On Saturday night in the heart of Leeds University, at The Revolutionary, HOT MULLIGAN brought their Midwest emo sound to the stage as part of their latest European and UK tour for their newest album, The Sound a Body Makes When It’s Still. The venue was packed to the rafters and, although the band were slightly late to start their set, it did not affect the quality of the performance for a second. They last played The Key Club in 2013 and appeared at Slam Dunk last year, but this time they returned with a mix of new material and fan favourites to truly kick their UK leg of the tour into overdrive. Opening the night were local emo favourites BEAUTY SCHOOL. The band have been steadily storming through the Yorkshire circuit, with their big break arriving at the Slam Dunk festival. They were electric from the outset, immediately getting the crowd jumping and proving to be the perfect warm-up act. Their songs tackle tough emotional subjects while maintaining addictive melodies that had the crowd belting out lyrics. A special mention goes to lead vocalist Joe Cabrera, who had the audience fully invested and integrated into the performance. Even those who did not know the lyrics still felt part of the show — a trait that is massively underrated. Following them were Brighton-based DELTA SLEEP. Their indie rock style blends odd time signatures and unconventional structures, creating a unique sound that captivated the Leeds crowd. Their set began with a more subdued energy compared to the previous act, but their sound still carried weight. By integrating a range of styles, alongside soft vocals and poignant guitar work, they created a strong atmosphere. The venue’s acoustics worked in their favour, allowing their sound to resonate powerfully throughout the room. When the headline act finally took the stage, they opened with an acoustic introduction to their song before the calm quickly gave way to the storm, as the screams of Nathan “Tades” Sanville kicked in. Within seconds, pits had opened and crowd surfers were flying overhead. The bar had been set immediately — it was simply a matter of maintaining it. A particularly noteworthy performance came from the drummer Brandon Blakely, who delivered a drum solo that had hearts racing and blood pumping before crescendoing into a venue-shaking headbang as the band launched into It Smells Like Fudge Axe In Here. The floor shook under the weight of the bass and the jumping crowd. Forget blowing the roof off the place — breaking through the floor felt like the direction the night was heading. They continued with more of their latest material, highlighting the fiercely loyal fanbase in attendance, whose screams at times drowned out the band entirely. And A Big Load was a particular highlight, with the line “choking on your apologies” shouted back in a melodic battle cry as Ryan “Spicy” Malicsi delivered a mind-blowing guitar solo. The band also leaned into their humour, incorporating album interludes into the set — moments that many listeners often skip. “Always listen to the interludes,” they joked. “If you didn’t skip these you’d know what we were playing and it wouldn’t be awkward for you.” It was a subtle but creative touch that added to the band’s long-running comedic style. At one point the band asked, “Who is ready for some old crusty songs?”, the crowd responded with deafening screams as they launched into older material, instantly amplifying an already electric set. The transition from newer songs to the tracks that helped launch them into the emo scene felt seamless, showing just how well they understood their audience. Many fans likely discovered the band through their social media rise during the pandemic, which coincided with the success of their album You’ll Be Fine. With quirky song titles and an instantly recognisable sound, HOT MULLIGAN leave nothing behind when it comes to both their music and their live performances. The crowd itself split naturally into two groups. At the front were the die-hard moshers — fans who simply could not stand still, every note shaking them to their core. At the back, others stood almost trance-like, lost in the music in a kind of flow state. Two completely different energies, yet somehow perfectly in sync. The encore brought their two biggest songs. Normally, by this point in the night, energy levels dip — it was difficult to reignite that level of intensity after the music fades and the band walks off stage. But BCKYRD and Equip Sunglasses did exactly that. Fans left buzzing, voices completely gone — exactly how a gig should end. Front to back, shoulder to shoulder, the crowd was never still. Their energy fuelled the band, and together they created the night they both deserved. It was a Midwest emo party — an emphatic start to the UK leg of the tour and a statement of intent that their chaotic performances and crowd participation will continue to captivate crowds across the country. A must-see if there is even the slightest chance of getting a ticket. Words: David Waites Photos: Nik Bryant

The salt-tinged air of Brighton was home to Chalk, and despite being Friday the 13th, there was nothing unlucky about the night ahead. NOVA TWINS, childhood friends from London, have been on an impressive upward trajectory since the release of their debut album Who Are The Girls? back in 2020, snagging BRIT Awards nominations and landing spots on the bill of industry heavyweights like MUSE and FOO FIGHTERS. Now, in celebration of their latest release Parasites & Butterflies, they’ve hit the road with a headline tour of their own. Joined by punk firestarter BEX and the haunting gothic quintet VENUS GRRRLS the night promised a powerful celebration of female talent in alternative music. BEX flounced onstage in a flurry of bouncy red curls and nothing short of pure punk energy. She launched into ferocious vocallisations, and the crowd, who were mostly lingering by the bar, quickly turned their attention to the stage. Between songs, she revealed a different side: softly introducing herself with a borderline shy demeanour that was devoid of the explosive anger she’d just unleashed. Midway through, BEX pulled out a bass draped with a humble red fabric covering that was strewn with leopard-print stars. “This one's a swayer… I want you all to sway,” she told the crowd, before introducing the new and unreleased track. Fairies slowed the tempo of the show, but the punchy drums and solid bassline thread throughout kept the energy simmering. Opening a show can be tough, but BEX refused to let the initial hesitation from the crowd dampen her momentum. Between sharp, passionate dance moves and repeated calls for participation, she slowly pulled the crowd into her world. By her final song, Slave 2 The Grind, one member of the crowd joked, “Are you gonna stage dive?” and BEX took the challenge. Launching herself into the scattered crowd during the bridge, she surfed her way to the back of the venue before sprinting back to the stage, singing to members of the crowd along the way. Collapsing on the ground in laughter, her infectious joy emanated throughout the room, clearly winning over a whole new wave of fans. A stark shift from the whimsical punk of the opener followed as the witchy VENUS GRRRLS began setting up. Yet, it was clear that much of the crowd was already part of the coven, needing little persuasion from the powerful quintet. The band's eerie entrance was quickly disrupted by the powerful riot-grrl recent release 3x3. The lighting mirrored the band's aspired atmosphere throughout the set, bathing the room in a forest green as we reached the slower Glisten. The moment allowed vocalist GRACE KELLY to showcase her luscious tone, as occasionally her vocals couldn’t quite rise over ALANNAGH DOHERTY’s impressively thunderous drumming. While the rest of the band tuned their instruments, KELLY leaned fully into the occult aesthetic they had worked hard to create, turning the pause into part of the performance. As an eerie track pulsed across the venue, whispering phrases like “as above, so below,” she waved her hands amidst a smoke-filled room as if casting a spell, drawing the audience deeper into ritual. Closing with Eighteen Crows, the track that encapsulates them most, the band left the crowd elated, with a distinct sense that they had just been part of something dark, theatrical, and electrifying. By this point, Chalk was packed, with techs arranging giant white roses across the stage and draping the mics in black ones, and as the lights dimmed and synths rose, anticipation rippled across the audience. The duo burst onstage to the rising riffs of Black Roses, with vocalist AMY LOVE caressing the rose-wrapped mics as she sang. By the time Cleopatra arrived, the moshpit detonated, bodies surging forward at LOVE’s calls for the crowd to let loose. What began as a tentative pit steadily grew throughout the set, spreading further across the room until it became a whirlwind of sweat and movement beneath a glittering disco ball overhead. The band’s signature distortion translated impressively live, with bassist GEORGIA SOUTH effortlessly shifting the room's energy with the slightest tap of her pedal. During N.O.V.A, the devoted fans erupted, screaming back the title lyrics as SOUTH mouthed “say our name,” before diving straight back into the chaos. When the distorted bassline of Choose Your Fighter kicked in, the pit surged, becoming tighter, louder and more intense while those less keen to be in the eye of the storm filtered to the edges. At the song's climax, both LOVE and SOUTH leapt into the centre, a frenzied circle pit swimming around them like sharks as the bassline thundered throughout the venue. After thanking the crowd and scurrying back onstage, the audience was visibly spent, and the pit never quite regained its earlier ferocity. Following Piranha, the duo briefly left the stage before returning to loud applause. Rather than launching straight into their encore, LOVE paused to address the crowd: “Thank you so much for coming and supporting live music… In the age of TikTok where people have no attention spans, thank you.” They closed with Glory - a fitting finale to a powerful night of electrifying and unadulterated female punk. Words: Chloe Sodeau Photos: Ewan Mcdonald

Bearded Theory returns to Catton Park once again for another run and a fantastic showcase of artists for this independent music festival; scenic views, country air, and a family-friendly setting are what make this festival such a fun time, if you’re going, here are ten artists you simply can’t miss. PIXIES As the headliner and one of the most legendary bands of the 90's do you really want to miss these guys? Age has not slowed down PIXIES at all as they have been putting on some fantastic shows in the past few years; headlining arenas, festivals and showing crowds the versatility of what they can do. As the original Alt/Rock bands of the 80s and 90s you’d be missing out on one of the most influential bands in history, and you’d be missing out on such hits as Where Is My Mind? and Here Comes Your Man. CMAT An insane amount of buzz has been generated around this Irish pop star as of late, with her wit, talent and emotion, you can see why she’s gaining a lot of traction. Her stage presence and commitment are absolutely enough to warrant a visit to her set over the weekend alone; CMAT is known for taking the insane songwriting within their music and emphasising it for the live audience, adding to the larger-than-life persona you see on stage. Energy, humour and strong emotions are what you’ll experience from this set, so you don’t want to miss it. THE DAMNED Often cited as the original English punk band due to them being the first to officially release music, these punk rockers started at a young age and have never stopped committing to the UK punk movement since its inception in the mid 70s; never holding back, always sticking it to the man. Seeing this set means you’re seeing a pivotal part of music history, this band's experience, energy, and musical prowess is really a sight to behold. EVERYTHING EVERYTHING A band whose strange lyrics and odd musical composition are all a part of their charm, there’s some serious musical talent within the confines of this band, they have some seriously strong vocals led by Johnathan Higgs and some instrumentals that are quite remarkable to hear live, with some songs to make you cry, some songs to boogie to, you can’t go wrong with a bit of EVERYTHING EVERYTHING. FAT DOG We’ve talked a lot about this band, and what more really can be said? They’re loud, they're strange, they’re intense and their fans love and breathe the music, expect mosh pits, expect crowd surfers, expect chaos. You’d be very silly to miss any opportunity you get to see FAT DOG. BEANS ON TOAST It doesn’t get more DIY than BEANS ON TOAST, hailing from Braintree in Essex, this British folk singer would make for a good set to see with a beer in your hand and the sun blazing down on your face, his gruff but soft voice compliments his sweet guitar playing and just makes you feel summery. The humorous politically charged lyrics will send the right message and put a smile on your face. BAD NERVES A band who only ever proves to everyone who sees them how fun they truly are, these bombastic five from Essex are rolling out their self-proclaimed powerpop to the masses, and you just don’t get better than this. Amassing a fan base who always show up to reciprocate their chaos, making for wild sets that blow the roof off anywhere they play; They’re fast, they’re fun, they don’t hold back, if you fancy a crazy pit, BAD NERVES are your guys this weekend. LAMBRINI GIRLS Another punk band for this list, but you can’t deny the meteoric rise of these two, you can’t escape them in the alternative scene at all, it definitely has something to do with their un-killable energy, badass style, and aggressive sets that feel like a kick in the teeth. This band are sure to go far and seeing them while they’re still relatively small is a great opportunity missed. VENUS GRRRLS With their Goth-Grudge sound and aesthetic, any lover of rock will be pulled into this band’s insane talent; incredibly strong vocals coupled with instrumentals to blast your eardrums, it’s no doubt this band will be a lot of fun to see. These 5 have a sound that’s an absolute kick to the stomach in the best way possible, we definitely think this set will garner an intense mosh pit that will be a 30 minutes to absolutely remember. MERYL STREEK Another Punk artist but MERYL STREEK’s blend of genre is quite remarkable to see, with aggressive spoken word, poppy synths and gruff riffs, they’re a real mix and match, their energy and songs though will only ever elevate and make for a really fun set that will only add to the summer vibe. Head to Catton Park this summer to join the fun at Bearded Theory 2026. Words: Ben Blissett Cover Photo: Ben Blissett for Out Of Rage

The Black Heart as a venue is the mark of a band on the way up, as this gig had BEYOND EXTINCTION playing their debut album in full for the first and last time ever! Opening the night wais Brighton based post hardcore band TRIBE OF GHOSTS. Their sound is very modern and post hardcore does not truly capture the energy they bring live. The main highlight of their sound was the contrasting vocals that go from the extreme to the beautiful. The band managed to get the already sizable crowd for the venue going. When they took the stage, the crowd began moshing. As the floor was full of many people familiar with the current metal scene it felt as if it was a chance for everyone to catch up under one roof. TRIBE OF GHOSTS put themselves out on the stage to give to the metal community. The lighting often made the gig have this strange sense of disorientation which was highlighted when the guitarist ran through the crowd with his guitar out of seemingly nowhere. Although a short set, it worked well to showcase who the band are to some people who may have not seen them before. Next was the Hull based MASTIFF, a truly unusual city for metal bands to come from. Like the dog, the band may come across as intimidating but really, they have a heart of gold. A truly intense set of blistering songs that hit. The crowd reacted by getting more instigated with each track played. The band took time to stand up for everything right in their set which gave the crowd a collective political catharsis. Their sound was somewhere between death metal, metal core and sludge but forming one complete package. The only issue with their set was the sound at the start was not the greatest and the vocals became slightly lost in the mix. As the set progressed, the band casually brought on the vocalist of BURNER for a track. Despite that they produced a truly tremendous set that created some new fans. BEYOND EXTINCTION took the stage with their self-described brand of Essex death metal. Playing their debut album, Where They Gather in full, for the first and last time. This gig was a celebration of how far the band has come. The crowd was full of love for the band and as soon as they hit the first notes of the title track the crowd was into everything they created on that stage. Oddly enough, the pit felt more like a hardcore pit with some occasional two stepping and a fair amount of spin kicks. Every track the band played was a celebration of the process of releasing it. The album is the effort of years of hard work which are paying off seeing how the fans take every track live. Each track being brought out played in a live set allowed the time to reach its full potential. The unrelenting energy they brought to the stage kept going through the entire set, the pacing of the track listing worked perfectly in a live setting. As The Black Heart is such a small venue, every band is vulnerable on stage and only has their music to fall back on, luckily the music they brought helped fuel a truly great night. BEYOND EXTINCTION are on the way up as they have gained a significant amount of praise for this album, and now they have proof that it hits equally as well live. It was unfortunate that the band currently does not have an extensive back-catalogue to fall back on, to fill the set as its duration was about fifty minutes. But the short time the band was on stage was full of energy and love for the scene, that put them where they are. This is only the start of the band’s career and by the time their next album comes out everyone in attendance will brag that they were there. Words: Will Freeman Photos: Reece Coleman

Oxford rockers STUD FARM MAFIA have arrived with their debut EP Did You Have a Good Weekend?, and it’s a pretty confident introduction from the four–piece. Made up of vocalist COLE BRYANT, guitarist NATH DIGMAN, bassist RIKARD RIDEMARK and drummer LUKE EVANS, the band deliver six tracks packed with chunky riffs, big hooks and plenty of attitude. The EP kicks off with MONEYMOUTH, and it’s a seriously strong opener. It jumps straight in with a groove that grabs your attention instantly. The chorus is ridiculously catchy, the kind that sticks in your head long after the song ends. The line “put your money where your mouth hits” absolutely lands, and you can already picture a crowd shouting that one back at the band live. Next up is SO PRETTY, which takes things down a notch at the start before building up nicely. The guitars are the real standout here, with NATH DIGMAN laying down riffs that feel both sharp and melodic. Lyrically the track pokes fun at toxic masculinity, which gives the song a bit of bite beyond just the heavy sound. Then comes DOPAMINE, and this one storms in with loads of energy. It’s packed with catchy lyrics and a chorus that’s almost impossible not to sing along to. The riffs are tight, the rhythm section drives the track forward and it’s easily one of the highlights of the EP. S.O.S. brings something a little different. The main riff actually spells out Morse code, which is a cool touch, and the track mixes things up with a slight rap–metal edge in places. It’s still really catchy though, and it stands out nicely in the middle of the EP. It also carries a bit more meaning as it’s a charity track supporting ActionAid. TEN PAST TEN takes aim at the daily grind of working life and that endless 9–5 routine. It’s a relatable theme and the band deliver it with a bit of attitude and humour. The groove on this one really pulls you in and it’s another track that feels like it would go down well in a live setting. Closing the EP is GUN SHOW, which leans fully into the band’s tongue–in–cheek look at macho culture. It’s loud, energetic and packed with big riffs. It’s the sort of song you could imagine blasting in the gym or getting a crowd fired up at a gig. Across the six tracks, STUD FARM MAFIA show they’ve got a solid sound and a good sense of identity already. The songs all fit together well but still bring their own moments to the table. For a debut EP, Did You Have a Good Weekend? is a strong start and shows plenty of potential from a band that clearly know how to write a catchy rock tune. Score: 7/10 Did You Have a Good Weekend? will be self released on 17th March 2026 Words: Jack Norris Photos: Stud Farm Mafia

On Tuesday night, fans of AGAINST THE CURRENT experienced a moment many had been waiting for. After more than a year largely off the radar, the band suddenly reappeared with the announcement of just six anniversary shows worldwide, and only one in the UK. For those lucky enough to secure tickets to the sold out London date, the reward was an intimate celebration of the band’s fifteen year journey. The New York trio vocalist Chrissy Costanza, drummer Will Ferri and guitarist Dan Gow first formed in 2011 and quickly built a loyal online following through YouTube covers. Their breakout moment came with Legends Never Die, created for the League of Legends World Championship, which propelled them onto a global stage. After independently releasing an EP in 2013, the band signed to Fueled by Ramen in 2015 before eventually returning to independence in 2022. Following a run of standalone singles, the band fell quiet toward the end of 2024, making this anniversary run feel even more significant. For the celebration, AGAINST THE CURRENT deliberately chose venues reminiscent of their early touring days. In their own words, they wanted to perform “in the kinds of rooms where we had some of those first surreal moments,” reliving them with longtime fans while welcoming newer ones who discovered the band later. London’s The Garage proved the perfect setting. Packed wall-to-wall with fans, the venue buzzed with anticipation before the band even appeared. Audio snippets from the past fifteen years played through the speakers, creating a nostalgic atmosphere before the trio burst onto the stage with Talk launching into the first song of the twenty-one-track set. A brief microphone issue threatened to derail the opening moments as Costanza’s mic failed to cooperate. However, a quick and slightly comedic swap had the show back on track within seconds, and the energy in the room barely faltered. From there, the band delivered a set that showcased just how well their catalogue translates live, including a handful of acoustic versions. Several songs felt even more powerful than their studio versions, driven by crowd participation and the occasional crowd surfer navigating the packed room. Costanza joked that she had recently undergone spine surgery from “moshing too hard,” before clarifying it was actually the result of a horse riding accident. She also laughed that remembering lyrics had once been difficult enough, but after “hitting my head a few times since then,” she encouraged the crowd to help her out during some of the deeper cuts. Between songs, the band leaned into the intimacy of the venue with relaxed, conversational moments. The band also reflected on their journey since leaving their record label and returning to independent releases. When a fan shouted “We love you,” the moment sparked a humorous discussion about American perceptions of British culture. Costanza joked about the band’s affection for Greggs pastries and Primark shopping trips, while also poking fun at the unmistakable atmosphere of Wetherspoons pubs — which she described as smelling “like beer and sadness,” despite admitting the band loved visiting them as enthusiastic tourists. That connection was also evident in how the setlist itself was shaped. The band revealed that they had consulted their Discord community when deciding which songs to include. One particular fan-driven moment came from a previous show where the crowd sang Outsiders entirely acappella to the band, prompting them to add the track to the anniversary performances. Part of the excitement for the London audience came from not knowing the setlist in advance. Each song reveal was met with renewed enthusiasm, reinforcing the celebratory atmosphere throughout the night. Later in the set, the trio reminisced about their early days on YouTube, including the surreal moment when one of their cover videos was unexpectedly featured on the platform’s homepage and went viral, revealing to friends and acquaintances that they had secretly been building a band online. Although the night focused on celebrating the past, the band could not resist teasing what might come next. Throughout the set there were hints that a new era was on the horizon. By the end of the show, Costanza confirmed that a new single would arrive after the anniversary tour though she admitted she did not know the exact release date, joking that otherwise she “would leak that too.” Across a packed ninety-minute performance, AGAINST THE CURRENT delivered more than just a live show. The night felt like a reunion - a chance to reconnect with fans, revisit the moments that defined their career, and celebrate the community that has supported them for fifteen years. In a venue small enough to feel personal but loud enough to capture the band’s full energy, their London return proved that even after a period of silence, the bond between band and audience remains as strong as ever. Words: Angel Turley Photos: Dan Brock

Walking into a metal gig when death-metal is not your usual cup of tea can make one feel like a tourist. However, on the night of OMNIUM GATHERUM, the atmosphere at The Dome by Tufnell Park Station was anything but intimidating. Despite a venue packed to the rafters with an audience clad in black boots and heavy makeup, the vibes were overwhelmingly joyful. Strangers struck up conversations, and couples shared drinks in a scene that felt more like a community gathering than a typical "extreme" show. Opening the night were IN MOURNING, who brought a crushing yet slow, melodic weight to the stage. Their set was a masterclass, grounded by the tireless work of Mikko Kivistö. In an impressive feat of stamina, Kivistö pulled double duty for the evening, anchoring the low end for both IN MOURNING and the headliners. The set reached a fever pitch during their last song, Colossus, a nearly nine-minute long piece beginning with an incredible, melancholic guitar line, before descending into a wall of sound that felt heavy enough to crack the ceiling of The Dome. The energy shifted as FALLUJAH took their turn, as their music was much faster, much more energised than the previous set. While their performance was great, it was not without its hurdles. The band had some notable problems with the smoke machine, which at times threatened to swallow the stage entirely, and the crowd struggled to see what was going on for a little bit. Despite the heavy fog, the sheer precision of the musicianship remained clear. Kyle Schaefer delivered a commanding performance that also involved a man appearing on stage wearing nothing but a towel. By the time OMNIUM GATHERUM took to the stage, the fog had finally cleared. They describe themselves as "melodic death metal with ridiculously catchy pop influences," and after seeing them live, the only way is to absolutely agree. Maintaining a strategic position at the front of the stage became a battle of its own, though the kindness of the crowd remained. There was a moment of sadness as the fans learned that the iconic frontman Jukka Pelkonen had fallen ill, but the show was saved by Henry Hamalainen. Stepping in last minute is no easy task, but Hamalainen stood in with a performance that could energise any crowd, getting right up close and personal with the crowd. The whole band radiated an incredible energy that was more electric than aggressive. Between the cinematic lighting and the "pop-infusion" of tracks like Walking Ghost Phase, they proved you do not need to be a metalhead to appreciate their music. It is always a pleasure to see a band who can really move; Hamalainen stormed across the stage, the guitarists played off against each other, and it was obvious the musicians love what they do. Between concentrated frowns from the guitarists strutting their stuff were huge, wide smiles, and this energy clearly resonated with the crowd. The technical highlights were numerous, particularly the staggering guitar work of Markus Vanhala. During the ten-minute emotional arc of White Palace, his zebra-print guitar was a blur of precision. OMNIUM GATHERUM are currently with no doubt the gold standard for how to make heavy music accessible and fun. They closed the night with the anthemic song New World Shadows, leaving the floor shaking, crowd’s voices lost and hearing gone. Whether you are a fan of the genre or just a curious tourist, OMNIUM GATHERUM is a must-see for their absolutely infectious positivity. Just make sure you pack some properly strong ear protection. Words and photos: Herbie Barlow

Some gigs build slowly. Others explode from the moment the doors open. BLEED FROM WITHIN’s The Dying Sun tour stop at Stylus in Leeds firmly belonged to the latter. Before the first note had even been played, the queue was already snaking through the venue’s corridors, a clear sign that the night ahead was going to be something special. By the time the lights dimmed, the room was packed wall to wall with fans ready to unleash absolute chaos. Opening the night were Danish death metal outfit BAEST, who wasted no time setting the tone. A long, brooding instrumental intro filled the venue while strobe lights cut through the darkness, building a thick tension before the band erupted into their set. For an opening act, the room was already impressively full and the crowd quickly responded with relentless energy. By the fourth song the frontman had already stepped down into the pit, delivering vocals right in the middle of the chaos as circle pits formed around him for the entire track. The movement never stopped – heads banging, bodies colliding, and the vocalist thrashing with an intensity that immediately pulled the crowd deeper into the night. Next up were DISEMBODIED TYRANT, who took the atmosphere into darker territory. The lighting dropped into heavy shadows that matched the crushing weight of their sound, giving their set a far more ominous feel. The crowd fed off it instantly, opening up two massive walls of death that tore through the room. One moment in particular cut through everything: the vocalist let out a scream directly into the crowd that was so violently loud it forced a collective pause from the audience. The kind of moment that makes you physically stop and think woah. It was chilling, raw and perfectly suited to the band’s brutal sound. Even between sets the energy refused to dip. SYSTEM OF A DOWN’s Chop Suey! blasted through the speakers and the entire venue instantly turned into a choir, with every voice in Stylus singing along at full volume. Yorkshire chants followed, echoing around the room and building anticipation even further as the stage was prepared for the headliners. When BLEED FROM WITHIN finally took the stage, they did so to the unmistakable intro of BON JOVI’s Living On A Prayer, a playful moment that had the whole room singing before the band launched into their own crushing set. From there, the energy barely dropped for a second. Early on, the third song was briefly cut short as vocalist Scott Kennedy called for a wall of death. While the venue cut off the sound, he jokingly voiced his frustration, reminding everyone that this was a metal gig after all. Within seconds chants erupted “Wall Of Death, Wall Of Death!” and the pit split down the middle before the inevitable collision. A standout moment came when the band performed Invisible Enemy alongside A Depth That No One Dares, a pairing newly introduced on this tour. Hearing the two together gave the show an extra emotional punch, the crowd shouting every lyric back toward the stage while bodies continued to surf overhead toward the barrier. Midway through the show, the drummer delivered a speech joking about embarrassing his own family, offering a brief moment of humour that perfectly reset the atmosphere before the next wave of heaviness hit. Moments later God Complex had the entire floor crouching low before exploding upwards in a perfectly timed jump that shook the venue. By the time I Am Damnation arrived, Stylus was in full meltdown. Hundreds of voices screamed the lyrics back at the band while the pit churned endlessly beneath a sea of crowd surfers. As the final notes rang out and the lights slowly returned, it was clear that this was not just another tour stop. BLEED FROM WITHIN turned Stylus into a furnace of energy, proving once again that their live show is not just heavy. It is an experience that pulls an entire room into the chaos and leaves it buzzing long after the last riff fades. On this showing Leeds would not have had it any other way. Words and photos: Jack Norris

Camden in 2026 is a strange place. Infamous for its outsider cultures, it now props up a touristic doppelganger of itself, skewed like an AI replica, propagated for commerce. The old school punks passing through, clad heroically in their leather and safety pins, are homing beacons for the grit-edged music scene pulsating at the fringes, still pulling in the notable and notorious. DEAD PIONEERS, a five piece political punk band from Denver, finished their tour here at The Underworld, supported by the ‘heavy punk supergroup’ YAKKIE. It was a promising night for Camden’s underground! YAKKIE, a London based ‘supergroup’, has members from across the city’s DIY punk scene including, PETROL GIRLS, DREAM NAILS and COLOUR ME WEDNESDAY. Serving high camp TONI BASIL, the lead singer, Janey Starling, pumped their set full of energy, joy and radical feminist politics. Their self proclaimed ‘nineties teen film’ sound really worked the contrast, with a razor sharp edge on their post-watershed lyrics. In the moments the band breaks character, the set truly comes alive, fueling the upbeat energy with a much gruffer, angrier side, to match the lyrical content. The big and bold sound by Maeve Westall on the drums and Starling on vocals, was accompanied with epic shredding by the guitarists, Robin Gatt and Laura Ankles. The only downside was the mixing where the guitars were often lost and desperately needed cranking up a few notches. Two women a week are murdered by their spouses in the UK, and YAKKIE’s song Right Of Reply, is their requiem. Starling spells it out for us, screaming “When will we feel fucking safe?”. Rabbit’s Got The Gun was introduced as a dedication to Luigi Mangione, giving a blast of sound that would have Elmer Fudd wishing he voted for universal healthcare. Impressively, by the final song, they manage to get the crowd singing along to Under The Pavement Is The Beach - Well, for a moment at least…This was a UK audience after all. Fiercely joyful and happily aggressive, songs were delivered with infectious energy throughout. Alongside their manifestation of feminist rage calling for a revolution, YAKKIE offered a refreshingly positive message of hope. When DEAD PIONEERS took onto the stage, the atmosphere went from rom Sunnydale California vibes, to San Pedro BLACK FLAG inflected punk. Founder of the band, Gregg Deal, sported a ‘Wagon Burner’ Tshirt and straight off the bat, his distinctive voice was pitch perfect, you would be hard pushed to distinguish it from the record. Clearly an adept orator and poet, there was no moment when you did not comprehend exactly, both what he was saying, and the politically explicit message. This was protest music without a doubt, and its caustic humour confronted the dark realities of European American colonial history, with a piercing directness. The brilliant band, made up of Joshua Rivera, guitar, Abe Brennan, guitar, Lee Tesche, bass and Shane Zweygardt, drums, shattered the set with a mix of hard, fast punk and pulpy sounding rockabilly. There was a symbiosis between the instruments and voice, the bass and drums always cutting a groove that somehow matched the wry satire on the mic, giving a theatrical swag. Enthusiastic shouts from the audience of “Fuck John Wayne” erupted as soon as the drums on Mythical Cowboys kicked in. A simultaneous nod to the brilliant PUBLIC ENEMY, Fight the Power lyrics perhaps? “Best cowboy that never existed, White narrative gets it twisted” Deal yelled the song ridiculing the golden boy of Hollywood Western’s, an out and proud white supremacist. Immortilised through film, is a romanticised white washed narrative of the genocide of millions of indigenious populations, across the entire continent of North America. The brutal crushing of Native American languages and cultures, is enacted to this day by the USA. A huge illegal settlement, upon their stolen land, a country, “Rooted in slavery and genocide, born in the bosom of European Colonism”. Deal is a member of the Pyramid Lake Piaute Tribe, he is an activist and advocate for the rights of his people, and he stands with and advocates for the rights of all people, across North America’s diverse indigenous populations. He is also a dad to five kids, and in a very sincere moment, asked the whole venue to sing his ten year old happy birthday, which he was missing at that very moment. His poetry and performance was confrontational and powerful and the crowd were very responsive throughout, knowing the words and the basslines for tunes like Bad Indian and The Caucasity. The audience let out an ecstatic cheer at the introduction to Nazi Teeth performed by both Deal and Ren Aldridge, the lead singer of PETROL GIRLS, who exploded with an extra dose of rebellious energy. Incredible live, DEAD PIONEERS delivered a shit load of subversive anarchistic energy, a salve to the right wing corporate propaganda we are saturated in. Their rhythms and basslines provided a mini mnemonics crash course in anti-capitalist theory and the colonial history. The world today is not a surprise, it is a product of what it was built upon. Deal said it straight, “Capitalism is a pyramid scheme and you ain't at the top.” Words: Alana Madden Photos: Dead Pioneers and YAKKIE

When it comes to the alternative metal scene right now, N0TRIXX is quickly becoming one of the most exciting artists to watch. She is known by fans as the queen of trapped metal, and continues to push her sound with every release. This new album feels like another step forward. It’s dark, emotional, aggressive and packed with intensity from start to finish. What really makes this record stand out is its concept: each track represents a state of mind, taking you on a journey through the rooms of the human psyche. The album opens with Into the depths [intro]. Straight away you’re pulled into this eerie atmosphere. It feels like a traditional track and more like the calm before the storm. There’s a sense that you’re being slowly drawn into something - you are stepping into a forgotten building with doors waiting to be opened. That tension doesn’t last long before exploding straight into hysteria [БЕГИ]. This track wastes no time establishing the energy of the album. The beat is intense and relentless, grabbing your attention right away. What makes it stand out is the contrast between the production and the softer vocal delivery. The track reflects the looping thoughts of depression. You feel like you’re trying to escape your mind while being trapped inside it - N0TRIXX is really showing her skills here. Up next is Revenge On God featuring YENTL CAMBRE. Things really start to spiral. The track builds an atmosphere, mirroring the confusion and collapse of memory associated with dementia. The pacing grows more frantic as the song progresses. You feel like reality itself is starting to unravel. After that intensity, HARMLESS, featuring SARUNAS BRAZIONIS, opens with a calmer vibe. It still carries an edge. The track explores the extremes associated with borderline personality disorder. You feel the push and pull between vulnerability and anger, love, and fear. - that makes the song feel raw and deeply personal. N0TRIXX and her collaborators are doing a great job. Then we move into Hé Toi, where the tension ramps back up again. Hearing N0TRIXX sing in her native language adds a whole new level of atmosphere to the track. The emotion is impossible to miss. The shifting sounds and tones reflect the inner dialogue associated with dissociative identity disorder - it’s one of the most unsettling moments on the album. N0TRIXX is really taking you on a journey. That energy erupts fully with St. Chaos, featuring JESS ALSTON. The track captures the restless mind of ADHD perfectly. The beat jumps rapidly between styles and rhythms, and the intensity ramps up even further. It creates one of the more explosive moments on the record. Next up is Spectrum. It slows things down in a way that feels deeply uncomfortable, reflecting the overload that many people on the autism spectrum experience. Everyday sounds and environments can become overwhelming. The uneasy atmosphere makes you feel that tension building throughout the song. Then comes Catalepsia, featuring WARREN WILLIS. It has one of the openings on the album inspired by accounts of schizophrenia; the track feels like a collapse of reality itself. N0TRIXX’s vocals shift between haunting and powerful. The song builds, creating a fascinating experience and really showing the artist's range. Living Nightmares, featuring FMA +12 GAGE, arrives with a different energy. The deep dark rap delivery changes the tone immediately. The track represents psychosis; reality bends and voices blur together. The atmosphere feels heavy and claustrophobic. You feel trapped inside someone's distorted reality. That anger continues with narc (i'm so happy that you're dead). This is easily one of the emotionally raw moments on the album. The track confronts the lasting damage of abuse with brutal honesty, and the jagged production and aggressive delivery make it feel like an emotional release. Finally the album closes with you are loved [outro]. After everything that comes before it this track feels like a moment of reflection. It reminds listeners that after experiencing pain, chaos, and darkness, there is still compassion and connection waiting on the other side. It’s a surprisingly hopeful way to end such an intense journey; N0TRIXX really knows how to end an album. This album shows why N0TRIXX is becoming one of the most exciting artists in the underground alternative metal scene. The record balances production, emotional storytelling and creative collaborations, and it keeps you hooked from start to finish. Each track feels like another room in the mind being opened. If this album is anything to go by, the upcoming tour is going to be something. N0TRIXX isn’t just making noise in the scene right now. She’s making a serious impact. This album is definitely one worth checking out. Score: 9/10 A Catalogue of Madness and Melancholia will be released on 13th March 2026. Words: Jack Norris Photos: Andy Ford

Forged in Nottingham, SHADOWVALE are releasing their debut self-titled album, following their EP Austere that was released in 2024. After two years in the making, all of their hard work has definitely paid off as this album creates a desolate atmosphere; telling the story of a nameless protagonist’s journey through an arcane portal with grimy vocals, harmonically harsh guitar tones, nauseating bass and drums that carry intention with every hit. The band’s genre has been described as everything from sludge-core, alt metal, doom metal, hardcore and death metal but this album blends every one of these into a brilliantly composed album; a defining statement of their identity. Creating an impactful first impression, coming in at just over 5 minutes is The Eastern Gate. At first, your ears are filled with fast, gnarly guitar tones, accompanying the vocals with the perfect balance of grit, slowing down near the end. The drums on the other hand, start off slow and lethargic before you hear continuous hits to the kick drum over an aggressive fry scream. Next up, Bloodbound comes in with a guitar riff that sets the tone perfectly; almost sluggish and nerve-wracking as you hear small stutters now and again. The vocals in this track are way more brutal than the last, welcoming the deep raspy screams by Lara Kelly. Endless Chain is the track that really shows the band’s true potential; between the soul-stirring vocals and the ground-shaking bass lies deep-rooted themes of faith and death lyrically: “they promise any faith they find/to trust in where it leads.” - “underneath their slippered feet/the bones of soldiers lie.” Up next, there is an interlude track called Zopiclone Black, giving the listener more insight into what this album is truly about. You hear multiple people talking about dreams, medication and side effects over the echoing bass by Lee Chrimes, creating an unsettling environment before a high-frequency guitar tone, almost drowning them out. The fifth track, Barghest brings in hefty guitar riffs, every note carrying filth and grime through the distortion. This is definitely one of those tracks to get your blood pumping and head banging, with a brief moment of silence in the middle of the song before your ears are filled with a thick wall of sound. In The Heather provides a more bass and drum heavy intro as Ryan Slater puts intention behind every hit, making it stand out with force. The vocals for most of this track are eerie, almost like a ghost but near the end, they become more sinister. In one section, there is a brilliantly written solo performed by Richard Eadie Jr and there is no doubt that it was executed with skill and precision. Orbital Collapse comes in with high-pitched guitar tones and drums before the bass enters, bringing resonance into the mix. Lara Kelly does something astounding in this track that isolates her voice from the instruments, giving her all as it goes quiet and you can just hear the vocal fry. The last track of this album, The Spectre brings it to a close quite nicely as you hear melodic piano notes until the harsh guitars enter alongside ethereal vocals. This track is very different from the others, due to the soft approach at the start but it eventually picks up the tempo and introduces grit to the track. This album is a mind-blowing debut for SHADOWVALE because, amidst all the chaos of the instruments; they have created something that is unique to them. It explores many themes like death, religion and insomnia; showcasing them in a way that tells a story through the lyrics. Score: 9/10 Shadowvale will be released on 13th March 2026. Words: Jynx Cosgrove Photos: Shadowvale

UNITYTX look for catharsis on their sophomore album Somewhere, In Between…, creating fourteen tracks at the highest quality of modern Nu-Metal. Every number on Somewhere, In Between is in equal parts raw and resolute, set onto their signature hip hop/metal fusion which has only become heavier and more layered between album one and album two. From album opener Sabotage the swinging metal soundscape catches the attention with a high pitched scrubbed electro-melody for an introduction; before the minute mark of Somewhere, In Between the first breakdown hits featuring a rich lower toned scream and the first of a few barks of the album. This flows straight into first single Heinous, a “this is where we’re at” track not afraid to get in your face, already describing itself in its sample as a “textbook sign of aggression” as SHAOLIN G speaks on isolation and inner turmoil. The scream/rap harmonies are sharp as are the punchy drums throughout the choruses. Lucid in one word is cold: the chorus is screamed as its first introduction on an icy, high pitched power guitar soundscape while the hook of “I feel it creeping down my spine/ I see the very thing I fear becoming my demise” having a pursuing feeling within it that aids in the 100 mile an hour driving bear. Lucid feels like a squaring of the feet as along with this feeling of perusal there is a want to persevere present within its lyrics, and features more sung clean vocals, which fit well within the track and become a new feature of UNITYTX’s sophomore album. Second single is Body Roc which is interesting in its double entendre, with the gravelly rap on top of a lower pitched beat giving a flirtatious feel to this “I am him” track. This feeling flows well with Paranoia, which brings the guitars and drums back for the only clearly romantic relationship themed song, keeping the feeling of isolation and misinterpretation present in Somewhere, In Between as it details the frustration of trying to build a relationship with someone expecting the maltreatment of their previous experiences. At this point in Somewhere, In Between the idea misinterpretation and demonisation feels clear, making Fuck Tha World a perfect response as it approaches its halfway point. At this point the tempo begins to slow, with rich power chords making up the intro before a testimonial inviting the listener to be pushed to breaking point then needing to atone for the shards cutting other people. This breaking point becomes clear by the midway point as SHAOLIN G raves in the middle of the song, declaring himself finished with the voices from the outside before the final refrain goes from a clean vocal to a spat screamed one, reaching lower pitches that finishes Fuck tha world on a sharp note of discontentment. Testimonial is also the word for the rawest track on Somewhere, In Between Ready to Die pt2. The organ-like synths affront the ears before a clear picture into suicidal ideation, explaining in plain terms “feeling incomplete” and the why and hows of wanting to take ones own life. On top of the organ like synths is a melody that’s violin reminiscent and structured like the jaws theme song, completing a creeping soundscape as if Ready to Die pt2’s themes are coming up behind UNITY TX. The second act of Somewhere, In Between opens with Enjoy Tha Show, and marks a shift into the what’s to come rather than what has happened before, picking up the pace with a higher tempo and the announcement that they’ll be “I’m expressing myself/standing my ground” in its chorus and being unapologetic in staying loud. The floor lead drums chop and change around the kit for the intro then focus on a sharp hi-hat led drumline with hidden-snare motifs, transforming in the breakdown and final third with the introduction of the double bass drum that showcase Jonathan Flores’ ability to mix hip-hop and metal drumming conventions seamlessly. Partial-title track In Between… marks the return of the lower scream as well as the clean vocal as it faces UNITY TX’s demons head on. It feels more optimistic than the tracks previous, declaring that it’s “time to deal with the pain” and needing to keep going. In Between… feels like a Beautiful Oblivion track but better written with the clean vocals lifting atop the swinging guitars and crash-heavy drum lines, adding to the transcendent themes of the lyrics and ending too soon despite being one of the longer tracks on Somewhere, In Between. Fitting for the narrative theme the next three tracks regress into the anger that isolation bring - Come N Go (Nu Jax) speaks on those in your life switching up, picking up the pace and focusing more on a metal soundscape that has a wonderfully Madboy EP feeling to it, while Inside Out brings on LA electro-rockers HOUSE OF PROTECTION maintains the energy with a promise of not slowing it down over 2 unrelenting minutes, gut-punching breakdown punctuated perfectly by its midpoint arf. Final single STFU is the biggest track on the album production-wise, filling its soundscape with slow power chords and heavy china cymbals creating an intensity as the verses builds tension and speaks on not seeking to be looked up to. It takes the themes of isolation and performs them rather than seeks to remedy. The trio are short, angry, and create energy as UNITY TX set up to finish their sophomore album. Contempt is a forty second interlude before album closer Crash N Burn, priming for the final track with gothic beats before the final drumline starts. The vocals mix the rap and the low scream present throughout perfectly, slowing the tempo for this final track to foreground the tension that UNITY TX are speaking on as they muse on “covering everything in gasoline and burn[ing] it all.” The beat switches into a 6-beat bar seamlessly as Crash and Burn prepares for its crescendo, the chorus devolving more and more into screams; the spoken word takes the time to ask what crashing and burning will mean before launching into a breakdown no less than gnarly - drop kick a baby, end a bloodline gnarly - swinging as SHAOLIN G growls the final bridge and finishes on it being “never f*cking enough.” UNITY TX are looking for their flowers, and Somewhere, In Between shows they’re more than deserving. A band that has spent a decade perfecting their sound, hopefully their steady build will turn into the explosion to which they are entitled as the metal community returns to nu-metal into the 2020s. In any case, Somewhere, In Between is already a strong contender for album of the year, and we can’t wait for them to come back to the UK. Score: 9/10 Somewhere, In Between will be released on Friday 13th March 2026 via Pure Noise Records. Words: Julia Brunton Photos: UnityTX