We Lost The Sea, the Australian post-rock comet that quickly took over the world in 2015 with its critically acclaimed album Departure Songs, is coming back with its fifth studio album, A Single Flower. Followed by a quick US tour and even an appearance at the ArcTanGent Festival in Bristol, UK for two days, the band’s latest release is up there as the best of their career, and it is certain the band members Mark Owen, Matt Harvey, Matthew Kelly, Kieran Elliott, Alasdair Belling and Carl Whitbread poured everything they could into their work. A Single Flower consists of six tracks that, unsurprisingly for post-rock, mostly stretch to the longer end of listening. The post-rock elements are present throughout the whole record, with the most prominent sonic theme being the atmospheric nature of the sound. In the song 'A Dance With Death', the listeners can hear a whole story behind the song, without using a single word. The introduction, build-up, and encore, followed by an intense bridge, are all solid proof of the band’s proficiency in the genre and their ability to play around with sounds, resulting in a unique combination of variable soundscapes. We Lost The Sea did not fall behind with guest appearances as well, as the rather short song 'The Gloaming' features Godspeed You! Black Emperor’s own Sophie Trudeau. Lending her unmistakable ways with violin, she managed to capture the raw emotions and feelings of the track with precision, and the listeners are sure to cry few tears while listening to this piece, that is very different from the others. The use of violin in post-rock is a clever way to capture the essence and atmosphere differently and showcases the potential of the genre, that comes with leaving the straightforward path and experimenting with instruments and techniques. We Lost The Sea was not afraid to include non-conforming elements in the feature song and it really paid off, as the song is one of the best on the album. It is already impressive to compose a track that's thirteen minutes long, as 'Bloom (Murmurations at First Light)' is, but the band surpassed its own work and came up with 'Blood Will Have Blood', as the last song on the album, that is a mind-blowing 27 whole minutes in length. The track, generally slower in melody, has many different rhythms to it, gradually increasing and decreasing in intensity and tempo. The guitar techniques used throughout this song are beautiful and emotional and truly are standing out, when paired up with the drums. The only downside of the song is the monotonous nature of it, which is to be expected, but unfortunately takes slightly from the overall experience. A Single Flower is a work of art that constantly develops in the listener’s ears as they go through the songs. The meticulously composed songs force the audience to think about their life and the way the world appears to them, which adds something indefinably potent to the listening experience. The downside of the record is the total length, given the lengths of the songs on their own, and the already mentioned monotonous atmosphere in the last song, as that track is very long. Nonetheless, the album is a perfect fit for anyone who enjoys the post-rock scene and the level of detail We Lost The Sea brings with their work. Score: 7/10 A Single Flower was released on July 4th 2025. Words: Katerina Stepanikova Photos: We Lost The Sea

Think, for a moment, about the town that springs to mind when I use the term “alternative rock”. Maybe you’re transported to New York, the hallowed doors of CBGB spitting out David Byrne’s skittish poetry in your mind’s ear. Closer to home, Madchester and the recently resurrected spectre of Oasis might send your train of thought up to England’s North West. Regardless of where you thought of, it almost certainly was not Northampton, the not-quite-Midlands shoemaking capital of England whose biggest musical export is likely Faye Tozer of Steps fame. Nevertheless, unburdened by the responsibility of carrying their town’s flag, thistle. announce their arrival on debut EP it’s nice to see you, stranger, a scuzzy, distortion-laden project which at times lacks tightness and a clear vision for their sound, but at its peaks evokes memories of the unpolished 90's at their very best. The multi-part 'cobble/mud' begins the EP, its noisy, My Bloody Valentine pastiche opening giving way to slower, deliberate finger-picked guitars, on top of which a wall of noise is gradually reintroduced. It’s an intriguing opening to the EP which is immediately and effectively followed up on by the title track, this project’s strongest song. Cameron Godfrey’s fuzzy lead guitar lines wonderfully compliment his understated yet still expressive vocal style, as he croons through lines about lacking familiarity with old friends. The transition between this and the following track, 'fleur rouge', is perhaps it’s nice to see you, stranger’s single best five seconds, and although the track that follows is somewhat more meandering than its predecessor, it does boast drummer Lewis O’Grady’s best performance, particularly with his impressive use of fills on the song’s back half. 'holy hill' sees thistle. repeating 'cobble/mud'’s trick, albeit over a much shorter run-time. Clocking in at just over 1 minute 30 seconds, the track begins with a hair-raising hardcore passage that suddenly subsides to a slower, spacier sound that eventually jolts into the closer, 'wishing coin'. The odd combination of insanely blown out guitars and Pinegrove-style lo-fi yelped vocals makes this a sonically confusing finale to an otherwise promising EP. Though it is clear that thistle. are yet to carve out a niche particular to themselves, they nevertheless bring their influences together judiciously to make a project laced with compelling moments. Hardcore, grunge, and shoegaze are all represented, and though the band struggle to provide novel takes on any of these sounds, they nevertheless provide accomplished renditions of them all, as well as intersecting them proficiently. Score: 7/10 it's nice to see you, stranger was released on July 4th 2025. Words: Ali Glen Photos: thistle.

Our North is back with the band's brand new EP Everyone For Themselves. This short release contains six tracks packed with some of the most exciting shiny alt-metal that the UK has to give right now. The band name their biggest inspirations as Bring Me the Horizon, While She Sleeps and Bad Omens, which are all easy to hear in this genre-bending collection. The five piece were formed in 2019 in Sheffield, and have been making waves in the scene ever since, and this EP shows exactly what they have to offer. ‘Choked to Death’ opens with distorted vocals and guitars before dropping into a booming verse which lifts us to the climax of the chorus. The chorus features more melodic vocals to accompany the forefront screams, a satisfying alt-metal chord progression in the background with a mixture of synth and electronic beats. The second verse introduces a trap beat as lead vocalist Dan Feast raps, spitting before descending into a burdensome breakdown, completely switching the beat in the most fulfilling way. The second track named ‘Something To Be’ starts with atmospheric layered synths, later being joined by the band instruments, melding together perfectly. The song is something any fan of TDOPOM by Bad Omens is sure to enjoy, and - while they have a way to go to match the production levels of a band so big - musically, the band is very close to such achievements. The build of the breakdown marked by an almighty "blegh" is ultimately flawless, the perfect timing for a crushing pit at live shows. ‘Violent Rules’ is immediately bolder than the last, opening with the back and forth of screams and rapping, and keeping an electronic rhythm throughout. The song swings back and forth between the heavy band sound with screams versus the lighter singing with synths creating a gratifying contrast. At this point in the EP it's easy to see the breakdowns are the bands strong suit, they hit every time at the perfect time, and just as heavy as you'd want them to. Track four switches up the tempo - ‘Everyone For Themselves’ almost rids itself completely of the band for the opening, being completely electronic as the lead raps over the beat. When the chorus paces in it brings the band but the lead continues to rap throughout, the beat is especially bouncy and addictive, reminiscent of an old Linkin Park tune. The genre blend has of course been done before but it's rarely done this well, making this is the stand out track of the EP. Replete with production that sounds expansive and level and, once again, the breakdown is a doozy, featuring some delightful pig squeals. ‘Above The Water’ is very airy in the opening, prior to dropping us into the deep end for the chorus. It brings back their distorted guitars and pounding drum beats while keeping electronic effects throughout, ringing through the background. Drummer Jonny Dransfield introduces some killer blast beats for the drop, and the short repetitive guitar riff is sure to get stuck in the listeners head. To close out the EP ‘We Come To Life’ is the most immense of the bunch, the synths creating a grand, almost boss fight like atmosphere. Distorted female vocals join the roster in parts as the lead screams through the majority of the song. This song crams every feature of the album together the electronic synths, the crashing breakdowns, screams, smooth vocals and rapping all wrapped together in a four minute package that could have felt like it was bursting at the seams, but it ends up being a great display of their talents. This EP is a great example of what it means to be alt-metal in the UK, however it's not perfect. The production levels need some work, and the vocals aren't as strong as the rest of the instruments, but this is not anything that hinders the musical talent and the downright well-written music this EP holds within, especially for a band formed in just 2019. This ever growing genre is doing anything but being put in a box and this EP portrays that perfectly, and we can't wait to see what they do next. Score: 7/10 Everyone For Themselves was released on July 4th 2025. Words: Amy Smyth Photos: Our North

In one word, Calva Louise is driven. Whether that means touring London’s pubs to hand out demo CDs or learning how to use Unreal Engine to fully realise the visual elements of their latest project’s universe, their genre-bending fourth album ‘Edge Of The Abyss’, the band’s drive to create is matched only by their ability to craft it. “[DIY] was born out of necessity, but now it is such a part of who we are. When something needs to be done, and you don’t have the means to achieve it by other routes, you just have to figure it out yourself” Calva’s drummer Ben Parker muses on our mid-morning zoom call, “if we don’t know how to do something, lets try…it’s a never ending journey of learning and discovery.” Calva Louise’s DIY manifesto can be seen in the dynamic keyboard designed by guitar player Alizon Taho. It sits on a sliding tray and lets vocalist Jess Allanic play the piano parts that she began to incorporate into the band's latest live shows, whilst also working around some of the logistical issues that come with the instrument. Taho begins, “Having a piano live is complicated - when you also play guitar and sing - because you might be stuck behind the piano the whole set, which is not great, and setting up a second mic is not a good option either. So we kind of came up with this idea where she needs to have something that she can just put away when she’s not playing the piano,” gesturing a sweeping movement with their hand. This is not the first stage piece that Alizon would design, going on to describe a tray he had made for friend of the band Bobby Wolfgang for his synth. Little did they know that it became the inspiration for a now-iconic element of Wolfgang’s stage setup. “It was a lot of trial and error to get it right”, he admits; the formula in the end was skateboard bearings and a wooden tray, and the piece was recently updated for their US shows in January with ZETRA. “It’s a shorter tray so it fits into the guitar cases, and a stand that breaks apart into small pieces to dispatch them across the luggage, so we’re flying with one big metal stand.” Alizon follows in their father’s footsteps, who is a set designer by trade. “I grew up in a workshop…I’ve had this kind of upbringing where I could see it was possible to make things yourself, so I feel like that gave me the confidence to get started.” Meanwhile, Jess turned her attention to the CGI that they wanted to incorporate into the album’s high-concept music videos, teaching herself how to use Unreal Engine over lockdown to make the band’s striking visuals. The Calva Louise universe was first created by a 10 year old Jess, carrying her creation with her from her Venezuela homeland to France, where she’d meet Alizon, which then found its home in the band the pair would create with Ben upon their move to the UK. “It’s always been there, it's always been a part of what Jess was doing and what we’re doing. There was never really a sit-down conversation about “this is what I want to do” because it was always there,” Ben begins. The band agrees that the early iteration of Calva Louise was way more abstract than it is now. “The essence was already there. It's just being able to develop ways to translate that story in a much clearer way,” Alizon finishes. Edge Of The Abyss The story of their latest album, ‘Edge Of The Abyss’, mainly focuses on Johnny impeccable, heading back in time from 2034 to explore how he came into Calva Louise’s world of deadly body doubles, lifeforce-sucking entities and inter-universe hopping. “Under the Skin is mostly set in the future, then we come back in time to see the origin story of Commander Johnny. You find Johnny young in ‘Impeccable’ and see what happened to him to move into the other world”, says Alizon. Whilst that may sound complex, Alizon lets us know that the overall story is too big for one record, so the band are releasing lore in small parts, so that their listeners can piece it together. ‘Edge of the Abyss’ is an album of revelations. At its core, it thematically explores accepting a changing world, and is set against a high-concept backdrop. Sonically, the record leaves listeners gaunt running from electro rock to metalcore influences, with the introduction of harder style vocals. Here, you can feel the angst running through Jess’ lyrics. Tracks such as ‘Impeccable’ are emblematic of the electro-rock features, whilst also showing Jess' lyricism in both sung and spoken word. Elsewhere, other tracks demonstrate a harder style of vocal akin to a more metalcore sound. ‘Barely a Response’ does so in its angst, matched with a drum and bass style mix and chopped vocals, while ‘El Umbrial’ shows off the full extent of Jess’ scream, adding chaos as it transitions between heavy guitar and the airy electro breaks that melt into a piano/floor lead warm-up and breakdown. ‘Edge of the Abyss’ also includes Jess writing and performing in Spanish over tracks such as ‘Lo Que Vale’, ‘The Abyss’ and techno-infused power ballad ‘La Corriente’. In the world of Calva Louise, the duality of both English and Spanish lyrics is emblematic of the evil body doubles, intensifying the disconnect of the world through a dual perspective, especially as the band speaks up on complex issues such as persecution and the need to be left alone. Ben and Alizon have been practicing the songs from their new album in preparation for their live shows, with a debut performance of some of their live track at 2000Trees Festival. Agreeing on the aggressive ‘Hate In Me’ is one of their favourite new tracks. Ben states, “I’ve been going back to it to practice it… and I’ve rediscovered it on my own. It breathed new life into it.” “It's funny because when you’re working on it for the record…you’re deep listening to the tracks - or maybe just the bass - trying to listen for the imperfections or going through it with a fine-tooth comb, it's much more analytical and scientific. When it comes to it and you re-listen to the songs and start learning for the live performances,, you’re like “oh! I remember this! This is great!” Ben adds on that point” “Or why did I do this to myself?!” Alizon punctuates. “Oh crap, now I have to play that” Ben laughs. While the music remains central to the Calva Louise universe, it is a multi-media project, including a Graphic novel collection published back in 2018, with music videos taking influence from early Tarantino and 90s aesthetic. “One of the sticking points for all of us in terms of film was Tarantino when we first met, and a lot of his early films are kind of set around that time”, Ben muses. “I think the later videos are more like horror, sci fi…we bonded over love for cinema and love for visuals. Even just like the music I feel like cinema is a big influence - people like John Carpenter who wrote their own soundtrack to movies. The project itself is multi-disciplinary so by essence everything kind of merges into one project and its different ways to tell the story underlying.” Alizon adds. “Each video is like a window into the bigger picture, which focuses on different characters.” The work is paying off for them, with the Vukovi co-headline evening slot at 2000 trees a couple weeks ago, and recently touring with Bloodywood. Alizon explains its the best tour the band have ever done. “Hands down. Fantastic tour, fantastic people, fantastic music. It kind of came up a bit last minute but we were super excited.” “During the tour I was really impressed with how involved they are with everything which kind of reminded me you can play these sized venues and you can still be involved with all the aspects of the show; even like halfway through the show they were still trying to improve everything that could be improved. I love that because it shows such care for detail for their craft and what they do” “What I love about the Bloodywood guys is that they’ve perfectly struck the balance between being professional and having fun.” Ben remarks before reminiscing on some tomfoolery, “the second last show of the tour was like ‘prank night’ - which we didn’t know about, no one told us! - but on our last two songs they gathered their entire road crew and the support band as well, and they all just walked out on stage all with like some piece of fruit and they all just like stood around the three of us and just stared at us deadpan eating fruit for the whole of the last two songs” this incident just added to their admiration of the New Delhi nu-metalers, with Ben praising their ability to drop the professionalism for a night and being able to have fun. Photos: Simon Arinze “That was so stressful” Alizon admits, “it was super intimidating! [to Ben] They started taking your drum kit apart!” Ben puts his head in his hands for a moment “Yeah [the lead singer] started grabbing my cymbals and just walking off with them.” In retaliation, the trio got the crowd involved in the antics. “They walked off before they’re encore, and we jumped onto the stage and got everyone to hush so no one cheered for one more song. Eventually, Raul sheepishly looked out and walked on. Oh yeah, and they had like a wall of death on stage” They also played their third 2000Trees Festival two weeks ago, on the back of a forest stage/silent disco set the year before “Our sound engineer was a bit stressed, but everybody loved it”, remembers Alizon. “We love 2000Trees, such a good vibe, we always leave with loads of friends….it isn’t like a big machine.” The core of Calva Louise is authenticity. The universes they have built are authentic to the writings of a young Jess, carried thousands of miles across the world and shared with thousands of people. The more they have leaned into showcasing the universes at the centre of the project, the stronger and warmer the coal fire of their career has become. “It’s probably the number one thing we strive for as a band. I feel like to me that’s super important. We never wanna be something we’re not, but at the same time you wanna be the best version of yourself; it’s like a balance of always being true to yourself and what we’re doing musically while still trying to push yourself to be the best you can,” Alizon says on this point. Photo: Simon Arinze Ben finishes, “I think authentic is the only thing you can try to be. If you’re trying to pretend to be something you’re not, or project what you think other people want, it’s only gonna warp yourself ...why would you waste time being something you’re not?” The multimedia multiverse of Calva Louise is only set to get bigger, with Edge of the Abyss out as of July 11th via Mascot Records, and a co-headline tour in the US with Mike’s Dead in September. Calva Louise are hitting their stride as artists; their work is paying off. Here’s to the fruits of this labour being as sweet as those fruits Bloodywood ate in front of them. Edge Of The Abyss is available now via Mascott Records. Catch the band later this year in the UK supporting Stray From The Path on their farewell tour. Words: Julia Brunton Cover photo: Henry Calvert Cover design and accompanying photos: Simon Arinze With thanks to Mascot Label Group

The Norwegian band Leonov have just released their epic new EP, Shape Of Ash. Embracing a noticeably rawer feel instrumentally than the bands previous three albums, it still delivers a powerful well produced example, under the hard to define style of celestial doom. Heavy distorted guitar riffs, powerful pared-back percussion, and siren-like vocals will have you wandering up the side of moss-hewn misty mountains, calling out for the Earth mother. The first single released off the EP, ‘Auld Ashtok’, is summed up by the band perfectly as “a stoner meditation built around a single, mantric riff”, luring the audience into some dark place with the promise of pleasure to be had. Here, the contrast between the instrument's gritty bass and the much cleaner diaphanous vocals gives us a consummate example of how this cosmic melancholy can be served. The band reflects, "'Auld Ashok' is about shifting perspectives - how the character moves between seeing herself as at fault, default, or a treasure vault. It circles questions of confidence, self-worth, and what we’re capable of carrying.” This message is delivered by singer, Tåran Reindal, like an enchantment that has all the mystery and seduction of Kesly Lu, or the emotional longing of Thom Yorke. The opening for the track ‘Bygg En Menneskekropp’, translated roughly ‘to build a human body’, could almost be taken, both title and melody, out of a John Carpenter film. The breathy vocals are a welcome addition for the clarity they bring, enough to detect the singer’s accent, adding intimacy and personality. Accompanying Tåran Reindal are the gentle vocals of Norwegian folk singer, Syvert Feed (Jake Ziah), who has all the naturalist delivery of Rufus Wainwright. There is an immediate sense of a conversation, rather than simply a duet, marked by a longing and emotion which points back to the title and the eternal struggles of love and relationships. Here the vocals are brought to the fore, exposed and tender, you can feel them close up to the mic, standing across from one another with some impenetrable divide between them. The EP closes with the titular ‘Shape of Ash’, a paired back mechanical rhythm, plucked out by the guitar, with the subtlest of atmospheric noise floating in the background. An unmistakable pound of the bass drum meets the guitar as the song transcends into an incantation, the vocalist calling forth the elements. The deceptively simple composition has an effective build, with the vocals descending into the depths, an underwater like effect rippling through... or is it that we are being called from across ‘the divide’. All this ancient and emotive symbolism of creation and destruction has the potential to make even waiting at the bus stop feel eternally epic. Listening on headphones it is easy to pick out the character of each instrument, at times giving the sense of a choral arrangement as much as a band, stirring up the power of a lost magic. Each song has a distinctive shift and at times you may want to sink your hands deep into the soil, and then run skinny dipping in an ice cold river the next. Leonov successfully harnesses the depth and drama of doom metal. There's a heaviness throughout which may sometimes feel as though you are sinking a bit too deep, but the shoegazey use of overdrive and fuzz, combined with ethereal vocals, gives air and space, re-energising the sound. A transcendent release taking you from the depths of mountain caves to their cloud-covered heights. Score: 8/10 Shape Of Ash was released on July 4th 2025 via Pelagic Records. Words: Alana Madden Photos: Leonov

The Boston based celtic punks Dropkick Murphys are back with album number 13. Whilst this number may be unlucky for some, their new album For The People is a record meant to draw you into a punk musical embrace at a time when the political landscape feels bleak, and the world seems to be in a fragile state. The opening song ‘Who’ll Stand With Us?’ Is a call to arms fuelled with a sense of anger and righteousness that everyone; both fans and casual listeners will be hooked by. With sweeping pipes, loud guitars, and gang vocals, this song that pays tribute to the working class earns it’s rightful place as the start of this musical journey. The album is full of songs that make you feel like you are at a rebellion. Drink in hand, ready to change the world one song at a time. The energy from each song truly coarse through your veins and is a testament to their nearly 30 years of being together. You can see how each song weaves into a story that showcases each members craft to create something rather extraordinary and special. Whilst most of the songs are there to fuel the fire in listeners bellies, some songs allow you to take a step back and truly focus on the poignant nature of the lyrics. ‘Chesterfield’s and Aftershave’ pays tribute to those lost and was truly a touching raise your glass moment. Similarly, ‘Streetlights’ is a nostalgic look at the life that was had before loss. It’s an incredible juxtaposition from the rousing party-like nature of most of the album, with each of these softer moments feeling perfectly placed on the emotional rollercoaster that is the track listing. There are five collaborations across the whole album, which is testament to the inspiration, talent, and family like nature of the band themselves. ‘Bury the Bones’ features The Mary Wallopers and with an opening few lines of “It’s time to unite. It’s time to be true to a cause. It’s time to do what’s right and rip the power back from their claws” you can sense the anger at the few that have power over the many. After time out of the band, vocalist Al Barr makes a short return to the band in the song ‘The Vultures Circle High’ and this feels like a brilliant return for him in this rockier number laced with growls and menace. Whilst this may not be a full return to the band, it felt like a family reunion on the track with the hope of things to come. Closing out the album is ‘One Last Goodbye’ featuring The Scratch. A tribute to the late Shane MacGowan, this softer Irish song closes the album with a fitting sendoff to fallen frontman and feels perfectly placed to end this musical voyage. For The People is an album that is true to it’s title. It’s truly for the people. It’s an anthem filled album to unite in some of the darkest of times. Allowing the audience to feel strength and drive in each song, reflect on the world around us both now and in the past, and feel roused to instigate change in the future. It feels like this emotion rousing album has appeared at the perfect time to truly inspire listeners new and old and this feels like a nostalgic yet modern Dropkick Murphys album that truly places them firmly on top form. Score: 8/10 For The People was released on July 4th 2025. Words: Laura Davies Photos: Dropkick Murphys

Punk is a genre best experienced live, and Florida natives TV Generation know that better than anyone. With their second full-length offering Passafist, capturing that live sound was a priority, seeing them ditch the slightly more polished sound of their debut album Cheap Times for a louder, grittier collection of pop-punk goodness, all produced in a single weekend and – for some tracks – in a single take. With new vocalist/guitarist Eric Pabon on board, the melodies are as free-flowing as the power chords. He joins Jerry Henegar on guitar, alongside bassist Billy Ondrus – but it’s drummer Jorge Gonzalez who is the first to introduce himself on the opening bars of the first track ‘Handful of Nothing’. It’s an easy-going pop punk bop, with some excellent guitar work on the back end and some gravelly vocals throughout. Whilst it’s a fun introduction, the raw recording style at work here really shines on their punkier, more rage-filled tracks. ‘My Way’ sees Pabon (unconvincingly) promise through gritted teeth that everything is going his way, whilst guitars thrash around him like they’re trying to summon a mosh pit to appear right in your living room. And ‘Daisy’ is less than a minute of furious lamenting and pounding drums, but the punch it packs is enough to knock you dizzy. It’s hard to imagine anyone being able to stand still when that riff starts up. There are places where this album suffers slightly from the stripped-back production, though; on ‘Billy’s Song’, the vocal harmonies sound great, but you may have to strain to hear them in the mix. ‘Wild Things’ is catchy and it’s impossible not to sing along, but the verses have a tendency to feel empty and unbalanced. There's a smattering of bum notes and missed chords and off-beats throughout the 26-minute runtime, but this IS a punk album. Some things aren’t meant to sound perfect, and if this is what a live TV Generation show sounds like, then I’d buy a ticket any day of the week. And it’s good to know that if I did buy one, I’d be welcome at their show. ‘I’m With You’ sees the band extend a hand to anyone who doesn’t fit into the social mould, branding bigots as "ignoramuses" and vowing to fight for the outcasts of society. These political themes run throughout the record, ranging from a general distaste of the world to an overt criticism of the current political system of the USA on ‘American Undead’. In a world where musicians are facing real and terrifying consequences for their political views, it’s refreshing to see a band that is willing to voice these thoughts whilst still making fun and vibrant music. Through and through, this album feels purposeful in its celebration of live performance. ‘XOXO’ is a standout track on the album: an upbeat punk love song which feels every bit as energetic and chaotic as it would in a crowded room. The music video seeks to prove this theory, and sees the band performing in beloved local Orlando venue The Spot, which closed permanently shortly after the video was recorded. On their Instagram page, the band writes that they hope that the video captures the “raw energy and urgency of a space that meant something – and the people who filled it”. Passafist isn’t just about the band performing the music, it’s more than that; it’s about the community who contribute to putting the show together. If you love spending Friday nights in your local punk bar, shout-y choruses and loud guitars, Passafist was made for you. Throughout the record, TV Generation prove time and time again that you do not have to reinvent the wheel to make a great song. This is their love letter to live music, and tangible proof that sometimes, all you need to have fun is some power chords, a catchy melody and one take in the booth. Score: 7/10 Passafist was released on July 1st 2025. Words: Ellen Lovell Photos: TV Generation

British band Rites to Ruin are doing their bit to revive the NWOBHM with their debut Daughter of Hatred. Throughout the album and its ten songs, the listeners are introduced to a variety of elements from across heavy metal, particularly when it comes to vocal techniques and guitars. Providing a slightly modern twist to a well-known formula, the group are ready to rock - are you? Right at the beginning, the titular song 'Daughter of Hatred' brings in head-banging riffs and drums as drummer Tom Ross hits his snares like there's no tomorrow. The song is heavy in melody, yet the band’s vocalist Krissie Kirby does use clear vocals that make the song sound slightly softer, resulting in a well-balanced blend of sounds that compliments the overall song. On the other hand, 'In Memoriam', the third song on the album, is of a quicker nature, offering sonics full of piercing vocals and angry guitars, thanks to Lee Cartner and Matt Chambers. The blend of two guitars creates, particularly in this song, a beautiful melody full of various riffs that combine together to work perfectly. The atmosphere of the song is especially striking, with the melody being reminiscent of some of our favourite bands from the New Wave of British Heavy Metal, such as Iron Maiden, Motörhead and Judas Priest, adding to the memorability and grandeur of the piece. Speaking of resemblance, the song 'Rise' carries an unmissable slow introduction full of guitars and vocals, that then switches into intimate like drums, creating that beautiful sound many heavy metal fans know from the likes of Metallica and other already mentioned bands. Although this mould has been heard countless times throughout the years, it is still widely accepted and always adds depths to the overall song experience, especially when paired with an ear catching solo in the song, such as the one that can be heard in 'Rise'. The intensity the song takes upon itself as it goes along is significant and the atmosphere changes multiple times, only to end up the same way as it began, with few guitar accords and sad tone, which in the end results into ballad-like melody. Finishing the packed album with the song 'Sorrow', the band bids a pompous farewell to their debut album. Unfortunately the song does contain many elements and riffs that could be heard before, resulting in some patterns that feel pretty recognisable now, however, there is a guitar solo early into the track, and another one halfway through, that contain well-written riffs that carry further into the song as the solo ends, which bolster this one somewhat. With Krissie’s soaring vocals complementing the overall melody, the song is still strong, and Paul Boschen’s bass can be clearly heard throughout the song as well, which adds to the tension of the song. Daughter of Hatred is a great album made by a group of musicians who clearly enjoy their craft. Their debut album contains some beautiful moments such as the song 'In Memoriam' - however, many of the songs sound very similar, resulting into repetitive patterns throughout the project. Nonetheless, Rites to Ruin’s debut album is a strong one, as there are many elements that, with some more work, will help them stand out in future, and with a skilled vocalist such as Krissie Kirby they are absolutely going to make waves with another release! Score: 7/10 Daughter of Hatred was released on June 30th via Otter Chaos Records. Words: Katerina Stepanikova Photos: Rites to Ruin

It was just after a moment after 7pm, then all hell broke loose; calls, messages, touch news updates, all of a sudden everything seemed irrelevant, to the average metalhead it was like hearing about a nuclear strike. Ozzy Osbourne was dead. It was like a thundercrack, everybody knew he was sick but nobody quite seemed to know just how sick he was. The man took so much in his life that people were starting to believe that he’d found some forbidden alchemy that even the emperors of the Qin dynasty couldn’t suss out and had, in fact, become an immortal. If the final performance at Villa Park was anything to go off, it appeared that Ozzy had quite a few rounds left in the chamber, maybe even a couple of performances or perhaps even an album up his sleeve. But it was not meant to be, a mere two-ish weeks after the show’s completion we now have our figurehead ascending to godhood far too soon. Deified in life and canonized in death, never before has so much been owed to someone who couldn’t seem to recognise which room he was in at any given time. He was metal’s bumbling father figure, a universal constant to old-heads and youngbloods everywhere – their bat-shit dad who couldn’t figure out how to work the TV remote. Everyone’s got their own Ozzy; true veterans will have Sabbath-era Ozzy as their idol, older fans will remember in the 80s when the Blizzard of Oz really took hold with his solo career, even fans in the 90s had the incredible reunion shows to go off of, the 2000s saw his bizarre family dynamic broadcast to millions, 2010s saw his comeback and releasing of even more excellent material, and finally the 2020s saw his final bow. Decade by decade, Ozzy was always there, and even as other legends seemed to pass, the ultimate irony seemed to be that the man who could have died about 50 times over defied all logic and remained fabulously alive. Not since Lemmy’s death nearly 10 years ago has so much sorrow been felt by the our community, the general public saw The Osbourne's, sure, but they could never imagine just how huge his impact was to the metal crowd. That kid in the 70s putting on Master of Reality and hearing a riff as crunchy as cornflakes and hearing vocals soar like a falcon had his brain chemistry permanently altered and his humours balanced for the rest of his life. It’s like magic. In fact, if you have never enjoyed Sabbath quite as much as your friends do, then perhaps it’s time to balance our your humours too. Not to mention the solo career working with many weird and wonderful musicians; Rhoads, Wylde, and Gus, sounding like henchmen from the pits of Hades. They didn’t try to be Iommi, they tried to be legends of their own. And through the waning days of the 20th century the Ozzman came to scare squares everywhere (try saying that three times fast). In a raging musical whirlwind, the working class Brummie boy is launched into superstardom, and no matter where he was or who he was with, Ozzy simply existed to perform. His lifeblood was concerts, his organs were albums, and he injected as much creativity into his musical pursuits as he allowed. He rocked so hard that his last album was only a few years ago. If Ozzy believed in one thing, it was in music until the very end. That overwhelming desire to be on-stage defined him. At Villa Park, he visibly attempted to struggle out of his chair, he raised his hands and clapped like there was no tomorrow. The rest of us could barely keep up, but Ozzy kept going - in fact it seemed to be giving him even more energy. He was unstoppable. Lemmy didn’t get to go out like this, nor did Dio. Many other music legends will never be able to say that they got the final bow and a peaceful rest, the idyllic end to a life dedicated to music. The saddest thing about the passing of Ozzy is the precedent it sets, figures like him were born and bred in the 20th century and in our modern squeaky-clean cultural void people like this just don’t come about anymore. Sadly those days are over, and these icons will pass into memory. There will never be another Ozzy Osbourne. But hey, at least Ozzy Zig has gone out with a gig. Rest in Peace, Ozzy. Just know that we love you, and we’ll never forget you. Words: Kiarash Golshani

On the penultimate night of their Choose the Bear tour, Millie Manders & The Shutup rolled into Leicester and turned up the volume at the newly opened International — a venue that’s quickly picking up the grassroots baton after the unfortunate closure of a beloved local space. It’s no easy task to replace a fan-favourite venue, but credit where it’s due — this place already feels like it belongs on the UK’s rock circuit. Opening the night were Wrex, a band I’d been curious about ever since their slick, high-impact reels started peppering my feed. Live, they more than delivered. Normally a two-piece, they hit the stage in full band mode with added bass and drums — not as an afterthought, but with the kind of tight chemistry you’d expect from a seasoned touring unit. Wrex don’t just play songs — they throw everything at the wall and make it stick. Their set was a genre-blurring alt-rock whirlwind: punchy, chaotic in all the right ways, and impossible to take your eyes off. They owned the stage with constant motion, presence, and energy. And they didn’t just vanish after their set either — they stuck around chatting with fans and signing merch. Pure class. Then came Millie Manders & The Shutup, a band who never fail to prove why they’re one of the most exciting forces in UK punk. Their set was a masterclass in controlled chaos — a fusion of ska bounce, punk fire, heavy riffs and purpose-driven lyrics that hit hard but never preach. This wasn’t just a gig, it was a rallying cry. Whether they’re raging against injustice or shining a spotlight on marginalised voices, Millie and co. perform with urgency, intent, and passion — but never lose the fun. The crowd fed off their energy and gave it right back, making the whole venue feel electric. This gig had everything that makes grassroots shows so vital: two bands giving it their all, a room full of people who get it, and a venue doing its part to keep the scene alive. If this tour proves anything, it’s that Millie Manders & The Shutup aren’t just here to entertain — they’re here to wake people up. And Wrex? Definitely a name to remember. Words: Joshua Cunningham

Fresh off of the release of their long-awaited and acclaimed third album in June, ‘I Want To Go Home’, Kaonashi hit the UK with the ‘Real Deal Tesco Meal Deal’ tour this week. The boundary breaking Philadelphia four piece closed their UK tour on 13th July 2025 and descended on The Cavern in Exeter, bringing raw and unbridled angst to the South West. After hitting internet virality with ‘I Hate the Sound of Car Keys’, the hype surrounding Kaonashi has been huge in the heavy music scene. The task of opening the show was up to Exeter natives and UK hardcore beasts, Reality Check. With heavy vocals and chunky riffs, the influence of metallic hardcore bands like XweaponX and Harms Way were apparent in the best way. The energy of the band was infectious and seemed to carry through the whole venue. Reality Check managed to prime the crowd perfectly for what was to come for the rest of the evening. Next up were the genre bending UK outfit, dormant. With insanely technical riffs and passionate vocals, dormant were the perfect combination of early 2000s metalcore and modern hardcore to rile up the crowd ready for a mosh fest. Their debut single ‘Essence’ that was released in 2024 translated particularly well on stage, both the clean and heavy vocals were performed outstandingly as well as the insane breakdown. Despite this tour being their live debut and this show only being their fifth, dormant absolutely tore up the stage and proved themselves the perfect support for this tour. Kaonashi took to the stage opening with the immense ‘Our Troubled Selves’ followed by ‘The Depressive Spectrum’ which immediately set the tone for the show ahead. The unorthodox vocal delivery from frontman, Peter Rono, was absolutely outstanding and matched with the discordant riffs, created an electric live atmosphere. In between songs, echoes of the recurrent album characters ‘Taylor’, ‘Jackie’ and ‘Jamie’ were played as well as comical soundbites, including a quintessentially British rant about the inflated prices of meal deals, which only added to the live environment created by the band. Throughout the set, Kaonashi managed to amass crowds of two-steppers with their groovy drums and infectious energy. During ‘Fairmount Park After Dark’, the blast beat drums and panic chords engaged crowdkillers aplenty with a tornado of arms and legs swinging across the middle of the pit. During ‘Slower Forms of Suicide’, Rono’s angsty vocals absolutely blew the roof off of The Cavern. Following this, the band performed their viral hit ‘I Hate the Sound of Car Keys’ and completely tore the venue up. Once again, the crowdkillers, windmillers and two steppers exploded out of the crowd in full force creating a scene of chaos amongst the audience. After this epic display, with only Rono left on the stage, an acapella rendition of My Chemical Romance’s hit ‘I’m not Okay (I Promise)’ began and suddenly the entire crowd erupted into song, a huge testament to the monumental stage presence of this band. Following this short break in pace, the rest of the band returned for a one song encore, performing ‘Exit Pt.V (Shame on a N*)’, the final track of their 2024 EP ‘The 3 Faces Of Beauty: A Violent Misinterpretation of Morgan Montgomery’. What followed was what could only be described as a truly passionate display of admiration from the crowd for the absolute hit of a performance that had just taken place. The whole set was definitely one to remember, with the whole venue buzzing from start to finish. The energy displayed at The Cavern was contagious and Kaonashi have certainly cemented themselves as a truly fantastic live band. Words: India Akca Photos: Nicola Small

Hail The Sun launched their first UK headline tour at Manchester's Rebellion, delivering a career-spanning set that demonstrated exactly why they've remained at the forefront of progressive post-hardcore for over a decade. The California five-piece, now signed to Equal Vision Records, arrived with new material from their upcoming 2025 album - including the explosive single "The Drooling Class" - and a reputation for one of the most electrifying live shows in the scene. Supported by the contrasting energies of Love Rarely and Redwood, the show was a phenomenal showcase of dynamic, visceral performances. London's Redwood opened the night with an immediately engaging set of math-tinged alt-rock. Their tight musicianship and warm stage presence won over the early crowd, particularly during their new single "Owl", which showcased their knack for combining intricate guitar work with accessible melodies. The energy never faltered, their upbeat delivery providing the perfect contrast to what followed. If Redwood's goal was to win over new fans, they succeeded effortlessly. Leeds' Love Rarely took the energy up several notches with their brand of melodic hardcore. From the first song, they had the crowd moving with a sound that balanced crushing heaviness and soaring melodies. Tracks from their "Lonely People" EP demonstrated their dynamic range, shifting seamlessly between atmospheric verses and pummeling breakdowns. The five-piece has clearly built momentum toward what is sure to be a standout full-length album. By the end of their set, they'd pumped up the crowd with adrenaline, perfectly setting the stage for Hail The Sun's headlining performance. From the moment Hail The Sun launched into "Maladapted," it was clear this would be a special night. The band's signature drum assault - courtesy of Allen Casillas - sent shockwaves through the venue, creating a powerful and precise rhythmic foundation. Guitarists Shane Gann and Aric Garcia traded off intricate, dissonant riffs that blurred the line between chaos and calculation, while John Stirrat held everything together with thunderous basslines. Frontman Donovan Melero commanded attention whether at the microphone or behind the kit - his ability to deliver flawless vocals while playing demanding drum parts remains astonishing. The career-spanning setlist sported fan favorites, deep-cuts, and new material. Early highlights included “Black Serotonin”, its filthy riffs inciting instant movement, and the live debut of “The Drooling Class”, a new single that slots perfectly into the band’s evolving sound. A mid-set run followed where Melero moved to the drums, showcasing incredible vocal control singing while playing for “Rolling Out the Red Carpet”, “Human Target Practice”, and a deep-cut surprise - “Ow! (Splidao!) [I Like It, Though]” from their 2012 EP. With Melero positioned at the drums, the audience had an unobstructed view of the guitarists' technical solos - a visual treat that highlighted their precision and skill. Melero commanded the stage through each stylistic shift - launching into "Under the World" with its driving rhythm (preceded by a playful Everybody Wants to Rule the World tease), then inciting chaos during "Secret War"'s anti-authoritarian chants. The venom in "Tithe"'s indictment of religious hypocrisy landed brutally before the set's emotional reset with "Made Your Mark", where soaring melodies proved their heaviness doesn't rely on distortion. By the time the encore arrived - featuring ”Relax / Divide”, “Cosmic Narcissism”, and the fan-favorite “Chunker” - the crowd was a sea of flailing limbs and shouted lyrics, matching the band’s energy at every turn. This performance was a perfect blend of controlled chaos and emotional precision. With their new record to be released in Autumn and a live show this powerful, Hail The Sun are clearly entering a new peak of technical force matched only by their raw, cathartic delivery. The UK has waited too long for this headline tour, but if Manchester's reaction is anything to go by, they'll be back much sooner next time. Hail The Sun has never sounded sharper or hit harder - If this is how they kick off a tour, their finale is bound to be earth-shaking. Words: May Pierce Photos: Isaac Laing