Detroit Run are sprinting into the alt rock scene, brandishing their shiny new Defiance Part 1 EP. This EP is bursting at the seams with fresh energy and all the passion that the scene has to offer - and since the band only formed in 2022, they are absolutely brimming with desire to show themselves and their music off! The British quartet have named their biggest inspiration to be Bring Me The Horizon, and that fact is abundantly clear across the five tracks, so we’d heavily suggest that any of their fans give Detroit Run a try. The EP kicks off strongly with the track ‘Invincible’, which was released by the band earlier this year to introduce their fans to the sound of this new release. The song kicks off with dark, repetitive synths and an addictive vocal line, showcasing the talent found within lead singer Tom Haywood’s voice - a soft, yet still powerful, vocal line, with shredding guitars and slamming drums supporting him wonderfully. His vocals are especially reminiscent of the likes of Noah Sebastian of Bad Omens on this track, yet he also manages to blend the kind of vocals you'd hear on a pop track with the murkiness of alt rock, putting a unique spin on it via electronics and synths. ‘Sleepwalker’ was the first track on this EP to see release, having come out all the way back in 2023! This number introduces a more impressive production than the last track, with punk influenced riffs and beats sounding huge here. Crowds singing every word with their full chest can easily be seen in one's mind, with relatable lyrics sung at an easy register to shout along to. This is most definitely a track meant for dancing along to, and even has a bulky breakdown in the latter sections. The next song ‘Tightrope’ is jam packed with synths and electronic additions that really help it to stand out in the crowd, and it also features what is possibly the best breakdown on the EP. The last chorus is equally worth noting, with added bombastic drumming that really drives home the rage of the track. This is undoubtedly the stand out song on Defiance Part 1, with its catchy nature and enormous sound. ‘Prototype’ revives that deeper, darker energy heard in the beginning of the release, found most notably within the use of electronic vocals to accent the breakdown sections. A booming bass that rings through your body, paired with Tom's raspier vocals, make a very interesting track. The ups and downs flow effortlessly, hitting every beat that you feel it should whilst still being unpredictable, adding a new feature at each intersection. The last track on the EP, ‘Chained Heart’, is completely new and brings an almost seductive energy to the table. Tom uses the top range of his vocals during the chorus as he leads the guitars shredding around him, incorporating a supremely addictive melody that you'll find yourself humming for hours after listening. This song perfectly wraps together every element of the EP and closes it out in style, leaving the listener wanting to press repeat. This EP is a great package of the latest that alt rock has to offer, and any fans of Bring Me The Horizon, Bad Omens and Linkin Park should be flocking its way. It's a great picture of the state of modern rock, with elements from all kinds of genres floating around in the mix. Detroit Run have an incredible 2025 lined up for them with festivals and shows in the waiting, so make sure to head to their socials or website to not miss out. We can't wait to see the waves that they'll continue to make in the alt rock scene! Score: 9/10 Defiance Part 1 was released on May 30th 2025. Words: Amy Smyth Photos: Detroit Run

Fans of prog metal pioneers Vildhjarta, meaning “Wildheart” in Swedish, are likely thrilled to receive their fifth offering from the band, + där skogen sjunger under evighetens granar +, on May 30th, 2025 - their first full-length release in four years since Masstaden Under Vatten, a continuation of the 2011 classic Masstaden. Clocking in at approximately 56 minutes and 52 seconds, där skogen... is most certainly be a dynamic and immersive listening experience. Formed in 2005 in Hudiksvall, Sweden, the band comprises of vocalist Vilhelm Bladin, Calle Thomér on guitar and Buster Odeholm on drums. The bands name was inspired by the name of an adventure module for the Swedish tabletop roleplaying game called Drakar Och Demoner, similar to Dungeons and Dragons, and they're known to have lore deeply entrenched within their music. Sonically, they invoke a Meshuggah-inspired, djent style in the form of down-tuned guitars, minor chord progressions and layers of reverb on their guitars, along with atmospheric sounds to further enhance their sonic power. Opening the album is '+ byta ut alla stjärnor på himlen mot plustecken +', a 3:45-minute instrumental that lays the groundwork for the intense palette of the album. With its layered, eerie harmonies and shifting time signatures similar to that of Tool, it sets the tone for the chaos and beauty to come further within the album. The second track, '+ två vackra svanar +', immediately hits with Vilhelm Bladin’s unmistakable vocals, supported by thundering drum work and chugging guitar rhythms - a clear standout and likely a new fan favourite for live shows due to the pure energy. '+ där mossan möter havet +' and '+ Kristallfågel +' are pure adrenaline, with crushing riffs and unpredictable tempo shifts that make them perfect for moshes and walls of death. These tracks showcase Vildhjarta's ability to balance brutality with ethereal textures in a way few other bands can, cementing them as a legendary force within the prog metal scene. '+ ? regnet, the ? +' is the only track so far to be accompanied by a full music video. Shot in an intimate, almost ‘behind the scenes’ style, the visuals capture the band's raw essence of their energy during live performances, showcasing their passion for what they do. Production-wise, this album is a masterclass. Every layer adds an element of flavour, with moments of crushing heaviness, ambient clarity, and experimental exploration, reminiscent of previous releases. Ahead of release day, the band held an exclusive album release party on May 24th, 2025, at the Mammut Bar in Stockholm, Sweden. Fans in attendance described + där skogen sjunger under evighetens granar + as the band's best album to date, which no doubt will have left their fans across the rest of the world excited to hear what’s to come. With this LP, Vildhjarta continue to push the boundaries of progressive metal, delivering a record that is both punishing and profound. All eyes are now on what comes next - and whether we can expect a full-scale tour to bring this monstrous album to stages around the world, so we've got our fingers crossed. Score: 9/10 + där skogen sjunger under evighetens granar + will be released on May 30th 2025 via Century Media. Words: Sage James Photos: Vildhjarta

An unrelenting Thursday night in Manchester at Star and Garter was taken over by FREAKSHOW Mcr: an underground event run proudly “for freaks, by freaks.” All proceeds went to the Music Venue Trust, a charity that has worked with such bands as IDLES, Enter Shikari and even Nova Twins has been influential in keeping grassroots venues alive and kicking across the UK. However, this specific night provided a stacked lineup of alternative, emo and grungy up-and-comers who each delivered a compelling case for being the future of the scene. The night’s headliners SKITZ may have closed the night, but their presence could be felt from the start. Hailing from Nottingham, the four-piece are rapidly earning notoriety for their genre defying sound. A raw, low-end heavy punk rock band and no guitar in sight, these bass brutalists like to carve out a sound that is both guttural and screeching. SKITZ have fully weaponised sonic duality to craft sets that are equal parts assault and art. Their recent single ‘Damage is Done’ conveys that their music remains a seething outlet for anger. Whether political, social or personal, their live shows are where that fury really turns not only visible, but visceral. Before SKITZ took the reins, FREAKSHOW warmed the crowd up with a brutal build-up of bands, each worthy of headlining in their own right. First to the stage were Rat Bird, an emo four-piece who don’t take themselves too seriously, at least not until the music kicks in. They entered with the unlikely pulse of ‘Boogie Wonderland’, an almost tongue-in-cheek introduction to the auditorial chaos that followed. Puchy percussion contrasted by jagged and violent riffs pushed walls of distortion throughout the venue like a shockwave. Their lyricism? Bleak and bloodletting whilst still radiating pure kinetic soul cleansing energy. By the second track, they had successfully lured the audience closer and closer to the stage. Boots stopping in time, heads swinging violently, and by the time they had closed with a final, fully winded scream, one that would make even Frank Carter wince, the room was completely theirs. Rat Bird Sonum followed, a Cheshire based grunge trio who formed the band right before the pandemic, but sound like they’ve been grinding it out since the 90s. Their opener ‘Lockdown’ snapped the venue right back to attention with a simple “Hello” before unleashing a true avalanche of noise. The set ran hot and tight where oscillating octaves, blown out solos and breakdowns which twisted like storm drains. Tracks like ‘Home’ and ‘White Lies’ hit the hardest with choruses that dug their nails in and refused to let up for anyone. Their finale, ‘Heroin’, sent the entire room into a frenzy. Blast beats, warped guitar licks and breathless screams all collided and formed a delicious kind of chaos. Sonum don’t just play loud, they sound as if they’re tearing the songs right out of their instruments for unforgettable face-melting perfection. For a three-piece, they command an absurd amount of unmatched energy. Sonum Next came Under The Influence, straight out of Wakefield, they are the answer to true alt-emo. Introducing themselves with a dry “Please come in, we have stuff to tell you,” then exploding into a set of soul-tearing drums, gut-punching vocals and guitars that came to light as outright sonic warfare. Their sound inspiration could only be described as if the bands Pizzatramp and Nosebleed had a child for the sole purpose of carrying on their legacy. At one point, the band even had the crowd sit on the floor, a sudden switch to intimacy that only made the following eruption more jarring. ‘Sesh-head’ was their set closing track that began with a snappy “FOUR, THREE, TWO, ONE” and a pit-launching scream that had bodies jumping up off the ground, only to reach the ceiling with the band’s supplied raw energy. It was a full set of drama, pace and undoubtable soul snatching personality that makes you search them up before you’ve even left the venue. Under The Influence Even by the time SKITZ took the stage, the crowd had already been soaked in sweat and sound. Without a guitar in sight, their twin bass setup was awesomely built up and filled every frequency range. One full of gain and danger, the other, subterranean and booming for the unique, thunderous soundscape that they’re known for. Their genre-defiant hardcore punk carved a new blueprint for what should be expected at these events, and having just released their new single, ‘Damage is Done’ they had no choice but to bring the same level of power that their fans have come to expect from them. Nearing the end of their set, the former wizards had one of their basses’ G string snap, which suites the chaos but this seriously couldn’t stop the goliaths of hardcore as they tore through the finish line with their pure dark punk devotion. Skitz SKITZ closed the night with a high-octane crescendo that left a room of wreckage, wide eyes and, of course, ringing ears. This gig manifested itself as a call to arms for alt-heads and hardcore freaks alike, supplying original and electrifying sounds that fans of the genre described as “The booming underground.” Words: James Smith Phots: Samira Dominika Tafija

5 days of alternative music is a pretty hard task to get right for a festival, there's a reason most festivals will only have 3 days of music, as otherwise they may run out of acts to platform. Yet Bearded Theory is 5 days of some of the best live music you will ever see. Ujamm The first band to play the festival is Ujamm, delivering a set of laid back reggae which really sums up what this Wednesday is all about, relaxation. They worked perfectly to lay the foundations of positive energy that remained across the weekend and worked perfectly for the slightly older festival-going crowd. Headsticks The band played two sets across the weekend, but they played their first on the Wednesday. The Bearded Theory crowd seem to have a lot of love for the band, with the amount of their t shirts seen throughout the weekend matching some of the more famous typical shirts. This set showed exactly why people love the band, they combine folk and punk in a refreshing way, they don’t sound like your typical folk punk band at all instead they focus on their more standard punk affair and will have some more acoustic material to blend in with it. Their relatively short set was full of passionate fans supporting them and people discovering them for the first time. They knew what the festival was about and played perfectly for the crowd. Deadletter The final act of the warmup day was Deadletter. Their sound is in the vain of many of the southern post-punk bands of the last few years, complete with saxophone. As a live act, they clearly know how to perform and feature elements traditional to the scene, the main one being a deeply intense frontman complete with that specific style of indie coat and sunglasses. The crowd gave them a positive reception, as many of the music fans at the festival love discovering new and modern music. They helped end the first day of music and set the tone of discovery for the rest of the festival. The Meffs The Meffs are a punk duo who seem to be popping up at gigs and festivals all the time now. Their stage presence for a two-piece is always impressive, with that very traditional punk energy shining through. They become a unit of force when playing live and for a punk band they have a lot of musicality best shown through their cover of ‘Breathe’. They perfectly fit into the Bearded Theory lineup, showcasing the diversity of acts in genre and age. They will definitely be playing even more large stages in the near future. Fat Dog Fat Dog are a very danceable, high energy slightly electronic dance punk collective who are truly infectious as a live act. From the moment they hit the stage, they gave out nothing but charm. Their songs live hit with the full force they deserve. However, unfortunately, during their set, there was a full show stop due to a medical emergency within the crowd. This left the band having to take a break during their set. When they returned to the stage, however and started playing, the energy built in the crowd returned at full force. Fat Dog are a tight cohesive live unit creating infectious danceable music that comes into its own live, and they truly can’t be stopped . English Teacher Tonight’s headline is English Teacher a band hard to full classify. On the stage, they become one with each other; they are absolute professionals almost to a fault. Their music is slightly angular at times and very pastoral at others, but always remains forward thinking. They aren’t a danceable act like Fat Dog, but they are definitely a festival band as they play a blistering set showcasing everything they achieved so early into their career. The band at such an early stage know who they are and have found their sound. They have become one of the most talked-about new bands in the scene because they sound so confident. GirlBand! Kicking off the mainstage is the trio Girlband! They bring their own brand of rock to the stage, which the crowd warmly enjoys. Being somewhat local to the festival, as they hail from Nottingham, they seem to enjoy the crowd and know how to work them. The band are high energy and doesn’t leave a moment to rest. The band don’t come on stage with a setlist as they know each other well enough to see where they will take the show. One of the surprises of the set was the inclusion of a T-Rex cover, which they absolutely smashed by putting their own energy into the song and making it feel like their own. All 3 members of the band take their time to focus on their instruments whilst still playing together as one. Dream State Bearded Theory isn’t the kind of festival you would expect to see a wall of death. Moshing, yes, but a wall of death just seems so far from what the festival is. Yet Dream State get the crowd going crazy through their charm. The band are definitely in the vein of Linkin Park, the combination of emotion and metal helping craft powerful anthems you can scream along to. For one of the few metal bands on the lineup, they don’t come across as out of place as some may have worried. The Bearded Theory crowd is full of fans of all music, so having some metal on the lineup creates a lovely change of pace. Dream State bring their all to the stage, and the crowd matches it by participating in some of the first large pits of the week. More festivals need to give metal bands a platform, as they often work really well giving the crowd something different. Ezra Furman Ezra Furman brings her own brand of 70s glam rock adjacent power pop-ish music to the mainstage. She puts her all into her performances, at times, it sounds like she’s destroying her vocal cords for the sake of the performance. The crowd is massive for her slot a lot of people seem to be passionate about seeing her. She has the energy of many of those glam performers of the 70s, with that combination of style and attitude that helps to make a great performance. The audience watches in almost silence and gives every song the appreciation it deserves. Neds Atomic Dustbin Neds Atomic Dustbin may be one of the only bands that has two bassists but having two bassists makes them incredible live. Being one of the greebo bands that dominated alternative music before grunge took over, they have a legacy and an army of fans at the festival. As with most punk bands, the pit is a big, beautiful mess of people just wanting to let go and dance. With anthems such as Grey Cell Green and Kill Your Television sending the crowd into a frenzy, the band are celebrating everything they are. They are danceable, they are rocky, they are just bloody good fun. Even when the lead singer falls over mid song he keeps going because the band are there to play and bring the good times. Their songs still sound as fresh as when they came out, and having two bassists isn’t a gimmick, it's just who the band are. Yard Act One of the bands that many people brought up about seeing at the festival was Yard Act. Their fans are deeply passionate about them and will share how great they are with anyone they run into. Their fans are correct Yard Act are an excellent band. They know when to be aggressive, they know when to have danceable moments, they know what works for them. They are all one as a band, they put nothing but pure joy into the crowd. The pit is full of everyone from all sides of music, punks, indie kids, metal heads and even radio 6 dads, they are for everyone. Live, they make the audience become one with each other. They sound incredible for a festival slot, everything goes smoothly for them. They are professional but know how to make everything seem relaxed and almost loose. One of the best new bands of the last few years. Paul Heaton with special guest Rianne Downey Paul Heaton has written so many classic songs that it’s somewhat unbelievable. His set is full of songs you would be shocked came from the mind of this legendary singer. Every aspect of his career is on show in this collection of greatest hits. His Housemartins songs helped created a lot of the 80s indie pop sound so legendary now, like when Happy Hour was played live. His songs, written with The Beautiful South like Perfect 10 and Song For Whoever are anthems for the audience. It’s a set full of sing-alongs. Rianne Downey really helps with making these songs keep their freshness as the play between her and Paul’s voice is something special and on her solo moments, her voice is soulful and warm with an infectious charisma bringing life to the music. Paul Heaton is professionally northen and that northen charm runs through his set, from the simple things like having a cuppa on the stage to cracking dad jokes between songs, he’s somewhat of an unlikely popstar but he is such a natural. The Sisters Of Mercy The Sisters of Mercy on albums have such a guttural feel, the intensity you get from Temple of Love hits like no other song with it’s dark and aggressive, almost industrial bassy sound yet at Bearded Theory, the mix just lacks that punch, almost neutering the set. It's such a shame as the band’s set is full of so many classics that anyone who wears eyeliner will know and love, but the mix really holds them back. The band spend the set masked in darkness, which matches the songs, but combined with the weak mix, it just seems like they are hiding something. Perhaps the weak mix is due to the lack of a live bassist now, as one of the major issues was the music lacking bass, or maybe it’s just due to festival sound being hard to truly master. They could sound so perfect live and have the same effect as they have in the studio if they just got the mix right. The Lovely Eggs The Lovely Eggs are one of the coolest couples within music. Bringing their mix of psychedelic-tinged punk to the festival, they showcase everything that makes them cool. For a two piece they sound large with the occasional synth lines being played over a backing track, but other than that, the show is just them. There are some sing along moments from their passionate fans who turn out in full force, complete with the bands own branded scarfs, and they seem to be obsessed with every moment the band are on stage. They are a refreshing take on punk and speak deeply from the heart, they don’t focus on aggression, they focus on passion. Gaye Bykers On Acid Another one of the greebo bands of the festival, Gaye Bykers On Acid give a blistering set of their own take on alternative music. Their sound is punk and slightly electronic, featuring heavy usage of samples. They are just simply fun, live with a long running army of passionate fans who follow them wherever they play. The pit isn’t full of moshing, but people are just throwing down some groovy moves to let loose. The band sound larger than they are on this stage and carves their own place into alternative music history, even if that isn’t the largest place. A set full of classics and newer songs from the band, with everyone sounding consistently good. The highlight is the band’s best-known song Everything’s Groovy, which sends the crowd into a frenzy of energy. The band are just the perfect band for a festival focusing on fun over everything else. Nova Twins The rain reached its peak for the whole festival during the Nova Twins Set, but the band brought their trademark energy they always do. The Nova Twins know who they are, they are when it comes to their image and sound, a refreshing take on alternative fashion and their own blend of alternative rock with elements of nu metal. The band have been making waves for a while now because they come across as so confident. With a lot of alternative bands sounding the same, it’s nice to have someone sound so different and authentically them. The rain didn’t affect their energy on stage or how the crowd reacted, which is testament to such a strong act. The Mary Wallopers Irish music seems to be having a new found success, especially political Irish music The Mary Wallopers celebrate the rich legacy of political Irish music by bringing it to a new generation. They play a variety of traditional songs covering all matter of topics, including why the rich are bad and pro-immigration songs which, despite being hundreds of years old, seem all the more relevant now. The band are so passionate about their heritage and beliefs that it comes across as more punk than some other bands who actually play punk music. They aren’t ashamed of who they are, and they celebrate everything about themselves. Their set is full of quiet moments where just one of the band takes lead and even then, they still have that powerful effect. The band are a celebration of Ireland and treat the music with the respect they deserve. Iggy Pop Iggy Pop is a living legend, the touchstone for rock and roll extremity and performance. He is known as the Godfather of punk yet he is so much more than that. He is known for his past live shows of pure unbridled adrenaline and stage craft, at age 78 he still delivers one of the greatest lives shows within music. Taking his shirt off in the first song so he can be shirtless and throwing microphone stands around the stage just simply doesn’t happen anymore. He plays every song with the energy that they had when recorded. Early in the set, he plays his two most famous solo tracks back to back, The Passenger and Lust For Life which come across as pure anthems for alternative people everywhere. Playing these two classics so early in the set and back to back is a brave choice, but the crowd goes absolutely wild for him. Every song he and his incredible backing band play has the trademark aggression and energy he is known for. The mix is loud and comes across as an intense wall of sound covering the audience in the world of Iggy Pop. The set is full of Stooges classics too with another 2 tracks played together, I Wanna Be Your Dog and Search And Destroy sending the pit into a whirlwind. Many of the Stooges songs formed the basis for punk, and they can still stand alongside them. The music hasn’t aged despite some ofit being over 50 years old instead, it feels like it’s refined and Iggy has crafted over many years how to present these songs. Theres limited talking between songs as he has so many classics to play in an hour and a half, but he delivers a career defining set and a celebration of his legacy. Iggy Pop is a living music god Iggy Pop is rock and roll distilled into one 78-year-old man. Slay Duggee Have you ever thought that if only there was a metal band aimed at children dressed as dogs singing covers of TV show themes, well, know there is with Slay Duggee. One of the most unique things you will ever see at a festival is kids in a circle pit while a band dressed as dogs sing I Am A Shape from Mr Maker, its nostalgic on one level and on another just really funny. Slay Dugee know what they are doing, they create the perfect environment so kids with their parents can have their first mosh and enjoy music together, sometimes metal shows aren’t the best place for kids, but Slay Dugee make sure it can be. The band are funny, constantly giving shoutouts to Radio 6 dads and cracking jokes between songs aimed at parents. The kids in the audience seem to love it, and the parents have smiles on their faces. They are the perfect band for a family festival as they give you metal, and they will entertain children. They are great fun live. Raised By Owls Slay Dugee is family-friendly metal, whereas Raised By Owls certainly is not. Opening your show with Mr Blobby duel wielding dildos is one of the most impressive ways you can start a show and sets the tone of comedic metal chaos that the band deliver. Raised By Owls are a celebration of metal culture full of in jokes that metal heads will love and just enough general comedy that a non-crowd like Bearded Theory will leave the set with their sides hurting from laughter. They are the perfect festival band as they know how to entertain, what other band would have an interactive game show in the middle of their set, giving away silly t shirts. Musically, the band are somewhere between black and death metal, which makes them even more out of place at the festival, but it doesn’t matter, the crowd loves them just for how funny they are. Many of the audience end up in the wall of death meant to decide if its pronounced scone or scone. Its one of the highlights of the weekend seeing peoples reactions to the band and everyone coming away with a smile on their face. Raised By Owls are comedic gold and bring the riffs that everyone loves. The Selecter The Selecter are a legendary ska band; they are living history, and they bring their trademark brand of ska to an appreciative audience at Bearded Theory. Front woman Pauline Black is a natural, she knows how to tell stories between songs, give out political messages between songs and bring the energy when she sings. The band have a large catalogue of hits that have that infectious ska energy that makes you want to simply dance. Hits like 3 Minute Hero are celebrated by the band and crowd with many chances to sing and dance. They fit into the festival perfectly as everyone can enjoy them as they come across them so well. The band are nothing but professional and deliver a legacy defining set. The Selecter are ska legends. Public Service Broadcasting One of the acts many people said are a must see at the festival is Public Service Broadcasting. The band are built around samples from many historical events and uses them to help inform and entertain audiences. Live, they sound near studio perfect, every member of the band shines on their instruments. One of the most unique parts is having one member on stage dedicated to making visuals, often using a camera to intersperse the band with historical videos, creating some truly intriguing scenes. The band say very little on stage, but they communicate everything they need to through their music. Highlights of the set include when they bring a brass section onto stage, which adds a new dynamic which helps the set stay fresh, then bringing on some people dressed as astronauts helps with the story they are telling on stage. They are like no other band around, unique in their sound and approach. Public Service Broadcasting are confident and at the height of their powers a visual and musical treat. Manic Street Preachers The final headliner of the festival, Manic Street Preachers, is armed with a back catalogue of anthems. The set is the perfect way to end the weekend as it’s full of showmanship, anthems and some legendary guitar playing. When the band play Motorcycle Emptiness, the first thing that hits the audience is the sheer amount of guitar wizardry keeping the music as relevant as ever. The band pace their classics perfectly to make sure they arrive at just the right time to pick up the energy. The band are full of charm and come together as one while still keeping their own charm. Bassist Nicky Wire brings his own showmanship when performing an acoustic number alone and takes some confetti out of his pockets to add a little pizazz to the song. The band know how to perform to large crowds while still giving intimate moments with acoustic songs and letting each member take charge over the crowd for a time. Ending the set with the ever-relevant anthem If You Tolerate This Your Children Will Be Next sees the audience hugging each other and singing along to the crescendo of the final moments with confetti and fireworks, the band showing how much they truly mean to people and remaining truly legendary. The band closes this festival that celebrates music by giving a truly joyous set that showcases everything they have been, can be and will be. Bearded Theory is a truly lovely festival full of lovely people and lovely bands. The site is perfect for a festival of this size and complements the acts wonderfully. Each band brings such energy to the festival that the audience reflects. The festival platforms bands that won’t fit everywhere, but will fit the festival even the more leftfield choices still work in the context of the festival. The festival has everything from legends to bands just starting out, from ska to metal, everyone leaves the site feeling happy. Words: Will Freeman Photos: Lizzie Jones

Hardcore has come a long way in the last nine years, and we’ve seen the monumental rise of the genre, going from strength to strength in underground venues to monstrous no-barrier sets at Coachella. Charli XCX made it known to the heavy music girlies that 2025 will be a Turnstile summer, and even in the UK, the community descends in its droves to Manchester for Outbreak Festival. In the blink of an eye, how we perceive a genre rooted in community, with its raw brutality of sound and unwavering authenticity, is blindsided by commercial success. Whilst it can be argued -and it is, amongst its divided community- that the hardcore has lost its way, there are spaces of spine-crushing brutality and a wild love of the genre in its purest form. For Desolated and ‘Finding Peace’, their first album in nine years, their space remains unchanged and with a relentless love of the mosh. Billed as a longtime member of the UK hardcore royal family MLVLTD, they’ve been instrumental in developing Sheffield’s iconic heavy sound. These days, Desolated has gained its prestige in becoming a supergroup of sorts in the time between now and 2016’s ‘The End’, featuring Les Law from Fifty Calibre and Bun Dem Out and Malevolence’s own Charlie Thorpe. Tony Evans from Idle Hands has joined the band as a new addition to the lineup for this record, and with Richy Unsworth and Dan Ford, they’ve got the credentials to make a truly damaging LP. Make it known, ‘Finding Peace’ is not reinventing the wheel when it comes to hardcore, but it is an excuse to make a record with intense impact. It doesn’t mess around. Its beauty lies with short, sledgehammer-sounding tracks that ooze with energy. Every beat has purpose, and every one of Tony Evan’s menacing scowls hits the spot. The record bleeds with caveman riffs in the most effortless way possible. Putting pure power and aggression behind this album, it warrants its outcome to become relentless and cruel. An international celebration of the slam, the record also features guest spots from self-acclaimed ‘Bangkok evilcore’ tyrants Whispers and Michigan’s own D Bloc, with London’s Ninebar representing the UK. The record’s special sauce is Will Putney, who has mixed and mastered the record with the same tenacity that he did with Knocked Loose, Stray From The Path and Counterparts. The record is a love letter to hardcore, echoing the mysterious charm of the old school New York scene, which also revisits the band's roots of Biohazard, Life of Agony and Shattered Realm, whilst still adding a fresh perspective to the scene. The beatdowns are still beguiling, especially on tracks like ‘Endless Betrayal’ and ‘Glass Ceiling’, as a demonstration of mastering their craft with full tenacity and conviction. The record packs a monumental punch when it comes to ‘Lessons’, offering gang chants to soothe the pain inflicted by the slow crushing weight of the guitars. In a live context, performing tracks like ‘Victim 2.0’ will result in ruthless carnage. The only deviation from creating a monumental hardcore record comes with their closer, ‘Dead End 2025’. Becoming intoxicated with the extreme and making it known that the band can also do both fast and heavy, it scatters blastbeats like heavy machine artillery. There is untapped potential if Desolated ever decide to do a deathcore record, as the tone shifts suddenly to make the heaviest closer in hardcore possible. We’re glad that Desolated are back- it's been a while, and we’ve missed the band’s brutality. The nine-year payoff has been worth the wait, as an opportunity to perfect their craft, make a truly awesome record and come back to UKHC swinging. If it all goes to plan, we will see you back here in 2034 for Desolated’s next record. Rating 8/10 Words: Amber Brooks

It feels like yesterday since The Used started touring and released their now staple albums in the emo culture, yet the band is officially celebrating their twenty-five-year anniversary and decided to play their hit-albums The Used, In Love and Death and Lies For The Liars at special shows across the world. One night, one album, millions of memories from their now elder emo fans, who all showed up at the concert excited for their favourite band’s accomplishments. At their sold-out show at The Dome, London, The Used were supported by the amazing Lacey and Winona Fighter. Lacey had a rough start to their set, as the venue was only half-full and many fans were not really engaging during the performance, resulting into the band’s lead singer Graham Turner encouraging the crowd multiple times to sing and dance around. Nonetheless, the Nottingham-based band put on an impressive performance with catchy lyrics, energetic riffs and precise drumming. Although having to encourage the crowd a lot, in the end, they received their well-deserved applause, indicating that the fans enjoyed their opening performance. Right after the first opener, it was time for the full-force Winona Fighter to make the audience move around and get them ready for the headliner, and they managed to do their task without a single issue. The band played their sold-out headliner show the day before the concert and still managed to put on a flawless performance tonight. From the first second, their set was extremely energetic and contagious, forcing the fans naturally to enjoy it, however the vocalist Coco Kinnon kept hyping up the crowd throughout their set, which paid off when the band played their cover of “Song 2” from Blur, and suggesting moshpits, which finally happened right before the last song. Both the fans and the band enjoyed their swift set full of screaming and shouting, and they were definitely a perfect pick for the second supporting act. After making the crowd even more excited for the main act, it was finally time for The Used to come out and play their acclaimed album Lies For The Liars in full. From the first note, the atmosphere in The Dome changed and was very emotional, both with joy and sadness, as many fans listened to the band in their teen years and reminisced about the time. Playing the album in the original order, the band’s set was one of the shorter ones, yet there were some memorable moments in between such as Bert McCracken’s emotional speeches about their past and inviting few fans on the stage to sing one of their hits “Paralyzed” with them. The crowd was not deprived of fun, as there were crowdsurfers present the whole evening, and at some point balloons flying left and right above the head of the audience, who was more than happy to send them over to someone else. Finish off the set emotionally with song “Smother Me”, which is one of their slower songs, the band showed appreciation for every single person present in the venue, who supported them on their twenty-five-years long journey. The whole night was a celebration of a successful band, who rightfully deserves the recognition, and is one of the pillars of the emo culture, who is more than appreciative of it. Choosing Lacey and Winona Fighter as the support acts for this special night was a perfect opportunity to introduce and showcase the new generation of the genre’s prominent performers to the audience and The Used did not disappoint with their picks. Here’s to other twenty-five-years and more! Words: Katerina Stepanikova Photos: Ben Blisset

The sun is out. Greenland Place is rammed with people quaffing band-themed lagers, the vendors are out in full force, band shirts line the walls outside the Black Heart, vegan burgers and kegs are ferried back and forth, and there’s a familiar smell in the air. The music is slow. The beers are amber. The T-shirts are black. Yep, you bet your ass it’s DESERTFEST time. For the uninitiated, Desertfest is the home of Stoner/Doom/Psych metal. Formerly of Great Britain, but now the world thanks to the advent of Desertfest New York and Desertfest Berlin. Set in the heart of Camden Town in London, multiple venues, both large and small, cater to bands under the ‘doom’ banner. That generally means slow riffs, pounding drums, agonisingly long spaces between notes, and general heaviness. But recently, the fest is stretching at the seams, letting in bands that don’t quite fit the mould. Last year, both Cancer Bats and Suicidal Tendencies headlined, leading to an influx of hardcore punkers and the launching of a thousand takes: Is doom stagnating? What is a Desertfest band, anyway? Is ‘Volume 4’ better than ‘Master of Reality’? The doomers have a lot on their mind. But Out Of Rage is here to find out the truth. We’re on a mission from god. Here are some of the highlights from some of what the weekend had to offer. SEABASTARD They came from the south coast and straight into your bowels, SEABASTARD open the festival like a wild haymaker. The walls flake off, and scaffolding outside threatens to give under the sheer trepidation of these riffs. Complimented with a harsh vocal attack from Ian 'Monty' Montgomery (who is absolutely rocking a dreadlocked skullet), The Underworld is blessed with real meat-and-potatoes doom metal without any frills. The performance is festooned by melodic guitar stylings from shirtless wonder Oliver ‘Irongiant’ who leans over and roars at the crowd, grabbing at him hungrily. It’s a glorious romp, and a hell of a way to start off the weekend. LOWRIDER Heading to the Electric Ballroom, Swedish stoner rockers LOWRIDER gallop away upon the hallowed stage. Their story is intrinsically tied to the festival, breaking up in 2003, having a short reunion at Desertfest 2013, until finally reforming in 2017, and now has a full-blown second life. Launching into their song, “Fuck you and the horse you rode in on” you can tell they’re a different breed from the rest. Peder Bergstrand’s vocals soar in equal parts gravel and grandeur, capturing the ever-present dichotomy that’s present within this festival, you’ve gotta’ love it. STONED JESUS A lot has happened since Ukrainians STONED JESUS first came to Britain; the war still rages on, and the group is as defiant as ever. They thoroughly rocked the ballroom with technical jams performed with pinpoint precision. You can hear their eclectic influences throughout, leaping from genre to genre like a coked-up monkey through trees. There’s a touching political message at the centre of it all, with frontman Igor Sydorenko stating their donations will go directly to civilians with “no organisation involved.” The room erupts in applause and soon he dives headfirst into the crowd like the lead in a grunge band, stretching his arms out like, well, a stoned Jesus. They tear through an unbelievably energetic set, and the Ballroom burns electric. Righteous. Stoned Jesus - Credit: Jessy Lotti ELDER Entering to a Yes song, Elder graces the ballroom to perform their 2015 masterpiece ‘Lore’ in its entirety. They’re on a European tour and have come by train, leaving most of their equipment back in Belgium. But even so, they tear the house down. It is an inspiring watch; three guys jamming out to their heart's content, each one laser-focused on getting the most out of their instrument. It’s proggy-spacey-cosmic metal mastery. Reminding us why prog and doom aren’t mutually exclusive, just two heads of the same dragon. Elder have once again shown that they are the formidable force in the stoner rock world, as they leave the crowd hypnotised once more. Elder - Credit: Jessy Lotti CONAN Between the time when the oceans drank Atlantis, there was a band undreamed of. And unto this, CONAN, destined to wield the crown of doom upon a troubled brow. These guys do not mess around, having just released an album, changed their long-time bassist, and switched metal labels, it’s still the same old Conan. Through the ‘Caveman battle doom’ riffs, Fire & Ice and Excalibur clips play behind while the pit erupts into full-blown neolithic violence. The tone is overcoming and the riffs might have actually triggered a mild earthquake in Chalk Farm, but the Desertfest crowd knows what is best in life: to crush your enemies, see them driven before you, and that… last part. AMENRA Cinematic, awe-inspiring, clean-as-a-whistle. These could describe the best glass of water you’ve ever had, but they also perfectly describe when Flemish post-metallers AMENRA came to the Roundhouse. The sound quality is crisper than permafrost, and the lighting is dim and moody. The gothic backdrop portrays images of desolate churches and hooded figures. The so-called “free thinkers” in the crowd are so enthralled by the riffs that they all begin to headbang in unison. There’s a moment where frontman Colin H. van Eeckhout emerges from the smoke to reveal his gigantic St. Peter’s cross back-tattoo exactly like Ralph Fiennes in ‘Red Dragon.’ They may not be doom, but they sure know how to let a note resonate in your chest. Pleasant surprise of the weekend? No contest. Amenra- Credit Jessy Lotti ZEAL & ARDOR The cinematic awe only continues from there as ZEAL & ARDOR take the stage. There’s a hell of a lot of them on stage, but they all work together to create wonderful bluesy-death metal par excellence. Musically, they’re near-perfect: scorching guitar blasts tangled with work songs that sound like poor Ritchie Havens got possessed by Lucifer. But then you turn around and wonder, “Where the heck is everybody?” A Saturday headliner with space to sit down? It begs the question: “Is this a Desertfest band?” The band themselves mention it, saying booking them was a “wild decision.” Desertfest is pushing the envelope again, and yet again has gone without the success that they anticipated. Regardless, they are a superb band with the energy to match and a brilliant end to a Roundhouse-heavy Saturday, even if the purists were elsewhere. Zeal & Ardor - Credit: Jessy Lotti OLDBLOOD Security’s got the doors barred shut like it’s the last chopper out of Saigon, but Out Of Rage gets in. Just don’t ask how. Inside, it’s packed. Taller-than-average homo sapiens form a sweaty wall of denim and B.O. that obscures the band completely. You may not see North Londoners OLDBLOOD, but you feel them. They are hosting their own Sunday mass, complete with riffs that sound like they crawled up from the depths of the earth. Brendan Coles screeches and bellows over darkly methodical instrumentals, waking anybody that may have been in a stupor from revelry the night before. If they continue on like this, the future is bright. BOBBIE DAZZLE And now for something completely different. It’s the band that melted the stone hearts of even the most serious doomer, BOBBIE DAZZLE. The Brummie glam band busts out a set of 70s goodness that is altogether novel and familiar. The tunes are catchy, with a few battle-jacket clad pit-warriors unable to resist busting out a move. Bobbie herself, Siân Greenway, plays a flute like Jethro in her snake-skin catsuit. She makes a comment that it’s weird to be at Desertfest, “as it’s glam rock.” But honestly, as much as people at this festival worship them, this is the most Sabbath thing all weekend. People forget Sabbath wasn’t just doom; they were blues, glam, proto-punk, and whatever the hell ‘FX’ is. Bobbie Dazzle isn’t out of place, she’s a sparkling reminder of where all this started. Though this will all be on her periphery soon, mark my words: she’s going to be selling out arenas. Bobbie Dazzle - Credit: Jessy Lotti DIVIDE & DISSOLVE Divide and Dissolve is Takiaya Reed’s band. Using guitar, saxophone, and live effects, the goal is to create music to destroy white supremacy. “Takiaya is Black and Cherokee and is seeking to pay respect to her ancestors.” They are also, without a doubt, the heaviest band at the festival by a country mile. Her loop pedal is a weapon of spiritual warfare. Anything that wasn’t screwed down in the ballroom begins to shake violently, even down the busy high street the tourists peer in with looks of terror. Harrowing, awe-inspiring, and filled with the sorrow of generations, doom metal may never be the same. Divide and Dissolve - Credit: Jessy Lotti CASTLE RAT It is difficult to describe just how incredible American fantasy doomers CASTLE RAT were on Sunday night. They’ve got everything. And they have it in truckloads. The look is down to perfection, frontwoman Riley Pinkerton is utterly arresting in her full garb, flanked by a blood-guzzling vampire, a jacked witch doctor, and a crazed druid. There is a narrative that runs throughout the show, and every few songs, the story progresses. At one point, Riley transforms into a vampire (don’t ask), spits out a mouthful of fresh blood, and rides the crest of a righteous riff straight into madness. The audience lose their collective shit. With their already large following growing every day, Doom hasn’t felt so alive, so weird, and so damn fun in actual years. If Castle Rat doesn’t headline in two years, something is broken in the world. Castle Rat - Credit: Jessy Lotti EARTH Washington legends EARTH were one of the bands that closed out the festival. The legends surrounding this band precede their expectations, people marvelling at the fact that Dylan Carlson was the one who gave Kurt Cobain his fateful shotgun, and other such folklores. The reality is a tenured band with some fantastic drone that had the entire ballroom under a spell. The Judge from Blood Meridian himself could have walked out, and nobody would have batted an eyelid. Their cowboy-centric set conjured images of filibusters in the west and Cormac McCarthey-esque vistas of mesas rising out of the desert. Performing mostly from ‘Hex: Or Printing In The Infernal Method,’ ends with a solid “yee-haw.” Earth - Credit Jessy Lotti So that’s it. Desertfest 2025 sadly comes to an end once again. And as the Orange amps go silent once more, and the vendors pack up their wares, these truths we hold to be self-evident: this scene is far from stagnant, it’s evolving, mutating, feeding on wider influences and coming back sharper. Doom is a living thing. This year alone, we’ve had vampire stage blood, flute solos in snakeskin, post-metal sermons, and saxophone-driven anti-colonial dirges. Desertfest doesn’t need saving. It’s doing just fine. If the doom scene feels too stagnant to you, there are many places you can look and see evidence to the contrary. The scene’s blood is still hot, still boiling, ever waiting for the next sound to arise. This isn’t the end. It’s the ball rolling ever onward towards the horizon, and where it’ll end up, nobody knows. See you in the pit next year. Words: Kiarash Golshani Photos: Jessy Lotti

Once in a while, there’s a band that comes along that just seems to get everything right. It’s quite extraordinary to see, and it doesn’t happen often. Sometimes, just sometimes, the combination of aesthetics, sound, and lyrical content are done with such hermetic care and enthusiasm that the results are, as scientists say, self-evident. Meet Cwfen, the latest edition of this phenomenon. Hailing from Glasgow, these Scots bring some more of that branded septentrional reverbing that’s so prevalent up north in the form of “doomgaze,” a genre that already has a few adherents. Cwfen are Mary Thomas Baker on bass, Rös Ranquinn on drums, Guy de Nuit on lead guitar, and Agnes Alder on vocals and rhythm guitar. Theirs is a story of quick success. What started as a darkwave project turned into a fully realised outfit over the course of two years. On stage, their presence is electrifying; with Agnes’ chillingly raw vocals soaring over Guy’s doom/post-punk-y riffage. Agnes is usually in dramatic stage attire, blackening her eyes and wearing all manner of stage getups all in the name of enhancing their larger-than-life aura. It is altogether arresting and charming, leading to a sharp uptick in interest both within the local scene and across vast reaches of the internet. It’s still early days for Cwfen, and who knows, you may be seeing this article in the far future looking back to see how things were prior to the release of your favourite band’s first album, so to make it easier: as of right now, it certainly seems that this group is headed for great things. Their first LP is entitled Sorrows - an apt name, as this album is like an elegy (or a coronach). There are many sorrows that encompass this album: social justice, struggles with identity, self-determination, and the anger that results from wanton injustice. It is a dreamy reflection of the ills of modern society as seen through the eyes of Cwfen. It makes for a dark listen. The first track is one of the three ‘Fragments’, experimental tracks that run through the album and act as segues that utilise hypnotic sounds, backmasking, and other such Beatles-esque ‘White Album-isms’. It then bursts through with the first full track, ‘Bodies’. Drummer Rös Ranquinn enters in with a crash before sallying out on a 16th note groove that lends the song its slow but deliberate pace. Agnes calls to some terrifying feminine god in the black ether, “howling into the void”. The single cover for this track is similarly striking, portraying a woman with her guts splayed open in a distinctly yonic look. While the track is predominantly Agnes’ more subdued soft singing style, it ends with her harsh vocals as raw as blue steak. More distorted ambience leads into the distinctive riff of ‘Wolfsbane’. Sounding like the crossroads between New Order and Slayer, Guy’s tone is self-described as “when you plug a cold instrument into a warm amp”, which stands as a suitably apt description, given the bitter chill and warm resonance his strings provide simultaneously. ‘Wolfsbane’ is a more animated song than its predecessor; the imagery is violent and provocative - “the men have had a thousand years to make us quiet wives”. It’s the bitterest of revenge songs; seven minutes of ice-cold riffage describing a group of were-witches tearing their abusers into shreds and drinking their blood. What’s not to like? This group must really love backmasking, because the lead-up to the next track ‘Reliks’ is once again in reverse. The riff for this one is more subdued, as are the vocals for the most part. Though Agnes’ vocals still cut through, the chorus features some powerful delivery (“I don’t wanna die like this!”) underpinned by the low riff marching on alongside the drumline. Once again it crescendos out with soft and harsh singing in glorious dis-harmony as the musicians kick it up a notch, whereby Agnes then performs a spectacular rallying call before they let the feedback screech them out. ‘Whispers’ begins with a slow, reverb-ed up drum intro, sort of like ‘When The Levee Breaks’ on a ketamine binge. The riff is magnificent in its post-punk finery, as Mary Baker’s bass also yields some serious gravitas for the song through its pounding echo. As for the vocals, well, they’re subdued again, to be expected for a song called ‘Whispers.’ Agnes is in her natural low register here; it’s a sultry style of singing that, alongside the riff, renders this number as thick as tar. There are obvious Type O Negative comparisons that could be made here, but this song sounds far more like something from Lana Del Ray’s ‘Born To Die’ if she swapped out Gatsby for Lovecraft. As well as that outro, the blackened screaming complimenting the softer vocals sets this one perfectly. After another ‘Fragment,’ there’s that slow-burner that exposed so many people to this band; ‘Penance’. A tom heavy beat and that diabolical riff make this one swing low like one damn sweet chariot. It is fiendishly heavy. Agnes’ screams, ripe with righteous indignation, render this one the most intense cut on the record. It’s cathartic, in a way. That final “assemble the penance” sends shivers down the spine. Chilling stuff. One last ‘Fragment’ of the stormy highland variety leads into ‘Embers.’ The riff here is Big Country on morphine, placed upon a sorrowful chorus with a pleading Agnes asking, “do you want to start another fire?” The passion is palpable throughout, both beautiful and haunting in its ethereal elegance, whilst the bounding main riff juxtaposes the beauty with ruggedness, a love that can never be in a society that will never allow it. Laced with longing and fury in equal measure, the song has a biting emotional core that stays with you. Then comes the final song, ‘Rite’, a number on self-determination and the ability to choose the right to die. The overlaying textures result in a chorus toward the end where a crescendo for the song, or the entire album, slowly rises until it reaches a breaking point. And once it abruptly ends, you’re left aching for more. Cwfen’s Sorrows is far more than just an impressive debut; every track serves the broader emotional and thematic architecture of the album: the fragmentation of self, the ritual of mourning, the endless struggle for power and personhood. These are not incidental themes; they’re woven into the songwriting, the pacing, and even the thematic choices deliberately. What makes Sorrows really stand out is its temperance. Cwfen are unafraid of wading into doom metal territory when the need arises, they don’t rely on genre tropes as crutches but instead elect to use them as they see fit, shaping doom, shoegaze, goth, and post-punk into something coherent and uniquely theirs. They never seem to venture too far into one territory, instead managing a delicate balance that keeps the listening experience fresh. The band’s chemistry is palpable across every track, and their interplay feels rehearsed - not in the mechanical sense, but rather in the way of artists confiding in one another and the world they’re building. The album is heavy. Sonically, emotionally, thematically, but never inert. It moves. It builds. Each song is a departure from the other and all feel independently realised. And it ends not with resolution, but with fissure. That final gasp of ‘Rite’ leaves you hanging in a sacred silence. In the ever-bloated digital necropolis of releases, Sorrows feels alive. It's not trying to be everything to everyone. It’s specific and intentional in its vulnerability. There’s an unspoken confidence here, for a debut it carries the assurance of a band that already understands their voice, not as a gimmick, not as a PR marketing strategy. It feels more like the product of people who’ve spent much time figuring out their identities and experimenting with them, pushing against genre expectations, and then ultimately finding something that resonates deeply - something unafraid to be itself. Music for music’s sake. Cwfen have made something that demands attention, and suggests longevity in the years to come. If, given time, the band can expand upon the sounds established in this debut release for their sophomore album, then you can expect to witness how far this genre can go. Watch this space. Score: 9/10 Sorrows will be released on May 30th 2025 via New Heavy Sounds. Words: Kiarash Golshani Photos: Marilena Vlachopoulou

More than a decade since it was last heard, Les Maîtres Fous - the once-forgotten live piece from French post-metal collective Year of No Light - finally sees a proper release via Pelagic Records. Originally commissioned for Paris’s Musée du Quai Branly in 2012, this haunting and visceral two song performance was conceived as a response to Jean Rouch’s controversial 1950s docufiction of the same name. Captured during its final airing in Bordeaux in 2015, Les Maîtres Fous stands as a stark, unsettling artefact of the band’s most emotionally demanding work to date - a slow-burning, ritualistic descent into hypnotic noise, tension, and release. As the band nears its 25th year, this archival unearthing is less a nostalgic nod than a brutal reminder: Year of No Light still dares to tread where few others will. 'Track One' opens like a memory coming back to life - with the soft crackle of static, like a needle hitting a vinyl record. It’s subtle but instantly sets a mood, pulling you into Year of No Light’s world of shadow and sound. From there, the guitars creep in, slow and ominous, joined by eerie string arrangements that feel almost otherworldly. There’s a sense of something building - a ritual unfolding or a battle scene viewed in slow motion. About halfway through, something unexpected happens: a brief burst of vocals pierces the haze. It’s raw, haunting, and deeply unsettling - like a voice calling from beyond. It’s the kind of moment that makes you stop and listen more closely. The track swells and crashes with all the weight the band is known for - layered guitars, dual drumming, and sheer intensity - before slipping back into the quiet it came from. 'Track Two' feels like the comedown. If the first track is the storm, this is the strange, echo-filled silence that follows. The focus shifts to the strings - soft and ghostlike - letting the track breathe and mourn. It’s slower, more reflective - almost peaceful, but never quite at ease. A tension simmers just below the surface. Then, out of nowhere, the guitars explode back in. It’s not chaotic; it’s controlled and deliberate. The drums hit harder, the vocals return - this time more pained, more urgent. You can feel the weight of everything that came before. As the energy fades, the track winds down to the same static that began the album. A single, trembling string note lingers in the air like smoke. Les Maîtres Fous isn’t your typical live album. Originally performed just twice and recorded in 2015, it plays more like a sonic document - a deeply felt response to Rouch’s provocative film and the ritual practices it portrays. Year of No Light have always thrived on pushing boundaries, blending sludge metal with shoegaze, black metal, and ambient textures. But this release feels different. It’s deeply emotional, sometimes overwhelming, and clearly personal. Nearly 25 years into their career, Les Maîtres Fous proves the band remains unafraid to explore the difficult, the dissonant, and the deeply human. Score: 7/10 Les Maîtres Fous was released on May 23rd 2025 via Pelagic Records. Words: Mia Gailey Photos: Year of No Light

Turnstile, as a band, are many things. They are probably the largest hardcore band in the world, certainly top two with Knocked Loose. They are the writers of what might be the best record of the 2020s in the spectacular GLOW ON. They even inspired your favourite online heavy music publication's name with their song 'Out Of Rage', off of their 2015 album Nonstop Feeling. All of these things add up to the fact that they are, inarguably, one of the most essential bands in the modern era of music. The fact they're coming back to the UK to headline Outbreak's Friday in London, their first ever full-size southern event, is frankly just a cherry on the top of the fact that they're also releasing a new album at the same time, so there's hardly a better band in the world for us to discuss the discography of - and with that, here are their top ten songs according to one of our managing directors. 10) Never Enough Wow, it's good and all, but tenth already? Sure, plenty of you may be thinking something like that, but think again about just how addicting the track is and how regularly you've likely had it on since release day - can you say for certain that it DOESN'T belong in the top ten? The rise of shoegaze's influence permeating heavy music has caused a paradigm shift across all genres within, and hardcore is no exception. This has been seen within Turnstile's music before, notably on GLOW ON, but it's even more pronounced here, until the gear change that kicks everything off and causes an instant hit of dopamine. This will be a glorious moment at Outbreak this year, and if you disagree then just wait and see. 9) Death Grip A sadly much-ignored area of the band's discography, the early EP's are still a treasure trove of goodies for the discerning hardcore fan. Featuring more overt hardcore sounds than a lot of their later releases, Death Grip (not to be confused with the band with the rather similar name) is a pure banger. Taking all the energy of Turnstile old and new, but running it through a little bit more of an aggressive tone, you get the crowd-obliterating tune that is Death Grip. Custom-built for the stage, there is no world in which this song doesn't cause spontaneous eruptions of movement at any performance - we can only hope it's brought out for Outbreak this summer. 8) Mystery Opening up the best and biggest hardcore record of the decade is no mean feat, but when it's this good, it just feels natural, like it was meant to be there. Creating a powerful duopoly of both energy and explosiveness, and also expectation for the rest of the album, is damned difficult, yet it's handled with grace on Mystery. The slight shoegaze influence of modern Turnstile started here, and we'll be eternally grateful for that, as well as for kickstarting the 2021 GLOW ON extravaganza. 7) Time + Space Hardcore loves a sample to open a track, and the finale and title track on Time + Space has one that fits better than most. Utilising some almost relaxed "Ooo-oooh" chants along with the barely contained guttural energy across the song is a masterclass in musical juxtaposition, to alternately soothe and enrage the listener in one last-ditch attempt to mess up a room totally and utterly (spoilers - it'll work). 6) Blue By You What a strange song this is. Somehow both a high-energy hardcore adjacent track about a soul sucking relationship and also a pop rock track for the sad boys, Blue By You appeals to a broader set of music tastes in less than a minute and a half than most albums. Doing such a genuine track about a topic so outside the typical hardcore sphere isn't a simple move, but Turnstile pulled it off with aplomb on what is still one of their catchiest songs, period. 5) Step To Rhythm The titular finale to the band's first LP, Step To Rhythm has a nasty riff that repeats throughout, which is a very large part of why it's on this list. Not to be called just a riff track, though, this song is immensely singable and has just enough tempo changes to satisfy pretty much every member of the pit. An early cut to be sure, but one that displays incredibly clearly the potential and ability, Turnstile already had at this point of their career. 4) Holiday Any song that's good enough for a Taco Bell advert is good enough for us - but aside from its brief stint as the sound of questionable Mexican takeaway, HOLIDAY is a hardcore track with a groove that runs as deep as possible. Two-steppers worldwide have enjoyed this track from the moment it came out, and will continue to do so for many years. The refrain of "So I'll never feel the cold" is an instant sing-along, and combines so effortlessly with the devilishly delicious riff that runs below it. 3) Real Thing Don't tell me that the opening to Real Thing doesn't get you fired up, you know you'll be lying to both yourself and me. Those drums keep everything cruising along, whilst the yelled "Can't keep it all together, waiting for the real thing" just hits harder and harder every time it comes on. As the opener for Turnstile's 2018 album, it rips you headfirst into the gloriously high-energy world of theirs and doesn't dare let you go until they've suitably spun you about the place and left you absolutely unable to think of anything aside from finding that very important real thing. 2) Keep It Moving Coming out of the gates surprisingly slowly, Keep It Moving doesn't sound like it's going to do quite that until the drums take everything up a notch. After that, we're in prime hardcore rager territory, and even this early in the band's evolution, we can hear hints of the shoegazey path they are now firmly treading. With a rare Turnstile guitar solo making an appearance on this cut from Step to Rhythm, that then cuts to a gnarly breakdown that's sure to evoke grimaces all about the room, there is genuinely not much more this track could have in it. 1) Blackout I defy you to find a single hardcore song that has the same blisteringly anthemic quality as BLACKOUT. From the undeniably groovy cowbell rhythms, the surprisingly deft bassline and the fuzzy five note lick mid-chorus, it's a demonstration of all the very best bits of Turnstile, and the possibilities within hardcore to expand an untold amount, and still encompass the quintissential rage, energy, and visceral feeling that no other genre can quite touch. There aren't many bands who have a discography that bursts at the seams like this one, but even amongst the enormous selection of brilliance, this song still rises to the top - both on record and in the flesh- as the one that just can't be beaten. Catch Turnstile at Outbreak Festival this summer! More information can be found on the Outbreak Festival website. Words: Jake Longhurst

Breakout punk trio Winona Fighter have finally made their way across the pond after the release of their debut album ‘My Apologies to the Chef’ in February of this year. Their sold out show at The Black Heart is their first ever London show and being a headline show it truly was special. Winona Fighter started their music journey in Nashville in 2022 with the release of their first EP ‘Father Figure’ capturing the ears of punk listeners around the world. The ‘Yes Chef’ Tour has been in high demand with extra shows being added left and right, it's no wonder their name is popping up more and more in discussions of the best up and coming punk bands! The Black Heart was teeming with battle jackets and black boots as the kick off time approached, everyone making their way up the stairs to the venue where ‘Young Fatigue’ were about to start warming up the stage. The young British punk trio burst onto the stage with an abundance of energy, ready to show the crowd that may have never heard of them what they're made of. The band have been consistently releasing singles since 2020 but exclaimed they were very surprised to receive an email from the likes of Winona Fighter, not even believing at first that they'd be asked to open for them. Young Fatigue did not fail at getting the crowd moving and warmed up with banging tunes and great banter with the crowd. They made everyone comfortable while giving them chances to bang their head and clap or even sing along. Lead singer Ash Dixon was truly impressive, vocals reminiscent of an early 2000s british punk band and stage presence that is certainly undeniable. This trio is definitely worth the time of any punk fan and we hope to see them again for more raging shows. The room filled out with people shoulder to shoulder from the very front to the very back of the venue. Winona Fighter gallivanted onto the stage receiving overwhelming cheers as they erupted into their first song ‘You Look Like a Drunk Phoebe Bridgers’. The crowd immediately started moving, forming mosh pits despite the lack of space to do so, these punks found a way. The band paraded one song into another keeping the ball rolling and the energy high before finally pausing for a moment. Lead singer Coco took a moment to introduce themselves and told the crowd they would be singing their entire new album at this gig, receiving huge applause from the fans, before kicking straight back into song. Despite only being a few songs in, the crowd were loud enough to sing some of the lines for Coco as she took a moment to exclaim how crazy the crowd was. One fan heckled that he wanted to start a circle pit on just the third song of the set “Who's gonna start a circle pit with him then!” the band encouraged and sure enough the crowd made it happen. Winona Fighter went on to play bangers like ‘ATTENTION’ and ‘JUMPERCABLES’ as the room bounced so hard you could feel the floor moving beneath your feet. The trio had brilliant banter with the crowd talking about football, or soccer as they call it, about how they are allowed to say the word ‘cunt’ on stage which was immediately followed by chanting of said word and even talking about where some of the crowd where from, some from as far as Atlanta and Chicago. As if the crowd wasn't hyped up enough, Winona Fighter decided to play a blazing cover of ‘Song 2’ by Blur getting even the bartenders singing and jumping along. As they drew to the last act of the show Coco told them they would not be leaving to stage to “go and stand in a tiny room” before performing an encore, so these last 5 songs in fact were the last 5 songs. Which of course led to more banter with the crowd, it’s hard not to smile seeing how the band interacted with the fans. Coco took a moment to tell the fans how they should chase their dreams, as scary as that can be to make the first leap to just do it, this was clearly received by the fans as they sang the next song with every piece of their soul. It's rare to see an audience that is so connected with the lyrics they're singing, you could tell every person in the room felt the words. As the band started to close Coco got slightly emotional before playing their last song ‘HAMMS IN A GLASS’ the crowd encouraged Coco as she held back her tears and closed off the gig with the biggest mosh pits and loudest cheers of the night. She ended the set by surfing on the crowd, despite the low ceiling, from the front to the very back of the venue and then back again, hi fiving fans all along the way. It's impossible to deny the impact these guys are having and the waves they are making in the punk scene. Winona Fighter are continuing their tour back in the US with over 20 shows and are also scheduled for many festivals through the rest of the year, stopping off this weekend for the almighty Slam Dunk festival. Words: Amy Smyth Photos: Anna Goley

After a string of electrifyingly raw live shows, Kissing On Camera have finally delivered their debut EP Baby Names, and it lands with all the urgency and bite of a band desperate to be heard. This is not a timid first outing. It is a whip-crack of noise and feeling, five tracks of emo-soaked alt-rock that bristle with anxiety, defiance and chaotic charm. The Dublin-born, London-based quartet channel their city-hopping angst into a record that feels like a jittery diary entry scrawled at 3AM. The guitars are jagged, the vocals waver between confession and catharsis, and the lyrics teeter on the edge of breakdown and breakthrough. The EP kicks off with 'Corner Couch', a storm of twitchy riffs and emotional unease. There is something mundane and intimate about the image of a corner couch, but the track flips that comfort on its head. Instead of relaxation, we get suffocation. The drums rattle like nervous thoughts while the vocals ride the chaos, with just enough control to stay standing. It is an opener that sets the tone perfectly. This is music that bleeds and sweats and shakes under the weight of its own feelings. Next comes 'Tag, You’re It', a two-minute burst of panic and frustration that captures the headrush of youth and the confusion of being caught between roles. The rhythm section here is relentless, almost sprinting beneath the track’s jangling guitars and frantic vocals. It feels like being chased by your own thoughts, breath catching in your chest, always one step behind what you meant to say. There is a lot of charm in how rough around the edges this one feels. It is the sound of a band refusing to smooth out the mess and instead throwing it at the wall with pride. 'Lil’ Horse' is the strangest and perhaps most endearing track on the record. With a title that suggests something small and perhaps a bit silly, the song plays with contrast. It is softer in its delivery, with moments of vulnerability breaking through the noise. But even then, it never settles. The lyrics lean into absurdity, but there is real emotion under the surface. It feels like the moment in the setlist where the room quiets for just a second before the crash returns. Then comes 'Voice Actor', which has already been released ahead of the full EP and is arguably the centrepiece of Baby Names. This is where Kissing On Camera’s potential really sharpens. The band said the track was about feeling like every social interaction is a performance, and you can hear it in every scream and guitar squall. The song builds and breaks like someone trying to hold it together while the world blurs around them. The chorus is an explosion of punk energy, driven by the kind of frustration that feels dangerously close to boiling over. It is loud, messy and painfully human, which makes it hit that much harder. Finally, 'Just A Kid' rounds out the EP with a bittersweet shrug. There is a weariness to it, a kind of sigh buried in the chords, like someone realising too late that growing up doesn’t come with a guide. The guitars swell and collapse around the vocals, which sound both tired and defiant. It is not a ballad exactly, but there is something aching here. The track feels like a cigarette lit in the rain, burning anyway. It is a perfect closer that ties the whole record together with a mix of self-awareness and raw nerve. What makes Baby Names so striking is not its polish. It is the total lack of pretence. This is an EP that throws everything on the table, flaws and all, and dares you to look away. The production keeps things tight enough to land the punches, but loose enough to let the sweat and spit shine through. Each track feels like a live wire moment, caught just before it burns out. For a debut, this is impressively cohesive. The band knows what they want to say, and they scream it with every instrument. There are clear influences here, from the emo crunch of Title Fight to the swirling chaos of acts like Wednesday and Alex G. But Kissing On Camera are not just copying a formula. They are twisting it into their own messy, urgent, and strangely tender version of alt-rock. This EP might be short, but it leaves bruises. And honestly, that is part of its charm. Baby Names is the sound of a band that has something to prove but chooses honesty over perfection. There is rage here, sure. There is noise and heartbreak and confusion. But there is also joy in the chaos. The kind of joy that only comes from screaming into the void and hearing your own voice echo back. Kissing On Camera are just getting started, and already they are impossible to ignore. Score: 8/10 Baby Names will be released on May 27th 2025. Words: Kelly Gowe Photos: Kissing On Camera