As an introduction to mincecore, Haggus’ fourth album and first studio release Destination Extinction is akin to walking into a Rocky Horror Picture Show showing through the back door. Their sound is full frontal and unashamedly chaotic, with enough true-metal tempos and chord progressions to mark it as the Haggus touch to an admittedly niche subgenre. Album opener ‘Rotting Off’ is great for easing the listener into the audio experience of Destination Extinction: a slower tempo than the rest of the tracks on the project at its beginning with a satisfying “weewoo” for a vocal introduction, it builds in pace and heaviness as the pitch shifted vocals kick in. Its follow up ‘Bound by the Realms of Cruelty’ is the first true indicator of what's to come on Destination Extinction, introduced by a traditional metal solo by Strinx player Hambone (their words not ours), the track is made up of voice-box-mixed guttural growls responded to with devilish wailing, broken only by more strinx solos. What strikes the ears as Destination Extinction gets going is how much the soundscape sounds like 70s and 80s metal bands when the vocals are removed from the equation. The ever moving tempo and melodic riffs manage to remind of Motorhead somehow, while entry three ‘What’s F**king Left’ - apart from being amusingly blunt title - features some of the best guitar work of the project including a seamlessly executed stop and start bass guitar into main chord progression balanced with the wails and guttural screams being fed to the pitch shifter. The track is bouncy and forward driven, fading into 'Lobotomised Compliance' with a long guitar note that keeps the momentum as the midpoint of Destination Extinction draws closer. On the topic of the guitar work midpoint entry ‘Do You Love Mincecore’ has a mythical midpoint solo buried in its voicebox/wail call and response vocals, conjuring images of a basement show but played in the local tavern just before ye olde lock in. As for the drums, their highlight comes in ‘Repulsive Institution’, hitting up a sound more metalcore or hardcore inspired with a punk drumline punctuated by double bass riffs that transform into full double bass lines at the builds and solos. Atop these drum beats Hambone does his best guttural animal impressions into the pitch shifter; pitch shifted pig scream was a treat our ears didn’t know they needed. The main critique that comes from Destination Extinction is that, once the novelty of the pitch shifter wears off, the soundscape can feel two-dimentional, though each track does maintain its own signature. Whether it’s the hoppy melodies on ‘Crippled by Stupidity’ or the choice to use a live guitar of ‘As the Hammer Drops’ these signatures help break up the wall of sound that 'Rotting Off' could have suffered from becoming. Back on the positives - some of the track names on this project are the highlights, such as aforementioned ‘What’s F**king Left’ and ‘Crippled by Stupidity’ or penultimate track ‘Malignant Boomer’, which is satisfyingly the angriest of the 10 tracks on the project. Album closer ‘Grotesque Reflection’ works well in its placement as a mix of everything Haggus has served throughout the rest of Destination Extinction: the chaotic builds and stop-and-start instrumentals paired with delicious double bass rolls and verses made up of pitch shifted pig-squealed verses. Overall, Destination Extinction was chaos, as are many extreme metal subgenres, but it was captivating in a “what the hell was that” kind of way, and the technical skill is definitely present between the solos and the integration of the pitch shifter. Was it a little samey? Yes, but it is also interesting, so the standards on that can be lowered a little. Do we love mincecore? Actually, yes we think we do. Score: 8/10 Destination Extinction was released on June 20th 2025. Words: Julia Brunton Photos: Haggus

YUNGBLUD has always felt like a storm. From the moment Dominic Harrison burst into public consciousness - smudged eyeliner, tartan trousers, fists raised in the name of the outcast - he was a whirlwind of noise, chaos, and contradiction. At just 26, he’s amassed a global cult following by fusing punk, pop, and vulnerability into a space that speaks directly to the disillusioned. For many, YUNGBLUD became more than a musician—he became a lifeline, a mirror, a manifesto. But what happens when the lifeline starts to fray? When the persona fractures under the pressure of grief, fame, and fatigue? Idols, YUNGBLUD’s fourth studio album, is the sound of that unravelling. The mask doesn’t slip for the sake of drama, or a refresher, or because it got boring - it falls because it’s simply too heavy to hold. Gone are the spiky anthems built for festival stages. In their place are whispered confessions, moments of aching quiet, and the rare bravery of simply being still. This isn’t his loudest record, but it’s the most truthful. And possibly his best. 'Hello Heaven, Hello' opens the album like a quiet procession. Over sparse piano and unsteady vocals, Harrison delivers a eulogy not just for someone else, but for himself. The grief is unfiltered - it hangs in every pause, every breath, every note he nearly doesn’t sing. 'Idols Pt. 1' follows like a smudged photograph of a self in crisis. More spoken word than song, it dissects the emotional toll of visibility. This blurring of image and identity reverberates throughout the record - and nowhere is it more haunting than on 'Lovesick Lullaby'. A gothic waltz drenched in romantic ruin, the track explores love as both comfort and confinement. The melody sways; the emotions bleed out beneath it. Then comes 'Zombie', the album’s bleakest moment. It’s numb, drained, and eerily still. “I’m not alive, I’m not in pain,” Harrison sings, with the distant tone of someone watching his own life from across the room. There’s no explosion, no climax - just quiet surrender. It’s one of the most effective portrayals of shutdown in recent memory. 'The Greatest Parade' follows, but not to offer relief. Instead, it spirals into surrealism. Drenched in distortion and carnival dread, the track turns fame into grotesque theatre. Applause becomes accusation. Confetti feels like forensic dust. Harrison sounds like he’s performing the version of himself the world expects - resentfully, bitterly, brilliantly. 'Change' and 'Monday Murder' keep that defiance alive. Gritty, breathless, and sharp-edged, they sound furious - but underneath the noise is exhaustion. These aren’t anthems of uprising. They’re dispatches from someone fighting to stay upright. 'Ghosts' slows everything down again. It’s a song about absence; not just the kind left by death, but the invisible weight grief presses into every room. Stripped back and fragile, it doesn’t aim for closure. Instead, it settles into the silence, learning to live beside the missing. Not a ballad, not a breakdown - just a quiet, aching presence. 'Fire' and 'War' rekindle urgency, but it’s a smouldering kind of anger. 'Fire' pulses with sharp immediacy, while 'War' feels heavier, more resigned. The fury here doesn’t feel victorious - it’s the last gasp of someone cornered by burnout. Harrison’s voice cracks where it counts, revealing everything the volume can’t hide. 'Idols Pt. 2' brings the arc to its inevitable collapse. Revisiting the album’s central tension between persona and person, it doesn’t resolve it so much as expose it. The line “You drew yourself a set of prison bars / On your painted scars / They’ll see you the way that you are” lands like a final, breathless admission. No polish, no apology. Just the hard truth of being seen too late. Then there’s 'Supermoon'. The exhale. The aftermath. Barely tethered to melody, it drifts into space and never quite returns. There’s no crescendo. No final scream. Just atmosphere and absence. A soft fade to black. What makes Idols so affecting isn’t just its themes, it’s the refusal to dress them up. There are no easy answers here, no romanticised redemption arcs. It embraces discomfort. It gives grief its full weight. It sounds like someone trying to find themselves without a spotlight and without screaming. This is not a record for crowds. It’s for the moments when you're alone with the version of yourself you don’t post. It’s bruised, imperfect, honest - and that’s what makes it remarkable. YUNGBLUD has spent years trying to be a saviour. On Idols, he just wants to be a person. And finally, he is. Score: 9/10 Idols was released on June 20th 2025. Words: Mia Gailey Photos: YUNGBLUD

Electric Brixton got thrashed by the legends from Virginia, USA, Municipal Waste, and it sure was a sight to see. Currently on their UK and Europe tour, alternating between festivals and venues, the band is visiting various countries, and the London date is their only concert in the UK. Supported by the amazing Tortured Demon, Xentrix and Death Angel, the whole evening was a nostalgic setback with powerful energy and fluctuating emotions. The first support band of the three – Tortured Demon – is originally from Oldham in England and formed quite recently in 2018. Consisting of the founding members and brothers Joe Parkinson, who is playing the drums and Jacob Parkinson, who is a vocalist and plays guitar, and the guitarist Rory Marsland-Smith and bassist Joel Bayley, the band surely knows how to put on a show worthy opening for one of the groundbreaking bands of the genre, with the electric guitar riffs and ground-shaking vocals. Although they still had their soundcheck going on when the audience was let into the venue and started immediately from there, and their set was very short, they were still welcomed with a big moshpit and enthusiastic audience. The next opener, Xentrix, was not short on success since the beginning, as they chose the iconic theme song from the original Terminator as their opener. Since then, the audience has showed the four-piece from Preston in England the support throughout the moshpits and the songs they loved. Being on the trash scene under its current name since 1988, with the founding members, lead guitarist Kristian Havard and drummer Dennis Gasser, and the newer members, guitarist and vocalist Jay Walsh, and bassist Chris Shires, the band surely knows how to captivate their fans, and the showed it off with their mesmerising set, that was enjoyed by the fans to maximum. At the very end, the band threw a big handful of tshirts into the crowd, surprising the audience with great memorabilia. The third opener, and a band, many fans went to see, was the thrash force from San Francisco, the unforgettable Death Angel. Currently being fronted by Rob Cavestany, who is one of the founding members of the band, and Mark Osegueda, who is Cavestany’s family member, the band also consists of Ted Aguilar, who has joined the band after their reformation in 2001, and the newest members Will Carroll and Damien Sisson. The band chose the track “Endure” from The Last Of Us as their introductory track, and it was surely met with grand cheers from the audience, who was excited the band was back after countless years. The band was unfortunately met with couple of technical issues during its performance, but Osegueda saved the day both times with his expressions of gratitude for the London crowd, who in his words always welcomed the band with opened arms and is the reason thrash metal is still thriving. In return, the audience gave the band many crowdsurfers and songs sang back with no hesitation. As the band was leaving the stage, the fanbase was filled with mixed emotions, because they did not want the Death Angel set to end, but were also excited, because the main band of the evening was about to come out. As Municipal Waste came onto the stage, the floor instantly transformed into a battlefield formed from a massive moshpit. Out of nowhere, a very visible inflatable balloon in the shape of “wiener” appeared and was continuously making its way through the crowd, until it sadly deflated. Together with the balloon, someone pulled out a broken cardboard box and the venue staff released inflatable balloons into the crowd, resulting into a chaotic scene that was mesmerising to watch. Municipal Waste, as the band is known for, took over the scene immediately, and gave the fans an unforgettable load of riffs, screams, drums and giggles, as well as swear-words, as the lead vocalist of the band, Tony Foresta, actively tried to start a moshpit on the left side of the floor, while also making a femme-only moshpit during one song, stating that “gender, race, it does not matter, we are all here to enjoy the night”. Crowdsurfers were flying left and right, and it was obvious that the night was about to become one of those iconic moments, that ate bound to never forget. As the set seemed to slowly come to an end, the band decided to play a song, they have not played in twenty-years – “I Just Want To Rock”, and the fans went absolutely nuts. At the end of the show, the fans did not want to let the band leave, but gave them one last round of applause, that was enough to make one emotional. All three support bands were a perfect fit to support as big band as the Municipal Waste. Each brought their own unique twist to the thrash metal and managed to get the crowd excited about the headliner, and some might have brought in even more fans, such as the thrash metal icons Death Metal. Electric Brixton has seen a lot in the years since the opening, but this night surely was once-in-a-life experience with an unmatched energy, that was flowing around the whole night. Photos: Jenny Parker Words: Katerina Stepanikova

Fresh off the back of an insane set at Outbreak Festival, Denzel Curry burst onto the stage of the packed O2 Brixton Academy with insane energy and charisma that comes from someone who knows they’re killing it. With support from Frozemode and DJ Babyface Gio, Curry continued his Mischevious South Tour at one of London’s most iconic venues - just as you’d expect from one of the rising stars of the rap world. Opening the evening were London-based Frozemode - a trio of frontmen with a full band behind them (a rarity for rap groups!). From the moment they sprinted onto the stage of the packed-out venue, their energy was boundless. C’mon, when one singer runs onstage with a bottle of Courvoisier, you know they mean business. CHO-HOLLO, I.V.GATLIN and LISONG were non-stop, constantly running around, dancing and overall hyping the crowd up. If anyone was going to bring the energy before Denzel Curry’s set - it’s gonna be these guys. It was a perfect choice and the audience was eating it up, giving in to the group’s desires for mosh pits, jumping and screaming the lyrics at the top of their lungs - they’ll be a headliner here in no time. Following them was DJ Babyface Gio and despite his best attempt with some insane track choices - unfortunately, he did not have the same energy as Frozemode - but to be fair to him, going from an energetic trio to a DJ would be a tough transition for anyone. His skills are undeniable and in a more suitable lineup and venue, I have no doubt he kills it. On a plus side, it gave security chace to pass out water to a horrifically warm venue, and pull out people who were becoming unwell from the heat. If the venue wasn’t hot enough, when Denzel kicked into his set, he brought the heat tenfold. Though Denzel’s success comes from him blending genres and gaining fans from a variety of scenes, whilst he is undeniably a phenomenal rapper, the musical stylings pull influence from the grunge and hardcore scenes, giving the overall vibe a much heavier, grittier sound. Donning an iconic Speed jersey, Curry furthered his hardcore music connection and if the moshpits in the crowd were anything to go off, the crowd were eating it up. Denzel Curry is the prime example of a rapper being able to perform expertly and have an insane stage presence with out over the top props or staging - he just needed himself. Though many may know him the viral ‘Ultimate’, Denzel proved to the Brixton crowd that every single one of his tracks is a hit and that he just has that star power. Throughout the night the crowd barely stopped jumping, he really was playing banger after banger, and ending on a cover of Rage Against The Machine’s ‘Bull’s On Parade’ was truly chefs kiss. With talent, stage presence and energy like this, Denzel Curry will be selling out arena tours in no time. If you’re a hardcore/alt fan who has been thinking about branching into listening to rap, what are you waiting for? Denzel Curry and Frozemode are just the tip of the ever-growing iceberg that is starting to blur the lines between heavy rap and hardcore. Words and Photos: Ely King

Another year, another unpredictable set of weather requirements for Download Festival. Whilst the dust (quite literally) settles on the hallowed Donington hills, we witnessed another wonderful edition of live music, and the first without Andy Copping in the driving seat. The result, a rather exciting set of statement pieces that truly made the festival shine. Masked mysteries, Sleep Token headlined with brilliant tenacity, and President decided to take its inauguration on UK soil. Malevolence obliterated during their (not-so-secret) secret set, and somehow we got to witness... the Vengaboys? We certainly love to party, and they set the tone for the entire weekend. Here is what we caught at Download Festival this year. Out Of Rage made the collective decision to provide coverage at Download Festival after discussions with our community. In light of the recent speculation surrounding the EHRC guidance on the definition of a woman, and the use of toilets at Donington, we want to reiterate our support for transgender people. Inclusivity is so important, especially within heavy music spaces, so making sure our basic human rights are accessible to all is the bare minimum. SLEEP TOKEN - Neve Saltmarsh The Ritual for Saturday Night's headline slot was simply harmonious. Starting the show off with Look to Windward harmonies and pink petals scattering across the crowd, it is the simple statement that Sleep Token have arrived. Playing songs such as Vore, Emergence, The Summoning and Caramel, even going as far back in their repertoire as The Love You Want and Thread The Needle, the band showed an immense array of emotions and passion for the moshing singing crowd below. Ending on the title track Take Me Back To Eden, a shower of green lasers covered the stage. Whoever said Sleep Token shouldn't have been a headliner was simply wrong. KORN - Amy Smyth After 31 years of being a band and playing back when the festival went by the name Donnington, Korn finally made their way to be one of the three Headliners of the entire Festival, and their set did not disappoint. Every soul from the very front to the very back row was moving, mosh pits began to open up before the curtain even dropped, and crowd surfers kept security on their toes for the entirety of their set. The band played all of their greatest hits from across the years, leaving every single fan satisfied. The set was absolutely legendary, the band kept the energy in the arena sky high for the entire set with their vigorous energy, we can only say we feel sad for anyone that missed out, what a way to close out the entire Festival! PRESIDENT - Claire Elizabeth Welcome to the Inaugural Presidential Rally! President's first live appearance, and what a treat it is to be at Download 2025. The Download Debut was definitely one of the weekend's most exciting moments, and it had the crowd to show for it. We had only 2 songs pre-released, and you could feel all the anticipation in the air. From the Dogtooth Stage, there were festival goers as far as the eye could see, and anticipation was in the air. There may be speculation about the masked singer, but one thing that we do know from the set is that this artist can scream. Fans were treated to three unreleased tracks, all showcasing the serious talent from this band. Powerful, mysterious and unforgettable. President has definitely arrived, and we can’t wait to see what comes next. MALEVOLENCE (SECRET SET) - Ben Blissett With much speculation as to what the secret set at download could be this year, a leak revealed that Malevolence would grace the avalanche stage and ensue utter chaos upon the crowd. Performing only a handful of songs, the band certainly ushered in a new era, making their first appearance at the festival since they played the Opus Stage in 2022. The set was violent, explosive and gave Download just a taste of how Malevolence does things. This set was one you would’ve been a fool to miss; they picked only bangers that would constantly keep the crowd moving, they made their statement and left, it was fantastic. SPIRITBOX - Han Hallett Three years after playing the Avalanche stage back in 2022, Spiritbox took to Download’s Apex stage this year, and they absolutely killed it! Courtney’s stage presence and crowd interaction, causing absolute pit chaos, really added that extra piece of greatness to their amazing performance. The band played some of their biggest hits, such as ‘Circle With Me’ and ‘Holy Roller’ and delivered some personal messages, screaming, ‘This one goes out to all the people I hate’ to introduce their newest heavy hitter ‘Soft Spine’. Their appreciation towards fans and new listeners alike spilled into their passionate musical delivery. Spiritbox were so deserving of playing the mainstage this year, and being able to see the women in metal being so heavily appreciated was a beautiful sight to see. BULLET FOR MY VALENTINE - Neve Saltmarsh Being the second to last act on the main stage Sunday, Bullet For My Valentine sure warmed the crowd up in the best way possible. After finishing the Poison/Ascendancy tour with Trivium, Matt Tuck announced after the first song (Her Voice Resides) that they would be performing the iconic The Poison album one last time, specifically for us downloaders. And so the album was performed, with a lively headbanging crowd to receive. After finishing the album and our voices were a little sore, the BFMV singer said "This is going to be an expensive f*cking song, lets f*ck it up" after going over their time, and blasted out the classic Waking The Demon for one last mosh. Bullet For My Valentine, you legends. MCFLY- Lisa York McFly at Download is a sentence we never thought we would hear. Ending an already amazing day, closing on the Avalanche stage were Pop heavyweights McFly. The Tent was already at capacity, with barely any room, but outside, you could tell that everyone was excited for this set. Ranging from classics which included Stargirl and Obviously, Red and ending with the staple song of 5 Colours In Her Hair. Danny, Tom, Dougie and Harry have never played Download Festival before in their 20 years on the music scene, and this set didn’t disappoint. Amongst the hits, they did a melody with small nods to Metallica and Rise Against to keep the Download veterans happy. WEEZER- Mia Gailey Weezer’s Friday evening slot at Download felt like a mismatch—reliable, but far from electrifying. While they delivered the expected hits (“Beverly Hills,” “Buddy Holly,” “Island in the Sun”), the set lacked the urgency or edge to truly connect with the heavier crowd. Frontman Rivers Cuomo seemed content to coast on nostalgia, and despite tight musicianship, the energy never quite lifted off. A bizarre “Enter Sandman” tease fell flat, and deeper cuts left casual fans restless. For a band capable of weird, wonderful risks, this felt frustratingly safe. At a festival built on chaos, Weezer played it far too clean. BLEED FROM WITHIN - Lisa York Following on from Sweden’s Orbit culture, early afternoon on the Apex stage, enter Scotland’s finest metal band Bleed from Within, full of Chuggy guitar goodness and screams with the blast beats we all know and love. Opening with Levitate, a fan favourite from their past album, to a packed main stage. Scott and the boys bring so much energy to a sun-soaked audience. As Zenith began to play, Scott asked the crowd to get on their feet in a Slipknot duality way and jump up once the riffs came in. The visuals and pyrotechnics were incredible; this was a huge moment for the band in their long career and very well deserved. Closing the set with In Place Of Your Halo from the new album Zenith. SEX PISTOLS - Ben Blissett My word, the age of this band absolutely did not show, with a brand new energy brought by Frank Carter, The Sex Pistols dominated their headline Opus Stage set. Greeted by some rain, you could feel the excitement around the fans, young and old; all came together for a celebration of an incredible album that pretty much everyone knew the words to. The energy from the crowd was pretty overwhelming so much so that Frank tried to get a circle pit around him but it was too chaotic to do so, leading to the crowd becoming animals as one of the best punk bands in history played their hearts out for the Download crowd; this was truly a special set. BOSTON MANOR - Zuzanna Pazola Boston Manor was the 3rd act of the day on Friday’s Apex Stage lineup, and they absolutely did not disappoint. Opening the set with ‘Floodlights on the Square’, they immediately had the crowd jumping, screaming, and dancing along. We got to hear a mix of tunes from their latest album, ‘Sundiver’, and some older tracks, including ‘Halo’ from their 2018 album ‘Welcome to the Neighbourhood’, much to the delight of the hundreds of clearly die-hard fans in the crowd. By the last few songs of the set, we’d witnessed tens (if not hundreds) of crowdsurfers sail past, and there was at least a pit or two happening at all times. Frontman Henry Cox had impeccable vocals throughout the set, and the entire band were super tight from start to finish. LOATHE - Amy Smyth The Apex stage early in the day is debatably one of the hardest spots to play, many times it causes delays and cut sets, as well as having to play to fans that may not be there for you. But of course, Loathe brought the pit to life with their midday set. Lead singer Kadeem sauntered around the main stage even though it was their first ever time playing it, and he rocked the crowd with his infectious dance moves. The band took every moment they could to thank everyone for being there, despite the early set time, the pit reciprocated with brutal mosh pits and crowd surfers. They left the stage with fans chanting for one more song after their set was unfortunately cut, but they did not waste one moment on stage. DAYSEEKER - David Waites Powerfully beautiful” is how we would describe Dayseeker’s set. This was their first time at the festival and their first time in the UK since 2015, and they left their mark - permanently. Opening with their latest single “Pale Moonlight” got the crowd hyped up, and from then on it was an incredible transition of emotions. Songs such as “Without Me” and “Homesick” (dedicated to Rory Rodriguez’s late father) were soul-stirring. Their cover of “My Immortal” silenced the crowd to stand in awe. They ended with “Neon Grave” just to show how much of an impact this band will have on the Metal Scene. The way they infused metal-core and the melodic harmonies left the crowd in a somewhat dream-like state. GRAPHIC NATURE - Neve Saltmarsh Graphic Nature, the hardcore-handbanging-face-stomping stanking band, made the Dogtooth stage explode for 25 minutes. Kicking off with the killer track Locked In from their 2024 album Who Are You When No One Is Watching, the crowd came alive and a sea of thrashing skulls and bodies before vocalist Harvey Freeman could open his mouth. Continuing onto the song Sour, this band never failed for a single moment to get every person in the tent bouncing. Keep an eye on this band, because I know that much more will be coming, and it is not to be missed. VENGABOYS - Libby Percival If you were fighting your way to the Avalanche stage for Busted in 2024, you’d have thought it coudn’t get more chaotic, but then Vengaboys were added to this year's lineup. Campers flooded into District X on the Thursday night to see the unexpected yet highly requested addition performing in the overflowing Doghouse tent. The set was complete with pop up buses with ‘Vengabus’ on the side brought by a group of attendees, confetti and giant colourful balloons while they played their popular hits including “We Like To Party”, “Up and Down” and “Boom, Boom, Boom, Boom” as well as their take on some popular rock songs. DEAD PONY - Claire Elizabeth Glasgow’s Dead Pony truly lit up the Avalanche stage with an undeniable stage presence. I turned up to the set only really knowing the name of the band, and due to it being an earlier set on the Friday, I didn’t know what to expect, but Dead Pony did not disappoint. Lead singer Anna Shields didn’t just sing, but she danced, bounced and owned the stage with her vocals and charisma. The entire band's energy pulled the crowd in and owned the stage. The riffs and beats feel very Paramore meets Nirvana, equalling a powerhouse performance with some fun mosh pits and huge cheers. Definitely a surprise highlight of the weekend and easily one of the most fun sets to watch. AMIRA ELFEKY - Zuzanna Pazola Hailing all the way from the States, Amira Elfeky did an amazing job warming up the crowd inside the Avalanche tent on Sunday. For those unfamiliar with her sound, think Evanescence mixed with Deftones and Lana Del Rey - beautiful and haunting, with some heavier instrumentals that had the crowd hyped. Amira opened her set with ‘Take Me Under’ from brand new EP ‘Surrender’, showing off her stunning vocals and setting the bar high for the rest of the performance. Near the end of the set, we got to hear hits like ‘Will You Love Me When I’m Dead’ and ‘Tonight’, which of course garnered a huge reaction from the crowd; it felt like every single person in that tent knew all the words. It was, unfortunately, quite a short set but it still had the room to be completely mesmerising. ARCHERS - Amy Smyth If you were lucky enough to be in the arena early Saturday and catch Archers, you may have discovered one of the most underrated bands on the lineup. After their EP 'Temporary High' was released on Friday, they took to the Dogtooth stage just before midday. The energy was overly present, despite the early set, and rockers still recovering from their Friday night antics. They had half an hour to show Download what they're made of and they brought their A game, being their first ever time playing in the UK, lead singer Nathaniel paraded around the stage as is he owned it while the rest of the band supported with the same fiery energy. MOTHICA - Libby Percival Mothica made her mark on the Avalanche stage, kicking off the set strong with ‘Casualty’, a catchy and upbeat song with a powerful message to get the crowd hooked. We were also treated to Mothica’s own version of Bring Me The Horizon’s ‘Can You Feel My Heart’ and the set concluded with a cover of ‘All Star’ by Smash Mouth, both great additions to the setlist for those unfamiliar with Mothica as it meant everyone could feel involved and sing along as well as adding humour. The set was extremely well-rounded and perfectly captures the range of what you can expect from an artist like Mothica. SPLIT CHAIN - Mia Gailey Split Chain stormed the Avalanche Stage, delivering a visceral blend of nu‑metal grit and shoegaze atmosphere that filled the tent with emotional intensity. Though still early in their journey, the Bristol quintet commanded the crowd, ripping through new cuts like “bored.tired.torn” and “I’m Not Dying To Be Here” with urgency and conviction. Frontman Bert Martínez‑Cowles paused mid-set to thank the audience for their time and support, forging a genuine connection amid the chaos. It was a bold, cathartic set—proof that Split Chain aren’t just gaining traction; they’re carving out their own path, fast and fearlessly. HOUSE OF PROTECTION - Claire Elizabeth House of Protection kicked off their Avalanche Stage set with a wicked rendition of ‘Pulling Teeth’, setting the tone for an intense performance and one of the most energetic of the weekend. They hit the stage with pure ferocity, which continued into the crowd, resulting in one of the biggest mosh pits nearly taking over the majority of the tent. At one point, frontman Stephen Harrison leapt into the pit, microphone in hand and screaming alongside his fans made pure chaos and an unforgettable experience. Alongside Aric Improta’s explosive drumming, raw aggression and connection were delivered in equal measure. Closing with ‘It’s Supposed To Hurt’ left the crowd hungry for more, definitely a great introduction to the band! UNPEOPLE - Libby Percival Unpeople rocked the Avalanche tent playing their self-titled EP in full, all members confidently commanding the stage. Alongside this was a newer release, ‘The Garden’, which came out late last year; this concluding song also saw guitarist Luke Caley jump into the crowd whilst still performing, evidencing the trust and control the band have with an audience. The band may only have six songs to their name so far, but with their talents and powerful stage presence combined, Unpeople will soon be playing bigger stages with many hits under their belts. STATIC DRESS - Ben Blissett Despite starting at ELEVEN O CLOCK IN THE MORNING, Static Dress pulled in a pretty impressive crowd with even more impressive mosh pits; opening with ‘face.’ they made sure to waste no time getting into the nitty gritty of this set, with only a short 20-25 minutes they packed a punch, showing them to be the little band that could, equipped with pyro, incredible energy and an amazing performance it made for a great set. TROPHY EYES - David Waites It was clear to see when the first notes of “Blue Eyed Boy” were played that high energy and chaos ensued inside the Avalanche tent. This set wasn’t just for the fans — it was a statement: Trophy Eyes belong at Download, and the Aussies proved that. “Enmore” and “Kill” tore through the speakers, with newcomers and die-hard fans alike, everyone was locked in — the tent was unified. Belting every lyric like it was tattooed to their bones. It was raw. It was real. It was everything this band stands for. Thirty minutes flew by, and before you knew it they were waving goodbye to the fans, and honestly, it felt criminal to cut it off there. With a back catalogue like theirs, they could’ve owned that stage for an hour easy. Like so many others packed into that tent, I walked away searching the dates for their next UK tour - desperate for more of that Trophy Eyes energy. VENUS GRRRLS - May Pierce This Leeds-based five-piece showcased their trademark Romantic sound and Riot Grrrl influences in a performance dripping with theatrical allure. Lead singer, GK, was a magnetic presence, shifting between sweet melodies and guttural growls with effortless command. VENUS GRRRLS might as well have cast a spell over the crowd. Their hypnotic vocals and cascading riffs are sure to capture the attention of the first-time listeners gathered under the Avalanche stage on midday Saturday. With the eerie crows cackles from their latest single, Eighteen Crows, haunting the tent, these Witches left the audience well and truly enchanted at their Download debut. ARTIO - May Pierce “It’s a short set, so let’s make it fucking count” - alt rock four-piece ARTIO commanded the Dogtooth stage on Saturday morning. With a solid turnout despite the 11AM slot, their cult following showed up in force, bringing infectious energy to the tent. The lead singer, Rae (they/them), was a force of nature, vocals cutting through with raw power, while the drummer matched every ounce of intensity, driving the set forward with relentless precision. Hit song 'Product of My Own Design'’ ignited the crowd, providing an effective wake-up call for anyone still shaking off the morning haze. With a strong stage presence and connection with the audience, ARTIO made sure to take up their well-deserved space on their first Download stage. Ones to watch? Absolutely. KIM DRACULA - Han Hallett Kim Dracula started as a small musician promoting his original music and cover songs on TikTok. Now five years later, he has performed to a massive crowd on the Opus stage, then straight into an intimate sold-out EU tour! His music cannot be defined as one genre with incorporations of jazz, pop, synth and metal all coming together while also sharing political statements and world views throughout some of his songs such as ‘Make Me Famous’ and ‘Killdozer’ which were both performed along with a cutthroat version of the pop banger ‘Paparazzi’ by ‘Lady Gaga’. We think it’s safe to say he has earned many new fans after his electrifying Download set. LORNA SHORE - Han Hallett Lorna Shore played the Opus stage, and the crowd did not disappoint! They played mostly newer songs along with their newest single, ‘Oblivion,’ which appealed to new and old fans alike. Lorna Shore played the Apex stage in 2023, but a smaller stage to condense the crowd was definitely a great choice this year, especially with the hundreds of crowd surfers showing their appreciation for the band. Despite technical issues resulting in all sound from the stage being cut, frontman Will Ramos remained positive. Unfortunately, due to this issue, ‘Pain Remains II: After All I’ve Done, I’ll Disappear’ was cut but this just made ‘Pain Remains III: In A Sea of Fire’ even more powerfu,l with the crowd full-sending it for the last song. JIMMY EAT WORLD - Nicola Small Twelve years since their last Download appearance, Jimmy Eat World did not disappoint! Starting things off strong with the anthemic “Pain” had the crowd singing along from the first note. A string of beloved classics followed, including “Sweetness”, “A Praise Chorus” and “Bleed American”, keeping the energy high. “The Middle” was a clear standout (and let’s be honest the one we were all waiting for!) ,leading to a euphoric sing-along on a massive scale. This set left the crowd and the band beaming after a beautifully nostalgic hour of music. LØLØ - Nicola Small A newcomer to Download festival, LØLØ burst onto the stage in the Avalanche tent with high energy, confidence and charm. Her brutally honest lyrics, with themes of mental health and depression delivered in a delightfully upbeat pop punk package, struck a perfect balance for a mid-afternoon set. Opening with “Floor is Lava” (dedicated to the “anxious baddies”) had the tent moving instantly. A highlight was pom poms being tossed into the crowd, creating an impromptu emo cheerleading squad for “Debbie Downer”. As expected, the crowd went absolutely wild for “u turn me on (but you give me depression” and sang along to every word. The whole set was catchy and filled with raw emotion, leaving the tent buzzing. JINJER- Katherine Russell Jinjer destroyed the Apex stage on Sunday, firing up the audience and showcasing exactly why they could never fly under the radar. Tatiana commanded the stage like she was born there, radiating badass heavy-metal fairy energy and delivering impeccably powerful cleans to gutteral screams consistently. Drums, bass and guitar never faltered either, bringing relentlessly strong energy throughout. Tatiana introduced 'Fast Draw' to the crowd with "do you like hardcore?", proceeding to growl the crowd's faces off. An exceptional highlight was 'Vortex', with Tatiana then dedicating 'Someone's Daughter' to the "beautiful women" in the audience. Ending with their new track 'Pisces', it was an awesome end to an impactful set that I only wished was longer (and was in the mosh pit for). Cover Photo: Nicola Small

Interested in getting to know a brand new Modern Metal band? Paradis might be exactly what you're looking for! After getting into the grand final of Metal 2 the Masses later this June Paradis are on a roll with the release of their new EP perfectly lining up to help accompany the hype. Formed in 2022, the four piece from London have been exploring what it means to expand the lens of these traditional metal genres. Their very first EP ‘Paradis’ helped them to navigate into the genre of metalcore, but this new EP ‘Forever In Time’ sets the route to their future sounds and what their possibilities are. The 4 track EP opens with ‘Ouroboros’, starting off with electronic reverberations gradually layering to a killer beat drop, kicking off the whole EP strong. As the chorus comes around, the vocals are layered with lead vocalist Jonny's guttural roars overlapping with a more melodic accompaniment, constructing a satisfying duet. The song's beat carries fast as the lyrics explore themes of finding a meaning in the never ending cycle of life. ‘Terraform’ wastes no time in sustaining the metal thrill as it launches the listening head on to a shredding guitar riff and desolate screams. At the minute and a half mark, the song's drum beat switches as ‘Flynn’ shreds on the drums, a guitar solo comes screeching in, singing its way through the midsection before a crashing breakdown later on. The visuals of sweaty mosh pits and battle jacket armoured head bangers come to the forefront throughout this track. Third up on this EP, ‘Void’ opens with a monumental ten-second roar, flaunting the full capability of Jonny's vocals. The track is the darkest of the bunch and is the perfect tempo for head banging, the bass and guitars pummeling through the song together with addictive riffs. This track is our standout of the lot as it decimates the listener from all sides, truly a modern metal banger. Credit: Sergiodgn ‘The End’ follows the metalcore roots more closely, paths paved with synths and electronic elements. The verses still pounding, but the choruses opt for a more melodic vocal, like we heard in the first track of the EP, again with the vocals being enchantingly layered. The lyrics are relatable and traverse the themes of keeping a positive outlook on life and not fearing the end. A track like this is sure to be stuck in your head,d making it an ideal song to close the EP with, leaving the listener wanting more. Wrapping everything together in this EP, it is a great example of just how good modern metal can be when you give the little guy a try. We can't wait to see where these guys head and are sure we'll see sold out shows and more genre bending bangers coming their way. Be sure to keep your eyes peeled for their next shows and releases because their momentum is the antithesis of slowing! Rating: 8/10 WordsL Any Smyth

If the world of music can do something with a precision, it’s bringing together talented artists for impressive collaborations. And thus Osmium was born, from the very minds of the Oscar-winning Icelandic composer Hildur Guðnadóttir, known primarily for heart-shattering film scores (Joker; Tár; Chernobyl), the highly acclaimed musical engineer and producer James Ginzburg, known for his work for Emptyset, the Senyawa’s idiosyncratic vocalist Rully Shabara, who has been known for his very distinctive style, and the Grammy-winning sound designer and producer Sam Slater. The self-titled EP Osmium is far from any mainstream music, as the focus of the album is primarily the questioning of relationships between humans and machines, tradition and progress, drawing from folk, doom metal, 20-century minimalism, industrial, and extreme noise. Since “OSMIUM 0”, the listeners are drawn to think about what they hear, being surrounded by clock-like sounds and Shabara’s bone-chilling vocals, that are present in every song and are representing the robotic sounds, all without using any voice-changing tools. Credit: Camille Blake “OSMIUM 1”, “OSMIUM 2” and “OSMIUM 3” are all very distinctive tracks, again, using primarily Shabara’s voice as the main instrument, while keeping the rhythms with intensely sounding drums. In “OSMIUM 2”, the listeners are met with hauntingly sounding cello, played by Guðnadóttir. “OSMIUM 3” is an intense song, primarily composed of drums as its predecessors, that is reminiscent of war drums sort of. The song contains a quick break, before going back to the same melody. The rest of the tracks, namely “OSMIUM 4”, “OSMIUM 5”, “OSMIUM 6”, and “OSMIUM 7”, do not offer many new features unfortunately, and all the songs sound very similar in their respective styles, making the listening slightly difficult for anyone, who is not proficient in this type of music. The usage of the instruments remains unchanged as well, creating something resembling a big loop, that is not possible to escape. Although the style of Osmium might not sit well with some listeners, it is evident that the members are all very talented musicians, who know their way around the industry and are not afraid to experiment. The self-titled EP is an excellent insight into the minds of its creators, touching on some sensitive topics, that might not be relevant in present, but are still important to talk about. Rully Shabara’s bone-chilling vocals are tying together the whole dystopian atmosphere of the release, bringing up the urgency of the topic. It surely is a piece to listen to while reminiscing about the past and the future that is about to happen. Score: 6/10 Osmium’s self-titled EP is coming out on 20th June via Invada Records. Words: Katerina Stepanikova

Sheffield’s own metalcore heroes Malevolence return with their fourth LP, ‘Where Only The Truth Is Spoken’. A blistering new release packed with insane riffs, massive anthems, and a wild guest feature we’ll get to shortly. Formed in 2010, Malevolence’s unique blend of beatdown, hardcore, and metal has garnered a horde of fans across a multitude of alternative genres. Assisted, of course, by their incredible festival slots, including Download, Bloodstock, and Australia’s Invasion Festival. With praise from genre titans like Lamb Of God’s Randy Blythe and a touring résumé that includes Knocked Loose, Kublai Khan, and Jesus Piece, the Sheffield five-piece have long since outgrown their underground roots. ‘Where Only The Truth Is Spoken’, released via MLVLTD and Nuclear Blast, was recorded at the legendary Studio 606 in California—owned by none other than Dave Grohl. The record is the band’s most polished and refined to date, featuring incredible production from Grammy-winning producer Josh Wilbur (Lamb of God, Gojira, Trivium). And, speaking of Lamb of God, those with keen ears are sure to recognise the unmistakable voice of Randy Blythe featuring on ‘In Spite’—a generational summit of metallic fury that hits like a hammer. This album is an undeniably powerful chapter in the Malevolence story. Their signature fusion of metallic hardcore is elevated by a newfound confidence and technical precision. Yet, for all its polish, the emotional core remains raw and honest. Lyrically, this release focuses on themes of loyalty, honesty, and integrity. These are principles the band have lived by since their formation. They’re the core values in each member's life, not simply thematic tools for the record. As the band themselves put it, the record is an unfiltered expression of the struggles, victories, and unshakable brotherhood that have carried them this far. And what an opening statement “Blood to the Leech” makes—urgent, aggressive, and utterly unrelenting. From there, the album rarely lets up, delivering track after track of sure-fire future metalcore classics. Malevolence have always been a band who understand the power of contrast, pairing skull-crushing breakdowns with surprisingly melodic passages and introspective lyrics. 'Where Only The Truth Is Spoken' strikes that perfect balance, offering soaring choruses that never feel out of place next to the chaos. Instrumentally, the band fires on all cylinders. Guitarists Josh Baines and Konan Hall lay down some of their tightest, most inventive work to date. At the same time, drummer Charlie Thorpe’s performance is nothing short of punishing. Bassist Wilkie Robinson provides the low-end heft that anchors the record’s dense sound, allowing every breakdown to hit with seismic force. Credit: Ramsay Ramone In a time when heavy music often leans on nostalgia or recycled formulas, 'Where Only The Truth Is Spoken' feels like a genuine evolution, not just for Malevolence, but for modern metalcore as a whole. There's a strong resurgence of the metalcore and metallic hardcore sound of the '90s lately, which we love. Yet it's incredibly refreshing to see bands like Malevolence take the genre in new directions. It doesn’t chase trends or dilute its message. Instead, it refines everything the band has always stood for and delivers it with renewed purpose. This isn’t just an excellent record—it’s a defining moment for Malevolence. With 'Where Only The Truth Is Spoken', they haven’t just raised the bar for themselves. They’ve raised it for everyone else in the game as well. Rating: 7/10 Words: Andrew Nile

Shrinkwrap Killers is a solo project brought to you by Greg Wilkinson of BRAINOIL fame, beginning his own genre-blending twist to the forefront aptly called ‘New Wave Punk’, His latest album 3D Printing Humans arrives as a sci-fi punk manifesto wrapped in shimmering synths and grit-laced guitar riffs. With a thrilling blend of nostalgia and futuristic angst, this record explores themes of dystopia, isolation, and synthetic existence- and it does so with surprising stylistic range and cohesion. With earlier singles setting the tone ahead of its full release, the album delivers an ambitious journey through sound, following a similar sentiment to past releases. The title track, 3D Printing Humans, opens the album with a bold statement. Released as a lead single on May 7th, it sets the conceptual and tonal foundation for what’s to come. The composition is intricate, layering mechanical rhythm with human emotion, a perfect metaphor for the album’s underlying theme. Following closely is Piss Bottles and Shit Bags, a song that leans heavily into punk territory. With snarling vocals reminiscent of early Misfits and a driving guitar riff anchored by catchy New Wave synths. The clash of aggression and melody is raw, rebellious, and undeniably infectious. Eminent Death, released on May 22nd as the album’s second single, brings a tonal shift. It features melancholic piano lines and introspective lyrics about floating through space and the search for help, evoking isolation and existential weight. The drum machine, a classic 808, taps into the sonic DNA of the 1980s while grounding the track in vulnerability. It’s haunting and heartfelt, showing the band’s emotional range. Then there’s Solar Cemetery, a shimmering homage to 80s synth-pop that is similar to genre legends A Flock of Seagulls. The lush, retro synth lines wrap around echoing vocals, producing a sense of longing that’s both romantic and haunting. It’s one of the album’s most sonically immersive tracks. As the album continues, Earth’s Destruction is Near throws a curveball. It’s darker, more atmospheric, and steeped in cinematic tension. The track pulls back from punk and pop structures, instead offering a chilling soundscape that feels like part of the score to a futuristic horror film. These Zombies Are Not in Costume brings us back to punk in its rawest form. Stripped-down guitars, shouted vocals, and frenetic drums transport listeners straight to a sweaty basement punk show. It’s a pure punk gut-punch—short, savage, and satisfying. The penultimate track, Only the Evil Remain Here, is a fully instrumental piece that feels like a farewell from a decaying world. Guitar, synth, and drums dance around each other in a somber, yet cinematic arrangement—no vocals needed to tell this story. Closing the album is a reprise of Feed the Clones, a reinterpretation of the 2023 track Feed the Clones. It's a smart way to tie the saga together, hinting at future evolution while paying tribute to past efforts. This album is genre-defying, emotionally rich, and sonically adventurous, it captures the feeling of watching humanity unravel in the glow of flickering neon lights and is an interesting blend of both Punk and New Wave and pulls it off incredibly well, this album is a must-listen for those curious and existing fans alike. Feed the Clones PT. 2 will release on June 13th via Carbonized Records Rating: 8/10 Words: Sage James Photos: Shrinkwrap Killers/ Fern Alberts

It's hot, maybe too hot in the UK but the sad day has come where the Bristol music scene has to say goodbye to one of its legendary and much loved venues, Marble Factory (and by proxy the sister night club venue Motion); there was no better way to send off the old girl than with a massive set from Connecticut's own purveyors of heavy acoustic, Have A Nice Life. Firstly though the packed out crowd were treated to London based post-rock slowcore outfit deathcrash. Emerging onto a dimly lit stage, dense with fog; deathcrash’s sound can be loosely aligned with that of the likes of Mogwai, Godspeed You! Black Emperor, Codeine or Low, a melancholic amalgamation of doom-metal and emo. Each track on the set was not only swollen in length but also packed a punch, each a true journey building from quiet roots to a cathartic almost euphoric crescendo, where the vocals of Tiernan Banks used sparingly but to great effect, providing a flourish to the layered soundscape the band creates. Culminating with “American Metal” (“Return”, 2022), the sole support slot was short and sweet (just 30 minutes), but it did everything that it needed to, warming the crowd up (both figuratively and literally, British summer time was in full force inside the main room) preparing them for the main event to follow. Have A Nice Life rarely perform live, even less so on these shores; so this summer's European / United Kingdom tour which included performances during both legs of Outbreak Festival (their first ever UK appearances), shows in Dublin and Glasgow all finishing off with a slot at Hellfest; was sure to be a treat. Founding members Dan Barrett and Tim Macuga have described the direction of their own sound as “crafting oddly aggressive acoustic songs”, they create a completely enthralling soundscape of post-punk/shoegaze gloriousness. The bumper 1hour and 45minute set kicked off with the quartet of “Cropsey”, “Defenestration Song” (both “The Unnatural World”, 2014), “Dracula Bells” (“Sea of Worry”, 2019) and “Sisyphus” (“Void”, 2023). Adlibing with the crowd vocalist Dan lets us all know “there is not a lot do in Connecticut, what I learned is you don’t have to ask permission to follow your dreams, just go off and fucking do it. I wanted to join a band so I went off and made one with Tim in college. Now I hear this is the last gig at this venue, so hey, go out and start your own bands, start your own venues, replace this place.” The closing sentiment was met with a chorus of cheers from the crowd. Band and fans alike are utterly captivated by the music on show, when not being lost to an almost shamanic state, twisting and convulsing across the stage the music, every sinew of Dan’s body straining with absolute purpose as he delivers each lyric with the forceful gravitas that they deserve. A small tech issue led to Dan having to improvise some stand up for five or so minutes including some banter with some fellow Connecticut-ians (or is it Connecticut-ites) at the barrier. Everything so far had built to the highlight of the night for me, the cathartic crescendo that is, standout from 2007’s” Deathconciousness”, “Bloodhail”. Every single member of the crowd , with their full chests, singing every lyric back to the band, ending acapella, fittingly, for the occasion and this venue tonight, with “And it lasts as long as it possibly can.” The set rounds out with a duo of fan favourites “A Quick One Before the Eternal Work Devours Connecticut” and “Earthmover”, before the sweat soaked, euphoric crowd disperses into the humid night air. What a way to say goodbye to live music at Bristol’s Marble Factory, This is definitely a topic that deserves a thorough deep dive and more column inches than I can provide in this review. But I for one am truly gutted that this venue, which was one of my favourites anywhere in the UK, has held its last ever live gig. With the news of so many other grass root venues up and down the country being under threat of closure, including the recent news from Sheffield's longest running live music venue, The Leadmill; the work of organisations like The Music Venues Trust, and, among other things, their campaign for a £1 grassroots investment contribution from every arena and stadium ticket sold to support grassroots music venues, artists and promoters. “In 2023, more than one venue closed every week. Of the 366 small venues Ed Sheeran played in while learning his trade, at least 150 are now closed. Another 72 Grassroots Music Venues significantly reduced or ended their live music offer in 2023. 38% of Grassroots Music Venues in the UK made a loss in the last 12 months. The sector operated on a 0.5% profit margin overall while running live music events at a £115 million loss.” (A Manifesto For Grassroots Music - Music Venues Trust.) SUPPORT YOUR LOCAL VENUES! Cheers Marble Factory, you were an absolute beaut, you WILL be missed. Words and photos: Simon Arinze

Our favourite post-punk Metalcore band, Archers, made a trip from across the pond to bless our ears with a couple of fans’ favourite tracks, tearing the roof off of The Black Heart in Camden on the 18th June 2025. Hailing from Madison in Wisconsin and forming in 2015, Archers have a serious knack for seamlessly blending alluring melodies with thunderous chords and death growls, which is what gives the group their unique edge and attractive sound that fans have come to know and love. Archers have spent a majority of their career honing their craft on the road, most notably playing at Download Festival and the upcoming Summerfest in 2025, they have gained significant momentum following these performances and they aren’t looking to slow down anytime soon. Fans packed into The Black Heart in Camden in this splintering heat and were greeted by HENKA, Archers’ support artist bringing whiplash-worthy angst all the way from Portugal. HENKA fought for the opportunity to represent Portugal in the infamous Eurovision Song Contest in 2025 with her song ‘I Wanna Destroy U’ but unfortunately did not make it through to the final televised stage of the competition despite an overwhelming response and a record-breaking number of votes from the public. She has refused to let this bring her down though as the sheer level of positive response and love for her music is more than enough to motivate and inspire her to keep the feral energy and mosh pits rampant at every opportunity that comes her way. Previously a vocalist for the London-based alternative metal band DERANGE, Cat Pereira is no stranger to live performance and knows her way around the crowd, which was evident with her remarkable stage presence and talent for creating the filthiest of mosh pits at The Black Heart last Wednesday. The post-HENKA energy was kept afloat by the audience during the thirty-minute break between the two sets and when Archers made themselves known, the sea of fans went into a tameless frenzy. Integrating songs from their brand new EP Temporary High as well as a few old but gold tracks, the band delivered an hour of raw emotion and talent that the likes of The Black Heart had rarely seen before. Archers’ music tells tales of heartbreak and emotional anguish amidst the angsty facade, and anyone could relate to their lyrics at one point or another in their lives. The group threw the audience straight into the deep end, starting off strong with their track ‘Drag Me Out’, which opens with an insane riff from guitarist Ben Koehler. The band then effortlessly segued into their second most popular track ‘Made For Love’, which has a reputation for getting the fans deep in their feels with the heartbreaking lyrics that feels like a slap of reality straight to the cheek. This feeling was kept at full force before the band delved into their brand new EP Temporary High with the sombre track ‘Say This Sober’ which touches on topics of loneliness and longing. Archers introduced Temporary High to the doting crowd with the tracks ‘Never Enough’ and ‘Better Off’ before they ended their set with a couple of tracks that had received the greatest response from fans, ‘Bitter’ and ‘Perfect Strangers’. This was the audience's last chance to show their admiration to the band before the night came to an unfortunate end, hair was flying around the venue and pits were being mosh-ed to the extreme. Archers are no strangers to putting on an incredible show, and despite the size of the venue, fans flocked from every direction to see this amazing band during one of the most incredible years of their career. Temporary High was released on 13th June 2025. Words: Billie Wheeler Photos: Amy Smyth

When it comes to hardcore heavyweights Desolated, guitarist Richy Unsworth has always felt more comfortable playing intimate venues, with devoted crowds that ooze with disorder. “I love it when it properly kicks off, and you’ve got a massive pit. That’s my perfect vibe. I like stage divers, but they don’t happen very often for us, because I think there is not normally a front row, they sort of evacuate.” Perhaps that’s why the title of Desolated’s new album, ‘Finding Peace’, works so well; there is an unspoken art of finding the calm in the chaos. As the band's first record in nine years, it was easy to get swept up in why ‘Finding Peace’ had taken so long to come out. Richy claims that Desolated spent years refining the record, compacting all the elements of the shred until it formed a brilliant diamond. Tracks like Glass Ceiling, Bite Down and Victim took four years to perfect, just because the band worked through the record slowly, “in drips and drabs”, fitting in with their lives and schedules outside of the band. 2016’s ‘The End’ was a record so dedicated to finality that it was almost impossible to follow up. Nine years ago, Desolated’s abrasive sound was revolutionary, as it paved the way for the brutality of modern hardcore, now championed by artists like Pain Of Truth and Sunami. Richy reflects, “The hardcore scene is a lot bigger now, and the ceiling is way, way higher than back then. I remember we stood out quite a bit, and then the pandemic happened and all these bands blew up.” “For years and years, hardcore [in the UK] has not been that hard, other than like Rupture. And now we’re in this wave of bands that just make me want to pit so fucking hard. I’m kind of gassed about it, to be honest.” Beaming with enthusiasm about the hardcore scene, he adds: “Last Wishes are great! I managed to catch them with Comeback Kid the other week.” Whilst Richy jokes about being the old guy at the hardcore show (“There has to be one!”, he exclaims), the best thing about Desolated as a unit is the respect they have for their scene. ‘Finding Peace’ is a much of a tribute to old school hardcore as the influence of newer artists like Trapped Under Ice and Gridiron. When it comes to collaborating with other artists, from the guest spots on their albums to the bands that they ask to support them at their shows like Whispers, D Bloc and Ninebar, they choose people that they truly respect to work with. Richy remembers the first time he met Bangkok evilcore outfit Whispers back in 2014 at their first ever show. “I was, like, moshing across the stage, just having a great time in Thailand. I almost died because it's so hot and I'm not built for cardio.” Ten years pass, and as the band have picked up massive traction touring the world with Flatspot darlings Speed, Richy asks vocalist Nitisart ‘Mike’ Chaiburi to help him with a guest spot. “ I just hit him up and said, Oh, can you do this track? I think you'll work really well on it. And then he did it. It just worked out seamlessly. Amazing band. Like, they brought back a sound that is kind of old now, but they've made it so fucking relevant.” Closer to home, Desolated are part of Steel City’s royal metal family, MLVLTD, a collective of ruthless bands that have now become one of the biggest exports of UK hardcore. Desolated is an integral part of the roster, which includes heavyweights Malevolence, Guilt Trip, Rough Justice, Justice For The Damned, and Nasty, all with a wicked manifesto to bring beatdowns on a global scale. “We've worked with a lot of labels over the years, and because they're my friends, you just phone and just talk to them. For other labels, there's sort of, like, channels of communication. Like today, I just phoned Charlie. I mean, he was drunk in Australia listening to Pitbull. I love that.” Malevolence’s Charlie Thorpe is also a crucial part of the Desolated lineup, working with Richy and Les to shape the bulk of the album. On the drums, he provides the backbone of the Desolated operation, as Richy explains, “No one can do it quite like Charlie.” When it comes to their final blistering track ‘Dead End 2025’, a re-recording of a demo the band played years ago, Richy believes he is the only one who can play it properly. In the time it has taken to release the new album, the band has evolved to become a supergroup. Idle Hand’s Tony Evans fronts the band, with Fifty Calibre’s Les Law wielding the guitar alongside Richy and bassist Dan Ford. ‘Finding Peace’ is a record that doesn’t need to demonstrate anything new, but it sure as hell has showcased that the band are still at the top of their game and masters of their craft. Polished to perfection, Will Putney’s clean approach to the record makes the breakdowns hit that much harder. Richy says that “Everything he touches turns to gold.” Whilst Richy hopes that it will not take another nine years to make another Desolated record, his focus is now on touring and putting on some brutal live shows. At the beginning of the year, the band toured with Paleface Swiss, making their deathcore lineup run red with hardcore blood. “Those kids stood on the barrier did not see what was coming. A quarter of the way into the set, half of the barrier was facing the back of the room, because they were dodging fists. This is great. Like, this is just so much fun.” One of the things that Richy loves is playing with other artists of different genres, making sure the audience gets firmly acquainted with the world of Desolated. Richy believes that Desolated never truly had their time, but in the chaos of it all, creating a brutal new album and supporting the scene, Desolated have fought tooth and claw to be a pillar of a community that truly respects them. They are, indeed, one of the best to do it in UK hardcore. Desolated's Finding Peace is out now via MLVLTD. Words: Amber Brooks Photos: Lizzie Jones and Ben Blisset Cover Design: Simon Arinze Cover Photo: Des Maddocks With thanks to The Noise Cartel