Alien Chicks are a chaotic, experimental post-punk trio, barrelling their way to the forefront of London’s underground music scene. Made up of Josef Lindsay (guitar & vocals), Stefan Parker-Steele (bass & backing vocals), and Martha Daniels (drums & backing vocals), the band has just released their second EP Forbidden Fruit, bringing a uniquely unpredictable sound, pushing boundaries you didn’t even know existed and leaving you begging for more. The six track EP combines explorations of political subservience and capitalism-induced resignation, with intoxicating instrumentals and striking vocals, plus some tongue-in-cheek lyrics thrown into the mix too! We kick off with ‘Donkeyhead’ - this track immediately catches your attention with some very deliberate and catchy repetition, and keeps it in a tight grip by interweaving melodic jazz with vicious punk energy throughout. We then jump straight into ‘Babe’, exploring how we never truly have free will over our lives, and how our motivations are minimised by our social and political environments, making us all a bit complacent. The lyrics mock the submission we all face by implying we’re turned on by it, and that our complacency stems from us being masochists. Josef’s exclamations of “babe” and “baby” over Martha’s punchy drumming really electrifies this track, making it a stand out number. ‘Dairylea’ comes in much chiller than the previous songs, bringing a sort of melancholic feel to it. It might just seem like a bit of a nonsensical song at first, talking about putting poison in Dairylea cheese, but if you listen closely you’ll realise it’s a song all about how fleeting our lives are and how passive we seem to be about it. Of course, Alien Chicks don’t let us stay in that mellow feeling for too long, as the next track, ‘Mr Muscle’, brings back their signature erratic energy. It’s a crowd favourite, and a loud and nihilistic piece with slapstick lyrics about cleaning products that you can’t help but scream along to. Moving on to the next track, ‘I’ve Become A Palm Tree’ switches up the vibe yet again. It opens with a jaunty melody that immediately makes you want to nod your head and snap your fingers along to. The use of brass instruments in this track makes it incredibly striking in comparison to the raw intensity of Josef’s vocals near the end. ‘Say Fish’ masterfully concludes this EP, really showing off just how sonically dynamic Alien Chicks are. While the entire record jumps between loud, turbulent punk sounds and chiller, jazzier moments, this track truly exacerbates this band’s range. In their own words, “it is one of our favourite songs to play live”, and we can see exactly why! If Alien Chicks weren’t on your radar already, they absolutely should be after this release. This EP is unpredictable in the best ways possible, and takes you on a journey full of spontaneity and strangeness. We’re excited to hear what they do next, and hope to catch them live in the near future to get a full taste of their powerful stage presence. Score: 8/10 Forbidden Fruit was released on May 9th 2025 via Hideous Mink Records & SO Recordings. Words: Zuzanna Pazola Photos: Alien Chicks

There are very few bands in extreme metal that provoke, confront, and transcend like Behemoth. For over three decades, the Polish juggernauts have carved a path of sonic destruction and spiritual defiance, blending blackened death metal with a fiercely theatrical and philosophical edge and yet here they are again with their new album, The Shit Ov God . Put simply, The Shit Ov God might not immediately feel like a quintessential Behemoth record, but at its core, it still bears the band’s unmistakable ferocity, theatricality, and a flair for blasphemy. That said, the evolution it represents doesn’t land as naturally or convincingly. If there is any way to suggest how it comes across whilst listening, it feels like Behemoth are caught somewhere between reinvention and repetition, unsure whether to plunge deeper into the esoteric or cling to a now-familiar formula. There are attempts to claw it back, particularly on the title track, which comes the closest to recapturing their signature blend of ritualistic power and sonic drama. It brims with fire and ceremony, and for a moment, it feels like Behemoth are reaching for something transcendent again. But too often, the production becomes overbearing. On ‘O, Venvs Come!’, the band tease a more atmospheric direction with what sounds like choral elements at its opening, but those textures are buried so deep in the mix they barely register, more like faint echoes of something that could have been. Instead of haunting the track, they vanish almost instantly, like the ghost of a spirit of a wisp. The result is an album that wants to sound massive and mythic, but too often just sounds muddled and impenetrable. However, on the tracks like ‘To Drown the Svn in Wine’, their performance verges on overpowering - blasting with such force and speed that everything else in the mix feels steamrolled in the process. There’s little room left for dynamics or texture; it’s all fire, no oxygen. Ironically, when the band finally strikes a more balanced, measured approach on the song ‘Avgvr (The Dread Vvltvre)’, a track that reins things in with a clearer structure and more deliberate pacing; it’s too late because that’s the end of the album and by then, the damage has long since been done. While The Shit Ov God is undeniably bold and unrelenting in its execution, it ultimately fails to live up to the standards Behemoth has set in the past. While the album is conceptually layered and brimming with venomous energy, it often feels more cluttered than captivating. The intensity that once elevated the band now risks overshadowing the more nuanced elements that made their previous work stand out. Though it aims to be a rebellious and incendiary statement, The Shit Ov God falls short of the greatness that fans have come to expect. Score: 5/10 The Shit Ov God was released on May 9th 2025. Words: Ciara Hicks-Evans Photos: Behemoth

Oh CANDLEMASS, how beloved are thee. And how far you have come. Once, they were perched high on the mountaintop in their native Sweden beside Metallica, robed in smoke and reverb, lords of the slow-motion apocalypse. When original vocalist Johan Längqvist returned in 2018, it appeared time for Candlemass to return to delivering their signature brand of Epicus Doomicus Metallicus. And now, for their 40th anniversary, they are nonetheless back for more. From their last release, 2022’s Sweet Evil Sun, the band returns with an EP entitled Black Star. It is a small morsel, only four songs that do not breach seven minutes in any of their runtimes. It begins with the title track, as Johan emerges out of a smoking trench, voice hoarse and rough around the edges. He appears to struggle through the performance, with a vocal melody oddly reminiscent of Barbara Streisand’s 'Woman In Love' mixed with their earlier song 'The Omega Circle'. And yet - and yet! - there's still that moment. That unmistakable Candlemass moment where the riff lumbers in, majestic and deliberate like an elephant in a leather trench coat. It continues with little variation before fizzling out into obscurity, with no catharsis or climax to speak of. 'Corridors Of Chaos' is an instrumental that opens like it’s got something to say and then says, “never mind.” Johansson’s guitar sounds like a reheated Nightfall riff played in a broom closet rather than a grand cathedral. Feeling like part of a song that doesn’t exist rather than a standalone number, it trudges along like a vagabond with nowhere to go. It drags its feet, moans a little, and keels over. Then the covers roll in, starting with 'Sabbath Bloody Sabbath'. It’s less of a cover than a pastiche, with barely anything notable changed from the original arrangement. Poor Johan appears to be struggling to secure some of those peak-Ozzy notes, although he does an admirable job. Sadly the result is a Xerox of the original with some weak doom sauce slathered on. A far cry from their haunting, legitimately impressive take on 'Don’t Fear The Reaper', which managed to reinterpret a classic rather than just repeat it louder. And then, blink and you’ll miss it, 'Forever My Queen', a Pentagram homage played with the urgency of someone needing to catch the last train home. It rips, it respects, and it abruptly ends before the ritual circle’s even been drawn. Unless you have not got it by now, alas, it is an underwhelming listen. Candlemass, who once spoke in thunderclaps, barely manages a wheeze here. A band with their tenure should not have “echoes of greatness” in their records, for in recent years they have put out music that honours their legacy as the most hallowed and eminent of all doom metal acts. It’s not a comeback. It’s not a flame reignited. It’s a vestige from a dusty drawer, one that requires a significant amount of polish to become a relic. So now it just sounds like doom in a dentist’s waiting room. Maybe this EP was just them stretching the ol’ bones, doing a few reps before the next real push. Fine. Maybe. But for now, Candlemass isn’t roaring down the road to the demon’s gate, rather they’ve just stumbled along the road. Here's hoping they put another album out soon. Godspeed, boys. Just remember where you buried that thunder. Score: 4/10 Black Star was released on May 9th 2025. Words: Kiarash Golshani Photos: Candlemass

Who knew blending together jazz, rap, and punk would put you on the radar of many punk fans? The trio Alien Chicks surely do, as they sold out their London show and just came back from their quick European tour, where they supported Lambrini Girls. Hailing from the rough streets of Brixton, the members Stefan Parker-Steele, Josef Lindsay and Martha Daniels started playing together in the iconic The Windmill and are gradually heading for bigger venues. Alien Chicks are currently headlining over the UK, promoting their newest EP Forbidden Fruit, that came out on 9th May. Supported by Star City and PleasureInc., together they absolutely demolished Oslo Hackney. The first support of the night, Star City, surprised instantly with a saxophone in their opening track, which did not re-appear until the last song, but absolutely made the crowd enjoy the set from the first second. Being founded in 2024, the band does not have a long history behind them, yet they absolutely captivated the audiences of their home venue with their blend of synth-heavy disco, post punk, techno and acid house and are rapidly becoming one of the prominent artists in their genre across the UK. Gracing Oslo Hackney with some great riffs, complemented by the already mentioned synths, the band swiftly made the floor moving and gained many new listeners in the process. Right after the warm-up, PleasureInc. took over the stage and were welcomed by a massive applause, which indicated that they were indeed a band many of the fans were excited about. This genre-fluid bomb of energy, disco and hip hop is sure to grab everyone and shake them until the last moment, and that exactly was happening on the dancefloor the whole time. The four-piece always brings that sense of familiarity with their melodies, yet they also bring something new every time they drop a new release, and it is obvious that the founders Jonny Silver and Kenny Pleasures are on the journey to push their boundaries with every live performance, as they also did this night. After two amazingly selected supports, it was time for Alien Chicks to show the fans what they came for. Although the band started a bit later than supposed to, they were at once bombarded with unstoppable energy and cheering, while getting ready for their set. The atmosphere accumulated in that small room was completely out of this world, as the distinctive sound of Martha’s drums echoed throughout the space, Stefan’s bassline pulsated in ears and Josef’s explosive guitar work captivated the audience. With Stefan’s signature jumps every now and then, combined with the ongoing moshpit on the floor, it was a sight that surely is unforgettable. At some point during the set, fans started jumping onto the stage and sometimes sing with their favourites, only to crowdsurf right after, making it a wonderful experience from the back of the venue. It was hard to say goodbye after the last song, but that did not stop the members of the band to jump into the crowd, making it an iconic closure of one of the best nights ever. The night was an absolute blast and the chosen support bands were a great choice, as they were both similar with their own music to the headliner. Although the floor felt really packed at the times, which is expected at a sold out show, it was fascinating to watch the crowd and the bands become one, and enjoying their time together. The evening surely was an iconic moment in Alien Chicks’s career, that they and their fans will cherish for many years to come. Words and photos: Katerina Stepanikova

Tucked away in the Patterns basement was Panic Shack’s sold out date on the Brighton leg of their debut album’s tour, accompanied with Isle of Wight punks The Pill for a concise evening of Riot Grrl realness. To get it out the way: though many Brighton residents seem to love Patterns for their clubbing and raving needs, it's hard to see its appeal especially as a live music space, mainly due to the large pillar dead centre in the space that obstructs the view of a ballpark 30% of the room’s capacity. This of course meant that there were dense pockets of gig goers in a fan shape around the obstruction, adding a claustrophobia to the windowless basement which impacted the ambience of the evening overall. At least they’ve finally put toilet seats on the toilets, though. Anyway - the room was slowly filled with primarily millennial and younger gen Xers as opener The Pill’s set crept closer. Their half an hour set opened with Scaffolding Man, a cheeky track about accidently flashing/having a crush on the builder across the road, followed up with Salt Father, an anti-sugar daddy anthem. As a trio The Pill came across as reserved but full of dry humor: “what we lack in intelligence we make up for in subtlety” followed with a bit about asking people if they’d heard of club penguin before assuring the crowd that everyone was in the same boat because the track was in fact about online grooming (club penguin boyfriend) coaxed a smile. Furthermore their penchant for hater anthems such as Money Mullet or the anti-leonardo dicaprio song gives a “I’ll address it in the music” vibe to the otherwise softly-spoken co-frontwomen that offers an opportunity for catharsis in dancing along with them. Overall, the set was well balanced between crack and tracks, and by closing track it was a shame that more of the room wasn’t jumping along with them. About 30 minutes later, main event Panic Shack would introduce themselves to Patterns using Melchior Rietveldt’s anti-piracy soundtrack before launching into Gok Wan. The main thing to note about Panic Shack is that the energy between the Welsh women is immaculate; they danced among each other with smiles ear to ear as they traded riffs and vocals, able to balance the party they had among each other with coaxing a party out of their crowd. This bled well into the between-track crack, as they mused about the digital download lanyards that were totally their idea, starting a chant and creating a running joke with the crowd for the rest of the set; this culminated in a lovely story of one member giving a stranger the heimlich maneuver within two hours of them being on the road being the perfect excuse for the crowd to go pick one up. The embodiment of this was their first love song but written for each other; the “I’ll lie for you/I’ll die for you” hook as cheeky as it was resonant as the fun Panic Shack have together shone through. The setlist itself was well balanced with tracks from their yet-to-release debut album and their original hits. The Panic Shack sound is consistent in its hook based quickfire punk tracks, though it was pleasant to hear the development of their sound as they hopped between their latest project and previous releases; utilising longer instrumental breaks and playing with tempo a little more in the newer tracks added some extra depth to the work overall. The best of the set included I don’t really like it, Tit School and their debut single Who's got my Lighter? As well as closer The Ick - all jumpy and angry at the state of the world ready for a de-stress when witnessed live. Therefore it was a shame in the end how static the crowd was throughout the night. Bar a small ring at the barrier and the odd girl throughout the room did not move bar some respectful head bops. Maybe it was the heat in the Patterns basement or the fresh-from-work crowd but there was seldom a sing along and a chant had to be coaxed out of the room like blood from a stone. It was disheartening especially with the high energy performance that The Pill and Panic Shack had put on for Brighton in mind; hopefully 2000 Trees will treat Panic Shack better when they perform on their Wednesday billing. Panic Shack’s self titled debut album will be released on 18th July 2025, and will be on their Don’t Quit Your Day Job tour across the UK until May 28th. Review: Julia Brunton Photos: Ewan McDonald

What do you say when it feels like it’s all been said and done? They barely need any introduction, and we’ve all been waiting for this. Let’s face it, Sleep Token is releasing today, 9 May 2025, their fourth studio album entitled “Even In Arcadia”. The weight and scrutiny this opus has been under even before its release is undeniable, and also makes the themes of it even more timely. With 2023’s “Take Me Back To Eden” held as sanctum, it would make anyone nervous to see how to follow this up. Now imagine being on the other side of the veil with all staring at you expectantly. This is more than an album, but a breathing mask. Layered with an intimate and introspective life line, which the first three singles already established. As the countdown rolls down, we can’t help but wonder how deep it’ll cut. We open with a breathtaking statement of intent in the form of the eight-minute epic “Look to Windward.” Like watching your own childhood bedroom, it is full of clashing colours and meanings. The track defies simple categorisation, weaving together glitchy chiptune-like synths, reminiscent of a child’s toy keyboard, with orchestral surges, guttural metal breakdowns, and whispered poetry. The opening keys pulse with an almost innocent and searching curiosity before Vessel enters with a raw tone that almost feels intrusive to listen to. A sort of home-recorded feel intimacy where his vocals float somewhere between confession and incantation. Around the two-minute mark, the track mutates, layering ghostly backing chants that rise into a haunting, choral swell. At 3:20, just as we find our footing, an unexpected breakdown crashes in, but still tethered to symphonic roots. It is somehow also threaded with djent aggression and a distant hip-hop tick. The song closes with the whispered line, “Will you haunt this eclipse in me”, a ghostly echo of a distant past over the returning synth, before a final explosion of screamed vocals and frenetic drums. The title nods to no other than T.S. Eliot’s The Waste Land, and like the poem, “Look to Windward” meditates on ruin, memory, and spiritual reckoning, setting the tone for an album that finds beauty in the collapse. Firstborn of this new opus, “Emergence”, comes next. It marks a shift from the raw emotional disarray of the opener to a more fluid and deliberate synthesis. Where “Look to Windward” felt like a storm of impulses colliding, “Emergence” is gentler in its construction, ethereal and yearning, as if reaching out with trembling hands. The track’s central lyric, “Wrap your arms around me”, is echoed by a looping guitar line that acts less as accompaniment and more like a protective cocoon, encircling Vessel’s voice in sonic embrace. An electronic beat pulses beneath, carrying forward the rhythmic language of the opener, but now more present, more willing to be seen. Even the guitars seem to echo the vocal line in the spaces between verses, lending the impression that the instruments themselves are singing and carrying the voices of their wielders. We, of course, can’t avoid mentioning the saxophone. Taking us all by surprise, it came in as a sensual, dreamlike interlude that paints the track in shades of noir. Paired with sparse piano touches, it transports us into a world that feels both intimate and cinematic, vulnerable and controlled. If the opener was a cry from the edge, “Emergence” is the moment that cry finds form and begins to sing. With “Past Self”, we pivot into a bold, genre-defying statement that fuses djent-laced dissonance with pop-R&B smoothness, channelling an almost early 2000s catchiness that feels both nostalgic and forward-thinking. The track opens with delicate, wind chime-like tones before plunging into a more direct, rhythm-driven groove. There’s a clarity here, a more straightforward structure that doesn’t dilute the emotional weight but rather reframes it: this is a song about confronting the self beneath the mask. Vessel’s delivery is intimate yet commanding, like reading aloud a letter never meant to be sent. Lyrically and sonically, “Past Self” captures the tension between evolution and identity, between who we were and who we’re becoming. The contrast of vulnerable melodies and punchy, percussive riffs mirrors this internal conflict, while the track’s sheer catchiness suggests a willingness to connect with new listeners beyond the band’s established circles. It’s one of Sleep Token’s most accessible offerings to date without sacrificing depth. A signpost pointing to a new era where emotional honesty and sonic innovation walk hand in hand. “Dangerous” arrives like the seductive curveball we were expecting to come. Opening with a lush, old-school rock ballad vibe that could have been lifted from a Scorpions record, it is forward, deliberate, and unapologetically indulgent. A dissonant guitar line acts like a rhythmic weapon more than a melodic anchor, hammering out a pulse that merges seamlessly with the band’s signature blend of djent grooves and flickering electronic beats. The result is a track that feels simultaneously nostalgic and forward-looking, like a love song built from broken circuits and haunted memories. There’s a knowing theatricality here, a sense that the band is leaning into its most fan-favourite traits - sultry vocals, massive drops, and that polished dark-pop sheen - with a wink and a smirk. “Dangerous” is fan service in the best way: it delivers exactly what longtime listeners crave, but with just enough twist to keep it fresh. It leaves us worrying about one thing: can BookTok even survive this?! “Caramel” stands as one of the most startling and revealing moments on the album, where the barrier between performer and person shatters. Opening with a delicate, glockenspiel-like melody (part of a recurring xylophonic motif that threads through the album), the track quickly veers into unexpected territory, embracing a reggaeton and dancehall-inspired rhythm that marks one of Sleep Token’s most daring stylistic shifts to date. It’s also the catchiest and most rhythmically infectious song on the record, yet it carries some of the most gutting lyrics Vessel has ever delivered. This is no abstraction, it’s a direct letter to the audience. “Terrified to answer my own front door” and “this stage is a prison” lay bare the claustrophobia of unexpected stardom. They try to cope with the dark underbelly of parasocial fanbases taking it too far: “They shout my real name just to get a rise from me”, he sings, pushing back against those who violate the very anonymity that gives Sleep Token its mystique. The line “Thought I got better but maybe I didn’t” lands like a quiet suckerpunch that brings a knot to our throats. Resigned, fragile, and devastating. “Caramel” is not just a highlight; it’s a held-up mirror dressed in the most seductive disguise. The title track, “Even in Arcadia,” feels like the emotional centerpiece of the album, a stripped-back, dreamlike offering that carries the weight of something timeless. It begins with what sounds like a delicate music box, soon joined by soft piano, creating a space that feels suspended outside of time, like a message set adrift in a bottle. Vessel’s voice enters gently, almost as if whispering across great distances, delivering the haunting question: “Have you been waiting long for me?” The song unfolds like a letter written to no one and everyone, a quiet reckoning with absence, distance, and longing. Despite its sparse arrangement, the song feels grand, almost mythical, like a modern-day Odyssey put to music. There’s a sense of vastness in the simplicity, a swelling emotional tide beneath the minimal instrumentation. Then, at 3:25, the illusion of calm ruptures: Vessel’s voice transforms into a raw, grungy scream, ragged with desperation, different from the controlled precision we’re used to, but something far more human and bruised. It’s the sound of someone trying to be heard across oceans, across years. The track finally closes on a plaintive violin, drawing everything back down to a single, trembling note. “Even in Arcadia” is a reminder that beauty and pain can exist in the same breath and that sometimes the quietest songs carry the loudest truths. “Provider” brings a sense of reverence and surrender, beginning with an almost sacred stillness. The track opens like a hymn, with electronic organ-like tones gently supporting vocals in a way that feels gospel-tinged. There’s a quiet power in its simplicity, but soon, a bass-heavy rhythm slides in, slow and languid, transforming the track into something sensual without breaking the emotional tension. What follows is one of the most seamless integrations of heaviness on the album. When the breakdown comes, it glides into place, with heavier guitars swelling up from underneath rather than crashing through. Instead of disrupting the atmosphere, they elevate it, lifting the song to a more transcendent register. The track is not about release in the explosive sense, but rather about ascension - about giving in, not giving up. We then go to the latest release, “Damocles”, which feels like the emotional and creative tipping point on “Even in Arcadia”, capturing the quiet exhaustion of an artist who’s run out of words but still feels the weight of expectation. The track carries a stark, almost brittle piano line, simple, stripped-back, and raw as Vessel sings “I know these chords are boring” that captures the frustration of creative burnout. It’s as if he’s circling around the edges of writer’s block, too tired to fight it but still trying to make sense of it. There’s an almost confessional quality to the track, as if it was written on tour during a moment of catharsis, bared for a brief but necessary respite. It captures that fragility of being both creator and creation, where the weight of expectations becomes almost too much to bear. The mystical “Gethsemane” carries the weight of its namesake. It’s a space of suffering, inner turmoil, and the quiet acceptance of impending sacrifice. In this context, the song becomes a deeply emotional meditation on what feels like heartbreak, loss, and the quiet, often unspoken pain of giving yourself away. It speaks to the experience of bottling emotions and suppressing one’s own needs because there is no space left for personal expression. When, in caring for others, you lose sight of yourself. It shows a form of quiet devastation, mirrored in the track’s discordant yet rhythmic structure. "Infinite Baths" serves as the haunting, cathartic conclusion to “Even in Arcadia”. A sprawling 8 minutejourney (and the longest track on the album) that loops back to its beginning, mirroring the cyclical nature of healing and renewal. The track opens with a melody that feels like water washing over you, as if the song itself is a cleansing ritual. There’s an echoing quality to Vessel’s voice, as if the lyrics are being heard from beneath the surface of water, distant yet clear, singing “I’m finally here and I’m not leaving” as a declaration of strength and resolve. It feels like a letter to the future self, a promise of resilience after a long and painful journey. It’s as though all the catharsis from the previous tracks, each one working through its own agony and emotional release, has led to this moment of resolution. The song gradually builds into its second half, where the most ferocious breakdown of the album erupts in a wave of black metal fury. This breakdown lasts throughout the second part of the song, breaking down the emotional walls as a final act of purging. The song ends as it began, with an almost serene sense of closure, a rebirth signalling that the pain has been washed away, leaving a person ready to move forward, unburdened. Even in Arcadia marks a bold and transformative chapter in Sleep Token's already remarkable journey. The album is a dynamic exploration of vulnerability, emotional turmoil, and eventual catharsis, woven together with a rich tapestry of musical experimentation that defies easy categorisation. From the ethereal and haunting opening of “Look to Windward” to the cathartic, black-metal-infused finale of “Infinite Baths,” each track delves into the internal battles and moments of personal reckoning, with Vessel offering his most raw, exposed performances to date. The recurring themes of struggle—whether it’s the pain of public expectation, the suffocating nature of fame, or the deep sorrow of lost self-identity—are intertwined with moments of musical grandeur and intimacy, creating a record that feels simultaneously larger-than-life and deeply personal. In this emotional travel, Sleep Token does not only expands their range but also pushes the boundaries of what they’ve created before. As a testament to their continued rise, Sleep Token is set to headline Download Festival for the first time which is a milestone not to miss. “Even in Arcadia” isn't just an album; it’s the culmination of years of struggle, experimentation, and a relentless pursuit of musical and emotional honesty. With this album, Sleep Token solidifies their place as one of the most innovative and captivating acts in modern music, poised to leave a lasting imprint on both fans and critics alike. Rating: 10/10 Words: Lysandre Pons Photos: Andy Ford

What is a better start to the weekend than having a good time on Friday evening? Coming down to Electric Brixton to see the duo Skegss! Coming all the way from Byron Bay in Australia, the drummer Jonny Lani and vocalist, guitarist and bassist Ben Reed decided one day to reconnect their childhood friendship and started performing together, bringing their surf music garage rock all around the world for fans to enjoy. Currently promoting their newest album Pacific Highway Music across the UK and Europe, supported by the British indie-punk band Soaked, the band brought their last domestic show to Brixton on 2nd May. Starting off with almost a halfway full venue and not a very warm welcome, Soaked quickly changed the atmosphere in the audience as they started blasting their discography. Only few songs in, the indie-punkers played their political song ‘Fuck You’, mentioning the richest world leaders, immediately followed by massive cheering and even a moshpit, that was going strong for the rest of the band’s set. The floor of Electric Brixton started to fill up with people rapidly, as many fans, who were observing from the balcony at the beginning swiftly run downstairs and by the end of their set, the floor was almost full, giving the band their deserved applause after an excellent supporting performance, that made the fans eager more for the long-awaited headline gig. After a short break, and fifteen minutes of confusion, because nothing was happening on the stage, Skegss finally revealed themselves, and from the second the lights went off until the very last one, when they came back on, the crowd showed the band that they are absolutely welcomed and loved in London. Greeted with massive moshpits, which were comic during some songs, that were not as heavy, and crowdsurfers, who at some point, to the horror of the event security, started jumping onto the stage, the band gave their absolute best, throwing unforgettable riffs left and right and even threw an encore song at the end, after the crowd’s endless chanting. The atmosphere of the evening was spectacular, and it was obvious both the fans and the band were pleased with the outcome. Although there are only two members of the band at the moment, they have managed to secure a bassist for the whole tour, and it was a smart move, as the bassist helped to make the concert more memorable with his engagement and punchy bass lines. By the end of Skegss’ performance, it was hard to say goodbye, but the memories from the gig will absolutely live in the heads of their fans for a long time. The whole evening was an absolute blast, and the atmosphere throughout both gigs was spectacular. Choosing Soaked as their support was a great move, as the band made the whole venue move around, and it is certain we are going to hear about the band more often in the future. Apart from the late start of the headliner, with no explanation whatsoever, the performance was breathtaking and absolutely cemented Skegss as one of the best bands in their genres. It surely was a night to remember! Words: Katerina Stepanikova Photos: Dave Ellits

Every year, Metal to the Masses offers up one of the most exciting battlegrounds in the UK’s grassroots metal scene. With a slot on the mighty Bloodstock Festival lineup as the prize, bands go all-in, throwing riffs, sweat, stage props and sheer willpower into the ring to prove they deserve their moment on one of the country’s biggest metal stages. This semi-final at Rebellion Bar, Manchester, was no exception, drawing a packed-out room and a surge of atmosphere from the opening moments. With over 100 people crammed in, the energy only got wilder as the night went on. Leader opened the night with deathly screams and commanding stage presence, shaking the walls before the sun had even fully set. Crowd-surfing kicked off early as the thrash metal band delivered a fierce set that got bodies moving and set a high bar for the rest of the evening. Next up, VMBRA brought an electrifying set led by their powerhouse female vocalist, blending prog and traditional metal in a way that grabbed attention right from the first song. The band’s onstage energy was undeniable, sending ripples through the crowd as their performance carved a space for them among the night’s fiercest contenders. Images: Left Leader, Right - VMBRA By the time DWINGLE hit the stage, the room was stacked and the atmosphere ramped up to full-blown pep rally chaos. Armed with flags and determined to make their set feel like a presidential campaign party, they stirred the crowd into a frenzy, demanding full audience engagement and landing every punch. Then came Phallic Rage, and true to their name, subtlety was nowhere on the agenda. Inflatable cows bounced over the audience, plushie dicks were gleefully hurled into the crowd, and a guy dressed as Elvis burst out just in time for their namesake song. The band’s “Milk Me” t-shirts and balloon-strewn antics had the room howling with laughter, but they backed up the humour with tight, punchy playing that kept the pit alive and thrashing. Images: Dwingle - Left, Phallic Rage - Right Closing the night was guest headliner Dacara, delivering a sharp, polished set. Their presence was a reminder of what’s waiting for the winners just around the corner - a slot at Bloodstock, bigger stages, and a chance to carry this local fire onto the national metal scene. In the end, it was DWINGLE and VMBRA who secured their place in the final. Both bands proved they could not only command a room but also leave a lasting impression, and now they’ll battle it out for that coveted Bloodstock slot. Images: Dacara This semi-final didn’t just showcase individual talent, it captured the beating heart of the UK’s underground metal scene. Expect the final to be even louder, weirder, and more unforgettable. We absolutely can’t wait. Words and Photos: Katie Edwards

There’s a line in the song ‘Anna Begins’ that says; “Oh” she says “You’re changing” but we’re always changing, it does not bother me to say.” It’s inevitable. It’s 2025, for Christ's sake. Everything has changed. Trying not to look at the pains that come with the present, society looks to the past to see how they got here. And who better to swan-dive into this swamp of nostalgic existentialism than Counting Crows, the patron saints of melancholic navel-gazing. To many they’re the band that feature on various film soundtracks and dominated many a bedroom of flannel-clad Hikkikomoris looking longingly at birds on telephone wires. Their sudden, dramatic success is down to the strong emotions evoked in their music. The bittersweet melodies contrasting with singer/songwriter Adam Duritz’s loquacious lyricism that once spoke of longing to be recognised, then sharply turned into wishing he was invisible. That's the Crows' magic: making you feel like your pain was universal and vaguely poetic, even when it wasn’t. It appears that it took a global pandemic to convince them to finally get out of the funk and back into making music. Society fell apart, people learned to bake bread badly, and somewhere in that isolationist haze, Counting Crows remembered they were, in fact, a band. And in 2021, they came out with an EP called Butter Miracle, Suite One. Initially a prelude to another EP, namely Suite Two, it appears that it’s had a thorough re-look, with some additional material added to form a full LP. Their first album in 11 years. That’s a long time in dog years - or music years - heck, even plague years. In a real sense, this album is about dealing with change. Gone are the dreadlocks of Duritz, that salacious rock ‘n’ roll star hairdo, tangled symbols of yearning for fame. That was a very long time ago, the Crows are extant now in an unrecognisable world. The amazing thing is how beautiful that change can be. The opener ‘With Love From A-Z’ is a bluesy slow-jam, a loving tribute, omnipresent, as if Duritz is a great spirit watching over the dejected ones. ‘Spaceman In Tulsa’ follows, a nostalgic jam that will make you feel old and young at the same time. In the vein of songs like ‘Get Back’ and ‘Mmm mmm mmm mmm,’ it concerns a varied cast of characters with rough upbringings channelling their energies into performing. Feeling liberated, but always different. It seems that they have finally come to terms with their stardom, that great and elusive beast now tamed and rolling around in the litterbox. It is followed by ‘Boxcars’ in all of its upbeat rock glory. The drums of Jim Bogios drive the beat forward whilst the guitar efforts of Immerglück, Bryson, and Vickrey crunch through Duritz’ soaring lyricism. There’s a political penchant to these lyrics, decrying the dangers of convention; “we are numb-struck, dumb, left out in the sun, and we’re sick of everything.” This is their protest song, maybe. ‘Virginia Through The Rain’ is a slow-jam like their beloved ‘A Long December.’ An amende honorable, sombre and serious. ‘Under The Aurora’ is a Beatles-esque number that smacks of a grown-up ‘Mr. Jones.’ From “Believe in me, ’cause I don’t believe in anything,” to “I want to believe in something.” It’s the sound of somebody still paying attention, still searching, even when the world’s louder and more chaotic than ever. It’s ‘Ashes to Ashes’ to their ‘Space Oddity,’ decades have passed and reconciliation is nigh. From then on the EP songs comprise the rest of the album. It’s a concept suite, half rock opera, half therapy session. ‘The Tall Grass’ evokes imagery of loss of innocence, with a rabbit in death throes and Duritz asking the listener; “can you see me?” ‘Elevator Boots’ is a 70s throwback with echoes of peak Elton John about one-night-stand’s on the road and how they only serve the nefarious high that some musicians are junkies for. Next is ‘The Angel of 14th Street,’ a cautionary tale to not dwell on the past, "If God is dead why am I here, did he leave a light on for me?” The last song is ‘Bobby and the Rat Kings,’ a number surprisingly similar to Springsteen’s ‘Thunder Road’ complete with piano. It ties the themes of the EP together in a nice little bow, resolving the character’s arcs and presenting a band on the mend, a band who made pining cool, with time being the greatest healer of all. Hoo boy. What a listen. Perhaps Butter Miracle was an apt title, as this thing is dense and miraculously realised. In a social media dominated world many rock bands are faced with the reality that some of their material has grown stale with the times. No such dilemma exists for the Crows as they are on top form, masterfully mixing their solemnity with pertinence and through this re-appraising their previous works. The miracle of Butter Miracle, if there is one, isn’t that it’s a comeback. It’s a continuation. Counting Crows have learned, they have let the passage of time ebb and flow over them, let it change them. And somehow, against the odds, they still sound like themselves. Only older. And perhaps much better for it. There is a real, palpable passion behind this album, like a tenderly made crochet job. Their die-hard fans will eat this up like communion wafers. And the civilians tuning in on the radio might feel a pang too, but this isn’t the Counting Crows you used to cry to in your bedroom at 17. This is Duritz weathered and wounded, finally coming in from the cold and the rest of the band blasting out their bluesy finery. The yearning is still there, yeah, but it has metamorphosed. It’s muted. It’s nodding with seasoned eyes saying, “Yeah, kid, I remember.” Coming with it is an unusual serenity, the Duritz you once knew seems to finally be at ease with his songwriting and the vestibules of fame and fortune. To quote the great Little Richard, he got what he wanted, but he lost what he had. And in this case, that’s not just okay. That’s beautiful. Score: 8/10 Butter Miracle, The Complete Sweets! will be released on May 9th 2025 via BMG. Words: Kiarash Golshani Photos: Counting Crows

Spacey Jane have long held Australia’s attention since their dreamy breakout album Sunlight. Formed in Perth, Western Australia in 2016 and following the release of their vulnerable sophomore album, Here Comes Everybody, the indie-rock quartet has made significant waves on the international stage. As one of the many twenty-something Aussies navigating a quarter-life crisis in London, I’ve certainly noticed the increasing popularity and unique energy that Australian artists bring to the global music scene across varying genres. From the popularity of Ocean Alley and Dom Dolla, to the indie giants Tame Impala and the recent rise of Royel Otis, and even the return of nostalgic acts like Empire of the Sun, one thing is certain - we do not miss! The common thread tying these artists together? Their deep gut-punching and nostalgic tracks that force you to question with mild discomfort: Who am I? Where am I? And how did I get here? This kaleidoscope of questions and decisions, spanning the past, present and future, leave many of us trying to make sense of ourselves, our choices and the people who have made us who we are. A kaleidoscope that feels hard to express on a good day. A kaleidoscope that can make us dizzy in its beauty. If That Makes Sense cleverly weaves these thoughts through the personal and lyrical genius of lead, Caleb Harper, helping us bring our own vulnerability to the table. To put it simply: this album is like ointment—it seeps deep and slowly into the skin, then muscles, and forces you to knead out the knots. It’s pleasurable and painful all at once, much like album themes of falling in and out of love, overcoming trauma and moving forward. The new synth-inspired sound creates layers of meaning in each track by utilising a wider range of instrumental elements than their previous albums. Ultimately, it is this new melting pot of sounds which forces us to seek someone to hold us, trust us, and guide us through this dizzying kaleidoscope rather than avoiding it… if that makes sense. So, the details of the tracks themselves? Described as their “most ambitious record to date”, fans of the band’s pre-2020 tracks - and even their most recent releases - may feel like they’re being plunged into unknown waters without a floatation device. This initial feeling of discomfort, like looking through a kaleidoscope, or the dream-like effect of light reflecting on water, should not be feared. Die-hard fans should have faith in Mike Crossey’s production, which rings similar to The 1975 but ultimately does not distract from Spacey Jane’s distinct and authentic sound. The album breaks the unsure surface with an unskippable instrumental intro that melts like butter into the first track, 'Through My Teeth'. The vibe of this track provides the album’s cornerstone, with the band reflecting it is “like a contradiction of forgiveness and anger, love and breakdown”. Whilst the song is ultimately upbeat, whimsical and somehow hopeful, the lyrics echo with loneliness and defeat. Self-described by Harper as “[not] trying to be anything in particular”, the following tracks oscillate between confident rage and “whispers of uncertainty”. Plunging the listener straight into a more sombre mood, the third track on the record, 'Whateverrrr', opens with a deep and distorted sound. It encapsulates the relentless nature of waking up with intense dread due to an uncontrollable situation, but ultimately resigning ourselves to the passage of time and ‘getting on with it’. The tiring feeling of this song effectively conveys the agony of mourning the normalcy and healthy reality that could have been. Thereafter, the dramatic and therapeutic singles 'All the Noise' and 'How to Kill Houseplants' are interrupted by what will be an adored crowd sing-along 'Impossible to Say', which all continue to ride the wave of varying emotions through deeply personal lyrics that feel far too familiar. Particularly relatable is Harper’s metaphor of understanding that “love is a garden” needing to be watered yet lamenting that “it hasn't rained and it's starting to show”. This exploration of what we need to do for love to be equally fulfilling, and the tension between that ideal and our ability to achieve it, ignites a conversation that is both vulnerable and valuable for us all. This reaches a devastating, guitar-heavy peak forming the summit of the album in track seven, 'I Can’t Afford to Lose You'. For the writer, this track feels like the screeching release we stumble on after bouts of chaos, disappointments and set-backs, particularly in a romantic partnership. It is not dissimilar to trekking to the top of a gruelling mountain, hitting each checkpoint on time, only to be met with a view clouded by fog. For my current relation to the themes of this song, it has undoubtedly become my favourite from the album. But then 'So Much Taller' provides a fast-paced reprieve, referring to the well known “black dog” but juxtaposing this with a tune that makes you (maybe just me) want to dance ridiculously in front of someone, despite the doubtful and self-hating mantras repeated in the song. Tracks nine, ten and eleven pull the listener back together with a tired thread of infatuation, slow burning, waiting, wondering and worry, before track twelve, 'Ily the Most', completes this segment with a melancholy and romantic piano melody reminiscent of UK duo Oh Wonder. The lyrics, “If you ever left I couldn’t bury your ghost,” haunt the listener like the shifting patterns in a kaleidoscope, with the recurring themes of mourning, loving, and the lasting imprint of human connection constantly reconfiguring and offering new emotional perspectives. Sounding like a hopeful yet unsure resolution, the final track 'August' circles the listener back to the dreamy sounds of the intro and opening track, providing the reassurance that life really is a cycle of highs and lows. There is undeniable beauty in that, and it is what Spacey Jane does so well - capturing the human experience - as they leave the listener with Peppa Lane’s hypnotic backing vocals singing the title of the album itself. Ultimately, as Harper states, If That Makes Sense is “hard to give a theme other than an overwhelming sense of confusion and a less than successful attempt to tie up emotional loose ends”. It uncomfortably - but beautifully - reminds us of the constants that we all draw from in our human experience, in familial and other forms of love. It is our deeply personal connections to other humans which help us make sense of ourselves. Perhaps the beauty, however, is accepting that making sense of it is inherently messy and inconclusive - and that’s okay. Score: 9/10 If That Makes Sense will be released on May 9th 2025 via Concord. Words: Victoria Stobbie Photos: Spacey Jane

Ever since their conception in 2009, Lorna Shore have been a staple in the deathcore community. Known for their innovative vocals that make you wonder how a human can do such incredible things with their vocal chords, insane drum skills and not without their drama, they are also well known in the community for their sudden shift in vocalist in 2020 and their viral moments on metal TikTok during lockdown. Taking to the Opus Stage at Download in 2025, here we breakdown Lorna Shore’s ten best songs. 10) Godmaker There couldn’t be a top ten breakdown of Lorna Shore without mentioning some of their earlier work with vocalist Tom Barber. Maleficium was Lorna Shore’s second EP, and with that came a lot more experimentation. They had already set out who they were as a band, with their apocalyptic lyrics and valid deathcore vocals on their first EP, so when Maleficium came around a few years later, fans were surprised with the opening track ‘Godmaker’. Far from their usual style of kicking straight into deathcore essentials, ‘Godmaker’ started slower with a solid minute of tinkering sounds and sparse electro beats. While this song still features some iconic Lorna Shore elements, it feels too far away from their black metal style we know and love of the band today, and feels a little more mainstream metal. 9) Immortal 2019 was a massive year for Lorna Shore, musically as well as structurally. They brought out 4 singles, ending with the almost seven-minute epic, ‘Immortal’. With this single, they moved more into their era of black and deathcore mixed with symphony orchestra that is uniquely them and helped the band to start carving their niche in the deathcore scene. As much of a powerhouse as this song is and as much as 2019 was a mega year for Lorna Shore, it unfortunately cannot feature higher on the list due to vocalist CJ McReery, who was dropped from the band later that year for allegations of sexual abuse. 8) Bone Kingdom Flashing back to the band’s first release, Bone Kingdom, the title track of the EP comes in at number eight. When this song came out in 2012, Lorna Shore were newcomers on the scene, hailing from New Jersey and just trying to stake a claim in the metal world. ‘Bone Kingdom’ would help them do just that. Whilst it isn’t one of their more technical songs, ‘Bone Kingdom’ is featured on this list due to the evocative lyrics. Once again introducing the apocalyptic, semi-religious undertones, the lyrics of ‘Bone Kingdom’ express images of fallen idols and self-hatred that resonate deeply with the listener, and that are becoming of most Lorna Shore songs. 7) Wrath Some of Lorna Shore’s best technical skills come from drummer Austin Archey. Perhaps in no other song is that more evident than ‘Wrath’, on the 2022 album Pain Remains. Archey has inhuman drumming abilities, drumming with a ferocious tempo whilst still achieving complete accuracy of the rhythm and vibe of the song. Archey is a drummer that has impressive studio skills, but then manages to replicate those studio songs almost perfectly live, a feat that most bands lose at least in some part on the transition from studio to gig. ‘Wrath’ is Archery’s most impressive to date, and is a perfect showcase of his distinct style and skillset. 6) Pain Remains I: Dancing Like Flames The next few spots on this list are reserved for what Lorna Shore has coined “The Pain Remains Trilogy.” The final three tracks on the Pain Remains album of 2022 move away from what the band typically write about. Moving away from rage-driven anthems, the Pain Remains trilogy explores the world of loss and grief. ‘Dancing Like Flames’ kicks off this three-part saga with haunting lyrics about losing someone close and not being able to continue on, coupled with Ramos’ voice that here, unlike some other Lorna Shore songs, truly cuts the listener deep. ‘Dancing Like Flames’ perhaps isn’t as poignant as the rest of the trilogy, so it sits at number 6 on this list. 5) Pain Remains II: After All I’ve Done, I’ll Disappear When talking about this trilogy, it is important to recognise the torment guitarist Adam De Micco went through. Pouring his soul into the music, which features some of the most beautiful breakdowns that integrate seamlessly with the brutal guitar that features at the forefront of this track, De Micco almost abandoned the album altogether. After combating his personal turmoils, Lorna Shore eventually released Pain Remains, and the result was a 20-minute epic that fans ate up and resonated deeply with. Releasing a deathcore ballad is a very unique concept that doesn’t often fit well with fans of an established genre, but on ‘After All I’ve Done, I’ll Disappear’ we find a true exception to the rules. 4) Pain Remains III: In a Sea of Fire One of the longer tracks on the list, ‘In a Sea of Fire’ ends the Pain Remains trilogy with an almost ten-minute chronicle of the expressiveness of grief. This song truly encapsulates what Lorna Shore are able to do, not just specifically as a deathcore band, but as a band in general. Producing an album of such high calibre, while provoking emotion in each and every second, is mesmerising. Black metal screams bringing tears to listeners' eyes whilst performing the most mind-melting guitar solos is a feat bands only dream of, not only is it rare, it is practically unheard of in deathcore. And Lorna Shore does it incredibly well, particularly with ‘In a Sea of Fire’. 3) To The Hellfire When Lorna Shore announced new vocalist Will Ramos would be permanently joining the band back in 2021, fans were understandably sceptical, as here was an already established band seemingly doing well for themselves. But Ramos completely shook that up and helped them to further cement who they are in this industry. ‘To The Hellfire’ is a perfect example of this, here you have a formula that works. Guttural vocals, breakdowns, exciting lyrics and orchestral backing, all mixed with the charismatic frontman energy and expert technical knowledge Ramos provides. ‘To The Hellfire’ bridged the gap between old and new Lorna Shore, they found the genre they fit, invented their own school of vocals and have stuck to it, proving that Ramos was the ingredient Lorna Shore were seemingly missing. 2) Cursed To Die If you wrap all the elements of a Lorna Shore track mentioned in most tracks above, the inhuman drumming, the truly one of a kind vocals, lyrics that rip you apart, and put them all into one song that sums Lorna Shore up, you would have found ‘Cursed To Die’. While being one of their shorter tracks, ‘Cursed To Die’ packs such a punch. The gutturals halfway through the song are quite literally face melting, once again mixed with a melodic solo from De Micco on guitar, making this a very close contender for the top spot. While this is quite possibly one of Lorna Shore’s most iconic tracks, it just misses out on number one. 1) Welcome Back, O’Sleeping Dreamer And finally, the top spot on this list is reserved for none other than the seven minute behemoth that is ‘Welcome Back, O’Sleeping Dreamer’, the opening track from their most recent album, Pain Remains. This song may not be Lorna Shore’s most technical song, or their most divisive. It may not exhibit the pure emotion shown in other songs mentioned in this list, but the reason ‘Welcome Back, O’Sleeping Dreamer’ deserves the top spot is that this song makes a killing when performed live. Fans go wild when the epic track kicks into being with the religious orchestral vocals, slowly making way to the drop when Lorna Shore storms the stage and announces exactly who they are. The merciless drums, Ramos’ vocals that quite literally come from so deep within they are basically inhuman, all being carried by authentically heavy guitar. This song is Lorna Shore. And when played live, not only does it showcase just how true to their sound this band is, but the fans eat up each and every second. Genuine, exciting fan experience at a gig is at heart what every band aspires to for their songs, and ‘Welcome Back O’Sleeping Dreamer’ will always be that song. No Lorna Shore top ten would be complete without having this song included, but for us number one is where it belongs. Catch Lorna Shore at Download Festival this June Words: Emily Bancroft

Noizzefest returned to the beautiful and bustling city center of Cardiff, Wales amongst the seemingly unusual amount of hen parties happening for its second year running, and it was definitely one for the heavy metal books! With the festival being held between Fuel Rock Club and Clwb Ifor Bach on opposing sides of the same street, you would’ve been more likely to get whiplash from sprinting back and forth to see the phenomenally eardrum-bursting line up that the festival had in store than you were from the constant headbanging. Noizzefest was first held in Cardiff in 2024 to mark the 10th anniversary of the heavy music publication Noizze, the festival had such a great turnout in its first year that they just had to come back for more. The publication and now also the festival was founded by Jac Holloway, who at the time was working in the legendary Fuel Rock Club where half of Noizzefest is now held. The publication has come full-circle back to where it began and is cracking the very foundations of the two buildings with some of the best up-and-coming alternative bands that the heavy music scene has to offer. The artists are staggered between the two venues in order for audiences to make it to their favourite acts uninterrupted and with ease, and the first band to bring the heat to Fuel Rock Club was Falselove. Upon the release of their new EP, they had plenty of fresh tracks to share with the crowd, and they ate up every single bite. It’s a nerve-wracking ordeal being the first band to break the anticipation at a festival, but Falselove warmed up the audience with such ease with their Metallica-esque sound and singer Jacob Eynon’s vocals bringing the music to staggering new heights. Next up on the day's itinerary was Sleemo on the upstairs stage of Clwb Ifor Bach, a three-piece alternative and punk group from Norwich who’s stage presence and energy sent the crowd into a moshing frenzy. This is a band who doesn’t let the stage confine them as they were more than happy to bring the energy off the pedestal and into the audience of their own accord, really solidifying their place as one of the highest-energy groups of Noizzefest 2025. After a quick sprint back over to Fuel Rock Club, the audiences already-shattered eardrums were met with the insanely powerful riffs and astonishing vocals of South Wales born post-hardcore band Atlas Theory, the audience could’ve sworn that they had seen debris falling from the ceiling from vocalist Eve Jones’s screams which blended perfectly with the pounding drum beats and deafening riffs from Joel Davies on guitar, Christ Jeffries on bass and Owen Holcombe on the drums. If you’re in the mood for a good old metal growl and to let off some steam, Atlas Theory are a must-see. Hyperpop-inspired queercore trio Gender Warfare were up next to burst out onto the upstairs stage of Clwb Ifor Bach, and their sound incited a feral energy from the crowd that only their music can manage to drag out of an audience, evident by the amount of hair that was swooping around in the sea of fans. Their in-your-face, perfectly crafted lyrics and breaking down of gender stereotypes left the audience feeling an intense sense of liberation and also a dire need for the earplug dispenser downstairs. Hertfordshire is known for churning out some of the biggest names in the Indie and Alternative world with the likes of Declan McKenna and Enter Shikari originating from the London border, and High Regard is one of the latest groups from the area to break out onto the scene and onto the stage of Fuel Rock Club. With vocalist Georgia Casey hitting the pop-punk high notes and the remainder of the bands’ unreal riffs, High Regard had the entire room pumped with feral energy and set the bar for the rest of the festival insanely high, they are a must-see act and are touring around the UK for a large part of this year. Love Rarely, an insanely talented five-piece alternative math rock ensemble from Leeds, were next up on the itinerary and vocalist Courtney Levitt’s astonishingly earsplitting screams were laced with raw emotion and got the entire room in their feels in a crying mid-headbang type of way. The band are newbies to the heavy music scene with their first EP being released in March of last year, so if you get the chance to see them perform make sure to give them the loudest cheers and feralest screams possible! A light-hearted change of tone was up next when Orchards blended indie-pop and math rock upon the Fuel stage with their optimistically infectious energy and fun dance moves (and the best facial expressions in existence from lead vocalist Lucy Evers). Getting the entire audience bouncing with elation over exhaustion at this point of the day was no easy feat, but Orchards managed it with such ease and had the entire venue partying with them. The British capital has blessed us with much musical talent in the past, and genre-bending alt-rock group Unpeople is fast topping that list since beginning their journey and releasing their first EP in 2023. They bossed the upstairs stage of Clwb Ifor Bach with passionate discontent for the state of the world and gave an unforgettable and energetic performance specially tailored for all the other ‘Unpeople’ among them. Last but certainly not least and a fantastic way to end a whiplash-inducing day of great music, we had Knife Bride thrashing on the upstairs stage of Fuel with the venue bursting at the seams with doting fans. With lead vocalist Mollie Buckley’s ethereal voice effortlessly merging with the string-snapping riffs from Craig Glynn and Sean Windle, the venue echoed with raw melodic bliss through the entire city of Cardiff. Noizzefest is a festival you will want to experience if you are looking to discover tons of new and upcoming artists in the heavy music industry - and who knows? You may just find your new favourite artist there. Words: Billie Wheeler Photos: Simon Arinze