On the backend of the EU and UK leg of their Prowler Tour, Pop Punk veterans WATERPARKS entered the O2 Academy in Bristol last Wednesday to deliver a high energy, crowd-pleaser of a set. Whilst the momentum of the evening was catapulted to a difficult high to follow by support in Irish emo’s GREYWIND, WATERPARKS were able to build off the back of that movement and keep the crowd’s spirits high. First up were the openers and alt-emo vanguards GREYWIND, who were able to bring a calculatedly frantic energy to the room despite the time constraints. Front-woman Steph O’Sullivan is the key figure in this equation with her flare for the theatrical and dynamic stage presence demonstrated by her constant outburst of intensity and unending onslaught of falsetto vocal as well as though the on-stage interplay brought by her brother and bandmate Paul O’Sullivan in the form of thrown hands and beaten guitar. Whilst the venue itself was already well filled out by the time of their arrival, the ability GREYWIND showed to win over and captivate an audience anticipating a cult band such as WATERPARKS, in a city that they have not previously been able to make an appearance in since their last show at Fleece three years prior, was remarkable. Crowd interaction was kept lively and did not become overbearing, with a brief interlude to introduce an assortment of medical hats adorned for Antidote. GREYWIND chose a tight and multi-faceted selection of songs which worked to liven up the tepid crowd of younger attendees, while also providing a taster of the group’s own My Chem-adjacent post-hardcore and emo flavoured palette. Control over the stage was exerted and reflected in the adequate head bobs and new fans made of the Wednesday audience judging by supportive chatter at the merch table. GREYWIND’s ability to gracefully move between moods was demonstrated in their balanced setlist consisting of cathartic 2000s-esque ballad 2024 single Swing and Sway to the bass driven ripper I.K.A.M.F. from the new album Severed Heart City. The dynamics of the venue were on the band’s side that night but actively elevating them, with a noticeably clear mix allowing each member’s parts to be distinguishable and articulate in a way that unfortunately did not translate for WATERPARKS. Overall, with a set like this (particularly set against a backdrop of younger and more WATERPARKS focused fans), GREYWIND were able to present an engaging warm up, that left an audience well prepared for the high energy pure pop punk of the headliners. Definitely a band to keep an eye out for if you’re up for a night of screaming and throw back fringes punctuated by driving riffs and a frenetic onstage dynamic. Following an elongated interlude due to technical issues, sudden screams permeated from the front as Handycam tour footage reminiscent of an MTV show circa 2003 began to play on the rear projector. Through the wall of it all, WATERPARKS entered the room with a running jump onto the stage followed by a dive straight through fan favourite Blonde and newer album cuts, with Sneaking Out Of Heaven particularly grabbing the audience. An audibly heavier shift in the band’s sound is clear in how they have chosen to perform their back catalogue live, the influence of politically charged single Ice is clear, with an uptick in harsher edges and guitar tones interweaved with the nu-metal infused speak singing of rhythm guitarist and lead vocalist Awsten Knight. What strikes most about the entire show is the tightness and rehearsed nature of it, from every on-stage jump, the brief kiss between Awsten and Lead guitarist Geoff Wigington, to the between song banter and even the use of swears (which at one point caused a mother in the audience to physically recoil as her younger son thrashed himself around). Whilst the energy brought by the crowd definitely carried the show and there was a clear love for WATERPARKS in the room, the show definitely felt as though the crowd’s dedication was carrying the weight rather than the band themselves. Sections of crowd interaction definitely helped to alleviate, but these moments still felt stilted at points with no real connection to the audience bar a few pre-planned cues. Vocally, Awsten Knight was able to deliver a solid performance that contained a solid energy but lacked a lot for the rawness that their more aggressive guitar tones live would suggest. Even considering this was the back end of a gruelling European tour. Whilst the clear dedication of the fans definitely showed, and they were in full force to help carry the energy of the show, WATERPARKS delivered a set that felt comparatively safe next to the gripping and spontaneous feel of openers GREYWIND. Whether it was touring induced tiredness, a lack of time to settle into a newer sound, or something else behind the scenes it might be wise to give some time to the group to settle before making the trek to see them on their next set of dates. Words: Zach Davis Photos: Jack Walsh

After over a year, Australian indie rock outfit LAST DINOSAURS returned to the UK for their run of anniversary shows to celebrate their second studio release Wellness; with a re-issue back in February, it was about time the band brought a small intimate show at the Garage in London. Starting off the night, REBOUNDER from New York graced the stage. While experiencing some technical difficulties, their bassist picked up a guitar and just started serenading the crowd as we waited for them to start, handling the difficulties with a lot of grace and decorum you don’t see with a lot of bands. After a few minutes the lights went down and REBOUNDER got the crowd warmed up. The beautiful harmonies between the two Baritone singers really made for a chilled out set that showcased the band’s talent; only ever elevated by the insanely impressive solos that took the instrumentals to the next level, even cooler when they mixed in No Scrubs by TLC into a song too. Fog filled the room and LAST DINOSAURS entered to thunderous cheers and applause, really signifying the dedication and love the fans have for this band, which they absolutely deserve as there was a warm presence in the room. These Aussies had such an amazing upbeat energy that proved the Australian music scene is heavily passionate and so rich in love. The singer definitely escalated it with some insanely powerful vocals with catchy hooks that just felt so good to sing back, the crowd really filled the room with sound creating a very strong connection with the band. They turned up the heat when they played Purist, hands threw up in the air along with plenty of beers as a little push pit opened up for probably one of the nicest pits ever seen, just jumping and singing as they smashed into each other for fun, it was a perfect example of how great a sense of community this band curates. Words and photos: Ben Blissett

The kings of drone metal SUNN O))) are always caustic by design, with long songs of intense slow noise whilst often having no vocals. This new self-titled album is another release in line with their past work and will be adored by current fans - but is unlikely to convert anyone who hasn't understood them before. Despite SUNN O))) functioning as a two piece, their sound is as complete as ever on these six tracks. They know what works for them and they stick to it. They create an atmosphere that no other band can come close to. Their drone creates a challenging sense of dread that when complete, creates a catharsis for completing their experience that then becomes addictive. Their pure brutality is their strong point, and this self-titled album has it in full. In a world where metal has pushed to be more SUNN O))) is doing less to achieve similar yet different results. Their sound is not built on complex riffs; instead it pushes the limit on what can be achieved by one simple note. It’s a textural experience that rewards the listener for listening to every second. Skipping through a track may feel as if little has changed, but on a complete listen every time a small change happens it hits harder. There is an obvious element of repetition on the album, but that is how the band’s sound is designed. Every track is a complete work outlining what the band can do, but as a complete package, every little trick they use is shown in different light by contrasting with other songs on the album. Being a guitar forward album, it feels like a celebration of what electric guitar can do. Often the guitar feels tortured through the way it hits a listener’s ears. Moments sound almost like cries for help, a guitar being punished by the music it creates. This is what SUNN O))) excel in, a brutal sound of pain and anguish expressed through the power of electric guitar. This sound is otherworldly and engulfs the listener - it’s a parallel world of sound, where conventions do not exist, but the same emotions can. Intense moments build gradually; there is no way to jump into a song - you have to start and finish it in one go to feel any amount of the experience. Being built different in the world of metal is one the best parts of SUNN O))), but is also why they aren’t for everyone. It fully makes sense why people would not like them; they defy conventions of what makes people enjoy music. Songs that last for nearly twenty minutes, with little diversity and nothing typically impressive, yet that is why they have their success. They do what other people won’t or can’t do. Their peculiarity is the main reason to listen. When you return to more traditional styles, you appreciate what they have, then in turn appreciate what SUNN O))) is. SUNN O))) by SUNN O))) is more of what you expect from the band, and is another release of the same quality they have become known for. Heavy, scary, brutal and unrelenting; creating something truly strange and appealing. They still remain unique and a must listen band for anyone into bizarre music and refreshing sounds within metal. Consume them at the right time and you’ll understand why. Score: 8/10 SUNN O))) was released on 3rd April 2026 via Sub Pop. Words: Will Freeman Photos: Charles Peterson

A PLACE TO BURY STRANGERS have long been highly influential figures in modern shoegaze. It seems that every new acclaimed band appearing in the genre these days are taking more cues from post-hardcore and noise rock outfits than the dreaminess of SLOWDIVE, for example. Of course, a lot of this can be traced back to the first group most people think of when they hear “shoegaze”, that being MY BLOODY VALENTINE, but A PLACE TO BURY STRANGERS almost feel like spiritual successors in that sense, with their aptly-titled 2009 record Exploding Head combining fuzzy bass, ethereal vocals, as well as a sensible helping of sheer loudness, to create a record that seems to just work. Their frontman Oliver Ackermann also runs a guitar pedal company called Death By Audio, so he also takes after MBV’s Kevin Shields with his clear passion for guitar effects and experimenting with making as much noise as possible. This is clear all over the band’s new release, Rare and Deadly, which is a sort-of-compilation, sort-of-not. The pitch is that each format it’s being released on has a different tracklist, so for example some songs that exist on the CD version aren’t on the vinyl version, and vice versa. The idea being that it’s a sort of scattered snapshot of the way these different songs were formed from 2015-2025 - “less a compilation and more a documentary”. We could talk all day about how we feel about this from a listener’s perspective, but for all intents and purposes this review is solely covering the digital version. So to begin with we’ll talk about the two most noticeable constants on each tracklist, the opener and closer. Song For Girl From Macedonia is exactly the kind of thing anyone who enjoys the band at all could enjoy, which isn’t a bad thing at all. There’s a constant driving rhythm of the snare every two beats for the whole song, never once faltering, and the almost DEERHUNTER-esque vocals and lyrics that feel like a heavier version of a song from something like Weird Era Continued. Of course, the guitars end up absolutely devouring the song at the end, almost like a tidal wave, before abruptly cutting out. It’s a great showcase of the band’s talents from the get-go. Meanwhile, the significantly more sombre Where Are We Now is more reminiscent of the 2010s Calgary post-punk scene, with maybe the most minimal approach to songwriting on the whole album. It’s a fine closer, and it makes sense to bookend the album with both of songs, but Where Are We Now, at least on the digital version, is in stark opposition to the previous song, Acid Rain. Recorded in 2020, this song was previously released on the Talk - Action = Zero compilation benefitting Black Lives Matter. Heavily influenced by industrial music with its pounding electronic drums, it’s the closest thing on here to a danceable song. The intro also features recordings from a George Floyd protest which best highlights the choice to rerelease it now in this way, as a sort of snapshot of the band at various intervals during the past ten years. However, the standout moments here are the noisier tracks, like the third track, Crash. While maybe a bit of a jumpscare compared to the first two tracks considering the abrupt opening effectively being pure noise, it’s such a thrill ride from start to finish. Whether it’s because of poor recording quality, malfunctioning pedals or an intentional attempt to just be really loud, it just comes together in a way that makes it so addictive to come back to. When people call a band “noise merchants”, this is what you expect to hear. While it would be easy to say that this is one for the fans, we think that anyone could jump into this record and get some level of enjoyment out of it. The range of influences and styles from a band that have honed their craft over twenty or so years and refuse to be held down by any one particular style is just a joy to listen to. It does lead to it feeling somewhat disjointed, which is very much by design, and there are ups and downs, but those ups are quite unbelievable. Score: 7/10 Rare & Deadly will be released on April 4th 2026 via Dedstrange. Words: Noise Leonard Photos: A Place To Bury Strangers

German thrash giants KREATOR brought their high production and perfectly curated lineup to London for a night of moshing, energy and metal magic. Opening the night was the most modern band on the bill, NAILS who brought their trademark grindcore short form songs. From the moment they started, their sound was dense and heavy, for a three-piece, without being overwhelming. The band worked as one unit of sound. Their stage setup was simple, harking back to the band's roots of smaller shows. A significant amount of the crowd were wearing NAILS shirts, especially the younger fans in attendance. The band have earnt a place in the hearts of many young metal fans as they have an infectious energy and give you that metal hit in short bursts. Their set was short yet they got through many tracks. They played a near perfect opening set to showcase their sound. Bringing the night more in line with traditional thrash was American thrash legends EXODUS — arguably one of the founders of the genre. Their lineup has been constantly revolving, wiith the only consistent member being the guitar icon Gary Holt. His guitar skills were on full show in the live setting, and every solo he played was a textbook example of how to play live. The band played a few classic tracks and newer tracks to satisfy fans of every era. Gary Holt even payed an homage to his time in SLAYER with a tease of Raining Blood. The older fans in the crowd appreciated the change in sound to be in line with bands they already knew and the younger fans appreciated the chance to see some legendary songs. CARCASS are extreme metal titans and have long been a fixture on people’s battle jackets. They remain as heavy as ever and still feel like a breath of fresh air within metal. Their sound is wholly their own. Bringing their trademark northern charm to London whilst cracking a few jokes about the north south dynamic. A longer set than the two bands who played before, giving more time for fans to hear their favourite tracks. During the set they announced a last minute small show which sold out within minutes as the fans at the gig were excited for more. CARCASS gave just enough for a support set but left everyone longing for the headliner. KREATOR were brilliant live. Their current stage show is arena level, high levels of pyro, plenty of props and custom staging, it is everything you want in a big metal show. The show started with the typical metal cheesy curtain drop. Opening with high energy and showing little signs that the band has been around since the 80s. Although the band were not the heaviest band on the bill, they kept their metal status by putting everything they could into the set. The crowd started with pits forming as soon as the curtain dropped. With the rest of the crowd head-banging in unison, as all great metal shows put the crowd into one group of fans. This tour was based on KREATOR’s latest album and did feature tracks from it, whilst still keeping many fan favourites in such as Satan Is Real, which is almost a statement piece from the band, satanic imagery and heavy riffs. The staging elevated each track with cinematic moments such as two goblins with torches on stage or flaming effigies. In a world where many tours are built on screens, it was refreshing to see a fully physical set with a traditional backdrop. Confetti and streamers helped create some unusual moments for a metal show whilst still feeling in theme with the overall set. Everything happening on stage worked in tandem to create a truly unmissable metal experience, there are not many better stage shows that currently exist within the genre. KREATOR retain their status in metal by never resting on their legacy live, but instead constantly produce a spectacle that will create an army of die-hard fans who will stay with the band for life. Words: Will Freeman Photos: Jake Owens

On the opening night of their Under Celestial Alignments tour, NORDIC GIANTS arrived at Clwb Ifor Bach in Cardiff to a strong crowd turnout and an expectant room. From the start, this felt like something more than just a live show — closer to a cinematic experience than a traditional gig. Opening the evening, FALSE HOPE FOR THE SAVAGE set the tone early with an energetic and melodic performance. Driven by strong, punchy drums and expansive soundscapes, their set pulled the crowd in quickly, with the room already filling up as they played. There was a steady sense of build throughout, leading into a final track that felt both intense and uplifting. The lighting worked particularly well here, adding to the atmosphere rather than overpowering it, and helping to ease the audience into the night ahead. AARONSON followed, bringing a noticeable shift in mood. Their set opened with a long, atmospheric intro paired with flashing lights, creating a more introspective and almost dreamy tone. Where the first support leaned into energy, AARONSON offered something softer and more immersive. Their sound felt warm and optimistic, with moments that invited the crowd to really sink into it. Between songs, they spoke to the audience, which added a more personal touch. That said, the overall set leaned quite heavily into its calmness — at times feeling a little too gentle for a second support slot, but still easy to get lost in. By the time NORDIC GIANTS took to the stage, the room had settled into a kind of quiet anticipation. A curtain hid the stage before they began, adding to the sense of mystery. When it finally parted, the duo appeared in their detailed, Nordic-inspired masks — immediately striking, and unlike anything else on the bill. What followed felt less like a set and more like a fully thought-out audiovisual piece. Each track blended into the next as if it were part of a wider story, with cinematic projections playing behind them throughout. Some of these visuals included narration, which helped guide the meaning without feeling too on-the-nose. Everything felt deliberate. Musically, the set constantly shifted between tension and release. Heavier, more intense sections would build and swell before dropping into quieter, more reflective moments. That contrast kept things engaging without ever feeling overwhelming. The use of smoke and lighting added another layer, creating silhouettes against the screen and giving the whole performance a slightly surreal edge. One of the most striking parts of the night was the crowd itself. There was no dancing, no pushing — just stillness. People stood and watched, completely absorbed. It felt collective, almost meditative at times. Some moments leaned into something softer, almost romantic, while others carried a heavier emotional weight. There was also an underlying sense of reflection running through the set. Through both sound and visuals, NORDIC GIANTS touched on themes that felt relevant to the current state of the world, without ever being overly direct. It left space to interpret things in your own way, which made the experience feel more personal. As the set came to an end, rolling credits appeared on screen — a small but perfect detail that tied everything together. It reinforced the idea that this wasn’t just a gig, but something closer to a film being performed live. NORDIC GIANTS don’t just perform music — they build an atmosphere and let you sit inside it. And for an hour or so, nothing else really matters. Words and photos: Klaudia Skalska

There begins an almost divine premonition at small, personal venues, the first weaving stanzas of a story born in a manger of sticky floors and blown out speakers. A prophecy found somewhere between the dark ceiling, its pattern lost under layers of thick paint and grease, between the bands politely shouting to a sound-tech only across the room, and the screeching roadworks just outside. That, sooner rather than later, the bands here will be found on great, windswept stages, for crowds for whom eye contact with their favourites is a pipe dream to be lost in the maelstrom of the pit: that those spectacular stages will, simply, never compare to the biblical beginnings. RIFLE’s lightning campaign across Europe celebrating the release of their self-titled LP last January has stormed across Britain in the closing days of March- flanks guarded by the neighbourly LUXURY APARTMENTS on their return to London. Stopping for provisions and pure northern hospitality in Manchester—courtesy of the local BIG PROBLEM—the reception found at RIFLE’s “second home” was warm, pleasant and blazing. Gritty, and with a certain inalienable whimsy inherent to such “Anarch-oi!” bards, the triple-threat run through Manchester’s Star And Garter was a show to boast of. To open any venue is an interesting challenge for any band, but BIG PROBLEM’s probing volley well set the standard for the upcoming musical assault, making Manchester proud in welcoming the Londoner guests. With a certain rawness embedded throughout their grunge-drowned performance, their slower, more emotional pace bore their bloodied northern soul with passion, from their Grudge album tracks to The Grip. Distorted, gazing through the ceiling at the stars far above, their post-hardcore sound appeared designed to be listened to while driving the highways of Los Angeles after a traumatic night, but was more than ready to fill the compact venue with a sound California’s JULIE would certainly be proud of. As BIG PROBLEM passed the torch of the stage on, melting right back into the cultured crowd of like-minded punks and anarchists of all ages—a sign punk truly never dies, venerable boot-cut jean wearing SHARP hooligans side-by-side with young punks with the glint of their own bands reflecting in the light—LUXURY APARTMENTS dove upon it like a band possessed. Less a torch and more an artillery barrage, their descent into a maddening rampage of a sound blessed them with an instant presence, marching, speedy beat emphatically emphasised by Matthew Turner, the singer, deftly juggling vocals fit to be yelled across a burning protest with a keyboard played with an almost fantastical touch. Their performance had grabbed the entire hall- and refused to let go. Mastering a macabre, foreboding undertone deftly slotted in-between the wide-eyed, half-crazed intensity spewing out the speakers, there was as much rage as there was humour to be found between the sound waves. The sheepish silences between songs perfectly framed the performance: quietly announcing “if you’re in the police force, this one might not be for you,” before dropping a near thermonuclear performance of Dicks Hate The Police, drowning out any potential pig-excusing criticism. The arrival of RIFLE was less a walk to the stage, and more a gun suddenly pointed at the head of the universe. As if a prophet, Max Williams—the lead singer’s—ascension to the stage brought but one command: “Come closer.” Shoulder to shoulder, hall packed, face in the speakers and Max’s leather boots shining to a sheen at the crowds’ teeth-level, there could be no better way to experience Punk. Detonating almost instantly off of the stage with Gauntlet Of Hate, their performance was more than a victory lap of their new album, but a celebration of the community they brought together. To the left of the stage were band compatriots from Liverpool, and in the beauty of small venues, RIFLE did everything to show their continued support was much, much appreciated. Jumping from stage to floor, between smiling faces and fists raised high in the air, rambling across the venue with knee-jerk jubilation—coupled with Max’s downright loving treatment of the microphone stand—it was instantly clear RIFLE not only has the musical talent, but the sheer cultural presence to match. Much should be said for the sheer whimsy on display. Absurdism and joy as resistance is near gospel amongst all sects of Punk, and RIFLE’s neatly dressed ensemble—fine pressed shirts, the singer’s delightful red jumper—did more than pay homage to the culture’s unserious sensibilities. It gave the impression of true friends, pub regulars at your local, who, despite all their humanity, despite their soul, had deigned to pick up arms and scream their rugged protest on behalf of all. Not constrained to the LP, RIFLE’s prioritisation of the inherent great time of such a gig brought forth both their older classics, and covers- blasting out MOTORHEAD’s Ace Of Spades to much the cheer of the united crowd, and ending on their own classic, Warfare. To an infinite chant of “Rifle! Rifle! Rifle! Rifle!” from every corner of the creaking building, the bands’ descent back into the crowd was the perfect culmination to a gig fit for soon-to-be legend. Taking photos and drinks with wide-grinning fans, it truly was as if your regulars had simply descended from their brief heaven, perhaps unaware of the masterclass they had just performed. Their crowd will take today’s performances to the grave. Words: Jakub Tomasz Czaicki Photos: Ace Cheng

When you hear the name POPPY, what do you think of first? Bristol has seen yet another wave of metal fans at the beginning of March, as the Metal Queen POPPY made her way to the city as a part of her Constantly Nowhere Tour, promoting her latest release Empty Hands. Known for her artistic blend of everything heavy and pop, her appearance at the Electric Bristol was very anticipated by many fans. Bringing with her OCEAN GROVE and FOX LAKE, two bands that would be a sin to miss out on. Anyone who showed up at the venue earlier was swept down by the velocity of FOX LAKE’s energy instantly. The Denver trio surely did not wait for nothing and dived right into action with their short, but impactful performance. Their nu-metal tracks are filled to the brim with heavy vocals, aggressive guitars and unstoppable drums, and this was even more impressive live. Coupled with the vocalist Nathan Johnson’s frequent interactions with the crowd, who in return gave him proper moshpits and endless crowd-surfers throughout the set, as well as his “It’s still Free Palestine and Fuck Trump” speech, that was met with an immediate positive response from the crowd, there would hardly be anyone else who would be a better fit for the opening slot that night than FOX LAKE. When the lights dimmed down for the second time, it was obvious OCEAN GROVE was a band many people waited to see that night, as the Australian five-piece received big applause on their way to the stage. However, not only the crowd anticipated the band’s return, as the vocalist Dale Tanner made clear almost immediately, while hyping up the crowd — which did not need much effort to do. Anyone who is not familiar with the band might have been surprised when Tanner and the band’s bassist Brent “Twiggy” Hunter swapped positions during Raindrop, spicing up their stage presence a bit. Right after that, the band asked for even more crowd-surfers and was given exactly that, creating a beautiful chaos on the floor. OCEAN GROVE closed their set with a big applause from the Bristol’s audience and it was to no surprise the Aussies expressed their gratitude multiple times, being grateful for the opportunity to play in the city. If the support bands gave the best of their nu-metal chaos to Electric Bristol, POPPY brought a completely different atmosphere. The fans were greeted by a narration that continued throughout the whole set, revealing the secrets of the vocalist’s twisted world, before transitioning into Bruised Sky. While the set was showcasing the vast versatility of her work and promoting the new album Empty Hands, majority of the set was made of the songs from her 2024 album Negative Spaces, and included many of the heavier songs, such as the center’s falling out, they’re all around us and Concrete. POPPY’s theatrics, as well as dances are an important feature of her sets, but so are the stunning visuals on the background screen that accompanied each of the fifteen songs, and while they were not as memorable as the performance, they still contributed to the overall impression. Songs such as Scary Mask are a big part of her lore as well, as it tied the singer to the masks the rest of the band members wore for the whole duration of the show, providing more context. It was not a surprise the fans knew every song word by word, but the closer the set was to the end, the louder the crowd became. By the time it was time for everyone’s favourite V.A.N., originally from BAD OMENS, everyone not only started interacting more, but also filled in for Noah Sebastian’s iconic bark, creating a funny little moment. By the time POPPY was closing the set with new way out, there was still a plenty of crowd-surfers, who were not ready to give up until the last second, especially since the vocalist herself kept hyping up everyone to mosh and crowd-surf, and the definitive ending felt like it should have come a bit later than it actually did. There is no doubt this was most likely POPPY’s last tour at smaller venues, as her popularity grows rapidly, and it was an unforgettable experience to see her perform for a crowd, that still felt tight. The evening was a deep-dive into her own odd and twisted world, that is never staying the same. If there was ever the best time to start listening to POPPY, it is indeed now. Words: Katerina Stepanikova

Heads up: you’re in the splash zone. SoCal surf rockers LAVALOVE are back with their second album, following up their 2023 debut with a sure fire soundtrack for the summer. No need to pack for the holidays - with Tan Lines, they’re bringing the beach to us. Sun-soaked, yet cool and refreshing; this is the perfect beachside cocktail to sip on while you’re tanning on the sands, getting ready to catch some waves, or bar-hopping through the SoCal scene. They start the party with Hopelessly Devoted, a track that sees the band riffing on the similarly-titled serenade from classic summer flick Grease. Tealarose Coy’s hypnotic vocals take centre-stage, collaborative cheerleader-chant vocals piping up to reinforce the chorus. Surf rock riffs soon give way to Motion Picture’s upbeat pop stylings, very SABRINA CARPENTER in the way of Coy’s “uh-huh!” interjections. When it comes to the song of the summer, this one is a definite contender. Not only is it a really enjoyable listen, it’s also incredibly fun to sing along to. Go Go Boots follows, taking us on a tour of SoCal’s nightlife with a garage rock-tinged anthem packed full of cheeky lyrics and grimy riffage. To squeeze the full effectiveness from this track, you need your volume dial turned all the way to the right; if you’re not blasting this, you’re listening wrong. They cap off this banger with a post-climax cameo: the opening riff to GUNS N’ ROSES’ Sweet Child O’ Mine - as if to say that yes, this track will become a playlist staple too. When it comes to title-track Tan Lines, LAVALOVE have created an immediate earworm, descending guitar tones riding next to punchy one-two drumbeats. Shimmering like reflections in the smooth teal exterior of a VW campervan, this track is a perfect tune for karaoke behind the wheel. Messing With The Man is a little grungier, apparent from the introductory grimy tones and assaulting barrage of drums that surround us at every angle. The cheerleading chants are recurring here, chipping in with refrains to follow the chorus. Working On My Way (ft. Garden of Edith) is another easy-listening tune, twangy guitars and rhythmic vocals intertwining to create an almost shoegazey sound that keeps the LP fresh and interesting. Never Better follows with subversion; when the chorus hits, there’s an edgier, razor-sharpness that acts as a little taste of something new for this record: some grit injected into the track list. Sniffing Around runs with it - not in sound, but in lyrics. There’s a fun nostalgic element in this timeless track that reminds us of summers past, dancing in the kitchen to pop bangers filtering through the radio on the windowsill. The lyrics betray this: if you listen closely, something darker lives between the lines. It’s about burying a relationship - literally. Cheating ex-boyfriends find a resting place six feet under in this track, while the singer playfully alludes to her (alleged) crime with a knowing smirk. Penultimately, Magic Mushrooms comes in with an immediate rush, tremolo picking techniques at play with sixties-era surf riffs that lead into lighter-than-air vocals. It’s effortlessly captivating, a powerful confidence in Coy’s vocals that carries through the entire track. A recurring thread in this record, this is one that’s short - only two and a half minutes in length - but sweet enough to stick in our heads. Shot echoes that; it’s another airy, casual banger that ends the album not with a showstopper but a gentle fade into the summer breeze, leaving us with a cheeky wink towards the camera. LAVALOVE’s Tan Lines is a brilliant collection of summery bangers that makes up a perfect soundtrack for the season; it’s packed full of enough tunes for roadtrip karaoke, tracks to blast from the speaker casually tossed onto your towels at the beach as you catch a tan, or even just to filter through your headphones as you go about your day. It’s riddled with intensely memorable melodies, each track sure to find a home in your playlists; if not, they’ll be echoing in your head all day anyway. Score: 9/10 Tan Lines will be released on 3rd April 2026 via Pure Noise Records. Words: Naomi Colliar Duff Photos: Lavalove

UK modern thrash outfit DIVINE CHAOS return with HATE REACTOR, a record that doesn’t just signal a comeback, but a recalibration of everything the band have built so far. Arriving after a period of line up changes and renewed creative focus, this is a release that feels sharper, heavier, and far more intentional in its delivery — a band not just refining their sound, but reinforcing their identity within modern thrash. From the opening moments of Regicide, the tone is set with ruthless efficiency. The riff work from Chris O’Toole and Matt Gilmour is immediate and cutting, balancing classic thrash aggression with a tighter, more contemporary precision. Behind the kit, Mariusz Marecki makes a formidable first impression, delivering a performance that feels both technically adept and instinctively ferocious. There’s a sense of urgency here that drives the track forward — not chaotic, but controlled and purposeful. The title track HATE REACTOR follows with a groove-laden punch, leaning into a more modern weight without sacrificing speed. It’s here that the album’s production really begins to shine. Working again with Scott Atkins, and bringing in Chris Clancy for mixing and mastering, DIVINE CHAOS achieve a sound that is polished yet punishing. Every element is given space — the guitars slice cleanly, the bass from Craig Daws rumbles with intent, and the drums hit with a satisfying, unrelenting force. Vocally, Jut Tabor delivers one of the album’s standout performances. Across tracks like Where Gods Are Last In Line and Condemned To The Void, there’s a noticeable expansion in range and control. His delivery shifts between raw aggression and more measured phrasing, adding layers that elevate the material beyond straightforward thrash. It’s a performance that feels confident and commanding, cementing his role at the front of the band. Midway through the album, The New Reality and Without A Trace showcase a willingness to experiment with pacing. Rather than relying solely on speed, DIVINE CHAOS lean into groove and structure, allowing riffs to breathe and hooks to land with greater impact. It’s a subtle shift, but one that pays off — these tracks linger, offering something more memorable than sheer intensity alone. Blood Of The Earth stands out as one of the album’s most anthemic moments, blending melody with aggression in a way that feels primed for the live stage. It’s the kind of track that highlights the band’s growth — still rooted in thrash, but unafraid to expand beyond its traditional boundaries. This sense of progression continues into the closing run of This Coming Storm and Shadows Of The Wasteland, where the band lean into a more cinematic scope. These tracks feel expansive, almost atmospheric at times, without losing the bite that defines the record. What makes HATE REACTOR particularly compelling is its balance. DIVINE CHAOS have not abandoned their foundations — the influence of classic thrash is still embedded in every riff — but they’ve refined it through a modern lens. The addition of Mariusz Marecki brings a renewed energy, while the continued evolution of Jut Tabor as a vocalist adds depth that earlier material only hinted at. There’s also a clear sense of cohesion throughout the album. This isn’t just a collection of tracks; it feels like a fully realised statement. The pacing, the production, and the performances all align to create something that is both aggressive and considered. In a genre that often leans heavily on nostalgia, HATE REACTOR feels forward-thinking without losing its roots. If previous releases suggested the band’s potential, this is where it fully materialises. DIVINE CHAOS sound locked in, focused, and ready to push further. HATE REACTOR isn’t just another entry in their catalogue — it’s a defining moment Score: 7/10 HATE REACTOR was self released on 27th March 2026. Words: Mia Gailey Photos: Divine Chaos

There’s something quietly unsettling about CLOSED CITY—not in the immediate, abrasive way of heavy music’s usual extremes, but in the slow, creeping sense that something isn’t quite right beneath the surface. Built from isolation, both literal and conceptual, their self-titled debut Closed City feels less like an album and more like an environment you’re forced to inhabit. Formed by Mathias Kom and Michael Cloud Duguay, the project draws from an unusually rich palette—avant-garde metal, drone, folk traditions, and orchestral composition—but never feels indulgent. Instead, it’s restrained, deliberate, and eerily cohesive. From the outset, Closed City establishes a world shaped by routine, distance, and a lingering sense of forgotten purpose. Opening track City sets the tone with low brass that groans like distant machinery beneath ice. There’s a weight to it—thick, oppressive, but not overwhelming. It’s followed by Old Fire, which leans further into this sense of subterranean labour, its slow build mirroring the album’s central image: an unseen force burning endlessly beneath the surface. Mathias Kom’s vocals arrive not as a focal point, but as another instrument—detached, observational, almost ghostlike. What makes CLOSED CITY so compelling is its commitment to atmosphere over immediacy. Tracks like Palisade and Ice Fog - No Exit don’t rush toward resolution. Instead, they linger, circling ideas rather than concluding them. The use of low brass throughout is particularly striking—less triumphant fanfare, more warning signal. It evokes foghorns cutting through nothingness, reinforcing the album’s themes of distance and failed communication. There’s a clear lineage here. You can feel the influence of experimental composers and the avant-metal fringes, but it never slips into pastiche. Michael Cloud Duguay’s composition is patient and intentional, allowing dissonance to breathe. The slightly detuned piano—born from the freezing conditions of its creation—adds a fragile unpredictability, as though the music itself is struggling to remain intact. Midway through, Visitors introduces a subtle shift. There’s tension here that feels external, intrusive. It’s the closest the album comes to narrative escalation, yet even this moment avoids climax. Instead, it dissolves back into the same introspective haze, reinforcing the idea that this “closed city” rejects change as much as it fears it. The title track Closed City acts as a thematic anchor. It’s here that the album’s core idea—intentional isolation versus the human need for connection—comes into sharpest focus. Mathias Kom’s lyricism remains elliptical, but there’s an emotional clarity beneath it. You’re not being told a story outright; you’re piecing it together from fragments, much like the inhabitants of the imagined city themselves. Production-wise, the decision to record in a decommissioned church adds another layer of depth. There’s a natural reverb that gives the album a sense of space, even as it explores confinement. Every sound feels placed with care, from the rumble of brass to the faint textures that drift in and out of the mix. It’s immersive without being overwhelming—a difficult balance that CLOSED CITY manage with precision. What’s perhaps most impressive is how the album handles its influences. References to 20th-century totalism and experimental “collision music” could easily result in something inaccessible, but Closed City remains strangely inviting. It doesn’t demand understanding; it invites interpretation. You don’t need to grasp every conceptual thread to feel its impact. That said, this isn’t an album for passive listening. Its slow pacing and refusal to offer easy hooks will alienate some. There are moments where the restraint borders on stagnation, particularly in the latter half, where the sonic palette begins to feel deliberately limited. But even this works in the album’s favour—it reinforces the monotony and repetition central to its concept. Ultimately, Closed City succeeds because it fully commits to its vision. It doesn’t break character, doesn’t chase accessibility, and doesn’t dilute its themes. Instead, it builds a world and invites you to sit within it—cold, isolated, and quietly contemplative. In a musical landscape that often prioritises immediacy, CLOSED CITY offer something far more patient and introspective. It’s an album that lingers—not in the way of a catchy chorus, but like a memory you can’t quite place, or a place you’re not sure you ever left. Score: 7/10 Closed City was released on 27th March 2026 via Watch That Ends The Night Records. Words: Mia Gailey Photos: Noah Bender

KID KAPICHI have been releasing music into the world for over ten years, and there’s no sign of them slowing down anytime soon. They blend everything from punk to indie to alt rock, making there something for everyone. As of July 2025, they have been made up of vocalist Jack Wilson and bassist Eddie Lewis, with guitarist Lee Martin and drummer Miles Gill becoming official members once album five rolls around. After having a lineup change in 2025, KID KAPICHI may sound different, but they aren’t going anywhere. KID KAPICHI have had tracks listed as ‘Hottest records in the world’ from BBC Radio 1 and have achieved two UK top 40 albums with This Time Next Year (2021) and Here’s What You Could Have Won (2022). Their latest album Fearless Nature, made it into the top five on the iTunes rock charts. They have previously collaborated with bands including Suggs for ‘Zombie Nation’ and BOB VYLAN for ‘New England’ which had Liam Gallagher himself inviting KID KAPICHI to open for him after hearing it. Their music has always been very outspoken; they aren’t afraid to discuss topics that others shy away from. This is what makes KID KAPICHI a band that should be raved about everywhere. Although their 2026 album release Fearless Nature discusses more personal topics to the band, Wilson says he feels “more engaged now, politically, than he did when he was shouting about those problems on record.” Fearless Nature is a whole new chapter for these guys. After some experiences Wilson went through in 2024, he’d go into the studio and leave not remembering what he had wrote down. The album is like listening to an audiobook of someone's diary. Sonically, it’s a more toned-down version of what we’ve previously heard from them, but it’s some of their strongest work and as the band has been evolving in the past year, their sound has evolved too. Even if you have never listened to KID KAPICHI you may be thinking you recognise their name from somewhere. This may come from some of the huge shows they have played. Including supporting NOTHING BUT THIEVES, FRANK CARTER & THE RATTLESNAKES and YOU ME AT SIX, to name a few. They have also played at Reading and Leeds Festival three times and Download Festival. In 2025, they played two slots at the iconic 2000Trees festival, Pinkpop Festival, Victorious Festival, Bergen Festival and more. In October 2025, they completed a huge UK tour consisting of 13 dates all around the country, this was their first tour after the lineup change. If you thought 2025 was busy for them, 2026 is about to be double that. They kicked the year off with another tour around the UK in January. This time it consisted of nine instore signings and acoustic shows to celebrate the release of Fearless Nature. Festival season is about to be packed for them as they will be heading out to play Discovery Festival, Bearded Theory, Truck Festival, Y Not Festival and All Points East with Twenty One Pilots. You should also keep an eye out for upcoming announcements about another headline tour coming at the end of the year. If you want to be part of the next big thing, getting into KID KAPICHI is what you need to be doing. They’re a band I’ll recommend to everyone, and they are only on the up from here. Catch Kid Kapichi at both Bearded Theory and All Points East with Twenty One Pilots this summer. Words: Isabella Jacklin Cover Photo: Kid Kapichi at 2000Trees Festival by Gareth Bull