The past several years have marked a strange shift in the genre of post-rock. London’s “windmill scene” with groups like BLACK COUNTRY, NEW ROAD urging on a new wave of Gen Z bands to take on traditional post-rock song structures with anxious vocals and lyrics, saxophones and string sections. On top of this, there’s the “rateyourmusic-core” solo artists, combining post-rock with everything from shoegaze to midwest emo - generally influenced by groups like SLINT and SWANS. So in the midst of what seems like a kitchen sink approach on all fronts, it’s nice to hear a debut album that harkens back to second-wave post-rock outfits. That’s what LET IT EAT YOU FOR FUN’s debut album Upon the Forest Floor is. This album is a one-man project that attempts to push the styles of groups like THIS WILL DESTROY YOU and MOGWAI further. First track A Kiss and a Flight sets the tone straight away, built around these repeating soft and morose piano lines and guitar lines, until about 4 minutes in, it explodes into this overwhelming crescendo. This is contrasted by second track Diary, which is much more of a gradual buildup, to the point you barely notice that the song has even crescendoed until it pulls itself back, with sampled thunder effects, adding to the very dreary atmosphere built up so far. The longest track here is the third, Clipped Wings, clocking in at about 8 minutes and 30 seconds. It goes through several phases and almost mini-crescendos before the final one that leads into a fade-out; and it’s definitely the most grand-feeling song on the album thus far. There’s a level of ambition in this one that isn’t quite as present in the first two tracks, and while still good pieces, it feels as though they almost serve as preparation for this track. After this fade-out, we’re met with Delusions of Grandeur, a much more intense, GODSPEED YOU! BLACK EMPEROR-esque endeavour, with an absolutely crushing lead guitar tone that would fit perfectly on something like their most recent record. It’s worth mentioning that LET IT EAT YOU FOR FUN’s debut EP was more along the lines of math rock, and while the twinkly guitar tones on there have been present on previous tracks, we’ve not seen any of the strange polyrhythms until now. It messes with your head a bit but with the way he plays about with dynamics all across this track, it’s an absolutely thrilling ride, from the heavier start to the conclusion that brings all the little motifs set up throughout the track together. If you could only choose one song to listen to from this album, let it be this. Track 5, A Deeper Meaning, is another wonderful moment in the album, with an ascending chord progression from a distorted guitar in the crescendo feeling like a ray of light after several more gloomy tracks helps it out a lot. Penultimate track Medicated proves that performer Aaron is still paying attention to the new wave of post-rock artists, with a shoegazey outro almost reminiscent of PARANNOUL, but with classic post-rock sensibilities. Finally, the outro, An Unnerving Path makes sure to wrap things up with a bang, rather than a whimper, with an emotional and cinematic conclusion. In conclusion, Upon the Forest Floor is very much a love letter to his predecessors while incorporating some more modern stylistic choices. While not reinventing the wheel, it is an engaging listen with some really beautiful passages that many of LET IT EAT YOU FOR FUN’s influences would’ve killed to write. Score: 7/10 Upon The Forest Floor will be released on 17th April 2026 via self-release. Words: Noise Leonard Photos: Let It Eat You For Fun

From the deepest depths, SKYND emerged with their unsettling, distorted sounds and haunting lyrics, to combine the two things they love the most – music and true crime. Formed by the vocalist Skynd and multi-instrumentalist Father, the project quickly began receiving recognition amongst everyone, who shared the same passion. Coming back to London after two years, SKYND brought a special show, as there were no openers this night – only them headlining.With nineteen songs on the bill, the fans of the band were indeed in for a heated investigation. Unusually, the set at the Electric Ballroom started an hour and a half after the doors, leaving plenty of time for everyone to arrive right on time. Before the set began, the crew briefly brought out a mini-Skynd doll on the stage, before taking her backstage again. At once, the fog started filling up the stage and in no time, the lights dimmed down, causing a huge explosion of cheering amongst everyone present. The introductory tape-track blasted through the speakers, while Skynd, Father and their touring drummer made a haste to present themselves to the night’s crowd, transitioning into the first song of the night – Michelle Carter. For the first three songs, Skynd remained stationary by her microphone stand, relying solemnly on her gestures and face, which was definitely not a bad thing, as her presence alone, coupled with her powerful vocals, filled the room with no issues. For their third song – Tamara Samsonova, the vocalist was clothed in a long golden-black cloth that brought her usual industrial look a different silhouette. The song is SKYND’s latest crime investigation and has been received by the audience very warmly, as they already knew all the lyrics to it. And it is to no surprise, as both the text and the beat get stuck in your head very easily. Continuing with their back-catalogue hits, as well as some newer work, the vocalist started moving more around the stage, and even bringing out props in some instances. By casting a different perspective on some of the biggest cases in history – Andrei Chikatilo, John Wayne Gacy, Richard Ramirez and Mary Bell are just few of the many examples, and extensively using vocal distortions and effects, SKYND created their own ‘dark pop’, that has not been seen anywhere else, and sounds even more impressive in the live setting. Father’s presence allowed for complex melodies with the use of guitars and keyboards, which are an integral component in the band’s overall work and contributed significantly to their success. Once the performance reached a certain point and the almost entrancing song Jim Jones took over, it was obvious there were not many songs left to be played. For the whole night, Skynd has not spoken a single word – apart from a very quiet, almost unnoticed “thank you”, but instead let her artistry speak for itself. Closing the night with her best-known songs Tyler Hadley and Mikhail Popkov, and a following outro, the London investigation was an excellent success, as the audience also confirmed with their unending applause. SKYND have been back to London every time they get a chance since their first headline show there in 2019 and it is no wonder why, as the capital loves their macabre music and mystery aesthetics. Words and photos: Katerina Stepanikova

25 Forever, the latest release from CHROMA, unfolds as an emotionally charged and sonically dynamic record that never settles into one mood for too long. It is an album built on contrast, balancing grit with melody, vulnerability with confrontation, and intimacy with explosive energy. More than anything, it feels deeply human, capturing the complicated and often conflicting emotions that come with growing older and becoming more aware of both yourself and the world around you. For a band that have been steadily evolving their sound, 25 Forever feels like a defining moment. Where previous releases introduced the foundations of what CHROMA could be, this record feels far more assured in its identity. The result is a record that feels unapologetically personal, embracing heavier riffs, driving percussion, and emotionally raw lyricism without losing the melodic hooks that make the album so immediately engaging. From the opening moments of What!, the record establishes its sense of urgency. It is a powerful opener, bringing an energy that instantly pulls the listener in and refuses to let go. The melody is strong and immediate, giving the track a real sense of momentum that sets the tone for everything that follows. It feels like the perfect introduction to the album’s world, one built on movement, emotion, and release. That energy continues throughout much of the record, but what makes 25 Forever particularly compelling is the way it never allows itself to become one-note. CHROMA understands the importance of dynamics, both emotionally and sonically. Tracks like Straight Men carry a sharper edge, driven as much by lyrical frustration as by their heavier sound. It is one of the album’s most striking moments, deeply relatable and impossible not to imagine being screamed back in a live setting. There is a cathartic quality to it that turns personal experience into something collective, allowing the listener to fully inhabit the emotion of the track. At the centre of the record sits the title track, 25 Forever, which feels like its emotional heart. More stripped back than some of the surrounding tracks, it offers a welcome shift in atmosphere while still retaining the power that defines the album as a whole. There is something almost summery in its tone, but beneath that warmth sits a layer of reflection and cynicism that gives the track its depth. It feels nostalgic without becoming sentimental, capturing the strange tension between wanting to hold onto youth and recognising the ways experience changes you. The harmonies here are particularly beautiful, adding softness and richness that make the track linger long after it ends. This ability to move between different emotional textures is one of the album’s greatest strengths. Sometimes is a perfect example of this, pulling back in its verses before opening into a chorus that feels both expansive and emotionally intense. The layering of instruments here is particularly effective, creating a sense of build and release that mirrors the lyrical themes. It is one of the album’s most sonically impressive moments, showing just how carefully considered the production is. Similarly, People Pleaser offers one of the record’s most intimate moments. Opening with haunting vocals and climbing guitars, it immediately establishes a sense of closeness that never fully disappears, even as the song grows. There is a vulnerability here that feels deeply personal, but it never becomes isolating. Instead, CHROMA have a real talent for making introspection feel expansive, allowing the listener to find themselves within the emotion of the song. That sense of storytelling runs throughout 25 Forever. This is not simply an album of individual tracks, but one that feels tied together by a clear emotional and thematic thread. Whether exploring heartbreak, cynicism, social tension, or shifting perspectives on love and identity, every song feels like part of a larger conversation. Sonically, the record draws clear influence from early 2000s emo and The Distillers, while still feeling distinctly CHROMA. The production balances polish with rawness, allowing the guitars to retain their bite while keeping the vocals emotionally immediate. Nothing feels overworked. Instead, the album feels lived in, warm, and deeply intentional. More than anything, 25 Forever is an album about becoming. Becoming more cynical, more self-aware, more emotionally honest, and perhaps more yourself. It captures the reality of experience without losing sight of hope, making it a record that feels both deeply personal and widely relatable. Rating: 9/10 25 Forever will be released on 17th April 2026 via Alcopop! Records. Words: Con Macadam Photos: Bethan Miller

Growing up with Jamaican roots in Britain, I connect straight away with how SKINDRED turn struggle into something you can both rage and dance to. That cultural blend has always been their secret weapon, and on You Got This, it feels more alive than ever. Expectations were high after everything they've achieved lately, yet the band haven't just met them, they've stepped into something bigger. SKINDRED have spent twenty-plus years proving that struggle and celebration can share the same stage. On their ninth album, You Got This, that truth hits harder than ever. Dropping April 17 via Earache Records, the Newport ragga-metal veterans deliver a record that feels less like a follow-up and more like a lifeline: heavy, groove-drenched, and unapologetically life-affirming. Coming off the mainstream breakthrough of 2023's Smile, the Wembley Arena shows, and a run of festival stages that cemented their status as one of Britain's most reliable live forces, the slimmed-down trio sound like they've finally clicked into their sharpest form yet. The album wastes no time announcing its mission. Opener Can I Get A rides in on that familiar soundclash swagger, lean, sharp, and ready to throw down. From there, You Got This locks into a relentless but carefully paced flow. Born Fe Dis and This Is The Sound braid reggae bounce with metal muscle so tightly you barely notice the gear changes. Broke and Glass keep the momentum tight and addictive, while Big Em Up and Do It Like This crank the energy into full venue-shaker territory. The record never feels like a random collection of bangers. Instead, it moves like a night out with your people, peaks and pockets of breath, but always driving forward. The title track You Got This is the emotional centre of gravity. Mikey Demus swings wrecking-ball riffs, Arya Goggin detonates the kit, and Benji Webbe flips between raw toasting and hooks that hit like a trainer's pep talk after a knockout round. Benji Webbe has spoken about pulling the idea from watching a man in the gym fight back from a stroke. The simple phrase "you got this" lifted the whole room. As a British Jamaican who's watched family and friends battle the same invisible fights, that moment lands with real weight. The chorus sticks instantly, the energy lifts without ever feeling forced, and it sets the tone for everything that follows. Later cuts open the lens wider. My People and Give Thanks lean into the unifying, celebratory side of SKINDRED's DNA while still keeping the fire lit. The bonus track, Dred Or Alive, adds extra flavour without overstaying its welcome. Nothing here feels like filler. Every shift, every dancehall bounce, every heavy breakdown, is deliberate, placed exactly where it needs to be to keep the party moving and the message real. What stands out most is how locked-in the trio sound. Years on the road, those Wembley nights, countless festival stages, they've distilled it all into chemistry that feels effortless. The riffs hit clean and heavy, the rhythms drive everything forward, and Benji Webbe's voice cuts through with that perfect mix of power, melody and mischief. Production from Grammy winner Jay Ruston gives the whole thing extra size and clarity without sanding off the raw edge that made them legends in the first place. The lyrics stay focused too: self-belief, resilience, and the small joys that get you through the hard days. No lectures, just heart. This is focused, loud, and actually means something. No matter what fight you're in, the message is clear: you got this. If you need ragga-metal that charges hard, lifts you, and still leaves a massive grin on your face, this is the one. Score: 9/10 You Got This will be released on 17th April 2026 via Earache Records. Words: Kelly Gowe Photos: Dean Chalkley

Lightning and thunder rumblings reverberated throughout the room. The crowd was jolted to attention. Awaking from the hazy slumber of queuing in the sunshine earlier that day, the crowd was ready. All eyes focused as three figures filled the stage, hands waiting in silence for their lead singer. MALLAVORA had arrived. With a single metronome sound leaving the audience on tenterhooks, lead singer Jessica Douek’s hymn-like vocals started off their set as she took centre stage. Energy ignited as the drums kicked in and Douek transitioned to the loud, raw, hard-hitting vocals of Smile, the second song from their debut album, only released two weeks prior. The high energy from the band was infectious. The whole room came together to carry the beat. Hearty claps, cheers and headbangs were kindling to the intensifying, fiery sound of the next track, before it erupted into deep growls, smash of cymbals and short, sharp guitar riffs. Moving through the set, fans couldn’t help but scream back the ‘I will not obey!’ chant to vocalist Douek. Dedicating the song to “anyone who feels different - we can be fucking different together”, the beat thrashing tune Skin united the room. If the crowd wasn't hyped up enough already for the main event, the introduction of BANSHEE to the stage turned the air electric. The short, sharp hook of Lilith & Esther beautifully complimented Douek and BANSHEE’s oscillation from light warbles to powerful yells. The set was tight and the fast, uptempo pace was constant throughout. As the band took their final bow and left the stage, the air was magnetic and the crowd were charged. The night had begun. Armed with just an acoustic guitar, FAUNEA was next to take to the stage. We were treated with an all acoustic set from the electro-pop Scandinavian singer. Velvety, raspy and controlled, FAUNEA’s gentleness cocooned the crowd. At times the chatter from the outdoor smoking section echoed into the main hall, taking us momentarily out of the magic of the set. Unbothered and unperturbed, FAUNEA deliberately took the time to introduce each song, addressing the crowd as if we were longtime friends. Her mythicalness, her ability to balance silky vocals with guitar sustains quickly refocused listeners. When the lights faded from warm amber to a colder emerald, the emotions of the set took a new hold on the room. Explaining to onlookers that Reach, her next song, emerged from the chaos of a breakup, she “never thought [Reach] would see the light of day”. It felt like a precious invite inside her thoughts. We were all there alongside her, reliving the heartbreak collectively. There was power in the simplicity of a stripped back set, FAUNEA’s delicately placed vocals and soft strumming a graceful performance to witness. As the lights came up, solo gig goers and groups of friends alike were bubbling with anticipation. BANSHEE’s impact on the metal scene in providing a safe space was evident before she even arrived on stage. Overhearing conversations from how empowered people felt by her lyrics, to one fan exclaiming that she’d waited five years for this moment, excitement was rippling through the room. Eagerly awaiting fans erupted into cheers as the techo-pop beats of Fawnheart blasted through moss-adorned speakers. BANSHEE wasted no time, delivering dreamy, fairy-like lines before quickly switching to hearty growls. An epic and vibrant introduction to songs from her latest album, The Secrets of Altering Reality. We were transported to another world. Symbolic of the mythical banshee creatures, warners of death, her piercing screams cut through the crowd. Not needing a prompt or any sort of encouragement, the audience vehemently screamed along. With her unbound, long, flowing hair, BANSHEE glided across the stage, never taking a moment of silence or stillness. As the room glowed a blood red, she turned the concert into a club dancefloor as the pulsating electro beat of POSSESS ME, from her 2022 release FAIRY PHONK, captured the space. Taking a moment mid-set, BANSHEE stated jokingly that her favourite metal artist is LANA DEL REY, before jumping into a fairy-metal cover of High By The Beach. Well received under the flashing blue and purple lights, the room swayed in time to the siren harmonies and cries. As a self-producing artist, BANSHEE has full control of her work. Explicit and open, the topics of abuse and misogyny were prevalent in her set, and hit a chord with the crowd. Cheering to the confession that Fuck With a Witch provided a process of healing, and yelling along to the lyrics ‘This is the last time’, a full sense of catharsis was reached when BANSHEE hit the final note of Daughter of Eve. But the crowd wasn't done yet. After a hasty exit stage leave, chants of ‘one more song’ and ‘encore’ were almost deafening, but the call was received. Sweeping back on stage with the same vigour as her entrance,BANSHEE launched into You are what you fear in me. Watching BANSHEE perform felt like stepping into a mythical wilderness. Untamed, up-tempo and full of force, the night became a place of refuge for the heartbroken, hurt and outcast. BANSHEE has a clear talent for crafting songs that enchant you with her angelic voice and piercing cries that exalt your anger. Words: Mary Horner Photos: Amy Lynch

THE RAVEN AGE threw an intimate, UK exclusive show in London earlier in April, and although they did not expect a big audience – after all, it was the first Easter weekend, they were delighted with the amount of fans who showed up to celebrate. Opening the night were the Midlands-based BRIGHT BLACK. The Alt Hard Rock-Metal four piece brought a huge wave of energy with them the second they walked onto the stage, and their mission was clear – to make the crowd move. The vocalist combined her vocal fries with cleans, followed by the constant flow of guitars and drums, that provided almost melodic sounds. While the set was not very long, nor the band or the audience – whose numbers slowly grew over the set, did not fall behind on interactions and energy, and although BRIGHT BLACK did not receive a mosh pit from London, appreciative head-bangs and bodies moving side-to-side provided a safer, yet still strong signal the band was very welcomed in the capital. After a quick change-over and a few more new faces joining the crowd, THE RAVEN AGE were ready to start their set. The fans only had a month to secure their spot at the event, and they were more than excited for the five-piece to start their hometown show. As the lights suddenly dimmed down, a tape-track quickly followed, resulting in the venue bursting into big cheers. As Matt Cox, Jai Patel, Tommy Gentry, Gav Chester and Matt James walked onto the stage, the energy on the floor visibly shifted around – if the energy during the openers was more relaxed, this was a complete chaos. Some people started singing, some started moving around frantically, and here and there were some people, who were not scared to push through the crowd to get as close as they could to their favourites. Offering fifteen songs in total during their performance, THE RAVEN AGE’s frontman Matt James took every opportunity given to talk to the audience. From constantly expressing his gratitude to everyone present, to introducing their new guitarist Gav, to talking about some upcoming and very exciting news, there was always something to talk about in between the songs. Although their performance was buzzing and every member did their best to pour their best into it, there were few instances throughout the night that made the stage seem too small for the five-piece – particularly a few moments when Matt Cox turned around to face the drummer, only to be accidentally hit by Tommy, which they both just laughed about and Tommy kept apologising to Matt. With many songs played from their back-catalogue, it was unfortunately time to say goodbyes for the night, and while the crowd was not happy about, they had no other option than to give the band their last round of applause and cheers. The night was a statement that THE RAVEN AGE deeply care about their fanbase and want to stay in touch with them as much as they possibly can – even if they do not have any home-country appearances planned until the following year. Words: Katerina Stepanikova Photos: Artemi Falzon

There’s a moment in every band’s trajectory where playing it safe becomes the bigger risk—and for FROM ASHES TO NEW, that moment arrives in Reflections. Instead of coasting on the momentum of Blackout, the Lancaster outfit tears everything down and rebuilds with sharper intent, leaning harder into the tension that has always defined their sound: melody versus aggression, control versus collapse. From the outset, Drag Me wastes no time setting a bruising tone. It is immediate, volatile, and structured around the band’s now-signature push-pull between Matt Brandyberry’s rap-inflected delivery and Danny Case’s soaring hooks. That duality remains the backbone of the record, but here it feels more deliberate—less like a stylistic choice, more like a statement of identity. Recent single Villain stands as one of the album’s most conceptually interesting cuts. Flipping the expected narrative, it leans into moral ambiguity, told from the perspective of the chaos rather than the victim. It is sleek, dark, and uncomfortably seductive—exactly where FROM ASHES TO NEW thrives. There is a maturity in how it handles its themes, resisting cliché in favour of something more psychologically honest. Tracks like New Disease and Parasite dig into generational fatigue and identity erosion in the digital age, themes that FROM ASHES TO NEW have circled for years but sharpen here with more precision. New Disease in particular hits with a cynical edge, critiquing trend culture without sounding detached from it. It is angry, but self-aware. Elsewhere, Black Hearts and Upside Down expand the emotional range of the album. The former leans into anthemic territory without losing its bite, while the latter balances vulnerability with a controlled intensity that never tips into melodrama. There is a noticeable effort to stretch beyond formula, even when the band returns to familiar structures. (Not) Psycho injects a jolt of chaotic energy into the tracklist, embracing instability both sonically and thematically. It is one of the more unpredictable moments on the record, and it benefits from that lack of restraint. Meanwhile, Die for You and Forever explore obsession and devotion, walking the line between romanticism and self-destruction—a recurring motif that threads through much of Reflections. The back half of the album carries surprising weight. Darkside and Your Ghost feel more introspective, almost haunted in their delivery, while Falling from Heaven closes things on a note that feels less like resolution and more like acceptance. It is a subtle but important distinction—the band is not offering answers, just reflection. What makes Reflections land is not just its sonic consistency, but the decision to scrap and restart. That reset is audible. There is a sense of purpose running through all 12 tracks, a refusal to dilute their identity while still pushing outward. Matt Brandyberry’s vision of amplifying what the band does best is realised not through excess, but refinement. If Blackout was a step toward evolution, Reflections is the moment it locks into place. It does not reinvent FROM ASHES TO NEW, but it does not need to. Instead, it sharpens their edges, deepens their themes, and solidifies their position in a genre that often struggles to balance accessibility with authenticity. Score: 8/10 Reflections will be released on 17th April 2026 via Better Noise Music. Words: Mia Gailey Photos: Alex Bemis

Surging back after a non-stop period of tour support slots, DON’T PANIC have returned with an absolutely belting, nostalgia-inducing sensation in their latest album For Your Consideration. The Pennsylvanian 4-piece have woven together an album full of positive reinforcements and hope, expressed through AJ Larson’s exuberant guitar riffs, Zach Falkow’s upbeat bass lines, a drum beat from Anthony Paesano that delivers frenetic pop-punk tempos, and Ted Felicetti’s energetic and smooth vocals that carry us through the band’s journey from the uncertain and strained 00’s, to their powerful return and liberation from “trying to survive” (as proclaimed in Silent Engineer), that’s reminiscent of JIMMYEATWORLD and STATE CHAMPS. Leading up to its 17th April release via SmartPunk Records, DON’T PANIC have kept the hype on an upward trajectory by steadily dropping singles, such as Conscience, Lifetime Away, and Calls From Home. Storming out the gate though has been their lead single Honest, a blend of pop-punk and classic 90s rock with a catchy rhythm and singalong lyrics that truly embodies the spirit of this entire album and an almost cathartic sense that you can start over or start entirely at any time if you just have the drive and love for the music. Felicetti explains the inspiration For Your Consideration came from trying to balance the youthful nostalgia and momentum so many fans enjoy with the scary but inevitable getting older and working around personal lives while still doing what they love. “We tried to confront the idea of getting older in an industry that prioritizes youth, or call back nostalgia, but leave little room for what lives in between…” “…At its core, For Your Consideration is about shedding old skin: rejecting the comfort of familiarity, confronting self-made failures, and choosing growth anyway. This is not just a continuation of our story. it’s a statement of intent." This sentiment is delivered plainly and powerfully, encompassing their career to date and where they stand emotionally now within an ever-changing industry. From the first distorted guitar riffs and Conscience’s opening lyrics “I woke up in a silence” that juxtapose the entire animated album, For Your Consideration is a non-stop pop-punk party with roaring, complementary guitars and gnashing solos heard best on Save Ben Reily, frenzied attacks on the drumkit in Free and Ready to Fly, and a pulsing bass throughout that keeps time with your headbanging, slowing for the deceptive ballad-esque intro to the final track Blame It On The Rain, which swiftly hurtles back into the fast-paced, momentum that’s been flying through this album. Featuring incredibly brief interludes of quiet and reflection before slamming back into the upbeat sound that is guaranteed to have crowds jumping to new heights and dancing, there are moments to connect with the band in singalongs on the charged Honest, an anthem-like chorus on Lifetime Away, and a melody on Silent Engineer that will raise goosebumps when sung back as a collective. For Your Consideration as an album is a testament for everyone who had a dream that never quite took off or life got in the way – you can return renewed and chart your own success without needing to tick industry boxes or to meet anyone else’s expectations. It feels like a second chance while DON’T PANIC cheering you on. For a band that started almost 20 years ago and have faced challenges in keeping their passions alive, DON’T PANIC have never sounded more rejuvenated, felt more relatable, and appear ready for the next exciting steps. Consider us hooked! Score: 7/10 For Your Consideration will be released on 17th April 2026 via SmartPunk Records. Words: Julia Stark Photos: Rage PR

BUTCHER BABIES and INFECTED RAIN combined forces to bring one of the most raw co-headline tours of this year. Supported on the run by BLACK SPIKES, the night at the O2 Academy Islington could not be any better. Opening the night were the Lithuanian ethereal beings BLACK SPIKES. Their presence, coupled with very distinctive costumes. captivated the crowd almost immediately, but the real surprise was the vocalist’s use of her voice. From emotional screams, to rap, to Lithuanian traditional singing, all the different styles just felt right in the moment, especially since only one song of their set was sung in English. If that was not enough, BLACK SPIKES also brought a dancer along with them for a couple of songs, elevating their stage presence to a new high. The band experienced some technical issues right after their second song, but that did not keep them from engaging with the crowd, who had some Lithuanians amongst them. They are absolutely a band to keep an eye out on as their sound is unique, raw and captures the melancholy of their nation’s history. Up next were the first headliners of the night, the highly anticipated BUTCHER BABIES. Coming on the tour all the way from the US, the quartet, currently formed by Heidi Shepherd (vocals), Henry Flury (guitars), Ricky Bonazza (bass) and Dave Nickles (drums) was welcomed in London instantly, as the fans were more than familiar with their work. Right off the bat, the band also received a meaty moshpit right in the middle of the floor that did not stop until the last song Magnolia Blvd. was done. Not only the fans interacted with the band, but the frontwoman Heidi talked to them every chance she had, and at one point during the third song Monsters Ball even went down to the barricade to sing with the crowd. As a little treat, BUTCHER BABIES played the then unreleased song Black Dove, which was accepted by the fans with even bigger cheers than anything before. As the end approached, the fans were not ready to let the band go yet, and showed them that they are always welcomed back in the capital. The second headliner INFECTED RAIN took the reins not long after the first set finished, but with a slightly rebuilt stage. Boasting a set of screens on each side, it was only a matter of minutes before the lights went down for the last time of the night. And once they did and the screens turned on, the floor turned into a mine field full of moshers waiting to get into action. Eugen Voluta (drums), Alice Lane (bass) and Vadim “Vidick” Ojog started making their way onto the stage, and by the time the vocalist Elena “Lena Scissorhands” Cataraga finally showed up, the whole venue was cheering and joining her to co-sing Mutation Phase. Interacting with the crowd on every occasion and continuing with their songs such as DYING LIGHT, Orphan Soul and Black Gold, as well as their latest single Stranger, Lena suddenly invited Heidi Shepherd to join her for the uncompromising duet, which made the floor move even more than before. Combining INFECTED RAIN’s melodic riffs with twice as brutal vocals, it is no coincidence the song was so popular with the fans. Swinging through the likes of Ut Supra and NEVER TO RETURN, it was only a matter of time before the Moldovan quartet closed off the night with the hit Judgemental Trap, leaving a trail of nostalgia and excitement behind, as the fans just witnessed three spectacular sets, that will be hard to forget for a while. Words: Katerina Stepanikova Photos: Adam North

Brighton has a way of exporting its finest, and for one night in London, hometown heroes TIGERCUB bring their biggest show to date, pulling together a lineup that proves the south coast scene is very much alive. Supported by VENUS GRRRLS and SNAYX, the evening doubles as a love letter to grassroots music and hometown solidarity. VENUS GRRRLS open with the kind of energy that makes you forget they are the first band on, expending the pit’s energy before TIGERCUB have even come on. 3 x 3 wastes no time: sharp, angsty and immediately commanding. The five-piece journey through Divine and Ivy Tree before Bloodsick acts like the final incantation in the spell they are casting. Hex is a particular standout as Grace Stubbings’ droning synths underpin a spoken word vocal that creeps under your skin in the best possible way, gothic and deeply unsettling. Eighteen Crows brings things to a thunderous close, Hannah Barraclough's bass hitting you square in the chest while Jess Ayres' guitar solo responds to the vocal riffs with real precision. Throughout it all, vocalist Grace Kelly is an absolute force, barely still, possessed by the music, her vocals rich and genuinely enchanting. Gabby Cooke drives the whole thing forward with locked-in intensity. SNAYX are harder to pin down, and that is precisely the point. Charlie Herridge leads the charge with real conviction, the band ricocheting between the punkier energy of Boys in Blue and the more indie-leaning Go With You without ever settling long enough for you to fully clock what genre you are dealing with, with nu metal, punk, and indie thrown together and working. Gold Star, making its live debut, is a highlight: Ollie Horner's fuzzy bass and Herridge's satisfying ad-libbing locking together brilliantly. Wasted Again practically starts a mosh pit by itself, Herridge throwing himself into the middle of it with glee while Elania “Lainey” Nixon drives the whole thing from behind the kit with relentless energy. By Sink or Swim, the crowd is fully won over as they clap, dance, and chant for SNAYX from the pit. There's real authorial voice in these songs, themes of authoritarianism and daily grind delivered with enough wit that they land harder than they have any right to. And then there was TIGERCUB. Emerging from behind a curtain, the Brighton three-piece immediately signal that this is a band stepping into a moment that they want to share with all of their fans. Sleepwalker brings the first crowd surfers of the evening. Groovy and genuinely heavy, it was clearly one of the most anticipated songs of the night. I.W.G.F.U. injects a burst of pure party energy, while The Perfume of Decay proves Jamie Stephen Hall, James Allix and Jimi Wheelwright can slow the tempo without sacrificing an ounce of weight. Live debut I’m Breaking Out was raw and volatile, the instrumentation matching the emotional chaos of the lyrics perfectly. Play My Favourite Song veers into disjointed, almost math-rock territory, all the spookier for how unexpected it feels. Burning Effigies is quietly stunning: Hall's piano riff conjures something almost cinematic before collapsing into a glorious heavy breakdown. Stop Beating on My Heart (Like a Bass Drum) gets the entire venue chanting the bracketed lyrics along, which is the kind of crowd participation you can't manufacture. New track Black Moon makes its live debut, brooding and emotionally devastating, earns the biggest cheers of the night. The encore lands, the room gives everything it has left, and when TIGERCUB bow at the end, it doesn't feel performative. They're genuinely taking it in: the scale, the noise, the fact that this is the biggest show they've ever played. After a show like that, they deserved to celebrate with a few pints at the nearby pub. Words and photos: Atoosa Salamat

To stand in a festival crowd, surrounded by thousands of other fans singing every word, is to witness Mike Shinoda at his absolute peak. Not just as a performer but as a producer, songwriter, singer, rapper, artist and above all a leader. Few artists in the modern era of music have shaped the sound of this generation quite like him. The visionary that never stops evolving, the one and only Mike Shinoda. Best known as the co-founder of the band LINKIN PARK as well as the creative mind behind his other project FORT MINOR, he has also been the quiet force behind some of the most era-defining moments in music. From LINKIN PARK’s iconic debut album Hybrid Theory in the early 2000s, that not only launched the band, but also helped define nu-metal, to now decades later stepping back into the spotlight and touring again with their latest release From Zero. Here are the top ten moments that define Mike Shinoda’s legacy: 10) WRITING A GENERATIONAL ANTHEM When In the End was first released, it wasted no time introducing those iconic delicate piano notes, even now when reading this you most likely have them playing in your mind. This leads into Chester Bennington’s lyric “It starts with one thing” before Mike Shinoda rap comes in at full force, with rhythmic delivery of the lyrics and a back and forth between Chester and Mike. The song captured the band’s identity and introduced the world to Shinoda’s ability to turn his personal reflections into something universally relatable. 9) NUMB / ENCORE - LINKIN PARK AND JAY-Z 2004 saw the release of the EP album Collison Course, a mash up of songs from LINKIN PARK alongside songs from artist JAY-Z. it was Mike Shinoda who helped shape the project’s creative direction, choosing to not only mashup existing parts of both their songs but to record new parts such as vocals to match the direction these new creations were taking, totally breaking apart each track to create something original. One stand-out track from this collaboration effort was their lead single Numb / Encore, a unique blend of JAY-Z’s confident commanding verses from Encore alongside the emotional weight of LINKIN PARK’s Numb. While most mashups can feel experimental at times, when two tracks collide, this one felt seamless showing the effort everyone involved went to create it. Even going on to win a Grammy award for the band in 2006 for Best Rap/Sung Collaboration. 8) REMEMBER THE NAME - FORT MINOR Following on from Collision Course, Mike Shinoda began writing and recording songs for the start of another hip-hop inspired side project, in the form of his other band Fort Minor and the album The Rising Tied. Rather than releasing this album under his own name as maybe a solo effort, Mike made the rather deliberate choice to shift the focus onto the music itself, showing another side to who he is as a person. A standout song from this album was the track Remember the Name, becoming an instant anthem, driven by Mike’s piercing lyrics backed by an uncompromising beat. The iconic "10% luck, 20% skill" hook is a universal crowd sing-along at live concerts and a stand out moment even to this day at LINKIN PARK shows. 7) BREAKING THE HABIT AND EMOTIONAL SONGWRITING Mike Shinoda is no stranger to emotional songwriting which can be seen in many of the songs he has written for LINKIN PARK, many of which feel personal which is why I feel many fans relate to them. One of which was the song Breaking the Habit from the bands second album. The lyrics deal with themes of addiction, inner conflict as well as a self-reflection of vulnerably which can feel raw at times. What brings this song together is the orchestral nature of the music, almost haunting at times with a blend of electronic elements instead of the usual guitar riffs the band was known for. 6) REINVENTING THE SOUND WITH A THOUSAND SUNS What many fans consider to be one of LINKIN PARK’s best albums, A Thousand Suns took the band in a bold new direction instead of playing it safe with what came before. A concept album dealing with themes of nuclear war, humanity as well as technology in the modern age blending them with the sense all the fear and power that echoes throughout the album. Showing Mike Shinoda’s willingness alongside his band to take creative risks, pushing them in new directions beyond what we heard with their debut album. With songs such as Waiting for the End and their lead single The Catalyst showing what else the band was capable of. 5) THE TRIBUTE SHOW FOR CHESTER In 2017 saw the unexpected sudden loss of band member Chester Bennington, this left the band in a challenging situation they hadn’t felt before. While Mike has been raw in showing his emotions before through the band’s lyrics, this was different. At a loss of what to do next after losing someone so close, a dear friend to everyone involved in the band both in front and behind the scenes. Mike released Post Traumatic, doing what Mike does best channelling personal grief into art, not only helping himself to get those thought out into the world but to help fans grieve too. A tribute concert to celebrate the life of Chester was held 3 months later including various artists and bands who took the time to help out. Mike holding that night together emotionally and musically was huge, showing leadership under grief. 4) DROPPED FRAMES During the lockdown for COVID-19 back in 2020 saw Mike Shinoda spend his weekdays live-streaming on Twitch making music as well as visual art. A collaborative project evolved from this between Mike and his fans watching online, who gave feedback as the songs progressed, a unique insight behind the scenes of how his songs come together. Mike Shinoda released the collection of songs made during this time as three album volumes called Dropped Frames: Vol. 1, Vol. 2 and Vol. 3. The majority of these songs were instrumental. 3) THE MULTI-INSTRUMENTALIST AT LIVE SHOWS Watching LINKIN PARK live in concert is a when it all comes together, seeing the band in their element, especially when it comes to Mike Shinoda. The way he operates the stage, rapping a verse one moment on the runway, sprinting back to a synth keyboard to trigger the next transition, then strapping on his guitar for a heavy riff when it comes to the bridge of the song. Not forgetting the back and forth on vocals between him and either Chester Bennington back in the day and Emily Armstrong at shows today. He is the musical director of the stage, as well as behind the scenes of what the overall artistic look and feel is like for the shows. 2) WRITING AND PRODUCTING FOR OTHER ARTISTS While Mike Shinoda is widely known for his work with both LINKIN PARK and FORT MINOR and he has also with his keen ear for melody, collaborated with artists from a wide range of genres from hip-hop and rock, to also electronic music. Some examples include songs like Still Alive by Demi Lovato for the Scream VI soundtrack, which has a heavy modern rock sound. It’s Goin’ Down by THE X-ECUTIONERS, written and produced by both Mike Shinoda and Joe Hahn of LINKIN PARK as well as Carry Me Away by CYPRESS HILL, showcasing Mike’s ability to blend heavy guitars with classic West Coast hip-hop to name a few. 1) FROM ZERO AND STEPPING BACK INTO THE SPOTLIGHT From 2021 to 2023 saw the 20th anniversaries for both Hybrid Theory and Meteora and a bit of a resurgence for LINKIN PARK following their reissues with previously unreleased tracks. Behind the scenes Mike Shinoda was also recording new music for the band’s latest album From Zero. A reformation of LINKIN PARK became known to the fans in 2024, starting with a countdown for a livestreamed event with the band’s first live show since 2017. The show starting with their new song The Emptiness Machine saw new members Emily Armstrong on vocals and drummer Colin Brittain take to the stage for the first time. The release of From Zero and world tour that followed shows Mike Shinoda back doing what he does best. Catch Mike Shinoda with LINKIN PARK at this year's Download Festival. Words: Amy Lynch

Now back for its fourth year since returning to the scene, Takedown Festival 2026 kicked off at Portsmouth Guildhall over Easter Weekend, with a clear sense that this is a festival continuing to grow year on year. From the moment doors opened, there was a real buzz around the place, the kind you only get when people have been waiting for festival season to come back around. The Guildhall once again proved why it works so well for Takedown. The layout made moving between stages quick and easy, meaning it was possible to catch a bit of everything without feeling stuck in one place. All three stages were drawing strong crowds throughout the day, not just the main room, which gave the whole event a constant energy and showed just how well the Takedown Team did with this years lineup! Also credit has to go to the staff as well, who kept everything running smoothly and were consistently helpful across the venue. It is a festival that has built momentum over the past few years, and that growth was clear to see here. Looking back to 2023 with the mystery of a masked band (SLEEP TOKEN) closing out the weekend, there has always been a sense that Takedown likes to create moments, and this year felt no different with another mysterious and masked band set to close the weekend (PRESIDENT). Bigger crowds, packed rooms and a lineup that kept people moving all day all pointed towards a festival that is gearing up to keep growing year on year. There was also a more emotional side to the day. Following the tragic passing of Phil Campbell, the festival made the decision to rename the main stage the Phil Campbell Kerrang Stage in his honour. Following the Takedown team taking to the stage to talk about how much hard this had hit them all we had minute of applause brought the crowd together in a genuine moment of respect, while a remembrance wall gave people the chance to pay tribute in their own way. BACKLIGHT VICE Opening the festival is never an easy task, but BLACKLIGHT VICE stepped up and set the tone for the day straight away. Coming in with heavy riffs from the off, no time was wasted getting people moving and the energy into the room, even as the early crowd was still building. It was the first time seeing them for many in the crowd but to everyone they came across tight and confident, exactly what you want from an opening slot. By the end of the set, the room had properly woken up and the day was underway. A strong start and a band that will be making its way into future playlists without any doubt! KILL THE LIGHTS Moving over to the main stage openers, KILL THE LIGHTS kept the momentum going and pushed things up another level. The riffs landed hard and the vocal style stood out throughout, switching between heavier moments and cleaner sections without losing impact. It felt like a band that already knows how to work a stage like this, delivering a polished set that connected well with the crowd. There is a real sense that they are building towards bigger things, and performances like this make it easy to see them climbing higher up festival bills in the coming years. ASOMVEL Later in the day saw ASOMVEL bring a classic old school rock sound to the main stage as the second act of the day. Big riffs and just straight up rock. Their cover of Born To Raise Hell landed perfectly as a tribute for Phil and felt like a real moment in the set. Visually they looked the part as well, with a full stack of amps backing them up and adding to that traditional feel. It was a confident performance with strong stage presence. THERAPY? Stepping in after the devastating loss of Phil Campbell, THERAPY? closed out Day One with a performance that balanced respect and experience perfectly. You could tell straight away this was a band that has been doing this for years, delivering a solid and polished set from start to finish. Opening with a fantastic cover of JOY DIVISION, Isolation before later in the set the return of Rain Hits Concrete after not being played live for nearly 16 years gave the crowd a real moment. It felt like a fitting way to end the day, leaving everyone ready to go again for Day Two. MONOCHROME MONOCHROME was one of the opening bands, they opened up the METAL FOR GOOD stage and kicked it off with a bang. The female fronted 5 piece hailing from Bristol stomped onto the stage to a very full room, more than the band expected as they said themselves, it seemed everyone was ready to kick off the day with a bang. “Take down wake the fuck up!” were the first words front woman Eliza screamed as she entered the stage. Despite it only being just past 1pm the crowd were more than ready to head bang and move along, It was definitely a memorable set for the band and the crowd! LASTELLE One of the bands set in the middle of the day seemed to catch more of a crowd than expected, being at 4pm on the mainstage and almost filling out the room was LASTELLE. It was the first set in the day where the crowd singing along was noticeable and spread from front to back, even the ones that weren't seemed impressed, and so were we! The band's energy filled the room as the 5 piece from Oxford all head banged in sync and lead vocalist Adam Rigozzi threw himself around the stage, completely matching the devastation of the hardcore tracks. The band had 3 vocalists including the drummer who delivered some of the more vocally strong lines, Mike Hayden is a talent to pay attention to, his vocals being incredibly clean and powerful all while furnishing the setlist with his intense drumming. LASTELLE are definitely a band to keep your eye on if you're not already aware of their game. BEX BEX offered one of the more memorable sets of the night, facing technical difficulties and delays but the band still powered through and delivered a great performance. BEX herself brought her signature punk attitude and explosive personality to the stage. She paraded up and down the stage with confidence as the crowd gave back the same energy to her, mosh pits exploding throughout pretty much without pause once the music started. “We’re just winging this” she stated as they continued with technical difficulties despite the flawless performance from herself and the band “I will play until I’m done playing” she stated. Her brit pop inspired outfit helped her to shine as she sung her lyrics to songs like the unreleased 90’s Super Star and Slave 2 the Grind. The energy was contagious and her momentum is far from slowing down, definitely an artist in the punk scene to watch out for! THE HARA THE HARA had the pleasure of playing the headlining set on the TOTAL ROCK stage and they brought their absolute A game just for it. These boys are far from scared to show their true selves and stand out from the rest, their energy is unmatched and their fans love to bring the exact same attitude. The takedown stage was absolutely not immune to their antics with lead vocalist Josh Taylor doing whatever he wanted on and off the stage. Whether it was getting in his own wall of death, climbing on speakers or even taking a moment to grab a Guinness from the fridge at the bar there was not a moment that wasn't filled with chaos. They performed songs like Rockstar and Trophy that had the crowd singing and dancing along, the mosh pits were absolutely brutal, if you wanted to get to the bar you had to time it right or you might end up on the floor! As always THE HARA killed their set, they are a band of consistence and absolute panda-monium, if you haven’t been able to see these boys live you’re really missing out. GRAPHIC NATURE From one headliner to the next GRAPHIC NATURE played the headlining slot at the METAL FOR GOOD Stage. The band came onto the stage as the room was already sweating, packed out from wall to wall, front to back, even piling out the door. We had the chance to chat to a few of the bands that played through the day and an outstanding majority said GRAPHIC NATURE were in their top bands of the line up, and for good reason. Frontman Harvey Freeman is an absolute beast on stage, bringing such a signature unique sound to their detrimental tracks. The onslaught was immense with push pits, circle pits and everything in between as well as HARVEY himself ending off the set by riling up the pit himself. Tracks like 404, Something I’m Not, Killing Floor and Human each one of them starting with a loud cheer from the fans in the crowd. These are another band that bring such a distinctive energy to their sets, if you haven’t seen these guys before, they should definitely be on your bucket list. PRESIDENT Of course the headliner of the main stage was left to PRESIDENT, a lot of people looking at the line up might have questioned their name being so high on the bill however, the fans absolutely proved that booking them wasn’t a risk at all. From before the event started you could spot their merch all over the venue, while other fans opted to stay at the barricade the entire day just to see PRESIDENT up close. Opening with Fearless the fans treated it like a religious experience, throwing their arms in the air and shouting the lyrics as loud as they could. The band themselves had an impressive stage set up with their logo in neon lights giant and looming over them on stage and of course their trade mark podium that the frontman stood at during certain parts of songs and interlude tracks. They also took a moment in their set to cover Change by DEFTONES which was very well received by fans and non-fans alike, bringing a different sound to the song with the frontman's unique vocals. They ended their set with their debut single In the Name of the Father, one last time the crowd all sang in unison but this one was definitely the loudest of the set, ending out the phenomenal two day festival on the highest of highs. Words: Amy Smyth and Joshua Cunningham Photos: Joshua Cunningham