When you hear the name POPPY, what do you think of first? Bristol has seen yet another wave of metal fans at the beginning of March, as the Metal Queen POPPY made her way to the city as a part of her Constantly Nowhere Tour, promoting her latest release Empty Hands. Known for her artistic blend of everything heavy and pop, her appearance at the Electric Bristol was very anticipated by many fans. Bringing with her OCEAN GROVE and FOX LAKE, two bands that would be a sin to miss out on. Anyone who showed up at the venue earlier was swept down by the velocity of FOX LAKE’s energy instantly. The Denver trio surely did not wait for nothing and dived right into action with their short, but impactful performance. Their nu-metal tracks are filled to the brim with heavy vocals, aggressive guitars and unstoppable drums, and this was even more impressive live. Coupled with the vocalist Nathan Johnson’s frequent interactions with the crowd, who in return gave him proper moshpits and endless crowd-surfers throughout the set, as well as his “It’s still Free Palestine and Fuck Trump” speech, that was met with an immediate positive response from the crowd, there would hardly be anyone else who would be a better fit for the opening slot that night than FOX LAKE. When the lights dimmed down for the second time, it was obvious OCEAN GROVE was a band many people waited to see that night, as the Australian five-piece received big applause on their way to the stage. However, not only the crowd anticipated the band’s return, as the vocalist Dale Tanner made clear almost immediately, while hyping up the crowd — which did not need much effort to do. Anyone who is not familiar with the band might have been surprised when Tanner and the band’s bassist Brent “Twiggy” Hunter swapped positions during Raindrop, spicing up their stage presence a bit. Right after that, the band asked for even more crowd-surfers and was given exactly that, creating a beautiful chaos on the floor. OCEAN GROVE closed their set with a big applause from the Bristol’s audience and it was to no surprise the Aussies expressed their gratitude multiple times, being grateful for the opportunity to play in the city. If the support bands gave the best of their nu-metal chaos to Electric Bristol, POPPY brought a completely different atmosphere. The fans were greeted by a narration that continued throughout the whole set, revealing the secrets of the vocalist’s twisted world, before transitioning into Bruised Sky. While the set was showcasing the vast versatility of her work and promoting the new album Empty Hands, majority of the set was made of the songs from her 2024 album Negative Spaces, and included many of the heavier songs, such as the center’s falling out, they’re all around us and Concrete. POPPY’s theatrics, as well as dances are an important feature of her sets, but so are the stunning visuals on the background screen that accompanied each of the fifteen songs, and while they were not as memorable as the performance, they still contributed to the overall impression. Songs such as Scary Mask are a big part of her lore as well, as it tied the singer to the masks the rest of the band members wore for the whole duration of the show, providing more context. It was not a surprise the fans knew every song word by word, but the closer the set was to the end, the louder the crowd became. By the time it was time for everyone’s favourite V.A.N., originally from BAD OMENS, everyone not only started interacting more, but also filled in for Noah Sebastian’s iconic bark, creating a funny little moment. By the time POPPY was closing the set with new way out, there was still a plenty of crowd-surfers, who were not ready to give up until the last second, especially since the vocalist herself kept hyping up everyone to mosh and crowd-surf, and the definitive ending felt like it should have come a bit later than it actually did. There is no doubt this was most likely POPPY’s last tour at smaller venues, as her popularity grows rapidly, and it was an unforgettable experience to see her perform for a crowd, that still felt tight. The evening was a deep-dive into her own odd and twisted world, that is never staying the same. If there was ever the best time to start listening to POPPY, it is indeed now. Words: Katerina Stepanikova

Heads up: you’re in the splash zone. SoCal surf rockers LAVALOVE are back with their second album, following up their 2023 debut with a sure fire soundtrack for the summer. No need to pack for the holidays - with Tan Lines, they’re bringing the beach to us. Sun-soaked, yet cool and refreshing; this is the perfect beachside cocktail to sip on while you’re tanning on the sands, getting ready to catch some waves, or bar-hopping through the SoCal scene. They start the party with Hopelessly Devoted, a track that sees the band riffing on the similarly-titled serenade from classic summer flick Grease. Tealarose Coy’s hypnotic vocals take centre-stage, collaborative cheerleader-chant vocals piping up to reinforce the chorus. Surf rock riffs soon give way to Motion Picture’s upbeat pop stylings, very SABRINA CARPENTER in the way of Coy’s “uh-huh!” interjections. When it comes to the song of the summer, this one is a definite contender. Not only is it a really enjoyable listen, it’s also incredibly fun to sing along to. Go Go Boots follows, taking us on a tour of SoCal’s nightlife with a garage rock-tinged anthem packed full of cheeky lyrics and grimy riffage. To squeeze the full effectiveness from this track, you need your volume dial turned all the way to the right; if you’re not blasting this, you’re listening wrong. They cap off this banger with a post-climax cameo: the opening riff to GUNS N’ ROSES’ Sweet Child O’ Mine - as if to say that yes, this track will become a playlist staple too. When it comes to title-track Tan Lines, LAVALOVE have created an immediate earworm, descending guitar tones riding next to punchy one-two drumbeats. Shimmering like reflections in the smooth teal exterior of a VW campervan, this track is a perfect tune for karaoke behind the wheel. Messing With The Man is a little grungier, apparent from the introductory grimy tones and assaulting barrage of drums that surround us at every angle. The cheerleading chants are recurring here, chipping in with refrains to follow the chorus. Working On My Way (ft. Garden of Edith) is another easy-listening tune, twangy guitars and rhythmic vocals intertwining to create an almost shoegazey sound that keeps the LP fresh and interesting. Never Better follows with subversion; when the chorus hits, there’s an edgier, razor-sharpness that acts as a little taste of something new for this record: some grit injected into the track list. Sniffing Around runs with it - not in sound, but in lyrics. There’s a fun nostalgic element in this timeless track that reminds us of summers past, dancing in the kitchen to pop bangers filtering through the radio on the windowsill. The lyrics betray this: if you listen closely, something darker lives between the lines. It’s about burying a relationship - literally. Cheating ex-boyfriends find a resting place six feet under in this track, while the singer playfully alludes to her (alleged) crime with a knowing smirk. Penultimately, Magic Mushrooms comes in with an immediate rush, tremolo picking techniques at play with sixties-era surf riffs that lead into lighter-than-air vocals. It’s effortlessly captivating, a powerful confidence in Coy’s vocals that carries through the entire track. A recurring thread in this record, this is one that’s short - only two and a half minutes in length - but sweet enough to stick in our heads. Shot echoes that; it’s another airy, casual banger that ends the album not with a showstopper but a gentle fade into the summer breeze, leaving us with a cheeky wink towards the camera. LAVALOVE’s Tan Lines is a brilliant collection of summery bangers that makes up a perfect soundtrack for the season; it’s packed full of enough tunes for roadtrip karaoke, tracks to blast from the speaker casually tossed onto your towels at the beach as you catch a tan, or even just to filter through your headphones as you go about your day. It’s riddled with intensely memorable melodies, each track sure to find a home in your playlists; if not, they’ll be echoing in your head all day anyway. Score: 9/10 Tan Lines will be released on 3rd April 2026 via Pure Noise Records. Words: Naomi Colliar Duff Photos: Lavalove

UK modern thrash outfit DIVINE CHAOS return with HATE REACTOR, a record that doesn’t just signal a comeback, but a recalibration of everything the band have built so far. Arriving after a period of line up changes and renewed creative focus, this is a release that feels sharper, heavier, and far more intentional in its delivery — a band not just refining their sound, but reinforcing their identity within modern thrash. From the opening moments of Regicide, the tone is set with ruthless efficiency. The riff work from Chris O’Toole and Matt Gilmour is immediate and cutting, balancing classic thrash aggression with a tighter, more contemporary precision. Behind the kit, Mariusz Marecki makes a formidable first impression, delivering a performance that feels both technically adept and instinctively ferocious. There’s a sense of urgency here that drives the track forward — not chaotic, but controlled and purposeful. The title track HATE REACTOR follows with a groove-laden punch, leaning into a more modern weight without sacrificing speed. It’s here that the album’s production really begins to shine. Working again with Scott Atkins, and bringing in Chris Clancy for mixing and mastering, DIVINE CHAOS achieve a sound that is polished yet punishing. Every element is given space — the guitars slice cleanly, the bass from Craig Daws rumbles with intent, and the drums hit with a satisfying, unrelenting force. Vocally, Jut Tabor delivers one of the album’s standout performances. Across tracks like Where Gods Are Last In Line and Condemned To The Void, there’s a noticeable expansion in range and control. His delivery shifts between raw aggression and more measured phrasing, adding layers that elevate the material beyond straightforward thrash. It’s a performance that feels confident and commanding, cementing his role at the front of the band. Midway through the album, The New Reality and Without A Trace showcase a willingness to experiment with pacing. Rather than relying solely on speed, DIVINE CHAOS lean into groove and structure, allowing riffs to breathe and hooks to land with greater impact. It’s a subtle shift, but one that pays off — these tracks linger, offering something more memorable than sheer intensity alone. Blood Of The Earth stands out as one of the album’s most anthemic moments, blending melody with aggression in a way that feels primed for the live stage. It’s the kind of track that highlights the band’s growth — still rooted in thrash, but unafraid to expand beyond its traditional boundaries. This sense of progression continues into the closing run of This Coming Storm and Shadows Of The Wasteland, where the band lean into a more cinematic scope. These tracks feel expansive, almost atmospheric at times, without losing the bite that defines the record. What makes HATE REACTOR particularly compelling is its balance. DIVINE CHAOS have not abandoned their foundations — the influence of classic thrash is still embedded in every riff — but they’ve refined it through a modern lens. The addition of Mariusz Marecki brings a renewed energy, while the continued evolution of Jut Tabor as a vocalist adds depth that earlier material only hinted at. There’s also a clear sense of cohesion throughout the album. This isn’t just a collection of tracks; it feels like a fully realised statement. The pacing, the production, and the performances all align to create something that is both aggressive and considered. In a genre that often leans heavily on nostalgia, HATE REACTOR feels forward-thinking without losing its roots. If previous releases suggested the band’s potential, this is where it fully materialises. DIVINE CHAOS sound locked in, focused, and ready to push further. HATE REACTOR isn’t just another entry in their catalogue — it’s a defining moment Score: 7/10 HATE REACTOR was self released on 27th March 2026. Words: Mia Gailey Photos: Divine Chaos

There’s something quietly unsettling about CLOSED CITY—not in the immediate, abrasive way of heavy music’s usual extremes, but in the slow, creeping sense that something isn’t quite right beneath the surface. Built from isolation, both literal and conceptual, their self-titled debut Closed City feels less like an album and more like an environment you’re forced to inhabit. Formed by Mathias Kom and Michael Cloud Duguay, the project draws from an unusually rich palette—avant-garde metal, drone, folk traditions, and orchestral composition—but never feels indulgent. Instead, it’s restrained, deliberate, and eerily cohesive. From the outset, Closed City establishes a world shaped by routine, distance, and a lingering sense of forgotten purpose. Opening track City sets the tone with low brass that groans like distant machinery beneath ice. There’s a weight to it—thick, oppressive, but not overwhelming. It’s followed by Old Fire, which leans further into this sense of subterranean labour, its slow build mirroring the album’s central image: an unseen force burning endlessly beneath the surface. Mathias Kom’s vocals arrive not as a focal point, but as another instrument—detached, observational, almost ghostlike. What makes CLOSED CITY so compelling is its commitment to atmosphere over immediacy. Tracks like Palisade and Ice Fog - No Exit don’t rush toward resolution. Instead, they linger, circling ideas rather than concluding them. The use of low brass throughout is particularly striking—less triumphant fanfare, more warning signal. It evokes foghorns cutting through nothingness, reinforcing the album’s themes of distance and failed communication. There’s a clear lineage here. You can feel the influence of experimental composers and the avant-metal fringes, but it never slips into pastiche. Michael Cloud Duguay’s composition is patient and intentional, allowing dissonance to breathe. The slightly detuned piano—born from the freezing conditions of its creation—adds a fragile unpredictability, as though the music itself is struggling to remain intact. Midway through, Visitors introduces a subtle shift. There’s tension here that feels external, intrusive. It’s the closest the album comes to narrative escalation, yet even this moment avoids climax. Instead, it dissolves back into the same introspective haze, reinforcing the idea that this “closed city” rejects change as much as it fears it. The title track Closed City acts as a thematic anchor. It’s here that the album’s core idea—intentional isolation versus the human need for connection—comes into sharpest focus. Mathias Kom’s lyricism remains elliptical, but there’s an emotional clarity beneath it. You’re not being told a story outright; you’re piecing it together from fragments, much like the inhabitants of the imagined city themselves. Production-wise, the decision to record in a decommissioned church adds another layer of depth. There’s a natural reverb that gives the album a sense of space, even as it explores confinement. Every sound feels placed with care, from the rumble of brass to the faint textures that drift in and out of the mix. It’s immersive without being overwhelming—a difficult balance that CLOSED CITY manage with precision. What’s perhaps most impressive is how the album handles its influences. References to 20th-century totalism and experimental “collision music” could easily result in something inaccessible, but Closed City remains strangely inviting. It doesn’t demand understanding; it invites interpretation. You don’t need to grasp every conceptual thread to feel its impact. That said, this isn’t an album for passive listening. Its slow pacing and refusal to offer easy hooks will alienate some. There are moments where the restraint borders on stagnation, particularly in the latter half, where the sonic palette begins to feel deliberately limited. But even this works in the album’s favour—it reinforces the monotony and repetition central to its concept. Ultimately, Closed City succeeds because it fully commits to its vision. It doesn’t break character, doesn’t chase accessibility, and doesn’t dilute its themes. Instead, it builds a world and invites you to sit within it—cold, isolated, and quietly contemplative. In a musical landscape that often prioritises immediacy, CLOSED CITY offer something far more patient and introspective. It’s an album that lingers—not in the way of a catchy chorus, but like a memory you can’t quite place, or a place you’re not sure you ever left. Score: 7/10 Closed City was released on 27th March 2026 via Watch That Ends The Night Records. Words: Mia Gailey Photos: Noah Bender

KID KAPICHI have been releasing music into the world for over ten years, and there’s no sign of them slowing down anytime soon. They blend everything from punk to indie to alt rock, making there something for everyone. As of July 2025, they have been made up of vocalist Jack Wilson and bassist Eddie Lewis, with guitarist Lee Martin and drummer Miles Gill becoming official members once album five rolls around. After having a lineup change in 2025, KID KAPICHI may sound different, but they aren’t going anywhere. KID KAPICHI have had tracks listed as ‘Hottest records in the world’ from BBC Radio 1 and have achieved two UK top 40 albums with This Time Next Year (2021) and Here’s What You Could Have Won (2022). Their latest album Fearless Nature, made it into the top five on the iTunes rock charts. They have previously collaborated with bands including Suggs for ‘Zombie Nation’ and BOB VYLAN for ‘New England’ which had Liam Gallagher himself inviting KID KAPICHI to open for him after hearing it. Their music has always been very outspoken; they aren’t afraid to discuss topics that others shy away from. This is what makes KID KAPICHI a band that should be raved about everywhere. Although their 2026 album release Fearless Nature discusses more personal topics to the band, Wilson says he feels “more engaged now, politically, than he did when he was shouting about those problems on record.” Fearless Nature is a whole new chapter for these guys. After some experiences Wilson went through in 2024, he’d go into the studio and leave not remembering what he had wrote down. The album is like listening to an audiobook of someone's diary. Sonically, it’s a more toned-down version of what we’ve previously heard from them, but it’s some of their strongest work and as the band has been evolving in the past year, their sound has evolved too. Even if you have never listened to KID KAPICHI you may be thinking you recognise their name from somewhere. This may come from some of the huge shows they have played. Including supporting NOTHING BUT THIEVES, FRANK CARTER & THE RATTLESNAKES and YOU ME AT SIX, to name a few. They have also played at Reading and Leeds Festival three times and Download Festival. In 2025, they played two slots at the iconic 2000Trees festival, Pinkpop Festival, Victorious Festival, Bergen Festival and more. In October 2025, they completed a huge UK tour consisting of 13 dates all around the country, this was their first tour after the lineup change. If you thought 2025 was busy for them, 2026 is about to be double that. They kicked the year off with another tour around the UK in January. This time it consisted of nine instore signings and acoustic shows to celebrate the release of Fearless Nature. Festival season is about to be packed for them as they will be heading out to play Discovery Festival, Bearded Theory, Truck Festival, Y Not Festival and All Points East with Twenty One Pilots. You should also keep an eye out for upcoming announcements about another headline tour coming at the end of the year. If you want to be part of the next big thing, getting into KID KAPICHI is what you need to be doing. They’re a band I’ll recommend to everyone, and they are only on the up from here. Catch Kid Kapichi at both Bearded Theory and All Points East with Twenty One Pilots this summer. Words: Isabella Jacklin Cover Photo: Kid Kapichi at 2000Trees Festival by Gareth Bull

There’s something so effortlessly immediate about GOOD KID’s debut LP Can We Hang Out Sometime? that it feels almost impossible not to be pulled into its world from the very first note. Built on bright guitar lines, punchy rhythms and choruses that practically beg to be shouted back, this is an album that understands exactly what it wants to be. More importantly, it knows exactly how it wants its audience to feel. This is a record made for movement, for singing at the top of your lungs with friends, for the kind of summer evenings that seem to stretch on forever. From the opening rush of Rift, GOOD KID establish the record’s sense of momentum with remarkable confidence. It is upbeat, infectious and impossible not to move to, carrying that immediate feel-good energy that runs through much of the LP. There is a lightness to it, but never at the expense of substance. The track’s stripped-back ending gives it an extra sense of intention, proving that even in their most energetic moments, the band are carefully shaping how each song lands. It is an opening that instantly sets the tone for what follows: an album full of big summer dance vibes and even bigger singalong moments. That energy flows seamlessly into Eastside, one of the record’s standout singles and arguably one of its defining moments. Built around sharp riffs and an undercurrent of tension, the track captures that feeling of confrontation and catharsis without ever losing its accessibility. It is the kind of song that feels tailor-made for live performance, where every lyric can be screamed back in unison by a crowd that knows every word. There is a sense of defiance at its core, but rather than feeling heavy, it transforms that tension into something communal and exhilarating. One of the most striking things about Can We Hang Out Sometime? is how naturally it balances consistency with variation. The album’s brighter, more upbeat moments are undeniably its backbone, yet it never becomes one-note. Instead, GOOD KID understand the importance of pacing, allowing space for the record to breathe. Tea Leaves is perhaps the clearest example of this. Coming in as a more relaxed, reflective moment, it offers a welcome step back from the surrounding rush of energy. It still carries that same warmth and feel-good atmosphere, but in a softer, more understated way. It acts as a breather without ever slowing the album down too much, and that balance is part of what makes the record flow so well. The emotional centre of the LP, however, lies in Ghost Keeper. While the earlier tracks invite movement and release, this is where the album becomes something more intimate. It steps away from the dance-floor immediacy and instead leans into something more vulnerable and reflective. There is a gentleness here that makes it instantly stand out, the kind of track that trades jumping around for swaying along. It feels deeply emotional without becoming overindulgent, and it is perhaps the moment where the album’s heart shines through most clearly. That sense of dynamic control continues into Tornado, another standout moment that perfectly demonstrates the band’s ability to shape atmosphere. Beginning in a slower, more relaxed space before gradually opening into something brighter and more expansive, the track feels beautifully constructed. The vocals here are a particular highlight, carrying the song with a warmth and clarity that lingers long after it ends. The fade-out towards the end, before the final cut, is especially effective, creating a sense of space that feels both satisfying and slightly haunting. What truly elevates Can We Hang Out Sometime? beyond simply being a collection of strong indie rock tracks is its production. Every high and low feels carefully considered, each song placed with purpose to maximise the emotional and sonic journey of the album. The production quality is consistently excellent, giving every chorus room to soar while ensuring the quieter moments retain their intimacy. Perhaps the most impressive thing about this debut is how clearly it reflects the relationship between GOOD KID and their audience. There is an undeniable sense of care running through the entire record, as though every track has been crafted with the listener in mind. From the huge singalong choruses to the quieter, more reflective moments, the album feels designed to meet its audience wherever they are. Can We Hang Out Sometime? is, above all else, a genuinely feel-good album. It invites movement, reflection and connection in equal measure, capturing the warmth of summer and the comfort of shared experience. For a debut LP, it feels remarkably assured, delivering a sound that is both instantly accessible and emotionally resonant. GOOD KID have not only met the anticipation surrounding this release, they have delivered an album that feels built to soundtrack the moments people will want to remember. Score: 9/10 Can We Hang Out Sometime? will be released on 3rd April 2026 via Good People Record Co. Words: Con Macadam Photos: Evie Maynes

Some albums arrive like a statement. Others arrive like a feeling. Love Letters, the debut release from Bristol trio MASCA, does the latter, unfolding less like a carefully staged introduction and more like stepping into someone’s world halfway through the story. It is immediate, emotionally charged, and above all deeply human, the kind of record that understands how messy it is to exist and somehow turns that mess into something bright, loud, and impossible not to hold onto. There is a tension running through Love Letters that gives it its identity. MASCA sit in that liminal space between pop sheen and rock bite, where glittering hooks meet blistering riffs and vulnerability is allowed to take up space without softening the edges. It is music that moves, physically and emotionally. The album never lets itself become static, even in its quieter moments. Instead, every track seems to pulse with momentum, as though it is always pushing toward something just out of reach. That sense of movement is felt immediately in Elevate, one of the album’s most infectious moments. It carries an energy that feels impossible to resist, the kind of song built for jumping in a crowd with strangers who somehow know every word. There’s a rush to it, but not one that feels careless. Instead, it captures MASCA’s ability to pair emotional honesty with release, turning introspection into something euphoric. At the other end of the emotional spectrum sits the title track, Love Letters, which feels like the heart of the record. It slows the pace just enough to let its vulnerability settle in, allowing the lyrics to breathe in a way that makes them hit harder. The self-questioning woven through it gives the song a quiet ache, and yet it never feels defeated. Instead, it carries that same thread of hope that runs through the whole album: the desire to make sense of yourself, even when you’re not sure where to begin. This is perhaps where MASCA’s greatest strength lies. They understand how to make vulnerability feel expansive rather than isolating. Even the most introspective moments are carried by melodies that lift them beyond the private sphere. There is always a sense that these songs are meant to be shared, shouted back across venues, played through speakers on long summer evenings, soundtracking moments that feel both intimate and cinematic. That cinematic quality comes through beautifully in Oxytocin, a track that feels like the album’s moment to exhale. Following some of the more immediate emotional intensity, it creates space to breathe. There is something deeply comforting in the way it builds, allowing warmth and anxiety to exist side by side. It feels like waiting for something life-changing, holding your breath in the quiet before everything shifts. Then there’s Cry Baby, a clear standout that leans further into the record’s pop instincts without losing its emotional weight. The layered harmonies and overlapping vocal lines give it a lush, almost sunlit texture, making it feel tailor-made for summer. It’s the kind of song that slips effortlessly into everyday life, whether that’s getting ready for a night out, walking through the city with your headphones in, or trying to convince yourself that things are finally starting to feel okay again. What makes Love Letters so compelling is that it never settles into one emotional state. Joy and uncertainty coexist here. So do anger and comfort. MASCA allow the album to shift naturally through multiple shades of feeling, mirroring the instability of life itself. That emotional honesty is what makes the record feel so deeply recognisable. The production deserves praise for how carefully it supports that movement. The guitars snarl when they need to, the drums keep everything driving forward, and the vocal layering adds richness without ever feeling overworked. It still feels lived in, warm, and human. Nothing about it sounds distant or untouchable. For a debut, Love Letters feels remarkably self-assured. Not because it is trying to prove anything, but because it already knows exactly what it wants to be. MASCA have created something that feels made for every version of the listener: the one who is thriving, the one who is hurting, and the one who is somewhere in between. More than anything, this is a record about feeling seen. It meets you where you are, whether that’s in joy, grief, healing, or uncertainty, and somehow leaves you lighter than it found you. In a season built on movement and possibility, Love Letters feels destined to soundtrack the summer. Score: 8/10 Love Letters will be released on 3rd April 2026 via Cold Hard Bangers. Words: Con Macadam Photos: Masca

It really has been a long time since the boys in CORROSION OF CONFORMITY graced us mortals with an album. As much as it doesn't feel like it due to some disease-related shenanigans, 2018 was a really fucking long time ago. And now they've got a new album out, the first since stick-slinger and founding member Reed Mullin departed this mortal coil in 2020. Then during the pandemic, bassist and fellow founding member Mike Dean decided to step out, which left only two members, Pepper and Woody, to pick up the pieces. They must have deliberated for a long time, ultimately bringing in previous drummer Stanton Moore and bassist Bobby "Rock" Landgraf for their new record. After the longest hiatus between albums the band has ever endured, will it live up to the hype? As for the format, Good God / Baad Man is a double album, no points for guessing what the names of each half are. Given this, a lot of the tracks here harken back to the band's earlier days when they were steeped in punk-crossover worship. Doubtless, there’s still heaps of sludge in here, enough to tarmac a highway, so don't panic. It feels more like the band is feeling its way toward a newer sound with its newer members, yet it remains recognisably COC through and through. The opener, Good God? / Final Dawn, functions very much as an overture, it doesn't really stand on its own, but it primes you for the entire album experience to come. You're unlikely to see anybody saving this song into a playlist anytime soon. You or Me? is a forceful, propulsive arrangement that rides high on its beat until it dissolves into a strange ambient chamber, before surging back to energy to finish things off. Gimme Some Moore was almost certainly a jam name that stubbornly stuck as the song’s title. This track seems to be a showcase of their new drummer's vitality, resulting in an upbeat, sludgy number, though nothing life-changing. Bonus points if you catch MINISTRY's Al Jourgensen lurking on backing vocals. The Handler has quite a formidable riff behind it and some of Pepper's best vocal work on the album. You can picture yourself trucking down a long stretch of nothing to this one; it fits the bill like a glove. Bedouin's Hand has a peculiar name that oddly suits it; the guitar carries an eastern flair and the drums loosen their structure for a jammier instrumental passage. Run for Your Life is more of what we've come to expect from these guys, opening with a brilliantly flanged riff and delivering nine minutes of 70s-infused rock wisdom. Cool as fuck. This could very well be the direction COC might want to entrench themselves in going forward; more FU MANCHU-esque forays into the long, dusty instrumental side of their sound, more ruminative and unhurried than anything. The band as it stands now has palpable chemistry, and it would not be amiss for them to fully embrace this facet of their musicality. Kicking off the second side of the record with some beautiful patois, Baad Man feels like a long-lost GRAND FUNK RAILROAD tune, with an incredibly fun to sing chorus (“he was a reeeeeeeal badmaaaan!”). It could just as easily double as the end-credits music to a Bruce Willis film in which he stars as a mechanic taking revenge on a group of ruffians with a spanner. You'll have to listen to see what's meant by that, just picture it. Lose Yourself has one shot, one opportunity to impress, and what results is a song that doesn't distinguish itself in any particular way, though it does a decent job of filling out the album. Mandra Sonos is a one-minute lute solo that abruptly terminates with some GEEZERist N.I.B.-type bass licking, leading directly into Asleep on the Killing Floor, a pounding, bluesy track that barrels headlong like a big rig blocking the middle lane on the highway. Handcuff Country is one hell of a Southern number, low-riding on a bass groove so languid and carefree that it wouldn't be out of place in an episode of My Name Is Earl. Swallowing the Anchor is another groovy ditty that doesn't mean business until the almighty cowbell is introduced halfway through, then it really gets your feet tapping with a "neener-neener" guitar line. Brickman brings some much-needed tonal differentiation to the record, because as gratifying as the album's cavalcade of "driving down the highway, hell yeah" songs are, no listening experience is complete without a more contemplative number in the mix. The closing track, Forever Amplified, brings the sludge down in bucketloads across a six-and-a-half-minute cascade, featuring an extraordinary soulful turn from jazz-funk vocalist ANJELIKA "JELLY" JOSEPH, who belts out the album's final lines with conviction. For the more casual COC enjoyer, this should be the one to appease them, one hell of a strong closer indeed, and one that's reminiscent of the best material from Deliverance and Blind. Hooey. So what's the verdict on Good God / Baad Man? Buy the album. Buy the album so that you can put it on your turntable, CD player, lithograph, or whatever-the-fuck, and do some astral projecting. This really does feel like a double album, few songs particularly stand out in isolation, but the record as a whole simply works. That's more than likely down to the improvisational nature of the whole thing; the sense of the band committing more than a few jam sessions to tape and fashioning them into tracks is utterly palpable. There's also a musical freedom, a "fuck it" ethos that permeates the entire affair. "Hell, let's put a jazz-funk vocalist at the end there." "How about a five-minute guitar solo here?" "How about a monologue about suicide?" Ahhhh, fuck it! There's an effortlessness to it, something nonchalant and unencumbered that simply doesn't give a fuck, conjuring a musical flow-state that translates directly to the listening experience. It's the sonic equivalent of sitting on the porch on a long, sweltering summer's day in your rocking chair, shotgun across the lap and hooch in hand, just waiting for the next thing to wander too close to your property. There's no doubt that Reed would be proud, gratified that the band still makes good music for the sake of it. The record feels far more unguarded than their previous albums, and that's a damn good thing. Run free, Corrosion of Conformity, the time has come for you to assume your rightful place as reeeeeal badmen. Score: 7/10 Good God / Baad Man will be released on 3rd April 2026 via Nuclear Blast Records. Words: Kiarash Golshani Photos: Danin Drahos

Directions is the debut album from KNUMEARS, a rising screamo trio from LA. It blends bone-crushing drums, gritted-teeth guitar solos, and harrowing screams that throw listeners into a mental mosh pit or push them to scream out their own emotions. Since forming in 2021, the band have grafted their way through the music scene, progressing from local shows to touring the US. They have carved their own path, ignoring any how-to formula, instead turning the amp up to eleven and unleashing raw, unfiltered emotion. The opening track Introduction lives up to its name. It builds slowly around a repeating scale, layering guitars and intensifying drums while shifting tempos to create tension and anticipation. One Light, Sunshine begins with the ticking of a clock, as if warning that something is about to erupt. It quickly explodes into a barrage of screams, guitars, and drums that hit like a stampede. A mid-track drum break offers a brief moment to breathe without losing momentum, before the crashing guitars drive the song to a head-banging finish. My Name opens with a bass-led build before bursting into distortion and overdrive. Like earlier tracks, it balances chaos with a brief melodic pause, giving just enough space before plunging back into intensity. Sharp, abrasive amp noise becomes a recurring theme, echoing the sound of a sudden high-speed turn. Breaking Ground highlights this best, drawing clear influence from earlier screamo acts, reminiscent of Sorry You’re Not A Winner by ENTER SHIKARI. The unified screams carry a strong sense of anger and release. The title track Directions slows everything down. Its distant drums and blurred guitars create an almost secretive, atmospheric feel. It acts as a reset point, building anticipation for what follows, though it risks stalling the album’s momentum. Untitled abruptly pulls the listener back in with crushing force. Deafening screams and rapid guitar work dominate, flowing seamlessly into Bridged. While standing alone, the connection between the two tracks is clear. Bridged stands out, particularly for its drumming, shifting from intensity to near stillness before closing with a powerful, unified finish. Fade Away, the album’s lead single, is dynamically ferocious. Blending past and present elements of the genre, and featuring JEFF SMITH of JEROMES DREAM, it serves as a perfect introduction to the band despite appearing later in the track list. Friendly Face keeps the energy high as the penultimate track. It is relentless, driven by aggression and emotion, and demands to be played at full volume. The North closes the album on a fitting note. There is a sense that everything has been poured into this final track, with the band’s voices merging before the guitar slows to an almost reversed sound. As the final notes fade, the brief silence allows space for reflection. Directions reflects a band with a clear vision. KNUMEARS aim to establish themselves in an ever-evolving metal scene, and this album is a strong introduction to their raw sound and potential. The tempo shifts and sustained energy are particularly effective. Its unpolished nature works in its favour—it feels authentic, immediate, and real. A very promising future lies ahead. Score: 7/10 Directions will be released on 3rd April 2026 via Run For Cover Records. Words: David Waites Photos: Kara Aguilera

Reigning from Arkansas, LEVELS have delivered the latest instalment in their ever-impressive and diverse discography, This Will Make You Feel Again. Entering their tenth year as a band, this stands as arguably their strongest release to date. LEVELS are often described as a cyber/industrial group that fuses multiple elements of metalcore, and this album reflects both their journey and growth. Following the success of Pulse, which surpassed 1 million streams, they leave no style untouched and no influence ignored, crafting something close to a masterpiece. The album opens with Blue Heaven. Synths build the track before dark, ominous vocals align with a bassline reminiscent of the opening scene of Blade, creating a striking introduction. The vocals shift into something more “human-like,” transitioning between styles as if two entities are battling for control. The influence of BRING ME THE HORIZON is clear, with the track feeling at home alongside their POST HUMAN: NeX GEn material. Godlike hits with immediate force. Rapid shifts between high and low screams showcase KOLBY CARIGNAN’s vocal range and control. The synths blend seamlessly with pounding drums, giving the track a mosh pit-ready energy, with subtle elements reminiscent of PRODIGY woven throughout. While the album flows cohesively, Death Dance stands out as a potential standalone track. It moves unpredictably, shifting between trance-like rhythms and explosive bursts of energy, keeping the listener constantly on edge. Black Dove follows, driven by the drumming of DALTON KENNERLY, which elevates the track into anthem territory. It carries a heavy, BAD OMENS-esque sound that will resonate with fans. The bridge introduces a sense of euphoria, and even as the intensity returns, the structure maintains its momentum effortlessly. Drawing a comparison to THE WEEKND within a metalcore context may seem unusual, but Fume immediately evokes that atmosphere. The fusion works seamlessly, adding another layer to the album’s diversity. Fragile is the softest track on the album, but it avoids any sense of fragility. Blending pop elements with metalcore foundations, it feels suited to late-night reflection, carrying an emotional weight without losing its identity. Feel experiments with a drum and bass style. Despite being the shortest track, it acts as a moment of calm within the album, offering an addictive rhythm that complements rather than disrupts the overall flow. Covert One maintains the album’s intensity, reintroducing aggressive screams alongside tight instrumentation. JAGER FELICE and JACOB HUBBARD combine effectively, delivering a track filled with vicious breakdowns and a strong melodic core. Strange Things leans back into the band’s darker, almost “vampire-core” aesthetic. Its stop-start structure and heavy screams drive the energy forward, making it a clear standout for live performances and festival settings. The Grave closes the album exactly as needed. It brings together all the elements explored throughout, without ever feeling cluttered or excessive. It serves as a definitive statement of the band’s identity and sound. Creating an album that maintains momentum while shifting between genres and influences is no easy task. LEVELS achieve this with confidence, crafting a cyber metalcore record that feels both expansive and cohesive. They continue to evolve on their own path, improving with each release. This is essential listening for any metalcore fan. Score: 10/10 This Will Make You Feel Again will be released on 10th April 2026 via SharpTone Records. Words: David Waites Photos: Levels

In the summer of 2017, the music world lost an icon: Chester Bennington, the lead singer of LINKIN PARK, DEAD BY SUNRISE and STONE TEMPLE PILOTS. A pioneer of the nu-metal genre, he possessed a voice that defined a generation and a soul treasured by millions. Nearly a decade later, the legacy he left behind remains just as powerful today as it was during his lifetime. On his birthday, we remember the legacy of Chester Bennington. LINKIN PARK, Chester’s most recognised band, are widely regarded as one of the defining faces of the nu-metal movement. The genre itself blends elements of hip-hop with heavy metal, and the band’s sound was shaped heavily by Mike Shinoda, whose ability to incorporate hip-hop rhythms and groove helped create LINKIN PARK’s distinctive identity. Yet it was Bennington’s emotional intensity that gave the music its depth. The band’s success ultimately came from this powerful combination — a group of musicians whose strengths perfectly complemented one another. Over the years, LINKIN PARK built an anthology of incredible albums and unforgettable tracks. Their songs contain everything that defines a rock anthem: crushing guitar riffs, iconic melodies, and unforgettable hooks. But beyond the instrumentation, it is the lyrics that continue to resonate. Their music explores themes of pain, anger, grief, and internal struggle — emotions that many people find difficult to articulate. Through BENNINGTON’s voice, these feelings were given clarity. Hearing his words, whether through headphones or sung by thousands in arenas years later, proves that these songs are truly timeless. Chester Bennington was a global phenomenon. His voice remains one of the most distinctive in modern music, capable of transitioning seamlessly from melodic singing to powerful, heartfelt screams. Whether heard through headphones or witnessed live in front of tens of thousands of fans, his ability to connect with an audience was extraordinary. His stage presence and emotional authenticity allowed him to captivate crowds in a way that very few performers ever achieve. Chester’s influence extended far beyond music. For many, he became a beacon of light for those struggling with mental health and addiction. He was widely praised for speaking openly about his own battles, allowing others to feel less alone in their struggles. Through his honesty and vulnerability, countless listeners found comfort, understanding, and sometimes even the strength to seek help. When Chester died in 2017, the world was left shaken. Fans across the globe felt heartbroken, lost, and vulnerable. Yet his passing also sparked an important global conversation about mental health. People began speaking more openly about their own struggles, recognising shared experiences and supporting one another. For many, that vulnerability became a source of strength rather than silence. The awareness that grew in the wake of his death continues to have a lasting impact within the mental health community, reminding people that many battles are fought silently — and that no one truly has to face them alone. When a band loses a member as significant as its lead singer, it can often signal the end. History has seen this with bands like INXS after the loss of Michael Hutchence, or NIRVANA following the death of Kurt Cobain. Maintaining the same energy and connection with fans can feel impossible. Stepping into that space is an enormous challenge for any musician. Emily Armstrong has taken on one of the most difficult roles in modern rock as she performs alongside LINKIN PARK. Rather than attempting to replace Chester, she honours his legacy. During performances of songs like Crawling, she often allows the audience a moment to reconnect with the memories those opening notes bring before delivering her own powerful interpretation. It is clear she approaches the role first and foremost as a fan of the music and the band’s history. Together, the band continues to honour their former frontman with respect and pride. Some moments remain too sacred to revisit. The song One More Light, arguably one of the band’s most emotionally powerful pieces, has been laid to rest as a live performance — a tribute preserved in memory rather than on stage. In 2026, LINKIN PARK continue their journey with a world tour, including headline appearances at major festivals such as Download Festival. Fans will gather in their thousands — not only to hear the music, but to reconnect with the spirit of Chester Bennington, the band, and the community he helped create. The world lost a truly special man — a titan within the metal scene. But his legacy, his message, and the memories he created will continue to endure for generations to come. Chester Bennington will remain forever in our thoughts. If you or someone you know is struggling with mental health issues, please reach out. You are not alone. Mind - 0300 123 3393 https://www.mind.org.uk Andy’s man club - https://andysmanclub.co.uk Young minds - youngminds.org.uk Rethink - https://rethink.org Mindout - 0300 7729855 or 01273 234839 https://mindout.org.uk Change grow live - 01642 673888. https://www.changegrowlive.org Words: David Waites

Despite forming thirty-three years ago, this is only the second time Phoenix based GREY DAZE have graced the UK soil. Initially founded by the late Chester Bennington, they made headlines and solidified their place in rock history with some iconic songs. After pausing making music in 1998, the band reformed with original drummer Sean Dowdell and with a new front-man, but the same killer sound that fans know and love. After touring for a while with their back catalogue, reissuing songs and mastering songs with Bennington’s vocals layered atop of new music, the band announced a new single Fake Little Lies. This would be the band's first song with new singer Cris Hodges. Paying homage to the original vocalist whilst also giving this band a new lease of life to a new audience. Opening the night are Manchester rising stars PAVÉ. Opening with The End Of Us, vocalist Alayna-Jade’s pitch, energy, and range showcased that this band is another hit in the roster of female fronted bands taking over the scene at the moment. Throughout their set they played a blend of new songs and more established numbers showing that they know how to create hit songs. From slow song If It Hurts where the crowd's phones lit up the room, to headbanger Whatever The Cost where Alayna-Jade demanded the room to move, the openers played with the confidence of a band that has been around for decades, refining and honing their craft to a fine art that is just stage brilliance. From the moment GREY DAZE stepped onto the stage, the audience could sense that it would be a special night. Not only was this the band's first time in Southampton, but they were going to make sure the audience never forgot every moment of their show. Opening with More Than I Can Offer the band reminded the audience that the music that was made thirty years ago is timeless and packed with energy. Throughout the night the band flipped between newer songs such as Fake Little Lies and Saturation to older classics such as Wake Me and Just Like Heroin. This allowed the audience to truly appreciate the seamless transition from old to new and solidified their sound decades later. The whole band seemed to feed off the energy from the crowd and you could tell that they enjoyed every moment just as much as the audience did. Despite having huge shoes to fill, Cris Hodges took to the front-man spot with enough charisma and talent that any band could wish for.. Cris spent the evening not only tearing up the stage but also interacting with the audience. From standing at the barrier, allowing fans to scream the words with him, to shouting out those that sung with him. He was constantly building that connection between the audience and the band to create something truly magical. Within the show there was a poignant tribute to Chester by Hodges. Telling the audience “Yes we are writing new music. Yes we are moving into Grey Daze 2.0. But we will never forget the legacy of Chester Bennington”. It allowed the audience to appreciate the legacy that Bennington has left not only to the band, but the wider music community. Audience members lifted glasses, raised torches, and lit lighters while the band played Soul Song and Sickness, proving to the world that the spirit of Bennington lives on through his music. Ending the show with Shadows and B12 was nothing short of a perfect ending. With the band playing on stage and Hodges weaving his way through the audience to interact with as many fans as possible, it truly felt like the night should never end. Like it needed to be captured and kept as a memory, never to fade away. It may have taken GREY DAZE over thirty years to come to the UK shores, but it was certainly worth the wait. Words and photos: Laura Davies