Brat, the femme fronted explosion of energy hailing from the US, has graced its British fans with a small, but intense show at the New Cross Inn in London. Coming straight from their big tour with GWAR, the band has racked up more fans from the metal scene and is ready to continue with their world takeover. Supported by Skrapper, Jawless and Eskröta, the band’s performance is a part of Real Life Summer Jams, a week full of heavy riffs that is currently taking place at the New Cross Inn. First on the stage was the Redhill hardcore punk Skrapper. The band did everything they could to hype the crowd of the almost empty venue, and was not getting many interactions, but everything changed when few brave soldiers formed their three-person moshpit, that was carrying throughout the whole set. As a result, the fans were rewarded with screamy vocals, sick riffs and singer in the pit. At one point in the set, the singer and bassist switched places and sang a very heavy song about abuse, that was met with big applause from the audience and more intense moshpit. The two guitarists of the band threw in few greatly executed solos and before the crowd could get more involved, the chaotic, but very short set was unfortunately over. The next support, Jawless, is hailing from the depths of London, but is composed of people from several different backgrounds. Femme fronted and often singing about political topics, the band’s front-person, Theresa, was not afraid to dive deep into controversy and to make the crowd emotional. The band had a strong two-step moshpit throughout their whole set, that was often joined by the band’s singer, and surely hyped the crowd up immaculately, as the fans enjoyed the set to the fullest. At one point during the concert, the band sang “Happy Birthday” to their guitarist together with the crowd, and surprised the audience, when Theresa’s husband brought a birthday cake into the circle pit. Ending the concert with a fake encore, after asking the promoter how much time they have left, Jawless brought a unique energy to the venue that was like a fresh breeze of punk genius. After two support bands, the third and last one, Eskröta, that came to London to play all the way from Brazil, has swiftly took over the stage with its aggressive songs about horror movies. Being fronted by femme performers Tamy Leopoldo on bass and Ya Exodus on guitar, and with Jhon Francą on the drums, they served a big portion of real trash metal with a pinch of latina music to the audience, who went berserk from the first song to the last. Ya’s intense screams added something unnatural yet exciting to the performance, while Tamy’s vocals always filled in at the right moments. Featuring the singer from Brat, Liz Selfish, on their song “Misery”, the fans got a quick taste of what was coming right after Eskröta’s performance. Although their English was not perfect, the band expressed their deepest gratitude multiple times and it was obvious they did not take this big opportunity for granted. After three spectacular support bands, it was finally time for Brat to take over the New Cross Inn and they did it in the most girly-pop-meets-metal style, as every Brat gig should be (and, frankly, is). Serving face, dance and screams, the band’s vocalist Liz and her loyal headset microphone, together with her bandmates guitarist Brenner, bassist Ian and drummer Dustin, made the venue go bonkers with massive moshpi and stage divers. Majority of the songs had an introduction with famous pop-songs, which just added a new and funny twist to this already based concert, together with the head-banging cover of Heart’s “Barracuda”, a classic and iconic hit that every single person in the room knew words to. Finishing the set full of insane riffs and amazing drum work with an encore song, the band once again showed London a good Louisiana grindcore, cementing their spot on the scene as one of the best bands of the time. New Cross Inn’s The Real Life Summer Jams could not start better than this, with the supports Skrapper, Jawless and Eskröta being a divine selection of bands, and Brat being an iconic girly metal sensation. Every single person in the venue has enjoyed the evening to the fullest and it absolutely was a pleasure to attend. Words: Katerina Stepanikova Photos: Amy Smyth

Coming all the way from San Francisco in the US, the hardcore Fentanyl is known for its raw, aggressive sound and unapologetic lyrics, and it surely does not stop just here. Consisting of the vocalist, guitarist and bassist Kenneth Turner, guitarist Carlos Cruz and drummer Joshua Mendoza, the band has released their debut self-titled LP in September last year and has been in one circle ever since. Being supported by the bands Flesh Prison, Do One, Kute and Perp Walk, Fentanyl’s performance is a part of Real Life Summer Jams, that are taking place at the New Cross Inn from 2nd July until 8th July. The first support, Flesh Prison, had a fairly full venue already, which is always a great sign. Giving the audience screams, heavy riffs and immaculate drumming from the start, all they really needed was a two-step moshpit, which started almost immediately. The band’s set was roughly twenty minutes long, which was not a lot of time to do anything, but they still managed to hype the venue up, making everyone inside even more excited for the upcoming bands. Fentanyl Do One sadly could not perform, as everyone from the band, apart from the drummer, got stuck on overground on their way to the venue after a big incident. The drummer, to a big surprise of the fans, improvised for a bit with someone from the crowd, resulting into a little filler set before the next band came onto the stage. Kute, however, were ready to step in the first second they had, and it was truly an amazing experience. Coming down to London from Glasgow, they brought their feral vocals, swift guitar and bass and heart-pounding drums, and created a performance that is going to be talked about for a while. Powered by a huge two-step moshpit, the audience was not behind on their end and truly welcomed the band in London with a pompous style, showing them that they are always welcomed at the New Cross Inn. The long awaited, and frankly, one of the most prominent bands of the evening, Perp Walk, took over the stage after a quick soundcheck, and the floor transformed immediately into a battlefield. From two-steppers, to crawlers, audience went absolutely feral through the full set, and rightfully, as the band is one of the best ones on the underground scene. The band’s singer screamed through their set with no issues and the guitarist and bassist nailed their lines with no flaws. As the set was getting to an end and the moshpit grew into enormous size, people were joining on the edges with glasses of drinks, and this rookie mistake cost the guitarist a whole pedal board, as one of the fans fell down and spilled his beer on it. Apart from this, the set was very energetic and absolutely a highlight. After three sick support bands and one, that could not show up on time, Fentanyl finally took over the stage. Bringing in its Bay Area Hardcore, the band made the stage their home immediately and was supported by their fanbase, who somehow made the moshpit even bigger than before. The raw and aggressive vocals of the band’s singer Kenneth Turner were lingering and the vengeful guitars of Carlos Cruz and another guitarist, who was touring Europe and the UK with the band, kept the pit on its feet. Although there were few instances, when stage-divers were not met with hands to hold them high, it was not a reason for anyone to stop jumping into the crowd. By the end of the set, the band was stunned when their fans longed for an encore, and they gave them two more songs to enjoy, only to definitely end the set right after, as the never-ending pleas that continued could not be honoured. Fentanyl’s set was definitely one of the heavier ones New Cross Inn has ever seen, and it has been welcomed with an unmatched energy from its loyal fans. The selected support bands were amazing and helped the crowd to get into mood very quickly, even when short of one. The third concert of the Real Life Summer Jams was indeed a successful one and a one the band is not going to forget any time soon. Words and Photos: Katerina Stepanikova

When the small band from South Yorkshire released their debut album in 2006, no one expected them to make history. Now being the legends of the heavy music scene and leading major festivals such as Reading and Leeds, Bring Me The Horizon always proves to the listeners that they are indeed here to change the trajectory of music and its observation. Hailing from the city of Sheffield and founded by the lead vocalist Oliver Sykes and drummer Matt Nicholls, the band also currently consists of the guitarist Lee Malia and bassist Matt Kean. With nine albums on their account and countless hits, the band changed their approach to music quite few times in their career, and it is evident that the frontman Oliver Sykes still has big plans in store for their fanbase, being unpredictable in his next move, as we could see earlier this year with the sudden cover of Oasis’s hit song ‘Wonderwall’. As the Reading and Leeds festival quickly approaches, we are excited to dive into their whole discography. See our ranking of the band’s albums below. 9) Music To Listen To The band surprised their fans with Music To Listen To~ right before the end of 2019, when they had already released their controversial album amo, and it is obvious that this year was not the best for them. Being a co-child of Sykes and BMTH ex-member Jordan Fish, the album, bearing the ridiculously long name, is a mixture of pop and lo-fi, genres that are very distant from the band’s usual work. Although the album has some good features like Halsey and YONAKA, it simply was not enough to convince their heavy music fans. 8) amo Released at the beginning of 2019, four years after the band’s hit album That’s The Spirit, amo is a bit of controversial, as it has some heavier songs, such as ‘Mantra’, which is now popular amongst the fans, but also has some pop-leaning songs such as ‘mother tongue’, which has divided the fans since its release. It is obvious that Sykes wanted to experiment with their music, which is true to this day, but the first try did not go as well as expected. 7) Count Your Blessings The band’s debut album is now a nostalgic one, and a lot different from the newer stuff the guys make. Although made of pure teen anger and blessing us with ‘Pray for Plagues’, ‘(I Used To Make Out With) Medusa’ and ‘Off The Heezay’, Count Your Blessings is unfortunately still a mediocre deathcore album, and even though many fans started listening to them thanks to this album, it was not the one really giving the band the name they bear today. 6) POST HUMAN: SURVIVAL HORROR One of the band’s latest works, POST HUMAN: SURVIVAL HORROR, is a great example of alternative music, as the band continues experimenting with sounds, and this time it actually pays off. Featuring a good stack of artists, such as YUNGBLUD, Babymetal and Nova Twins was a great move on the band’s side, as the variety of songs throughout the album is welcomed, yet some of the songs are not as dynamic as the others, such as ‘1x1’, featuring above mentioned Nova Twins, and ‘Teardrops’, a song, that just does not stand out from the songs such as ‘Parasite Eve’ and ‘Kingslayer’, a Babymetal feature that has been the audience’s favourite song since the band dropped it. The absolute highlight of the album, however, is the last song on the album, mouthfully named ‘One Day The Only Butterflies Left Will Be In Your Chest As You March Towards Your Death’, featuring the metal legend herself, Amy Lee of Evanescence. Combining Lee’s classical vocals with Sykes’ screams, gradually making the music heavier, creates intense emotions while listening to the feature, creating a perfect ending for the album. 5) Suicide Season The second album from the pen of BMTH, Suicide Season, stays true to the band’s beginnings. Being more refined and diverse in with their melodies and lyrics, Sykes produced some interesting tracks such as ‘Diamond’s Aren’t Forever’, ‘Chelsea Smile’ and the title track ‘Suicide Season’. We can hear that although they are still playing heavy music, they start to dive deeper into other variants of metal, trying to make tracks with distinct melodies. Being released two years after their debut album, Suicide Season is a good piece of work, however, it serves as a bridge between the band’s transition from deathcore to metalcore, that defined them into the band they are today. 4) That’s The Spirit One of the albums that shaped Bring Me The Horizon into the band we love today, and gave us many of the fan-favourite songs, That’s The Spirit is now a legendary album in alternative sub-cultures such as the Emo and Goth, and helped the guys to secure tight their place on the worldwide music scene. Most of the tracks are still loved by their fans, such as ‘Happy Song’, ‘Throne’, and ‘Avalanche’, and their single ‘Drown’ made it into the mainstream streaming services. However, as in every album, there are some songs, we would not miss, if they disappeared, such as “Oh No”, that has been leaning more towards the pop-side of BMTH, and does not give much of the “wow” effect, as it is the last song of the album, coming after all the infamous tracks. Nonetheless, it is still a solid album, that has changed the metalcore scene. 3) POST HUMAN: NeX GeN The band’s freshest album, POST HUMAN: Nex GeN, is, as the name implies, a successor of POST HUMAN: Survival Horror, and it has been one of the strongest albums from the band since the first singles started to release. From the brutal Kool-Aid, to the relatable n/A, and the heart-shattering Dig It, the listeners are prone to find at least few songs, they are going to absolutely love. As every other album, however, even this one does not come without “dark-sheeps”, as few of the songs, specifically “sTraNgeRs”, “DiE4u” have been met with criticism from the bands loyal fandom. The hate was mostly centered around the nature of the songs, as both “sTraNgeRs” and “DiE4u” and slower songs, again leaning more towards the pop side rather than the metalcore, and fans are not enjoying them as much the rest of the tracks, that have been dominating the charts upon their release. 2) There Is a Hell Believe Me I’ve Seen It, There Is a Heaven Let’s Keep It a Secret The album that has shaped Bring Me The Horizon into the band we love today, There Is a Hell… is still a very relevant piece, even after fifteen years since its release. Containing Sykes’ ear-piercing screams and Nicholl’s iconic drumming, the hits “Crucify Me”, “Don’t Go” and “Alligator Blood” keep staying on top of the fans personal charts, and there is a good reason for that, as the band was gaining more of attention at that time. Although there is certainly a room for improvement, the album is a nostalgic look-behind for anyone, who started listening to the band at that time, as many listeners were in their teen years. Not every song on the album is as iconic however, and especially younger fans might not know anything besides the three hits, however, the blend of sad lyrics and heavy riffs says everything about the band’s rapid growth and improvement. 1) Sempiternal What do you think of, if someone says BMTH? Most people would probably say any song from the most iconic album the band ever released, Sempiternal (or Sempi-turtle, whichever way is preferred). Starting off with the absolute rollercoaster of emotions, “Can You Feel My Heart?” and continuing with a deliverance of one hit after another, the release was a groundbreaking moment in the band’s history, that absolutely changed the trajectory of life for everyone involved, including the fanbase. The precise timing of breakdowns, synths, riffs and drumming ensured that every single one of the songs keeps giving something new, fresh and exciting, and the listener never gets a dull moment, when they would think about turning the music off or skipping a song. In the age of twenty-seven, Oliver Sykes and his bandmates not only achieved a worldwide breakthrough but also stapled themselves as one of the timeless bands, who are going to stay relevant for many generations to come. Although the opinions about the band’s albums vary from fan to fan, one thing Is certain – the band achieved something not many other bands could have accomplished. They keep continuing to connect people around the globe together, and saving countless lives every day, just with their music. And as their only-UK performance gets closer and closer, the fans are uniting together once again to show their appreciation for everything the band has done for them. Words: Katerina Stepanikova

Ghost Fest made its long-awaited return to Leeds for its 20th anniversary. The place was packed, the air was thick, and the energy never let up. Heat, noise, sweat, and total mayhem, exactly what you’d hope for. After ten years off the radar, the UK’s heaviest music festival has finally made its long-awaited comeback. Returning to its original home at Leeds University Union, where it all kicked off 20 years ago. Between 2005 and 2015, the festival gained recognition for spotlighting some of the best in heavy music, ranging from emerging underground talent to established icons. Now, in 2025, it’s back with the same energy and did not disappoint. The Scottish slam metal crew Party Cannon opened the festival on the main stage and unleashed chaos from the first minute, inflating and launching beach balls, an orca, and a giant ice lolly into the crowd. “We Prefer the Term Living Impaired” and “Weird, But Not Illegal” came swinging like a punch to the jaw, no build-up, no warning, just straight violence. Party Cannon didn’t ease in; they hit hard, like getting slammed in the chest with a concrete block. When the first note dropped, confetti was fired, the floor erupted, the pit exploded, and from that moment on, there was no turning back. It wasn’t just an opening, it was a detonation, and it was the perfect start to Ghost Fest. As soon as they wrapped up their set, they packed up and shot straight down to London to support Dethklok that same night. No rest, no downtime, just chaos, riffs, and the kind of grind that proves exactly why they belong on both stages. Party Cannon Kicking off the second stage, Veiled. The lights were low, and the smoke started to fill the stage before a single note even hit. It didn’t feel like a festival anymore; it felt like a dark basement show you stumbled into by accident. Total deathcore energy; gritty, tense, and exactly the right mood. Veiled demonstrated they are more than just newcomers. Focused performance and powerful sound, including a standout rendition of their track ‘Hellbound’, captured the audience’s attention and made their opening set truly memorable. If they continue this path, they are certainly a band to watch in the deathcore scene. The heat was brutal, pints were flying, and every band brought serious energy. No weak links, just one heavy set after another. Keeping the pace high and the crowd locked in... TRC didn’t mess around. They came out swinging with that hard, stripped-back sound they’re known for. About halfway through, they launched into “#TEAMUK” and “H.A.T.E.R.S.,” both tracks hit hard and sent the crowd straight into chaos. False Reality delivered a powerful set that left a mark. Rachel Rigby stood out not just for her intensity but also as the only female artist on the bill, owning the stage with a strong presence. The music was tight and brutal, mixing heavy riffs with sharp, aggressive vocals that hit hard. TRC Coming off an insanely busy festival season. Graphic Nature stepped up to the main stage, I was fortunate enough to see them at both Slam Dunk & Download Festival, and every time it's high energy. Issues with the soundcheck didn’t stop Lead singer Harvey Freeman from igniting the atmosphere. Although the set had to be cut short, the crowd loved every second of it. ‘Geezercore’ grifters Pintglass made their mark with two vocalists holding the front line. Instead of switching styles, they doubled down on the aggression, trading lines, pushing each other, and keeping the momentum high from start to finish. It wasn’t about contrast; it was about impact. Between songs, the band’s personality came through loud and clear. Sticking to their construction-site theme, they bounced off each other with rough, job-site banter, shouting like they were on shift, not on stage. It gave the whole set a loose, fun edge without taking away from the heaviness. Fog hung in the air, and the lights dropped low. The crowd went quiet, and for a second, everything stood still. Then Humanity’s Last Breath hit. No build-up, just thick, crushing sound pouring over the room. Every note felt like concrete falling, slow and brutal. The crowd wasn’t throwing down; they were locked in, like they were bracing for something heavy. Heads nodded in time, eyes fixed forward, and the atmosphere was heavy across the room. This wasn’t fast or chaotic; it was slow, crushing pressure. Humanity’s Last Breath didn’t just play heavy; they made it feel like the ceiling was closing in. Humanity's Last Breath Ghost Fest 2025 was already going down as a huge success, and there were still some big crushing bands to come. FILTH hit the second stage hard as the second-to-last band, setting the stage perfectly before Martyr Defiled. They came through like they had something to prove and made it clear they weren’t here to mess around. Their set was pure punishment. Every riff slammed like a crowbar, every scream dripping with raw anger. It was filthy, and the crowd ate it up. Right from the first song, the pit erupted. No matter how many bands had come before, FILTH turned the intensity way up. Their sound was built for destruction, deep, crushing breakdowns, guttural growls, and riffs. It was one of my favourite shows of the day. Signs of the Swarm tore up the main stage! From the first riff, the crowd was relentless, constant pits, heavy breakdowns, fierce vocals, and even an inflatable orca bouncing through the chaos. David commanded the stage with raw energy, driving the crowd wild. Honestly, they could’ve headlined no question. If you missed this set, you missed something serious. Martyr Defiled Martyr Defiled hit the second stage like they’d never been gone. After nearly eight years out of the game, their return to Ghost Fest was nothing short of explosive. The second the intro dropped, the pit detonated, no warm-up, just chaos. Floors shook, bodies flew, and the energy surged like a band with something to prove. There was no sign of rust. Tight, aggressive, and locked in, they tore through some of their heaviest material without missing a beat. Tracks like Demons in the Mist, 616, and Infidels landed hard every riff a gut punch, every breakdown grinding the room into dust. The band fed off the crowd, and the crowd gave it right back. It felt less like a comeback and more like a warning shot. After so long away, Martyr Defiled didn’t just show up; they dominated. Now it was Manchester’s heaviest to tear the place apart. Ingested hit like a wrecking ball. No buildup, no filler, just straight into a full-force assault that felt like a headline set. Every blast beat cracked like a nail gun, every riff dragged with weight, and there was zero room to breathe. The pit blew open from the first note and didn’t slow down once. The crowd knew what was coming, but it still flattened them. From Ashes Lie Still to Rebirth, every track hit like a hammer to the ribs. Frontman Jason Evans sounded feral with deep, guttural vocals delivered with full force. He had total control of the stage and didn’t let up for a second. Ingested Ghost Fest 2025 didn’t just live up to the hype; it tore straight through it. From the first breakdown to the last encore, the weekend was full of sweat, chaos, and unrelenting heaviness. After a ten-year pause, Ghost Fest came back stronger than ever. If this was the restart, the scene better be ready for what’s coming. Words and photos: Kieran Atkinson

Mission Jupiter do not just craft songs, they shape worlds - and Aftermath is one draped in melancholy, glimmer, and slow-burning power. Hailing from Minsk, Belarus, the dream-rock ensemble has evolved from an experimental project into a fully-formed force that blurs the lines between progressive rock, alternative, post-rock and cinematic atmosphere. On Aftermath, they offer a hauntingly beautiful and emotionally grounded record that speaks softly but leaves an echo. This is a rebirth for the band in more ways than one. The introduction of vocalist Kate Varsak adds an ethereal yet grounded dimension to their sonic palette. Her voice soars with elegance, yet she still knows when to hold back. Her presence centres the band’s cinematic tendencies with a strong emotional core, and with returning members like guitarist Vladimir Shvakel, drummer Eugene Zuyeu, and saxophonist Dmitri Soldatenko, the result is an album that is unified, mature, and emotionally resonant. The production is polished yet dynamic - the atmospheric layers are never at odds with the emotional message. Synths shimmer, guitars stretch out into the horizon, and the drums are sharp but subtle. There’s a quiet confidence throughout the record that doesn’t beg for attention, it earns it. Lyrically, Aftermath deals in memory, distance, heartache, and emotional survival. There’s a strong undercurrent of mourning throughout the album - not just for people, but for moments, for versions of ourselves we’ve left behind. And yet it never sinks into despair. There’s always a sense of movement, of coming to terms with the pieces we carry. Across the album, two songs rise to the forefront more than any others. 'Crippled Country' one leans into the band’s progressive leanings. The saxophone is front and centre here, lending an ‘80s noir feel that contrasts beautifully with Kate’s more modern vocal stylings. Dark, mysterious, and mesmerizing. The second notable track is 'Jak Spyniajecca Bol' - sung in Belarusian, this track adds a layer of cultural intimacy to the record. The emotional core is still universal, but this moment feels especially personal - a quiet triumph in vulnerability. Despite its spaciousness, Aftermath never feels hollow. Tracks like 'Bittersweet (Love Song)' and 'Self-Destruction' add urgency to the otherwise floating palette, while interludes like 'The Dark' offer breathing room without losing emotional continuity. The final track 'This Is Not The End' closes things with subtle defiance - more whisper than roar, but no less impactful. Aftermath is a compelling evolution for Mission Jupiter. It’s dreamy but grounded, cinematic but never distant. The addition of Kate Varsak marks a new chapter for the band - one that feels confident in its restraint and quietly daring in its choices. For fans of Sigur Rós, Beach House, or Mogwai, this album will feel like coming home - if home was drifting quietly through the stars. Score: 8/10 Aftermath was released on June 20th 2025. Words: Claire Elizabeth Whiston Photos: Mission Jupiter

Boomtown Fair returns for its 15th year and the 4th chapter of its new story its been telling since the pandemic. Boomtown is more than just a festival, it has had a story since its inception, complete with actors wandering the site, giving out quests to help punters unravel the mystery of the story each year. Not only do you get music from big-name artists on insane stages, you get an adventure to explore and a fair that truly feels like a different planet. So, in this article we are going to break down 10 artists that you cannot miss. 1) Alien Ant Farm Going for pure nostalgia with this one, any lover of alternative music from the 2000s knows this band for two things: their hit song ‘Movies’, which topped charts and was a constant repeat on rock radio stations for years to come. The second reason is their cover of Michael Jackson’s ‘Smooth Criminal’ with its heavy riffed version and vocals to match the original, this song is an unruly banger that the band are sure to absolutely ham up. But much more than these songs, we predict the band will whip a setlist of all of their best and popular songs with a majority of songs coming from ‘Anthology’ with songs like ‘Wish’ and ‘Courage’ sure to be there to make way for some moshing for alternative fans of every nature. 2) Third Kulture Here at Out Of Rage, we’ve our eyes on these guys for a while, with an incredible blend of genre and some insane production, these guys infused hip-hop with elements of dance, hip-hop and rock to create a blend that we are but excited to see play out live. Along with the intense visuals almost guaranteed at Boomtown, this Trio is sure to impress with their stark uniqueness, their bold statements and for being unapologetically themselves. 3) Boney M Quite frankly, you’ll be silly to miss this one, THE Boney M is at Boomtown, and you’ll get a chance to see the legendary song ‘Rasputin’ live, not only is this legendary to anyone who has played Just Dance, but it is also an all-timer of a song for any lover of 70s/80s music. On top of this, don’t forget that they also have the song ‘Daddy Cool’ which I’m sure will get everyone dancing. 4) Sex Pistols featuring Frank Carter With Sex Pistols reuniting, replacing Johnny Lydon with Frank Carter for vocals, we think it’ll be very interesting to see this band if you haven’t had the opportunity yet. With rave reviews across the board from this reunion, if you’ve ever had a love of their one album, here is your chance, with Frank sure to make up the energy the others can’t. I think this is going to be one of the best sets of the weekend purely for its raw energy and power. 5) Fat Dog If you keep up with the current music landscape, then you have absolutely heard of this band, with an insane meteoric rise, Fat Dog have taken the UK by storm, with a constant touring cycle for the past 3 years. Boomtown is sure to give this group a platform they have most definitely earned, expect massive mosh pits, raucous energy; funny and goofy moments as well as songs you’ll feel right down to your bones as these guys are an Art Rock Band that shake the room of any venue they take on, and i’m sure Boomtown will be no different. 6) Hybrid Minds Nothing but a perfect fit for Boomtown Fair here; Hybrid Minds blend their own very signature liquid DnB with angelic vocals to deliver a vibe that anyone can dance to, this with the combination of Grand Central’s ever improving stage and lighting set-up, this set is expected to be a real journey into pure feeling and connection from artist to audience. I have no doubt the majority of the festival will be at this set with the Duo sure to encapsulate the minds of the attendees. 7) Carsick These lads have been doing well in the touring circuit recently, landing some opener slots that will all but make them bigger; now they finally get to bring their heat to Boomtown. If I were to describe this band in one way, they’re like if you took all the best elements of post-punk, 90s Britpop and made tunes that were more fun with a beer in hand. I don’t mean that in a bad way either, these guys are unpredictable, raw and are just downright fun. I think with a good crowd attending, these guys are sure to put on one of the best sets of the weekend, expect beer down your shirt, expect an elbow to the face, expect to be moving, these guys are unruly. 8) Sean Paul It’s Sean Paul, do I really need to say more? This Jamaican Dance Legend is gracing Boomtown with his presence, sure to bring his live band and fantastic vibe with him; can you really have a bad time with songs like ‘Temperature’ or ‘Get Busy’ alongside Sean Paul’s pure positivity, it’s clear he aims to deliver nothing but pure serotonin to any audience he plays to. 9) Nova Twins This duo are unstoppable, from the incredible roster of headline acts they’ve opened for, to the festivals they’ve played, Georgia and Amy are making quite an incredible career for themselves. If you haven’t seen these two before Boomtown is definitely the perfect place to experience them, They’ll be taking on the Grand Central stage and I have no doubt that they’ll blow you away with their unapologetic and unique style; and for all you music nerds out there Georgia’s tricks she can pull of with the bass are insane, with an absolutely nuts pedalboard and being able to play her bass like a Theremin at times, it’s quite the spectacle. 10) Joey Valence & Brae Probably one of the best artists hitting the mainstream today, this duo have captured everything that made 90s Rock and Rap so great and re-engineered it for a new generation. Sounding like an encapsulation of Limp Bizkit and Beastie Boys, these two like hard beats, hype sounding lyrics and just going for it; with plenty of reference humour these two don’t really take themselves that seriously but it only ever plays into their favour with a set that is sure to get the crowd bouncing. Head to the Boomtown website to find out more information! Words: Ben Blisset

Warkings, the force of nature hailing from Europe, is taking over this summer with their new album Armageddon. Consisting of masked members The Tribune, The Crusader, The Viking, The Spartan and Morgana le Fay, the band has quickly gained popularity since they formed in 2018, and has played alongside legends such as Powerwolf, Hammerfall and Subway To Sally. Armageddon, the latest project of the five-piece band, is a look into some of the history’s most prominent warriors, who fought for their beliefs and lives, and stood at the very brink of their end. They've curated a very extensive track-list of fourteen songs, with some of them such as 'Morgana’s Incantation' and 'Call To Arms' acting as introductions to the upcoming songs, giving the listeners a moment to breathe, before continuing with the action. Focusing on different timelines of history, Warkings’ reach spans from Vikings and Genghis Khan to the Medieval times and witches and everything between, and offers their listeners an extensive insight into different storylines. Title track 'Armageddon' comes as the first full-length song of the piece, and is a dynamic track featuring energetic riffs and powerful vocals. Those vocals would be nothing without the sharp lyrics that portray the atmosphere of battle perfectly. The second song 'Circle of Witches' is a chaotic and intense track, nailing down the feelings of beings who knew something is about to happen. Neither song skimps on The Crusader’s guitars and The Spartan’s drums, using the sounds to their own advantage and creating soundscapes, that are able to teleport the listener in that specific timeline. The use of vocals in both songs is also worth mentioning, as the song 'Armageddon' primarily uses clear vocals, whilst 'Circle of Witches' adds a few screams in as well, creating a fitting atmosphere for the topic of the song. Another song worth mentioning is 'Nightfall', a piece that starts a little differently than the rest of the songs on the album. The track’s features resemble some of Sabaton’s iconic riffs and melodies, yet Warkings remade them into something much more personal and powerful, using the guitar simulate the feelings of heroism and accomplishments. The song on its own bears a unique composition not heard anywhere else on the album that is hard to match, especially with Morgana le Fay’s iconic voice, and it feels odd it was not released as a single. At the end of the project, the listeners are surprised by the song 'Stahl auf Stahl', which features Subway to Sally in one of three features on the album, with the other ones being 'Genghis Khan' featuring Orden Ogan and 'Hangmen’s Night' featuring Dominum. 'Stahl auf Stahl' stands out from the other features though, primarily because the song features both German and English lyrics, making for an interesting blend of the two. Translating directly as 'Steel on Steel', the song is about the historical heroes who fought against each other, and made their names known across kingdoms. Not only does the song use a different language, but it also features an instrument that is not used in any other song - a violin that creates an unmatched atmosphere while listening to it. Warkings have proved, once again, that they are pros when it comes to writing catchy and engaging power metal songs. The album is perfectly executed in almost every sense, with the features of immaculate guitar, drum and bass work. The songs are presented in a well chosen order, giving the listeners a space to explore each of the topics to the core. Armageddon is a very promising album in the history-book of power metal and - apart from the extensive track-list, that might discourage some from listening to the piece - this work is to be considered some of the best out there. Score: 9/10 Armageddon was released on July 4th 2025 via Napalm Records. Words: Katerina Stepanikova Photos: Warkings

After a six-year break, Scottish alternative rock pioneers Idlewild are back with big news: a self-titled album, set for release on October 3rd via V2 Records. This marks the band’s first full-length record since 2019’s Interview Music, and the anticipation is palpable, especially as the band celebrates their 30th anniversary since forming in Edinburgh in 1995. Alongside the album announcement, Idlewild has unveiled 'Stay Out Of Place' the expansive first single from the forthcoming album. Premiered on BBC 6 Music by Steve Lamacq, the track is a striking reintroduction to the band’s signature warmth and melodic immediacy that has endeared them to fans over the years. It is a reflective, immersive journey, gently easing listeners back into Idlewild's world with atmospheric production and the kind of textured guitar work the band has always excelled at. Roddy Woomble, the band’s frontman and lyrical heart, reflects on the themes behind the song: "Walt Whitman was right, we do contain 'multitudes' - there is more than one 'us' in there. We’re choosing a voice from among the many voices. This is especially interesting in a band context, because it's not just one voice, but five voices collaborating, over time.” He continues, noting that the track captures the band’s ethos of shaking up expectations and embracing change: “It felt like a good starting point and (re)introduction to Idlewild 2025.” A Bold New Chapter Produced by guitarist Rod Jones and the band themselves, 'Idlewild' will be the group’s tenth studio album. Recorded in 2024 at Post Electric Studios in Edinburgh and the Isle of Iona Library in the Hebrides, the album brings together the many facets of Idlewild’s sound by pushing boundaries while staying true to the spirit that defined their early days. Since their punk-infused beginnings on albums like 'Hope Is Important' and '100 Broken Windows', the band has traversed multiple musical landscapes, from the mainstream rock of 'The Remote Part' to the sprawling art-pop of 'Interview Music'. On their new album, they draw from all these past selves, unafraid to reference their history but with a fresh perspective. As Woomble explains: “We’re looking back without being nostalgic… realizing that we had a ‘sound’ and the songs we were writing should celebrate that.” What’s Next for Idlewild? Idlewild is not just an album, it's a testament to the band's ongoing growth. The project promises to explore deep uncertainties while also delivering "big ideas" and "memorable tunes", creating a record that’s both introspective and adventurous. It also hints at a broader sense of reinvention that fans can look forward to with every song. The album will be available in multiple formats, including CD, standard black LP, and two limited-edition colored vinyl versions. Idlewild will also be hitting festivals throughout the summer, before embarking on a full tour to support the album's release in October. As always, their live shows will be an opportunity for fans to experience the raw, collective energy that has kept the band vibrant for three decades. Idlewild drops October 3, 2025. Don’t miss the chance to catch them live on tour! Words: Lysandre Pons Photos: Idlewild

The Italian blackened metal punks Stygian are bringing their newest project, Dreadlands, to all their fans around the world. With a meticulously picked line-up, consisting of the vocalist Emiliano Melandri, guitarists Mirko Abà and Lucio Minghetti, bassist Paolo Parmeggiani Lopez, and drummer Rolando Giulio Ferro, the band makes its way swiftly into the hearts of their fans, and even a broader audience, and it is evident that they are not planning to stop any time soon. The band went all in once again and presents to its fans ten unique songs on Dreadlands. The listeners are mostly met with typical blackened metal punk songs, especially at the beginning of the album, and all of them are composed with passion and rage. A perfect example of this is the song 'You Will Not Survive This Night'. The listener can hear distinctive traits of both black metal and punk, such as the fast tempos and harsh vocals, that are very typical for black metal, and a raw, often distorted sound present in punk. The atmosphere of the song is dark and chaotic, playing with the intensity of both genres, resulting into heavily narrated track full of riffs, drums and screams. Stygian decided to change their usual style a little bit, and came up with the absolute explosion of emotions that is 'Burning Mires'. The song starts off with an acoustic guitar and clear vocals, both of which the listeners do not hear often in the band’s work, only to flip into an absolute blast of sounds that carries the song around until the end. This song in particular is a perfect showcase of the composing abilities of the band members, as it dives into some territories that are not so familiar, yet it always comes back to the band’s roots and brings the chaos and tension with it, making the sound familiar, yet exciting to explore, as it does not tend to be stuck in one direction. The band also shows off its ability to compose heart-breaking bridges, and the perfect example of this is in the song 'Spirit in the Mist'. Starting off with subtle guitar strumming, this part then evolves into an intense battle between vocals, drums and guitars, gradually adding sounds and elements, until it explodes into a big bang of dark energy and chaos projecting into the listener’s ears. Although the songs are composed greatly and they do implore the listeners to feel the emotions they carry with them, they do not have any transitions in between them, resulting oftentimes in messy changeovers that do not give space to let the melodies and sounds fully sink in. Nonetheless, Dreadlands is still an excellent example of blackened metal punk, with a dread-filled energy, heavy lyrics and and intense melodies. Stygian did a great job ensuring each of the songs features both familiar and unfamiliar sounds. Score: 8/10 Dreadlands was released on July 4th 2025 via Time To Kill Records. Words: Katerina Stepanikova Photos: Stygian

Angel Du$t, the genre-bending punk/hardcore powerhouse, has officially joined the esteemed Run For Cover Records, marking the next phase in their relentless evolution. The announcement comes with a bold statement: a new 7" single 'The Beat', featuring two fierce new tracks entitled 'The Beat' and 'The Knife.' This release, out today, not only signals their return after the critically acclaimed 'Brand New Soul' (2023) but also sets the stage for an even more aggressive and creative direction in their already boundary-pushing sound. A new era: 'The Beat' and 'The Knife' With the first material for their new label, Angel Du$t dives headfirst into their most unrelenting work yet. “The Beat” is a tour de force of hardcore energy mixed with rock & roll swagger. The title track is a galloping riff-heavy anthem, with guest vocals from Taylor Young (Twitching Tongues, God's Hate), further intensifying the track’s already explosive power. Paired with a frenetic, horror-inspired music video that complements the song’s breakneck pace, 'The Beat' is an adrenaline rush that leaves no room for pause. In contrast, B-side 'The Knife' brings a more psychedelic flair to the table. With its stomping rhythms and haunting, dissonant production, it lingers with a hypnotic tension, breaking into waves of heavy distortion. The track is a testament to Angel Du$t’s range, mixing their ferocious hardcore roots with experimental flourishes that push the boundaries of the genre. The 7" also includes an exclusive vinyl-only bonus, for those fans who aren't just in it for the originals: a cover of Bugg's 'I Don't Wanna Hear It', featuring Scott Vogel of Terror on guest vocals, cementing the band’s status as a fixture in the hardcore scene. A natural fit with Run For Cover Records Vocalist Justice Tripp explains that joining Run For Cover was a long time coming: “It was just so organic and natural. I’ve known the people at RFC for years and respected them deeply, but I never really thought to ask them about putting out our music. When it finally came up, it just seemed like the perfect fit. They’re creative, alternative, sometimes heavy - just like Angel Du$t." Originally formed as a side project by Tripp after his time with Trapped Under Ice, Angel Du$t has become a mainstay in modern punk and hardcore, continuously evolving their sound. Over the years, they’ve become an institution in their own right, challenging conventions and paving the way for a new wave of musicians unafraid to experiment with their craft. UK Tour and upcoming North American dates To accompany their new release, Angel Du$t is gearing up for a highly anticipated UK tour next month. They’ll headline United & Strong Fest in London and perform two incendiary headlining shows in Newcastle and Leeds. Fans will get to experience the band’s relentless energy live before they hit the U.S for an extensive autumn tour, including dates with Fleshwater, Narrow Head, Ovlov, and more. The Beat is available now via Run For Cover Records on 7" vinyl and all streaming platforms. For collectors, the limited-edition vinyl includes the aforementioned bonus track, making it a must-have for fans and vinyl aficionados alike. Words: Lysandre Pons Photos: Angel Du$t

Arctangent is a musical paradise for music nerds who want to mosh. A true otherworldly experience filled with heavy, experimental and downright bizarre music. The 2025 edition of the festival is full to the brim of acts that you definitely would not want to miss, but as the lineup is so dense with quality acts, this list aims to show you a rough starting point of acts you will enjoy seeing at the festival. Leprous Legendary proggers Leprous will grace Arctangent once again with their unique take on music. Their sound is heavy but nowhere near the heaviest act playing the festival. As a live act, they truly come alive as a unit, creating an impressively dense wall of sound. The frontman, Einar Solberg, truly puts his heart into every performance, delivering masterful vocals and virtuosic keyboard parts. They are a joy to see take the stage. They are the perfect band to see at Arctangent if you want to bask in the sheer glory of proggy goodness. Ithaca Many thought their final headline show would be the last we see of Ithaca. Tensions were high at that gig, many upset to be seeing such a great band for the final time. But at the end of the set, an excellent career-defining set, a glimmer of hope shone through. “See you at Arctangent”. Another chance to see this excellent band live. Hey are heavy, brutal and above all else honest. They carved their own place into the history of heavy music. This may be the last chance to ever see them. The perfect band to see if you love heavy music and just want to cry. Sleepy Time Gorilla Museum Do you enjoy bands that sound like no one else? Do you want to see a band that feels like a nightmare? Then Sleepy Time Gorilla Museum may be for you. They push the boundaries of what music can truly be. Their music is obtuse, heavy and dense, yet it is truly captivating. Playing much of their music on custom-built instruments and having elaborate routines on stage, they are not a band to be missed. This will be the first time the band return to the UK after reforming in 2023. The perfect band to see if you want to see instruments you won’t see anywhere else. Melvins The Melvins are very influential, if not by accident. They are the reason Kurt Cobain met the rest of Nirvana. The band covers a variety of genres best being known for their sludge metal stylings. The band tries and constantly push what a Melvins album can be. The one thing in common is that they will always melt your face off with great riffs. Led by Buzz Osborne, they are true living legends, and there are very few bands that have their legacy of over 40 years of solid music. They are the perfect band to check out to see living legends craft a unique and heavy set. The Callous Daoboys The last time The Callous Daoboys played Arctangent, the tent was absolutely packed to the brim. They have made themselves known as one of the most exciting mathcore bands around currently around. Their sound is a unique blend of modern metal that works perfectly for getting a festival crowd going. With a tongue-in-cheek attitude and an undeniable amount of charisma, they are the perfect band for the festival. Metal heads love to party, and the band knows that. The perfect band to see for classic festival party vibes. Rolo Tomassi Another one of the mathcore bands at the festival, Rolo Tomassi are loved by the community. In true Arctangent style, the band loves to play around with time signatures and blend genres. They are every part as prog as they are metal, yet don’t necessarily fall into the trappings of either genre. A true forward-looking band in everything they do, they know genres don’t matter, making good music does. They bring their energy with them on stage every time they play. The crowd will show up and give the band the energy back. They are the perfect band to see if you can’t make your mind up about which genre to see. Clown Core Clown Core is an anonymous experimental duo who have been making waves for years in the underground. The band almost take the attitude of old circuses, show the crowd something that will absolutely leave them guessing what just happened. Taking elements of jazz and metal and twisting them into their own Clown Core sound. They are so over the top that they fall just outside of being a gimmick band. They are another one of the high-energy bands known for having the ability to make entire crowds explode into frenzy. The perfect band to see if you want to question what music even is. Between the Buried and Me Between the Buried and Me feels like one of the newer progressive metal acts, yet it's been 25 years since they formed. Arctangent really knows what their festival is, as yet again we have another metal band that can’t be pinned into one specific genre. They blend everything good about metal, from catchy riffs to brutal breakdowns featuring flavours of thrash, death, and everything metal can be. Between the Buried and Me has that magic that makes bands undeniably powerful. The perfect band to see to sample a little of every part of metal. Meryl Streek Political Irish punk isn’t the first thing you would think of at Arctangent, but with all the music at the festival, it fits perfectly. Coming off his second release, he really is refreshing within the world of punk. Taking his own stylings with the underlying attitude of punk, he crafted a unique place within the scene. With the lineup as metal dense as it is, filling your festival day with other genres helps to ensure the perfect festival day out, making sure every band has a chance to shine on their own. The perfect act to cleanse your palate after a lot of metal. Green Lung Stoner rock seems to be on somewhat of a mini resurgence, and Green Lung are one of the best modern stoner bands. Taking elements from many classic rock bands and making them into these dense, sludgy riffs that you can smell the smoke coming off. Uniquely inspired by old British folk horror and folklore, they will fit perfectly into such a diverse festival. Currently, with only having 3 albums out, their discography is strong, and they have been building up a fanbase, placing them in such a high-tier booking at the festival. The perfect band to see a refreshing new take on old school metal. Catch all of these bands and more at ArcTanGent Festival. More information can be found on their website. Words: Will Freeman

The ever-mysterious Phantom Heir are set to release a brand new EP named Fragile Immortals, and if you're searching for an artist that brings good music and good morals, this could be exactly what you thirst for. Phantom Heir is a completely faceless artist that desires to create tunes discussing and expressing the anger felt by today's world politics. The artist, referred to as the entity, draws its inspiration from different genres of metal and hardcore to spark certain synaesthesia in the minds of listeners. It has been racking up tracks in its discography since 2021, and has released multiple singles and two full albums in that time. The new EP continues to explore the mindscapes that can be carved with sound. The first track up ‘The Inquisition’ transports you to an eerie war zone using a range of sound effects and humming notes, along with radio recordings - before a distorted guitar rips into the song. Bellowing screams meld in accompanied by drums, a certain bell or tambourine instrument does ring quite sharp on the ears and could perhaps be adjusted in future editions of the track. ‘The Revelation’ kicks in much more rhythmically than the last, with a fast tempo and primitive shrieking vocals. This song is very interesting to the more musically tuned ear, as it switches time signatures throughout the three and a half minute run time, a much less frequent approach in these shorter, digestible durations. The chorus draws in melodic vocals from both a male and female voice, layered together, moving in alignment. Crashing cymbals and a distant distorted guitar riff once again cultivate something eerie from a prominent metal track for the artist, mixing many elements of the ever expanding genre. Next on the roster is ‘The Tyrants’ which, much like the last track, is highly experimental with its beats while remaining easy listening, in so much that it still retains a clear enough beat that even the most pulverized metal head could two step to. This track opts for a spoken word verse that the vocalist projects right from the chest, then moving onto another melodic section - this time containing only a male voice, that is smoother and more airy than the last track. ‘The Harbinger’ is used to close out this EP, with a repetitive, cycling guitar riff that haunts the ears as the vocalists screams overlay it. This song also has its vocally melodic moments, at moments it even underlays the screams, adding a layer that might traditionally be done with a synth or bass, where this artist chose to use its voice. The lyrics explore themes of endless cycles and a humans’ relationship with death. This EP is far from perfect, but it certainly showed us an artist that has a lot of potential to break into the metal and hardcore scene. Its musical ideas and deeply political messages portray an artist that has a lot to say, and we’re sure it's far from done. We look forward to hearing the auditory carvings to come from this anomalous entity and exploring the mysteries it beholds. Score: 7/10 Fragile Immortals will be released on July 4th 2025. Words: Amy Smyth Photos: Phantom Heir