On Friday night, Birmingham's Asylum, renowned for hosting the infamous Total Uprawr, welcomed a night dedicated to deathcore as part of The Hell Is Here, Hell Is Home Tour. With doors opening after 6pm, fans steadily filtered through the venue, many stopping first at the sprawling merch tables before gathering around the stage. The lineup, featuring BIG ASS TRUCK, PSYCHO-FRAME, INGESTED, and main event BODYSNATCHER, promised an evening of uncompromising mayhem and the Birmingham crowd arrived ready to throw themselves straight into it. Opening the night were BIG ASS TRUCK, who wasted little time igniting the room. Despite being the first band on stage, they immediately had bodies moving across the floor. Frontman, Abel Abarca, delivered a commanding performance, pacing the stage and urging the crowd into action while the rest of the band locked into their parts with near surgical precision. The pit sprang to life quickly as heads began moving in unison throughout the venue. A standout moment arrived with the opening notes of Bunkbed, which had the crowd audibly roaring before the breakdown had even landed. When it did, the reaction was instant. The following track only escalated things further as the crowd heated up, chanting the lines right back at the stage, turning the room into pep rally. BIG ASS TRUCK ensured their brief but impactful appearance set the tone for the rest of the evening. Next up were American deathcore collective PSYCHO-FRAME, who took the growing energy in the room and pushed it even further. Featuring two vocalists sharing the spotlight, the band brought a chaotic tag-team assault of gutturals and piercing screams that kept the audience locked in from the outset. Both frontmen moved constantly across the stage, jumping, headbanging, and unleashing piercing screams that cut through the venue’s thick atmosphere. By the time Blueprint To Idle Genocide arrived as the second track, the room had noticeably filled out and the energy had climbed another notch. A circle pit quickly formed as the band demanded movement, with bodies spinning across the floor while others threw themselves into the fray. Between songs, one of the vocalists grinned and declared that “this could be the best show of our lives,” a moment that only seemed to further ignite the already enthusiastic crowd. Encouraging constant participation, the duo ordered the audience to jump on command and welcomed any brave souls willing to attempt a crowd surf. While only one determined participant successfully made it over the barrier, the effort was met with cheers from both the band and the crowd. With relentless motion on stage and a barrage of scratchy screams and guttural delivery, PSYCHO-FRAME left the room buzzing and desperate for more. If the temperature had been steadily rising throughout the evening, INGESTED ensured things reached boiling point. The Manchester death metal heavyweights delivered a crushing performance that felt both ferocious and controlled. Stepping in on vocal duties for the tour, was Adam Mercer of DEATHSTROKE, who immediately proved more than capable of commanding the stage. From the moment the band launched into their opening tracks, the pit erupted once again. Mercer delivered cavernous gutturals that thundered through the venue, matching the band’s dense wall of riffs with ease. Behind him, the guitarists and bassist whipped their long hair in unison, headbanging through each punishing section while also contributing backing growls that thickened the already weighty sound. The set dipped into older material from the band’s catalogue, drawing a loud response from longtime fans in the crowd. A major highlight arrived with Impending Dominance, introduced as a personal favourite and delivered with crushing precision. Its groove-driven aggression carried a familiar intensity, sending the Birmingham audience into another frenzy of movement. By the time INGESTED wrapped up, the room had transformed into a furnace of sweat and anticipation. Finally, the moment the crowd had been waiting for arrived as BODYSNATCHER stepped onto the stage. With the venue now completely packed and the air thick with heat, the Florida outfit wasted no time launching into The Maker, instantly sending the pit into chaos. The band delivered exactly the kind of uncompromising performance that has cemented BODYSNATCHER as one of the most destructive forces in modern deathcore. Each crushing breakdown sparked another wave of movement across the floor as the audience responded with relentless energy. Tracks such as Wired For Destruction drew some of the loudest reactions of the night, with circle pits, headbanging, and the occasional crowd surfer adding to the already volatile atmosphere. By the time the final notes rang out, Asylum had become a sweat-soaked battleground of movement and noise. Every band on the bill had played their part in pushing the energy higher, but BODYSNATCHER ensured the night ended at its most ferocious point. The Birmingham crowd left thoroughly battered - a fitting end to a night that proved just how ferocious modern deathcore can be in a room like Asylum. Words and photos: Katie Edwards

When an album is titled with anything to do with peace, it’s rarely peaceful. If it’s the first in almost seventeen years, you know you’re in for a riot. Floridian post-hardcore heavyweights POISON THE WELL are back in the game, continuing their lasting legacy of being one of the most influential metallic bands for the hardcore underground. Following almost three decades of that signature primal desire to create brutality, Peace In Place has pushed past innovation, into a fragmented landscape that bears the well-worn scars of their own discography. Peace In Place is exactly where the band wants to be - caught between that well-earned nostalgia for long-time fans, whilst also being able to break the fast with a bold evolution of their sound. This is far from a comeback record, free from ‘gimmicks’ and ‘sell-outs’. POISON THE WELL are in a very different world since 2009’s The Tropic Riot, inflated by the stratospheric rise (and endless comparisons of influence) of artists like BRING ME THE HORIZON, NORMA JEAN and BAD OMENS. Whilst it’s easy to claim that in the time the band has been away POISON THE WELL have finally been given their flowers, this new album is the antithesis of arrogance, bleeding with authenticity and deep introspection. In conversation with Kerrang, it’s clear that vocalist Jeffrey Moreira found their bombshell return to the touring scene a reassuring place of self-confidence for the band. Large crowds at Outbreak and Furnace Fest gave the band a much-needed momentum for new music, vastly different from their small-venue shows they left back in the noughties. Underdogs by design, their twisted manifesto of unpredictability haunts the record twice in Moreira’s softly sung vocals: “I’ll change my colours and show myself out.” POISON THE WELL have never made an easy record. Sounding as raw as when guitarist Ryan Primack and drummer Chris Hornbrook started the band in high school, alongside guitarist Vadim Taver and bassist Noah Harmon, in the space of the record, they leave the door open to constant genre experimentation and attempts to tame the extreme. True to self and previous records in this approach, opener Wax Mask slugs djent-laden riffs and confrontational vocals. In desolate moments between the abrasion, fantastic moments of melodic contrast burst through like dappled sunlight. Primal Bloom continues the complex torment, adjusting to a more commercial tone that still wrecks havoc on the record. Thoroughbreds retorts with a looser punk-styled sound, reminiscent of ONE STEP CLOSER, as Everything Hurts twists the knife into the calmness with a vengeance. Gorgeous intertextured emotions peel themselves in layers from Peace In Place, exposing Moreira’s mortality in an organic progression. Whilst at times this feels imperfect and fleeting, with this lighter sound pushing against the high expectations of the record, its a moment for the listener to reconnect. Weeping Tones - despite what the title suggests - is airy and anthemic, centered around big emotional choruses. Feeling a world away from the darkness over the beginning of the record, twinned with A Wake Of Vultures, they are the standouts of the record. Gravity returns with Bad Bodies, and the balladic Drifting Without End drives the self-remorse home with prog-infused complexity. Melted brings the power back for one more refrain before a damaging final retort from Plague Them The Most. Peace In Place is a tightly woven tapestry, shifting between this GOJIRA-inspired ferocity in to the upbeat haze of the middle segment of the record. It bookends with aggressive clamour, opting to use the meat of this metalcore sandwich as standout statement pieces that dazzle in a live context. Each component, especially the guitar and vocals, are structured and technically impressive. In some ways, POISON THE WELL, having spent so much time away from making music, feels like an entirely new project in places. Maybe as a product of crossed wires or unrealistic expectations, this needs more time - and more music - to root a solid identity. Peace In Place feels transitionary, as everyone has to start from somewhere, and perfection is never obtainable. The band have always felt both of the moment and beyond their time. This record is no exception. Score: 7/10 Peace In Place will be released on 20th March 2026 via SharpTone Records. Words: Amber Brooks Photos: Poison The Well

The Portuguese masked collective are set to release their fifth album this week. Loss represents what the band has achieved so far, stretching across all corners of the metal genre to where they are today. Since the band formed in 2016, they have navigated the black metal underground scene and are slowly coming to the surface, with a loyal following and stepping foot into bigger venues. Although the members are faceless, they still somewhat have clear identities, each are named with a Greek letter. We have bassist Rho, guitarist Beta, drummer Xi, guitarist Delta, and vocalist Alpha. Last year saw the band tour with groove metal giants ORBIT CULTURE, and this year they will be taking to the UK and Europe for some headline shows in the autumn. Taking a side step from the post black metal they are known for, in this album we get to see another side of GAEREA, with haunting melodies and clean vocals. Eager to not become another trying to follow in the footsteps of the likes of BEHEMOTH, the five piece have broken away and discovered their true distinctive sound. The album was recorded in Portugal with long time collaborator Miguel Teroso, reinforcing the moment of evolution the band are undertaking, branching out whilst the roots remain the same. As Loss begins, Luminary rolls in. Beautiful, reflective and hard hitting all at once. The pacing in this track is really solid and well rounded, setting the bar high for what’s to follow. Where you think it’s going to head into another breakdown it ends, leaving you in a state of anticipation. The last ninety seconds of Submerged are a joy to listen to, with an ethereal quality overlaying both instrumentals and vocals making you feel part of something bigger. The beginning of Hellbound inserts you into what could be a video game soundtrack, before exploding into the first verse. Gut wrenching throughout the track thrashes without abandon, the lyrics hinting to betrayal. Cyclone awakens the clean vocals, which match the sway of the instrumentals perfectly, the guitar riff bending to its needs. As the momentum builds, the track passes back and forth between the urgent screams and delicate singing. The quietness only lifts the emotion, making the screams that more impactful when they kick in. Following on from Cyclone, LBRNTH is definitely an interesting one. Its electronic instrumental presence is such a switch up you’re questioning if you’re still listening to the same album. But upon a closer listen, it is more an interlude into Nomad, one of the album’s star tracks. Nomad is anthemic, crushing and demanding. Its soaring guitars and pounding blast beats are worth a mention, not forgetting the hauntingly beautiful interlude before launching into the final segment. If any song is going to make it big from the album, it’s this one. And to close we have Stardust, the longest track of Loss. Once again we’re met with clean vocals and this time a soft piano accompanying. “Are you still with me?” the lyrics call out, fitting for the final song. Throughout the piece switches between these softer instants and more intense bursts, overall it works surprisingly well, becoming an immersive story unfolding before you. Loss presents an unforgettable experience with both lyrical and musical highs and lows. The clean vocals are a welcome addition and why they add a certain element to the sound, they definitely don’t take anything away. In combination with their presence, they allow themselves to be free, exposing themselves to the masses without being known. Loss sees GAEREA settle into a style that is truly their own. Score: 9/10 Loss will be released on 20th March 2026 via Century Media. Words: Danielle Henderson Photos: Chantik Photography

Thrash metal is all about ferocity. The speed and technicality that is required to play this subgenre of alternative music is what makes it stand out. Seeing as how thrash metal was one of the first types of heavy music, it is no surprise to see that some, if not most classic bands are still around today, four and a half decades after its inception. This year, the legendary EXODUS mark their 41st anniversary as a a band. Not only is 2026 looking to be a huge year for them as they are set to tour with bands such as KREATOR and SEPULTURA, but this year also marks the release of Goliath, which is set to not only be one of the best thrash metal albums of the year, but also within the EXODUS discography. Hostis Humani Generis is the second track on the album and it is the first highlight. The track starts off relentless with a barrage of drum fills and in-your-face riffs that are sure to catch you off guard at first. The main riff continues into the first verse under the vocals. This is the first chorus that is catchy. It is yelled, in classic thrash metal fashion, but the lyrics are memorable and the guitar melodies underneath make it unforgettable. This is a patter in the first half of Goliath. There are two guitar solos here that are connected by a small bridge. The first one is short, yet effective, but it is the second solo which is the technical one which thrash metal listeners would come to expect, especially from geniuses such as GARY HOLT and LEE ALTUS. The track that follows kicks off with a riff that is as epic as it is bizarre. It is melodic one second and the next it is overwhelmingly heavy. This leads into a gorgeous build up with some incredible guitar harmonies before a different, heavier riff kicks. This leads into the introduction of the first verse. The chorus here features vocal layering combining clean vocals with the iconic ROB DUKES belts, and once the second chorus hits, the listener is fully invested in this track. The solo section on this track is much more traditional. The guitar solo begins right after the second hook and is elevated once again due to the harmonizing guitars, as well as the return of the incredible opening riff. That is when the chorus returns for the last time. The Changing Me ends with a much heavier version of the opening riff as the music and vocals fade out to the words of the song title. Promise You This is another must listen song. The main riff has a similar concept to the one in The Changing Me, but this one is much more violent, and as a result, the first verse is rowdier. The chorus, as a result, is much catchier than expected, and has a very old school melodic thrash metal sound, which contrasts the intensity of the verses. This first chorus is followed by a guitar solo which gets progressively more technical the more it develops and progresses. With the end of the solo, an epic drum fills returns the listener into a new verse, the second one of the track. A unusual song structural touch which helps it stand out. As expected though, after this second verse, the irresistible chorus returns for a last time. Violence Works is another song that has another incredibly unique riff to kick it off. This riff gets translated to a much more brutal version in the first verse, before it gets slightly adapted in the chorus, which is accompanied by one of the most impressive vocal performances on Goliath. A groovy bridge follows this before the guitar solo kicks in. Once again, this is a technical masterclass from HOLT who also is a standout throughout this entire record. Another small bridge follows the solo before the second verse which ultimately segues into the chorus to wrap the song up. The following song is by far the longest on this album. At just under eight minutes long, it has a lot to prove, as it does not start off fast. Instead, the band focus on a more groove based, ambiental opening three and a half minutes. After the second chorus, the main riff is sped up. This leads towards a more melodic, speedy first bridge which introduces the incredible guitar solo. It is fast, melodic and extremely, extremely virtuosic in sound. The solo ultimately leads into a final vocal section which is one of the easier sections to listen to due to how raw the clean vocals are, before slowing down once more to conclude the same way it begun. Overall, this is an album that is both exceptionally technical and musically. For the most part these songs are performed to an exceptionally high standard. The solos are almost always the perfect combination of technique and melody without being too long, and most of the choruses are memorable. Where the album slightly lacks is in how the bass is portrayed. It seems as if the bass is in the background for most of Goliath without getting too much of a chance to shine as opposed to the other instruments and the vocals. For a band that is so decorated and influential in the thrash metal scene to release something of this calibre is a testament to the musicianship and passion that exudes from this accomplished and experienced five-piece. With the release of Goliath, and with just over four decades now behind them, EXODUS have proven that they can still thrash around with the very best, and may continue to do so for another four decades. Score: 9/10 Goliath will be released on 20th March 2026 via Napalm Records, Words: Itay Gilad Photos: Jim Louvau

In a world on the brink of collapse, ravaged by hellish legions of cowboys, there is only one saviour we can turn to in our hour of need: Scotland’s COWBOY HUNTERS. Armed with lyrics sharp enough to kill and drumbeats that hit like rocket barrages, the rave-rock duo are one to watch - they’ve supported names like FRANZ FERDINAND and BOB VYLAN, and soon, WITCH FEVER, and have reached an incredible close-to-100k listeners on Spotify. They’re unpredictable, crass, and in every sense, fun - right down to the name of their upcoming debut EP, titled EPeepee. Spanning five electric tracks, this EP contains all the ingredients to their recipe of success; witty lyrics, bouncy beats, and mosh-worthy choruses to turn any venue into a sweatbox. The EP opens up with Have a Pint, a track laced with an element of nihilism the duo seek to subvert - everything sucks, but who cares? Let’s have a pint. COWBOY HUNTERS are here for a good time, not a long time. The world might be on the downturn, but there’s no point in sitting around moping, we should have fun while we can. “Bus, club, another club, another club” the duo chant, soon giving way to a floor-shaking, relentless chorus designed for live performances. They follow this up with witty fan-favourite Shag Slags Not Flags, containing standout lines like “43 with a flag in her bio/says she hates blanks but that is a typo.” Taking aim at internet racists hiding behind screens, the two come armed with doomy, crushing riffs, and razor-sharp lyrics that go right for the jugular. Next up is banger Cuntry Girl, a call to action from the pair; it’s anti-war, and pro-slaying the house down. “Serve cunt, not countries!” they chant, the four words that compose most of this tune. It’s a short and simple track, clocking in at only a minute and a half, but that’s all the band need to establish their message and leave us insatiable, hungry for more. Money for Drugs follows with a psychedelic rock influence, groove-laden riffs competing with a bombardment of drumfire. This is a chaotic battlefield, and they’re pulling us directly into the crossfire. While this track may build itself on repetition, it certainly doesn’t overstay its welcome, and soon leads into the final track. COWBOY HUNTERS have saved the best for last with Dust Caps. This is the duo at their most aggressive, brutal in not just their raw, scream-shouting choruses, but in their doom-laced rhythms and crashing drums. The riffs have grime in every groove, building up to an absolute belter of a finale that refuses to let up. In just five tracks, COWBOY HUNTERS have proven why they’ve cultivated such a fanbase in such a short time; their inherent energy surges through every track, with banterous lyrics, electric riffs, and heart-pounding drums. They promise every gig night will be a battlefield with them, mosh-worthy ragers their weapon of choice. If you haven’t caught COWBOY HUNTERS live yet, or listened to any of their tunes, you’re late to the party - catch up. Score: 8/10 EPeepee will be self released on 20th March 2026. Words: Naomi Colliar Duff Photos: Prescription PR

On Saturday night in the heart of Leeds University, at The Revolutionary, HOT MULLIGAN brought their Midwest emo sound to the stage as part of their latest European and UK tour for their newest album, The Sound a Body Makes When It’s Still. The venue was packed to the rafters and, although the band were slightly late to start their set, it did not affect the quality of the performance for a second. They last played The Key Club in 2013 and appeared at Slam Dunk last year, but this time they returned with a mix of new material and fan favourites to truly kick their UK leg of the tour into overdrive. Opening the night were local emo favourites BEAUTY SCHOOL. The band have been steadily storming through the Yorkshire circuit, with their big break arriving at the Slam Dunk festival. They were electric from the outset, immediately getting the crowd jumping and proving to be the perfect warm-up act. Their songs tackle tough emotional subjects while maintaining addictive melodies that had the crowd belting out lyrics. A special mention goes to lead vocalist Joe Cabrera, who had the audience fully invested and integrated into the performance. Even those who did not know the lyrics still felt part of the show — a trait that is massively underrated. Following them were Brighton-based DELTA SLEEP. Their indie rock style blends odd time signatures and unconventional structures, creating a unique sound that captivated the Leeds crowd. Their set began with a more subdued energy compared to the previous act, but their sound still carried weight. By integrating a range of styles, alongside soft vocals and poignant guitar work, they created a strong atmosphere. The venue’s acoustics worked in their favour, allowing their sound to resonate powerfully throughout the room. When the headline act finally took the stage, they opened with an acoustic introduction to their song before the calm quickly gave way to the storm, as the screams of Nathan “Tades” Sanville kicked in. Within seconds, pits had opened and crowd surfers were flying overhead. The bar had been set immediately — it was simply a matter of maintaining it. A particularly noteworthy performance came from the drummer Brandon Blakely, who delivered a drum solo that had hearts racing and blood pumping before crescendoing into a venue-shaking headbang as the band launched into It Smells Like Fudge Axe In Here. The floor shook under the weight of the bass and the jumping crowd. Forget blowing the roof off the place — breaking through the floor felt like the direction the night was heading. They continued with more of their latest material, highlighting the fiercely loyal fanbase in attendance, whose screams at times drowned out the band entirely. And A Big Load was a particular highlight, with the line “choking on your apologies” shouted back in a melodic battle cry as Ryan “Spicy” Malicsi delivered a mind-blowing guitar solo. The band also leaned into their humour, incorporating album interludes into the set — moments that many listeners often skip. “Always listen to the interludes,” they joked. “If you didn’t skip these you’d know what we were playing and it wouldn’t be awkward for you.” It was a subtle but creative touch that added to the band’s long-running comedic style. At one point the band asked, “Who is ready for some old crusty songs?”, the crowd responded with deafening screams as they launched into older material, instantly amplifying an already electric set. The transition from newer songs to the tracks that helped launch them into the emo scene felt seamless, showing just how well they understood their audience. Many fans likely discovered the band through their social media rise during the pandemic, which coincided with the success of their album You’ll Be Fine. With quirky song titles and an instantly recognisable sound, HOT MULLIGAN leave nothing behind when it comes to both their music and their live performances. The crowd itself split naturally into two groups. At the front were the die-hard moshers — fans who simply could not stand still, every note shaking them to their core. At the back, others stood almost trance-like, lost in the music in a kind of flow state. Two completely different energies, yet somehow perfectly in sync. The encore brought their two biggest songs. Normally, by this point in the night, energy levels dip — it was difficult to reignite that level of intensity after the music fades and the band walks off stage. But BCKYRD and Equip Sunglasses did exactly that. Fans left buzzing, voices completely gone — exactly how a gig should end. Front to back, shoulder to shoulder, the crowd was never still. Their energy fuelled the band, and together they created the night they both deserved. It was a Midwest emo party — an emphatic start to the UK leg of the tour and a statement of intent that their chaotic performances and crowd participation will continue to captivate crowds across the country. A must-see if there is even the slightest chance of getting a ticket. Words: David Waites Photos: Nik Bryant

The salt-tinged air of Brighton was home to Chalk, and despite being Friday the 13th, there was nothing unlucky about the night ahead. NOVA TWINS, childhood friends from London, have been on an impressive upward trajectory since the release of their debut album Who Are The Girls? back in 2020, snagging BRIT Awards nominations and landing spots on the bill of industry heavyweights like MUSE and FOO FIGHTERS. Now, in celebration of their latest release Parasites & Butterflies, they’ve hit the road with a headline tour of their own. Joined by punk firestarter BEX and the haunting gothic quintet VENUS GRRRLS the night promised a powerful celebration of female talent in alternative music. BEX flounced onstage in a flurry of bouncy red curls and nothing short of pure punk energy. She launched into ferocious vocallisations, and the crowd, who were mostly lingering by the bar, quickly turned their attention to the stage. Between songs, she revealed a different side: softly introducing herself with a borderline shy demeanour that was devoid of the explosive anger she’d just unleashed. Midway through, BEX pulled out a bass draped with a humble red fabric covering that was strewn with leopard-print stars. “This one's a swayer… I want you all to sway,” she told the crowd, before introducing the new and unreleased track. Fairies slowed the tempo of the show, but the punchy drums and solid bassline thread throughout kept the energy simmering. Opening a show can be tough, but BEX refused to let the initial hesitation from the crowd dampen her momentum. Between sharp, passionate dance moves and repeated calls for participation, she slowly pulled the crowd into her world. By her final song, Slave 2 The Grind, one member of the crowd joked, “Are you gonna stage dive?” and BEX took the challenge. Launching herself into the scattered crowd during the bridge, she surfed her way to the back of the venue before sprinting back to the stage, singing to members of the crowd along the way. Collapsing on the ground in laughter, her infectious joy emanated throughout the room, clearly winning over a whole new wave of fans. A stark shift from the whimsical punk of the opener followed as the witchy VENUS GRRRLS began setting up. Yet, it was clear that much of the crowd was already part of the coven, needing little persuasion from the powerful quintet. The band's eerie entrance was quickly disrupted by the powerful riot-grrl recent release 3x3. The lighting mirrored the band's aspired atmosphere throughout the set, bathing the room in a forest green as we reached the slower Glisten. The moment allowed vocalist GRACE KELLY to showcase her luscious tone, as occasionally her vocals couldn’t quite rise over ALANNAGH DOHERTY’s impressively thunderous drumming. While the rest of the band tuned their instruments, KELLY leaned fully into the occult aesthetic they had worked hard to create, turning the pause into part of the performance. As an eerie track pulsed across the venue, whispering phrases like “as above, so below,” she waved her hands amidst a smoke-filled room as if casting a spell, drawing the audience deeper into ritual. Closing with Eighteen Crows, the track that encapsulates them most, the band left the crowd elated, with a distinct sense that they had just been part of something dark, theatrical, and electrifying. By this point, Chalk was packed, with techs arranging giant white roses across the stage and draping the mics in black ones, and as the lights dimmed and synths rose, anticipation rippled across the audience. The duo burst onstage to the rising riffs of Black Roses, with vocalist AMY LOVE caressing the rose-wrapped mics as she sang. By the time Cleopatra arrived, the moshpit detonated, bodies surging forward at LOVE’s calls for the crowd to let loose. What began as a tentative pit steadily grew throughout the set, spreading further across the room until it became a whirlwind of sweat and movement beneath a glittering disco ball overhead. The band’s signature distortion translated impressively live, with bassist GEORGIA SOUTH effortlessly shifting the room's energy with the slightest tap of her pedal. During N.O.V.A, the devoted fans erupted, screaming back the title lyrics as SOUTH mouthed “say our name,” before diving straight back into the chaos. When the distorted bassline of Choose Your Fighter kicked in, the pit surged, becoming tighter, louder and more intense while those less keen to be in the eye of the storm filtered to the edges. At the song's climax, both LOVE and SOUTH leapt into the centre, a frenzied circle pit swimming around them like sharks as the bassline thundered throughout the venue. After thanking the crowd and scurrying back onstage, the audience was visibly spent, and the pit never quite regained its earlier ferocity. Following Piranha, the duo briefly left the stage before returning to loud applause. Rather than launching straight into their encore, LOVE paused to address the crowd: “Thank you so much for coming and supporting live music… In the age of TikTok where people have no attention spans, thank you.” They closed with Glory - a fitting finale to a powerful night of electrifying and unadulterated female punk. Words: Chloe Sodeau Photos: Ewan Mcdonald

Bearded Theory returns to Catton Park once again for another run and a fantastic showcase of artists for this independent music festival; scenic views, country air, and a family-friendly setting are what make this festival such a fun time, if you’re going, here are ten artists you simply can’t miss. PIXIES As the headliner and one of the most legendary bands of the 90's do you really want to miss these guys? Age has not slowed down PIXIES at all as they have been putting on some fantastic shows in the past few years; headlining arenas, festivals and showing crowds the versatility of what they can do. As the original Alt/Rock bands of the 80s and 90s you’d be missing out on one of the most influential bands in history, and you’d be missing out on such hits as Where Is My Mind? and Here Comes Your Man. CMAT An insane amount of buzz has been generated around this Irish pop star as of late, with her wit, talent and emotion, you can see why she’s gaining a lot of traction. Her stage presence and commitment are absolutely enough to warrant a visit to her set over the weekend alone; CMAT is known for taking the insane songwriting within their music and emphasising it for the live audience, adding to the larger-than-life persona you see on stage. Energy, humour and strong emotions are what you’ll experience from this set, so you don’t want to miss it. THE DAMNED Often cited as the original English punk band due to them being the first to officially release music, these punk rockers started at a young age and have never stopped committing to the UK punk movement since its inception in the mid 70s; never holding back, always sticking it to the man. Seeing this set means you’re seeing a pivotal part of music history, this band's experience, energy, and musical prowess is really a sight to behold. EVERYTHING EVERYTHING A band whose strange lyrics and odd musical composition are all a part of their charm, there’s some serious musical talent within the confines of this band, they have some seriously strong vocals led by Johnathan Higgs and some instrumentals that are quite remarkable to hear live, with some songs to make you cry, some songs to boogie to, you can’t go wrong with a bit of EVERYTHING EVERYTHING. FAT DOG We’ve talked a lot about this band, and what more really can be said? They’re loud, they're strange, they’re intense and their fans love and breathe the music, expect mosh pits, expect crowd surfers, expect chaos. You’d be very silly to miss any opportunity you get to see FAT DOG. BEANS ON TOAST It doesn’t get more DIY than BEANS ON TOAST, hailing from Braintree in Essex, this British folk singer would make for a good set to see with a beer in your hand and the sun blazing down on your face, his gruff but soft voice compliments his sweet guitar playing and just makes you feel summery. The humorous politically charged lyrics will send the right message and put a smile on your face. BAD NERVES A band who only ever proves to everyone who sees them how fun they truly are, these bombastic five from Essex are rolling out their self-proclaimed powerpop to the masses, and you just don’t get better than this. Amassing a fan base who always show up to reciprocate their chaos, making for wild sets that blow the roof off anywhere they play; They’re fast, they’re fun, they don’t hold back, if you fancy a crazy pit, BAD NERVES are your guys this weekend. LAMBRINI GIRLS Another punk band for this list, but you can’t deny the meteoric rise of these two, you can’t escape them in the alternative scene at all, it definitely has something to do with their un-killable energy, badass style, and aggressive sets that feel like a kick in the teeth. This band are sure to go far and seeing them while they’re still relatively small is a great opportunity missed. VENUS GRRRLS With their Goth-Grudge sound and aesthetic, any lover of rock will be pulled into this band’s insane talent; incredibly strong vocals coupled with instrumentals to blast your eardrums, it’s no doubt this band will be a lot of fun to see. These 5 have a sound that’s an absolute kick to the stomach in the best way possible, we definitely think this set will garner an intense mosh pit that will be a 30 minutes to absolutely remember. MERYL STREEK Another Punk artist but MERYL STREEK’s blend of genre is quite remarkable to see, with aggressive spoken word, poppy synths and gruff riffs, they’re a real mix and match, their energy and songs though will only ever elevate and make for a really fun set that will only add to the summer vibe. Head to Catton Park this summer to join the fun at Bearded Theory 2026. Words: Ben Blissett Cover Photo: Ben Blissett for Out Of Rage

The Black Heart as a venue is the mark of a band on the way up, as this gig had BEYOND EXTINCTION playing their debut album in full for the first and last time ever! Opening the night wais Brighton based post hardcore band TRIBE OF GHOSTS. Their sound is very modern and post hardcore does not truly capture the energy they bring live. The main highlight of their sound was the contrasting vocals that go from the extreme to the beautiful. The band managed to get the already sizable crowd for the venue going. When they took the stage, the crowd began moshing. As the floor was full of many people familiar with the current metal scene it felt as if it was a chance for everyone to catch up under one roof. TRIBE OF GHOSTS put themselves out on the stage to give to the metal community. The lighting often made the gig have this strange sense of disorientation which was highlighted when the guitarist ran through the crowd with his guitar out of seemingly nowhere. Although a short set, it worked well to showcase who the band are to some people who may have not seen them before. Next was the Hull based MASTIFF, a truly unusual city for metal bands to come from. Like the dog, the band may come across as intimidating but really, they have a heart of gold. A truly intense set of blistering songs that hit. The crowd reacted by getting more instigated with each track played. The band took time to stand up for everything right in their set which gave the crowd a collective political catharsis. Their sound was somewhere between death metal, metal core and sludge but forming one complete package. The only issue with their set was the sound at the start was not the greatest and the vocals became slightly lost in the mix. As the set progressed, the band casually brought on the vocalist of BURNER for a track. Despite that they produced a truly tremendous set that created some new fans. BEYOND EXTINCTION took the stage with their self-described brand of Essex death metal. Playing their debut album, Where They Gather in full, for the first and last time. This gig was a celebration of how far the band has come. The crowd was full of love for the band and as soon as they hit the first notes of the title track the crowd was into everything they created on that stage. Oddly enough, the pit felt more like a hardcore pit with some occasional two stepping and a fair amount of spin kicks. Every track the band played was a celebration of the process of releasing it. The album is the effort of years of hard work which are paying off seeing how the fans take every track live. Each track being brought out played in a live set allowed the time to reach its full potential. The unrelenting energy they brought to the stage kept going through the entire set, the pacing of the track listing worked perfectly in a live setting. As The Black Heart is such a small venue, every band is vulnerable on stage and only has their music to fall back on, luckily the music they brought helped fuel a truly great night. BEYOND EXTINCTION are on the way up as they have gained a significant amount of praise for this album, and now they have proof that it hits equally as well live. It was unfortunate that the band currently does not have an extensive back-catalogue to fall back on, to fill the set as its duration was about fifty minutes. But the short time the band was on stage was full of energy and love for the scene, that put them where they are. This is only the start of the band’s career and by the time their next album comes out everyone in attendance will brag that they were there. Words: Will Freeman Photos: Reece Coleman

Oxford rockers STUD FARM MAFIA have arrived with their debut EP Did You Have a Good Weekend?, and it’s a pretty confident introduction from the four–piece. Made up of vocalist COLE BRYANT, guitarist NATH DIGMAN, bassist RIKARD RIDEMARK and drummer LUKE EVANS, the band deliver six tracks packed with chunky riffs, big hooks and plenty of attitude. The EP kicks off with MONEYMOUTH, and it’s a seriously strong opener. It jumps straight in with a groove that grabs your attention instantly. The chorus is ridiculously catchy, the kind that sticks in your head long after the song ends. The line “put your money where your mouth hits” absolutely lands, and you can already picture a crowd shouting that one back at the band live. Next up is SO PRETTY, which takes things down a notch at the start before building up nicely. The guitars are the real standout here, with NATH DIGMAN laying down riffs that feel both sharp and melodic. Lyrically the track pokes fun at toxic masculinity, which gives the song a bit of bite beyond just the heavy sound. Then comes DOPAMINE, and this one storms in with loads of energy. It’s packed with catchy lyrics and a chorus that’s almost impossible not to sing along to. The riffs are tight, the rhythm section drives the track forward and it’s easily one of the highlights of the EP. S.O.S. brings something a little different. The main riff actually spells out Morse code, which is a cool touch, and the track mixes things up with a slight rap–metal edge in places. It’s still really catchy though, and it stands out nicely in the middle of the EP. It also carries a bit more meaning as it’s a charity track supporting ActionAid. TEN PAST TEN takes aim at the daily grind of working life and that endless 9–5 routine. It’s a relatable theme and the band deliver it with a bit of attitude and humour. The groove on this one really pulls you in and it’s another track that feels like it would go down well in a live setting. Closing the EP is GUN SHOW, which leans fully into the band’s tongue–in–cheek look at macho culture. It’s loud, energetic and packed with big riffs. It’s the sort of song you could imagine blasting in the gym or getting a crowd fired up at a gig. Across the six tracks, STUD FARM MAFIA show they’ve got a solid sound and a good sense of identity already. The songs all fit together well but still bring their own moments to the table. For a debut EP, Did You Have a Good Weekend? is a strong start and shows plenty of potential from a band that clearly know how to write a catchy rock tune. Score: 7/10 Did You Have a Good Weekend? will be self released on 17th March 2026 Words: Jack Norris Photos: Stud Farm Mafia

On Tuesday night, fans of AGAINST THE CURRENT experienced a moment many had been waiting for. After more than a year largely off the radar, the band suddenly reappeared with the announcement of just six anniversary shows worldwide, and only one in the UK. For those lucky enough to secure tickets to the sold out London date, the reward was an intimate celebration of the band’s fifteen year journey. The New York trio vocalist Chrissy Costanza, drummer Will Ferri and guitarist Dan Gow first formed in 2011 and quickly built a loyal online following through YouTube covers. Their breakout moment came with Legends Never Die, created for the League of Legends World Championship, which propelled them onto a global stage. After independently releasing an EP in 2013, the band signed to Fueled by Ramen in 2015 before eventually returning to independence in 2022. Following a run of standalone singles, the band fell quiet toward the end of 2024, making this anniversary run feel even more significant. For the celebration, AGAINST THE CURRENT deliberately chose venues reminiscent of their early touring days. In their own words, they wanted to perform “in the kinds of rooms where we had some of those first surreal moments,” reliving them with longtime fans while welcoming newer ones who discovered the band later. London’s The Garage proved the perfect setting. Packed wall-to-wall with fans, the venue buzzed with anticipation before the band even appeared. Audio snippets from the past fifteen years played through the speakers, creating a nostalgic atmosphere before the trio burst onto the stage with Talk launching into the first song of the twenty-one-track set. A brief microphone issue threatened to derail the opening moments as Costanza’s mic failed to cooperate. However, a quick and slightly comedic swap had the show back on track within seconds, and the energy in the room barely faltered. From there, the band delivered a set that showcased just how well their catalogue translates live, including a handful of acoustic versions. Several songs felt even more powerful than their studio versions, driven by crowd participation and the occasional crowd surfer navigating the packed room. Costanza joked that she had recently undergone spine surgery from “moshing too hard,” before clarifying it was actually the result of a horse riding accident. She also laughed that remembering lyrics had once been difficult enough, but after “hitting my head a few times since then,” she encouraged the crowd to help her out during some of the deeper cuts. Between songs, the band leaned into the intimacy of the venue with relaxed, conversational moments. The band also reflected on their journey since leaving their record label and returning to independent releases. When a fan shouted “We love you,” the moment sparked a humorous discussion about American perceptions of British culture. Costanza joked about the band’s affection for Greggs pastries and Primark shopping trips, while also poking fun at the unmistakable atmosphere of Wetherspoons pubs — which she described as smelling “like beer and sadness,” despite admitting the band loved visiting them as enthusiastic tourists. That connection was also evident in how the setlist itself was shaped. The band revealed that they had consulted their Discord community when deciding which songs to include. One particular fan-driven moment came from a previous show where the crowd sang Outsiders entirely acappella to the band, prompting them to add the track to the anniversary performances. Part of the excitement for the London audience came from not knowing the setlist in advance. Each song reveal was met with renewed enthusiasm, reinforcing the celebratory atmosphere throughout the night. Later in the set, the trio reminisced about their early days on YouTube, including the surreal moment when one of their cover videos was unexpectedly featured on the platform’s homepage and went viral, revealing to friends and acquaintances that they had secretly been building a band online. Although the night focused on celebrating the past, the band could not resist teasing what might come next. Throughout the set there were hints that a new era was on the horizon. By the end of the show, Costanza confirmed that a new single would arrive after the anniversary tour though she admitted she did not know the exact release date, joking that otherwise she “would leak that too.” Across a packed ninety-minute performance, AGAINST THE CURRENT delivered more than just a live show. The night felt like a reunion - a chance to reconnect with fans, revisit the moments that defined their career, and celebrate the community that has supported them for fifteen years. In a venue small enough to feel personal but loud enough to capture the band’s full energy, their London return proved that even after a period of silence, the bond between band and audience remains as strong as ever. Words: Angel Turley Photos: Dan Brock

Walking into a metal gig when death-metal is not your usual cup of tea can make one feel like a tourist. However, on the night of OMNIUM GATHERUM, the atmosphere at The Dome by Tufnell Park Station was anything but intimidating. Despite a venue packed to the rafters with an audience clad in black boots and heavy makeup, the vibes were overwhelmingly joyful. Strangers struck up conversations, and couples shared drinks in a scene that felt more like a community gathering than a typical "extreme" show. Opening the night were IN MOURNING, who brought a crushing yet slow, melodic weight to the stage. Their set was a masterclass, grounded by the tireless work of Mikko Kivistö. In an impressive feat of stamina, Kivistö pulled double duty for the evening, anchoring the low end for both IN MOURNING and the headliners. The set reached a fever pitch during their last song, Colossus, a nearly nine-minute long piece beginning with an incredible, melancholic guitar line, before descending into a wall of sound that felt heavy enough to crack the ceiling of The Dome. The energy shifted as FALLUJAH took their turn, as their music was much faster, much more energised than the previous set. While their performance was great, it was not without its hurdles. The band had some notable problems with the smoke machine, which at times threatened to swallow the stage entirely, and the crowd struggled to see what was going on for a little bit. Despite the heavy fog, the sheer precision of the musicianship remained clear. Kyle Schaefer delivered a commanding performance that also involved a man appearing on stage wearing nothing but a towel. By the time OMNIUM GATHERUM took to the stage, the fog had finally cleared. They describe themselves as "melodic death metal with ridiculously catchy pop influences," and after seeing them live, the only way is to absolutely agree. Maintaining a strategic position at the front of the stage became a battle of its own, though the kindness of the crowd remained. There was a moment of sadness as the fans learned that the iconic frontman Jukka Pelkonen had fallen ill, but the show was saved by Henry Hamalainen. Stepping in last minute is no easy task, but Hamalainen stood in with a performance that could energise any crowd, getting right up close and personal with the crowd. The whole band radiated an incredible energy that was more electric than aggressive. Between the cinematic lighting and the "pop-infusion" of tracks like Walking Ghost Phase, they proved you do not need to be a metalhead to appreciate their music. It is always a pleasure to see a band who can really move; Hamalainen stormed across the stage, the guitarists played off against each other, and it was obvious the musicians love what they do. Between concentrated frowns from the guitarists strutting their stuff were huge, wide smiles, and this energy clearly resonated with the crowd. The technical highlights were numerous, particularly the staggering guitar work of Markus Vanhala. During the ten-minute emotional arc of White Palace, his zebra-print guitar was a blur of precision. OMNIUM GATHERUM are currently with no doubt the gold standard for how to make heavy music accessible and fun. They closed the night with the anthemic song New World Shadows, leaving the floor shaking, crowd’s voices lost and hearing gone. Whether you are a fan of the genre or just a curious tourist, OMNIUM GATHERUM is a must-see for their absolutely infectious positivity. Just make sure you pack some properly strong ear protection. Words and photos: Herbie Barlow