Metalcore is one of those metal subgenres that whether you like it or not, is always prevalent and right in the mainstream within alternative music. That is why fans of this music subgenre tend to be extremely loyal to their favourite artists. That is exactly why when ADEPT announced their return album after a near decade long hiatus, we knew that this would be a massive deal. There is however, a bigger deal than the new record Blood Covenant, a brand new tour for the first time in eleven years. On this reunion tour, the legendary Swedish band brought INTOHIMO, OCEAN SLEEPER and THOUSAND BELOW to support them, creating what the band would hope became a reunion tour for the ages. Kicking things off was easily the heaviest band of the evening. INTOHIMO have a sound that intertwines metalcore with the more chaotic assets that you would assosciate with hardcore and slam. This was instantly noticeable by the stage presence the band had. The vocals were heavy, yet felt off rhythm, and the guitars focused on brutal riffs and breakdowns, all of which is expected from a slam band. What felt overwhelming in this set to a bunch of people towards the front of the stage was the vocalist kept on leaning over the barrier separating the general admission area and the photo pit whilst delivering his powerhouse gutturals. For a band such as INTOHIMO, having them on first was a bold move, as the intention was clearly to get the attendees who showed up early to move around and cause as much chaos as possible. The following band, just like the first one of the night, was brand new to a ton of attendees. Hailing from Australia, OCEAN SLEEPER are a band that is yet to make a proper statement within the global metalcore community. Right from the get-go, frontman KARL SPIESSL jumped all over the stage and spun around, commanding the public to follow suit. His vocals matched his stage presence, his harsh vocals were ferocious whilst his cleans were delicate yet totally unique. The choruses were catchy and gripping, as the breakdowns were expertly executed. Overall, this Australian four-piece delivered a statement making set proving that they are here to stay, and not only are they young, but they are also packed with potential, showing Manchester that they are fully prepared for a headline tour within the next few years. After the second short wait between bands, the main support for this gig, THOUSAND BELOW took to the stage. Vocally, this band sounded very similar to ADEPT, however in terms of stage presence, they were drastically different. Most of the performance shined due to vocalist JAMES DEBERG running and jumping around the stage, as guitarist JOSH THOMAS danced and joined in with jumping as he delivered some extra vocals too. This was the perfect warm-up set as the balance between talking and songs throughout the short performance was spot on, and kept the crowd engaged throughout. By the time the band finished, we felt more than ready for our headliners to come on for the first time in eleven years. Once THOUSAND BELOW came offstage, there was a slightly longer wait as the final changeover took place. As expected though at a metal show, making friends was extremely easy which helped the waits throughout the night fly by, and in no time at all, the lights dimmed one final time as the intro to the opening track of the ADEPT set, Blood Covenant, the title track of their reunion album, played full volume through the speakers in the venue. What followed was nothing short of chaos onstage. The headliners came on all guns blazing and ripped through song after song. The speeches throughout the set were nostalgia fueled, mostly reminiscing of how the band missed each other, and missed being onstage together, whilst also including the usual “we love you guys” sprinkled throughout too. Tracks such as Shark! Shark! Shark! and The Ivory Tower are true standouts, and the band played these with as much passion as they can give these songs. At the end of the day, passion was what this show was truly all about. Each opening act was passionate in their own way, and they all celebrated ADEPT throughout each of their sets showing everyone in attendance that they are just as grateful to be part of something so special. As for the returning Swedes, their return to the north of the country was epic, chaotic and triumphant, and it is this victorious, celebratory return which will surely be remembered by each and every person who was a part of this night, whether they were a performer or attendee, this evening proved that ADEPT are here to stay, and have returned stronger than how they left us, an extremely long time ago. Words: Itay Gilad Photos: Cate Neves

Quite literally overnight, SUNFLOWER BEAN went from performing for a sold-out O2 arena back underground to headline London’s Downstairs at the Dome. This switch does not signify their drastic failure, but in fact the opposite: the Brooklyn trio has gone international, with none other than WOLF ALICE taking them under their wing for their European tour. Tonight, SUNFLOWER BEAN are joined by another rising talent AIN’T, together perfecting a sweet blend of energetic alt-rock and eerie slow ballads. Floating around the venue just seconds ago, AIN’T are unbothered, as if they are mere viewers and not about to perform the most hypnotic ritual. Landing onstage, this flock of birds is just starting to spread their wings — and that is not a metaphor, as the vocalist HANNAH is drawing all sorts of arm movements in the air to accompany her performance. The energy is raw and gripping from the first note, with all focus being grabbed by the singer while she is alternating between soft vocals and howls in Jude. Although the crowd is still standing scarcely, it allows space for the flowy instrumentals to neatly fill those gaps in. Penultimate Church Song goes into a slower and more fragile but mesmerising territory, standing out from the rest and making us wish it was not yet unreleased. The lighting throughout the whole set deserves its own separate praise, it fits seamlessly into the atmosphere and truly refines the performance. Keeping up the Swan Lake ballet dance rendition, AIN’T lead into Pirouette, a song perfectly named for the occasion. “My sister is in the audience, she knows exactly who this last song is about and we both hate that person” — announces HANNAH with a smile, before coming back into character with a completely empty stare into the void and a cathartic spoken monologue to end it on. WOLF ALICE obviously knows how to choose a support act; but more importantly, the act itself knows how to light up any stage, no matter how small or gigantic. Right away, SUNFLOWER BEAN go all in with the hits from their recent releases Mortal Primetime and Shake. JULIA CUMMING offers quite a polar opposite to the previous performance, as she simply cannot stop smiling and headbanging. The sky-high energy is pouring out non-stop, which begs the question, how do they even still contain it after so much touring? An answer follows suit: “I drank a lot of redbull, and I just want to keep going”. JULIA is not lying, moving straight onto Easier Said — possibly the crowd-favourite, accompanied by a hundred arms outstretched and a loud singalong. And still, SUNFLOWER BEAN got more tricks up their sleeve, as the next song invites the singer to be the star on the dancefloor herself, lying down on her back to play the bass outro of Somebody Call a Doctor. After seven songs, the band finally decides to give everyone a breather with the tender ballad I Knew Love, gearing up for another half hour of cheers and screams. Towards the end of the night, SUNFLOWER BEAN put out another reminder that for those who made it to their one-off headline date there is a bag of special treats prepared. As such, the band play live debuts of a couple of tracks from their newly released deluxe album, and those are received with no less excitement than usual. Long-awaited Nothing Romantic comes on with the iconic bassline vibrating through the veins, before the band abruptly heads offstage. The audience does not let them go, with some of the loudest ovations and chants begging to play “one more song” — there is no choice but to obey, and Shake seems to be the elected favourite. Both in their support and headline sets, SUNFLOWER BEAN continue to prove their worth to the whole world, first in their homeland and now here, across the pond, and it is no doubt the only way from here is up. Words and photos: Mariia Bulkina

On December 7th, The Electric in Bristol became a forge of sound and fury. The moment the doors opened, the air buzzed with anticipation, thick with sweat, adrenaline, and the electric tension of a crowd ready to surrender to chaos. This was not a night for casual listening — it was a full immersion into deathcore at its most punishing. From start to finish, four bands unleashed a relentless barrage of sound, each carving its own brutal path through the night, leaving the audience battered, breathless, and exhilarated. CROWN MAGNETAR set the tone, hitting the stage with predatory precision. From the first snarling chords of Barbed Wire Noose the room was plunged into a storm of sound. Blistering riffs and hammering blast beats collided with the crowd’s energy, igniting circle pits and walls of death that seemed to shake the venue’s foundations. Tracks like The Level Beneath and the newer Desecrate Infinite flowed seamlessly, each a testament to the band’s ability to manipulate tempo and tension. By the time Black Lotus closed their set, the audience was not just warmed up — they were ignited, buzzing with the thrill of a night that had begun in full force. Following them, MUGSHOT stormed onto the stage, bringing raw, unbridled energy that turned The Electric into a riotous pit of motion. Their hybrid of death metal and hardcore was an unrelenting assault, each song a summons to the floor. From the opening salvo of Die In Fear, bodies flew, collided, and tumbled, responding to every breakdown with instinctive violence. The band’s chemistry was palpable — every riff landed like a hammer blow, every rhythm a call to chaos. When Next To Your Idols closed their set, the pit was a whirlwind of bruised exhilaration, primed for the next level of devastation. SIGNS OF TH SWARM elevated the intensity to near-apocalyptic levels. From the thunderous opening of HELLMUSTFEARME to the punishing drive of IWONTLETYOUDIE, the Pittsburgh quartet transformed the venue into a battlefield. Drummer BOBBY CROW’s kit became a relentless engine of destruction, while CARL SCHULZ’s eight-string guitar cut through the air with chugging brutality and piercing solos. Frontman DAVID SIMONICH prowled the stage like a predator, baiting the pit into frenzy. Mid-set, Sarkazein struck like a controlled storm, dragging the audience deeper into chaos before the set culminated in the devastating finale of Amongst the Low & Empty. By the end, The Electric was a sea of sweat and adrenaline, every audience member fully immersed in the maelstrom the band had orchestrated. CHELSEA GRIN closed the night with the confidence of a band that has long claimed deathcore royalty. Following the devastation of the previous acts, they took the stage with dominance and composure. Recreant and Cheyne Stokes tore through the room instantly, Stokes commanding the pit with guttural roars while trading banter with the crowd. Guitarists weaved intricate patterns of destruction, and the rhythm section grounded each breakdown in punishing force. Mid-set tracks like Suffer and Bleeding Sun showcased the band’s ability to traverse their discography while keeping the audience on a knife-edge of adrenaline-fueled excitement. Bodies collided, leapt, and soared in every direction, the pit tightening with each passing track. The apex arrived with Hostage, a finale so monumental that it left the venue trembling, hearts racing, and ears ringing long after the last note. The night as a whole was a masterclass in extreme live performance. CROWN MAGNETAR ignited the stage with raw aggression, MUGSHOT escalated the chaos with wild energy, SIGNS OF THE SWARM demonstrated technical precision and ferocity, and CHELSEA GRIN delivered a polished, devastating conclusion. Each breakdown threatened to collapse the floor, every riff seemed poised to rip through walls, and every guttural roar reminded the audience why they were there: to be consumed. The Electric became more than a venue — it was a crucible where sound and fury fused into an unforgettable shared experience. By the end, limbs were bruised, voices shredded, and adrenaline spent, yet the audience carried with them the indelible memory of a night where deathcore’s fiercest acts coalesced in violent harmony. It was a night of calculated chaos, relentless intensity, and pure, uncompromising power — a reminder that some shows do not just entertain; they consume, leaving both band and audience transformed in the crucible of music. Words: Mia Gailey Photos: Nick Howells

With the newest release from San Francisco's CHOKECHERRY, Ripe Fruit Rots and Falls is out for the world to hear - it’s a brilliant debut album that is sure to ensnare any lover of shoegaze and alt-rock. As they gear up to hit the road for their major US Tour, the band took the time to talk influences, nerves and nostalgia. We spoke to both vocalists, Izzie Clark and E. Scarlett Levinson and wasted no time diving into the band's origins. The two met through the incredibly bustling Bay Area music scene, though they really connected after matching on the dating app Hinge, which took them from acquaintances to strong friends as they met and began jamming together to create the band. Originally they were named Amber Machine, but after it was pointed out to the pair that the name sounded like an IPA, they landed on the more fitting CHOKECHERRY. Seemingly born out of the pair's desire to explore new avenues of music, blending their two previous styles of bands, CHOKECHERRY seems to genuinely be a band that's a perfect cocktail of music lovers coming together to make something special, something a few have called, very aptly, bubble-grunge. This talk on their origins led to how the idea of two front-people came around, with them wanting to bounce off each other, disregarding a notion of making a specific song and letting it write itself. On using Izzie’s belting and screams to couple with Scarlett’s softer vocals; Scarlett reflects "We never really went in thinking, let’s make this kind of music - or let's be a Cocteau Twins like band – CHOKECHERRY just kind of happened the way it happened by getting in a room." They reflected on the creation of their hit Glass Jaw and how it came about in this exact way; Izzie stated that the completion of the song made them feel like they’d ‘scratched an itch’ as it originated from just a demo on her GarageBand. Since the song was quite different from their other bands' sounds and didn't fit either vibe, this felt like a direction they could have only taken through CHOKECHERRY. The two said they found a real escape from life when making that song and developing it as much as possible, with Scarlett going from teaching elementary school and Izzie going from working at a Marriott hotel, to jumping into the studio; Scarlett elaborates "If we were free, we were there, because it was just so exciting." They talked further about how it was common among the San Francisco music scene to take a similar route as them, with Scarlett telling us "The SF music scene is like 10 bands cosplaying as 30 bands - oh that band has that bassist, who's the singer of that band, who has that drummer, who's in three other projects." This brings us to talking about their involvement with the scene and their love for it, stating "home is home" and how the songwriting of the other bands in the area helped them cultivate CHOKECHERRY’s style into how it is now. It’s clear to us that CHOKECHERRY is a band of pure emotive writing, as when asked about the album title Ripe Fruit Rots and Falls, the band opened up about some of the core themes of a changing world and people coupled with childhood on the album; stating that the title is a reflection of the feeling of ideas and futures disappearing with age. Scarlett says "Every corner of San Francisco has a memory attached to it. Because I’ve been here my whole life, they layer up on each other and the idea of walking home down somewhere I walked as a kid, I would get so excited about how things looked and felt but now I am in the exact same place, because things are similar but never the same - the idea I can walk the same way and not feel how I used to." This made for a title with quite a powerful theme of nostalgia and the melancholy that can come with that. This definitely fuelled how the songs were made and what made it onto the album on a very subconscious level as Scarlett stated "We never went into the studio thinking, the album is going to sound like this and it's going to be about this - we just showed up and wrote it front to back and it naturally came out of our minds. The meaning revealed itself to us a little bit later as we just wrote about what we were thinking and feeling." From consoling each other through break ups, to missing family, to rising tension within politics, these two used this debut album opportunity for a beautiful kind of catharsis; some songs were more laborious to make than others, trying to connect the dots, but most came out of their hearts and onto paper. Expanding on this, they continued to mention certain elements of the album just happening out of sheer coincidence, when it came to Porcelain Warrior, Izzie and Scarlett walked in on a Friday and left with the song; a moment occurred when the pair sung a segment at the same time making for a the beautiful harmony that echoes on a lot of the track - Scarlett reflected on this by saying "It's like a download from the universe, you're not always in control - if we liked something, we kept it." There's quite a range of genre and style within CHOKECHERRY. They explained that because of this, they had a very intentional release order and schedule for the fans; showing their softer and more emotive side with the first few singles then diving into their heavier work to show off a little what fans experience at their live shows, which we are sure have some fun mosh pit action to get thrown into. They explained they wanted to do this to not only show their range but to give a taster of the genre diversity in their album, to showcase the high and lows of it, which we have to say is a brilliant way to do it. Off the back of that, the pair listed some influences for us - if you like any of the following bands, we implore you to get involved with CHOKECHERRY as they perfectly encapsulate their vibes in their work. The two listed off a wide range for us: MANNEQUIN PUSSY, PAVEMENT, MITSKI, WITCH ELM, JULIE, TURNSTILE, AMYL AND THE SNIFFERS, MY BLOODY VALENTINE, and COCTEAU TWINS - and even some classical influence from WAGNER which you can tell is blended well into their composition. Scarlett and Izzie also explained their strong visual influence that the music created for them, stating that they were very hands on with everything that surrounded the music, from Izzie drawing the merch designs and co-directing some of the music videos, to Scarlett designing the videos and styling the outfits for all the visuals. They elaborated "The visuals definitely influence the music and vice-versa because we want to make music that's based on how we feel and that compels that in both mediums." CHOKECHERRY are currently spending December touring around North America to celebrate the release of their debut album Ripe Fruit Rots and Falls which is out now - an album we wholeheartedly recommend diving headfirst into. Words: Ben Blissett Photos: Whitney Otte With thanks to: Good as Gold Group and chokecherry

A decade is a long time in music, but for Parisian stoner/power rock quartet COMPUTERS KILL PEOPLE, it has been a period of growth, experimentation, and consolidation. Ten years and two EPs after their debut Silence Means Security, the band returns with their sophomore LP, The Storyteller, a record that both honors their roots and explores uncharted territory. With the refined mixing of ÉTIENNE SARTHOU (KARRAS, FREITOT, EX-AQME) and the mastering expertise of MAGNUS LINDBERG (CULT OF LUNA), The Storyteller emerges as a polished, dynamic statement, proof that CKP has fully mastered their craft while embracing evolution. From the first note of Sunset Kiss it is clear that CKP have expanded their sonic palette. The album flows effortlessly between the blues-infused heavy rock of Last Man Standing, the indie-grunge elegance of She Said, and the raw, punk-fueled energy of Good Guy With a Gun. Even their daring reinterpretation of RED HOT CHILI PEPPERS’ Give It Away integrates seamlessly into the record, demonstrating a band comfortable in dialogue with their influences while fully asserting their own voice. Tracks like Intermission provide necessary breathing space, while riff-driven statements such as A.N.G.R.Y showcase the quartet’s technical precision and punk spirit, all culminating in the cinematic desert blaze of TV Monsters, a grand finale that feels both epic and intimate. The Storyteller reflects not only musical growth but also personal evolution. The band’s lineup has been half-renewed since their last album, and the experiences of the members over the past decade—parenthood, life’s joys and hardships—have imbued the music with a depth and urgency absent from earlier work. Rather than dampening the album’s energy, this maturity sharpens it, allowing the band to craft songs that are as emotionally resonant as they are musically potent. Guitarists LOÏC WIELS and YOME VENICE demonstrate a heightened interplay, weaving riffs in perfect symbiosis with KARIN GOUSSET’S taut basslines and ERWAN COLIN’S commanding drum work. The result is a rhythm section that is both solid and adventurous, capable of anchoring heavy grooves while supporting expansive melodic passages. Vocally, the album embraces collaboration more than ever. LOÏC’S performance is technically refined, his assertive voice capable of navigating the album’s heavier moments with power and precision. Yome contributes low, saturated tones and ethereal passages, particularly on Sunset Kiss and A.N.G.R.Y, while KARIN brings a striking new dimension with her emotive performances on The End and Lockdown Blues, evoking shades of PJ HARVEY. The three voices converge in harmonized choruses that feel natural and cohesive, adding richness and variety that enhances each track. Lyrically, CKP engage with themes that are both personal and political. The band views storytelling as a powerful tool for reflecting and shaping reality, a concept embedded in the album’s title. The lyrics tackle contemporary social issues, exploring global instability, inequality, and the erosion of rights, all while maintaining a sense of hope and musical uplift. LOÏC emphasizes that The Storyteller is about observation and reflection, a commentary on the systems we inhabit and the stories that shape them.The album also revisits two tracks from their 2018 EP Healing Bruises - Only The Dead and Sunset Kiss - giving them a refreshed treatment that demonstrates the band’s commitment to evolution without losing authenticity. This willingness to reimagine past work alongside new material reinforces the album’s narrative of growth, reflection, and creative ambition. Ultimately, The Storyteller is a triumph of confidence, collaboration, and vision. CKP’s riffs are heavier, their melodies richer, and their songwriting more deliberate and conscious than ever. The album captures the moods and experiences of an entire band, blending technical skill, emotional depth, and lyrical intelligence into a coherent and compelling whole. With its bold experimentation, melodic richness, and refined musicianship, The Storyteller cements COMPUTERS KILL PEOPLE as a vital force in contemporary rock—one whose evolution is as exciting as its present achievement. Score: 8/10 The Storyteller was released on 17th October via Kernel Panic Records. Words: Mia Gailey Photos: Pascal Cosse

MASTIFF have never been a band concerned with comfort, but For All The Dead Dreams feels like them actively daring you to meet them at their absolute breaking point. Over a decade of weaponising spite has shaped the Kingston Upon Hull quintet into something uniquely caustic within the UK’s extreme music landscape, and this latest five-track barrage proves they’ve not mellowed with age, if anything, they sound more invigorated by the idea of total obliteration. It’s the kind of record that seems to sneer at the listener for even attempting to endure it. Their live reputation has long been the stuff of lore, the sort of band you go to see once and then spend the rest of the night blinking through tinnitus, unsure whether you’ve witnessed a gig or a controlled demolition. Having torn through festival stages at Bloodstock, Damnation, Incineration and DesertFest and matched their intensity with the likes of Conan, Iron Monkey, Cult Leader and Raging Speedhorn, MASTIFF have grown into a touring phenomenon driven by pure malice. That same energy courses through this release, captured with terrifying precision by Joe Clayton at Nø Studio and sharpened to a rusted edge by Brad Boatright at Audiosiege. If their music previously resembled a sledgehammer, For All The Dead Dreams is a concrete drill bit plunged straight into the skull. Opening track Soliloquy acts almost like a warning shot, the kind that lands directly between your eyes. JIM HODGE’s vocals are as venomous as ever, but the real weapon here is the interplay between guitarists PHIL JOHNSON and JAMES LEE-ROSS. Their riffs grind and scrape like heavy machinery tearing through rebar, setting the tone for the record’s grim brevity. Where Deprecipice was blunt-force trauma, Soliloquy feels calculated, a precise incision that prepares you for the deeper wounds to come. The shift into Rotting Blossoms is where the comparison between tracks becomes stark. Where Soliloquy is measured and intentional, Rotting Blossoms is pure acceleration, a headlong dive into Nails-esque violence that barely gives drummer MIKE SHEPHERD space to breathe between blasts. It’s the sound of decay set to motion, collapsing in on itself with every passing second, yet the band stays frighteningly tight. Anyone familiar with MASTIFF’s tendency for whiplash tempo changes will find plenty to savour here, but this track in particular highlights just how much more feral they’ve grown. Decimated Graves is arguably the EP’s centrepiece, not because it’s any less savage, but because it feels like the band stretching into a different shade of bleakness. DAN DOLBY’s bass tone becomes an anchor dragging you through mud-thick sludge passages that momentarily echo earlier MASTIFF releases before detonating into hardcore that would sit comfortably beside Harm’s Way. In comparison to the frantic cruelty of Rotting Blossoms, this track feels heavier in a different way, not faster, not more chaotic, but crushingly oppressive. It’s MASTIFF at their most atmospheric, if your idea of “atmosphere” is being trapped beneath three tonnes of industrial waste. The emotional sucker punch comes with A Story Behind Every Light, a title that hints at something almost reflective, though reflection, in MASTIFF’s world, still arrives wrapped in barbed wire. Here the band momentarily loosens their grip on speed in favour of tension, letting riffs ring out into open space before snapping back with more force. HODGE delivers some of his most tortured vocals on the entire record, and the song becomes a study in how MASTIFF weaponise restraint. When compared to the immediacy of Soliloquy and the pulverising stomp of Decimated Graves, this track grounds the EP with a grim sense of humanity, or at least what’s left of it. Closer Corporeal then ensures that any shred of hope is unceremoniously stamped out. If Soliloquy was a warning, Corporeal is the execution, delivered with a violent efficiency that calls back to Gatecreeper’s most hostile moments. The guitars churn with mechanical malice, the drums collapse into a barrage of falling debris, and the entire band seems intent on ensuring your final memory of this EP is feeling physically smaller than when you began. Compared with the other tracks, Corporeal is the purest distillation of MASTIFF’s mission statement: short, savage and absolutely unforgiving. At barely 15 minutes, For All The Dead Dreams could have risked feeling like an interlude between larger statements, but instead it lands like a cinderblock from a great height, immediate, destructive and impossible to ignore. MASTIFF have always dealt in intensity, but here they refine it, condense it and unleash it with horrifying precision. It isn’t just another chapter in their catalogue of misery; it’s them baring their teeth and snarling, “Hold my beer.” Brutal, efficient and utterly uncompromising, this is MASTIFF at their most dangerous. Score: 9/10 For All the Dead Dreams was released on 24th October 2025 via Church Road Records. Words: Mia Gailey Photos: Mastiff

The Palais is not the sort of venue you’d expect to host a blackgaze band. More often than not, it’s a place of shimmering disco balls, falling confetti, and late-night revelry. But on a cold Sunday in Nottingham, the glittering walls and mirrored corners became the backdrop for a night of sonic intensity, as Deafheaven and support transformed the space into something darker, heavier, and unforgettable. With the first support slot taken by metalcore/shoegaze solo artist Zeruel, it was clear from the start that we were in for an interesting evening, where the guitars would be gazey and the atmosphere dark and cinematic. Hailing from Baltimore, Maryland, Zeruel got the crowd woken up and ready for the night ahead with their dynamic mix of heavy riffs and expansive production. Next, the crowd was treated to the incredible Portrayal Of Guilt, from Austin, Texas. With guttural vocals and an intense, experimental theme, backed by a black and white art film-like visual as a backdrop, the band kept all eyes on them from the beginning. Likened to bands like Converge and Oathbreaker, and christened ‘blackened screamo’, though there was not much crowd interaction, and for those not familiar with the band, it was difficult to tell where each song started and ended, Portrayal Of Guilt provided a performance that blew many people away, with the flawless vocals and impassioned instrumentals. Topping the bill was Deafheaven, fresh off the back of the release of their new album Lonely People with Power back in March. A passing fan lamented at the fact the venue chose to have a barrier, which set the tone for the rest of the show. The band admit they don’t consider themselves a black metal band, as despite the clear influence from the genre on their music, they lack the ethos and aesthetic you find with the genre, which became clear with the complete mix of different fans that had come to see them. Opening the set with Doberman, followed by Magnolia, both from Lonely People with Power, followed up with songs Brought to the Water and Sunbather, from previous albums New Bermuda and Sunbather, the band knew their audience well and played to this power. Though vocalist George Clarke’s piercing shrieks mean that for most, they are not an easy band to sing along to, it didn’t mean that the crowd weren’t up for it. From intense crowd surfing matching the electric intensity seen on stage from Clarke, as well as the guitar riffs from founding member Kerry McCoy, as well as Shiv Mehra, along with the grounding bass line from Chris Johnson and providing the band's signature dynamic percussion, Daniel Tracy. Following up was a steady trail of more tracks from Lonely People with Power, showcasing the new songs to old and new fans alike, with The Garden Route and Body Behaviour appearing on the set list. With each track, more and more people were gliding their way above the heads of the crowd, landing in front of George, which seemed to only intensify his movement towards the crowd, meaning he never stood still throughout the entire show. Closing out the first half of the set with Amethyst was met with raucous applause, and this only built up more and more towards the encore. Returning to the stage to finish off the set, Deafheaven showed no signs of slowing down. Thrashing out more songs from Lonely People with Power, Incidental II and Revelator, which included flawless guest vocals from a crowd surfer travelling straight towards George at the barrier, before finishing off with Dream House from Sunbather and finally, the song that got the biggest reaction from everyone watching, Winona. Deafheaven are a band who are in constant evolution, showing no fear in reshaping themselves whilst retaining the emotional core that made earlier albums like Sunbather a landmark. At The Palais, they showed once again their music isn’t just there to be heard; it's there to be lived, felt and carried home, with ringing ears and a pounding heart, eager for the next show. Words: Lou Viner-Flood Photos: Conrad Newton

Islington Assembly Hall was on fire, and for a very good reason. THE RAVEN AGE prepared to close off their Monarchy Tour, celebrating the band’s tenth year anniversary. Excitement filled the air as fans filled the pit and balcony, with a sense of sadness and melancholy lingering underneath it all. This show was guitarist GEORGE HARRIS’ last show as a member of THE RAVEN AGE, having founded the band with former guitarist DAN WRIGHT, who had left the band in 2017. A show as monumental as this needed someone to warm up the crowd, giving THE RAVEN AGE that little bit of extra time to prepare HARRIS’ send off. And who better to deliver than EMPYRE. Some people in the pit were spotted with EMPYRE merch, ranging from simple t-shirts to bolder bomber jackets. Clearly, they were more than ready for EMPYRE to take the stage and pump up the majority of the crowd who had come for THE RAVEN AGE. Having taken the stage, guitarist DID COLES began by humouring the audience, pointing out the fact that they were performing on a Sunday, the night before many had to go back to work. After introducing themselves, EMPYRE don their instruments and conquer the stage. With their powerful, triumphant sound, accompanied by vocalist and guitarist HENRIK STEENHOLDT’s commanding vocals, EMPYRE primarily performed songs from their first album, Self Aware, and their latest album, Relentless, as a way to show their versatility and their growth through the past ten years. Homegrown, the last track from Self Aware, had a doom rock quality to it, building the tempo and the layering of their instruments to bring the shadowy quality at the start into the light of hard rock. In a refreshing change of pace, the band had decided to cover DAVID GUETTA’s Titanium, giving a delightful hard rock spin to an electronic pop song, adding in a guitar solo for a bit of extra flair. This managed to bring in a little bit of life in the pit, getting people excited for the finishing bits of EMPYRE’s set and grossly anticipating THE RAVEN AGE. Closing off with New Republic, STEENHOLDT and COLES get the audience to clap along at the beginning of the song, before going in with lively and energetic instrumentals, carried by STEENHOLDT’s vocals, almost clamouring to the audience to join in and be a part of their world. Met with enthusiastic applause at the end of the song, EMPYRE expressed their gratitude to THE RAVEN AGE for having them along and to the audience for supporting them. Demands for an encore came from a few people in the pit, showing that EMPYRE had swayed some people over. And who could blame them? EMPYRE’s growth is going to be exciting to watch. THE RAVEN AGE take to the stage, the pit prepared for their arrival and they open with Forgive & Forget, showing off their quintessentially melodic metal sound to the hundreds of people who had followed them along their musical journey, before playing one of their latest singles, Hangman. Bassist MATT COX’s supporting vocals, often growling, contrasted with lead vocalist MATT JAMES, who sounded like he belonged in a metalcore band from time to time, giving THE RAVEN AGE’s songs a unique and novel sound. Angels in Disgrace spiced things up a bit, with twin harmonies and high tempo instrumentals, pumping up the audience even more for their packed encore. After some clamour for an encore, THE RAVEN AGE returned to the stage, accompanied by former guitarist TONY MAUE, who harmonised and growled whilst performing Serpents Tongue with the band, giving the song interesting textures and energy. Followed by a drum solo from drummer JAI PATEL, who gave his all, using up every cymbal and tom in his arsenal. Closing with the sombre Grave of the Fireflies, reflecting the mood of the band as GEORGE HARRIS is set to leave the band, the pit turn on their phone flashlights to mimic fireflies as the band play in this lineup for the very last time. THE RAVEN AGE getting to where they are now is truly commendable, having supported IRON MAIDEN on previous tours. But as DID COLES from EMPYRE pointed out, THE RAVEN AGE were not always at this point. They were the opening band that were often overlooked at one point, performing at bars and various smaller venues. You never know what gems you will come across if you ignore the opening band. Words and photos: Atoosa Salamat

From the moment 2025 kicked up a fuss, making its rowdy and rambunctious entrance, so too did Brighton bruiserweights LAMBRINI GIRLS. With only ten days into January, we were blessed with the unapologetic debut Who Let The Dogs Out, a triumphant wrecking ball of a record sent straight into the fractured foundations of British society. It was here that the age-old, authentic fundamentals of punk snagged themselves around vocalist Pheobe Lunny’s tongue, as the band seethed about toxic workplace practices, the rising constrictions on queer rights globally, and the damaging nature of gentrification that was causing havoc far too close to home. With their long summer firmly underway, it seemed like there was nothing that Lunny and bassist Lilly Macieira-Boşgelmez could take on. Rabble-rousing at Glastonbury? Telling it how it is at Reading and Leeds? World domination from the sun-baked festival stages of Australia, South Korea and Italy? You bet - they do it all and more! This entire year has belonged to the Girls - and by extension the gays and the theys - with a second UK tour this winter becoming the much-anticipated victory lap. In Manchester, we take a course in Cuntology 101, schooling the stratospheric rise of a band on course to make the 2026 bills of Coachella, Primavera and 2000 Trees. Adding to the impressive rotating supporting roster, including CLT DROP, ENOLA GAY and M(H)AOL, was British Canadian post-punk duo SHELF LIVES. In anticipation of their debut album, Hypernormal, the eclectic thrill of the band’s electronic indie leanings resulted in a slow-burning release of queer infused anthems. Whilst starting timid and tender, with fizzy lyrics that seared with hot takes and Gen Z garble, the tone would seismically shift into daring dance tracks that noticably bounced the floor of Manchester’s beloved Ritz. Anticipating the headliner's high-strung ferocity, SHELF LIVES adopted art-pop branding and came off even sweeter with a punk-centred core. Descending into the crowd during their final track, this shindig proceeded to kick off with considerable candour from front to back. As the bright stage lights ascend, Maciera and touring drummer Misha Phillips start the unmistakable call to arms of opener Bad Apple. Arriving later than her bandmates, Lunny circles the stage, eyes wide, arms flailing in a David Byrne-esque way; the suit she wore was just a coincidence. Shouting garishly “MAN-CHES-TER”, the three strained syllables that were just as gritty as the feeling that they were made for the vocalist. Here, we see LAMBRINI GIRLS at their best. Hungry and unapologetic, scathing and glitzy, with terrorising those who put the band into boxes firmly in mind. With the triumphant " Officer, what seems to be the problem?" came a manifesto of carnage, an artillery of words that allowed the venue to be torn apart. Whilst Company Culture is dynamite, erupting into a frantic high-energy wall of death, Help Me I’m Gay turns the serious punch of the previous tracks into euphoria. Giving the band a chance to acquaint themselves with the “queer legends” in the crowd, as Lunny preaches a safe space for LGBTQIA+ people from the pit. With soft colourful lighting, Maciera pushes the rowdy rock riffs (made possible by Lunny adorning a guitar for the moments that matter), gets the entire room revelling, including the poor souls left in the Ritz rafters. Unfortunately for them, right in the centre is where the party is happening, and they can watch it all unfold as the pit all know how to have a good time. As tracks gleam with the promise of a young band that’s on its way to stardom, there is a constellation of provocative messages that shine throughout the set. In some ways, they speak on behalf of their crowd, unified on the importance of speaking up for victims of sexual harassment during Boys In the Band, the ongoing support of the Palestinian people, and later, as Phillips takes centre stage as to express the impact of politics on trans lives, the impact is refreshing and cool against the radio-friendly front of today's society. From their new album, Who Let The Dogs Out, Lunny and Maciera are the band at their most fully realised yet, cutting deep to the bone with tracks like Love and No Homo give clarity on individual queer experience. Cuntology 101, the self-serving confident anthem, is played with great enthusiasm, as the band puts down their instruments and makes the most of the moment. Encoring with Big Dick Energy, sending the night off with transparency and visibility, before punching the final optimistic notes and dispersing into the cold night. It is clear that LAMBRINI GIRLS are authentic, embody the true essence of punk and redefine its meaning for an entire new generation. Selling out the Ritz with only one album to hand is in itself a demonstration of the band’s unparalleled power. But here's the real message of the evening: If you - too - think you have Big Dick Energy, you should probably go and get that checked out. Words: Amber Brooks Photos: James Smith

Dacara showcased their growing confidence and musical depth with anintimate pre-launch event at BrewDog Manchester, followed by a commanding headline set at Rebellion. The evening worked as both a preview of what’s to come and a solid reminder of how far the band have come. The BrewDog launch set the tone early. Fans gathered to try the band’s new collaborative beer, chat with the members in a relaxed, personal setting. The atmosphere built a sense of anticipation that carried naturally into the night’s main event. The night kicked off with Contramotion, and they were a brilliant choice to open the show. They came out swinging, no warm-up needed, and immediately had people paying attention. Their set felt tight but still raw in the right ways, the kind of performance where you can tell the band is genuinely enjoying themselves. By the time they wrapped up, the room was already buzzing, and you could sense they’d won over a chunk of the crowd who might not have known them before. After a quick changeover, Matter of Mind hit the stage, and the whole vibe shifted up a notch. Being a local band, they clearly had a homefield advantage. The cheers they got before even playing a note said it all. They fed off that energy straight away. From the first song onward, the crowd was fully locked in: singing along, jumping, shouting, just completely immersed in it. Matter of Mind has this knack for making a room feel smaller in the best way, like everyone’s part of the same moment. Their set flew by because every track felt huge, and the band didn’t waste a second keeping the momentum going. By the end, people were genuinely hyped for the rest of the night, and you could tell the bar they’d set wasn’t going to be easy for anyone to beat. Overall, both bands smashed it. Contramotion set the stage perfectly, and Matter of Mind took that energy and ran with it. It was one of those nights where you leave feeling like you’ve seen something special, and wishing the show didn’t have to end. During the final interval, while everyone was buzzing and waiting for the main event to hit the stage, something absolutely wild happened. Honestly, one of the most bizarre things I’ve ever experienced at a gig. Out of nowhere... A FLASH MOB. Yes, an actual flash mob. The speakers suddenly blasted Rot by Dacara, and before anyone could make sense of it. People in the crowd jumped into this surprisingly well-rehearsed choreography. It took a second for everyone to realise it wasn’t just random dancing, it was a full routine, and it was brilliant. The whole room lit up. People were cheering, laughing, filming, joining in halfway through, you name it. There was such an unexpected moment, but it worked perfectly. By the time they finished, the energy in the venue had shot through the roof, and you could feel the crowd buzzing even more for the headliners who were just minutes away. Rebellion turned out to be the perfect battleground for the headline set, Intimate enough to feel personal, yet big enough to handle the band’s full force energy. The room packed out fast with a crowd that was mixed, loud, and fully locked in. The lighting setup wasn’t just good; it was next level hands down the best I’ve ever seen in Rebellion, blasting the room into something way beyond its usual vibe. And that catwalk? A catwalk in Rebellion. Who would’ve thought? It landed like a statement piece, bold and impossible to ignore. With razor-sharp sound and flawless technical work, every spotlight landed where it mattered most: on the music. Onstage, Dacara looked assured and in control. Their interaction with the crowd felt genuine but never forced, complementing rather than competing with the music. Vocals came through strong and clean, while the guitars, bass, and drums locked together with impressive precision. Even the more intricate transitions felt effortless, a sign of a band sharpening their craft. The setlist blended established favourites with unreleased tracks, giving long-time supporters something familiar while offering a promising look at the next chapter. The newer songs were met with enthusiasm, suggesting the band’s upcoming releases are likely to land well with both existing fans and new listeners. The crowd remained engaged throughout, quietly attentive during the more detailed sections and fully involved when the band pushed the energy higher. Their response made it clear that Dacara can hold a room and keep it invested from start to finish. Taken as a whole, Dacara’s Manchester double-header showed a band hitting an important stride. From the warm, conversational tone of the BrewDog pre-launch to the full force delivery at Rebellion, the night highlighted their range, professionalism, and growing momentum. It was a performance that entertained, impressed, and hinted at bigger stages on the horizon. A well executed, confident set reinforcing Dacara’s upward trajectory. Words and Photos: Jack Norris

DUST’s SKY IS FALLING arrives as a statement of transformation from a band that has always refused to settle. Emerging from Australia’s burgeoning wave of genre-defiant artists, dust first captured attention with their abrasive, instinctive approach to post-punk, fractured rhythms, serrated guitars, and a saxophone that drifted between dissonance and dream. But SKY IS FALLING marks a shift: not a departure, but an expansion. It’s a record that stretches their sound toward free-jazz textures, shoegaze density, electronic experimentation, and a sense of introspective melancholy that feels both lived-in and freshly confronted. Instead of chasing one direction, DUST embrace contradiction as their guiding force. The result is an album that listens like an internal monologue, restless, nostalgic, agitated, searching, and one that invites the listener into the band’s ongoing dialogue with themselves. The title track, Sky Is Falling, serves as the emotional and thematic blueprint for everything that follows. Its slow, deliberate progression feels like the band inching toward collapse, with JUSTIN’s vocals weaving tightly around ADAM’s saxophone lines. LIAM’s looping bassline and KYE’s steady, penetrating drum pattern form a steady pulse beneath the surface turbulence. The lyrics fixate on two people trapped in a push-pull dynamic, unable to align their worldviews or bridge the growing emotional gulf between them. This tension between hope and resignation, connection and disconnection, echoes throughout the entire record. Sky Is Falling opens the album not with explosive force but with a creeping sense of inevitability, a quiet unravelling that sets the tone for dust’s evolving sonic and emotional landscape. If the opener leans outward, exposing the friction between people, Aside pivots inward, exploring the friction within the self. Where Sky Is Falling stretches toward catharsis, Aside does the opposite, sinking into a muted, restrained melancholia. Breakbeat rhythms shape its pulse, and a Windows-95-like intro gestures toward post-humanism, a subtle suggestion of digital ghosts haunting modern identity. In contrast to the spiralling emotional volatility of the first track, Aside occupies a single, steady emotional hue, less dynamic, more meditative. It’s nostalgia not for the past itself but for the feeling of solitude in a world moving too quickly to catch. The comparison between the first two tracks is striking: Sky Is Falling is the storm, Aside the soft, overcast calm that follows, where you take stock of the wreckage but cannot yet rebuild. Fairy emerges as the bridge between these opposing energies. It shares the introspective tenderness of Aside but brings back the emotional swell introduced in Sky Is Falling. The verses are controlled, nearly hesitant, but the choruses open up into shimmering dream-pop, with guitars influenced by ETERNAL DUST, BITUMEN and LOVE SPIRALS DOWNWARDS bleeding into saxophone and synth textures. The track feels weightless yet heavy, grounded yet otherworldly, a blur of memory and emotion. Lyrically, Fairy leans into childhood recollection, though not in a sentimental way. Instead, it examines the confusion of nostalgia, how remembering feels both comforting and destabilising. If Aside searches for stillness and Sky Is Falling grasps at connection, Fairy floats in between, unable to land but unwilling to drift away. That tension becomes sharper in Day Tight, a track that turns dust’s introspective lens back on itself. Where Fairy and Aside yearn for clarity, Day Tight questions whether this longing is real or merely a cultural script. JUSTIN critiques the self-help mindset, its cycles of diagnosis, self-correction, and endless internal digging, while simultaneously acknowledging his own entanglement in it. This self-awareness adds a necessary edge to the album, grounding its softer moments with a more cynical, even humorous, undertone. Compared to the hazy tenderness of Fairy, Day Tight feels sharper, more grounded; compared to the emotional unravelling of Sky Is Falling, it feels more resigned. It’s the moment where the album admits that introspection can sometimes be a trap as much as a tool. Everything converges in In Reverie, the album’s closing track and its most hypnotic. The doubled vocals create an eerie, autotuned shimmer, comforting yet uncanny, while the saxophone and guitars intertwine with gentle insistence. The track absorbs elements from its predecessors: the emotional unease of Sky Is Falling, the restraint of Aside, the dreamlike glow of Fairy, and the self-awareness of Day Tight. But rather than resolving these tensions, In Reverie simply lets them settle. A spoken-word outro eases the listener out of the album’s spiralling introspection, offering a quiet release without a definitive conclusion. Together, these tracks create a body of work that is not linear but conversational. Each song reframes the emotional landscape of the one before it, creating an evolving narrative about nostalgia, self-reflection, longing, and the fear that nothing inside us can be fully fixed. SKY IS FALLING is not an album of answers, it’s an album of questions, honest in its contradictions and compelling in its refusal to settle. dust have crafted their most nuanced work yet: melancholic, confrontational, forward-leaning, and achingly human. Score: 7/10 SKY IS FALLING was released on 10th November 2025 via Words: Mia Gailey Photos: Andrew Briggs

After years of navigating the music industry on their own terms, SET IT OFF has fully embraced independence, emerging with a self-titled album that feels like a declaration of creative freedom. No label, no restrictions, just three musicians from Los Angeles via Florida taking complete control of their sound and vision. With a career built on relentless touring, multi-million streams, and a fearless approach to genre-blending, the band now presents a record that is heavier, bolder, and more authentic than ever. This album is not just a collection of songs; it is SET IT OFF’s unfiltered identity, a fearless statement of who they are and who they intend to be. The first track, Pathological sets the tone for the entire record. It opens with an aggressive energy, driven by tight percussion and jagged riffs, announcing that this is not the SET IT OFF of previous polished pop-rock experimentation. JON LUNDIN’s production brings a gritty clarity to the track, ensuring that each instrument lands with impact while maintaining the melodic sensibility that fans have come to expect. The song immediately immerses listeners in the band’s newly aggressive sound, a sound that feels carefully honed yet raw and unfiltered. Following this, Punching Bag exemplifies the band’s unique ability to combine ferocity with accessibility. The song’s riff-heavy structure delivers visceral power, yet CODY CARSON’s vocals glide between vulnerability and defiance with ease. It’s a track that could dominate radio charts while simultaneously igniting arenas, a testament to the band’s years of honing their live performances. Similarly, Wolf In Sheep’s Clothing [REBORN] revisits a fan-favorite track but infuses it with renewed aggression and energy, bridging the band’s past with their present and showing that SET IT OFF is both reflective and forward-looking. However, the album’s emotional and thematic centrepiece is Rotten. The track embodies the ferocity of SET IT OFF’s new era, addressing the corrosive nature of inauthenticity and exploitation. CARSON explains that the song is about people manipulating others for personal gain, a theme delivered with brutal honesty. Musically, Rotten combines arena-ready choruses, chunky riffs, and breakdowns that hit with precision, making it one of the heaviest and most emotionally resonant moments of the album. It is simultaneously cathartic and confrontational, giving listeners both a visceral thrill and something to think about long after the track ends. Switch and Fake Ass Friends further explore themes of personal struggle and social tension. Switch impresses with its dynamic structure, seamlessly transitioning between soaring choruses and intricate guitar work, while Fake Ass Friends pairs biting lyrical commentary with a deceptively catchy melody. These tracks illustrate the band’s ability to confront darker themes without sacrificing their knack for hooks and memorable melodies, a skill that has always been a hallmark of SET IT OFF’s sound. What’s In It For Me? and Evil People continue the album’s momentum, showcasing the band at their heaviest while allowing moments of melodic reprieve. The rhythm section, driven by ZACH DEWALL on guitar and MAXX DANZIGER on drums, anchors the album’s energy with precision, giving CARSON the freedom to navigate between raw intensity and soaring emotion. Vicious Cycle and Creating Monsters maintain this balance, exploring betrayal, resilience, and the cyclical nature of conflict, both internal and external. The thematic depth across these tracks gives the album cohesion, allowing it to function not just as a collection of songs, but as a narrative journey. The closing tracks, Parasite and Worst Case Scenarios reflect the band’s maturity and unflinching honesty. By the end of the album, it’s clear that SET IT OFF has not only discovered their authentic voice but is unafraid to confront uncomfortable truths. Musically, these tracks combine melody, aggression, and rhythmic complexity, leaving listeners with a lasting impression of both intensity and craft. The album’s self-titled nature is a deliberate statement: this is the definitive expression of SET IT OFF at this stage of their career. What sets this album apart is its ability to encompass the full spectrum of SET IT OFF’s musical identity. CODY CARSON describes the album as an amalgamation of everything they’ve attempted over the years: pop, rap, punk, and rock coexisting in a way that feels natural rather than forced. Every previous release acted as a stepping stone, but this album consolidates their influences and experiences into a sound that is uniquely their own. It is not only heavier and more aggressive than anything they have done before, but also more personal, more vulnerable, and more fearless. Set It Off is more than just an album; it’s a declaration of independence and artistic maturity. The band has taken full control of their creative direction, producing a record that embodies both their musical evolution and their personal growth. Each track carries an emotional weight, a combination of catharsis, anger, reflection, and triumph. By blending arena-ready choruses with intimate lyrical moments and complex instrumentation, the album successfully straddles the line between mainstream accessibility and underground authenticity. In short, SET IT OFF has created an album that fully lives up to its self-titled status. It is a culmination of years of experimentation, risk-taking, and relentless work ethic, now distilled into a body of music that feels fearless, uncompromising, and unmistakably them. Fans new and old alike will find something to connect with here, whether drawn to the heaviness, the melody, or the lyrical candour. Set It Off is not just a statement of where the band is, it is a promise of where they are headed. Score: 10/10 Set It Off was released independently on 7th November 2025. Words: Mia Gailey Photos: Set It Off