Following their album IDAG last year, WITCHCRAFT have another collection of tracks due to drop this week. The Swedish occult rock group are known for their doom-folk-hard rock-stoner tracks that have been a staple in the scene for over twenty years. Their sound tends to change from album to album but generally stays in the parameters of doom, depressive folk, and hard rock. The band was founded in 2000 by MAGNUS PELANDER, and after the band was fully formed, released their debut album in 2004. The current lineup is PELANDER, providing the distinctive vocals and guitar, alongside bassist IDA ELIN TANNDERAL and drummer JOHAN "JUSSI" KALLA. Over the years, their enormous back catalog has cemented their status as one of the great doom folk acts. A Sinner’s Child is a five track EP, this offering is a slightly stripped back rendition compared to their previous work. The EP focuses on a melodic sound, with a combination of classic doom compositions and folk tracks with a twist. The EP opens with Drömmen Om Död Och Förruttnelse, a groovy sounding piece with a classic feel. The iconic vocals from PELANDER drawl in his native Swedish dipping in and out of the track’s hook. The title track A Sinner’s Child is mellow and reflective with a rich guitar tone that accompanies the vocals in a dreamlike state. Particularly in the chorus when the song harmonises, and the soothing rhythmic state continues until the final notes. Even Darker Days is a stunning folk song that echoes and haunts. With its heartfelt acoustic resonance, the song ventures into the world of the occult. The exact and precise plucking of the guitar in the midst of the song elicits such powerful emotion that it is difficult not to become engrossed in it. Frankly this style of song complements PELANDER's voice perfectly. As Själen Reser Sig starts it throws us back into the land of doom with a slow pounding beat under layers of distortion. Again in Swedish, the track crashes around with a punchy drum beat and bouts of anguish. The final tune Sinner’s Clear Confusion falls back into the swing of soulful riffs, it seems we’re a long way from the doom sound even though we were in the centre of it mere minutes ago. Out of the five pieces, this one feels the most out of place but somehow still works as a closing track with its calming influence and slow rhythm. A Sinner’s Child is a complex collection of songs that explores the many faces of what proto-doom and folk can be. The way the tracks are positioned you are taken in and out of these doom and folk spaces, which enables the listener to have a little breather depending on which sound they prefer. Although it seems these types of sounds aren’t that similar on the surface, they gel together to create a well rounded listening experience. The set of songs feel personal and are full of emotion, and the vulnerability shines through in both the songwriting and the melodies around them. Score: 8/10 A Sinner’s Child will be released on 13th March 2026 via Heavy Psych Sounds. Words: Danielle Henderson Photos: Witchcraft

There are few bands that have defined the golden era of pop-punk quite like NEW FOUND GLORY, and with Listen Up! they prove that even decades into their career they still have something urgent to say. After a period of touring and anniversary celebrations of their earlier work, the band leap into this record with a sense of reflection and renewed purpose. Where previous releases have leaned heavily into youthful angst and breakneck hooks, Listen Up! feels like a conversation not only with their fans, but with themselves. Standing shoulder to shoulder with the likes of BLINK-182 and GREEN DAY in shaping a generation’s soundtrack, rather than simply rehashing nostalgia, Listen Up! channels that familiar punchy energy into something more self-aware. Opening track Static Hearts sets the tone. Bursting in with palm-muted riffs and a driving drum pattern, it feels like an instant classic. Lyrically, it touches on miscommunication in relationships, urging both sides to “listen up before the silence wins.” It’s catchy without feeling overproduced, and the layered vocals in the chorus make it feel perfect for live shows. Following on, Golden Hour Ghost leans into a slightly more melodic track. The verses are restrained, allowing the bassline to breathe before the chorus explodes in that signature, uplifting way the band have perfected. There’s a nostalgic feel to it, almost a nod to early 2000s summer sounds, but still the sound feels crisp and modern. The bridge strips things back momentarily, creating a sense of vulnerability before the final chorus crashes in. Mid-album highlight Halfway There explores burnout and the pressure of longevity. For a band who have been through lineup changes and shifts in the music industry, the sentiment feels authentic. The guitar work here is particularly sharp, with a riff that anchors the song and gives it weight. It’s reflective without being heavy-handed, striking that balance between honesty and optimism. Outrun the Echo brings the tempo back up, delivering a two-minute burst of classic pop-punk adrenaline. It’s the kind of track that will have crowds dancing in unison. The drum fills are punchy, and the chorus hook lodges itself in your head after one listen. There’s a youthful energy here that proves the band haven’t lost their spark. Slower cut Polaroid Memory provides another change of pace. Built around clean guitar lines and softer vocals, it explores themes of holding onto moments that then fade. The imagery is vivid without being overly sentimental, and the gradual build into a full-band climax gives the song emotional depth. It’s one of the album’s most mature moments. Title track Listen Up! feels like a mission statement. With a punchy intro riff and direct, almost conversational lyrics, it addresses the noise of modern life, full of distractions, expectations, internal doubts and the importance of actually hearing one another. The chorus is anthemic, the kind that demands to be shouted back word for word. Towards the latter half, Small Victories stands out with its bright, almost hopeful tone. It celebrates resilience in subtle ways, acknowledging that growth isn’t always loud or glamorous. The interplay between guitars adds texture, and the backing vocals create that familiar layered fullness. Closing track Still Here rounds the album off on a reflective note. Rather than ending with a frantic burst, the band opt for something steadier. The lyrics feel almost like a thank you to fans, to each other, to the journey so far. As the final chords ring out, there’s a sense of continuity rather than closure. The way Listen Up! has been compiled feels intentional and cohesive. The pacing flows naturally between high energy anthems and more introspective cuts, keeping the listener engaged throughout. Sonically, it stays true to the band’s pop punk foundation while allowing room for evolution in production and lyrical depth. Ultimately, Listen Up! is both a reminder and a reaffirmation. It reminds listeners why NEW FOUND GLORY became such a beloved band in the first place, while reassuring that they’re not simply living off past glories. There’s sincerity in every hook, polish in every riff, and a through-line of connection that ties the record together. It’s a confident, energised chapter in a career that shows no signs of fading, and a testament to a band who are still very much listening, and being heard. Score: 8/10 Listen Up! was released on 20th February 2026 via Pure Noise Records. Words: Angel Turley Photos: Pure Noise

Round the deepest, darkest corners of the most middle-of-the-road walk-in mall lied the location of the final destination. A night of solid, old-school death metal, and for a Monday night after a long day of sticking it out at work, it was like sipping the crispiest, coolest glass of water in the world. Hell, it was more like fifteen glasses. The “Freedom or Death” tour had landed in London, and what was on offer were three absolutely excellent death metal acts to sate even the most vitriolic purist; BLOOD RED THRONE, VADER, and KATAKLYSM. The atmosphere at the start was a little sterile, many empty spaces through the crowds as people sipped their beers and fruitlessly tried to bargain with the merch stand’s ‘cash only’ policy. But then out of the inertia came this effervescence. Norway’s BLOOD RED THRONE were getting ready to take the stage, guitarist Ivan “Meathook” Gujic emerged with a neon green Dimebag guitar, mercilessly guiding the crowd along and he seemed excited. When they began their set, the crowd timidly began to fill in the gaps. But once the band really gotinto it, the Yucatan meteor could not dream of delivering as much force. Groovier than your average death metal band with absolutely heavenly breakdowns, they injected a heavyweight proggy influence at times, leaving people puzzled as to when to bang their heads along. Credit must also be given to the live mixing, as the instruments came out crystal clear and sounded almost like the album. There was an electrifying energy running throughout, this band was hungry. By the time they finished they had the place by the balls, everyone was hooting and hollering, ready for whatever came next. Now THAT is how you open a show. Picture this. Before you can process it, you are surrounded by 7ft tall Nephilim-people. They seemed to have been waiting at the back for that perfect moment to lurch straight to the front. You also observed that there were children everywhere being protected by these giants. The final thing you noticed, everyone was speaking Polish. Then BOOM. It’s VADER. The crowd greeted singer Piotr “Peter” Wiwczarek and Marek “Spider” Pająk like they were old friends. And with one of the giants screaming “KURWAAAAAAA” we were off to the races. Beginning with Sothis, it was becoming increasingly obvious that Poles taking their kids to see Vader is something akin to a rite of passage, but the little ones just stared in awe as their short-haired long-legged fathers bopped their heads not aware they were spilling half of their piwo on the floor. Na zdrowie! As for the show itself, it was colourful, VADER fired through their setlist like a gatling gun, even the strobe lights struggled to keep up with the relentless blast beats. After a quick mid-section encore… of sorts, they broke out the classics; This is the War, Triumph of Death, and make sure to end on the cheery Helleluyah!!! (God Is Dead), you know… for the kids! Underneath a large and quite obvious “DO NOT CROWDSURF” sign, many defiant crowdsurfers sailed over the rough sea of people, the giants toward the front doing most of the heavy lifting, whilst the moshpit formed the undertow of this raging human current. If this was 1683, some of the moshers would be overlooking the besieged city of Vienna on their great winged mounts, ready to deliver their van of cavalry into the rear of the Ottoman army and cry victorious. Yet there they were in the modern time, pushing and shoving their way to a little triumph. When the band fittingly bowed out to Imperial March, the giants disappeared as quickly as they came. They did not reappear for the remainder of the gig. It appeared that for quite a few, this was a VADER gig through and through. Facts would say otherwise though, as in gigantic text at the top of the poster was the mighty Canadian KATAKLYSM. Prior to them coming up, whilst testing the mic, one of the roadies served out a diatribe in perfectly rough Québecois. Yes, some of us English also know what the word “tabernak” means. Soon after that though, the band followed onstage to black and red pulsating lights, complete with canned intro audio. It was certainly more cinematic than the meat-and-potatoes death metal that the audience had received thus far. They jettisoned their time onstage with Soul Destroyer which got the energy currents flowing right off the bat. Vocalist Maurizio Iacono seemed to be checking in on the fans. He screamed; “London! Are you ready? Are you here?!” The crowd answered in kind, showing that they were, in fact, there. “We're not gonna talk much, we’re gonna go straight right through it (sic)”. And aside from quite a lot of ‘are-you-fucking-readies’ and a whole-ass drum solo, they did keep to their word. Storming through a good mix of old and new, Goliath, Die as a king, and their top song (according to Spotify) Taking the world by storm, they had the venue eating out of the palm of their hand like a bunch of damned rabbits! The riffs were just so good, and the vocal quality was pulled straight from the record. Once again, much credit was due to the mixing in the room, which was absolutely phenomenal all night. The Rabbit Hole is a very strange song, a death metal song about going down Facebook conspiracy ‘rabbit holes’, it was hard to take seriously when Maurizio roared “welcome to the great reset”. But goddamn, if it was not one hell of a groovy number. For the last half of the setlist they really upped the ante even further, tracks like In Shadows & Dust and At the Edge of the World energised and propelled like all the best tunes can. The crowd showed zero signs of slowing down. They are a Canadian band with classic Floridian death metal tendencies that are not afraid to get a bit freaky with it, adding more technical and progressive elements wherever appropriate, all in the service of a more satisfying rhythmic beatdown that keeps your noggin’ jogging. Righteous stuff. It was clear the band and the crowd were in the throes of ecstasy there, in a sort of ‘flow state’, but by the time KATAKLYSM took off and everyone faced the disappointment that Angel station was actually closed, there was a quite warm feeling of satisfaction. ‘Twas a night of classic death metal indeed, with three incredible acts that brought the very best of their discography to the forefront. The most succinct way to describe the night would probably be “high-quality”, like really getting bang for your buck. The sooner that this hellacious trio returns to the isles, the better for all of us death metal barbarians. Here is hoping they do not take too long. Words: Kiarash Golshani Photos: Claire Cabanac

There are certain rooms that seem engineered for intensity, and King Tut’s Wah Wah Hut is one of them. Low ceiling, close walls, zero distance between artist and audience. On Wednesday 18th February 2026, that intimacy became fuel as DEATHBYROMY brought her dark-pop spectacle to Glasgow, supported by two openers who understood exactly how to set the temperature. JAYDEN HAMMER stepped out first, with a confidence that made it hard to believe this was her very first tour. She carried herself with a sultry, rocker-chic coolness, but with her sharp edges softened by a poppier sensibility. There was a deliberate swagger to her set, with heavy-eyes stares and hooks that lingered just long enough to entice the crowd. Even in an already intimate room, she closed the distance further, stepping down into the crowd more than once, particularly during Living Dead Girl, and singing from the barrier like she has been claiming stages for years. What started as typical politeness, from a crowd unfamiliar with an opening act, very quickly shifted into something more; by the end of the set, most of the room was moving, giving in to songs they might not have known before but were more than willing to follow. KING MALA followed, and shifted the mood into something darker and more theatrical. She told us her goal was to make us feel like a god, urging the room to carry itself accordingly. It could have felt tongue-in-cheek, but instead landed as a fitting invitation. A large portion of the audience already knew the words to most of the set, and the response was immediate. KING MALA’s voice had a richness to it, smoky and controlled, capable of sliding from velvet-soft restraint into something sharp and commanding. The overall atmosphere was dreamlike but ominous, like stepping into a candlelit cathedral with subwoofers. We were treated to a new, at the time not yet released track, Surrender, which held everyone’s attention incredibly well for a first listen. During Devotion, she joked that it was her dog’s favourite song because she howls every time it plays; a small, sweet crack in the mystique. The room was then snapped back into motion with Eat The Spoon, which had everyone jumping in unison. By the time she left the stage, the energy was electric. When DEATHBYROMY arrived, the atmosphere tightened instantly. JAYDEN HAMMER reappeared as part of the live band, which gave the night a satisfying continuity. DEATHBYROMY commanded the stage with a distinct intensity that felt aimed at the female gaze. There was a deliberate, almost predatory theatricality to her performance, a sense of reclaiming power and space without asking permission. It was confrontational in the best way. She opened the set with Vicious Bliss, much to the delight of the gathered crowd, then dedicated Saint to a “bitch-ass ex-boyfriend”, which earned deafening cheers. Catharsis travels fast in a packed room. I Feel Like A God turned that release into something collective, with the entire venue chanting along. In a space as tight as King Tut’s, those voices bounce off the walls and back into your chest. Little Dreamer featured one of the night’s most striking flourishes, with Romy using a megaphone to distort her vocals. The effect added grit and urgency, turning the song into something more confrontational and raw in this live setting. Midway through the set, California Baby reigned in the pace, with softer lights and the previous intensity dialled back. What had been all sharp edges became something almost weightless. It was one of the evening’s highlights, ethereal without losing focus. In that small room, her voice seemed to hover rather than hit. If I Die Young maintained that somber atmosphere and offered a beautiful showcase of ROMY’s vocal control. At the end, she addressed the crowd, saying that if anyone there had ever questioned their life, she was proud and happy that they were in that room. It was incredibly heartfelt without being overwrought, and the hush that followed felt earned. The final stretch of the set rebuilt the previous momentum. XXXhibitionist was another highlight, exploding near the end of the set and unleashing a surge of energy. The crowd matched it beat for beat, bodies moving and voices raised. Overall, the set felt really carefully paced. There were explosive, high-energy moments where choreography and physicality took centre stage, but they were balanced with sincere, vocally driven sections that grounded the spectacle. ROMY paused at one point to ask about deep fried Mars bars, laughing that they sounded both evil and delicious, and “very American” of us. Moments like this kept the atmosphere buoyant between heavier tracks. Live shows in small venues demand authenticity because there is nowhere to hide, and for this gig that closeness worked as an amplifier rather than a limitation. JAYDEN HAMMER and KING MALA primed the room wonderfully, and DEATHBYROMY turned it into something communal, cathartic, and charged. In a space built for sweat and noise, she delivered both, with just enough vulnerability to make it matter. Words: Zuzanna Pazola Photos: Anna Goley

Despite the combative weather, Bristol’s O2 Academy heaved with face-painted, leather clad attendees preparing themselves for the tenured melodic death of AVATAR. Supported by much lorded black metal upstart WITCH CLUB SATAN on their second set of UK dates, following a blinding appearance at Birmingham’s Supersonic festival. Following them came New Zealand’s premier groove metal outfit in ALIEN WEAPONRY. Whilst hampered towards the start by weak guitar mixes, WITCH CLUB SATAN were still able to present a cohesive and abrasive set. Interweaving traditional black metal confrontation with a striking stage presence, evocative costuming, and a brief tonal diversion into a more experimental vocal driven song. What ties the band together really clearly, besides the ritualistic image and grinding black metal riffs, is the interplay between the trio on stage. The group were able to feed effortlessly of each other which coincidentally works to stir an audience of both incited witches and profligates alike. The only real issue the band faced was that the theatrics of their sets could not be fully realised within their opening slot. Overall, an engaging performance that could benefit from a slight time extension to fully explore its themes. With guitar sound adjusted, the high energy of ALIEN WEAPONRY’s onslaught of unending thrash whipped the audience out the trance WITCH CLUB SATAN had been able to invoke, sending the stands into something more akin to a riot. Despite only being a three-piece, the New Zealand band’s jagged sound combined with each member’s stomping stage characteristics sent the crowd into a communal frenzy, with heads of all ages banging along to the tight nu-thrash influenced lines. The band’s set functioned as a more than sufficient warm up for the night’s main event. With the smoke machine bellowing, AVATAR was revealed. Whilst theatrical had been on point the whole night, the effort and detail put into the production of the headliner was truly a punch above the rest. A Neon render of the logo flanked from the rear along with a fence of strobe lighting, whilst the band appeared draped in long fine robes with singer Johannes Eckerström clutching a gargantuan lantern. The band’s set was filled with complementary contrasts of melodic grooves and baroque vocals in songs such as the opener and the new album single Captain Goat and the more traditionally groove oriented classic Smells Like a Freakshow. The showmanship continued in the band's constant costume changes, from gothic gowns to leather peacoats, and the matching set of red and orange Ibanez guitars sported by both rhyme and lead. Towards the set's end, the entire stage setup was swapped in only a few minutes for royal red banners as a throne was brought out onstage for the conceptual Legend of the King in a tight bit of stage craft. The key takeaway from AVATAR’s set was the well-rehearsed nature of it all. From Johannes Eckerström constantly engaging stage presence keeping the energy up all night, to well timed use of the spring activated backing vocal mic stands, providing a clear demonstration of why the band have been able to remain pillars of the more theatrical end of the metal scene. Whilst they have been going for twenty plus years, they have not slowed down at all and are a must see for those with an interest in the more tongue-in-cheek leaning and theatrical side of death metal. Words: Zach Davis Photos: Kieran Atkinson

Cardiff got another dose of chaos and colour when Mother Vulture headlined Clwb Ifor Bach, supported by two local bands who each brought their own character to the night. The room was roughly half full, maybe a little more once people settled in, but it didn’t take long for the atmosphere to warm up. Rainyday Rainbow opened the evening with a bright, psychedelic-leaning set that instantly added colour to the room. Their sound shifts between dreamy grooves and more upbeat, playful moments, and their laid-back stage presence made it easy for the crowd to settle into the night. One of the standout surprises came near the end of their set, when they brought out what looked like a hardpoint saw and played it as an instrument. The metallic tone it produced cut through the mix in a really unexpected way, giving the song a strange, almost otherworldly edge. It caught the room off guard in the best way and left people smiling. Second on were Revenant, who steered things into heavier territory. Their set leaned into thick riffs, gritty vocals and a strong alt-rock/grunge backbone. They had a noticeable pocket of fans in the room who reacted straight away, and that energy quickly spread across the floor. Revenant play with a confidence that feels grounded and unpretentious - no theatrics, just solid musicianship and a clear sense of identity. They were the perfect bridge between the warm haze of Rainyday Rainbow and the full-tilt chaos waiting to take over. By the time Mother Vulture hit the stage, the mood in the room had shifted - people were ready for something a bit unhinged, and the band didn’t make them wait. Their frontman barely stayed still, pacing and prowling across the stage, leaning out toward the crowd and throwing himself into every moment. He didn’t need any big dramatic gestures; the constant, twitchy energy alone was enough to keep the whole room hooked. With no barrier at Clwb, everything felt more immediate. He spent a lot of time at the very edge of the stage, locking eyes, shouting lines directly toward the front row and dissolving the space between performer and audience. It felt raw, direct and unmistakably like a Mother Vulture show. The rest of the band matched that intensity. Guitars swung low, bodies moved with force, and the drummer hammered through the set with a precision that held the chaos together. Musically it was sharp, loud and relentless. Even people who looked unfamiliar with the band at first were fully drawn in by the middle of the set - heads nodding, bodies moving, and that shared grin you see when a crowd realises they’re witnessing something fun and slightly unhinged. What made the night stand out was how human it felt. No massive crowd, no pressure, no sense of pretense - just three bands giving everything they had because they clearly wanted to be there. Smaller shows like this have their own charm: you can see expressions, hear people react between songs, feel the room shift when a big moment lands. This one had all of that. By the end of the night, people walked out buzzing - some laughing about the saw moment, others still processing the finale, and a few wearing the classic “I didn’t expect that, but I loved it” look. Words and Photos: Klaudia Skalska

Camden’s Electric Ballroom has been the location for many an amazing show - acts across the entire range of musical sound have played there, with pop and punk and heavy metal and hip hop and more all having been represented within its storied walls. Amongst those genres is post-hardcore, and the Michigan band LA DISPUTE are surely one of the most consistent and well-loved bands within the genre. All the way from their debut full-length in 2006, to the release of what’s become arguably their biggest song Such Small Hands on their 2018 effort, and through to the release of last year’s fantastic No One Was Driving The Car, they’ve been at the forefront of the modern post-hardcore sound - mixing it with screamo, punk, and emo across their discography in myriad ways. With all their history, it only made sense for them to be playing an equally historic venue - and so with two brilliant bands joining them on tour in VS SELF and PIJN, the stage was set for a phenomenal night. The first of the three acts to play was PIJN, one of the UK’s best underground bands on the circuit. Playing a gorgeous brand of majority instrumental post-rock, the five-piece positively glowed under their warm orange lighting. Playing all four tracks off of their astounding release From Low Beams Of Hope, the music flowed wonderfully across the entranced audience for the entire duration of their beautiful set. On The Far Side Of Morning was particularly gorgeous, and they finished to a tremendous round of applause that was more than deserved. After the relative tranquillity of PIJN’s set, VS SELF’s style of emo was an injection of energy into the Electric Ballroom dancefloor. With hints of Midwest emo and new-school screamo in their sound, the warm guitar tones and searing vocals were a real treat. With the majority of their setlist coming from their 2020 album Everything Seems Better Now, even their arrival onstage demanded cheers and applause, let alone when they started playing tracks like Mourn or Leave Everything. They were an excellent choice to open for our headliners, bridging the gap from the peaceful openers to the frantic finale with aplomb. As suggested, LA DISPUTE caused uproar for most of their time onstage. With seven songs of their sixteen song set coming from new album No One Was Driving The Car, it was a showcase of the best of their new material mixed in with a horde of hits from across the past twenty years. There were a number of crowd favourites to be found within this new material, such as I Shaved My Head, which went down a treat, and the star of the new album Autofiction Detail - a piece that follows the story of the album with the focus on a man walking through a city filled with neglect and sadness, hoping for a revelation, but never finding one. The spoken word outro was as emotive a live moment as we’ve ever witnessed, with the whole room eerily silent except for the repeating, rhythmic poem that finishes the song. With the crowd loving every second of the show, the one-two punch finish of Andria into Environmental Catastrophe Film was a breathtaking finish that captured gallons of raw emotion and let it fly in one great release. Marking a phenomenal new album from the headliners, the tour package showcased three astounding performances that all had something different about them, and yet were all connected by a thread of deep emotion. An affecting and profoundly emotive night, there’s no doubt it will be remembered for a very long time. Words: Jasmine Longhurst Photos: Jac Thomas

No one knows anarchy like punk-rock Texans DIE SPITZ. As vocalist/guitarist Ellie Livingston struts the stage in her scarlet cowboy boots, she roots the all-consuming doom-laden riffs that lash the crowd with fast, uncontrollable energy. With their latest album, Something To Consume, the band chose carnage over composure, opting for sieging a supermarket in the music video for Throw Yourself To The Sword. Whilst there are no weapons present within the cavernous depths of Manchester’s Gorilla, the energy is red-hot, and the ordinary becomes infatuated with the need to revolt. We push the pit wider with supports AERIAL SALAD. In their hometown, the crowd for Manchester Brit-pop revivalists AERIAL SALAD watches on with much enthusiasm for their supersonic sound. As the three-piece charm with their brutish punk, with that sublime modern edge we saw within MILITARIE GUN and HIGH VIS, they go down well with the nostalgic older crowd. Much like their nineties ruckus, they are the perpetrators of a small but violent push pit, swinging their teenage compadres with a wicked grip. With limbs strewn all over the stage (in a boogie way, and not a horror film way), the band took down the patriarchy and any oppressive authority that stood in their way with gigantic vocals and woozy trilling riffs. Self-described as “audible counter culture”, there was a deep understanding in AERIAL SALAD’s lyrics, evergreen in their OASIS-style sensibilities. With DIE SPITZ, they feel like an odd couple, but they feel they understand each other as two bands that feel not within their own time. In some ways, this is what makes DIE SPITZ so alluring; as they grace the stage, they make the crowded room completely silent. When they begin to play, they seem to have mastered the art of making their riffs sound excruciatingly primal, the same rip-roaring organic feeling that BLACK SABBATH did with the creation of Master Of Reality. Whilst comparisons can be drawn - as easily as four young, talented people from Austin, Texas can be - the deafening hype around the band is clearly demonstrated in their technical capability on stage. Admittedly timid in the first few songs around the devastating Manchester crowd, they grow to become firmly acquainted in the no-barrier venue. It’s a strange crowd, split down the middle almost generationally. There are just as many young faces as the greebo oldies, who make themselves known in the middle of the mosh. Moreso when the many female and queer-presenting people are pulled to the front of the audience when the band plays Riding With My Girls. Without understanding its complex and storied history, it’s refreshing to see that proggy doom metal sound become cool and approachable, especially to a young TURNSTILE t-shirted crowd. In the context of the Baltimore-based band, it feels like Will Yip’s doing, as he had a hand in producing both Something To Consume and Never Enough, released in a matter of months of each other. This only makes the crowd wilder and more unruly, throwing themselves over to the stage in an act of survival. Both the tour manager and the security were working overtime to get everyone on their feet safely. It’s DIE SPITZ that maestros this carnage, launching themselves with instruments in hand just as much as the audience. The riffs, whilst swelteringly simplistic, are sludgy and raw, filling the air with unpredictability. The band members saute around instruments, giving their moments to connect with their crowd. With liquid courage, they break their nerves with a true display of that rockstar mentality. Broken up by their more melancholy work, they demand much-needed breathing room in between the ferocity. In comparison to their livelier sound, it feels like night and day. Grungy serenades feel entirely alien in their set. It’s hard to tell if this was entirely cohesive or needed more material that matched their latest album's energy. This is not to say it wasn’t welcomed, there’s voodoo in the murky vocals that swirls around those low-strung notes. It’s dazzling to watch as the members swap their instruments to make something frantically different. DIE SPITZ, taken from German as “the pointed” or “the sharp”, is on the rise. Spearheading this mesmerising new side to modern punk, they feel like the figureheads of a new revolution. At Donington, later this summer, they’ll certainly find the right crowd. Join them. Words: Amber Brooks Photos: Ace Cheng

Welcome to the frantic shapeshifting science fiction-inspired world of BETWEEN THE BURIED AND ME with their latest offering The Blue Nothing. Pioneers of the progressive metal scene BETWEEN THE BURIED AND ME have been touring the UK and Europe bringing the very best of prog metal with them. The North Carolina natives brought the best of their latest LP ‘The Blue Nothing’ and plenty of classics from the band’s tenure with them across the pond to much avail. Opening up the UK leg of the tour was Berkshire’s very finest in progressive post-hardcore YOU WIN AGAIN GRAVITY who are playing shows on the back of their 2025 release, Don’t Leave Me Here, Pt. 1. Starting the show, the band brought unrelenting energy from the very first minute. Vocalist Jack Jennings erupted onto the stage, ready to tear up the room. When it comes to YOU WIN AGAIN GRAVITY every single note feels intricately placed to create a perfect storm of progressive post-hardcore intensity, as both guitarists played crushing riffs with perfect harmony. Just when the perfect moment hits, the ethereal clean vocal segments of their tracks will roar into brutal screams that shake through your whole body. Some bands need to be seen live to fully appreciate the nuance of their sound and YOU WIN AGAIN GRAVITY are a perfect example of an opening act with a bright future ahead. As they finished their set, the crowd were eager for more. Following on from that was the self-proclaimed “Purveyors of The Big Sad”, IHLO. The British band have been making waves with their 2025 album Legacy and brought the best of it on this tour from the moment they opened their set with the massive sound of Haar. Vocalist and keyboardist Andy Robison was at his very best despite saying he was suffering from a major headache. Illness was not going to stop him delivering a fantastic performance. ‘Wraith’ gave guitarists Rob Mair and Phil Monro a chance to shine with the colossal solos. Playing ‘Cenotaph’ allowed to band to give the crowd a taste of their heavier riffs, getting the headbangers out in full force from the front to the back, both upstairs and downstairs. IHLO really took their time to craft a masterpiece with their newest album Legacy, having released it six years after their debut LP Union. The wait was worth it. Fans of the first album got to enjoy the set closing on the title track which was a perfect way to bring the mood up in anticipation for the headline of the night. BETWEEN THE BURIED AND ME are huge, but underrated name in the prog metal scene for many years. This tour sees them going from strength to strength. Beginning their set with the monumental Absent Thereafter from the new album The Blue Nothing sent the crowd flying from the very start. The crunching riffs of guitarists Paul Waggoner and Tristan Auman blending perfectly with the intense screams of vocalist Tommy Giles Rogers. The blues rock inspired segment in the middle of the track showed the incredible talent of both guitarists with their solo sections lead back into the heaviness by bassist Dan Briggs with a very funky lick. This 10 minute track was a perfect way to bring the good vibes to start the headlining set. The band then played the over 20 year old track Selkies: The Endless Obsession which went down well with their long time fans. The heavier sound of the older track compared to the more funk inspired elements of new album gave way for a seismic mosh pit to open up that wouldn’t stop until the night was over. The track Sun Of Nothing had the crowd singing the words back at Rogers, which left him with a beaming smile. Finishing up the main part of the set with the title track from the new album,The Blue Nothing, felt like a beautiful emotional triumph for the band, knowing their hard work on the album had paid off. After a brief moment off stage the band came back for a huge encore starting with the 15 minute long Silent Flight Parliament from The Parallax II: Future Sequence that fans were hoping would keep going longer despite the already long runtime of the track. Finishing off the night with the following and closing track from the same album Goodbye To Everything Reprise gave the band a moment to take in the moment of fans showing their gratitude for the music. Over a quarter of a century on from the formation of the band BETWEEN THE BURIED AND ME have made themselves a staple of progressive metal and are showing no signs of slowing down. The UK leg of the tour was a huge success and the European leg with MONOSPHERE is shaping up to be just a monumental. BETWEEN THE BURIED AND ME live shows are more than just a gig, it’s a spiritual journey through the magnificent world that they have created. Words: Alex Long Photos: Alice Kenwright

Formed in Florida in 2017, POOL KIDS’ signature sound of catchy, math rock along with their fantastic lyricism have propelled the band into the spotlight. After releasing their debut record Music To Practice Safe Sex To, receiving a cosign from Hayley Williams of PARAMORE, and releasing their second self-titled LP with a smattering of tours worldwide to follow. The band graced our shores again on the heels of their third album Easier Said Than Done, this time bringing the fantastic SYDNEY SPRAGUE with them. As the room began to fill, and the merch desk developed a crowd before the supporting act, there was a semblance of excitement and jubilation making its rounds across the room. There were groups of friends, couples and a few people who had come solo, and began to discover what anyone who frequents emo shows already knows, it was one of the best places to make friends. The lights began to lower and SYDNEY SPRAGUE took to the stage with her familiar, energetic brand of alt-rock. The band behind her launched into the first single from Peak Experience. Fair Fields was a lovely, acoustic-backed indie triumph that immediately won the crowd over. SYDNEY then immediately jumped the band into As Scared As Can Be with a riff that rivaled some of DRUG CHURCH’s best, this was a very energetic rock song that gave the audience the first pits of the night, a small group of people were jumping and laughing so hard you could feel the first instances of the floor beginning to shake. Quitter is where SYDNEY’s talent really shined through, another acoustic foray, this time with swelling electric guitars, and vocals rich with reverb. The disco ball in The Deaf Institute felt particularly apt during this track, colouring the room with its intoxicating, reflective camouflage. Between bands the room again became abuzz with anticipation, SYDNEY had ended asking the crowd if they were ready for POOL KIDS and the answer was a resounding yes. Just like before the show the merch desk became crowded, the bleachers at the end of the room were full of elder emos resting their backs, the barrier was full of excited fans wanting to be close up to the action. Opening up with Arm’s Length the whole room exploded into a chorus of backing vocals, the floor was again shaking under the vibrance of the fans’ feet and the pit again moving with a ferocity unexpected for a math rock band. Arm’s Length is not only POOL KIDS’ best riff, it is also one of the best songs to come out of the genre in the past twenty years. Andy’s guitar playing was astounding, Caden’s drums were on point, and Christine and Nicolette were absolute commanding forces with the crowd utterly under POOL KIDS thumb. In between songs the audience was informed by the band that it was drummer Caden’s birthday, the tour manager in the meantime had procured a Domino’s pizza from next door, decorated with candles for Caden to make his wish, he blew out his candles with a huge sing-song from the crowd and an overwhelming cheer. Caden then returned to the night's previous diet of White Claw and milk. I Hope You’re Right was next, a more chilled out track, hitting themes of neglect in a relationship. This song had the most voices in the room, at times even drowning out the band, the lights again were keeping the room in a beautiful illuminating glow. That’s Physics, Baby and Leona Street came up next with more wonderful solidarity throughout the room, groups of brand new friends danced together, strangers threw each other around the pit and of course, people bounced and swayed in one spot, smiling and nursing their drinks. Towards the end of the set, guitarist Andy had a quick word about the state of the world right now, the apparent rise of fascism worldwide, the forces that want to keep us divided and hateful. This got a huge crowd reaction, as everyone in the room stood against the notion of hate dividing any of us. The band then spotlighted a member of the audience who had a written note, to the confusion of the crowd at first. The band then announced that the day after the show, an anti-fascism event with local bands and activists was set to take place at the venue. This act more than any other told everyone the exact type of people POOL KIDS are. A lot of acts spoke out against division and hatred, but very few did their best to further unity like POOL KIDS did, especially in a city they are not familiar with. As the night began to draw to a close the audience was given a choice between a song from their first record or their self-titled. The decision was unanimous for the S/T. Christine and Andy requested the lights stay on the disco ball for the final song to play the crowd out for the evening, the room again painted in reflective light, small bits of colour from the entire electromagnetic spectrum painted faces, floors and walls as the final pit got underway, this one much bigger than any previous. POOL KIDS are not only one of the best live acts around right now, but are also one of the greatest math rock/emo acts in the entire world. Their craft, their personalities and their unwillingness to yield to anything less than what they believe is right shone out throughout the night, and they are sure to be one of our favourite bands here at Rage. Words: Spencer Cunningham Photos: Lizzie Jones

Wednesday evenings are the best time to get down to Camden for a meaty line-up and a meatier moshpit, and who else should be commanding this celebration of alternative metal other than the almighty VEXED. Hailing from Hertfordshire, the three-piece, led by the front-woman Megan Targett, together with the guitarist Olly Hall, drummer Willem Mason-Geraghty, and live shows bassist Meyrick de La Fuentes, had already been on tours with bands such as IN DEPTHS and SILENT PLANET, and opened for the metal powerhouse SPIRITBOX on their two headline shows in London in 2022. Taking onto the iconic The Black Heart after six years of waiting once again - and this time successfully, VEXED brought INRETROSPECT and KILA KOSA with them to show London what a proper sold out show at a infamous grass roots venue looks like. Opening the night was one of the newest and definitely most exciting additions to the British metalcore scene, KILA KOSA. Although the venue was not filled when they began, the five-piece kept the energy levels high from the start and did not stop until the end of their - unfortunately short, set. Vocalist Anthony kept delivering brutal screams, as well as clears, supported by the guitarists, who were always up to move around the small stage as much as they could; even if it meant just frantically banging their heads. They played their recent releases Bodies and Pulse, as well as some new stuff, and although the crowd was still warming up, it was obvious the fans enjoyed their set and were ready for more - hopefully KILA KOSA will be back in the capital soon with their own headline show. As the room started getting fuller, INRETROSPECT were preparing for their main support slot. Bringing into the room their groovy blend of metalcore and djent, it was hard to not bop along the whole time, as the songs got stuck in the head very easily. Vocalist Nath often used his clear vocals but was not shy of using fry screams either, the guitarist, together with the bassist kept delivering intricately beautiful riff lines and the drummer was on top of the beats with his crisp drumming, creating a sound that can sometimes be described as a melodic blend of SLIPKNOT, LIMP BIZKIT and LINKIN PARK. Each one of the members delivered a highly engaging performance that resonated throughout the venue, and to no surprise the band received some very nasty moshpits as a thank you from the fans. Both the Northern INRETROSPECT and the Southern KILA KOSA fulfilled their mission to hype up The Black Heart and all that was left was finally the very anticipated headline show from VEXED. In preparations for their set, the band have put on the stage four rhythm lights, that were - to a big surprise of the fans, very bright, resulting into the floor moaning and laughing after each testing. At that point, it was only the light technician’s job to dim the main lights down for the whole floor to go into an absolute frenzy, as VEXED once and for all took over the stage. Meghan dived right into Anti-Fetish with her unforgiving vocals and at that moment everyone present knew the set was going to be one for the books. The sold-out venue kept bursting with energy, understanding and rage as the set progressed further. Bringing out songs like X my <3 (Hope to die), Narcissist and Detonate, the emotions were at stake and only brought further up with Meghan’s chaotic, yet very professional delivery. And the same can absolutely be said about all members of VEXED, as the guitar parts played by Olly were elevating the melody, especially paired up with the bass and drums. At one point of the evening, Meghan tried to get the whole venue down on the floor, yet the breakdown betrayed her doing by starting earlier than anticipated, resulting into few seconds of awkwardness around the room. Nonetheless, these are exactly the moments that can only occur in an intimate venue like The Black Heart. Closing the evening with an encore of the banger that is Hideous, the band showed London that they are more than ready to conquer bigger stages - and hopefully this time, it will take them less than six years, as London is in dire need of more VEXED action. Words and photos: Katerina Stepanikova

In February, TRASH BOAT returned to Bristol and turned a Thursday night into something heavier than routine. At Exchange — low ceilings, no barrier, nowhere to hide — the show felt less like a tour stop and more like a pressure test. Intimacy changes everything. It sharpens the edges. The evening opened in shadow with HAMARTIA. Their set did not explode; it simmered. Textured guitars hung thick in the room, drums landing with deliberate restraint. They played like a band aware of space — allowing tension to build rather than rushing to fill it. In a venue this size, the atmosphere is tangible. You could feel the shift track by track as the crowd leaned closer, conversations thinning out, attention tightening. It was not about spectacle. It was about tone. Then came HAPPYDAZE, and the temperature rose quickly. Where the opener held back, HAPPYDAZE pushed forward. Big hooks, open-chested choruses, a set built for movement. The first pit cracked open halfway through, hesitant at first, then committed. Their energy was kinetic without tipping into chaos — controlled but urgent. By their final song, the room had crossed the line from passive to fully involved. It felt earned. When TRASH BOAT stepped on stage, they wasted no time. No cinematic intro, no elongated build. Just impact. The opening run hit fast and physical, pulling from the sharper end of their catalogue. Older tracks cut through cleanly, igniting instant recognition. Shade felt less like a song and more like a collective reflex — the chorus returned at full volume, voices colliding with the stage monitors. Later, Strangers swelled into something almost choral, the kind of moment that reminds you why certain songs outgrow their recordings. But it was the newer material that added depth to the set. Over the years, TRASH BOAT have moved into darker, denser territory — sonically heavier, emotionally more direct. Live, that evolution carries weight. The guitars sit lower, the pacing more deliberate. Instead of constant acceleration, the band leaned into tension and release, allowing quieter passages to stretch just long enough before snapping back into motion. It created shape. It created contrast. Frontman Tobi Duncan commanded the room without theatrics. His vocal delivery balanced abrasion and control, particularly during the lower, more restrained sections where subtlety mattered. In a venue without a barrier, that proximity magnifies everything — every breath, every crack in tone. Rather than diminishing the performance, it made it feel exposed in the best way. Visually, the production remained stark. Minimal lighting, shadows doing most of the framing. No elaborate backdrops. The focus stayed where it belonged: on the exchange between stage and floor. Fans pressed forward, hands braced against the edge of the platform, occasionally catching a shared lyric at the microphone. There was sweat, there was compression, there was that familiar sense of bodies moving as one mass rather than individuals. What stood out most was pacing. The band resisted the temptation to push every moment to maximum volume. High-intensity tracks were offset by slower, heavier cuts that allowed the room to breathe — briefly — before surging again. It was a sign of a band comfortable in their trajectory, confident enough not to rely solely on speed. By the final stretch, Exchange felt transformed. The air thick, windows fogged, the floor subtly shifting under sustained movement. There was no exaggerated encore ritual. The band closed decisively, thanked the crowd, and stepped away without drama. Three bands. One room. No excess. In a city that does not hand out its approval lightly, the response was clear. This was not about scale. It was about compression — emotion pressed into a tight space until it had nowhere to go but outward. Words and photos: Mia Gailey