The stages were set, the amps were turned up, and the crowd were literally doing lunge stretches in preparation for 3-days of two-stepping and moshing. Manchester Punk Festival has made its deafening return for its glorious 10th anniversary; 3 days, 8 venues, a jaw-dropping 150+ acts, and the city is full of punk/rock-adjacent fans to support the musicians leading the charge on the anti-establishment scene. In the current climate of fascism, anti-LGBTQ+, racism, and misogyny, it’s never been more important to stand up and say “no more”. Out of Rage are incredibly proud to be working with MPF and to support the sheer number of punk bands who spent the weekend calling out those who try to breed hate amongst the public. The anger and frustration was palpable everywhere, but the love and gratitude was felt more by all the acts, honoured to see the swaying crowds chanting back “fuck you fascist scum”. So let’s give back the love to some of our top picks of MPF. BE N!CE We truly were blessed on the holiest of punk weekends, with BE N!CE’s vocalist and bassist gliding through the crowd dressed as Jesus and a nun to heavenly choral music, before joining two easter bunnies (a.k.a. the guitarist and drummer) on stage. The illusion is shattered as BE N!CE launch into punk-rock tracks that are heavy on the crispy snare and cymbals, riffs with distortion so high it delightfully pierces your brain, and the bass lines are running almost as fast as a two-stepping bassist nun. Vocalist Pol Mills delivers guttural screams while owning the stage. This weekend belonged to BE N!CE, hallelujah! GAFFA TAPE SANDY “We’re from Brighton, but we fuck with this town.” GAFFA TAPE SANDY need no other introduction as they bring a genre weaving punk-rock sound, their dual vocals and strings blending into a raw harmony, while the drummer worked overtime on their kit. With the kick drum amping up the crowd and their memorable lyrics, it’s no surprise the crowd had the floor shaking with their danceable indie-punk rhythm. GAFFA TAPE SANDY bring the energy of a band destined for bigger stages to fit their incredible energy and connection to the crowd. PENGSHUI Immediately ripping into their punk/nu-metal instrumentals whilst taunting the tired but wired crowd with “wakey wakey”, PENGSHUI are here to wake us the fuck up. Their sound isn’t over the top, their key changes and volumes enhancing the punk aspect of it, while vocalist Illaman spits out rapid-fire bars and heavy screams, over Fatty’s bone-shaking bass and John Boy’s blistering drum beats. Illaman admits he’s not at his usual energy due to a broken foot, but the crowd more than make up for it jolting from moshing to dancing to two-stepping in quick succession. From someone actually taking off their shoes for Shoes Off, DEADWAX’s vocalist Jake hurling himself into a riotous crowdsurf, and a sprawling circle pit for Nobody Cares, the crowd directed by Illaman’s “round and round we go”, PENGSHUI smashed out the first night of MPF and kept the energy to a feverish pitch. BUREAU DE CHANGE Starting easy with a general rock vibe, BUREAU DE CHANGE quickly change pace to blazing punk, blowing out the hangover cobwebs and kicking off MPF’s Saturday lineup with raging style. Vocalist Flora maintains eye contact and gestures wildly while delivering husky, emotional vocals, holding command over the building crowd. The bass and guitar could rival KORN with their pitch and intensity, while the drummer locks in and attacks his kit, the guitarists building screams together on fan favourite Dumb Men, before Flora takes the reins to bellow “why don’t you just get fucked?” BUREAU DE CHANGE is here to deliver a message about the small things that actually suck and the hardships of society that can get in the bin. CURRLS The soundcheck alone tells us we’re in for a wild ride with Brighton-based CURRLS, with an impressively prolonged “Manchesteeeer!” war cry as their introduction, before the 3-piece band slam into distorted but cohesive riffs, with a shattering drumbeat. Reminiscent of 80/90s punk bands, there are steady beats throughout the set without going overboard, clean punk singing and floating harmonies, and the dual guitarists/vocalists are clearly having the time of their lives dancing to their own music and playing back to back. CURRLS performs like they own the stage and know they’re on the upward trajectory, with high energy and rhythms that slow to a dangerous pace before building in rage and volume. THE MENSTRUAL CRAMPS THE MENSTRUAL CRAMPS aren’t just here for their passion and your entertainment, they’re here to get the message out that you can’t just be punk for one weekend – you’d better live that shit, stay informed, and fight back against oppression and occupation. Holding the crowd in full engagement, THE MENSTRUAL CRAMPS lead the charge with visceral, electrified screams, the band leaping around each other on stage decked out in vibrant red accessories, their battle cries inciting mosh pits as wide as the stage itself. Vocalist Emilia introduces the bandmates and demands a warm welcome or “you’ll have me to deal with”, including celebrating their new guitarist’s first festival appearance at MPF. Pacing around the stage like they’re on the hunt, THE MENSTRUAL CRAMPS delivered their thunderous, demanding sound and assertions of what makes you a political cunt to a rapt audience. Their sound is what it feels like to get your first nose bleed in a mosh pit and carry on – a fucking badge of honour. SLASH FICTION Starting out slow with trio vocal harmonies and an emotive punk melody, SLASH FICTION quickly ramped up the pace into a rapid and heated pace reminiscent of early 2000’s punk bands – there was no gentle easing into the final day of MPF. Well synchronised as a band with a fresh, poignant sound, every member got their moment to shine. With a sickening bass solo, prevalent guitar riffs and licks, soft vocals complemented by the heavy strings and fast-paced drums, SLASH FICTION have an emo-punk quality we’ve not seen in a while. Bouts of indie and funk inspirations pepper through the tracks as they perform heartbreaking yet hopeful lyrics. They have the makings of being an anthem band in the near future. LYNSKEY Feeling deceptively understated as a two-piece band, LYNSKEY soon demonstrated why they belong in the big leagues, with a raw, stripped-back presence and charged instrumentals. With beats that changed intermittently through several of their songs, it’s jarring in a satisfactory way, leaving you never quite prepared for what LYNSKEY will bring, but knowing it’ll be genre-blending fun and two-step inducing chaos. Funky bird noises offer a brief moment of calm before the drummer slams into the cymbals and snares and breaks the serenity, while the singer/guitarist weaves between pop-punk notes and falsetto highs. Rough and vulnerable, LYNSKEY are a band that already know their potential and they’re just beginning. MERYL STREEK In the dark, a frenzy of news reporters voices ring out speaking of adversities for the Irish, the government’s disregard for them, and the emotional weight the people carry to hear of this, before descending into a primal scream. MERYL STREEK refuses to shy away from political and societal callouts, especially where it concerns his home country, and delivered a one-man-band, spoken word punk take, with a venue-shuddering bass and curated techno beats and sound effects. Calls for the crowd to “get the fuck up” are met with surging mosh pits and people being bodily lifted into the air, diving into the mosh pit himself and being lost in a wall of punks who refuse to be disillusioned. Stalking back and forth the stage like a predator on the hunt, MERYL STREEK has a bold harshness to his lyrics and scathing observations of the political landscape, overlaying a heated, furious rhythm. AERIAL SALAD If you thought things would start to wind down for the finale of MPF you’d be sorely mistaken, as AERIAL SALAD barrel in with off the charts energy and launch themselves across the stage, screaming off mic before the first song’s even started. With wide smiles and appreciative headbanging at the crowd, AERIAL SALAD showed their talent and vivacity with grunge-punk rhythms and melting guitar solos. The bass is already audible, but clearly they’re intent on the crowd feeling it in their bones as they ask for it to be turned up to intense levels. Drummer Mike Marshall alters from “calmer” beats to frantic rolls and crashing cymbals, while the guitarist and bassist salute their instruments to the sky and shred at their strings. Co-vocalist and guitarist Jamie Munro proclaims “if you’re not here to have a dance, I’m not arsed”, whipping up a defiant mosh pit in response. Not content to conquer the stage alone, bassist Mike Wimbleton hurls himself (dare we say he went “aerial”?) onto the crowd and continues plucking the bass line while they surf him about. The vibe and energy are consistent throughout their set but the songs feel individual and electric from each other, perfectly closing out another hugely successful, absolutely raucous, hard-hitting Manchester Punk Festival. Words: Julia Stark Photos: Ace Cheng

Coming down to London all the way from Scotland, MASON HILL brought their energetic set, supported by the rising stars DEFENCES. Opening the night were the Hertfordshire five-piece DEFENCES, who returned to The Underworld for the first time since 2019. Although the floor was still filling up when they took over, the energy Cherry Duesbury (vocals), William Alex Young (screams/keys), Calum Wilmot (guitar), Owen Hughes-Holland (bass) and Kyle Park (drums) brought was high and most fans did not wait for even a second to start moving. Playing some of their most favourite songs, as well as two new songs from the upcoming album Shadowline, the band kept their short set interesting, with the frontwoman Cherry hyping up the crowd to move between each song. She also did not forget to address the current situation in the world before one of their songs, gaining a big round of applause. Closing with their most popular song Gravity, DEFENCES proved that metalcore is not dead and if there is a band on the rise, it is definitely them. When the lights dimmed for the second time, the venue – now completely full, burst into huge cheers, welcoming the Scottish five-piece MASON HILL in the capital. The band has become a very prominent figure of the British rock scene since their formation in 2015, and earned a reputation amongst the fans of bigger rock acts. As the members Thomas Ward (vocals), James Bird (lead guitar), Marc Montgomery (guitar), Matthew Ward (bass) and Craig McFetridge (drums) made their way onto the iconic stage, it was more than obvious the night is going to be a special one, with every single fan knowing all songs word by word since the very beginning. Being known not only for their emotional lyrics, but for their captivating guitar solos as well, MASON HILL did not stop surprising not only with the amount of talent poured into their work, but with their sincerity as well, as Ward talked to the crowd every chance he had, expressing the band’s genuine gratitude to be able to play at such a well-known venue that is The Underworld. Reminding the crowd that a new album is on the way, the five-piece did not forget to include the new singles Remember and Twisted on their fifteen-song long setlist, but also please the fans with their favourites such as D.N.A., Hold On and Where I Belong, that earned an instrumental version on the set, as well as a well received cover of MUSE’s hit Hysteria. Closing the night with Broken Son and Against The Wall, MASON HILL once again showed London how to do a proper rock show, and everyone present agreed. Words: Katerina Stepanikova Photos: Cate Neves

In the dusky evening haze of Manchester venue Ambers, the warm glow of its wide-set-entrance invites onlookers down three flights of stairs to its dark basement. It's a perfect night for a trip to your favourite local haunt, and for gloom punks WITCH FEVER, and this final set in the UK is nothing short of a homecoming. Off the back of the macabre-inspired record Fever Eaten - and a coveted spot as the Out Of Rage Halloween cover - they embark on their European tour with a roster of ghastly revolving supports. Tonight, they are joined (in body and spirit) by Glasgow mob COWBOY HUNTERS and melanated rap-pop outfit THIRD KULTURE. Even as a local support, THIRD KULTURE commanded the stage. Opening a sizeable pit before throwing down an unmistakable rocky riff to SAM SMITH's Unholy, the three-piece band, consisting of dual vocalists Nameka and Lashimba with guitarist Lawal, blended rap and sultry R'n'B vocals, backed by a ferocious overdriven riffs. Despite moments where all components of their sound seemed to melt together into one, maybe more on the venue than the band, there is real promise. With time and more patience, this is an artist to watch. Definitely. Glaswegian duo COWBOY HUNTERS, sauntering on to the stage with Buckfast in hand, are the comic relief of the evening. They're arguably not WITCH FEVER, even though they claim to be, but the crowd was completely invested in their bullish charm and on-the-nose charm about vaginas, going to the club and trying to find a lass called Gemma. Reaching their peak with an inspired cover of Saltburn classic Perfect (Exceeder) they sauntered off into the night with a club remix of all the best year seven disco hits, until they were cut off by the venue during Pink Pony Club. The definition of going big, then going home. “There’s a German film crew making a documentary about us because we are broke.” WITCH FEVER’s Amy Walpole explains to the crowd, cracking a smile. By now, you’d expect the band’s frank conversation about the realities of touring to die down, but the issue is systemic and affects a large proportion of the local music industry. There’s an unusual tension in the air tonight, not just from the large camera bobbing around the pit but also swathes of the black-clad WITCH FEVER community packing the room out, including the band’s family and friends. Feeling like a much-needed moment of solidarity, any nerves are squashed as the band begins to roll through their new record, Fever Eaten. Opener Dead To Me! is explosive, throwing heavy-handed riffs around as drummer Annabell tempos the electric crowd to make the pit spin faster and faster. In Northstar and The Garden, the pit becomes more abrasive and wild, as Amber becomes the cooldown before a damaging roster of tracks from their early discography. In this pause, there’s a moment to grasp the full complexity of their music, infinitely cool and even more dynamic live than on record. In the unholy trinity of Blessed Be Thy, Congregation and Reincarnate, we are introduced to a fuller, more bombastic sound reminiscent of their early years. Crowd pleasers by nature, they bring out the band’s aggressive stage presence. Fiery rock-infused needledroppers, this is the pit at its most intense, before the gazey trance of safe pulls the energy back to a satiated lull. Doomy riffs reverberate off the cavernous walls, in a full-expose of the band’s awe-striking sound. Plucking those infamous BLACK SABBATH chords, the tenacity that bassist Alex and guitarist Alicia commands in the moment is deliciously fierce. Reprise is the damaging pinnacle of the set punchy in it’s stormy overtones and all-consuming chorus. In a moment of surprise, they finished on a DEFTONES cover of My Own Summer, bringing a night to a close, and the crowd off into the dark March evening. From the moment we entered the venue, the band made their statement loud, plastering the back wall with a striking banner that read “WITCH FUCKING FEVER” We do fuck around with WITCH FEVER. In fact, everything they stand for, and their dominating vice grip on the ever-changing British music landscape. Words: Amber Brooks Photos: Zack Blacey

In the damp cellar of Camden’s Underworld venue, we spoke to the multi-media artist, poet and activist Gregg Deal, now also delivering his sharp, poignant and witty lyrics as the founder and frontman of political punk band, DEAD PIONEERS. The band's first stirrings began when Deal suggested to friends he wanted to try out a musical element to accompany his eye-opening and soul searching performance piece, ‘The Punk Pan-Indian Romantic Comedy’. With the “idea of using punk riffs and spoken word”, they set up a “shitty drum set and mics” and amazingly, in less than two hours, they had put together “the first iteration of Bad Indian”. Within weeks of its independent release, it became a viral sensation, quickly gaining over half a million streams. Where Bad Indian’s sound is raw and immediate, the latest release, PO$T AMERICAN, is a more intentionally explosive record. Deal emphatically adding that their upcoming third album, “will be even more so!”. As an artist, Deal embraces DEAD PIONEERS as another medium with which to experiment, saying, “It's not uncommon for visual artists to have a band…It's all art, it all kind of funnels into the same place.” Claiming consistency is key, “the voice you hear on stage with DEAD PIONEERS, is the same person you heard at a protest in 2013, is the same voice that you'll hear in my visual artwork.” The band are unflinchingly direct about their politics and Deal’s creative outlets are all ingrained with his activism, particularly with regards to the rights of the “traditional inhabitants”, of what is now known as the ‘United States of America’, himself from the Pyramid Lake Paiute Tribe. He explains: “We are not a racial group, but instead a political one that's been codified in the so-called founding documents of our nation. That means that anything I say or anything I do is just inherently political. Whether I know that, whether I own that, whether I wield that really ends up being the only question.  The political edge is just gonna inherently be there no matter what. I can't not be political.” The subject immediately lights a fire in the conversation. How this historic discrimination and ignorance manifests still today in current US administration, Deal explains in more detail, “...somebody who is class poor and needs food assistance, those resources should be there. Now Trump has eliminated all of those things and has pulled them back to almost nothing, if they're not gone altogether. But indigenous people in the United States have a federal trust obligation or relationship to the federal government and are not receiving social services. Instead they are receiving services based, on dues owed, for land purchased or stolen. These resources are supposed to be there under a federal trust obligation that was designated by the Supreme Court or by federal treaties that are protected under Article six, Section two of the Constitution of the United States. Those are not social programs, those are completely different.” A reminder of how conveniently short American and European memories are, as they venerate the rights of certain groups to live on historic lands, whilst evicting others with lethal force. The lyrics to their track, Tired, reiterates this brutal reality, ‘The foundation of this country is rooted in slavery and genocide born in the bosom of colonialism / America places the original inhabitants as foreigners in their own lands / Don’t be scared of learning the whole historical story, it's not going to hurt you.’ After reading the autobiography of MALCOLM X in high school, Deal recalls how his world view changed. Talking about his work several decades on, “it is all pretty much cultural, or social, or political, or all three, because that's just where my heart's always been.” Songs like Working Class Warfare, explicitly speak about an anti-capitalist struggle. Delving further, Deal explains, “...there's different versions of capitalism and the United States is in the worst version right now.” Asking what he thought of struggles like, indigenous rights and anti-racism, without an anti-capitalist angle, he responded that, “there's a line in one of my songs that capitalism can only exist if there's a poor class” adding thoughtfully, “...capitalism has to be upheld by the tenants of racism and white supremacy, because it is rooted in the concept of rich white land owners, who are settling a space and oppressing anything and everyone in that space.” Part of Deal’s talent and the originality of DEAD PIONEERS, is platforming a counter narrative to Eurocentric perspectives of the genocidal history of ‘America’. When asked about his opinions on the efficacy of certain politicised words, he points out that, “indigenous is a blanket statement. The Mohawk people from northeast New York and my people who are from Nevada, are not the same people. We don't speak the same language, we don't look the same, we don't have the same traditions.” Shockingly, “40% of Americans believe that native people are extinct”. An outrageous belief in 2026, until we consider our own whitewashed historical textbooks and penchant for Hollywood Westerns. Quickly you start to see how such a perverse ignorance has flourished. “We've moved from being an Indian to an indigenous person or even a Native American. These are fine for general terms, but they are all incorrect technically, because they are lumping an entire continent of people together as one race. And that's just simply not the case.” Whether this re-education of the masses should be his cross to bear, is another matter. He emphatically states, “I don't speak for native people, I just don't, I speak for myself recognising that there's a shared experience there.” This includes a rich history of resistance, both shared and individual, from AIM (American Indian Movement), to individuals like LEONARD PELTIER, and more recently the Dakota Access Pipe Line (DAPL) protests. With a seemingly natural flow that turns his poetry into lyrics, he explains more about his process, “I'm just trying to find a beat and a cadence, and then rewriting so it fits.” Describing a six degrees of separation roadmap, in all he does, Deal quotes, “even the artwork on the records are connected.” Designed by Cheyenne Randall, a Lakota artist that Deal was in an art crew with, the album cover for Bad Indian is a surreal contrast of ultra-cuteness in the form of his seventh grade portrait, covered in elaborate face tattoos. “It's just so absurd. And I just kind of wanted that.” Using his paintings and elements from older work on subsequent albums, he notes sagely, “I'm just allowing everything in my career to be available for that space. We can go backwards. We can create something new, so we can then go forward. And you know, for native people we would tell you that the past and the present, and the future, all exist in the same space. So there is nothing old and nothing new. It's just stuff that just is.” Words: Alana Madden Photos and Artwork: Dead Pioneers and Cheyenne Randall With thanks to: Division PR and Dead Pioneers

There’s something quietly devastating about an album that understands exactly how it feels to sit with your own thoughts after midnight. And Then Suddenly It Hits You, the debut album from Newcastle-upon-Tyne emo-punk trio TIRED OF FIGHTING, captures that feeling with striking clarity, building a record that is as emotionally raw as it is sonically expansive. At its core, this is an album rooted in grief, deteriorating mental health, and the slow, often uncomfortable process of self-reflection. But rather than becoming weighed down by its subject matter, the record transforms those feelings into something cathartic. It feels less like a collection of songs and more like a conversation with the parts of yourself you usually try to ignore, the late-night spirals, the memories that resurface without warning, the quiet hope that maybe things will eventually begin to feel lighter. Sonically, the album moves beautifully between intimacy and scale. Clean, stripped-back guitar passages give way to walls of distortion, while delicate vocal harmonies bloom into full, emotionally charged choruses. There’s a constant sense of movement throughout the record: guitars climb steadily, percussion drives with purpose, and arrangements swell in a way that mirrors the emotional weight of the writing. It’s a sound that feels both nostalgic and immediate, pulling from early-2000s emo and pop-punk without ever feeling derivative. That balance between raw vulnerability and anthemic release is where the album truly excels. The record understands when to let moments breathe. Rather than rushing to the next chorus, songs often linger in quieter spaces, allowing emotion to settle before building again. Those pauses make the louder moments hit even harder, creating a listening experience that feels immersive and deeply human. One of the clearest examples of this is Chocoloate, a standout track that perfectly showcases the band’s control over dynamics. The interplay between the vocals and instrumentation creates a call-and-response effect, giving the song a real sense of tension and release. Its more stripped-back middle section, built on clean guitar and layered harmonies, feels almost ethereal before the full band returns with renewed force. It’s a moment that captures the album’s wider emotional landscape of vulnerability, reflection, and catharsis all colliding in one song. Another highlight comes in Just For Me, which distils the record’s emotional core into one beautifully constructed track. Beginning in a raw, almost intimate space, it gradually opens into something much larger, with lush harmonies and a melody that feels impossible not to move with. It’s deeply emotional without ever feeling melodramatic, and that sincerity is what makes it land so effectively. Across the album, TIRED OF FIGHTING creates an atmosphere that feels both heavy and hopeful. Even in its darkest moments, there’s an underlying sense of resilience woven through the music. The lyrics may sit with grief and emotional exhaustion, but the sound never allows the record to become hopeless. Instead, there’s a quiet reassurance in the way these songs unfold, an understanding that pain is being acknowledged, but not allowed to define the ending. That sense of hope is perhaps the album’s greatest strength. It doesn’t offer easy answers, nor does it pretend that healing is simple. Instead, it offers solidarity. It reminds the listener that these feelings are shared, that someone else has lived inside the same spirals and found a way to give them shape. In doing so, it becomes the kind of album that makes you feel seen. What makes And Then Suddenly It Hits You such a compelling debut is the way it turns deeply personal emotion into something communal. Many of these tracks feel destined for live spaces, not just because of their sonic scale, but because of the emotional connection they invite. These are songs built to be sung back by a room full of people who recognise themselves in the words. It’s powerful, ethereal, and emotionally resonant, balancing the raw honesty of emo with the sweeping, almost cinematic qualities of modern alternative rock. More than anything, it leaves you with the feeling that things can, and will, get better. For a debut album, it’s an incredibly assured statement, one that positions TIRED OF FIGHTING as a band capable of turning vulnerability into something both beautiful and anthemic. Rating: 8/10 And Then Suddenly It Hits You will be released on 17th April 2026 via Punkerton Records. Words: Con Macadam Photos: Tired of Fighting

For a band that has spent the last few years grinding away in the UK underground, CATALYSIS sound remarkably unconcerned with subtlety on Serpentine. The Dundee metal outfit’s latest EP is direct, furious, and completely unrelenting, but what makes it stand out is how carefully that intensity is controlled. Across just five tracks, CATALYSIS delivers something that feels sharp and focused rather than bloated: a compact release that wastes no time saying exactly what it wants to say. Given the upheaval the band experienced in 2024, following the departure of three long-term members, there would have been every reason for Serpentine to still have an air of uncertainty or transience to it. Instead, it sounds like the work of a band that has firmly rediscovered its confidence. The EP opens with Tremors, which launches straight into a wall of relentless instrumentals and vocals that refuse to let up. It’s an assertive start, throwing listeners straight into a track that thrives on sheer momentum, where everything feels tightly wound and urgent. Futile follows with equal ferocity, but its defining feature is drummer Calum Rennie’s performance. The percussion drives the track forward with a fierce urgency, building on that sense of momentum from the previous track. The sharp instrumental breakdown in the second half of the track opens everything up, allowing the guitars and rhythm section to really stretch out and make the impact land harder. It’s one of the EP’s most memorable moments, demonstrating how CATALYSIS use structure and pacing to elevate their brutality, rather than simply piling it on. Title track Serpentine leans heavily into a riff-driven onslaught, and does so to excellent effect. The guitars really dominate the sonic landscape, delivering a barrage of weighty, tightly controlled riffs that anchor the track’s sinister tone. Lyrically, the imagery is particularly striking. Lines like “snake, smother, shed your skin, become another” conjure up a vivid and unsettling portrait of manipulation and transformation, reinforcing the song’s exploration of coercive betrayal. It’s a centrepiece that feels incredibly significant, both musically and thematically. Damocles, the longest track on the EP at just over five minutes, expands the scope even further. Rather than simply pushing the tempo, it builds atmosphere, pulling the listener deeper into its dark, tragic energy. There’s a sense of scale here that makes the track feel almost cinematic. The band’s ability to sustain such intensity across a longer runtime without losing focus speaks volumes about their control as songwriters, and makes this track a particular standout of this EP. Closing track Deathblow wastes no time in bringing the EP to its final, furious conclusion. Launching immediately from the aftermath of Damocles, it feels like a direct continuation of the energy that precedes it. Musically, it’s fast and aggressive, but its lyrical focus gives it additional weight. Turning its focus toward figures who abuse positions of trust for their own benefit, the track channels a raw rage that feels particularly resonant given the bleak tone of much of the modern world. It’s a ruthless way to end the record. With this level of sustained brutality, it would be easy for the tracks to blur together into something indistinct. What stops that from happening is the constant shift in vocal delivery from Andrew Downie. His screams are vicious enough on their own, but when they give way to half-spoken, half-sung lines, the delivery sounds almost tinged with malice, creating genuinely memorable moments without sacrificing any of the aggression. Taken as a whole, Serpentine is a compact yet incredibly impactful release. The EP never overstays its welcome, and works equally well as both a statement for existing fans and an entry point for new listeners. It’s undeniably heavy and at times brutally intense, but it never becomes so overwhelming that it risks alienating those discovering the band for the first time. If anything, it highlights why CATALYSIS have been steadily building momentum, and suggests that their days as one of the UK metal scene’s best-kept secrets may not last much longer. Score: 9/10 Serpentine will be released on 17th April 2026 via self-release. Words: Zuzanna Pazola Photos: Catalysis

There’s a line somewhere between oversharing and honesty, and GOD FORBIDS A GIRL SPITS OUT HER FEELINGS! LØLØ doesn’t just cross it—she basically lives there. And that’s exactly why this album works. From the jump, it feels like you’re being let into thoughts that probably should’ve stayed in the notes app. Not in a messy-for-the-sake-of-it way, but in that painfully self-aware, “I know this is a bad idea but I’m doing it anyway” kind of way. It’s chaotic, a little dramatic, sometimes self-deprecating to a fault, but it’s real. Sonically, it sits in that sweet spot between pop-rock and early 2000s alt influence, with flashes of that ‘90s guitar driven sound she’s clearly obsessed with. You can hear those inspirations, but it never feels like cosplay. It’s more like she’s taken that sound and filtered it through a very online, very emotionally self-aware Gen-Z lens. Tracks like The dumbest girl in the world hit especially hard, mostly because of how blunt they are. There’s no metaphor to hide behind, just the uncomfortable truth of going back to someone you already know is going to hurt you. It’s the kind of song that feels a bit too specific until you realise… yeah, everyone’s been there at some point. That same energy carries into me with no shirt on which somehow manages to feel both vulnerable and awkward in a way that’s weirdly endearing. LØLØ has a knack for writing lines that feel like intrusive thoughts you didn’t mean to say out loud, and that track leans all the way into it. Then there’s the punisher, which feels like a turning point in the record. It starts stripped back, almost hesitant, before building into something more intense. Lyrically, it taps into that spiral of checking up on someone you shouldn’t. knowing it’s going to ruin your mood but doing it anyway. It’s not a glamorous kind of heartbreak, and that’s what makes it land. On the other side of things, 007 brings in a bit of attitude. It’s sharper, more controlled, and plays with the idea of knowing someone’s bad news but choosing to engage anyway, just on your own terms this time. There’s a confidence to it that cuts through some of the album’s more self-critical moments, even if it still carries that underlying cynicism. What keeps the album from getting too heavy is how self-aware it is. Songs like the devil wears converse and american zombie inject just enough energy and bite to balance things out. There’s still emotion there, but it’s delivered with a bit more punch, a bit more edge. Closing track lobotomy & u is where everything kind of settles. It’s quieter, more reflective, and probably the most uncomfortable listen on the album—not because it’s bad, but because of how honest it is about wanting to go back to something you know wasn’t good for you. That idea of wishing you could just forget the damage and start again hits harder than any big dramatic breakup anthem. What really stands out across the whole record is how specific everything feels. LØLØ isn’t trying to write vague, universally relatable lyrics. She's writing her exact experiences, in detail. The irony is that it makes the songs more relatable, not less. Whether it’s stalking an ex, overthinking a conversation, or convincing yourself someone might change, it all feels very lived-in. Vocally, she keeps things pretty grounded. There’s no over-the-top theatrics, just enough grit and softness to match whatever the song needs. It fits the tone of the album perfectly. Nothing feels overproduced or overly polished in a way that strips the emotion out. If her debut introduced her as someone to keep an eye on, this feels like her properly settling into who she is as an artist. She’s not trying to be mysterious or detached—if anything, she’s doing the opposite. Every thought, every bad decision, every slightly embarrassing feeling is right there in the open. And honestly, that’s what makes GOD FORBIDS A GIRL SPITS OUT HER FEELINGS! stick. It doesn’t try to make heartbreak look pretty or profound. It just shows it as it is: repetitive, confusing, sometimes a bit pathetic, but still very human. It’s not about having it all figured out. It’s about admitting you don’t. And in this case, that’s more than enough. Score: 10/10 god forbid a girl spits out her feelings! will be released on 17th April 2026 via Fearless Records. Words: Jack Norris Photos: Fearless Records

A band that is rooted in various genres ranging from R&B to **checks notes** Crabcore, might sound strange in theory, but in actuality BILMURI have just released a belter of an album on this lovely Friday morning. The thirteen track album blurs lines between Metal and Country and somehow makes it seamless. The band have created such a unique sound for themselves and this album consolidates just that. BILMURI are seen as a band full of unseriousness but behind the charade of frivolous song titles and explicit jokes their musical talent is something to behold. Being in the industry so long John Franck has evolved exponentially, being the power behind BILMURI. Their songs lyrically are open and vulnerable, speaking of heartbreak and explaining emotions in brilliant analogies. Of course the most important thing about the music is the music itself. The album opens with the title track KINDA HARD, a minute and a half long instrumental. It's a metal and hardcore onslaught, reminiscent of tracks by artists like KNOCKED LOOSE. The instrumental perfectly transitions into the first full track TWICE. This track was released before the album along with the announcement of the album itself and received well widely as it set a new era for the band. WORST PART OF YOU is the first of the new tracks on the album. Being the second full song on the album it sets the tone for the whole album. The bouncing beat carries you through the song as the guitars build through the pre-chorus before the catchy chorus sweeps you up with an addictive hook and guitar riff. It also features a signature “woo” that you hear through a lot of their more recent tracks, this somewhat becomes a highlight when performing it live as the crowd shout in unison. The breakdown on this one is heavy with distorted guitars and quick slick drum fills that hit every beat satisfyingly. ROCK BOTTOM is the next track; the band constantly talk about the importance of being loud about mental health and this track absolutely brings about that attitude, being very loud and open about what ultimately is common and should be discussed. John Franck's voice itself is what really brings a country tone to their music, being from Ohio in the US, he keeps that real American tone that you see a lot of other artists try to shift to something else. The country timbre is accented with acoustic guitars and other almost choir-like vocals - and an eagle scream here and there - but they never overshadow the metal roots which is what makes it so masterful. The following tracks MORE THAN HATE and HARD2TELL are also both pre-releases that were performed at many recent shows including during their opening slot on BAD OMENS most recent tour. The first of which sometimes featured lead vocalist Noah Sebastian of BAD OMENS to walk out onto the stage, scream one word and then leave - hilariously, also pointing to prior speculation that he could be featured on the track as the two frontmen are long time friends. The two tracks are some of the heavier on the album both bringing something unique to the table but hitting with the same punch, really fitting to be featured side by side in the final line up. The next track WHERE TO FIND ME features NOVELISTS, a French metalcore band from Paris. Another thing that BILMURI do great is their collaborations, having other bands join their unique sound and fit in perfectly isn't an easy thing to do but they smash it every time. The track has an impressive guitar solo towards the second half of the track before a crashing breakdown with a hardcore beat where you can picture the jumping crowd. ST4RF1SH SPR34DR is a thirty second instrumental yet it's possibly the heaviest breakdown in the album, the distortion melts through your ears and the bass blasts straight to your brain and as soon as it's started the track is over. A very fun thing to feature in the middle of an album but it doesn't feel out of place at all, just a quick punch before the next track kicks in. SHYT FYST starts a bit slower with echoing guitars, the drums build around the vocals before the chorus picks up the pace. A perfect two stepping beat with an explosive bass line, switching beats multiple times through the chorus and its lyrics are bound to get stuck in your ears. The soundscape the band creates is almost nostalgic with this underlying hopeful tone despite its almost depressing lyrics when you really take a look “nothing left to give you so take a good hard look at me for the last time”. The next track was another pre-release and complete surprise collab with A DAY TO REMEMBER. ALWAYS LET YOU DOWN features the two lead vocalists going back and forth and singing together, both of them bringing a distinctive tone to the track. This track is possibly the most pop punk influenced of the album, a really jumpy hyped up rhythm with a classic electric guitar riff and hard hitting pauses in the beat. It's worth noting this track also features the writing credits of the BAD OMENS front man, an image posted on socials last year created the first mutters of this collaboration that finally came to fruition. BACK, THEN enters as we get to the last few tracks of the album, all being brand new with this release. This track is more guitar heavy with different layers of acoustic and electric all weaved together. Since the start, BILMURI have spanned a wide range of genres before finding what we would call their own flavour, this track is a great example of what that is sonically. The second to last track HONEST kicks off right away with the ever so famous saxophone. Gabi Rose playing a permanent part in this band, has offered her talents to many other bands and of course she's great every time but BILMURI is where her talents are the perfect missing puzzle piece. Her saxophone solos have become a huge part of the BILMURI sound and her vocals layer flawlessly with John Franck's; it's like the two were made to make music together. WAVES is the last track on the album and the most vulnerable, there's a few tracks like this through the band's discography. It’s mellow and raw, centred around a feeling of grief and it's honestly an extremely comforting track. John Franck’s vocal abilities are really highlighted in this one with Gabi Rose’s harmonies dancing along with his. But it still saves time for a breakdown with shredding guitars and a tearing beat, keeping the same emotional tone before once again mellowing out to just an acoustic guitar and one last “heartbreak hits in waves” from John Franck. This album solidifies the BILMURI sound and portrays what the band can really do, its so distinctly them, its relatable, its catchy and its bringing them to popularity. With this album the band have announced a huge world tour - which has multiple UK stops - and feels to be the start of something great for this band. Having supported many bands and huge names in the scene right now they’ve had the chance to play some huge shows, now we want to see them headlining. Score: 10/10 KINDA HARD was released on 10th April 2026 via Columbia Records. Words: Amy Smyth Photos: BILMURI

Kicking off its third edition this year, Noizzefest is coming back stronger than ever. Taking place across the Fuel Rock Club and Clwb Ifor Bach in Cardiff on the 25th April, the festival is a celebration of the British underground scene, while it is also not shying away from booking big names for their stages. With such a packed bill this year, there is a big chance that everyone will find themselves a handful of bands they need to absolutely check out, as well as names they are familiar with. Here are some of the top ten bands you absolutely should not miss this year: 10) OMOIA The queer emo band from Leeds was only formed in 2022, but has not stopped stirring up the waters of the British alternative scene since then. Having two meaty EPs under their belt - The Sickness and Antropology, OMOIA is only getting started while making the wider audience aware of their melodic, melancholic sound that will strike you almost instantly. They are taking over the TJP Tours Stage at the Fuel Rock Club as one of the later bands of the day. 9) KNIVES Bottling together chaotic, aggressive sounding riffs with even more intense vocals, KNIVES are for sure one of the bands to not miss out on at the Clwb Ifor Bach Stage (Upstairs), especially since they are the supporting band for the headliner. With their debut full-length GLITTER unleashed into the world last year, the band is quickly taking over the world with their layered, overwhelmingly captivating music. 8) HAMARTIA Just earlier this year, HAMARTIA toured around the UK with the giants TRASH BOAT, and they are set for even more exciting times. Infusing various elements all across the music spectrum into an emotionally charged alt rock experience, the four-piece can deliver it all - from intricate riffs and beats, to raw vocals, that will make you feel all sorts of emotions within seconds, while running around in the moshpit. 7) TAYNE If anyone is bringing new sounds to the Noizzefest, it is with no doubt the London-based industrial noise pop project. Do not be fooled by the word “pop” though, as the band uses heavy riffs and raw vocal fries, being a perfect band for a rave moshpit. Taking over the Clwb Ifor Bach Stage (Downstairs) as the second to last band, TAYNE is definitely a must see band for anyone, who is craving a big dose of brain melting music. 6) BICURIOUS When someone talks about electronic dance rock, the Irish duo BICURIOUS are absolutely ones that come to mind. Known for their experimental and groovy take onto the genre, Gavin Purcell and Taran Plouzané can make the floor every time they perform - let it be from jumping, or the most brutal circle pit. The use of instruments in their work is very remarkable and the fans at Noizzefest can find out for themselves on the Clwb Ifor Bach Stage (Upstairs). 5) HELL HOTEL Adding to the emo side of the roster, HELL HOTEL is not only leaning into the popular genre, but brings heavy metalcore influences as well. The duo from Brighton is drawing from the infamous 2000s style, oftentimes bringing melancholic and interesting riffs that are working wonders with the raspy vocals and fast-beat drums. It is absolutely a must-check out band, as they are headlining the TJP Tours Stage on the day. 4) CALVA LOUISE As the main headliners of the festival, CALVA LOUISE does not need much introduction. If you are up for a good set filled to the brim with sickly vocals and melodies, the Londoners are an absolute go-to. And if you are not, they still are, as their sound is uniquely haunting and perfectly fitting for their aesthetic, grabbing the attention of anyone interested in good modern rock with dominating guitars and occasional classical elements like piano combined with the vocalist's uncompromising screams. Check them out at the Clwb Ifor Bach Stage (Upstairs) at the end of the day for an ecstatic experience you never knew you needed. 3) A-TOTA-SO With the combination of grunge, post-hardcore and math-rock, A-TOTA-SO proved themselves on numerous occasions as a band that always pushes its own limits far beyond its boundaries. Recently releasing their first single since 2024 - Death Rattle, the three-piece is gearing up for their Cardiff appearance with more heavy riffs, intertwining their chaotic and noisy sound with moments of intense tension and silence - in the good, old-fashioned A-TOTA-SO way. 2) ICANTDIE Coming from South Wales, ICANTDIE bring good ol’ alt rock to Cardiff in April. From heavily sounding drums, to captivating riffs, to beautifully aggressive vocals, the three-piece is a formidable foe and a must listen, if the underground alt rock is your thing. So far, the band has only two EPs out, with the latest being Errors from 2023, but that absolutely did not stop them to bring their powerful forces to the Noizzefest crowd. 1) HAGGARD CAT A critically acclaimed British post-hardcore/alt-rock duo, HAGGARD CAT is not only about promising riffs, it delivers intense live performances and impactful, introspective lyrical themes. Every song is a masterfully executed piece with thoughtfully used synths and harmonies, resulting into epically huge choruses. The band is set to headline the Clwb Ifor Bach Stage (Downstairs) and should not be missed by any fans of meticulously written music. If you do not want to miss out on Noizzefest’s busy roster, put the date 25th April in your calendar. Words: Kat Stepanikova

Fresh off the press (and completely out of nowhere), ENTER SHIKARI's eighth studio album Lose Your Self dropped mere hours after a hectic crowd departed their intimate Satan's Hollow headliner in Manchester. The band have been deliberately opaque about the lack of promotion, with Rou Reynolds stating that “We want people to go on a proper journey with this album, and see where it takes them. No lead up, no singles, and no explanation,” encouraging listeners to engage with it as a cohesive whole. For a band that has spent years meticulously drip-feeding albums track by track, the surprise drop is a delightful venture into 2026 within the run-up to their end of the year headline shows. Following the trajectory of their later releases, the album itself is a very recognisable ENTER SHIKARI record. Their hybrid of pop-influenced, post-hardcore and electronica sound combined with the slick, polished production has been firmly certified as a staple of the band’s identity, having come a long way since the raw aggression of Take To The Skies and Common Dreads. It’s a palette that they’ve made entirely their own, and on Lose Your Self, they wear it with complete confidence. The title track opens the record with a patient, deliberate build, with lyrics weighing the fate of a hundred billion souls past, present and yet to come, before the repeated plea to ‘lose yourself’ gives way into electronics that swell into something utterly euphoric. It’s a solid foundation which sets the tone for the rest of the album, transitioning flawlessly into Find Out The Hard Way..., whose bright, twinkly intro wastes no time in signalling that this is a band very much at ease with their own eclecticism. Beneath the buoyant melody sits Rou’s signature tongue-in-cheek lyricism at its most razor-sharp, slating wilful ignorance and political passivity with lines that sting precisely because they’re delivered with such a disarming grin. Dead In The Water marks a swift tonal shift. Opening with a pessimistic declaration of futility as walls close in and waves roll over, the echo-drenched production and reverberating vocals very much amplify the sense of being swallowed whole. demons continues the push-pull dynamic of bright, infectious instrumentation and lyrics that carry the weight of the world, before The Flick Of A Switch I. finally unleashes a glimpse of the band’s heavier instincts. The subject of the song is cut down with various blunt insults through a wall of vocal effects, all sharp edges and barely contained fury. This aggression is carried over onto i can’t keep my hands clean, a punchy, 90-second burst of harsh vocals over rough, unpolished guitars and relentless, fast-paced drums that feel like a deliberate nod to their earlier discography. That it opens and closes with the incoherent murmuring of background chatter, blissfully unbothered by the chaos, gives it an unsettling edge – as if Rou is screaming into a void that simply isn’t listening. With it’s OK, the record shifts the mood drastically: much of the lyrics on the track are delivered in a dry, spoken cadence, before the chorus blooms into an almost crooning pop melody, like an auditory wink to the audience. The Flick Of A Switch II emerges from a haze of ambient noise, before dropping into a chugging breakdown – a timely reminder (if one was required) that ENTER SHIKARI can still hit like a sledgehammer. Then, bizarrely, a swelling horn section welcomes in Shipwrecked!, though once again the heartache is buried beneath the surface. The soaring chorus longing for ‘a different story than the one that we’ve been told’ lands with considerably more weight than the sun-drenched melody would suggest. However, the record’s crowning achievement is undoubtedly its closing trilogy, with the three tracks blending into a singular 10-minute epic. Spaceship Earth (I. Avec Abandon) opens with a disarming warmth, welcoming the listener aboard before breaking the news that there is no escape and that ‘you and everyone you love will die on this joyride’. A heartbeat-like transition carries us into Spaceship Earth (II. Angoscioso), where the journey has evidently descended into chaos. The passengers have hijacked the ship, a black hole looms, and just as the spiral feels truly doomed to be utterly inescapable, a crabcore-reminiscent dance breakdown interrupts the bleak lyrics. This breakdown feels blatantly satirical in its euphoria, as though the universe is gleefully soundtracking Rou's existential crisis with a dancefloor, mockingly oblivious to his despair. As if exhaling after that ordeal, a cinematic orchestral section blooms into Spaceship Earth (III. Maestoso) – and the album finally finds its peace. Over gentle guitar plucking, the pleading to ‘hold on, a change is gonna come, my love’ repeats like a mantra until the album quietly fades. After the relentless pessimism that precedes it, it’s a genuinely beautiful and poignant note to end the album on, and perhaps the most fitting vindication of the band’s decision to drop the record without warning. Lose Your Self does indeed take the listener on a journey, and the destination is absolutely worth the ride. “SHIKARI will always offer hope,” is what Rou has stated, “Because without hope, there is no action.” Nowhere is that philosophy more profound and devastating than in these final moments of the record. The world may be burning, but ENTER SHIKARI are still asking us to hold on. Rating 9/10 Words: Adrian Chapman Photo: Sarah Hook

It’s the Easter bank holiday weekend, what more of an excuse can you need for a day filled with live music. We spent our Saturday down at Gloucester’s Guildhall for an ‘Alt All Dayer’ put on by your friendly neighbourhood alternative market trader come live music promotor, The Dark Corner. The live music kicked off in the early afternoon with performances from AUBS THE KID (featuring IDLE HANDS), THE UNDECIDED, ECHOES OF OBSIDIAN, BLACKLISTED MC, HOLLOW RITUAL and DEATH IS A GIRL; all of which were accented by DJ’s HONEYBONES and SOUL METHOD keeping the crowds entertained during the change overs. Our coverage, however, picks up during the later stages of the day, firstly with the queen of ‘trapped metal’ and rapidly rising star of the underground metal scene, the enigmatic N0TRIXX. Masked and hooded, her eyes piercingly white, the best way to describe a N0TRIXX live show is intense. During one of her chats to the crowd she mentions that she suffers with multiple-identities, one of which is a music producer, with all of the songs (bar one) on tonight’s set list produced by her. She also goes on to talk about how she took up music full time 4 years ago after losing both her job, her family and her home after standing up against the invasion of Ukraine in her native Russia. Having recently released the album ‘A Catalogue Of Madness And Melencholia’, an LP where every track is centred around a different mental health issue. Although for the most part, N0TRIXX could not be contained by the stage; a particular highlight was “St. Chaos” a track from the album dedicated to ADHD see’s her deep into the crowd almost forcing the audience to join her in a ritual of cathartic release in the form of “moving your fuccking feet”. Afterwards, “sorry for being a dick, but it's all for your own good, it's good to get moving, you’ll enjoy the music so much more if you do”. Local Ska/Nu-Metal/Hip-Hop/Grime/Punk legends, Gloucester’s very own LICKSHOT took the last space on the undercard. Their sound is a melting pot of influences from both their own, and anyone else who is north of 30 years old, youth; lyrically punk, at its core nu-metal, the combination of Stephen ‘Prime Position’ Grimes Hip-Hop/Grime vocals, Dan Snowdon’s Ska tinged guitar tone, Aaron ‘Ron’ Evan’s at times knocking out a straight up D&B beat all tied together with the grooviest tones and harsh vocals from bassist Joe Barton; it's all energy, it’s all fun, it’s impossible not to bop along. The guys have a new EP (‘LICK’) dropping this coming Friday, during tonight's quick fire set, we were treated to a couple of brand new tracks from the upcoming release in the form of “Paragon” and “Solutions” (one for all of the emo heads,if you were sad in 2004, then this track is most definitely for you). Sadly the set is a short one this evening, at just six tracks they close out with fan favourite “Back To The Roots” from their debut album 2025’s ‘Inside The Ride’, this live rendition with an extra heavy ending that you won’t hear on the album version. Closing out a jam packed day of all live music from the entire spectrum of the ‘Alternative’ sphere, were Bristol/Cheltenham based desert/alt-rock lads NUNS OF THE TUNDRA, drenched in fog and bathed blue they emerged onto the stage to the sounds of the Mighty Boosh sketch that inspired their name, the four piece now seemingly a five with the addition of a third guitarist. We are treated to a brand new track “Caveman” which see’s frontman Troy Tittley instructing the crowd to scream “ooga booga!” along with him. Later, Tittley mentions that the next song “Float Away”, one of the bands earlier releases from 2017, never felt right to be played live until the sudden and untimely passing of the band's original bassist Tom Benson in his sleep at the age of just 28, subsequently their 2025 self-titled debut album which is booth dedicated to Tom and the content of which is fuelled by that grief. The song is stripped back, its emotional, the entire Guildhall is filled with phone torches raised in reverence. Drummer Hugo Bowman start to beat out the recognisable introductory beat to QUEENS OF THE STONE AGE’s “Song For The Dead”, there's a noticeable pop from the crowd as they start to recognise the tune and the rest of the band join in, but before Tittley can break into his best Josh Homme impression the song morphs into their own track “With Me” which would signify the “end” of the set. Inevitable chants of one more song follow the all too familiar ruse, we all knew there was more to come, visible to almost the entire crowd, there was a clock on the soundman's desk at the side of stage that had been counting down during every bands set, there were a solid 15 minutes still to run. “Who’s over 30, how about we do some songs then we all go to bed, deal?”. What followed was a 1, 2 punch of “Pray 4 U SLay 4 U” and a the bands biggest hit to date, “Low”, if you’ve not had the latter infiltrate your social feeds in the last couple of years then you are surely in the minority of “alt-music space social media users”. Words and Photos: Simon Arinze

Most will probably know HEADBUSSA from their support slot for KNOCKED LOOSE a couple years ago, some will know them for sharing line-ups with SUNAMI, by the end of this gig, we know them for a brand of hardcore that kicks you in the teeth with no apology, with 6 bands on the lineup this show certainly packed a punch. First up were London Hardcore 5-piece SO FAR SO GOOD, these self proclaimed ‘Evilcore’ certainly lived up to that moniker; with kick drums that sounded like a machine gun, riffs crunchier than an autumn leaf and vocals so dark they served as a perfect juxtaposition to the Hello Kitty on the bassists t-shirt, with an incredible energy that set the bar for the rest of the night, these lot were a great little set indeed. Next up, Essex/Kent Hardcore band WARDEN took to the stage. They sucked in more crowd for a lot more of an aggressive set that perfectly suited the demonic screams of the singer, the gutturals were insanely impressive. Still, the true extent of this wasn't revealed until WARDEN whipped out a cover of Pray For Plagues by BRING ME THE HORIZON, uniting the hardcore and deathcore elements of their band for a cover that turned the place upside down and had everyone getting involved in the pit. After them was a very short set from REKRUCIFY but the duration only showcased how hard these guys go; two singers meant double the fun quite honestly, one higher, one lower in the screams to make a perfect contrast. This also meant they shared the super intense songs making for double the energy and a really amazing crowd reaction that had everyone getting involved, they really commanded the crowd and really set up the next band for a great set. Southampton-based NOT WITHOUT PUNISHMENT came after, and here is where the night got really dangerous, the singer came on immediately crowd-killing and moshing just to really set the bar; the rage and aggression emanating from this band was reciprocated very quickly with the biggest pit of the night so far, so many arms and legs went flying, it was honestly insane to look at. It’s safe to say that the singer of this one had the most insane and intense energy of all frontmen playing that night, really bringing their bombastic energy out to play. Following them, London Hardcore group NEGATIVE FRAME showed the crowd how dangerous hardcore shows can really get, the band played quite non-chalantly which showed how talented they are being able to play such intense music with such ease. They commanded the crowd into complete chaos, if anyone thought the previous band had a lethal pit, NEGATIVE FRAME sent the crowd into a frenzy that had the floor of New Cross Inn bouncing, kicks flying and lots of crowd interaction. The heat really got turned up when the bassist dropped his instrument and took over vocals for a song, many more joined the pit, stage divers started appearing and all hell was let loose ready for the headliner. Finally HEADBUSSA arrived for their headline slot for a set of pure speed, adrenaline and rage came with the presence of this band; this French hardcore group absolutely do not mess around, around a 25 minute set was all they needed to make the place erupt, no one in the venue was stood still for them as they bounced up and down through a serious level of technical instrumentals that left no one unimpressed. The level of energy was genuinely of the scale, from crowdkilling, pitting and stage diving, it was a real testament to the level of passion, dedication and loyalty behind hardcore. It’s safe to say that if HEADBUSSA comes back to the UK, they will turn the place into a frenzy and the crowd will certainly help with that feat. Words and Photos: Ben Blissett