BATHORY has long defined the extreme side of metal. Being one of the founding fathers of the first wave of black metal, their legacy rings through the sound of many bands, with their sound still coming through today. BATHORY was founded in Sweden in 1983 and during its time active featured frontman and the only songwriter of the band, Thomas "Quorthon" Forsberg. Their debut self-titled album was released in 1984 and became arguably the first truly black metal album to be released. The sound of the album is raw due to being recorded on such a low budget - so low budget in fact that no true distortion pedals were used to record the album. The album pushed forward the sound of metal into darker and more caustic places whilst drawing on the sound of speed metal with heavy influence drawn from the band Venom. The album has become a cult classic within metal, and you’ll often see a patch of this album specifically on many people’s jackets. Bathory’s influence is arguably larger than the band itself; they defined many of the same black metal elements that still appear today. Satanic and pagan imagery, brutal, eerie atmosphere and a new approach to DIY music pushing past the standard set-up by punks. Bathory are metal through and through. They have become such a part of the scene that you are guaranteed to see many Bathory patches at any gig and even online, with the knock-off patches being sold as ‘Ratlord’. As the band kept making music through the years, their sound changed and became more set in stone. The band’s most beloved release is Blood Fire Death, which builds on much of what happened within the band’s debut yet still carves its own musical identity. Featuring acoustic elements blended in with the black metal sound the band is known for, this album is truly special within metal history. The track A Fine Day to Die shows the band pushing song length further, which allows the relenting atmosphere to be built. As an album, this is the last of their first four releases, which are seen as being a blueprint for many of the later Scandinavian black metal albums that form most of the general perception of the genre. Unfortunately, the band came to a complete halt in in 2004 with the passing of Thomas "Quorthon" Forsbergaged just 38. After his passing and the cessation of the band, their legacy only grew. The band became a rite of passage for young metal heads taking a dive into the more extreme side of metal. The demand for the band’s music to be seen live has grown and grown. The band never played live during the time they were active, so they had an entire fanbase hungry to witness the band. Within recent years, however a tribute act built from musicians across the Scandinavian scene was born. Named Blood Fire Death. They are currently the closest thing that has ever existed to a true touring outfit for the band. Bathory as a band have a legacy that has simply grown over the years. Built up a fan base from every generation. They remain so popular because they define so much of what makes black metal. They existed as a unique vision within the genre, and their tracks still feel as sinister as ever. A truly legendary act that has a legacy that only burns stronger. Words: Will Freeman

KIM GORDON, the icon behind the cultural sensation that was SONIC YOUTH, has returned to London after two years. Bringing songs from her third studio album, Play Me, as well as her other work, the night was indeed a nostalgic leap in the past and a celebration of the present. Opening the night was LONNIE GUNN. The New Jersey-born and Brighton-based artist brought a full band with her to the Shepherd’s Bush Empire, and from the beginning it was obvious the performance at the world-famous venue meant a world to her. Enchanting the room with her ethereal voice, that was complimented by the crisp sound of guitars and a booming echo of the drums, the vocalist sang through her short setlist swiftly. LONNIE did not forget to interact with the crowd either, and whilst the room was not completely filled, there were still plenty of fans who did enjoy her set. KIM GORDON and her band-mates were up next and the energy in the crowd definitely shifted. Not only had the venue filled up more, it was also evident from the chatter that the night was very anticipated. Once the lights went down, they were immediately followed by a projection on the screen in the background that did not disappear until the end of the set. The musicians took their place on the stage, and not long after, KIM GORDON made her way in front of the crowd. Starting the first half of the set with her new album, Play Me, GORDON presented the crowd eleven songs from the release, excluding BYEBYE25! from the lineup. Tracks like the opening PLAY ME, BUSY BEE and NOT TODAY were met with a very positive response from the crowd, although all songs were met with loud cheers from the fans. GORDON took on playing the guitar for some songs, and even though she mostly stayed by her microphone stand, the first row was surprised with her occasional appearance at the very edge of the stage. With the second half featuring GORDON’s previous work, there was no doubt the fans found more pieces they were familiar with. From The Candy House, to It’s Dark Inside and Cookie Butter, the impact of GORDON and SONIC YOUTH’s thirty-years long presence on the current rock scene was more than evident. Closing the night with Cigarettes, KIM GORDON managed to get the whole Shepherds Bush Empire on their feet and confirmed why she keeps her reign as one of the most important figures of the rock scene. Words: Katerina Stepanikova Photos: Cally Begg

Titans of emo, AMERICAN FOOTBALL started out in 1999 as mostly clueless unbridled teenagers. After their reunion 15 years later to release two new records, the band have lain low once again, practically up until recently. American Football (LP4) is undeniably the band's most mature and honest work yet, to the point that one could even be taken aback by their bluntness at the first listen. It is also the darkest and eeriest out of the four records, which is reflected by the apocalyptic, flaring red in the cover and visuals. It is a direct consequence of a life lived, and could only be felt and experienced by another human who's also lived their own life. The first track greets us with a haunting atmosphere, mesmerising and mysterious humming throughout. It is like a beast slowly waking up, getting the listener to hold their breath in anticipation of what is to come. Musically, Man Overboard is one of the most remarkable parts of LP4, with complex and chaotic drumming and layered instrumentals. Almost an album in itself with the way it progresses, the outro builds up into a loud and unescapable horror scene. Recovering from what felt like being hunted for prey, the rest of the album is plotted on a relatively slower and quieter sonic landscape. No Feeling is no exception, featuring an unexpected guest that is typically anything but quiet — TURNSTILE's one and only Brendan Yates. Indeed, here we get to experience his other side through mellisonant harmonic cries, but we know he can be trusted to feel it like no other. Paradoxically to its name, No Feeling is one of the most emotionally charged pieces on an already exposed electrical wire that is LP4. The song's narrative is full of distinct suicidal ideation. Even further, the voice wailing from nowhere and everywhere in the third verse makes it by that point almost unbearable to listen. Bad Moons was the first single off LP4, and at the same time the longest track in the band's discography with an over 8-minute runtime. Interestingly, it originated as a collage of two separate works, later glued together by Mike Kinsella. Bad Moons begins as a nostalgic homage to childhood, with playground noises in the back and even slightly gleeful melodies to lead. Soon enough though, this turns into nothing but regret and sorrowful reflections. Here, the narrator explores 'the dark' as both a time and a place for pretty much every formative life event, whether it was for better or for worse. The other half of the composition is mellow, an emotional climax drifting to a slow fadeout. AMERICAN FOOTBALL have grown to love a good feature on their records, and so LP4 was also fortunate to welcome WISP, an emerging shoegaze artist who is finally getting her flowers. Wake Her Up is already the most serene and entrancing composition, and being blessed with Natalie Lu's delicate, wispy vocals had elevated it to perfection. The song also includes a symphony of wind and string instruments, interrupted briefly by modulated effects on guitars. Although Wake Her Up sounds like a sweet love song, the lyrics follow the rest of LP4, encompassing morbid, killer motifs, creating an even more fascinating juxtaposition. No Soul to Save is a cathartic ending. There is still an urge to hide away from the feelings and the truth, but Mike Kinsella decides to fight fire with fire, spilling the soul out to a grand audience of millions. It is almost designed in the same way as a theatre performance finishing, addressing the spectators directly. By now, the artist is tired of explaining himself to everyone around, wishing to disappear in peace. Although the album keeps circulating around ego death, regret, nostalgia, and despair; there is a certain progression from the beginning to the end, accepting the hardships of life at least slowly. In its entirety, LP4 is a testament to maturity and self-growth. No longer the boys they once were, AMERICAN FOOTBALL teach us that no matter how painful it is, we all go through it. Score: 8/10 American Football (LP4) will be released on 1st May 2026 via Polyvinyl Record Co. Words: Mariia Bulkina Photos: Alexa Viscius

There’s something unique about The Far Fallen Fruit, the first studio release from the American hardcore band GOTTLIEB. It manages to feel comfortable within traditional hardcore punk, reminiscent of bands like REFUSED, while also diving into the depths of post-punk emotion. The album successfully conveys both styles and combines them into a new, unique listening experience. But it isn’t just a good listen, it’s highly political and doesn’t shy away from showing us the harsh truth of our current world. Pipe Bomb, the album opener, shows us exactly what we can expect from The Far Fallen Fruit. A melodic post-punk riff introduces the album, while the vocals perfectly embody the hardcore punk style. It’s a straightforward punk song and an aggressive statement against guns and gun violence. While the song structure is kept simple, the post-punk elements bring in a uniqueness that hardcore punk songs usually wouldn’t have. This straightforward punk energy doesn’t disappear in the next tracks either. What Are You Worth presents another simple song elevated by strong post-punk influences, expressed through a catchy and melodic guitar riff. Following that is American Blood, truly a gem on this album. As the name suggests, it’s a critique of the current state of the United States. It’s a beautifully constructed, high-energy track that combines a catchy riff with repetitive but powerful vocals. This intensity is broken up by a bridge that emphasizes both the guitar and vocals, giving us one of the only real breaks on this otherwise high-energy album. The two-part sequence Dogs begins with Joy to Distract from Resistance, which we would describe as the slowest and calmest track on the record. It serves as a great build up, as the song picks up speed again in the chorus. The track feels emotional, conveyed through Andrew’s harsh vocals. The second part comes across as much more aggressive, driven by a blast drum pattern. It’s underlined by a riff that again highlights post-punk influences, showcasing the volatility of GOTTLIEB. The title track, The Far Fallen Fruit, stands as the high point of the album, being the most energy-driven track. City On A Hill and Optimized Child once again highlight the band’s energy. This blend of hardcore punk and post-punk influences feels refreshing and helps a straightforward punk album like The Far Fallen Fruit stand out from others. I Started Carrying A Knife shows us another side of the band. The song feels ironic while maintaining its political tone. The guitar riff introduces a slightly different style, moving a bit away from their usual hardcore and post-punk influences. It almost leans into alternative rock, without losing its punk roots. Their latest single release, White Vans, is another heavier, more hardcore-driven track on the album. Written in response to ICE activity in their neighbourhood, it reflects the brutal reality of what is happening in the United States today. However, this brutality can also lead to unity and collective resistance. The song captures this reality, with erratic guitars and harsh vocals guiding us through a story of police brutality and community resistance. Sugar Packets ends the album just as perfectly as Pipe Bomb opened it. The song begins with a build up and a continuous guitar riff, gradually increasing in aggression in both vocals and instrumentation. Eventually, it transitions into a more traditional punk track, almost reminiscent of bands like PENNYWISE. It feels hopeful, underlined by some of the best guitar work on the album, making it a perfect closing track. The Far Fallen Fruit is a political response to the current state of the world, taking punk and reshaping it into something fresh and revitalized. It’s a brilliant debut album, entirely self-produced, that brings the relatively new punk band GOTTLIEB into the spotlight. Score: 8/10 The Far Fallen Fruit will be released on 1st May 2026 via Quiet Panic Records. Words: Hannah Martin Photos: Gottlieb

Three decades of pioneering metal music would feel exhausting to any band worth their salt, but metal legends SEVENDUST are more charged up than ever, as they gear up to release their landmark 15th album One via Napalm Records on 1st May. One isn’t just a testament to SEVENDUST’s notorious career over such a period, nor is it simply a tribute to their devoted fanbase, fondly called the 7D Army. It’s a statement of the new heights their sound has reached, with soaring powerhouse vocals complemented with thundering instrumentals and intricate solos, every song feeling like a call to arms as they progress through a triumphant metal journey. One is a sound that draws on other genres to their renowned metal, creating its own genre of cinematic rock, inspired by SEVENDUST’s evolution over the years, their gratitude to their fans, and by their shared Christian faith that subtly reaches out through themes of unwavering hope and belief. They’re a band that transcends genres and die-hard fans and captures all ears, a sound you can come back to anytime and know, not only will you appreciate their expert production, but you’ll be warmly welcomed into the lively 7D Army and SEVENDUST themselves. One is an authentic look at themselves as a unit and individuals, alongside their faith in a higher power and a higher purpose. The title track quickly powers up into thundering drums and bass, Clint Lowery and John Connolly giving their all with complex, blended solos, as singer Lajon Witherspoon asks “do you forgive yourself?”. They set the intense theme and pace from the album’s opening bars and refuse to let up as they drive onward through their rousing, heavier single Unbreakable, fading in with artistic piano before blending into hair-raising guitar and Morgan Rose’s drawn out drum beats crash onward into a building frenzy. The lyrics notably change from “you” to “we were meant to be unbreakable” as Witherspoon speaks to the listeners en masse to say we’re all one in this fight. Is This The Real You has a rhythm that is so distinctive it’s difficult to explain the emotion and movement it evokes, combined with vocals that rise orchestrally and descend into raw screams, it feels triumphantly upbeat when it’s not supposed to. Throughout One there are moments that are reminiscent of other legendary metal bands but delivered in an unmistakeable SEVENDUST way, and Threshold is one of these moments. It gives DEFTONES in its harmonised high guitar riffs, slowing to a thudding beat led by Vince Hornsby’s impactful bass line and Rose’s kick pedal before swinging into renewed intensity. The tempo and mood slowing down slightly, We Won is a mixture of layered vocals and instruments, the guitar solo rising into red-hot territory. It feels like a restrained victory, as if the band are saying we won but at what cost? Launching in with an anticipation building intro of distorted guitars and bass over a thundering beat, Construct slows for piano breaks and softer vocals, Witherspoon baring vulnerability by calling out “I know I’m not enough”, before the track plummets into a drum breakdown. For fans of SYSTEM OF A DOWN, Bright Side brings that classic metal sound we adore, with high guitar notes contrasted against low growling vocals, thumping bass and blistering drum beat controlling the listener’s headbanging pace. The album is a display of every member’s talent and commitment, every instrument getting their moment to shine through, and this is displayed impeccably on The Drop. Starting with warring guitar riffs, it does in fact suddenly drop into a bursting rhythm of SEVENDUST’s cohesive sound, Witherspoon’s understated vocals claiming he’s not the enemy as Lowry and Connolly strike riffs against each other. There’s still fight left in One with Blood Price’s cinematic 80’s synth strings descending into Rose’s shattering drums and Hornsby’s bone-rattling nu metal-core bass, guttural screams giving way to dual guitar solos. One’s epic battle reaches its conclusion in Misdirection, a distant, understated heartbeat and fuzzed vocals leading into a final conquering sound that rises to high peaks, looping back into the beginning beat, the cycle never ending or beginning. One a statement that we, the new fans, the 7D army, the prodigal listeners, are one with SEVENDUST, their faith unshaken in themselves. Score; 9/10 One will be released on 1st May 2026 via Napalm Records. Words: Julia Stark Photos: Chuck Brueckmann

There’s a version of Theft World that probably could’ve existed where LIP CRITIC doubled down on what previous album, Hex Dealer started - more chaos, more sharp left turns, more of that “anything goes” energy that made them such an immediate talking point. Instead, this feels like a deliberate shift. Not a retreat from that previous intensity, but a refinement of it into something more focused, more suffocating, and in a strange way, more purposeful. A lot of that comes down to how the band handles momentum. The dual drummers are the obvious centrepiece, but it’s not just about sheer impact. There’s a constant forward push running through the record, like it’s never quite willing to settle. Even when tracks dip into something more fractures or off-kilter, there’s still that sense of being dragged along with it. It’s relentless without becoming monotonous, which is harder to pull off than it sounds. What really elevates Theft World, though, is how heavily it leans into texture. The hardcore foundation is still there, but it’s constantly being warped by electronic elements, samples, and digital noise that feel just as important as the ‘traditional’ instruments. Tracks like My Blush (Strength Of The Critic), Debt Forest, and Charity Dinner lean into that especially well, layering synthetic elements in a way that makes everything feel slightly unstable. It’s clear that the production choices on this album end up doing as much storytelling as the vocals, which ends up being one the album’s biggest strengths. That approach ties neatly into the album’s wider concept. Built from a genuinely bizarre real-life experience involving identity theft and a fan’s completely detached interpretation of LIP CRITIC’s music, Theft World explores obsession, control, and distortion in a way that never feels overly literal. Instead of spelling things out, it builds a world that feels fragmented and uneasy, where nothing quite lines up but everything still connects on a gut level. Jackpot works as one of the album’s clearest focal points in that regard, spiralling around addiction in a way that feels both exaggerated and uncomfortably close to reality. The jittery, almost mechanical energy mirrors that sense of losing control, with everything building and collapsing in on itself like a win that was never really a win to begin with. Even the shorter tracks play into that: Drumming With Izzy and Yard Sale (230 Take) could’ve been moments to catch your breath, but they’re anything but. They’re chaotic in their own right, acting more like sharp interruptions than breaks. If anything, they reinforce the album’s pacing rather than disrupting it, keeping things unpredictable without losing direction. There’s also something worth noting about how this record came together. Knowing it was effectively a pivot - shelving previous material in favour of something shaped by that insane real-world encounter - gives Theft World a different kind of weight. It doesn’t feel like a band just experimenting for the sake of it. There’s a sense that this needed to be made in this specific way, even if that meant leaning further into the abstract to get the message across. That said, it’s not an easy listen. This isn’t the kind of album that immediately clicks on first play, and it’s probably going to alienate some people as it pulls in others. The density of its, both sonically and thematically, can feel overwhelming at times. That does, however, feel entirely intentional. LIP CRITIC aren’t trying to smooth out the edges or make themselves more accessible, they’re committing themselves to a, frankly, nonsensical logic; and that’s ultimately what makes it work. Theft World isn’t just pushing at the boundaries of hardcore, it’s actively ignoring them. The blend of live instrumentation and digital manipulation, the constant sense of motion, the refusal to sit comfortably in one place all adds up to something that feels genuinely distinct. It might take a couple of listens to fully land, and it won’t be for everyone. But at surface level, there’s enough going on here (especially in the production and overall atmosphere) to absolutely make it worth engaging with. At its best, Theft World feels like a statement of intent: that being experimental doesn’t have to come at the cost of impact, and that there’s still room within hardcore for something this strange to exist and connect. Score: 7/10 Theft World will be released on 1st May 2026 via Partisan Records. Words: Zuzanna Pazola Photos: Justin Pietropaoli

Formed in 1993, GARBAGE are one of the influential alternative rock bands of the last few decades. Over the years they have crossed into many genres, but the grunge-y sounding electro pop is what they’re most known for. This year, they have embarked on a UK co-headline tour with SKUNK ANANSIE which includes a festival date at Bearded Theory. If you’re going to the festival and looking for a bit of an introduction to the band look no further, we’ll run you through how they formed, what they’ve been up to recently, tracks to look out for, and their three decade spanning legacy. The members of the band, vocalist Shirley Manson, Guitarist/Bassist and keyboardist Duke Erikson, guitarist and keyboardist Steve Marker, and percussionist Butch Vig have stayed the same since the beginning with no lineup changes. At the band’s inception, the Americans Vig, Marker and Erikson were keen to get a female singer in the mix for their new music project, and after seeing the music video for Manson’s previous band ANGELFACE, they invited her to record with them. Manson relocated to the US from her native Scotland and by 1994 they started to push out demos. Their first album was a huge success, and since then they haven’t looked back. Eight studio albums later and even with the odd hiccup here and there, the four-piece are back for good and performing at large venues across the world. In the last few years, the band have been touring the UK and Europe quite regularly, with a co-headline tour with NOEL GALLAGHER’S HIGH FLYING BIRDS in 2023, followed by a group of dates of festivals and shows in the summer of 2024. Last year saw them touring in light of their eighth studio album, Let All That We Imagine Be the Light. Prior to the coheadline tour with SKUNK ANANSIE kicking off, the group have shows in Mexico and The Dominican Republic planned in the coming weeks. It’s likely that you’ve already heard GARBAGE’s biggest track, Only Happy When It Rains, from their first album, whether you were conscious of it or not. Its moody multi-layered groove draws you in, and even since its release it has remained one of their top songs. From the same album, Stupid Girl compiles electronic beats and effects with fuzzy guitars. Their ability to combine raging rock riffs with electronic pop elements are what makes the band so special. Highlights from their second album include I Think I’m Paranoid and Push It which add a bit of fieriness to its predecessor. From the latest album, tracks like There’s No Future in Optimism and Hold definitely lean more into the electro pop side, with Manson’s sullen voice giving the songs a darker edge. In short, GARBAGE are a big deal. Their long spanning career and following only prove this. Over the years they have performed some unforgettable live sets that you should check out immediately, particularly their performance at Bizarre Festival in 1996, and at TRNSMT festival in 2024. This is a band that for a lot of people will play into their nostalgia whilst simultaneously capturing the interest of the newer generations with their iconic sound and aesthetic. Not to mention they have probably been an influence to many of your favourite artists, musicians such as HAYLEY WILLIAMS and even LADY GAGA have sung their praise for the band’s inspiration in their own work. Outside of their artistry they have always been vocal about contemporary issues and continue to fight the good fight. If you’ve learnt anything from this, it’s that GARBAGE are a cool, nostalgic force with female rage that’s always on the right side of history. Words: Danielle Henderson

On a lush sunny Saturday, Cardiff’s infamous Womanby Street finds itself lined with black band t-shirts darting between its legendary venues – Fuel Rock Club and Clwb Ifor Bach. What’s the occasion? Noizzefest. Since 2024, Noizze magazine has brought its favourite upcoming heavy hitters to their home city. After the closure of The Moon, this year they have moved venues, upgrading the capacity and calibre of artists across three stages. HAMMARTIA The day starts by darting up Clwb’s stairs to find HAMARTIA on stage. Labelled as “Ones to watch” by Noizze themselves, Singer Sophie Smith treats us to soaring harmonies against modern metalcore soundscapes, reaching out to the audience as her vocals rise. They close the set with their latest release, Synthetica. The audience’s necks are warmed up with a djentish breakdown, and eventually relieved with more lifting, harmonic catharsis. THE GREY Downstairs, THE GREY bring us back to the ground. They slow the pace with devastating weight, despite consisting of only three members. Everything about their presence matches the heaviness of the music – The lights are almost completely dimmed, and Bassist and occasional Vocalist Andy Price menacingly paces the space between the stage and the crowd, lifting his bass like a trophy in short-lived gaps. Guitarist Charlie Gration fiddles with his pedalboard to finely craft the atmospheric elements, rocking on the wah pedal. It’s a thirty-minute onslaught of escapism, as Price explains before he takes up the mic for the final song only. PEACH PEACH take the stage on Clwb’s top floor. Vocalist Ellie Godwin’s presence is enchanting. Her hands jitter and rise in parallel with her vocals, controlled shrieks sitting between smooth, frustrated lyrics. Opting for a Baritone guitar instead of bass, PEACH’s sound sits somewhere between grunge and desert rock. It’s surprisingly heavy, but light enough to position Godwin’s vocals at the forefront of their sound, perfectly teetering between. OMOIA OMOIA are one of those bands you can tell are just having an awesome time, and their energy is absolutely infectious. Armed with high kicks and grins, the Leeds-based quintet start not only the first mosh pit of the festival, but the first three! They rampage through their thirty-minute set, and it's over before it felt like it even began. Closing with song Section 28 – referencing the UK’s Thatcher-era law banning discussion of LGBTQ+ people and issues in schools – they’re the perfect example of the high energy, joy and frustration expressed through the UK’s Queercore scene. Their set is a definite highlight of the day, and their return to Cardiff can’t come soon enough. KNIVES Recently off the back of tours with THE CALLOUS DAOBOYS and WITCH FEVER, Bristol’s KNIVES are a band that always seem to be playing somewhere, and if you haven’t managed to catch them yet, you’re missing out. It's hard to know where to watch as the five-piece jump around the stage. The Saxophonist and vocalist twirl and dance, the Bassist is high-kicking, and one of the two Guitarists is running into the crowd to start yet another mosh pit. Every element battles against each other, yet somehow perfectly sit together to transform the room into absolute disorder. It's rich, relentless, and quite literally a fist to the face. It feels like a headline set, and you can’t help but feel like they’re on the precipice of something huge. HELL HOTEL Before HELL HOTEL take the stage, the lavish setup already demands attention. Red fabric is draped around the stage, drenched in red light and dotted with lamps and candles. Whilst their image feels well refined, their experience on stage doesn’t seem to match. They run through their 2000s emo-influenced set with conviction, but transitions feel clunky and awkward, fiddling with tracks and struggling to connect with the crowd in Fuel. Track every broken part. feels like a modernised version of something you’d hear on Three Cheers for Sweet Revenge, not helped by the black shirts and red ties donned on stage. The band feels strangely placed as a stage headliner, and the set feels more confusing than convincing. CALVA LOUISE CALVA LOUISE are a band that exists with such precision and professionalism, yet remains entirely DIY and Independent. The stage is decorated with a huge, neon red logo made by the drummer, and rigs of televisions playing music videos edited by the singer. The band’s international roots are constantly celebrated, Members hailing from Venezuela, France and New Zealand, with Vocalist Jess Allanic singing in both English and Spanish. The combination of all these elements crafts a rich sci-fi-inspired world for the band to exist in, clearly demonstrating a band at the top of its game. The ease with which they move between instruments and languages only further proves this. Allanic and Bassist Alizon Taho regularly switch between guitars and synthesisers. Sweaty and tired punters cram back into fuel for a post-festival drink, undoubtedly reinvigorated by the diversity and quality of the UK’s upcoming heavy scene showcased. After a sell-out day, it’s exciting to consider where Noizze may take the festival next year, and who else they could bring. Words and Photos: Alice Needham

On the outside, SPEED became a phenomenon almost overnight. With the release of the Sydney hardcore heavyweight's gritty genre-defying single, The First Test, the raspy flute notes symbolised a lifetime of Jem Siow's two impossible worlds - hardcore vocalist and classical music teacher - being impassionately meshed together. At its core, the track demonstrated the band's commitment to freedom of expression, but halfway across the world, it ignited a kerosene-fuelled generation, throwing themselves violently against each other in a damaging display of utter chaos. SPEED are authentic, from the moment they set foot into the Sydney hardcore scene to the moment stand confidently on the wide stage at Leed's Project House half way across the world. Impassioned with their hardcore roots, where they can, they bolster their crowd in no barrier venues and feel the seamless connection between their audience. But with their increasing popularity, as SPEED fill bigger stages, this has become increasingly harder. Regardless, the band made sure to kit this show out for a one-off Outbreak-style show, lights fully on, with true hardcore mentality in mind. In the healthy glow of Wrestlemania weekend, SPEED come face to face with a thousand frenzied faces, hurling themselves onto the stage, and Swanton bomb themselves stratospherically back into the crowd. It’s both a pinfall and a submission to the mosh. Representing Scotland's hardcore and its abrasive faction Northern Unrest, is Glasgow mob HELLBOUND. Producing a fast and unruly pit, the band get the evening’s proceedings warmed up with their thrashy caveman riffs. For the many that got their early, the wide pit was met by thrashy greebos, arms flailing and spinkicking from the moment they took over the stage. Their 2025 EP, Seventh Seal, adds groove to their overcast sound, perfect for fans of GROVE STREET, NO RELIEF and DEMONSTRATION OF POWER. BODYWEB, muddled together with members of the likes of HIGHER POWER, PEST CONTROL, STIFF MEDS and EMPIRE STATE BASTARD, take on the Leeds crowd next. With hardcore roots, their 2025 EP Deadwire formulates this sludgy shoegaze-inspired sound that bleeds with metalcore sentimentality. In moments of total anarchy, they push a damagingly raw sound, feeling just as brutal as their hardcore counterparts on this tour. Commanding the stage with ease, they deliver a high-intensity set, complete with disarming vocals that send you straight into the pit. Self-described as “Bangkok evilcore”, WHISPERS are a brutal addition to the lineup. With their dazzling opening set at Outbreak last year, their album Yom-Ma-Lok is an inferno of aggression. The damaging riffs transcend in a live setting, punchy and dripping with malice. Their set was such an intense presence, and it did not stop the crowd from going absolutely feral. Finding a home halfway across the world, with a trip at the iconic Salford Lads Club to celebrate, they’ve found their place and been welcomed with open arms. Brutality does truly transcend, and so does the love of hardcore. In true SPEED fashion, the set was short, but the energy was concentrated into just over half an hour of pure aggression. This show, as vocalist Jem goes on to recall in one of his sentimental monologues, is a show seventeen years in the making, telling the audience that he became acquainted with the city and its love of hardcore after meeting a British guy at one of his shows. It’s only now that he has fulfilled his promise of taking him on tour, but the frontman understands the immense power of the city’s intense music scene and the influence of Boom next door. The pit is bloodthirsty and packed with Carhartt-clad moshers in a dangerous hybrid of a crowd-killing push pit. The band anticipated the ferality of the tour, but it was maestro’d by the headliner with unprecedented brutality. Cycling through hits like Real Life Love, Peace and Big Bite, they decimate with each track and prove they are one of the shining voices in the hardcore genre. Dedicating Kill Cap to the eternal Bo Leuders, they push for a damaging moment of catharsis in tow with All My Angels, before a final send off with The First Test. It’s an important time for hardcore. An impossibly underground genre, championed by its authenticity, is dragged into the mainstream. Digitisation and mass media have given it a voice, but truly, it’s those who are in the scene who know what to say. Bands like SPEED give hardcore promise, thats both uplifting and honest. In moments that seem so far from where they came from. The genre becomes a universal language, united by equality, freedom of expression and the innate desire to lose yourself in the pit. Words: Amber Brooks Photos: Libby Percival

THE FLATLINERS don’t reinvent themselves—and they don’t need to. What they’ve built over two decades is a sound that refuses to lose urgency. Cold World is proof of that: a record that doesn’t feel polished into submission, but sharpened by time. Ska-infused punk with bite, momentum, and something to say. Hailing from Ontario, Canada, they’ve stayed unchanged for over twenty years. Same core. Same intent. That matters more than people admit. Unchanged and unapologetically authentic; they’re loyal to themselves and the music. Cold World channels clarity amid chaos, offering a perspective shaped by both the rage and toxicity of the modern world. The album opens with Stolen Valour, immediately grabbing attention with shredding guitars, pounding drums, and chant-like vocals. It’s an explosive introduction, setting the tone with urgency and intent. There’s even a hint of NEON TREES in its sway, blending ska rhythms with a heavier rock edge. Good, You? stands out for both its message and execution. Tackling toxic masculinity and the difficulty of emotional openness, it pairs hard-hitting riffs with Chris Cresswell’s gritty, soul-stirring vocals. The sense of unity in the track reinforces its theme—it feels like a collective voice confronting a shared issue. Inner Peace is anything but calm. Its brisk, high-energy tempo makes it a destined live favourite. The rhythm section of Jon Darbey on bass guitar and Paul Ramirez on drums shines here, locking in tightly to drive the track forward with relentless momentum. And They’re Off shifts the dynamic slightly, easing away from sheer speed to focus on groove. Scott Brigham’s guitar work, alongside Cresswell, injects a more rhythmic, almost danceable quality while still retaining the band’s punch. Only Darkness leans heavier into grit, dragging their punk base through a more bruised, grungier lens. Then Whyte Light flips between anger and reflection, like it can’t decide whether it wants to explode or hold itself together—and that tension is exactly what makes it work creating this energetic anthem. Into Annihilation provides a well-timed breather. It builds patiently, layering guitars and drums into a crescendo before pulling the listener into a more atmospheric space. The chorus brings it back with force, balancing restraint and release. Pulpit is another song that combines different styles and sounds creating an interesting mix. Reverting away from the previous track to kick the album back into the original punchy tempo. With the calm tone at the forefront an almost echo of scream alternating in the background with those harsh guitar riffs; engulfing in a vast array of opposing sounds that work so well. Turning Signal Rhythm delivers one of the album’s strongest melodies. Its infectious guitar hook carries through the track, with the verses and bridge building effectively toward a highly replayable chorus. Gush is where things start to crack open emotionally. More exposed. More unfiltered. The vocals sit right on that edge between control and breakdown, and the instrumentation follows suit. Still heavy, but less polished in the edges—and that suits it. Burn, feels like the heaviest track on the album. Bass hits harder. Vocals feel pushed to strain, it gives a more sense of a release than that of a performance. The track doesn’t feel out of place as the lyrics throughout the album have been reflecting on pain and harsh subjects; this just feels as if the emotion has reached a head and it’s needed to be ripped out. The final song United in Spite, rounds up the album brilliantly. Every aspects they’ve been praised for; United into one ultimate track. Which is poetically beautiful. blending energy, emotion, and message into a powerful finale. This song is an anthem and nothing less Cold World doesn’t see THE FLATLINERS reinventing themselves, and that’s exactly its strength. Instead, the band stays locked into their identity—urgent, emotionally charged punk with sharp ska undertones. What stands out is the conviction in every track; nothing feels thrown in or half-hearted. Even in its quieter moments, tension always lingers beneath the surface. For fans, it’s THE FLATLINERS at full confidence; for newcomers, it’s a strong entry point into a band defined by consistency, energy, and honesty rather than reinvention. Score: 10/10 Cold World will be released on 7th May 2026 via Equal Vision Records. Words: David Waites Photos: The Flatliners

On paper, a three-band bill in a venue the size of Glasgow’s Slay might read like a fairly standard night out. In reality, April 24th delivered something that felt far bigger than the room could reasonably contain. With AD INFINITUM making their Glasgow debut alongside support from SKARLETT RIOT and SECRET RULE, this was a stacked lineup that never once dipped in energy. First up, SECRET RULE wasted absolutely no time setting the tone. From the first few moments, it was clear their sound was locked in - big, driving riffs paired with tight, polished instrumentals that filled the room with ease. It’s not always a given that the first band of the night can pull a crowd in properly, but here, the engagement was immediate and genuine. A big part of that came down to the band’s presence on stage. There was a sense of real enjoyment in what they were doing, and it translated effortlessly into the audience. Vocalist Angela Di Vincenzo stood out in particular, not just for the strength of her voice, but also for the level of control she maintained while constantly in motion. It’s one thing to sound good standing still; it’s another entirely to keep that consistency while bouncing across the stage. Closing song Echoes of the Earth felt particularly impressive, as she spent the whole time jumping and encouraging the crowd to do the same, while still maintaining incredibly steady vocals. Small touches helped cement the connection too, like tossing a T-shirt into the crowd and getting the crowd to join in with a celebratory chant at the end of their set. They might seem minor, but added to the overall feeling of a band that understood how to work a room. By the end of their set, they’d done more than just warm things up, they’d set a genuinely high bar. If SECRET RULE laid the groundwork, SKARLETT RIOT came in ready to push things further. Heavier, sharper, and completely self-assured, their set hit with immediate impact. The vocals were a standout from the start, powerful and aggressive when needed, but still controlled, and backed by instrumentals that leaned fully into that heavier edge. There was a clear portion of the crowd already familiar with their material, which only added to the atmosphere. Tracks like Paralyzed had people completely hooked, with chants echoing back towards the stage, while Limits showcased just how effective their heavier moments could be in a live setting. What really elevated the set, though, was frontwoman Chloe “Skarlett” Drinkwater’s presence. She carried the kind of confidence that didn’t rely on the audience already knowing the songs. Whether you were hearing them for the first time or not, you were pulled in. That ability to command attention is hard to fake, and it made a noticeable difference in the room. A slower moment during Luminate shifted the mood briefly, with a sea of phone lights rising across the room. It didn’t stay subdued for long though, building quickly back into something far more energetic. It was a smart bit of pacing in a set that was otherwise relentless throughout. By the time they wrapped up, the energy in the room had climbed to another level entirely; exactly where you’d want it heading into a headline act. Headlining sets don’t always justify the buildup. This one did, and then some. Before AD INFINITUM even stepped on stage, TOTO’s Africa rang out across the venue, setting a strangely perfect tone: a bit tongue-in-cheek, a bit celebratory, and a clear sign that this wasn’t going to be a stiff, overly serious performance. What followed was a set that leaned fully into drama, intensity, and sheer stamina. Running through a massive setlist of about twenty songs, the band barely paused from breath. The pacing was fast, but never rushed. Each track landed with purpose, and the transitions kept momentum high throughout. Interludes were used sparingly but effectively, giving both the band and crowd just enough time to resent before diving straight back in. Vocally, the performance was on another level. MELISSA BONNY’s seamless switches between clean and harsh vocals weren’t just technically impressive, they were consistent across the entire set. Songs like My Halo, one of the early standouts of the night, had the crowd shouting along at full volume, with the chorus hitting especially hard in such a packed room. Moments later, those same sections would pivot into heavier territory without losing any clarity or power. That level of control over such a long set with so little downtime is no small feat, especially given how demanding some of the material is. It didn’t drop even once. Instrumentally, every member held their own, but what stood out most was how cohesive the band felt as a unit. There’s a difference between just playing together and being fully dialled into each other, and this was firmly the latter. Even small details, like a standout guitar solo towards the latter half of the set, felt purposeful, breaking things up just enough without killing the flow. The crowd, meanwhile, gave everything they could. A near-constant push pit held down the front, while the rest of the room stayed just as engaged in their own way. Between songs, the cheers barely dipped, and there was a clear sense that this was a fanbase that had been eagerly awaiting this moment. Given that this was AD INFINITUM’s first time playing Glasgow, the reception couldn’t have been much stronger. Tracks like Animals leaned fully into the heavier side of their sound, with crushing vocals that hit just as hard live as they do on record. Elsewhere, Outer Space brought a more dramatic edge, balancing melody with weight in a way that kept things dynamic deep into the set. Even lighter moments weren’t really “light”, for long; everything carried a massive sense of scale. There were flashes of playfulness too, though. One moment saw bassist Korbinian Benedict encouraging the crowd to dance and shake their hips, loosening things up just enough before diving straight back into something heavier. It’s that mix of control and personality that kept the set from ever feeling one-note. Closing with Into The Night felt fitting. By that point, the energy hadn’t dipped in the slightest. If anything, it had steadily built towards that final push. The crowd gave everything they had left, and the band matched it. If there was one lingering thought by the end of the night, it’s that this felt like a show slightly outgrowing its surroundings. Not in a way that detracted from the experience, as seeing it in such an intimate setting made it more memorable, but in a way that suggests something bigger is coming. For a first Glasgow show, it’s hard to imagine a stronger statement. Words: Zuzanna Pazola Photos: Amy Lynch

THE DEAD COLLECTIVE embarked on their first ever headline UK tour with twelve shows this April, we were lucky enough to catch them at their London stop at O2 Academy Islington. The Metamorphosis tour is a perfectly polished show full of their best rock and roll tracks, with more shows throughout the UK still to go. The London supporting act was ANCHOR LANE all the way from Scotland, this being the first show they’ve played in London for four years. Before they started the room was slowly filling out with people of all ages gathering to experience the show, as the lights dimmed everyone shuffled forward filling any empty areas to get the best view of the stage. They even had some fans in the crowd cheering very loudly that were singing along and dancing throughout their set. They treated the stage as their own as the crowd foot tapped and head bopped along to the beat, the band even asking the room to clap along every now and then which of course they did. They filled us in on the antics of their London trip so far with van troubles, a twelve hour drive and hotel issues but they still delivered a flawless set full of rock bangers. One song we noted was Ministry, a song with many different sections and an overall more melancholic tone. It was catchy and featured everything a good rock track needs, guitar solos, drum fills and impressive vocals to decorate. The band displays great showmanship, knowing how to move on the stage and interact with each other and the crowd, they definitely left their mark at Islington. Between sets the crowd chattered and exchanged both their thoughts on the opener and their expectations of the lead, until the lights went low again and it was finally time for the main event. THE DEAD COLLECTIVE used their own lighting rig that timed perfectly with their music which made a huge difference just for their intro. Their silhouettes slowly appeared as the music ramped up and the room erupted into cheers. As the lights came up the three had a very clear rock and roll aesthetic all with long flowing hair that they used to their advantage when moving around the stage. All three of them were constantly moving, playing with other band members and singing along even without mics. Their songs were full of shredding guitar solos as the two guitarists played together, harmonising through their strings or bringing rage with distorted chords. The lead vocalist OLI BROWN had striking live vocals remaining extremely clean and on pitch throughout, having been in the music industry either solo or part of a band the majority of his life his professionalism is clear to see. The band didn't take many breaks between songs with many of them naturally flowing into the next but they did take a moment to thank everyone for coming despite the various train strikes that had affected the majority of the city that night. As they played each track you could see fans of all ages in the crowd dancing along and filming on their phones to store some memories. One section of the show saw them playing some newer tracks that switch up the tempo a bit, like Cracks which featured a more electronic beat still being played live by the drummer via a sound board. They had a bass line that shook the venue and OLI BROWN took to a more low vocal tone throughout, a different direction to the rest of the set but was definitely well received by the fans. As they closed up their set they thanked everyone for coming again ending with their track Falling as their lights continued to flash behind them. They left a lasting impression on the venue as we and hopefully many of the crowd would love to see them return to the capital. It was a night full of pure rock from start to end that satisfied everyone's crave for a show without fault. The band still have more shows to go on this tour and much more in the works as well as having just released their single Goliath we can wait to see what they do next! Words and photos: Amy Smyth