Every once in a while there comes an act that hasn’t had the chance to come to the UK despite being around for a while, meaning that for both the artist and the fans alike, the show is incredibly special. This is exactly the show that I See Stars just played at The Underworld in London. The Michigan band were formed in 2006 and apart from a small opening slot in 2024 haven't played a London show since 2013. Fans in the crowd had been waiting over a decade to see them and all of the energy was unleashed in the duration of this set, with of course a few surprises just for these shows. First to warm up the stage, arriving with bass you could feel in your bones and rapid flashing lights, The Hara. This trio from Manchester have also been in the scene for some time, having released their first EP in 2018 and played many shows supporting the likes of Sum 41, Ice Nine Kills and Escape the Fate. As the band waltzed on and immediately rocked the entire venue, lead vocalist Josh took a moment to explain that they are using this show as a warm-up to ‘get the rust off’ for the year that they have lined up for themselves. Their music contained mainly alternative metal with elements from all different genres and an overall message of self-love and acceptance. Lead vocalists Josh’s fry screams were something to behold as well as impressive solo sections from Zach and Jack - Guitarist and drummer respectively. Although the crowd was tough to get moving, The Hara certainly achieved exactly that by getting the whole pit to participate in mosh pits, circle pits and even a wall of death which Josh joined himself. The floor of The Underworld slowly packed out, and then the balcony all the way to the corridor, every person shuffling to try and get a satisfactory view of the spectacle that was about to take place. I See Stars came parading onto the stage to an eruption of cheers, opening with ‘Running With Scissors’ from their latest album, Treehouse. The entire venue instantly detonated into moshing and jumping, every single fan screaming the lyrics so loud it was almost hard to hear the band themselves. Lead vocalist Devin Oliver, sporting his recent signature sparkly mesh shirt and bleach blonde hair. With each tune that started the crowd got louder and rowdier from a seemingly endless supply of power. The band made this show extra special by throwing in some deep cuts just for these long times fans that had waited so patiently. This included the song ‘Filth Friends Unite’ from their 2012 album ‘Digital Renegade’, which got an explicitly loud reception. There is no denying the bands star qualities as they rocked the stage, their experience serves them well and leaves every person infactuated in their performance. Each member of the band interacting with fans, with eachother whilst simultaneously maintaining their stable sound and welding their instruments flawlessly. Devin getting down on his knees multiple times to sing face to face with fans that were lucky enough to secure the front row. While those in the front sung with everything they had the fans in the back continued to mosh and jumping every starting circle pits, crowd surfing and stage diving, this show really had it all. The music bringing everyone in the room together with themes of feeling different, addiction, being in love and being young, each person finding a way to connect it to their own stories. The band promised to return to London as often as they can having seen how grateful the crowd was and the energy they were rewarded with. The Underworld was also lucky enough to receive the news that the band will be releasing a brand new record this summer! As the show came to a close and the band played one of their more recent singles ‘Anomaly’ Devin reached into the crowd as far as he could to connect and hold hands with every fan he could. It's abundantly clear how much love the fans have for the band and the band has for their fans, the type of connection that seems to be getting rarer in these recent times. I See Stars have an incredible 2025 lined up ahead of them with shows in festivals in Germany, a tour in Oceania and Asia and of course a brand new record on the horizon. Be sure to keep your eyes and ears peeled for the greatness these guys still have ahead of them! Words: Amy Smyth Photos: Emily Champion

TesseracT have always felt like more than a band. They’re musical architects, building worlds out of polyrhythms, atmosphere and pure emotion. From the layered, conceptual sprawl of Altered State to the crushing clarity of War of Being, every era has something to obsess over. So here it is, our lovingly curated top ten TesseracT tracks. Ahead of their monumental headline set at ArcTanGent Festival this summer, these are the songs that defined the band, cracked open our heads, and stayed there ever since. 10) Cages This version of ‘Cages’, reimagined for the Errai EP, is haunting in the best way. Softer and more ambient than the original, it’s all about space and restraint. Dan Tompkins’ vocals feel like a warm blanket, even when the lyrics ache. It’s proof that heaviness isn’t always about distortion. 9) Smile There’s something a little unhinged about ‘Smile’. It shifts and stutters like it’s fighting itself, loaded with glitchy textures and one of Tompkins’ most visceral vocal performances. It’s unpredictable, a little bit feral, and completely hypnotic. 8) Of Matter This track (and the whole Of Matter suite, really) feels like a slow dive into a dream you’re not sure you’ll come out of. ‘Retrospect’ is the point where everything clicks. Groovy, lush, and deeply emotive. It’s a masterclass in progression without pretension. The vocals are pure velvet. 7) Luminary ‘Luminary’ is deceptively straightforward for a Tesseract song, but that’s what makes it so sharp. Clocking in under four minutes, it punches hard with its tight riffing and soaring chorus. It’s the kind of track you play on repeat without realising you’ve done it four times in a row (guilty). 6) King Dark, brooding, and cinematic, ‘King’ is one of TesseracT’s most emotionally raw moments. From its slow-burn intro to the absolutely massive breakdown, it feels like a song on the edge of implosion. That closing scream? Straight-up goosebumps every time. 5) Legion ‘Legion’ is controlled chaos. It builds gradually, pulsing with tension before opening into one of the most expansive choruses in the band’s catalogue. It’s got the atmosphere of Altered State and the crushing weight of Polaris, wrapped up in War of Being’s cinematic polish. 4) Concealing Fate, Pt. 1: Acceptance This is the gateway song. The song that launched a thousand fan deep-dives. Whether you discovered it on YouTube, a forum, or from a mate who handed you their iPod in 2010, you remember where you were the first time you heard that riff. A cornerstone of the genre and for good reason. 3) Juno Equal parts gorgeous and devastating, ‘Juno’ feels like the band cracking open its chest and letting us see everything inside. That chorus is a gut-punch, and the dynamics between soft vocals and crushing weight hit harder live than you’d expect. A modern classic in the making. 2) Phoenix There’s something quietly powerful about ‘Phoenix’. It’s not showy, but it doesn’t need to be. The rhythm section is fluid, the melodies are warm, and Ashe O’Hara delivers one of the most subtly beautiful vocal performances in TesseracT history. It’s the calm at the centre of the storm. 1) Dystopia ‘Dystopia’ has everything: urgency, groove, soul, atmosphere, vibe. The transitions are seamless, the build-up is dramatic without being overblown, and it feels like it goes somewhere, not just technically, but emotionally. It’s TesseracT firing on all cylinders, and it never stops evolving across its runtime. Tesseract don’t just write songs, they write experiences. Whether you’re drawn to the mathy precision, the ambient passages, or just want to feel something a little deeper, they always deliver. Catch Tesseract at ArcTanGent Festival this summer! Words: Katie Edwards

Green Day and UK festivals have a lot in common - the most important of which, a shared taste for throwing mud. That being said, after 37 years on the scene it was about time Green Day headlined the UK’s leading rock and metal festival, after 14 albums and, soon, a star on the Hollywood Walk of Fame under their belt. 2025 will be Green Day’s first EVER appearance at Download Festival, and the band and their drunk bunny have skipped the queue straight to the top of the bill. They’ve had an illustrious career as truly respected rockers, fashion pioneers (we expect Primark to be out of black shirts, red ties, and black eyeliner by the first week of June) and naked protesters - Green Day have truly done it all. They managed to revive punk in the 90s in a landscape of MTV and grunge, constantly outdoing themselves and creating pop-culture era after era along the way. It’s sort of not fair to call any Green Day album bad - so, with that in mind, here’s a deep dive of Green Day records, slowly climbing up to our favourites. 12, 13 and 14) !UNO!, !DOS!, !TRE! These triplets went down like a lead balloon with Green Day fans. The band has since claimed that this succession of albums were directionless and all-over-the-place - but honestly, they’re a lot of fun! “Stray Heart” from !DOS! and “Nuclear Family” from !UNO! are particular standouts - but it’s true that they don’t fit the brand Green Day had, up until this point, so meticulously crafted. Possibly better suited for side projects, the trio just didn’t have the grit fans had come to expect from their favourite musical disrupters. 11) Father Of All... How do you write a punk album in the middle of COVID? Nobody wants to hear you bragging about your super-rockstar life, and everyone’s sick of hearing how much life sucks. There might have been no winning with FOAMF - and perhaps for me it’s tinged with those time-topical memories. There are plenty of hits here, plenty of misses, but it’s respectable that swings were taken at all in an era so full of uncertainty - an era where Green Day were sorely needed for their political commentary. We all tried out new things in 2020 - and here, Billie Joe tried his hand at falsetto vocals in this album’s titular track. 10) 39/Smooth Bright-eyed and bushy-tailed, Green Day catapulted straight out the gate with a banger here. 39/Smooth was a playground for three 17 year olds to show their stuff, yet sustains as standard curriculum for any young punk. It’s a great album with lots of energy and tracks that endure on the setlist - “Going to Pasalacqua” is still celebrated as one of their best to this day - yet 39/Smooth can serve as an aspirational model for any backyard DIY punk band wanting to sink their teeth into hellraising. 9) Kerplunk The early stages of “Dookie” can be heard throughout this record - sharp-eared fans might notice familiar riffs between “2000 Light Years Away” and “Having a Blast” - but this album also solidified Green Day’s sound. Tre Cool officially joined the lineup with this album, cementing a formidable partnership that would endure for over thirty years. Kerplunk is also where we first hear “Welcome to Paradise” in a crustier and rawer form, before being refined (well, refined in punk standards) on Dookie. Whilst somewhat overshadowed by its older sibling, it does still stand as its own album - it sold 10,000 copies upon release, impressive at the time for an independent release. 8) Warning A more muted-sounding but still abrasively-lyric-ed offering, Warning is the band’s swinging, jaunty folk-punk record to celebrate the turn of the millennium. It was an era characterised by grainy MTV music videos (who can forget the uncanny valley parade float in “Minority”?) and Billie Joe’s brand new blonde trim, where the band introduced a swarm of punk-rockers to the sweet sounds of the harmonica. “Castaway” is a real favourite, proving Green Day’s ability to write fun earworms, but “Minority” is the true star, an anthemic track that still finds home on the setlist to this day. 7) Saviors Green Day’s newest offering has some real bangers worthy of their arena-rock status, which they were more than happy to show off last summer (and hopefully at Download Fest!). It also features the band’s first undeniably bisexual track - in “Bobby Sox” Billie Joe asks “Do you wanna be my girlfriend/boyfriend?” to nobody in particular. It’s not the first time Billie Joe’s bisexuality is documented through the band’s work - it’s been a topic as far back as “Coming Clean” - but it’s wonderful to see this displayed in a romantic track so full of heart, rather than angst. At the time of writing there are more songs to be released from Saviors - and it’s definitely an album we want to hear more of. 6) Revolution Radio Somehow, some rockers were surprised when the band most famed for their anti-Bush disstrack returned in 2016 with a full album slating Trump. “Revolution Radio” sees Green Day return explicitly to politics with a more mature version of the band, but the same red-hot flame as ever, with a new face on their dartboard. “Bang Bang” is an honestly lyrically haunting track from inside the mind of a shooter, with “Say Goodbye” doubling down on this social fear of rising violence on the streets. There are some really fun moments - “Bouncing off the Walls” and “Youngblood” are happy-go-lucky rock tracks - as well as the really beautiful outro of “Ordinary World”. 5) 21st Century Breakdown After the smash-hit of American Idiot, all eyes were on Green Day to avoid sophomore-slump-syndrome. In response, they delivered a second rock opera, carrying many notes of American Idiot, but new commentaries of hard-done-by America. This album straddled punk sentiment and pop melodies, particularly with “!Viva la Gloria!” and “Last of the American Girls”, but classic Green Day shines through on tracks like “Horseshoes and Handgrenades”. At the time of recording, the American Idiot musical was in-production, and once its director got wind of “Know Your Enemy” and “21 Guns” he clamoured for them to be featured in the musical, already sniffing their success pre-release. 4) Insomniac It takes an alchemist to pull off punk that is sloppy and raw, yet so sharp and pointed - “Insomniac” is a direct response to the boys who cried sellout. It’s so much more than just “Brain Stew” - though this track is excellent to characterise this era - songs like “86” clap back to anyone who can’t see Green Day as more than commercial chart-toppers. Anger and energy was fuelled into this with the poise of a band that knows exactly what it’s doing - there are some cuts on here that reek of the garages and dingy clubs the band started off playing in. It’s truly a “Walking Contradiction” that this album is so excellent, yet so underrated. 3) Nimrod Affectionately referred to in my house as “No-Skips Nimrod”, this album offers listeners something new with each track. Fans of “Warning” will be thrilled to hear that the harmonica makes a return on “Walking Alone”, and there’s some proper full-throttle punk in “Platypus (I Hate You)”. There are some jaunty, and still punchy riffs that carry “Hitchin’ a Ride”, juxtaposing the more melodic leanings of “Redundant” and “Haushinka”. The two most standout tracks are even complete polar opposites, it’s hard to believe that the wild and unrestrained “King for a Day” is on the same album as “Good Riddance”. Somehow, this album completely works, and is a masterclass in shaking up your wheelhouse. 2) Dookie Although we’re sure local venues have never forgiven the band for the impact that “Basket Case” would have, “Dookie” has truly proven itself as one of the most enduring albums of the past 30 years. It set the bar and defined a subculture, bringing punk rock back after the Cobain-dominated airwaves of the early 90s. Green Day defined themselves here with memorable riffs - both guitar-based and also the iconic drum beats of “Longview” - but also their storytelling, decorated with surprising poignance and stupid potty humour in equal measures. It’s a true coming-of-age album, touching upon subjects of self-worth, first loves, and... well, all of “Longview”. It’s nicely wrapped up by Tre Cool’s “All by Myself”, a ditty still circulating their setlist today. 1) American Idiot Overrated..... or just a damn good album? Sometimes albums are classics for good reason, and American Idiot is the poster boy. It’s another no-skips album with cohesive theme and storytelling, without falling into the trap of sounding one-note. From opening with its killer titular track to full-on rock sagas like “Homecoming” and “Jesus of Suburbia” (for which the music video had irreversible impacts on trans men everywhere) American Idiot spins you the story of America as Green Day see it - downtrodden and hard-done-by. This album is an epic from start to finish and does not relent - even the slower and more thoughtful tracks on this album pack a punch. It’s a wonder the band didn’t give up on this album - after the master tapes to “Cigarettes and Valentines” were stolen, morale was understandably low. Instead, Green Day delivered arguably the most genre-defining album of 2000s pop punk. It’s personal and it’s universal, it’s heartfelt and it’s carefree, it’s a rallying cry to everyone, not just punks, to wake up and smell revolution. And it rocks hard. Catch Green Day headlining Download Festival this June alongside Sleep Token and Korn Words: Erin Strom

After almost two decades of carving their place in the alt-rock landscape, Mother Mother’s Nostalgia arrives as something rare and self-assured. It is a record that looks back without losing its footing in the present, an exploration of memory that avoids sentimentality in favour of something more honest, more tender, and ultimately more enduring. Releasing on June 6th, with singles like 'Finger' and the deeply affecting 'On And On (Song for Jasmin)' paving the way, Nostalgia is not just a nod to the band’s earlier sound. It is a full-circle moment that manages to feel both familiar and entirely fresh. Mother Mother have always had a flair for theatricality, for songs that swirl with emotion and eccentricity. What sets Nostalgia apart is its restraint. These tracks do not scream for attention, they pull you in. They build worlds in miniature, and then quietly ask you to stay a while. It is an album that rewards patience and close listening, where every layered harmony, every lyrical spiral, feels purposeful. Opening track 'Love to Death' sets the tone with a blend of taut energy and lyrical complexity. There is something deliciously twisted about the way love and destruction intertwine here. The harmonies are crisp and immediate, while the instrumentation hints at the band’s earlier, rawer days, without ever sounding dated. It is a confident opening that announces the record’s dual mission: to revisit the past, and to say something new. That duality continues with 'Make Believe', a dreamlike track that toys with nostalgia in the purest sense. There is a drifting quality to it, as if memory is being reshaped in real time. The band do not lean on production tricks here, instead letting the melody do the emotional heavy lifting. It is reflective without being vague, anchored by lyrics that feel plucked from an old journal, but reframed with the insight of experience. 'Station Wagon' is one of the album’s most evocative tracks. There is a cinematic quality to it, built around imagery that feels lived-in. You can practically hear the gravel under the tires, feel the sun through the windshield. It is a song about moments you didn’t realise were important until much later, and it lands with quiet precision. The focus track 'On And On (Song for Jasmin)' is the album’s emotional centrepiece. Written with delicate clarity, it distils love, grief, and longing into a single breath. It never tries to be larger than life. Instead, it stays grounded, offering its message with an almost devotional sincerity. The repetition in the chorus, the gentle unfolding of the arrangement, the intimacy of the performance - all of it works in service of a song that feels timeless. It is not just a standout on the album, it is one of Mother Mother’s most poignant songs to date. Midway through the record, 'Better of Me' and 'Namaste' offer two different takes on the same emotional terrain. The former is all jagged edges and self-awareness, while the latter veers into tongue-in-cheek territory, poking fun at self-improvement culture even as it nods to real attempts at peace. The humour never undercuts the sincerity. If anything, it makes it more human. Then comes 'Finger', the last single to drop ahead of the full release. It is sharp, chaotic, and undeniably catchy. Built around a jittery riff and a snarling vocal performance, it captures the kind of frustrated energy that simmers beneath the surface of the album. It is unhinged in the best way, the musical equivalent of ripping off a bandage and laughing through the sting. What follows is a string of more introspective tracks that deepen the album’s emotional impact. 'Me & You' strips things back to near-acoustic simplicity, a moment of softness and stillness. little mistake plays like a confession whispered into a pillow, while 'Mano a Mano' reintroduces drama with a stomp and a smirk. Each song feels deliberate, carefully sequenced to guide the listener through the emotional terrain of the record. The title track 'Nostalgia' arrives near the end and acts as a thesis statement. It does not lean on grand gestures. Instead, it threads together the album’s themes with a kind of quiet certainty. There is melancholy here, yes, but also acceptance. It is a song that understands the past for what it is; flawed, formative, unrepeatable. The closer, 'To Regret', leaves the final word lingering in uncertainty. It does not tie things up with a bow. It lingers in the complexity of feeling and lets that be enough. Sonically, Nostalgia is confident and cohesive. There is no bloat here, no filler. Every track earns its place. The production is clean but not sterile, allowing the band’s distinctive vocal layering and melodic instincts to shine. It is a record that feels thoughtfully made, both in its sound and in its structure. More than anything, Nostalgia is an album that trusts its listener. It does not pander or posture. It asks you to remember, to reflect, to sit with things that may not have easy resolutions. In doing so, it captures something genuinely rare; the feeling of time folding in on itself, of old versions of yourself resurfacing not to haunt you, but to remind you of how far you’ve come. Nostalgia is not just a return to form. It is a return with purpose, grace, and just the right amount of bite. Mother Mother have delivered a record that feels like home, even when it hurts. Score: 9/10 Nostalgia will be released on June 6th via Warner Music Group. Words: Kelly Gowe Photos: Mother Mother

For a band about as far away from Britain as possible, the Aussies in CIVIC have done a good job at serving Britpop on their third full-length project Chrome Dipped, swapping the punk grooves they have been known for to instead bring in some pensive melodies and light atmospheric touches. CIVIC are at their best on this album once they’re firmly into it, as their choruses and solos are their high point; title track and lead single 'Chrome Dipped' acts as a testament to that, with a generally unassuming intro turning into a matured-angst character anthem about human veneers. The vibe of the track is dark, with its whisper vocals and floor lead drumlines, while still maintaining a shoulder-shaking bounce to it that makes room for the “happy soundscape sad lyrics” energy that makes an instant hit. Further proof of their high points being midway through comes in the third track banger 'Gull’s Way'. It’s more of a ballad and keeps with the whisper-vocals of the single before it, this time incorporating sparkles into its soundscape; reminiscent of leapfrog books that adds to the journeying themes of the track with a thoughtful subtlety. It’s an easy track to get lost in thought into, and feels like the best of what indie rock can offer. The pace is picked up a little in second single 'The Hogg', which has a more punk feel and is somewhat a change of pace, but not enough to offer some variety at the almost-halfway point of the project. It is scooped up, however, by the midway track 'Starting All the Dogs Off', where we finally see the chaos that CIVIC was aiming for: from the beautifully-executed hidden snare drumline, to the utter waffle that frontman Jim McCullough is discussing in his lyrics. Some of this waffle is effective, though “I’ve got hair on the back of my neck that stands in [possibly] prints like a tiger” feels like a line used as a placeholder, until you finish writing the song that they forgot to change, and stands out in its absurdity. Nevertheless, McCullough’s cadence is addicting while the track itself builds into a male crashout anthem that fills a gap in the market. In side 2 of this project there is 'Amissus', which feels a somewhat new-wave inspired in its flat harmonies, gothic feeling melodies, and pining lyrics. Though the track’s meat and potatoes style sounds great ,the random slowdowns that don’t go to a changed bridge or elevated melody have become immersion-breaking, with the amount of times they happen on the project - tracks such as 'Trick Pony' or opener 'The Fool' suffer from 30 second elements of build with little pay off, the latter placing that build at the end to stop the track abruptly that feels unnatural even when expected. In follow up 'Poison', the energy does change back to a punk feel and manages a full guitar solo at the end of its long build, and the return to a more jumpy and impassioned track, rather than the passive melodies of the last few entries into Chrome Dipped, was refreshing. The last three tracks of this project are among its best. The gothic energy returns in the vocal style and mixing of 'Fragrant Rice', which when paired with the maintaining of the tempo and energetic instrumentals of 'Poison' makes for a favourite on the project as a whole. 'Kingdom Come' opens emo, with the W in stone that McCullough placed when recording this track’s vocals, but apart from that brings some more of that pensive and Britpop-feel soundscapes. These do sound lovely in isolation, but the use of this slow of a build up then light riffing makes a 2:34 track feel 4 minutes long. Album closer 'Swing of the Noose' was a saviour for the energy, getting to it straight away with cool riffs and open hats that make it perfect for bouncing. The storytelling is effective, as are the background vocals in its second bridge, though once again the finishing solo was somewhat lacklustre - but this didn’t take away from the quality of the track to finish the project. Overall, the main critique of this project is that the passion that the quartet may have had for it doesn’t come across. It feels like there was a lack of comfort in providing the passion they have cultivated on their touring runs in the studio, which has inhibited them from taking risks and sending their tracks to the level they could’ve reached. This has then culminated in these runs of never quite breaking down, and vocals that sound as if they feel too cool to be giving 100% in the booth. The elements of a strong sound are there, and CIVIC get some grace as a band trying to expand their sound, but effective expansion into new soundscapes requires a commitment to new elements, and a passion for the new elements a band has learned how to play, that fails to be realised on Chrome Dipped. There is something for the indie rockers and the britpop enjoyers on here, but overall it isn’t a standout project. Score: 6/10 Chrome Dipped was released on May 30th 2025. Words: Julia Brunton Photos: CIVIC

Eclectic Liverpool-based band Kusanagi have returned with their latest work, and it's one that pushes the boundaries of post-rock and math-rock to their absolute limits. Being exclusively instrumental, the band promises with each release to foster an unforgettable experience packed with prominent riffs, touching breakdowns and new soundscapes. Their new album, titled Paramnesia, is a blend of intricate melodies that are often expressed only by guitars, drums and bass. This is shown off across eight unique tracks, and it promises a new viewpoint of the band’s take on post-rock and math-rock, as there are no vocals in the way. From the opening track, 'Night Symmetry', the guitars are often the most prominent instruments, playing with intricate melodies and various harmonies, creating a unique storyline. The song starts in a very pompous tone and serves as a welcoming introduction to the world of Kusanagi. Transitioning right into a dreamlike melody full of intricate guitar riffs, only to go into a mesmerising bridge, and then continue with the dream-like sound again, the band was able to capture the essence of the song title with a precision, prompting the listener to not only listen to their tracks, but in some way to also feel them with their whole body. Another track from the album that is well worth mentioning is track four, 'Equilibria'. As the name of the song suggests, the track invokes a state of mental balance, which the band created cleverly by using irregular time signatures and complex rhythms. It is a well executed track with a simple yet addictive melody, that pushes the listener to listen to it repeatedly, as it always uncovers something new and surprising. Changing the pace of the album a little bit, 'Physics of Colour' aims for a quicker pace, simulating the ever changing colours. Heavily using cymbals throughout the length of the piece, the band creates a vision of the colours moving around with the beat, changing directions and shapes. It is a lively piece with a warm sound, and it is bound to grab the attention of listeners from the first notes. Although the album can seem repetitive, particularly in some specific guitar riffs, melodies and rhythms, it is still a solid piece that offers a unique perspective into the possibilities of math rock and post-rock. Showing the listener that the genre can be utilised even with no lyrics, and still being interesting and challenging, is Kusanagi's home turf by now, and with each release the band grips tighter on their rightful position as a revolutionary project that's not afraid to take matters into their own hands, and push the boundaries of well established culture. Paramnesia surely is a must-listen for anyone looking for new sounds to add to their daily playlist. Score: 7/10 Paramnesia was released on May 30th 2025. Words: Katerina Stepanikova Photos: Kusanagi

Bring Me the Horizon have spent nearly two decades evolving from heavy deathcore pioneers to genre-blending rock giants. With massive hits, emotional anthems, and unpredictable shifts in sound, they've created one of the most exciting catalogs in modern rock. As they gear up to headline Reading and Leeds Festival this summer, here are 10 essential tracks that define their journey. 10) Pray for Plagues Where it all began: pure deathcore mayhem. “Pray for Plagues” is messy, brutal, and utterly unhinged—exactly what BMTH fans craved in 2006. While it doesn’t represent where the band is now, it’s the chaotic DNA behind everything that followed. It’s raw, untamed, and essential history. 9) DiE4u “DiE4u” is BMTH at their genre-blending best. A mix of emo, pop, and cyberpunk fever dream, it’s glitchy, infectious, and darkly catchy. Lyrically, it’s a tale of toxic love and self-destruction, a sleek anthem that bridges Post Human and amo with confidence—personal enough for longtime fans but polished for a new generation. 8) Shadow Moses A fan favorite and a game-changer. “Shadow Moses” marked the moment BMTH stepped into the big leagues, merging raw intensity with electronic textures. That chant—“This is Sempiternal!”—is still a festival staple, and it’s one of the tracks that solidified their place in the modern rock pantheon. 7) Chelsea Smile “Chelsea Smile” is the epitome of the scene era. The riffs are massive, the vocals are manic, and the breakdowns are relentless. It’s violent, ridiculous, and has stood the test of time, still delivering an electrifying punch every time it’s played. 6) Drown With Drown, BMTH took a huge risk—and nailed it. Stripped of the typical screams, it’s raw, vulnerable, and anthemic. It’s the track you play when you’re falling apart but still want to scream your heart out. Stadium-sized in its emotional weight, it showed a different side of the band and became an instant classic. 5) Can You Feel My Heart From the first haunting note, Can You Feel My Heart grabs you. A perfect blend of synth-pop sadness and rock grit, it became a viral hit long after its release. It’s atmospheric, honest, and one of the band’s most defining tracks—a true fan favorite that’s both dark and deeply relatable. 4) Kool-Aid Heavy, gritty, and groovy, “Kool-Aid” brings back that darker edge fans had been craving. It's a throwback to their heavier roots but filtered through a modern, polished lens. With a hypnotic groove and anthemic energy, it’s BMTH flexing their creative muscles while staying true to the sharpness they’ve perfected over the years. 3) Mantra With a swaggering riff and biting lyrics, Mantra kicked off the amo era with a bang. Punchy, sarcastic, and undeniably catchy, it’s a middle finger to expectations, delivering a bold curveball for fans. It’s energetic, layered, and brilliantly unpredictable—just like the band itself. 2) Throne Everything about “Throne” is designed to make you feel invincible. It’s loud, polished, and full of defiance. From the arena-sized hooks to the empowering lyrics, it’s a song meant to be screamed at the top of your lungs in the car or in a massive festival crowd. It’s BMTH at their most anthemic and empowering. 1) Doomed More than just a song, “Doomed” is a moment. Quiet, dark, and experimental, it builds slowly into something massive and painfully human. It’s the perfect opener to That’s the Spirit and encapsulates the band’s evolution: bold, vulnerable, and unafraid to embrace the weirdness. A track that defines who BMTH had become—and what they still are. Bring Me the Horizon’s legacy is defined by their ability to risk, reinvent, and refuse to be boxed in. From deathcore outsiders to genre-blending headliners, they’ve constantly evolved without sacrificing the raw emotion that makes them so special. As they prepare to headline Reading and Leeds Festival this summer, they’ll prove once again why they’re one of the most important and unpredictable bands in modern rock. It’s not just about the songs they play—it’s about how they make every moment feel monumental Words: Mia Gailey

Progressive death metal Pennamites Rivers of Nihil have produced another great record. What else is new? One of the most innovative groups in the scene are back again, this time by dropping a self-titled record like they’re The Beatles. Which is odd, self-titled records are a confident statement. Bands only tend to release self-titled records when they genuinely believe what they’re putting out is the definitive edition. The real McCoy. That’s why it’s especially surprising as longtime vocalist, Jake Dieffenbach, is no longer in the band. Bassist Adam Biggs has stepped in from backing to lead vocals completely changing the dynamic. It’s palpable whilst you listen, this may not sound like the Rivers of yore, but it is still recognisably them. ‘Self-titled’ is like they’re trying to squeeze the entire timeline of their discography into a single hour of music, and it is a valiant effort to be sure. Ever since their debut, the band has slowly moved in a more progressive direction, culminating in the progressive death metal masterpiece Where The Owls Know My Name, an entry into a genre which hasn’t had that much hype for an album since The Sound Of Perseverance. After Owls, their newest one continued the trend of them embracing a more emotional side. But now we are here, with the “definitive” Rivers album supposed to galvanise their past and their present. And yes, before you ask, there is still a heck of a lot of saxophone. The opener ‘The Sub-Orbital Blues’ certainly smacks of classic Rivers. So far so good. A melodic intro leading up to a brutal chugfest with the most triggered kick-drum you’ve ever heard. They seem to be going for the Mastodon approach here, with vocal duties shared between Biggs and new axeman Andy Thomas who sings the catchy refrain “See it, believe it". More heavily layered than a death metal lasagne, it never seems to get too much and has a little bit of everything. A really good start. ‘Dustman’ on the other hand, treads the saturation line with all the grace of a drunk on a tightrope. The vocals are distorted for effect before the chorus of “DUSTMAN!” surges in. Credit is due to drummer Jared Klien on his drum efforts here, the blast beats are so clean you could eat your dinner off of them. ‘Criminals’ does much of the same but makes more of an effort in the melodic department, winding down the brutal slamming for a while and allowing the listener room to breathe to the tune of winding synths. There’s also some beautiful bass flourishing by Biggs toward the end. The following track ‘Despair Church’ is a real standout. The guitars play a riff that lurches downward before the pandemonium is abruptly broken by a moment of peace, like sticking your head above water. The death metal being undercut by woodwinds and tribal drumming moments makes this feel like its picking up where Owls left off. The song is then played out by a gorgeous saxophone melody. Hell yeah. Starting out with a synth intro, ‘Water & Time’ is a departure from the rest of the material on the album. It’s softer and more melodic, but the melodies harken back to the very best of the Rivers offerings. It’s got some serious heaviness in the middle sections, made all the more heavier by the contrast between hard and soft. The saxophones are back again, adding another layer of sophistication to this already staccato-heavy progfest. ‘House Of Light’ begins with the unmistakable foghorn of Robert Eggers' Lighthouse film, it continues on the general vibes of the last song with the delicate melodies once again complementing the brutality. It’s fast, aggressive, and knows exactly when to provide breathing room with a synth-y interlude. Already proving popular, it’s yet another album standout. ‘Evidence,’ on the other hand, is an absolute onslaught. Filled to the brim with riffs, fills, and kick drums you didn’t even know could go that fast, it’s a romp into the obscene. ‘American Death’ easily has the second-catchiest chorus of the album, a real ear-worm. The hooks will have you singing it all damn day and the drumming sounds like someone unloading a magazine. ‘The Logical End’ is exactly what it says on the tin, for it’s the logical conclusion to an aggressive record; serenity. There’s more polyrhythms, more softness, and more sax. There’s also an amazing solo by Brody Uttley in here. Now the end is here; 'Rivers of Nihil’, by Rivers Of Nihil, from the album Rivers Of Nihil. What should be the culmination of all of the band’s efforts thus far due to the bold title ends up being a very short closer which does exactly that but struggles to do it long enough. You could show someone this and they’d get a pretty damn good vision of what the band is all about and what sets them apart, but they’d be wondering; “why isn’t it longer?” Hardcore fans would have already heard this and made up their minds, but the more casual Rivers fan would ask; “is it as good as Owls?” To which the answer to that would be, no. But it certainly expands upon the sounds created in Owls, as well as paying reverence to the other great records in the ever-expanding repertoire of Rivers Of Nihil. This refurbished Rivers has proven themselves strong together with this record, the synergy is tangible on every track and the proggy staccatos are done with such finesse that only a band of stuck-together progmeisters could accomplish. The overall experience of this record will leave you breathless, and thinking “ah, it might be time to listen to that again” as you probably missed something the first time. It’s an album that rewards re-listens. So you can tip your hats to the Rivers fellas, for once again they’ve produced something that not only elevates their own lofty standard, but ensures that the genre itself remains alive and kicking. It feels like the band has yet to produce their greatest record - this was just a stepping stone. And when that day comes, be ready with a mop and bucket as you’ll probably melt into a thick soup once you hear that opening blare. It will be biblical. Per angusta ad augusta. Score: 8/10 Rivers Of Nihil was released on May 30th 2025 via Metal Blade Records. Words: Kiarash Golshani Photos: Rivers Of Nihil

London has been singing and crying, as the capital-based Confessions Of A Traitor played a home-show for the release of their newest album This Pain Will Serve You. Their fans were eager for the night, as the concert at 229 sold-out. The band was supported by the insane Shoot To Kill and SWARM6IX. Shoot To Kill were the openers for the night, and they surely did not miss a beat. From the beginning until the end of their set, they were dropping heavy riffs and unforgettable screams. The band also started a three-person moshpit, with the singer of the band running in and out of the floor, making their set a great fun to watch. At one point, the band invited the bassist from SWARM6IX on the stage, singing together a song from Shoot To Kill’s upcoming album. The set was short but absolutely set the atmosphere high for the rest of the night. Next opener was SWARM6IX. Bringing different music onto the stage, the band was welcomed with opened arms, as the crowd already knew their songs and sang all-together. The band’s singer was incredible to watch, as he was playing around with his voice, using a technique similar to Kim Dracula, making the lyrics of their rap songs pop-out. The guitarist, as well as bassist, were both delivering sick lines and were jumping around the stage, while the drummer was hitting the cymbals like there was no tomorrow, while still singing along to the songs. The band proved themselves to be one of the rising talents of the scene, and their name will surely keep popping up more frequently in the upcoming years. After two amazing supports, Confessions Of A Traitor took over the venue and the crowd has not only started singing every word of every song, but they have also been moshing and dancing the whole time. The band’s lead singer Stephen McConville was interacting with the fans the whole set, while delivering flawless performance, altogether with the guitarists Jack Darnell and Jacob Brand, and the drummer Sebastian Olrog. Although the set was very short and lasted only about an hour, the fans got the chance to hear the songs from the band’s newest release This Pain Will Serve You live, together with few more fan favourites. McConville made sure to be inside the crowd often, and even encouraged a big wall of death at the end of the set, that was a blast to watch. Finished off with an encore song and McConville crowd-surfing around the whole venue, the band put on an amazing performance that was awarded with a massive applause and cheers. Both Shoot To Kill and SWARM6IX were a perfect match for the warm up, as the audience enjoyed both sets, and they surely created an unforgettable atmosphere for the headline show. Confessions Of A Traitor showed the music industry once again that they are not afraid to go above and beyond to deliver the best for their audience and once again out-performed themselves. The venue was a great choice as well, as the show was very intimate, creating a closer bond between the fans and the band, who, as the sold-out show indicates, are more than ready to support their favourite band in their journey. Words: Katerina Stepanikova Photos: Artemi Falzon

Returning with killer lineup, Download XXII promises to be louder and more energetic than ever before, with over 80 bands performing across the three-day festival this June. Alongside headliners Green Day, Sleep Token and Korn, here are 10 bands you don’t want to miss! Jimmy Eat World Everyone’s favourite emo uncles, hailing from Arizona, are sure to provide the nostalgia, bringing crowd favourites like ‘Sweetness’, ‘Bleed American’ and ‘The Middle’, alongside beloved album tracks like ‘Let It Happen’ and ‘Big Casino’. The Darkness Fresh off the release of their eighth studio album “Dreams On Toast”, The Darkness will bring their ridiculously electrifying mix of rock n roll anthems and crowd pleasers to the fields of Download, with lead singer Justin Hawkins no doubt showing us all that thought it might be over 20 years since we first heard ‘I Believe in a Thing Called Love’, even the heaviest music fan knows all of the lyrics and will be singing and air guitar-ing along! Listen out for the wonderfully self-deprecating ‘I Hate Myself’ – we guarantee it will get the crowd moving! Alien Ant Farm Another good old nostalgia band, Alien Ant Farm, who released their sixth studio album “~mAntras~” last year, will bring the favourites ‘Smooth Criminal’ and ‘Movies’ and hopefully their Wham cover of ‘Everything She Wants’, but either way, lead singer Dryden Mitchell will set the scene for a high-powered performance. Mallory Knox Having returned to the scene in 2023 after calling it quits in 2019, Mallory Knox is back, and better than ever. No doubt they will dominate the Avalanche stage, smashing out classics ‘Lighthouse’, ‘Ghost in the Mirror’ and their beloved sad anthem ‘Better Off Without You’, with vocalist Mikey Chapman’s powerful tones making us all wish for a new album. Kids In Glass Houses Honestly, it would be easy to leave KIGH off this list for fear of it becoming ‘10 Bands from your teen years you should watch at Download whilst complaining about the heat/cold/rain’, but they are just too good to be missed. Flying back into the UK Top 100 charts (and our hearts) with their fifth album “Pink Flamingo”, the band are back at Download after 12 years, with old school favourites ‘Matters at All’, ‘Give Me What I Want’ and ‘Saturday’ for sure making the set list for their return. Artio Following their storming support slot for fellow Download attendee Mothica and gracing the Dogtooth stage for their Download debut are rising Leeds powerhouse Artio. With vocalist Rae’s powerful, raging tones, backed by electronica fused guitars, heavy tracks like ‘Product of My Own Design’ and new single ‘Split Soul’ will show the Download crowd the unapologetic and escapism that Artio’s music grants their legion of fans. Survive Said the Prophet High energy, Japanese rock band, Survive Said the Prophet will be storming the stage with their eclectic mix of rock, electro and hip hop, with bilingual lead singer Yosh bringing his dynamic vocals. Their newest single ‘State of Mind’ featuring Matt Good from US band From First to Last along with their hit 2019 single ‘Mukanjyo’ will no doubt make an appearance. Split Chain With their unique blend of nu metal and shoegaze, and the self-coined genre of ‘dreamo’, Bristol band Split Chain, are another band not to miss, as they take the stage, bringing their incredible cover of Type O Negative's ‘I Don't Wanna Be Me’, and for sure introducing some songs from their debut album “motionblur” which is out in July. Listen out for songs ‘bored.tired.torn’ and ‘Subside’, for a sure-fire show of raw energy and unforgiving riffs. LØLØ Canadian vocalist LØLØ with her pop-punk and alternative rock sound, featured on Kerrang!'s "The Sound of 2024" list of ‘new artists redefining alternative music’, with her album “Falling for Robots and Wishing I Was One” being released the same year. New song ‘Nervous System’ with Taylor Acorn is none not to miss! President ‘At Download Festival, the inauguration begins’, according to the new mysterious, masked metal band. Debut single ‘In the Name of The Father’ features vocals that are almost certainly Charlie Simpson from Busted/Fightstar fame, but others think the band could be a Sleep Token spin-off. We have no idea ourselves, but we are loving the dark but cathartic introduction to their sound. Words: Lou Viner

Swedish hardcore band Obstruktion broke out in the metal scene in 2021 after the release of their debut album, Monarchs of Decay. The band's sound is a mixture of metallic hardcore and old-school Swedish death metal, taking the aggression of both into a fusion of fury. The group, made up of Toni Hasee on base, William Sjoberg on drums, Jonas Nordstrom covering vocals, and both E Lundberg Karlsson and Mattias Rasmusson on guitar, are known for their intense riffs and dark lyrics. Now across the nine tracks of The End Takes Form, Obstruktion have absolutely taken their sound to the next level with an even darker theme and bone shaking riffs that will leave their mark on the music scene. Title track 'The End Takes Form' has an incredible riff that bounces throughout the song, keeping it incredibly lively whilst simultaneously putting into perspective and setting high standards of what we expect to hear throughout the full nine songs. Seamlessly diving into the next track ‘Death Comes Near’, Obstruktion continues to satisfy us metalheads with these crushing guitar riffs and striking drumming. But what mostly stood out to us in this track is the extreme vocals and lyrics. “When death comes near” and “Nowhere to hide when death comes near” is repeated throughout, really emphasising the lyrical meaning to the song as the band talks about death and loss in a way we may not be familiar with. Obstruktion really have taken their sound to another level while also keeping the dark and gripping themes that fans love; the topic of death is mentioned multiple times throughout these songs but is most evident in ‘Death Comes Near’, ‘The Final Hour’ and ‘Only In Death’. While these may be dark themes, the aggressive vocals really send a message, and through these songs the band shows off their willingness to accept death in all its forms. It’s heavy as hell, but Jonas delivers the vocals with such passion and talent while also mastering the hardcore aggression, so there is no doubt this album will be a big hit in the scene. The last song on this album, ‘Born Of Contempt’, stands out immediately - in no small part due to it's ten minute run time. The guitar riff can be heard slowly gaining momentum, speeding up throughout, and when the drumming kicks in you know you're in for a heavy treat. Around half way through the vocals come in and take this song to a whole new level, finishing the album in devastating fashion. Obstruktion has impressed us with this album and fans will definitely love it, as the band have managed to take their original sound and produce something heavier, darker and more intense. They have gifted us with their hardcore vocals, their emotive lyricism, and passionate musicality, to foster a powerful listening experience. We are eager to hear what's next from them. Score: 7/10 The End Takes Form was released on May 30th 2025. Words: Kelsey Mainwaring Photos: Obstruktion

With Lookin’ For Trouble, The Dead Daisies unleash a thunderous tribute to the blues, reimagined through the raw power of modern rock. This ten-track cover album isn’t just a nod to the past, it’s a full-throttle celebration that electrifies classics with fresh grit and passion. What distinguishes this album from typical cover records is its balance of reverence and reinvention. Recorded at the legendary FAME Studios in Muscle Shoals, Alabama, Lookin’ For Trouble carries a sense of musical heritage while injecting each track with the band’s unmistakable energy. Opening with Muddy Waters’ ‘I’m Ready,’ the band makes their mission clear. The track, driven by John Corabi’s fiery vocals and Doug Aldrich’s searing guitar, sets the tone for the high-voltage journey ahead. It’s a bold, confident opener that revs the engine for what follows. A standout is Robert Johnson’s mythic ‘Crossroads,’ chosen as the lead single. The band amplifies its dark folklore with a blistering, guitar-heavy arrangement. The song is dripping with soulful power, and the performance bridges eras with both respect and rebellion. Their renditions of ‘Black Betty’ and ‘Boom Boom’ are equally explosive. ‘Black Betty’ shifts the traditional folk roots into pure rock territory, creating an instantly familiar yet revitalized sound, whilst ‘Boom Boom’ maintains John Lee Hooker’s hypnotic groove while supercharging it with heavy riffs and pounding percussion. Tracks like ‘Sweet Home Chicago’ and ‘Going Down’ also receive bold transformations. The former trades swing for swagger, while the latter barrels forward with relentless energy. ‘Born Under a Bad Sign’ adds weight and soul, steeped in fatalistic blues tradition. However, with all these classics gone, it’s ‘The Thrill Is Gone’ that delivers the album’s emotional peak. Instead of mimicking the original’s sorrowful majesty, The Dead Daisies slow it down, letting weariness and grit shine through. A moving reinterpretation, that shows off just how important the blues are to the Blues. Throughout the album, the chemistry is undeniable. Corabi’s vocals roar with conviction, Aldrich’s guitar work is blazing, and the rhythm section lays a rock-solid foundation. The band sounds united in purpose and passion. Guitarist Doug Aldrich calls the album “a cool fresh take on some Blues that we love”, and that love is evident. These songs don’t just honour the blues, they breathe new life into them, making them accessible for new listeners whilst satisfying longtime fans. The album even feels intergenerational, offering common ground for parents and kids alike. John Corabi puts it best: “The Blues had many names back in the day and they all had unwarranted negative connotations. But considering the influence the Blues have had on EVERY genre of music we listen to, with the exception of Classical, I would refer to it as ‘The Soul’ of music today!!!” Lookin’ For Trouble gives that soul a gritty, modern edge, reviving the blues for a new generation. Score: 8/10 Lookin' For Trouble was released on May 30th 2025. Words: Con Macadam Photos: The Dead Daisies