Forty three years is a long time for anyone to imagine but MOVING TARGETS have been making and releasing music for exactly that long. Red Eyes is their 8th studio album which is their 4th album since their revival in 2018. The album is packed with classic alt and punk rock, just like it was in the 90s. The opening title track Red Eyes is a completely instrumental number that establishes the general sound for the album. With a building structure and a repetitive descending riff which the drums dance around with a ringing guitar hums in the background. The track builds and drops just like a track with vocals would but stays this one goes without them. Saw Too Much opens with a twangy bass before those classic punk guitars enter, the vocals following not long after. The layered vocals bring a classic texture as well as tambourines and rock drum beats. The song structure is basic but perfectly enjoyable, a short number that perhaps could've used another few bars to finish it off. On The Run brings a darker vibe with minor chords and thorough crash usage, the instrumental is almost reminiscent of more classic rock rather than punk like a lot of other tracks on the album. The lyrics are simple and relatable referring to a relationship at its tail end, the melancholy chords reflecting the lyrics. Superficial World opens with definitive drums and guitars, fast paced with a repetitive, catchy bassline. Much like the other tracks so far on the album the song structure is simple and repetitive, lacking much variation or interruptions to the pace of the song. The next track Fly Away has a building introduction with the same descending guitar riff through the entirety of the track. The chorus is short and simple before returning to the verse, the lyrics also don’t vary much, the bridge changes up the drum beats and welcomes a very distant guitar solo that isn't given much light. Lost and Found is slightly more punk with a bit more distortion and layering both instrumentally and vocally offering more texture than previous tracks. The tone is more melancholic but again the lyrics and riffs are very repetitive with very little deviation. The last pre-chorus offers possibly the best guitar solo on the album, following the basic structure of the song but singing alongside it. King Zen is an instrumental track which is slightly lighter than the last with tambourines and an acoustic guitar layered in. The instrumental has the same structure as every other track with space for verses and choruses. Surface is a slower number with a deep twangy bass that repeats through the track. The chorus only brings four bars of variation between the verses, perhaps longer choruses could provide a longer break from the repetition. Nine Lives starts with a fast paced bass line, picking up again from the last track. The second half presents another short guitar solo adding more character before cutting the track short with a ringing guitar to finish off. The last track of the album Regrets doesn't provide much change with another alt rock track that repeats its riffs and has short sections. The second half has a short drum fill which is highlighted by the silence of other sounds, as well as a guitar solo filling out the rest of the song before an anticlimactic end. Overall the album is pretty paint by number with nothing creeping outside of the lines of alt or punk rock, but all in all the album is well made, mixed and mastered and there's nothing to fault. The album was well received by fans and is a comfortable medium album for the band and their long term listeners. Score: 6/10 Red Eyes was released on 25th July via Boss Tuneage and Dead Broke Records Words: Amy Smyth Photos: Moving Targets

SMOTE seem to draw their inspirations from the Earth. From the foundations and the vibrations that the world has to offer. There’s a sense of the ancient ritualistic forms intertwined with the trials and tribulations of modern everyday life. Here electronic elements embolden the rhythmic chanting of old. Welcome to Songs From The Free House. SMOTE’s main man DANIEL FOGGIN combines psychedelic drone-led magic with traditional folk roots and glimpses of electronic influence that embellish the band’s offering. This album is comforting, experimental, showcases all kinds of heaviness in sound, with moments that are unsettling but commanding. Songs From The Free House is their fifth release in four years. This particular album was recorded in Blank Studios with SAM GRANT of PIGS PIGS PIGS PIGS PIGS PIGS PIGS, noted as being a first for SMOTE, who are used to being fully hands on with their projects. Intro track The Cottar comes at you in three parts. To begin with you’re thrown into a realm of wavy electric taunts with a hint of impending doom. By the middle of the track you’re faced with something urgent, flourishing. For act III there’s distortion charging from note to note, with flickering buzzing, blinkering, that in parts is uncomfortable as the track is brought to a close. The Linton Wyrm tells the legend from the borders of a large serpent, dating back to the 12th Century. With repeated drony vocals (including a guest appearance by SMOTE’s live band’s SALLY MASON) and doomy guitars alongside trancelike electronics, peaking through euphoric chorals makes for a very satisfying track. The guitar loops with a welcome little solo flourish and once the tune gets going the continual melody is so welcome you don’t want the track to end. The trashing of the Wyrm that supposedly decided the unusual landscape in the surrounding area can be felt in the rumbling of the incantations. The third and shortest track Snodgerss feels like you’re being chased through the forest, it becomes frantic and uncontrolling. Percussion drives the song forward, and is punctuated with an abrupt end. Chamber is soundtrack worthy, you can hear the flute over a low drone that sounds like a mystical adventure is afoot. Around the four and a half minute mark it blends into an electronic pattern, then into haunting vocals. Archaic chanting builds into bursts of precise drumming and doom distorted guitars that feel ghostly. The final offering Wynne is reverberating and smattering with psychedelic wavering that drowns out distant voices. The sound of the Uilleann pipes lent by IAN LYNCH of LANKUM flutter through the latter end of the track. Repetition becomes homely and embeds itself in your being as you take this album in. From start to finish you are confronted with a body of art that feels like an outlet, that you can relate to and shelter in. Although SMOTE's album tour cycle has already begun, there are a scatter of dates throughout the UK until the end of the month that promise an intense and unforgettable evening. Score: 8/10 Songs From The Free House was released on the 17th October via Rocket Recordings. Words: Danielle Henderson Photos: Smote

Originally hailing from Jacksonville, Florida, YELLOWCARD became one of the most influential alternative pop punk bands in the 2000s, leaving an incredible mark on the scene after selling over 4 billion albums worldwide and gaining over one billion streams. After disbanding in 2017 and leaving fans heartbroken, they later reunited in 2022 to embark on a new musical journey. Now, in 2025, they're releasing their highly anticipated comeback album Better Days. On this album YELLOWCARD have both revisited their old sound as well as leant into their classic pop punk sound. Better Days kicks off with the title track, an exceptionally good start to the album. The song reminds us of the 2000s pop punk scene that YELLOWCARD have their roots in, and immediately we're impressed. Chanting into the next song Take What You Want, this track has an incredibly catchy chorus that you will without a doubt have stuck in your head for days. The repetition on the lines “Say what you want,” “Take what you want,” and “Give all I’ve got” leaves a profound impact and has us catching ourselves singing the song throughout the day without even realising. The next track Love Letters Lost features MATT SKIBA of ALKALINE TRIO - their voices are perfect together, coming together to create this beautiful track filled with outstanding vocals and insane guitar riffs that really bring the song together. With it being one of the faster songs on the album, MATT SKIBA was definitely the right choice for a track feature. honestly i is filled with impactful lyrics alongside the passionate, hope filled vocals - here, RYAN KEY delivers us a song that touches the depths of our soul. To us, this song is about being “saved” by love and feeling stuck in the circle of life until that one person comes into the picture - then suddenly you feel the most alive you’ve ever felt. It truly is a beautiful feeling and the song captures every bit of it. Halfway through the album we have a feature from AVRIL LAVIGNE on the song You Broke Me Too. This song is a slower one, and AVRIL comes into it perfectly with her angelic voice, really adding to the song's overall emotion. Towards the end, her and RYAN's voices harmonise together to create the perfect ending. City Of Angels starts with a slow build up leading to a soul-crushing solo, but the mood quickly switches with an upbeat sound taking over the overall feel of the song. Although the lyrics stay the same, your mood feels elevated and that feels like the message this song is trying to give; feeling lost until that person comes into your life and suddenly everything changes, everything feels brighter. “Tear down my bedroom posters, don’t say those days are over”. These lyrics are sure to be on a loop in your head. Bedroom Posters is an incredibly catchy song with more of a pop vibe to it, and we can already imagine ourselves dancing around our rooms to this song. Skin Scraped starts off with a mellow beat before the guitar picks up and keeps a steady riff as the vocals are introduced. Similarly to Bedroom Posters, this song also has a pop feel to it with some isolated vocals added in which really adds to the song. Once again the chorus really stands out - it makes you want to just get up and dance. These two songs are excellent to just let go to. Barely Alive touches the inner depths of your soul with its lyrics, the song curated to go through your emotions to and let it all out. This track is a heartbreaking one - about losing the person previously mentioned in honestly i; the one who came into your life and made you feel alive. Lastly, the song that ties it all up and brings the album to an end is Big Blue Eyes. It's a slower song, giving us a bittersweet ending to this album, but nonetheless we can’t help but feel happy and proud at how far this band has come over the years. They have really outdone themselves once again with this album. It is truly a special listen, with themes of love and heartbreak that many people around the world will relate to. This release was highly anticipated, and many fans were incredibly excited for it - and for good reason, because YELLOWCARD has not let us down yet. Score: 9/10 Better Days was released on 10th October 2025 via Better Noise Music. Words: Kelsey Mainwaring Photos: Yellowcard

There’s a special kind of madness at work in The Hardest Thing About Being God Is That No One Believes Me. The new album from New Zealand’s BLINDFOLDED AND LED TO THE WOODS isn’t just heavy, it’s completely possessed. For those who have been paying attention, this record feels like a natural and unsettling evolution of what the band have been building towards. Their 2023 record Rejecting Obliteration proved they could play tech-death with terrifying precision, but here they sound freer, stranger, and far more dangerous. Self-producing for the first time has clearly unshackled them. Every track teeters on the brink of collapse, and that’s exactly where BLINDFOLDED AND LED TO THE WOODS thrive. Where earlier material went straight for the jugular though, The Hardest Thing About Being God Is That No One Believes Me is a slower bleed, more deliberate and psychological. It’s the band’s first concept album, charting the mental unravelling of a stalker consumed by obsession, and it plays out with dreadful control. Thematically, it’s about fixation and power, but the band approach it with an eerie kind of elegance. Each song feels like a page torn from a diary written in panic, the boundaries between love, possession, and annihilation blurring until nothing makes sense. Opening track Arrows of Golden Light sets the tone perfectly. It begins in eerie calm, with shimmering clean guitars and ghostly ambience, before mutating into a twisting, hyper-technical storm. There’s space here, moments of quiet unease that make the explosions hit even harder. It’s a stunning opener, all menace and creeping insanity. From there, things only get darker. Compulsion is the album’s wild-eyed centrepiece, bringing a violent rush of riffs and blast beats that captures the exact moment reason gives way to mania. Red adds a different flavour, its intricate riffing darting between dissonance and melody like a trapped animal, trying to escape its own skin. Then 600 Milligrams slows everything to a suffocating crawl, eerie synths wrapping around STACE FIFIELD’s desperate screams until it feels like the walls themselves are closing in. The title track, The Hardest Thing About Being God Is That No One Believes Me, distils the record’s central mania into its most frightening form. It’s claustrophobic and unrelenting, with a swirl of convulsive guitars, blast beats, and vocals that blur the line between fury and delusion. Lyrically, it marks the moment the record’s protagonist fully snaps, breaking into their victim’s home in a deranged act of devotion and control. Musically, it mirrors that descent with spiralling rhythms and suffocating tension, as if the whole track is gasping for air inside its own obsession. Everything culminates in Coalescence, the haunting closer, where Icelandic artist Hera Hjartardóttir drifts in like a ghost at the edge of the carnage. Her mournful refrain of “this cold world” feels like both a confession and release, a final breath after total collapse. FIFIELD doesn’t just deliver the story of this record; he becomes it. His voice splinters and convulses, embodying the central character’s descent with unnerving conviction. The rest of the band match that intensity at every turn. Guitarists STUART HENLEY-MINCHINGTON and DAN HAYSTON weave together jagged riffs, off-kilter melodies, and waves of synth, giving the record its unpredictable shape. HAYSTON’s arrival has clearly expanded the band’s sonic range, with his atmospheric touches adding texture and unease throughout the record. Drummer ANTHONY “COOTA” ASIMAKOPOULOS and bassist NICK SMITH form the bedrock, locking into a groove that’s both mechanical and strangely alive. If Rejecting Obliteration was the band’s act of rebellion, The Hardest Thing About Being God Is That No One Believes Me is their reckoning. It’s a record about power, control, and the seductive pull of obsession - both the character’s and, in a way, the band’s own. BLINDFOLDED AND LED TO THE WOODS have never sounded more focused, more fearless, or more disturbingly alive. Score: 8/10 The Hardest Thing About Being God Is That No One Believes Me was released on October 10th via Prosthetic Records. Words: Zuanna Pazola Photos: Blindfolded and Led to the Woods

Is there a better way than spending Friday night out than listening to metal? Absolutely not. Especially when SINSAENUM are in the city! The multinational supergroup features FRÉDÉRIC LECLERQ (guitar, keyboard; KREATOR, LOUDBLAST), STÉPHANE BURIEZ (guitar; LOUDBLAST), SEAN ZATORSKY (vocals; DÅÅTH), HEIMOTH (bass; SETH) and ANDRÉ JOYZI (drums) - they blend blackened death metal with melodic and experimental elements and have recently released a new full-length album named In Devastation. Their set at The Underworld in London was the last stop of the UK leg of their tour, before heading back into Europe, and has seen three supports for the evening - DENDERA, DAMIM and DIE EGO. First support band of the evening, DIE EGO, hails from London, and although their crowd was not big, they still managed to make the fans move and sing along. Consisting of DIEGO FARDEL (lead guitarist), GABE SCAPIGLIATI (vocals and bass) and EDOARDO MARIOTTI (drums), the heavy-metal trio blends heavy-metal with thrash, classic, death and doom metal in their songs and takes influence from bands like PANTERA and SLIPKNOT. Their set was quick, yet energetic, and set off the mood of the evening in the right direction. Next up was yet another band from London, DAMIM. The extreme metal three-piece, that features NATHANAEL UNDERWOOD on vocals and guitar, FLOW TOULMAN on drums and FAUST PEREZ on bass, brough raw and unforgiving show to the venue, together with aggressive vocals and riffs. As well as its predecessor, the band unfortunately did not have a big crowd, but that did not stop them from putting up a set that was met with success with the fans that were present and hype the crowd even more. DENDARA, the last of the three supporting bands, had seen the biggest crowd of the evening during their set. Formed in 2007 in Portsmouth, the heavy metal five-piece with two guitars DAVID STANTON and STEPHEN MAIN, who has been in the band since its founding, vocalist ASHLEY EDISON, bassist BRADLEY EDISON and drummer ANDY FINCH has been influenced by the likes of TRIVIUM, TESSERACT and LAMB OF GODS, and are very popular with the British crowds. The band’s set was fast-paced, immersive and non-compromising, and the fans around The Underworld knew words to every song. Although some fans left right before SINSAENUM’s set, the crowd was still lively. The supergroup did not hold back with fan interactions, piercing screams and emotional moments and it made the set absolutely stand-out. Coming out with a ten-track setlist, the band was working with about an hour long set, which is not very long for a headliner, but they managed to make the fans sing with them every single word, form a big moshpit in the middle of the floor and express their feelings of gratitude every chance they got, as the headliner show in the iconic venue and the support of their fans were immense. Playing songs from their latest album In Devastation, as well as few older songs, SINSAENUM was able to cater for all their fans and create an evening that was both memorable and filled with excitement. SINSEANUM’s headline show in The Underworld was an amazing opportunity for the band’s fanbase to see them up and close and it was obvious they grasped that opportunity immediately. Supported by the great DENDARA, DAMIM and DIE EGO, who have all come onto the stage with amazing sets, the evening had an incredible atmosphere and the floor was shaking from the moshpits, dancing and jumping. Words and Photos: Katerina Stepanikova

With the release of their third studio album ‘Parasites And Butterflies’, Nova Twins have taken on their biggest headline tour yet; at O2 Forum Kentish Town, bringing this new album and sound to their fans with many sold-out nights and adding more respect and notoriety to their name. We headed down to London for their biggest headline show to date and in none other than their hometown. They had friends Ashaine White and Hot Wax supporting, with Ashaine’s strong vocals coupled with her hard riffs, she made for an insanely strong start to the night, bringing a cool trance vibe to her rocky sound. It generated a nice atmosphere that almost felt like a complete genre switch from Nova Twins, but still captured that dark, gloomy vibe given by the Twins’ Alternative Rock. Next Hot Wax took to the stage, with their heavy bass and punky vocals, bringing a much more upbeat sound as they rocked the stage with their high energy and seductive sound. Only real compliant to be had about these guys is just the poor sound balance, which is unfortunate because you could really see and hear the pure talent on stage; the best place to see these two would absolutely be in a small, sweaty venue where you can feel the raw energy they give off. Finally, Nova Twins stepped out to their biggest crowd, opening with a couple of songs their aforementioned album ‘Parasites And Butterflies’ before taking it back to one of their original hits, ‘Taxi’, which split the audience in half as they wasted no time jumping and pushing to the song, which shows how as hard as nails these girls are. The set continued off with they hitting off more and more hits for the setlist until it hit quite a somber note as they announced their drummer for past 6 years, Jake Woodward, is leaving the band with this, their biggest headline show, being his last with them; making for an emotional moment they shared with their fans as they thanked him for all his work with the band. This announcement did not stop momentum however as Georgia and Amy brought the audience’s back up to dangerous levels with their ever so catchy tune, ‘N.O.V.A’ followed by them crowd surfing for as they rocked their instruments above the crowd, before finally brining it to their closer ‘Glory’ and with one finally burst of confetti, Nova Twins have closed off a new chapter with their career reaching new heights and I’m sure they’re only going to get bigger. Words: Ben Blisset Photos: Anna Goley

When JACK BALFOUR SCOTT founded LEAP five years ago, no one knew the band would soon become one of the most important bands on the British modern indie-rock scene. With the help of ADAM MASON (guitar), DECLAN BROWN (bass) and HECTOR COTTAM (drums) and SCOTTS’s diverse cultural influences, the band quickly formed its significant musical presence and soon released its debut EP. This October, the four-piece released its highly anticipated debut album Entropy, and has already been met with high praise from both critics and fans. In support of Entropy, the band emerged on their UK and Europe tour with the talented TALLY SPEAR, and the sold-out London date at Village Underground was their last stop before heading to the mainland. Opening the early night with good vibes, TALLY SPEAR brought onto the stage her emo-infused pop-rock. The venue was already packed full and her songs were not unfamiliar for the crowd, as they sang each song in full, making the set in her hometown even more special. From her hits like Self Confessions and Pretty, to a new, unreleased song Typical Me, every second brought more energy, passion and excitement not only from TALLY, but from the fans as well, as they were jumping around, waving their hands and having a blast with the quick rising star, whose set was only thirty minutes long, but did not skimp back on amazing riffs and drumming. Around half past seven, the lights turned off once again, signaling that LEAP is ready to come onto the stage. The whole Village Underground burst into massive cheers as they were welcoming the band on stage, who immediately followed with their song Over & Out. Followed by some of their older songs like Show Me The Way You Love, Fistful Of Money and Where The Silence Goes, as well as songs from their latest release like Exit Signs, Waste Your Love and Eclipse, the four-piece showed off their already wide roster of songs, which were all sung by all seven-hundred fans lyric-to-lyric. Throughout many fan interactions, tears and very aggressive moshpits, JACK, ADAM, DECLAN and HECTOR showed their undying passion for music and their talent, that is only increasing with every new release, and they projected their intoxicating burst of emotion and energy into the performance. The headline show was a prime example of why LEAP is currently one of the most relevant and influential bands. Bringing in an unforgettable atmosphere, big presence and love for their fans, the band managed to make the evening legendary from the very beginning. TALLY SPEAR was an excellent choice for support, as her songs are lyrically relevant, as well as melodically engaging, and she really elevated the whole experience to new heights. Words: Kat Stepanikova Photos: Samira Dominika Tafija

Older generations have always claimed that fashions come back around, whether the scooter, the yo-yo, or denim. The same could be said for music. Music that was once a hit a few decades ago comes back around and finds a new audience. SPIRITUAL CRAMP and their latest offering RUDE is somehow new but also wouldn’t seem out of place in the mid-00s. For those unfamiliar with SPIRITUAL CRAMP, in a nutshell, they’re an indie punk band, but to dig in a little deeper, they’re a band that manages to pull influences from several decades of punk, whether it’s punk from the 1970s/80s, dance punk from the mid-00s, and modern San Francisco indie punk. It’s an eclectic mix of influences that all coherently intertwine to create something that’s equal parts nostalgic but also fitting perfectly within today’s modern world. Kicking off the album is the intro track I’m An Anarchist which doesn’t really do the rest of the album justice, especially if you were to come into this album blind. While less than two minutes long, the meat of the track kicks in at 0:38, and it’s somewhat anticlimactic, especially when taking the rest of the record into account. It’s a sort of 80s SEX PISTOLS-style punk track, which feels like it gives off the wrong impression when the rest of the album contains much better tracks, such as At My Funeral and True Love (Is Hard To Find). That’s not to say I’m An Anarchist doesn’t have its place on the album, but it definitely feels like a hard shell to crack to get through to the softer, tastier meat of the album. Fortunately for SPIRITUAL CRAMP, they’ve been leading the promo run for this album with the singles At My Funeral, Young Offenders, and Automatic. One thing that SPIRITUAL CRAMP can be applauded for is evolving its sound without forgetting the band's roots. You can listen to their first EP Mass Hysteria, and still hear similar elements found in RUDE, the only real differences being that it’s a little more polished, and it’s also a step up from their debut self-titled album. RUDE is jam-packed with upbeat punk anthems that wouldn’t seem out of place in an A24 coming of age teen movie. It’s also just one of those albums you’ll want to get up and dance to. For those of you who missed out on the dance-punk era of the mid-00s where bands like THE BRAVERY, BLOC PARTY, and FRANZ FERDINAND were ruling the roost, you’ll be able to experience it for your very own - minus the sticky booze-soaked floors of your local student union. That’s one thing to love about this album; it’s so incredibly catchy. There are a handful of big-room sing-alongs in this album, like the ad-lib hooks found in You’ve Got My Number (Bada ba ba…!) and “Everyone is driving me crazy” in the track, aptly named Crazy. Overall, RUDE is a really interesting listen with influences being pulled from a smorgasbord of punk that could easily slide in alongside some of the greats of the modern punk movement (MILITARIE GUN and HIGH VIS), as well as some of the greats from a few decades ago (BLOC PARTY, THE MACCABEES, and FRANZ FERDINAND). Now, does anyone know when the next student union Indie/Rock night is? Score: 7/10 RUDE is October 24th 2025 on Blue Grape Music. Words: Aaron Richardson Photos: Sarah Davis

With a recent US tour under her studded belt and a UK & Europe run on the horizon, brat punk Bi-con Delilah Bon is charging full steam ahead. A force of nature in platform boots, she sat down with us to talk about her new EP ‘PRINCELESS PRINCESS’, the global political climate, and why Delilah Bon is no longer just a character - she’s a lived identity. When Delilah Bon boarded a plane to the US for her recent tour, she carried more than just her instruments and bright stage outfits; she carried uncertainty. Messages on social media flooded in from her fans, with some pleading with her not to travel there, warning of danger and political unrest, while others insisted it wasn’t as bad as it seemed. “I had no idea what I was walking into,” she admits. But what she found was a community desperate for her voice, which speaks unapologetically to the marginalised, silenced, and the enraged. Before the tour, Delilah wrote on her social media that she had crafted a political track aimed directly at the state of America under the Trump administration. But she explained she decided to not release it before the trip, fearing it might jeopardise her entry into the country. “It’s the first time I’ve ever felt censored on social media,” she says. “I speak my mind all the time.” This tension between expression and suppression echoed throughout her journey. However, the warmth she was shown by her fans, who thanked her for giving them hope in a time of fear and erasure, made the risk worth it. “As soon as I got home, it was a real moment like ‘I did that. I really did that.’” Her latest EP, ‘PRINCELESS PRINCESS’, is a manifesto of defiance and self-discovery. It flips the classic fairy tale on its head, rejecting the heterosexual notion that salvation comes in the form of a prince. “We’re finding a lot of fun in figuring out who we are and what we can bring to our own lives,” she says. Delilah no longer sees herself as a character, it’s her reality. “I am, every single day, Delilah Bon.” Her authenticity surges through tracks like ‘Dragon’ where she confronts sleep paralysis, stress, and self-doubt.. “When I first started out, it was me on my own,” she recalls. “Now, whenever everything feels overwhelming, I can just put a message out and say I feel overwhelmed.” Her fans respond with gratitude, thanking her for speaking out on issues often ignored in everyday conversation like feminism, the ongoing genocide in Gaza, women’s rights. “Sometimes you feel a little bit isolated,” she says. “But they remind me I’m not alone.” It’s clear that her main motivation is the ever growing community around her, both online and at her shows. Online hate has become part of the job, but Delilah knows how to turn the venom into victory. A Twitter troll once called her “an evil, hate-filled female.” She loved it so much, she scrapped her original album title, Villain, and renamed it after the insult. “This man has since blocked me so he’s never seen that he named my album!” Her track ‘Bush’ is a raw reclamation of teenage trauma. At just 12 years old, she was shamed by a boyfriend for not shaving, branded “dirty” and “diseased” by her school ‘friends’. “That memory haunted me,” she says. “It was like this demon that lives down there that I must hide.” But through conversations with other women, she realised the shame wasn’t hers to carry. “Writing ‘Bush’ was just so freeing because now I don’t care.” It’s always been clear that lyrics are Delilah Bon’s weapon and this EP pushes that even further. In ‘Cinderella’, she delivers the devastating line: “He’s not a friend, he’s just a guy with a dick and he’s trying to get in your bed.” It’s sadly drawn from personal experience; Delilah was sexually assaulted by someone she considered a friend. “I haven’t sung about that yet,” she says. “But ‘Cinderella’ is angry and fun. People will scream those lines.” She also finds joy in the theatrical. “I have a bush so wonderful, so magical, so me,” she sings in ‘Bush’. “I’ve always been interested in theatre and acting,” she says. “This EP allowed me to be a little Disney princess.” Live performances are where her power truly ignites. ‘Dead Men Don’t Rape’ is a standout song. It’s intense, emotional, and deeply connective. “I lock eyes with people and I’m always thinking, what’s your story?” she says. In America, performing ‘Not the President’ became a moment of shared intimacy. “We were singing to each other. It just feels insane that we’re all in this room; we’re all so passionate, we’re all so similar in our experiences.” As for what’s on her playlist right now, Delilah is constantly discovering new voices. She’s into Slow Funeral and The Neighborhood Kids, a politically charged hip-hop duo from San Diego. She’s also excited about Changeline, who will be supporting her on tour in France. “I think she’s going to absolutely tear it down.” Delilah Bon isn’t just rewriting the fairy tale, she’s torching the old script and building something bold, angry, and beautiful in its place. She will be storming through Europe and the UK this October and November, bringing Gen Z riot grrrl fury and hip-hop fire to the stage. Her rage-empowered EP ‘PRINCELESS PRINCESS’ is out now on Trash Queen Records. Words: Lou Viner-Flood

The last time Heart Attack Man graced Leeds with their presence, it was in the grassy paddocks of Temple Newsam via the Key Club stage. The band played a nine song set, including the newest singles from ‘Joyride The Pale Horse’ and nearly blew the roof off! Their set was electric and fully echoed the atmosphere being curated by the tent bursting with old and new fans alike. In the months since the release of ‘Joyride The Pale Horse’, Heart Attack Man return to our shores again for a full fledged tour, this time with UK outfit Iota. Hailing from Bristol, Iota play a versatile alt-rock sound blending densely packed, fuzzy shoegaze riffs with powerful yet dreamy vocals. Iota’s stage presence is fantastic and it’s clear from watching them perform how much they thrive in this environment. Their newest single ‘Heaven’, in particular, is a knockout of a song, with an amazing hook and vocals so strong you can feel them in your chest. Iota are absolutely a band to watch out for and check out if you haven’t already. We’re already beyond excited for our next opportunity to catch one of their shows! As the anticipation for Heart Attack Man’s set begins to build, the increasingly spirited crowd stir, drunkenly singing to the PA’s music while the bands guitarist, Ty Sickels tries desperately to do a last sound check to ensure accurate levels. The anxious excitement and drunken fever of the room gives way to baited breath as the lights dim and the band takes to the stage. As the band jumps straight into the explosive ‘Lay Down And Die’, a horde of energetic fans nudge this DIY venue crowd into arena mode, allowing the room to break out in a collective hysteria of movement. Bodies bounce and pogo around, limbs flail and passion-strained voices almost reach choir status. Before long, a lone diver has risen above this human mound, taking to the stage's edge and beckoning those nearby to move closer and catch them. The band seems to capitalise from this wave ofbnthusiasm as they hurl themselves from banger to banger off their albums ‘Freak Of Nature’ and ‘Fake Blood’. Songs such as ‘Like A Kennedy’ and ‘Out For Blood’ get colossal crowd singalongs. Any discerning niche music fan will tell you there really is nothing better than being at a show surrounded by a like-minded fellowship who know the lyrics back to front! Between songs, the band entertains the audience with many musings surrounding their time in the UK. According to frontman Eric, "Leeds is the LA of England" - Now, don't come for us Blackpool but we feel like you've been robbed there! Additionally, among the banterous dialogue for the evening (because even Heart Attack Man know that northern audiences spoil their bands with the loudest chants), were the classics ‘YORKSHIRE!’, ‘ERE WE GO!’ - and others that we can't print for legal reasons. There was also a special mention from the band members to Slam Dunk for organising this frenzied fiasco. Heart Attack Man have thoroughly solidified themselves as one of the best bands to see live across the pop-punk and punk rock stratosphere. Their sets are full of boundless energy, hammering hooks, tight compositions and an undeniable atmosphere full of tension and release. It’s impossible to quantify just how they manage to do it. Every album is timeless, every show is unforgettable. If you have the opportunity to see Iota and Heart Attack Man, we strongly suggest making the trip to one of their shows whether it be on this current run or any future tours that will undoubtedly follow. Words: Spencer Cunningham Photos: Katerina Stepanikova

Almost one year ago today, LA-based goth-rock band DEAD POSEY released their debut album Are You in a Cult? to great praise and acclaim. Since then, they have been relentlessly spreading their darkness across the world, with tours in their homeland of America, numerous festival appearances, and support slots. It feels right that on the anniversary month of their first full-length release, this rapidly-rising duo would return to the UK for their biggest ever headline tour - and especially fitting that it should fall on the spookiest month of all. The Damned and the Dead tour brings us to iconic Glasgow venue King Tut's on a cold October night, where fans in black eagerly await their fix of dark-driven alt-rock. The night begins with a slightly rocky start - twenty minutes past the advertised door time, and we're still in the queue with the double doors firmly shut. To their credit, venue staff speed things up by checking tickets and giving wristbands in the queue, so when the doors eventually open, it’s a speedy entry process. Up the lengthy stairs we head. Waiting at the top are hometown rockers BRIELLE. Lead singer BETH SIMPSON is wrapped up in a dozen glittery belts, and is a sight to behold as she works magic on the keys. Spread out evenly across the stage are their drummer, bassist, and all the way on the opposite side is their guitarist - a strong force leading the band into an electric live performance of Without Me, a track that has crowd members nodding their heads to the rhythm even this early in the night. Following is recently-released single BREAK, the heaviest song of their set, and one that has the crowd synchronised in a rhythmic clap echoing throughout the small room as the drums pound on. Wrapping up their performance is the first cover of the night - a mesmerising rendition of ALANIS MORRISETTE's You Oughta Know, a staple of the band's setlists. It's a reimagining that carries shredding riffs and powerhouse vocals, and as BRIELLE leave the stage, we're left wondering why they haven't headlined this very stage yet. Second up is a fittingly-spooky band hailing from further south in the UK, THE CRUEL KNIVES. Fans wait by the barricade for them to take the stage, but instead an ominous, foreboding instrumental intro - the theme from Kubrick's The Shining - creeps through the speakers and fills the air. It's theatrical, dramatic, and we know exactly what we're in for when the band finally makes their appearance. Up against a stack of amps almost as tall as him, guitarist SID GLOVER kickstarts the set with The Life That We Made. Fiery riffs compete for attention with TOM HARRIS' striking vocals, and relentless drumwork leads us into Overdose. As the song ramps up in intensity, an extended instrumental duel takes centre-stage and fans are enraptured by the sight. Between banter about blackberry Jack Daniels and interactions with long-time fans, the band treat us to several other bangers like Itchy Trigger Finger in all its high-speed intensity, and finisher Crawl, which has the crowd truly alive and singing along through the frenzied chorus. It's only a short wait for the main event, and before we know it, the makeshift fabric screen draped across the back of the stage flickers to life with a projection. A countdown appears, one of those old-school greyscale ones you'd see at the start of film reels. Down and down it goes, until it fades into a montage; a compilation of clips from horror films - some classics, other ones lesser-known - takes the main focus. Soon gracing the stage are dark-rock duo, clad in leather and lace, DEAD POSEY. DANYELL SOUZA takes the microphone, and TONY NOVA steps into the fray armed with his electric guitar. Both are illuminated in a bright crimson. The stage of King Tut's may be small, but this production already makes it feel massive. They kickstart the night with crowd-pleaser sorry i'm not dead, a strong, darkwave-infused teaser for the night they have in store for us. The stage presence on show with DANYELL is hypnotising, and she moves to the rhythm as if possessed by the music itself. Following that up is Zombies, the track the tour takes its namesake from - "I'm only down with the damned and the dead," we hear over TONY's shredding on the guitar. Heavy rock shakes the room, and DANYELL interacts with each and every fan in the crowd as she graces the barrier, grasping hands, locking eyes, even beckoning those at the back to come forward so she can reach them too. Before long we're led into the second cover of the night - the band's heavier, goth-rock reinvention of classic Blue Monday. A track that already goes hard in its original form, and yet when DEAD POSEY blast their way through the chords, they manage to take it to another level. The riffs are electric, and the atmosphere is on fire tonight. The command DANYELL has over the crowd is immense, and that's further put on show when she introduces the next track with the words "we're going to have a seance." She asks for the house lights to be brought down, and phone torches to be held up. Everyone complies. As TONY leads into Darkside, the entire room is lit up only by the miniature lights in the crowd's waving hands. When the stage lights slowly come back to life, Russian Roulette blasts through the amps with its tight yet heavy tones, before leading into another fan-favourite, Holy Roller. Hands are back in the air now - with the absence of phone torches - swaying side to side in time with the beat. The band begin to rip into, fittingly, Can't Take Me Down, as a younger fan is chosen from the barrier and summoned to the stage to crowd surf. Taller audience members flock to the front to catch her, and soon, to guide DANYELL herself across the room on a sea of hands. The crowd interaction continues with She Went Bad, as numerous other fans are beckoned forth to stand onstage - much to the annoyance of venue security. With a crazed look in her eyes, DANYELL resembles, in both appearance and sheer presence, an eerier JOAN JETT. As she announces their last song, she speaks a few words about the political climate in America, and proceeds to unite the crowd in saying that "we the people are stronger together." A chorus of "Fuck yeah!" fills the air, and the band tears into their final track Welcome to the Nightmare. With the heavy turnout for this incredible show, DEAD POSEY have proven themselves as a promising act in the alternative rock sphere, and we can only hope to see them continue to grow as time goes on - in a few years, we could be seeing them on an arena stage, and they'd feel right at home. Words: Naomi Colliar Duff Photos: Nicola Small

Modern metal is an ever-evolving genre, and it’s bands like TSS that are helping to expand the horizons of what is truly metal in this fast-paced world. TSS bring together elements from Rap, emo, synth wave, neo metal and even phonk, blending them all with modern metal and creating something entirely unique. They've been in the scene since 2016 and have had the chance to open for ASKING ALEXANDRIA back in 2018 and been signed to Fearless Records, joining a bunch of other great alternative artists. The French band also brings influence from popular genres such as K-pop, having multiple vocalists and incredible style with a clear aesthetic that they stick to through and through. This unique strategy has given them an, although small, cult following, with fans keen to be near the front and to make it to as many shows as they can. It's no secret that in many places there are links within the fandoms when it comes to metal and K-pop, but you truly see it come to life in their crowd. The End of Time tour marks their first-ever headline tour as well as their first-ever headline show in London! As the crowd gathered, a range of band shirts could be spotted from all different genres, people of all genders and ages with all different styles, gathered to rock out to one band. Fans had already secured their barricade spots from the moment the doors opened and spanned to a few rows back, with people bagging a good spot even with such a small venue, 600 capacity. The lights dimmed, and the crowd broke into cheers as PAVÉ took to the stage, the female-fronted metalcore band hailing from Manchester had already caught the eyes of many, even having a feature with Radio 1 on BBC Introducing. Some fans were in the crowd already sporting their merch and ready with open ears the moment their set started. Right from the start, the band had an impressive stage presence with all 4 of them moving around and interacting with one another and the crowd. As time went on, you could see them loosening up and getting used to the stage. The crowd invited them brilliantl,y despite most likely not knowing them, they received many cheers for each song. Lead vocalist ALANYA was the main gem on the stage; her vocals were loud with very little distortion so if there were any mistakes they'd be heard, but there were none to take note of. She had incredibly stable vocals, always staying on pitch while dancing and jumping with the music, very impressive to see for a band with such little experience. PAVÈ gave it their all, and the crowd helped them along the way from singing lyrics they knew, to clapping along to even opening up a few mosh pits. After their set, the latecomers made their way into the venue, filling out the gaps and getting their spots for the main act. Having a sing-along with the preshow playlist that included bangers from bands DAYSEEKER, ARCHITECTS and KNOCKEDLOOSE. The lights went down and an overwhelming G note played from the stage, playing Welcome to the Black Parade to warm up the crowd, which got everyone singing along before their instrumental build-up started and the lights went down. The music began to build, and the lights flashed faster and faster, building the adrenaline of everyone in the room before the band came out onto the stage one by one, each receiving a cheer of their own. They opened with one of their biggest singles released in 2023, Would You Be My Therapy. You could instantly feel the excitement in the room as fans started singing even the French lyrics! The band were dressed in modern punk outfits with large shoulder pads, cropped leather jackets and various studs in all places possible, truly looking the part. TSS have two vocalists who they utilise live, giving each their moments to shine whilst the other can prepare or layer the vocals, giving a great texture to the live tracks. JOHN FINE handles all the brutal raps as well as the tame and soothing vocals, while MATTHIEU KIRBY brings the strong and high-pitched melodies as well as the screams. Varying between pig squeals, fry screams and raw melodic screams, his voice handles it all perfectly, impressive and unsuspecting from his exterior charms. JOHN had the whole crowd chanting in French to assist with one of his raps, the mic being clean and showing off his precise pronunciation of every syllable. One part of the show saw a short technical difficulty, which drummer HUGO PEIX decided to fill with a freestyle drum solo. Fans erupted in applause as the music finally kicked back in and the band restarted as if nothing ever happened. Mosh pits continued to open up and widen without a word of instruction from the band. They continued to play their hits such as Fatasize, KILLING ME and Notes in the dark; from their latest album END OF TIME, which the tour is named after. KILLING ME got a particularly loud response with most fans in the room singing every word as loud as they could. The band asked the crowd to open with one more circle pit for the last song, which spanned both sides of the room. It was amazing to see how the group have cultivated a loyal and passionate audience over here in London, despite any language barriers and not being able to come to the UK often. The last track they gifted was Something In The Way, which got huge screams from the crowd despite being released in June of this year. It's not often you see such recent tracks getting the loud reactions rather than their older songs that perhaps people have had more time to fall in love with, a great sign of good music and a fanbase thirsty for more. The lights show, along with the music, was very well put together, the kind that can be imagined even in bigger venues and still be impressive. A first-ever headline show in London, but you wouldn't even think it, the band owned the stage, unwavering in their talent and confidence. We hope to see TSS return to London to play even bigger venues and spread their noise. Words: Amy Smyth