It’s been a beautiful summer for Brighton’s REALLY BIG, REALLY CLEVER. Inbetween opening for the likes of HOBO JOHNSON and REGAL CHEER, and a smattering of festival slots, they managed to find time to release their sophomore album ...huh – a grungy set of tracks designed to be played loud, and preferably to an audience of people willing to dance along. So when they announced their 10-date headline tour to accompany it, fans up and down the country presumably breathed a sigh of relief. Their final stop brings them to rainy Birmingham, on a busy Saturday night along the canal. It may be the birth place of heavy metal, but tonight the spotlight is on the British underground emo and pop-punk scene. Alongside REALLY BIG REALLY CLEVER on the bill are THE LOSING SCORE, playing a charismatic set full of catchy emo-pop that really works for bringing the energy up amongst the audience members. Their tracks are fun and bouncy, and it’s impossible not to mirror the lead vocalist’s permanent grin every time he’s within eyesight. Yorkshire-based pop-punkers SAFEGUARD are up next. Returning this year after a 6-year hiatus, they come out swinging with a slightly more melancholy set, peppered with statements of gratitude for a warm welcome back after so long out of the game. It’s music designed to be shouted along to, and although the crowd aren’t quite there yet, it feels like it won’t be too long until they have crowds who are. Melodic emo rockers SUDS take to the stage next, all twinkling guitars and soft, mellow vocals. It’s a refreshing palette cleanser between some of the more frantic sets of the night, with some of the tightest playing to be seen all night between the four members. The energy in the venue is brought back up by JETSKI, who bring their own brand of emo music down from Sheffield. The drummer is impossible not to watch, his frantic playing full of energy and passion, which the rest of the band try their best to match with decent success. Their songs are catchy and the crowd buzzes the whole time they’re up there. When REALLY BIG REALLY CLEVER make it to the stage, the venue is nicely packed out – not even the rain can keep Brummies away from a live show. They launch straight into the opening tracks of their shiny new album, which has been out for just under a month, and as Back Door reaches its peak, the crowd starts to nod along. When they finish the track and ask everyone to come closer, they blindly obey – which for an up-and-coming band is basically the best confirmation that they’re doing something right. This adds a shot of confidence to their performance, and they shred through the next few songs with giant grins. The Middle is a track that feels so much bigger in a live setting than it does on the record, and even the people stood at the back of the venue can be found nodding along, whilst the die-hards at the front jab their hands in the air for every word of the chorus. Karma gets a similar response, and it’s a true testament to the songwriting on the new record. The band may be slightly nervous in their performance of the new material, likely due to its newness, but the joy in their playing makes up for any little mistakes. Their older tracks come out sounding a lot more polished, the grungier tone of tracks like It’s Changed matching the raspiness of the lead vocalist’s tour-worn voice. They play fast and hard, and it’s clear that they’re having as much fun on stage as everyone in the crowd is. They offer a couple of options for the final song to the audience, before deciding on the album closer from their self-titled debut, Forget You. They thrash about the stage wildly, with both vocalists moshing so hard their long hair keeps getting stuck to the ceiling with sweat. At one point a mic stand is knocked over, and in true rock-and-roll fashion it’s ignored, leading to the bassist’s mic being shared in one final, triumphant chorus. They leave the stage with bigger grins than they came on with, and end their tour with a flourish. One thing is for sure: REALLY BIG REALLY CLEVER know how to have a good time, whether that’s in their studio recordings or on a stage. Words: Ellen Lovell Photos: Ewan McDonald

The stage is set, the fans wait with anticipation in the air, and there’s a preshow playlist featuring the YMCA- it can only mean one thing: Busted vs McFly. The two boy bands that took the world by storm in the noughties are back with a tour bigger than ever, 25 years later, at the BP Pulse Live, Birmingham. In a competition for the history books, sweeping across the UK, there can be only one winner. So who will be named champion and take home the winning title? That’s up for you to decide. Kickstarting the competition is McFly, launched onto the stage from underneath and packing a punch with the opening song ‘Where Did All The Guitars Go?’ paired with flying sparks and egging the already screaming audience to cheer as loud as they could. Blasting straight into fan favourite ‘Star Girl’, the Indie/Alt classic is met with an entire arena of singing voices and excitable energy. Song ritual ‘Star Girl Kicks’, which resembles can-can interchanging leg kicks, is expertly executed by Danny Jones, Tom Fletcher and Dougie Poynter. Not only are these kicks completed, but also span the width of the stage, and all three of our guitarists run around and connect with fans on every level. There are plenty of call and responses from the band to the crowd. McFly know when to drop back and allow the fans to take over, and it only plays to their strengths. A prime example of this is during ‘One For The Radio’, “We Don't Care!” is shouted back and forth, gradually getting louder and louder, and you can’t help but join in. The high energy every member of the band brings is not lost, interacting with fans and connecting one on one multiple times throughout the set. The huge overhead lighting rig provides visuals on LED screens but also tilts, lowers and is able to somehow make some numbers feel intimate- ‘All About You’ features simple orange-toned backlights, widescreen views of the crowd projected on the back wall and a lowered rig that adds to the intimacy of the moment. A mix of ‘Transylvania’ and ‘Lies’, Harry Judd on drums is in his element, with the guitars playing a back and forth between themselves and the drum fills. It’s important to note that all of our guitar players routinely interact with Harry and make sure to highlight him just as much, even if he is more stuck in one place. McFly close off their set with ‘Red’, Danny asking everyone in the arena to get down as low as they can before exploding back up in jumps. No corner of the venue is still and only highlights how well McFly engage with their fans- even if you prefer their rivals, you can’t deny that they put on a spectacular performance. The screens glitch, the large lighting rig coming down to block the view of the audience, leaving everyone in suspense. A red outline of Busted in slowly etched in by a laser pointer mixed with thunderous drums and fire, flashing lights and glitched tv screen imagery. Screens lifted to reveal our second contender of the evening, Busted. Opening their set with ‘Crashed The Wedding’ is entirely apt for their entrance, as they take to the stage with a storm and confidence. Purple and orange lights cast over the crowd, arms flying up in time with fan favourite lyrics and a rush of excitement that has everyone on their feet. Addressing the crowd for Busted, Matt Willis addresses the obviously missing member, James Bourne. Speaking about how obviously disappointed that James cannot join them this evening, that health is so important and that even though he’s not physically there, he's probably “watching a stream right now”. After speaking as a band, Matt and Charlie Simpson let us know that while James is missing, his replacement in the meantime is someone very close to him: his younger brother Chris Bourne. Matt remarks remembering teaching Chris guitar when he was younger, and it's clear to see how excited he is to get to be on the stage joining the band. “Are there any loser kids?” is met with loud cheers as we fly through Busted’s tracks. A track that centres around the feeling of being overlooked, bullied when you are younger, but in later years transformed into having acceptance and feeling empowered. With the absence of James, it’s up to the crowd to sing his verse, which is the first in ‘Sleeping With The Light On’. Phone lights out for James, the entire arena all lit up with the slow swaying lights and filled with the sound of 15,000+ voices. The slower song takes a moment for the crowd to enjoy a more stripped-back number, before we carry on into the faster-paced pop-punk tracks we know and love from Busted. “Can we try something?” and when the crowd's response is not loud enough, Matt prompts again, “Can we f*cking try something?!”. Crowd participation is a must have for Busted, with plenty of times for shouting lyrics and call and response well placed throughout- 'Thunderbirds Are Go’ uses the ‘da da da da’ for this expertly. Timed with lights that brighten for when the crowd is to sing, fire pyros that don’t let up for the entire set and some of the best tracks from the 2000s, no wonder Busted are still such a firm favourite. Closing their set with ‘What I Go To School For’ leaves the crowd on a high and still with much anticipation for how the show will end. Headbanging in time, jumping up and down and commanding the crowd with ease, allowing the audience to sing the final lyrics as the lighting rises once again lowers to cover the stage. Opening the final battle, Busted vs McFly, our two drummers, Eddy and Harry, play in tandem on centre stage. Cymbals clashing, lights flashing, and fire leaps from the stage repeatedly. While our main attention has been cleverly drawn to the main stage, Matt from Busted and Dougie from McFly have snuck round to opposite sides of the arena, halfway down and in between fans in the seats. Screams of excitement from all fans, no matter what band they are here for or both! When both are back on the main stage, each band takes turns playing 1-2 songs of their top hits, notably ‘Air Hostess’ for Busted and ‘5 Colours in Her Hair’ for McFly. It’s a fierce battle, and you can’t help but get wrapped up in all the excitement; not singing along is impossible for these most recognisable tracks. Joining forces together as McBusted, for our encore, we are treated to ‘What Happened to Your Band’, which is the first time this track has been played since 2019! Closing out with ‘Shine a Light’ and ‘Year 3000’, everyone singing at the top of their lungs, each member of the bands moving together easily- saviouring every second that they can. As confetti rains down, it’s not clear who might have actually won the battle- but that's of no matter. The evening has been a prime example of how the 2000s produced some of the best pop-punk British bands, and a masterclass in leaning into rivalry to produce a night that the fans are not going to forget in a while. Maybe the real winner of Busted vs McFly was the friends we made along the way. Words: Tyler Whiting Photos: Mcfly Vs Busted from Halestorm PR

It’s a hot June night, a dreamy play of brass, keys and electrified strings emanate from the midst of a wood workshop called, We Make Our Way. The acoustics amongst the timbers are excellent, and the smell of fresh cut wood is in the air. The dancing audience spills on to the street where a few doors down is, The Grove. Pounding out from the old retail space, is an explosion of trashy noise rock, played to an audience of gen z goths, punks and subversives, a roomful of the neighbourhood's alternative queer scene. The band, Idiocy, is thrashing out screeching, distorted guitar riffs and vocals, atmospheric synths, with a sickeningly hard hitting bass line and drums. The lead singer wears a tshirt with the words ‘Cunt Baby’ scrawled across, and the crowd jump around with plenty of satisfyingly unrestrained head nodding. Just a typical night, in the eclectic and vibrant, DIY music scene of Nottingham. Gaining a reputation for many things, Notts isn’t often praised for its creativity and culture. Positioned under the prominent seam of Northern cities running, halo like, above it and connected to London, with its plethora of everything, via a short trip down the M1. To its West, is its midland brethren, and the mecca of metal, Brum. I believe that is what you call a ‘strategic location’. Sort of like Singapore, but grimier, and in the East Midlands. Underestimated by its humbleness and lacking in bombast, could this be the cultural underdog of the UK? Full of left of centre rebelliousness, Nottingham’s creatives seem to invite strangeness and freedoms, unthinkable in larger, self aware cities. The city council is bankrupt and distrust of the establishment is felt everywhere, so ofc, people are making their own fun. Traditional folk nights can be seen across the city, blurring with young musicians experimenting with sounds, both acoustic and electrified, with an especially regarded session held down at the King Billy pub on the edge of town. And what is folk if not creativity from the bare essentials, art for arts sake? Folk, real folk, is not an aesthetic or a rigid musical genre, but a necessary form of working-class self expression, its punk, its metal and its anything but mainstream. This grassroots creativity effortlessly bleeds through to the adjacent Sneinton Market area. We Make Our Way and The Grove are based here, but also the equally innovative and radical venues, JT Soar, The Carousel, Stuck On A Name Studios and Movers - the home of Swing Dash Radio, and The Nottingham Female + NB DJ Directory. Idiocy are one of the most exciting bands coalescing at this artistic nucleus, made up of Ella, Rachel, Jacob and Solstice. Spilling over with anti-capitalist spirit, the group live and breathe their ethos, refreshingly without an ounce of pretension or self-importance. Having just finished recording their album with Galen Sounds, and releasing some much anticipated singles later this year, they are part of an experimental and politicised scene of musicians and artists including Retina, Finbar Ansbe and Cheap Dirty Horse. Forming a sort of post-folk sound, which criss-crosses with other heavier ‘post’ and noise genres; a Venn diagram that includes bands like Pict, Odio and Earth is Doomed as well as crews of organisers, like the queer anarchist group, The Art and Crime Collective and the weird and wonderful, Rights For Flies, keeping rosters busy, platforming diversity where their very existence becomes an act of defiance. Creating safe and inclusive spaces for people from all walks of life isn’t all just serendipity, organisations like the Pastel Project are working hard to make Nottingham genuinely open to gender diverse and trans lives. Aiming to be the first ‘sanctuary city’, they are holding companies and venues accountable, in real time, for their commitment to inclusivity. Look out for their sticker on the door of any public venue! Mainlined into the city's approach to culture, is the legacy of the infamous DiY Free Party Crew, an integral part of the 90s UK dance music culture who fused their anarchic values with traveller knowledge. Today, renegade festivals like Notts Punkx Free AF and Punk 4 the Homeless carry on this anti-establishment approach, with local punks, Smear, harnessing that raw, rebellious energy, at every gig. Over in the historic inner-city neighbourhood of St Anns, sits CRS, Community Recording Studio, a remarkable grassroots youth centre set up by the legendary community leader, Big Trev. Dedicated to supporting its local young people into music and film, they also produced UK underground hip-hop giants, Out Da Ville, and more recently ALT BLK ERA. Made up of sisters, Nyrobi and Chaya, ALT BLK ERA are proudly independent and fiercely innovative, blending genres of metal, electronica, hip hop and alt pop, whilst advocating hard for disability inclusivity and accessibility within the industry. They released their album, ‘Rave Immortal’, on Notts own Earache Records; a pioneer of extreme and experimental music since the 80s, releasing records like Napalm’s game changing ‘Scum’. The extreme music scene here, still fosters a milieu of genre-bending music; bands like Lindow Moss, notable for their brutal death metal and sporting a very fetching Tom of Finland style album cover for ‘Run Free, Run Amok: .....Among Dark Satanic Markets’ and FILTHxCOLLINS, masters of the <1min grind song, are just a few that keep the blastbeats drumming through this heartland. Hardcore band Skitz, along with promoters Wake The Dead, are giving some of the best HC nights in the Midlands. Even the established venues like the Tap & Tumbler, The Angel, The Bodega, Rescue Rooms and the new Mist Rolling Inn, provide a reliable constant full of metal, hardcore, punk, and rock, and host many of the underground-focused festivals like Mangata, 99 fest, Tonehenge and Tuckstock. Providing an anti-fascist, anarcho voice to the ‘Is__sketch?’ question, Nottingham’s Underdark, is in the vanguard of the new wave of black metal, bringing intense, atmospheric darkness and an unapologetic leftist clamour. With her hauntingly ferocious vocals and performances, the band seemed to really crystallise when singer Abi Vasquez came on board in 2019. The uprising of RABM bands has breathed fresh life into the scene, making space for those who are not specifically politicised, but nonetheless emerge from this political shift away from gatekeeping and towards progress. Shadowvale emerged post-covid with their brilliant dark drudgery, which crosses multiple metal cache’s, a sort of Rorschach of sound, delivering a wretched orchestration you want to throw yourself into the pyre for. Band members, Richard, Ryan and Lee, drive this melodic sludge, where vocalist Lara, delivers a potent mix of pained visceral growls with lyrics drawing on some of her darkest depths. It's a poetry that ventures far beyond your standard gothic narrative. Their next big release for 2026 promises to deliver some exceptional sludgy blackened death. In a constant, palpable flutter, the creative ley lines crossing the city pulsate, and it is impossible to follow all its vital paths. It really needs to be experienced. Vampireish, you can crawl the streets yourself, end to end in an evening and find the depravity, the headiness, the experimental and most importantly, the fresh blood. Words: Alana Madden Photos: Kayleigh Fryer, Robbin Dobbin, Sam Hull

The sea is calm, and the winds breathe gently in an all-encompassing tranquility. There is nary a ship in sight, and you're stranded on a desolate shoreline, watching as the wreckage of your own vessel is slowly claimed by the depths. You resign yourself to your fate, and realise nobody is coming to save you. That's when you hear it – raucous cheering, and the echo of sea shanties in the distance. On the horizon sails your salvation: TERRA ATLANTICA. The four-piece crew, hailing from the home of power metal, Germany, are a band that knows what works, and stay in that well-charted territory with each new release. After all, if this stretch of the sea has more treasure to give, why sail away? This is their fourth release adhering to their recipe of success – classic power metal with a coat of pirate-themed paint – and it promises more gold than you could ever unearth from a buried chest. This is Oceans. We start off with a gentle piano melody in Ocean Fever, before our captain and vocalist, TRISTAN HARDERS, recites a short oath to the tides that lay in wait for him and his crew. The transition from grand inspiring overture to dramatic and imposing instrumental passage is as fluid as the waves, and gives a perfect segue into Back To The Sea. Already we're being dragged along in the wake of their ship by intense speed passages and dynamic vocals that inject us with real seafaring energy. It's a perfect introduction to our musical journey, though it does admittedly lack that memorable quality until the eponymous chorus kicks in. Hoist The Sail makes immediate amends for that, a jaunty tune immediately grabbing our attention with DAWID WIECZOREK's catchy guitar riffs and JULIAN PRÜFER's backbone of a bassline already intense before NICO HAUSCHILDT brings his rolling drum rhythm into the mix. There's a subtle instrumental element of this track that adds much to their themes – as we pass the halfway mark, we're treated to what sounds like a pan flute melody, and it begins to feel truly as if it was captured from the golden age of piracy. This is intensified when the backing vocals from WIECZOREK and HAUSCHILDT kick in and almost bring the song into sea shanty territory, though they don't quite breach the line. Caribbean Shores is a definite standout on this release, a track that intertwines electric axe riffs with exotic Caribbean drumbeats, an eclectic mix that has the crew fully embracing their cultural influences. There's a bright atmosphere that breathes through this track, emphasised with the calls of seabirds lurking in the sea-themed backing soundscape, and it has us picturing ourselves relaxing on the sun-soaked islands HARDERS sings about. Turn Of The Tide, however, has us returning to the intensity from earlier, and channelling that into the idea of a nautical battlefield. Our crew is out for blood, and nobody will stand in their path. Through The Water And The Waves carries those themes into our a further glimpse of something heavier lurking beneath the waves, grimy riffs backed by resounding chants that warn us the crew are a force to be feared. For a moment, an opponent joins the fight: enter PETE SIELCK from the band IRON SAVIOR. In keeping with the darkness-infused rhythms, he growls his way through the lyrics and offers a striking contrast to the more traditional vocals of our captain. This, in ways other than just the track name, feels like a play on DRAGONFORCE's iconic Through the Fire and Flames, but to their credit, it works perfectly independently. Tranquil, stripped-back guitar strums soon lead us gently into oceanic hymn territory with Where My Brothers Await. It's a track laced with vulnerability that reaches for the heart strings and pulls on them gently, a memorial for fallen brothers and crewmates lost in the endless search for the sunken city of Atlantis. Said kingdom makes an appearance when our next track enters the fray: Land Of Submarines, a track with an insanely catchy chorus referring to the eponymous lost kingdom, and a groovy bassline to back it. A talent TERRA ATLANTICA have is that they're able to not just perfectly execute the frenetic passages inherent in the genre, but pull off beautiful power ballads too. This is especially evident in Raven In The Dark, with its sliding-scale vocals and steady, deliberate rhythm sections. To The Realms Of Gods promises glory in eternity, a treasure greater than any mortal possession. The instrumentation gains an eerie edge, and has us pondering in deep suspense – have the crew gained more than they bargained for? This dangerous journey is reaching its peak, and it's only now we realise fully the magnificent scope of their odyssey. Grand finale Oceans Of Eternity has the crew landing on a much more classic-sounding power metal sound, reminiscent of early AVANTASIA. This ten-minute epic is the culmination of their perilous search for the kingdom lost to the waves, and it feels fittingly massive. Doom-laden chants fill the space between lyrics and instrumental passages – of which there are many. For many long stretches in this song, HARDERS takes a step back and the instruments take a much-deserved place at the forefront. As the track begins to wrap up, we're stripped back to vocals and a soft orchestral swell, soon joined by acoustic guitar. The drums kick in, and emotions rise from the depths in us as the frenzied tones of guitar return for a final send-off. It's a bittersweet ending – the journey is over, but it inspires adventure in us. A pounding drumbeat brings us to the very end, and we fade out on crashing waves. While Oceans does little to step away from the formula that the crew have cultivated, they have proven that sometimes territory already charted can still yield new treasures. They tread the shallow waters of serenity with their stripped-back serenades, and dive deep into turbulent tidal waves with their emotional power ballads and orchestral metal epics. One of the more unique emerging bands in the power metal sphere, TERRA ATLANTICA are definitely one to watch – point your telescope at the horizon, and keep an eye out for where they might go next. Score: 8/10 Oceans will be released on September 26th 2025 via Scarlet Records. Words: Naomi Colliar Duff Photos: Terra Atlantica

Have you ever wondered what it must feel like to experience the inception of the biggest names in rock? Well, settle in, because DIE SPITZ’s album Something To Consume is an exclusive invite to witness exactly this. An album that feels like discovering the next big thing, reigniting your love for finding new artists, whilst treating you to echoes of the artists that your love for music was built upon. They’ve only been around for a few years but it’s clear that DIE SPITZ – consisting of AVA SCHROBILGEN, CHLOE DE ST. AUBIN, ELLIE LIVINGSTON, and KATE HALTE – have built a haven of creativity amongst themselves. Not only exploring every corner of each member's musical talents, but doing so whilst smashing the sometimes stagnant expectations the industry can have for new artists on the scene. Pulling from an expanse of musical influences that flow through them, they’ve created a tracklist that keeps the listener hooked, truly serving something for rock fans hiding in the depths of the many subgenres we know and love. Something To Consume starts off with the punchy energetic guitar riffs and angsty undertones of Pop Punk Anthem (Sorry for the delay). Moving into Voir Dore, the vibe is almost flipped on its head, with a swinging beat overlaid with sweet raspy vocals. Sound to No-one is a shoegazey siren’s song, with a dreamy choral aura, flowing into Go Get Dressed that lulls us in with dark, folky tones. Despite some of these momentary soft spots, tracks such as Throw Yourself To The Sword and Down On It are thrashy, guitar laden reminders that DIE SPITZ were inspired by many iconic genre-defining artists, from NIRVANA to BLACK SABBATH. As we move through the tracklist, we are not taken on an obvious journey. Something To Consume refuses to follow the status-quo of predictability, allowing a levelled playground for all 4 members to find their voice, whilst seemingly having a great time doing so. LIVINGSTON stated “As a person, I don’t have a strong ego or voice, but within this band each one of us is capable of so much more.” and this album is concrete proof of this notion. With the members passing the mic or swapping instruments throughout, DIE SPITZ are an energetic example of ego-less creative cohesion. Don’t just take our word for it – in the three years DIE SPITZ have been unapologetically honing their sound and ferociously playing out live, they’ve garnered the backing of some exciting names from the scene. Something To Consume is due to be released on JACK WHITE’s esteemed label Third Man Records on September 12th, with the band having worked with producer WILL YIP on the record, whose roster includes the likes of TURNSTILE and MANNEQUIN PUSSY. With reports of their refreshingly riotous shows, unsurprisingly they’ve supported the likes of AMYL AND THE SNIFFERS, and are currently on a run of dates supporting VIAGRA BOYS. From here they’ll head straight into some headline shows of their own, which are already selling out. In their timeless track Riding With The Girls, LIVINGSTON shouts “Bigger things, bigger dreams, bigger fish”, and DIE SPITZ are destined for exactly that. Something To Consume is a dynamic display of feminine rage through a genre bending landscape. It’s an invigorating and supportive safe space for making music amongst friends. But not least, it’s an exhilarating time to be a fan in the audience. Score: 7/10 Something To Consume was released on September 19th 2025. Words: Georgia Grant Photos: Die Spitz

We live in a kaleidoscopic world, the limits of creativity a thing of the past - where before things were put into strictly prescribed boxes, those constraints have been blown wide open and nothing is truly underground. The explosion of the internet and technology in general has hastened the end of the stranglehold of gatekeepers deciding if something is art or not, as millions of people are able to express themselves without having to put everything through a committee. Nowhere is this truer than with music, the ability to sidestep fences leading to one person’s idea being seen through and put out there for the whole globe to savour. Thankfully we’ve been pushing towards a point when all are received and embraced and, although the battle continues, it’s a better world where bands like RAINBOW KITTEN SURPRISE can be heard and loved, no matter where you are. Hailing from Boone in the Blue Ridge Mountains area of North Carolina, the quartet were formed when two friends decided from their dorm room that a life making music was going to be the thing they really wanted to do. Now, twelve years later, fifth album Bones brings the next step in their vision to life, the band swiftly following up last year’s critically and publicly acclaimed Love Hate Music Box with another venture in sound and light. Shaped by their experiences over the recent events like the cancellation of the whole of 2023’s touring cycle caused by a band member’s illness, and parting company with bass player CHARLIE HOLT in 2024, there was a lot of catching up to do, and Bones feels the result of an outpouring of creativity that came as a riposte to those blows, the outfit pushing forward harder than ever. To follow the catharsis of the previous album in such a bold way shows just how much these KITTENS have grown. Thankfully, none of this latest release feels forced, and those who have been with the band from the beginning will find a natural progression evident, with new delights that widen their appeal further without ever selling out their core identity. Sonically, there’s a lot to take in and the broad choices of colours, tones and textures are ever more radiant as the album unfolds from the dreamy brightness of opener Friendly Fire onwards. The defiant Hell Nah sounds like TWENTY ONE PILOTS on one of their most relaxed days, the tensions bringing sparks of life to every note and ELA MELO’s vocals lighting up the sky. Another left turn with the intriguing title track, the song twisting and turning as it unfurls before 100 Summers brings a bracing rush of fresh air, wrapped in a snotty energy. When an album goes from the contemplative and shimmering Murder to the upbeat and powerful statement of love of Dang, its wholly head-spinning, the delicious waves of sounds and emotions incredibly heady in effect. Whilst very personal, there’s a universality here that means that numbers like King could perfectly soundtrack time in college halls of residence or road trips with equal aplomb, the fretwork of MELO, ETHAN GOODPASTAR and DARRICK "BOZZY" KELLER bringing a luminous cathedral of sound as drummer JESS HANEY drives things along, the four voices an overwhelming wash of emotions. Every track has its own identity and with the sparse Stars, gossamer touch of Americana on Texas Hold Em and the sweeping grandeur of Tropics you’ll keep wanting to come back time and time again. Only they know where they’ll head next, but with RAINBOW KITTEN SURPRISE every new chapter is full of wonder. Score: 8/10 Bones will be released on September 26th 2025 via Atlantic Records. Words: Paul Monkhouse Photos: Rainbow Kitten Surprise

Sometimes, being in a band is tough. For thrash trio Death Pill, being in a band that doesn’t live near each other - not even in the same country - can make things even more complicated. This is the reality of being a heavy band from Ukraine, as for the band the ongoing war with Russia has become very real and personal. Disrupting their personal lives and sending the construction of their latest record Sologamy completely online, DEATH PILL’s existence is as fiery and unapologetic as the music they make. Touring the UK and Europe this summer, we learn how their far-flung voices embody the true spirit of punk, loud and unwavering, always with something important to say. For their latest release Sologamy, MARIANA NAVROTSKAYA (guitar, lead vocals), ANASTASIYA KHOMENKO (drums, backing vocals) and NATALYA SYERYAKOVA (bass, backing vocals), rehearsing for a tour and writing a new album completely online is the new standard. With two of the members moving out of the country, NATALYA explains it was a difficult experience: “The things you can quickly do when you are all together in the rehearsal room, ended up taking two to three weeks to decide. The ending of something, or deciding the backing vocals. Small things. Better ask our mixing guy, because he was receiving different opinions and wishes about how it should be, and he also has his own taste. But he was so impressed by us doing it separately.” “Our close friends were surprised. “Oh, they live separately and don’t do rehearsals, but keep going.”, because you have bands who sit on their asses for four or five years and we are like “We are going to make a single!” ” NATALYA continues, explaining the positive reaction to the record, “I think it’s pretty good so far. There are only two options - [fans] don't tell us that it's shit, or they really like it. So it's kind of fifty-fifty. I think on the first day of the release, we were checking every hour how many vinyls were pre-ordered and how many people bought the album. After that, we stopped tracking.” When they have been touring, the band definitely have stories from the trio's travels. A question about memorable situations could not be missed, The band surely came up with a wholesome tale from Gatwick Airport, as told by ANASTASIYA: “We were travelling from the Gatwick Airport to Warsaw and we were passing through the security, and they wanted to double-check my and MARIANA’s baggages, and the dude that was working there saw us and he was like: “Oh, you’re DEATH PILL! I was at your concert two years ago, you were fucking amazing and I wanted to see you one more time!”. Yeah, but it was very surprising, because from all the airports and all the security lines they had there, and there are a lot, we met with this guy who recognised us. And he was so happy and we were very happy. “After that, we were like, “Are we already celebrities? Where is our private jet?”“ At their core, DEATH PILL have been known for their blend of aggressive Riot Grrrl tendencies. “When we started playing, our idea was to show men that we can play somewhere even better, and that we cannot hear this shit like “Oh, it’s pretty good for girls.” As the time passes and we play more, we understand that we play not just to show someone something, for men especially, we understand that we play music just because we want to play music, and it’s a huge part of our life, and it doesn’t matter how men will respond to it.”. The band agreed that there was not one song that was the most important or impactful, as the main idea of the album was to accept their differences and stay confident. Collectively, their shared perspective unites them. “Because it’s okay to be different every day. And we want to help people with this album. They can listen to it and be surprised that “Okay, you put in the same album a thrashy song and a pop song, and it fits with each other, it can be good.” Because it’s the same with you as a personality.” The focus shifted onto the band’s tour, which was still ongoing during the interview. With their travels, the band has talked about the importance of being given the voice to speak up. As the band returned to the iconic LOUD WOMEN FESTIVAL to headline on its tenth anniversary run, they said, “The festival was good, the pictures very nice and the response from the audience too. It was also a big opportunity to represent Ukraine on the international stage. And the British Council was helping us with that. I think it’s very important for our culture, for Ukrainians to spread the word around the world, because as we can see, lots of people ask us “Is the war still going on in your country?” So besides playing music, we also have the mission to acknowledge people that yeah, the war is still going on, we are still fighting and we still need fucking help.” ANASTASIYA adds a heavy, yet important, note to the world: “The main thing we want to say is that we are still fighting with the Russians, and we still need support. We still want to live our peaceful lives because we didn’t know we had a perfect life before the war began and right now my biggest desire is to come back home to a peaceful Kiev and to find out that my friends, who are out in the war are alive and still with hands and legs, because we already lost some friends to the war, and they were very good, good people. And it cannot hurt, it hurts every day, and I want to stop waking up and the first thing I do is to check the internet and the messages from my friends that they are alright or they are not alright.” Ending the interview with a heartfelt message, the band thanked their fans for supporting them, as well as inviting them to play in cities across Europe and the United Kingdom. Although there are many reasons for DEATH PILL to focus on their personal lives, they do not give up on their aspirations even when separated. They still come together to support their motherland and beliefs. The courage and determination to their cause is admirable and with the finished two-week tour, as well as Sologamy, that came out on 20th June, MARIANA, ANASTASIYA and NATALYA only confirmed that they will always fight for freedom and equality. Words: Katerina Stepanikova Cover Photo: Kirsty Garland Cover Artwork: Simon Arinze Live Photos: Oz Davy With Thanks To: For The Lost PR

MRS FRIGHTHOUSE, Glasgow-based wife-and-wife duo made up of CARYS and LUNA FRIGHTHOUSE, have slowly but surely been carving a name for themselves in the UK underground scene since 2023, with their singular strain of “sapphic metal” - a collision of industrial noise, gothic dread, and cathartic vocals that simultaneously devastates and uplifts. Their long-awaited debut album, Solitude Over Control, is nothing short of a landmark. Across 11 tracks, MRS FRIGHTHOUSE, confront the realities of misogyny, queerphobia, coercive control, and sexual violence with a sound that feels like a mirror held up to the world’s cruellest truths. The result is as harrowing as it is liberating. The record begins with Intro, a fleeting 24 seconds that establishes the album’s unsettling atmosphere with soaring vocals over frantic, off-kilter piano. It’s a deliberate moment of foreshadowing, a disorienting and suspenseful open door into the nightmare-scape the band is about to unleash. Even in its brevity, it tells you everything: you’re not meant to feel comfortable here. The next track, DIY Exorcism, fully detonates the record into motion. Cinematic in scope, it comes across like the score to a horror film turned feral. The vocals alternate between eerie restraint and unhinged fury, embodying the violence of tearing oneself free from an abuser. MRS FRIGHTHOUSE do not shy from emotional vulnerability here, instead harnessing it into a weapon. From there, Eyeliner marches with chant-like delivery and a heavily percussive backbone that resembles the clank of chains and machinery. It doesn’t build towards a big release like some might expect, and that denial of catharsis is precisely what makes it so unnerving. The track evokes the constant vigilance many women live with daily, the hovering dread that violence could erupt at any moment. Midway through, the album plunges into some of its most devastating material, with White Plaster Roses piercing through listeners like a cry from the abyss. Beginning with fragile vulnerability, it spirals into a harrowing refrain of “this doesn’t feel right”, before collapsing into screams of “don’t touch me, get your hands off me”. The pain and fury are almost unbearable to hear, which is exactly the point. It’s a song that doesn’t just describe trauma, it embodies it, making the listener inhabit the raw nerve of survival. Veil continues the descent into unease, with static noise giving way to pounding percussion, while the vocals twist between mocking jeers, and desperate wails and sobs. It’s grotesque and mesmerising in equal measures, and if much of the album feels like a horror soundtrack, Veil is where that metaphor becomes most literal. The album’s thematic throughline reaches another apex on My Body Is A Crime Scene. The lyrics, “my body is a crime scene, you did this to me”, are among the most gut-wrenching statements on the record. Like White Plaster Roses, it speaks to the legacy of trauma left by abuse, but here the words are delivered with an almost funeral solemnity. The grief is palpable, but so too is the reclamation of voice - in naming the crime, MRS FRIGHTHOUSE are seizing back their autonomy. All of this builds towards the closing title track, Solitude Over Control. Full of shrieking dissonance, we hear a delicate piano and hushed vocals, but also pounding percussion and layers of anguished screams. It’s chaotic and overwhelming, but never directionless. Instead it feels like a summation of everything the album has traversed, from terror and grief to rage and, finally, the stubborn insistence on survival. When the noise finally cuts out, the silence is deafening, leaving you to sit with everything you’ve just endured. What makes Solitude Over Control remarkable isn’t only its subject matter, but the way it fuses industrial harshness with theatrical flourishes, colliding musical inspirations ranging from NINE INCH NAILS to EDITH PIAF, fragmenting them and creating a final product that is entirely MRS FRIGHTHOUSE’s own. Most importantly, this album is a powerful artistic and political triumph. In a genre still dominated by male voices, MRS FRIGHTHOUSE’s visibility as queer women and their insistence on writing from lived experience, is itself a radical act. Their lyrics rail against the erasure and invisibility of women’s experiences, reclaiming space with a directness that is subversive and incredibly necessary. As they put it themselves, the phrase “solitude over control” is a mantra, a reminder that however painful solitude may be, it will never be as destructive as staying under an abuser’s power. Despite being a debut, Solitude Over Control feels monumental. It’s the kind of album that demands attention, both for its sonic audacity and for the urgency of its message. It is disturbing and cathartic, terrifying and beautiful, despairing and defiant. MRS FRIGHTHOUSE have achieved something rare: a record that doesn’t just reflect the darkness of the world, but actively pushes heavy music forward in an incredibly unique way. In doing so, they have created not only one of the most important debuts of 2025, but an album that should be remembered for years to come. Score: 9/10 Solitude Over Control will be released on September 26th 2025 via Lay Bare Recordings. Words: Zuzanna Pazola Photos: Mrs Frighthouse

Almost ten years ago, five guys from sleepy Ipswich opened for BRING ME THE HORIZON. At the time, basking in the pop-centric lull of That’s The Spirit, plucky openers BASEMENT would make the mark with releasing the first singles from their third studio album Promise Everything. Here, their set would be defined by their second album Colourmeinkindness, which would eventually gain a cult following with time and nostalgia, and was honored wholeheartedly with a full album playthrough at Outbreak Festival last year. Whilst the band’s influence in the UK alternative scene was underrated by most, for those who cherished their overwhelming sentimentality and the grunge heavy overtones of the Kurt Cobain-crazed nineties, there was a carefree timelessness to their sound. Authough there have been periods of hiatus for the band over the years, for many BASEMENT was a constant soundtrack- as poetic and heartfelt as the falling leaves outside of Manchester’s New Century Hall. BASEMENT’s recent tour is a colourful anthology of the band’s two decades, showcasing the band’s impressive song roster and sparkling with the beginning of a new era. Strikingly so is the legacy of the band’s sound, diamond-encrusted with youthful supports MIDRIFT, DYNAMITE and ANXIOUS, as promising and reminiscent of the band that had that knowing gleam in their eyes all those years ago. Basement Opener MIDRIFT is living proof of the shoegaze revival. The Cali surf-rock collective promise the brutality of DEFTONES alongside the bleak yearnfullness of SMASHING PUMPKINS and MY BLOODY VALENTINE. Their sound feels like an angsty younger sibling finding AMERICAN FOOTBALL’s Never Meant and blasting it at full volume, as a way to make themselves known to the world- and more importantly to everyone in their neighbourhood. The vocals were low in the mix, but amongst it all the vocallists’ HOT MULLIGAN warble was loud and indulgent. MIDRIFT’s first time outside of America is met with the enthusiasm of a band who has only just discovered their sound. What potential they may have in the future is yet to be determined- but we will watch from a distance as they navigate an optimistic and forgiving world. As the opening fuzz of London hardcore bruiserweights DYNAMITE erupted from the stage, it was met with the surging mass of millennial men making their way to the pit. Being the only truly heavy representation on the tour, their pit was pushed wide as the band, feeling dominated by the massive stage, made their mark. If any heavy band could find their place on this tour, it would be them, flowing with that etherial nostalgic energy but still willing to pack a punch. In that moment, Outbreak Autumn came back for a glorious Manchester return- and the crowd knew it. Hardcore was represented with a stellar array of merchandise, throwing conversations back to the underground, the place where all of the bands on the lineup made their debut. Despite the name, ANXIOUS were confident. Owning the stage, even. As vocalist Grady Allen took his time to firmly be acquainted with the crowd, he held the same enthusiasm for the scene as a young Parker Cannon. Wide eyed and fresh off of a tour in Japan, they really made a statement, with explosive energy that Grady flung himself into the crowd. The pop-punk elements of their sound really shone in a live setting- upbeat tempos with even more raucous guitars. Whilst their sound mused with the longing of their latest album Bambi, this set added an entirely new dimension. Entirely stratospherical. ANXIOUS gives us faith in the future of pop-punk, a genre that thrives with its all-or-nothing attitude but with the hurt and the pain of the shoegaze generation recently feels like the scene has lost its way. The band seemed to thrive off of that energy, passionate about the scene and as a result completely won over the entire crowd. Now, that is what you call a performance! Anxious In the best way possible, BASEMENT was the comedown. A steadfast compass pointing north, a place where catharsis and content end up at the same destination. Opening with the tried and tested Are You The One, the band’s connection with the crowd was kinetic. Inevitably, a pleasant and welcoming experience, as alluring as ever and exactly what you wanted it to be. The band’s set was sensible, tailored to make the most emotional impact. Catapulting conflicting feelings between BASEMENT’s holy trinity of albums (Colourmeinkindness, I Wish I Could Stay Here and Promise Everything), its commitment to 2018’s Beside Myself was non-existent. Instead, there was a moment to push two new tracks to a live audience. Both hallmarked the band’s refined alt rock sound, smoothed by trilling guitars and complimentary vocals that made BASEMENT feel so present in the moment. The crowd’s response to the band was overly positive. At the right moment, you could often see the tears rolling down onlookers faces. This is a fanbase that has experienced a lot- they were older than expected but knew exactly what they were getting into. With Manchester being the first show to sell out on the tour, vocalist Andrew Fisher threw out the fact that he has never played a bad show in the city. Switching gears into some of the more danceable tracks like Brother’s Keeper and Fading, there was a compact but resilient pit swirling in the middle of the crowd. The energy, no matter where you stood, had movement. The experience was wholesome, with everyone in the room making the most of the moment with the band. Sensual swaying, singing every word made the show wholesome- which in comparison to some of the more longing lyrics felt like there was a resolution. It’s those moments that you realise how important the things you have already are. Basement BASEMENT’s set felt quick. Fleeting. The band wanted it to be that way, asking for no encore, but reasoning with the audience for two more songs. After the emotional Pine, came the iconic Covet, a song that made the most of the TikTok algorithm. With the participation of the crowd, the song’s bashful lyrics did not feel as lonely or as wanting as when it was written. Instead, it becomes full circle and cinematic. Somewhere - out there - is a kid caught on the outside who discovers BASEMENT for the first time. A bedroom listen, heavy with the weight of their own existence soon becomes an experience made real with the crushing loneliness of each listen. In some ways, it is too personal to play live. In others, especially with a room full of strangers, it instead takes on a whole lot of new meaning. Words: Amber Brooks Photos: Ace Cheng

Often lauded as one of the most underrated bands of their time - and for some, of all time - influential Mancunian post-punk band CHAMELEONS return with full-length album Arctic Moon after 21 years away from the scene. Pairing a newfound maturity with their signature knack for writing dreamy melodies, the four-piece are back to prove that they still have it. If you like any vaguely alternative or indie band from the eighties or nineties, there’s a 50/50 chance that they have declared CHAMELEONS as an influence on their sound at some point. THE SMASHING PUMPKINS, OASIS, THE VERVE and INTERPOL have all sang their praises over the years, gushing over their seminal albums Script of the Bridge (1983) and Strange Times (1986) - but a lot has changed since then. Through several break-ups, line-up changes and solo albums, Arctic Moon was forged by lead vocalist and bassist MARK BURGESS (now stylised as ‘VOX’) at the helm, along with fellow founding member REG SMITHIES on guitar. They are joined by a second guitarist STEPHEN RICE, keyboardist DANNY ASHBERRY, and TODD DEMMA on drums. It’s safe to say that they have a lot to prove, and they set about proving it over the seven glam-tinged, melodic tracks. Largely ditching the post-punk edge that tinged a lot of their earlier work, what unfurls instead is a bright and airy collection of songs. Whilst there is a lot of maturity here, the sound is still unmistakably CHAMELEONS'. VOX’s songwriting is unmistakeable, evidenced beautifully on Feels Like The End Of The World. The melancholy lyrics feel at odds with the joyous string arrangements and grand guitar lines, culminating in a darker, more pared-back interlude, before the track blooms once again. It’s a glorious moment on the album. There is a clear standout on the album, though not necessarily for the right reasons. Coming in at almost nine minutes, David Bowie Takes My Hand wears the band’s influences squarely on its sleeves – and in the album title. It starts moody and mysterious, the twang of a distorted guitar echoing out over the verses. At times, it feels a little bit close to BOWIE for comfort, though it’s hard to deny that the execution is masterful. It feels triumphant and dark, like a sky full of stars, but by the midway point it’s hard not to wish for clearer skies. It stagnates for just a little bit too long, which is just enough to shatter the magic they managed to cultivate. The album closer is well placed, and is easily the most political song on the record. Saviours Are A Dangerous Thing tackles religion and idolatry, over dazzling guitar lines and the best vocal delivery on all seven tracks, both in tone and the diversity of the melodies throughout. It’s an excellent end to the album, highlighting everything that works well throughout it. Whilst not all ideas bat it out of the park, it would be difficult to find a life-long fan of CHAMELEONS that wouldn't find something to enjoy here. The band are back in full form, and bringing a fresh new approach to their signature sound. Score: 7/10 Arctic Moon was released on September 12th 2025. Words: Ellen Lovell Photos: Chameleons

Fresh out the womb, PRESIDENT are in possession of one of the most hotly-tipped rock and metal releases in 2025. It’s an anticipation they’ve created through mystery and intrigue as they, nameless and disguised, join the ranks of GHOST, SLIPKNOT and SLEEP TOKEN for masked bands met with the same eager excitement. Their gimmick is different, though - PRESIDENT are a sort of political cosplay, “campaigning” rather than performing, at rallies, rather than shows. One thing that PRESIDENT are very good at is creating a vibe - something that’s echoed in their very first EP, King of Terrors. The EP consists of six songs - five of which we heard at their inaugural performance at Download Festival - and begins with their debut single, In The Name Of The Father. The biblical undertones that run throughout the project begin here - with a desperate plea from the PRESIDENT singer not to lose his faith as he is slowly disillusioned. There’s a melodic metalcore-ness to this one, featuring processed pop vocals juxtaposed with thudding guitars and screams. This song particularly indicates an author with experience - the vocals are well-supported, the structure is thoughtful, and the production more than cuts the mustard. The breakdown is particularly standout in this track, announcing the drop with a sweet whisper to Father. PRESIDENT quite enjoy announcing their breakdowns. It’s a trend continued in Fearless, calling out the title with a glitchy decline as if we’ve won a prize at the arcade. This is a far more electronic and experimental song in comparison. The heaviness is still apparent, but the band have leaned further into stylistic autotune and drum machines. RAGE is very interesting for this reason, too - the rock aspects don’t appear until later in the song, preferring to build a soundscape of synths. It’s all very conceptual - something we’ve come to expect from the band. It’s distinctly interesting that electronic influences and synths play such a big role in PRESIDENT, considering the vintage feel they’re seeming to go for in all else. The man himself has exclusively appeared in his tailored suit and dicky-bow, walking out to Eisenhower’s 1952 presidential campaign song at Download festival with his “hair” neatly combed back. It speaks of a band that wants to experiment and embrace the future of music, with nods to the past for aesthetic purposes only. Destroy Me features more of this drum machine, getting heavier later on. It could be read as another allegory for religion and destruction or it could be about a toxic relationship. Many of the lyrics, though, read as on-the-nose drug allegories: stuck in a place where he can’t get straight, destroyed with a “blunt scratch through my veins”. It’s certainly an interesting one for fans to dismantle online. Sonically, the post-chorus of “get me out of this hell” is where the song gets really fun - you’ve got to appreciate the cheeky diner “ding!” before we get stuck back into a really gritty breakdown. We’ve run through the songs we already know, but there’s still two more. Dionysus continues a similar formula to the previous track, entertaining the two extremes of metalcore - from the abrasive to the melodic - whilst fusing trap drum beats and a Deftones-esque sludgy guitar in a way that, even though it does blend a multitude of genres, doesn't feel like there's been too many cooks spoiling this broth. Finale Conclave is more of a ballad, introducing piano and a slower pace to begin with. It seems like a full-circle to the first track, still doubting but choosing to be faithful. That uncertainty really makes the song, and the sounds complement it, with the drums and guitars feeling like they crash around the singer as he reflects. The line “I would love you anyway - even in the afterlife” is a pretty nice way to round the EP off - who knows, maybe this is PRESIDENT’s song for people to propose in the pit while someone a meter to the left gets their ankle broken? While it definitely seems as though there are two distinctly different genres at play here on this EP, PRESIDENT make it happen. It’s less a symbiosis of sounds and more a marriage, but it works nonetheless. Both the BLACKBEAR-style alt trap and BMTH-style metalcore are given space to breathe, and the screams in particular on this EP are really great. There is a rage here, but also an insistence to convey a message to a rapt audience. We expect they’ll make full use of this on their upcoming campaign trail, which commences in the new year. There are plenty more themes, sounds, experiences to explore with what’s on offer here - but for all intents and purposes, this is a great start. Score: 8/10 King Of Terrors will be released on September 26th 2025. Words: Erin Strom Photos: PRESIDENT

Three albums into a career typically means that, as a band, you have properly discovered the sound that you want to emit into the universe. Alternative rock can be quite a challenge to pull off well, and when you combine it with shoegaze, not only is it potentially risky creatively, but it is also technically challenging. This is exactly what KANADIA have tried to achieve with their third album, and even though the songs sound humongous and dreamy, the inconsistency of the 12 tracks ultimately turn The Fire That’s Tearing Through Our Home into an inconsistent experience, with unpredictable highs and lows. The record starts off with its longest song, clocking in at over six minutes long. I’m Falling introduces the listener into the dreamy ambience the band have evidently aimed to create. Immediately, the drums and the vocals stand out, as the snare drum is punchy and powerful, whilst the vocals feel very grand and cinematic. The chorus here embraces a crescendo that's larger and larger each time it hits, which adds to the cinematic feel found within the song. The guitar solo, whilst simple, is overshadowed by the synths, but is another element added to build the song up as it ends, making this song a fascinating start to the record. Following track The Ways feels more energetic. Starting out with a drum fill, and a mellow guitar melody before exploding into the main riff, the pace is already much faster. There are two mini guitar solos here which take place after the first and second chorus. This as a result makes the track livelier, and as a result, is that much more enjoyable. Too Late Now sounds like an old school, atmospheric alt rock song, and is an extremely straight-forward catchy track. The hook is another one that crescendos, and towards the end of the track, all the elements this band has come to life as the guitars feel louder and the synths are more prominent in the mix. This all ends with the second half of the final chorus being stripped down to finish the track off in remarkably different style. Wired may be the most unique song on this record. Not because of its structure, but because of how the guitar is used. It is very rare to find a song where the chorus is a guitar riff, but this is indeed what we get here. The melody the lead guitar plays over the rhythm guitar chords is thoroughly contagious and works extremely well - which may be due to how mellow the verses feel, as the chorus feels like an extra wall of sound in comparison, that was very much an unexpected stylistic addition. Musically, The Fire That’s Tearing Through Our Home is a very impressive album. The delivery of how each part is performed is calculated to perfection, with the standouts being frontman and guitarist JAMES BETTIS' individual contributions, as well as the drumming throughout from TIM LUCAS. Whilst the album sounds exactly how you'd like a shoegaze album to sound - that being dreamy and effervescent - this album lacks the fast to slow song ratio that might distinguish it from others. The second half of this album is almost entirely ballads or slower experimental songs, and this may well lead to a disconnect when listening in full, as there isn't always enough to hook a listener into that second half. The Fire That’s Tearing Through Our Home is a very confident album, written by a band that has confidently found the style they are aiming for. With a bit more consistency, the overall listening experience could have made this a true stand-out this year. KANADIA are still a young band, and this record proves that they have plenty of potential, so if this record is anything to go by, album number four could truly be the making of them. Score: 7/10 The Fire That’s Tearing Through Our Home will be released on September 26th 2025. Words: Itay Gilad Photos: Kanadia