There’s a moment in every band’s trajectory where playing it safe becomes the bigger risk—and for FROM ASHES TO NEW, that moment arrives in Reflections. Instead of coasting on the momentum of Blackout, the Lancaster outfit tears everything down and rebuilds with sharper intent, leaning harder into the tension that has always defined their sound: melody versus aggression, control versus collapse. From the outset, Drag Me wastes no time setting a bruising tone. It is immediate, volatile, and structured around the band’s now-signature push-pull between Matt Brandyberry’s rap-inflected delivery and Danny Case’s soaring hooks. That duality remains the backbone of the record, but here it feels more deliberate—less like a stylistic choice, more like a statement of identity. Recent single Villain stands as one of the album’s most conceptually interesting cuts. Flipping the expected narrative, it leans into moral ambiguity, told from the perspective of the chaos rather than the victim. It is sleek, dark, and uncomfortably seductive—exactly where FROM ASHES TO NEW thrives. There is a maturity in how it handles its themes, resisting cliché in favour of something more psychologically honest. Tracks like New Disease and Parasite dig into generational fatigue and identity erosion in the digital age, themes that FROM ASHES TO NEW have circled for years but sharpen here with more precision. New Disease in particular hits with a cynical edge, critiquing trend culture without sounding detached from it. It is angry, but self-aware. Elsewhere, Black Hearts and Upside Down expand the emotional range of the album. The former leans into anthemic territory without losing its bite, while the latter balances vulnerability with a controlled intensity that never tips into melodrama. There is a noticeable effort to stretch beyond formula, even when the band returns to familiar structures. (Not) Psycho injects a jolt of chaotic energy into the tracklist, embracing instability both sonically and thematically. It is one of the more unpredictable moments on the record, and it benefits from that lack of restraint. Meanwhile, Die for You and Forever explore obsession and devotion, walking the line between romanticism and self-destruction—a recurring motif that threads through much of Reflections. The back half of the album carries surprising weight. Darkside and Your Ghost feel more introspective, almost haunted in their delivery, while Falling from Heaven closes things on a note that feels less like resolution and more like acceptance. It is a subtle but important distinction—the band is not offering answers, just reflection. What makes Reflections land is not just its sonic consistency, but the decision to scrap and restart. That reset is audible. There is a sense of purpose running through all 12 tracks, a refusal to dilute their identity while still pushing outward. Matt Brandyberry’s vision of amplifying what the band does best is realised not through excess, but refinement. If Blackout was a step toward evolution, Reflections is the moment it locks into place. It does not reinvent FROM ASHES TO NEW, but it does not need to. Instead, it sharpens their edges, deepens their themes, and solidifies their position in a genre that often struggles to balance accessibility with authenticity. Score: 8/10 Reflections will be released on 17th April 2026 via Better Noise Music. Words: Mia Gailey Photos: Alex Bemis

Surging back after a non-stop period of tour support slots, DON’T PANIC have returned with an absolutely belting, nostalgia-inducing sensation in their latest album For Your Consideration. The Pennsylvanian 4-piece have woven together an album full of positive reinforcements and hope, expressed through AJ Larson’s exuberant guitar riffs, Zach Falkow’s upbeat bass lines, a drum beat from Anthony Paesano that delivers frenetic pop-punk tempos, and Ted Felicetti’s energetic and smooth vocals that carry us through the band’s journey from the uncertain and strained 00’s, to their powerful return and liberation from “trying to survive” (as proclaimed in Silent Engineer), that’s reminiscent of JIMMYEATWORLD and STATE CHAMPS. Leading up to its 17th April release via SmartPunk Records, DON’T PANIC have kept the hype on an upward trajectory by steadily dropping singles, such as Conscience, Lifetime Away, and Calls From Home. Storming out the gate though has been their lead single Honest, a blend of pop-punk and classic 90s rock with a catchy rhythm and singalong lyrics that truly embodies the spirit of this entire album and an almost cathartic sense that you can start over or start entirely at any time if you just have the drive and love for the music. Felicetti explains the inspiration For Your Consideration came from trying to balance the youthful nostalgia and momentum so many fans enjoy with the scary but inevitable getting older and working around personal lives while still doing what they love. “We tried to confront the idea of getting older in an industry that prioritizes youth, or call back nostalgia, but leave little room for what lives in between…” “…At its core, For Your Consideration is about shedding old skin: rejecting the comfort of familiarity, confronting self-made failures, and choosing growth anyway. This is not just a continuation of our story. it’s a statement of intent." This sentiment is delivered plainly and powerfully, encompassing their career to date and where they stand emotionally now within an ever-changing industry. From the first distorted guitar riffs and Conscience’s opening lyrics “I woke up in a silence” that juxtapose the entire animated album, For Your Consideration is a non-stop pop-punk party with roaring, complementary guitars and gnashing solos heard best on Save Ben Reily, frenzied attacks on the drumkit in Free and Ready to Fly, and a pulsing bass throughout that keeps time with your headbanging, slowing for the deceptive ballad-esque intro to the final track Blame It On The Rain, which swiftly hurtles back into the fast-paced, momentum that’s been flying through this album. Featuring incredibly brief interludes of quiet and reflection before slamming back into the upbeat sound that is guaranteed to have crowds jumping to new heights and dancing, there are moments to connect with the band in singalongs on the charged Honest, an anthem-like chorus on Lifetime Away, and a melody on Silent Engineer that will raise goosebumps when sung back as a collective. For Your Consideration as an album is a testament for everyone who had a dream that never quite took off or life got in the way – you can return renewed and chart your own success without needing to tick industry boxes or to meet anyone else’s expectations. It feels like a second chance while DON’T PANIC cheering you on. For a band that started almost 20 years ago and have faced challenges in keeping their passions alive, DON’T PANIC have never sounded more rejuvenated, felt more relatable, and appear ready for the next exciting steps. Consider us hooked! Score: 7/10 For Your Consideration will be released on 17th April 2026 via SmartPunk Records. Words: Julia Stark Photos: Rage PR

BUTCHER BABIES and INFECTED RAIN combined forces to bring one of the most raw co-headline tours of this year. Supported on the run by BLACK SPIKES, the night at the O2 Academy Islington could not be any better. Opening the night were the Lithuanian ethereal beings BLACK SPIKES. Their presence, coupled with very distinctive costumes. captivated the crowd almost immediately, but the real surprise was the vocalist’s use of her voice. From emotional screams, to rap, to Lithuanian traditional singing, all the different styles just felt right in the moment, especially since only one song of their set was sung in English. If that was not enough, BLACK SPIKES also brought a dancer along with them for a couple of songs, elevating their stage presence to a new high. The band experienced some technical issues right after their second song, but that did not keep them from engaging with the crowd, who had some Lithuanians amongst them. They are absolutely a band to keep an eye out on as their sound is unique, raw and captures the melancholy of their nation’s history. Up next were the first headliners of the night, the highly anticipated BUTCHER BABIES. Coming on the tour all the way from the US, the quartet, currently formed by Heidi Shepherd (vocals), Henry Flury (guitars), Ricky Bonazza (bass) and Dave Nickles (drums) was welcomed in London instantly, as the fans were more than familiar with their work. Right off the bat, the band also received a meaty moshpit right in the middle of the floor that did not stop until the last song Magnolia Blvd. was done. Not only the fans interacted with the band, but the frontwoman Heidi talked to them every chance she had, and at one point during the third song Monsters Ball even went down to the barricade to sing with the crowd. As a little treat, BUTCHER BABIES played the then unreleased song Black Dove, which was accepted by the fans with even bigger cheers than anything before. As the end approached, the fans were not ready to let the band go yet, and showed them that they are always welcomed back in the capital. The second headliner INFECTED RAIN took the reins not long after the first set finished, but with a slightly rebuilt stage. Boasting a set of screens on each side, it was only a matter of minutes before the lights went down for the last time of the night. And once they did and the screens turned on, the floor turned into a mine field full of moshers waiting to get into action. Eugen Voluta (drums), Alice Lane (bass) and Vadim “Vidick” Ojog started making their way onto the stage, and by the time the vocalist Elena “Lena Scissorhands” Cataraga finally showed up, the whole venue was cheering and joining her to co-sing Mutation Phase. Interacting with the crowd on every occasion and continuing with their songs such as DYING LIGHT, Orphan Soul and Black Gold, as well as their latest single Stranger, Lena suddenly invited Heidi Shepherd to join her for the uncompromising duet, which made the floor move even more than before. Combining INFECTED RAIN’s melodic riffs with twice as brutal vocals, it is no coincidence the song was so popular with the fans. Swinging through the likes of Ut Supra and NEVER TO RETURN, it was only a matter of time before the Moldovan quartet closed off the night with the hit Judgemental Trap, leaving a trail of nostalgia and excitement behind, as the fans just witnessed three spectacular sets, that will be hard to forget for a while. Words: Katerina Stepanikova Photos: Adam North

Brighton has a way of exporting its finest, and for one night in London, hometown heroes TIGERCUB bring their biggest show to date, pulling together a lineup that proves the south coast scene is very much alive. Supported by VENUS GRRRLS and SNAYX, the evening doubles as a love letter to grassroots music and hometown solidarity. VENUS GRRRLS open with the kind of energy that makes you forget they are the first band on, expending the pit’s energy before TIGERCUB have even come on. 3 x 3 wastes no time: sharp, angsty and immediately commanding. The five-piece journey through Divine and Ivy Tree before Bloodsick acts like the final incantation in the spell they are casting. Hex is a particular standout as Grace Stubbings’ droning synths underpin a spoken word vocal that creeps under your skin in the best possible way, gothic and deeply unsettling. Eighteen Crows brings things to a thunderous close, Hannah Barraclough's bass hitting you square in the chest while Jess Ayres' guitar solo responds to the vocal riffs with real precision. Throughout it all, vocalist Grace Kelly is an absolute force, barely still, possessed by the music, her vocals rich and genuinely enchanting. Gabby Cooke drives the whole thing forward with locked-in intensity. SNAYX are harder to pin down, and that is precisely the point. Charlie Herridge leads the charge with real conviction, the band ricocheting between the punkier energy of Boys in Blue and the more indie-leaning Go With You without ever settling long enough for you to fully clock what genre you are dealing with, with nu metal, punk, and indie thrown together and working. Gold Star, making its live debut, is a highlight: Ollie Horner's fuzzy bass and Herridge's satisfying ad-libbing locking together brilliantly. Wasted Again practically starts a mosh pit by itself, Herridge throwing himself into the middle of it with glee while Elania “Lainey” Nixon drives the whole thing from behind the kit with relentless energy. By Sink or Swim, the crowd is fully won over as they clap, dance, and chant for SNAYX from the pit. There's real authorial voice in these songs, themes of authoritarianism and daily grind delivered with enough wit that they land harder than they have any right to. And then there was TIGERCUB. Emerging from behind a curtain, the Brighton three-piece immediately signal that this is a band stepping into a moment that they want to share with all of their fans. Sleepwalker brings the first crowd surfers of the evening. Groovy and genuinely heavy, it was clearly one of the most anticipated songs of the night. I.W.G.F.U. injects a burst of pure party energy, while The Perfume of Decay proves Jamie Stephen Hall, James Allix and Jimi Wheelwright can slow the tempo without sacrificing an ounce of weight. Live debut I’m Breaking Out was raw and volatile, the instrumentation matching the emotional chaos of the lyrics perfectly. Play My Favourite Song veers into disjointed, almost math-rock territory, all the spookier for how unexpected it feels. Burning Effigies is quietly stunning: Hall's piano riff conjures something almost cinematic before collapsing into a glorious heavy breakdown. Stop Beating on My Heart (Like a Bass Drum) gets the entire venue chanting the bracketed lyrics along, which is the kind of crowd participation you can't manufacture. New track Black Moon makes its live debut, brooding and emotionally devastating, earns the biggest cheers of the night. The encore lands, the room gives everything it has left, and when TIGERCUB bow at the end, it doesn't feel performative. They're genuinely taking it in: the scale, the noise, the fact that this is the biggest show they've ever played. After a show like that, they deserved to celebrate with a few pints at the nearby pub. Words and photos: Atoosa Salamat

To stand in a festival crowd, surrounded by thousands of other fans singing every word, is to witness Mike Shinoda at his absolute peak. Not just as a performer but as a producer, songwriter, singer, rapper, artist and above all a leader. Few artists in the modern era of music have shaped the sound of this generation quite like him. The visionary that never stops evolving, the one and only Mike Shinoda. Best known as the co-founder of the band LINKIN PARK as well as the creative mind behind his other project FORT MINOR, he has also been the quiet force behind some of the most era-defining moments in music. From LINKIN PARK’s iconic debut album Hybrid Theory in the early 2000s, that not only launched the band, but also helped define nu-metal, to now decades later stepping back into the spotlight and touring again with their latest release From Zero. Here are the top ten moments that define Mike Shinoda’s legacy: 10) WRITING A GENERATIONAL ANTHEM When In the End was first released, it wasted no time introducing those iconic delicate piano notes, even now when reading this you most likely have them playing in your mind. This leads into Chester Bennington’s lyric “It starts with one thing” before Mike Shinoda rap comes in at full force, with rhythmic delivery of the lyrics and a back and forth between Chester and Mike. The song captured the band’s identity and introduced the world to Shinoda’s ability to turn his personal reflections into something universally relatable. 9) NUMB / ENCORE - LINKIN PARK AND JAY-Z 2004 saw the release of the EP album Collison Course, a mash up of songs from LINKIN PARK alongside songs from artist JAY-Z. it was Mike Shinoda who helped shape the project’s creative direction, choosing to not only mashup existing parts of both their songs but to record new parts such as vocals to match the direction these new creations were taking, totally breaking apart each track to create something original. One stand-out track from this collaboration effort was their lead single Numb / Encore, a unique blend of JAY-Z’s confident commanding verses from Encore alongside the emotional weight of LINKIN PARK’s Numb. While most mashups can feel experimental at times, when two tracks collide, this one felt seamless showing the effort everyone involved went to create it. Even going on to win a Grammy award for the band in 2006 for Best Rap/Sung Collaboration. 8) REMEMBER THE NAME - FORT MINOR Following on from Collision Course, Mike Shinoda began writing and recording songs for the start of another hip-hop inspired side project, in the form of his other band Fort Minor and the album The Rising Tied. Rather than releasing this album under his own name as maybe a solo effort, Mike made the rather deliberate choice to shift the focus onto the music itself, showing another side to who he is as a person. A standout song from this album was the track Remember the Name, becoming an instant anthem, driven by Mike’s piercing lyrics backed by an uncompromising beat. The iconic "10% luck, 20% skill" hook is a universal crowd sing-along at live concerts and a stand out moment even to this day at LINKIN PARK shows. 7) BREAKING THE HABIT AND EMOTIONAL SONGWRITING Mike Shinoda is no stranger to emotional songwriting which can be seen in many of the songs he has written for LINKIN PARK, many of which feel personal which is why I feel many fans relate to them. One of which was the song Breaking the Habit from the bands second album. The lyrics deal with themes of addiction, inner conflict as well as a self-reflection of vulnerably which can feel raw at times. What brings this song together is the orchestral nature of the music, almost haunting at times with a blend of electronic elements instead of the usual guitar riffs the band was known for. 6) REINVENTING THE SOUND WITH A THOUSAND SUNS What many fans consider to be one of LINKIN PARK’s best albums, A Thousand Suns took the band in a bold new direction instead of playing it safe with what came before. A concept album dealing with themes of nuclear war, humanity as well as technology in the modern age blending them with the sense all the fear and power that echoes throughout the album. Showing Mike Shinoda’s willingness alongside his band to take creative risks, pushing them in new directions beyond what we heard with their debut album. With songs such as Waiting for the End and their lead single The Catalyst showing what else the band was capable of. 5) THE TRIBUTE SHOW FOR CHESTER In 2017 saw the unexpected sudden loss of band member Chester Bennington, this left the band in a challenging situation they hadn’t felt before. While Mike has been raw in showing his emotions before through the band’s lyrics, this was different. At a loss of what to do next after losing someone so close, a dear friend to everyone involved in the band both in front and behind the scenes. Mike released Post Traumatic, doing what Mike does best channelling personal grief into art, not only helping himself to get those thought out into the world but to help fans grieve too. A tribute concert to celebrate the life of Chester was held 3 months later including various artists and bands who took the time to help out. Mike holding that night together emotionally and musically was huge, showing leadership under grief. 4) DROPPED FRAMES During the lockdown for COVID-19 back in 2020 saw Mike Shinoda spend his weekdays live-streaming on Twitch making music as well as visual art. A collaborative project evolved from this between Mike and his fans watching online, who gave feedback as the songs progressed, a unique insight behind the scenes of how his songs come together. Mike Shinoda released the collection of songs made during this time as three album volumes called Dropped Frames: Vol. 1, Vol. 2 and Vol. 3. The majority of these songs were instrumental. 3) THE MULTI-INSTRUMENTALIST AT LIVE SHOWS Watching LINKIN PARK live in concert is a when it all comes together, seeing the band in their element, especially when it comes to Mike Shinoda. The way he operates the stage, rapping a verse one moment on the runway, sprinting back to a synth keyboard to trigger the next transition, then strapping on his guitar for a heavy riff when it comes to the bridge of the song. Not forgetting the back and forth on vocals between him and either Chester Bennington back in the day and Emily Armstrong at shows today. He is the musical director of the stage, as well as behind the scenes of what the overall artistic look and feel is like for the shows. 2) WRITING AND PRODUCTING FOR OTHER ARTISTS While Mike Shinoda is widely known for his work with both LINKIN PARK and FORT MINOR and he has also with his keen ear for melody, collaborated with artists from a wide range of genres from hip-hop and rock, to also electronic music. Some examples include songs like Still Alive by Demi Lovato for the Scream VI soundtrack, which has a heavy modern rock sound. It’s Goin’ Down by THE X-ECUTIONERS, written and produced by both Mike Shinoda and Joe Hahn of LINKIN PARK as well as Carry Me Away by CYPRESS HILL, showcasing Mike’s ability to blend heavy guitars with classic West Coast hip-hop to name a few. 1) FROM ZERO AND STEPPING BACK INTO THE SPOTLIGHT From 2021 to 2023 saw the 20th anniversaries for both Hybrid Theory and Meteora and a bit of a resurgence for LINKIN PARK following their reissues with previously unreleased tracks. Behind the scenes Mike Shinoda was also recording new music for the band’s latest album From Zero. A reformation of LINKIN PARK became known to the fans in 2024, starting with a countdown for a livestreamed event with the band’s first live show since 2017. The show starting with their new song The Emptiness Machine saw new members Emily Armstrong on vocals and drummer Colin Brittain take to the stage for the first time. The release of From Zero and world tour that followed shows Mike Shinoda back doing what he does best. Catch Mike Shinoda with LINKIN PARK at this year's Download Festival. Words: Amy Lynch

Now back for its fourth year since returning to the scene, Takedown Festival 2026 kicked off at Portsmouth Guildhall over Easter Weekend, with a clear sense that this is a festival continuing to grow year on year. From the moment doors opened, there was a real buzz around the place, the kind you only get when people have been waiting for festival season to come back around. The Guildhall once again proved why it works so well for Takedown. The layout made moving between stages quick and easy, meaning it was possible to catch a bit of everything without feeling stuck in one place. All three stages were drawing strong crowds throughout the day, not just the main room, which gave the whole event a constant energy and showed just how well the Takedown Team did with this years lineup! Also credit has to go to the staff as well, who kept everything running smoothly and were consistently helpful across the venue. It is a festival that has built momentum over the past few years, and that growth was clear to see here. Looking back to 2023 with the mystery of a masked band (SLEEP TOKEN) closing out the weekend, there has always been a sense that Takedown likes to create moments, and this year felt no different with another mysterious and masked band set to close the weekend (PRESIDENT). Bigger crowds, packed rooms and a lineup that kept people moving all day all pointed towards a festival that is gearing up to keep growing year on year. There was also a more emotional side to the day. Following the tragic passing of Phil Campbell, the festival made the decision to rename the main stage the Phil Campbell Kerrang Stage in his honour. Following the Takedown team taking to the stage to talk about how much hard this had hit them all we had minute of applause brought the crowd together in a genuine moment of respect, while a remembrance wall gave people the chance to pay tribute in their own way. BACKLIGHT VICE Opening the festival is never an easy task, but BLACKLIGHT VICE stepped up and set the tone for the day straight away. Coming in with heavy riffs from the off, no time was wasted getting people moving and the energy into the room, even as the early crowd was still building. It was the first time seeing them for many in the crowd but to everyone they came across tight and confident, exactly what you want from an opening slot. By the end of the set, the room had properly woken up and the day was underway. A strong start and a band that will be making its way into future playlists without any doubt! KILL THE LIGHTS Moving over to the main stage openers, KILL THE LIGHTS kept the momentum going and pushed things up another level. The riffs landed hard and the vocal style stood out throughout, switching between heavier moments and cleaner sections without losing impact. It felt like a band that already knows how to work a stage like this, delivering a polished set that connected well with the crowd. There is a real sense that they are building towards bigger things, and performances like this make it easy to see them climbing higher up festival bills in the coming years. ASOMVEL Later in the day saw ASOMVEL bring a classic old school rock sound to the main stage as the second act of the day. Big riffs and just straight up rock. Their cover of Born To Raise Hell landed perfectly as a tribute for Phil and felt like a real moment in the set. Visually they looked the part as well, with a full stack of amps backing them up and adding to that traditional feel. It was a confident performance with strong stage presence. THERAPY? Stepping in after the devastating loss of Phil Campbell, THERAPY? closed out Day One with a performance that balanced respect and experience perfectly. You could tell straight away this was a band that has been doing this for years, delivering a solid and polished set from start to finish. Opening with a fantastic cover of JOY DIVISION, Isolation before later in the set the return of Rain Hits Concrete after not being played live for nearly 16 years gave the crowd a real moment. It felt like a fitting way to end the day, leaving everyone ready to go again for Day Two. MONOCHROME MONOCHROME was one of the opening bands, they opened up the METAL FOR GOOD stage and kicked it off with a bang. The female fronted 5 piece hailing from Bristol stomped onto the stage to a very full room, more than the band expected as they said themselves, it seemed everyone was ready to kick off the day with a bang. “Take down wake the fuck up!” were the first words front woman Eliza screamed as she entered the stage. Despite it only being just past 1pm the crowd were more than ready to head bang and move along, It was definitely a memorable set for the band and the crowd! LASTELLE One of the bands set in the middle of the day seemed to catch more of a crowd than expected, being at 4pm on the mainstage and almost filling out the room was LASTELLE. It was the first set in the day where the crowd singing along was noticeable and spread from front to back, even the ones that weren't seemed impressed, and so were we! The band's energy filled the room as the 5 piece from Oxford all head banged in sync and lead vocalist Adam Rigozzi threw himself around the stage, completely matching the devastation of the hardcore tracks. The band had 3 vocalists including the drummer who delivered some of the more vocally strong lines, Mike Hayden is a talent to pay attention to, his vocals being incredibly clean and powerful all while furnishing the setlist with his intense drumming. LASTELLE are definitely a band to keep your eye on if you're not already aware of their game. BEX BEX offered one of the more memorable sets of the night, facing technical difficulties and delays but the band still powered through and delivered a great performance. BEX herself brought her signature punk attitude and explosive personality to the stage. She paraded up and down the stage with confidence as the crowd gave back the same energy to her, mosh pits exploding throughout pretty much without pause once the music started. “We’re just winging this” she stated as they continued with technical difficulties despite the flawless performance from herself and the band “I will play until I’m done playing” she stated. Her brit pop inspired outfit helped her to shine as she sung her lyrics to songs like the unreleased 90’s Super Star and Slave 2 the Grind. The energy was contagious and her momentum is far from slowing down, definitely an artist in the punk scene to watch out for! THE HARA THE HARA had the pleasure of playing the headlining set on the TOTAL ROCK stage and they brought their absolute A game just for it. These boys are far from scared to show their true selves and stand out from the rest, their energy is unmatched and their fans love to bring the exact same attitude. The takedown stage was absolutely not immune to their antics with lead vocalist Josh Taylor doing whatever he wanted on and off the stage. Whether it was getting in his own wall of death, climbing on speakers or even taking a moment to grab a Guinness from the fridge at the bar there was not a moment that wasn't filled with chaos. They performed songs like Rockstar and Trophy that had the crowd singing and dancing along, the mosh pits were absolutely brutal, if you wanted to get to the bar you had to time it right or you might end up on the floor! As always THE HARA killed their set, they are a band of consistence and absolute panda-monium, if you haven’t been able to see these boys live you’re really missing out. GRAPHIC NATURE From one headliner to the next GRAPHIC NATURE played the headlining slot at the METAL FOR GOOD Stage. The band came onto the stage as the room was already sweating, packed out from wall to wall, front to back, even piling out the door. We had the chance to chat to a few of the bands that played through the day and an outstanding majority said GRAPHIC NATURE were in their top bands of the line up, and for good reason. Frontman Harvey Freeman is an absolute beast on stage, bringing such a signature unique sound to their detrimental tracks. The onslaught was immense with push pits, circle pits and everything in between as well as HARVEY himself ending off the set by riling up the pit himself. Tracks like 404, Something I’m Not, Killing Floor and Human each one of them starting with a loud cheer from the fans in the crowd. These are another band that bring such a distinctive energy to their sets, if you haven’t seen these guys before, they should definitely be on your bucket list. PRESIDENT Of course the headliner of the main stage was left to PRESIDENT, a lot of people looking at the line up might have questioned their name being so high on the bill however, the fans absolutely proved that booking them wasn’t a risk at all. From before the event started you could spot their merch all over the venue, while other fans opted to stay at the barricade the entire day just to see PRESIDENT up close. Opening with Fearless the fans treated it like a religious experience, throwing their arms in the air and shouting the lyrics as loud as they could. The band themselves had an impressive stage set up with their logo in neon lights giant and looming over them on stage and of course their trade mark podium that the frontman stood at during certain parts of songs and interlude tracks. They also took a moment in their set to cover Change by DEFTONES which was very well received by fans and non-fans alike, bringing a different sound to the song with the frontman's unique vocals. They ended their set with their debut single In the Name of the Father, one last time the crowd all sang in unison but this one was definitely the loudest of the set, ending out the phenomenal two day festival on the highest of highs. Words: Amy Smyth and Joshua Cunningham Photos: Joshua Cunningham

The stages were set, the amps were turned up, and the crowd were literally doing lunge stretches in preparation for 3-days of two-stepping and moshing. Manchester Punk Festival has made its deafening return for its glorious 10th anniversary; 3 days, 8 venues, a jaw-dropping 150+ acts, and the city is full of punk/rock-adjacent fans to support the musicians leading the charge on the anti-establishment scene. In the current climate of fascism, anti-LGBTQ+, racism, and misogyny, it’s never been more important to stand up and say “no more”. Out of Rage are incredibly proud to be working with MPF and to support the sheer number of punk bands who spent the weekend calling out those who try to breed hate amongst the public. The anger and frustration was palpable everywhere, but the love and gratitude was felt more by all the acts, honoured to see the swaying crowds chanting back “fuck you fascist scum”. So let’s give back the love to some of our top picks of MPF. BE N!CE We truly were blessed on the holiest of punk weekends, with BE N!CE’s vocalist and bassist gliding through the crowd dressed as Jesus and a nun to heavenly choral music, before joining two easter bunnies (a.k.a. the guitarist and drummer) on stage. The illusion is shattered as BE N!CE launch into punk-rock tracks that are heavy on the crispy snare and cymbals, riffs with distortion so high it delightfully pierces your brain, and the bass lines are running almost as fast as a two-stepping bassist nun. Vocalist Pol Mills delivers guttural screams while owning the stage. This weekend belonged to BE N!CE, hallelujah! GAFFA TAPE SANDY “We’re from Brighton, but we fuck with this town.” GAFFA TAPE SANDY need no other introduction as they bring a genre weaving punk-rock sound, their dual vocals and strings blending into a raw harmony, while the drummer worked overtime on their kit. With the kick drum amping up the crowd and their memorable lyrics, it’s no surprise the crowd had the floor shaking with their danceable indie-punk rhythm. GAFFA TAPE SANDY bring the energy of a band destined for bigger stages to fit their incredible energy and connection to the crowd. PENGSHUI Immediately ripping into their punk/nu-metal instrumentals whilst taunting the tired but wired crowd with “wakey wakey”, PENGSHUI are here to wake us the fuck up. Their sound isn’t over the top, their key changes and volumes enhancing the punk aspect of it, while vocalist Illaman spits out rapid-fire bars and heavy screams, over Fatty’s bone-shaking bass and John Boy’s blistering drum beats. Illaman admits he’s not at his usual energy due to a broken foot, but the crowd more than make up for it jolting from moshing to dancing to two-stepping in quick succession. From someone actually taking off their shoes for Shoes Off, DEADWAX’s vocalist Jake hurling himself into a riotous crowdsurf, and a sprawling circle pit for Nobody Cares, the crowd directed by Illaman’s “round and round we go”, PENGSHUI smashed out the first night of MPF and kept the energy to a feverish pitch. BUREAU DE CHANGE Starting easy with a general rock vibe, BUREAU DE CHANGE quickly change pace to blazing punk, blowing out the hangover cobwebs and kicking off MPF’s Saturday lineup with raging style. Vocalist Flora maintains eye contact and gestures wildly while delivering husky, emotional vocals, holding command over the building crowd. The bass and guitar could rival KORN with their pitch and intensity, while the drummer locks in and attacks his kit, the guitarists building screams together on fan favourite Dumb Men, before Flora takes the reins to bellow “why don’t you just get fucked?” BUREAU DE CHANGE is here to deliver a message about the small things that actually suck and the hardships of society that can get in the bin. CURRLS The soundcheck alone tells us we’re in for a wild ride with Brighton-based CURRLS, with an impressively prolonged “Manchesteeeer!” war cry as their introduction, before the 3-piece band slam into distorted but cohesive riffs, with a shattering drumbeat. Reminiscent of 80/90s punk bands, there are steady beats throughout the set without going overboard, clean punk singing and floating harmonies, and the dual guitarists/vocalists are clearly having the time of their lives dancing to their own music and playing back to back. CURRLS performs like they own the stage and know they’re on the upward trajectory, with high energy and rhythms that slow to a dangerous pace before building in rage and volume. THE MENSTRUAL CRAMPS THE MENSTRUAL CRAMPS aren’t just here for their passion and your entertainment, they’re here to get the message out that you can’t just be punk for one weekend – you’d better live that shit, stay informed, and fight back against oppression and occupation. Holding the crowd in full engagement, THE MENSTRUAL CRAMPS lead the charge with visceral, electrified screams, the band leaping around each other on stage decked out in vibrant red accessories, their battle cries inciting mosh pits as wide as the stage itself. Vocalist Emilia introduces the bandmates and demands a warm welcome or “you’ll have me to deal with”, including celebrating their new guitarist’s first festival appearance at MPF. Pacing around the stage like they’re on the hunt, THE MENSTRUAL CRAMPS delivered their thunderous, demanding sound and assertions of what makes you a political cunt to a rapt audience. Their sound is what it feels like to get your first nose bleed in a mosh pit and carry on – a fucking badge of honour. SLASH FICTION Starting out slow with trio vocal harmonies and an emotive punk melody, SLASH FICTION quickly ramped up the pace into a rapid and heated pace reminiscent of early 2000’s punk bands – there was no gentle easing into the final day of MPF. Well synchronised as a band with a fresh, poignant sound, every member got their moment to shine. With a sickening bass solo, prevalent guitar riffs and licks, soft vocals complemented by the heavy strings and fast-paced drums, SLASH FICTION have an emo-punk quality we’ve not seen in a while. Bouts of indie and funk inspirations pepper through the tracks as they perform heartbreaking yet hopeful lyrics. They have the makings of being an anthem band in the near future. LYNSKEY Feeling deceptively understated as a two-piece band, LYNSKEY soon demonstrated why they belong in the big leagues, with a raw, stripped-back presence and charged instrumentals. With beats that changed intermittently through several of their songs, it’s jarring in a satisfactory way, leaving you never quite prepared for what LYNSKEY will bring, but knowing it’ll be genre-blending fun and two-step inducing chaos. Funky bird noises offer a brief moment of calm before the drummer slams into the cymbals and snares and breaks the serenity, while the singer/guitarist weaves between pop-punk notes and falsetto highs. Rough and vulnerable, LYNSKEY are a band that already know their potential and they’re just beginning. MERYL STREEK In the dark, a frenzy of news reporters voices ring out speaking of adversities for the Irish, the government’s disregard for them, and the emotional weight the people carry to hear of this, before descending into a primal scream. MERYL STREEK refuses to shy away from political and societal callouts, especially where it concerns his home country, and delivered a one-man-band, spoken word punk take, with a venue-shuddering bass and curated techno beats and sound effects. Calls for the crowd to “get the fuck up” are met with surging mosh pits and people being bodily lifted into the air, diving into the mosh pit himself and being lost in a wall of punks who refuse to be disillusioned. Stalking back and forth the stage like a predator on the hunt, MERYL STREEK has a bold harshness to his lyrics and scathing observations of the political landscape, overlaying a heated, furious rhythm. AERIAL SALAD If you thought things would start to wind down for the finale of MPF you’d be sorely mistaken, as AERIAL SALAD barrel in with off the charts energy and launch themselves across the stage, screaming off mic before the first song’s even started. With wide smiles and appreciative headbanging at the crowd, AERIAL SALAD showed their talent and vivacity with grunge-punk rhythms and melting guitar solos. The bass is already audible, but clearly they’re intent on the crowd feeling it in their bones as they ask for it to be turned up to intense levels. Drummer Mike Marshall alters from “calmer” beats to frantic rolls and crashing cymbals, while the guitarist and bassist salute their instruments to the sky and shred at their strings. Co-vocalist and guitarist Jamie Munro proclaims “if you’re not here to have a dance, I’m not arsed”, whipping up a defiant mosh pit in response. Not content to conquer the stage alone, bassist Mike Wimbleton hurls himself (dare we say he went “aerial”?) onto the crowd and continues plucking the bass line while they surf him about. The vibe and energy are consistent throughout their set but the songs feel individual and electric from each other, perfectly closing out another hugely successful, absolutely raucous, hard-hitting Manchester Punk Festival. Words: Julia Stark Photos: Ace Cheng

Coming down to London all the way from Scotland, MASON HILL brought their energetic set, supported by the rising stars DEFENCES. Opening the night were the Hertfordshire five-piece DEFENCES, who returned to The Underworld for the first time since 2019. Although the floor was still filling up when they took over, the energy Cherry Duesbury (vocals), William Alex Young (screams/keys), Calum Wilmot (guitar), Owen Hughes-Holland (bass) and Kyle Park (drums) brought was high and most fans did not wait for even a second to start moving. Playing some of their most favourite songs, as well as two new songs from the upcoming album Shadowline, the band kept their short set interesting, with the frontwoman Cherry hyping up the crowd to move between each song. She also did not forget to address the current situation in the world before one of their songs, gaining a big round of applause. Closing with their most popular song Gravity, DEFENCES proved that metalcore is not dead and if there is a band on the rise, it is definitely them. When the lights dimmed for the second time, the venue – now completely full, burst into huge cheers, welcoming the Scottish five-piece MASON HILL in the capital. The band has become a very prominent figure of the British rock scene since their formation in 2015, and earned a reputation amongst the fans of bigger rock acts. As the members Thomas Ward (vocals), James Bird (lead guitar), Marc Montgomery (guitar), Matthew Ward (bass) and Craig McFetridge (drums) made their way onto the iconic stage, it was more than obvious the night is going to be a special one, with every single fan knowing all songs word by word since the very beginning. Being known not only for their emotional lyrics, but for their captivating guitar solos as well, MASON HILL did not stop surprising not only with the amount of talent poured into their work, but with their sincerity as well, as Ward talked to the crowd every chance he had, expressing the band’s genuine gratitude to be able to play at such a well-known venue that is The Underworld. Reminding the crowd that a new album is on the way, the five-piece did not forget to include the new singles Remember and Twisted on their fifteen-song long setlist, but also please the fans with their favourites such as D.N.A., Hold On and Where I Belong, that earned an instrumental version on the set, as well as a well received cover of MUSE’s hit Hysteria. Closing the night with Broken Son and Against The Wall, MASON HILL once again showed London how to do a proper rock show, and everyone present agreed. Words: Katerina Stepanikova Photos: Cate Neves

In the dusky evening haze of Manchester venue Ambers, the warm glow of its wide-set-entrance invites onlookers down three flights of stairs to its dark basement. It's a perfect night for a trip to your favourite local haunt, and for gloom punks WITCH FEVER, and this final set in the UK is nothing short of a homecoming. Off the back of the macabre-inspired record Fever Eaten - and a coveted spot as the Out Of Rage Halloween cover - they embark on their European tour with a roster of ghastly revolving supports. Tonight, they are joined (in body and spirit) by Glasgow mob COWBOY HUNTERS and melanated rap-pop outfit THIRD KULTURE. Even as a local support, THIRD KULTURE commanded the stage. Opening a sizeable pit before throwing down an unmistakable rocky riff to SAM SMITH's Unholy, the three-piece band, consisting of dual vocalists Nameka and Lashimba with guitarist Lawal, blended rap and sultry R'n'B vocals, backed by a ferocious overdriven riffs. Despite moments where all components of their sound seemed to melt together into one, maybe more on the venue than the band, there is real promise. With time and more patience, this is an artist to watch. Definitely. Glaswegian duo COWBOY HUNTERS, sauntering on to the stage with Buckfast in hand, are the comic relief of the evening. They're arguably not WITCH FEVER, even though they claim to be, but the crowd was completely invested in their bullish charm and on-the-nose charm about vaginas, going to the club and trying to find a lass called Gemma. Reaching their peak with an inspired cover of Saltburn classic Perfect (Exceeder) they sauntered off into the night with a club remix of all the best year seven disco hits, until they were cut off by the venue during Pink Pony Club. The definition of going big, then going home. “There’s a German film crew making a documentary about us because we are broke.” WITCH FEVER’s Amy Walpole explains to the crowd, cracking a smile. By now, you’d expect the band’s frank conversation about the realities of touring to die down, but the issue is systemic and affects a large proportion of the local music industry. There’s an unusual tension in the air tonight, not just from the large camera bobbing around the pit but also swathes of the black-clad WITCH FEVER community packing the room out, including the band’s family and friends. Feeling like a much-needed moment of solidarity, any nerves are squashed as the band begins to roll through their new record, Fever Eaten. Opener Dead To Me! is explosive, throwing heavy-handed riffs around as drummer Annabell tempos the electric crowd to make the pit spin faster and faster. In Northstar and The Garden, the pit becomes more abrasive and wild, as Amber becomes the cooldown before a damaging roster of tracks from their early discography. In this pause, there’s a moment to grasp the full complexity of their music, infinitely cool and even more dynamic live than on record. In the unholy trinity of Blessed Be Thy, Congregation and Reincarnate, we are introduced to a fuller, more bombastic sound reminiscent of their early years. Crowd pleasers by nature, they bring out the band’s aggressive stage presence. Fiery rock-infused needledroppers, this is the pit at its most intense, before the gazey trance of safe pulls the energy back to a satiated lull. Doomy riffs reverberate off the cavernous walls, in a full-expose of the band’s awe-striking sound. Plucking those infamous BLACK SABBATH chords, the tenacity that bassist Alex and guitarist Alicia commands in the moment is deliciously fierce. Reprise is the damaging pinnacle of the set punchy in it’s stormy overtones and all-consuming chorus. In a moment of surprise, they finished on a DEFTONES cover of My Own Summer, bringing a night to a close, and the crowd off into the dark March evening. From the moment we entered the venue, the band made their statement loud, plastering the back wall with a striking banner that read “WITCH FUCKING FEVER” We do fuck around with WITCH FEVER. In fact, everything they stand for, and their dominating vice grip on the ever-changing British music landscape. Words: Amber Brooks Photos: Zack Blacey

In the damp cellar of Camden’s Underworld venue, we spoke to the multi-media artist, poet and activist Gregg Deal, now also delivering his sharp, poignant and witty lyrics as the founder and frontman of political punk band, DEAD PIONEERS. The band's first stirrings began when Deal suggested to friends he wanted to try out a musical element to accompany his eye-opening and soul searching performance piece, ‘The Punk Pan-Indian Romantic Comedy’. With the “idea of using punk riffs and spoken word”, they set up a “shitty drum set and mics” and amazingly, in less than two hours, they had put together “the first iteration of Bad Indian”. Within weeks of its independent release, it became a viral sensation, quickly gaining over half a million streams. Where Bad Indian’s sound is raw and immediate, the latest release, PO$T AMERICAN, is a more intentionally explosive record. Deal emphatically adding that their upcoming third album, “will be even more so!”. As an artist, Deal embraces DEAD PIONEERS as another medium with which to experiment, saying, “It's not uncommon for visual artists to have a band…It's all art, it all kind of funnels into the same place.” Claiming consistency is key, “the voice you hear on stage with DEAD PIONEERS, is the same person you heard at a protest in 2013, is the same voice that you'll hear in my visual artwork.” The band are unflinchingly direct about their politics and Deal’s creative outlets are all ingrained with his activism, particularly with regards to the rights of the “traditional inhabitants”, of what is now known as the ‘United States of America’, himself from the Pyramid Lake Paiute Tribe. He explains: “We are not a racial group, but instead a political one that's been codified in the so-called founding documents of our nation. That means that anything I say or anything I do is just inherently political. Whether I know that, whether I own that, whether I wield that really ends up being the only question.  The political edge is just gonna inherently be there no matter what. I can't not be political.” The subject immediately lights a fire in the conversation. How this historic discrimination and ignorance manifests still today in current US administration, Deal explains in more detail, “...somebody who is class poor and needs food assistance, those resources should be there. Now Trump has eliminated all of those things and has pulled them back to almost nothing, if they're not gone altogether. But indigenous people in the United States have a federal trust obligation or relationship to the federal government and are not receiving social services. Instead they are receiving services based, on dues owed, for land purchased or stolen. These resources are supposed to be there under a federal trust obligation that was designated by the Supreme Court or by federal treaties that are protected under Article six, Section two of the Constitution of the United States. Those are not social programs, those are completely different.” A reminder of how conveniently short American and European memories are, as they venerate the rights of certain groups to live on historic lands, whilst evicting others with lethal force. The lyrics to their track, Tired, reiterates this brutal reality, ‘The foundation of this country is rooted in slavery and genocide born in the bosom of colonialism / America places the original inhabitants as foreigners in their own lands / Don’t be scared of learning the whole historical story, it's not going to hurt you.’ After reading the autobiography of MALCOLM X in high school, Deal recalls how his world view changed. Talking about his work several decades on, “it is all pretty much cultural, or social, or political, or all three, because that's just where my heart's always been.” Songs like Working Class Warfare, explicitly speak about an anti-capitalist struggle. Delving further, Deal explains, “...there's different versions of capitalism and the United States is in the worst version right now.” Asking what he thought of struggles like, indigenous rights and anti-racism, without an anti-capitalist angle, he responded that, “there's a line in one of my songs that capitalism can only exist if there's a poor class” adding thoughtfully, “...capitalism has to be upheld by the tenants of racism and white supremacy, because it is rooted in the concept of rich white land owners, who are settling a space and oppressing anything and everyone in that space.” Part of Deal’s talent and the originality of DEAD PIONEERS, is platforming a counter narrative to Eurocentric perspectives of the genocidal history of ‘America’. When asked about his opinions on the efficacy of certain politicised words, he points out that, “indigenous is a blanket statement. The Mohawk people from northeast New York and my people who are from Nevada, are not the same people. We don't speak the same language, we don't look the same, we don't have the same traditions.” Shockingly, “40% of Americans believe that native people are extinct”. An outrageous belief in 2026, until we consider our own whitewashed historical textbooks and penchant for Hollywood Westerns. Quickly you start to see how such a perverse ignorance has flourished. “We've moved from being an Indian to an indigenous person or even a Native American. These are fine for general terms, but they are all incorrect technically, because they are lumping an entire continent of people together as one race. And that's just simply not the case.” Whether this re-education of the masses should be his cross to bear, is another matter. He emphatically states, “I don't speak for native people, I just don't, I speak for myself recognising that there's a shared experience there.” This includes a rich history of resistance, both shared and individual, from AIM (American Indian Movement), to individuals like LEONARD PELTIER, and more recently the Dakota Access Pipe Line (DAPL) protests. With a seemingly natural flow that turns his poetry into lyrics, he explains more about his process, “I'm just trying to find a beat and a cadence, and then rewriting so it fits.” Describing a six degrees of separation roadmap, in all he does, Deal quotes, “even the artwork on the records are connected.” Designed by Cheyenne Randall, a Lakota artist that Deal was in an art crew with, the album cover for Bad Indian is a surreal contrast of ultra-cuteness in the form of his seventh grade portrait, covered in elaborate face tattoos. “It's just so absurd. And I just kind of wanted that.” Using his paintings and elements from older work on subsequent albums, he notes sagely, “I'm just allowing everything in my career to be available for that space. We can go backwards. We can create something new, so we can then go forward. And you know, for native people we would tell you that the past and the present, and the future, all exist in the same space. So there is nothing old and nothing new. It's just stuff that just is.” Words: Alana Madden Photos and Artwork: Dead Pioneers and Cheyenne Randall With thanks to: Division PR and Dead Pioneers

There’s something quietly devastating about an album that understands exactly how it feels to sit with your own thoughts after midnight. And Then Suddenly It Hits You, the debut album from Newcastle-upon-Tyne emo-punk trio TIRED OF FIGHTING, captures that feeling with striking clarity, building a record that is as emotionally raw as it is sonically expansive. At its core, this is an album rooted in grief, deteriorating mental health, and the slow, often uncomfortable process of self-reflection. But rather than becoming weighed down by its subject matter, the record transforms those feelings into something cathartic. It feels less like a collection of songs and more like a conversation with the parts of yourself you usually try to ignore, the late-night spirals, the memories that resurface without warning, the quiet hope that maybe things will eventually begin to feel lighter. Sonically, the album moves beautifully between intimacy and scale. Clean, stripped-back guitar passages give way to walls of distortion, while delicate vocal harmonies bloom into full, emotionally charged choruses. There’s a constant sense of movement throughout the record: guitars climb steadily, percussion drives with purpose, and arrangements swell in a way that mirrors the emotional weight of the writing. It’s a sound that feels both nostalgic and immediate, pulling from early-2000s emo and pop-punk without ever feeling derivative. That balance between raw vulnerability and anthemic release is where the album truly excels. The record understands when to let moments breathe. Rather than rushing to the next chorus, songs often linger in quieter spaces, allowing emotion to settle before building again. Those pauses make the louder moments hit even harder, creating a listening experience that feels immersive and deeply human. One of the clearest examples of this is Chocoloate, a standout track that perfectly showcases the band’s control over dynamics. The interplay between the vocals and instrumentation creates a call-and-response effect, giving the song a real sense of tension and release. Its more stripped-back middle section, built on clean guitar and layered harmonies, feels almost ethereal before the full band returns with renewed force. It’s a moment that captures the album’s wider emotional landscape of vulnerability, reflection, and catharsis all colliding in one song. Another highlight comes in Just For Me, which distils the record’s emotional core into one beautifully constructed track. Beginning in a raw, almost intimate space, it gradually opens into something much larger, with lush harmonies and a melody that feels impossible not to move with. It’s deeply emotional without ever feeling melodramatic, and that sincerity is what makes it land so effectively. Across the album, TIRED OF FIGHTING creates an atmosphere that feels both heavy and hopeful. Even in its darkest moments, there’s an underlying sense of resilience woven through the music. The lyrics may sit with grief and emotional exhaustion, but the sound never allows the record to become hopeless. Instead, there’s a quiet reassurance in the way these songs unfold, an understanding that pain is being acknowledged, but not allowed to define the ending. That sense of hope is perhaps the album’s greatest strength. It doesn’t offer easy answers, nor does it pretend that healing is simple. Instead, it offers solidarity. It reminds the listener that these feelings are shared, that someone else has lived inside the same spirals and found a way to give them shape. In doing so, it becomes the kind of album that makes you feel seen. What makes And Then Suddenly It Hits You such a compelling debut is the way it turns deeply personal emotion into something communal. Many of these tracks feel destined for live spaces, not just because of their sonic scale, but because of the emotional connection they invite. These are songs built to be sung back by a room full of people who recognise themselves in the words. It’s powerful, ethereal, and emotionally resonant, balancing the raw honesty of emo with the sweeping, almost cinematic qualities of modern alternative rock. More than anything, it leaves you with the feeling that things can, and will, get better. For a debut album, it’s an incredibly assured statement, one that positions TIRED OF FIGHTING as a band capable of turning vulnerability into something both beautiful and anthemic. Rating: 8/10 And Then Suddenly It Hits You will be released on 17th April 2026 via Punkerton Records. Words: Con Macadam Photos: Tired of Fighting

For a band that has spent the last few years grinding away in the UK underground, CATALYSIS sound remarkably unconcerned with subtlety on Serpentine. The Dundee metal outfit’s latest EP is direct, furious, and completely unrelenting, but what makes it stand out is how carefully that intensity is controlled. Across just five tracks, CATALYSIS delivers something that feels sharp and focused rather than bloated: a compact release that wastes no time saying exactly what it wants to say. Given the upheaval the band experienced in 2024, following the departure of three long-term members, there would have been every reason for Serpentine to still have an air of uncertainty or transience to it. Instead, it sounds like the work of a band that has firmly rediscovered its confidence. The EP opens with Tremors, which launches straight into a wall of relentless instrumentals and vocals that refuse to let up. It’s an assertive start, throwing listeners straight into a track that thrives on sheer momentum, where everything feels tightly wound and urgent. Futile follows with equal ferocity, but its defining feature is drummer Calum Rennie’s performance. The percussion drives the track forward with a fierce urgency, building on that sense of momentum from the previous track. The sharp instrumental breakdown in the second half of the track opens everything up, allowing the guitars and rhythm section to really stretch out and make the impact land harder. It’s one of the EP’s most memorable moments, demonstrating how CATALYSIS use structure and pacing to elevate their brutality, rather than simply piling it on. Title track Serpentine leans heavily into a riff-driven onslaught, and does so to excellent effect. The guitars really dominate the sonic landscape, delivering a barrage of weighty, tightly controlled riffs that anchor the track’s sinister tone. Lyrically, the imagery is particularly striking. Lines like “snake, smother, shed your skin, become another” conjure up a vivid and unsettling portrait of manipulation and transformation, reinforcing the song’s exploration of coercive betrayal. It’s a centrepiece that feels incredibly significant, both musically and thematically. Damocles, the longest track on the EP at just over five minutes, expands the scope even further. Rather than simply pushing the tempo, it builds atmosphere, pulling the listener deeper into its dark, tragic energy. There’s a sense of scale here that makes the track feel almost cinematic. The band’s ability to sustain such intensity across a longer runtime without losing focus speaks volumes about their control as songwriters, and makes this track a particular standout of this EP. Closing track Deathblow wastes no time in bringing the EP to its final, furious conclusion. Launching immediately from the aftermath of Damocles, it feels like a direct continuation of the energy that precedes it. Musically, it’s fast and aggressive, but its lyrical focus gives it additional weight. Turning its focus toward figures who abuse positions of trust for their own benefit, the track channels a raw rage that feels particularly resonant given the bleak tone of much of the modern world. It’s a ruthless way to end the record. With this level of sustained brutality, it would be easy for the tracks to blur together into something indistinct. What stops that from happening is the constant shift in vocal delivery from Andrew Downie. His screams are vicious enough on their own, but when they give way to half-spoken, half-sung lines, the delivery sounds almost tinged with malice, creating genuinely memorable moments without sacrificing any of the aggression. Taken as a whole, Serpentine is a compact yet incredibly impactful release. The EP never overstays its welcome, and works equally well as both a statement for existing fans and an entry point for new listeners. It’s undeniably heavy and at times brutally intense, but it never becomes so overwhelming that it risks alienating those discovering the band for the first time. If anything, it highlights why CATALYSIS have been steadily building momentum, and suggests that their days as one of the UK metal scene’s best-kept secrets may not last much longer. Score: 9/10 Serpentine will be released on 17th April 2026 via self-release. Words: Zuzanna Pazola Photos: Catalysis