Here at Out of Rage we've been really enjoying the change in seasons - longer days, sunlight that's no longer just fleeting glimpses, and of course, the warmer weather. What better way to enjoy it than by cracking open a cold drink, putting your feet back, and blasting some new tunes? Here's what we've been listening to lately: Catch Your Breath - Blood Money Back with another banger, Texan melodic metal/hard rock band CATCH YOUR BREATH, gives fans their newest single Blood Money to sink their teeth into as they gear up to take on the Australian leg of their tour. Coming in hot with a powerhouse drumbeat from the off that rips heavier as the track progresses, accompanied by biting guitar riffs and vocals that range from a soft rawness to intense growls, Blood Money commands attention from start to finish. Creating a fresh sound that packs a punch whilst keeping the familiarity of echoey distortion and gritty synths, all backed by the deep emotional undertones and catchy chorus that CATCH YOUR BREATH has mastered, this track is sure to be on many ‘top repeated’ playlists! Words: Ash Atlantic Foo Fighters – Caught in the Echo FOO FIGHTERS are so back, with a sound that feels inspired by their Wasting Light and In Your Honour eras. Caught in the Echo is the latest red-hot track from their upcoming album Your Favorite Toy, releasing 24th April through RCA Records, featuring the distinct FOO FIGHTERS sound that have blessed our ears for decades. From Dave Grohl’s raspy yells dropping to silk-smooth tones, to the seamless instrumentals that weave around each other and build to a cacophony, Caught in the Echo is yet another release from this band of Titans, that grabs you and bodily throws you into the pit during the breakdown of sizzling guitar and drum solos while Grohl repeatedly screams “Do I?”. Hell yeah he does! Words: Julia Stark Good Kid – Cicada Jumping straight in with a tune catchier than the flu, GOOD KID have released another classic indie track, Cicada, designed to get you jumping. Featured on their upcoming release Can We Hang Out Some Time? through Good People Record Co., Cicada steps straight in with Michael Kozakov’s melting bass line that keeps a grip on you all through the song, swiftly followed by guitarists David Wood and Jacob Tsafatinos playing an upbeat sound in harmonised tandem, and John Kereliuk’s snappy, fast-paced drumming. Vocalist Nick Frosst completes GOOD KID, with surging notes and a subtle doubt on “I could be, I suppose, someone you should get to know”, perfectly delivering the awkward nonchalance and hope of catching someone’s interest. Words: Julia Stark Love Rarely - Severed LOVE RARELY are the ones to watch this year, roaming around the country far beyond their northern hometown. Severed gives us a perfect taste of their fantastic blend between math rock and hardcore. The song touches on a father-daughter relationship, tying in with the marionette and porcelain doll visuals from the music video. The piercing vocals and screams intertwine beautifully with the soft instrumentals, LOVE RARELY’s talent bleeding out from every crease. The band have just jumped off a tour with THE CALLOUS DAOBOYS, right ahead of their first album release and festival appearances at Burn It Down, 2000 Trees and others. Words: Mariia Bulkina The Meffs – Business THE MEFFS are all party in the front and back, with their scorching new track Business, calling out the moving goal posts of society and the industry, how they “don’t fit their mould enough” in a dog-eat-dog world, and how they don’t give a fuck about ticking boxes. Crashing into your eardrums ahead of their second album, Business, released 11th September through LFG, the title track launches into an immediate crescendo of cymbals and britpunk beats by drummer and backing vocalist Lewis Copsey, weaving in with distorted riffs to rip into you from guitarist and lead vocalist Lily Hopkins, creating a dangerous sound that feels like THE MEFFS are saying “come and have a fucking go”. Words: Julia Stark Olive Vox – 14 Years Featuring fiercely produced instrumentals and raw vocals, OLIVE VOX have created a track that captures the frustration and yearning of “taking the long way” working up to something for no payoff. New single 14 Years features vocalist Parker James baring his soul, altering between soft pleas of “give up” and gravelly shouts on the chorus. Balancing out these vulnerable lyrics is Caden Shea, with riffs climbing to sudden bursts of lasting notes; Dayton Phillips keeping a steady, almost understated drum beat until unleashing on the bridge; and Ben Reid twanging a deep bass rhythm that adds emotional weight to the quiet moments. OLIVE VOX have given us a song that is heartfelt and heart-pulsing all at once. Words: Julia Stark Sleeping With Sirens - An Ending In Itself SLEEPING WITH SIRENS’ new track An Ending In Itself is a charged return. It marks their return to Rise Records and their first release since the Complete Collapse era. This track blends sharp nostalgic riffs with a polished modern edge, embracing post-hardcore roots while maintaining their arena-ready sheen. Kellin Quinn’s soaring emotionally strained hooks cut through layered guitars. The breakdown is heavy but slightly formulaic, yet lines like “we’re not the same” hit with conviction. Named with quiet finality, An Ending In Itself feels less like closure and more like a rebirth, setting the tone for a potentially pivotal new chapter. Words: Angel Turley Violet Grohl – 595 Alternating between a dreamlike sound and gnashing 90’s grunge, VIOLET GROHL brings a style that’s nostalgic and heated with 595, featured on her upcoming album Be Sweet To Me, releasing on 29th May via Aurora Records. Recorded with a variety of musicians, a method inspired by the “spirit of the Wrecking Crew session players in the ’60s and ’70s”, 595 encapsulates the vintage and seedy feel of the 90’s that’s inspired the entirety of Sweet to Me. Hushed riffs accompany Violet Grohl’s husky vocals and evocative lyrics, broken up by jarring bass and kick drums, before coming together in a commotion of rugged instrumentals. Prepare to feel transported back to ’95. Words: Julia Stark Editor: Naomi Colliar Duff Photos: Various Artists

ARTIO are a band like no other in the scene right now. Self produced, fiercely underrated and hailing from Leeds, the band headed out on tour fresh off the back of the release of their new album, Soul Rot. This record is an emotive ode to existing in a world not built for you, to creative burnout, and to the ever evolving journey of one's own identity. With the setting for the evening being the Deaf Institute in Manchester, a venue known for its intimate gigs and atmospheric, historic charm, ARTIO were able to get up close and personal with the fans who came in their droves to experience the show. For the Soul Rot tour, ARTIO proclaimed ‘Long live the local band’, and stood by this sentiment throughout, by inviting a band from each city to open up the set. For Manchester, this was the queer/grunge/shoegaze outfit BIG CAT CHIC, a five-piece band formed in the city in 2023, who bring “a new kind of fierce and feisty for your playlists”. With vocalist Eliza Waite at the helm, bringing SIOUXSIE SIOUX vibes, with matching winged eyeliner, the crowd were blessed with a high-energy live performance, with tracks merging heavy riffs, serious grooves, and dark glam inspired power. Alt rock trio HIGH REGARD, the main support for the Soul Rot tour, took to the stage soon after. Fronted by vocalist Georgia Casey, the Hertfordshire band bring the kind of energy you would usually expect from a headliner - relentless crowd engagement, big movements that almost outgrew the stage and a crowd full of fans who know every word even before the song starts. Set highlights included explosive opener Life Sentence, See Me, and Buried Alive, which is the newly released single from their Warning Signs EP. HIGH REGARD are a band who are clearly destined for bigger stages and bigger crowds, with closer Dead To Me bringing the set to a loud, chaotic conclusion. ARTIO are a band who choose a story for their record and with it, birth a piece of lore for fans to play along with. Soul Rot is an album that personifies this artistic integrity perfectly and their set at the Deaf Institute delivered the biggest and best songs of their discography so far, with a sixteen song set list, opening with an alternate version of Soul Rotting, a transitional track from the album, which features the band and fans repeating the line ‘Please call me back my soul is rotting’. Lead vocalist Rae Brazill, along with bassist Ieuan Jones and guitarists Rob Arkle and Jai Akhurst, are no stranger to connecting with their fans in a way that most bands struggle with; they take the needs and abilities of the crowd seriously, with Rae asking “for those who are able, I want to see you jump.”. It might have seemed like an insignificant gesture, but for those gathered in the crowd, it was an important shift from the norm. ARTIO are a band who consistently play accessible venues, where possible, and ensure their fans are safe, comfortable and at the very least, enjoying every moment they are watching the performance. The set list was an expertly created journey through Soul Rot, with most of the tracks on the album making their way in the performance. The crowd were treated to The Devil You Know with guest vocals from CODY FROST, Soda, Full On Fight For Fun, with guest vocals from Jevan Langridge, the drummer for HIGH REGARD and the fan‑favourite and sometimes tearjerker, Room Tone. The band made sure to reach backwards in time to the tracks that made them who they are; letting Head in the Sand, Finger on the Trigger, Babyface, Product of My Own Design, and Pyrokid surface naturally, each one folding seamlessly into the flow of the night. In keeping with the themes of Soul Rot, Rae also denounced the rise of AI‑generated art, reminding us that art comes from the soul and that is something AI could never replicate. The message was met with cheers and chants of ‘Fuck AI!’, cementing the fact that ARTIO are a band of authenticity and that their DIY ethos is still kicking. Following a quick interval, the encore wrapped the show, Seven Suns shining as the closer. Both ARTIO and the crowd dug deep for one last burst, with voices soaring, adrenaline high, the connection between them holding strong through the final note. ARTIO remains a band intent on moving forward, carrying a self‑produced sound that cuts through the everchanging landscape of the music scene. Their fans clearly trust them to steer the ship and the mutual respect between stage and crowd is something genuinely rare. Words: Lou Viner-Flood Photos: Simon Flood

HELLRIPPER remain one of the most exciting forces in underground metal, creating a refreshing take on many classic areas of metal whilst creating something wholly unique and powerful. This latest release, Coronach, from one man Scottish blackened speed metal modern legend is a showcase in what HELLRIPPER can do as a musical force. As a collection of tracks they complement each other while they remain stand alone tracks. Being a one man project when it comes to recording there is a positive element of singularity as the vison of metal mastermind James McBain does not get lost. On the other end it avoids the trait of becoming a project of ego, instead the true nature of being a passion project is evident. From the opening guitar of Hunderprest immediately launching you into the world of HELLRIPPER , you get that rare feeling where the music is so intense your hair stands up on your arms. Featuring slightly heavier vocals than the band is known for using, whilst still being in the same camp of extreme metal. HELLRIPPER are not the heaviest band in recent memory but metal does not need to get heavier to push the genre forward, great song writing in metal is what pushes the genre forward and Coronach as an album achieves this. The DIY ethos of HELLRIPPER is commendable, but their sound is not lo fi, instead every instrument rings through as a collective group of power. The guitars as with all Hellripper projects is the strong point, they can be brutal and strangely beautiful in delivery. Many of the solos will simply melt your face off with their sheer level of ferocity. Every time they appear in a track is at the perfect moment and helps create a new level of enjoyment. Hunderprest is the longest track on this project weighing it at eight minutes and forty eight seconds. It avoids any of the failings longer songs often can have, the main worry is that longer tracks can end up boring. The track is an exiting journey celebrating everything HELLRIPPER can place into one track. A complete statement of metal music intent. Carving its own identity within the world of metal. Any use of classic metal ideas aren’t cliché instead they are a part of the DNA of what makes great metal truly special. The diverse musical influences of James McBain aren’t always talked about but it appears it’s what has led to HELLRIPPER avoiding anything stagnant within music. This also seems to be the reason the song writing stands above everything, as it isn’t simply rewriting what has been, instead it’s defining what can and will be. With HELLRIPPER being such a young project there is an element of maturity within the music, but this does not remove from the simple blissful metal joy the music creates. Every track is delivered in a complete package. The title track itself works perfectly as a stand along long metal experience but also retains it’s own identity. Having eight tracks the album is on the shorter end but this means nothing on it out stays it’s welcome. The album is in the metal tradition of giving you just enough you crave more. Overall the album is a delightful release in metal. When the metal world often feels like band’s are pushing the same style to try and get named the heaviest band around, song writing often gets lost. This latest album by HELLRIPPER is a collection of eight songs that showcase why they are truly modern day greats. It’s everything you crave in metal in a tight package. Score: 9/10 Coronach will be released on 27th March 2026 via Century Media Records. Words: Will Freeman Photos: Hellripper

The Nashville five-piece CHAMBER are back with a vengeance. Releasing their debut full length Cost Of Sacrifice in 2020 and following up with 2023’s A Love To Kill For, it comes time for their third full length to obliterate the ear drums of any and all in their way. Enter this is goodbye…, a pummelling piece of metallic hardcore mosh music that dares all comers to step to the plate and make a mess of the nearest jaw. Forged in the fire of the daily grind under the permanent uncertainty and lack of comfort that our modern life provides, the LP holds nothing back in its discussion of the toll of the rat race - as vocalist/guitarist Gabe Manuel alluded to discussing the album; “Any band that's trying to get out of just playing local shows and actually tour has to be involved in what I refer to as the rat race of competing for people's attention – online and trying to play shows. And that took a toll on me personally. I love spending time with my friends in CHAMBER. We love each other very much, but the toll of being on tour, sleeping in the van every night – and wondering if you've made the right choice by making what you're doing your primary creative focus – can weigh heavy. If there’s a theme to the record, it's us reckoning with that and deciding that we are doing the right thing, and that it is worth the bullshit that you go through being in a band.” Opening the entire album is a spoken word quote – “Forever is too much for a soul to endure.” Setting the nihilistic tone quickly on opener arms for eternity, whilst belying the furious energy of the song to come, is a bold statement and one that pays off in droves. Backing up that message time and time again, from the ceaseless sense of finality and crushing weight of everything to the incredibly poignant and deeply heartbreaking addition of a funeral recording to finish the song angel, they pull no punches. Whilst discussing the album, Manuel explains the quote in angel further - “That recording is actually from the funeral of my friend who passed away, and who the song is about. I've wanted to use that clip for years and that just seemed like the perfect opportunity.” Other such songs provide a different sense of the band, where violins shows off the impact that math-core has had on the band and their evolving sound, whilst pale blue (why) allows the more expansive and dour end of their sonic palette to take the fore and crush the light at the end of the tunnel into nothing but a speck of dim, desaturated yellow you might find emanating from an old flickering lamp on the streets of the rough part of town that you try and avoid at all costs. Each moment spent listening to the album feels like an exercise in gazing the futility of life in the eye and not blinking first. The raw, abrasive emotion found across the record - particularly notable on resurrect, found nearing the end with a feature from Vincent Bennett of THE ACACIA STRAIN - is deeply impassioned and honest, whilst the jagged guitars and unpredictable rhythm section serve to disorient and confuse the senses until you aren’t sure which way is up and what time it is, you’re just sure that everything sucks except for CHAMBER. Finale in revolving doors is not only noteworthy as the last track here, but also as the pseudo-title track for this is goodbye… as the record’s title is found within the lyrics on the last song. A suitably fitting way to come across such words, if ever there was one. It contains the most melody found on the album - which still isn’t much - and embodies the cathartic feeling of giving up under the weight of the world in a most melancholic manner that serves to simply further the band’s already potent dose of sadness and numbing. In short, this is goodbye… is a chunk of fantastic metallic hardcore that will be as good for inciting crowd killing as it will be for sucking every ounce of your happiness out and replacing it with an ominous sense of dread. Whilst not a listen for the faint of heart or mind, CHAMBER have set themselves up to be one of the most talked about and celebrated acts of the year within the heavy underground. The album is a phenomenal piece of anguished music that rips from beginning to end, never once letting up or easing off, and shall rightly be lauded for years to come. Score: 10/10 this is goodbye… will be released on March 27th 2026 via Pure Noise Records. Words: Jasmine Longhurst Photos: Chamber

Brighton screamo/post-rockers CHALK HANDS are soon to release their sophomore album; they planted the seeds of their sound with their debut record Don’t Think About Death, incorporating elements of screamo, ambient, post-hardcore, and math rock, and with their new release The Line That Shapes the Coast of Us, we witness those seeds grow into something massive: a record that very much defines the band. Intro Ember Lane is CHALK HANDS laying all their cards flat out; they showcase each and every element that will be running through the record, and incorporate it all into a track that’s not just a banger in its own right, but a functional teaser for the eleven-track journey we’re in for. We’re led in with a shimmering intro, shoegazey elements the immediate forefront of the track. There’s a sombreness to it, yet it feels freeing at the same time. A light guitar riff joins the mix, and leads into a rolling drumbeat, which establishes an intensity for classic screamo vocals to capitalise on. Pauvre de Moi follows after and hits the ground running, leading in with a frenzied clash of drums and racing guitars. Despite the fact this is sung entirely in French, the vocals are strong enough to wrench at our heartstrings, emotionally captivating even in another language. Day Glow is as the name suggests, a lighter track; calmer strings lead us into a brief respite from this inner turmoil. This doesn’t last forever though - a minute in, familiar math rock riffs make an appearance, harmonic guitars intertwining their melodies. Later on, A Comfort You Borrow turns up the intensity, throwing us into a harsh wall of sound before giving way to some groovy repeated riffs; this is the shortest track of the album, but it serves as a strong tie-in to follower Peregrine. Drums crash like cliffside rocks into the ocean, and harsh waves of sound roll in one after another, sweeping us over and bringing us out to sea with them, where we float, aimlessly, surrounded by ambient peace and brief, soft, echoing vocals. It’s not long before we’re back in the swell, though, with a chaotic harshness that leaves our ears ringing. It’s this kind of contrast that CHALK HANDS excel at; they’re able to channel the forces of dark and light, of hope and bleakness, into their music, leaving us torn between emotional states. A Surefire Way to Disappear is a perfect example of this - the introductory ambient-shoegaze section is a beautiful composition in itself, and it soon brings us into a chaotic soundscape backed by the lyrics that lend themselves to this record’s title: “A line that shapes the coast of us/We live by the ocean/And die by the ocean”. If there was one track to represent this LP, it would be this. Rewired Eyes goes heavy on the screamo, harsh dissonance the main element of this track; the guitar rhythms of Tom Lester and Antoine Mansion do well to offset it between sections, intertwining melodies with Ben Moore’s basslines throughout. Your Skin Is Gold serves as a showcase for the talents of CHALK HANDS’ drummer, Gary Marsden, incorporating blast beats, ringing percussion clashes, and an anticipatory build-up to the finale backed by repeated chants that echo the track’s title. These vocals fade out to mere echoes, bringing the album to an end quietly and calmly. Sleep Tapes is more an epilogue than a finisher, a tranquil almost-instrumental piece that gives us closure to this emotional journey. They cap off this record by leaving us with a question: “What sky will I meet/When I finally sleep?” The Line That Shapes the Coast of Us is a defining record for CHALK HANDS; unpredictable, unique, and covering every possible point on the musical spectrum of their influences. Waves of post-hardcore, screamo, and math-rock crash into each other, rolling over and spilling onto sands of tranquil ambience. Undiscovered brilliance lies with this band, but with this record in this repertoire, they’re sure to reach new heights. Score: 8/10 The Line That Shapes the Coast of Us will be released on 27th March 2026 via Dog Knights Productions. Words: Naomi Colliar Duff Photos: Chalk Hands

THRICE are one of the most enduring and creatively restless bands to come out of the late 90s post‑hardcore scene, and are known for constantly reinventing their sound while keeping a core emotional and philosophical intensity. After being a band of almost thirty years, forming in 1998 in Irvine, California, watching them take to the stage of Rock City on St Patrick's Day was a special moment; getting to watch a band who are still bringing the crowds together, with fans from their more melodic post hardcore years of the late nineties to early noughties, all the way to their reformation and reinvention of a more melodic, atmospheric experimentation of the more recent years. Support for the evening was just a single band, French post-rock/noise band LYSISTRATA. Opening with Death by Embarrassment, the band blew away the crowd. From the first note, the band delivered a sharp, focused set, blending math-rock, post hardcore and grunge-leaning heaviness, which created a sound that felt energetic, but not chaotic. The momentum of the drumming from Ben Amos Cooper, along with him also delivering the main vocals of the band, built up an incredible atmosphere. Guitar from Theo Guéneau and bass from Max Roy solidified the atmosphere on stage, and down on the floor. The shared vocals across the trio worked impeccably and held everything together. Despite only playing an eight song set list, which closed with Mourn, a track that came in at just under seven minutes long, LYSISTRATA not only warmed up the crowd for the impending arrival of THRICE, but they imprinted such an energy on us all, that everyone in the room was more alert and engaged than usual for watching a single support band, showing just how effective a line up with genre aligned bands can be. THRICE are a band who occupy a rare space; they have been a band for almost thirty years, are incredibly technically skilled but also emotionally grounded. They have a way of being experimental yet accessible, their influence runs deep within the post-hardcore scene, and though they are a constantly evolving quartet, they are still as relevant as they were when they formed back in 1998. They opened the set with Blackout and Gnash, two tracks from their 2025 album Horizons / West, before wasting no time bringing out the big guns and performing fan favourite, The Artist in the Ambulance, from the 2003 album of the same name. The room erupted into a singalong with lead vocalist Dustin Kensrue at its helm; when just a few notes of a song are played, and the crowd are already moving around, cheering and getting ready to sing every word, after only two songs, you just know that the night is going to be a good one. What followed was a steady journey through the back catalogue of THRICE; Hurricane and The Window from their 2016 album To Be Everywhere Is to Be Nowhere, Holding On, Crooked Shadows and The Dark Glow from the 2025 album Horizons / West and then, throwing it back in time for some nostalgia, Paper Tigers and Stare at the Sun from The Artist in the Ambulance. Next came some love for the 2005 album Vheissu, in the form of In Exile and Of Dust and Nations. Though the crowd were full of energy and from early on, the pit opened up and the crowd wasted no time in getting stuck in, the vibe was not as chaotic as you would come to expect from a post hardcore band. This is far from a criticism; it felt like a unified association of people, enjoying the moment and getting from it exactly what they needed. Teppei Teranishi delivered lead guitar, keyboards, backing vocals with a calm sensibility, alongside Eddie Breckenridge, on bass guitar, synthesizer and backing vocals, and Riley Breckenridge on drums. The final stretch of the evening, which was one filled with strong guitar solos and even more enlivened singing from the crowd. THRICE returned to the 2016 album To Be Everywhere Is to Be Nowhere with Black Honey, which was one of the biggest tracks of the night for the crowd singing along, following up with Albatross and Beyond the Pines, the only song of the set from 2018 album Palms. Rounding off the set was Robot Soft Exorcism and The Earth Will Shake, with a return to Vheissu. THRICE had played a set of almost two hours, taking fans on an epic odyssey through their back catalogue, filling the crowd with a nostalgic warmth and longing. They returned to the stage for a two track encore; performing Vesper Light and finally, Deadbolt from the 2022 album The Illusion of Safety. Ending with this track had a clear intention: a final surge of energy that left fans wanting more while underscoring a simple truth - THRICE may have been around the block a few times and reshaped their sound with each journey, but at their core, they remain the band who took what they had and made it unmistakably their own. The scene will see many bands come and go, but it looks like THRICE is forever. Words: Lou Viner-Flood Photos: Kelsey Tomlinson

There’s something quietly overwhelming about Growth, the debut record from London’s WILDERNESSES. It’s not overwhelming in volume or intensity, but in the way it makes you feel. This is an album that asks you to slow down and sit in your thoughts, to notice what’s around you, and to reflect on things you might usually avoid. It’s genuinely beautiful, not in a polished or artificial way, but in how raw and honest it feels. Rooted somewhere between the atmospheric swell of EXPLOSIONS IN THE SKY and the fragile intimacy of BON IVER, WILDERNESSES craft a sound that feels both expansive and deeply personal. They exist in that space between shoegaze, post-rock, and alt-folk, but what defines Growth isn’t genre, it’s emotion. Everything is built around feeling, from the angelic vocal harmonies to the carefully layered instrumentation that never overpowers, only supports. The opening stretch of the album sets the tone perfectly. Sleepless, an instrumental, feels almost meditative. Smooth electric guitar lines and a gentle drum build create something that’s not just pleasant to listen to, but genuinely reflective. It doesn’t feel like an introduction so much as an invitation into the album’s world. That seamless transition into Happy Hollow only deepens that feeling, with soft, layered vocals and delicate harmonies that feel almost weightless. The guitar line weaves around the vocals rather than sitting beneath them, creating this sense of everything moving together in one emotional current. One of the album’s strongest qualities is the ability to shift without ever breaking that atmosphere. Tracks like [Dread] bring a more powerful, driven energy, with stronger vocals that cut through more directly. It’s a reminder that emotional intensity doesn’t always mean quietness, and the contrast only makes the softer moments hit harder. That’s especially true with English Darkness, which stands out as one of the most affecting points on the record. The stripped-back feel allows the vocals to take centre stage, and they’re stunning in their clarity. The lower register feels grounded and intimate, while the harmonies sit so deeply in the mix they almost feel physical. It’s the kind of track that makes you pause, not because it demands attention, but because it deserves it. Elsewhere, songs like Maintenance carry a weight that’s hard to ignore. There’s something in the way the lyrics and instrumentation come together that feels almost overwhelming in its honesty. It’s the kind of song that makes you want to cry without fully understanding why, which feels fitting for an album so centred around reflection and internal experience. Even in its quieter or shorter moments, like Cassino, the album never loses its sense of purpose. These tracks don’t feel like filler, they feel like space. Space to breathe, to process, to sit with everything the album is asking you to feel. By the time Summertime, 1917 closes the record, there’s a sense that you’ve been taken somewhere rather than just listened to something. It’s a powerful ending, slightly more uplifted musically, but still rooted in the same emotional core. It doesn’t try to resolve everything neatly, and that’s what makes it work. Life doesn’t resolve cleanly, and neither does Growth. What makes this album stand out is how cohesive it feels. There are no skips, no moments that feel unnecessary. Every track contributes to the overall experience, building something that feels immersive and complete. It’s rare to find a debut that feels this fully realised, this confident in what it wants to be. At its core, Growth is about reflection. About grief, resilience, and the quiet ways people carry on. It doesn’t present these ideas in an obvious or over-explained way, it lets you feel them instead. And that’s where its strength lies. But more than that, Growth feels important. Not just as a debut, but as a piece of art that meets people where they are. It captures something difficult to put into words, that feeling of being human in the middle of everything, the pain, the beauty, the confusion, and the quiet endurance of it all. In a time where so much music competes to be louder, faster, or more immediate, WILDERNESSES have created something that does the opposite. Growth gives you permission to slow down, to reflect, and to feel without judgement. The kind you return to when you need to process, to understand, or simply to not feel alone in what you’re carrying. And in that sense, Growth isn’t just a beautiful record. It’s a necessary one. Score: 10/10 Growth will be released on 27th March 2026 via Floodlit Recordings Words: Con Macadam Photos: Joey Atchison

S8NT ELEKTRIC move through decades of rock on their debut album OFF THE EDGE, creating melodies and shreds that take inspiration from every era. OFF THE EDGE is both distinct in its sound and varied in its structure, providing a listening experience that is notably S8NT ELEKTRIC and a journey through the boundaries of their sound. The lead musician of S8NT ELEKTRIC seems to be Niko Tsangaris on lead guitar, and is the driving force of the push of their sound from the old to the new. The first full track Catacombs, and the first half of on the edge more widely, has a classic rock air to it; the focus is on electric guitar melodies and instrumental sections with shredding guitar solos. The movement into a more modern feel comes around Mirror Image, which sticks to chords a little more strictly despite the lilting but haunting melody that carries through the track and interjects some pain into the otherwise angsty track. This mood returns by penultimate entry The River, which hits the present day persuasion of an indie rock/emo song in its intro then spacing out through its runtime to fittingly create a soundscape for walking in the rain under an umbrella. The layered guitars add to the pop rock feel, with the wishes of not forgetting bringing back the angst and feeling like a resigned sigh. Though perhaps a matter of personal taste, the guitar-focus does lead S8NT ELEKTRIC to fall into the pitfall of overrunning movements to allow for the showing off of prowess. The last section or ending of every track on the album features a 15 to 30 seconds where Tsangaris’ takes the floor which becomes a little repetitive if the listener is not guitaristically inclined; a foregrounding of whole-band movements or of letting other musicians in S8NT ELEKTRIC have a turn would have been a welcome variation to this trend. Despite the guitars taking centre stage instrumentally, there is plenty of room for Trey Baker’s drumming to shine through. This is first in single and second track How2Feel, where in the breakdown the sharp yet light handed beats on the rim and cymbals create a Latin edge to an otherwise heavy track. Further on the hidden-snare beat in Under That Smile is the main thing that stick about the track overall, while the second half of OFF THE EDGE has XTC’s floor-lead adding to the more sensual energy of the track and is the last example needed of Baker’s well-rounded ability behind the kit. This ability is part of what keeps OFF THE EDGE sounding fresh in every track yet cohesive overall; being able to build drumlines on varied conventions opens up combinations with the shredding and power chords of the guitars above that do not need to change as they are placed on a beat that carries them to new places. A moment should also be taken for Bri Carbajal’s vocals, whose pop-style tone adds the genre to S8NT ELEKTRIC's fusion but lower tone and newfound scream maintains the rock and roll edge of the instrumentals she performs to. Carabajal would benefit from trusting themselves more with belting and foregrounding her vocals in the song writing process; more screams and more belts from her would be welcome and fitting for the soundscape behind them. While sonically sound, the song writing presents the main problem for S8NT ELEKTRIC in their first release. The writing style is simplistic - not a problem in itself but with the on-the-nose words and theming is a strong indicator of a freshman project that can pull the listener out from a listening experience. Going back to How2Feel the hook of who are you when the lights go down?” is good, but doesn’t quite anchor the chorus when it opens with the vague “you never know how to feel/when it all just goes away” and its follow-up Peace of Myself “give me something to believe/you know I need it” feels like a line that they were struggling to finish writing. The line delivery on each track is still solid, but the vagueness of the lyrics throughout OFF THE EDGE suggests that a bit more time spent on crafting lyrics will be beneficial to S8NT ELEKTRIC as their distinctive sound picks up the traction it is warranted. Overall, S8NT ELEKTRIC's debut is a well rounded introduction to their sound, perfect for fans of CREEPER and fusing the old and new conventions of rock with ease. The sound is distinctively theirs while falling nicely into the alternative rock sphere, moving between the high energy and the resigned angst to create something a little rough around its edges but packed with authenticity. Score: 7/10 OFF THE EDGE was released on 20th March 2026 via Long Branch Records Words: Julia Brunton Photos: Long Branch Records

Slam Dunk Festival has long been one of the UK’s most beloved celebrations of alternative music, building its reputation on bringing together the best of pop-punk, hardcore, metalcore, and alternative rock. What started as a relatively small gathering has evolved into a staple of the UK festival circuit, balancing scene legends with the rising acts shaping the future of heavy music. Taking place on Saturday 23rd May in Hatfield and Sunday 24th May in Leeds, this year’s lineup continues that tradition, offering everything from chaotic hardcore to soaring alt-rock hooks and genre-bending newcomers. With so many bands stacked across each day, planning your schedule can be a challenge. Here are ten acts that should absolutely be on your radar at Slam Dunk this year. KNOCKED LOOSE Few modern hardcore bands have climbed the ranks quite like KNOCKED LOOSE. The Kentucky outfit have spent years grinding through relentless touring schedules, steadily building a reputation for ferocious live performances and an uncompromising sound. That momentum exploded with their latest album You Won’t Go Before You’re Supposed To, which topped UK Rock & Metal album charts and cemented their place among the most vital names in heavy music right now. What makes KNOCKED LOOSE so compelling is that, despite the success, their energy still feels rooted in the underground hardcore scene that raised them. Their shows are chaotic, cathartic affairs where the barrier between band and crowd practically dissolves. Expect massive pits, stage divers, and an atmosphere that feels less like a festival set and more like a basement show that’s somehow grown to enormous proportions. BOSTON MANOR Blackpool’s BOSTON MANOR have spent the past decade evolving far beyond their pop-punk beginnings. Early releases leaned heavily into emo and melodic punk influences, but over time the band have pushed into darker, more experimental territory, blending alternative rock textures with the emotional honesty that defined their earliest work. This year’s appearance carries extra weight as they celebrate ten years of their breakthrough album Be Nothing. with a special anniversary performance. For long-time fans, it’s a rare chance to hear the record that launched the band into the spotlight played in full. Expect huge singalongs, emotional highs, and a reminder of why BOSTON MANOR’s loyal fanbase has stuck with them through every reinvention. GUILT TRIP Manchester’s GUILT TRIP is proof that hard work in the underground still pays off. What began in small venues has steadily grown into appearances at major festivals like Download Festival and Hellfest, with the band earning a reputation for absolutely feral live shows along the way. Their sound blends hardcore with flashes of beatdown brutality, thrash intensity, and just enough melody to keep the songs memorable long after the set ends. When they last appeared at Slam Dunk in 2024 they left a serious impression, delivering one of the weekend’s most chaotic performances. With an even bigger platform this year, expect something louder, heavier, and far more unhinged. STAND ATLANTIC Since forming in Sydney in 2014, STAND ATLANTIC have grown into one of modern pop-punk’s most exciting global exports. Their early EP Sidewinder and debut album Skinny Dipping helped establish a sound built on punchy guitars and instantly memorable hooks. What makes the band stand out now is their willingness to stretch the genre’s boundaries. Their music pulls from a wide mix of influences, weaving pop, alternative, and electronic elements into their fearless pop-punk core. On stage that blend translates into a vibrant, high-energy performance packed with infectious choruses and undeniable momentum. Their return to Slam Dunk promises to be one of the weekend’s most lively sets. THE HOME TEAM Few bands in the scene are having as much fun with genre as THE HOME TEAM. The Seattle group have built a following around their slick fusion of pop melodies, heavy instrumentals, and irresistible groove, creating a sound that feels as playful as it is powerful. After years of DIY touring, the band eventually signed to Thriller Records, marking a turning point that has helped them reach a much wider audience. Their music has already made the rounds across social media platforms like TikTok, and chances are you’ve stumbled across one of their ridiculously catchy tracks online. Despite that viral popularity, THE HOME TEAM are far from a gimmick band, with a tight, groove-heavy sound and sharp songwriting that easily holds its own on stage. UNPEOPLE One of the most intriguing new names on the UK alternative circuit, UNPEOPLE have quickly carved out attention with a sound that balances emotional weight with explosive instrumentation. Their music channels frustration, vulnerability, and social commentary into towering riffs and soaring vocal harmonies that feel tailor-made for festival crowds. Their self-titled debut EP in 2024 drew strong praise from outlets including Metal Hammer and BBC Radio 1, helping them build a fast-growing fanbase. 2026 marks their debut at Slam Dunk, making it one of the most exciting rising star sets of the weekend; new bands often arrive with something to prove, but it doesn’t feel like UNPEOPLE have to. VUKOVI Scottish duo VUKOVI have built a reputation for being wildly unpredictable on stage, and that’s exactly what makes them so thrilling to watch. Their music jumps between punchy alt-rock riffs, glossy pop melodies, and bursts of electronic chaos, all delivered with total confidence. Frontwoman Janine Shilstone’s commanding presence turns every performance into something theatrical and electric, pulling the audience straight into the band’s high-energy world. Jagged guitar riffs and cool electronic textures collide throughout their live sets, creating a sound that feels both rebellious and addictive. When VUKOVI hits the stage, the crowd rarely stays still for long. STATIC DRESS STATIC DRESS have become one of the most talked-about names in the UK’s modern post-hardcore revival. Their music blends metalcore intensity and screamo influence with early-2000s aesthetics into something that feels both nostalgic and completely fresh. Despite achieving major milestones - such as performing at Download Festival and supporting BRING ME THE HORIZON on their 2024 UK and European tour - the band have kept a strong DIY spirit at the centre of their identity. Their attention to storytelling and world-building gives every release and performance a unique atmosphere, enthralling live crowds and turning each set into something closer to an immersive experience than just a gig. With the band hailing from nearby Leeds, their Slam Dunk appearance also carries a sense of hometown pride. BURY TOMORROW Over the past two decades, BURY TOMORROW have carved out a place among the UK’s modern metal elite. They’ve honed a signature balance of crushing heaviness and soaring melody, creating a sound that hits hard while still delivering huge emotional moments. Their previous Slam Dunk appearance in 2021 proved just how powerful their live show can be, combining precise musicianship with an energy that spreads through the crowd instantly. Across multiple acclaimed albums and countless tours, they’ve built one of the most passionate fan communities in the scene, making their return to the festival feel less like a simple booking and more like a triumphant homecoming. DYING WISH Portland’s DYING WISH are among the fiercest modern voices in hardcore. Their music carries a raw emotional intensity that cuts straight through the noise, pairing blistering instrumentation with lyrics that confront difficult and deeply personal themes. Their latest release, Flesh Stays Together, captures that relentless spirit perfectly, blending vulnerability with uncompromising rage and heaviness into a sound that refuses to soften its edges. The band have already shared stages with artists like POPPY, SPIRITBOX, and LIMP BIZKIT, proving they can hold their own alongside some massive names. Making their first appearance at Slam Dunk this year, their set could easily become one of the festival’s most intense moments. Whether you’re diving headfirst into the mosh pit or shouting every lyric back at the stage, these ten bands should be firmly pencilled into your schedule when Slam Dunk 2026 rolls around. If you’re ready to be part of the action, tickets and further information can be found here. Words: Zuzanna Pazola Cover Photo:

There is a difference between loud punk and necessary punk. CRIMSON RIOT land firmly in the second category, and with Third Time’s A Charm, they're not just making noise, they are making a point. Out March 20 via Leg Lamp Records, the band’s third full length arrives with clarity, urgency, and a sense that this is the record where everything finally clicks. Let’s start with the centrepiece. State Of Despair does not ease you in. It hits immediately with speed, tension, and purpose. Originally planned as a later single, the band moved it forward because they felt they could not stay silent, and that decision defines the track. It sounds urgent because it is urgent. The chorus sticks, the message is direct, and nothing feels diluted. That same energy carries across the album, but what makes Third Time’s A Charm work is how it balances intensity with structure. This is not chaos. This is controlled, deliberate songwriting. The opening run sets the tone fast. Third Time’s A Charm feels like a mission statement, confident and forward moving. Decades Past follows with a more reflective edge, while Mold Age digs into themes of growth and identity without losing momentum. By the time Cross The Line hits, the album is fully in motion, sharp, energetic, and already proven as a standout through early radio support. Crack In Foundation adds tension, hinting at instability beneath the surface, before State Of Despair arrives and delivers the album’s core message. It is the turning point, both musically and lyrically. From there, the second half keeps pushing. Demons Disappear maintains the pace, Red Flag sharpens the confrontational tone, and Fear Mongerer leans fully into the band’s refusal to stay quiet. These tracks do not just follow the single, they reinforce it. The closing stretch adds something important. Here’s To You, featuring members of BUCK-O-NINE and LO(U)SER, shifts into a more celebratory and reflective space without losing energy. It feels earned rather than out of place. My Story and Broken Neon Lights round things out with a slightly more personal tone, giving the album a sense of completion instead of just ending on volume. What stands out most is how tight everything feels. The band’s chemistry is obvious. Having played together for years, they move with precision. The riffs hit hard, the rhythm section drives everything forward, and the vocals cut through with intent. There is no wasted space. Lyrically, the band are just as focused. The album takes a clear stance against sexism, racism, bigotry, and fascism, and it does not try to soften that message. It is direct, sometimes confrontational, and fully aware that not everyone will be on board. That honesty is part of what gives the record its weight. There is also a sense of growth here. The production is bigger, the songwriting more refined, but nothing feels overdone. It still sounds like a punk record, just one that understands how to hit harder by being smarter. If there is a challenge, it comes down to expectation. When a band delivers this much energy and purpose, the bar moves up. The question is not whether they can keep up, it is how far they can push it next. Right now though, Third Time’s A Charm feels like a defining moment for CRIMSON RIOT. It is focused, it is loud, and it actually has something to say. If you want punk that moves fast, hits hard, and means every word, this is it. Score: 8/10 Third Time's A Charm will be released on March 20th 2026 via Leg Lamp Records. Words: Kelly Gowe Photos: Crimson Riot

The Winter Circus’ debut in the UK was an energetic ska party driven by the 90s ska-punk royalty LESS THAN JAKE. From start to finish, every band was full of energy and love of performance; by the end of the evening the packed O2 Academy was primed for the weekend as they filed out into the crisp Leeds air. The BAR STOOL PREACHERS set a perfect tone for the evening as they opened the festivities, delivering their 90s punk with peps in their step. After set openers Choose my Friends and Trickledown, frontman Tom McFaull let the Academy know the sixome’s ethos: community, equality, and family. He took the time to praise Yorkshire’s community spirit and reminded Leeds to never look down on anyone unless they were picking them up. This sentiment set a warm tone for the rest of their eight-track set, filled in the middle with a cover of COCK SPARRER’s Suicide Girls, followed by the first single from their next album Pick a Side - an anti genocide, pro-Palestine anthem with the money raised being donated to those suffering in the Gaza strip. As their set rounded out McFaull’s large stage presence could not be ignored: saying the crowd sounded over fourty when the loud cheer came, playfully telling the crowd to shut up as they ‘woah’ out of time during Flatlined, or beginning each band’s fixation with starting the “Yorkshire” chant, that is a staple at any Leeds show, with a beaming smile. McFaull himself could not stop dancing as he shimmied his way around the stage, boogieing equally with the rest of the band and the O2 Academy, with the guitar players dancing among themselves when he was doing the latter. Their closer, the self-titled Bar Stool Preacher, had McFaull making sure the crowd’s knees were up for the final two step for their set, but not before plugging the one off Huddersfield show they were performing with follow up act THE AQUABATS! the Sunday afterwards. All in all THE BAR STOOL PREACHERS were the perfect opener for The Winter Circus: full of energy and a strong ethos that cultivated a warm environment for the evening. After twenty minutes, the tape rolled for California natives THE AQUABATS!, whose set was no less than a sensory assault in the best way possible. A high concept, racing tempo ska punk band, they ran onto stage in their blue and black supersuits as the countdown started for their ten-track performance. The opener was The Shark Fighter!, a bloopy anthem describing their escapades against the fish as a smash cut of 70-90s tv show and movie clips, mixed with clips from their TV show ran at full speed behind, while large inflatable sharks were launched into the crowd. The follow up Cat With Two Heads! came with instructions on the screen behind: shout, as if it could have been heard over the top of the blaring horns and power chords. The stage show itself was a chaotic cabaret featuring battles with zombies and an appearance of the mythical yeti. The sharks also were not the only inflatables that hit the crowd throughout their set: massive pizzas were floating atop standing during Pizza Day! — someone made a good attempt at crowdsurfing on one of them, and the classic beach balls during the set closer Pool Party!. Like these set pieces, the tracks themselves are fun, with formerly mentioned Pizza Day! portraying a time in the school canteen with their favourite food — pizza, and the latter, Pool Party!, recounting an invitation of the cool kids over to the pool. Words cannot quite capture the elation that THE AQUABATS! cultivated in their set, with highlights including groups of friends jumping around in an embrace during the only love song Red Sweater!, or the guy dressed in the swim cap, superhero mask, and the top of THE AQUABATS! uniform. Their half an hour was packed full and offered the Winter Circus a true piece of punk theatre. By contrast, THE BOUNCING SOULS’ performance was markedly calm and muted, with more focus on the music than the theatre. Using Don’t You by SIMPLE MINDS, the band strolled onto the stage with polite waves and genuine smiles, then began with Hopeless Romantic. The amount of crowd-work was small, taking three songs before asking the venue to sing along to Manthem. This did not phase the crowd, perhaps happy for the time to save their energy, as they clapped and cheered between tracks. Frontman Greg Attonio introduced themselves during their cover of AVOID ONE THING’s Lean on Sheena. He also did take the time to dad dance during The Something Special which was only accentuated by the blazer/t-shirt/flat cap combination he was donning. The second half of their set included a taste of what was to come for THE BOUNCING SOULS, including an unnamed song that they had finished recording two weeks prior, the end of which quickly pivoted to circle pit fodder East Coast! Fuck You!, their ode to their home state of New Jersey. This did mark the energy returning to the O2 Academy, as they focused on the all out punk of their 90s discography - this still warranted Attonio’s dad dancing as he jankily swayed around the middle of the stage in a way that was endearing. This calm before the storm was exactly what the room needed, as when LESS THAN JAKE arrived to close out the evening, it got boisterous. LESS THAN JAKE’s Winter Circus was a picture of red and yellow, completed with lights stringing down from the ceiling and print outs of circus performers to each of the sides of the stage. The voiceover welcomed the O2 Academy to the show before the quintet opened with Nervous in the Alley, which quickly had the crowd moving as chaotically as the branded air-dancers to the back of the stage. The crowd-surfers continued to fly during History of a Boring Town, after which Chris DeMakes started the “Yorkshire” chant once again, beaming gleefully as he asked for it to be performed at his funeral. While common for bands to play up being in their favourite city each date, there was a true air of genuineness as DeMakes and Roger Lima spoke over each other to explain how much they loved being in Leeds. The jest about making sure to give Leeds a Friday night to the glee, as the O2 Academy started a circle pit to Lie to Me, was palpable, as was the reminiscing about their shows in the city dating back to the mid 90s, gaining a satisfying amount of cheers when the crowd was asked who had seen them in The Cock Pit in 1998. As they mentioned, if you love what you do, it does not feel like work, and by the end of the set DeMakes had described them as the “five luckiest guys on the planet” to be able to play their seminal brand of ska punk for a living; their gratitude for their careers is visible not only in the pride on their faces when they play, but the time they take to acknowledge as many people in the crowd as they can find. Back into the music and despite their ten album discography, they managed to balance quite well between their whole career. Hello Rockview took the majority, with Last One Out of Liberty City causing chaos, followed straight in with All My Best Friends Are Metalheads surprisingly early in the show. The single song from their newest album was propped up by Johnny Quest Thinks We’re Sellouts from Pezcore, highlighted by the skeleton men dancing across the stage and the proclamation that they could not play a show without it. LESS THAN JAKE could not help themselves but pick out a twenty-two year old in the crowd to remark that they were writing many of these songs when the younger concert-goers were not even born yet, making the comment before playing Happyman from 1996’s Losing Streak, but also made sure to joke on their OGs with a “we talk so you lot have time to get your energy back.” The closing of the night felt more emotionally charged, bar tromboneist Buddy Schaub having a go at conducting the “Yorkshire” chant just after Sunny Side. The last pre-encore offering was Plastic Cup Politics, followed by the members leaving the stage to wait for the demand of their return. This came in a brief spell of “Yorkshire” - though by this point Leeds were “Yorkshire”-ed out - then DeMakes took a quiet moment to perform The Brightest Bulb Has Burned Out Alone. Look What Happened? felt emotional as the penultimate track, with the full band giving their most muted performance. To finish was Gainesville Rock City, where the O2 Academy took their last chance to move the pit from side to side, and the smoke machines ran to close out the Friday Night of Ska punk partying. The Winter Circus was all that is well with 90s Ska: a no-pressure rock party entrenched in values of community and a deep love of subgenre that is hard to articulate. The love of the craft from LESS THAN JAKE is clear with the time taken to assemble the cream of the genre, as well as the time to create a tracklist to please any fan old and new. The evening was a joy from start to finish and was a perfect start to a weekend in North Yorkshire. Words: Julia Brunton Photos: Ace Cheng

It’s less than two months now until the festival that is the home of Stoner Rock, Doom, and Heavy Psych is upon us. Desertfest sees three full days of the world’s most iconic acts flock to London to play in some of Camden’s most stellar venues, including the Roundhouse, the Electric Ballroom, the Underworld, and the Dev. Last year saw the likes of ELDER and ZEAL AND ANDOR as headliners and the festival brought light (and doom) to the heart of London. This year will be the 14th edition of the festival, bringing HERMANO, GREEN LUNG, and CLUTCH at the top of the bill for each day of the long weekend. According to the organisers themselves, the days have been categorised: “Friday: a classic evening of stoner heaviness. Saturday: a celebration of homegrown talent. Sunday a platter of Desertfest dreams.” We’ve put together a list of some bands that we think will be worth your time if you are planning to attend the festival in a few weeks. This year there are so many great artists on the lineup, but here’s just a few of them. ALUNAH Birmingham, known as the home of BLACK SABBATH, has a track record for great metal music and ALUNAH are no exception. Over the last two decades, they have been building a following in the heavy rock world, and were even named as one of metal’s greatest bands to come out of Birmingham by Metal Hammer. Early last year, they announced that Daisy Savage from HOT LITTLE HANDS would be taking over as vocalist following the departure of Siân Greenway, and between now and then have attended a few European festivals. Desertfest sees their first show of 2026 and is sure to make an impact. CAPRICORNS London’s own instrumental doom band CAPRICORNS are making their big comeback for this festival. In their first show in 18 years following the band’s split in 2008, Desertfest will host them on the Friday of the festival at the Electric Ballroom. With no new material released, it is assumed they will be performing tracks from their two albums Ruder Forms Survive and River, Bear Your Bones. For fans of the true underground sound of doom from the 2000's this is a true rare opportunity and not one to let pass you by. CWFEN The atmosphere conjured by this Glaswegian four-piece is second to none, with a stunning debut album Sorrows last year and an unworldly presence. Desertfest will be the best place to catch them outside of Scotland this year (so far) so definitely seize the opportunity. Their sound is often described as “doomgaze” merging dreamlike soundscapes with a modern gloomy twist. CWFEN are still a relatively new band, so now is your time to get into them before they become massive. DAUFØDT A noisy outfit from Norway are making waves with their violent punk and noise rock fusion sound. DAUFØDT are high energy, high aggression and all noise. After their Norwegian Grammy win for their debut album the band decided to go full throttle in the album that followed, Glitter which came out in 2024. Now branching out of Scandinavia and parts of Europe, they are performing in the UK for the first time at Desertfest. FORLORN Elements of black metal, unworldly, rooted in paganism and showing a different side to the folk horror you may expect if you’ve witnessed others of this genre. Vocalist Megan Jenkins flits from an almost 80s pop pitch to pure horror screams with ease, and their debut album Aether is full of magic too. Their live performances are the kind that need to be experienced, often described as both brutal and beautiful, so be sure to witness it for yourself. GREEN LUNG We’re sure by this point you’re well acquainted with the Saturday headliners of Desertfest but just in case you’re not, this four-piece from London delivers stoner hard rock that is rich with storytelling. Their style stems from classic hard rock from the 70s that blends with modern metal, creating an identity with their theming and lyrical inspiration from British folklore. If you didn’t catch them at ArcTanGent last year at their headliner slot then this is the perfect opportunity to see them own the stage at the legendary Roundhouse. GNOME In the short time Belgium’s power trio GNOME have been in the scene, they have created a name for themselves as a fun and exciting band that cover elements of stoner, prog, and heavy metal. Last year, the band had two sold-out shows in the UK, including one at the Camden Underworld, and are set to sell out more with a couple of shows coming up in the countdown to Desertfest. Performing in their infamous red pointed gnome hats you can find them during the festival on the Friday at the Electric Ballroom. HERMANO Noted for featuring the vocalist of KYUSS, John Garcia, HERMANO consists of many other established musicians, including members of SUPAFUZZ and AFGHAN WHIGS. Originally set up as a side project the band has created its own identity with its heavy bluesy riffs and cult following. Desertfest sees the band return to the stage after a hiatus on the third day of the festival marking their first show in 19 years and a UK exclusive. Known as the band that never was, seeing HERMANO will be a bucket list band for both old and new fans. THE SWORD Despite their disbanding in 2022, THE SWORD have since regrouped and have begun touring again. Their appearance at Desertfest will be their first festival appearance in the UK since. Forming in 2003 in Austin, TX the band have solidified their place in the last two decades as one of the top bands in the scene, and their album Age of Winters has become a staple to stoner metal enjoyers all over the world with its immersive and intricate composition. Their expertly crafted music that is teeming with cinematics themes has developed an astounding cult following, and if you’re not part of it, you better be as these are certainly not one to miss. WITCHSORROW Mesmerising true doom formed by Necroskull (Nick Ruskell) and Emily Doom in 2005, and later joined by Scott “Doom” Taylor last year. The trio live and breathe doom and across their four albums they have brought doom and joy to many. Another for fans of BLACK SABBATH and CATHEDRAL with their traditional style doom that you can feel in your bones. Desertfest will be hosted in venues around Camden, London from the 15th-17th May. Weekend and Day tickets are available on their website. Words: Danielle Henderson Cover Photo: Cwfen by Klaudia Skalska for Out Of Rage