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

There’s a line somewhere between oversharing and honesty, and GOD FORBIDS A GIRL SPITS OUT HER FEELINGS! LØLØ doesn’t just cross it—she basically lives there. And that’s exactly why this album works. From the jump, it feels like you’re being let into thoughts that probably should’ve stayed in the notes app. Not in a messy-for-the-sake-of-it way, but in that painfully self-aware, “I know this is a bad idea but I’m doing it anyway” kind of way. It’s chaotic, a little dramatic, sometimes self-deprecating to a fault, but it’s real. Sonically, it sits in that sweet spot between pop-rock and early 2000s alt influence, with flashes of that ‘90s guitar driven sound she’s clearly obsessed with. You can hear those inspirations, but it never feels like cosplay. It’s more like she’s taken that sound and filtered it through a very online, very emotionally self-aware Gen-Z lens. Tracks like The dumbest girl in the world hit especially hard, mostly because of how blunt they are. There’s no metaphor to hide behind, just the uncomfortable truth of going back to someone you already know is going to hurt you. It’s the kind of song that feels a bit too specific until you realise… yeah, everyone’s been there at some point. That same energy carries into me with no shirt on which somehow manages to feel both vulnerable and awkward in a way that’s weirdly endearing. LØLØ has a knack for writing lines that feel like intrusive thoughts you didn’t mean to say out loud, and that track leans all the way into it. Then there’s the punisher, which feels like a turning point in the record. It starts stripped back, almost hesitant, before building into something more intense. Lyrically, it taps into that spiral of checking up on someone you shouldn’t. knowing it’s going to ruin your mood but doing it anyway. It’s not a glamorous kind of heartbreak, and that’s what makes it land. On the other side of things, 007 brings in a bit of attitude. It’s sharper, more controlled, and plays with the idea of knowing someone’s bad news but choosing to engage anyway, just on your own terms this time. There’s a confidence to it that cuts through some of the album’s more self-critical moments, even if it still carries that underlying cynicism. What keeps the album from getting too heavy is how self-aware it is. Songs like the devil wears converse and american zombie inject just enough energy and bite to balance things out. There’s still emotion there, but it’s delivered with a bit more punch, a bit more edge. Closing track lobotomy & u is where everything kind of settles. It’s quieter, more reflective, and probably the most uncomfortable listen on the album—not because it’s bad, but because of how honest it is about wanting to go back to something you know wasn’t good for you. That idea of wishing you could just forget the damage and start again hits harder than any big dramatic breakup anthem. What really stands out across the whole record is how specific everything feels. LØLØ isn’t trying to write vague, universally relatable lyrics. She's writing her exact experiences, in detail. The irony is that it makes the songs more relatable, not less. Whether it’s stalking an ex, overthinking a conversation, or convincing yourself someone might change, it all feels very lived-in. Vocally, she keeps things pretty grounded. There’s no over-the-top theatrics, just enough grit and softness to match whatever the song needs. It fits the tone of the album perfectly. Nothing feels overproduced or overly polished in a way that strips the emotion out. If her debut introduced her as someone to keep an eye on, this feels like her properly settling into who she is as an artist. She’s not trying to be mysterious or detached—if anything, she’s doing the opposite. Every thought, every bad decision, every slightly embarrassing feeling is right there in the open. And honestly, that’s what makes GOD FORBIDS A GIRL SPITS OUT HER FEELINGS! stick. It doesn’t try to make heartbreak look pretty or profound. It just shows it as it is: repetitive, confusing, sometimes a bit pathetic, but still very human. It’s not about having it all figured out. It’s about admitting you don’t. And in this case, that’s more than enough. Score: 10/10 god forbid a girl spits out her feelings! will be released on 17th April 2026 via Fearless Records. Words: Jack Norris Photos: Fearless Records

A band that is rooted in various genres ranging from R&B to **checks notes** Crabcore, might sound strange in theory, but in actuality BILMURI have just released a belter of an album on this lovely Friday morning. The thirteen track album blurs lines between Metal and Country and somehow makes it seamless. The band have created such a unique sound for themselves and this album consolidates just that. BILMURI are seen as a band full of unseriousness but behind the charade of frivolous song titles and explicit jokes their musical talent is something to behold. Being in the industry so long John Franck has evolved exponentially, being the power behind BILMURI. Their songs lyrically are open and vulnerable, speaking of heartbreak and explaining emotions in brilliant analogies. Of course the most important thing about the music is the music itself. The album opens with the title track KINDA HARD, a minute and a half long instrumental. It's a metal and hardcore onslaught, reminiscent of tracks by artists like KNOCKED LOOSE. The instrumental perfectly transitions into the first full track TWICE. This track was released before the album along with the announcement of the album itself and received well widely as it set a new era for the band. WORST PART OF YOU is the first of the new tracks on the album. Being the second full song on the album it sets the tone for the whole album. The bouncing beat carries you through the song as the guitars build through the pre-chorus before the catchy chorus sweeps you up with an addictive hook and guitar riff. It also features a signature “woo” that you hear through a lot of their more recent tracks, this somewhat becomes a highlight when performing it live as the crowd shout in unison. The breakdown on this one is heavy with distorted guitars and quick slick drum fills that hit every beat satisfyingly. ROCK BOTTOM is the next track; the band constantly talk about the importance of being loud about mental health and this track absolutely brings about that attitude, being very loud and open about what ultimately is common and should be discussed. John Franck's voice itself is what really brings a country tone to their music, being from Ohio in the US, he keeps that real American tone that you see a lot of other artists try to shift to something else. The country timbre is accented with acoustic guitars and other almost choir-like vocals - and an eagle scream here and there - but they never overshadow the metal roots which is what makes it so masterful. The following tracks MORE THAN HATE and HARD2TELL are also both pre-releases that were performed at many recent shows including during their opening slot on BAD OMENS most recent tour. The first of which sometimes featured lead vocalist Noah Sebastian of BAD OMENS to walk out onto the stage, scream one word and then leave - hilariously, also pointing to prior speculation that he could be featured on the track as the two frontmen are long time friends. The two tracks are some of the heavier on the album both bringing something unique to the table but hitting with the same punch, really fitting to be featured side by side in the final line up. The next track WHERE TO FIND ME features NOVELISTS, a French metalcore band from Paris. Another thing that BILMURI do great is their collaborations, having other bands join their unique sound and fit in perfectly isn't an easy thing to do but they smash it every time. The track has an impressive guitar solo towards the second half of the track before a crashing breakdown with a hardcore beat where you can picture the jumping crowd. ST4RF1SH SPR34DR is a thirty second instrumental yet it's possibly the heaviest breakdown in the album, the distortion melts through your ears and the bass blasts straight to your brain and as soon as it's started the track is over. A very fun thing to feature in the middle of an album but it doesn't feel out of place at all, just a quick punch before the next track kicks in. SHYT FYST starts a bit slower with echoing guitars, the drums build around the vocals before the chorus picks up the pace. A perfect two stepping beat with an explosive bass line, switching beats multiple times through the chorus and its lyrics are bound to get stuck in your ears. The soundscape the band creates is almost nostalgic with this underlying hopeful tone despite its almost depressing lyrics when you really take a look “nothing left to give you so take a good hard look at me for the last time”. The next track was another pre-release and complete surprise collab with A DAY TO REMEMBER. ALWAYS LET YOU DOWN features the two lead vocalists going back and forth and singing together, both of them bringing a distinctive tone to the track. This track is possibly the most pop punk influenced of the album, a really jumpy hyped up rhythm with a classic electric guitar riff and hard hitting pauses in the beat. It's worth noting this track also features the writing credits of the BAD OMENS front man, an image posted on socials last year created the first mutters of this collaboration that finally came to fruition. BACK, THEN enters as we get to the last few tracks of the album, all being brand new with this release. This track is more guitar heavy with different layers of acoustic and electric all weaved together. Since the start, BILMURI have spanned a wide range of genres before finding what we would call their own flavour, this track is a great example of what that is sonically. The second to last track HONEST kicks off right away with the ever so famous saxophone. Gabi Rose playing a permanent part in this band, has offered her talents to many other bands and of course she's great every time but BILMURI is where her talents are the perfect missing puzzle piece. Her saxophone solos have become a huge part of the BILMURI sound and her vocals layer flawlessly with John Franck's; it's like the two were made to make music together. WAVES is the last track on the album and the most vulnerable, there's a few tracks like this through the band's discography. It’s mellow and raw, centred around a feeling of grief and it's honestly an extremely comforting track. John Franck’s vocal abilities are really highlighted in this one with Gabi Rose’s harmonies dancing along with his. But it still saves time for a breakdown with shredding guitars and a tearing beat, keeping the same emotional tone before once again mellowing out to just an acoustic guitar and one last “heartbreak hits in waves” from John Franck. This album solidifies the BILMURI sound and portrays what the band can really do, its so distinctly them, its relatable, its catchy and its bringing them to popularity. With this album the band have announced a huge world tour - which has multiple UK stops - and feels to be the start of something great for this band. Having supported many bands and huge names in the scene right now they’ve had the chance to play some huge shows, now we want to see them headlining. Score: 10/10 KINDA HARD was released on 10th April 2026 via Columbia Records. Words: Amy Smyth Photos: BILMURI

Kicking off its third edition this year, Noizzefest is coming back stronger than ever. Taking place across the Fuel Rock Club and Clwb Ifor Bach in Cardiff on the 25th April, the festival is a celebration of the British underground scene, while it is also not shying away from booking big names for their stages. With such a packed bill this year, there is a big chance that everyone will find themselves a handful of bands they need to absolutely check out, as well as names they are familiar with. Here are some of the top ten bands you absolutely should not miss this year: 10) OMOIA The queer emo band from Leeds was only formed in 2022, but has not stopped stirring up the waters of the British alternative scene since then. Having two meaty EPs under their belt - The Sickness and Antropology, OMOIA is only getting started while making the wider audience aware of their melodic, melancholic sound that will strike you almost instantly. They are taking over the TJP Tours Stage at the Fuel Rock Club as one of the later bands of the day. 9) KNIVES Bottling together chaotic, aggressive sounding riffs with even more intense vocals, KNIVES are for sure one of the bands to not miss out on at the Clwb Ifor Bach Stage (Upstairs), especially since they are the supporting band for the headliner. With their debut full-length GLITTER unleashed into the world last year, the band is quickly taking over the world with their layered, overwhelmingly captivating music. 8) HAMARTIA Just earlier this year, HAMARTIA toured around the UK with the giants TRASH BOAT, and they are set for even more exciting times. Infusing various elements all across the music spectrum into an emotionally charged alt rock experience, the four-piece can deliver it all - from intricate riffs and beats, to raw vocals, that will make you feel all sorts of emotions within seconds, while running around in the moshpit. 7) TAYNE If anyone is bringing new sounds to the Noizzefest, it is with no doubt the London-based industrial noise pop project. Do not be fooled by the word “pop” though, as the band uses heavy riffs and raw vocal fries, being a perfect band for a rave moshpit. Taking over the Clwb Ifor Bach Stage (Downstairs) as the second to last band, TAYNE is definitely a must see band for anyone, who is craving a big dose of brain melting music. 6) BICURIOUS When someone talks about electronic dance rock, the Irish duo BICURIOUS are absolutely ones that come to mind. Known for their experimental and groovy take onto the genre, Gavin Purcell and Taran Plouzané can make the floor every time they perform - let it be from jumping, or the most brutal circle pit. The use of instruments in their work is very remarkable and the fans at Noizzefest can find out for themselves on the Clwb Ifor Bach Stage (Upstairs). 5) HELL HOTEL Adding to the emo side of the roster, HELL HOTEL is not only leaning into the popular genre, but brings heavy metalcore influences as well. The duo from Brighton is drawing from the infamous 2000s style, oftentimes bringing melancholic and interesting riffs that are working wonders with the raspy vocals and fast-beat drums. It is absolutely a must-check out band, as they are headlining the TJP Tours Stage on the day. 4) CALVA LOUISE As the main headliners of the festival, CALVA LOUISE does not need much introduction. If you are up for a good set filled to the brim with sickly vocals and melodies, the Londoners are an absolute go-to. And if you are not, they still are, as their sound is uniquely haunting and perfectly fitting for their aesthetic, grabbing the attention of anyone interested in good modern rock with dominating guitars and occasional classical elements like piano combined with the vocalist's uncompromising screams. Check them out at the Clwb Ifor Bach Stage (Upstairs) at the end of the day for an ecstatic experience you never knew you needed. 3) A-TOTA-SO With the combination of grunge, post-hardcore and math-rock, A-TOTA-SO proved themselves on numerous occasions as a band that always pushes its own limits far beyond its boundaries. Recently releasing their first single since 2024 - Death Rattle, the three-piece is gearing up for their Cardiff appearance with more heavy riffs, intertwining their chaotic and noisy sound with moments of intense tension and silence - in the good, old-fashioned A-TOTA-SO way. 2) ICANTDIE Coming from South Wales, ICANTDIE bring good ol’ alt rock to Cardiff in April. From heavily sounding drums, to captivating riffs, to beautifully aggressive vocals, the three-piece is a formidable foe and a must listen, if the underground alt rock is your thing. So far, the band has only two EPs out, with the latest being Errors from 2023, but that absolutely did not stop them to bring their powerful forces to the Noizzefest crowd. 1) HAGGARD CAT A critically acclaimed British post-hardcore/alt-rock duo, HAGGARD CAT is not only about promising riffs, it delivers intense live performances and impactful, introspective lyrical themes. Every song is a masterfully executed piece with thoughtfully used synths and harmonies, resulting into epically huge choruses. The band is set to headline the Clwb Ifor Bach Stage (Downstairs) and should not be missed by any fans of meticulously written music. If you do not want to miss out on Noizzefest’s busy roster, put the date 25th April in your calendar. Words: Kat Stepanikova

Fresh off the press (and completely out of nowhere), ENTER SHIKARI's eighth studio album Lose Your Self dropped mere hours after a hectic crowd departed their intimate Satan's Hollow headliner in Manchester. The band have been deliberately opaque about the lack of promotion, with Rou Reynolds stating that “We want people to go on a proper journey with this album, and see where it takes them. No lead up, no singles, and no explanation,” encouraging listeners to engage with it as a cohesive whole. For a band that has spent years meticulously drip-feeding albums track by track, the surprise drop is a delightful venture into 2026 within the run-up to their end of the year headline shows. Following the trajectory of their later releases, the album itself is a very recognisable ENTER SHIKARI record. Their hybrid of pop-influenced, post-hardcore and electronica sound combined with the slick, polished production has been firmly certified as a staple of the band’s identity, having come a long way since the raw aggression of Take To The Skies and Common Dreads. It’s a palette that they’ve made entirely their own, and on Lose Your Self, they wear it with complete confidence. The title track opens the record with a patient, deliberate build, with lyrics weighing the fate of a hundred billion souls past, present and yet to come, before the repeated plea to ‘lose yourself’ gives way into electronics that swell into something utterly euphoric. It’s a solid foundation which sets the tone for the rest of the album, transitioning flawlessly into Find Out The Hard Way..., whose bright, twinkly intro wastes no time in signalling that this is a band very much at ease with their own eclecticism. Beneath the buoyant melody sits Rou’s signature tongue-in-cheek lyricism at its most razor-sharp, slating wilful ignorance and political passivity with lines that sting precisely because they’re delivered with such a disarming grin. Dead In The Water marks a swift tonal shift. Opening with a pessimistic declaration of futility as walls close in and waves roll over, the echo-drenched production and reverberating vocals very much amplify the sense of being swallowed whole. demons continues the push-pull dynamic of bright, infectious instrumentation and lyrics that carry the weight of the world, before The Flick Of A Switch I. finally unleashes a glimpse of the band’s heavier instincts. The subject of the song is cut down with various blunt insults through a wall of vocal effects, all sharp edges and barely contained fury. This aggression is carried over onto i can’t keep my hands clean, a punchy, 90-second burst of harsh vocals over rough, unpolished guitars and relentless, fast-paced drums that feel like a deliberate nod to their earlier discography. That it opens and closes with the incoherent murmuring of background chatter, blissfully unbothered by the chaos, gives it an unsettling edge – as if Rou is screaming into a void that simply isn’t listening. With it’s OK, the record shifts the mood drastically: much of the lyrics on the track are delivered in a dry, spoken cadence, before the chorus blooms into an almost crooning pop melody, like an auditory wink to the audience. The Flick Of A Switch II emerges from a haze of ambient noise, before dropping into a chugging breakdown – a timely reminder (if one was required) that ENTER SHIKARI can still hit like a sledgehammer. Then, bizarrely, a swelling horn section welcomes in Shipwrecked!, though once again the heartache is buried beneath the surface. The soaring chorus longing for ‘a different story than the one that we’ve been told’ lands with considerably more weight than the sun-drenched melody would suggest. However, the record’s crowning achievement is undoubtedly its closing trilogy, with the three tracks blending into a singular 10-minute epic. Spaceship Earth (I. Avec Abandon) opens with a disarming warmth, welcoming the listener aboard before breaking the news that there is no escape and that ‘you and everyone you love will die on this joyride’. A heartbeat-like transition carries us into Spaceship Earth (II. Angoscioso), where the journey has evidently descended into chaos. The passengers have hijacked the ship, a black hole looms, and just as the spiral feels truly doomed to be utterly inescapable, a crabcore-reminiscent dance breakdown interrupts the bleak lyrics. This breakdown feels blatantly satirical in its euphoria, as though the universe is gleefully soundtracking Rou's existential crisis with a dancefloor, mockingly oblivious to his despair. As if exhaling after that ordeal, a cinematic orchestral section blooms into Spaceship Earth (III. Maestoso) – and the album finally finds its peace. Over gentle guitar plucking, the pleading to ‘hold on, a change is gonna come, my love’ repeats like a mantra until the album quietly fades. After the relentless pessimism that precedes it, it’s a genuinely beautiful and poignant note to end the album on, and perhaps the most fitting vindication of the band’s decision to drop the record without warning. Lose Your Self does indeed take the listener on a journey, and the destination is absolutely worth the ride. “SHIKARI will always offer hope,” is what Rou has stated, “Because without hope, there is no action.” Nowhere is that philosophy more profound and devastating than in these final moments of the record. The world may be burning, but ENTER SHIKARI are still asking us to hold on. Rating 9/10 Words: Adrian Chapman Photo: Sarah Hook

It’s the Easter bank holiday weekend, what more of an excuse can you need for a day filled with live music. We spent our Saturday down at Gloucester’s Guildhall for an ‘Alt All Dayer’ put on by your friendly neighbourhood alternative market trader come live music promotor, The Dark Corner. The live music kicked off in the early afternoon with performances from AUBS THE KID (featuring IDLE HANDS), THE UNDECIDED, ECHOES OF OBSIDIAN, BLACKLISTED MC, HOLLOW RITUAL and DEATH IS A GIRL; all of which were accented by DJ’s HONEYBONES and SOUL METHOD keeping the crowds entertained during the change overs. Our coverage, however, picks up during the later stages of the day, firstly with the queen of ‘trapped metal’ and rapidly rising star of the underground metal scene, the enigmatic N0TRIXX. Masked and hooded, her eyes piercingly white, the best way to describe a N0TRIXX live show is intense. During one of her chats to the crowd she mentions that she suffers with multiple-identities, one of which is a music producer, with all of the songs (bar one) on tonight’s set list produced by her. She also goes on to talk about how she took up music full time 4 years ago after losing both her job, her family and her home after standing up against the invasion of Ukraine in her native Russia. Having recently released the album ‘A Catalogue Of Madness And Melencholia’, an LP where every track is centred around a different mental health issue. Although for the most part, N0TRIXX could not be contained by the stage; a particular highlight was “St. Chaos” a track from the album dedicated to ADHD see’s her deep into the crowd almost forcing the audience to join her in a ritual of cathartic release in the form of “moving your fuccking feet”. Afterwards, “sorry for being a dick, but it's all for your own good, it's good to get moving, you’ll enjoy the music so much more if you do”. Local Ska/Nu-Metal/Hip-Hop/Grime/Punk legends, Gloucester’s very own LICKSHOT took the last space on the undercard. Their sound is a melting pot of influences from both their own, and anyone else who is north of 30 years old, youth; lyrically punk, at its core nu-metal, the combination of Stephen ‘Prime Position’ Grimes Hip-Hop/Grime vocals, Dan Snowdon’s Ska tinged guitar tone, Aaron ‘Ron’ Evan’s at times knocking out a straight up D&B beat all tied together with the grooviest tones and harsh vocals from bassist Joe Barton; it's all energy, it’s all fun, it’s impossible not to bop along. The guys have a new EP (‘LICK’) dropping this coming Friday, during tonight's quick fire set, we were treated to a couple of brand new tracks from the upcoming release in the form of “Paragon” and “Solutions” (one for all of the emo heads,if you were sad in 2004, then this track is most definitely for you). Sadly the set is a short one this evening, at just six tracks they close out with fan favourite “Back To The Roots” from their debut album 2025’s ‘Inside The Ride’, this live rendition with an extra heavy ending that you won’t hear on the album version. Closing out a jam packed day of all live music from the entire spectrum of the ‘Alternative’ sphere, were Bristol/Cheltenham based desert/alt-rock lads NUNS OF THE TUNDRA, drenched in fog and bathed blue they emerged onto the stage to the sounds of the Mighty Boosh sketch that inspired their name, the four piece now seemingly a five with the addition of a third guitarist. We are treated to a brand new track “Caveman” which see’s frontman Troy Tittley instructing the crowd to scream “ooga booga!” along with him. Later, Tittley mentions that the next song “Float Away”, one of the bands earlier releases from 2017, never felt right to be played live until the sudden and untimely passing of the band's original bassist Tom Benson in his sleep at the age of just 28, subsequently their 2025 self-titled debut album which is booth dedicated to Tom and the content of which is fuelled by that grief. The song is stripped back, its emotional, the entire Guildhall is filled with phone torches raised in reverence. Drummer Hugo Bowman start to beat out the recognisable introductory beat to QUEENS OF THE STONE AGE’s “Song For The Dead”, there's a noticeable pop from the crowd as they start to recognise the tune and the rest of the band join in, but before Tittley can break into his best Josh Homme impression the song morphs into their own track “With Me” which would signify the “end” of the set. Inevitable chants of one more song follow the all too familiar ruse, we all knew there was more to come, visible to almost the entire crowd, there was a clock on the soundman's desk at the side of stage that had been counting down during every bands set, there were a solid 15 minutes still to run. “Who’s over 30, how about we do some songs then we all go to bed, deal?”. What followed was a 1, 2 punch of “Pray 4 U SLay 4 U” and a the bands biggest hit to date, “Low”, if you’ve not had the latter infiltrate your social feeds in the last couple of years then you are surely in the minority of “alt-music space social media users”. Words and Photos: Simon Arinze

Most will probably know HEADBUSSA from their support slot for KNOCKED LOOSE a couple years ago, some will know them for sharing line-ups with SUNAMI, by the end of this gig, we know them for a brand of hardcore that kicks you in the teeth with no apology, with 6 bands on the lineup this show certainly packed a punch. First up were London Hardcore 5-piece SO FAR SO GOOD, these self proclaimed ‘Evilcore’ certainly lived up to that moniker; with kick drums that sounded like a machine gun, riffs crunchier than an autumn leaf and vocals so dark they served as a perfect juxtaposition to the Hello Kitty on the bassists t-shirt, with an incredible energy that set the bar for the rest of the night, these lot were a great little set indeed. Next up, Essex/Kent Hardcore band WARDEN took to the stage. They sucked in more crowd for a lot more of an aggressive set that perfectly suited the demonic screams of the singer, the gutturals were insanely impressive. Still, the true extent of this wasn't revealed until WARDEN whipped out a cover of Pray For Plagues by BRING ME THE HORIZON, uniting the hardcore and deathcore elements of their band for a cover that turned the place upside down and had everyone getting involved in the pit. After them was a very short set from REKRUCIFY but the duration only showcased how hard these guys go; two singers meant double the fun quite honestly, one higher, one lower in the screams to make a perfect contrast. This also meant they shared the super intense songs making for double the energy and a really amazing crowd reaction that had everyone getting involved, they really commanded the crowd and really set up the next band for a great set. Southampton-based NOT WITHOUT PUNISHMENT came after, and here is where the night got really dangerous, the singer came on immediately crowd-killing and moshing just to really set the bar; the rage and aggression emanating from this band was reciprocated very quickly with the biggest pit of the night so far, so many arms and legs went flying, it was honestly insane to look at. It’s safe to say that the singer of this one had the most insane and intense energy of all frontmen playing that night, really bringing their bombastic energy out to play. Following them, London Hardcore group NEGATIVE FRAME showed the crowd how dangerous hardcore shows can really get, the band played quite non-chalantly which showed how talented they are being able to play such intense music with such ease. They commanded the crowd into complete chaos, if anyone thought the previous band had a lethal pit, NEGATIVE FRAME sent the crowd into a frenzy that had the floor of New Cross Inn bouncing, kicks flying and lots of crowd interaction. The heat really got turned up when the bassist dropped his instrument and took over vocals for a song, many more joined the pit, stage divers started appearing and all hell was let loose ready for the headliner. Finally HEADBUSSA arrived for their headline slot for a set of pure speed, adrenaline and rage came with the presence of this band; this French hardcore group absolutely do not mess around, around a 25 minute set was all they needed to make the place erupt, no one in the venue was stood still for them as they bounced up and down through a serious level of technical instrumentals that left no one unimpressed. The level of energy was genuinely of the scale, from crowdkilling, pitting and stage diving, it was a real testament to the level of passion, dedication and loyalty behind hardcore. It’s safe to say that if HEADBUSSA comes back to the UK, they will turn the place into a frenzy and the crowd will certainly help with that feat. Words and Photos: Ben Blissett

Born in Jacksonville and raised in North Carolina, Fred Durst is the red‑capped chaos conductor behind LIMP BIZKIT. A generational icon and one of the internet's favourite punchlines, Durst has turned his lovable skate park bravado and low key hip hop swagger into something that people just love. In between breaking stuff and accidentally becoming a meme historian’s dream subject, he has found the time to grace some of the stages of the biggest festivals in the world. Fred Durst is just one of those types of people; love him, hate him, ironically stan him, he remains one of alternative cultures most endearing and enduring characters. He’s best known for being equal parts provocateur, showman, and the guy who somehow made a backwards cap into a personality. With that in mind, here are some of his top ten moments. 10) Juice Fasting Tumblr Back in 2012, Durst decided to start a 60-day-juice-only-diet, and even started a Tumblr page especially for people to follow his journey. He posted a photo of his “new best friend”, his juicer on day 1, before confessing to eating a bag of M&M’s on day 3 and then abandoning the entire affair (and the Tumblr) after only 2 weeks. He claimed it was due to “not seeing any significant results.” He reflected that though his “thoughts are clear and inspired”, he was discouraged and decided to pivot to cardio and weights instead. 9) Diplomatic Detour 2015 saw Fred briefly wander into geopolitics when he publicly expressed a desire to obtain a Russian passport whilst doing an interview for Moscow Rock FM. Russian media later claimed he had written to Crimean authorities asking for help to get his citizenship. A 5 year ban from Ukraine ensued and European promoters began to grow wary. Durst had to publicly state he actually never formally applied, recognising that it was “too sensitive” of a situation, but by then it was too late, a strange cultural detour became a diplomatic headline. 8) The Nu‑Metal Easter Egg In a truly blink and you’ll miss it appearance, Fred Durst appeared in the 2001 film Zoolander, popping up at the film’s celebrity‑stuffed runway finale like he wandered in from a nu‑metal afterparty. For just a few seconds, the LIMP BIZKIT frontman becomes part of the movie's glitter-soaked absurdity, with a cameo that captures the era's pop culture mash up energy perfectly, bringing with it his signature chaotic confidence. 7) The Dad‑Vibes Rebrand The man taking to the stage at Lollapalooza in 2021 did not look like Fred Durst. Gone was the man with the red cap and baggy jeans, and in his place was suburban silver fox stepdad, who secretly moonlights as a conspiracy theorist. At least, that’s what everyone thought until they realised, actually it was Fred Durst. He’d just chosen that stage for his reinvention, leaning into the absurdity of aging in public. The dad vibe paired with his trademark swagger sent the internet into a frenzy. 6) The Istanbul Drone Incident Whilst performing a show in Istanbul in 2015, Mr Durst came face to face with a rogue drone. In a moment that was equal parts slapstick and sci-fi, he broke character and concentration to swat at it like a man defending his backyard from a winged intruder. The drone survived his attack, and the whole thing was thankfully caught on tape and became another meme worthy moment in the world of Fred Durst. 5) The 2018 Shaggy 2 Dope Dropkick Fred was subjected to another almost otherworldly attack during a festival appearance in 2018 when INSANE CLOWN POSSE’s Shaggy 2 Dope attempted a flying dropkick on him and missed by a huge amount. Durst barely flinched, security swarmed on the situation and again, the internet was given another gif worthy moment, to be played over and over like a WWE blooper. Two icons of the 90’s music scene collided in a bizarre stunt that had people wondering, was this performance art or simply an assault art? 4) Woodstock ’99: The Plywood Surfing Incident Limp Bizkit's Woodstock ‘99 set has gone down in history as one of the most chaotic moments in music. By the time the band took to the stasage, the crowd was already volatile from extreme heat, poor conditions, and days of pent‑up frustration. Fred encouraged the crowd to “let out negative energy,” however his message was misconstrued and anarchy ensued. In the midst of the chaos, Fred Durst decided his best bet was to surf the crowd on a sheet of plywood, like a nu metal messiah, floating above his flock. After the festival devolved into riots, fires, and assaults, Limp Bizkit became the easy scapegoat. But the simple fact is LIMP BIZKIT fanned the fire that was already burning, but were not the ones to light the match. 3) Woodstock Flashbacks During “Break Stuff” Despite the chaos of Woodstock ‘99, the band performed again in 2015, and Fred was seen on stage, pausing mid performance of Break Stuff, looking out into the crowd and looking like he was experiencing flashbacks like no other. Durst soon snapped back into character, but not before being visibly transported back in time to the mayhem of yesteryear. 2) 2000 MTV VMAs: The Christina Aguilera Moment The MTV VMAs in the 2000’s were the pinnacle of pop culture and this was no more evident than when Fred Durst performed alongside Christina Aguilera, rapping the bridge from Livin' It Up. The duet was perfect tabloid bait; oddly charming but completely unexpected. A Pop Princess and a Nu Metal King on stage together was the kind of crossover that defined the era's cultural mash ups. 1) “Making Love to Morgan Wallen” 2025 saw LIMP BIZKIT release the track Making Love to Morgan Wallen; what many expected to be a diss track, turned out to be anything but. With surreal lyrics referencing Chester Bennington, David Bowie, dolphins, Trump resorts, scooters and UFOs, the song is equal parts parody, provocation, and internet‑era performance art. The title comes from a lyric in the song’s final moments, where Durst drops the line “Makin’ love to Morgan Wallen in an elevator”. It was a track that wasn’t so much a reinvention so much as a flex - Durst reminding everyone he lives in that weird sweet spot where sincerity and absurdity collide and nobody can tell which side he’s leaning toward. Catch Limp Bizkit headlining Download Festival this summer Words: Lou Viner-Flood

Coming to your speakers tomorrow is a true collaboration from two truly legendary acts within heavy music. MELVINS and NAPALM DEATH have joined forces to create a band built out of some of their current members in order to bring to life this amalgam of noise, sludge, unease and riffs. Taking the name Savage Imperial Death March from the two tours of the same name in 2016 and 2025, the album is the first studio project to be given that same moniker. The album was recorded at the MELVINS’ Los Angeles studio, with Buzz Osborne (vocals/guitar) and Dale Crover (drums) joined by NAPALM DEATH’s Barney Greenway (vocals), Shane Embury (bass), and John Cooke (guitar). The album itself is a groovy, psych-infused mix of guttural heaviness, freight train riffs, sludgy headbanging passages and plain-old heavy metal fun. Lead single Tossing Coins into The Fountain of Fuck contains a bridge that is as catchy as anything you’ll hear this year whilst still having bags of heft and being comfortably able to withstand any worries of not being ‘heavy enough’. It’s not only a new artistic venture for both sets of musicians, but also clearly a passion project with two sets of fans of each others’ output. In discussion about the album with Embury, Osborne and Greenway they all showed plenty of love for the other band: “I have loved the Melvins forever and their outlook on music,” Embury explains. “A chance to make an album of eclectic musical madness with them was truly an honour and a whole lot of fun, which surely is the whole point! Let’s do another one soon.” “Napalm Death are one of my favorite bands ever,” Osborne says. “It was an absolute pleasure and a dream come true to do this collaboration with them. We wrote songs together. I would write a riff and we would learn it and record it right there. They wrote stuff and we would learn it immediately as well. It was truly a 50/50 partnership.” "Funny how life turns out sometimes... collecting hard-to-find MELVINS 7-inches on Bleecker Street in 1989, and then touring twice and doing an album with them within the following 35 years,” Greenway adds. “Had a great time with it all, and nice to work with fellow travellers in the MELVINS who also couldn't care about pandering to 'demographics'. I felt myself almost babbling lyrically during the recording, and that alone made for very fun recording times." This sense of fun and freedom pervades the record, which - whilst on the surface doesn’t have much of a sense of enjoyment at all - is as exploratory and experimental as anything either band has created in a long time. Track two, Some Kind of Antichrist, is a nine minute plus piece that twists and turns with multiple vocal styles, synths, rollicking guitars, and more across its fantastic length, whereas finale Death Hour has a brief sample that every listener will recognise coming after plenty of murky, semi-spoken word synth gloom. Savage Imperial Death March is certainly not the most overtly NAPALM DEATH-esque record you could ever hear, and doesn’t complement every end of the MELVINS’ catalogue either, but perhaps that’s absolutely the entire point. This band isn’t a direct split of the two musically, it’s a collaboration between like-minded musicians who worked together to create something that they’re all proud of and clearly had a riot doing. Each song feels new and interesting, each choice feels conscious - there’s nothing here that feels particularly derivative or boring or generic, it’s all fun and exciting and fascinating. That alone makes it absolutely worth the ticket price. Score: 8/10 Savage Imperial Death March will be released on 10th April 2026 via Ipecac Recordings. Words: Jasmine Longhurst Photos: Chris Casella

AS EVERYTHING UNFOLDS get bold on sophomore album DID YOU ASK TO BE SET FREE?, elevating metalcore with heavy electronic and classic rock influences and creating characters as vessels to explore what freedom means. Each track is varied but equally honest despite being played through a fictitious voice, making this project the quartet’s most layered project to date. Metalcore acts as the foundation for the heavy set tracks across DID YOU ASK TO BE SET FREE? while Adam Kerr’s guitar is focused on classic rock melodies that harmonise with the drum and bass style electronica that sit atop the albums soundscape. This is best shown in SET IN FLOW which feels like an homage to PENDULUM in its introduction of vocals increasing in volume and guitars mixed with warped synths. Its body is introduced by Charlie Rolfe’s scream and its tone by the vocals robotised by autotune and chopped into the chorus; the balance of hard rock riffs and dirty drum and bass is struck perfectly, so much so that by SET IN FLOW's gritty breakdown the stank starts to hurt the face muscles. The blending of genres has been intentional and sets the mood for each track: GASOLINE incorporates an 80s groove into the party rock atmosphere it has, opting for stop/start bridges over breakdowns and a halftime final chorus perfect for throwing it down at the end of the world, then changing to the use of a piano for the melody of FIND ANOTHER WAY which melts into the EDM in the introduction, and the drums in its intermission that creates a spaced out feel to a track that describes the struggle of moving forward. Not to worry though for fans of AS EVERYTHING UNFOLDS’ original sound - POINT OF VIEW comes in with a heavy bassy introduction and chaos in its body, breaking down beneath Rolfe’s screams and sliding chords which crafts something sultry while packed with angst. The depth of DID YOU ASK TO BE SET FREE? comes in the songwriting, where Rolfe’s created a character as a bridge to explain and protects her feelings, many no doubt from coming to terms with the loss of her partner and AS EVERYTHING UNFOLDS drummer Jamie Gowers. On the surface each track is storyboarded around a hard breakup, with references to death throughout feeling like a crack in a façade to what Rolfe was writing about in part with “living life in memoriam” from FIND ANOTHER WAY being the most obvious. However, this bridging comes to life in the themes of breaking free and the conflict of moving forward present throughout DID YOU ASK TO BE SET FREE? - REVERIE focuses on the latter in particular, where “rose coloured glasses broken in two/distorted deception through your lens too” sets up the breakup imagery, then moves between wanting to hang on and wanting to let go without a final answer. This answer seems to come in penultimate track EDGE OF FOREVER, which begins with a line that embodies going through the motions in “Life in colour but equally in monochrome” on top of an acoustic guitar. EEDGE OF FOREVER is where DID YOU ASK TO BE SET FREE? admits that it does want to be able to continue to live and experience the world but is nervous i.e. “won’t let it in/won’t let it go”; a dichotomy known to those who are experiencing everything they’ve wanted, apart from being able to do it with someone who now isn’t there. Together, these create an accessible route to explain to the listener the conflicts of grief and growth in age without needing to lay bare each memory, with the character Rolfe speaks through being easy to sympathise and relate to. AS EVERYTHING UNFOLDS have created an addictive blend of metalcore and EDM, taking classic rock riffs and melodies to create an elevated version of a sound they already created at strength. DID YOU ASK TO BE SET FREE? is vulnerable, with the use of characters and allegory foregrounding the fear of being free to feel and express oneself while providing a bridge for the listener to access the inner conflicts of grief and coming to terms with adversity. It's a layered project in its soundscape and in its lyrics, the two years taken to put it together is shown in the intentionality and passion of every element of every track. Score: 9/10 DID YOU ASK TO BE SET FREE? will be released on April 10th 2026 via Century Media Records. Words: Julia Brunton Photos: As Everything Unfolds

The rise of emotionally charged metalcore in the UK has never felt more electric or unapologetically diverse than it does at the moment. What was once a niche has exploded into a brilliant genre where guttural screams sit beside harmonising vocals. From fierce anthems of defiance to haunting ballads about mental health, it is here to stay. With a roster of three awesome bands on this EMPLOYED TO SERVE bill, it proved to everyone in the room that this scene belongs to everyone bold enough to claim it. The night opened with local band UNDER VIOLET SKY. With their first EP coming out only six weeks ago, and this only being their second gig as a band, it was hard to tell that they hadn’t been at this for years. Whilst some may say it can be hard to warm up a metal crowd when you aren’t established, this band said ‘hold my drink’ and proved everyone wrong. Vocalist Izzie’s blend of well tuned screams and growls juxtaposing her brilliant singing voice proved that this band is packed with the potential to grow into something quite brilliant. CAGE FIGHT stormed onto the stage with enough energy to power the room. Dubbing themselves as a male backed metal band, it felt incredibly fitting for this roster of incredible femme vocalists. Front-woman Rachel Aspe was a conductor of both the band and audience as she hypnotically entranced audiences with her guttural growls and amazing squeals. The songs were furious and angry with pits erupting in Pick Your Fighter and Eating me Alive giving a vibe of old school hardcore with a punch of new wave metal. The whole band were incredibly tight, which for a band that were formed over lockdown as a project to unleash their skills is testament to their talents and stage chemistry. If the audience weren’t ready for the headline act, they sure were after CAGE FIGHT’s set. Having recently released their latest album Fallen Star, EMPLOYED TO SERVE are on the rise having been working at the metal grindstone for well over a decade. Stepping into the spotlight of the metal genre, it feels like all their hard work has paid off. Their set erupted with Treachery and within seconds pits were formed and it felt like the band were where they belonged. Vocalist Justine Jones has perfected the craft of screams and stage presence and commanded the stage with gut wrenching screams and the perfect blend of catharsis and joy. Throughout the set it almost felt like a hometown show, despite being a distance from Woking. However it was the engagement between the band and audience that truly felt like the room was connected. Paying homage to their old school fans, they gave touches to the past with songs such as Good For Nothing which had the crowd screaming the lyrics back at the band. Whilst new songs such as Now Thy Kingdom Come and title track Fallen Star highlighted that this band aren’t going anywhere except up. Putting a rising star band in an intimate room is one way to show an audience how a band is on the cusp of shooting to success. The energy in the room was nothing but electric and with screaming vocals, drilling drums, and guitar riffs that infect your brain, it was seventy minutes of pure perfection. It may have taken EMPLOYED TO SERVE a bit longer to get onto this trajectory, but they aren’t stopping any time soon and it’s finally their time to take the metal crown they deserve. Words and photos: Laura Davies

Speed metal truly alive as Scottish metallers HELLRIPPER bring their take on metal to the stage. The headliner love metal and support the scene wherever they can, that’s why they have brought along DEVASTATOR and SCHIZOPHRENIA. Taking the opening set was Derbyshire based DEVASTATOR, who brought their take on blackened thrash with a speed metal direction, as all bands had on this bill, taking over the stage with attitude and direction from the moment they arrived. The crowd took a little while to warm up as the start of the bank holidays presented the band with a more tired than usual crowd. But throughout the crowd took every moment to enjoy it even if they were not moshing to full power yet. Their set was the perfect introduction for the evening to bring everyone into a metal mood. Next was Belgian death metalers SCHIZOPHRENIA, who brought some of the heaviest moments of the gig. From the moment they started to play, they brought an intensity only heavier metal bands can bring. They take you into their sonic world of death metal with speed metal elements and show how well they can play. As with many bands in the modern metal scene, they wore their love for the genre on their sleeves, or in this case sleeveless leather vests, by including a cover of a MORBID ANGEL track. Their sound was very old school and their entire presentation was a love letter to the bands that came before them in the genre. They got the crowd moving a little more but they still have not reached maximum carnage yet. HELLRIPPER are simply brilliant in all that they do. On record they showcase some of the best song writing in speed metal, and live the music truly comes alive. Although they started the set with a few mild sound issues, nothing can impede the quality of their delivery. It was a shock that the band nearly did not make it to the stage with their van breaking down. The band acted like true professionals and put everything they could into the set. Opened with fan favourite and statement piece All Hail The Goat and they were immediately hit by the passion and devotion of the fans present. Frontman and sole recording member of the band James McBain put his guitar mastery on full display as he showcased every emotion possible in metal, from shred wizardry to sombre slower moments, it was truly a spectacle to behold. The set clocked in at just about an hour which did feel on the short side, but it was still loaded with plenty of tracks to leave people satisfied. Every track played was a testament to the sheer quality of the band. The crowd became gradually more intense as the band kept playing, coming to a head towards the end of the gig with waves of fans jumping on and subsequently off the stage to crowd surf. Waves of fans came in just to share a moment with such a powerful unit of a band. They seemed to understand what people want in metal and provide, from thematic lyrics to face melting solos, HELLRIPPER is everything metal is at its greatest. Their intensity and passion live makes them an unmissable act in the current scene. Words: Will Freeman Photos: Claire Cabanac