Starting a one-man project can be intimidating, but not for the multi-instrumentalist and composer Snjór, who started Deciduous Forest as their creative vessel. Originally from Brisbane in Australia, the artist guides listeners on an atmospheric journey through memory, emotion and myth. Their album Fields of Yore consists of deeply captivating immersive soundscapes, blended with elements from atmospheric black metal, neofolk, and cinematic ambient, introducing listeners to their world of music and folklore. Featuring only five tracks, the album is short, yet memorable, and often featuring long build-ups, such as the ones in 'The Formless Dark' and 'Ghost of Lies', alternating between mumbling bass, angry drums and talkative synths. Complimented by Snjór’s pleading-like screams, the tracks are sure to catch one’s attention immediately. Not only the songs rely on these grand introductions, but they are also gradually get longer, with the self-titled 'Fields of Yore' and 'Ages Past' being the longest ones, with 'Ages Past' impressively having over thirteen minutes in length. Both songs are bringing in story-like energy, with an extensive mix of synths, drums and guitars, as we can see throughout the whole album. Even when the lyrics are not clearly audible, the listeners can pinpoint the singer's emotions in their voice. Being able to execute such an extensive track without a flaw is a skill that is not often mastered by many musicians, and it allows the expertise of Deciduous Forest to shine. As the album progresses further, the audience may find themselves immersed in audio, they can resonate with emotionally and spiritually, and that exactly happens in 'Fields of Yore'. The part starts off very subtle at first, only with a guitar and flutes, but keeps gradually expanding into an explosion of instruments and sounds, evoking many different feelings within the listeners, especially when the bridge expands into a massive mixture of drums, synths, guitars and bass. Being one of the most powerful moments in the album, it does leave a mark on anyone, who dares to listen to the whole piece. The album is finished off with a shorter song, 'Anemoia', but that does not mean that it is any shorter of the artist’s work. Being purely instrumental, the track once again features very well suited synthesis, drums and guitars, creating very emotional ending to an album, that has taken the listeners on a rollercoaster of emotions and feelings. Fields of Yore is an ambitious release of an ambitious artist, that has surpassed all the expectations. Although some of the lyrics are not audible, which takes away from some of the experience as the listeners are not always able to understand the full meaning of the song, it does not stop anyone from fully acknowledging the craftsmanship Deciduous Forest put into their songs. It is rare to be able to fully awake the listener’s emotions while keeping their attention, but this release fully outdone itself. An absolute must listen to for anyone who is a fan of atmospheric, almost symphonic-like soundscapes, that are fully capable of pulling the audience in. Score: 8/10 Fields of Yore was released on June 23rd 2025 via Gutter Prince Cabal. Words: Katerina Stepanikova Photos: Deciduous Forest

Stepping into Mamma Roux's on a humid Saturday evening in Birmingham, the black interior and dim lighting immediately set a gritty tone. Heat radiated from the stage, promising an exhilarating night. Birmingham, renowned as the "Home of Heavy Metal", has long forged some of history's most iconic metal music. Tonight, five incredible local bands had reached the final of Metal To The Masses, their performances eagerly anticipated by a crowd that packed the hot, dark venue. This was the crucible where these talented bands would battle for a coveted slot at Bloodfest and, ultimately, the title of Black Country's reigning new metal band of 2025. DYING ADDICTION The first band to battle the stage were the impressive Dying Addiction, a four-piece all-female Gothic nu-metal band from Wolverhampton, formed only about 18 months ago. The members are Stephanie 'Sinister' on vocals, Chloe on guitar, Sophie on bass, and Evie on drums – all of which were truly badass Gothic-metal goddesses. Their aesthetic was striking, with lime green and black outfits, black metal warpaint, green dreadlocks and alien contact lenses which immediately set the tone. Stephanie's vocals seamlessly shifted from beautiful cleans to fantastic screams, even delivering chilling and menacing laughs throughout, accentuating the haunting vibe. Musically, they were flawless, with chunky, dystopic riffs, sinister and layered bass, powerful and consistent drums, excellent range in vocals and great audience interaction. The set featured fantastic breakdowns and showcased the band's great cohesion and chemistry, creating a unique recipe of gothic nu-metal phantasmagoria resulting in an unforgettable performance the crowd loved. Dying Addiction DREAMBOAT EMPEROR The second band to take the stage were Dreamboat Emperor, a Birmingham-based instrumental ‘bedroom prog band’ of Sam (guitar), Tahj (bass), and Morgan (drums/e-percussion). With clear influences of Tool and A Perfect Circle, they’re a fresh, professional, and high-performing instrumental act despite only being together for 12 months. The music featured intricate technical guitar melodies, solidly smooth bass riffs and impactful drums with atmospheric effects on the e-pad. They created a mysterious, otherworldly and epic musical performance with only three members, all of whom connected rhythmically well, displaying great musical chemistry that extended through their entire performance. Overall, the set was expansive, aided by unique time signatures, and organically grew and faltered in fluidly transitioned waves creating a uniquely atmospheric instrumental journey. A band with fantastic potential that could possibly be elevated by a unique vocalist in the future. Left: Dreamboat Emperor, Right: The Black Hounds THE BLACK HOUNDS Next up were Black Hounds, a powerful four-piece heavy metal band from The Black Country (formed in 2013) with Ant on vocals and guitar, Connor on guitar and backing vocals, Joe on drums, and George on bass. With hints of Iron Maiden and Megadeath, Black Hounds hit hard from the onset. With exceptionally powerful vocals from Ant, accented with great growls from Connor whilst shredding face-melting guitar solos, underpinned by crisp and formidable drumming. Ant displayed great crowd interaction, shouting "I know it's hot, I know it's sweaty, but I want to see you move!” as the crowd headbanged in agreement. Overall, it was an exciting and full-throttle performance with maximum energy and impact; powerful yet incredibly clean and precise. The band had fantastic chemistry, with each member excelling individually yet working seamlessly together. Moreover, they displayed fantastic professionalism with clear potential to effortlessly play a festival like Bloodstock. MANTIS DEFEATS JAGUAR Mantis Defeats Jaguar, a local four-piece hip-hop/metal/funk ensemble (formed in 2009) left a lasting impression. Featuring JP on vocals, Jim on bass, Dan on guitar, and Pete on drums, their sound was truly unique, with hints of Faith No More but with heavy metal charm. The room became even more crowded when they started, instantly captivating the audience, many of whom knew the lyrics. Their blend of funky bass, heavy drums, and rapping vocals (with screams) were fantastic. The band had incredible energy; the vocalist was constantly jumping, even dancing with the crowd, truly owning the stage. Their music featured sick guitar riffs, upbeat rhythms and solid breakdowns, delivering a cool, energetic vibe. While some songs seemed to blend in similarity, the "Kicking Off" drum solo was fantastic and the final song "Get Down" with its funky bass and singalong chorus boded well with the crowd. In its entirety, a unique, cohesive and well-executed performance that left the crowd buzzed. Left: Mantis Defeats Jaguar, Right: Mount Slatra MOUNT SLATRA The final competing band were Mount Slatra, a four-piece thrash-metal band from Worcestershire, featuring Ryan on vocals, George on guitar, Emma on bass, and Ben on drums. From the opening 'Fist on the Wall', the crowd were headbanging and the mosh pit quickly formed. From here, they maintained an incredible energy, delivering impactful impending doom vibes throughout. Their cohesion and solid band chemistry was palpable, with Ryan humbly taking side-stage frequently to showcase the other member’s skills, displaying the utmost respect within the band. Each member owned their stage presence, and Emma's fierce growl and call to "open the pit" stood out, followed by a sick breakdown and a face-melting solo from George. Their cohesion was sizeable, and the final shouts of "Surf, suffer, die!" created a residual mark from an outstanding performance. HEADLINER: KENSEI The headliners were Birmingham’s 2024 Metal To The Masses winners, five-piece melodic metal masterpiece, Kensei. They delivered a sick, heavy, and brilliant performance with a good lightshow and professional stage setup. The cohesion and interaction among all members were fantastic, with unrivalled raw stamina showcased throughout. The vocals were consistently remarkable, bass was solid, and the drumming was absolutely insane, coupled with frequent undeniably awesome guitar solos (one in the middle of a circle pit which was an unforgettable highlight). The crowd adored them, and they clearly solidified their reputation in Metal To The Masses history. At the end of an extraordinary metal journey, the winners of 2025 Metal To The Masses Birmingham were announced: Mantis Defeats Jaguar! The crowd chanted “we love f*cking Mantis, la la la!” in response, as the band humbly took the stage for their deserved win. All the bands that competed were exceptional, and for those who did not win - rest assured you left your mark on Black Country metal history and we look forward to seeing you grow in the future. Kensei Words: Katherine Russell Photos: Joshua Joicey

The New Cross Inn is a real haunt of Out Of Rage. Since Reality Unfolds at the beginning of the year, we’ve barely left! With their upcoming Summer Jam series in particular, we’ll be a part of the furniture soon enough - and our latest venture to South London took us on a trip to see four phenomenal acts, all within the realms of hardcore but each with a different spin on the genre. Headliners Contention are one of the best and brightest ‘underground’ bands in the genre, with last year’s album ‘Artillery From Heaven’ being rated as one of the best releases of the year period, and after their set at Outbreak it would’ve been silly not to take another opportunity to go and witness their sheer sonic decimation an extra time; of course we didn’t just see them, with three stellar support acts all raring to blow us to smithereens. Opening the pit for the first time on the night was Norwich’s own straight edge heroes in Hour Of Reprisal. The antifascist group ripped the New Cross a new one, playing a selection of songs from their 2023 album ‘A New World From the Ashes of the Old’ and their 2024 EP ‘Endless War, Endless Peace’. Repping all the bands playing, the straight edge community, and Norwich, they gave a compelling demonstration of British hardcore through songs like ‘Rat Nest’ and ‘Failed State’, whilst their cover of Hatebreed’s ‘Tear It Down’ was nothing if not a treat for us all. Next up were Long Goodbye, who’d come down with Contention from Outbreak - having to travel away from their home in the North West of England just to come and treat us to some nasty metalcore, sprinkled with plenty of hardcore influence. With a smaller discography than everyone else on the bill, their set was incredibly compact - working through their whole discography to provide us a thrilling twenty or so minutes of enjoyment. ‘i used to dream of drowning’ was very well received, as was the relative deep cut ‘endlessly repairing a dying format’, both from last year’s ‘i used to dream of drowning’ EP, and latest single ‘fix the memory’ was also excellent live, with our only complaint being that we wish the set had been longer! Kenya were up next as the main support, also having travelled all the way down from Manchester, and brought their brutal Bali hardcore to London in what ended up being an absolute riot of a set. The band are from Denpasar, Bali’s largest and capital city, and they never stopped shouting out their scene in what was a passionate display of love for the genre. Songs off of their latest release peppered the set, and in particular ‘Sanity’ and ‘No Hate’ set up some searing breakdowns which caused no end of enjoyment. Finally, it came time for the headlining heroes, the Floridian firecrackers, the American anarchists, the breakdown bad boys themselves (sorry, I’ll stop the faux wrestling names now): the mighty Contention. Having already laid waste to Outbreak’s third stage two days earlier, the group were in no mind to do any different in London, and gave everybody a plethora of opportunities for stage diving, crowd killing, moshing, spin kicking and more. With eight songs off of ‘Artillery From Heaven’ being played, it was full of the apoplectic rage that they’ve become so popular for. Opening with their own self titled track, and following it up with ‘I.C.B.M.’ into ‘Revenge Directive’, every iota of anger and energy in the crowd was directed into one place - the little circular area in front of the stage with very few people stood in it. The two older tracks they played weren’t exactly ignored either, as ‘A Wasteland Called Peace’ and ‘State of Nature’ still swept the crowd into a frenzy. The last few tracks weren’t calm either - the penultimate song was just the breakdown from ‘Firestorm’ by Earth Crisis, and then the band finished with their enormous track ‘Inflict My Will’, as thirty-odd people each tried to rip the mic from each others hands and own that enormous yell for themselves, before the ruinous breakdown sent everybody careening into each other one last time. Hardcore is doing amazing things right now all over the world, and the New Cross Inn has genuinely showed so much dedication to all aspects of hardcore in supporting that - whether it be platforming bands from everywhere you could imagine, to hosting important events like Punks for Palestine back in May, and even just being a safe haven for queer people. Shows like this one affirm how important these bands, this scene, and this venue all are to us, and for it to have been played by four such vital bands put a really very large cherry on top. With any luck, Kenya and Contention will be back very soon - although we have little doubt that Long Goodbye and Hour Of Reprisal will make their returns not very long from now! Words: Jake Longhurst

The New Cross Inn is one of those quintessentially British venues, Puppy chose this to be the home of their latest London headline show. Puppy has been going for eleven years now, with the tenth anniversary of their first EP on the horizon, there's no better way to celebrate than on their own terms. The alt metal trio were born and raised in London and in their time in the industry have played countless shows, festivals like Reading, Leeds and Download, have received mainstream radio play and have supported the likes of Milk teeth and Creeper. Needless to say the band have a lot of experience under their belts, which lead to a killer night at the New Cross Inn. First to the stage was the modern rock duo Skinship, these guys have been described in the past as George Michael meets Nine Inch Nails and are inclined to agree. Their unique mix of genres and lead vocalist's infectious energy was the perfect way to warm up the room. The band were receiving cheers just for their sound check, so when it came to their set, the room was giving their full attention. More and more fans entered throughout their set, immediately drawn to the music and joining the rest of the crowd in watching. From front to back, every person was foot tapping, head banging and grooving to the band's tunes. The duo sported a uniform blonde spiked hair style with vest tops to finish the look. The drummer and vocalist treated the stage as their own. The lead was captivating as he took to climbing random objects around the room and even hanging from the ceiling, yes, you did read that right! The set is surely one to stick in your mind after that, these guys know how to make an impression. Next to the stage was Uzumaki, a 4 piece hailing from East anglia but based in London. The band's set was jam-packed with Grunge Indie Rock tunes as the crowd grew closer to the stage. They took a moment to shout out Skinship and Puppy, with whom it was their last tour date with, the crowd, of course, greatly appreciated this with roaring applause. The bands music draws lots of influence from 90’s britpop bands, perfectly suiting the Puppy audience who danced and moshed along, despite maybe not knowing songs or even the band beforehand. The lead vocalist, Alex, paraded the stage, bringing vitality as he interacted with different members of the band and the crowd. At long last Puppy made their way onto the stage, the crowd gave their loudest cheers and moved right up to the front as everyone rose to their feet. The three piece jumped to the grandstand, kicking off with the best mix of pure British rock and alt metal. from the very first song, the energy in the room was sky high. For the duration of the show, fans from front to back were singing every word, dancing with each other, even if they were strangers before, a welcoming energy filling the venue. Even before they came on, you could hear fans discussing what the band's options were for the setlist and which songs they would like to hear, making friends just through the connection of liking the same band. As it is the tenth year anniversary of their first EP, of course, they played some old tunes just for the special fans in the building, receiving possibly the loudest cheers of the night. They also made time for lead vocalist Jock Norton to play an acoustic solo version of ‘Here At Home’ from their 2017 EP Vol.II. Throughout the show, you could see mosh pits building,g which included members from the opening bands as well as fans. The band truly curated a comforting and friendly atmosphere that anyone could join in on, and everyone in the room so visibly enjoying the show and taking in the highest quality live music. The band moved in tandem on the stage, flawlessly knowing exactly when to move back and forth, giving each member their time to shine and never missing a beat. You truly can't beat watching an experienced band on stage, especially in a venue full of long time fans singing their hearts out. As they eventually closed out the show they sang one of their biggest hits 'Forever’ followed by an extraordinary cover of ‘Hero’ by Chad Kroeger, a small tradition of theirs which they have performed at previous shows leaving even the bar staff singing along as they prepare to close the venue, a prominent way to finish the show. They left everyone in the room with the immaculate balance of craving more and being downright satisfied. A Puppy live show is definitely something you don't want to miss when it's in your area, so keep an eye on their socials for any news. Puppy are beyond experienced, but we believe the best is yet to come. Words and photos: Amy Smyth

And to think, some of us really did believe that Slayer were done. The Devil's own house band are making an unholy return to our shores, with all the fire and brimstone in tow we would expect. Playing two headline shows - one in Cardiff on the third of July, and one in London on the sixth of July - as well as playing the legendary Black Sabbath send off show on the fifth of July. Rocking up with a stupendously strong supporting lineup, the thrash metal icons are not here to mess about. With five amazing bands playing beneath the writers of ‘Reign In Blood’, arguably metal’s greatest release, the show will be nothing if not spectacular. Neckbreakker are the least known band on the bill, but released a killer debut last year (and you can read our review of it here), and are certainly as prepared as they could ever be to blast some stages into submission via their pummelling brand of death metal. If you were thinking about rocking up late, think again. Whilst the opener might not be the largest band going, Hatebreed should need absolutely no invitation. Even after going for 30 years or so, they’re still one of hardcores most enjoyable live acts, and have some of the meanest riffs and hardest breakdowns going, peppered throughout their healthy discography. With hits like ‘I WIll Be Heard’ and ‘To The Threshold’, as well as an extortionate number of lesser-known but still more than potent bangers, their set will not be calm and it will not be quiet. Speaking of thrash legends, Slayer have brought back one of the bands they took around the world on their supposed ‘final tour’ in 2018/19 - Anthrax! The NYC thrashers are one of the other members of thrash’s ‘Big Four’, and are still incredibly popular due to songs like ‘Got The Time’, ‘Caught In A Mosh’, and ‘Madhouse’. With a slight tinge of crossover stylings to be found within their sound, their set is sure to be full of singalongs, moshpits and fun. Possibly the most left-field inclusion on the list is Mastodon, the progressive metallers from Atlanta. Incorporating sounds as disparate as stoner and sludge, hardcore, death metal, psychedelia and even moments of jazz, the band write much more than just songs - their albums are revered for their complexity, storytelling and impressive development of sound. That is not to say though that they can’t do ‘heavy’ well - their heavier influences cn express themselves incredibly potently at times, and tracks like ‘Blood and Thunder’ or ‘The Motherload’ will no doubt be received wonderfully. The final support act before the kings of heaviness are the vikings of metal themselves, Amon Amarth. The beer-quaffing horde shall maraud their way onto the stage with energy aplenty, and doubtless a myriad of pyrotechnics too! With a viking helm drum riser, Mjolner - Thor’s hammer - and even Jormungandr, the great world snake, making an appearance, it will be of no surprise to anybody when ‘Twilight Of The Thunder God’, ‘Destroyer Of The Universe’ and ‘Raise Your Horns’ are chanted as loudly as anything else on the night. Whilst Slayer are an incomparable band, the supporting lineup they’ve managed to collate is one of the most impressive days of music on one stage that we’ve seen in a very long time. The six different acts will all be doing their best to have the widest circle pit, the largest wall of death, the wildest mosh pit, and no doubt the most engaged crowd, so any attendees - from the very largest Slayer fan to the young child seeing their very first show - are in for a day to remember. Words: Jake Longhurst

Genre-blending pop rock band PVRIS are celebrating 10 years of their debut album White Noise this year ,and whilst their UK leg of the anniversary tour is sold out, there is still a chance to catch them at 2000 Trees Festival. Ahead of the band’s main stage performance at the festival this year, here is a list of their top 10 songs. 10) Burn the witch One thing about PVRIS is they love an opportunity to get experimental and this song demonstrates this extremely well. As well as having an all female/ queer team behind the scenes for this EP, the song features Tommy Genesis and Alice Longyu Gao, the resulting song is a chaotic, yet fun and catchy song that you can rap, sing and shout along to. 9) Death Of Me Evidently Death of Me is a strong song as it made its way from the previous EP onto Use Me. It is experimental and has more of an upbeat pop sound than we have previously heard from the band but still has those signature rock elements that we come to expect from a PVRIS song. 8) My Way My Way was released between album cycles alongside Monster. Where as Monster talks about not internalising other people’s views of yourself, because only you know yourself, My Way takes a more lighthearted spin on this and makes it fun and empowering. 7) Animal This was the first single released for the album Evergreen. It’s a rage powered, defiant song yet still fun and upbeat, delivering a message of nonconformity. 6) Goddess An empowering, bass driven song from Evergreen, Goddess heavily contrasts to the songs that come before it when it comes to the lyrics, having an overall more confident sound. This is a song that explores femininity with elements of female rage splashed in. 5) Dead Weight Dead Weight is the second song on Use Me, a pivotal album for the band's sound where they started to get more experimental and bridges the gap between their current sound and their older sound. This song is upbeat and repetitive but in a way that never gets old. 4) What’s Wrong You can’t go wrong with an upbeat song with contrastingly dark lyrics, What’s Wrong is one of those songs. Dealing with themes relating to depression, this is one that a lot of people will be able to relate to. 3) You and I This is the first song from the deluxe version of their iconic debut album, they also released a stripped and a live version of the song on the 10 year anniversary version of the album which brings new levels to the song giving a more raw feeling to them than the original. 2) Heaven From their second album AWKOHAWNOH, Heaven acts as a transition between this and the previous album. It is a strong start to the album being soft yet angry and sets up the emotion and passion that we see throughout the rest of the album. 1) My House This song being first was a given, its the most popular song from their first release and showcases what PVRIS has to offer from the get go. The new anniversary version has the same song featuring Courtney Laplante from spiritbox, a collab which was very much appreciated by the girls, gays and they. Catch PVRIS at 2000Trees Festival this August. Words- Libby Percival

Manchester’s Star and Garter always finds a way to feel like the center of the universe, and Wednesday was no different. The venue played host to a night of unmistakable sonic alchemy finding room for Cwfen, a four piece occult metal outfit from Glasgow and LA’s fairy doom juggernauts Faetooth who entered the UK with a raw, eerie vengeance that, of course, could be felt throughout Manchester. With their sound being a dark mix artists like King Woman, Frayle and SubRosa, everyone could understand why the huge line of fans span out the door and spilled out into the street. It wasn’t just another run of the mill metal gig though. It marked itself as Cwfen’s first ever Manchester performance and Faetooth’s long-overdue arrival to northern UK stages, especially fresh off their new single ‘White Noise’. For metal lovers, it felt like a ritualistic merging, one band stepping into the ring with everything to prove, the other already swinging from the rafters having shared stages with artists like Skloss, Troy The Band and even Sunrot. Cwfen (pronounced “Covern”) opened for the night with a set of twisted occult metal emphasising that dirty gothic grime. Their name might evoke a bit of secrecy and ritual, but there was nothing at all subtle about their entrance as they clearly climbed on stage with the intent to make ears bleed and bodies fall through the floor. Armed with their brand new album ‘Sorrows’, they came out of the gate swinging and laid down the thunderous first verse of ‘Rite’. The crowd began swelling with latecomers rushing up the stairs, pints in tow. Ribcages rattled beneath denim in the crowd, pints started to spill and the band followed with hallowing and deadly screeches. Frenzies of applause rang out as they slipped into the next track ‘Reliks’. It clocked in at 82bpm, but definitely held that intensity they’re known for. Grounded, gravel-like tones poured from the speakers, speaking a language the crowd couldn’t get enough of. Bouncing low ends, each chord tight enough to create a glue the crowd couldn’t unstick from their eyes. The rest of their set consisted of steady snares ringing out like gunshots burning up the air around them. ‘Whispers’, ‘Penance’ and ‘Embers’ caused mixed vibrations from the high and low ends that could untie your shoelaces only for you to trip over head and heels for this band’s dirty death defying soul chewing metal progressions. When asked what they thought about their performance, all they had was 3 simple words. “Sweaty, Beautiful, MESS!”. It was hard to get enough, but people knew what was coming. Hailing from Los Angeles, formed in 2019, Faetooth. Definitely not your typical doom metal band. Walking the line between ethereal and brutal, combining true sludge and shoegaze into something others refer to as ‘fairy doom’. With their latest release ‘White Noise’ in tow, the treacherous trio finally brought their mystical wrath to Manchester. The venue space had become overrun with cheer, whistles and boozed up die-hard fans. Opening up with a long, deep bass swell to introduce ‘White Noise’ twisting the room’s atmosphere before ramping up into a glacial, face melting chorus of chaos. Look over and Rah’s punishing cymbal work had hair flying and heads rolling, blowing wigs and newcomers to Faetooth up, up, up and away. By ‘Remains’, Faetooth’s sonic fog had everyone by the throats. Teeth rattling, subterranean rumbles echoed from each corner of the room as Jenna shouted “How we doing Salford?”. A boom of fans bellowing out, before the band kicking it into gear, adding to their already monstrous aura, dropping to their knees and executing every note and even smoothly transitioning into their next track. The crowd didn’t even have a chance to pick up their slacked jaws before being thrust into another Faetooth classic. Only their most played track ‘Echolalia’ causing necks to stretch and strain to the devastating beat those three were supplying. Verses melodic, almost a calm before the storm that is this track’s chorus. Floors literally shook, ear drums leaving the venue and just when you thought they peaked, one final floor shattering scream to round things off. Only to be met by some obsessed fan screaming “WE, LOVE YOU” as the song faded to silence. Faetooth’s performance was nothing short of awakening. Not just another stop on a tour, but a full blown sonic seance. Their connection to the audience was magnetic, spiritual, and punishingly loud. Comparisons to acts like Windhand or My Bloody Valentine feel warranted, but not quite complete. Faetooth are truly carving a space of their own. Words: James Smith Photos: Jack Walsh

2025 was the year Outbreak truly became countercultural, a razor-cut celebration of the sharpest edges of the music spectrum. In the overcast haze of Sleep Token headlining Download, and with it the speculation about the future of live music, Outbreak offered a lineup which was arguably the largest statement piece that European, if not global, hardcore could offer, a thrilling insight into the future of the genre, a reality where Turnstile could headline a festival the same weekend as Charli XCX. For the first time, the festival was held over two locations, with Friday commandeered by LIDO to provide a space for some of the most innovative artists in the scene: Knocked Loose, Speed and Superheaven. Saturday and Sunday were a return to form in their industrial home of the Bowlers Exhibition Centre in Manchester. A cool mix of beatdown, brutality and the avant-garde makes Outbreak one of the most brutal crowds in the festival calendar. Acts like Feeble Little Horse, LustSick Puppy and Jane Remover make their misfit alliances with the band kids for the weekend. Somehow, the class of 2025 even managed to pull Denzel Curry and Danny Brown along for the ride. Amongst it all, it was also as much a celebration of UK culture as bands like Ikhras, No Relief, and Impunity shouted the loudest across the weekend. With some brutal debuts from bands across the pond, including xWeaponx, Contention and God’s Hate. There is no place quite like Outbreak. Words by Jake Longhurst (JL) and Amber Brooks (AB) Speed These days, it feels wrong to have Outbreak Festival without Speed, and it’s easy to know how much playing the festival means to the band, as vocalist Jem Siow pours his heart out to the hardcore scene. Travelling for 36 hours from their Sydney home, this is only a fraction of the hard work the band have undertaken over the past ten years to make a name for themselves, with their immense Only One Mode propelling the band into becoming one of the staples of the genre. To say that Speed has changed the game is an entirely true statement. In hardcore fashion, their set was short and packed a hard punch, with a pit that became bigger and wilder as it went on. A hot and heavy air packed the second stage tent, resulting in a sweaty mess that pooled into puddles at the bottom of your shoes. The trajectory of the band is exciting, unparalleled, and the hardcore community knows it as they turned out in their masses. Finishing on their iconic ‘The First Test’, both the band and the crazed audience know this is only the beginning. -AB Credit: Nat Wood Superheaven Shoegaze heroes Superheaven played twice across the weekend, once on the Friday and once on the Saturday. Both sets were glorious, especially with the inclusion of some material from their self-titled, the band’s first album in ten years. Opening their set with one of those tracks, the group kicked their UK return off with ‘Numb to What Is Real’, which was just the beginning of what came to be an absolutely brilliant show. Moving onto ‘Leach’ and then ‘Crawl’, the band showed off all three eras they’ve gone through with aplomb, keeping the love divided evenly across all three of their albums. Whilst the London set was not necessarily quite as impressive as the Manchester set, this mostly came down to setting - the tent at Victoria Park just didn’t quite compare to the stage at the BEC. However, the set was still magical, with song four being the immortal ‘Youngest Daughter’, before the band led off a barrage of ‘Stare at the Void’, ‘Long Gone’, ‘In on It’ and closer ‘Poor Aileen’, to really ramp the crowd up. After a fair few years wait, it was an absolute pleasure to have Superheaven back for not one, but two shows ahead of their January 2026 UK tour. -JL Turnstile Turnstile. They’re more than a band really, they’re almost a religion. Each live show lets attendees feel cleansed, attached to something higher, a part of one great communal release of energy, stress, sadness. Their headline set at Outbreak London 2025 was therefore, rather unsurprisingly, a sensational event that will be remembered for years and years to come. As the skies darkened, and rain threatened to break through the clouds above, the band made their way on stage almost 15 minutes later than expected, and let the sounds of the lead single and title track off of their new record ‘NEVER ENOUGH’ ring out into the night at Victoria Park. The reaction was instant. Thousands of people all sung together in varying pitch, accuracy, and volume, but were all united by the colossal outpouring of emotion brought on by the evocative intro, before it swelled into the gargantuan, stadium sized anthem that the song truly is. Following that up with ‘T.L.C.’ let the crowd open up and get their dancing shoes well and truly on, and they did not come off until the set’s end. Amongst the exquisite setlist were some favoured newer tracks, like ‘LIGHT DESIGN’ and ‘I CARE’, as well as hits from GLOW ON like ‘UNDERWATER BOI’ and ‘HOLIDAY’. The band aren’t remotely afraid of reconnecting with their roots though, and the run of ‘7’ into ‘Keep It Moving’ and ‘Pushing Me Away’ was visceral. However, it was the final six songs of the night that showed the still-huge potential the band hold, to one day take on stadium headlines and festival top slots. ‘ALIEN LOVE CALL’ and ‘LOOK OUT FOR ME’ finished the main set, with the former featuring Blood Orange for the full experience, before the whole crowd just let go and danced for the latter. As the encore begun, the five piece broke into GLOW ON’s opening track ‘MYSTERY’, and the energy felt near celestial, before the fade into ‘BLACKOUT’. With all the explosive power of a hydrogen bomb, the band tore the entire crowd a new one, and then finished off on two firm favourites from the new record in ‘SEEIN’ STARS’ and ‘BIRDS’. If ever there was a “you had to be there” list of the greatest hardcore sets in history, this is surely up there with the very best of them. -JL Credit: @Ishasha_photography Julie Los Angeles-based indie rockers julie showed up and showed out on both Friday and Saturday. With a sound that combines rock, 2000’s American indie, shoegaze, punk, noise, pop, and even nu-metal, they’re certainly not a band to be slipped into a single drawer, content with one sound. The group only formed and started playing shortly before the beginning of the Covid-19 pandemic, so haven’t been around very long, but formed their band with the desire of playing live, and writing music that begs to be played live. Judging by their reception, you could well say they succeeded. Having released just one album, 2024’s ‘my anti-aircraft friend’, you may be forgiven for assuming that they wouldn’t have a set full of bangers. But with the success they’ve experienced, and the intention to always write songs for the live setting, both band and crowd were excellent. Opener ‘catalogue’ started things off well, introducing them to the watchers-on who had been unaware of the bands sound until then, whilst ‘kit’ and ‘aprils-bloom’ set them up for excitement. Their debut single ‘flutter’ is still by far their most popular song on Spotify, nearing 50 million listens at the point of writing, and was a spectacular thing to observe on such a broad stage, knowing how rapidly the band have gone from playing back gardens to Outbreak. - JL Jane Remover Digicore sensation Jane Remover performed at Outbreak, again on both day one and day two. Their intense, electronic sound is reminiscent of hyperpop, but distinguishes itself enough that you know something different is happening within their mind. At the age of just 21 coming into 2025, they’re not a mainstay of the industry yet, but being provided the opportunity to play Outbreak twice - as well as open up for Turnstile on their American tour - is going to give them every chance to change that. Having also played two sold out shows the nights before Outbreak, Jane Remover is not resting on any laurels - they’re in this to play music in front of as many people as possible. Playing almost exclusively tracks from ‘Revengeseekerz’, their 2025 effort, it was clear to see that they’re only interested in forward progress. ‘Angels in camo’ was as good live as on record, possibly even better, and ‘Professional Vengeance’ gave itself ample reason to have such a raw song title. Of course, the Friday sets inclusion of a Danny Brown feature on ‘Psychoboost’ was pretty crazy, but performing it with him instead on the Saturday was an equally incredible moment to witness. Closing their set with ‘TURN UP OR DIE’ into ‘Dancing with your eyes closed’ sent off two stellar sets by a clearly soon to be star. - JL Sunny Day Real Estate Come ye, come ye, oh elder emo’s of the United Kingdom, come one and all - Sunny Day Real Estate played not one but TWO Outbreak sets, and if you didn’t catch them you really messed up! Their set on the Friday was a tad shorter than the Saturday set, which had a total of eleven songs prepared to treat the Manchester crowd. With more songs off of their 1994 effort ‘Diary’ than any other album, it took us back to their roots with all the energy and soul of a modern live performance. Opener ‘Seven’ was an instant hit, and keeping with the numerical theme so was follow up ‘One’. Other particularly notable moments were the relatively early playing of ‘Song About An Angel’, before the midpoint of ‘Pillars’ led into ‘Guitar And Video Games’. The crowd was as excited as can be by this point, with the punk sound shining through more than we had anticipated within the band’s sound, and the finale of ‘In Circles’ into ‘The Rising Tide’ sounded phenomenal with this slightly more aggressive sound. We can only hope they return soon, so we don’t miss them too much. - JL Credit: Nat Wood Have A Nice Life Writers of the seminal 2008 album ‘Deathconsciousness’ and surprisingly hard to pin down as a live act, Have A Nice Life are, to the discerning lover of sad music, legends in their very own right. The rarity of their live show arguably adds to this, and even though they have technically been playing since 2004, they played a total of four shows before 2017, so they’re no Frank Turner. On their first ever UK tour, they found themselves not playing a similarly bleak, nihilistic bill, but on that of a primarily hardcore festival. This might be a daunting task to another band, yet Have A Nice Life took it in their stride. As it turned 7PM, the inside of the BEC arena’s main room was packed fit to bursting with lovers of misanthropic music. The set was stacked, as would be expected, but it was ultimately closing the trio of ‘Bloodhail’, ‘A Quick One Before The Eternal Worm Devours Connecticut’, and ‘Earthmover’ that drew the largest cheers from the packed out BEC. With arguably their three largest songs being played in a row, the entire crowd was full of emotion and excitement in equal measure, thrilled to be watching an iconic act upon such a momentous show. -JL Slowdive To all but close off the day’s light, who else could fit on such a bill but the almighty Slowdive? With an album as genuinely legendary as ‘Souvlaki’, they were perfectly poised to deliver a sensational show, with an outpouring of feeling from the crowd all but guaranteed. As they took to Outbreak’s outside stage with a shimmering green and black graphic behind them, the excitement was near-visible in the air, as crowdmembers whooped and cheered and gasped and even started crying, all in somewhat equal measure. As you might expect, the most excitement was saved for songs off the aforementioned icon of shoegaze, ‘Souvlaki’ - yet this didn’t stop the band, nor the crowd, from revelling in each and every moment of sweet sonic substance. ‘Avalyn’, ‘shanty’, and ‘Star Roving’ plucked at the heartstrings early, before a seriously potent midsection kicked off with ‘Catch the Breeze’, then went into ‘Pygmalion’s big track ‘Crazy for You’, the semi title track ‘Souvlaki Space Station’, and ‘Sugar For The Pill’. By this point, the overwhelming feeling was appreciation and enjoyment with a solid dose of bittersweet emotion - the sadness of the music touched the hearts and souls of every listener, yet happiness reigned supreme with each onlooker desperate for more. Finally, the unbelievable three-peat of ‘Alison’, ‘When the Sun Hits’ and ‘She Calls’ washed over the Outbreak loyalists, who promptly found themselves stood in puddles of tears, and feeling all the beauty of life in a moment. -JL Credit: Nat Wood XWeaponX Would you like some mosh pits with your Cheerios? For those hardcore greebos, there are plenty of exciting ways to start your day, but arguably, for the crowds at Outbreak Festival on Sunday, watching the first UK performance of xWeaponx was definitely up there. For those in the know, the second stage was immensely packed out, well beyond the confines of the infamous front section. For an opening band, this was impressive. Even more so was the setlist artillery, as the band fired round after round of explosive choruses and sharp set gang callouts, the entire audience could get behind. Whilst the band comprises members of Knocked Loose, Harm’s Way and Dare, the band is no nepo baby; it's a well-kept secret that deserves to be played on European soil. With the surprise release of their latest EP back in April, and nine whole minutes of abrasive fun, there’s something excitingly dangerous about being at a Weapon X show. Seeing the band was a moment to get giddy, and ultimately, the unparalleled hype you get watching a set at Outbreak. - AB Credit: Nat Wood No Relief Brighton hardcore is as good as it’s ever been. Representing the BN1 scene on one of hardcore’s biggest stages, No Relief set the crowd alight with their riveting performance and tighter than tight musicianship. The anger within their riffs was palpable, and the crowd responded in due course with plenty of spins and dives. Whilst the band were only onstage for twenty minutes, they made every second count, and showed up a number of the larger bands across the weekend with the sheer commitment and effort they displayed. No Relief, we salute you. - JL God’s Hate The first ever UK set by God’s Hate was always likely to be hectic. But you want to put that first ever show at Outbreak though? Well, open warfare could be considered more peaceful. Tracks like ‘Be Harder’ and ‘God’s Hate’ received exactly the reaction you’d think, with every single person even vaguely near the stage sending every ounce of energy and rage into either throwing themselves off the stage, or into other people. They played a full ten songs, and included two excellent covers of ‘Master Killer’ by Merauder, and ‘Take ‘em All’ by Cock Sparrer that riled the audience up even further. In a choice that shocked no one, taking the very fitting final slot on the setlist was the song ‘Finish the Job’. Not one soul let the band have even a moments respite until they’d left the stage, and they did that to rapturous applause. -JL Credit: Eddy Maynard Loathe - Amber Well, this was special. Whilst we were not expecting a set from Loathe this year, it was greatly appreciated. The band will always have Outbreak as their home, even if they're from Liverpool. Loathe are a band in that dark purgatory between albums, and sometimes they offer a smidgeon of hope that there is a new era on the way. Opening with an entirely unknown track (yeah, that one wasn’t escaping us), they made their presence known on the outdoor stage. The turnout for their set was immense, moreso the energy given at the front of the pit. The set itself felt fresh, opting for classics ‘Is It Really You’ and ‘Aggressive Evolution’, alongside deeper cuts like ‘Dance On My Skin’ and ‘Gored’. We were treated to a new track, ‘Gifted Every Strength’, as well as a welcome feature from Static Dress’ Olli Appleyeard for ‘Heavy Is The Head’. Especially for a secret set, where the wild rumours about who would be performing seemed to rage on throughout most of the early afternoon that day, this set was a masterclass on how to show up and create massive waves, even on a hardcore lineup that doesn’t entirely fit into their sound. When Loathe played Outbreak in 2023, guitarist Erik Bickerstaffe described the set they played as their “Woodstock”, but this was the set was truly their moment that topped it all. - AB Contention Artillery from Heaven? It certainly felt that way, as moshers piled onto the front of the stage with some pent-up aggression. Florida metalcore outfit Contention headed to the UK for the first time, a much-needed trip after the release of their monumental debut album. Fast whirlwind riffs and piercing screams, the band scattered ammunition into the swirling pit. Starting as they meant to go on, the set was short but packed an intense amount of energy, with a sea of flailing arms, crowd killing and a sweet sense of victory for the band. Ultimately, Contention was one of the best sets of the weekend. There was the right amount of people making a truly immense statement piece in the pit, the sound was unmatched and feral, and there was untapped potential brimming from this round of UK shows. A military expedition with an intent to thrill, Contention is immense, and Outbreak well and truly made this set happen with an amazing atmosphere. -AB Credit: Eddy Maynard Deafheaven As Outbreak becomes more and more open to shoegaze being included, Deafheaven feel increasingly perfect for their lineups. A band formed by predominantly former members of metalcore and hardcore bands, they’ve never been one for the kvlt black metal side of things, preferring to keep their brand of heaviness stood firmly in the breathtakingly beautiful and devastatingly emotional end of the genre. With the live experience and songwriting expertise the band have, it’s always a wondrous set from the band whenever they play live. Having already released a flawless album this year, Deafheaven marked their return to the UK with a crushing performance that included some of the hits from ‘Lonely People With Power’. Opening with album intro ‘Incidental I’ into ‘Doberman’ and ‘Magnolia’ was a real mission statement, stating their huge belief in their latest, phenomenal, work. Indeed, out of the seven songs they played, only two weren’t from the latest album! ‘Incidental II’ also featured, and the glorious ‘Winona’ closed their set off. The two other tracks were ‘New Bermuda’s own ‘Brought To The Water’ and then the seminal ‘Dream House’, a bonafide classic of the 2010’s and legendary live song even now. They can do no wrong, and this set just further proved exactly that. -JL Knocked Loose Are Knocked Loose truly hardcore? For their recent releases, their expeditions into the gnarly and the extreme haven’t always made it feel that way. Their latest release, ‘You Won’t Go Before You’re Supposed To’, felt more akin to metalcore, opting for horror-filled haunts straight from their Louisiana suburbs. Knocked Loose’s sound in 2025 may feel like a world away from the guts of ‘Pop Culture’ and ‘Laugh Tracks’, but they are still a monolithic cornerstone of the hardcore community. Arguably, the band possess even more of a compelling argument through their dedication and respect to the scene, performing at a no-barrier set that screamed with compassion and community, scattering guest vocalists and name-dropping as many bands playing that day as they could. Deafheaven’s George Clarke elevated ‘God Knows’, throwing an ethereal dimension to the track, impressively screaming an entire octave above Bryan Garris - if that’s even possible. Speed went to town on ‘Deadringer’, whilst the dynamic duo of Kadeem France and Olli Appleyard represented the UK on ‘Billy No Mates’. Boston Manor’s Henry Cox confronted the Manchester crowds with a cerebral rendition of ‘Belleville’. All together, the band sounded immense, grimy and gross in the best way possible. Tracks from their latest release like ‘Blinding Faith’ and ‘Don’t Reach For Me’ cut their teeth so sharply amongst established fan favourites like ‘Counting Worms’ and ‘Where The Light Divides The Holler’. Splitting the crowd from stage to sound desk offered one of the most gory sights in Outbreak history, but from a distance, it was a moment of art. Michelangelo couldn’t paint the brutality of bodies slamming against bodies. The final nail in the coffin was finishing the set with a ‘Weapon X Outro’, a damaging embodiment of the true meaning of Outbreak culture. As both Bryan and Isaac debuted their other project, xWeaponx, to the masses that morning, they opened and closed their set with ferocity, enthusiasm and an undying respect for the hardcore community. Acts like Knocked Loose and Turnstile, who both headlined Outbreak this weekend, have arguably, with their success, moved away from the traditional hardcore sound; they both embody its spirit and tenacity that the underground community truly respects and nurtures. Whilst we are so focused on the future of heavy, Outbreak weekend has been a point of reflection. Why care, when Outbreak has some of the best crowds and the best people on the planet? -AB Credit: Nat Wood

Metallic hardcore act Mugshot are back with an album that is foaming at the mouth in its excitement to beat you into submission. All The Devils Are Here takes everything you already knew about the band and dials it up to 11, for a devastating trip that takes comfortably less than half an hour. Opener ‘Die In Fear’ let’s rip on the new release with all the subtlety of a brick to the teeth. Mugshot have clearly decided to go for the more abrasive, aggressive route compared to before - which wasn’t exactly a light breezy park walk of a sound at best - and slam the listener in the face with the sonic equivalent of a rotating saw. ‘Afore A Waking Nightmare’ takes this, ups it, and gives it back - there is nothing but vitriol layered into this beast of a song. ‘Shame’ scratches at the breakdown itch in all of us, with the latter half just about ready to break some DIY venue doors completely off of their hinges. Combined with some interesting rhythm blends and abominably heavy tone, it makes for a very healthy wake up call if you somehow had fallen asleep so far. ‘Vale of Tears’ takes a trip to riff central. It doesn’t pass go, nor does it collect £200. It just takes the listener all the way to the gnarliest riffs the band has to play, and that’s a beautiful thing. It’s metaphorically time for half time on ‘Skin the Rabbit’ - whilst it’s still comfortably in the first half of the record, the drumming will get you screwing your face up into that gurniest of gurns and keep it there all song through. Almost belying the album so far until the guitar kicks in, ‘I Will Be Here Forever’ opens with some triphop-esque drums that then mutate into a full-on groovy metallic hardcore throwdown, which ebbs and flows to let the pit breathe - before suffocating it under layers of screams and distortion yet again. Next up, marking the turning point of half way, comes ‘Flesh Of My Body’ - an incredibly brief interlude that is as abrasive as anything you’ll hear this year. Under 40 seconds long, once you hear the song title prepare to be ripped asunder by mosher after mosher after mosher. At around three minutes long, ‘Baptized in Concrete’ is a prog rock epic by Mugshot’s standards. However, unlike the average prog rock epic, this makes you want to throw people off of stages at other people in a disgracefully punishing display of musical hatred for the listener. ‘Where Your Sins Will Lie’ includes something that brings out a very specific grin - that being, the Cheshire Cat style smile that only happens when a particularly grating pick slide graces your eardrums, Gojira style. This song feels like it could be the best embodiment of the album cover out of those on the record, portraying the abstract furious demonic image on the LP perfectly. Coming in tenth out of the twelve is the title track, ‘All The Devils Are Here’. Combining the atmospheric touches the band occasionally utilise with the weighty distortion of their guitars and gutturals, the track is more than worth titular placement, and takes no prisoners whatsoever in its quest to obliterate any listeners or onlookers. ‘Me & You’ brings a lovely touch of china cymbal to proceedings that was certainly present, but not as consistently used, and it’s incredibly welcome. The track is filled with nasty noise and rough vocals, with a few gang vocals spattered throughout to keep the hardcore influence as loud and proud as possible. Album finale ‘Next To Your Idols’ opens with an incredibly hard line - “I’ve got a bullet engraved with your name” is an excellent opening, that also happens to tee up the rest of the song brilliantly. With crushing breakdowns, riffs, and more brilliant vocals, the album finishes as strong as it has been at any moment throughout. Whilst the album doesn’t break masses of new ground across its run time, what it attempts to do it does extremely well. The riffs are groundshattering, the breakdowns are apoplectic, the vocals are hellish, and Mugshot manage to condense eleven full songs and one interlude into a short, sharp, twenty five minute ride. All The Devils Are Here is a powerful example of the heaviest sound this band have consistently put out thus far, and if they were looking for heaviness then this is a surefire success story. Score: 8/10 All The Devils Are Here was released on June 20th 2025. Words: Jake Longhurst Photos: Mugshot

Hot Milk’s second full-length album, Corporation P.O.P., is a thunderous, emotionally raw, and politically charged record. Across 14 sprawling tracks, the Manchester-born band unleashes a barrage of fury and frustration aimed at the powers that be, from broken British institutions to the global machinery of oppression, without ever losing their signature sound - hook-laden, genre-melding, and defiant. Their blend of pop-punk attitudes with post-hardcore intensity has made them a vital force in the scene, and Corporation P.O.P. feels like a natural evolution of that legacy. The record kicks off with a gut-punch on ‘(How Do I) Make The Devil Fall Asleep’. It’s a storming opener with tight riffs, an urgent tempo, and a vocal performance from Han Mee that practically quakes with rage. Her voice shakes in the first verse, brittle with emotion, as if she’s barely able to hold it all in. It’s gripping from the first line and sets the tone for what follows. Next is ‘INSUBORDINATE INGERLAND’, which starts with a train announcement for Manchester Airport, a small nod to the band’s roots. “[Manchester] is intrinsic to me and who I am” Han Mee says, and this track makes good on that sentiment. Lyrically, it’s a searing critique of how Britain’s working class has been abandoned, cloaked in tongue-in-cheek nationalism. Lyrics like “I’m England till I die” might sound like a football chant, but here they drip with irony; it’s not a celebration, it’s an outcry from someone who knows there’s no easy escape from the mess we’re all in. While ‘INSUBORDINATE INGERLAND’ stares down national decay, ‘The American Machine’ broadens the scope. It takes aim at the state of U.S. politics, though the band makes it clear they’re not just swinging wildly at the country - they’re lashing out at systems of hate and greed. As they put it, the track “is not anti-American, it is anti-asshole, anti-hate, anti-oligarch”. Vocally, it’s classic Hot Milk, with Han Mee and Jim Shaw bouncing between clean and harsh vocals, giving every line the weight it deserves. The band’s willingness to experiment is part of what keeps Corporation P.O.P. feeling fresh across its generous run time. ‘Hell Is On Its Way’ threads a slick, electronic vocal effect through its intro and chorus, adding a cold mechanic edge to its apocalyptic themes. We hear something similar in a later track, ‘Warehouse Salvation’, which implements some electronic dance elements, giving it an almost industrial metal sound. Hot Milk blends the new textures seamlessly into their hard-hitting rock foundation, which is a true testament to their growing confidence as artists. Closing track ‘Sympathy Symphony’ changes the pace, offering a moment of reflection after the chaos of the previous tracks. The first half is stripped back and contemplative, with devastating lines like “the resentment creeps like a fiend” landing hard in the quiet moments of this song. Just when you think the album might fade away peacefully, it builds into one final storm of sound. Culminating in screams that dissolve into glitchy, mechanical noise, it’s a haunting end that mirrors the industrial rot the band spent the entire album rallying against. Produced in part by Jim Shaw himself, alongside Zach Jones and KJ Strock, this album captures the full spectrum of Hot Milk’s sound and ambition. The intensity is palpable, with nothing feeling over-polished and manufactured, but still sounding incredibly tight throughout. One potential point of contention could be the album’s length: though not uncommon to have a 14 track album, a lot of recent releases have leaned more towards an 8 to 10 track count. Corporation P.O.P. is undeniably a lot to take in, but it feels entirely intentional. Hot Milk isn't trying to be digestible. There’s far too much to say, and too much wrong in the world to condense their fury into a tidy 10 track package. Corporation P.O.P. is bold, uncompromising, and loaded with the kind of urgency that comes from trying to survive a collapsing world. With this album, Hot Milk has proved that they’re not just another alternative band with a vague message of resistance. They’re an unstoppable force that isn’t backing down anytime soon. Score: 8/10 Corporation P.O.P. will be released on June 27th 2025 via Music For Nations. Words: Zuzanna Pazola Photos: Hot Milk

Now the British weather has crept above 20 degrees, it’s time to get excited for festival season! In the spirit here’s 10 bands and we won’t be missing at 2000 trees this year. Kneecap The last year has been massive for Kneecap: a steady rise exploded by their biopic, two academy awards and (perhaps controversially) a performance at Coachella this year. The masked Dublin trio bring their pro-republican underground rap sound to the headlining spot of 2000 trees this year, mixing Gaelic with English to promote the sovereign rights of Northern Ireland and lyrics about Irish political and party culture. If there’s one thing about Kneecap, though, is that they always have something in their back pocket, so we’ll be waiting with baited breath to see what they have in store for us in July. Coheed and Cambria We were so excited to see Coheed and Cambria on this lineup after getting our hands on The Father of Make Believe earlier this year. Their high concept prog rock sound scratches the technical itch of musicians and listeners alike, while the universe they have built through every album is a joy to unpick. Get yourself down on Friday if you want to catch this set. Pvris! Pvris! Have been staples of the scene since their seminal 1st album White Noise dropped in 2014; their brand of drum-heavy emo pop the perfect soundtrack to any yearning crush and one-sided breakup. After a lull it's great to see Pvris! Getting active again, with the ever shy Lynn Gunn looking increasingly confident in their stage presence if their last stint in the UK with Fall Out Boy is anything to go by. They’ll be fresh off the White Noise anniversary tour by the time we meet them at 2000 Trees, so we can’t wait to see what revisiting this will bring out for them. Hot Milk If you were lucky enough to get tickets for Wednesday you get the joy of catching Manchester quartet Hot Milk’s headline set. Bringing a perfect blend of 2010s pop punk revival and the harder electro-rock sound that’s defining the 2020s scene, tracks such as candy coated lie$ embody a mature angst swallow that adds an anti-establishment edge to their discography. Vukovi Bringing a little sex appeal is Vukovi, a party-punk duo from North Ayreshire, Scotland. They’ve recently dropped banger 4th album MY GOD HAS GOT A GUN, a full electro-infused take on their high energy rock sound which will have half the crowd dancing and the other half moshing. They’re at their best when serving sensual angst, combining deep metalcore instrumentals with hyperpop/heavy electronic beats and we can’t wait to see what their live performances are going to bring. Hyphen Hyphen is an indie rapper turned punk-rap artist hailing from Portsmouth, serving pro-south asian/anti-racism tracks that are equal parts raw and honest as they are cheeky and charismatic. Their early work is more focused on confidence-core, with tracks like Confident and Cocoa Butter promoting feeling comfortable in one's skin, but it has been the beautifully condescending and comedic offerings including Marching Powder and Hate Yachts not Dingies that have seen Hyphen begin his take off in the scene, helped in no small part by his bouncy full-on stage presence. As December Falls Also in that pop punk revival wave is Nottingham natives As December Falls, adding a strong flavour of emo to their sound that hits right in the 00s nostalgia. They are remarkably easy to listen to, with tracks such as therapy having every emos favourite blend of upbeat soundscapes and angst-packed lyrics. As December Falls will be up on the 2000 trees stage on Saturday. Malevolence If you came to this list for hardcore recommendations, the one we have for you is Malevolence. Punchy drums with a tastefully slower tempo to their hxc counterparts, tracks such as it’s all the same to you have a great mix of windmill ripe breakdowns with a more swinging sound that lets a listener take a breather. They’ll also be up on Saturday, which is proving to be a stacked day! Mallavora Bringing some ethereal hard rock to 2000 trees on Friday is Bristol-based Mallavora. Their searching melodies and dissociative vocals are transcendent; their lyrics talking of solidarity with the trans community and the injustices of the current world order. If you’d like to indulge in timeless dad-rock-esque sounds without worrying about their politics, Mallavora will do just that for you. Panic Shack While you’re waiting for Hot Milk on Wednesday feminist punk quartet Panic Shack are worth the listen. Bringing Riot Grrrl realness with a messy girl aesthetic, panic shack are sure to get you dancing while promoting women’s liberation. 2000 Trees will be returning to Cheltenham between 9th-12th July. Words: Julia Brunton

Catton Hall and Park, nestled in the rolling hills of South Derbyshire, will once again throw open its gates for the UK’s biggest independent metal festival this August. For over two decades, Bloodstock has excelled in delivering chaos and community for metalheads across the country and has become a true celebration of heavy music in all of its forms. Having previously attracted acclaimed headliners like Judas Priest, Slayer, and Megadeth, it’s become an experience not to be missed for anyone craving crushing sounds and the extreme side of music. This year is no different, with Trivium, Machine Head, and Gojira sure to unleash absolute devastation, but the headliners are just the beginning. The festival is turning 21 this year, and it has grown into a three-staged beast, packed with unmissable talent. With so much to see, narrowing it down can feel like choosing your favourite riff in a Black Sabbath setlist, so we’ve done the hard work for you. Here are 10 acts worth catching in the (hopefully) blazing summer skies of Bloodstock 2025. Konvent The all-female Danish death doom unit KONVENT are a force to be reckoned with. Formed in 2015 before releasing their killer debut album ‘Purtian Masochism’ back in 2020, they’ve honed their intense, guttural vocals and combined them with unshakeable riffs to create something truly compelling. They’ve stormed the stages of heavy European festivals throughout their career, from Resurrection Fest 2023 to their home turf at Copenhagen Metal Fest 2022. This four-piece is breathing new life into their genre, and their Friday set over on the Ronnie James Dio stage is sure to be nothing short of punishing. Pheonix Lake Having previously played the Sophie Lancaster stage back in 2023, the huge strides made by the 4-piece in the past couple of years mean that it’s time for a reprise! Hailing from Nottingham, the band formed in 2018 and have been steadily carving out their own space in melodic metalcore ever since. Blending luscious vocals and captivating harmonies, their sound is heavy, powerful, and emotive. Their latest single, ‘Fractured Wings’, has achieved nationwide coverage, proving that they are a band on a serious upward trajectory. Catch their return yourself over on the Sophie Lancaster stage on Saturday. Preyrs A fresh force on the scene, heavy alternative rock band PREYRS is the brainchild of Belfast rock singer Amy Montgomery, and they’re just getting started. They joined New Model Army on their UK tour in 2024, honing their sharp and fierce style of performing. With lyrics delving into themes of grief and war, they weave haunting melodies with an untamed energy that demands headbanging. Don’t miss the chance to witness this rising talent first-hand over on the Hopical Storm New Blood stage on Sunday. Paleface Swiss Hailing from Zurich, Paleface Swiss have spent the last 8 years crafting a unique blend of slam, hardcore and deathcore, rightfully earning a Friday slot on the Ronnie James Dio stage. With a balanced combination of brutal vocals, relentless riffs, and deeply personal lyricism, they’ve carefully cultivated a dedicated fanbase, especially garnering success with ‘Chapter 3: The Last Selection’ in 2023. It’s safe to say they are more than comfortable with selling out shows, and they’re currently touring Europe to promote their latest album, ‘Cursed’. If you’re looking for experimental extreme metal at its finest, be sure to check them out. Eihwar Need a break from the intense breakdowns and guttural growls of the rest of the festival? On Friday, French electo-pagan duo EIHWAR will be taking the Sophie Lancaster stage by storm with their hypnotic blend of shamanic chanting, traditional Nordic folk, and pulsating electro beats. Discovered relatively recently in 2024 at Hellfest, they’ve played some impressive festivals like Wacken Open Air and are currently making waves on a European tour. While still early in their journey, they already know how to put on a great show; prepare to be entranced, and join them on what they call their “Viking dancefloor”. Thrown Underground stars of the metalcore scene, thrown are set to unleash utter chaos to the Sophie Lancaster stage on Sunday with their sharp and modern take on the genre. Since forming in 2019, the Swedish 4-piece have been giving us blistering riffs and aggressive vocals with short, hard-hitting tracks such as ‘on the verge’ and ‘guilt’. Known for bringing explosive energy to their live shows, they’ve toured with While She Sleeps in 2024 and supported scene heavyweights like Knocked Loose and Architects. Before continuing their tour later this year, their stopover at Bloodstock isn’t one to miss. Ba’al Blackened post-metal quintet Ba’al have been giving intense live performances since their formation in 2016. After taking the crown at Metal 2 the Masses Sheffield, they were invited to play Bloodstock, kickstarting the rise of their small but mighty fanbase. Fusing elements of sludge and black metal into a harrowing musical experience, their latest release ‘Re-Llipsism’, as well as upcoming ‘The Fine Line Between Heaven and Here’, is setting the tone for what to expect. Their set at Bloodstock is sure to be a dark and grisly celebration of these albums, so it will be well worth catching them over on the Sophie Lancaster stage on Saturday. Heriot This genre-defiant quartet from Swindon has made serious waves in the past 3 years after the success of their explosive debut EP, ‘Profound Morality’. If there’s a subgenre of metal you like, HERIOT has already torn it apart and rebuilt it from the ground up. They combine elements of death, gothic, and industrial metal with a relentless wall of mind-melting distortion. Having supported legendary bands such as Lamb of God, and with their debut UK headline tour impossible to snatch up tickets to, it’s no surprise they’ve already made it to a coveted Saturday slot on the Ronnie James Dio stage. Static X Do they even need an introduction? Since their creation in 1994, renowned American industrial metal greats Static X have thoroughly pushed musical boundaries across 8 albums. With hit singles such as ‘I’m with Stupid’ and ‘Push It’ coming from their debut album ‘Wisconsin Death Trip’, they’re icons of the metal mainstream. Their career includes appearances at Ozzfest, Download, and countless sold-out tours of their own, and it’s undeniable that their unmistakable energy has truly stood the test of time. They’re sure to give nothing short of a full-throttle performance when they take on the Saturday headline slot of the Sophie Lancaster stage. Famyne Another previous Metal 2 the Masses winner, Famyne have been carving out a name in the doom metal scene since their creation in 2014. Known for their haunting and hypnotic sound, they translate the darkest of the genre into energetic and atmospheric live performances that aren’t to be missed. They’ve toured extensively right from the get-go, including an impressive 11 countries in 2019 alone. With a growing reputation on the European festival circuit, they’ve also become Bloodstock regulars for good reason. Their set promises to be a truly immersive experience, so make sure to head over to the Ronnie James Dio stage on Friday. Catch all of these bands, plus headliners Trivium, Machinehead and Gojira at Bloodstock Festival this August Words: Chloe Sodeau