Five long years ago, TWO YEAR BREAK were jumping through hoops to record their beast of an album Do You Wanna Find Love?, an album that doubles up as a warp-speed outburst and an outpouring of vulnerability and honesty, a prime example of the band’s refusal to stay in one box. With stirrings of new music in the works, the London-based five-piece paid tribute to their explosive album with an anniversary show at Blondies, a venue that matched the band’s high spirits and warm openness as it opened its doors to loyal fans. The night started off with a different vibe with grunge-heavy THE MONDAY SMILE, a London-based trio channeling the spirit of SOUNDGARDEN, NIRVANA and L7 on jagged opener River, before sliding into Slow Dive with a bass line thicker than treacle from Kez (sadly in one of his last appearances with THE MONDAY SMILE), lead vocalist and guitarist LJ delivering gritty vocals over the fuzzed chords. They launched into Persona Non Grata with headbangs and sways through the introduction, the distorted, low instruments ringing out as the trio visibly relaxed and lost themselves in the freight train force in their solos and relentless drums. LJ introduced next track Razor, newly released a week prior, joking that it’s drummer Wookie’s least favourite to play live thanks to its complex tempo changes, Wookie smiling sheepishly in agreement before he locked in to pummel the kit. It was evident the band had limbered up by this point and focused on enjoying the moment, swapping smiles and headbanging through destructive Seeing Double and edgy There’s Got To Be, LJ bringing a sharp-tongued attitude to the serrated instrumentals from Kez and Wookie. With thanks to TWO YEAR BREAK and the audience for sharing this night with them, THE MONDAY SMILE closed out on quick-fire I’m Not Going Out Like This, leaden drums and menacing notes streaming out from the bass and guitar as they had one last headbang across the stage. People are suddenly holding slices of cake - it’s a double-take moment resulting in laughs and the surety that, after all their years together, TWO YEAR BREAK are still intent on having fun as they celebrate Do You Wanna Find Love? with an anniversary cake from the green room. The five-piece aren’t just playing their 2021 album in full, they’re playing it in track listing order, getting fans sufficiently amped up as they count down to their favourite tracks. To kick this night off though, the crowd are instructed to "give a thumbs up" to the sound tech, turning in one fluid motion to raise their thumbs in the air - go teamwork! From opener #bitbright the band are zooming around the stage like out of control dodgem cars, lead singer Bradley Tyler high kicking across the stage as long-time friend and day-one supporter Danny Langdon stepped up to provide guttural screams on the breakdown. The mania continued to build as they continued through their set, Lovin’ Every Day giving a shout out to Charlie Simpson who collaborated vocals on the track and was then annihilated by Brad in the wrestling ring at Download 2025 (well, a cardboard cutout of Charlie). It’s an indicator of how close they are that the band praised guitarist Charlie “Chaz” Barnard and spoke of their pride in him, the audience applauding loudly, while drummer George Lilley was lightly jabbed at in a way that those of us with brothers can understand. As they plowed through tracks such as OMG He’s In The House, I’m Over It, and Shave ‘Em On That, the band didn’t flag from the sheer amount of energy they poured out on stage - that’s not the only that got poured, as a celebratory bottle of whiskey was brought out and a double shot cheersed from a pint glass. Very classy. A prolonged technical issue paused the set long enough for the crowd to start a singalong to 2025 single Crash Bandicoot, despite it not being on the setlist. Showcasing their more serious side, the band stayed uncharacteristically still for the emotionally hard-hitting Deja Vu, dedicating it to Mental Health Awareness Day as the audience let the emotion sweep over them and swayed lights in the air. Continuing through more gold dust tracks like Tearing Me Apart, title track Do You Wanna Find Love? - which saw bassist Dan Wright launch himself into the crowd and expend energy he didn’t quite have the space to unleash on stage - and finally Wasting Your Time, they announced they of course weren’t done with the night, coming back for Light It Up, latest single Listen To Your Body with Brad jumping into the crowd this time, Unoriginal and Take It Down which saw Danny Langdon return for more vocal shreds. Throughout the night the band reminded us it had been five years since they'd performed most of these tracks, almost apologetic in their admissions as Brad rifled through a fistful of paper that contained original notes from the album's recording session. Despite this, their performance felt seamless and well-practiced; even if they had struggled, their unrelenting energy and joyful attitude still made this a night to remember. With heartfelt gratitude to everyone in the room, their crew, families, Blondie’s venue and to each other, they burst into one last bout of energy for closer Don’t Bring Me Down, their families climbing on stage to sing and dance together. If you wanna find love, look no further than TWO YEAR BREAK and their welcoming fanbase. Words and photos: Julia Stark

When people talk about a band “evolving”, it can often feel vague. It’s usually in reference to an artist or group’s entire catalogue, and a gradual change over time - between consecutive releases they aren’t too dissimilar, but there’s a clear difference between, say, album three and album seven. These are your CONVERGE or IMMOLATIONs of the world; it usually happens in the more extreme genres where the music is already so envelope-pushing and singular that there’s very little overlap with another group that comes to mind - the genre-bending type. These bands’ “evolutions” are marked by a very clear change in sound between albums, often with influences so direct that you can point to individual artists they come from. It seems to happen more often in modern indie spaces, so for example, bands like BLACK COUNTRY, NEW ROAD or GEESE, who clearly go into each album with an absolute refusal to sound like the last. But in the scope of their discographies, their paths make sense. This kind of categorisation isn’t a perfect science, of course, with many bands and artists that stray from the formula. So it’s interesting to note that many of the great and most beloved noise rock artists have taken the latter approach, despite being more stylistically reminiscent of the former camp. For a newer example, it’s hard to say that any of CHAT PILE’s records sound all that similar to one another, as they’ve kept the same heaviness from their debut, but wrote tighter songs around it, all the while playing around with genre conventions. But then you could also look at a group like UNWOUND, who continuously strayed away from their noisier post-hardcore style as their discography went on, each album more muted than the last, yet more experimental, eventually resulting in a double album with very little in the way of their roots on, say, New Plastic Ideas - both albums are masterpieces, but for notably different reasons. Enter GREAT FALLS. They’ve only really been in the public eye since their label debut, 2023’s Objects Without Pain, an album which, while it didn’t necessarily reinvent the wheel within the various genres it covers, was a clear highlight of its year, with three 8+ minute tracks on there which could all be considered benchmarks as to what noise rock bands should aspire to sound like. But they’ve been around since 2010, having collaborated with greats like THOU and building up an impressive repertoire of sounds over 16 years. But NEUROSIS’ own Neurot Records picking them up has surely given them the boost they deserve, with not only their previous album, but also Conscription, a compilation of songs from split singles and EPs that shows them deep in their mathcore pocket. It’s a short listen, but alongside Objects Without Pain, covers the majority of their range up until now - the release of The Bite That Grows Up. It kicks off with A Small Weakness, a song whose six-minute runtime shows off an extremely impressive display of dynamics. To make it easier to follow, we’ll present a timeline - it starts with sludgy riffs in off-kilter time signatures, before winding back with what sounds like a looped sample, as Demian Johnston’s vocals come in on top of them. After several well-timed bursts of noise, the song once again hides in its shell, with a notably drum-less section, with Johnston’s pained vocals and distorted guitar that takes over the mix, adding to the agony expressed in the brief yet heartbreaking confessional lyrics about an invented group therapy session. We hear the riff from the start again, before a tempo change, frantic drums and burgeoning riffs, the guitars adding to a gradual increase in intensity as the song reaches its climax. Even the first track is a shining example of this album’s increased complexity compared to previous releases, with the individual tracks feeling more tightly-constructed and composed. The elaborate composition brings to mind groups like SPRAIN, where every second of each song feels extremely intentional - or perhaps a more apt comparison would be their label-mate NEUROSIS’ most recent album. They are, of course, aiming for completely different outcomes, but the attitude towards songwriting remains similar. It’s also present in a track like Hailstone Numbers, the longest track on here, as Johnston bellows these passages about grief that never quite resolve over a drone and the occasional, bleak-sounding guitar passage plays. You feel every second pass as the track builds in an almost post rock-like fashion. You heard these distorted guitars staying on the same chords, or repeating the same phrase over and over again, until the song fizzles out. Elsewhere on the album we hear extreme dissonance like on the lead melody to Debt Ethics, which would almost feel gothic if not for the pounding wall of drums beneath it. It perfectly captures the parental anxiety of Johnston’s daughter running away in the lyrics, the admission of him losing his temper, the inner battle as to why things are the way they are. The lyrics all across the album have felt not quite stream-of-consciousness, but not fully formed either. They’re fragments scattered across the album. These various, brief thoughts that one has in day-to-day life, cut and pasted together to create a tapestry of emotion - much like the ever-changing direction of the music itself. Closer What No One Can Give further explores this, on perhaps the most terrifying song here. Johnston’s soul is laid bare in the lyrics, there’s a mix of self-hatred, fear, and perhaps sparingly, hope. It’s hard to know where the song’s going to go at any given point. Earlier on, one note is played on the guitar, repeating seemingly endlessly; all the while the noise sections are at their most unrelenting. With a seven and a half-minute runtime, it’s a monumental closer, carrying the momentum built up by the rest of the album into one explosive finale. When we say that GREAT FALLS have evolved on this album, there shouldn’t be much room for misinterpretation. Any artist can have higher ambitions for any given project compared to previously, but it has to show itself in execution as well, and thankfully, this album does just that. Much more ambitious songwriting, a greater understanding of tension and dynamics, and lyricism more direct in terms of the language used, yet more abstract in terms of structure than before, but retaining the anguish of their previous work. The instrumentation is an absolute joy to listen to, and it’s near-impossible to grow weary of Johnston’s impassioned delivery, putting every fibre of his being into it. We look forward to seeing them evolve further from here. Score: 9/10 The Bite That Grows Up will be released on 16th October 2026 via Neurot Recordings. Words: Noise Leonard Photos: James Rexroad

DEAFHEAVEN, or more accurately, their fans, have been saddled with a certain reputation from extreme metal fans. If you’ve followed the band for any amount of time since the release of 2013’s Sunbather, you’ve no doubt heard talk of “black metal tourism” or “hipster metal” thrown around. Jonah Bayer’s Vice article from 2014 simply entitled “Why Are Black Metal Fans Such Elitist Assholes?” goes into various anecdotal examples of this, both in-person and online. Keep in mind, this was over a decade ago, since then, the band have reached their perceived peak, last year’s Lonely People With Power, but also what is generally perceived as their lowest point, 2021’s more-gaze-than-black Infinite Granite. But strangely, it seems that this discussion surrounding whether or not they truly fit into the black metal label has slowed down. Surely, it helps that individual tracks like Magnolia and Black Brick have shown the purists that they truly are capable of producing no-frills, straightforward black metal on occasion. Realistically, one would believe they have nothing more to prove, that their space within extreme metal spaces has been cemented as one of the few modern black metal acts with any crossover appeal, whether for better or for worse, but much doubt is still thrown their way from the “trve” black metal appreciators out there. Which makes their new EP, the almost entirely black metal At Work In The Fields of the Bomb worthy of the term “surprise-release” in more ways than one. In part, due to the 18-month gap between their last LP, the massively acclaimed Lonely People With Power and now. For the vast majority of that time they’ve been on tour - and between their own headline gigs and opening slots for MASTODON (alongside fellow blackgazers) ALCEST, it’s shocking to see they’ve even had the time to develop 23 minutes of original music. As mentioned, this EP is almost entirely black metal, but convincing the naysayers that they’re capable of making an entire release based around the style isn’t quite as simple as just putting it out there - the quality of the music has to back it up. But by the time you’ve reached the second half of Sorry Laid The Hearth, any doubt is immediately cast aside. That’s a track so transcendent that it stands toe-to-toe with tracks like Winona, or even the now-modern classic Dream House - albeit in a completely different way. The blistering brightness of much of their discography is nowhere to be seen anywhere on this release, the catharsis provided by, say, the chorus of Heathen, is replaced by walls of sound so smothering, so claustrophobic, that any ray of light is snuffed out. This is obvious even from the opening seconds of Hunter. George Clark’s vocals are a departure from the usual higher-pitched head voice screeches, more growly and urgent, almost imperative in the way he spits each phrase out. This is atop the symphonic EMPEROR-inspired riffs, complimented by a new tool for the band - a synthesiser, which adds to the cold and disaffected atmosphere. Of course, there’s still a decisive passion to these performances, but with a new edge. The seven minute runtime feels like nothing, even with the added three minutes from interlude Three Princes, which samples the THE CONET PROJECT’s (perhaps extremely familiar to some WILCO fans’) recording of NATO’s phonetic alphabet to create an unsettling dark ambient piece. It leads nicely into the final track, Sorry Laid The Hearth - which is, as aforementioned, one of the band’s greatest works. The first half is similar to Hunter in its completely unpretentious, straight-forward black metal stylings. Opening on this disgusting sustained riff, there’s a slow build from the modular noise from the synthesiser, eventually played over oncoming blast beats, as the song just completely lets loose. But at some point, it stops. Pulling its punches for just a moment, we get the synthesiser oscillating manically over a tremolo-picked guitar, and fading out in place of a sole guitar strumming chords every so often. But then the distortion comes back in as it plays what will become the riff binding the final act of the song together. Over five minutes, the band builds up this sonic landscape that ultimately destroys itself, to the point where even the lead riff coming in every four bars to ground it feels unrecognisable. The (dare we say) MERZBOW-esque noise coming from the synthesiser, at odds with Clark’s voice, his screams of “Please release me, I cry, cry, cry, cry, cry” now so intense that they’re breaking up through the sheer busy-ness of the mix, but still not quite enough to fight against the chaos of the rest of the soundscape. That’s how this twelve-minute behemoth, and by extension, At Work In The Fields Of The Bomb finishes. No full decrescendo, it just cuts out. Never any true resolution to the hellish display we’ve been blessed (or cursed?) with. With this, not only have DEAFHEAVEN produced one of the most essential black metal releases of the decade, they’ve cemented their status as greats. With Infinite Granite, they tried to prove that they’re not just one-trick ponies, with a lukewarm reception to the more pure shoegaze stylings. As it turns out, it took them leaning to the other side of the black-gaze spectrum to produce something truly remarkable outside of their usual approach. This EP is an essential, serving not only as a gateway into the greater black metal landscape for fans less familiar with the genre, but as a release that stands on its own two feet within the confines of DEAFHEAVEN’s stellar discography, and black metal as a whole - and hopefully marks the second release in a streak of all-timers from the band. Score: 10/10 At Work In The Fields Of The Bomb was released on 9th October 2026 via Roadrunner Records. Words: Noise Leonard Photos: Liam Stewart

Closing their first Download festival performance with a beheading, the gears were in motion for the “Off With Their Heads!” tour. The Southampton six piece glam rock band, CREEPER, are known for their theatrical and immersive shows. Opening with the dramatic flair of silhouette performance and filling the stage with gothic props, the CREEPER’s cult were excited with black leather, dramatic makeup and electrifying energy to fuel the darkness. With support from STARBENDERS and CALVA LOUISE, the atmosphere of curiosity and excitement grew strong. Ready for theatrical masterpieces from all three bands. STARBENDERS took to the stage; the lead singer commanded the stage with a mesmerising presence, effortlessly captivating the audience with every movement. Spinning and turning, their long batwing sleeves swept dramatically through the air. adding a theatrical flair to the performance. The sound of glisten guitars flooded the room enhancing the show’s dark, gothic aesthetic. There was an irresistible sense of movement and energy, from both STARBENDERS and the crowd, as the lead singer occupied every inch of the stage. Unified clapping throughout Chantilly Boy was a highlight as the catchy line “Put on your makeup” echoes through the venue. Blending gothic rock darkness with danceable rhythms, glistening guitars and commanding showmanship, the performance was as hypnotic as it was exhilarating. Definitely a band to keep an eye on. An eerie organ melody that gradually evolved into pulsing techno beats opened CALVA LOUISE’s set, building anticipation before erupting into a magnetic metalcore masterpiece. Glowing red lights burned behind the drum kit, a sinister glare that perfectly complemented the band’s heavy sound. CALVA LOUISE make it evident that they’re a British band made up of three different cultures to make collaborative art: Venezuela, France and New Zealand. The lead singer’s vocals shifted effortlessly from sweet and cleans to ferocious, shredding screams. Equally impressive was her ability to switch seamlessly between guitar and keys, balancing melodic intricacy with raw aggression. The crowd matched the intensity at every turn by conducting initiated claps, waves of crowd surfers and pits being open. The use of traditional instruments and Spanish sung lyrics such as La Promesa and Oportunista, CALVA LOUISE are unafraid of showcasing their heritage and passion. The result was a set that fused electronic atmosphere with crushing heaviness, showcasing both the band’s musical versatility and their ability to turn the room into absolute chaos. As a white backdrop straight after the final support set, the air held a thick cloud of anticipation. A bright spotlight shone through to show a silhouette performance, introducing the show with disclaimers whilst being hacked by the mistress of death. The grand opening commenced as the curtains dropped, introducing the band for Blood Magick (It’s a Ritual). Fuelled with excitement, the crowd were seen dancing, crowd surfing and opening pits: typical sights at a CREEPER show. The voices of fans echo through the venue during slower ballads, such as The Ballad of Spook & Mercy, spotlighting the special bond they share with their audience. After covering five fan favourite tracks from both SANGIVOURE albums, the band has scheduled a well deserved break. A phone call from the vampire familiar, Darcia, disrupts the night to warn Will Ghould of the dangers that linger amongst the crowd: a leather wearing female with sharp objects- the description of a typical fan. The use of props was remarkable with a gothic tall chair taking centre stage. Two higher platforms beside to elevate the location of the drummer and the keys. A casket was pulled out with Hannah Greenwood rising from the dead to perform Razorwire. A mesmerising performance where Greenwood vocalised their elegant clean vocals whilst conducting magnetic stage presence. The same visual practice of CREEPER frontman being beheaded to close the set for an encore, as an eruption of cheers and chanting urge the band to return. With a reattached head, an acoustic opening of Hiding with boys catapulting the audience into nostalgia. The fully active crowd proceeds to create a thick stream of crowd surfers fuelled by chaos and joy. The closing song lies as a memorable moment to most as Misery has 2000 people passionately reciting every verse. During a momentary pause from CREEPER, the crowd kept the music alive, echoing the lyrics back to the stage in a powerful wave of emotion. A declaration of their love for fans breaks the overwhelming joy. Closing with a standing ovation, it is understandable why CREEPER is loved by so many. The evolution and success of CREEPER is evident as they continue to fill a room filled with devoted fans for over 10 years. With the majority of the setlist consisting songs from both SANGIVOURE albums, it is evident that fans connected with the catchy glam rock tracks. The night allows fans to indulge in STARBENDERS and CALVA LOUISE’s music who hold themselves with similar theatrical aesthetic and passion for live music. Fans leave the venue excited for the next time they could wear vampire makeup and fake blood. Words: Theviya R Karunaharan Photos: Amy Lynch

“Zydrate comes in a little glass vial… a little glass vial?” As spooky season begins, OUT OF RAGE looks back at how rock music has shaped some of the most iconic horror scenes on the cinema screen. One such film sees us revisiting the cult classic release from the start of the 21st century, REPO! THE GENETIC OPERA. Directed by Darren Lynn Bousman, best known for his work on the Saw franchise, and written by the masterminds Terrance Zdunich and Darren Smith, the cult classic includes an intriguing industrial rock soundtrack with killer hooks that drags you headfirst into its dystopian world. Fair warning this article contains full spoilers for a film that’s now old enough to drink. So if you are one of the few who haven’t experienced it yet, watch it…“it could change your life, rest assured” and report back as we take a deep dive into the story, characters and most of all the music. Starting out as a theatre production in 2002 as The Necromerchant's Debt, this passion project between Zdunich and Smith was later expanded to become REPO! THE GENETIC OPERA in a form closer to what we know today. After the world goes through an epidemic of mass organ failures, enter mega corporation GeneCo offering organ transplants on finance under the disguise of hope. The terrifying idea of privatised healthcare taken to the extreme with organ repossessions by the Repo Men becoming legal by any means necessary. After years of being performed on stage, Bousman joined as director and pitched to film studios, the rest is history leading to the 2008 release. The film also has themes of addiction and cosmetic obsession, a satire of extreme plastic surgery and the reliance on street drugs such as Zydrate, a highly addictive painkiller and medical sedative. Zydrate Anatomy brings in an infectious industrial groove with Graverobber played by writer Terrance Zdunich, taking us into the depths of the city's grim underworld. Featuring a brilliant back and forth between Zdunich and Paris Hilton in a self aware performance as Amber Sweet. His raspy baritone, holding the crowd in the palm of his hands as a theatrical ringmaster, to Hilton’s desperate delivery with a seductive soft charm. Film still from Repo! The Genetic Opera - DoP Joseph White, still from Lionsgate Films A standout performance of REPO! comes from the late horror veteran Anthony Stewart Head as Nathan Wallace. Head was no stranger to theatre having played Dr. Frank-N-Furter in the West End revival of The Rocky Horror Show, his take on Sweet Transvestite being praised as one of the best in recent years. REPO! is frequently compared to the original 1975 film; whilst they are not on the same level, they both share that campy theatrical aesthetic, making them a guilty pleasure for many with a dedicated cult following. However, Head is best known for his role as Rupert Giles on Buffy The Vampire Slayer. The roles of Nathan and Giles in particular show the versatility of his acting, channelling that calm, intellectual warmth of his Watcher days into his scenes as Shilo’s overly protective father, before a terrifying pivot to a blood-soaked killer as the Repo Man. The sheer contrast between the two identities really highlights the shock value of his Jekyll and Hyde transformation throughout the film. The heavy track Legal Assassin establishes his tragic remorse for the death of Marni, Shilo putting it perfectly "I inherited her eyes, did I also inherit his shame" during her reflection in Infected, this feels like a nice call back with now telling Nathan’s side of the story. Later in the film the song Let the Monster Rise brings in more of that inner conflict of his double life with raw rock vocal intensity. This leads to a satisfying climax as the monster takes control, twisted by Rotti Largo pulling the strings. The sudden loss of Anthony Head back in June this year was a heavy blow and on rewatch it adds a haunting layer of tragedy to Nathan’s fate. That emotional weight felt even more so given the loss of Paul Sorvino who plays Rotti back in 2022, with the master and puppet dynamic Sorvino and Head had in scenes together. Probably the most potent in Night Surgeon as Rotti tries to take back control, Sorvino’s operatic tenor and deep commanding presence with the lyrics “remember who you are”. Their tragic love triangle involving Marni Wallace being the catalyst for most of the conflict. Bringing delicate operatic notes as Blind Mag we have Sarah Brightman, a renowned classical soprano who has starred in West End and Broadway. Most notable for her role as Christine in Andrew Lloyd Webber’s adaptation of The Phantom of the Opera, Webber even insisted on only opening on Broadway if Brightman played the leading role. She brings life to the song Chase the Morning, her vocals like a gothic lullaby with an ethereal motherly tone. Expanding into a soaring theatrical anthem in the chorus, a pivotal turning point between Blind Mag and Shilo, uncovering Mag is her godmother and the bond to her late mother. During the grand climax of the film we see Blind Mag in her final performance for GeneCo with Chromaggia, sung entirely in Italian, a haunting swan song with raw emotional vulnerability, the shift of her soprano high registers to a dramatic crescendo during her ultimate act of defiance against Rotti as she blinds herself in rebellion. The film is notable for having a genuine rock authority in its cast and production. Most notably the character Pavi played by Nivek Ogre of industrial rock group SKINNY PUPPY, his presence alone gave the film instant credibility in goth and industrial rock circles. Pavi’s brother Luigi played by Bill Moseley, another horror veteran who had a music career playing alongside guitarist Buckethead. Even rock legend Joan Jett has a cameo appearance playing guitar during Shilo’s song Seventeen adding to the teenage angst, whilst the entire soundtrack is co-produced by Yoshiki of Japanese metal pioneers X JAPAN. Film still from Repo! The Genetic Opera - DoP Joseph White, still from Lionsgate Films It’s an incredibly ambitious film for its budget and this can be felt in the edit with how some scenes are condensed for time or cut entirely. Comic book style animations designed by Zdunich add a lot of much needed context and backstory to each of the main characters which certainly help fill in the gaps with visual flair. While REPO! is not a film for everyone, it certainly has its charm with stand out performances. Long live the Genetic Opera! Words: Amy Lynch

Four behemoth yet utterly different rock bands on one bill is something to be excited about. So when FEAR FACTORY announced a tour with three equally as talented support acts, it’s easy to see how the shows sold out so quickly. THE NOCTURNAL AFFAIR took to the stage early with a rousing drum solo introduction. The perfect blend of dark emotion and cinematic energy, the Las Vegas rockers started the night with a guttural punch of modern rock. Vocalist Brendan Shane has a brilliant blend of melancholy and devastation with his singing and screams, perfectly complimented by the other four members of the band. Dramatic breakdowns and head banging in unison makes the set feel somewhat theatrical. It’s often sad to see a band with so much talent play to a less than full audience due to the early start time. Ending with a cover of the dance track What Is Love, THE NOCTURNAL AFFAIR took advantage and showcased their talents to the ever-filling room leaving the stage with the majority of the audience present. Next up were Polish extreme metal band HATE. Formed in 1990, they are a band that have 11 albums under their belt and could easily be dubbed a band of European legends. Taking to a stage that is flooded with bright red and white light, they start as they mean to go on, by commanding the audience and dominating the stage. Vocalist Adam Buszko gives an air of black metal Zakk Wylde with his hair flying whilst stood behind a dramatic microphone stand. Inciting a fists-in-the-air response from the crowd, the audience lapped up each breakdown, guitar solo, and riff coming from the stage. It’s hard to deny that this band is anything but polished and consistent, with each song performed perfectly with seemingly little effort. Japanese metalcore band CRYSTAL LAKE were third on the bill. Oozing energy and angst from the moment they stepped onto stage. Demanding circle pits and performing in a way that could have landed them in the headline spot in any other show. Refined vocals, slick riffs and breakdowns, and energy that exudes from the whole venue, the room was alive. Giving vibes reminiscent of PARKWAY DRIVE and HATEBREED, CRYSTAL LAKE are paving the way for what metalcore should be. By the time songs Aeon and Prometheus appeared, the audience were captivated and moshing like crazy. The addition of vocalist PK this year has only elevated the band into the next level of metalcore and CRYSTAL LAKE are here to stay. Finally the headliners took to the stage. Having been a band for nearly 40 years, FEAR FACTORY are one of the veterans of industrial metal. Stepping onto the stage filled with industrial rigging to a sold out audience, you could feel the excitement in the air as Acres Of Skin filled the venue. Fists were thrown in the air as vocalist Milo Silvestro powered through song after song with flawless perfectionism. Audience members screamed the lyrics to each song back with heads nodding in synchronicity. Crowd surfers soared over the crowd whilst pits swirled with movement in a scene of beautiful chaos. Rolling through their back catalogue, fans new and old were welcomed to songs such as Edgecrusher, Invisible Wounds, and Arise Above Oppression. Each song was performed with pure professionalism, encouraging the audience to let loose in each breakdown, and instrumental moment. Taking time to talk to the audience, the band had time to truly take in the magnitude of the impact their music has had on their fans. The night felt like an opportunity for the band to pay back to their fans with the opening bars of each song being met with rapturous applause. With a guest appearance from HATE's vocalist Adam Buszco, it truly was nothing short of a celebration. Closing the night with Replica, Resurrection, and a cover of GARY NUMAN’s Cars, the show felt like FEAR FACTORY have not only put on one of their best shows, but also that hard work, determination, and talent will always make for a spectacular band. Words: Laura Davies Photos: Ace Cheng

Swedish melodic death metal legends AMON AMARTH sailed into London on 10th October with their The Allfather Awakens Tour in promotions of their latest album, bringing one of their most anticipated shows to their British fans. Fans started pouring into the venue instantly and it was evident no one wanted to miss even a second of the event. SOILWORK brought their energetic, yet short eight-song set to Eventim Apollo, making the floor move and the balcony shake. The crowd was not shy with their cheers and applause, while the light technicians made sure to match the lightning with the striking sound of drums. The melodic side of SOILWORK was evident in the careful use of guitars, as well as the important addition of the keyboard player. Hammersmith saw a hefty amount of solos, but it was just the beginning. Second band on the bill, ORBIT CULTURE, was not only met with massive support from the crowd, but also with a self-sustaining moshpit that only caught a break in between songs. The Swedish melodic metal four-piece has presented their latest offering Death Above Life to the London crowd, as well as some older fan favourites, and took over the whole room like it was nothing. From deadly vocals to even deadlier riffs, there was no doubt ORBIT CULTURE grabbed the attention of everyone present. A big curtain with the AMON AMARTH’s iconic rune covered the stage, increasing everyone’s anticipation even more. Before anyone realised, the lights in the venue went down and IRON MAIDEN’s cult song Run Through The Hills - sung by everyone in the room, signaled that it was finally time for the main event. As the curtain fell down, it revealed a spectacular sight – from runes, to two Viking prows guarding the drums, to breathtaking projections in the background. As Jocke Wallgren, followed by the guitarists Olavi Mikkonen, Johan Söderberg and Ted Lüdstrom, took his seat behind the drums, and the melody of Gjallarhorn started seeping through the stereos, it was obvious there are plenty of surprises coming up from the band. Once Johan Hegg made an appearance and started singing, the crowd immediately joined in unison. The band did not hold back, as the pyro joined from the second song and kept returning throughout the night, adding an unforgettable atmosphere to the already mesmerising sight. As metal bands often do, even AMON AMARTH wanted their fans to create a mosh pit. But as everything happening on the night, even this had a Viking twist – and a very fun one at that. Instead of a usual circle pit or a Wall of Death, Hegg asked the crowd to start a row pit during Put Your Back Into The Oar, and the whole room, including the balcony, listened, bringing one of the band’s signature moves to life. But ‘tis was but a scratch on the surface. From the intimate performance of Upphaf, to the breathtaking change of the stage, to fiery arrows, the death metal giants made sure the crowd was in awe the whole night. The closing song of the night was their all-time favourite, Twilight Of The Thunder God, and as every song that night, even this one united everyone in the venue to sing along. The night with AMON AMARTH was filled with nostalgia, pride and a massive dollop of pyro and Vikings, and it was the perfect way to spend the Saturday evening. SOILWORK and ORBIT CULTURE brought a wave of anticipation, and it did not disappear until the last riff of the night was played and the last note was sung. It was not only a celebration of the band’s latest album, but also of the thirty-four year long journey they already have behind them. Words and photos: Katerina Stepanikova

For fans of the gothic, the weird and wonderful, of alt-rock hooks inspired by classic horror writers, allow yourself to be put under the spell of VENUS GRRRLS and their new EP To Die As Lovers May. Drink your fill of pulsing, rich guitar riffs, become ensnared in the woven threads of industrial beats and gothic-rock notes, and lose yourself to powerhouse siren vocals that invite you to join the coven. Originating from across the Midlands and North England, the Leeds-based band - who describe themselves as The Hex Girls from Scooby-Doo, one of the OG queer-awakenings - found mutual understanding in their shared love of alternative artists, channelling their inspiration of all manner of rock music into theatrical goth-rock medleys, industrial and alt hooks, and elements of metal spattered throughout. Beyond the music, VENUS GRRRLS bonded over their upbringings and their shared love for the spooky and unconventional, finding kinship in each other as they warmly embraced the dark and unknown. Having solidified their tight-knit coven and spellbound fans, VENUS GRRRLS have strengthened their sound and power into the potent concoction To Die As Lovers May, their boldest and most comprehensive work to date. Erupting straight in with Eve, the rich bass and pummeling drum beat, from Hannah Barraclough (who inspired the track after a “bi-panic” over The X-Files star Gillian Anderson - valid crashout) and Alannagh Doherty respectively, set up the EP for the cinematic masterpiece that it is, singer GK tearing through the veil with soaring lyrics that climb to dizzying heights on the passionate breakdown, Eliza Lee providing a riff that bites down hard but also drawing back to prowl around the track and bide her time. Taking direct artistic licence from the original gothic novel, Carmilla is as vampiric as it gets, the rhythm ominous and deliciously wicked, the lyrics yearning and willfully blind to the dangers of the undead and to toxic love in its claims “she loves no one, but she loves me”, all building to a tasty guitar solo that sweeps us under its thrall. For gothic horror or history fans who know about Mary Shelley, you’ve probably heard the tale of her losing her virginity on her mothers grave. Historians have attempted to debunk this myth; for goth-horror fans, it’s a story that shows Shelley was macabre and metal as fuck. VENUS GRRRLS pay homage to this myth with Mother Knows, an addictive dual helix of bass and guitar riffs setting the stage as GK pushes her voice through rolling octaves with the accepting words “I’ll burn in hell for this”, the riffs and beats opting between a mix of grunge and alt-rock to create an amalgamation like Shelley’s Frankenstein. Evergreen takes on a more melancholy approach in its chord progressions, GK dropping to a lower register to begin and exploding upward on visceral cries as she mourns a time and the person she once was as she’s forced to embrace change, the instrumentals rising and shrinking back as if they’re also adverse to the forced change. The EP closes out just as dramatic and strong as it started with finale Wormfood, the instruments masterfully weaving around each other like a complex dance to give the other their chance to spin across the melody, everything fading away to an eerie lone tone for a brief moment before the band enter one by one, flanking the track and dominating its towering sound with otherworldly vocals and searing notes. To say this is VENUS GRRRLS at their pinnacle would be wildly wrong - this is barely the beginning of their worldwide spell. Score: 9/10 To Die As Lovers May will be released on 16th October 2026 via Killabop. Words: Julia Stark Photos: Venus Grrrls

Near Oxford street, tucked away from the superficial glitz and glamour, we venture down into the belly of The 100 Club, an iconic venue and beacon for punk-rockers, for MERYL STREEK’s intimate show for the release of his latest album Stories They Don’t Teach You At School, a ferocious album that rips apart the “slimy politics” of today and the disillusionment sweeping through the common people exhausted by constant bad news. This was a night for punks of all ages to get educated and embrace rage. London-based SHOOTING DAGGERS set us up for the night, combining queercore rock and acidic punk into an explosive sound that should send politicians and bigots running for cover lest they get hit by lyrical shrapnel. With a setlist laden with tracks from their 2024 EP Love & Rage, SHOOTING DAGGERS launched into Dare and its tempo-changing rhythm, using it as more of a warm up for their vivacious energy that sprang out on Not My Rival, a pro-community message told through rampant punk riffs and defiant screams. Vocalist and guitarist Sal Pellegrin leapt about the stage and pumped a fist in the air as bassist Bea Simion screamed into the mic on Smug, before the trio quickly rushed into Wipeout and gave guttural screams on the breakdown. Moving to the EP title track Love & Rage and its slowed tempo, Pellegrin and Simion harmonised clean and raw screams while drummer Raquel Alves kept their steady beat, lost in the poignant words and medley. Taking a moment to check in with the crowd, they rocketed back into Loud Mouths, originally recorded with THE MENSTRUAL CRAMPS and still detonating with blasting punk, before descending into the powerful My Oh My!, its weighty rhythm and message accentuated by cries of “Free free Palestine” from the trio and their raised fists echoing across the room. Keeping up the ferocity, they plunged into T.R.L.T. and its unapologetic wildfire sound, taking a moment to thank The 100 Club, Meryl Streek, and the audience for keeping the protest alive, before they closed out with call and response track Liar and their grand finale MIS(S)anDRA from their first 2019 demo, their whole set evidence SHOOTING DAGGERS haven’t swayed in their fight against the machine. The 100 Club dropped into near darkness, a red glow against the stage backdrop as news segments jumble over each other on Welcome, the opener to Stories They Don’t Teach You At School and Meryl Streek’s entrance bounding onto the stage with a frown fixed on his face. Streek agitatedly paced up and down the wide stage throughout his entire set, filling the space with feverish intensity to match his blistering, scathing words against corrupt politics and apathetic people on Rotten Fruit and The Chancer, refusing to pull his punches against people who, quite frankly, need a few teeth knocked out as they fall off their own pedestals. Streek has switched up his usual one-man punk band approach as he called for applause for his live touring drummer, who joyfully vibed with the music when not attacking the kit while Streek leapt into the crowd and formed a small pit to come face to face with fans as he forcefully yelled about the things that actually matter. Streek continued his onslaught of brutal truths and visceral screams demanding people wake up, bringing in older, loved tracks that built the foundations his punk music stands sturdy on, such as Death To The Landlord and Dogs, the venue lights dropping to darkness as he brought out his signature tool of a strobe light torch to add visual emphasis to his set. There were poignant moments that hit hard for the crowd as Streek shared his grief on Paddy, a tribute to his uncle and the small human things that should feel inconsequential but instead remind us of the person who will “always be missed and always be loved”. Venturing back into Stories They Don’t Teach You At School, the opening notes and lyrics to Kelly began, a devastating and infuriating case of 23-year old Kelly Lynch who tragically died and her family’s fight for answers and justice from the Gardaí (Irish police) who initially decided not to treat her death as suspicious, despite mounting evidence that foul play was at work. Streek continues to speak out on behalf of the silenced and bring to light the stories hidden by the public media, let alone our education system, the song Kelly so impactful that the crowd went silent and still to take in the raw emotion pouring out of the punk singer. Closing out with If This Is Life and holding the mic out for the crowd to scream along to the electro-punk track, Streek thanked everyone in the room, including the venue sound tech, for giving a platform to political punk and continuing to fight injustice, striding purposefully off stage before returning mere seconds later to meet everyone with genuine gratitude and admiration. The stage is merely a conduit for his passion, but Streek demonstrated his authenticity as a punk rampager and an appreciative friend to everyone who believes in him and Stories They Don’t Teach You At School. Words and photos: Julia Stark

Since the release of their 7th album ‘I Used To Go To This Bar’ it’s safe to say JOYCE MANOR have received an explosion in popularity, we have been fortunate to be at some of their tours over the last few years and the venues that the band have began to sell out has tripled in the past 4 years. Their show at Manchester Academy was no different, from The Brudenell in Leeds in 2023, the past few years has boasted two Outbreak performances and The Common Thread tour all of which have drawn massive crowds for them and increased their popularity on our shows tenfold. Draw all of these shows together, a cosign from MARK HOPPUS of BLINK 182, and a performance on Comedian JOHN MULANEY’s Netflix series ‘Everybody In La’ and it’s easy to see how the exposure has bolstered their popularity. The evening began with the indie-rock stylings of FORTITUDE VALLEY, their performance sets the night off to an upbeat start with their summery songs and danceable riffs. Their song ‘SUNSHINE STATE’ does exactly what it says on the tin, and brings sunshine of its own to the whole venue. The next support act HITMEN is a dash on the other side of musical adjacence to JOYCE MANOR, fuzzy riffs and vocals give HITMEN a garage rock sound, while still hooking onto the same kind of catchy hooks and stylized riffage that made FORTITUDE VALLEY so apt as a support act. HITMEN’s on record music sounds so alike their live performance, it brings a certain image of confined, sweaty rooms with masses of people, all in league for the party. As the wait between bands for our headliner begins, the room fills up even more so than it already was. Latecomers and smoke area dwellers begin to fill the room and it becomes even more evident just how big JOYCE MANOR has become since those Brudenell shows past. It’s an overwhelming exodus when you consider that they have played Brudenell and the smaller Academy rooms in Manchester 3 times a piece over the past decade. Another great example of lighting striking and propelling a band into the stratosphere. Even more interesting when you consider that their output is as incredible as it always has been. It just took the right ears to hear. The lights begin to dim as the amazing Goosebumps TV theme song plays over the speakers, causing giggles and nudges between onlookers. The band takes the stage and dives straight into BEACH COMMUNITY, the room is immediately full on crooning and arms aloft. The excitement in the room is palpable as JOYCE MANOR take us through some of their best known tracks, from BEACH COMMUNITY to FALLING IN LOVE AGAIN to I KNOW WHERE MARK CHEN LIVES all the way into HEART TATTOO. They certainly know how to start strong, giving us four of their best known, well loved songs in the first 10 minutes of their performance. Now that the pit has opened up and the crowd has begun to sweat the band bring things down to some of their slower, singalong tracks. Starting with the amazing, EIGHTEEN from the album CODY, into GREY GUITAR from their newest effort and then back to CODY with LAST YOU HEARD OF ME. The audience are now putty in their hands, the show has reached its pinnacle as drinks have toppled, the pit is bigger than some of the venues JOYCE MANOR used to play over here and the real party is in full swing. They dive into some deep cuts before jumping into their biggest hits to close out CONSTANT HEADACHE is sung so loud by the audience that they drown out vocalist BARRY JOHNSON, and that volume doesn’t disappear as they dive into LEATHER JACKET another amazing song for a mass singalong from their first record OF ALL THINGS I WILL SOON GROW TIRED. To close us out pre-encore they dive into one of their most upbeat songs CATALINA FIGHT SONG which musters out some of the final amounts of effort this crowd can muster as the room truly loses all of the fresh air. In the encore the band returns and plays 4 more deep cuts that a lot of us haven’t heard in years with 21ST DEAD RATS and FIVE BEER PLAN being especially well received. As the band closes out and people search the room for lost shoes, phones and wallets during the dancing, the lights come up and a sea of exhausted, sweaty, smiling faces washes over the eyes of anyone with strength to look. This isn’t going to be the last time JOYCE MANOR has the audience asking WELL, DON’T IT SEEM LIKE YOU’VE BEEN HERE BEFORE?’ Words: Spencer Cunningham Photos: Jack Walsh

A debut EP that encapsulates everything you’re capable of in six tracks is no mean feat. It’s a tall ask for anyone and the majority of bands still in their formative years grapple with it to the point of indecision. HOT MESS on the other hand hit the ground running with their first outing Make Myself Your Favorite Scene. The Milwaukee five piece pulled off an impressively considered body of work, that manages to balance the grit with electronic movement that make most songs a danceable feast for the ears. Opening with Showtime, a track that not only sets the tone for the rest of the EP but pulls the listener in in a most charming way. From the moment that electronic “welcome stranger” beckons you into the record, you’ll find yourself leaving the album as so much more than acquaintances with HOT MESS. And before you’ve had a moment to catch your breath, you’ll be swiftly taken up by Take Me Home, a fast paced, electronic track that will become an undeniable fan favourite live, from its group vocals or the screamed “let’s go”, which will entrance crowds. By the time you’ve made it to New Addiction, the slowest offering, you’ll be happy for the break. Between the driving bass line, the considered lyrics and the reduced tempo, this track is so different from the others on the EP, which means it could be the most noticeable misstep, but HOT MESS stick the landing with this yin-yang track. Closing out the album is See You In Hell, which clearly desires to be the kitchen sink song - fast pace, gang vocals, fry screams, an impressive breakdown - all wrapped up in a song that strives to hold your hand through the end of the album. It’s emotional, affecting and yet will leave you wanting more, even though it provided you with the closure you needed. A special mention must be made for the driving bass line that pulls this entire record together. Not in an overbearing way, it appears when you need it most and fades into the background at all the right moments, marrying together with the electronic elements of this EP in a natural symphony of sound. If you’re a listener who appreciates a bass line that gets its moments to shine, then this album will surprise you. Throughout the entire album, there’s a sense of familiarity. Not only with the music, but with the band too. The tone, the vibe, is all marked with a sense of safety and trust in HOT MESS, which is a remarkable feat for such a young band launching their debut into the world. And to top it all off, it feels effortless. There isn’t a feeling that the band is finding its footing still, the sound of this record is assured, and the vulnerability comes from their willingness to explore subjects and sounds together with their new audience, whilst still guaranteeing them nostalgic, gritty enjoyment. Make Myself Your Favorite Scene is a fun, dancey record that never compromises on substance in its pursuit of a good time. Score: 9/10 Make Myself Your Favorite Scene will be released on 16th October 2026. Words: Jade du Preez Photos: Abbie Lafferty

Pop punk is a cornerstone of modern music, whether it bridges the gap for so many people to get into heavier rock music or offers a nostalgic trip for those who have hung up the battle jackets and stepped away from the mosh pits. It’s a genre that is universally loved, with so many fantastic artists having paved the way for brilliant new acts to emerge. RAY HAWTHORNE is a firm front-runner on that list. With his raspy vocals and screams that blast through the microphone, he is an artist who has built his catalogue on heartfelt lyrics, emotionally charged melodies and a unique outlook on himself and life. Ray Hawthorne Can’t Be Trusted is the third album in this ever-growing and immersive collection. Renowned for his work in NORTH KINGSLEY, the acclaimed project alongside Shavo Odadjian of SYSTEM OF A DOWN, RAY is finding his own sound, incorporating different aspects of the genre to mould and shape his own path. The album opens with Overwhelmed, and the song starts with one of his defining traits: screaming. The angst and sheer intensity are belted out before the melody rolls in. It’s got a BLINK 182 feel to it, and it’s a vibe. The guitar riffs are incredibly moreish, while the sequences featuring his vocals and the electric guitar acting as backing vocals resonate with the melodies he has composed. A slowed-down, harmonious sequence brings the song to a controlled ending. It’s a fantastic opening track that sets the bar for a great pop punk song. Sidelines is next, and this feels raw in the best way. The lyrics are by far the standout feature, taking nothing away from the musical aspect, but this is pop punk lyricism as it’s supposed to be. It’s bottled-up pain, anger, humour and love, all mixed together and beautifully spilled over a very drum-oriented song. The combination of the drums and his voice gives the track the energy it needs to catapult it into must-listen territory, if only for this song alone. I Tried takes a more serious, introspective dive and offers a softer touch to RAY’s album. There’s a heavy country vibe to it, almost like a drunken anthem that serves as an outlet for the frustration people experience when navigating break-ups and the hardships of trying to move on from that pain. It’s a great reflection of those feelings and a solid track that ticks the pop punk hurt box. Wrong showcases how those raspy screams can be considered a solid addition to the metal genre. The song itself is steady, and nothing particularly stands out apart from those underlying screams. However, they elevate it from potential album filler to a track that makes listeners think, “What’s this?” before turning up the speakers. “You’re a liar and a coward and no one can fucking stand you” is the opening line to the gem that is Hang Up. The voicemail recording sets this up as another personal journal entry on an impressive album. There’s a rock/rap style to this track that has helped catapult MGK to the heights he has reached, and RAY incorporates it exceptionally well. The use of a dial tone in the chorus is a very nice touch, and the track ends with the sound of a phone being hung up on the receiver. A very solid track and one of the album’s best. Tough As Nails follows the genre and tone established by the previous track. Does it sound too similar? Yes. Is that a bad thing? Not really. It’s a style of music that works and connects with people on a deeper level. There’s a harmony in his vocals that raises goosebumps and makes the hair stand on end. The song closes with a beautiful piano piece, providing a break in the album. It’s a pause before a switch-up in style. Following on from the piano piece, the first duet arrives with Habits. Featuring Pouyan Afkary, a founding member of one of the most influential bands to emerge from the mid-2000s post-hardcore wave, SCARY KIDS SCARING KIDS, it’s a collaboration that draws from different corners of the heavier alternative spectrum and integrates them into the pop punk sound. It’s a direction RAY didn’t necessarily need to take, and it isn’t the standout track that might be expected from such an influential collaborator. However, it adds another string to his bow and opens up a potential new path that he could comfortably explore. The song drifts away in a distorted haze, with the audio gradually fading out. It’s a very well-produced track. Burn New Jersey Down taps into that complicated relationship with home, the kind where people never fully let go, even after leaving. Featuring surprise vocal input from long-time producer Pete Zen, it adds his stamp to something both artists clearly care deeply about. Head Spin arrives with what feels like a crowd-rallying anthem. It’s a very bass-heavy song, with lyrics written for the sole purpose of the crowd chanting them back to RAY. The vocals sound muffled and distorted, but this allows the bass guitar to take centre stage as the song builds its atmosphere. It’s only a short track, but it’s powerful. When It Rains is the album’s pop punk sadcore moment. Every album has one; usually, it’s slowed down or delivered acoustically, but in typical HAWTHORNE fashion, it’s heavy, erratic and shouty, while still effortlessly capturing the intended energy and mood. The strain in every scream and every gasp of breath between the lines in the chorus is audible. It’s something unique that makes the song feel increasingly personal, as another door to his vulnerability is opened. The track eventually transcends into a softer ending. Sometimes I Wish You Were Home is another fine example of HAWTHORNE’s ability to fuse genres. He takes a country vibe through the lyrics and opening guitar chords, then mixes it with raspy vocals, a heavy crescendo of drums and turned-up amps. It’s one of the songs that truly feels capable of showcasing what this album is all about. The penultimate track is Bummer. It’s a great pop punk song with that American Pie-style nostalgic melody. The bridge before the chorus gets the head nodding and toes tapping, but the chorus itself doesn’t quite excel. It’s a steady song, yet the chorus never really steps outside the rhythm or lifts the track to another level. It maintains the same sway throughout and fails to stand out. It’s an okay song, but there’s much better elsewhere on the album. Somewhere Else is the track that completes the album for all the right reasons. The slow vocals open the song, while the gentle guitar notes fall like droplets during the build-up before the drums barrage through. Throughout the album, the drums often take centre stage, but the production here allows them to mirror HAWTHORNE’s vocals. Neither drowns out the other, and neither feels forced. It’s a combination that brings together the highlights of the preceding tracks. The crowd chants return, making it a very good song to close an equally good album. The soft vocals and isolated guitar strums bleed out as the album comes to an end. Ray Hawthorne Can’t Be Trusted is another album that paves the way for RAY HAWTHORNE's continued rise through the pop punk scene. Drawing influence from the genre’s greats while simultaneously carving out an individual sound is no small feat. It’s an example of what can happen when an artist follows the sound they believe they should be making. Ultimately, top-tier albums such as this are born from that conviction, and it’s exactly what pop punk thrives on. Score: 9/10 Ray Hawthorne Can't Be Trusted will be released on 16th October 2026. Words: David Waites Photos: Evan Draper