Halloween is looming ever closer. Here at Out of Rage, we're all ready for the spookiest of nights - we've got our costumes, our horror movie marathons underway, and most importantly, no tricks and all treats with these new tracks we've been spinning. Here's what we've been listening to lately: Track of the Week: Calva Louise - La Promesa CALVA LOUISE continues to defy expectations with La Promesa, a wildly creative collision of flamenco, Venezuelan Joropo, period drama and bone-crushing deathcore. Sung primarily in Spanish, with French lines intertwined, it brings one more layer to the band’s multicultural identity. The track thrives on contrast, shifting effortlessly between hypnotic melodies and explosive heaviness. Jess Allanic’s heartfelt vocals and ambitious songwriting bring a haunting intensity to its exploration of obsession, delusion and the invisible forces driving human behaviour. The self-produced music video adds to the atmosphere with its 18th century aesthetic. Chaotic, cinematic and meticulously crafted, the song is a bold statement from a band that keeps rising. Words: Lysandre Pons Against The Current - White Noise With just over a week to go until AGAINST THE CURRENT drop their highly anticipated album Till Death & Back on October 30, the American alt rockers have graced fans with the single White Noise. The track pulls from every element you’ve come to expect from the band; soaring vocals, confident lyrics, punchy drums - this is AGAINST THE CURRENT as you know and love them. Over three minutes the track builds towards a heavy crescendo, Chrissy Costanza pushing her vocals to their very limits in a deliciously catchy second half of each chorus. This is a very promising sign for their upcoming full length release. Words: Jade du Preez Artio - Bloodless (-1) With a slow opening minute reminiscent of the closing seconds of the final track of an album, ARTIO’s latest single Bloodless (-1) violently flips to a crushing, punchy chorus that carries the track to an entirely different dimension before dropping back down again to that melancholic opening vibe to finish the final minute of the track. It’s a kitchen sink song, everything you could possibly ask of ARTIO squeezed into one four minute offering, but even in the slowest sections you can’t get bored, still swept up by what has just come. Words: Jade du Preez Ben Quad - I Only Let You Down Now Currently on a UK Tour with RILEY!, BEN QUAD dropped a single called I Only Let You Down Now, and if the name is nothing to go by, it’s a very hard hitter. BEN QUAD are known for their emotional lyrics, and this one doesn’t disappoint on that. Sam Wegrzynski and Henry Shields vocals blend so perfectly together with low resonances mixed with the iconic post-emo screams, mixed with complex guitar, going from a band that met on craigslist and writing their songs on the go, to being surrounded by influential bands that they have had the likes of touring with such as HOT MULLIGAN, you can really tell the impact they have had on their more recent release. Words: Shay Decay Call Me Amour - The Way That You Are CALL ME AMOUR have seamlessly found their sound with their most recent release, an accomplishment you’d expect from a band with the kind of pedigree they have. Frontman Harry Radford being formerly of YASHIN and guitarist Danny Hall being formerly of SON OF DORK, lends the band a certain confidence that translates effortlessly to their latest single The Way That You Are. Blending electronic beats with heavy guitars, the track is a sonic takeover that will be an instant hit live, and just in time as the band prepares for three months on the road across Europe with MELROSE AVENUE starting in January next year. Words: Jade du Preez Cleopatrick - WHAAT Emerging a year after the album SCRAP, CLEOPATRICK are back with their new single, WHAAT. Bringing back the fuzz and distortion, this track is characterised by its corrosive rock features and experimentally relaxed hip pop flow. Opening with sharp guitar riffs captures the attention of old time fans before diving into a bounce spotlighted through vocal reverb that imitates the essence of a pop rap song. The angst and conflict about growing up in a small town is a heavy theme as new struggles of fame hit the band. Their raw honesty is translated through thunderous drums within the chorus. With a new era underway, fans are ecstatic to hear CLEOPATRICK’s evolved sound. Words: Theviya R Karunaharan Dark Divine - Rhiannon As Fleetwood Mac season sweeps across the witchiest of the alternative community, DARK DIVINE have switched gears to serve up an electronic cover that puts the pep back in the step of beloved 70s track Rhiannon. It’s a brave move from the Floridian metalcore unit, who don’t hold back on the screaming vocals, brutal breakdown and heavy electronica. In an entirely original take on a track that will inevitably be all over TikTok and Instagram grids, when the iconic Fleetwood Mac version gets to be too much, switching to DARK DIVINE might just be the move. Words: Jade du Preez Ebbb - Public EBBB, fresh off an album cycle for July’s Shallow Hits, are back with new single Public. It’s a short track centred around what sounds like a chopped-up vocal sample, with William Rowland’s vocals gliding graciously over it, as the song slowly builds up into a hazy, psychedelic wash of colour, before fizzling out. Any longer and it would likely risk overstaying its welcome, but the brisk two minutes is all it needs to explore the idea - easily one of the better tracks they’ve released this year. Words: Noise Leonard Eleine - Ich Sehe Dich ELEINE delivers a crushing yet beautifully melodic piece with Ich Sehe Dich, balancing atmospheric verses, gritty chugging riffs, and powerful vocals. The contrast between melodic singing and uncompromising heaviness builds tension before the German chorus strikes with undeniable commanding power. Confronting manipulation, deceit, and toxic shame, the track transforms frustration into a bold declaration of self-empowerment. Its raw intensity and memorable chorus create an emotional punch that lingers. It reveals a new dimension to ELEINE’s highly anticipated fifth studio album, The Water Taste Of Blood, releasing December 4th via Algoth Records. Words: Lysandre Pons Employed To Serve - Absolute Onslaught (ft. Cabal) Starting the song with a bang, EMPLOYED TO SERVE have dropped their new single Absolute Onslaught and it’s a hit from the opening bars to the closing beat. Vocalist Justine Jones has teamed up with Danish deathcore CABAL to create a song full of power riffs and guttural screams. The song feels short, punchy, and impactful allowing the 4 minutes to fly by. Feeling both melodic and full blown metal, this single is showcasing why the band are on the rise to be greats. If this is what’s to come in a future record, it’s time to get excited. Words: Laura Davies Enter Shikari - Higher Ground Fresh off the back of their devastating announcement, a single has emerged. ENTER SHIKARI are the type of band to make anything sound incredible and new single Higher Ground is that diamond listeners need. Looking at the world in a bigger picture, this more than optimistic song is filled with powerful lyrics that tell more than a story and music that just fills the room from the moment it starts. Whether this is the beginning of the end of the band or not, it’s a song that is going to be on playlists for years to come. 10/10? Let’s go to higher ground and make it 11/10. Words: Laura Davies Friedberg - Goodwife Goodwife is the titular single of FRIEDBERG’S upcoming album, to be released on April 9th 2027. ANNA F.’s husky vocals lilt over a foundation of funky synths and dark grooves, while a hollow cowbell strikes its ominous warning in between verses, providing a stark contrast to its whimsical tapping in the likes of HARDCORE WORKOUT QUEEN. The track has a consistent, droning quality that delivers the story of a woman bemoaning the agency she previously shelved in an abusive relationship. She dedicates the music video to her grandmother, seeking to take back agency in the end. The narrative is sensitively delivered, and listeners should look forward to its expansion in the sophomore album. Words: Jocelyn Tsang Grief Ritual - Abyssal Condition (ft. Austin Hayes of Heavy//Hitter) GRIEF RITUAL unleashes a devastating wave of metallic hardcore with Abyssal Condition, a crushing single featuring HEAVY//HITTER frontman Austin Hayes. Driven by unrelenting drums, sludgy riffs, and searing leads, the track creates a dark atmosphere that feels genuinely infernal. The punishing rhythm provides a fierce foundation for the ferocious vocal performances. While deathcore influences are unmistakable, GRIEF RITUAL refuses to settle for familiar genre formulas, delivering something far more sinister and refined. Released via Church Road Records, Abyssal Condition is a brutally focused showcase of musicianship, aggression, and uncompromising heaviness. Words: Lysandre Pons HANABIE. - Bari Bari Buddy HANABIE. are just as brash and heavy as ever in their latest track Bari Bari Buddy. Beginning with a guttural scream before flipping between fry screams, cutesy singing and rhythmic rapping, Bari Bari Buddy is a wickedly addictive track from the Harajuku-core girl group. If the verses are overstimulating in all the best ways, the chorus delivers a memorable, toe-tapping 30 second break that by no means takes its foot off the gas. If you like your screams brutal and your chorus adorable, then this track is the perfect sonic treat for you. Words: Jade du Preez Man With A Mission - Firestarter The band behind Firestarter truly has an apt name, as MAN WITH A MISSION make it clear that they are raring to go with the new single for the show Vermillion Mask, adding to their gleaming track record of anime openings since their last full album release. Tribal drum beats lead in the unapologetic wails of a guitar, while Tokyo Tanaka's rap is a gleeful staccato that runs through the entire song. The bright twanginess of the guitar pairs well with the smooth bass, successfully creating a high-energy, determined atmosphere for the show. Old-school DJ scratching in the backdrop lends to a sound reminiscent of Japanese hip hop culture in the early 2000s. Overall, the track provides a well-rounded representation of a band that is confident in its strengths. Words: Jocelyn Tsang Mouth Ulcers - Lady Rust After the success of their EP, Silent Pictures, MOUTH ULCERS are back with new single, Lady Rust. Opening with an eerie guitar distortion, listeners are submerged into the dangers of an uncertain landscape. The lyrics explore the story of a haunting vampire guarding the land of a former Manor House. Built through melodic bass lines, jagged guitar riffs and rhythmic drums, the track evokes a sense of irresistible movement. Steady yet dramatic baritone vocals create an atmosphere filled with emotional intensity. Goth resurgence is on the rise and with the announcement of You’re Not In Heaven, fans are eagerly waiting for the ten tracked debut album by MOUTH ULCERS. Words: Theviya R Karunaharan Noahfinnce - Wonky NOAHFINNCE embraces his softer, more vulnerable side on Wonky, a stripped-back acoustic emo ballad with a distinctly early-2000s feel. Co-written with Patty Walters and Ben Langford-Biss of AS IT IS, the track pairs intimate, confessional like songwriting with heartfelt vocals that gradually build toward a dramatic, string finale. It explores self-acceptance, embracing your differences, and letting go of the pressure to change to feel worthy. There’s a nostalgic sincerity to its campfire style delivery. Raw, relatable, and ultimately uplifting, Wonky is a powerful reminder that being a little different is nothing to be ashamed of. Words: Lysandre Pons Power Trip - Predict 3 / Scavenger Thrash metal band POWER TRIP delivered a double whammy single release with Predict 3 and Scavenger. These are the first studio recordings with the bands newest vocalist Seth Gilmore (previously with SKOURGE and FUGITIVES), after the unfortunate passing of former frontman Riley Gale in August 2020. The tracks come ahead of their upcoming album release in 2027. The band are thoroughly honouring Riley Gale in the new releases, and although you can truly hear the difference in vocals, the energy, style and feel of the band are still there. Adding a more modern feel to the old school feel that POWER TRIP are known for, both tracks are fast-paced and fully leaning into the themes that make the POWER TRIP legacy so well known. Words: Shay Decay Rain City Drive - Slither RAIN CITY DRIVE are coiled and ready to strike with their latest single, over two years on since we last heard from the band. Slither could be the opening single to something bigger, with its mysterious lyrics and dark imagery, but it sure marks RAIN CITY DRIVE’s welcome return to releasing new music. Sonically vibrant and driven by punchy drums, this bouncy track ers on the side of dancey, in a yin-yang of dark lyrics and riffs that are so easy to tap a foot to, especially that almost electronic breakdown. Words: Jade du Preez SNAYX - Gold Star After Brighton elites SNAYX dropped their last single Lost Cause not too long ago, following closely with their latest release Gold Star was very much well received. The lyrics are very reminiscent of KID KAPICHI’S I.N.V.U, both giving the same energy but in their own unique styles. Heavily distorted bass fuzz, powerful drums and singer Charlie Herridge’s spoken-word delivery with melodic singing, delivering another absolute staple from the band that perfectly captures their energy and style. Words: Shay Decay Undeath - Arterial Bombardment ARTERIAL BOMBARDMENT transitions from a grand opening, to a militant snare and unwavering blast beats, before going half-time. This rollercoaster was penned by bassist Tommy Wall and mixed by Colin Marston, echoing a return to their earlier sound. Death metal ensemble UNDEATH have just embarked on their Southern and Eastern Europe tour run, and show no sign of slowing down in their goal to deliver pummeling death metal after resigning with Relapse Records. Vocalist Alex Sason provides a litany of terrifying gurgles, building up to a shrieking guitar slide. If this is indicative of the new material, as Sason believes that “it serves as an excellent appetizer for what’s to come from this next chapter”, prepare to be tossed further into the death metal chaos. Words: Jocelyn Tsang Winona Fighter - LEECH WINONA FIGHTER seem to be gearing up for a heavier sound with their new album Brutal & Extremely Underrated (dropping 22 January 2027) if the first two singles are anything to go off of. Their latest track LEECH has all the hallmarks of a classic WINONA FIGHTER song; mesmerising vocals, hooky choruses and at least one moment to go utterly feral. And they might have retained their beloved signatures but the music feels more grown up, sophisticated and angrier; with a grungy, 90s vibe that carries their new sound to something fresh for the young American rockers. If you thought WINONA FIGHTER couldn’t get any better, then this single shows that the core of what makes WINONA FIGHTER great is the zing they add to any direction they decide to take. Words: Jade du Preez Editor: Naomi Colliar Duff Photos: Various Artists

What happens when the things we want most become the things that destroy us? For GLASSWAVES, that question sits at the heart of while(True), a debut album that feels less like a collection of metalcore tracks and more like a descent into something deeply unsettling. Hailing from Rochester, New York, the trio fuse industrial electronics, dark pop and crushing heaviness into a world built on addiction, obsession and the uglier corners of human nature. It’s a record about losing control, and the lies we tell ourselves along the way. At the centre is Liminal-Neuro, a med-tech company experimenting with a drug called Neuro Veil, designed to help people overcome their fears. Naturally, things go horribly wrong. An ancient female entity known as The Veil emerges, feeding on its victims’ desires and turning their vulnerabilities against them. It’s a compelling premise, but what makes it work is how uncomfortably familiar it feels. Beneath the science-fiction imagery lies something much more human: manipulation, selfishness and the endless cycle of making the same mistakes while convincing ourselves that this time will be different. The title says it all. In programming, "while(True)" creates a loop that continues indefinitely, and GLASSWAVES use that idea to explore the patterns we become trapped in. Addiction, toxic relationships and the desperate need to feel something more all feature prominently. There’s something particularly bleak about recognising your own destruction and continuing towards it anyway. Musically, while(True) is just as restless. Crushing, down-tuned riffs collide with glitching electronics, industrial textures and moments of genuine vulnerability. The heaviness is there, but GLASSWAVES understand that noise alone isn’t enough to make something frightening. Sometimes, the quieter moments are the most suffocating, allowing tension to settle before everything threatens to come apart. FALSE_glow: establishes the atmosphere, while Saving[face] delivers one of the album’s most relatable moments. Built around choppy electronics, driving guitars and an infectious chorus, the track explores the exhaustion of pretending to be someone you’re not. There’s something painfully familiar about performing a version of yourself until you forget who you were underneath it all. It’s accessible songwriting with something deeply uncomfortable lurking beneath the surface. fvck.me.up pushes further into the darkness, before Swarm.ING_ brings the horror into focus. Breathless vocals, anxious riffs and glitch-heavy beats create an atmosphere that feels increasingly claustrophobic. The image of a parasite eating away at you from the inside is disturbing enough, but the hypnotic refrain makes the whole thing feel impossible to escape. Something is taking control, and the longer it continues, the harder it becomes to distinguish victim from monster. (D:)rive and doomed:2:DIE maintain that uneasy momentum, balancing electronic experimentation with heavier instrumentation. GLASSWAVES understand that atmosphere can be just as effective as aggression, allowing tension to build before unleashing the heavier passages. It gives the album a sense of movement without sacrificing its unpredictability. Things get particularly interesting on SCARed, where a lullaby-like loop collides with industrial percussion and crushing guitars. The Veil appears to speak directly to the narrator, blurring the line between external manipulation and internal collapse. Is the entity real, or is the narrator being consumed by their own psychological turmoil? The uncertainty makes the track work. There are no easy answers, just the uncomfortable feeling that the truth might be worse either way. Elsewhere, <>, hi xoxo and PR3SSURE keep things moving, while circling_the_drain reinforces the album’s fixation on destructive patterns. Despite the futuristic presentation, the emotions remain painfully recognisable. This is ultimately a record about the lies we tell ourselves, the people we hurt and the things we refuse to let go of, even when we know where they’re taking us. The closing track, ://WishIDidn't, brings everything back to earth. Stripped-back electronics and barely whispered vocals replace much of the record’s heavier intensity, leaving space for regret, dishonesty and lost love. There’s no grand finale, just a fragile ending that feels painfully real. Sometimes, the worst thing isn’t a monster lurking in the dark. It’s remembering something you can never take back. The genre-hopping won’t appeal to everyone, and the conceptual framework occasionally demands more patience than a straightforward, riff-driven record. Still, GLASSWAVES deserve credit for their ambition. The storytelling, production and shifting dynamics create a world that feels carefully constructed without losing its emotional bite. What makes while(True) effective is how its horror reflects reality. Beneath the industrial noise and psychological unease is a familiar struggle: trying to escape the patterns that keep pulling us under. GLASSWAVES have created a debut that is dark, immersive and occasionally uncomfortably familiar. We keep chasing the same desires, making the same mistakes and convincing ourselves that this time will be different. And sometimes, knowing we’re trapped is the scariest part of all. Score: 9/10 while(True) will be released on 23rd October 2026 via SharpTone Records. Words: Mia Gailey Photos: Kelly Hough

When metal bands that integrate electronic influences are brought up, FRONTIERER deserve to be the first recent example mentioned. 2021’s Oxidized was a breakthrough for the mathcore genre, an uncompromising, brutal fifty minutes of music. Quite frankly, if you were one of those lucky enough to hear it at the time, it likely blew your mind. Since that album, five years have passed - but FRONTIERER have remained active, releasing the stellar The Skull Burned Wearing Hell Like a Life Vest as the Night Wept as an EP in late 2024. And now, finally their fourth LP, Ultraviolet Parasite, is set for release. But what are we supposed to expect from it? After all, their last EP, while still containing some of those mind-bending electronic flourishes at points, was decidedly more outwardly mathcore, perhaps they’re phasing it out all together? Any and all fears of this are immediately quashed on opener and title track, Ultraviolet Parasite, setting the scene with a metallic, fast-paced, two-note melody before all hell breaks loose. Vocalist Chad Kapper’s voice pierces through the mix, his screams all across the track completely unrelenting - even after a short refrain signalling an incoming breakdown, a total shift in tempo. Or is it a polyrhythm? It’s difficult to tell. FRONTIERER have this way of making disorientation a feature of the music, and at a certain point the sheer technicality of the timings feels natural. From there, all that’s left is this visceral aural beating the music provides. Elsewhere we get songs like Emerging Claustrophobic, a track whose glitchy, borderline IDM instrumentation bring a new flavour to the album. Just listen to those skittering drums around 75 seconds in, seemingly with a mind of their own. The only thing anchoring it within the context of the rest of the album is once again Kapper’s harsh vocals. The same could be said for the track immediately following it, Precursor Sequel and its mathcore-meets-power noise backdrop. An incredibly refreshing listen - nobody else is doing it quite like this. At points it’s next to impossible to tell what’s heavily-modified guitar noise and what comes from a synthesiser - but it mostly doesn’t matter in the face of the sheer brutality on display. From that point on the album rarely gives you a moment to breathe. The best you’ll get is the 30-second drone intro to The Iodine Bath, which after that point reminds you that you are, in fact, listening to a FRONTIERER record with harsh and angular high-pitched riffs and pounding drums, each guitar stab towards the end provokes the image of a steam valve, with all its screeching and scalding heat. While they do occasionally pull out a riff that grabs your attention, this band’s real boon is their rhythm section. Moments on tracks like Complacency Gown, where they bend time signatures, or the pummelling intro to Dystopian Fjord, which perhaps grabs the listener and shakes them to a greater degree than anything else on the album up to this point. Even by the time you reach the end of the first minute of that song, the band have dragged you through hell and back. To counteract this though, there’s a notably tranquil, if brief, moment towards the end. A genuinely gorgeous piece of IDM which, as you may have already guessed, gets its party crashed by the band breaking back in just as quickly as they left. To finish off this monstrous display of sheer force is nearly five-minute closing track, Terraforming Myself. Of course, up to this point, FRONTIERER have had a flair for immediacy, each track storming in and asserting itself through the medium of absolute volume. One would expect the closer to follow a similar trend, and just end on the same note the album started. But here, the band slowly builds up to an unexpectedly melodic climax. There’s even a piano in here! It’s the black sheep of the record for sure, but undoubtedly fits the title of a closing track. FRONTIERER’s fourth full LP is every bit as striking as their last, with maybe a few minutes total out of the 45-minute runtime giving you any time to collect your bearings. That being said, don’t go in expecting a complete do-over of Oxidized - they bring some new tricks to the table, making for a delightfully intense experience, and asserting themselves as a group that should not be underestimated under any circumstances. Score: 9/10 Ultraviolet Parasite will be released on 23rd October 2026. Words: Noise Leonard Photos: Frontierer

In GIRLI world: pink is power, crafting your own tour merch is cool and creating queer hits is high on the agenda. Meet Milly Toomey, best known as GIRLI. The queer, alt-pop artist who has used her platform for just over a decade to build a safe space for the LGBTQ+ community, challenge stereotypes, and call out injustices. As someone who has been vocal in speaking out on important issues from a young age, the 28 year old has built a supportive fanbase who relate to her genre bending tunes that explore many themes. From coming out to queer heartbreak to managing mental health (including her own struggles with OCD) GIRLI is an artist that makes people feel seen. Photo: James Mckeown GIRLI first stepped on to the scene with her 2015 release of So You Think You Can Fuck With Me Do Ya. Blending electro-pop beats and sound snippets from video games with rage filled lyrics, GIRLI’s first single promised she would be an artist that’s outspoken, unapologetic and bold. She’s certainly delivered. Building up her music catalogue, the London based artist released several more singles. Playing with sound and interpretations of her own works, she collaborated with the likes of ASHNIKKO and DREAM WIFE on remixes of Not That Girl, and LETHAL BIZZLE on Feel OK, to name but just a few. Fans flocked in numbers as GIRLI continued exploring themes of mental health, sexuality and navigating the teen years. She reasserted her power after a messy breakup on Day Month Second. Gave a voice to the uneasy confusion and pain of growing up on Young, and waged war against societal expectations of women on Hot Mess. With her sound exploring several different genres, you can’t place GIRLI into a specific music box - and that’s exactly what her debut album, Odd One Out, solidifies. Just as momentum was building, she was dropped by her record label mere months after her debut album release, and with the pandemic underway, her 2020 tour was subsequently cancelled. Of course, this didn’t slow her down. Much to the fans' delight, she went on to release Has Been that same year, and three EPs between 2021 and 2023. Experimenting with her style and ever-changing, it came as no surprise that GIRLI’s sophomore album Matriarchy showed a new side to what it means to be a queer woman making sense of an unpredictable world. Matriarchy feels like the open reading of a sapphic journal put to 80s pop, synthy beats. The album art is grandiose and lavish. The work behind it is reflective of this, emotions that demand attention in bold ways. The initially deceptive opening line of Be With Me tricks listeners into thinking GIRLI is confessing true love for another. Actually, she leads fans into a journey of self-love and the importance of being okay with being alone. Tracks like Nothing Hurts Like a Girl and Her Too explore the messiness and complexities that come with sapphic relationships, put to fun and energetic beats. In a world where the rights of women and the LGBTQ+ community are constantly politicised and put up for debate, Matriarchy provides a place, not only where you can escape to, but somewhere that validates experiences of those living outside of society's rigid expectations. If GIRLI’s previous material was the rebellious teen shouting from the rooftops - carving her own path whilst navigating the complexities of teen life, Matriarchy is the reassuring, warm embrace of a young woman. Reflective, comforting and equally as empowering, GIRLI’s second album dives deeper into queer experiences, navigating adulthood, love, heartbreak and learning to truly love yourself. Now, back for round three, GIRLI takes this message in an even more unapologetic tone with her album, it's just my opinion, released this May. The title itself is deliberately uncomfortable - if misogynists and homophobes get to ‘just have their opinion’, then why can’t GIRLI? Edgier and punchier than her previous sound, the rage infused tracks of GIRLI’s latest release is an explosion of emotion. GIRLI has never been an artist who shies away from centering her work around human experiences, no matter how raw or painful. Take Slap On The Wrist. It is not just a song for our generation. It’s an outcry to the relentless ways in which women have been subjected to harassment and violence, whilst many perpetrators walk away with little to no consequences. As an activist, GIRLI’s work is rooted in speaking up and speaking out. Teaming up with Cheer Up Luv, a platform that challenges misogyny and gender discrimination, the music video for Slap On The Wrist was born. The video concept is based on real testimonies of sexual harassment - and is just one of the many ways GIRLI uses her platform to make people feel seen and heard. Songs like Squirm and Better Undressed keep up the fast paced, unadorned indie-rock style, going through the relationship life cycle of having an intense crush to realising that you can’t be friends with your ex. Feelings that fans can relate with all too well. This album is a pushback, not just to some of the horrific comments that flood GIRLI’s social media posts, but to the constant silencing and quietening marginalised people face in this world. GIRLI’s latest project - the opinionated tour, comes at a time where we need community and inclusion now more than ever. She has an all female and non-binary crew, gender neutral toilets and uses the stage to raise awareness for important issues like the ongoing war in Palestine. Her activism is embedded in every part of her creativeness. Welcome to GIRLI’s world - authentic, emotional and fearless. Words: Mary Horner

Thirty years on from its release in 1996, The Craft is still an iconic teen film that, despite not performing so well at release, over time has become a cult classic particularly in the goth and alternative scene. And why is that? The mood, the music, and the magic. It ticks all of the boxes, and when you sprinkle in an element of horror and female rage, you end up with something that will live forever. To give you a brief reminder if you haven’t had your yearly rewatch yet, The Craft is centred around four girls that live in LA and that attend the same school. Sarah has just moved from San Diego to the Los Angeles area in a suitably spooky house. She meets the other girls during class, Nancy, Rochelle, and Bonnie, who are already part of their own coven and after recognising Sarah’s powers include her as their “Fourth.” Each of the witches have their own conflicts in their lives which drive their desire to use magic, including racist bullies and violent stepfathers. Over the course of the film they are exploring their spiritual limits, casting spells that both better themselves and curse those who have wronged them. By the final act there’s nothing short of pure rage, where things simultaneously have gone to plan and have also made things terrifyingly worse. Film still from The Craft - DoP Alexander Gruszynski, still from Columbia Pictures There are a few things in the movie that resonate with the alternative community. One of the more obvious ones is the group’s social standing in the school environment. They’re the weirdos, the “scary bitches,” the outsiders. People are curious and want to know about them but don’t want to be associated with them. They keep their distance, humiliating them in public but when nobody is looking they’re suddenly interested. The film is often described as “Goth Mean Girls” or “Goth Clueless”, comparisons that highlight its focus on teenage social hierarchies while placing alternative girls at the centre of the narrative. Rather than portraying alternative girls solely as peripheral or threatening figures, The Craft allows them to occupy the central roles of the story, making it possible for audiences within these communities to recognise aspects of themselves and their experiences on screen. Fashion is always brought up when mentioning the film, in particular Nancy, who has a very strong gothic look in comparison to the others in the coven. What sets her apart from other portrayals of gothic fashion in pop culture is that her image isn’t gimmicky; it’s authentic and attainable. Nancy’s non-conformity is expressed in many ways throughout the film but the way she dresses and presents herself is at the forefront of that. Even today, the “witchy goth” aesthetic has been immortalised through characters such as Nancy and the other members of the coven. Fashion also plays an important role in showing Bonnie’s transformation as she becomes more confident. At the beginning of the film, she is often dressed in oversized coats and long skirts, but as her confidence grows, her clothing becomes more fitted, with tops and mini skirts replacing her earlier, more conservative silhouettes. Although these different stages of Bonnie’s style present her in noticeably different ways, both remain rooted in the same witchy goth aesthetic. Film still from The Craft - DoP Alexander Gruszynski, still from Columbia Pictures Aside from the witchiness and the fashion, music plays a huge part in the film. The film opens with a cover of THE BEATLES' Tomorrow Never Knows, which feels like a bold choice. A well-known track originally released in 1966 is given a new lease of life, with the alternative arrangement by OUR LADY PEACE adding a rebellious edge that feels perfectly suited to a teen movie. Even the sound of the track immediately encapsulates that unmistakable ’90s atmosphere. There’s something inherently nostalgic about this period, even for those who didn’t actually experience it firsthand. The soundtrack becomes an important part of that nostalgia, blending familiar songs with alternative interpretations that give them an entirely different identity. Among the tracks featured is another notable cover: How Soon Is Now? by THE SMITHS, performed by LOVE SPIT LOVE. By this point, the song’s dark and atmospheric sound had become closely associated with witchy imagery, something that would be further cemented when it was later used as the theme song for the television series Charmed. The soundtrack also features Scorn by PORTISHEAD, an offshoot of their iconic track Glory Box, which was surely created on this Earth to be used in cinema. The film even taps into the Britpop movement, with ELASTICA contributing their track Spastica. The film’s use of sound is also prominent throughout - when there’s no music playing there are thunder claps, crashes and screams. Whilst not a horror movie, it gently feeds into that space with its elements of jumpscares and shock value. The third act in itself is a prime example of this, the plot becoming muddy as the witches are overpowered, and in particular Nancy who is fueled with rage and losing her grip on reality. The sense of sisterhood and love and trust that blooms over the second act is magical in a multitude of ways. As the bond deepens between them you see a glimpse of happiness, a sense of belonging in the way they bask in the joy of life together. This is where the stereotypes of the alternative scene are broken. In popular media alternative people are seen as depressed, miserable, and filled with hatred. Here, even just for a little while, they are being themselves and aren’t defined by the invisible limitations on how alternative people should look, behave or feel. The majority of the group also come from working-class families. While this is not inherently an alternative trait, it reinforces the film’s contrast with other teen movies, which often centre around the image of the perfect, middle-class American family. The girls are instead united by their differences from those around them, while each carries their own personal struggles, whether rooted in past trauma or their economic circumstances. When Sarah says what she wants, “to love myself and allow myself to be loved by others”, she shows vulnerability as she struggles with her depression. Rochelle pleads for her racist classmates to get their comeuppance; Bonnie is desperate for her burn scars to heal so she can feel more confident and live her life; and Nancy wants financial support to help her and her mother escape her violent stepfather and living situation. Although these struggles are specific to each character, they reflect issues that remain relevant today. The film’s willingness to give its characters genuine, recognisable problems rather than simply using them as stereotypes is part of what allows The Craft to remain so timeless. Film still from The Craft - DoP Alexander Gruszynski, still from Columbia Pictures The rainy, autumnal imagery of The Craft, alongside its coloured glass and warm, flickering flames, places the film firmly within the “cosy” category of modern culture. There is a powerful sense of nostalgia attached to films like this, which become very popular as people begin to settle into the darker nights and Halloween festivities. The Craft offers an atmosphere that feels both comforting and familiar, despite the darker themes that run throughout the film. Its resurgence can be found in the desire for originality and authenticity in a world where things are easily fabricated and illusions are carefully constructed. Words: Danielle Henderson

Empire Island hardcore band BIG ASS TRUCK I.E have delivered a tumultuous 5 track EP after releasing a string of singles and EPs over the years that have always hit hard while listening to them and at their energetic live shows. FOUND ON ROAD DEAD marks the band's first complete EP still drenched in vehicular carnage alongside previous releases BACK WHEEL STOMP and PUSHED BEYOND THE BRINK. Packed back-to-back with hard hitters and gruesome breakdowns it’s definitely some of their best to date. The EP opens up with FOUND ON ROAD DEAD, and any song (and album for that matter) that opens up with a soundbite from Event Horizon, you know is going to deliver. And deliver it does. FOUND ON ROAD DEAD is a full impact track from start to finish. Next on the EP is DRAGGING MEAT which has already been released in the lead up to the EP with an epic music video alongside it. This track is the epitome of BIG ASS TRUCK I.E’s sound and encapsulates them as a band perfectly. A track that would fit perfectly into their high energy live shows. Next, we have BIG ASS GUN and this song is a culmination of everything that is hardcore at its nucleus. High energy mixed with guttural breakdowns and finishes off with a sample from Arnold Schwarzenegger's quote from the film Commando for an exceptional touch. This song appears to be popping up in their live shows on their current tours and looks to be a huge hit amongst BIG ASS TRUCK I.E fans already. FORCED THROUGH SLUDGE doesn’t give you a moment to catch your breath before going straight in with heavy vocals and full energy until an impeccable breakdown hits right at the end. A full energy song in every riff. At this point we know BIG ASS TRUCK I.E loves a sound sample in a song and 1 TRILLION POUNDS opens up with the famous quote from bodybuilder Ronnie Coleman. The shortest song on the album not even running for a full minute, it packs a punch from beginning to end and finishes the album off with one of their heaviest breakdowns, making this easily one of their best start to finish runs to date. The album all in all flows perfectly from one song to the next and will definitely be a great addition to any playlist. Each song has its own personality while staying within the bands established theme, without losing any of what makes BIG ASS TRUCK I.E so uniquely them. Vocalist Abel Abarca has stated that DRAGGING MEAT is one of their favourites so far and they can’t wait to bring it to their live shows. Which is utterly understandable after the very first listen. The band are planning a UK tour in 2027 and these songs are going to be a perfect addition to their already mayhemic live shows. Altogether a great album from a band who don’t take themselves as seriously as they do their love for a monstrous vehicle, bringing fun back into hardcore exactly how it should be. Score: 9/10 FOUND ON ROAD DEAD will be released on 20th October 2026 via Nuclear Blast Records. Words: Shay Decay Photos: Oscar Rodriguez

For over a decade now the norms of pop-punk have been repeatedly questioned and challenged by Australian 4-piece STAND ATLANTIC, a group that would prove to be relentless songwriters and performers as they were almost constantly on tour while managing to put out full length albums bi-annually that only grew more and more ambitious. Their first LP, 2018’s Skinny Dipping turned heads in the pop-punk scene with its down-to-earth themes and undeniable catchiness, often a fan favourite, but each new release turned up the heat, with their previous LP WAS HERE being their loudest, angriest project to date. GODBREATH, the next addition to the band’s discography, continues to lean into a heavier, alternative rock style, but is a distinct switch up thematically, serving as a beacon of victory for the band, allowing themselves to take a more carefree, confident approach. Clarity is the key word to describe this record, the coming to terms with emotions and experiences both good and bad, and the refusal to comply with others’ expectations in a noisy, infectious escapade. Fiercely kicking off the album is LUCID, a fiery banger full of raw emotion and a kickass beat. Vocalist Bonnie Fraser furiously belts the lyrics, which she wrote to be bluntly about experiencing self-sabotage, channelling that frustration and struggle to escape destructive patterns into her performance. Providing an irresistible hook is guitarist David Potter and bassist Miki Rich, paired with punchy drums by Jonno Panichi in a brilliantly fun manner to start the album. Following this is the more upbeat track, and most recent single, NEXT2U, a catchy bop that serves to be both a touching love song and a heartfelt message to people close to the band that they must leave behind during tours. The lead single for the album, Velcro, follows this, a brighter, luscious sounding love song that still incorporates the band’s signature power. Fraser's singing has a softer tone than normal, reflecting on the vocalist’s vulnerability on the song, as she states, “it’s the most honest thing I’ve written in a long time”. As she further admits, much of STAND ATLANTIC’s music has been about heartbreak, so this is a much-needed positive change of tone. Each song up until now was released as a single, effectively introducing the warmer feel of the new release to fans. Immediately kicking back into gear is SO COOL, a super fun, venom filled song, with Fraser sounding unstoppable as she is backed up by an arena rocking beat. This track is short and to the point, establishing dominance and assuring the listener that this band still love their heavy bangers. The badass energy of the speaker mocks people who are full of themselves and act more important than their peers, reflecting the warped perception of themselves. Favourite Flavour gives us pure vibes, the STAND ATLANTIC we know and love, catchy production, a potent hook and charismatic vocals, while being another cheerful love song as opposed to the more depressing nature we would expect. This energy is continued into finger, leaning into pop elements as a more lowkey earworm rather than a hair thrashing hit, keeping the structure simple and easy to get along with. d.L.M.A gives a glimpse into the band’s more adventurous side with some captivating production moments, returning to their heavier side along with harsher vocals, meaner riffs and well-placed drum fills. Throughout the chorus Fraser cleverly has a casual listener think she is saying “don’t leave me alone”, but with closer inspection the word ‘don’t’ is used to close a previous lyric, and the brief pause within the words makes it clear she is rather demanding to be left alone in some pretty stylish word play, also hinted at in the song title. The remaining single for the album is EDGE OF VEGAS, a tender, pretty song that once more sees Fraser opening up, singing about chasing a dream that’s just out of reach, and having nobody to lean on when the exhaustion sets in. The soft guitar tones and desperate vocals hammer in the emotional vulnerability expressed here. If you’re feeling worn down and need a pick me up, the next track, teeth, has got you covered, with an immediately catchy hook, dreamy vocal runs and spitting rage. This track is a middle finger to manipulative, compulsive liars, and has no trouble at all forcing you to rock along. HeadRush bounces back the energy by being a sweet, bubbly track with lyrics to match, a punchy love song fit for sunset drives with your partner. With abundant charm and a carefree atmosphere, it’s a feel-good jam to lift the spirits of the listener as we approach the closer: Gimme A Show. As you might expect, the band bring back the power for the final track, but rather than going all out, the tone is quite melancholic, wrapping up their most honest, exposed record with a suitably bittersweet performance. It seems to portray the group finding their freedom from expectations, from labels and crowds that seek to control their artwork, and saying, “this is what we want to make, and we love it whether you do or not”, a position and mindset that takes a lot of courage to gift yourself, but it’s absolutely where STAND ATLANTIC deserve to be. Score: 9/10 GODBREATH will be released on October 23rd 2026 via Virgin Music. Words: Paul Cutts Photos: Nikki Haney

On their third UK date of their European tour, ELEINE with vocalist Madeleine Liljestam graced Manchester with their dark symphonic tones. Joined by heavy metal bands LIV SIN along with REXORIA on their “biggest adventure yet”, a triple lineup all hailing from Sweden. The fans at Rebellion were in for a treat as they poured into the venue. It wasn’t long before the evening began, when LIV SIN made the first appearance to a warm cheer from the crowd. The group stood as silhouettes in the shadows, a bright white glow encasing them as they started to play the intro to Raven with a heavy relentless riff from their latest album Close Your Eyes released last year. The band came to life in full force, vocalist Liv Jargell giving an energetic visceral performance “you better beware the raven is here”. There was a focus on the new record and rightly so as the tracks filled the room with industrial intensity, melodic at points before switching to extreme aggression, tracks like Run showcased this perfectly. Jargell even at one point stepped off the stage to make a surprise appearance in the crowd, interacting with the fans as they each sang into the mic. The stand out moment was however from their 2023 album, KaliYuga, closing the set with King of Fools, certainly a favourite with this crowd with its anthemic chorus. Each of the three bands gave their own flavour of heavy metal, LIV SIN with their raw tone and commanding vocals. Next up REXORIA added in the theatrical flair with majestic royalty as frontwoman Frida Ohlin took to the stage. Radiating high octane energy, their blend of soaring, melodic hooks and galloping riffs had the whole room bouncing from the very first chord. This show at Manchester felt even more special for the band as they celebrated a birthday on stage for their very own guitarist Jonas Gustavsson, drinks all around as the members of LIV SIN joined in on the fun as the crowd sang. REXORIA continued their set with upbeat songs as red and blue lights pulsed to the majestic sounding Light up the Sky and Reach for the Heavens in Time. Anticipations started to grow as the stage was set for ELEINE’s arrival. Their signature amber radiant light hit the members one by one as they entered, the hymn-like operatic vocals of Madeleine Liljestam from Towards the Fields echo through the venue as the tension starts to build. Before guitarist Rikard Ekberg unleashed a thunderous hard hitting riff backed by drummer Kevin Werder into second song Enemies, the intensity didn’t let go from there. For anyone who knows Rebellion, Ekberg made a joke about the support pillar that blocks part of the stage view. A photo of him was taped onto the pillar so that fans could see his face whilst he played guitar behind it. Liljestam also thanked the crowd for being so loud and beautiful, saying they didn’t disappoint for them to come back. It was two years ago that ELEINE played Manchester at the very same venue. Seeing a band of this calibre in such an intimate space gave fans a chance to see up close a grand performance, ELEINE made sure not to downscale their production and in doing so the whole pit got a front row experience. It’s precisely this that keeps the live music ecosystem alive when bands such as ELEINE support grassroot venues. Their very presence on stage felt like a night of pure unforgettable grandeur, you could feel the weight each song gave to the room, which at times felt like it could barely contain within the four walls. The dynamic of Liljestam's powerful clean vocals with Ekberg’s deep growls that complemented each other, the heavy guitar riffs, fists of the crowd held up high and moments throughout the show that left you in awe. Hearing the new songs such as Watch As We Rise and Empire Of Lies from their upcoming album The Water Taste Of Blood showed how much the band had evolved since their last album. But saving We Stand United as the penultimate song on the setlist, a dark, and gritty song with soaring vocals that got the crowd cheering as the ELEINE legion flag flew back and forth. The way Liljestam commands the stage, a dark elegance that draws you in, holding the audience captive through to the final note. Words and Photos: Amy Lynch

Monday evening might not be everyone's first choice for a punk gig, but SKATING POLLY and LORD FRIDAY THE 13TH certainly made the most of it. Both bands brought something different to Cardiff's Clwb Ifor Bach on 12th October, from unexpected outfit changes to musicians swapping instruments mid-set. The crowd took a little while to warm up, but there was plenty happening onstage to keep everyone entertained. First up were LORD FRIDAY THE 13TH, a theatrical punk band from Austin, Texas. Their performance was difficult to predict, and that was part of the fun. Frontman Felix Lenz seemed determined to make every song entertaining, jumping around the stage, dropping to his knees, and even lying on his back while performing. With a noticeable gap between the stage and the audience, Felix Lenz eventually decided to make use of it himself, stepping off the stage and continuing his antics on the floor. Most people seemed happy to watch from a distance, although a few were dancing along. Then there were the outfit changes. Throughout the set, Felix Lenz went through several different looks, although most of these involved removing another layer of clothing rather than putting something new on. By the end, there wasn't much left to remove. It was ridiculous in the best possible way and fitted the band's playful approach perfectly. The music was just as lively. Their drummer barely seemed to get a break, working through one fast-paced song after another, while 'Big Mac' added even more silliness to the performance. The audience wasn't particularly wild, but the band didn't let that stop them from putting on an entertaining show. After a short changeover, it was time for SKATING POLLY. Formed in Oklahoma in 2009, the trio consists of stepsisters Kelli Mayo and Peyton Bighorse, alongside Kurtis Mayo. Their self-described 'Ugly Pop' combines punk, grunge and alternative rock with melodies that can be surprisingly gentle compared to the heavier parts of their songs. There was no dramatic entrance. Once everything was ready, they simply started playing, and the energy picked up almost immediately. Kelli Mayo, with her bright pink hair, was especially fun to watch. She spent much of the set jumping, kicking and moving around the stage, barely staying still for long. One of the first things the band noticed was the remaining space between themselves and the audience. The crowd had already moved closer compared to the support set, but there was still a gap, despite Clwb Ifor Bach having no barriers in front of the stage. The band joked about awarding a medal of bravery to anyone willing to come forward, which helped encourage people to move a little closer. What really stood out, however, was how easily the members switched instruments. Guitar, bass and drums were passed between them throughout the performance, and each seemed equally comfortable taking on a different role. Peyton Bighorse, who initially appeared a little more reserved, seemed particularly at home behind the drums. It was impressive to watch, especially alongside the constant movement and energy of Kelli Mayo. The set moved between fast, chaotic songs and slower, more melodic moments. Tracks including 'Hickey King' and 'Little Girl Blue and the Battle Envy' were featured alongside plenty of heavier material. The quieter sections were a welcome change of pace, giving the audience a moment to appreciate another side of the band's music before things picked up again. Between songs, the trio chatted with the crowd, sharing stories and expressing how happy they were to be back in Wales. They even tried to find someone they remembered from a previous gig, although without much success. Another surprise came when Felix Lenz from LORD FRIDAY THE 13TH joined them onstage, bringing some of the opening band's chaos back for a brief moment. As the night went on, the audience gradually became more comfortable. There were no mosh pits or particularly wild moments in the crowd, but more people were dancing, and the cheers between songs grew louder. By the end, the audience was enthusiastic enough to call for an encore, and SKATING POLLY returned for one final song. Both bands made a strong impression for different reasons. LORD FRIDAY THE 13TH were wonderfully unpredictable, while SKATING POLLY showed just how much three talented musicians could do on a small stage. Cardiff might have needed a little encouragement at first, but it turned into a fun Monday night. Words and Photos: Klaudia Skalska

On a cold and wet October night at the iconic Nottingham venue Rock City, THE AMITY AFFLICTION played the penultimate show of their House Of Cards tour. It was a night filled with bangers, mosh pits, circle pits, crowd surfers and enough intensity to carry the atmosphere from start to finish. Opening the night was ORTHODOX, a five-piece band from Tennessee. A distorted, eerie Motown-style track played in reverse before the boys burst into sixth gear on stage. They brought incredible energy from the get-go and demanded that the crowd reciprocate. Circle pits and mosh pits at 18:30 are always a great start to any metal gig. The venue was perfect for their performance, with its intimate setting allowing the passion to pour straight into the crowd. Blending elements of groove metal with distinctive influences from the likes of SLIPKNOT, ORTHODOX lit the fuse of this heavy metal bomb. VARIALS were next, and the goal was simple: match ORTHODOX. Somehow, they took things up another level. With the crowd already hyped, the drum-heavy opening only made the venue jump and shake harder, as if a horde were marching towards Rock City. VARIALS have a dark and ominous sound built around heavy metal chaos, but they’ve also incorporated guitar riffs that transition between songs and bridges, creating moments of pause and anticipation before everything comes crashing back down in a rally of screams and angst. The sound production team deserves a special mention here. They got the balance spot on, ensuring the sound never became an indistinguishable wall of noise. They made excellent use of the venue’s size and the crowd’s energy, giving VARIALS the perfect opportunity to showcase their talent. The final support act was SILENT PLANET, the band whose sound came closest to that of the headliners. An eerie, futuristic sci-fi intro set the scene before the metal kicked in and the screams ensued. While the melodic vocals weren’t always the strongest, the band more than made up for it with their screams. It also helped that the lead and backing vocals blended so well, maintaining the momentum throughout. SILENT PLANET ooze the sound of vintage ENTER SHIKARI, incorporating plenty of techno elements into their style. Sawing guitar riffs work brilliantly alongside metal screams, and combined with the keyboard elements, they delivered a great performance. SILENT PLANET are very much a band of the here and now. They’re not afraid to push the boundaries of music, but they’re equally willing to stand up for their political beliefs, delivering powerful speeches in support of Palestine and raising awareness of mental health issues. The time had arrived for the headline act to take the stage. The interlude had featured some of the best songs rock has to offer, with LINKIN PARK’s In The End playing as THE AMITY AFFLICTION teased their entrance. Rather than cutting the song short, the band let the crowd have its moment to pay tribute, something that was clearly appreciated throughout the venue. Then came that first violin note of Pittsburgh, and the roof was blown off. The band walked out to the harmonious sounds, and the energy was immediately palpable. Joel Birch held the mic and sang the opening line before simply pointing it towards the crowd. In unison, the entire venue could have sung the song back to him. It was the perfect start: impeccable vocals, both screamed and melodic, with the crowd playing its part as the band’s choir and third vocalist. Rock City is a venue THE AMITY AFFLICTION have played numerous times before, and it’s easy to see why they keep returning. The intimate size of the venue means the distance between the main stage and the crowd is almost within touching distance. It takes the experience back to the roots of rock, where the connection between the band and its audience is everything. There were two distinct sides to the crowd: the die-hard moshers at the front and those soaking up the atmosphere further back. Both groups were intertwined, yet each had its own space to enjoy the show. Wherever someone stood, the music hit hard. Drag The Lake and Bleed both delivered strong vocal performances, while the drumming was particularly impressive. The short, robust bass riffs and voice-overs are part of what makes this band stand out, ticking every box when it comes to delivering a powerful live performance. The production team deserves another round of applause, with the animations and light shows perfectly synchronised with the music. For a venue of Rock City’s size, the production felt arena-worthy and wouldn’t have looked out of place on a much bigger stage with a far larger screen. The latest album tracks followed, beginning with Heaven Sent. Its fast verse and bridge contrast with a slower chorus, creating a transcendent feeling that works beautifully with the song’s heavenly theme. The carefully crafted setlist maintained that atmosphere with It’s Hell Down Here, a particularly poignant moment. Birch’s isolated vocals were a brilliant touch, showcasing his remarkable ability to convey emotion without relying on the full force of the band. House Of Cards followed, and these tracks sounded even better live than they do on the LP. The songs benefited from the atmosphere of the venue, with the crowd adding another dimension to the performance. The crowd was also given a choice between Open Letter and Chasing Ghosts, and that’s an element of live shows worth celebrating. Allowing fans to choose a song guarantees interaction and gives them a greater sense of being part of the performance. Chasing Ghosts edged it, and it was undoubtedly the right choice for the evening, flowing perfectly with the atmosphere and feeling like a moment that belonged to the crowd as much as the band. All Fucked Up was the metalcore/sadcore banger of the night. The band used it to slow things down, although the amps were still cranked up, meaning the sound towards the back of the venue became a little distorted. Nevertheless, the chorus echoed around Rock City, and the emotion carried throughout the room. Mobile phone as handheld torches flooded the venue as “Won’t you save my life” was belted out by the crowd, creating one of the night’s most memorable moments. Kickboxer and Death’s Hand kicked things back into top gear, revving up the crowd for an incredible finish. VARIALS’ lead singer joined the band for the final part of the show, and the combination of both screams worked brilliantly, adding another layer of intensity to an already relentless performance. The encore was Soak Me In Bleach, an almost perfect choice for a crowd already drenched in sweat and caught up in the emotion of the evening. From start to finish, the night was destined to be chaotic and relentless, but the opportunity to witness so much talent across the genre was the final touch. Credit to all the bands. Credit to the venue. Rock City delivered a night that showcased the very best of heavy music, with THE AMITY AFFLICTION proving exactly why they remain such a force on the live circuit. Words: David Waites Photos: Izzy Sheldon

We are living in a political hell that scapegoats the queer community and minorities, allows greedy, gluttonous billionaires to eradicate entire civilisations, land, and violate nature while slapping us lowly peasants with the bill, and tells us to thank the polished brogues crushing our windpipes - if you're not angry, you're not paying attention. ÓMOIA isn't just angry, they're unleashing an unquenchable rage on their breakthrough EP What Lies Beneath, delivering an eviscerating sound that screams viciously for anyone who feels they have no voice, and channels the white-hot fury many of us feel but struggle to articulate into words. ÓMOIA are unapologetic, and too fucking right. The Leeds band, who centre their sound around “queer core”, are advocating for everyone being stamped down by the oppressive authorities and elite using unforgiving riffs and scorching vocals. There's a frenetic pace throughout the EP, but the heavy weight of the ragged guitars and solid drum beats keep it from running amok, keeping the topics fixed in their own rights and giving them their appropriate airtime while still maintaining the overall anger fuelling the passionate sound. What Lies Beneath is driven by very current and horrifying affairs, but some of the more sensitive topics explored could be heard in any point of history and still be relevant. ÓMOIA are adding their voice to a growing mass as they spit facts on opener System of Rights about the detrimental treatment our trans family have seen a significant and devastating increase in, visceral screams and guitar squeals intentionally jarring and disruptive. Preying Man showcases vocalist Cerys Simmons’ ability to tear through abrasive growls and fluid clean vocals that demands basic decency and respect from men who think other people's anatomies are their business. Contrary to its title, The Quiet Place leaves no space for silence as it slams through in a commotion of harsh guitar hooks elevated with bitter drums and bass, unforgiving and punishing from the first note. Bruised Egos laughs in the face of audacious entitlement, the intro building layer upon layer of instruments until the wall of noise explodes outward into a bulleting tirade. At only five tracks long, What Lies Beneath merely scratches the surface of what ÓMOIA are capable of, and final track Maybe You Think You Can Save Me acts as the final moment of catharsis for the band and a last connection to the listener - not a goodbye, but a promised “see you later” - with Simmons opting for a more gentle approach rich in feeling and sadness. The rage is evident, but layered underneath is the fear that breeds this emotion. ÓMOIA are proudly queer and steadfast in their allyship, so What Lies Beneath isn't just an outlet to their personal emotion but them sharing their empathy with everyone scapegoated and unjustly affected; the EP is a statement saying “you belong”. Score: 9/10 What Lies Beneath was released on 16th October 2026. Words: Julia Stark Photos: Ómoia

It’s a feat in itself for a French band to break into the alt-rocksphere dominated by the American and English, but Parisian band PAERISH have been making waves taking on the behemoth of the Western alt-rock scene, sharing stages with heavyweights PUP, SUM 41, and MOVEMENTS and proving they deserve the spotlight. But to get to this pinnacle the band have gone through trial and error, drawing on a slew of musical and film-based influences to drive their sound forward while still trying to retain their authentic voice. Embracing their French upbringings and defiant influences has finally shaped their voice into their desired form on latest album Rita, expressive instruments portraying a hard-hitting nostalgia and the reluctant acceptance of having to move forward, defying the urge to turn and fall back into the arms of what feels safe. But to be safe in the past means never growing into who you're meant to be; PAERISH demonstrates their personal growth and momentum through the evolution of their sound, no longer playing to simply emulate their musical roots but performing with more confidence in every pluck, crack, breath and pause. The album doesn't necessarily stay fixed in tone and storytelling, straying from its own path and feeling like an anthology of different experiences and sounds. Even in opener Prince of Darkness it shifts from rebellious and furious beats to an alt-rock medley and vocals that border shoegaze without pause, only to move into an earthquake of bass, eerie synths and distorted staccato guitar on Heal, or the dreamlike quality of Strawberry of hazy vocals, acoustic guitar and thumping kick-drum for a more contemporary rock feel. There are moments like this dotted throughout the album amidst punk driven melodies and heavy laden rock on cataclysmic What You Want and the relentless instrumental chaos and visceral screams of Wait For Dark, as if it's an album waging war with itself. It works almost completely perfectly. The songs battle each other for dominance and switch up unexpectedly, representing the past and present emotion and development PAERISH drew on for Rita and each demanding to be understood. While not a rock opera and relying on human connection rather than theatricality, its approach could be likened to GREEN DAY’s 21st Century Breakdown in its mix of sounds that fall into one another. Crashing In Cars feels like a punk-rock jaunt that sits in the same camp as many of the band's inspirations, while Hurry Slowly has a blend of upbeat alt-rock hooks against a backdrop of grunge as the lyrics lament leaving behind the safe and known, the album closing out to fuzzed Soothe that builds anticipation of a final crescendo but instead ends on an anticlimactic note, giving us a moment to pause and reflect instead of relying on a dramatic finisher. PAERISH themselves have explained the album comes from clinging onto the childhood creativity and imagination that so many lose to adulthood; it's not through choice that we lose our sense of wonder and whimsy, but the relentless grind of responsibility, maturity, toxic jobs and relationships, and exhaustion of just making it through the day that strips away our free-thinking, nonsensical creativity. The band reclaim this and use Rita as a way of saying to themselves and others you don't have to give up your inner child nor your responsible adult mindset, but balancing the two brings you closer to peace and acceptance, the push/pull of different melodies and blended genres embodying this. Rather than view this as a clear-cut album, it comes through as an experimentation where PAERISH push out of their emotional comfort zones and past their technical boundaries, and also feels an expansion of the sound they've been steadily building over the years into a voice full of surety. Rita is their most determined and pinpointed work while still having a rough edge to it that calls back to their beginnings and promises there are more waters for them to test. Score: 8/10 Rita was released on 16th October 2026 via SideOneDummy. Words: Julia Stark Photos: Paerish