Cold Saturday night or not, the O2 Institute is already buzzing early as fans pour in for STRAY FROM THE PATH’S last UK tour. For twenty years, they’ve been causing chaos in the punk and hardcore scene. Now they’re ready to call it a day, but they’re dropping one last album and leaving with a punch you won’t forget. CALVA LOUISE didn’t ease into the night; they hit straight into their first track ‘‘Tunnel Vision’’ like a warning shot. The room was still filling when the energy on stage snapped everything into focus. JESS ALLANIC took control instantly, sharp and precise yet wild and unpredictable. One moment pacing with intent, the next erupting forward, pulling the crowd in as if gravity had suddenly shifted towards the stage. The band behind that force hit just as hard. CALVA LOUISE don’t blend genres; they crash punk, electronic noise, and alt-rock together until the mix feels volatile. Riffs hit like blows to the chest, basslines crawled up through the floorboards. The initial crowd included a few sceptics near the back, watching with cautious interest. But as the set intensified, their stance shifted. By halfway, they had moved forward, drawn by the band’s rising energy. GRAPHIC NATURE signalled their arrival before they even fully stepped into the lights, and an air-raid siren blared through the room, followed by a tense, spoken monologue that silenced all conversations. By the time they stepped onto the stage, the atmosphere was already tense. They launched straight into “Headstone,” a blast of distortion and controlled fury that hit like a warning shot, and the response was instant bodies colliding, the floor shifting beneath the weight of the surge. “Locked In” followed with even more edge, its jagged rhythms and suffocating heaviness pushing the room into full-blown chaos. Any calm that had existed earlier was gone; GRAPHIC NATURE had turned the space into a pressure chamber, with the crowd moving as if they knew what was coming next. The set never slowed; each track hit harder than the last. By the finale, the room was buzzing with pure adrenaline. “Fractured” wrapped it up with a grinding, relentless finish that sent one last surge through a crowd that refused to stay still. As the main support act, Australia’s ALPHA WOLF, stepped up next, bringing a sudden spike in intensity. They went straight into “Ultra-Violet Violence,” blowing the room wide open within seconds. The impact was immediate, thick, punishing, and impossible to ignore. Before anyone fully recovered, they crashed into “Creep,” sending bodies surging across the floor nonstop. Mid-chaos, frontman LOCHIE KEOGH took a moment to address the crowd, grinning as he shouted, “We’re all weird, but we’re all a family. We’ve come to warm you up, let’s fucking move”. ALPHA WOLF kept pushing harder instead of easing off. Each breakdown hit with more force, the pit widening as they leaned into their heaviest material. The playing stayed tight but never lost that rough, unpredictable edge that fuels their live shows. When they kicked into “Akudama,” the reaction was instant. The floor erupted, the crowd shouting every line back, and the room hit its peak energy of the night. It was a sharp, decisive closer that left everyone more than ready for STRAY FROM THE PATH to take to the stage. Finally, the moment everyone had been waiting for, New York hardcore heavyweights STRAY FROM THE PATH. The crowd was already fired up as they walked out to “Kubrick Stare,” letting the intro build just long enough to tighten the atmosphere. The moment the track dropped, chaos broke loose. People pushing forward, shouting every line, the room erupting, the band had the place from the first hit. One thing that never changes with STRAY FROM THE PATH is the heart they pour into their set. It’s easy to get swept up in it. DREW YORK has a real talent for reading the room and pumping the energy every time he steps forward, pushing the crowd to a new level. TOM WILLIAMS was the backbone of the onslaught, ripping through the set with guitar work that barely gave anyone a moment to breathe. He powered through “First World Problem Child” and “Shot Caller,” as if trying to shake the walls down. He didn’t stay still for long, darting across the stage, throwing himself into the noise, and launching the whole room into an even messier, louder frenzy. From there, things only got wilder. DREW pushed the moment further, telling people to get up and crowd surf as the band launched into “Fuck Them All to Hell.” That was all it took. More bodies started going over the top, transforming the room into one big celebration. “Goodnight Alt-Right” and “Chest Candy” hit particularly hard, with the crowd shouting every line back at the band, knowing this was the final run. DREW kept addressing the crowd with genuine emotion, reminding everyone, “We wanted to give you new music and then peace out,” and later, “We are a community, and I’m proud we were part of this community.” It carried a weight that everyone could feel, as if saying goodbye to something that mattered. They wrapped it all up with “Fortune Teller,” leaving the crowd sweaty, exhausted, and grinning at the chaos they’d just experienced. No encore, no grand farewell, just one last hit before the lights dropped. Birmingham saw a band leave entirely on their own terms, full force to the very end. If this really is goodbye, it’s one nobody in that room will forget anytime soon. Words and photos: Kieran Atkinson

On a cold November night in Camden, a hardcore lineup as good as any seen in the city for many a year rolled through to give the good folks of London a damn kicking, and warm them up for the cold winter months ahead. GORILLA BISCUITS are, of course, progenitors of the genre, and with their dancey, energetic hardcore being supported by that of TERROR’s no-nonsense, pulverising riffage and up-and-comers DYNAMITE’s pumped up modern sound, the night was poised to be a riot - and a riot it was. Young upstarts from London DYNAMITE acted as a how-to of what’s good about modern hardcore, with a tour-de-force performance that warmed up the venue in all of about twenty five minutes. Bringing together sounds that range from that of GALLOWS and HAYWIRE to TRAPPED UNDER ICE and even AGNOSTIC FRONT, the hardcore crew ripped through their set at breakneck speed and doubtlessly earned themselves a plethora of new fans. One particular highlight was their track Hardcore Pride, but truly, each riff and breakdown were more than worth the time we spent watching them and gleefully headbanging along. Subheadliners TERROR need no introduction. As one of NYHC’s preeminent bands, and to this day one of the most cited influences for other hardcore bands, they’re amongst an incredibly small group of acts who have not only influenced a huge number of bands, but also have lasted longer than ten years - a real rarity in hardcore it feels. Classic tracks like Always The Hard Way were brought out early in the set, much to the excitement of the many crowdsurfers and moshers in the room, and naturally Overcome was as popular as ever. It’s nigh unnecessary to say how good Keepers Of The Faith and Return To Strength were, but as is entirely expected both were brutally powerful, and had half the crowd yelling along with veins popping from necks and foreheads right to the back of the room. Whilst GORILLA BISCUITS may have not quite had as much of an influence on real modern hardcore culture as they deserve, the influence they hold musically is unprecedented. Bands like DYNAMITE can trace their sound right back to the New Yorkers’ two excellent albums, and to this day most of hardcore would not have the same energetic spin and dancey feel that it does without the likes of GORILLA BISCUITS. A straight edge band with just two releases before then breaking up feels like a stereotype within hardcore, but these guys did that long before most bands you might see as falling into that were even conceived of, and also wrote some of hardcore’s catchiest tunes whilst doing so. New Direction got the room back to sweating and jumping after a half hour rest, whilst Forgotten summoned oldheads and their vocal chords like moths to a flame. High Hopes (no, not the annoying song by that annoying band) was one of the quickest at greasing up knees and elbows alike, and the plethora of covers performed - Minor Threat by the same band, alongside a CIV track or two and even some BUZZCOCKS were all received with cheers and whoops, and Start Today was a triumphant way to cap off an excellent return. Whilst the band weren’t even close to the heaviest on their own lineup, nor anywhere near the youngest, their experience and undisputed status as hardcore icons shone through to cement the show into the hearts and minds of all in attendance. Words: Jasmine Longhurst Photos: Claire Cabanac

In an era where Frutiger Metro is back in a big way, it’s a bold act for a band to dub themselves “Y2K-core” - and it’d be all too easy to rely on aesthetics alone to sell tickets. Nostalgia is a hell of a drug, and Gen Z is reaching that age they’re beginning to crave that high. For Oxford rockers South Arcade, though, this just isn’t enough. They’ve crafted a sound that meets the hype, fitting snugly into the playlist that auto-played on your 2007 MySpace profile, yet adding their own signature spice. They’ve perfectly captured the throwback-zeitgeist whilst feeling ever-relevant and original. South Arcade have been ones to watch for a while now, and in Manchester they truly showed the New Century Hall why. The night began with Liverpudlian indie-rockers STONE, who have been causing quite the buzz here in the North West. They consumed the stage with a ravenousness, maintaining a high energy from one song to the next. There’s a grit in lead singer Fin Power’s voice that really justifies his 90s sleazy rock and roller stage presence, particularly suiting the songs “Leave It Out” and the brand new “SWEET HEROINE”. He spun a story about his long lost loves (a succession of three broken iPhones) before meeting The One (a Motorola phone), then launched into the post-punk sheen of “Moto”. The band were rewarded for their charismatic efforts with a warm reception from the crowd - heckles of “I think Moto Moto likes you!” solidified a friendship between the stage and pit. STONE were certainly well-suited as openers, ending on “Money (Hope Ain’t Gone)” - a fiery and brash but poignant song that left a buzz in the air. Electricity ran through the room by the time South Arcade took to the stage, weaving in and out of larger-than-life (and larger than them) spray paint cans to bring us the bright riffs of “Fear of Heights”. The set had all the markers of a real banger - we chanted along with the anthem “DANGER”, ran a circle pit around guitarist Harry, and jumped so hard you could actually feel the floor of the New Century Hall moving with us during “Supermodels”. Each song gleams with a melodic charm, something that’s become familiar in their discography. Despite being early on in their tenure as a band, South Arcade definitely have a familiar and recognisable house style to their tunes - catchy hooks, catchy riffs, and that slick-sharp production that really shines on tracks like “HOW 2 GET AWAY WITH MURDER” where skiddering car sound effects punctuate the drop. This really brings an element of fun into their performances - the band themselves share cheeky grins onstage whilst watching the crowd go nuts at all the right parts. What’s more is that it feels like South Arcade are genuinely humbled and grateful to have the room in their pocket - lead singer Harmony was flattered by fans bringing art along, and knowing every word to every song. She sang the last chorus of “Riptide” with a fan who had brought a banner, begging to share the mic with her. These guys just feel like a band who love giving back and don’t take a moment for granted - something you could really feel was reciprocated by the adoring crowd, which has grown in swarms since they were here last. Each song felt like a fan favourite, an instant classic. Fans responded well to the new songs from their upcoming EP “PLAY!”, especially the slow mushy ballad of “Blood Run Warm”, the audience a sea of waving arms and phone torches. Harmony noted onstage that they felt their discography was missing a “slow tearjerker” - this is a band thinking three steps ahead, from the recording studio to what plays well in the room, and it shows. They’re known for their bombastic energy, so it was nice to see them play with something new. The viral hit “stone cold summer” had all phones out to the stage to catch a glimpse of bassist Ollie singing adlibs, only for them to go swiftly away lest they be lost in the moshpits of “2005” closing out the night. This is a deserved closer - a song that’s already proven its place among a “2020s Best Of” compilation CD for the scene (or perhaps a cassette is more their style?) with its rambunctious yet almost siren-like instrumental hook. Admittedly, although the set was tight and each song was calculatedly chosen to swing to the next, the night felt a little short - they have so many great tracks perhaps now seen as “deep cuts” that could’ve kept us thrashing around in that pit for way longer. It’s clear South Arcade know their stuff and are intent on constantly evolving, but perhaps this was a missed opportunity to show off how they’ve always had that spark. South Arcade are a band steadily on the up, and this gig really seemed like a triumph for them. This was one of their biggest shows to date, and fans old and new showed up for them en masse. It’s always a sign of a great night when people are leaving sweaty, fringes plastered to foreheads, glasses steamed, and South Arcade left the people of Manchester a glad reason that they were in dire need of a shower. Words: Erin Strom Photos: Anna Goley

Out of feral feminine rage, we have all gathered to scream and cry alongside DELILAH BON for her final stop of the tour in London. "This is what this show is for, a safe space for anyone to let it out, this is therapy in a way”. Indeed, during one of the coldest seasons in the UK’s (political) climate, being surrounded by a crowd of warm, accepting people might ever so slightly heal something within you. Championing and advocating for all marginalised folks, whether part of her team or her audience, DELILAH never fails to teach a lesson on allyship and how to keep taking a stance without sacrificing your artistic integrity. But first, CRAE WOLF takes the stage to truly amplify the energy in the room, ready as ever to “shake, shake, shake, shake”. For those of us unlucky enough to miss the SPIRITBOX x MEGAN THEE STALLION legendary Coachella performance, the East London star is here to scratch that itch in no less perfect execution. Self-described ‘baddie metalcore’, the singer even has her own little gimmick, and carries it through the whole set: as soon as she chants “CRAE”, the audience must follow, in the most beastly manner, “WOLF”. Infectious personality and amazing crowd work cannot sell it on its own; thankfully, CRAE also brought in some earworm material. Do U Think I Care and On My Body served as the ideal dance and warm-up tunes, letting the audience know straight away they will also have to “do some workout” tonight. By the middle of the set, CRAE has already turned leader of the pack, so it was no difficulty getting everyone to scream along with the lyrics of her latest single Mouth. Even though the band had some technical difficulties towards the end, they were ready to throw out the microphone and finish it off barehanded. A perfect fit for DELILAH’s support, it is almost her other side, both sets complementing each other beautifully. Patiently awaiting the grand entrance, the crowd is taking in every second to rest before screaming their hearts out again. Finally, DELILAH appears on a dimly lit stage, making the atmosphere even more tense, but also more intimate. PRINCELESS PRINCESS seems to be the perfect pick to set the tone, with the dress taken right out of a fairytale; it is clear tonight she takes the London crown. Speaking of dressing how you want, no song intermission is lost without a good story or a political comment being made. In a world where most artists shy away from expressing their opinions and beliefs, DELILAH BON embeds it in all of her art with almost no exception, and this is what the fans keep coming for. Although some fast rapped lyrics may be hard to sing along to, the biggest lines of songs like I Don’t Listen to You and Witch are still heard clearly even at the very back. One of the most beautiful moments of the night has to be her performance of Not The President — within the signature rainbow lighting, the team even managed to include a beam in the colours of the trans flag, in solidarity with the struggles the community faces both in the UK and across the pond. DELILAH always goes an extra mile to connect to the audience, coming down from the stage to hold hands with everyone she can reach, making it impossible not to shed a tear. Although it does not feel like a minute has passed, we are slowly nearing the end of the show. War On Women is dedicated to all women of South Africa, Sudan, Congo and Sudan, while the following I Wish A Bitch Would is sung in commemoration of everyone we lost to violence. Throughout the whole evening, DELILAH BON is determined to “Set the tone for the next year, because we’re gonna get louder, more obnoxious, and more in your face” — and this energy is truly amplified with every track she plays. To close off on a high, Dead Men Don’t Rape is a cathartic run-through, with middle fingers in the air designated for all those who dared to ever wrong us. Finally, with the most unapologetic BUSH ending the set and consequently the whole tour, the singer throws a bouquet of roses into the crowd, as if to determine who the next bride will be. Or perhaps, it determines who will someday continue the legacy that DELILAH BON has already begun setting in stone. Words: Mariia Bulkina Photos: Artemi Falzon

The nine-song release To Carry On is MORKE’s most ambitious release to date, as WING’s style continues to shift from atmospheric black metal to more melodic, medieval-inspired sound, or as the artist himself likes to call it, “Castle Metal”. Featuring intricate soundscapes that are primarily composed of distorted guitars, fast-speed snare and raw screams, the songs do not necessarily blend into each other, yet the flow of the melody makes it feel like they do. Being centred around historical context, the first few songs - Sublymed Respair, Falling Leaves and Ashes of Feudalism do sound urgent and aggressive with the use of instruments. The intricate riffs, as well as solos and bridges do add more depth into the melody, that is simple, yet with the right use of each instrument creates a soundscape, that takes over ears instantly. Myne Owne Hertis Rote, Coup D’oeil and Viola Odorata continue with the same narrative as the previous songs, which does add a feeling of repetition, especially when the melody sounds almost identical in each of the songs. While the riffs are changing around and the pace slightly differs as well, it does not help the songs in many ways to stand out from the rest. The last three songs, Crystalline Firmament, Wysterian Arbor and To Carry On are the same situation, with the first mentioned having a little change in terms of different beginning. CJ YACOUB does help WING tremendously to give a little more pizzazz to the doomy melody, but overall the melody does not bring anything innovative. To Carry On, the title track, that is also the closing song of the album, does sound victorious, and can be seen as a song of a hero, who won a life-changing battle, but that is up to everyone’s interpretation. MORKE’s latest album To Carry On diversed from his typical sound a little more than his previous works, and explores the sounds of guitar in bigger detail, but does not bring anything new to the scene. All the tracks sound very similarly, with the opening and closing tracks even having similar riffs, and after a while, the listen-through might become less exciting. Score: 4/10 To Carry On was released on 10th October via Words: Katerina Stepanikova Photos: Morke

With their reigning position in the 'Big eight of thrash metal' and over forty years on the scene, it is no surprise that TESTAMENT only gains more and more popularity amongst the metal fans. With the current line-up of ERIC PETERSON (guitars, backing vocals), ALEX SKOLNICK (guitars, backing vocals), CHUCK BILLY (lead vocals), STEVE DI GIORGIO (bass, backing vocals) and CHRIS DOVAS (drums), the band not only did multiple worldwide tours, with the recent one taking place this October, but also released a completely new album. Bringing ten new songs on the table with Para Bellum, the thrash metal icons made sure their comeback is as pompous and aggressive as it can be. The opening track For The Love Of Pain already features some meaty riffs right from the beginning, and it absolutely does not stop there. Accompanied by the electrifying sound of snare, that does calm down only a handful of times, as well as BILLY’s raspy vocals and screams, the five-minutes long song is not only a great opening act, but is also a statement of TESTAMENT’s undying inspiration and dedication to their craft. While being all about the fast tempo, the band catered to their fans, who are enjoying big guitar solos as well, with songs like Shadow People, High Noon and Havana Syndrome. The precision and years of experience of PETERSON, who is the only founding member left in the band, and SKOLNICK, who joined two years after, are easy to find in each of the songs, and it is no surprise the segments are an important part of their music, with intriguing riffs, that always bring something special to each of the tracks. Starting with acoustics, Meant To Be brings a change of pace early into the album. The ever-so-appealing combination of the sound of acoustic guitar with the complimentary drums is a classic one, and always appreciated as well. Being a rock ballad in the midst of songs that can be proud of their moshpits, Meant To Be is with no doubt a candidate for one of the best features of the whole release, as its emotional lyrics, big guitar solo and overall build up are a beautiful and touching surprise. It is no secret that TESTAMENT has left one of the most prominent songs of Para Bellum for the end, and it is no other than the title track itself. With DI GIORGIO’s bass adding depth to the already complex song and DOVAS’ drums leading the way, the song is a prime example of what thrash is about - big screams and even bigger and faster melodies. Although the song does not boast any surprising features in the first five and a half minutes, the rest of the song closes with a melancholic acoustic guitar, really making it a one-of-a-kind closure. Para Bellum is not an innovative, never seen before project, but rather one that expands on elements well known to every fan of TESTAMENT. Many songs sound similar and do not offer anything new, yet the band still manage to make the album nostalgic and exciting to listen to, from monstrous guitar solos to emotionally charged melodies. Even after more than forty years on the metal scene and with the title of the most popular and influential band on the thrash metal scene, they still show their fans that they did not lose their spark and dedication. Score: 6/10 Para Bellum was released on 10th October 2025 via Nuclear Blast Records. Words: Katerina Stepanikova Photos: Fred Kowalo

The term 'experimental' when applied to music can mean a whole host of different things, from being a little too outside of the box to fit in a more mainstream or better-known genre, or something completely nonsensical that could loosely be defined as music if you listened really hard. The newest album from KARITI sits in between those two definitions as an experimental, ambient, folksy record with some compositional choices that seem a little too out of left field to be enjoyable. Still Life kicks off with the introduction track Spine, which is a short but sweet ambient drone track with some soft, noisy textures sprinkled throughout. You would hope it’d be an example of what to expect from the album, which, in some respects, it is, but what you might not expect is some of the interesting “noise” additions to the follow-up track, Nothing. With eerie piano comes this often off-putting sound not unlike the noise you’d hear from an instrument cable that's about to give out. Nothing has the potential to be an incredibly dark and haunting track, immersing the listener in an atmospheric, soul-stirring bath of music, but you’re ripped almost immediately by the crunching noises sporadically thrown around during the first act of the song. It’s a shame that this acts as the first real introduction to Still Life, as it may cause many to switch off before really discovering the rest of the album. If you’re able to move past the jarring distortion in Nothing, you’ll be treated to seven tracks of otherworldly creations of piano, droning synths, and supernatural vocals that tell a tale of “the aftermath of being galvanised into a disillusioned reflection on human life and the way it is lived by most of us in the world in its current state" according to EKATERINA the Russian-born composer behind KARITI. The album is somewhat existential in its existence in that it’s both full of substance lyrically, but musically it’s fairly barebones with piano being the main focus of the record accompanied in different tracks by droning synths, crunching bass, and drums. It’s an interesting choice which allows for listeners to take a journey along side KARITI throughout the record. The album does feel like it has a slight identity crisis as it playfully dances among different genres, from ambient drone (Stems), to experimental synth (Fragile), to folk (Still Life), to sludge doom/post metal (Baptism). Still Life feels like it wants to find a place among them, but doesn’t quite find a home. Overall, Still Life presents itself as an interesting take on the experimental ambient genre. While the album has elements that some may enjoy, there are others that fans of the genres this album tends to bridge, won’t. That’s not to say KARITI isn’t without talent; the album is dark, haunting, and spectral. It has a handful of enjoyable tracks for fans of post-metal, some may also enjoy the folksy, ambient, and noise elements, too, but looking at the album as a complete body of work, you may find there to be a handful of tracks you’d happily skip. Score: 4/10 Still Life was released on 7th November via Lay Bare Recordings. Words: Aaron Richardson Photos:

Aussie absurdists SEX MASK brood beautifully on their debut EP Body Broker, with angsty synths complimenting their raw lyrics that muse on the darker parts of life. Over four tracks, they introduce a gothic indie soundscape, seeped in 80s goth influence, creating the perfect soundtrack to a walk home when 4pm darkness starts to get into your head. Body Broker opens with lead single Cold, a pretty gothic track apparently written when vocalist WRY GRAY was hospitalised after eating frogs and crabs from Japan’s stormwater drains. It’s a pining, spacey track wherein GRAY's vocals strike as being born in singing indie pop over 80s industrial; the worries of this mix melt away as the muttered harmonies in the bridge ring out. To follow is Blisters, which features NOAH LEARMONTH of RADIO FREE ALICE, who they’re concluding a tour with on release day with a sold out London date. Blisters is a true show of GRAY's raw lyricism, covering themes of purposeful isolation and using substances to cope. The hook “I gave up on giving up” is haunting in the song’s climax, matched with the crackly synths throughout that compliment the stop/start chord progression on the guitars; KAYA MARTIN compliments herself perfectly. Curse is the penultimate track, and is the standout on a first listen with its energy boost and equal parts spooky and angsty soundscape. While the dictation in the vocals is spotty, the use of light screeching vocals in the bridge and chorus is well placed variety for the EP and harmonises well with the backing vocals. The guitars get more technical and layered throughout, and the choice to sink the screeching vocals within the instruments and synths adds and attention to detail that makes the track stand out. To close is Dirt, which is initially a hard sell with the folk-rock-style “Huh Hey” to open it, and the vocals falling more into an indie style. This said, the instrumentals are the most guitar focused, creating a piece that feels like SHE WANTS REVENGE mixed with JAKE BUGG - this is a compliment with how well the two mix together throughout Dirt. The main critique would be the hard stop that ends Body Broker which feels abrupt as the tracks to this point have flowed into each other more intentionally. Body Broker is an encouraging genesis for SEX MASK and a perfect addition to a goth’s winter playlist, brooding and angsty while maintaining raw feeling in its lyricism. The only critique that could be levied at Body Broker would be some more variation in VINCENTE MONCADA’s drumming, but even this is balanced with how great their production has turned out. Score: 9/10 Body Broker was released on 26th November 2025 via Unpopular Recordings. Words: Julia Brunton Photos: Carlin Stephenson

It seems as if so many bands are using this time as the year wraps up to travel around the country - and the world - on grand tours, finishing 2025 with a tremendous bang. It's not just tours they're busy with, however, as these recent single releases have us discovering: Bad Omens - Left For Good For the fourth time BAD OMENS have released another mysterious single, seemingly without any sign of an album incoming! In this track the band return to their Death Of Peace Of Mind signature sound for a single that is metalcore greatness. The industrial drums control the track leading you through mellow verses and crashing choruses. Most notably the breakdown brings no mercy with NOAH SEBASTIAN bringing a topline you can easily visualise the fans all screaming and releasing their anger with him at live shows. The single has been added to the setlist of their Do You Feel Love Europe 2025 which is landing in the UK imminently! Words: Amy Smyth Chasing Dolls - Cobweb Bristol crew CHASING DOLLS blend Midwest emo, grunge, and elements of mathcore into a potent amalgam of emotions on first single proper Cobweb, with no half measures nor hesitations. Playing host to the noodling shreds of emo underneath strained, gritty vocals, the track runs heavily on melancholic stylings and feels like a much more accomplished offering than would be expected of a first offering - anyone based in the South-West should keep both eyes peeled for them, as their latest single will be released this Friday! Words: Jasmine Longhurst Converge - Love Is Not Enough God, CONVERGE are brilliant. The seminal metalcore heroes have not missed once yet and clearly don’t intend to, with the title track of their upcoming record blasting the side of the listener’s face into pieces with all the grace and nuance of a speeding truck. Based on the band’s observation that the world is not empathetic enough, the album looks to be just as aggressive as this first single, and will address plenty of social and political issues with the modicum of skill that CONVERGE have. Words: Jasmine Longhurst Des Rocs - The Juice The New Yorkers DES ROCS always bring the best hard-glam with their work, and their latest single The Juice is no exception. If anything, it is a proof of the band’s commitment to create a more in-depth sound than ever. From the band’s infamous guitar riffs to DANNY ROCCO’s raspy vocals, the single is one to bring the listener right into the thick of the action and not let them escape before the last note - although with the single’s energising nature, it is hard to believe anyone would skip even a single second of the piece. Words: Katerina Stepanikova Einar Solberg - Stella Mortua This one is for LEPROUS fans, or fans of orchestral moments in songs. EINAR SOLBERG from the band LEPROUS graces the metal scene with his insane vocal range and beautiful singing with new solo single Stella Mortua featuring the NORWEGIAN RADIO ORCHESTRA. Having the strings adds not only an eerie sense to the track but also gives it a dramatic edge that almost makes it sound like the backing for a show or film. Less noticeable but very welcoming in this is also the guitar played by one of the greats in modern metalcore, PIERRE DANEL from French band NOVELISTS. A perfect release for this time of year. Words: Lucas Grayson Grey Daze - Shadows GREY DAZE was originally best known for being CHESTER BENNINGTON’s main creative outlet in the pre-LINKIN PARK days. Disbanding shortly after the millennium rolled around, and certainly after the vocalist’s tragic death, the band was thought to have forever remained history. However, over the past two years GREY DAZE have slowly gone out of hibernation, drawing in some fresh blood to write and record new music again. Their recent single release Shadows brings the listener right back into the era of 90-00s alt-rock, as if those days never ended. GREY DAZE have set their goals strong this time, and are going to follow their vision on tour in 2026 - and hopefully beyond. Words: Mariia Bulkina Lacuna - Nest Glasgow’s alternative folk-rock sextet LACUNA are back in the lead-up to their much-anticipated December EP Nest, with the first single and title track out now. We’re brought into a relaxing, gentle guitar strum, with a rattling of drumsticks to back it as haunting siren-song vocals soon have us fully entranced. Whispering vocalisations fill the majority of the track, giving us a DAUGHTER-esque atmosphere to sink into as the crashing instrumentals soon take over. There’s no doubt this is one to be witnessed live, and with just this teaser, we’re left wondering what other unhatched eggs are waiting in their carefully-crafted nest. Words: Naomi Colliar Duff Lamb Of God - Parasocial Christ The groove metal heavyweights from ‘Richmond motherf*cking Virginia’ have kindly blessed us with a gift, in the form of new single Parasocial Christ. The song, maybe rather predictably with such a title, considers parasocial relationships in the modern age - namely, the negative effects of them. Of course, it wouldn’t be a LAMB OF GOD track without a plethora of crushing riffs and headbanging drum parts, which luckily are abundant and will bring immense joy to any fans of whiplash. Words: Jasmine Longhurst Megadeth - I Don’t Care Let’s be honest: MEGADETH have always evoked an image of teen rebellion. A picture of stoned skateboarders skipping school as DAVE MUSTAINE whines “Watch him become a god!” through their tinny portable speaker. Their latest single I Don’t Care certainly takes us back to those days of youth, right down to the striking artwork on the cover: vibrant flames fill the background, and the band’s skeletal mascot Vic Rattlehead stands flipping off the viewer. It’s something you’d see on a tacky t-shirt geared towards angsty teenage metalheads. The lyrics are no better: “I don’t care if you don’t like what I say, I don’t care and I won’t obey!” Come on, Dave. Despite that, the instrumental does bring a high-octane energy that almost lets us forgive those words. With their final album on the horizon, we’ve got our fingers crossed tight that it brings the same nitro-fuelled intensity to close off the band’s history, and hopefully, some better-workshopped lyrics. Words: Naomi Colliar Duff MOTHICA - Evergreen Misery The kick off of a new era for alternative soloist MOTHICA is starting with Evergreen Misery, which is the lead singer preparing for her new album landing in 2026. The track is decorated with different genres and electronic elements giving it some modern metal flare. Her buttery voice dances around a repetitive chime in the verses before dropping into a distorted riff packed chorus. The lyrics are extremely catchy and the bridge into the breakdown and final chorus are satisfying and whole-sounding, very well produced and makes us look forward to hearing what her new album might entail! Words: Amy Smyth Svalbard - If We Could Still Be Saved If any band in the UK scene right now will be more passionately supported or more sorely missed by their fans than SVALBARD, please show them to us right now. The devastating post-black metal act have long been known for their direct lyrics, courtesy of scene icon SERENA CHERRY. Now, with a title as on the nose as it is heartbreaking, the band have released their final song, and it’s as brilliant as ever. Over five minutes of brilliantly melodic yet crushing euphoric black metal, with brief expanses of post-rock to temper the mix. Having now finished their final tour, they have but one show left (that we’re aware of) in the UK - next summer’s ArcTanGent. Don’t miss it. Words: Jasmine Longhurst Tanzana - Covet Newcomers to Glasgow’s thriving music scene, TANZANA are making their stunning studio debut with single Covet. From the beginning strums of the track, there’s a slight western edge to the guitar’s wailing tune that sets an ominous tone for what’s to come. Vocalist FREYA TALBOT’s vocals are powerful and arresting, especially when the song hits its stride with the chorus; they’re almost evocative of a doom metal styling, and as the guitars ramp up to the track’s end, the instrumental hits those same marks. With a bold and memorable introduction like this, TANZANA are certainly a band to watch. Words: Naomi Colliar Duff TNL VZN - Hopeless Heart Attack Birmingham’s own mix of emo, grunge and alternative rock TNL VZN continue to strike again with their recent single Hopeless Heart Attack. The composition follows a slower and at times quieter pace, but develops into an excruciatingly emotional experience. Within the first listen, the music gets to possess and fill up all the space around you, even if it is only contained in your earphones. Hopeless Heart Attack talks about family trauma, and how impossible it feels to reckon with its remnants growing older. TNL VZN capture this emotional complexity masterfully, and painfully: "Fill my lungs up with water, I’m just someone’s daughter". Words: Mariia Bulkina Trashed - Regress Filling the void of proper, sad, gritty pop punk comes TRASHED. Since 2019’s first release Waste Away, the trio have evolved through a few sounds and lineups into the one they currently inhabit, as vocalist and guitarist JIMMY EMBLETON-SMITH has acted as the mainstay for the Bristolians. Regress is a simple, sing-along-able pop punk track that’s near perfectly made for a bouncing crowd to joyously chant along to, as with most of their discography, and would go just as hard in a cramped basement as it would at a festival headline slot. Don’t wait, go and see them and embrace every ounce of fun you can. Words: Jasmine Longhurst Ómoia - Why Am I Like This? Hailing unstoppably all the way from Leeds, ÓMOIA come out again with another incredible release. Why Am I Like This? is about the horrendous reality of having to constantly bear with violation and gender-based violence. The narrator expresses feeling hurt mixed with shame, falling into the trap of blaming herself for what has happened. The song alters between fast-paced recitative and melodic cries, ultimately evolving into its cathartic ending: "Just leave me, leave me alone; Don’t you know the meaning of fucking no?" - finally shifting the blame onto the perpetrator. ÓMOIA succeed in building the composition and exploring the topic in its full depth, even with incredibly complex emotional intensity. Words: Mariia Bulkina Editor: Naomi Colliar Duff Photos: Various Artists

Coming all the way from New York, HOTLINE TNT are back in the UK to play multiple shows on their headline tour, with their last UK date landing in London! After a few UK shows at iconic venues, they have returned and made their way around the UK to bring their music to as many fans as possible. The band brings a unique style of alt rock and shoegaze, which has cultivated a particular audience of UK rockers. The four-piece have been releasing music since 2018 and have delved on this tour to celebrate the release of their album Raspberry Moon, which was released earlier this year. The venue was quiet just minutes before the opening act JADE HAIRPINS made their way onto stage. The Canadian Punk Quartet have been slowly invading the hardcore scene with an almost Brit Punk sound, so it's easy to see why the UK crowd were loving it. The room slowly filled out as they got further into their set, heads bopping and feet tapping all across the room. Being a warm up act especially for a crowd on the other side of the planet must be daunting but these guys rocked it, each member bringing their own flair to the stage. The bassist added a particular sound with groovy twangy basslines that added a depth to the live music you might not pick up on as much in the recorded studio songs. The two guitarists dueted throughout the set, layering their vocals to add more texture to the live tracks. Lead vocalist JONAH FALCO extended some of his notes into screams that were particularly impressive and an unexpected addition to the set, with fans in the crowd turning to each other and nodding in approval. As JADE HAIRPINS wrapped up their set, the crowd began to pack in with very few empty spaces remaining, the venue eventually went dark once again and the flashing lights built the suspense as a bassline rang through the room. One by one HOTLINE TNT sauntered onto the stage! Each quickly getting into their spaces as the instrumental built, before starting their opening song The Scene. Their shoegaze riffs bring a nostalgic tone, replicating bands from the 90s and 2000s, putting their own spin on chord progressions that otherwise feel familiar. Throughout their set the band only stopped playing their instruments a handful of times, as they let the songs flow between each other. The gaps instead being filled with a sentence or two were given to a member of the band to fill the silence. They continued their show with hits like Protocol, I Thought You’d Change, and Where U Been, as the members of the band rocked the stage, all of them headbanging and dancing to match the beat. The crowd replied with their own movement and cheering, not one bored head in the house. As the set went on the crowd got more and more lively, and rather than the traditional mosh pit opening up the fans vibrated off of each other, eventually creating the pit. Fans that had seemingly never met before connected through the music, singing the words together and throwing their arms around each other. The songs were easy to sing along, and had even those that might not have known them at the beginning of the track, singing along by the end. The band worked hard to see that all the room was entertained and it paid off. As they reached the last few songs before the encore, they left the stage and the lights went dark, causing the crowd to cheer for an encore. The band came back on and asked which track they should play, it is very rare to see bands actually taking requests, especially on the spot! Song names were shouted from all angles, really showing the fans' knowledge of the band and the demand for more. After denying a couple of fans due to not being quite ready to play the song or not thinking they were the right vibe, they landed on History Channel from their 2023 album Cartwheel. They took a few moments towards the end of the show to talk to their fans and exclaim how important it was to them that everyone in the room was there on their Tuesday night, when they could have been anywhere else. They went on to play Lawyers in Love and Had 2 Try, before finally closing on Trinity. The band got an immense cheer at the end of their set, taking their time to say their thanks before finally exiting the stage. HOTLINE TNT have played many UK shows but as they said themselves, this one felt special. There was a real sense of joy in the room that the music elevated leaving everyone in the room on a high. We hope to see HOTLINE TNT return to London again soon to play even bigger venues to draw in even bigger crowds! Words and photos: Amy Smyth

Islington Assembly Hall was already buzzing long before MIRADOR stepped onstage. Flags and homemade banners were draped over the barrier, waved by fans whose loyalties were split between GRETA VAN FLEET diehards and IDA MAE faithful. You could hear it in the anticipatory screams every time a roadie walked past a mic stand: this was a room full of people who had waited a long time to see what JAKE KISZKA and CHRIS TURPIN would create together. Their debut London show did not just meet the expectation, it set it alight. But first came LADY OF MARS, London’s rising indie-rock outfit whose reputation has been steadily growing since festival season. They walked on with the self-assurance of a band who have worked the circuit hard, and it showed. Their emotionally charged vocals, driving beats, and that glint of late-seventies new wave swagger — landed effortlessly with the crowd. Their frontwoman steered the set with striking control, her voice climbing from smooth clarity into a raw edge that cracked right through the chatter. The guitar work was polished without being sterile, and the bass and drums kept everything tight enough to dance to but loose enough to feel alive. They left the stage to real cheers, not polite applause - not an easy feat in a room waiting for a brand new supergroup. Once MIRADOR took their place, the lights dimmed to red haze, an atmosphere that fit the folklore-and-fire mythology surrounding the band. When KISZKA and TURPIN finally appeared, the room erupted — banners shot up, flags flew and fans screamed. Opening with Heels of the Hunt, they set the tone immediately: rich harmonies, storytelling energy, and an undercurrent of mysticism that felt both familiar and brand new. KISZKA’s vocals were surprising — warm, expressive, far more textured than anything fans might expect. Paired with TURPIN’s rasping soulfulness, the two voices created harmonies that hit like cold air down the spine. More than once the room fell utterly still, caught in those moments where their voices hung in the air with no ornamentation, nothing but the quiet breath between notes. It was the kind of silence bands dream of earning. The tranquility was soon shattered as KISZKA tore into the first searing guitar break of the night. It came like a bolt, ripping the stillness into shreds as Raider hit with stomping blues-rock force. This became the heartbeat of the evening: the swing between entrancement and eruption. One minute you were lost in harmony, the next you were pulled back into earthly reality by a riff so sharp it made the venue tremble. A fourty-five minute long album stretched into a two-hour set might sound ambitious, but this is where MIRADOR truly showed who they are. Instead of padding time, they expanded songs into long, immersive journeys. Each member took their moment to stretch out and show what they were capable of. MIKEY SORBELLO’s drumming was a masterclass in instinct — sharp, precise, driving the momentum without ever overwhelming it. He played with the confidence of someone who knows exactly when to pull back and when to let loose. NICK PINI flipped effortlessly between bass and keys, adding depth and colour to every track; sometimes warm and earthy, sometimes spectral, sometimes pulsing enough to feel through your ribs. During Feels Like Gold and Roving Blade, the crowd sang along with an enthusiasm usually reserved for bands several albums deep into their careers. The banners, waving to the rhythm, catching the stage lights. After a swift costume change they began Fortunes Fate. The room had settled into a steady sway. Fans mouthing every word as if reciting some shared folklore they all somehow knew. The emotional core of the evening came with Must I Go Bound, where everything dropped to near silence. The harmonies were devastatingly delicate, exposed, and so perfectly blended that it felt like a single voice split in two. You could feel the entire hall holding its breath. Then, inevitably, the spell broke: KISZKA stepped forward and unleashed a guitar passage that snapped the room awake again, a surge of electricity running through the crowd. The back half of the set leaned heavier into blues and rock theatrics. Blood and Custard arrived thick and heavy. Ashes to Earth built momentum piece by piece until it exploded and the closer, Skyway Drifter, hit with the weight of a band announcing their arrival and their promise. Throughout all of it, MIRADOR played with a sense of purpose: not a nostalgia act, not an indulgent side project, but a band with its own world. They conjured something that felt both ancient and fresh - through blues rock, folk storytelling, and modern rock urgency. As the final notes faded, the crowd erupted again as the stage bathed in a haunting blue mist. Two hours of grit, grace, silence, thunder, and the kind of musical chemistry that feels almost dangerous. MIRADOR’s first London headline was not just a debut. It was a statement. And the message was clear: they are not borrowing the past. They are building something new. Words and Photos: Evelyn Webb

“Welcome to our funeral”, says vocalist Serena Cherry with a knowing grin. On this final tour with the iconic SVALBARD, the emotions were running high. Multiple sold out dates throughout some iconic UK venues were the host to a tour full of big feelings and even bigger riffs. SVALBARD brought the best the new generation of UK bands has to offer with them for one last ride. Brighton’s finest KNIFE BRIDE opened the night with heavy riffs and high energy. Starting off with the huge riff of ‘sacrifice/surrender’, it got the crowd’s attention immediately. Leading into the softer sections of the song, showed the range the band has with the exquisite vocals of Mollie Clack accompanied by smooth guitar work of Sean Windle. The band showcased how heavy they can be with the breakdown, getting heads banging all over the room. Following up with 2024’s track ‘MELANCHOLIA’ gave the band a chance for the backing vocals of Sean Windle and bassist Craig Glynn to shine alongside their instruments. Between songs Mollie Clack was expressing the gratitude that the band has for being invited on such a prestigious tour around a number of iconic venues across the UK. This tour was an opportunity for the band to play the yet to be released song ‘Crucify’ which was a hit with the crowd, many of whom will likely be eagerly awaiting its release onto streaming services. It was also the live debut for ‘Alone at the Altar’ on this tour, which was released earlier in November and had members of the crowd singing along. Closing on their highly popular ‘FANG DUMMY’ left the crowd ready for the rest of the night. KNIFE BRIDE are going from strength to strength and are on an upwards trajectory. They are a name to keep a close eye on because they have big things in their future. CAGE FIGHT followed and brought the intensity with them. The London band are known for their extremely heavy sound and unrelenting energy. Even with guitarist James Monteith unfortunately having to miss the tour, they still brought their everything. Will Chain, who usually plays bass for the band, filled in on guitar and a friend of the band Dave Runham stepped in as bassist. As if an impromptu lineup change wasn’t enough for the band to deal with, Chain dislocated his knee on the first night and will have to spend the rest of the tour playing sitting down. However, they weren’t going to let any of this deter them from delivering a set full of passion. French vocalist Rachel Aspe was recruited to the band and has proved why she is a great addition, with her visceral screams shaking the entire room for the full set. Drummer Nicholas Plews added to the intensity by hammering on the drums and having a snare tone that can be felt from miles away. The massive riffs and guttural vocals had the headbangers in full effect throughout the whole set. CAGE FIGHT sets feel like a wall of brutal noise reverberating perpetually through every atom in your body. Their recently released singles ‘Pig’ and ‘IHYG (I Hate Your Guts)’ got big reactions from the crowd, showing the excitement for their second album, set to come out in 2026. CAGE FIGHT are proving that they are a force to be reckoned with and will be working towards being mainstays in the scene in the near future. SVALBARD have embarked on this one final UK tour as a farewell to their home country before the band comes to an end. Formed in Bristol in 2011, the band have reached heights many only dream of, and have made this one final send off something to remember for themselves and their fans. Opening their set on ‘Disparity’ from their debut album ‘One Day All This Will End’ had the crowd excited from the very start, knowing that this one final time would be a special one. Lead vocalist and guitarist Serena Cherry jokingly said “welcome to our funeral” to describe the tour, which was met with a crowd member yelling “please don’t break up” back to her, showing that they will be missed after the last run of shows in 2025 and 2026. Moving into ‘Open Wound’ from the 2020 album ‘When I Die, Will It Get Better?’ brought a wave of big emotions and had the band playing their hearts out in every note. Next up was ‘Defiance’ from their final album ‘The Weight Of The Mask’ and the word defiance is a perfect way to describe the band; they have played by their own rules and forged a path for themselves since day one. Their latest and final track, released this week, ‘If We Could Still Be Saved’ is a tribute to the band breaking up and has given the fans one final experience of their unique and colossal sound. The band have never been ones to shy away from difficult topics in their lyrics. They playing a run of songs Serena Cherry described as “being about feeling depressed” gave that raw and honest look into the deep emotions that have gone into the band over the years. However, no matter the difficulties they’ve faced along the way, they still have that passion. They have cited not wanting to end up in a creative slump as one of the reasons for the band having their amicable ending and this is evidence that they were never going to give anything but their all to the music. The haunting and ethereal sound lit up the room for ‘Throw Your Heart Away’ with its slower and melodic outro, giving a moment for the band to gaze upon the crowd for one last show in the city and gave Serena Cherry a chance to give a huge thank you to the fans for showing up for the band over all the years. After almost every song, she was showing her and the rest of the other band members gratitude for the support. Before Serena Cherry could go into her speech about how the band were ending as friends, a hum from the amp of guitarist and backing vocalist Liam Phelan caused some very short-lived frustration between him and bassist Matt Francis, which was promptly joked about as the irony of them having issues but talking about being friends was on full show. Closing out the main set on ‘Eternal Spirits’ gave the fans what they thought was one last chance to enjoy the monumental sound of SVALBARD, and as the band were walking off stage at the end they were met by huge applause and cheers. They came back to give the fans one final song in ‘Greyscale,’ which gave the fans their actual final chance to enjoy the wonderful sound of SVALBARD live and left the crowd sad to see them go but happy to know they had given the band everything since their formation all those years ago. This tour was SVALBARD passing the torch to the new era of British bands as their final contribution to the UK scene. SVALBARD will be missed, but have left a legacy and impact that will be felt for a long time and not go forgotten for many years to come. Words: Alex Long Photos: Jack Norris