From Belgian alternative shoegaze band Slow Crush comes Thirst, the follow up to the critically acclaimed predecessor albums Aurora and Hush. Before heading out on a UK tour this October, Slow Crush, consisting of vocalist/bassist Isa Holliday and drummer Frederik Meeuwis, along with guitarists Jelle Ronsmans and Nic Placlé, will be dropping their haunting new album, with promises of exploration of yearning, emotional erosion, and the lingering sorrow of connection. Thirst is an emotionally charged release, breaking a new ground of vulnerability for Holliday, and bringing dreamy vocals and heavy riffs through each track. Whilst the lyrics to the opening track ‘Thirst’, the first single release from the album, are simple, they are also deeply poetic, and vocalist Isa Holliday delivers each line with passion and emotion, surrounded by a wall of reverb-laden guitars and an intense atmosphere. ‘Covet’ starts in a way you wouldn’t expect; with simply an acoustic guitar, but soon crashes into the gloomy vibe that follows through to the rest of the tracks. The unexpected elements continue with a saxophone solo which strangely doesn’t feel out of place; ending the song on a high. ‘Cherry’ starts as it means to go on; with the song being another one released as a single, it doesn't quite hit as hard as the songs before or after it but the dreamy vocals compliment the loud guitar backing, with an accompaniment of some heavy riffs and even heavier drumming. ‘Leap’ is the anomaly in the album; starting slow and quiet but building into a crashing release of emotion from Isa, with whispered tones and crashing guitars. The track delivers more of the passionate lyricism found through the entire album. ‘Hollow’ is potentially the dreamiest track on the album; reverb heavy, but vocally soft, demonstrating Holliday’s soothingly melancholic tones, but closes with a complimentary cushion of extra screaming in the background. Track six ‘Haven’ is a quintessential shoegaze song, with a well-executed fusion of the genre and emotional contrasting sounds. ‘While You Dream Vividly’ is another single already released into the world; another lyrically uncomplicated track, backed by a wall of heavy guitar distortion. ‘Bloodmoon’ follows, with backing vocals welcoming us to the track, with a quiet middle section of the song preceding a crashing end to the song, with Holliday’s emotive vocals soothing the listener. Instrumental track ‘Ógilt’ delivers a brief intermission from the weighty cascade of emotions you will feel yourself experiencing throughout the album, then leads perfectly into closing track, ‘Hlýtt’, delivering a triumphant, powerful end to the album, with heavy riffs and the complimentary screaming vocals in the background, closing off an vibrantly gloomy but powerful track list. On the face of it, Thirst appears to be an easy to listen to, uncomplicated composition, but when you listen more closely, what may be lacking in extended lyrical content, is enhanced by the sheer emotion that every line is delivered, and every beat played. This album is an ethereal dream, where you will be transported to a place of gloom but will relish every note. Score: 9/10 Thirst will be released on August 29th 2025 via Pure Noise Records. Words: Lou Viner Photos: Slow Crush

Few names are as synonymous with power metal as Helloween. If you know the genre, you know the band. Over the course of this year and throughout what's still to come, the seven-piece German group have been celebrating their 40th anniversary, and if we were to write out the band's accomplishments over the decades, we'd reach their 50th by the time we finished the list. These titans of power metal have weathered storms, trekked through hell, and now they're travelling across the cosmos with their newest release, Giants & Monsters. Almost ten years ago, a long-awaited reunion came about, and a lineup change brought back historic vocalists Kai Hansen and Michael Kiske. This new album is their second studio-recorded LP featuring the two alongside Andi Deris. With that all said, the band needs no further introduction. The music speaks for itself. Helloween waste no time at all, jumping into the album with the earworm of a track 'Giants On The Run', starring powerful, soaring vocals and a dynamic versatility that keeps listeners on their toes through the six-and-a-half-minute runtime. It's immediately clear what to expect with this release: intense, high-strung riffs, and the familiar ageless vocals that run through their history. Trifold vocals are a regular occurence in this LP, featuring frequent trade-offs and collaborations between the contrasting styles of Hansen, Deris and Kiske. A standout is 'A Little is a Little Too Much', a track that comes bursting out of the 80s with its electric axe riffs and memorable, chant-like chorus. It pulses with energy through its frenetic shredding, a mainstay in our minds despite its shorter length among the others. Conversely, 'Into the Sun' takes a step back from its high-speed predecessors. Instead, we're met with an emotional power ballad led beautifully by Kiske and Deris. Their vocals meet in a soaring, melodic storm as they ask themselves "Can we live forever?". We believe through Helloween's everlasting legacy, they just might do so. Lead single 'This is Tokyo' is a long-time-coming anthem devoted to Deris' love for Japan, dedicated to the country on account of it being the origin of his first successes. A powerful chant runs through the track, the city's name a repeated shout that begs for stadium sing-alongs. 'Universe (Gravity for Hearts)' follows immediately after, the longest track on this record. It clocks in at an intense 8.5 minutes, and in true Helloween style it gives us no room to breathe, packed with relentless speed passages. It features writing by guitarist Sascha Gerstner, and brings a powerful message: in the infinity of the cosmos, there are boundless possibilities, and nothing is ever out of reach. These themes are further emphasised in 'Under the Moonlight' as Kiske sings through the chorus about dreams coming true, and finding infinity in the stars. It harkens back to the 90s/early 2000s era of Helloween, with its hard rock edge and melodious verses. 'Majestic' closes the album with a brief spoken-word segment that reinforces its theme: the dreams you believe in can be made real. This is accompanied by a slow build-up before we're reintroduced to the crushing guitars and the eponymous chants that make up the track's chorus. Halfway through, it brings us to a slower vocal section, though almost immediately Dani Löble's clashing symbols and fierce drumbeat kicks in and brings us back into the battlefield with guitars duelling for dominance. This is all seven members collaborating in perfect unity, each bringing their best for this vast, monumental epic that certainly lives up to its name. Giants & Monsters is some of Helloween's best work yet. An electric release destined for the stars that proves that despite their long-standing career of forty years, they haven't lost their touch. Some tracks are sure to have a place in a "Best Of" compilation ten years down the line, while others may end up being considered deep cuts, but overall it's an album that carries the band's distinct mark in every song. If they retain this level of quality with their future releases, as beautifully sung by Kiske and Deris earlier in the album, like the stars above, their legacy can truly live forever. Score: 8/10 Giants & Monsters will be released on August 29th via Reigning Phoenix. Words: Naomi Colliar Duff Photos: Helloween

Welcome to Rage Reviews: Recent Releases! Here, we'll be covering some of our favourite recent singles for your convenience, so you can see what we thought was worth a listen! So, without any further ado, please enjoy our first selection with 11 of our favourite tracks from the last couple of weeks or so. A Killer’s Confession - Heart Shaped Box A Killer's Confession have delivered their new single, 'Heart Shaped Box', a cover of the classic Nirvana track. This song will be featured on their forthcoming album, Victim 2, which is set for release on September 19th. The band's version delivers a powerful, expansive and cleaner sound with standout drums and solid guitar. While the cover is an interesting take on the original, the low-pitched vocals are too auto-tuned and mixed too prominently, overpowering the rest of the track. A more subtle use of these vocals would have created a more raw and haunting feel, which felt lacking compared to the original. Words: Katherine Russell Agriculture - The Weight The ecstatic sound of Agriculture is back, in a deeply changed form. Gone are those halcyon days where their music would bring an emotive tear to the eye, on 'The Weight' the queer black-metallers are turning up the rage factor to mine every last inch of anger and grit they can muster - at least for the first five minutes, before an end that's every bit as powerful but far more melancholic. As the second single off of upcoming album The Spiritual Sound, it's made an impression and certainly appears to be setting us up for an altogether more abrasive record than the last - but if it's all as good as this, not a soul will mind if it's a tad less tear-inducing. Words: Jasmine Longhurst Bad Omens - Specter Bad Omens have returned, and taken the whole fandom by surprise. Not only have they announced an upcoming EU and UK tour, entitled the DO YOU FEEL LOVE tour, but they've also released a new single titled ‘Specter’ that sees the band exploring unknown territories. The single combines the band’s signature soundscapes with electronic components, creating a unique listening experience that is deeply complementary to Noah Sebastian’s melancholic vocals. With the rumble of Nick Folio’s drums and the swiftness of Nicholas Ruffilo’s guitar, the song has prepared the band’s fandom for possible new lore in the future. Words: Katerina Stepanikova Castle Rat - Serpent Sinister wizardry meets doom metal in Castle Rat's newest single, 'Serpent'. This is the latest revealed track of their fittingly-titled sophomore album The Bestiary, to be released in September, and it's a perfect, ominous omen of what's to come. Groovy guitar riffs and eerie basslines are duelled by melodic vocals as Riley Pinkerton, aka the Rat Queen, leads a sung-through tale about the eponymous serpent. Before long, the audience are brought into an intense instrumental section that's captivating and spellbinding. As the track comes to an end after an electric three minutes, there's only anticipation left in the air as a question remains: what does the next page in this book of beasts hold? Words: Naomi Colliar Duff Death Goals - Even a Worm Can Turn ‘Even A Worm Can Turn’ is the second single released off the forthcoming EP, Survival Is An Act Of Defiance, from the queercore London legends, Death Goals. Chaotically monumental, the sound explodes out of this briefest of metal tracks. Erupting with relentless energy, it has a visceral sense of urgency, vibrating with anger, screaming out “Queer lives forever”. It is not a warning, but a rallying cry, letting us know there is nothing meek about this turning worm, as it convulses hard against the systemic boot on all our necks. With an imminent UK tour beginning at the end of the month alongside HIRS Collective, and one later on in the year with Conjurer, their upcoming EP release on the 29th of August is about to go off! Words: Alana Madden Joyce Manor - All My Friends Are So Depressed Indie rock icons Joyce Manor are back with their first single since 2022, and it's definitely one to remember. ‘All My Friends Are So Depressed’ diverges from their normal sound with a catchy, easy listening chorus, somewhat reminiscent of The Smiths, that's sure to rope you in on first listen and leave you reaching for the loop button. If this is what they've come out of the gates with, we can't wait to see what else they've been cooking up over the past three years. Words: Josh Brown Kid Kapichi - Stainless Steel Kid Kapichi’s new single ‘Stainless Steel’ marks their first release since a recent lineup change ahead of a UK tour this October, and it’s a strong comeback that proves the band hasn’t lost their bite. Rooted in their trademark working-class frustration, the track channels the everyday struggle of keeping afloat in a society obsessed with “always reaching for that higher social status”. The refrain that we’re “not made of stainless steel” but of “blood” and “bone” lands with raw honesty, highlighting the toll of modern pressures. Musically, it’s stripped back and unfussy, but that simplicity works in its favour, making it a punchy and infectious track with great potential to garner a rowdy crowd during live performances. Words: Zuzanna Pazola Millpool - High Speed Pursuit ‘High Speed Pursuit’ is the debut single from London’s Millpool, a maximalist mash up of jazz and post-hardcore, a combo which on paper leaves us a little wide eyed, but intrigued for sure. The track uses bass and percussion to build a snappy breakbeat with noughties jazz riffs; a clean, smooth backdrop in contrast to the unprocessed vocals, a rousing energetic yelling, à la Henry Rollins/Black Francis/Slint. It’s not the same originality heard in the experimental distorted vocalists around at the moment, Gilla Band for instance, but it is definitely convincing, with its own energy and grit giving an effortless edge to the single. We are excited to hear the full EP One Last Midnight, due for release in October 2025 via XVI Records. Words: Alana Madden No Apologies - Grief, feat. Speed Sydney hardcore champions No Apologies team up with legends Speed for an amazing single in the lead up to their new LP Life, releasing August 29th. ‘Grief’ lives up to its name with its hard-hitting lyrics detailing Pete Abordi’s struggle after his father passed away. With the combination of outstanding guitar riffs and gut punching lyrics like “I wasn't there to watch you leave, I wish I could have been and it's killing me”, this is definitely one to see live and get involved in the chaos. Words: Josh Brown Still In Love - Preserve & Cherish Still In Love are building up towards their debut album Recovery Language in September, and what better way to do so than with a pummelling melodic hardcore track featuring Architects’s Sam Carter? The Londoners are already garnering a reputation for pulverising live shows, and the energy they’ve fostered there has been perfectly translated into the distorted, gritted-teeth atmosphere of their new single ‘Preserve & Cherish’. Biting guitars writhe in amongst grimaced vocals and precisely powerful drums, as the sub-three minute long track gasps from verse to breakdown and finally eases its grip upon your eardrums. Words: Jasmine Longhurst Zetra - The Angel Cries British force of the Gothic Zetra is at it again with their fresh single ‘The Angel Cries’, that came out with their latest EP Believe. The rock duo, consisting of Adam Saunderson and Jordan Page, brings in dark guitar riffs, precise drumming and loads of beautiful vocals, that only highlight the heaviness of the lyrics. Finished off with synths that go seamlessly with the rest of the instruments, the song offers a pleasant listening experience that is complemented gently by Saunderson’s emotional guitar solo. Words: Katerina Stepanikova Editor: Jasmine Longhurst Photos: Various Artists

The Brit and Mercury award-winning band Wolf Alice have returned with their fourth album The Clearing, the first release after signing with the major label Columbia. Written in North London and recorded in LA with producer Greg Kurstin, this album embodies a collection of songs full of emotion, wide-ranging vocals and dazzling instrumentals, clearly inspired by classic rock and pop from the ‘70s. ‘Bloom Baby Bloom’, the lead single, captures the essence of the album in terms of sound and draws the listener in with honest lyrics about personal evolution, brought to life by frontwoman Ellie Rowsell’s impressive vocals, which blend perfectly with the electrifying instrumental. Following the nostalgic vibe instilled by the opener ‘Thorns’, it feels like an energetic boost. The song is well-thought-out with every section brimming with emotion, from the guitar solo to the drums and lively piano; it’s an anthem for navigating the chaos of life while becoming the truest version of yourself in the process - “But I’ll bloom, baby, bloom / Watch me and you’ll see just what I’m worth”. One thing that can be expected from the listening experience of this album is a deeply cinematic atmosphere, with ‘Passenger Seat’ being one of the tracks contributing the most to this. Little details, like the sound of a car engine in the beginning and the static of the radio, paint a really clear road trip visual in the head of the listener, while the story unfolds through the lyrics, abetted by crunchy guitars. 'Play It Out' follows right after with its ballad-style piano, being one of the more tender and intimate tracks on the record. It finds Rowsell contemplating the future, touching on the spectre of motherhood, family and making peace with what might come through such lyrics as “When my body can no longer make a mother of me / Will I change my notion of time”, or the line “In sickness and good health / I promise to love and cherish myself”. The album closes with the other two singles. 'White Horses' brings drummer Joel Amey's vocals to the fore for a soul-baring moment when he reflects on his family's history and the desire to belong, accompanied by a spellbinding guitar riff. 'The Sofa' is somewhat soothing, feeling like the end of a movie where the main takeaway is that sometimes dreams don't come true and that is alright. In the words of Ellie Rowsell, "It's about not trying so hard to figure everything out, reflecting on getting older and trying not to agonize over things that have or haven't happened in your life". The bass line of the song is comforting, creating the perfect ambience to float along to and just exist for a while. Reflecting on themes such as the ageing process which comes with embracing change and the uncertainty of life, The Clearing is a timeless record. With soaring vocals, funky guitar riffs and melodic piano parts, Wolf Alice have managed to create a cinematic listen wrapped up in an album, taking the listener on an expansive auditory journey of pondering on life moments. The Clearing keeps the essence of the band alive, while also highlighting fresh ideas and an acquired sense of maturity. Score: 8/10 The Clearing was released on August 22nd 2025 via Columbia Records. Words: Iulia Furnica Photos: Wolf Alice

With Alienation, Three Days Grace deliver not just their eighth studio album, but also one of the most defining moments of their career. The return of Adam Gontier alongside Matt Walst injects fresh electricity into the band’s sound, making this record both a reunion and a reinvention. The record is a dark, emotionally charged exploration of addiction, regret, and the feeling of being cut off from the world. Yet for all its heaviness, it is also threaded with defiance and flashes of hope, proving that nearly three decades in, Three Days Grace remain masters of catharsis. The album kicks off with 'Dominate', a track designed to shake the walls of arenas. Anchored by the defiant mantra “a man who has nothing to prove and nothing to lose”, it channels the primal energy of a crowd in unison. Crushing riffs and a chant-like chorus build tension before a blistering guitar solo slices through the chaos. It is an explosive opening that sets the tone: this album refuses to hold back. However, if 'Dominate' is a declaration of strength, 'Apologies' is its vulnerable shadow. One of the album’s most confessional cuts, it confronts the scars of addiction and the regret of decisions made too young. The refrain “Apologies don’t rewind time” lands like a gut punch, carrying the weight of remorse that cannot be undone. With soaring vocals layered over heavy guitars, the track feels less like a plea for forgiveness and more like a moment of painful self-reckoning. 'Mayday' pushes forward with a bassline that recalls the band’s early years, its groove echoing the raw drive of 'One-X'. The interplay between Gontier and Walst gives the song a jagged edge, one voice pleading while the other shouts back like an inner dialogue. The chorus erupts into a melodic but urgent cry, while heavier breakdowns keep the energy sharp. It’s an anthem that balances nostalgia with new vitality, embodying the fight to stay afloat in turbulent waters. 'Stimulants Searching' makes the next appearance; this track dives into the restless cycle of chasing highs as a way of escaping emptiness. The pounding rhythm mimics a racing heartbeat, while the lyrics capture the desperation of a hollow pursuit that never satisfies. The chorus rings out like a warning siren, its repetition embodying both craving and collapse. 'Stimulants Searching' is alienation at its most physical - restless, relentless, and ultimately consuming. 'Kill Me Fast' opens with an eerie, haunting atmosphere that immediately unsettles. The verses whisper with tension, drawing the listener into a shadowed headspace, before bursting into choruses that hit with full force. The push-pull between quiet despair and explosive outbursts mirrors the inner conflict of alienation: the silence that suffocates and the violent need to break free. It’s one of the record’s most chilling tracks, and leaves a tingle down the listener's spine before the next track comes in to cleanse them. As the album’s midpoint, 'In the Waves' feels titanic in scope. Its immersive soundscape evokes the sensation of drowning, both literally and emotionally, while the refrain “you were always the hardest to save” cuts to the bone. In contrast to the explosive 'Kill Me Fast', this track submerges the listener in grief and longing, embodying the vast, suffocating weight of isolation. It’s a haunting reminder that alienation can come not only from within, but also from losing those closest to us. The title track crystallizes the album’s core. It begins with an unsettling melody on the keys before crashing into driving guitars. The mantra “we are all outsiders” transforms personal disconnection into a rallying cry, reframing alienation as something shared. Balancing haunting atmospherics with muscular rock intensity, the track stands as the record’s thematic centrepiece: a song that confronts disconnection, yet finds strength in unity. Here, the mood shifts, offering a rare moment of light in the dark of the LP. 'Never Ordinary' swells with layered vocals, carrying the uplifting line “in the darkest night you were meant to shine.” Where previous tracks dwell in despair, this one celebrates resilience and individuality. It’s an emotional high point that reframes alienation not as a curse but as the mark of standing out - a reminder that even in the darkest spaces, there is brilliance to be found. Raw and unflinching, 'Deathwish' plunges the listener back into the pull of self-destruction. Heavy riffs and anguished vocals drive the track, turning chaos inward. Where earlier songs externalize alienation through rage or longing, 'Deathwish' captures its most dangerous form: the spiral of self-sabotage. It’s visceral and unsettling, a necessary descent before the record begins its closing stretch. 'Don't Wanna Go Home Tonight' comes next, and this track leans into late-night loneliness. Its verses carry a fragile ache, while the chorus swells with yearning for connection that never quite arrives. It captures the hollow desperation of searching for comfort in fleeting moments, a reminder that alienation often lingers even in the company of others. Sharper and more aggressive, 'In Cold Blood' pulses with icy detachment. Its relentless rhythm and fractured guitars evoke emotional severance - alienation not as sorrow, but as numb disconnection. It’s one of the record’s most merciless moments, embodying the cold reality of shutting down rather than feeling at all. Here, the tone shifts again, reclaiming strength on the brink of collapse. In contrast, 'The Power' is gritty and resolute, with riffs that drive forward like a clenched fist. The lyrics rally against invisibility, refusing to be silenced or erased. It’s a defiant stance, a reminder that alienation can also fuel resilience. The closing track circles back to addiction, laying bare its endless cycle. Longer and more sprawling than the rest, 'Another Relapse; layers despair and resignation until it fades into uneasy quiet. It doesn’t offer neat resolution - instead it leaves listeners with the raw truth that some battles never truly end. Alienation is a journey through shadows - of addiction, grief, self-destruction, and disconnection - but it is also a testament to resilience. By pairing Gontier’s return with Walst’s ongoing presence, Three Days Grace fuse past and present into something both familiar and reinvigorated. The album doesn’t shy away from bleakness, but it threads that darkness with moments of defiance and light. Nearly thirty years on, the band proves they can still turn alienation into anthems - loud, raw, and unflinchingly human. Score: 8/10 Alienation was released on August 22nd 2025 via RCA Records. Words: Mia Gailey Photos: Three Days Grace

Hot Mulligan have always thrived in contradictions. They’re loud yet tender, sardonic yet devastatingly sincere, the kind of band who’ll name a track 'I Fell in Love With Princess Peach' while singing like their lives depend on it. Their fourth full-length, The Sound a Body Makes When It’s Still, sharpens those contradictions into something deeply affecting. It’s an album that dresses grief in absurdity, uses humour as armour, and turns chaos into catharsis. Where their earlier work leaned heavily into scrappy emo-pop-punk energy, this record feels like a band simultaneously growing up and refusing to stop clowning around. The titles are still ridiculous, but the emotions underneath them are sharper than ever. What results is a track list that’s equal parts reckless noise, heavy introspection, and an odd kind of comfort in the mess. The opener, 'Moving to Bed Bug Island', doesn’t explode out of the gate - rather, it simmers with unease, like the silence before an argument. It’s a slow-burn introduction that proves the band can do restraint without losing tension, foreshadowing the turbulence ahead. Any restraint vanishes with 'And A Big Load', where guitars screech, drums slam, and Tades belts like he’s coughing up frustration. Beneath the absurd title is exhaustion dressed as mania - the feeling of barely holding yourself together but still screaming through it. Perhaps the emotional centrepiece arrives with 'Monica Lewinskibidi'. The jokey name disarms you, then the lyrics gut you. Written in the wake of Tades’ grandmother’s passing while the band were touring Japan, grief bleeds through every shouted word. “It’s 5 am in Tokyo…” isn’t just a line - it’s a portrait of distance, guilt, and mourning on the road. Then comes 'Monster Burger and a $5 Dollar Beer', Hot Mulligan at their most gleefully reckless. A jagged riff keeps threatening to collapse under its own weight, but somehow stays afloat. Messy, loud, and tailor-made for sweaty basement shows, it has already earned praise from fans for its twinkly guitar lines. The collaboration on 'Island in the Sun' brings Cory Castro of Free Throw into the fold, and it doesn’t feel like a gimmick. His voice blends in seamlessly with the vocals from Tades and Chris, forming a three-way lyrical storm that turns desperation into harmony. It’s frantic, heartfelt, and one of the record’s biggest emotional payoffs. The momentum continues with 'Slumdog Scungillionaire', a shapeshifter that begins deceptively soft and almost tender before exploding into distortion and fury. It stitches three moods together in a way that shouldn’t work but somehow does, embodying the album’s unpredictability. A quick breather arrives with 'Shhh! Golf Time', more interlude than full song, but proof the band understand pacing. After the density of the first half, this cheeky moment keeps the record from drowning in intensity. Things sharpen again with 'Big Knife, Little Knife', where angular riffs and pointed pacing give the song its bite. The lyrics spiral between irritation and comedy, as if Tades can’t decide whether to laugh or scream - so he does both. 'Japanese Parking Lot' feels like it could slot onto almost any Hot Mulligan release, showcasing what they do best: mathy, jittery guitars underscoring desperate shouts and a chorus built for cathartic singalongs. Lyrically bleak but sonically euphoric, it’s the contradiction fans have come to love. The left-field moment comes with 'Death at the Dentist', a slower, heavier cut drenched in reverb. It feels suffocating in the best way, the sonic equivalent of a panic attack. Not an easy listen, but it widens the band’s palette and deepens the album’s arc. The title track, 'The Sound a Body Makes When It’s Still', closes things not with fireworks but with a bruise. Eerie, unsettling, and quietly devastating, it leaves the listener to sit with stillness, stasis, and the inevitability of endings. The lingering echo makes the record feel complete, refusing the catharsis of a big finale and instead offering something haunting. The Sound a Body Makes When It’s Still is Hot Mulligan at their sharpest and strangest. They’ve taken the chaotic energy that made them emo darlings and layered it with grief, reflection, and experimentation. The silly titles remain, but they’re camouflage for some of the rawest writing of the band’s career. What makes the record work is its balance: the manic highs, the gut-wrenching lows, and the humour in between. It doesn’t always feel polished - at times it’s jittery, messy, overwhelming - but that’s exactly what makes it powerful. It captures the contradictions of being alive: laughing at yourself one second, breaking down the next. Hot Mulligan certainly aren’t reinventing themselves here, but they’re refining the beautiful chaos they’ve always embodied. The result is an album that feels equally cathartic for the band and for anyone listening. It’s loud, it’s devastating, it’s ridiculous - and it just might be their best work yet. Score: 8/10 The Sound a Body Makes When It’s Still was released on August 22nd 2025 via Wax Bodega. Words: Mia Gailey Photos: Hot Mulligan

DE’WAYNE’s latest release, june, arrives as his most ambitious and fully realised project to date. Described by the artist as his “epic rock love album”, it blends equal parts swagger, style, and vulnerability with a sound that refuses to stay within one genre. Rock, funk, soul, and pop all appear across the record, but what stands out the most is the consistency: every song feels purposeful and packed with emotion. The album opens with ‘lady lady’, an introduction that wastes no time setting the tone. A sleazy, swaggering riff lays the foundations, quickly joined by a pulsing 80s-inspired synth bass and tight electronic drums. The first lyric, “now that you’re here”, is both an invitation and a statement of intent, making it feel like DE’WAYNE is speaking directly to you. The song struts with confidence, and by the time the outro fades into him humming the chorus of the next track, you’re already hooked. The “ready?” that bridges into the title track’s “one, two, three, four” intro is such a smooth touch, making the whole thing feel cinematic. ‘june’, the title track and centrepiece of the album, absolutely delivers on its placement. It’s bright, breezy, and effortlessly catchy, capturing the carefree energy of the summer months with a chorus that feels destined for singalongs. DE’WAYNE has described this track as the guiding light of the record, explaining that he “wanted to reframe vulnerability as a superpower, not a weakness”. That mission statement is fully realised here, with a track that radiates optimism while still remaining grounded in sincerity. ‘highway robbery’ keeps the energy going, and is easily one of the record’s most infectious songs. Snappy instrumentals and smooth vocals create a playful groove, built around the idea of being so enamoured with someone it feels criminal. The mix of funk slickness and pop catchiness highlights DE’WAYNE’s versatility, showing his ability to craft music that is both stylish and universal. The tone shifts with ‘sundays’, a heartfelt highlight that serves as the emotional core of june. Soaring vocals and lyrics such as “if it wasn’t for you, I don’t know who I’d be” strike immediately, and this weight deepens with DE’WAYNE’s explanation of its meaning. He explains that it’s meant to be an exploration of the complicated and often difficult relationship of a father and son, “where love and pain, admiration and resentment all live side by side”. That unfiltered honesty turns the track into the album’s most powerful and affecting moments. Later in the tracklist, ‘forever’, offers a lighter change of pace. Featuring I DON’T KNOW HOW BUT THEY FOUND ME, the collaboration leans into disco influences with an easy, party-ready energy. Rather than feeling like a detour, it blends naturally with the record’s wider palette, all while adding a playful sparkle. Closing out the album is ‘love raider’, a fitting finale that ties the record together beautifully. Revisiting the themes of love and infatuation that run throughout june, it packages them into a danceable, high-energy send-off. We get that cinematic feeling again, like the credits are rolling after the story has been told, and the track’s pulsing beat makes it easy to imagine as a euphoric live closer. The production across june is consistently impressive, achieving a sharp, colourful sound that is polished without being sterile. Guitars snarl, synths shimmer, and every element is placed with impeccable precision. Yet despite this intensity, the record retains an effortless, almost nonchalant flow that quickly becomes addicting. DE’WAYNE’s ability to cover a wide range of moods and genres while remaining cohesive is remarkable. Each song has its own identity, yet all of them connect to a larger vision; his voice, both literally and artistically, serves as the throughline, carrying immense amounts of personality, emotion, and conviction. june is bold, soulful, and not afraid to take risks, proving DE’WAYNE to be a fearless voice in modern rock and beyond. Score: 9/10 june was released on July 30th 2025 via Fearless Records. Words: Zuzanna Pazola Photos: DE'WAYNE

Core Festival returns this year with an offering of some of the best bands in alternative music, from Stoner Metal, to Melodic Hardcore, all the way through Post-Rock we have something for everyone at this esteemed Glaswegian festival. Below we have collated together our must see acts throughout the weekend for you to maximise your experience! Death Goals This Queercore two-piece from London are one of the finest heavy acts in the country, and show no signs of slowing down, with new EP Survival Is An Act Of Defiance to release August 29th featuring fellow Core Fest alumni The Hirs Collective this will be a set to remember for time to come The Hirs Collective Another Queercore heavy hitter here, another two-piece this time from across the pond. Their 2023 album We’re Still Here featured an array of esteemed artists from all across the alternative music landscape lending their talents to Hirs’ abrasive and harsh music. This is a guaranteed blow out of a set and should be attended en masse. Frontierer Frontierer are one of the most aptly named bands we can think of, standing on the frontier of extreme metal, Frontierer sound like mathcore from the turn of the next century. With members stretching from Edinburgh to St. Louis their live shows are frantic light shows, a cacophony of self proclaimed noise terror. Cave In In a special set celebrating 25 years of their incredible album Jupiter, an experimental standout at the time for the band it journeys into space rock, progressive sounds and amazing instrumentation. This headline set will be too special to miss for any long time fans and newcomers. Defeater Saturday’s headliner comes to us in the form of melodic hardcore legends. Defeater’s eclectic range of concept albums, melodies and emotively striking lyrics are a body of work that every fan of emotional music should pore through at least once. The story these albums lead you through is art in it’s hardest form and Defeater carry that solidity into their live performances. Torche Back in 2022, we weren’t sure we’d ever see Torche on the scene again. Following a decision from frontman Steven Brooks to leave the band, it was subsequently learned the band was planning on calling it quits altogether. After a landmark show in May supporting Cave In on their initial UK Jupiter show it seems we may have Torche back, at least for a little bit, and this stoner metal band with killer riffs and even better melodies is not a band you wanna be telling people you didn’t see! And So I Watched You From Afar What else can be said about ASIWYFA except they’re math rock giants. Hailing from Belfast their noisy, mathy, post-rock is some of the most danceable music of it’s kind. Bouncing riffs, mathy melodies, and beautiful tone all mixed up to manufacture music that makes memories appear in your conscious. We understand with this listing and the last we are giving you a clash from HELL! But both bands deserve their spot in the must-see menagerie that Core has to offer. Oversize Fresh on the heels of their debut album Vital Signs, Oversize bring Alt-Rock volatility through their fuzzy, distorted riffs and brutally honest lyricism. Oversize bring so much to the table in their debut, and in the EP that came before it and are a must-see for anyone who loves vulnerability, striking musicality and flannel shirts. Gout Moody, groovy and furious, Gout are everything that the future of heavy music is and will be. Sludgey riffs like slogging through a swamp, accompanied by furious vocals that pierce through the heart, start your Saturday out the right way with Gout. BLDSPRT EHHC. This is one for the moshers and the movers. BLDSPRT are heavy as sin and completely unrelenting. Alike Gout they only have a few songs out right now but what they do have is intrinsic violence, Trainspotting samples and vocals that will make your hairs stand to attention. Words: Spencer Cunningham

After 15 long years, Pendulum are back with a monster 16-track album, packed with features from a huge array of artists from all across the alternative scene. This long-awaited project is steeped in some of the best that alternative has to offer - but even with all the positives, Inertia has not come without its issues. Opener ‘Driver’ and first full track ‘Come Alive’ feel somewhat underwhelming - the kick in ‘Driver’ is definitely satisfying, but by no means is it mind-blowing, while ‘Come Alive’ has an 80's feel at its beginning, before turning into what someone would imagine Sleep Token sounded like if they had not listened to them - whether that is a compliment or not is up in the air and can be left up to the listener. 'Save the Cat' is first single to appear on Inertia - the first real taste of the rave/rock fusion that Pendulum is known for, and the first inkling of there being a wheat versus chaff issue across this monster of an album. Nevertheless, ‘Save the Cat’ is addictive in how smoothly it transitions between its parts, and repeat listens warm the ears up to the "Meow". This point of the album sees more of the vocal-based tracks come to the fore, and establishes the main critique with this project, that being the inconsistency across it. ‘Archangel’ never quite builds its tension or releases it in a way that’s satisfying, contrary to how the band might've played this track during their more formative years. ‘Nothing for Free’ suffers with a similar issue, as whilst it does have a drop that scratches a dubstep itch, that itch may not be shared by many. However, Inertia is at is best with its featuring artists, and the songs on which they join in are a joy. Wargasm come to play on 'Cannibal', where the dubstep is replaced with the currently dominant drum and bass, creating a distinctly energetic electro punk sound. Milkie’s vocals swap between sickly sweet and sinister, and complement the soundscape perfectly. Bullet For My Valentine take ‘Halo’, serving the screamed vocals from jump while combining their riffy metalcore with bloopy deep drums. The opening line of “Are you insane or are you f*cking deluded?” was delightful in its bluntness, and the synergy of their two sounds is what someone who’d never listened to Pendulum would imagine in their mind’s ear. Hybrid Minds’ ‘Louder than Words’ is the weakest of the collaborations, with it sounding more like a solo Hybrid Minds song than a collaborative track; while that might be a subjective evaluation, it would’ve been interesting to see what that duo would’ve done with the heavier side of Pendulum’s sound. Luckily, next up was the collaboration with Joey Valence & Bray for 'Napalm', which is one of the stand-out tracks of the project. The hectic, Beastie Boys-style sound of JVB melts perfectly into the deep chaos that makes Pendulum’s best songs work, and the dubstep sound that dates other songs on the project gives 'Napalm' a nostalgic tinge that works perfectly when mixed with the live drums at the tracks end, complete with dirty crashes to top it all off. The final two collaborations are the refreshing 'Guiding Lights' with AWOLNATION, which commits to being metalcore with and doesn't do too much more than just sound perfectly solid, before 'Mercy Killing' with Scarlxrd, which synergies the emo rock beginning with the rave middle and end nicely, and doesn't have anything bad to be said about it. This is not to say that the only good tracks on Inertia are those which had other people hopping on them though - ‘Silent Spinner’ is one of the strongest on the album, providing a burst of energy with its trumpets and flares on the crash symbol. The track itself is about Pendulum returning to the scene after their time away, and feels like the fresh start that the band were looking for, mixing scratchy live instruments with jumpy synth melodies to craft a moody synth rock song. As Inertia stands, the issue of not having separated the wheat from the chaff is very prominent, and here this means the difference between the collaborations and the singles is stark. The logic behind releasing the higher energy tracks pre-album and saving the slower paced entries for fans who want to see that range is sound, but it feels disingenuous when the singles have the high energy and synergy that have made Pendulum’s name, but when diving into their latest work it doesn’t have that same kick. The feeling is that after 10 years of crafting this project, some tracks have been hard to let go, or maybe some sounds not quite fully padded out yet. Inertia is, all in all, for the fans. The feeling from these collaborations is that they are all people who love and have loved Pendulum, and that the songs that come across as filler to more casual ears may be just the breadth of sound that someone who has been craving new Pendulum has been waiting for. If you're a newcomer to Pendulum, dive right in on the collaborative tracks to find something special, but for the old fans, there might just be a diamond in the rough for you within this LP. Score: 6/10 Inertia will be released on August 22nd 2025 via Mushroom Music. Words: Julia Brunton Photos: Pendulum

If really big really clever are scared of falling victim to the sophomore slump, they do well not to show it. Two years after their self-titled debut album, the Brighton four-piece are back to deliver ...huh, a more mature and developed set of tracks that seek to set them apart from the noise of the British alt-rock scene. It’s a scene that they have made themselves well acquainted with since the band’s inception in 2023. In between their own headline shows, they have found themselves supporting American emo stars Sweet Pill on their UK tour, as well as fellow Brighton-based band Gaffa Tape Sandy, quickly becoming known for their electric live performances. That energy is very much present throughout ...huh. There isn’t a minute that passes without a killer riff, or a drum fill that makes you wish you were in a hot room dancing with strangers. Lead single ‘floss is boss’ is the perfect example, pairing beefy power chords with a sing-along hook. ‘pitiful’ copies that recipe, whilst still managing to squeeze in a breakdown that would be enough to send a willing audience into overdrive. Whilst the more frantic offerings on ...huh glimmer with promise, the real gems can be found elsewhere on the album. ‘the middle’ is easily the star of the show, trading the band’s grungier sound for something a bit more streamlined and straight-forward. The riff promises to make a home in your brain, and once you start singing along to the chorus there’s no turning back. It’s cut-and-dried pop punk perfection. On the polar opposite side of the scale is ‘i was an idiot’, a weird little track that shimmers and bursts in under 90 seconds, packed full of grungy riffs and trippy guitar tones that will make you triple check that you haven’t been abducted by aliens. There’s no polish to be found here, and it’s glorious. Whilst this approach works on ‘i was an idiot’, the same cannot be said for every track. ‘dread’ is the most frustrating example of this. It’s almost perfect; the alternating spotlight on the guitar riff and the bass line in the first verse is magical, bouncing between the two like a tennis ball, however this disappears by the second verse. The vocals near the end of the track are the harshest we see on the album, and it offsets the grooves in the rest of the track masterfully. But this feels like a half-baked idea nestled at the end of a track, whilst the vocals for the rest of the track struggle to be heard in the mix. With a bit more polish, this could have been a standout on the album. The disappointment is short-lived, though. Album closer ‘back and forth’ showcases another side to the band; a five-minute wall of sound that switches pop-punk for a mixture of time signatures in a metallic, shoegaze-y haze. It’s heavy and hard, but it wouldn’t be a really big really clever track without melody after melody, and a stellar performance on the drums. It’s the type of track that underlines the band’s talent, and forces you to hit repeat on the whole album to make sure you didn’t imagine the whole thing. All in all, ...huh is living, breathing, flailing proof that rock and roll isn’t dead. It’s an amalgamation of influences from seemingly every corner of the broad and beautiful alternative music landscape, and it hits it out of the park many more times than it misses. It’s loud, and brash, and as pristine as it is messy. And a whole, giant heap of fun. Score: 8/10 ...huh will be released on August 22nd via Sugar-Free Records. Words: Ellen Lovell Photos: really big really clever

Feuerschwanz are back, and swooping in with their new album Knightclub. All the way from Germany, they are a medieval rock and folk metal band known for blending heavy guitar riffs with traditional folk instruments like bagpipes, hurdy-gurdy, and violins. Founded in 2004 in Erlangen, the group started with a humorous, satirical approach to medieval-inspired music, but over time have evolved into one of Germany’s most prominent folk metal acts. Kicking things off with the opening song, the title track ‘Knightclub’ - a song that first drew wide attention during the Eurovision preliminaries. Brimming with playful nods to medieval legends and film references, it’s a high-energy piece with infectious choruses that set the pace for what follows. Swiftly moving onto ‘Valhalla’ bringing a powerful guest appearance from the legendary Doro from the band Warlock, heavy on the Viking-inspired violin melodies. The interplay of vocals adds extra weight, resulting in a rhythm-driven anthem. Sticking to the true Feuerschwanz tradition, the band once again delivers a cracking pop culture cover, this time taking on the global phenomenon ‘Gangnam Style’ - Metzner’s trademark screams electrify the verses, as Hauptmann’s commanding growls anchor the choruses, making the track both unexpected and irresistible. We love their commitment to extended to mastering another language for the performance, a testament to their dedication. Charging through to channels the band’s signature medieval-rock essence, with thunderous drums at the forefront, vivid storytelling at its heart, and a searing guitar solo that ties the piece together. ’Testament’ delivers a textbook power metal punch, with thunderous double-kick drums laying down a relentless foundation that drives the song forward. The interplay between galloping rhythms and muscular chugging riffs creates a dynamic ebb and flow, ultimately culminating in a soaring, ascending guitar solo that feels like a triumphant finale. ‘The Tale of Sam’ unfolds like a narrated epic, channelling the feel of an audiobook as it recounts key moments from Tolkien’s legendarium. Without missing a beat, it transitions into ‘Sam the Brave’, a high-energy tribute that sweeps the listener into Middle-Earth itself. Driven by a fast tempo and layered with both traditional medieval instrumentation and razor-sharp metal riffage, it feels like a soundtrack to an adventure across rolling hills and battlefields. In contrast, ‘Drunken Dragon’ embraces light-hearted revelry, the kind of raucous drinking song for a festival crowd. Its catchy, upbeat rhythms practically beg for audience singalongs, making it one of the most interactive and playful moments on the album. Back to their original sound ‘Eisenfaust’ sounding familiar for long-time fans, yet slightly different to keep new ideas. ‘Avalon’ shifts into heavier territory, carried by darker, grittier instrumentation that evokes the feel of a battle hymn. ‘Tanz der Teufel’ follows with a folkloric twist; its lyrics steeped in myth and devilish imagery. The track embraces the playful tension between folk storytelling and metal’s darker edge, resulting in an intense, cinematic soundscape. The album closes with ‘Lords of Fyre’, a fiery collaboration with Lord Of The Lost, this was a great choice of bands to collaborate with, it’s a grand finale designed for crowd participation - an anthem you can’t help but sing along to. With Knightclub, Feuerschwanz once again prove why they stand at the forefront of modern folk metal. Blending their trademark mix of heavy riffs, medieval instrumentation, and playful storytelling, the album strikes a balance between humour, epic fantasy, and sheer musical power. An album that invites fans old and new to raise their voices and join the revelry. Score: 8/10 Knightclub will be released on August 22nd via Napalm Records. Words: Ciara Hicks-Evans Photos: Feuerschwanz

Hidden within the hills of the South Downs National Park, Boomtown returned for it’s annual five-day get-together – a festival that can only be described as an immersive world of music, art, and theatrical storytelling. Unlike the typical music event, Boomtown takes place in a diverse ‘city’, complete with streets, characters and a narrative that evolves as the weekend goes on. From the industrial chaos of Area 404, to the tranquillity of Thrutopia, each district and stage held a unique perspective to the festival that ensured every citizen of Boomtown could find something that they enjoyed. Across the five intense days of music, the festival was overflowing with a wide range of genres which catered to each taste. From punk legends like the Sex Pistols, to the iconic club hit king Sean Paul – Boomtown truly provided something for everyone. Gladde Paling To kick off the beginning of the weekend, many were lucky enough to catch the much-loved Dutch artist Gladde Paling at a very busy Spectrum 360. With the stage placed in the middle of the crowd, the high energy set perfectly captured the excitement of the festival’s opening day, and it didn’t take long before the audience were hooked. His genre-defying chaos had the crowd dancing and singing as techno beats were mixed with classics such as “Pretty Rave Girl” and even some Nickelback anthems. It was a most definitely a set that raised the bar for the entire weekend – and one that might be impossible to top. Friday Opening Ceremony To mark the official beginning of the festival, Boomtown held an opening ceremony to introduce the citizens to the weekend and speak about the importance of the festival beliefs and what it all means. Symbolic dancers and performers graced the stage as coloured smoke lit the air. Audience members stood in awe as a speech was displayed on screen, promoting unity and togetherness – and the importance of these at Boomtown itself. Joining the dancers for their own unique sections were vocalists Eva Lazarus, Namesbliss and Grove, each bringing their personal talent to deliver a surprisingly emotional show to the Grand Central stage. The ceremony closed with a display of fireworks and confetti cannons – preparing the audience for the weekend to come. Joey Valence & Brae Providing a wave of old-school skater energy to the Grand Central Stage, Joey Valence & Brae delivered one of the most energetic sets of the entire weekend. With mosh pits forming in every direction, the two-piece made their presence known as they jumped around the stage, conducting the crowd. It was clear to see the duo loved their performance just as much as the audience did, and the chaos only got more and more intense as the set went on. “PUNK TACTICS” was the highlight of their show, with not one body remaining still. Souls of Mischief As the sun started to cool down on Friday afternoon, the Grand Central stage filled up with those awaiting the hip-hop legends that are Souls of Mischief. Largely inspired by A Tribe Called Quest, the four-piece perfectly balanced the chill energy alongside getting the audience moving. Their set blended a mix of fresh tracks with older classics, but it was noticeable that most were there to celebrate the iconic 1993 album 93 ‘til Infinity. During their set, the band conducted a ‘colour war’, handing out bags of vibrant dye to throw into the air – leaving those who saw their set marked for the rest of the day and creating a fun interactive experience which stood out as one of the weekend’s most unique moments. Lady Leshurr As a childhood favourite for many, Lady Leshurr packed out the Nexus stage with an overwhelming crowd – full of those excited to hear any version of the iconic “Queen’s Speech” series. Known for her freestyling talent, Lady Leshurr began her set by rapping over a number of well-known classics such as “The Fresh Prince Of Bel-Air”, warming up the people for what was about to come. Just as the set was seemingly coming to an end, she surprised everyone by announcing she would perform all ten “Queen’s Speech” tracks live for the very first time, as a preview for her upcoming tour later this year. The energy arose almost instantly as the crowd sang along word-for-word, leaving a wave of nostalgia. It was clear she left a huge legacy on this generation, proving she was a great addition to the Boomtown lineup. Kurupt FM Taking over the Grand Central Stage and closing the Friday night main performances, Kurupt FM performed their widely adored hits and had the crowd enjoying it from the first beat. Known for their humorous tunes and iconic grime style, the place was packed shoulder-to-shoulder – which was no surprise, seeing the reception they received for “Your Mum Loves Garage” and “Heart Monitor Riddem”. The group knew how to get the audience going with their feel-good energy that left the people wanting more. Saturday The Wurzels Bringing their unforgettable blend of humour and timeless tunes, The Wurzels performed to a busy crowd at the Engine House. Known for their classics like “Combine Harvester” and “I’m a Cider Drinker”, the five-piece created a fun atmosphere, turning the performance into a sing-along that had festival-goers laughing and dancing alongside each other. The band delivered a refreshing show that wasn’t quite what was expected when thinking of Boomtown, but nevertheless a very memorable experience. Fat Dog At the Grand Central stage, Fat Dog dove headfirst into their set with “Vigilante”, building the atmosphere from ground up as the crowd waited to go wild. Their blend of electronic rhythms and grainy vocals drew in a bigger crowd than expected, delivering an overwhelming amount of energy that had the audience moving. Frontman Joe Love knew exactly how to co-ordinate such a large number of people, and at one point throwing himself into the crowd. They’re not one to miss! Nova Twins Next to hit the stage were the genre-bending duo Nova Twins, consisting of childhood friends Amy Love and Georgia South. They powered through a hour-long set on the Grand Central stage, providing a high energy performance to a crowd of chaos. Ending their set with “Monsters”, the duo brought the energy into the crowd – guitars in hand – dancing and connecting with the fans beside them. This two-piece consistently prove why they are a essential addition to any line-up, and Boomtown’s vibrant atmosphere was the perfect stage for their intensity. Sex Pistols Making their grand debut at Boomtown, the Sex Pistols lit up the Grand Central stage on Saturday – uniting all of the rock-lovers of the festival together in one place. Whilst now fronted by Frank Carter, the raw punk energy still remains electrifying and the stage presence immense. Iconic anthems like “Anarchy in the UK” and “God Save The Queen” sparked mosh pits and movement throughout the crowd, which only became rowdier when Frank entered and joined them himself – fuelling the atmosphere even further. Carsick Later into the night in Fogger’s Mill, the upcoming band took to the stage to what begin a small audience, but the bands wild energy, catchy tunes and vibe only ever drew in a bigger crowd, with some devout fans bringing the mosh pits. These boys certainly showed they’re here to have fun, playing all of the hits and making sure they gave it their all, with the bassist even jumping in to mosh with the crowd for the last song, closing off Saturday in Fogger’s Mill with a bang. Sunday Sean Paul At the peak of the Sunday heat, a huge crowd gathered at the Grand Central stage in anticipation of the dancehall legend that is Sean Paul. From the moment he appeared on stage, the atmosphere instantly lit up. Joined on stage by a DJ and two dynamic dancers, the king of club anthems powered through all of his best hits back-to-back, with tracks such as “Get Busy” and “She Doesn’t Mind” sparking an instant party. Sean’s stage presence was impressive and left everybody smiling as he commanded festival-goers to wave their arms as well as handheld fans into the air. Halfway through the set, Sean was joined on stage by up-and-coming jungle artist Brodie to perform their newest song “Darlin’” and despite her recent broken ankle, the energy was at it’s highest. Closing with an extended rendition of “Temperature”, Sean left the audience eager for more – undoubtedly one of the weekend’s standout moments. Boney M Another memorable moment from the weekend was the timeless disco magic of Boney M. The group brought their infectious groove to the Matterly Bowl as the sun shone at it’s brightest, captivating the crowd with their globally-known songs like “Daddy Cool” and “Rivers of Babylon”. It can only be described as an honour getting to witness the original member Maizie Williams performing on the Grand Central stage. The band closed their set with an unforgettable performance of “Rasputin”, as the audience gave their best shot at attempting the iconic dance routine – leaving wholesome vibes all round for the last day. Dimension For the final set at the main stage of Boomtown, Lion’s Den, Dimension took to the stage, accompanied by flames and possibly the best lights show of the whole weekend, this DJ utilised every inch of the humongous stage. Many could sense Dimension’s effort to play a proper finale set, mixing a lot of ethereal motifs to the DnB that would make every punter ascend to the heavens, he took everyone on a journey for those final ten minutes of the closing ceremony. Closing Ceremony As Dimension finished up and said good night to Boomtown, the stage erupted with sound and lights as the Collector, a prominent character in the Boomtown storyline, revealed he had been deepfaked and was in hiding, leading to a speech that promoted waking up, seeing the truth and fighting for what’s right, exercising the idea that only us as people can control the people, the music arose into a brilliant cacophony as the words of The Collector rung through the head of every punter there; the stage ignited all its fireworks, flames and brought the music to an epic conclusion. Words: Rianna Ram Photos: Ben Blissett