perfectly teetering between. OMOIA OMOIA are one of those bands you can tell are just having an awesome time, and their energy is absolutely infectious. Armed with high kicks and grins, the Leeds-based quintet start not only the first mosh pit of the festival, but the first three! They rampage through their thirty-minute set, and it's over before it felt like it even began. Closing with song Section 28 – referencing the UK’s Thatcher-era law banning discussion of LGBTQ+ people and issues in schools – they’re the perfect example of the high energy, joy and frustration expressed through the UK’s Queercore scene. Their set is a definite highlight of the day, and their return to Cardiff can’t come soon enough. KNIVES Recently off the back of tours with THE CALLOUS DAOBOYS and WITCH FEVER, Bristol’s KNIVES are a band that always seem to be playing somewhere, and if you haven’t managed to catch them yet, you’re missing out. It's hard to know where to watch as the five-piece jump around the stage. The Saxophonist and vocalist twirl and dance, the Bassist is high-kicking, and one of the two Guitarists is running into the crowd to start yet another mosh pit. Every element battles against each other, yet somehow perfectly sit together to transform the room into absolute disorder. It's rich, relentless, and quite literally a fist to the face. It feels like a headline set, and you can’t help but feel like they’re on the precipice of something huge. HELL HOTEL Before HELL HOTEL take the stage, the lavish setup already demands attention. Red fabric is draped around the stage, drenched in red light and dotted with lamps and candles. Whilst their image feels well refined, their experience on stage doesn’t seem to match. They run through their 2000s emo-influenced set with conviction, but transitions feel clunky and awkward, fiddling with tracks and struggling to connect with the crowd in Fuel. Track every broken part. feels like a modernised version of something you’d hear on Three Cheers for Sweet Revenge, not helped by the black shirts and red ties donned on stage. The band feels strangely placed as a stage headliner, and the set feels more confusing than convincing. CALVA LOUISE CALVA LOUISE are a band that exists with such precision and professionalism, yet remains entirely DIY and Independent. The stage is decorated with a huge, neon red logo made by the drummer, and rigs of televisions playing music videos edited by the singer. The band’s international roots are constantly celebrated, Members hailing from Venezuela, France and New Zealand, with Vocalist Jess Allanic singing in both English and Spanish. The combination of all these elements crafts a rich sci-fi-inspired world for the band to exist in, clearly demonstrating a band at the top of its game. The ease with which they move between instruments and languages only further proves this. Allanic and Bassist Alizon Taho regularly switch between guitars and synthesisers. Sweaty and tired punters cram back into fuel for a post-festival drink, undoubtedly reinvigorated by the diversity and quality of the UK’s upcoming heavy scene showcased. After a sell-out day, it’s exciting to consider where Noizze may take the festival next year, and who else they could bring. Words and Photos: Alice Needham

On the outside, SPEED became a phenomenon almost overnight. With the release of the Sydney hardcore heavyweight's gritty genre-defying single, The First Test, the raspy flute notes symbolised a lifetime of Jem Siow's two impossible worlds - hardcore vocalist and classical music teacher - being impassionately meshed together. At its core, the track demonstrated the band's commitment to freedom of expression, but halfway across the world, it ignited a kerosene-fuelled generation, throwing themselves violently against each other in a damaging display of utter chaos. SPEED are authentic, from the moment they set foot into the Sydney hardcore scene to the moment stand confidently on the wide stage at Leed's Project House half way across the world. Impassioned with their hardcore roots, where they can, they bolster their crowd in no barrier venues and feel the seamless connection between their audience. But with their increasing popularity, as SPEED fill bigger stages, this has become increasingly harder. Regardless, the band made sure to kit this show out for a one-off Outbreak-style show, lights fully on, with true hardcore mentality in mind. In the healthy glow of Wrestlemania weekend, SPEED come face to face with a thousand frenzied faces, hurling themselves onto the stage, and Swanton bomb themselves stratospherically back into the crowd. It’s both a pinfall and a submission to the mosh. Representing Scotland's hardcore and its abrasive faction Northern Unrest, is Glasgow mob HELLBOUND. Producing a fast and unruly pit, the band get the evening’s proceedings warmed up with their thrashy caveman riffs. For the many that got their early, the wide pit was met by thrashy greebos, arms flailing and spinkicking from the moment they took over the stage. Their 2025 EP, Seventh Seal, adds groove to their overcast sound, perfect for fans of GROVE STREET, NO RELIEF and DEMONSTRATION OF POWER. BODYWEB, muddled together with members of the likes of HIGHER POWER, PEST CONTROL, STIFF MEDS and EMPIRE STATE BASTARD, take on the Leeds crowd next. With hardcore roots, their 2025 EP Deadwire formulates this sludgy shoegaze-inspired sound that bleeds with metalcore sentimentality. In moments of total anarchy, they push a damagingly raw sound, feeling just as brutal as their hardcore counterparts on this tour. Commanding the stage with ease, they deliver a high-intensity set, complete with disarming vocals that send you straight into the pit. Self-described as “Bangkok evilcore”, WHISPERS are a brutal addition to the lineup. With their dazzling opening set at Outbreak last year, their album Yom-Ma-Lok is an inferno of aggression. The damaging riffs transcend in a live setting, punchy and dripping with malice. Their set was such an intense presence, and it did not stop the crowd from going absolutely feral. Finding a home halfway across the world, with a trip at the iconic Salford Lads Club to celebrate, they’ve found their place and been welcomed with open arms. Brutality does truly transcend, and so does the love of hardcore. In true SPEED fashion, the set was short, but the energy was concentrated into just over half an hour of pure aggression. This show, as vocalist Jem goes on to recall in one of his sentimental monologues, is a show seventeen years in the making, telling the audience that he became acquainted with the city and its love of hardcore after meeting a British guy at one of his shows. It’s only now that he has fulfilled his promise of taking him on tour, but the frontman understands the immense power of the city’s intense music scene and the influence of Boom next door. The pit is bloodthirsty and packed with Carhartt-clad moshers in a dangerous hybrid of a crowd-killing push pit. The band anticipated the ferality of the tour, but it was maestro’d by the headliner with unprecedented brutality. Cycling through hits like Real Life Love, Peace and Big Bite, they decimate with each track and prove they are one of the shining voices in the hardcore genre. Dedicating Kill Cap to the eternal Bo Leuders, they push for a damaging moment of catharsis in tow with All My Angels, before a final send off with The First Test. It’s an important time for hardcore. An impossibly underground genre, championed by its authenticity, is dragged into the mainstream. Digitisation and mass media have given it a voice, but truly, it’s those who are in the scene who know what to say. Bands like SPEED give hardcore promise, thats both uplifting and honest. In moments that seem so far from where they came from. The genre becomes a universal language, united by equality, freedom of expression and the innate desire to lose yourself in the pit. Words: Amber Brooks Photos: Libby Percival

THE FLATLINERS don’t reinvent themselves—and they don’t need to. What they’ve built over two decades is a sound that refuses to lose urgency. Cold World is proof of that: a record that doesn’t feel polished into submission, but sharpened by time. Ska-infused punk with bite, momentum, and something to say. Hailing from Ontario, Canada, they’ve stayed unchanged for over twenty years. Same core. Same intent. That matters more than people admit. Unchanged and unapologetically authentic; they’re loyal to themselves and the music. Cold World channels clarity amid chaos, offering a perspective shaped by both the rage and toxicity of the modern world. The album opens with Stolen Valour, immediately grabbing attention with shredding guitars, pounding drums, and chant-like vocals. It’s an explosive introduction, setting the tone with urgency and intent. There’s even a hint of NEON TREES in its sway, blending ska rhythms with a heavier rock edge. Good, You? stands out for both its message and execution. Tackling toxic masculinity and the difficulty of emotional openness, it pairs hard-hitting riffs with Chris Cresswell’s gritty, soul-stirring vocals. The sense of unity in the track reinforces its theme—it feels like a collective voice confronting a shared issue. Inner Peace is anything but calm. Its brisk, high-energy tempo makes it a destined live favourite. The rhythm section of Jon Darbey on bass guitar and Paul Ramirez on drums shines here, locking in tightly to drive the track forward with relentless momentum. And They’re Off shifts the dynamic slightly, easing away from sheer speed to focus on groove. Scott Brigham’s guitar work, alongside Cresswell, injects a more rhythmic, almost danceable quality while still retaining the band’s punch. Only Darkness leans heavier into grit, dragging their punk base through a more bruised, grungier lens. Then Whyte Light flips between anger and reflection, like it can’t decide whether it wants to explode or hold itself together—and that tension is exactly what makes it work creating this energetic anthem. Into Annihilation provides a well-timed breather. It builds patiently, layering guitars and drums into a crescendo before pulling the listener into a more atmospheric space. The chorus brings it back with force, balancing restraint and release. Pulpit is another song that combines different styles and sounds creating an interesting mix. Reverting away from the previous track to kick the album back into the original punchy tempo. With the calm tone at the forefront an almost echo of scream alternating in the background with those harsh guitar riffs; engulfing in a vast array of opposing sounds that work so well. Turning Signal Rhythm delivers one of the album’s strongest melodies. Its infectious guitar hook carries through the track, with the verses and bridge building effectively toward a highly replayable chorus. Gush is where things start to crack open emotionally. More exposed. More unfiltered. The vocals sit right on that edge between control and breakdown, and the instrumentation follows suit. Still heavy, but less polished in the edges—and that suits it. Burn, feels like the heaviest track on the album. Bass hits harder. Vocals feel pushed to strain, it gives a more sense of a release than that of a performance. The track doesn’t feel out of place as the lyrics throughout the album have been reflecting on pain and harsh subjects; this just feels as if the emotion has reached a head and it’s needed to be ripped out. The final song United in Spite, rounds up the album brilliantly. Every aspects they’ve been praised for; United into one ultimate track. Which is poetically beautiful. blending energy, emotion, and message into a powerful finale. This song is an anthem and nothing less Cold World doesn’t see THE FLATLINERS reinventing themselves, and that’s exactly its strength. Instead, the band stays locked into their identity—urgent, emotionally charged punk with sharp ska undertones. What stands out is the conviction in every track; nothing feels thrown in or half-hearted. Even in its quieter moments, tension always lingers beneath the surface. For fans, it’s THE FLATLINERS at full confidence; for newcomers, it’s a strong entry point into a band defined by consistency, energy, and honesty rather than reinvention. Score: 10/10 Cold World will be released on 7th May 2026 via Equal Vision Records. Words: David Waites Photos: The Flatliners

On paper, a three-band bill in a venue the size of Glasgow’s Slay might read like a fairly standard night out. In reality, April 24th delivered something that felt far bigger than the room could reasonably contain. With AD INFINITUM making their Glasgow debut alongside support from SKARLETT RIOT and SECRET RULE, this was a stacked lineup that never once dipped in energy. First up, SECRET RULE wasted absolutely no time setting the tone. From the first few moments, it was clear their sound was locked in - big, driving riffs paired with tight, polished instrumentals that filled the room with ease. It’s not always a given that the first band of the night can pull a crowd in properly, but here, the engagement was immediate and genuine. A big part of that came down to the band’s presence on stage. There was a sense of real enjoyment in what they were doing, and it translated effortlessly into the audience. Vocalist Angela Di Vincenzo stood out in particular, not just for the strength of her voice, but also for the level of control she maintained while constantly in motion. It’s one thing to sound good standing still; it’s another entirely to keep that consistency while bouncing across the stage. Closing song Echoes of the Earth felt particularly impressive, as she spent the whole time jumping and encouraging the crowd to do the same, while still maintaining incredibly steady vocals. Small touches helped cement the connection too, like tossing a T-shirt into the crowd and getting the crowd to join in with a celebratory chant at the end of their set. They might seem minor, but added to the overall feeling of a band that understood how to work a room. By the end of their set, they’d done more than just warm things up, they’d set a genuinely high bar. If SECRET RULE laid the groundwork, SKARLETT RIOT came in ready to push things further. Heavier, sharper, and completely self-assured, their set hit with immediate impact. The vocals were a standout from the start, powerful and aggressive when needed, but still controlled, and backed by instrumentals that leaned fully into that heavier edge. There was a clear portion of the crowd already familiar with their material, which only added to the atmosphere. Tracks like Paralyzed had people completely hooked, with chants echoing back towards the stage, while Limits showcased just how effective their heavier moments could be in a live setting. What really elevated the set, though, was frontwoman Chloe “Skarlett” Drinkwater’s presence. She carried the kind of confidence that didn’t rely on the audience already knowing the songs. Whether you were hearing them for the first time or not, you were pulled in. That ability to command attention is hard to fake, and it made a noticeable difference in the room. A slower moment during Luminate shifted the mood briefly, with a sea of phone lights rising across the room. It didn’t stay subdued for long though, building quickly back into something far more energetic. It was a smart bit of pacing in a set that was otherwise relentless throughout. By the time they wrapped up, the energy in the room had climbed to another level entirely; exactly where you’d want it heading into a headline act. Headlining sets don’t always justify the buildup. This one did, and then some. Before AD INFINITUM even stepped on stage, TOTO’s Africa rang out across the venue, setting a strangely perfect tone: a bit tongue-in-cheek, a bit celebratory, and a clear sign that this wasn’t going to be a stiff, overly serious performance. What followed was a set that leaned fully into drama, intensity, and sheer stamina. Running through a massive setlist of about twenty songs, the band barely paused from breath. The pacing was fast, but never rushed. Each track landed with purpose, and the transitions kept momentum high throughout. Interludes were used sparingly but effectively, giving both the band and crowd just enough time to resent before diving straight back in. Vocally, the performance was on another level. MELISSA BONNY’s seamless switches between clean and harsh vocals weren’t just technically impressive, they were consistent across the entire set. Songs like My Halo, one of the early standouts of the night, had the crowd shouting along at full volume, with the chorus hitting especially hard in such a packed room. Moments later, those same sections would pivot into heavier territory without losing any clarity or power. That level of control over such a long set with so little downtime is no small feat, especially given how demanding some of the material is. It didn’t drop even once. Instrumentally, every member held their own, but what stood out most was how cohesive the band felt as a unit. There’s a difference between just playing together and being fully dialled into each other, and this was firmly the latter. Even small details, like a standout guitar solo towards the latter half of the set, felt purposeful, breaking things up just enough without killing the flow. The crowd, meanwhile, gave everything they could. A near-constant push pit held down the front, while the rest of the room stayed just as engaged in their own way. Between songs, the cheers barely dipped, and there was a clear sense that this was a fanbase that had been eagerly awaiting this moment. Given that this was AD INFINITUM’s first time playing Glasgow, the reception couldn’t have been much stronger. Tracks like Animals leaned fully into the heavier side of their sound, with crushing vocals that hit just as hard live as they do on record. Elsewhere, Outer Space brought a more dramatic edge, balancing melody with weight in a way that kept things dynamic deep into the set. Even lighter moments weren’t really “light”, for long; everything carried a massive sense of scale. There were flashes of playfulness too, though. One moment saw bassist Korbinian Benedict encouraging the crowd to dance and shake their hips, loosening things up just enough before diving straight back into something heavier. It’s that mix of control and personality that kept the set from ever feeling one-note. Closing with Into The Night felt fitting. By that point, the energy hadn’t dipped in the slightest. If anything, it had steadily built towards that final push. The crowd gave everything they had left, and the band matched it. If there was one lingering thought by the end of the night, it’s that this felt like a show slightly outgrowing its surroundings. Not in a way that detracted from the experience, as seeing it in such an intimate setting made it more memorable, but in a way that suggests something bigger is coming. For a first Glasgow show, it’s hard to imagine a stronger statement. Words: Zuzanna Pazola Photos: Amy Lynch

THE DEAD COLLECTIVE embarked on their first ever headline UK tour with twelve shows this April, we were lucky enough to catch them at their London stop at O2 Academy Islington. The Metamorphosis tour is a perfectly polished show full of their best rock and roll tracks, with more shows throughout the UK still to go. The London supporting act was ANCHOR LANE all the way from Scotland, this being the first show they’ve played in London for four years. Before they started the room was slowly filling out with people of all ages gathering to experience the show, as the lights dimmed everyone shuffled forward filling any empty areas to get the best view of the stage. They even had some fans in the crowd cheering very loudly that were singing along and dancing throughout their set. They treated the stage as their own as the crowd foot tapped and head bopped along to the beat, the band even asking the room to clap along every now and then which of course they did. They filled us in on the antics of their London trip so far with van troubles, a twelve hour drive and hotel issues but they still delivered a flawless set full of rock bangers. One song we noted was Ministry, a song with many different sections and an overall more melancholic tone. It was catchy and featured everything a good rock track needs, guitar solos, drum fills and impressive vocals to decorate. The band displays great showmanship, knowing how to move on the stage and interact with each other and the crowd, they definitely left their mark at Islington. Between sets the crowd chattered and exchanged both their thoughts on the opener and their expectations of the lead, until the lights went low again and it was finally time for the main event. THE DEAD COLLECTIVE used their own lighting rig that timed perfectly with their music which made a huge difference just for their intro. Their silhouettes slowly appeared as the music ramped up and the room erupted into cheers. As the lights came up the three had a very clear rock and roll aesthetic all with long flowing hair that they used to their advantage when moving around the stage. All three of them were constantly moving, playing with other band members and singing along even without mics. Their songs were full of shredding guitar solos as the two guitarists played together, harmonising through their strings or bringing rage with distorted chords. The lead vocalist OLI BROWN had striking live vocals remaining extremely clean and on pitch throughout, having been in the music industry either solo or part of a band the majority of his life his professionalism is clear to see. The band didn't take many breaks between songs with many of them naturally flowing into the next but they did take a moment to thank everyone for coming despite the various train strikes that had affected the majority of the city that night. As they played each track you could see fans of all ages in the crowd dancing along and filming on their phones to store some memories. One section of the show saw them playing some newer tracks that switch up the tempo a bit, like Cracks which featured a more electronic beat still being played live by the drummer via a sound board. They had a bass line that shook the venue and OLI BROWN took to a more low vocal tone throughout, a different direction to the rest of the set but was definitely well received by the fans. As they closed up their set they thanked everyone for coming again ending with their track Falling as their lights continued to flash behind them. They left a lasting impression on the venue as we and hopefully many of the crowd would love to see them return to the capital. It was a night full of pure rock from start to end that satisfied everyone's crave for a show without fault. The band still have more shows to go on this tour and much more in the works as well as having just released their single Goliath we can wait to see what they do next! Words and photos: Amy Smyth

SEAHAVEN have always felt like a band suspended in that liminal space between confession and catharsis, and revisiting their world now feels a bit like opening a long‑sealed letter - you brace for the sting, but you’re drawn in anyway. What makes them compelling isn’t just the moodiness or the slow‑burn tension they’ve perfected; it’s the way their songs seem to articulate emotions people don’t usually say out loud. Performing their album Winter Forever in full, to celebrate 15 years since the release, supported by Salisbury punks CARSICK, SEAHAVEN opened the first night of their tour, at the Bodega in Nottingham, showing the crowd why they are are quintessential melodic hardcore/emo band. Opening the evening was CARSICK, a rising Salisbury four‑piece, who gave similar vibes to THE LAFONTAINES and KID KAPICHI, with a strong, undeniable accent coming through with each lyric. Back by Lord of the Rings standees, the band, built around brothers JOE and JACK RICHARDSON, joined by JACK HARDIMAN on bass and TOM ARMSTRONG on drums delivered a genre‑bending set, with stand out tracks being Thatchers Gold, Is What it Is and Pub Watch. A two man pit erupted mid-set, encouraged by front man JOE, in the attempt to win the converted prize of a Herbie Reloaded DVD, much to the rest of the audience's amusement. Their sound landed somewhere between post‑punk grit and indie‑dance energy, but the crowd enjoyed every minute. Taking to the stage to perform Winter Forever in full, SEAHAVEN got stuck into the atmosphere of the record immediately. With introduction to the band, to the songs and limited crowd interaction, it was a little surprising but it didn’t affect the way the audience were reacting to the songs being played before them. Formed in 2009 in Torrance, California, the four piece band, who apparently hadn't been to Nottingham in “150 years” according to front man Kyle Soto, appeared as if they were returning to a place they’d half‑forgotten but still felt tethered to. The crowd responded with that quiet, anticipatory hush you only get when a crowd knows exactly what kind of emotional excavation they’ve signed up for. Soto was accompanied by fellow band members Cody Christian on guitar, Mike DeBartolo on bass and Eric Findlay on drums, who matched his restraint, emotional intensity, and almost disarming stillness with familiarity. Playing Winter Forever from beginning to end, from Goodnight, to Black & White, to closing track PV (performed with an extended intro) was a defiant move. Soto’s voice, soft, frayed at the edges, but unwavering, cuts through the mix with the kind of intimacy that makes you feel like you’re overhearing something private. The band played with a restraint that felt deliberate, they weren’t here to overwhelm so much as to seep under the skin. It was clear that they knew how much the album meant to those who had come to see them; nostalgia pays and SEAHAVEN were not about to let the audience down. Following the closing track of Winter Forever, a steady set of tracks from previous albums made an appearance; including Head in the Sand (Blinding Son), Moon and Flesh. In addition to these tracks, SEAHAVEN gave the audience a taste of what's to come; Long Goodbye from new self-titled album made an appearance, as well as Midnight Hour and February Flowers making their live debut. Closing out the set with Andreas was a clear decision, with the crowd singing every word back at Soto, with the energy of an arena crowd. With a new record coming out in June, SEAHAVEN shows no signs of slowing down. Choosing to open their tour in a venue as intimate and atmospheric as the Bodega was not lost on the crowd. The darkness, the smokiness and the almost synchronised swaying of the crowd made for a show to remember. Words: Lou Viner-Flood Photos: Libby Percival

HIRAES are no strangers to an energetic London crowd. With two previous performances at The Dome and the O2 Academy Islington as supporting acts for DARK TRANQUILITY and BE LAKOR. These previous incredible performances had left long-lasting impressions and created a group of devoted fans, ecstatic to see another show in the UK. The Black Heart, located in Camden, is primarily known as a haven for metalheads and those who enjoy alternative music. HIRAES had seized the opportunity to perform their first headline London show at an incredible intimate venue, whilst sweeping through Europe, as part of their Nightlight tour with NOPREACHERS. A night filled with rage, passion, and German melodic death metal, this night will not be forgotten. With their first time performing in London, NOPREACHERS had been releasing music since 2023 and were seen as an upcoming band that blends melodic death metal and metalcore. Their connection to HIRAES became unmistakable with their latest single, Bury Me, which features guest vocals from Britta Görtz, further cementing NOPREACHERS as a German band worthy of recognition. This song proved to be the perfect way to connect with the crowd, ready for an evening of entertainment. The atmosphere during NOPREACHERS’ was set before the first note. With striking light work that flooded the venue, anticipation rose through the crowd. When the performance kicked in, the powerful clean vocals immediately stood out. Their melodic delivery merged seamlessly with the heavier elements, evident in their track Ikigai. Stage direction was a highlight as the crowd formed a synchronised wave of headbangers and waving arms. A pint was spotted in the centre, lifted high as the arms that swayed in unison. Closing with Rising showcased the diversity of their talent, solidifying NOPREACHERS’ ability to win over new listeners and pull them into their music. ​ It was time for the main act, HIRAES. With a solid fanbase formed across Europe, their first London headline show was fast approaching. As the clock struck nine, a low hum of anticipation was simmering on the floor. A vibrant sea of blue lights draws the crowd's attention as the band fills their stage. With their backs turned to the crowd in those first few seconds, there’s a quiet confidence and an unspoken promise that the night's performance was going to be worth the wait. ​ The intro begins with the lead vocalist alone, her voice cutting the anticipation as she clutches the fist microphone. Smoke machines roar to life around her and she rises above the crowd on to a higher platform, adding a theatrical intensity. Through The Storm is the first song on the setlist. Britta Görtz was controlled and ferocious, a voice that anchors the chaos that follows. It doesn’t take long for the crowd to respond. Chants ripple through the floor, fuelled by the band’s compelling stage presence. There’s an incredible balance in the sound: melodic intertwined with waves of raw, passionate aggression. We Owe No One resonates with the floor as lyrics echo back to the stage. Britta Görtz wove into the crowd, letting fans feel closer to her as they screamed along. After some crowd interaction with the band, it became evident that the audience was a mix of longtime fans and newcomers. Then comes the shift. There is a new level of chaos as the pit opens up: bodies colliding, beer spills and a new round surge of energy. There's a strange sense of unity. The melodic undertones guide the movement as the audience sways, sings, and crashes together like a restless school of fish. From the very back, you can still see it: collective arm movements, Britta’s signature hair propelling, and a collective sense of joy. The band’s sound surges of piercing pig squeals and crushing instrumentation, featuring slashing riffs and solidifying bass lines, before shifting into a “closing stretch” that leans into a Viking-metal-inspired intensity with the song Running Out Of Time. ​As the ending approaches, the crowd isn’t ready to let go. Chants for an encore erupt immediately. The band returned to deliver one last assault of slashing riffs and unified voices. Closing the night with Undercurrent, it is solidified that the night was triumphant and hard-earned. Fans were happy with the equally distributed setlist with 7 songs from each album, Dormant and Solitary, being performed. As the venue clears out, there's a unified feeling of content and a yearning for yet another return from German bands NOPREACHERS and HIRAES. Words: Theviya R Karunaharan Photos: Lisa Ulferts

Tonight, the packed out London crowd is chanting random Italian, as instructed by THE RUMPLED. However, even if they want to play on stereotypes, the band are much more than just 'mamma mia'. The sheer energy of the bunch is so infectious, it transcends all cultural barriers and unites all the wanderers at the Underworld. Touring alongside the stars, GIRL LIKE THAT took an earlier slot for tonight with a sweet stripped-back set. Although their usual band is not here, the acoustic set turned out no less captivating. The singer and guitarist duo played their biggest tracks, with fun groovy melodies and screamy choruses like the ones in Bad Boys In Bands and Miss Midnight. However, the highlight of the set might be the yet unreleased song, which talks about a male friend betraying your trust. Even if not fit for the vibe of the show, there can unfortunately never be enough of repeating the lines "No means no". Overall, even if toned down, GIRL LIKE THAT have blessed the crowd with an amazing set as a starter. STEREO CUPID were a special London-only addition for the tour, and how special it was indeed. The minute the band walk on stage, we are swept away by the waves of sound and dynamic force. With their classic punk rock anthems Feel Alive and Ready For Nothing, the five-piece could not be more fit to warm up the crowd for what is to come. The singer’s black rundown eyeshadow and a concerned stare into the void adds another layer to their ambience, getting STEREO CUPID to truly stick into our memory. "It’s Monday night, we shouldn’t be here anyway, so I wanna see you jump!" — and with no hesitation, the audience obeys. A good indicator of a set that is just out of this world is when most of the members begin to lose their shirts one by one. In their true punk essence, STEREO CUPID launch the preparation for the Underworld summer, as if trying to get the crowd so berserk the sweat will start dripping off the ceiling. THE RUMPLED run on stage quite tidy and put together, but we know that is not for long. After we’ve had an extended break between the acts, the whole room starts buzzing, ready to go again. The folk rock ensemble perform one hit after another, with the range of old and new material across the board. Highways & Hangovers, Hearts and Bones, You Get Me So High all carry away the crowd, making it practically impossible not to jump and scream along, and the violin solo being purely a cherry on top. The band continue with one of their most popular tracks, which is a cover of Wellerman. Having travelled all the way from the Dolomites in Italy, THE RUMPLED bring their mountainous spirit to the isles, where this ballad is recognised and loved even more. The band generally take a lot of Celtic influence in their composition and arrangements, which might be part of the reason for their rampant success in the UK and so many sold-out dates. Here, THE RUMPLED take a breather and reflect: only last year, their London crowd consisted of 30 people — and now it is 500 and counting. Highlands or seashores, mountain goats or seagulls, one thing is clear — we are all spiritually and physically in one place together — on the dancefloor. The artists do not take it for granted, even adapting one of their songs to tribute the venue: "I was lost in the world, I was so far away", altering the lyrics to fit "Underworld". Any corner of this room is so lively, with lone concert goers even creating their own spinning circles in the bar area, of which even we were not spared. At the end, it is evident — this stage is not enough for THE RUMPLED, we need to get them an even bigger one so that they keep jumping in sync. Words and photos: Mariia Bulkina

Hailing from the Isle of Man, SILO emerged in a landscape where life moves slowly and creative opportunity doesn’t exactly knock. With no established scenes or circuits to plug into, the band was moulded by the island’s stillness and separation. Rather than looking outward, they channelled that isolation into their work, forging a sound that’s equal parts abrasive, melodic, and deeply human. The band came together in the post‑Covid lull, when five long‑time friends, - Kriss Maguire (vocals), Lar Crookall and Chris Barber‑Shaw (guitars), Dario Leonetti (bass), and Darren Shields (drums), started writing music as a way to reconnect and create. Haze, the band's debut album, was recorded in Southampton with producer Kel Pinchin, aiming to release independently. However, after sending the material around, this led to an unexpected email from Easy Life Records, who signed them immediately. The album is a portrait of collapse, survival, and the uneasy calm that follows. Written collectively in the room rather than pieced together in isolation, it captures moments in real time — instinct over polish, emotion over precision. Across thirteen tracks, Haze moves through addiction, disillusionment, therapy, love, loss, and identity, offering no neat resolutions, only unfiltered truth. Opening track Static Screen, at a little over 1 minute long, comes screaming into the listeners face, introducing what is to come with blunt, uncompromising riffs. Spin follows; heavy guitars, even heavier drums and accompanied by a heady mix of clean vocals and screamed tones. Next track Crawl in a Bottle was released as the first single from Haze back in January 2026 and channels isolation, agitation, and a splintered sense of self into a volatile collision of post‑hardcore pressure and grunge‑laden weight. The story it tells is from the viewpoint of someone stepping into therapy for the first time, which reads like a raw, self‑aware, and unfiltered monologue, with lyrics like “Where I've stayed isn't a true home / Just let me wander away from this place” hitting just right. Maguire delivers sweeping choruses which offer brief moments of reflection without softening the blow. Follow up single Ill Intent lands as a defiant statement built on self‑belief, clarity, and resistance. Blending post‑hardcore urgency with modern alternative heft, the track pushes back against manipulation and false narratives, its lyrics rooted in freedom, resilience, and inner strength, with Maguire lamenting “Seems you always have a need to deceive, mislead / Forget your broken dreams”. Split My Mind has a softer vocal delivery than the tracks preceding but still delivers the aggressive riffs post-hardcore is best known for. Forget It was released as the third and final single before the album release. It is an uncompromising response to emotional manipulation; a release and a boundary drawn in the same breath. Driven by precision‑tight rhythms and a sharp, cutting vocal delivery, the track captures the exact moment when simmering frustration crystallises into resolve. Its aggression is deliberate, channelling internal turmoil into something outward‑facing and unshakeable. What’s Left of Me has verses that have an almost nu-metal, POD like vibe, before moving back into the heavier, shouted lyrics for the choruses, giving a DEFTONES like feel to the track. Low Sun, coming in as the longest track on the album, returns to the stylings of the preceding track; this is the strongest song on Haze and needs to be played loudly, and on repeat, in our opinion. The track lands perfectly despite it differing from the surrounding songs. With Jaw Wire, Maguire returns to the heavier vocals heard in earlier tracks on the album, but they are still accompanied by guitars and bass from Crookall, Barber‑Shaw and Leonetti that come in heavy, and with purpose, with Shields smashing the drums with urgency and precision in the background. This is bound to be a track where the crowd will rise up, into the pits, and end in a sweaty heap on the floor. Bai Lan has a slight return to the softer vocals to start, but still comes in heavy; there is no compromise when it comes to the volume of all of the elements that make up this track. With a mid centre spoken monologue, the title referencing the concept of “letting things rot,” aligning with themes of disillusionment and autonomy, is honoured perfectly. One of the shorter tracks on Haze is Imposter; despite the length, it still delivers one of the album’s most emotionally direct moments, tapping into those tortuous moments of self doubt and impostor syndrome. Shields drums take a starring role in this track, with the guitars and bass delivering a reverb that would be more familiar in a shoegaze track, but fit right at home where they are. Lucid is a track that further delivers the album's theme of that central tension between self‑awareness and confusion, with vocals that hit heavy and again, there is no compromise with the backing instruments. Closing track Times Change delivers the biggest surprise on Haze; after a loud, aggressive, energetic run of twelve songs, listeners are treated to a stripped back song, with acoustic guitar and vocals. The track offers a moment of calm reflection, a quiet exit, one which isn’t necessarily needed but is welcomed. SILO step out of isolation with purpose, uninterested in scenes or fleeting movements. Haze feels like a band pushing outward from silence, sharpening their edges instead of sanding them down, searching for truth in the chaos. It’s an instinct driven record — raw, intense and committed to honesty over ornament. You can catch them at 2000 Trees Festival later this year. Score: 8/10 Haze will be released on 1st May 2026 via Easy Life Records. Words: Lou Viner-Flood Photos: Silo

The Isle of Wight–based indie band UGLY OZO release their second EP, dive, on May 1st. The band blends raw feminine energy with gritty riffs and a strong dose of punk noise. Across this five-track record, Jessica Baker and her band take us on a journey through her experiences and emotions. The EP opens with their first single, released back in January, hi, how are you? At first glance, it comes across as a raw indie punk track. A soft, minimalist verse leads into a build up that eventually explodes into an energetic chorus. The vocals complement the track well, making it an engaging introduction to the EP. Lyrically, however, things take a darker turn, as Jessica Baker reflects on her experiences with burnout and depression. She describes the song as “a conversation between myself and my inner rival, like I’m playing tug of war between self-doubt and determination,” and you can clearly feel that tension in her delivery. The second track, overkill, explores the experience of being with someone you don’t want to leave, even though they treat you badly. The lyrics are simple but effective. The raw, fuzzy guitar pushes the song further into punk territory, making it one of the highlights of the EP. Their newest single, jackpot, starts off more subdued. A simple drum pattern and soft vocal humming form the intro. The verse introduces a catchy bassline while keeping the energy restrained. In the chorus, both the emotions and the instrumentation burst open. The lyrics revolve around the feeling of wanting someone while making them work for your attention. It’s a playful, flirty track, especially emphasized in the chorus. The first entirely new track on the EP, godspeed, feels chaotic. Not just because of the distant screams in the background. The song deals with betrayal and the frustration that follows. It feels like an entire friendship arc condensed into one track. This is also the first song that fully leans into a more indie-driven sound, making it one of the softer moments on the record. However, it’s far from dull. As the emotional tension builds, so does the music, gradually becoming louder, rougher, and more chaotic. The closing track, MISERY, lives up to its name. The repeated line “I’m fine” suggests quite the opposite. As the EP comes to an end, we’re given its emotional peak. The track feels deeply personal, offering an intimate look into regret and the descent into misery. The final guitar solo is a particularly strong choice, elevating the track and solidifying it as the standout moment of the EP. It emphasizes the emotional weight while also signalling a powerful conclusion. UGLY OZO’s latest EP is a chaotic blend of indie and punk. It feels like a personal diary, with thoughtfully crafted instrumentation reinforcing its themes. While a few moments feel slightly too raw, it still marks the band as one to watch in the British indie scene. Score: 7/10 dive will be released on 1st May 2026 via REX RECS. Words: Hannah Martin Photos: Emma Jones

Some records feel like escalation; others feel like endurance. Still Suffer sits firmly in the latter - an album that doesn’t try to outrun the past, but stares it down, shoulders squared, jaw tight, and dares it to swing first. Over twenty years in, it’s clear TERROR aren’t interested in reinvention. We’ve got ten tracks, each one a pressure point for the unpolished truth that is shouted directly into your face. From the first few seconds of Erase You From My World, that truth is hard to ignore. There’s something especially brutal about the way this record opens. Not just musically - though the low-end rumble and Jett’s hammering drums feel like the ground giving way beneath you - more so emotionally. Scott Vogel doesn’t ease into it. He arrives mid-confession, mid-condemnation, dragging self-disgust and regret into the light with a clarity that cuts deeper than any breakdown. That’s the thread running through Still Suffer: not just anger, but accountability. TERROR have always dealt in aggression but here it feels more internalised. Reflective rage turned inward before it’s thrown back out at the world; there’s no clean narrative arc and no redemption neatly packaged at the end. Just recognition and consequence. Sonically, this is TERROR distilled. An album barely scraping past the twenty-minute mark, each one built to hit fast, hit hard, and leave a mark - if you’re looking for experimentation, you won’t find it here, and that’s exactly the point. While much of contemporary hardcore stretches outward, blending genres and softening edges, TERROR double down on what they’ve always done best. Short songs. Sharp edges. Zero excess. The title track, Still Suffer, lands like a mission statement. It’s everything you expect - driving two-step energy, a breakdown that feels engineered to fracture a room - but it’s also one of the record’s most immediate moments. The chorus has that instinctive, collective pull to it, the kind that turns a crowd into a single voice. It’s not hopeful, exactly, but it is unifying. Elsewhere, the album leans into its heaviness without losing momentum. Promised Only Lies drags itself into a suffocating, slow-burn breakdown that feels almost oppressive in its weight, while Destruction of My Soul flirts with metallic textures. You can tangibly feel something nastier creeping into the edges of their sound. It’s not a full departure, yet there is a sense that the band are still finding new ways to make familiar tools feel dangerous. That tension between consistency and intensity is where Still Suffer thrives. The instrumentation is locked in with the kind of precision that only comes from years of doing this over and over again. Nick Jett’s drumming is relentlessly controlled, each hit landing exactly where it needs to; the guitars from Martin Stewart and Jordan Posner don’t overcomplicate things and they don’t need to. Their strength is in movement - in the way riffs transition and collapse into breakdowns that feel inevitable. Of course, then there’s Vogel. At this stage, it would be easy for his delivery to feel routine. If anything, there’s more weight behind it now: his vocality is less about projection and more about lived experience. His voice carries years of frustration, reflection, and unresolved tension, and it gives the record a sense of authenticity that can’t be manufactured. This isn’t performative anger he’s grasping at his vocal cords with, he’s reshaping that weight and delivering it with intent. Tracks like A Deeper Struggle and Death of Hope lean fully into that emotional density, their atmosphere lingering long after they’ve ended. There’s no attempt to soften the message, no desire to make it more palatable. Life is unfair but you’ve just got to deal with it. That’s the reality Terror present - and they don’t blink while doing it. The guest features are used sparingly but effectively. Jay Peta brings a different kind of urgency to Beauty in the Losses, a track that briefly opens up, letting something more melodic slip through before snapping back into place. Chuck Ragan’s contribution to Fear The Panic adds texture with his voice sitting rough against the track’s driving energy. Closer Deconstruct It, featuring Brody King and Dan Seely, is pure collapse - three voices converging in a way that feels chaotic but deliberate - closing the record on its heaviest note. The closing moments are unexpectedly softer and almost intrusive, offering a brief shift in tone. It’s not a full departure but it’s enough to catch you off guard. After everything that comes before it, that small moment of vulnerability feels significant. Perhaps not necessarily comforting, but it’s real. Production-wise, everything is stripped back yet poignantly powerful. There’s a clarity to the mix that lets each element breathe without losing impact. The drums feel massive, the guitars cut through cleanly, and Vogel sits right at the front, impossible to ignore. It’s a sound built for movement, for packed rooms and bodies in motion, and maybe that’s where Still Suffer really finds its purpose. This isn’t just an album to listen to. It’s one to experience. You can already picture the stage dives and the shouted lyrics echoing back at the band because TERROR unifies in the space they create, even if this album’s themes lean into isolation. Still Suffer doesn’t try to be anything it’s not. It doesn’t chase relevance or reinvention. Instead, it sharpens its focus, doubling down on the elements that have kept TERROR at the forefront of hardcore for so long, and in doing so, it proves something important. Consistency, when paired with honesty, can still hit just as hard as innovation. Score: 8/10 Still Suffer was released on 24th April 2026 via Flatspot Records. Words: Talia Robinson Photos: Mark Miller