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

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

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

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

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

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

If you are a fan of post hardcore, you would be amiss to have not heard of the band ALEXISONFIRE. Having been around the scene since 2001, these musical legends have not only grown a fierce, loyal following, but have made record after record of hit songs that have been the soundtrack of rebellion, teenage angst, and all-around fun. Born out of St Catherine’s, Ontario, Canada in 2001, the lineup brought together musicians from different local bands, creating a unique blend of influences right from the start. From the beginning, the band’s identity revolved around contrast: beauty and aggression, melody and dissonance, structure and unpredictability. Teaming three vocalists with three different styles in one band created something rather spectacular. From George Pettit’s harsh screams to Dallas Green’s serenading singing and Wade MacNeil tying things together with his brash vocals, things just seemed to fit perfectly into place. Their self-titled debut album dropped in 2002 and immediately set them apart. It wasn’t just heavy—it was chaotic, melodic, and deeply expressive. Having to give themselves a brief description on flyers, they settled on “Two Catholic School Girls in a Knife Fight”, which was then captured on their album cover. A true sentiment of the absurd that this band may seem on the surface, layered with the technicalities of brilliant musicians working together. Their first notable single was Pulmonary Archery, a song that still had them question whether this band was one for the ages, or just a one-hit wonder. By the time their sophomore album, Watch Out was released in 2004, a buzz surrounded the band, and they were well and truly on the radar of those in America and beyond. The opening riffs of Accidents was an iconic sound for 2000’s teens, and it brought auditory chaos that juxtaposed the softness of vocals in songs such as No Transitory. Ending with Happiness By The Kilowatt left audiences knowing that this band was something quite special. Twenty years ago, their next album Crisis, allowed them to solidify their status as the most unique post hardcore band out there. Blending more clean vocals from Dallas Green with George Pettit’s iconic screams meant that they could flex and lean into what they knew the audience loved. The mix of vocals that the fans could sing along to alongside the screams allowed them to create something truly unique that modern bands still look to replicate even to this day. By bringing in Jordan “Ratbeard” Hastings on drums, their unique style was able to develop even more to create hits such as This Could Be Anywhere In The World and Boiled Frogs. From the embers of Crisis rose Old Crows/Young Cardinals, a tribute to punk and blues and everything in between. The soundtrack of maturity and the band developing their sound into something that felt more grown-up both musically and within their songwriting. Wade MacNeal stepped into vocals more, and the themes of the songs were unapologetically both political and honest. Singing the lyrics “We are not the kids we used to be” was a fitting lyric to show the development of the band and proving to audiences that they were not a one-trick pony. Throughout the 2000’s, the band could be dubbed the hardest working band in the post hardcore genre. That was until 2012 when the weight of family commitments and the popularity of side projects pushed the band to the breaking point, and they all felt it was right to walk away. A farewell tour saw emotions run high as their most iconic songs were sung by fans across the world, and this was seemingly the end of a band that had more highs than lows and won the hearts of a generation. Dallas Green took to his own solo endeavours under the popular name of CITY AND COLOUR, whilst Wade MacNeil took to the UK to become the new frontman of popular punk outfit GALLOWS. For a while, it felt like ALEXISONFIRE were done. That they had quietly closed one door to make way for whatever the future held. After playing a handful of one-off reunion shows, the band announced their return in 2015, it took until 2019 for new material to be released. Familiar Drugs, Complicit and Season Of The Flood showed fans that whilst the band may have taken a break, their sound was still unapologetically ALEXISONFIRE. Whilst the post hardcore was still there, woven throughout the tracks were touches of doom rock blended with Dallas Green’s even more sublime vocals to give a completely unique yet classic sound. Thirteen years after releasing their previous album, Otherness was released in 2022. A blend of scuzzy riffs, psychedelic sounds, and three vocals that harmonise together in a way only ALEXISONFIRE could, this album solidified the fact that the band could do no wrong when it came to music. Whilst the band went off to discover themselves, this album felt like they had brought back all they had learnt and created something rather special. A look at what the future of the band may look like. ALEXISONFIRE embody post hardcore through their fusion of melody and chaos. Their dynamic as a band plays on both aggression and vulnerability, capturing their emotional core whilst allowing themselves to push boundaries and challenge what it means to be a post hardcore band. They may have jokingly dubbed themselves “The Only Band Ever”, this sentiment has cemented their status as defining a sound and spirit for generations of listeners. Words: Laura Davies

“We left the studio with a record we fucking loved,” proudly retorted CHAD GREEN, frontman of death-metal stars FROZEN SOUL. In just five years, the band has spread its icy, raucous sound across the scene, having opened for powerhouses in the industry such as NAPALM DEATH, KILLSWITCH ENGAGE, and HEAVEN SHALL BURN, as well as a run of headline tours of their own. Their single, No Place of Warmth, the title track of their recently released album, has already sent ripples across the community; a sure response to GERARD WAY unexpectedly delivering death metal vocals. We caught up with the band to dig into the frozen nitty-gritty of their new record and find out where they’re headed next. While those of us across the pond might not instinctively associate Texas with extreme metal, the state has undoubtedly become a breeding ground for it. GREEN admitted that he didn’t fully find heavy music until his teenage years, reflecting on a rocky upbringing that led to him finding solace in it. “I resonated with the anger, and not feeling confident enough in myself to do something about it,” he explained. That emotional foundation now sits at the core of FROZEN SOUL’s identity. For GREEN, the band has always been about self-empowerment, with the band saying, “It’s just about having something to help you get through the day.” Music, he said, is what makes him feel alive, and he hopes their unrelenting sound can offer others the same sense of strength and release. While FROZEN SOUL has been riding a wave of international success on the road, that momentum came at a cost. Their upcoming album, NO PLACE OF WARMTH, was created under relentless pressure. “We were touring so much, it’s hard to get home and want to write music,” GREEN admitted. “I didn’t even remember how to write music.” After coming home from touring, the process was all-consuming: “Pretty much twelve hours a day we were doing stuff with no time off really.” That intensity pushed GREEN back to the emotional core of the band, and death metal generally. While the genre is often associated with violent imagery, for him it became a lens to process something far more personal - the loss of his brother three years prior. “I started getting sappy and thinking about my brother and the games we used to play,” he says, reflecting on the grief of losing his biggest supporter. “He was always willing to drop everything to do this shit with me.” The result is two of the album's most personal tracks, Ethereal Dreams and Invoke War, the latter featuring metal icons MACHINE HEAD. Photo: Kat Stepanikova for Out Of Rage Discussing Ethereal Dreams, GREEN drifted onto a tangent about his love for EverQuest, an MMORPG he used to play with his brother. He recounted a well-known in-game controversy involving a guild coming close to defeating an unbeatable dragon, only for the developers to despawn it at the last moment. For GREEN and his brother, the story became an inspirational symbol of perseverance and teamwork. In the song, he reimagines his brother as the dragon, but with a rewritten ending about him “winning in the long run, and his legacy surviving for everyone else.” Framed as a warrior's scroll, the track closes with a deeply personal touch. “At the end, I broke character and had lyrics from just me to him… But nobody really knows that.” While Ethereal Dreams carries the deepest emotional weight, the song that GREEN was most excited for fans to hear was the title track. Explaining how it came together, he pointed to an unlikely connection with GERARD WAY, best known as the voice of MY CHEMICAL ROMANCE. “We became friends with one of his security guys,” he recalled, who eventually put them in touch. While WAY is not known for guttural screaming vocals, bringing him onto the track was surprisingly straightforward. “We were wrapping up the record and one way or another I just thought, ‘I wonder if Gerard would be down,’” GREEN says. He was quick to praise WAY’s approach: “You can tell he’s the kind of guy that just wants to do things that are fun and cool… and he hadn’t sung on a death metal song before.” As for the reception, GREEN laughs at how quickly WAY’s fanbase caught on. “Even days before the song came out, there were people who found the single artwork and were doing all this research,” he joked. Despite the obvious gap between MY CHEMICAL ROMANCE fans and the death metal world, the response has been largely positive. “We got some hate here and there, but you get hate on everything,” he added. For GREEN, though, these collaborations aren’t about clout or social status. “I’m not a feature chaser, it’s all about friends and homies”, he insisted. “If we are inspired by you, then we wanna make art together.” With NO PLACE OF WARMTH poised to make an impact, FROZEN SOUL isn’t slowing down. For GREEN, the focus is simple: to keep creating. “You know, just writing more music. It’s crazy to think that right now, I see that as like, the future. When, after the last two records, I was like, ‘how the fuck are we gonna write another record,’” he says with a grin. Beyond the studio, he also mentioned major tours on the horizon. One of his bigger dreams is to do a full-tour experience inspired by the band's current Dallas-based festival, Wrecking Ball Metal Madness. “It’s just like a giant fucking hangout. It’s got all of our friends on it,” said GREEN, “so it would be cool to turn that into a tour.” Having already played with dream artists, such as CANNIBAL CORPSE and OBITUARY, at some of the biggest venues in the United States, like Red Rocks, GREEN’s vision makes sense. But if you ask him how long they plan to keep going? “I wanna just really run that shit until the wheels fall off.” Words: Chloe Sodeau Live Photo: Kat Stepanikova Cover Photo: Katie Lewellyn Cover Design: Robert Halls With Thanks To: Dave Stewart and The Noise Cartel

In an instant, we’ve been catapulted back to the golden years of late-90s/00s pop-punk thanks to SUPER SOMETIMES, a Gen Z pop-punk band that pays homage to the bands that clearly inspired them to create the boisterous and nostalgic album Show The World What’s Underneath, released via Pure Noise Records on 15th May. After a tumultuous 2025 that saw a name change, record deal and first album, the San Diego-based trio have already high-kicked into this summer with a support slot on ARM’S LENGTH immense US tour, alongside CALLOUS DAOBOYS and HARRISON GORDON, their album release date in the middle of this career-boosting tour, not to mention taking the stage at June’s Warped Tour in Washington, DC, the homing beacon for pop-punk fans worldwide. They may be strapped in for a rocketing year ahead, but Show The World What’s Underneath is a testament to the band’s whole ethos of 'growing up in real time', a sentiment shared throughout the genre. They’ve had to deal with industry fears and roadblocks, as well as growing up in the current world (particularly the US) and chasing their destined future, all while trying to prove this really isn’t a phase. They’ve stayed true to themselves, their lyrics relatable and their attitudes humble and energetic, laid over riotously enjoyable riffs and beats. Opening track Afterthought is reminiscent of PARAMORE’s Riot!, its belting riffs and frenzied drums assuring you from the first note you’re in for a damn good time here, while Make Up Stories continues the upbeat vibes, drummer Matthew Ludwig briefly dropping to a lone beat before dual vocalists and guitarists Gabriel Muñoz and Dylan Guzman collide back in with a mix of riffs and defiant vocals. Always You’s rhythm doesn’t stick to the expected, switching back and forth and representing all the best parts of pop-punk in its slowed down, stripped back moments, rising notes, and fiery breakdown, as Muñoz and Guzman overlay each other in a push/pull of emotion and demands of the song. Learned My Lesson is a classic feel-good, body-jumping tune with moving lyrics, you’re not sure whether to dance or stare at the walls and process the words, until the sudden piano trills break you out of the sad trance. See This Coming overflows with the indignation of losing someone and knowing it’s for the best but man does it still suck, the bitter and biting words rising over catchy riffs and a crashing drum beat, giving a STATE CHAMPS feel to its attitude and sound. The title track Show The World What’s Underneath switches the album into a slightly heavier feel, the fury echoing through the amped up guitars and pulsing bass as Muñoz and Guzman layer their vocals before the track drops into a blistering breakdown of prolonged screams. Spend is a deceptively enjoyable and rapid-paced track where the band are clearly having the time of their lives playing, particularly Ludwig thrashing at his kit, while the message speaks of overcoming difficulties and still holding your head up, “it’s not hard to not quit and walk away from this”, certainly feeling like a reflection on sticking to their guns to perform and make music in an industry that grows tougher every year. Common Place slows compared to its fellow tracks, a more poignant sound that’s giving BLINK 182 meets MAGNOLIA PARK, where the lyrics call for a time that just can’t be returned to, as synths and strings ring in the background, a musical addition SUPER SOMETIMES experimented more with on this album in subtle but effective ways. Firing back in with renewed vigour, Medicine has an absolutely bone-rattling bass line that intersects with acidic lyrics, pulsating beats, and riffs that drive over the speed limit, the breakdown guaranteed to draw the crowd into a huge mosh-turned-dance pit. Prophet closes out the album and is the most viciously sung and ferociously sounding track for certain, Muñoz and Guzman harmonising hoarse yells of “all respect I had for you, you fucking lost it”, descending into a dual riff and solo as Ludwig unleashes hell on the drums. It’s a song to cathartically throw yourself around to whilst screaming the words back to the band. With a fired up 2026 on the cards that will pave the way for their future, Show The World What’s Underneath feels like an open reflection of how committed SUPER SOMETIMES are to their craft, taking their inspirations and adding their own flair and fervour. Their sound is welcomingly nostalgic for the older emos and punks, but there’s something else in it, a fresh spark that has juice to grow into a blaze. Score: 8/10 Show The World What’s Underneath will be released on 15th May 2026 via Pure Noise Records. Words: Julia Stark Photos: AJ Loera

DESICCATION are ready to release their follow-up to 2022’s Cold Dead Earth, their debut album. Graciously toeing the line between various styles such as atmo-black, doom, death and post-metal, it was a fine debut. Since then, some of their named influences such as ULCERATE, BLUT AUS NORD and NEUROSIS have released career highs, and this isn’t even scratching the surface - it’s an exciting time to follow bands blending these particular genres of metal together. Legatum Mortuorum is set to follow this trend from start to finish, but whether they do it successfully or not and build from Cold Dead Earth is up in the air. DESICCATION pull no punches on the opening track, All Light Is Gone, opening with a blackened wall of sound. The song goes through various phases, with chugging guitars, symphonic backing vocals, and guttural lead vocals, all over this tremolo-picked haze from the guitars. And this is all before one final pained delivery of vocals from Soell Bratt to end the song. Second track Cursed in Cold Silence ups the ante, starting with a backdrop of a wall of fuzz, just getting louder and louder, the entire song taking place within this face-melting, monolithic sonic landscape. With a much slower tempo compared to the first track, this effect absolutely comes through, most notably in the nearly two-minute outro, with an emphasis on the repetitive guitar riff and synth line, as the drums pound into your skull. Up next is title track Legatum Mortuorum, the centrepiece and sole pre-album single here. Once again we get a blackened wall of chords, a suitably gloomy doom riff, but also some wonderful drumming. The ride cymbal appears at just the perfect level in the mix and the blast beats propel the song forward. The whole thing has a real sense of momentum behind it, only stopping for one small moment and immediately rushing back in like a tidal wave to underpin a DEATH-esque solo. And we’re only halfway through the song at this point. The rest of the song delivers with the same level of intensity and dynamic push and pulls - absolutely worthy of its title track status. The Alchemy of Grief and Ashes Unto the Abyss continue the theme up to now. Both noisy ordeals with gnarly, growled vocals, oppressive atmospheres. The former slows down about halfway through and almost becomes ethereal, with the background vocals providing a healthy counterbalance to the hellish instrumentation, before suddenly speeding up again at the end. The latter is closer to sludge/post-metal, with slightly muddy production that doesn’t feel out of place, with gorgeous backing vocals throughout, under some of the most violent screams the record has to offer, and at times an almost hopeful-sounding chord progression. All this is in service to the final track, the epic 12-minute Lamentations Beyond the Veil. An exercise in dynamic changes and ambitious song structure, this is where DESICCATION have to prove they can stick the landing. There’s a moment about two minutes in which might be the single most intense passage on the entire record, evoking images of apocalypse, the seemingly never-ending blast beats and ever-pervasive wall of sound grinding themselves into your skull. Finally, at the halfway point in the track’s runtime, there’s a little glimmer of hope in the chord progression, specifically the second chord played, once again slipping through the cracks. But the fourth chord in the sequence is almost sinister-sounding in stark contrast to this, and in what is possibly the most eerie moment on the record, it lingers on this, leaving the last few minutes of the song to an ambient piece, before slowly fizzling out. It’s an unexpected direction for sure, but it’s a bittersweet reprieve from the sheer doom of the record. On their second full-length effort, DESICCATION have evolved, their sound has equally become more grand and cinematic, yet also more unrelenting at times unnerving. While it does occasionally run out of surprises for the listener, it’s hard to feel upset about this when the music simply sounds this good. Overall, this band is one to look out for in the future - give this a listen. Score: 8/10 Legatum Mortuorum will be released on 15th May 2026 via Carbonized Records. Words: Jake Leonard Photos: James Bratt

Self-described masc pop star, DIRT FLIRT (Kit Eaton Kent) is about to release her new EP scorpio fever on May 22nd and we don’t think the world is ready for her. scorpio fever is a richer and more expressive sound from Kit, effortlessly bringing her into a world of alternative pop and blending seamlessly with some of the more electronic names on the scene and we have to say the with the change in style from some of her earlier releases scorpio fever feels like you are being drawn into a deeper emotional experience. We recommend that you check out some of her earlier work in order to experience the journey so far. Originally named 'Scorpio Season', in ode to 'Bieber Fever' ,this new EP feels like a letter to relationships at its core. With the release of honest in April, we got a sneak peak behind the curtain into her world and behind the concept of scorpio fever. With only five tracks it's an intense journey but hold on because it's worth the ride. don't tell anyone hits harder than expected with its mix of electronic elements blending seamlessly with heartfelt emotions that we have all experienced. You know when you have a secret you can't keep to yourself but you need to share with someone? This is that song. play pretend feels like a summer club experience, someone you would lock eyes across a crowded floor with and lose yourself completely, just being in this moment. It's upbeat but doesn't fall short in the lyrics and leaves you wanting more like a summer romance. focus on you feeds into that first glance attraction and that intense pull you feel when you meet someone new and you want your whole world to revolve around that person. It feels like the early stages of obsession before the real slow burn of a relationship. honest is raw and unfiltered reflecting the parts of us we don't like to think about when a relationship doesn’t always go perfectly. “I’m just being honest, maybe you should try it”- the track feels like it's coming from a place of heartbreak that most of us have experienced before. high horse is the final track on the EP but it doesn’t disappoint and is worth the wait. It feels like a goodbye to lost loves, mixing electronic beats with high emotions to leave you feeling sad but soulful and leaves you ready to say goodbye despite any regret you may feel. This track feels like the ending of one story and yet the beginning of a new one. Overall scorpio fever is an emotional ride; from the first glance across the bar to the final goodbye, fitting in with elements of pop but also sitting solidly in the alternative section and in your favourite playlist. We're so excited for this new music to be released because we think the music scene needs the next masc pop star. So DIRT FLIRT, this world is yours for the taking. Score: 8/10 scorpio fever will be released on 15th May 2025 via Final Girl Records. Words: Rebecca Davidson Hackett Photos: June Ghisolfi

DEAD PONY have never exactly been a band built for subtlety, and on Eat My Dust they sound louder, sharper and more self-assured than ever. The Glasgow four-piece return with a six-track EP that throws itself headfirst into chaos, nostalgia and catharsis, while still managing to feel surprisingly focused. It’s messy in all the right ways. The kind of release that feels designed for sweaty venues, bruised knees and shouting every lyric back at the stage. Following the success of their debut album Ignore This, which rightly put them on the radar as one of Scotland’s most exciting alternative bands, Eat My Dust feels like the sound of DEAD PONY refusing to stand still. There are flashes of early 2000s influence throughout nu-metal grit, punk attitude and glossy alt-rock hooks but none of it feels like cheap nostalgia. Instead, the band reshape those sounds into something modern and distinctly their own. From the opening moments of What If? there’s an urgency that never really lets up. The title track arrives with swagger and bite, balancing distortion-heavy riffs with massive choruses that practically demand to be heard live. DEAD PONY have always had energy, but what stands out here is how controlled that energy has become. Every track feels deliberate, even when it sounds like it’s on the verge of falling apart. Freak Like Me is the undeniable standout. Built around Anna Shields’ fierce vocal performance, the track is both chaotic and strangely heartfelt, an anthem for outsiders wrapped in pounding drums and razor-sharp guitars. There’s a confidence to it that captures exactly what DEAD PONY does best: making vulnerability sound powerful. Inspired by Glasgow’s grassroots music scene and the feeling of finding your people in the middle of the madness, the song carries a genuine emotional weight beneath all the noise. Elsewhere, Boom! leans fully into the band’s punk instincts with explosive energy and a sense of fun that keeps the EP from becoming too heavy, while Fury channels frustration into something darker and more aggressive. The closing track Lost Inside Of Me offers one of the EP’s most interesting moments, pulling back slightly to reveal a more introspective side to the band without losing any intensity. What Makes Eat My Dust! work so well is that it never feels overly polished but definitely feels finished. DEAD PONY embraces imperfections, unpredictability and volume in a way that suits them perfectly. The production still feels huge, but there’s enough grit left in the mix to stop things becoming sterile. You can hear a band pushing themselves creatively while still holding onto the rawness that made people connect with them in the first place. At just six tracks long, Eat My Dust! doesn’t waste a second. It’s bold, aggressive and unapologetically fun, a statement release from a band clearly entering a new phase with confidence. If this EP is a sign of where DEAD PONY are heading next, they’re heading there at full speed. Score: 10/10 Eat My Dust! will be released on 15th May 2026 via ADA. Words: Jack Norris Photos: Dead Pony