It was a weekend-eve party in Club Academy last Thursday as Rain City Drive and Honey Revenge played the Manchester leg of their joint European tour, bringing Belmont along for the ride. Every set was high energy and full of personality To open was hard emo outfit Belmont, who brought the initial energy as their front man Taz Johnson 'white girl danced' his way along the stage to Day by Day. Despite the circle pit opening up he went for the “is that all you can do?” approach to getting the room moving. Musically, they focused on a fusion of Midwest emo and emo rock sounds, complete with pretty guitar runs and an odd foray into trap beats and rap that just about landed with the rest of the set. The main thing to note was the ease of which Johnson took the frontman role, whether that was getting the whole crowd to put their fingers up before Liminal or reminding the crowd this was their last chance to get moving before they closed with Overstepping; Johnson crouched to sing with those at the front there to see them then the long final outro finished their portion of the evening. Rain City Drive opened their set with Frozen, then was met with an enthusiastic response when Matt McAndrew asked Club Academy who in the crowd had heard of them before. McAndrew was an effortlessly comfortable frontman, smiling into the microphone as he walked around the stage and pointing at individuals to ask if they specifically were ready for Concrete Closure, where he got the crowd into a clap along to warm up their interaction muscles. For Rain City Drive this was a return to the quartet’s birthplace and namesake, the latter point referenced by McAndrew before giving a song to the OG fans in the form of Prayers Rain City Drive’s sound is primarily alternative rock with a whisper of pop punk in their emotionally charged and relationship based lyrics. As McAndrew introduced the band's first song Heavier with “let’s see if you know it” was indicative of a grating habit of the frontman where he expected Club Academy to know what they were playing without introducing a song name; this strategy would be satisfying for Rain City Drive fans on a single headline tour, but one that would make it difficult for Honey Revenge fans to find their favourite songs of their co-headliners after the tour. Nevertheless, Rain City Drive were great performers with good energy and control of it, especially as they danced along to a more hip hop influenced new song called Ride or Die, or McAndrew’s coaxing for members of the crowd to admit that they were going through a breakup so he could dedicate Wish You The Best to them. It was not just McAndrew bringing the energy, as the guitarists riffed off each other and bassist Colin Viera mouthed almost every word of the setlist to the crowd. McAndrew took a quiet moment in the middle of the set to perform Neverbloom, a weighted track dedicated to McAndrew’s late father that speaks on the destructive habits Rain City Drive’s frontman picked up in his grief and without a father figure to stop him, as well as the eternal wish for his father to see the successes he has achieved in the last few years. Being able to control the energy refers to McAndrew being able to move the room into the quiet moment needed for Neverbloom then easily bring the energy back for their set’s final section, first asking the back how they were and getting Club Academy to get loud whereafter they played Cutting It Close featuring a solid drum solo from touring drummer Zachary Baker. Rain City Drive closed out with Medicate me, which originally features Dayseeker, but Club Academy filled the gaps by getting the loudest they’d been so far. Rain City Drive oozed confidence throughout their whole set and had the musical quality to back it up, getting Club Academy warmed up for Honey Revenge without tiring them out before the party to come. The first thing to note about Honey Revenge is the commitment to style for the duo, as they both bounced onto the stage in co-ordinated sheer purple tops, with Donny Lloyd donned in sparkly trousers and hair glitter to match their pink glittery guitar, while Devin Papadol sported a ruffle skirt that gave the two were headed straight to G-A-Y after the show. Their set opened with Risk, where the two shimmied with each other between Papadol singing to the crowd. They followed with Seeing Negative and executed the first of many synced-up kicks, spurring Lloyd to play so hard their glasses fell off and they spent the last verse and chorus trying to see down them without them hitting the floor. Honey Revenge is best described as bubblegum rock in sound and energy, with their heavy but high tempo rock instrumentals blended into electric elements and topped with Papadol’s pop princess style vocals. Their energy is infectious too - by Sensitive a room that had seemed flat had burst into jumping and dancing; the party was underway. Papadol began her requests at Favourite Song - a conga line, which snaked its way around the middle of Club Academy for about half the runtime, then a request to turn the room into the club for an unreleased track about being a hot commodity that got the hips shaking and the countdown for its release starting. At this point Papadol addresses those who are new to the Honey Revenge show by using the first line of Habitual’s chorus as a call and response, coaxing the crowd to sing it to her preferred volume then hitting the macarena as the first notes played. It’s only now that the pit opened, with Papadol standing in the eye while she sang Worst apology, then asking for the tough guys in the crowd to get it moving with a flirtatious air; they obliged immediately and even hit a small wall of death towards the end of Poison Apple Baby. The final section of Honey Revenge was reserved for the more passionate tracks in their discography, which lent itself to the harder soundscapes and an accompanying circle pit during Distracted. This said, the boogieing between Lloyd and their touring bassist was constant:be it the synced kicks from earlier or small dances and movements indicative of tour-long jokes they threw at each other while grinning from ear to ear the whole time. Papadol for her part was mostly on the barrier, though an attempt to get back onto stage during Are You Impressed? had her and Papadol bumping into each other punctuated with Lloyd’s involuntary scream into the microphone. To finish, Papadol had everyone on the floor for Airhead, closing out the set with a long breakdown and final guitar solo from Lloyd. Having stated earlier they’d be no encore, a chunk of Club Academy filed out of the basement room when they came back on stage to do their current bit: a rendition of half of Knocked Loose’s Counting Worms where Lloyd did a scream so solid they should incorporate it into Honey Revenge songs. Honey Revenge and Rain City Drive’s joint tour was a party that was a joy to attend. Belmont and Rain City Drive were put together and warmed the crowd up perfectly for the headliners, Rain City Drive served a classically quality alternative rock performance, while Honey Revenge’s energy was so infectious it left the crowd electrified as Club Academy disappeared into the sharp Manchester night. Words: Julia Brunton Photos: Anna Goley

On the first evening of February, we stepped into the iconic Brudenell Social Club in Leeds to bear witness to singer songwriter A. A. WILLIAMS. Since her debut album Forever Blue released in 2020, she has developed a dedicated following with her post-classical gloomy dark folk. The tour is still in its early shows as it travels into Europe for the next few weeks, with SPOTLIGHTS joining them in the lineup. Over the years she has toured with the likes of THE SISTERS OF MERCY, CULT OF LUNA, EXPLOSIONS IN THE SKY, and even SLEEP TOKEN. Up first on the stage was SPOTLIGHTS, all the way from the US. The band is made up of husband and wife Mario Quintero and Sarah Quintero, with Chris Enriquez on the drums. Their EP Tidals is celebrating its ten year anniversary this year, so to commemorate they played the entire EP in full, plus their newer track Sunset Burial to round off the set. There was a record winning snare drum change just before their last songs, as their drummer Chris had broken it whilst playing. The transition was seamless and earned a few cheers as another snare emerged from behind the scenes and they were ready to go once again. Spotlights’ sound is heavy, a doom-infused hard rock offering, with intense guitar solos scattered throughout. Sarah Quintero’s presence is the coolest in the room with her slick bass riffs accompanying the others. There were a few people at the front of the crowd yelling along to every word amongst the otherwise mellow crowd. A.A. WILLIAMS appeared on the stage with an emboldened A. behind her, and smoke gathering at her feet. Golden began the twelve song set, easing us into things. Just A Shadow came in straight after which transcended into a mesmerising gothic instrumental, followed by Splinter. Love and Pain is an alluring track that is full of drama. Her sound is even more powerful in person than the studio recordings. You can feel every reverberation, and the aura emanating from the stage is magical. The soft hand movements contrast with the boom of the distortion as the tracks play out. As true to the genre many of the songs follow a similar format, starting a lot quieter and building up to something that is eardrum bursting and all encompassing. Between each track WILLIAMS is reaching for a different guitar. There is a series of “pointy” guitars but amongst them is one with an incredibly beautiful sound. This is particularly prominent on tracks like Dirt. At one point she spoke to reflect on her time in Leeds in the past, noting her performance at the Brudenell in 2019 as part of StrangeForms Festival. Adding to the atmosphere is the crowd that is deadly silent throughout as they take it all in. The setlist proves that these are songs that begged to be witnessed live. Personal highlights were Melt from the iconic Forever Blue album where WILLIAMS’ vocals soar and the tune creates a unique cascading of melodies that captivated everyone. As well as the interlude in Pristine, which is almost cinematic and when the guitars burst in, you are drawn into an other-worldly space that keeps its grip on the crowd. The set finished with Evaporate, one that resonated with the room as one of her more popular and catchy tunes. The performance as a whole is carefully and beautifully crafted, from the lights and the smoke to the compositions of the music. A.A. WILLIAMS offers an alternative perspective on the singer songwriter, where things are just a little bit darker. Words: Danielle Henderson Photos: Oz Davies

Rescue Rooms played host to a relentless night of hardcore, as GIDEON played Nottingham with support acts GROVE STREET, XILE, and STILL IN LOVE. Opening the night were the STILL IN LOVE and they came out swinging, fusing raw emotion with a no-nonsense modern hardcore punch. Sober and Pillar Of Strength landed like gut shots, all vulnerability wrapped in heavyweight riffs, and it did not take long for the room to wake up. STILL IN LOVE demanded attention, locking the room in early and even kicking off a pit while most people were still finding their spot. A statement set, and a warning of what was to come. XILE hit the stage, and the room shifted gear immediately. Same lights, different energy — darker, heavier, more volatile. One riff in and the floor transformed into chaos. Originally from Grafton, New Zealand, but now firmly rooted in the UK hardcore circuit, they blend European beatdown and death metal into their own brutal brand of “Kiwi Hardstyle”. Stone Cold and Diamond Eyes hit like blunt force trauma live — all precision, no mercy. XILE knew exactly how much damage they were doing, and they leaned into it hard. The pit reacted instantly: windmills flying, karate kicks swinging, two-step chaos breaking out. From that moment on, the room stayed locked in and refused to calm down. The main supports GROVE STREET were on next, and the atmosphere shifted once more — away from sheer, pulverising heaviness and into something far more dangerous: pure, infectious fun. Their thrashy hardcore roar erupted instantly, packed with groove, grit and that unmistakable bounce that had even those standing at the back nodding along before being dragged into the pit. Tracks like Grove Street Family and Lessons Of The Past sparked some of the biggest reactions of the night, their crossover bite blurred the lines between hardcore urgency and thrash metal speed. Fast, volatile and unapologetic, this was the evening’s true turning point — where restraint finally collapsed and the room fully surrendered to chaos and fun. Seeing these guys if you are a fan of thrashy hardcore is a must. When GIDEON emerged, the crowd was warmed up and ready to face the chaos of the pit that was yet to come. Launching into crowd-pleasers like Wrong One and ‘Till The Wheels Fall Off, they asserted control of the room from the outset. Their set leaned heavily into material that thrives in live environments, with tracks such as Bite Down and Cursed triggering full-room chants and relentless pit activity. The band’s connection with the crowd was the beating heart of the set. GIDEON have always thrived on balancing crushing heaviness with razor-sharp melodic hardcore hooks, but here it felt supercharged. MORE POWER. MORE PAIN. in particular became a full-blown communal moment, less a performance and more a shared release, with voices drowning out the PA. In the claustrophobic confines of Rescue Rooms, this particular breakdown hit harder, every chorus roared louder, and the barrier between band and audience all but disappeared. The energy never dipped for a second — just a relentless feedback loop of sweat, shouting and total, all-in commitment. Sweaty, feral and chaotic, this was hardcore in its purest form. Each band escalated the chaos, from raw emotion to bone-crushing brutality and riotous fun, before GIDEON brought it home with a headline set that blurred the line between band and crowd. Rescue Rooms barely survived! Words: Sita Gee Photos: Libby Percival

After a six year wait, Ukrainian metal giants JINJER finally returned to the UK for a full scale headline tour. It was clear to see on a rainy Friday evening in Birmingham what this band means to people. Cowering beneath limited cover from the elements, the queue stood strong as it weaved around the Digbeth streets. We last saw JINJER grace the holy grounds of Castle Donington at DOWNLOAD Festival 2025, a gripping show, but nothing in comparison to the showcase of European musical talent that was about to go down in the O2 Institute. Hot off the heels of the release of their first album in a decade, Dutch prog metal pioneers TEXTURES opened with the dreamy Closer To The Unknown. Transporting you into their synth infused modern metal soundscape, lead singer Daniel de Jongh made the transition from raspy melodics to wrenching uncleans look easy. With six members in total, every single one looked to be having the time of their lives. Inside jokes unfolded with fist bumps between themselves during beat drops and constant smiles across their faces for the duration of their set. Alongside their infectious joy, their musical catalogue enticed the audience to join their headbanging, doing as a support act should, warming the crowd up. Saving the heaviest song of the set until last, Laments of an Icarus left a lasting impact that would make sure new fans left the venue that night. As the crew commenced their gear switch, a loud and ringing electronic melody took over the sound systems to set the scene before the next band took to the stage. Bringing their mix of technical riffs, fast paced rhythms, ‘angelic’ cleans and contrasting intense vocals, German quartet UNPROCESSED did not come to mess around. This tour brought the band the opportunity to play tracks off their new album Angel, kicking things off with 111, followed by Sleeping With Ghosts and Beyond Heaven’s Gate, energy radiated from the band and audience alike. Manuel Gardner Fernandes hypnotised with his incredible vocal abilities, whilst prog bass and riffs had the crowd going mental. It didn’t take much convincing from the band for the pits to open up, the crowd spoilt for choice of mind bending breakdowns. It was particularly impressive to see bassist David John Levy picking up vocal sections such as PALEFACE SWISS’ feature in Solara, spitting the lyrics out at rapid fire, before knuckling down into even more intricate riffs. The general consensus from audience members seemed to be amazement, with people questioning how they hadn’t listed to this band sooner and adding songs to their playlists whilst the band were still on stage. Well, it’s good news for new and old fans alike, as Manuel ended the set with a simple statement - ‘We will be back very soon, I promise’. With little room to move in the building, it was easy to see the excitement radiating as the final band prepared to grace the stage. Leading the charge were guitarists Eugene Kostyuk and Roman Ibramkhalilov, and drummer Vladislav Ulasevish, unleashing the opening of new album title track Duél. A rolling mix of low tuned chords and fast paced symbols took over the venue, creating the perfect entrance for front woman Tatiana Shmayluk. A vision in pink frills and a striking red corset, the atmosphere in the venue instantly switched to awe as this iconic vocalist took centre stage. Known as a powerhouse in the metal scene for her ability to switch from ethereal cleans straight into battering growls, every note throughout the evening was hit to perfection. Green Serpent weaved its soulful melody through the room, followed by the punchy Fast Draw. JINJER manage to create heavy hitting and fast paced tracks that just make you want to dance. Audience members bounced around and boogied to their hearts content, feeling every pace change and embracing every note. Onslaughts of crowd surfers took to the air, whilst moshing raged rampant. Backed up by large LED screens, the band were surrounded by a colourful spectrum of graphics and animations. This added to an already captivating stage show, purely generated from the performers themselves. Whilst event member of the band was putting their all into the show, it was hard not to be completely mesmerised by Tatiana’s sassy and strong stage presence. Throwing moves and skipping across the stage, she is confidence embodied. Whilst continuing to do justice for and representing women in the current metal scene, she took the time to dedicate Someone’s Daughter to the ladies at the gig, earning a cheer from her counterparts in the crowd. The track list of the evening included classics like Teacher, Teacher!, Judgement (& Punishment) and of course Pisces, earning many a loud cheer from the crowd. Concluding with Sit Stay Roll Over, the quartet delivered a pure master class in metal, and proved just why they have become such a powerful name in the alternative genres. Words and Photos: Izzy Sheldon

When a tour lineup has four bands on it, you are always wondering if you are going to love each band or be waiting around impatiently for the headline act. RESOLVE made sure everyone left thinking the first option. The French metalcore band were joined by ASHEN, also from France, UK-based TROPIC GOLD and Australia's WINDWAKER. This being one of the first tours to happen in 2026 set the standards high for the rest of the year. Kicking off the stacked night was ASHEN. They made their way onto stage and in the first five seconds had confirmed they are probably the most stylish band we have ever seen live. Although they were on just ten minutes after doors, once people had heard them, the room started to fill up. The challenge of being on so early after doors did not stop them, or the crowd, as pits and walls of death were still happening. Newest ASHEN member, NATHAN HAKOUNE, was an obvious standout moment with his low screams. Vocalist CLEM RICHARDS is someone we need to be speaking about more with the range of his voice and the energy he brought for every song. Next to hit this stacked lineup was TROPIC GOLD. Their atmospheric introduction set the tone for the rest of their set that was packed with songs from their 2025 EP, Sick To Death Of Everything. Vocalist JACOB PARRIS effortlessly switched between clean vocals and screams while drummer AMY opened Pokémon cards at the back of the stage, a new staple part of the TROPIC GOLD set. They played an unreleased track, Witch House, and from the range of JACOB’s vocals alone here, it will definitely be a fan favourite once released. Last band to get everyone warmed up for RESOLVE was WINDWAKER. Coming from Australia for their first shows over here, they made sure they brought the energy all the way over to the UK. They performed all their hits, including opening with SIRENS, which is the perfect opening track with its high energy. Their overall stage setup, presence and aesthetic is something so different and fun, it felt like a breath of fresh air. If you are a fan of HEADWRECK or ELECTRIC CALLBOY, you need to check out WINDWAKER. After this, the crowd was fully warmed up for RESOLVE. This was a special set for RESOLVE. They performed tracks they have not played in a while, along with others that may never be played again. When the tour announced they gave fans the opportunity to message them with tracks they would like to be played, which made the connection between the band and the fans on this tour even stronger. They undeniably also have this connection with fans in person. Vocalist ANTHONY DILIBERTO’s stage presence was so slick and his live vocal range was one of the most impressive, he made it seem easy to use. It is certain all members wanted to put everything into this performance with it being the last time some of the tracks were going to be played. With hints of similarities to MAKE THEM SUFFER shining through on tracks such as Molotov and DON BROCO on Human, there was something for everyone. They used up every bit of the stage. The Cathouse was not a big enough venue for this performance; The band would thrive on stages like the Barrowlands or O2 Academy so they could fully unleash themselves. There were fans there who had travelled all the way from America for this tour, who must have been happy with their decisions after the night. Hopefully RESOLVE will be back at some of the major UK festivals soon, they have the stage presence, the sound and the fan interaction completely and would make a perfect act for the Download Festival main stage. Words: Isabella Jacklin Photos: Isaac Laing

A chaotic night of intense futuristic music enjoyed by a young crowd simply living in the moment. The bill of acts featured music that sounded like the future. The first artist of the night was GORESHIT. Unusually, GORESHIT’s set started only fifteen minutes after doors opened, meaning many of the fans, who had arrived early, were still outside waiting to be let in while the music started. GORESHIT’s set consisted of intense breakcore sounds that were slightly off kilter. The set was a fun blast of intensity to open the evening, the crowd even hit a few dance moves to start the descent into chaos as the night unfolded. The music was crafted through live beats and mixes, creating an organic sound despite being fully digital. It worked well to bring the venue into this otherworldly futuristic atmosphere. Next up was AYA, bringing a blend of interesting beats and intense performance. She put many aspects into her stage presence, from mixing sounds while crawling on the table to cracking jokes about growing up queer in Yorkshire, it was honest and relatable to the crowd. The floor started to gain traction as the first pits of the evening opened. It was a combination of standard moshing with people just throwing any dance moves, and a world of freedom without labels or rules. Everyone was one under modern music. One of the highlights of the set that felt almost comedic was the use of a sample from the chorus of Gimmie Chocolate by BABYMETAL. The use of interesting samples and musical textures created something that could not be heard anywhere else. MACHINE GIRL sounded futuristic and have done for a while. Their current sound is a blend of everything they have achieved. Currently performing as a three piece, their live sound makes them function more as a punk band than anything electronic. They are this intense mixture of elements, electronic and organic, and are simply powerful on stage. As soon as the band hit the stage they became one with the audience. The crowd simply exploded in joy and everyone was moving in some way. Crowd surfers in the sky, two steppers, moshers and silly dancers, everyone was in the mood to party with MACHINE GIRL. Every single moment of their set was intense. The lighting was almost as ferocious as the band with its unrelenting movement. The best way to describe the sound of MACHINE GIRL is simply brain scratching. Every song they played in this hour and a half was simply joyful. They managed to flow effortlessly between styles. One minute you were bopping along to a groove, then had your face melted off with metal screams. The crowd did not rest for one second of the show. The music powered them to keep going. The venue was full of love and passion, anyone who entered as a casual fan left like a lifelong devotee. The crowd was young, very few “Radio 6” dads in sight, but it was a cross section of everyone - metalheads, punks, scene kids, ravers and just general music fans. MACHINE GIRL appeal to everyone who wants something different in music that they can just have a fun time with. The band did not spend much time talking to the crowd but they spent all the time interacting with them. MACHINE GIRL’s vocalist spent a significant amount of time performing in the crowd. In different areas around the venue, on stairs and even on the sound desk. It was hard to know where to look so everyone just kept moving to the beat. Words: Will Freeman Photos: Kelsey Tomlinson

SELF TORQUE show daring resilience in the face of adversity with their spirited debut album A Brutal Nadir. With an energy that could no longer be contained within Brighton’s underground punk scene, SELF TORQUE are breaking out with an eruption of vibrant rage, desperation and raw realism. A band brought to life from skeletons of each member’s previous musical projects, this DIY punk group has hit the ground running with a modest confidence and collaborative strength that seizes the attention of the listener with no chance of letting go. The same can be said about their anticipated record A Brutal Nadir, which has all the youthful excitement and potential of a debut album without being naïve - this is a band who knows who they are and what they’re doing. The album drives relentlessly forward through all ten tracks, powered by the polarising push-and-pull momentum between hopelessness under the pressure of capitalism and a desperation to live life fully in spite of it all. The production feels fresh and raw, rough around the edges without being sloppy, giving the album room to move and breathe organically, a moment captured in time rather than trapped within a studio. There’s an urgency to it, both in sound and performance, as each line is delivered with a deliberate gravity that commands importance. Opening track Wicker Incident sets a fast pace for the album, led by bright, driving guitar strums and rough, determined vocals. With the first note it’s as if a spark has been ignited, setting into motion an electrifying cacophony of rage and frustration, mirrored by lyrics that look back on childhood rebellion and the insatiable need for change. Fortitude and (All The Things I) Wannabe follow closely behind with the same impenetrable force, GABRIEL MACKENZIE's vocals reaching an almost guttural despair that can be felt as much as heard while begging for a different, more just reality. With an energy so palpable and high octane comes the danger of an album that reaches its climax early and sits there, offering no movement or exploration of the musical space being created. Any risk of A Brutal Nadir being an example of this are quickly dissipated as SELF TORQUE carves out an atmosphere of both tension and relief in satisfying measures. Del Shannon rears to life at first with a sharp punch, before pulling back into moments of stripped-back vulnerability exposing only vocals and gentle guitar strums, dancing between these two dynamics before reaching towards an epic instrumental crescendo. Fade To Blank follows in these footsteps with what at first feels like a defeated plod but morphs into a grand, almost victorious finish. There’s rise and fall to each track, quivering with life and full of character. The remaining tracks continue to explore this rich soundscape in bold strides of passion and reflection, from the bouncing aggression of High Temperature Serpent, to the electrifying instrumental track Respite and the earnest, almost ballad-like Between Strangers closing this chapter with an emotional flurry. The album’s final notes channel a worn-down frustration and reflection taken at a slower pace to the earlier tracks, in stark contrast to the relentless high-octane tracks but no less powerful, singing with every ounce of human emotion “I’m dying for something to change.” With A Brutal Nadir, SELF TORQUE explores the conflicting desires to thrive versus survive in a country, in a world, growing more and more hostile. At once timeless and immediately relevant, this album paints a clear picture of who this band is, exploring the many facets of its sound and musings. Their DIY ethos seeps into each song without seeming amateurish, instead bringing an organic humanity to the album that is becoming increasingly rare in this industry. SELF TORQUE showcase modern punk music with vibrancy and fresh perspective. Score: 7/10 A Brutal Nadir was released on 30th January 2026 via Sugar-Free Records Words: Heather Swift Photos: Sam Luck

You Wish is DREAM NAILS’ striking return to centre stage after developing a new dynamic as a trio, following the retirement of previous lead singer JANEY STARLING. This time around the band have announced they are “asking different questions” as a “tighter-knit unit”. And they certainly are asking different questions. The album starts with The Only Way Out Is Through. An intro comprised mainly of its title, along with an incredibly repetitive sound that reminds you of the times you've tried to sleep through an alarm, and a twangy instrumental that starts to set the tone and build anticipation. As an introduction, it doesn’t really capture the variety of sound across the album. Its repetitive nature carries on just slightly too long to be enjoyable. But, in the spirit of The Only Way Out Is Through, the listen does only get better as we continue. The next track, This Is Water, is immediately a more enjoyable experience, and one that would have possibly been a stronger opener to the project as a whole. The chorus builds in a way that feels almost wavelike, while the repetition of “This is water, this is water. / This is water", alongside a sort of stream of consciousness about mysticism, self-esteem and nature gives it a sort of existential but personable feeling. As well as this, the instrumental taking control about two minutes in feels like being pulled into the currents. The confessional nature of This Is Water is immediately juxtaposed by Organoid. The track Organoid opens with “I guess I won’t say anything / I guess I won’t say anything / Cut my lips off and snip out my tongue / But where’s all I’ve got meant to go if I swallow it up?”. It’s a definite favourite from the album. It’s funky and punky. Sounding both timeless and cuttingly modern in its vitriol towards data processing centres and technology’s domination of our lives. To top it all off there’s an excellent guitar riff, playful use of voice recordings and several sections that long for the push and pull of a live audience. As far as experimental tracks go this one itches the brain perfectly, albeit ironically given its subject matter, it’s a topic the band revisit later for The Information. Talking about the themes and topics explored within the album, drummer LUCY KATZ said “The world that we live in is so complicated, and the old ways of trying to challenge it or make art about it aren’t working for us anymore, we wanted to regroup and find a new kind of creative and spiritual response to our times.” The band added that the ‘new’ focus still included political issues, but also personal struggles of strength and resilience, alongside the way everything from animals and elements interact with people trying to stay human in a technological environment. This can also be seen in The Spirit Does Not Burn, a sort of empowering track that's rooted in a sense of primality which then transcends to a dreamlike bubblegum indie as we move into Pack My Wax. Next in the running order is House of Bones, another strong contribution. This song really emphasises the use of patterns and rhythm to create depth, using both instrumental and vocals, with some sections feeling similar to spoken word poetry, and alternating backing vocals. This is followed by The Information, which continues to touch on themes of digital dystopia, this time in a way that feels a little less confrontational. There are times in the following track, Can’t Lose, where it feels like the vocals and guitarist are standing on opposite sides of a divide, and others where they seem to blend into one fully submerged sound, which is fitting for a song with lyrics such as“Remember that it’s just a game / A sword for every player/I’m just trying to pass through / And not get lost in the mirror”. It’s another interesting example of the band playing on contrast and similarity to create a sense of concept. Move Like An Animal is a classic pit song that seems designed to be best played live, particularly with how it relates to horse spirituality. It’s slightly wacky but definitely has the “good energy” it talks about, though if you do start hearing horses talk to you, we recommend consulting a professional. Zeros is more reflective, feeling softer with a meditative emphasis on melody, whilst A Sign is a strong folky song that reflects a sense of determination to continue on despite the challenges, surreality and community “Yeah, yeah, yeah, yeah / This message is a dream/This dream is the beginning / Yeah, yeah, yeah, yeah/A sign For us there is no ending” DREAM NAILS have called this era a recalibration. It’s a transitory period both in going from a band of four to three and shifting roles (particularly for bassist turned lead vocalist MIMI JASON), recalibrating sonically and dynamically. For us, this change does feel evident. There’s a lot of experimentation, and while some lands, a few bits feel rough around the edges, possibly due to the focus on freewriting and a more collaborative creative process. This is likely incredibly beneficial in the long term, but does take some teething. The album is a definite departure from what the band have showcased before, and does pave the way for their future “punk preserved in amber” endeavours. Score: 6/10 You Wish will be released on 6th February 2026 through Marshall Records. Words: Q Cummins Photos: Dream Nails

Established in 1984, German industrial rock pioneers KMFDM are back releasing their twenty fourth album. Fuelled by rebellion and dance, KMFDM fights the world’s injustices with profoundly honest lyricism and bold instrumentation. The band’s brave commitment to their beliefs is an honorary achievement and should be listened to by revolutionary souls worldwide. Ripped from their eighties origins, ENEMY invokes an uprising from the dancefloor. The album has contrast, from aggressive riffs to fun, funky electronic elements to accompany the challenging themes of the lyrics. ENEMY sets the tone for the band's stance on current society. The song capitalises on the band's industrial roots with scathing vocals and traditionally rock instrumentals. The band pleads listeners to keep moving to make justice and see the change we want to see in the world. With lyrics such as "Weaponise, Unify in a world that wants us quiet” and “We don’t need no false leaders, no place for hypocrisy”. Those lyrics alone prove the compelling nature of KMFDM , one which demands change. Sultry and alluring, VAMPYR captivates its audience with soft melodies that explode into a catchy chorus, underlined by an unmistakable groove. LUCIA CIFARELLI’s hypnotic vocals entice you to join her in song and embrace her demands. She is complimented by riot-worthy drumming and powerfully intricate guitar riffs. With Lucia exclaiming ‘be my vampire’, It gives gigantic 90’s dark romance vibes full of all the vampiric blade-esque blood rave energy you could ever ask for. Heartwarmingly, daughter of LUCIA CIFARELLI, ANNABELLA KONIETZKO makes her songwriting debut with the band in YOÜ. She confesses her hatred of jealousy with cheeky lyrics such as “praying on your downfall” and “I hope your bitch-ass boyfriend cheats on you”. The song perfectly encapsulates feminine rage and competition. The song is backed with futuristic synths and bouncy beats sure to get you catching the desire to dance. She plainly states "jealousy doesn’t taste like sugar” showing the bitterness of rivalry, almost serving as a cautionary tale. This song is an absolute stand out and it’s sure to make listeners hope for more written by ANNABELLA KONIETZKO in KMFDM. GUN QUARTER SUE is the album's stunning interlude, allowing the musicians to showcase their viciousness and aptitude with their instruments. Needing no lyrics, the song begins with chaotic guitars and transitions to a jazzy yet aggressive electronic beat that KMFDM are renowned for. The drums are saturated with rapid fills accompanied by a thrillingly powerful guitar riff and solo. No instrument feels overshadowed allowing each to get its time in the spotlight to create a flawless composition. Although it heavily contrasts with the rest of the album, this track definitely shouldn’t be overlooked. Creating an ominous atmosphere, THE SECOND COMING relies on a dark bassy instrumentation and deep vocals. The song sounds reminiscent of ‘War of the Worlds’ and the video game ‘Doom (2016)’. The lyrics are chillingly stated over the backing with haunting words such as “Things fall apart, the centre cannot hold mere anarchy” and “Surely the second coming is at hand”. The song feels like a warning of the future of society if change doesn’t come about - it feels uneasy with even the guitars seeming to scream a representation of how the band feels in the current political climate. With this song ending the album it leaves you sat in contemplation and the yearning to listen again to reveal the song's deeper meaning. KMFDM are always sure to give you grooves and show their hearts on their sleeves through honest lyricism. Whether you're a long time fan of the band or interested in delving into the amazing genre of electronic industrial metal, this album does not disappoint. Score: 8/10 ENEMY will be released on 6th February 2026 via Metropolis Records. Words: Alix England Photos: KMFDM

SATURDAYS AT YOUR PLACE are a classic American midwest emo band from Kalamazoo, Michigan. Formed when they were at university, the band are bringing energy, fun lyrics, and coming off the back of their hit second album These Things Happen, they are gracing a packed in Southampton on a completely sold out UK tour. Hailed as one of the biggest noises in the midwest emo scene currently, there was a real buzz in the venue from an audience who couldn’t wait to spend their Friday night dancing and immersing themselves in some brilliant music. Philadelphia band CARLY COSGROVE opened this show. Whilst opening a show can normally be nerve wracking, they were ready to entertain an audience packed out with fans and eager listeners. With a band name hailing from the character and actress from cult childhood show, Miranda Cosgrove/ICarly you can instantly tell that this band would be nothing short of fun with both their band name and each song referencing the nostalgia surrounding a Nickelodeon childhood. Since forming in 2018, this band have released 2 full length albums and countless singles, including their most recent release The Cleanest of Houses are Empty. Hitting off with You Ate My Enchilada! They started as they meant to go on. Blending math rhythms, intricate guitar work, and vulnerable lyrics, they had the audience eating out of their hands as they seamlessly moved through their back catalogue to create a 45 minute set of hits. Stand out songs had to be the early 00’s inspired You Old Dog where vocalist and guitarist Lucas Naylor showed the rawness of their lyrics and the layers of growth that comes with growing up; and Really Big Shrimp where both bassist Helen Barsz and drummer Tyler Kramer really showcase their skills as performers. Ending their set with Not My Job, a song that had nearly the whole crowd singing, dancing, and completely lost in the moment. By the time SATURDAYS AT YOUR PLACE came to stage, the room was packed, there was a buzzing in the air and a rapturous applause the moment they emerged and dived straight into their first song of the set Cross My Heart. From the moment vocalist and bassist Esden Stafne started singing the opening lines, the audience were screaming the words back at him. With a distinct sound, the band lent on their multi talents of singing and playing instruments to bring a blend of riffs, harmonies, and lyrics that had the audience entranced. Racing into their new album, they showed the audience that their skills weren’t in recording but performing too. From Strawberry to Loon Mobile Pt3 and Stay, it’s clear to see that their sophomore album is arguably one of the best emo releases of 2025. Leaning into the chaos of learning who you are, the 19 song setlist was full of songs that fed into themes of grief, love and humour to create something captivating on stage. By the time they played the 2021 single First of All, the audience had created a pit and endless stream of crowd surfers jumping on stage to join both Stafne and fellow band members Gabe Wood and Mitch Gulish in what could only be comparable to a house party show full of friends. There’s something quite magical about a show when the audience and artist form such a clear bond throughout the night that by the time they reach the final three songs, no one seems to want the night to end. Rounding off the show with Waste Away, with its classic midwest emo riff and the iconic Tarot Cards with its singalong chorus, the audience could have generated enough energy to power the night. However, by the time we reached the slow building finale of I Give In, the audience could take a moment to truly understand how magical this show had been, and how everyone in the room had experienced a band that is no doubt going to continue to build in popularity and create iconic songs. Word and Photos: Laura Davies

EPIMETHEUS’ debut album Perseus 9 arrives like a transmission from a dying star; dense, disorienting, and with a strange allure. It’s an album that understands heaviness not as brute force, but as a gravitational pull, where chords are given space to ring and fill a room. Made up of BEN PRICE (vocals, bass), CILLIAN BREATHNACH (guitar), and JAMES JACKSON (drums, vocals), the Bristol trio take us on a journey of sci-fi myth-making across seven tracks that somehow feels both ancient and futuristic. EPIMETHEUS’ approach to heaviness is refreshing; rather than stack layers or chase maximalism in their sound, they lean into the creative limitations that can come with being a three-piece. Each instrument is in conversation with each other, orbiting one another in slow, deliberate cycles. At times PRICE’S vocals rumble like subterranean currents, and BREATHNACH’S sustained notes at times resemble distress signals, decaying into the void of space. JACKSON’S drumming gives structure to the music, giving the trio a centre of mass to ground their sound. The decision to record Perseus 9 live proves essential to its character. You can hear the air move. You can hear the amps strain. There’s a palpable sense of the trio thinking together in real time. There’s no safety net, no overdubbed scaffolding beneath solos, and no attempt to sand down the rough edges. Perseus 9 is a perfect example of a band trusting their chemistry, and trusting the listener to come on the journey with them. It’s a rare example of a live-tracked heavy record that actually sounds heavier because of its imperfections. In their music, EPIMETHEUS channels sci-fi as emotional architecture. Lyrically, the album is steeped in 1970’s sci-fi pulp - and it is no surprise to hear that Philip K. Dick was a key influence on the trio. While an easy genre to fall into kitsch traps or cheapen otherwise solid work, EPIMETHEUS clearly understands how to use this framework as a prism rather than a costume. It is treated not as a novelty, but as a tool to refract the human experience by distorting it. The imagery may be cosmic, but the emotions are very painfully terrestrial. Across the record, spacecraft crash, bodies transcend, and cosmic horrors loom, but the real drama is internal. Earthbound opens the album and wastes no time plunging the listener into the band’s world. With the stark first line “warning - system fail,” the track immediately establishes a sense of crisis, unfolding from the point of view of an alien vessel crash-landing on Earth. With lyrics that read like a scene ripped straight from a sci-fi novella, and a track that builds in urgency and inevitability, the track is a gripping introduction to the album anchored by a hooky riff that lodges itself in the brain. The titular track, Perseus 9, is an eight minute descent into claustrophobic repetition. Musically, the band sonically traps us in the very same nightmarishly looping “concentric circles” as those aboard the ship. The riffs repeat and cycle without resolving themselves, building a sense of entrapment, of needing a conclusion. The chords don’t just hit, they linger, not resolving so much as decaying, droning and creating a creeping sense of dread. Some listeners may find the track’s length demanding, but with discomfort a key motif of the song, that demand feels intentional. Perseus 9 is a striking debut that is focused, atmospheric, and refuses to compromise. It is melodic, but not polished. Conceptual, but not pretentious. Raw without feeling unfinished. There is space to evolve and offer more sonic texture, however this is a solid first album. If this is EPIMETHEUS’ first transmission, they have certainly left an impression and we look forward to whatever signal they send out next. Score: 7/10 Perseus 9 will be released on 6th February 2026. Words: Cara Hyndman Photos: Connor Standfield

After 8 long years, SHIELDS are back on the scene with the gut-wrenching Death & Connection - a testimonial to dearly departed guitarist George Christie as well as Joe Edwards and Samuel Kubrick Finney's struggles in the aftermath. Across 12 songs SHIELDS pull no punches in their lyricism and elevate the technical elements of metalcore, particularly in Alastair Wain's drums, while crafting a soundscape varying from thrash to the opera. The first thing to note on Death & Connection is the amount of poetry throughout the album, starting with This Is Not A Dream, where Edwards screams at the subject about being left in the mud, with the themes of death across its 4:34 setting the scene for the discussions of George to come. Abuser changes the energy immediately, pushing the calm and spacy atmosphere away with force in exchange for a thrash metal track with impassioned screams and belches atop an unrelenting high tempo soundscape. Kill is the taste of the rawness in the lyrics of Death & Connection, off the bat with “I’m gonna kill, kill kill/everything that I love” before a spoken section that admits to drink driving and the isolation of only having drinking buddies. Kill speaks on the side of sobriety that’s hard to admit - “the hardest part I thought was not drinking/the hardest part is life without drinking”, with the rest of Edward’s admissions coming in screams and clean vocals that feel as if they’ve come from the pit of his stomach. Kill is also where some of Wain’s drumming comes to the fore, wherein the second act bridge he is able to switch into an ISSUES-sounding hard hip hop fill section before swapping back into normative metalcore with ease. Parasite is where Death & Connection hits its stride, introducing gorgeous harmonies into its chorus and a choppy double-bass led drumline before hitting a pitched up guitar-harmony solo that builds the track's tension effectively. The screamed vocals come back in the outro to crescendo the track perfectly, then fades out and into the first feature of the album - Lacerate, with GRAPHIC NATURE's Harvey Freeman. The thrashy elements from before come back with a bang to serve the hardest end of metalcore as the subject is wished “nothing but misery.” The pre-breakdown goblin scream just about prepares for the face-scrunching breakdown at the midpoint of Lacerate: the segment is not 10 seconds long, but manages to have the anger of a minute- long hardcore piece. From here the track descends to chaos with the goblin vocals returning and another electronic infused breakdown with broken vocals and a half-tempo segment as the wish of misery is driven home before Lacerate’s hard stop - album highlight, no question. Womb is a slowing of the pace in comparison, focusing more on layered chord progressions and clean vocals and swinging breakdowns instead of the all or nothing of the thrash and spoken word. In it’s lyrics SHIELDS promise “no more running” from the traumas of the last few years, though the elongated guitar reverb at the end makes Womb run a little longer than it needs to. Brother’s Lament is the next spoken word section and the point in the album where tracks become more bluntly about George: a short poem about a true brother leaving the fold bathed in red and green placed atop ambient noise with a layer of distortion on the vocal to drive home the disconnectedness that often comes with heavy grief. They link this with the name to its follow up Red and Green, which mixes poetry with vocals as it details the haunting memories of George that Edwards lives in. Red and Green is as angry as it is sad, with lyrics detailing how heavy his loss was (“the weight of a lost brother bears down on my back as I suffer through the last few years”) and the feeling of being abandoned by god over the top of layered easycore sounds. There’s a break for some chaos in wolfskin, featuring LEFT TO SUFFER’s Taylor Barber with dirty sliding riffs and the two vocalists trading screams before a gnarly thrash breakdown. The final interlude with reversed vocals called Loser. This interlude was the only element of Death & Connection that felt unnecessary, but at only 1:21 that can be artistic choice. The final two tracks of Death & Connection are the most impactful; the title track is the penultimate, which starts full hardcore before moving into a beautiful classical guitar style solo as well as a feature from Wagnerian tenor Jonathan Finney in its final section. It’s striking to listen to: the contrast between the breakneck beginning to the midpoint lull before going into a black metal movement layered with Finney’s tenor. Finally there is Miss Me, which strips itself back in a more country feeling track and lays bare the events of George’s funeral, including the members of SHIELDS carrying his coffin along with his father and son. Miss Me is like a machete to the abdomen, with its chorus begging to be missed and lyrics such as “chained together in agony/ I felt his weight on top of mine”. At this point the tears were pricking, but fell alongside Edwards’ by the end of Death & Connection as his voice breaks on the final note and the album closes with his sobs from the booth. Death & Connection is a beautiful album to listen to in its drumlines, choppy riffs and perfectly executed tempo changes, but mostly in its honesty about grief and the places it takes us as humans. It pulls no punches without assigning blame, and the metalcore soundscapes perfectly cultivate the mix of sadness and anger that comes from the places Death & Connection were written from. Rest in Peace George, you’re dearly missed. Score: 8/10 Death & Connection was released on 30th January 2026 via Long Branch Records. Words: Julia Brunton Photos: Shields