POPTONES strip it right back on their sophomore album Pure, focusing on the individual elements of each instrument to cultivate the themes of displacement felt throughout the project. The main descriptor for Pure would be spacey, with album opener and single Skin Of Sea moving between long-note riffs and high pitched scratches underneath MADS BERTELSEN’s whispered vocal style. Its follow up Say Something Now brings in the feeling of disillusionment by breaking out of its indie-rock introduction into a mysterious-feeling space as BERTELSEN muses about wanting to be “more than just a dream”. In writing this project, POPTONES were focusing on their ingenuity, utilising simpler chord progressions to keep this organic feel. This comes across throughout Pure - for better or for worse. Many of the tracks on this project play on a dragging tempo, in particular This Will Be a Good Day, which snails through its 4:38 runtime with whispered vocals and the constant tease of a breakdown-style instrumental that never quite pays off. While this tempo, its angst and spooky layered vocals match the album's concept perfectly, alone it is better as a passive listen. On the note of this, there is a slight overuse of the interlude throughout Pure’s 12-track tracklist, which fall under similar criticism to the one prior. The first of three tracks to do so is Asleep, which is a simple piece of music utilising ambient noises and possibly a xylophone underneath haunting vocals; cool on its own but following This Will Be a Good Day doesn’t impact as we are waiting for the next song to start. The second is Narrow Streets, which is more ambience only two tracks afterwards and (bluntly) feels pointless on its own; tack it onto 17 hours or don’t use it. The last of the lot is I Am Here - the most sonically interesting with a space-exploration energy to it, and the building “I am” with increasing distortion setting good tension for Pure’s last two tracks. All this said, side two of Pure has the project in its stride, with 17 Hours having a more stable song structure, building through its floor lead into a pensive rock track about falling back into derealisation. Its follow up Thin Air is the standout of Pure, with enough weight in the tom-heavy drum lines and distorted guitars to support the slowed tempo. Hypnagogic State had a more synth-y feel which was a welcome chance of pace; the distortion and vocals layered with the instrumentals create this feel, and add the angst in its outro with the building melody that drops into the last chorus. Pure is strong in its concept, with the individual elements dripping in the technical ability of each of POPTONES’ members. The album feels like undergoing derealisation, with these elements merging and converging almost at will to create an out of body energy to Pure. However, listening to Pure cover to cover is a slow experience, best for those who need to sit in space out or need this kind of angst in the background. Score: 6/10 Pure was released on September 26th 2025. Words: Julia Brunton Photos: Poptones

Over the past few months, Liverpool-based math-rock trio ALPHA MALE TEA PARTY have been busy teasing their newest album, Reptilian Brain, which comes a painstaking five years after their last LP, Infinity Stare. The album comes at a time when proggy, dancy math-rock is really making a comeback in the UK & Ireland, with bands such as MAYBESHEWILL, ADEBISI SHANK, AND SO I WATCH YOU FROM AFAR and ORCHARDS making waves - not to mention the incredible lineups always present at the annual ArcTanGent festival. Therefore, as a staple band in the math-rock and post-rock scenes in the UK, it comes as no surprise that ALPHA MALE TEA PARTY’s newly released album came highly anticipated, and for good reason. Immediately, the listener can tell that they’re holding nothing back with the explosive opener, Hostess Imperial. With a 6/4 measure and guitarist TOM PETERS yelling “captain, oh my captain, this ship seems to be sinking” before springing into the main verse of the song, you might well feel a nosebleed coming on, generated by nothing more than the viscerality of the song. What’s more impressive is how TOM’s vocals fit in so well, especially considering the band has largely been instrumental; at least throughout two of their most popular albums Droids and Health. There’s definitely room for more vocal-driven math rock, and ALPHA MALE TEA PARTY prove that they can fill that space flawlessly. Having played through this album, you may well forget that the band are usually an instrumental act. Any excuse to go back through their discography, right? After recovering from the whiplash of the opening track, the rest of the album opens up ahead. The track Battle Crab, which was the first single from this album’s promo run, definitely brings in more progressive elements than the math-rock the band is known for, which is certainly no a bad thing. While Reptilian Brain may not feature walls of pitch-shifted and intricate riffs found in Health or Droids, they’re able to show that they can balance both the technicality the band is known for with catchy hooks. Speaking of catchy hooks, A Terrible Day To Have Eyes greets you halfway through the album with what could be considered the most melodic and catchy track on this LP. One thing that’s particularly good about this record is how damn tight the band continue to be. The Liverpudlian trio are masters at stringing together odd-time noodling into solid heavy hits with great precision, something they’re also able to bring to their impressive live shows. They also continue to be such a fun band to listen to, from their toe-tapping and catchy instrumentals, to their ridiculous song names (Probably Just Hungry, All Foot and No Mouth, Scumbag Alliance, for example). ALPHA MALE TEA PARTY also has a knack for being able to sound absolutely massive despite only consisting of three members - something that you’ll find repeatedly throughout Reptilian Brain. In part, that's down to the band having access to their own studio with guitarist TOM’s Trapdoor Studios in Liverpool. TOM has produced the bands recorded music for some time now, showing off the sheer breadth of ability to be found within the band. He can’t take all the credit for Reptilian Brain, however; in fact, TOM self-admittedly took more of a step back from the production reins, handing them over to producer MARK ROBERTS (VOWER, DELTA SLEEP, POLY-MATH), and together, the two have created what is arguably one of the best prog-driven math-rock albums this year. Reptilian Brain is melodic, chunky, progressive, and groovy, with tracks that both knock the wind out of you while also providing a mellifluent treat for the ears. While most of the tracks are on the assault, the band's softer side is also shown in tracks Probably Just Hungry and later in the album with Sniper’s Dream. All in all, this album is a perfect addition to their already sprawling discography, and one that will likely stay on repeat for plenty of listeners for months to come. Score: 8/10 Reptilian Brain will be released on October 3rd 2025. Words: Aaron Richardson Photos: Alpha Male Tea Party

With Sixth Mass-Extinction Skulduggery III: Acquiring A Taste, GRIDFAILURE deliver the most ambitious and punishing entry yet in their sprawling five-album arc, chronicling humanity’s collapse. At over 80 minutes across 15 tracks, this third installment is both monumental and suffocating, a dense slab of experimental dread that refuses to offer its audience a moment of reprieve. The series, which began with Survivor’s Remorse and As Resources Are Depleted So Are Morals, maps a grim descent through the Anthropocene, and this chapter represents the moment where humanity doesn’t merely suffer its fate, but embraces it. Exploring cannibalism, enslavement, and addiction to homicide, the album’s subtitle makes it clear that civilisation isn’t just falling apart - it’s celebrating its own monstrous undoing. The album begins with Subdividing The Survivors, a wordless opener where anguished screams twist beneath sorrowful instrumentals. It’s not just scene-setting, it’s immersion into a world already undone, forcing the listener into the aftermath before the story even begins. By the time the guttural violence of Drunk On The Blood Of My Neighbor arrives, the concept is laid bare: survival at all costs, even if that survival means consuming your fellow human, The track’s distorted vocals, proclaiming “we must feed to endure”, leave the listener questioning whether these acts are born from desperation or a perverse enjoyment of brutality. Elsewhere, instrumental interludes like Ration Distribution/Processed For Storage push the narrative forward without a word needed. Its buzzing lights, mechanical hums, and mournful piano conjure images of dehumanised survival, of warehouses storing resources both organic and otherwise. Far from filler, these moments highlight GRIDFAILURE’s skill at world-building through sound design, letting the listener’s imagination fill in the bleakest gaps. The colossal title track is the album’s centrepiece and breaking point. At nearly 15 minutes, Sixth Mass-Extinction Skulduggery III: Acquiring A Taste turns the record inside out. Opening with rhyming lyrics that feel like a corrupted nursery rhyme, the track plays with grotesque juxtapositions, mocking humanity as “lower than scum”. As the piece progresses, the vocals collapse into distortion, drowning in waves of harsh electronics and chaotic instrumentations, mirroring the disintegration of civilisation. It’s not easy listening, but that’s precisely the point: GRIDFAILURE aims to confront, not comfort. The finale, Transmissions Cease, is chilling in its restraint. Morse code pulses through a haze of echoing voices and mechanical textures, evoking the desperate last signals of survivors calling into the void. As the music dissolves into the sounds of birds and distant dogs, the silence is deafening. Humanity is gone, but nature remains. The apocalypse is complete. Musically, GRIDFAILURE mastermind DAVID BRENNER marshals an astonishing array of sounds and collaborators. Alongside his own work on vocals, guitar, bass, percussion, synths, violin, and even field recordings, BRENNER enlists contributions from a staggering cast, including STEVE AUSTIN, LEILA ADBUL-RAUF, MAC GOLLEHON, and many more. This lineup brings a unique texture and unpredictability to the record, with excursions into avant jazz, folk, techno, and Americana all woven into GRIDFAILURE’s foundation of post-industrial horror. If the project’s earlier works flirted with genre boundaries, Acquiring A Taste obliterates them. It’s difficult to overstate how massive this album feels, both in scope and execution. At 15 tracks, with only a few under four minutes, its sheer length can feel especially intimidating for those unfamiliar with GRIDFAILURE or the traditions of the dark ambient and drone genres. This isn’t a record designed for casual sampling, with its impact coming from its totality, from the way it builds a narrative of decline track by track. Listeners simply dipping in and out may find themselves adrift, but those willing to surrender to the full arc will experience a nightmarish vision that is as compelling as it is harrowing. What makes Acquiring A Taste so effective, beyond its ambition, is its proximity to reality. GRIDFAILURE’s dystopia doesn’t feel far-fetched or fantastical, but uncomfortably close. Extreme weather events, social decay, and violence normalised as necessity are all horrors explored by this album, and are all extrapolations of truths already present in our world. This resonance makes it more than a concept album - it is a warning. That said though, the very elements that make this album so powerful also make it somewhat inaccessible, Its length, uncompromising intensity, and genre fluidity demand patience, and some may dismiss it as too ‘edgy’ or confrontational to give it the time it deserves. For those already invested in experimental extremes, the record is a dark triumph, but for the uninitiated it may feel like a challenge too far. It’s undeniable that GRIDFAILURE has crafted something gargantuan, bleak, and unforgettable. However, whether you can stomach it is another question entirely. Score: 7/10 Sixth Mass-Extinction Skulduggery III: Acquiring A Taste will be released on October 3rd 2025 via Nefarious Industries. Words: Zuzanna Pazola Photos: Gridfailure

Black metal outfit AGRICULTURE have combined the speed and thrash of 90's Nordic metal with the varied styles of alt rock and the transcendent technical melodies of post metal on their third full length project The Spiritual Sound. The chaos in its soundscape feels intentional and cultivates an active listening experience, whilst the themes are grounded in real life and real emotions that are based on their experiences as queer Buddhists. The record opens with My Garden, in which can be found angular, abrasive guitars intertwined with goblin screams, layered well over the clean vocals before devolving into shredded guitar solos that close out an explosive opening track. The clean vocals themselves are gorgeous overall, with tracks such as Dan’s Love Song being a great example of this. More normatively black metal and a straight-laced love song, it is a tonal change throughout an album focused on the issues of the day and features a synthiness in its soundscape that was both an example of its genre and an exploration of the boundaries within it. While the combination of both vocal styles across the album is usually well executed, there were periods where the execution did not pay off, such as in Flea. The spoken word at the beginning was welcome, but the layering of the spoken word with both clean and screamed vocals came over as jarring, lacking the arrangement of the chaos in the instrumentals. That said, the halfway-point guitar solo was beautiful with a focus on the technical melodies over speedy shredding, and the end of Flea launched into the ethereal in its second half with pensive screams. As for the instrumentals, RICHARD CHOWENHILL’s guitar work was exemplary. Where tracks such as My Garden leaned into razor-sharp shreds and crafted traditional metal soundscapes, tracks including Bodhidharma would strip back into more intentional and technical melodies. Mixing these methods of melody-making highlights RICHARD’s abilities, while offering variation of mood and style that compliments the flow of AGRICULTURE overall; the initial chaos in the shredding complimenting the screams in the album's first half, while the melodies compliment the intentional tracks of its second. On this note, KERN HAUG’s drumming was a masterclass in the simple-yet-difficult styles of drumlines. From the razor sharp speed in the single bass/snare line kept up for the whole duration of Flea, to the closing sections of Bodhidharma where the heavy-handed classic rock drumming spins out over each tom to create a breakneck-speed solo over its final chorus, the percussion masterclass never ceases. AGRICULTURE also does their production in house, with RICHARD taking the credit for this. This has produced an attention to detail that can be heard throughout The Spiritual Sound, notably on Flea with a touch of the volume in the mix going down during the last chorus to supplement that transcendent feel. This has also aided experimentation throughout the project, for example The Weight played with a stopping and starting high pitched distortion which was technically interesting - though personally grating. The overarching sounds of The Spiritual Sound are grounded in the black metal genre, with some nods to alternative rock especially as it cools in its second half. This can be heard in the riffs of Bodhidharma with its itch-scratching riffs in its first half, then again in album closer The Reply as its last third riffs in a way that feels akin to DEFTONES with its minor key alto pitching. All in all, the themes of presence and confrontation of the moment are clear and explored well throughout The Spiritual Sound, with the chaos and harder moments creating this confrontation while its quieter moments still cultivate active listening to create presence of thought throughout the album. Each instrument was brilliant in its technicality, and while not every production choice paid off, experimentation only makes sound better over time. Score: 9/10 The Spiritual Sound will be released on October 3rd 2025 via The Flenser. Words: Julia Brunton Photos: Agriculture

ORBIT CULTURE, a rising force in Sweden’s modern metal scene, has distinguished itself with a sound that fuses the aggression of thrash and melodic death metal with an atmospheric depth more akin to film scores than traditional heavy music. Since their formation in Eksjö, the band has steadily built momentum, earning international attention for their ability to balance ferocity with precision and emotion. With each release, they have expanded both their creative scope and global following, positioning themselves as one of the most compelling acts to emerge from the new generation of metal. The album begins with the commanding force of Inferna, a track that not only sets the tone for the record’s overarching themes but also showcases the band’s sharpened and evolved sound with striking precision. This marks an extremely strong start to the album, and the quality will only be shown further with the many tracks to come. The second track is Bloodhound, in which the relentless percussion from the beginning along with technically demanding guitar work shows that this is a track of uncompromising power. Its precision and intensity make it a centrepiece that invites repeated listens, underscoring the band’s ability to balance raw aggression with refined execution. Inside the Waves shows ORBIT CULTURE’s range, revealing a more reflective and human side to their music. The song becomes a vessel for release, a means of confronting personal battles and channelling them into something restorative and resonant. Moshers, you better be ready to hear The Tales of War - what a track that will be live! The slow start that progresses to the build up is most certainly going to ignite mosh pits and fuel circle pits with unrelenting energy. It encapsulates the very traits that define ORBIT CULTURE’s intensity. Hydra follows, and more than lives up to the momentum, striking with the force of an earthquake and delivering one of the album’s most punishing performances. The track balances relentless heaviness with dynamic shifts, moving from menacing verses into choruses that layer cleaner vocals without sacrificing intensity. The speed and the ferocious blast beats make for a punishing playthrough, whilst also having an incredibly raw, dirty tone that feels downright nasty. It is uncompromising, unpredictable, and unforgettable. Nerve emerges as one of the album’s most emotionally charged tracks, weaving themes of inner struggle and resilience into ORBIT CULTURE’s signature heaviness. The song captures the feeling of reaching a breaking point, with tense, urgent instrumentation mirroring the fragility of its subject matter. Not only does it broaden the album’s emotional range, but also underscores the band’s ability to channel deeply personal themes into a universally resonant statement. At track seven, the title track Death Above Life stands out as one of the album’s most haunting moments. Opening with an atmospheric passage that sets a foreboding tone, the track soon descends into dense, grinding riffs that carry an almost suffocating weight. Lyrically and musically, it confronts mortality head-on, exploring death not as an abstract concept but as an inevitable presence that shadows every life. The Storm erupts with unyielding intensity, showcasing ORBIT CULTURE at their most aggressive. The track’s grinding riffs, and relentless drive create a wall of sound that never lets up. It’s a powerful, hard-hitting piece that reinforces the band’s ability to sustain momentum deep into the record. The Path I Walk offers a stark contrast to the album’s heavier tracks, emotive vocals that carry the weight of the song’s sorrow, deeply heartfelt, capturing a raw, personal anguish. The track’s intimate tone and emotional honesty make it a poignant and unforgettable moment on the record. Death Above Life is is an album brimming with raw emotion and unflinching intensity. With this record, ORBIT CULTURE emerge renewed, transforming personal struggles into powerful, universally resonant music. Their humanity shines through every note, allowing the listener to connect deeply with the pain and passion they convey. Score: 9/10 Death Above Life will be released on October 3rd 2025 via Century Media. Words: Ciara Hicks-Evans Photos: Orbit Culture

For over three decades, AFI have been known as one of the bands who got big off of the early and mid 2000's emo boom. Hits like Miss Murder cemented their scene status, but the band's twelfth studio album Silver Bleeds the Black Sun... is a real evolution for the act. Produced by guitarist JADE PUGET, Silver Bleeds the Black Sun... showcases the band's eclectic blend of death rock and post-punk, with heavy inspiration from bands like ECHO & THE BUNNYMEN, BAUHAUS and THE SISTERS OF MERCY. With lead vocalist DAVEY HAVOK’s emotionally charged, theatrical vocals, accompanied by aggressive and atmospheric guitar riffs and drum beats, the album is clearly AFI, but unlike anything they’ve done before. The Bird of Prey starts the album off with a heady rush of dreamy, ethereal lyrics, with the instrumental backdrop fit for the opening of a cult 80’s film, setting the stage for the rest of the album to come, throwing us head first into a dystopian landscape. Lead single Behind the Clock throws multiple references to classic David Lynch characters Freddy Madison, Betty Elms, Nikki Grace, and Susan Blue; DAVEY HAVOK’s brooding and crooning vocals telling stories with the poetic darkness often expected and always delivered by the band. Holy Visions is a song fit for The Lost Boys soundtrack, with its religious connotations and talk of “Holy visions while in my left hand, holding cheap beads, I’m going up and down the rosary” and “Underground there is a girl, a glowing girl, burning brightly, calling me home”. Holy Visions delivers a more up-tempo synth and drum based backing than the preceding songs, but with HAVOK’s almost chant-like vocals, it is by no means misplaced on the album. With a gentler start, of softer drums and guitar riffs, Blasphemy and Excess continues the holy theme with dystopian undertones, with vocals like “Play on the floor. Sleep on big screens. Isn’t it nice?” dancing into the midway point of the album. “This world is sick and I’m unwell” are words too many of us can probably relate to in the current climate, and DAVEY HAVOK’s delivery of the lyrics to Spear of Truth feel like a cathartic purge, whilst living and breathing in a dystopian hellscape. Starting with synth guitars reminiscent of 80’s new wave classics, in Ash Speck in a Green Eye presents HAVOK spending his time brooding over a toxic relationship with his own Jeanne Duval, the key muse and longtime, tumultuous partner of poet and art critic Charles Baudelaire. Voidward, I Bend Back is another perfect example of the bands heavy 80’s goth and post punk influences, with HAVOK serenading the listener with tales of dreamy nightmares and poetic landscapes. Telling more tales of love, Marguerite has the chanting vocalist HAVOK once again lamenting about a woman tormenting his every waking hour with vampiric undertones “Rewrite a life. And I never meant to make you my Marguerite, Marguerite of mine”. A World Unmade presents more dystopic imagery through crooning words, with strong drum beats and guitars creating an almost lullaby-like song; with HAVOK stating he is “the heliocentric flaw”. Finally, Nooneunderground smashes through the speakers and ends the album with a crash; though one of the shorter tracks on the album, the lyrics are a trip into a story reminding us we are actually all alone, bookending Silver Bleeds the Black Sun... as another perfect example of the multifaceted and constantly in-flux band that AFI are. Described by DAVEY HAVOK as “a struggle to reconcile existence in a godless dystopia that lacks sanctuary, mystique, reason, and a chance of survival”, Silver Bleeds the Black Sun... is a deeply atmospheric album which die hard, fair-weather and new fans alike will rejoice in blessing their ears with. Score: 9/10 Silver Bleeds The Black Sun... will be released on October 3rd 2025. Words: Lou Viner-Flood Photos: AFI

“Something that our drummer always says is: ‘If something sounds weird, and we’re not sure about it, make it weirder,’” joked Max, guitarist of KITE THIEF. There has been a resurgence of pop-metal in the alternative space and beyond over the past few years, and they’re Bristol's hottest answer to that. We recently caught up with vocalist and frontwoman Elin, alongside Max, to chat about the creative process of their newest releases, their recent adrenaline-fuelled live shows, and what’s next for the band as they continue their ascent in the scene. KITE THIEF haven’t always been the pop-metal badasses that they are now. Having formed as part of a group university project back in 2018, they originally went by the name ‘Lapis’ before deciding on their current name over sushi in Bristol. “Elin was ahead of the curve and scoped us all out,” says Max. Following a competitive showcase for this project, which the band won, everything escalated. “Everyone was coming up to us, going ‘So are you guys a band now?’ and we all just went ‘Well… I guess?’ and then we just started writing music together.” What began as a group assignment quickly turned into a tight-knit unit, fast-tracked into being a band almost overnight. Their sound in the early days was a far cry from what we hear now, and they definitely didn’t set out with catchy pop hooks in mind. “It was quite proggy, really. It didn’t have the pop element,” explained Max. “It was very guitar-heavy, and the instruments had to be doing the most complicated stuff we could.” He laughs, before following up with, “You can’t remember a song if it’s got eight different parts, and a bass solo in 5/4 or something.” Expanding on where the pop element came in, Elin mentioned that she was no stranger to fusing pop into other genres, having been in a pop-punk band for years prior, and explained an initial hesitancy to introducing the hooks she wanted to incorporate, saying that, “At first, I was too scared to bring it into this because I was like, ‘No, we’re doing heavier stuff, I need to make it sound like Chino from Deftones.’” Their 2022 track, Sweepstake, marked a turning point for them. They started working with a new producer, Joe Marsh, who reinvigorated a demo they had shared after asking for a fresher sound. “He came back and put synths on top of it, subdrops, transitions, those sorts of things. And that was the first inkling of like, ‘Oh, we can do that?’” explained Max. On the back of the release of their newest singles, CHOKE and BITE, they have been pushing the boundaries of their music further than ever, with two heavier tracks exploring the darker side of sensuality and love. Max reminisces that “They’re like a lovechild for me, because they were both born out of the same time, so I kind of see them as two halves of the same song.” Delving into the creation of their newest singles, Max explained that “We went to an Airbnb in North Wales, right next to a beach.” This picturesque setting became the backdrop for the bulk of their recording. They admitted it was hard to get everyone together in one room nowadays because life was pulling them in different directions, which made the getaway so special. “It was really important for us to all be there and be really present, and kind of interacting with each other and being together in real life.” This mini nature retreat also doubled as band bonding time, complete with nightly screenings of the Transformers series, which was influenced by the mechanical segment in BITE. The experimentation of their sound is something they’re gladly embracing, but they feel their newest sound is a risk. “I feel like this is where we’re least comfortable, in a really good way.” Max reflects. Having played a hometown show with long-time friends of the band RXPTRS the same day as CHOKE was released, it was clear to see the online excitement translating to real life. “[People] were singing along to it, and it had been out for a matter of hours,” Max recalls. “It definitely felt like we were starting something new.” Last summer included a dynamic performance at 2000trees festival, which was a key moment for the band and an opportunity to connect with the wider alternative scene. At the festival, they also excitedly reminisced about getting cocktails with ROB DAMIANI of DON BROCO, and how normal he seemed. “It was so surreal… They’re so normal,” laughs Max. When asked about the future of the band and where it was heading, one thing was clear - taking their music to as many stages as possible, with ambitions of making it to Europe and America. “Growing, touring, writing, and just trying to have fun, really,” remarked Elin. Having honed their stage presence over the past few years and prioritising fun, we’re excited to see where they’re headed. Make sure to catch them on their co-headline UK tour with GLASS BRIDGES this autumn to witness why KITE THIEF are one of the UK’s most exciting upcoming heavy acts. Words: Chloe Sodeau Photos: Kite Thief

The pop-punk and alternative scenes have always thrived on energy, emotion, and connection, and few bands capture all three as effectively as AS IT IS. Formed in Brighton in 2012, the band quickly became one of the UK’s standout exports of the genre, combining polished musicianship with raw, confessional lyricism. Over the years, they have experimented with darker tones and heavier sounds, but their early work remains central to their identity. To celebrate the tenth anniversary of their breakthrough album, Never Happy, Ever After, As It Is returned to London’s Electric Ballroom for a show performing the record in full, along with some newer releases. Supporting them were Leeds-based band ARTIO, a younger act steadily making waves with their blend of alt-pop energy and bold social commentary. Their inclusion on the bill not only provided contrast to the headliner’s nostalgic focus, but also hinted at the future direction of the scene, having formed in 2018. Opening the evening, Artio wasted no time in making their presence felt. Their set was defined by fast-paced, upbeat tracks that carried a strong sense of urgency. Each song drove forward with pulsing rhythms and polished layers, setting an energetic tone that immediately engaged the crowd. The band also took the opportunity to showcase a brand-new song, a choice that revealed their growing confidence. Although unfamiliar to the audience, it was met with an enthusiastic response, suggesting that Artio’s developing catalogue will be well received as they continue to expand their reach. What distinguished Artio’s performance from many opening acts was their decision to address social and political issues from the stage. They openly criticised the government, making it clear that they believed enough isn’t being done. This moment underscored the longstanding relationship between alternative music and political expression, adding weight and substance to their set without detracting from its entertainment value. By blending high-energy songs with candid commentary, Artio successfully set the tone for the evening. Their performance was both vibrant and thought-provoking, and by the time they left the stage the atmosphere in the venue was charged, ready for the headline act. As the lights dimmed for As It Is, anticipation quickly turned into euphoria. The band launched straight into the opening track of the album they had promised to perform in full with, Speak Soft, and the crowd responded with immediate enthusiasm. Playing the record in sequence gave the set a clear structure, allowing it to unfold like a narrative and highlighting the progression of the songs as originally intended. The mixture of high-energy anthems and slower, more emotive tracks created a dynamic flow. Faster songs opened up mosh pits and had the crowd shouting along to every word, while the more reflective numbers prompted moments of stillness and collective reflection. This balance showcased the emotional breadth of the album and explained why it continues to resonate a decade after its release. Frontman Patty Walters played a central role in maintaining the connection with the audience. Between songs he frequently acknowledged familiar faces, noting fans who had supported the band since their earliest days, and tearing up at how far the band had come with the audience they grew up with. These moments reinforced the sense of community and longevity surrounding As It Is, transforming the concert into something closer to a shared reunion. Even while guitarist Ben Biss momentarily had technical issues, the band dealt with it promptly and professionally. Even thanking their stage technicians for their role on tour, and the work they do. Showing how much they appreciate everyone who puts work in to making touring happen. One of the highlights of the evening came when Walters invited Artio’s lead singer back on stage for a collaborative performance. The interplay between the two voices injected fresh energy into the set and symbolised the passing of a torch between generations of artists. It also reflected the camaraderie and inclusivity that continues to define this corner of the music scene. The evening concluded with one of As It Is’s most recognised tracks, The Stigma (Boys Don’t Cry). Though not part of the anniversary album, its themes of masculinity and vulnerability made it a fitting closer, leaving a lasting impression on the audience. The crowd’s collective singing carried the song’s message across the venue, ending the night on both a powerful and emotional note. The Electric Ballroom show was more than just an album anniversary — it was a celebration of connection, longevity, and the continued relevance of alternative music. Artio proved themselves a support act with substance as well as style, bringing energy and political conviction to their set, while As It Is reminded fans why their music has endured for over a decade. The result was an evening that balanced nostalgia with immediacy, offering both a look back and a glimpse forward. Words: Con Macadam Photos: Artemi Falzon

To be able to put on a free gig in this economy really shows dedication to the craft and to the fans - and James and the Cold Gun did just that. On an otherwise dreary September evening, James and the Cold Gun drew together a sizable crowd in the sweaty basement venue of The Lower Third in London to really give back to their fans in an intimate capacity. With free entry and a curfew by 9pm, this concert was perfect for fans that may not be able to go to a concert because of work or because of funds and was a great mix of young and old in the audience that came together for the love of music. JATCG were supported by Whitelocust, a London-based formed in 2022, that aim to fuse 90s alt rock with psychedelic, funk, and shoe-gaze - one that they succeed in thoroughly. They had that very classic alt-rock styling with the odd bluesy-jazz influence to boot. If the slower alt shoe-gaze genre is one that you’re into, they’ll be right up your street. They gave a more slow melodic build up into JATCG, which worked as the crowd grew in numbers as they slowly got a little heavier towards the end of their set. The show that James and the Cold Gun managed to put on in such a small sweaty venue was nothing short of biblical. From the insane energy of the crowd to the sheer charisma oozing from the stage - it was clear everyone was loving every moment. The liveliness in the audience just goes to show the magic you can create when removing touts and bots from a ticket process and have just physical people in a room. Hailing from Cardiff, South Wales, JATCG have been active since 2019 and it’s clear they’re earning their stripes, with a great blend of the crowd participation and connection, yet still having that looming rockstar presence. There was a lot of the more classic rock influence but they stand solidly planted in the alt rock genre with their incredible riffs and hearty drum solos. Their set included a mix of slower and upbeat tracks, giving the audience chance to headbang and start a pit, but then also use their phone torches to light the room and scream their lungs out. They’re definitely a band to watch out for. Words and Photos: Ely King

Taking Band on the Wall from concert to ceremony, German folk collective Faun turned the venue into a place of ritual and reverie on Wednesday night. The group formed in 1998, and after playing over 950 concerts, reaching platinum status with Von den Elben and being nominated for multiple German awards, it’s now their first time touring in the UK, it’s no wonder the Hex tour date promptly sold out. Faun Upon entering the venue, the room was filled with buzz, curiosity and fantastical excitement. It’s an intimate space, with a dark interior which folds us in while waiting for support group Ye Banished Privateers. Swedish swash-buckling Ye Banished Privateers graced the stage with a short yet energetic set, turning the audience into raging buccaneers for a good 45 minutes. With the energy of a raucous tavern, shanties and theatrics spilled over, opening with shanty-jig styled First Night Back in Port. Carrying on to songs like Raise Your Glass and Chained Away, the room felt transported back to a time where such things as technology and sobriety did not exist. Recently released Annabel had everyone swaying in unison, before swinging back into animation for the last two songs, Gangplank and Libertalia. The lights dim and Faun enters the stage, after two decades of playing around Europe, bringing a multitude of unique instruments - hurdy-gurdy, lutes, flutes, and miscellaneous percussion. Opening with Belladonna, opening track of their recent album HEX, strings and voices melt together in polyphonic melodies, against the pulsing electronic beats. Founding member and vocalist Oliver S. Tyr called out to the crowd “This one is for all the witches with us today” (which a collective of cries was given in response) before starting Walpurgisnacht. The voices of the audience harmonised with the band, creating a powerful echo that moved from one person to another in perfect unison. Lament and Lady Isobel brought the room to a still, with Oliver’s deep alluring vocals and Laura’s siren like calls blending into each other and resonating amongst the venue. As the set continues on, it’s clear to see why Faun have been tucked in with similar artists such as Wardruna and Heilung. Hypnotic and nostalgic, this style of music is often seen as niche, but with its emerging popularity, we can see the preservation of older styles of instruments, language and musical techniques, balancing authenticity and theatricality. Most of the band momentarily leave the stage, allowing Stephan his time to shine with a hurdy-gurdy solo. As the solo filled the room with eerie drones, the crowd was filled with avidity, receiving a reaction which seemed to be more than what Faun had expected, as they peeked through the side of stage with awe. Faun Rhiannon played, and Faun said their goodbyes to the crowd, leaving the stage in darkness. Not for long though, as the chants of “One More Song!” reverberated in the floor and walls of the room, and they gracefully returned, ready for a couple more songs to finish the already eclectic evening. Closing the night with Diese kalte Nacht and Hare Spell, with drums and flutes, bagpipes and lyres, the room swelled with palpable emotions. As the final notes rang on and the band truly left the stage, there was a sense of tension, an unwillingness to break away from the experience they had just witnessed. Faun’s Manchester performance confirmed their reputation as one of Europe’s most distinctive folk acts. Where many bands in the genre lean on nostalgia, Faun continues to push boundaries, fusing medieval traditions with modern sensibilities. The result is not just a concert, but an immersive experience — one that leaves the audience feeling transported through time. Words and Photos: Neve Saltmarsh

Birmingham’s Utilita Arena held more than just a show, it held a communal release. With Pierce the Veil's 'I can't hear you' tour bringing a bill stacked from floor to rafters, the night moved like a narrative: three supports shaping the emotional weather before Pierce The Veil stormed through as the final act. Having just completed some local shows last week, Crawlers opened with grit and heart. They’re one of those rare bands that can drag you into their world within seconds. Holly Minto commanded the stage with a balance of defiance and vulnerability, shifting from spoken confession to full-throttle scream in the space of a line. Songs like “Come Over (Again)” felt almost too raw for an arena but landed even harder because of it. Crawlers turned a cavernous room into something intimate, forcing a unamomous crying-sing along. This set proved what everyone knew, Crawlers are back and are truly unstoppable. Hot Mulligan brought chaos wrapped in precision. Their midwest emo brand of emo punk is messy by design, a blur of jagged guitars and vocal cracks that bleed honesty, but live it snapped into focus. “Shhhh! Golf Is On” threw the pit into motion and didn’t let up. “Equip Sunglasses” saw the entire floor yelling back every word, the kind of communal moment where strangers hold each other up because the music demands it. With the audience chanting and showing their printed photos of Princess Peach, it was clear they were here to make an impact on fans new and old. They didn’t just hype the room, they scorched it. Then came Cavetown, naruto running onto the stage which was adorned with set pieces. Robin Skinner’s set was quiet compared to what came before, but it held the arena in a kind of hushed awe. “Boys Will Be Bugs” rolled out like a shared secret, and when “This Is Home” began, the sound of thousands of voices singing along turned soft indie into something enormous. For his song "a kind thing to do", Robin brought out Vic Fuentes, the lead singer of the headliner Pierce The Veil, this beautiful duo made sure the crowd was both hyped and ready for what was to come. Cavetown gave the night its still point, a breath before the next storm. The audience was invested but as soon as Devil town played, everyone transported in and screamed the words with such passion that it truly felt like everyone had been waiting to scream along. Finally came the headliner, unsurprisingly Pierce The Veil tore it wide open. They kicked off with “Death of an Executioner,” instantly collapsing the distance between stage and crowd. The setlist was ruthless, swinging from the old to the new with no wasted motion. “Bulls in the Bronx,” “Pass the Nirvana,” “Floral & Fading,” “Wonderless,” “Emergency Contact,” “Circles”, every track felt like it could have been the finale, yet they just kept stacking them higher. The response was deafening. The pits went feral, Jesus in the middle comanding the pit, arms and voices raised in unison, and by the time “Hold On Till May” dropped, it felt like the entire arena had become a choir. Many crying, many showing signs showing how much the band means to them or has saved them, it's truly a song that united everyone and means a lot to many. The bands energy were unmatched, with everyone on barrier having a favourite and delivering thunderous cheers in between each song. They closed with “King for a Day,” and the volume of the singalong was enough to shake the rafters. The mosh became relentless as many ended the night with a raspy throat from screaming along with Vic. Crawlers bared their teeth, Hot Mulligan set the floor ablaze, Cavetown stitched the night together with softness, and Pierce The Veil proved they can still turn an arena into something that feels alive and dangerous. It wasn’t a lineup. It was a full spectrum of release. Words and Photos: Lizzie Jones

Embarking on a sixth-month global tour, Eivør brought a slice of Faroese magic to Electric Brixton’s stage in South London this September. Not defined by one specific genre, Eivør’s combination of synths and guttural singing in her pieces continues to captivate audiences around the world. This tour could not have come at a better time; Eivør’s hauntingly celestial vocals and deep synth beats almost personified the changing of the seasons - vibrant and shapeshifting. The evening was not only a celebration of the Nordic artists’ latest album, ‘Enn’, but a way of honouring her impressive 25-year dedication to the music industry. First to cast their spell on the crowd was Elinborg, electronic-folk artist and Eivør’s younger sister. Arriving on stage in a sweeping black dress, Elinborg instantly grabbed the audience’s attention with her soothing vocals. Introducing ‘Kærleiki’, a love song from her upcoming album ‘Í Ævir’, fittingly set to be released on the 31st October, a day synonymous with mysticism and charm. Next to take to the stage was singer-songwriter Ásgeir. Performing in both Icelandic and English, he shared a perfect blend of pop-synth beats, transfixing the audience into gentle sways. This effortlessly led him into his new song ‘Ferris Wheel’, the first released single from his new album. Titled ‘Julia’, fans can expect to enjoy this on 13th February 2026. The soft, electric guitar riffs set apart from the earlier intensities of the piano and synthesiser. Ásgeir’s set distinguished itself as a master of styles. With the crowd vocally entranced, Eivør’s monastic-like chanting filled the room with her opening song, ‘Jarðartrá’. Hanging off of her every word, Eivør addressed the crowd: “It’s the most beautiful thing to see us come together like this. And it’s such a gift for me to share that with you, and boy do we need this in these mad times we’re living in”. A valuable reminder of how powerful music is for uniting people from around the world. The world is calling out for unity, and through Eivør’s authentic and refreshing sound, community is not only created but sustained. Around the room, fans with painted faces, braided hair, and band t-shirts were odes to the folk roots, traditions, and heavy metal influences behind Eivør’s work. Dedicating her next song, ‘Gullspunnin’, to friendships and people who lift others up combined sonically beautiful piano tunes with haunting synth sounds to create what can only be described as an electro-pop lullaby. Traversing the musical plane, Eivør’s seraphic sound settled into a medley of songs chosen as a commemoration of her work on the original television soundtrack for the historical drama ‘The Last Kingdom’. Her voice was the leader, amassing a following of headbanging and swaying that rippled through the crowd and unlocked a sense of freedom. Breaking away from her original material to a song she revealed she wished she had written, Ásgeir returned to the stage to join Eivør in a duet of Pink Floyd’s ‘Us and Them’. Swiftly following on with ‘Upp Úr Øskuni’, the guttural mantra demanded the presence of Elinborg, who took to the stage alongside her sister. Earning supportive cheers from the crowd, the pair commanded the room under the red glow of the lights. Closing out the set with her sámi drum, ‘Trøllabundin’ not only found new life in the room, but morphed into a new version of itself. The song itself has been known to be performed differently each time. The deep, rich cello accompaniment to the echoing, isolated vocals and steady drum beat were enough to evoke the spirits of viking warriors, reminiscent of an ancient battle cry to command its followers. Eivør’s performance moved through genres like wild water; streams of delicate, gentle folk melodies flowing into rivers of untamed, raw, powerful guttural sounds. Her work not only honours the unique and intricate sound of Faroese culture but also provides a stage for a musical style that was once suppressed throughout history. Blending throat sounds with growls not dissimilar to those used in heavy metal music, captured a refreshingly fierce sound that has - and will continue to - shapeshift through time. Words: Mary Horner Photos: Lauren Wenham