Once again, the New Cross Inn did not disappoint with an all-star, all-hardcore bill, bringing together death metal lords Xibalba and hardcore quintet Extinguish from California, joined by Reading hardcore boys Detriment and Brighton death metal crew Blood Gutter. Hardcore temple New Cross Inn is a milestone venue for any metal-adjacent band, and tonight’s line-up gave the crowd an outstanding performance. Despite a last-minute string change and being one member down, Blood Gutter started the night strong with a powerful set, opening up an acrobatic pit of punching fists and flying feet. With death metal and hardcore influences going from Lamb of God, to Prowler or Your Demise, Blood Gutter’s debut EP ‘Below No One’ hits hard. ‘Sick’, and ‘Welcome the Rope’ were crowd favourites, going from heavy death growls to fry screams that itch your brain the right way. Next up, Detriment took the stage, performing to an ever-growing pit. And yes, to answer the question everyone is asking, frontman Reuben’s moustache game was as magnificent as his stage presence. Touring for the release of their new EP ‘LIFE IN SHEER TERROR’, Detriment put on a high-energy show, with hits like ‘Stone Cold’ and ‘TORN FROM THE VEIN’. We’re sold. You know it’s going down when the pit turns into a wrestling ring worthy of the greatest WrestleMania matches. Stink face mode ON. Extinguish brought it down with all the riffs, breakdowns and screams you could ask for. With fire tracks from their discography and their latest album ‘One Less Enemy’, we could not have asked for a better band to prepare us for what was to come. In ancient Mayan mythology, “Xibalba” describes the home of the lords of the night, the underworld, roughly translated to “a place of fear”, where the souls of the dead would pass through or remain there, depending on the interpretation. So, as the room got darker, the tension rose, and the crowd got more ecstatic by the second. You have been warned. Now, embrace the chaos and enter the Underworld. A Xibalba show is like getting (consensually) punched in the face: it's raw, it's intense, it's guttural. And if you're brave enough for the pit, you might very well literally get punched in the face. And you will want more. (or like that one guy, get a lost kick in the nuts. We sincerely hope you are okay.) From the very first notes of ‘Desending Into…’ the pit opened wider than ever, resembling Yucatán’s “Cenotes” (clear-water cave portals to the Underworld), giving a freeing space to the moshing souls two-stepping into the New Cross Inn. The euphoric crowd cheered on the return of the Xibalban lords to our shores for the first time since their Outbreak set in 2022. Vocalist Nate Rebolledo poured his heart and soul into a high-powered set, always giving his all to the crowd and getting everyone a scream by sharing the mic. ‘Hasta La Muerte’ brought an already exhilarated crowd to the most intense point of the night, filling the room with filthy breakdowns, blast beats, dense bass and growls coming straight from the depths of hell. As all good metalheads know, we are all for a fun exit tune. We then all came back to reality and re-entered the realm of the living to the sound of ‘Feliz Feliz’ by Mi Banda El Mexicano. This was a night none of us will forget; you just had to be there. All we have to do now is pray to the Underworld lords that Xibalba will come back to us soon. Because we need more. Words and Photos: Claire Cabanac

This weekend has been a true celebration of heavy metal, Black Sabbath’s last ever gig put many metalheads in a contemplative state after seeing everything that makes metal great placed upon the global stage. Metal fans are often some of the most dedicated music fans around, and arguably the band with some of the most loyal fan is Slayer. When they announced a handful of American reunion shows last year, many fans in the UK and Europe were upset that they would not get a chance to see the band again; however, their reunion finally hit the UK with many other legendary bands joining the bill for another celebration of what makes metal truly special. First on this day long celebration of metal is Danish death metalers Neckbreakker bringing their unique brand of high energy death metal. Despite the size of the stage, the band managed to bring the joy of a small local show to the crowd with the pits already bursting to action as soon as the riffs hit the crowd. The band, despite being so young, have found their sound in metal and they know how to work the crowd into a frenzy. Despite being the only band on the bill without a long standing legacy, they are starting to carve their own way into the heavy metal lineage. They were the perfect band to kickstart the day with a nod to local scenes. Hatebreed brings their own take on metalcore with them everywhere they go and often seem to appear at festivals to give the right burst of intensity that other subgenres just don’t seem to touch. The band bring a lot of what makes hardcore great to a new audience as their fanbase seem to be built mostly from metal fans. The band work the crowd with such intensity starting the waves of crowd surfers for the day. Being in the crowd, you can feel the communal intensity already being built up. Circle pits starting with a pace that would make many headliners jealous. Hatebreed’s legacy has been built by playing absolute belters of shows that match the crowd. what other band for an opening slot would have a giant inflatable demon and balls of death. The crowd started off slightly relaxed with Mastodon’s trademark take on progressive metal, but once the riffs became heavier,r the crowd reacted with pure joyous moshing. The band haven’t been to the UK in a fair while, so many fans came to just for the chance to see them bring their unique take on metal. Tracks like ‘The Motherload’ have become modern metal classics with the combination of great riffing, intense drumming and iconic lyricism. The band are tight, and it’s impossible to tell their new guitarist only joined this year. The different vocal stylings brought by the band’s members are one of the most iconic parts of the band, and they manage to keep it working well live. The band don’t bring the largest stage show, but they bring pure progressive metal intensity that leads the crowd singing along to tracks written about Moby Dick. Almost by accident, this gig has ended up with 2 of the big 4 of thrash metal on the lineup. Anthrax is a party band, they bring a lot of that old school metal, slight cheesiness with sing along choruses and Scott Ian’s legendary guitaring. For a band going since the 80s, they don’t seem to have slowed down at all, as every member works together bringing their sound together. Vocalist Joey Belladonna, despite being 64, still brings energy to the stage and intensity on the vocals. The slightly nerdy side of metal is brought out again with their song ‘I Am The Law’ being based on the comic character Judge Dredd, but this is such a core part of metal. The band works the crowd well, still hungry for more metal, at one point stopping a song so they can push the pits to grow larger. Waves of crowd surfers drift above the head during the set. Anthrax may be the smallest of the big ,4 but they bring a great stage show and a lineage of songs with them, proving their place in thrash and metal in general. Amon Amarth have become such a beloved band within metal for their stage show, theme and just generally great songwriting. The band despite not being today’s headliners still put on a headline show full of fire, props and their legendary row pits. The band bring a full production stage show along with them, complete with two towering inflatable statues of Vikings, just adding to the impressive nature of their set. Frontman Johan Hegg knows that the crowd is here to ‘Party like a Viking’ as he often asks the crowd to do so. Complete with chugging from his drinking horn, he embodies the band. His vocals lead the band through their setlist of metal classics. As soon as the band enter into ‘Put Your Back Into The Oar’, the crowd starts the row pit, everyone tongue in cheek pretending to row as the band marvel in their place within the audience’s heart. As with most of the bands at this gig, the band had many fans within the audience, with many donning the band’s shirts or generally being excited to get a chance to finally see a band they’ve now been listening to for many years. Amon Amarth are a perfect live band with a giant stage show, great music and an audience who wants to see them. They have a definitive place within metal history, like every band playing today. Slayer are a band whose fanbase is truly hard to put into words. The announcement of the band’s retirement came as a shock to many, as Slayer have been such a consistent part of metal from their inception. The one band that is guaranteed to have some of the most intense pits you’ll ever see. A band whose two-word catchphrase of ‘Fucking Slayer’ was guaranteed to be shouted hundreds of times at any festival. But the band and their fans returned for this gig with all the intensity you would expect from both sides. The band don’t sound like they’ve aged from the time they have taken away from the stage. Even with the technical issues created from their curtain, the band remained professionals and delivered a setof pure intensity. Their may have been heavier bands that have come since but Slayer retain that guttural punch you have come to expect. The band’s stage show is built mainly from the sheer amount of pyrotechnics they use. The band iconography of satanic imagery remains such a core part of their identity, leading to the stage having two giant upside-down crosses being engulfed in flame at various points within the set. Kerry King, as a guitarist, shines through the set with his constant headbanging and signature noisy solos. Every song retains the initial intensity that you get upon first hearing it. Many of the crowd are getting tears in their eyes whilst moshing with furious intensity or crowd surfing to their favourite songs because they are seeing Slayer together again. A lot of the crowd is made up of those whom never got to see the band play due to being too young, so they are taking every second to go through the joy of a Slayer show. As the set draws to a close with the second-to-last song being the all-time classic ‘Raining Blood’, the stage show reaches its pinnacle of flames and now joined by fireworks heading down on the stage as the song approaches full pace. The riff that so many have learnt on guitar hits the audience with everything it truly can give. The song then blends into the final track of the night and one of the band’s other legendary songs, ‘Angel Of Death’ . Tom Araya’s scream is at its best, it has ever sounded pure metal intensity. The band play the song in the way it should be played, with absolute power. Slayer drew the gig to a close with the band seeming emotional to share the time with fans and play together again. As an overall package of metal, the gig is perfect, a true distillation of what makes metal a true joy to experience. Over the top extremity, pits that are a true workout to be in and of course, great riffs. It feels like a bonus on this weekend, celebrating metal, but every band being given a long set to make sure they can share what makes them special with the community. Metal crowds leave you with some of the greatest sense of community one can truly feel within music. Everyone becomes one and the same when in metal. Sometimes, all you need in life is to see Slayer and many of the greatest bands deliver a gig for the ages, bringing tears to the eyes of many. Words: Will Freeman Photos: Bryce Hall

The New Cross Inn in London has been steadily growing a reputation for hosting some of the most exciting and high-energy punk and hardcore shows around, and this night’s stacked lineup delivered on that promise from start to finish. With a bill featuring Closed Hands, Flesh Creep, Big Laugh, and headliners Destiny Bond, the night was loud, fast, and full of moments that reminded everyone why small, DIY-feeling shows are often the most memorable. Closed Hands kicked things off in full-force. From the opening seconds, their vocalist made it clear this wasn’t going to be your standard stand-and-sing kind of set. They were off the stage and in the pit almost immediately, blurring the line between performer and crowd. That directness created an atmosphere of unity—like we were all in it together, not just watching but participating. Musically, they were tight and urgent, giving the set a punchy start that set the tone for the night. It was the kind of opening performance that pulls you in before you've even fully settled into the space. Flesh Creep followed with a grittier, more chaotic edge. Their sound was raw and aggressive in the best possible way—unpolished but purposeful. They didn’t hold back, and there was something refreshing about how unapologetically loud and confrontational their set was. You could tell they weren’t performing for approval—they were performing to release something, and in doing so, they created space for the audience to do the same. For a second band on the bill, they held their own and brought a noticeable shift in energy, keeping things heavy and immersive. Flesh Creep Then came Big Laugh, who added a twist to the night—not necessarily with their sound, but with their presence. Sonically, their set was sharp and well-rehearsed, but their choice to spend a large part of the performance facing inward- toward their drummer rather than the audience- was unusual. As someone who hadn’t seen them live before, it threw me off a bit. It felt like they were playing to each other, not to us. While that inward-facing style might be their way of staying locked in rhythmically, it also created a disconnect with the audience, especially following two bands that had leaned so hard into physical crowd engagement. That said, their musical tightness was undeniable, and the set had a solid momentum that kept things moving. It might not have been the most interactive performance, but it was still a strong one, and still a lot of fun for those watching. Finally, Destiny Bond took the stage, and instantly the energy in the room shifted again. From the very first note, you could tell they were here to play, and not just in the musical sense. Their set was full of personality, movement, and humour. The lead vocalist bounced between being a commanding presence and the funniest person in the room, cracking jokes between songs that made the room feel casual and communal. At one point, they joked about not wanting to jump too much in case they gave themselves another concussion from the venue’s low-hanging lights- a moment that got a huge laugh and added to the feeling that this band doesn’t just perform to an audience, they connect with one. What made Destiny Bond’s set even more memorable was their decision to perform unreleased songs, tracks that no one in the room had heard before. It was a bold move that paid off, making the show feel exclusive, like we were part of something special. There’s a trust in giving your audience something they can’t stream later, and it’s that kind of interaction that builds lasting fan relationships. Even when the vocalist spent time in the pit too, the band radiated this infectious energy that made it impossible not to move. One of the most impressive aspects of the night overall was just how tightly run everything was. Each band started on time, the transitions were quick, and there was barely a moment where the energy dipped. It’s rare to see a four-band bill run so smoothly, and credit goes not just to the bands but also to whoever was managing the backline and transitions. In the end, all four acts brought something of real value to the night. Closed Hands drew the crowd in. Flesh Creep shook it up. Big Laugh confused a few but played with total conviction. And Destiny Bond sealed the deal with a set that was as engaging as it was fun. Destiny Bond More than anything, what stood out was how much all the performers genuinely looked like they were having a good time. And that feeling, when shared between band and audience, is what turns a good gig into a great one. This night at The New Inn didn’t just showcase great music, it highlighted the importance of community, energy, and joy in live performance. Words: Con Macadam Photos: Artemi Falzon

Once upon a time in the smog-choked labyrinth of London’s doom metal underground scene, there was a band that clawed its way out of pint-stained floors and onto the grand stage - GREEN LUNG, hometown heroes, the underground success story. When people talk about modern bands that have gone into the “big-time,” Green Lung are typically top of the list. There is a damn good reason that at least one person is wearing one of their shirts at every gig in the UK; they toured like wandering druids, cranking out spellbinding live shows until their coven swelled like a sabbath moon. From shows in 2017 at fabulously dinkey venues such as the Crows Nest in Deptford, to headlining the O2 Academy Kentish Town and playing the almighty Arctangent festival in 2025,Tom Templar, Scott Black, Matt Wiseman, John Wright, and Joseph Ghast are ready to go medieval on your ass. But to distil their monster catalogue into just ten songs? No small feat. But with a lot of perseverance and elbow grease, we proudly present to you, Lunglings, the top 10 offerings of folk horror that define Green Lung’s extraordinary rise. Let’s dive in. 10) Old Gods Striking like a great thunderclap, ‘Old Gods’ is the swan-dive into 2021’s ‘Black Harvest.’ Riff-master Scott Black’s gargantuan Brian May-gone-evil tone underpinned with some wonderfully creepy keys create a beautifully vast wall of sound. Let’s just say if Phil Spector heard this in hell, he’d probably crap himself. It’s a bludgeoning reminder that the old gods are not only alive, they’re pretty pissed. A great track if you were planning on introducing someone to the wonderful world of Green Lung for the first time. Lucky bastards. 9) Templar Dawn According to Tom Templar, Green Lung’s songs fit neatly into a few categories, and ‘Templar Dawn’ from 2019’s ‘Woodland Rites’ falls squarely into the “we’re back!” section. And back they are indeed. Once, they were knights (in the service of Christ), now to Satan sworn, or so the story goes. An unbeatable concept pulled straight from a Hammer horror flick. The chorus is arguably the catchiest one they have, and the instrumentation creeps along close like a mangy dog in the pale moonlight. It is Lung at their very best. 8) Mountain Throne Possibly the greatest single distillation as to what the Lung are all about is ‘Mountain Throne’ from 2023’s ‘This Heathen Land.’ It’s the tale of Albion’s mystical hills, the Pendle Witches riding out once more, and a love letter to everything sinister and supernatural that lurks in the countryside. It’s big, it’s bold, it’s spellbinding, and it contains the first known use of the word "phantasmagoria" in a doom metal track, which is reason enough to celebrate. Matt Wiseman’s vivacious drums elevate this one into a proper bop with more buoyancy than a witch on trial. It’s their very own “Detroit Rock City” with the sheer volume of locations mentioned, when a roomful of fanatics roars “MOUN-TAIN THROOOOOONE” in unison live, you begin to understand. 7) Reaper's Scythe The lack of listens to this one on Spotify is truly baffling. As any survivor of a Green Lung pit will tell you, whenever this one starts at a live show the whole room goes bananas. It is a high-energy bonanza of a song, with great start-stoppage that makes you want to scream along. John Wright’s keyboard on this sounds like somebody going just a tad too hard at their local church congregation whilst the rest of the band goes with all the energy of the Duracell bunny. Not to mention that King Diamond bit in the middle, it’s all so strange, so macabre. But it works so, so, well. 6) Lady Lucifer Back in 2018 when the Lung had fewer listeners, they came out with their first “proper” release in the form of ‘Free the Witch EP.’ The hype around this thing was very real, and it met expectations with flying colours. While it feels like a million years ago since this song came out, it still fits very snugly with the rest of their songs. In fact, it’s probably the first of the contemporary Green Lung jams, with a sound that would be gloriously expanded upon in the coming years. With downright filthy grooves, Sabbathian swagger, and a chorus that hooks its claws into your soul. Hard to overstate the importance of this song and how it signified such a massive shift in their sound. It’s this exact energy that began to deliver them from the London jungle. 5) Freak On A Peak Something you may not know about Green Lung is that they are perfectionists. Scott Black’s guitar tone is the result of ages of tinkering and experimentation to create a unique and whole sound, and it’s clear that their success was forged in the fires of this hermetic dedication, but it all had to begin somewhere. So their first EP, 2017’s ‘Green Man Rising,’ is a curious look into the more stoner-based origins of their sound. ‘Into the Wild’ this is not, it’s stripped-down in comparison. Yet, this spacey jam’s one that veteran disciples remember fondly as the start of something great. But for now, it stands alone, like a noble savage in the wilds, waiting to be reappraised (and hopefully remastered). If you have not heard it before, now is the time to break out Bandcamp. 4) May Queen Put that flower crown upon your brow, keep that smile upon thy countenance, and prepare to march into the Wicker Man, Miss May Queen. Because the gods aren’t gonna grow crops for nothing. ‘Woodland Rites’s’ display of pagan pageantry is a fuzz-drenched ode to spring rituals. A kaleidoscope of a ballad, the solo on this one is realised in glorious technicolour whilst the bass croons gently away into oblivion. By the time the whole thing erupts into its ecstatic, full-throttle finale, you can practically see dancers around the Maypole and bonfires blazing away into the night. Haunting and melodious, it stands tall as the soundtrack to every festival your ancestors didn’t survive. 3) One For Sorrow The dark horse option on this list, many would ask why some of their other favourites aren’t on the list by now. For you there is one task; go see this song live. Because once you see ‘One For Sorrow’ live, you will never see it the same way again. At Bloodstock, it ushered about the “slowest circle pit in the history of the festival.” It was a beautiful, ethereal experience. Tom crooning out a sorrowful dirge, Matt beating out a doomy rhythm, Scott wearing out the whammy bar, Joe rumbling his bass, and John playing with legs spread further apart than a 17th century actor. And that breakdown. Necks cracked. Some heads may have come clean off. This song is a powerhouse, five minutes of bone-chilling majesty by the only ones who could do it. 2) Woodland Rites The phrase “oh lord, yeah!” has not generated this much hype since Ozzy himself yelled it out at the start of Sabbath’s debut. Yep, its ‘Woodland Rites.’ When this song came out after the wait for their debut album, it was a ‘Master Of Puppets’ moment. ‘Initiation,’ the intro to this song, is incredible on its own, but that opening riff? A goddamn monolith, a towering pine forest of a riff as rows and rows of guitar gods before them look on in admiration. The organ swells, the guitars burn, and suddenly you’re in the woods, surrounded by naked figures, something ancient stirring beneath the roots that compels you silently. Just when you’re least expecting it, it erupts into that towering, earth-rattling climax. Green Lung at their most untamed and elemental and a genre staple forevermore. And just when you think it can’t get any better… 1) Let The Devil In It really is iconic. You could be galivanting anywhere in the country, there’s a high probability you’ll spot some metalhead clothed in the legendary Branca Studio long-sleeve. You know the one, the white-eyed nun looking up to an unholy being has inspired so many to think “I gotta check THAT out!” From the first note, it’s a revenant spirit marching straight into damnation. The whole band is on point here like dark prophets. The best tale of sisterly corruption since Type O Negative’s ‘Christian Woman,’ it wears its many influences on its sleeve, dripping with everything from Sabbath’s dirty groove to early Maiden’s feverish energy. It’s got the swagger, the glory, and the sinful undercurrent to make it into a modern masterpiece. Now a staple in the soundtrack of metal bars across the world, it’s our best export since Jaffa Cakes. Of course, you probably disagree with some of the choices on this list – good. That just means Green Lung is doing something right. Keep in mind that it is damn difficult to get these down into only ten, like cram Stonehenge into your living room. There are many honourable mentions, ‘Maxine,’ ‘Song Of The Stones,’ ‘Forest Church,’ and ‘Call Of The Coven’ to name a few. Hell, even their excellent cover of ‘Snowblind.’ That is the great thing about Green Lung; there is so much quality in their catalogue that trying to rank them feels almost blasphemous. It’s what happens when a band so wholly and fully embraces their sound and aesthetic that the quality just seems to come out of them like some kind of torrential dribbing ichor. Now they seem to be on top of the world, but one thing’s for certain - the coven is growing, the rites are far from over, and the next chapter of this band’s story is going to be one hell of a trip. Catch Green Lung at ArcTanGent Festival this summer! Words: Kiarash Golshani

Describing the weather before a gig may be a bit of an overused cliché for these types of reviews, but tonight the Roundhouse is suffering. The heat is so intense that people lie prostrate across the floor, like casualties of a great battle, seeking relief in the cool, alcohol-soaked ground of the venue. The relentless heatwave continues to claim more victims. But the crowd remains undeterred – oh no, this is an audience ripe for the taking by the malevolent monarch KING DIAMOND. The shock-rocker returns with a vengeance, bringing his massive stage show in tow. And it really is the elephant in the room, like draping a whole house in black cloth and pretending it’s invisible. Hidden beneath it all is a hulking semi-mansion set, complete with dual staircases and an elevated platform. It’s somewhat awkward, then, when UNTO OTHERS wander onto the stage against this extravagant backdrop. Arriving slightly late, the goth-rockers tear through their setlist with urgency. Drenched in sweat, frontman Gabriel Franco rocks his aviator shades on in the dark like a Blues Brother as the band runs through tracks like “Suicide Today” and “When Will God's Work Be Done” to a bit of a disappointing response from the crowd. Uplifting refrains like “IT WILL BE OK!” are noticeably absent, and some odd mixing choices leave the performance feeling flatter than usual. The draped bombastic stage behind them does little to alleviate much of the awkwardness. A disappointing result for an otherwise excellent group, hampered by elements beyond their control. Soon after, the music fades and Halifax goth veterans PARADISE LOST casually take their places—no fanfare, no intro track. That changes swiftly as the heavenly piano of opener “Enchantment” sweeps across the venue, and with a thunderous hit, they’re off to the races. They serve up a solid mix of newer and classic tracks like “No Hope in Sight” and “The Last Time,” but the set feels short but it all feels a little bit short, as if they need more time to simmer like the fine stew they are. But stand fast - faithful ones, Paradise Lost will return to the Big Smoke this October for a proper headliner, just as autumn’s chill sets in. They finish off their set with a majestic rendition of their all-time classic “Embers Fire” and fan-favourite “Say Just Words,” but “Embers Fire” is so deftly performed that the lethargic crowd can’t even resist, with a few shirts seen propelling wildly in the pit. Even goth metal, it seems, isn’t immune to the Newport Helicopter. As the lights dim and the music fades, the grand black drape is lifted to reveal the stage in all its eerie glory. It’s a perfect tableau: a coffin marked “ABIGAIL” center-stage, eerie stained-glass windows, and icicles that strangely don’t melt. The atmosphere is heavy; the band is in position, but where is the King? In a display of Scandinavian restraint, he... simply walks out. Anticlimactic entrances seem to be the theme of the evening. He seizes the doll from the coffin and gets to work, the night is his. Singing into his iconic bone mic, his falsetto is shockingly sharp for someone nearing 70, sounding remarkably like the record. The King is as classy as they come, introducing all the members of his band early on rather than at the climax, a move which hopefully spreads and echoes that of an opera. The fans are in absolute ecstasy, chewing on “Halloween,” “Voodoo,” and “Sleepless Nights” like sugarcane, the King is on top form. There’s a very light stage production present as well, occasionally actors (or perhaps the same actress in various costumes) will come out and do some shimmying about the set in clothing relevant to the song, then King Diamond will come along and do something evil to them. It’s minimalist staging, but it works, and more importantly doesn’t distract from the music, which is played tightly and with a furious vigour by the band. About halfway through the set he returns clad in an old-man mask, everyone knows what’s coming, when the crowd sees her they know what to scream: “GRANDMAAAAAAAAAAAAA!” Yep, it’s “Welcome Home,” and everybody laps it up. The dysfunctional family both engage in a bit of a Looney Tunes back-and-forth with each other as King Diamond does some of his best falsetto yet. By the end of the set, he hands a sheet over to someone in the front row to choose a final song. What would it be? “Gypsy?” “Evil?” “The 7th Day of July 1777?” Nope. It’s “Abigail.” Shocker. But, hell, it’s awesome. It’s an amazing closer to an amazing show. The King’s still got it, dammit. With a setlist packed with favourites from across the King’s discography, there is not a doubt that every fan would have left the arena satisfied. What was unfortunate was the lack of Merciful Fate songs seeing as the band was thinking about doing a new album, but with an already stacked setlist it would have been a difficult endeavour. Tonight was a real testament to King Diamond, theatrical, methodical, and endlessly entertaining. Long live the king indeed. Words: Kiarash Golshani

Brat, the femme fronted explosion of energy hailing from the US, has graced its British fans with a small, but intense show at the New Cross Inn in London. Coming straight from their big tour with GWAR, the band has racked up more fans from the metal scene and is ready to continue with their world takeover. Supported by Skrapper, Jawless and Eskröta, the band’s performance is a part of Real Life Summer Jams, a week full of heavy riffs that is currently taking place at the New Cross Inn. First on the stage was the Redhill hardcore punk Skrapper. The band did everything they could to hype the crowd of the almost empty venue, and was not getting many interactions, but everything changed when few brave soldiers formed their three-person moshpit, that was carrying throughout the whole set. As a result, the fans were rewarded with screamy vocals, sick riffs and singer in the pit. At one point in the set, the singer and bassist switched places and sang a very heavy song about abuse, that was met with big applause from the audience and more intense moshpit. The two guitarists of the band threw in few greatly executed solos and before the crowd could get more involved, the chaotic, but very short set was unfortunately over. The next support, Jawless, is hailing from the depths of London, but is composed of people from several different backgrounds. Femme fronted and often singing about political topics, the band’s front-person, Theresa, was not afraid to dive deep into controversy and to make the crowd emotional. The band had a strong two-step moshpit throughout their whole set, that was often joined by the band’s singer, and surely hyped the crowd up immaculately, as the fans enjoyed the set to the fullest. At one point during the concert, the band sang “Happy Birthday” to their guitarist together with the crowd, and surprised the audience, when Theresa’s husband brought a birthday cake into the circle pit. Ending the concert with a fake encore, after asking the promoter how much time they have left, Jawless brought a unique energy to the venue that was like a fresh breeze of punk genius. After two support bands, the third and last one, Eskröta, that came to London to play all the way from Brazil, has swiftly took over the stage with its aggressive songs about horror movies. Being fronted by femme performers Tamy Leopoldo on bass and Ya Exodus on guitar, and with Jhon Francą on the drums, they served a big portion of real trash metal with a pinch of latina music to the audience, who went berserk from the first song to the last. Ya’s intense screams added something unnatural yet exciting to the performance, while Tamy’s vocals always filled in at the right moments. Featuring the singer from Brat, Liz Selfish, on their song “Misery”, the fans got a quick taste of what was coming right after Eskröta’s performance. Although their English was not perfect, the band expressed their deepest gratitude multiple times and it was obvious they did not take this big opportunity for granted. After three spectacular support bands, it was finally time for Brat to take over the New Cross Inn and they did it in the most girly-pop-meets-metal style, as every Brat gig should be (and, frankly, is). Serving face, dance and screams, the band’s vocalist Liz and her loyal headset microphone, together with her bandmates guitarist Brenner, bassist Ian and drummer Dustin, made the venue go bonkers with massive moshpi and stage divers. Majority of the songs had an introduction with famous pop-songs, which just added a new and funny twist to this already based concert, together with the head-banging cover of Heart’s “Barracuda”, a classic and iconic hit that every single person in the room knew words to. Finishing the set full of insane riffs and amazing drum work with an encore song, the band once again showed London a good Louisiana grindcore, cementing their spot on the scene as one of the best bands of the time. New Cross Inn’s The Real Life Summer Jams could not start better than this, with the supports Skrapper, Jawless and Eskröta being a divine selection of bands, and Brat being an iconic girly metal sensation. Every single person in the venue has enjoyed the evening to the fullest and it absolutely was a pleasure to attend. Words: Katerina Stepanikova Photos: Amy Smyth

Coming all the way from San Francisco in the US, the hardcore Fentanyl is known for its raw, aggressive sound and unapologetic lyrics, and it surely does not stop just here. Consisting of the vocalist, guitarist and bassist Kenneth Turner, guitarist Carlos Cruz and drummer Joshua Mendoza, the band has released their debut self-titled LP in September last year and has been in one circle ever since. Being supported by the bands Flesh Prison, Do One, Kute and Perp Walk, Fentanyl’s performance is a part of Real Life Summer Jams, that are taking place at the New Cross Inn from 2nd July until 8th July. The first support, Flesh Prison, had a fairly full venue already, which is always a great sign. Giving the audience screams, heavy riffs and immaculate drumming from the start, all they really needed was a two-step moshpit, which started almost immediately. The band’s set was roughly twenty minutes long, which was not a lot of time to do anything, but they still managed to hype the venue up, making everyone inside even more excited for the upcoming bands. Fentanyl Do One sadly could not perform, as everyone from the band, apart from the drummer, got stuck on overground on their way to the venue after a big incident. The drummer, to a big surprise of the fans, improvised for a bit with someone from the crowd, resulting into a little filler set before the next band came onto the stage. Kute, however, were ready to step in the first second they had, and it was truly an amazing experience. Coming down to London from Glasgow, they brought their feral vocals, swift guitar and bass and heart-pounding drums, and created a performance that is going to be talked about for a while. Powered by a huge two-step moshpit, the audience was not behind on their end and truly welcomed the band in London with a pompous style, showing them that they are always welcomed at the New Cross Inn. The long awaited, and frankly, one of the most prominent bands of the evening, Perp Walk, took over the stage after a quick soundcheck, and the floor transformed immediately into a battlefield. From two-steppers, to crawlers, audience went absolutely feral through the full set, and rightfully, as the band is one of the best ones on the underground scene. The band’s singer screamed through their set with no issues and the guitarist and bassist nailed their lines with no flaws. As the set was getting to an end and the moshpit grew into enormous size, people were joining on the edges with glasses of drinks, and this rookie mistake cost the guitarist a whole pedal board, as one of the fans fell down and spilled his beer on it. Apart from this, the set was very energetic and absolutely a highlight. After three sick support bands and one, that could not show up on time, Fentanyl finally took over the stage. Bringing in its Bay Area Hardcore, the band made the stage their home immediately and was supported by their fanbase, who somehow made the moshpit even bigger than before. The raw and aggressive vocals of the band’s singer Kenneth Turner were lingering and the vengeful guitars of Carlos Cruz and another guitarist, who was touring Europe and the UK with the band, kept the pit on its feet. Although there were few instances, when stage-divers were not met with hands to hold them high, it was not a reason for anyone to stop jumping into the crowd. By the end of the set, the band was stunned when their fans longed for an encore, and they gave them two more songs to enjoy, only to definitely end the set right after, as the never-ending pleas that continued could not be honoured. Fentanyl’s set was definitely one of the heavier ones New Cross Inn has ever seen, and it has been welcomed with an unmatched energy from its loyal fans. The selected support bands were amazing and helped the crowd to get into mood very quickly, even when short of one. The third concert of the Real Life Summer Jams was indeed a successful one and a one the band is not going to forget any time soon. Words and Photos: Katerina Stepanikova

When the small band from South Yorkshire released their debut album in 2006, no one expected them to make history. Now being the legends of the heavy music scene and leading major festivals such as Reading and Leeds, Bring Me The Horizon always proves to the listeners that they are indeed here to change the trajectory of music and its observation. Hailing from the city of Sheffield and founded by the lead vocalist Oliver Sykes and drummer Matt Nicholls, the band also currently consists of the guitarist Lee Malia and bassist Matt Kean. With nine albums on their account and countless hits, the band changed their approach to music quite few times in their career, and it is evident that the frontman Oliver Sykes still has big plans in store for their fanbase, being unpredictable in his next move, as we could see earlier this year with the sudden cover of Oasis’s hit song ‘Wonderwall’. As the Reading and Leeds festival quickly approaches, we are excited to dive into their whole discography. See our ranking of the band’s albums below. 9) Music To Listen To The band surprised their fans with Music To Listen To~ right before the end of 2019, when they had already released their controversial album amo, and it is obvious that this year was not the best for them. Being a co-child of Sykes and BMTH ex-member Jordan Fish, the album, bearing the ridiculously long name, is a mixture of pop and lo-fi, genres that are very distant from the band’s usual work. Although the album has some good features like Halsey and YONAKA, it simply was not enough to convince their heavy music fans. 8) amo Released at the beginning of 2019, four years after the band’s hit album That’s The Spirit, amo is a bit of controversial, as it has some heavier songs, such as ‘Mantra’, which is now popular amongst the fans, but also has some pop-leaning songs such as ‘mother tongue’, which has divided the fans since its release. It is obvious that Sykes wanted to experiment with their music, which is true to this day, but the first try did not go as well as expected. 7) Count Your Blessings The band’s debut album is now a nostalgic one, and a lot different from the newer stuff the guys make. Although made of pure teen anger and blessing us with ‘Pray for Plagues’, ‘(I Used To Make Out With) Medusa’ and ‘Off The Heezay’, Count Your Blessings is unfortunately still a mediocre deathcore album, and even though many fans started listening to them thanks to this album, it was not the one really giving the band the name they bear today. 6) POST HUMAN: SURVIVAL HORROR One of the band’s latest works, POST HUMAN: SURVIVAL HORROR, is a great example of alternative music, as the band continues experimenting with sounds, and this time it actually pays off. Featuring a good stack of artists, such as YUNGBLUD, Babymetal and Nova Twins was a great move on the band’s side, as the variety of songs throughout the album is welcomed, yet some of the songs are not as dynamic as the others, such as ‘1x1’, featuring above mentioned Nova Twins, and ‘Teardrops’, a song, that just does not stand out from the songs such as ‘Parasite Eve’ and ‘Kingslayer’, a Babymetal feature that has been the audience’s favourite song since the band dropped it. The absolute highlight of the album, however, is the last song on the album, mouthfully named ‘One Day The Only Butterflies Left Will Be In Your Chest As You March Towards Your Death’, featuring the metal legend herself, Amy Lee of Evanescence. Combining Lee’s classical vocals with Sykes’ screams, gradually making the music heavier, creates intense emotions while listening to the feature, creating a perfect ending for the album. 5) Suicide Season The second album from the pen of BMTH, Suicide Season, stays true to the band’s beginnings. Being more refined and diverse in with their melodies and lyrics, Sykes produced some interesting tracks such as ‘Diamond’s Aren’t Forever’, ‘Chelsea Smile’ and the title track ‘Suicide Season’. We can hear that although they are still playing heavy music, they start to dive deeper into other variants of metal, trying to make tracks with distinct melodies. Being released two years after their debut album, Suicide Season is a good piece of work, however, it serves as a bridge between the band’s transition from deathcore to metalcore, that defined them into the band they are today. 4) That’s The Spirit One of the albums that shaped Bring Me The Horizon into the band we love today, and gave us many of the fan-favourite songs, That’s The Spirit is now a legendary album in alternative sub-cultures such as the Emo and Goth, and helped the guys to secure tight their place on the worldwide music scene. Most of the tracks are still loved by their fans, such as ‘Happy Song’, ‘Throne’, and ‘Avalanche’, and their single ‘Drown’ made it into the mainstream streaming services. However, as in every album, there are some songs, we would not miss, if they disappeared, such as “Oh No”, that has been leaning more towards the pop-side of BMTH, and does not give much of the “wow” effect, as it is the last song of the album, coming after all the infamous tracks. Nonetheless, it is still a solid album, that has changed the metalcore scene. 3) POST HUMAN: NeX GeN The band’s freshest album, POST HUMAN: Nex GeN, is, as the name implies, a successor of POST HUMAN: Survival Horror, and it has been one of the strongest albums from the band since the first singles started to release. From the brutal Kool-Aid, to the relatable n/A, and the heart-shattering Dig It, the listeners are prone to find at least few songs, they are going to absolutely love. As every other album, however, even this one does not come without “dark-sheeps”, as few of the songs, specifically “sTraNgeRs”, “DiE4u” have been met with criticism from the bands loyal fandom. The hate was mostly centered around the nature of the songs, as both “sTraNgeRs” and “DiE4u” and slower songs, again leaning more towards the pop side rather than the metalcore, and fans are not enjoying them as much the rest of the tracks, that have been dominating the charts upon their release. 2) There Is a Hell Believe Me I’ve Seen It, There Is a Heaven Let’s Keep It a Secret The album that has shaped Bring Me The Horizon into the band we love today, There Is a Hell… is still a very relevant piece, even after fifteen years since its release. Containing Sykes’ ear-piercing screams and Nicholl’s iconic drumming, the hits “Crucify Me”, “Don’t Go” and “Alligator Blood” keep staying on top of the fans personal charts, and there is a good reason for that, as the band was gaining more of attention at that time. Although there is certainly a room for improvement, the album is a nostalgic look-behind for anyone, who started listening to the band at that time, as many listeners were in their teen years. Not every song on the album is as iconic however, and especially younger fans might not know anything besides the three hits, however, the blend of sad lyrics and heavy riffs says everything about the band’s rapid growth and improvement. 1) Sempiternal What do you think of, if someone says BMTH? Most people would probably say any song from the most iconic album the band ever released, Sempiternal (or Sempi-turtle, whichever way is preferred). Starting off with the absolute rollercoaster of emotions, “Can You Feel My Heart?” and continuing with a deliverance of one hit after another, the release was a groundbreaking moment in the band’s history, that absolutely changed the trajectory of life for everyone involved, including the fanbase. The precise timing of breakdowns, synths, riffs and drumming ensured that every single one of the songs keeps giving something new, fresh and exciting, and the listener never gets a dull moment, when they would think about turning the music off or skipping a song. In the age of twenty-seven, Oliver Sykes and his bandmates not only achieved a worldwide breakthrough but also stapled themselves as one of the timeless bands, who are going to stay relevant for many generations to come. Although the opinions about the band’s albums vary from fan to fan, one thing Is certain – the band achieved something not many other bands could have accomplished. They keep continuing to connect people around the globe together, and saving countless lives every day, just with their music. And as their only-UK performance gets closer and closer, the fans are uniting together once again to show their appreciation for everything the band has done for them. Words: Katerina Stepanikova

Ghost Fest made its long-awaited return to Leeds for its 20th anniversary. The place was packed, the air was thick, and the energy never let up. Heat, noise, sweat, and total mayhem, exactly what you’d hope for. After ten years off the radar, the UK’s heaviest music festival has finally made its long-awaited comeback. Returning to its original home at Leeds University Union, where it all kicked off 20 years ago. Between 2005 and 2015, the festival gained recognition for spotlighting some of the best in heavy music, ranging from emerging underground talent to established icons. Now, in 2025, it’s back with the same energy and did not disappoint. The Scottish slam metal crew Party Cannon opened the festival on the main stage and unleashed chaos from the first minute, inflating and launching beach balls, an orca, and a giant ice lolly into the crowd. “We Prefer the Term Living Impaired” and “Weird, But Not Illegal” came swinging like a punch to the jaw, no build-up, no warning, just straight violence. Party Cannon didn’t ease in; they hit hard, like getting slammed in the chest with a concrete block. When the first note dropped, confetti was fired, the floor erupted, the pit exploded, and from that moment on, there was no turning back. It wasn’t just an opening, it was a detonation, and it was the perfect start to Ghost Fest. As soon as they wrapped up their set, they packed up and shot straight down to London to support Dethklok that same night. No rest, no downtime, just chaos, riffs, and the kind of grind that proves exactly why they belong on both stages. Party Cannon Kicking off the second stage, Veiled. The lights were low, and the smoke started to fill the stage before a single note even hit. It didn’t feel like a festival anymore; it felt like a dark basement show you stumbled into by accident. Total deathcore energy; gritty, tense, and exactly the right mood. Veiled demonstrated they are more than just newcomers. Focused performance and powerful sound, including a standout rendition of their track ‘Hellbound’, captured the audience’s attention and made their opening set truly memorable. If they continue this path, they are certainly a band to watch in the deathcore scene. The heat was brutal, pints were flying, and every band brought serious energy. No weak links, just one heavy set after another. Keeping the pace high and the crowd locked in... TRC didn’t mess around. They came out swinging with that hard, stripped-back sound they’re known for. About halfway through, they launched into “#TEAMUK” and “H.A.T.E.R.S.,” both tracks hit hard and sent the crowd straight into chaos. False Reality delivered a powerful set that left a mark. Rachel Rigby stood out not just for her intensity but also as the only female artist on the bill, owning the stage with a strong presence. The music was tight and brutal, mixing heavy riffs with sharp, aggressive vocals that hit hard. TRC Coming off an insanely busy festival season. Graphic Nature stepped up to the main stage, I was fortunate enough to see them at both Slam Dunk & Download Festival, and every time it's high energy. Issues with the soundcheck didn’t stop Lead singer Harvey Freeman from igniting the atmosphere. Although the set had to be cut short, the crowd loved every second of it. ‘Geezercore’ grifters Pintglass made their mark with two vocalists holding the front line. Instead of switching styles, they doubled down on the aggression, trading lines, pushing each other, and keeping the momentum high from start to finish. It wasn’t about contrast; it was about impact. Between songs, the band’s personality came through loud and clear. Sticking to their construction-site theme, they bounced off each other with rough, job-site banter, shouting like they were on shift, not on stage. It gave the whole set a loose, fun edge without taking away from the heaviness. Fog hung in the air, and the lights dropped low. The crowd went quiet, and for a second, everything stood still. Then Humanity’s Last Breath hit. No build-up, just thick, crushing sound pouring over the room. Every note felt like concrete falling, slow and brutal. The crowd wasn’t throwing down; they were locked in, like they were bracing for something heavy. Heads nodded in time, eyes fixed forward, and the atmosphere was heavy across the room. This wasn’t fast or chaotic; it was slow, crushing pressure. Humanity’s Last Breath didn’t just play heavy; they made it feel like the ceiling was closing in. Humanity's Last Breath Ghost Fest 2025 was already going down as a huge success, and there were still some big crushing bands to come. FILTH hit the second stage hard as the second-to-last band, setting the stage perfectly before Martyr Defiled. They came through like they had something to prove and made it clear they weren’t here to mess around. Their set was pure punishment. Every riff slammed like a crowbar, every scream dripping with raw anger. It was filthy, and the crowd ate it up. Right from the first song, the pit erupted. No matter how many bands had come before, FILTH turned the intensity way up. Their sound was built for destruction, deep, crushing breakdowns, guttural growls, and riffs. It was one of my favourite shows of the day. Signs of the Swarm tore up the main stage! From the first riff, the crowd was relentless, constant pits, heavy breakdowns, fierce vocals, and even an inflatable orca bouncing through the chaos. David commanded the stage with raw energy, driving the crowd wild. Honestly, they could’ve headlined no question. If you missed this set, you missed something serious. Martyr Defiled Martyr Defiled hit the second stage like they’d never been gone. After nearly eight years out of the game, their return to Ghost Fest was nothing short of explosive. The second the intro dropped, the pit detonated, no warm-up, just chaos. Floors shook, bodies flew, and the energy surged like a band with something to prove. There was no sign of rust. Tight, aggressive, and locked in, they tore through some of their heaviest material without missing a beat. Tracks like Demons in the Mist, 616, and Infidels landed hard every riff a gut punch, every breakdown grinding the room into dust. The band fed off the crowd, and the crowd gave it right back. It felt less like a comeback and more like a warning shot. After so long away, Martyr Defiled didn’t just show up; they dominated. Now it was Manchester’s heaviest to tear the place apart. Ingested hit like a wrecking ball. No buildup, no filler, just straight into a full-force assault that felt like a headline set. Every blast beat cracked like a nail gun, every riff dragged with weight, and there was zero room to breathe. The pit blew open from the first note and didn’t slow down once. The crowd knew what was coming, but it still flattened them. From Ashes Lie Still to Rebirth, every track hit like a hammer to the ribs. Frontman Jason Evans sounded feral with deep, guttural vocals delivered with full force. He had total control of the stage and didn’t let up for a second. Ingested Ghost Fest 2025 didn’t just live up to the hype; it tore straight through it. From the first breakdown to the last encore, the weekend was full of sweat, chaos, and unrelenting heaviness. After a ten-year pause, Ghost Fest came back stronger than ever. If this was the restart, the scene better be ready for what’s coming. Words and photos: Kieran Atkinson

Mission Jupiter do not just craft songs, they shape worlds - and Aftermath is one draped in melancholy, glimmer, and slow-burning power. Hailing from Minsk, Belarus, the dream-rock ensemble has evolved from an experimental project into a fully-formed force that blurs the lines between progressive rock, alternative, post-rock and cinematic atmosphere. On Aftermath, they offer a hauntingly beautiful and emotionally grounded record that speaks softly but leaves an echo. This is a rebirth for the band in more ways than one. The introduction of vocalist Kate Varsak adds an ethereal yet grounded dimension to their sonic palette. Her voice soars with elegance, yet she still knows when to hold back. Her presence centres the band’s cinematic tendencies with a strong emotional core, and with returning members like guitarist Vladimir Shvakel, drummer Eugene Zuyeu, and saxophonist Dmitri Soldatenko, the result is an album that is unified, mature, and emotionally resonant. The production is polished yet dynamic - the atmospheric layers are never at odds with the emotional message. Synths shimmer, guitars stretch out into the horizon, and the drums are sharp but subtle. There’s a quiet confidence throughout the record that doesn’t beg for attention, it earns it. Lyrically, Aftermath deals in memory, distance, heartache, and emotional survival. There’s a strong undercurrent of mourning throughout the album - not just for people, but for moments, for versions of ourselves we’ve left behind. And yet it never sinks into despair. There’s always a sense of movement, of coming to terms with the pieces we carry. Across the album, two songs rise to the forefront more than any others. 'Crippled Country' one leans into the band’s progressive leanings. The saxophone is front and centre here, lending an ‘80s noir feel that contrasts beautifully with Kate’s more modern vocal stylings. Dark, mysterious, and mesmerizing. The second notable track is 'Jak Spyniajecca Bol' - sung in Belarusian, this track adds a layer of cultural intimacy to the record. The emotional core is still universal, but this moment feels especially personal - a quiet triumph in vulnerability. Despite its spaciousness, Aftermath never feels hollow. Tracks like 'Bittersweet (Love Song)' and 'Self-Destruction' add urgency to the otherwise floating palette, while interludes like 'The Dark' offer breathing room without losing emotional continuity. The final track 'This Is Not The End' closes things with subtle defiance - more whisper than roar, but no less impactful. Aftermath is a compelling evolution for Mission Jupiter. It’s dreamy but grounded, cinematic but never distant. The addition of Kate Varsak marks a new chapter for the band - one that feels confident in its restraint and quietly daring in its choices. For fans of Sigur Rós, Beach House, or Mogwai, this album will feel like coming home - if home was drifting quietly through the stars. Score: 8/10 Aftermath was released on June 20th 2025. Words: Claire Elizabeth Whiston Photos: Mission Jupiter

Boomtown Fair returns for its 15th year and the 4th chapter of its new story its been telling since the pandemic. Boomtown is more than just a festival, it has had a story since its inception, complete with actors wandering the site, giving out quests to help punters unravel the mystery of the story each year. Not only do you get music from big-name artists on insane stages, you get an adventure to explore and a fair that truly feels like a different planet. So, in this article we are going to break down 10 artists that you cannot miss. 1) Alien Ant Farm Going for pure nostalgia with this one, any lover of alternative music from the 2000s knows this band for two things: their hit song ‘Movies’, which topped charts and was a constant repeat on rock radio stations for years to come. The second reason is their cover of Michael Jackson’s ‘Smooth Criminal’ with its heavy riffed version and vocals to match the original, this song is an unruly banger that the band are sure to absolutely ham up. But much more than these songs, we predict the band will whip a setlist of all of their best and popular songs with a majority of songs coming from ‘Anthology’ with songs like ‘Wish’ and ‘Courage’ sure to be there to make way for some moshing for alternative fans of every nature. 2) Third Kulture Here at Out Of Rage, we’ve our eyes on these guys for a while, with an incredible blend of genre and some insane production, these guys infused hip-hop with elements of dance, hip-hop and rock to create a blend that we are but excited to see play out live. Along with the intense visuals almost guaranteed at Boomtown, this Trio is sure to impress with their stark uniqueness, their bold statements and for being unapologetically themselves. 3) Boney M Quite frankly, you’ll be silly to miss this one, THE Boney M is at Boomtown, and you’ll get a chance to see the legendary song ‘Rasputin’ live, not only is this legendary to anyone who has played Just Dance, but it is also an all-timer of a song for any lover of 70s/80s music. On top of this, don’t forget that they also have the song ‘Daddy Cool’ which I’m sure will get everyone dancing. 4) Sex Pistols featuring Frank Carter With Sex Pistols reuniting, replacing Johnny Lydon with Frank Carter for vocals, we think it’ll be very interesting to see this band if you haven’t had the opportunity yet. With rave reviews across the board from this reunion, if you’ve ever had a love of their one album, here is your chance, with Frank sure to make up the energy the others can’t. I think this is going to be one of the best sets of the weekend purely for its raw energy and power. 5) Fat Dog If you keep up with the current music landscape, then you have absolutely heard of this band, with an insane meteoric rise, Fat Dog have taken the UK by storm, with a constant touring cycle for the past 3 years. Boomtown is sure to give this group a platform they have most definitely earned, expect massive mosh pits, raucous energy; funny and goofy moments as well as songs you’ll feel right down to your bones as these guys are an Art Rock Band that shake the room of any venue they take on, and i’m sure Boomtown will be no different. 6) Hybrid Minds Nothing but a perfect fit for Boomtown Fair here; Hybrid Minds blend their own very signature liquid DnB with angelic vocals to deliver a vibe that anyone can dance to, this with the combination of Grand Central’s ever improving stage and lighting set-up, this set is expected to be a real journey into pure feeling and connection from artist to audience. I have no doubt the majority of the festival will be at this set with the Duo sure to encapsulate the minds of the attendees. 7) Carsick These lads have been doing well in the touring circuit recently, landing some opener slots that will all but make them bigger; now they finally get to bring their heat to Boomtown. If I were to describe this band in one way, they’re like if you took all the best elements of post-punk, 90s Britpop and made tunes that were more fun with a beer in hand. I don’t mean that in a bad way either, these guys are unpredictable, raw and are just downright fun. I think with a good crowd attending, these guys are sure to put on one of the best sets of the weekend, expect beer down your shirt, expect an elbow to the face, expect to be moving, these guys are unruly. 8) Sean Paul It’s Sean Paul, do I really need to say more? This Jamaican Dance Legend is gracing Boomtown with his presence, sure to bring his live band and fantastic vibe with him; can you really have a bad time with songs like ‘Temperature’ or ‘Get Busy’ alongside Sean Paul’s pure positivity, it’s clear he aims to deliver nothing but pure serotonin to any audience he plays to. 9) Nova Twins This duo are unstoppable, from the incredible roster of headline acts they’ve opened for, to the festivals they’ve played, Georgia and Amy are making quite an incredible career for themselves. If you haven’t seen these two before Boomtown is definitely the perfect place to experience them, They’ll be taking on the Grand Central stage and I have no doubt that they’ll blow you away with their unapologetic and unique style; and for all you music nerds out there Georgia’s tricks she can pull of with the bass are insane, with an absolutely nuts pedalboard and being able to play her bass like a Theremin at times, it’s quite the spectacle. 10) Joey Valence & Brae Probably one of the best artists hitting the mainstream today, this duo have captured everything that made 90s Rock and Rap so great and re-engineered it for a new generation. Sounding like an encapsulation of Limp Bizkit and Beastie Boys, these two like hard beats, hype sounding lyrics and just going for it; with plenty of reference humour these two don’t really take themselves that seriously but it only ever plays into their favour with a set that is sure to get the crowd bouncing. Head to the Boomtown website to find out more information! Words: Ben Blisset

Warkings, the force of nature hailing from Europe, is taking over this summer with their new album Armageddon. Consisting of masked members The Tribune, The Crusader, The Viking, The Spartan and Morgana le Fay, the band has quickly gained popularity since they formed in 2018, and has played alongside legends such as Powerwolf, Hammerfall and Subway To Sally. Armageddon, the latest project of the five-piece band, is a look into some of the history’s most prominent warriors, who fought for their beliefs and lives, and stood at the very brink of their end. They've curated a very extensive track-list of fourteen songs, with some of them such as 'Morgana’s Incantation' and 'Call To Arms' acting as introductions to the upcoming songs, giving the listeners a moment to breathe, before continuing with the action. Focusing on different timelines of history, Warkings’ reach spans from Vikings and Genghis Khan to the Medieval times and witches and everything between, and offers their listeners an extensive insight into different storylines. Title track 'Armageddon' comes as the first full-length song of the piece, and is a dynamic track featuring energetic riffs and powerful vocals. Those vocals would be nothing without the sharp lyrics that portray the atmosphere of battle perfectly. The second song 'Circle of Witches' is a chaotic and intense track, nailing down the feelings of beings who knew something is about to happen. Neither song skimps on The Crusader’s guitars and The Spartan’s drums, using the sounds to their own advantage and creating soundscapes, that are able to teleport the listener in that specific timeline. The use of vocals in both songs is also worth mentioning, as the song 'Armageddon' primarily uses clear vocals, whilst 'Circle of Witches' adds a few screams in as well, creating a fitting atmosphere for the topic of the song. Another song worth mentioning is 'Nightfall', a piece that starts a little differently than the rest of the songs on the album. The track’s features resemble some of Sabaton’s iconic riffs and melodies, yet Warkings remade them into something much more personal and powerful, using the guitar simulate the feelings of heroism and accomplishments. The song on its own bears a unique composition not heard anywhere else on the album that is hard to match, especially with Morgana le Fay’s iconic voice, and it feels odd it was not released as a single. At the end of the project, the listeners are surprised by the song 'Stahl auf Stahl', which features Subway to Sally in one of three features on the album, with the other ones being 'Genghis Khan' featuring Orden Ogan and 'Hangmen’s Night' featuring Dominum. 'Stahl auf Stahl' stands out from the other features though, primarily because the song features both German and English lyrics, making for an interesting blend of the two. Translating directly as 'Steel on Steel', the song is about the historical heroes who fought against each other, and made their names known across kingdoms. Not only does the song use a different language, but it also features an instrument that is not used in any other song - a violin that creates an unmatched atmosphere while listening to it. Warkings have proved, once again, that they are pros when it comes to writing catchy and engaging power metal songs. The album is perfectly executed in almost every sense, with the features of immaculate guitar, drum and bass work. The songs are presented in a well chosen order, giving the listeners a space to explore each of the topics to the core. Armageddon is a very promising album in the history-book of power metal and - apart from the extensive track-list, that might discourage some from listening to the piece - this work is to be considered some of the best out there. Score: 9/10 Armageddon was released on July 4th 2025 via Napalm Records. Words: Katerina Stepanikova Photos: Warkings