In 2024, Polar released their new album Five Arrows, a hard hitting post hardcore record that truly felt full of raw talent on the UK music scene. With backing from industry experts such as BBC Radio 1, Metal Hammer, and Knotfest, this band are a force to be reckoned with and are quite rightfully rising up the ranks. Fast forward to 2025 and Polar are on a UK tour showcasing their passion, energy, and emotionally charged lyrics across various venues and festival sites. Their Bournemouth leg of the tour included the main support in Mancunians Asleep at the Helm and Bournemouth locals On Borrowed Time. Opening the show was On Borrowed Time. Bringing the energy early on in a show can often be tough, but vocalist James Leatherbarrow brought the audience together for a rather enthusiastic start alongside the super tight breakdowns of the band. His vocals had a punk/hardcore feel akin to early Frank Carter in Gallows and as he bound around the little space left in the venue you couldn’t help but admire the showmanship. With a handful of songs on Spotify, and a newly recorded album on it’s way, it seems this is a band to truly keep an eye on. Whilst Oasis may be the biggest band out of Manchester, I think Asleep At The Helm are definitely a band that showcases Manchester’s metalcore finest. With some truly guttural face melting breakdowns, you couldn’t help but compare them to the likes of Malevolence and Loathe and truly see the potential for what’s to come. Their new single Equilibrium is a metalcore classic in the making and left the whole room loving their set and left singer Jimmy Dahmer almost jumping over the barrier with enthusiasm. I must also give a mention to bassist Nat Douglas who’s bass lines shook the whole venue in the best way possible. Of course the main reason we were there was to see headliners Polar. Established in 2009, this Guilford based hardcore band were ready to bring the madness to this south coast venue. Early songs in the setlist included the electrifying 2024 hits “We Won’t Sleep” and “A New Mentality”, with the latter being the perfect song to encourage the much needed gang vocals that most definitely set the room alight with energy. Positioning himself in the audience throughout the whole set, vocalist Adam Woodford truly placed himself with the fans and allowed that moment of companionship and camaraderie throughout the show as he moshed and screamed head to head with some of his most eager audience members. By the time they reached the 2013 release “Glass Cutter” you could tell how technically tight this band are, and by that respect how truly underrated they are. Followed swiftly by 2022 hit “Dissolve Me” you can see how their songs have grown and matured since starting in 2009. As the show moves forward, you soon realise that a large portion of their set is from both their latest album Five Arrows, and songs written since the line up had a shake up. The blends of guitarists Bruno Consani and Simon Richardson alongside bassist Stefan Whiting and drummer Max Flohr are layered in emotions and complexities that truly show defiance and craftsmanship in their songwriting. Whilst a band changing lineups is never the easiest thing to do, this change was one hundred percent the right call with professionalism and skill radiating from the stage. Closing the show with “Swimming With Sharks” you could certainly say that the audience were hooked by this performance. Coming together both band and audience as if we were in someone’s basement, you could see that Polar are a force to be reckoned with and deserved the rapturous applause given to them tonight. An underrated band that delivered solid track after track with no moment skipped. A truly worthy band in the UK scene that should arguably be up there with the greats after this iconic performance. Words and Photos: Laura Davies

Tucked deep in the Cotswold countryside, 2000trees once again proved why it's the beating heart of the UK’s alternative scene. More than just a festival, it felt like a gathering of misfits, diehards, and newcomers all bound by a love of raw, honest music. Across three relentless days, Trees delivered everything from throat-shredding hardcore to emotionally charged singalongs—each set woven into the fabric of a weekend that felt both intimate and explosive. Whether you were crying in a tent or screaming in a pit, 2000trees didn’t just host the music—it made you feel every second of it. Unpeople Wednesday’s warm up included Unpeople’s first set of the weekend, bringing the party to the forest stage with a covers-centric set. Cover highlights included x song and y song, even treating their Wednesday crowd to some new material never-before seen. As for the crowd the tree roots didn't stop a hectic pit, nor did the rolled ankles that these roots produced, while crowd surfers sailed over the barrier. Punctuating the end of the set was an engagement; then and all weekend 2000Trees were feeling the love. Photo: Jez Pennington Hot Milk The headliners for the evening were Manchester duo hot milk, also gracing the forest stage now lit by strings of fairy lights overhead. The duo were packed with energy, and Hannah seemed to have holes on her mind: wanting one larger than her asshole on poppers and wondering who was going to be the clitoris in her vaginal mosh pit. Nevertheless, she still took the time to remind 2000 Trees that we are all a family as she made sure the security could do their thing, and gave some love to Kneecap as an example of how we can make domestic change before infusing the party energy with tracks such as Swallow This and Woosy. The set ended on a loving note, with Hannah and Jim embracing and closing the evening with ‘Will you feel better.’ Photo: Joe Singh Grief Ritual In the morning political hardcore band Grief Ritual served vocals, with their lead vocalist’s screams notably sharp as they rang out to a full cave tent. As for their politics: songs about taxing billionaires, calls for a free Palestine and Hong Kong as well as welcome tracks about ecocide and Swine about criticising the police. The crowd was moving as the set closed and their vocalist reminded us that trans rights are human rights. FREAK At half 12 Essex natives FREAK hopped onto the axiom stage, opening with ‘What Happened?’ to lounging festival goers seeking reprieve from the Gloucestershire heat. Nevertheless they brought the energy they could muster across their 25 minutes, as Cake turned into no money - a song, FREAK explained, that is about having no money. They also treated 2000 trees to an unreleased track, and after a little coaching set closer I Like to Smile When I’m Sad saw the pit open and the steps coming in twos. Solid Set, good vibes, would love to see FREAK be able to get away from his mic stand a little more. Photo: Carla Mundy HYPHEN The afternoon sun had begun to wane into a welcome evening haze when Hyphen would take the Nue stage at 5pm, with the tent overflowing and the air thick. Hyphen played a greatest hits set over his half an hour: This Might Be It, Hate Yachts not Dingies, Coca Butter, Confidence, Deskjob, and Marching powder made their appearances as Hyphen boogied around the stage. One thing about Hyphen is that he knows how to work a crowd, with regular “finish the line” call and responses and dancing with the crowd as the crowd surfers kept coming. As for his politics Hyphen highlighted remembering who the real enemy is re former tourmate Bob Vylan, saying “you can disagree with their words but you can’t disagree with their anger or sadness.” This began the first of the “free Palestine” chants of the set, the second spilling out onto the hills as the crowd dispersed at the end of his set. PVRIS PVRIS were the calm before the storm, with Lynn Gunn's dark pop beats entertaining a crowd of sunkissed couples embracing over their one hour and fifteen minute set. What Gunn lacks in confidence when it comes to crowd work - especially of this size - she makes up for in beautiful live vocals, carrying up the main stage hill and showing the balance of natural talent and honed skill. The set itself contained plenty of crowd favourites from across their discography, from 2021’s ‘Snakes’ or ‘You and I’ from 2014’s seminal work White Noise, though even those less well known still got the people dancing loosely in the evening sun. Photo: Sophie Ditchfield Kneecap The storm, of course, was the final headliner Keecap, returning for their 3rd 2000 Trees and in the middle of a heavy touring year. They started with the “sexy” songs - ‘ITS BEEN AGES’, ‘Fenian c*nts’ and ‘Better Way to Live’ - before bringing the bass in with ‘Sick in the Head’ and ‘Your Sniffer Dogs are Sh*te’ while black balloons with the Palestinian flag and “free Bob Vylan” written on them in white marker. The crowd at this point began to chant “free Palestine”, giving the Derry trio the opportunity to discuss their manifesto of empathy and understanding from one colonised nation to another. ‘I’m flush’ followed before the banter about the oldies in the back and DJ provo’s nip slip which got the jokes rolling about pirating their movie and the joys of performing their first trees when Boris Johnson finally stepped down as prime minister. To close out they went for ‘Get Your Brits Out’ ‘HOOD’ and Recap, their newest track with Mozy; DJ provo got to come out from behind the decks to finish the crowd off for Thursday. We don’t need to tell you that kneecap were fantastic - as expected, one of the highlights of the weekend. Photo: Joe Singh Mallavora Mallavora opened the main stage up on Friday, with frontwoman Jessica transitioning seamlessly from ethereal clean vocals to powerful screams. The themes of their setlist are speaking out against injustice, be that the rise of misinformation and the rise of authoritarianism or bringing out Jen of Jenna and the Degenerates for upcoming release “Smile”, discussing invisible disability. The circle pits had opened up by 11:15am, and by 11:30 and closing track ‘Disorder’ the crowd had grown Trash Boat Trash Boat hit 2000trees like a stormcloud of emotion and distortion. Their genre-shifting set tore between hardcore heaviness and melodic introspection, creating a push-pull energy that resonated deeply with the crowd. Tobi Duncan’s vocals were emotionally charged and guttural, especially during “Alpha Omega” and “He’s So Good,” which triggered mosh pits and mass singalongs alike. Between raw breakdowns and soaring hooks, the band reminded everyone why they’re one of the UK’s most dynamic live acts. Cathartic, powerful, and uncompromising—Trash Boat didn’t just play to the crowd, they connected with them. A standout moment of the weekend. Photo: Trash Boat Coheed and Cambria The first of the co-headliners for Friday was prog-metalers Coheed and Cambria, who between their transcendent guitar melodies and smooth vocals cracked the dad jokes: be that their guitar player attempting to count the trees to see if there were in fact 2000, or the weather appropriate “2000 trees more like 2000 degrees” which gained laughs from the crowd and the vindication of watchers who had made that joke earlier in the day. By in large their late afternoon set was about the music, with their beautiful melodies making them jump with the lively pit to the front of the field as people further back swayed and stirred their vodka mixers with the end of their sunglasses. Photo: Jez Pennington Split Chain At 2000trees, Split Chain opened their set like a battering ram—tight, aggressive, and impossible to ignore. Their raw blend of hardcore and metallic riffs cut through the afternoon haze, drawing in a curious crowd and converting them into instant fans. Frontman delivery was urgent and feral, matched by a rhythm section that thundered with intent. For a rising band, their presence was huge—owning the stage with the confidence of seasoned veterans. Amidst the festival’s indie and alt leanings, Split Chain stood out as a no-frills punch to the face—uncompromising, visceral, and thrillingly real. Taking Back Sunday Closing out Friday night, Taking Back Sunday delivered a headline set that was both a celebration and a homecoming for every emo kid-turned-adult in the crowd. Bathed in stage lights and nostalgia, the band powered through a hit-stacked set—“You’re So Last Summer,” “Liar (It Takes One to Know One),” and “MakeDamnSure” landing like emotional fireworks. Adam Lazzara commanded the stage with ease, blending heartfelt gratitude with high-energy swagger. Their decades-spanning catalogue felt timeless, uniting generations of fans in a chorus of catharsis. As the final note rang out across Upcote Farm, it was clear: this was a headline slot earned and owned. Photo: Gareth Bull The Hara The Hara’s set at 2000treeson the Forest Stage was nothing short of chaos—in the best possible way. With their signature blend of glam-infused alt-rock and unhinged theatrics, they delivered a performance that was part gig, part spectacle. Josh Taylor prowled the stage like a man possessed, belting out every line with venom and charm, while the band held down a wall of sound that was both polished and feral. From explosive choruses to intimate breakdowns, The Hara blurred genre boundaries with ease. By the final note, the tent was electric. In a sea of bands, The Hara performed—and absolutely owned it. La Dispute La Dispute brought a breathtaking intensity to 2000trees that silenced casual chatter and demanded full emotional presence. Jordan Dreyer’s spoken-shouted vocals cut like poetry on fire, narrating stories of grief, memory, and quiet devastation. Their set was less about spectacle and more about surrender—each song unfolding like a confessional. Tracks like “King Park” and “Woman (In Mirror)” were delivered with aching precision, building from fragile whispers to cathartic crescendos. The crowd stood rapt, moved more by feeling than frenzy. In a festival full of noise and chaos, La Dispute offered something rare: stillness, vulnerability, and the power of restraint. Vukovi As for Saturday evening, Vukovi stole the show and served the Out of Rage favourite set of the weekend. Full of energy from set opener GUNGHO, with lead singer Janine hoisting herself over the barrier to perform directly to the chaotic pit that erupted from jump. The crowdwork between, of course, was based on the sweltering heat - be that of Janine’s choice to wear a full body black sparkled suit or her choice to wear her crocs, which came up during the set enough that her request for it not to be covered will have to be ignored. The highlight of the set of course is the final moments of 2000 Trees legend Mr Fridge, who launched himself into the pit and was crowdsurfing to the delight of Janine who was unable to sing for watching him. Alas, he began to rip apart over the course of their set, sending frozen peas and alternative milks flying across the main stage as his cardboard walls fell to the wayside. The closure of the set saw Janine being crowdsurfed while playing La Di Da, and finished with Mr Fridge getting his final applause on the stage; the energy was high and the vibes great, Vukovi stood out as the best act of the weekend. Photo: Carla Mundy 2000 Trees is the pinnacle of the alternative scene as a community - from the political calls from the artists to the culture of kindness that exists among the festivalgoers. The weekend was a joy to attend and had packed days whether you were looking to leave with broken bones or to introduce your children to live music. The passion in the crowd was palpable and not a person left without a new friend, the only thing left to say is RIP Mr Fridge, you are gone but never forgotten. Words: Julia brunton and Mia Gailey

Four years after Australian pop punk band Tonight Alive went on hiatus in 2018 due to physical and mental health concerns, lead vocalist Jenna McDougall announced a new solo project, ‘Hevenshe’. One year after the release of her EP ‘Wild Wild Heart’, she took to the stage for her first international shows under the Hevenshe moniker, having performed at 2000trees one week before her London debut. With support by UNINVITED, Hevenshe was set to grace the stage on this summery evening in London. UNINVITED took to the stage with a quintessentially pop punk sound and energy, as they gave their all for a short, but sweet set. A four-piece band hailing from Glasgow, they knew how to keep the audience engaged, with heads bopping across the pit. After an explosive start to their set, they took things downtempo with ‘Survivor’s Guilt’, from their debut EP ‘I Feel A Bit Weird’. Lead vocalist and guitarist Jay Dhlakama and bassist Taylor-Ray Dillon demonstrated their vocal range and versatility, as they sung about a topic that is held dearly. Ending their set with ‘But What If I’m James Dean Instead?’, set to come out this Thursday, they energised the audience, who were ready to welcome Hevenshe to London with open arms. UNINVITED are a band to look out for, and we’re looking forward to seeing more from them. Uninvited As soon as Hevenshe took to the stage, the audience erupted with cheers as she opened her set with a bang. With her guitar, her touring drummer and her laptop playing backing tracks, Hevenshe kicked off her set with songs from ‘Wild Wild Heart’, showcasing the cathartic and empowering sounds she has carried with her since Tonight Alive. Before slowing down with ‘The Blessing’, she addressed the audience in what can only be described as heartwarming, as she said that she imagined that she was in England when writing the song. One year later, her imaginary scenario became reality. With only her guitar on hand, Hevenshe treated the audience to four unreleased songs, including ‘Nothing I Can Do About It’, releasing next month. Strumming chords and singing painfully relatable lyrics made for an intimate atmosphere at Omeara, as Hevenshe workshopped songs born out of voice memos and notes in real time. Unlike a lot of gigs, she left the order of the songs ‘Eden’, ‘I Am Enough’ and ‘See You Again’ to an audience vote, as the crowd was filled with people following this project from day 1 through a membership to her Patreon page, giving them access to a community filled with Hevenshe fans (and Hevenshe herself). This level of openness to her audience is nothing new for Hevenshe. The audience voted for the last unreleased song to be ‘See You Again’, a homage to her fanbase that was in the making for four years. As she split the audience into three sections, singing three different parts, the extent of the fanbase she had cultivated over the years as part of Tonight Alive and as Hevenshe could really be felt. We could tell that everyone was there for the long run. It's no surprise that this was the biggest turnout to a Hevenshe show ever. Despite a few tech issues during the show, we could tell that no one was fazed by them. All they wanted was to see Hevenshe present herself as she is through her music and lyricism. The night ended with ‘Try Not To Fear’, and we believe that Hevenshe should have nothing to fear. With a dedicated fanbase behind her, we think that this is only the beginning of many more firsts and bigger turnouts to her shows. One thing is for sure – Hevenshe wants more London, and London wants more of her. Words and photos: Atoosa Salamat

Since 2005, Mother Mother have been rocking stages all over the world, and on the 16th of July it was London's turn to experience their wicked show. Playing their biggest UK Headline show at the iconic Brixton Academy, fans queued around the block to make sure they were inside in time to catch every single song they had in store. The quintet from Canada have been rising in popularity for many years with songs such as Hayloft II and many more going viral online, creating attention even from non fans. But first to the stage was the very unique Fish in a Bird Cage. It's not often an act like Fish in a Bird Cage plays a stage like Brixton Academy. The venue packed with over four thousand, was given a much more technical than on the surface performance by the soloist, Dusten Townsend from Canada. The one man band sported an Explorer style get up for this show with a hat to complete. He spent the majority of hit set with a mic in front, an electric cello in hand while also controlling a soundboard with his foot and having a foot rattle attached to said foot, using it to create a layer of precision in certain sections of each song, which also encouraged the audience to clap on the beat. As he played he had a female vocalist join him in some songs to add backing vocals while for some opting for prerecorded vocals on his soundboard. He took moments in between sets to look at the crowd, stating it's definitely the biggest show he's ever played. He's also just finished his first ever solo tour, it's great to see such a small artist have an opportunity to play such an iconic stage. For the last section of his set he changed his cello for an accordion, giving the song's a more folk music like vibe, some of them trotting in a ¾ time signature to amplify that. His last song was “Fish in a Birdcage” from the album “Fish in a birdcage” which by far got the loudest cheers from the audience who were very involved the entire set, he without a doubt captured a few hearts tonight. As the lights dimmed once again one by one Mother Mother made their way onto the stage receiving ground shaking screams just for the first song, The Sticks. The light show that came along with the music was something to behold with screen visuals, lasers and lights all pulsating with the music . Mother Mother are listed as an indie rock band but their music truly is more than that with elements and influences of all kinds of genres including rap, metal and even country. Ryan Guldemond led the way with his centre stage singing and rapping while Molly Guldemond and Jasmin Parkin brought the raw powerful vocals and Ali Siadat on drums, and Mike Young on bass on their raised platform behind being the driving force of the entire performance. The show ran smoothly as they would draw attention to different parts of the stage, giving them a moment to shine while another member was perhaps changing a guitar or fetching a refreshment, making it barely noticeable. The whole band sharing the stage rather than the usual leads and backing. Hayloft II their biggest hit of course got an incredible reception however it seemed that with every single song the crowd got louder and louder which you wouldn't have even thought was possible after this, but they did! With the rise of social media and the concept of ‘blowing up’ overnight, it's getting tougher to cultivate a crowd that will sing every word and cheer for every song, but it's clear this was just that type of fanbase. They also took a moment to cover Chappell Roans Hot To Go which naturally every person who knew the dance was dancing along which was very entertaining to see in such a diverse crowd. Between songs Ryan took moments to express how happy they were to be on stage, thanking every supporter of live music because without the fans, no one else in the building would be there, not then, the security, the show runners, the techs, it's a very important sentiment to keep. As they continued with songs like The Matrix, Explode and The Stand each member took their moments to shine with the others constantly interacting and just looking like they were having a genuinely good time being on stage and being together with the other band members. Explode saw the audience singing backing vocals almost creating a call and return between the band and crowd which was once again very loud. For a small section of the concert, the drummer and bassist came forward switching to a ukulele and singular drum and cymbal for an acoustic style set. During this section they mashed up many different songs until Ryan explained that he thought someone in the crowd had something to say… this eventually turned into a proposal between fans in the crowd, a beautiful moment that made every face in the building smile. The band celebrated this by letting the bride to be choose a song for them to play a small piece of, she chose the song Gods Plan which the band of course had not prepared for but played a solid minute of regardless. The talent of the band to play a song together without any prompts leaving it just to memory or pure freestyle and still play what felt like a fleshed out version of the song was breathtaking. After a short encore the band returned back to their instruments to close out the performance with a few more songs and of course including their timeless track Oh Ana. During these reviews we typically listen for the songs that get loud receptions but it was clear after just a few songs that the crowd was truly ecstatic for every single song. The crowd filled the room with their love and admiration for the band, and the band returned by filling it with music. We hope to see Mother Mother continue to spread their positivity across the globe and hopefully see them back soon. Words: Amy Smyth Photos: Tyler Whiting

It's A Day to Remember meets Coheed and Cambria in Born Of Osiris’ latest album Through Shadows, released 11th July via Sumerian Records. In a word, the project is Solid - with a deliberate capital S - covering themes of facing darkness and finding one's place within the wider world. Opener 'Seppuku' is an example of gorgeous metalcore, from its drumming to the shredding in an impressive breakdown that utilises electronic runs in the background to prop up the distortion that make up the searching themes. It’s follow up is the first of the five singles featured on the project, 'Elevate': the comparison to Coheed and Cambria comes here with the sharp guitar riffs and melody-packed drumming, and becomes only more clear as title track 'Through Shadows' introduces a choral motif in its beginning before those sharp guitar riffs kick in. Thematically, Through Shadows is cohesive, with 'The War that You Are' discussing themes of being in community but not feeling secure in one’s place, on a backdrop of stabbing double bass drums. The lyrics in this track, as in others such as ‘Through Shadows’ or ‘Activated’, talk of being ready for a war but not wanting to fight alone, while the track builds and resolves into chaos in the same way unspoken feelings often do. 'The War that You Are' stands out particularly obviously during the first half of the project for its building soundscape and strong balance between the clean and screamed vocals. 'Inverno' reintroduces the choral motif - this time, in the form of a nursery rhyme style melody - in an otherwise high energy and angry offering that brings the bass face out, but as the midpoint of the project approaches, original comments are getting harder to make. The electronic mix at the end of 'A Mind Short Circuiting' is an interesting switch up which is well produced, but the fade out that has been used on the majority of the songs has started to become tired by now. Luckily, the second act introduction and third single in the track order 'In Desolation' arrives to pick up the energy, marked with a China crash lead; the marker of a good metalcore song. The clean vocal chorus, covering themes of clarity and processing one’s surroundings, add some optimism within the themes of facing darkness, as well as showing off Ronnie Canizaro’s range in terms of his vocals, as the track halves its tempo again and again before a finale of a growl of the title crafts a single that shows Born Of Osiris were saving the best until all but last in terms of the singles from this cycle. Final single 'Torchbearer' is good as a heavier side of metalcore but is not much to write home about, while its follow up 'Activated' has beautiful vocals from Underoath’s Spencer Chamberlain and a saxophone which was a nice surprise, but overall shifts the vibe a little bit to a more party-metalcore vibe which is welcome sonically but confusing thematically. 'Dark Fable' again does not stand out over the solid shredding in its bridge and it is not meeting the expectation of darkness that its title would infer; still a headbopper, that said. As for the final two tracks: 'Transcendence' offers more of the synth blend with the melody foregrounded in the final mix, and the nice touch of the synth hitting half time as the track reaches its end, while album closer 'Blackwater' gives the hook “What do I give the world/What has it taken away” as a perfect summation of the themes of the project, though sonically could be described as non-offensive metalcore otherwise. The use of the ticking clock was effective, but a fade out to finish the project was disappointing. All in all, Through Shadows is a high quality project made for those who enjoy the themes and movements of metalcore infused with the technical elements of prog and shoegaze-style metal. The album’s themes are cohesive and well executed; this would fill the void for a metalcore head who is feeling like they’ve ran out of projects, but it may not stick in the memory. Score: 7/10 Words: Julia Brunton Photos: Born Of Osiris

We Lost The Sea, the Australian post-rock comet that quickly took over the world in 2015 with its critically acclaimed album Departure Songs, is coming back with its fifth studio album, A Single Flower. Followed by a quick US tour and even an appearance at the ArcTanGent Festival in Bristol, UK for two days, the band’s latest release is up there as the best of their career, and it is certain the band members Mark Owen, Matt Harvey, Matthew Kelly, Kieran Elliott, Alasdair Belling and Carl Whitbread poured everything they could into their work. A Single Flower consists of six tracks that, unsurprisingly for post-rock, mostly stretch to the longer end of listening. The post-rock elements are present throughout the whole record, with the most prominent sonic theme being the atmospheric nature of the sound. In the song 'A Dance With Death', the listeners can hear a whole story behind the song, without using a single word. The introduction, build-up, and encore, followed by an intense bridge, are all solid proof of the band’s proficiency in the genre and their ability to play around with sounds, resulting in a unique combination of variable soundscapes. We Lost The Sea did not fall behind with guest appearances as well, as the rather short song 'The Gloaming' features Godspeed You! Black Emperor’s own Sophie Trudeau. Lending her unmistakable ways with violin, she managed to capture the raw emotions and feelings of the track with precision, and the listeners are sure to cry few tears while listening to this piece, that is very different from the others. The use of violin in post-rock is a clever way to capture the essence and atmosphere differently and showcases the potential of the genre, that comes with leaving the straightforward path and experimenting with instruments and techniques. We Lost The Sea was not afraid to include non-conforming elements in the feature song and it really paid off, as the song is one of the best on the album. It is already impressive to compose a track that's thirteen minutes long, as 'Bloom (Murmurations at First Light)' is, but the band surpassed its own work and came up with 'Blood Will Have Blood', as the last song on the album, that is a mind-blowing 27 whole minutes in length. The track, generally slower in melody, has many different rhythms to it, gradually increasing and decreasing in intensity and tempo. The guitar techniques used throughout this song are beautiful and emotional and truly are standing out, when paired up with the drums. The only downside of the song is the monotonous nature of it, which is to be expected, but unfortunately takes slightly from the overall experience. A Single Flower is a work of art that constantly develops in the listener’s ears as they go through the songs. The meticulously composed songs force the audience to think about their life and the way the world appears to them, which adds something indefinably potent to the listening experience. The downside of the record is the total length, given the lengths of the songs on their own, and the already mentioned monotonous atmosphere in the last song, as that track is very long. Nonetheless, the album is a perfect fit for anyone who enjoys the post-rock scene and the level of detail We Lost The Sea brings with their work. Score: 7/10 A Single Flower was released on July 4th 2025. Words: Katerina Stepanikova Photos: We Lost The Sea

Think, for a moment, about the town that springs to mind when I use the term “alternative rock”. Maybe you’re transported to New York, the hallowed doors of CBGB spitting out David Byrne’s skittish poetry in your mind’s ear. Closer to home, Madchester and the recently resurrected spectre of Oasis might send your train of thought up to England’s North West. Regardless of where you thought of, it almost certainly was not Northampton, the not-quite-Midlands shoemaking capital of England whose biggest musical export is likely Faye Tozer of Steps fame. Nevertheless, unburdened by the responsibility of carrying their town’s flag, thistle. announce their arrival on debut EP it’s nice to see you, stranger, a scuzzy, distortion-laden project which at times lacks tightness and a clear vision for their sound, but at its peaks evokes memories of the unpolished 90's at their very best. The multi-part 'cobble/mud' begins the EP, its noisy, My Bloody Valentine pastiche opening giving way to slower, deliberate finger-picked guitars, on top of which a wall of noise is gradually reintroduced. It’s an intriguing opening to the EP which is immediately and effectively followed up on by the title track, this project’s strongest song. Cameron Godfrey’s fuzzy lead guitar lines wonderfully compliment his understated yet still expressive vocal style, as he croons through lines about lacking familiarity with old friends. The transition between this and the following track, 'fleur rouge', is perhaps it’s nice to see you, stranger’s single best five seconds, and although the track that follows is somewhat more meandering than its predecessor, it does boast drummer Lewis O’Grady’s best performance, particularly with his impressive use of fills on the song’s back half. 'holy hill' sees thistle. repeating 'cobble/mud'’s trick, albeit over a much shorter run-time. Clocking in at just over 1 minute 30 seconds, the track begins with a hair-raising hardcore passage that suddenly subsides to a slower, spacier sound that eventually jolts into the closer, 'wishing coin'. The odd combination of insanely blown out guitars and Pinegrove-style lo-fi yelped vocals makes this a sonically confusing finale to an otherwise promising EP. Though it is clear that thistle. are yet to carve out a niche particular to themselves, they nevertheless bring their influences together judiciously to make a project laced with compelling moments. Hardcore, grunge, and shoegaze are all represented, and though the band struggle to provide novel takes on any of these sounds, they nevertheless provide accomplished renditions of them all, as well as intersecting them proficiently. Score: 7/10 it's nice to see you, stranger was released on July 4th 2025. Words: Ali Glen Photos: thistle.

Our North is back with the band's brand new EP Everyone For Themselves. This short release contains six tracks packed with some of the most exciting shiny alt-metal that the UK has to give right now. The band name their biggest inspirations as Bring Me the Horizon, While She Sleeps and Bad Omens, which are all easy to hear in this genre-bending collection. The five piece were formed in 2019 in Sheffield, and have been making waves in the scene ever since, and this EP shows exactly what they have to offer. ‘Choked to Death’ opens with distorted vocals and guitars before dropping into a booming verse which lifts us to the climax of the chorus. The chorus features more melodic vocals to accompany the forefront screams, a satisfying alt-metal chord progression in the background with a mixture of synth and electronic beats. The second verse introduces a trap beat as lead vocalist Dan Feast raps, spitting before descending into a burdensome breakdown, completely switching the beat in the most fulfilling way. The second track named ‘Something To Be’ starts with atmospheric layered synths, later being joined by the band instruments, melding together perfectly. The song is something any fan of TDOPOM by Bad Omens is sure to enjoy, and - while they have a way to go to match the production levels of a band so big - musically, the band is very close to such achievements. The build of the breakdown marked by an almighty "blegh" is ultimately flawless, the perfect timing for a crushing pit at live shows. ‘Violent Rules’ is immediately bolder than the last, opening with the back and forth of screams and rapping, and keeping an electronic rhythm throughout. The song swings back and forth between the heavy band sound with screams versus the lighter singing with synths creating a gratifying contrast. At this point in the EP it's easy to see the breakdowns are the bands strong suit, they hit every time at the perfect time, and just as heavy as you'd want them to. Track four switches up the tempo - ‘Everyone For Themselves’ almost rids itself completely of the band for the opening, being completely electronic as the lead raps over the beat. When the chorus paces in it brings the band but the lead continues to rap throughout, the beat is especially bouncy and addictive, reminiscent of an old Linkin Park tune. The genre blend has of course been done before but it's rarely done this well, making this is the stand out track of the EP. Replete with production that sounds expansive and level and, once again, the breakdown is a doozy, featuring some delightful pig squeals. ‘Above The Water’ is very airy in the opening, prior to dropping us into the deep end for the chorus. It brings back their distorted guitars and pounding drum beats while keeping electronic effects throughout, ringing through the background. Drummer Jonny Dransfield introduces some killer blast beats for the drop, and the short repetitive guitar riff is sure to get stuck in the listeners head. To close out the EP ‘We Come To Life’ is the most immense of the bunch, the synths creating a grand, almost boss fight like atmosphere. Distorted female vocals join the roster in parts as the lead screams through the majority of the song. This song crams every feature of the album together the electronic synths, the crashing breakdowns, screams, smooth vocals and rapping all wrapped together in a four minute package that could have felt like it was bursting at the seams, but it ends up being a great display of their talents. This EP is a great example of what it means to be alt-metal in the UK, however it's not perfect. The production levels need some work, and the vocals aren't as strong as the rest of the instruments, but this is not anything that hinders the musical talent and the downright well-written music this EP holds within, especially for a band formed in just 2019. This ever growing genre is doing anything but being put in a box and this EP portrays that perfectly, and we can't wait to see what they do next. Score: 7/10 Everyone For Themselves was released on July 4th 2025. Words: Amy Smyth Photos: Our North

In one word, Calva Louise is driven. Whether that means touring London’s pubs to hand out demo CDs or learning how to use Unreal Engine to fully realise the visual elements of their latest project’s universe, their genre-bending fourth album ‘Edge Of The Abyss’, the band’s drive to create is matched only by their ability to craft it. “[DIY] was born out of necessity, but now it is such a part of who we are. When something needs to be done, and you don’t have the means to achieve it by other routes, you just have to figure it out yourself” Calva’s drummer Ben Parker muses on our mid-morning zoom call, “if we don’t know how to do something, lets try…it’s a never ending journey of learning and discovery.” Calva Louise’s DIY manifesto can be seen in the dynamic keyboard designed by guitar player Alizon Taho. It sits on a sliding tray and lets vocalist Jess Allanic play the piano parts that she began to incorporate into the band's latest live shows, whilst also working around some of the logistical issues that come with the instrument. Taho begins, “Having a piano live is complicated - when you also play guitar and sing - because you might be stuck behind the piano the whole set, which is not great, and setting up a second mic is not a good option either. So we kind of came up with this idea where she needs to have something that she can just put away when she’s not playing the piano,” gesturing a sweeping movement with their hand. This is not the first stage piece that Alizon would design, going on to describe a tray he had made for friend of the band Bobby Wolfgang for his synth. Little did they know that it became the inspiration for a now-iconic element of Wolfgang’s stage setup. “It was a lot of trial and error to get it right”, he admits; the formula in the end was skateboard bearings and a wooden tray, and the piece was recently updated for their US shows in January with ZETRA. “It’s a shorter tray so it fits into the guitar cases, and a stand that breaks apart into small pieces to dispatch them across the luggage, so we’re flying with one big metal stand.” Alizon follows in their father’s footsteps, who is a set designer by trade. “I grew up in a workshop…I’ve had this kind of upbringing where I could see it was possible to make things yourself, so I feel like that gave me the confidence to get started.” Meanwhile, Jess turned her attention to the CGI that they wanted to incorporate into the album’s high-concept music videos, teaching herself how to use Unreal Engine over lockdown to make the band’s striking visuals. The Calva Louise universe was first created by a 10 year old Jess, carrying her creation with her from her Venezuela homeland to France, where she’d meet Alizon, which then found its home in the band the pair would create with Ben upon their move to the UK. “It’s always been there, it's always been a part of what Jess was doing and what we’re doing. There was never really a sit-down conversation about “this is what I want to do” because it was always there,” Ben begins. The band agrees that the early iteration of Calva Louise was way more abstract than it is now. “The essence was already there. It's just being able to develop ways to translate that story in a much clearer way,” Alizon finishes. Edge Of The Abyss The story of their latest album, ‘Edge Of The Abyss’, mainly focuses on Johnny impeccable, heading back in time from 2034 to explore how he came into Calva Louise’s world of deadly body doubles, lifeforce-sucking entities and inter-universe hopping. “Under the Skin is mostly set in the future, then we come back in time to see the origin story of Commander Johnny. You find Johnny young in ‘Impeccable’ and see what happened to him to move into the other world”, says Alizon. Whilst that may sound complex, Alizon lets us know that the overall story is too big for one record, so the band are releasing lore in small parts, so that their listeners can piece it together. ‘Edge of the Abyss’ is an album of revelations. At its core, it thematically explores accepting a changing world, and is set against a high-concept backdrop. Sonically, the record leaves listeners gaunt running from electro rock to metalcore influences, with the introduction of harder style vocals. Here, you can feel the angst running through Jess’ lyrics. Tracks such as ‘Impeccable’ are emblematic of the electro-rock features, whilst also showing Jess' lyricism in both sung and spoken word. Elsewhere, other tracks demonstrate a harder style of vocal akin to a more metalcore sound. ‘Barely a Response’ does so in its angst, matched with a drum and bass style mix and chopped vocals, while ‘El Umbrial’ shows off the full extent of Jess’ scream, adding chaos as it transitions between heavy guitar and the airy electro breaks that melt into a piano/floor lead warm-up and breakdown. ‘Edge of the Abyss’ also includes Jess writing and performing in Spanish over tracks such as ‘Lo Que Vale’, ‘The Abyss’ and techno-infused power ballad ‘La Corriente’. In the world of Calva Louise, the duality of both English and Spanish lyrics is emblematic of the evil body doubles, intensifying the disconnect of the world through a dual perspective, especially as the band speaks up on complex issues such as persecution and the need to be left alone. Ben and Alizon have been practicing the songs from their new album in preparation for their live shows, with a debut performance of some of their live track at 2000Trees Festival. Agreeing on the aggressive ‘Hate In Me’ is one of their favourite new tracks. Ben states, “I’ve been going back to it to practice it… and I’ve rediscovered it on my own. It breathed new life into it.” “It's funny because when you’re working on it for the record…you’re deep listening to the tracks - or maybe just the bass - trying to listen for the imperfections or going through it with a fine-tooth comb, it's much more analytical and scientific. When it comes to it and you re-listen to the songs and start learning for the live performances,, you’re like “oh! I remember this! This is great!” Ben adds on that point” “Or why did I do this to myself?!” Alizon punctuates. “Oh crap, now I have to play that” Ben laughs. While the music remains central to the Calva Louise universe, it is a multi-media project, including a Graphic novel collection published back in 2018, with music videos taking influence from early Tarantino and 90s aesthetic. “One of the sticking points for all of us in terms of film was Tarantino when we first met, and a lot of his early films are kind of set around that time”, Ben muses. “I think the later videos are more like horror, sci fi…we bonded over love for cinema and love for visuals. Even just like the music I feel like cinema is a big influence - people like John Carpenter who wrote their own soundtrack to movies. The project itself is multi-disciplinary so by essence everything kind of merges into one project and its different ways to tell the story underlying.” Alizon adds. “Each video is like a window into the bigger picture, which focuses on different characters.” The work is paying off for them, with the Vukovi co-headline evening slot at 2000 trees a couple weeks ago, and recently touring with Bloodywood. Alizon explains its the best tour the band have ever done. “Hands down. Fantastic tour, fantastic people, fantastic music. It kind of came up a bit last minute but we were super excited.” “During the tour I was really impressed with how involved they are with everything which kind of reminded me you can play these sized venues and you can still be involved with all the aspects of the show; even like halfway through the show they were still trying to improve everything that could be improved. I love that because it shows such care for detail for their craft and what they do” “What I love about the Bloodywood guys is that they’ve perfectly struck the balance between being professional and having fun.” Ben remarks before reminiscing on some tomfoolery, “the second last show of the tour was like ‘prank night’ - which we didn’t know about, no one told us! - but on our last two songs they gathered their entire road crew and the support band as well, and they all just walked out on stage all with like some piece of fruit and they all just like stood around the three of us and just stared at us deadpan eating fruit for the whole of the last two songs” this incident just added to their admiration of the New Delhi nu-metalers, with Ben praising their ability to drop the professionalism for a night and being able to have fun. Photos: Simon Arinze “That was so stressful” Alizon admits, “it was super intimidating! [to Ben] They started taking your drum kit apart!” Ben puts his head in his hands for a moment “Yeah [the lead singer] started grabbing my cymbals and just walking off with them.” In retaliation, the trio got the crowd involved in the antics. “They walked off before they’re encore, and we jumped onto the stage and got everyone to hush so no one cheered for one more song. Eventually, Raul sheepishly looked out and walked on. Oh yeah, and they had like a wall of death on stage” They also played their third 2000Trees Festival two weeks ago, on the back of a forest stage/silent disco set the year before “Our sound engineer was a bit stressed, but everybody loved it”, remembers Alizon. “We love 2000Trees, such a good vibe, we always leave with loads of friends….it isn’t like a big machine.” The core of Calva Louise is authenticity. The universes they have built are authentic to the writings of a young Jess, carried thousands of miles across the world and shared with thousands of people. The more they have leaned into showcasing the universes at the centre of the project, the stronger and warmer the coal fire of their career has become. “It’s probably the number one thing we strive for as a band. I feel like to me that’s super important. We never wanna be something we’re not, but at the same time you wanna be the best version of yourself; it’s like a balance of always being true to yourself and what we’re doing musically while still trying to push yourself to be the best you can,” Alizon says on this point. Photo: Simon Arinze Ben finishes, “I think authentic is the only thing you can try to be. If you’re trying to pretend to be something you’re not, or project what you think other people want, it’s only gonna warp yourself ...why would you waste time being something you’re not?” The multimedia multiverse of Calva Louise is only set to get bigger, with Edge of the Abyss out as of July 11th via Mascot Records, and a co-headline tour in the US with Mike’s Dead in September. Calva Louise are hitting their stride as artists; their work is paying off. Here’s to the fruits of this labour being as sweet as those fruits Bloodywood ate in front of them. Edge Of The Abyss is available now via Mascott Records. Catch the band later this year in the UK supporting Stray From The Path on their farewell tour. Words: Julia Brunton Cover photo: Henry Calvert Cover design and accompanying photos: Simon Arinze With thanks to Mascot Label Group

The Norwegian band Leonov have just released their epic new EP, Shape Of Ash. Embracing a noticeably rawer feel instrumentally than the bands previous three albums, it still delivers a powerful well produced example, under the hard to define style of celestial doom. Heavy distorted guitar riffs, powerful pared-back percussion, and siren-like vocals will have you wandering up the side of moss-hewn misty mountains, calling out for the Earth mother. The first single released off the EP, ‘Auld Ashtok’, is summed up by the band perfectly as “a stoner meditation built around a single, mantric riff”, luring the audience into some dark place with the promise of pleasure to be had. Here, the contrast between the instrument's gritty bass and the much cleaner diaphanous vocals gives us a consummate example of how this cosmic melancholy can be served. The band reflects, "'Auld Ashok' is about shifting perspectives - how the character moves between seeing herself as at fault, default, or a treasure vault. It circles questions of confidence, self-worth, and what we’re capable of carrying.” This message is delivered by singer, Tåran Reindal, like an enchantment that has all the mystery and seduction of Kesly Lu, or the emotional longing of Thom Yorke. The opening for the track ‘Bygg En Menneskekropp’, translated roughly ‘to build a human body’, could almost be taken, both title and melody, out of a John Carpenter film. The breathy vocals are a welcome addition for the clarity they bring, enough to detect the singer’s accent, adding intimacy and personality. Accompanying Tåran Reindal are the gentle vocals of Norwegian folk singer, Syvert Feed (Jake Ziah), who has all the naturalist delivery of Rufus Wainwright. There is an immediate sense of a conversation, rather than simply a duet, marked by a longing and emotion which points back to the title and the eternal struggles of love and relationships. Here the vocals are brought to the fore, exposed and tender, you can feel them close up to the mic, standing across from one another with some impenetrable divide between them. The EP closes with the titular ‘Shape of Ash’, a paired back mechanical rhythm, plucked out by the guitar, with the subtlest of atmospheric noise floating in the background. An unmistakable pound of the bass drum meets the guitar as the song transcends into an incantation, the vocalist calling forth the elements. The deceptively simple composition has an effective build, with the vocals descending into the depths, an underwater like effect rippling through... or is it that we are being called from across ‘the divide’. All this ancient and emotive symbolism of creation and destruction has the potential to make even waiting at the bus stop feel eternally epic. Listening on headphones it is easy to pick out the character of each instrument, at times giving the sense of a choral arrangement as much as a band, stirring up the power of a lost magic. Each song has a distinctive shift and at times you may want to sink your hands deep into the soil, and then run skinny dipping in an ice cold river the next. Leonov successfully harnesses the depth and drama of doom metal. There's a heaviness throughout which may sometimes feel as though you are sinking a bit too deep, but the shoegazey use of overdrive and fuzz, combined with ethereal vocals, gives air and space, re-energising the sound. A transcendent release taking you from the depths of mountain caves to their cloud-covered heights. Score: 8/10 Shape Of Ash was released on July 4th 2025 via Pelagic Records. Words: Alana Madden Photos: Leonov

The Boston based celtic punks Dropkick Murphys are back with album number 13. Whilst this number may be unlucky for some, their new album For The People is a record meant to draw you into a punk musical embrace at a time when the political landscape feels bleak, and the world seems to be in a fragile state. The opening song ‘Who’ll Stand With Us?’ Is a call to arms fuelled with a sense of anger and righteousness that everyone; both fans and casual listeners will be hooked by. With sweeping pipes, loud guitars, and gang vocals, this song that pays tribute to the working class earns it’s rightful place as the start of this musical journey. The album is full of songs that make you feel like you are at a rebellion. Drink in hand, ready to change the world one song at a time. The energy from each song truly coarse through your veins and is a testament to their nearly 30 years of being together. You can see how each song weaves into a story that showcases each members craft to create something rather extraordinary and special. Whilst most of the songs are there to fuel the fire in listeners bellies, some songs allow you to take a step back and truly focus on the poignant nature of the lyrics. ‘Chesterfield’s and Aftershave’ pays tribute to those lost and was truly a touching raise your glass moment. Similarly, ‘Streetlights’ is a nostalgic look at the life that was had before loss. It’s an incredible juxtaposition from the rousing party-like nature of most of the album, with each of these softer moments feeling perfectly placed on the emotional rollercoaster that is the track listing. There are five collaborations across the whole album, which is testament to the inspiration, talent, and family like nature of the band themselves. ‘Bury the Bones’ features The Mary Wallopers and with an opening few lines of “It’s time to unite. It’s time to be true to a cause. It’s time to do what’s right and rip the power back from their claws” you can sense the anger at the few that have power over the many. After time out of the band, vocalist Al Barr makes a short return to the band in the song ‘The Vultures Circle High’ and this feels like a brilliant return for him in this rockier number laced with growls and menace. Whilst this may not be a full return to the band, it felt like a family reunion on the track with the hope of things to come. Closing out the album is ‘One Last Goodbye’ featuring The Scratch. A tribute to the late Shane MacGowan, this softer Irish song closes the album with a fitting sendoff to fallen frontman and feels perfectly placed to end this musical voyage. For The People is an album that is true to it’s title. It’s truly for the people. It’s an anthem filled album to unite in some of the darkest of times. Allowing the audience to feel strength and drive in each song, reflect on the world around us both now and in the past, and feel roused to instigate change in the future. It feels like this emotion rousing album has appeared at the perfect time to truly inspire listeners new and old and this feels like a nostalgic yet modern Dropkick Murphys album that truly places them firmly on top form. Score: 8/10 For The People was released on July 4th 2025. Words: Laura Davies Photos: Dropkick Murphys

Punk is a genre best experienced live, and Florida natives TV Generation know that better than anyone. With their second full-length offering Passafist, capturing that live sound was a priority, seeing them ditch the slightly more polished sound of their debut album Cheap Times for a louder, grittier collection of pop-punk goodness, all produced in a single weekend and – for some tracks – in a single take. With new vocalist/guitarist Eric Pabon on board, the melodies are as free-flowing as the power chords. He joins Jerry Henegar on guitar, alongside bassist Billy Ondrus – but it’s drummer Jorge Gonzalez who is the first to introduce himself on the opening bars of the first track ‘Handful of Nothing’. It’s an easy-going pop punk bop, with some excellent guitar work on the back end and some gravelly vocals throughout. Whilst it’s a fun introduction, the raw recording style at work here really shines on their punkier, more rage-filled tracks. ‘My Way’ sees Pabon (unconvincingly) promise through gritted teeth that everything is going his way, whilst guitars thrash around him like they’re trying to summon a mosh pit to appear right in your living room. And ‘Daisy’ is less than a minute of furious lamenting and pounding drums, but the punch it packs is enough to knock you dizzy. It’s hard to imagine anyone being able to stand still when that riff starts up. There are places where this album suffers slightly from the stripped-back production, though; on ‘Billy’s Song’, the vocal harmonies sound great, but you may have to strain to hear them in the mix. ‘Wild Things’ is catchy and it’s impossible not to sing along, but the verses have a tendency to feel empty and unbalanced. There's a smattering of bum notes and missed chords and off-beats throughout the 26-minute runtime, but this IS a punk album. Some things aren’t meant to sound perfect, and if this is what a live TV Generation show sounds like, then I’d buy a ticket any day of the week. And it’s good to know that if I did buy one, I’d be welcome at their show. ‘I’m With You’ sees the band extend a hand to anyone who doesn’t fit into the social mould, branding bigots as "ignoramuses" and vowing to fight for the outcasts of society. These political themes run throughout the record, ranging from a general distaste of the world to an overt criticism of the current political system of the USA on ‘American Undead’. In a world where musicians are facing real and terrifying consequences for their political views, it’s refreshing to see a band that is willing to voice these thoughts whilst still making fun and vibrant music. Through and through, this album feels purposeful in its celebration of live performance. ‘XOXO’ is a standout track on the album: an upbeat punk love song which feels every bit as energetic and chaotic as it would in a crowded room. The music video seeks to prove this theory, and sees the band performing in beloved local Orlando venue The Spot, which closed permanently shortly after the video was recorded. On their Instagram page, the band writes that they hope that the video captures the “raw energy and urgency of a space that meant something – and the people who filled it”. Passafist isn’t just about the band performing the music, it’s more than that; it’s about the community who contribute to putting the show together. If you love spending Friday nights in your local punk bar, shout-y choruses and loud guitars, Passafist was made for you. Throughout the record, TV Generation prove time and time again that you do not have to reinvent the wheel to make a great song. This is their love letter to live music, and tangible proof that sometimes, all you need to have fun is some power chords, a catchy melody and one take in the booth. Score: 7/10 Passafist was released on July 1st 2025. Words: Ellen Lovell Photos: TV Generation