By the time South of Salem brought their Death of the Party Tour to Manchester on April 2nd, Club Academy had been transformed into a gothic carnival of eyeliner, riffs, and dark theatrics. With a lineup featuring alt-prog veterans In Search of Sun and industrial upstarts High Parasite, this was less a gig and more a full-speed showcase of bands rejecting genre boundaries in favour of individuality. High Parasite exploded onto the stage with intensity. Their industrial metal sound, filthy, sharp-edged, and aggressive, cut through the gloom like a warning siren. Their frontman stalked the stage with intent, drawing in even the early crowd with pulsing, distorted energy. Abrasive in all the right places, they’re an exciting new force on the UK circuit and the perfect band to set the night’s dystopian tone. In Search of Sun followed with a set rich in melody and musicianship, offering a balance of soaring choruses and groove-laden hooks. Their versatility set them apart: one moment leaning into syncopated riffs and textured vocal harmonies, the next shifting effortlessly into a heavier, near-metalcore edge. Their chemistry was undeniable, elevating the energy without oversaturating the stage, a well-judged build-up for what was to follow. And then came South of Salem. The mood shifted the moment they took to the stage to ‘Let Us Prey’. Drenched in ominous red and purple lights, the five-piece emerged like they’d stepped straight from a Hammer horror film into a sleaze rock fever dream. They didn’t just perform; they infiltrated. South of Salem have built their reputation on a delicate balancing act: horror rock that nods to goth and glam without slipping into parody. And in Manchester, they proved they’re more than just theatrics. ‘Pretty Little Nightmare’ and ‘Jet Black Eyes’ detonated live with pinpoint precision, anchored by a rhythm section that refused to let up. ‘Stitch the Wound’ was equal parts cathartic and catchy, while ‘Vultures’ hissed with menace. One of the night’s most surprising highlights came from their unexpected cover of Savage Garden’s ‘To the Moon & Back.’ On paper, it shouldn’t work, but twisted through Salem’s gothic filter, it became a haunting, brooding curveball that had even the cynics headbanging. Frontman Joey Draper was in full control, growling and prowling the stage like a man who knows his band is standing on the threshold of something much bigger. Vocally, he moved fluidly between melody and grit, never missing a beat. As for rhythm? The full band were perfectly in sync, particularly on ‘Hellbound Heart’ and ‘A Life Worth Dying For’. The 17-song set, complete with a drum solo and an encore of ‘Demons Are Forever’ and closer ‘Cold Day in Hell’ never once lost momentum. Even at the end of their set, it felt like they still had hours of performing left in them, and the crowd would’ve gladly stuck around. More than anything, Manchester proved that South of Salem are fully in their element. The stagecraft is slick. The fanbase is growing. And the sound, equal parts heart, horror, and hellfire, is evolving without losing its bite. Words: Vee Richardson Photos: Izzy Sheldon

The UK hardcore scene is thriving like never before. The energy, creativity, and passion pouring out of the scene right now is truly electrifying. A new wave of bands is tearing through venues, blending ferocious energy with raw emotion and pushing the genre into bold new territory. Whether metallic riffs, stomping two-step beats, or cathartic singalongs, the UK is delivering some of the most exciting and urgent hardcore in years. From sweaty basement shows to packed-out festival stages, this new generation is building on the legacy of the scene’s greats while carving out their identity. Hardcore in the UK has always thrived on passion, DIY ethics, and a fierce sense of community, and right now, that spirit is stronger than ever. If you want to experience it for yourself, you won’t have to wait long—several of the bands on this list are set to bring absolute chaos to festival stages this year, including Outbreak Festival, Northern Unrest, and Burn It Down. Whether you’re a longtime fan or just diving into the scene, these are 10 names you need to know. CAULDRON Birmingham’s Cauldron are at the forefront of the UK’s ’90s metalcore revival, blending the raw intensity of early Converge and Integrity with modern hardcore aggression. Their sound is all crushing breakdowns, chaotic riffs, and feral vocals—pure, unfiltered violence. Over the past few years, they’ve built a strong reputation for blistering live shows. With a relentless work ethic and a growing cult following, Cauldron proves that metalcore’s roots still hit just as hard. Catch them wrecking festival stages this year—you won’t walk away unscathed. CANNONBALL Northern England’s Cannonball are injecting fresh energy into the UK straight edge scene. This ferocious four-piece dropped their debut EP last summer, hitting the ground running with blistering shows that immediately turned heads. Fast forward to 2025, and their latest EP has only solidified their reputation as one of the country’s most promising hardcore bands. Hard-hitting, no-frills, and packed with conviction, Cannonball are bringing pure energy to every stage they hit. UK straight edge is alive and well, and Cannonball are ensuring its in safe hands—catch them this year before they inevitably blow up. HIGH VIS Blending hardcore grit with soaring post-punk melodies, High Vis are carving out their own lane in the UK scene. Their sound is urgent, anthemic, and emotionally charged, channeling the raw energy of classic hardcore while infusing it with introspective lyricism and shimmering guitar work. With a reputation for powerful, cathartic live performances, High Vis have been winning over both hardcore crowds and beyond. Their rise has been nothing short of meteoric, and with more eyes on them than ever, now is the time to get on board. PEST CONTROL Leeds’ Pest Control are leading the charge for crossover thrash in the UK, ripping through every stage they touch with high-speed riffs and blistering intensity. If you like hardcore with a side of whiplash-inducing thrash metal, this is your band. Their furious, high-energy live shows have put them on the map, and with yet another Outbreak Festival slot lined up, 2025 is looking huge for them. PERP WALK Perp Walk are fast, vicious, and unapologetically raw, delivering a stripped-back brand of hardcore that hits straight to the gut. Their sound is pure energy—short, sharp, and packed with venom, proudly flying the flag for South West Chain Punk. Their incredible set at Outbreak last year turned plenty of heads, and they’ve kept that momentum rolling, recently providing UK support for SPY. With a reputation for feral, no-nonsense live shows, Perp Walk are only getting stronger. If you like your hardcore ugly, fast, and unfiltered, this is a band you need to know. PINTGLASS Brash, belligerent, and built for the mosh, Pintglass deliver pure, street-level beatdown hardcore with a tongue-in-cheek edge. Mixing bludgeoning riffs, guttural vocals, and rowdy gang chants, their sound is tailor-made for violent, no-holds-barred live shows. Whether they’re starting fights or soundtracking them, Pintglass have built a reputation as one of the UK’s most chaotic and divisive hardcore bands. Love them or hate them, they’re impossible to ignore. DYNAMITE London’s Dynamite are bringing back the art of groove-heavy, knuckle-dragging hardcore. Their sound is fast, stompy, and packed with attitude, drawing from both hardcore’s metallic edge and its raw, punk roots. With feral live energy and a reputation for unhinged shows, Dynamite are proving themselves to be one of the UK’s most exciting young bands. Expect absolute chaos when they hit Northern Unrest this year. T.S. WARSPITE If D-beat hardcore with a metallic bite is your thing, T.S. Warspite are an essential listen. Their sound is relentless, unpolished, and built for total warfare, fusing hardcore punk aggression with crushing riffs and anthemic rage. Their live sets are pure, high-speed devastation, making them one of the most ferocious bands in the UK right now. Prepare for mayhem when they hit Northern Unrest—this is war. CRUELTY Bringing a dark, suffocating intensity to the UK scene, Cruelty fuse metallic hardcore with haunting atmospherics, creating a sound that’s both brooding and brutal. Their influences range from 90s metallic hardcore to modern sludge and doom, resulting in a uniquely oppressive heaviness. Known for their crushing, immersive live performances, they’re set to bring devastation to Burn It Down this year. If you like your hardcore bleak, suffocating, and utterly punishing, Cruelty are the band for you. XAPOTHECARYX One of the UK’s most vital new vegan straight edge bands, XAPOTHACARYX have been making serious waves since their arrival just a couple of years ago. Their sound is fast, metallic, and utterly relentless, fusing classic straight edge fury with a modern, sharpened edge. With their no-compromise ethos and blistering live energy, they’ve quickly built a reputation as one of the most exciting names in UK hardcore. Vegan straight edge has never sounded heavier—XAPOTHACARYX are here to crush. Words: Andy Nile

“If you find yourself having to stick out for people and support them, it's not about politics, it’s about basic, decent human empathy.” Skunk Anansie’s Skin preaches to the crowd before playing their hit song, ‘God Only Loves You’. The vocalist, clad in an oversized shirt and a thick black line of paint rolling towards her forehead in an S-shape, continues her monologue, determined to uplift the crowd at Manchester’s O2 Arena. She speaks quickly and concisely, making sure every word matters. ‘It’s not left or right. It’s just right or wrong.’ Supporting Skunk Anansie were London-based So Good, a ‘brat-pop’ band that blends hip-hop and pop, but uses punk vocals to make the issues that matter to them heard. A Delilah Bon for the Glastonbury dads, the musicians in the band sport pink balaclavas and matching boiler suits, whilst the vocalist tears the stage apart with her two back-up dancers. Hilarious and oozing sexuality, the band runs through their hits with ease. It is clear why Skunk have picked them for this monumental task. As they also support Queens of the Stone Age summer tour, they are a breakthrough force to be reckoned with heading to the mainstream. Within half an hour of So Good’s final song, Skunk Anansie made their Manchester debut on this tour. A giant spider pushes its way up the back of the stage. Originally, a reminder of their namesake, ’Anansi’, a trickster figure originating from Ghanaian folklore, which has now taken on a life of its own. There is a captivating unpredictability during the band's performance, which makes them electrifying to watch. Vocalist Skin takes these wild moments to unnerve the crowd, between hollow whispers and loud exclamations of ‘Is there something wrong, officer?’ Amongst the inflatable spikes, which have also become a part of the Skunk Anansie experience, they make a grand entrance with ‘This Means War’. The band take the opportunity to push their sound to the limits, making sure that Skin’s impressive soprano vocals take centre stage of the evening's proceedings. The enthusiasm and energy felt by the whole band shine as they pick up the pace with ‘Charlie Big Potato’. The rich guitar tones, reminiscent of the bassy undertones Royal Blood championed during their debut album, make their performance rich and current, despite the song's release in 1999. The tour polishes their signature punk sound -if punk can be polished in any way- to sound refreshingly current. Great care has been taken in the arrangement and sound design, as the sound fills the domed ceiling of the Apollo. ‘Because of You’ was the moment that Skin could sustain some strikingly beautiful final notes, before switching gear into the new track ‘An Artist Is An Artist. Skunk Anansie have always taken a stand against hardship, for championing LGBTQIA+ rights and representing the outsider. Their upcoming album ‘The Painful Truth’ is the band at their most powerful- if their singles are anything to go by. Whilst the set takes a turn to push their fan-favourite classics ‘God Only Loves You’, ‘Secretly’ and ‘Weak’, the crowd revel in nostalgia. This is Skunk Anansie at their best, rebellious and unapologetic. The riff-heavy ‘I Can Dream’ leaves the audience swaying in unison. There is more of a stillness to this part of the set. Perhaps to keep the energy of the audience up right until the end of their 21-song set, but there was a need for movement at that point. ‘Animal’, another new track, is the latest push of the Skunk Anansie sound- and they had breakdowns! Whilst the crowd may not have taken to it as much as the band would have liked, we certainly did. Splicing electronica with loud textured riffs, this daring song made the most of the bands' impressive light rig. Rather than a call to action, it was a change in the tide, bringing the energy to the second part of the set. ‘Yes It’s Fucking Political’ started the first pit of the evening. The band matched the energy greatly as Skin pushed her way around the stage with ease. She joined the anarchy dads that resided in the center of the pit (and us) for a mosh with ‘Tear The Place Up’, before getting loud with ‘Little Baby Swastikkka’. After a brief encore, the band played their victory lap, starting with the first single from this new era ‘Cheers’, before playing ‘Hedonism’. A moment of euphoria for the band, they made themselves known with ‘Lost and Found’ before trying out a cover of Led Zeppelin’s ‘Whole Lotta Love’. Stripped back, but with incredible room to let Skin’s vocals be heard, it was an elatory moment for both band and audience, before finishing with ‘The Skank Heads’. Skunk Anansie prove that they’ve still got it. They are one of the most enigmatic voices in British rock. As a captivating Glastonbury headliner, to their fiery latest tour, the band have always been pushing the provocative, even twenty years on. Sounding great, there is very little stopping this band. We just hope the youth of today are listening to their impressive back catalogue and taking a stand for the issues that do matter. Words: Amber Brooks Photos: Kieran Atkinson

Hotgirl’s Blast Off EP lives up to its name - raw, propulsive, and emotionally volatile, it’s a thrilling statement from a band quickly establishing themselves as one of the most exciting forces in Ireland’s emerging scene. Across four tracks, the Dublin quartet tear through themes of self-doubt, frustration, identity, and release, all while threading needle-sharp hooks through walls of distortion. It’s messy in the best way - intentional and urgent. Kicking off with 'In Your Head', the EP wastes no time in setting the tone. There’s an immediate punch to it: jagged riffs, nervy pacing, and a sense of anxious momentum that never quite resolves. Ashley Abbedeen’s vocals oscillate between sardonic restraint and full-bodied release, mirroring the lyrical push-pull of self-awareness and spiralling thoughts. It’s a track that bristles with tension, and you can see why it was picked as the lead single; it's confrontational, catchy, and deeply personal. There's a livewire energy baked into every note, as though the song might combust at any second. 'On The Brink' follows, upping the tempo and leaning harder into chaos. There’s a sneering quality to it, underscored by laughter woven into the track that feels pointed - almost mocking. The interplay between Sophie Boxwell’s wiry lead guitar and Jake Hurley’s pounding basslines adds a sense of barely-contained volatility, while Nick Stanley’s drumming keeps everything locked in and menacingly forward. It’s danceable in a manic, twitchy kind of way - post-punk if it got blackout drunk and decided to scream into a mic. Then comes 'Sisyphus', which brings a more introspective edge to the chaos without sacrificing energy. Lyrically, it's one of the most vulnerable tracks on the record, with Abbedeen using the Greek myth as a metaphor for personal trauma and the exhausting cycle of carrying it. “As I slowly make peace with all my traumas, I start to forget why I couldn’t let them go in the first place,” she explained - and that reflection is palpable in the song. The verses are pulled back, almost meditative, before the choruses burst open like a cracked dam. It's a high point in terms of dynamic range, offering a moment of emotional clarity amidst the EP's otherwise relentless momentum. It’s the sound of a band letting themselves breathe, then screaming into the void. Closing with 'The Stink', the band let loose completely. The track is sweaty, bratty, and made for the live setting - short, sharp, and explosive. There’s an almost playful edge to it as Abbedeen dances around the beat, vocals dripping with a theatrical sneer. It’s easy to imagine her stepping off the stage and into the crowd mid-song, mic cord dragging behind her. It’s the kind of song that thrives in basements, festival tents, and dive bars - anywhere packed and loud. Looking back over the release, Blast Off feels like exactly the kind of EP a band like Hotgirl should be making right now - brash, emotionally honest, and ready to blow up at any moment. It doesn’t just showcase what they’re capable of; it dares you to look away. With bigger stages and louder crowds on the horizon, this feels like the ignition point. Score: 7/10 Blast Off will be released on April 10th 2025 via Cartoon Records. Words: Jason De Mendonca Photo: Niamh Barry

Tómarúm’s second offering Beyond Obsidian Euphoria is an exploratory album in its concept, focused on coming out of the other side of depression and navigation of life after this experience. It is sonically average for its genre, that being black metal with some progressive elements, and in its lyrics - though in some places poignant - often come across more as pretentious. This album opens with ‘In Search of the Triumph Beyond…(Obsidian Overture)’, which clocks in at 9:59 and works well as the opener to this album. The lyrics are a little wordy which is difficult to make work with such guttural vocals, but elements of this track, such as the section from 3:20 to the end of Longerbeam’s guitar solo have a spaced out energy to them which feels akin to waking up with the weight of a dark period feeling light for the first time. The track following is 'Introspection III', which is a pretty instrumental number that pulls the good of the prog influence to give what feels like a walk to the tavern at the beginning of a D&D campaign. Lazy guitar harmonies mix well with an easy open-hat based drumline that show off the capabilities of each member of Tómarúm as musicians. 'Shallow Ecstasy' contrasts well with these laid back vibes, pumping the drums back to a double bass and with a more sinister feel as the screaming vocals return. However, it is from about here where all of the comments on each track are the same: “that sounds cool.” The drum breakdown from around 2:25 sounds cool, as does the ambience in the background of the track that gives it its sinister energy. The lyrics to this track call to the feelings of what getting better means and being able to look forward to better days ahead - but the feeling that seven minutes is not needed for this nags, and only nags more in the second half of the project. Jumping ahead a little, the main perpetrator of this crime is 'The Final Pursuit of Light', coming in at 14:09 and with its penultimate place on the tracklist indicates a crescendo. To give the credit where it is due, it just about avoids feeling like two or three songs mashed together and there’s no element that can be pointed to to take out entirely. It generally plays with tempo well, having a thrashier feel throughout its first act which is mellowed into something more akin to prog to show off each guitar player’s skills in turn. The section that they’ve written from about 8:30 to 11:10 is also…really cool, with a satisfying drum solo from Chris Stropoli at its midpoint and a groovy sounding bassline from Micheal Sanders being a welcome change of vibe. The real crime that 'The Final Pursuit of Light', and Beyond Obsidian Euphoria in general, commits is boredom. Nothing in this almost 15 minute ballad - lyrically or sonically - is new or different to what has been heard in the six tracks that precede it. The concept is realised, absolutely, but for a concept that is supposed to be similar to that of a fantasy novel there is never the feeling that the character gets anywhere on their journey. The protagonist is met in track one speaking of “A new journey begins…/In search of the triumph beyond/a new euphoria” and by the end they claim to have found “obsidian euphoria”, but the lack of evolution in the sound makes this resolution of the story accessible only to those who have the lyrics. Even with the lyrics, spending time googling what the crucial concepts are for an album is an acquired taste; one easier to acquire if said lyrics are atop a soundscape that already tells you the story. Overall, Beyond Obsidian Euphoria is a passable black/prog metal offering which would likely be enjoyable for those who mainly listen to those genres, but there is little to say about it as a piece of music or as a concept. There is every chance that, as Tómarúm write their story, this album may be recognised for a richness that is currently lost, but hopefully with that more time may be spent diversifying and tuning their sound rather than finding obscure words to litter into their lyrics. Score: 5/10 Beyond Obsidian Euphoria was released on April 4th 2025. Words: Julia Brunton Photos: Tómarúm

This Summit Fever demands your attention from the very first note. Pulling you in with every riff and word, it’s a debut that digs deep into the complexities of human experience and does so with deservingly raw authenticity. An album that resonates with perhaps more of us than some may realise, it’s clear that This Summit Fever are more than just another fuzz-heavy duo - they’re the industry’s best kept secret. Opening track ‘Breathe You In’ is tangibly coated with the sweat-slickened, peeling wall paint of a dearly beloved venue: it’s made to be experienced live. A crowd favourite in the making, this idea of pure, unfiltered frenzy is remarkably harnessed within Andy Blackburn’s guitar strings with a dynamic groove. ‘Currents’ beats the well-trodden path of blending effective intensity and nuance - and that’s before we talk about Jim McSorley’s drumming technique - to guarantee your devotion. A slightly heavier, atmospheric build of chord progressions culminates into this swooping switch of riff- energy. Like a jolt of clarity amid the haze, it’s a real emotional high for only our second soundscape of this terraneous album adventure. As cliché as it may be, we’re going to reinforce the fact that every track is a standout. ‘Hooks’ being another contender. Blending these motifs of stoner rock, doom, and desert vibes effortlessly, the song’s pace is relentless; the rhythm section almost taunts you with its cohesivity, a strong vocal performance and pounding drums. Tight and punchy, it’s a song demonstrating just how much creativity this duo can pack into a compact track. The heavy fuzz feels physically intoxicating, and if that fantastic guitar solo didn't kick in, we’d have called that a placebo effect. As the album progresses, the track listing only continues to captivate: ‘Superfluous’ scratches that itch for something a little off-kilter, a bit weird, and yet still groove-heavy. A perfect example of how This Summit Fever play with musical textures to keep listeners on their toes, introducing a more psychedelic flavour to their technical terrain. Its fuzzy riff is a slow burn, yet it segues seamlessly into ‘Voices’. Tinged with a hint of Cobain’s anguish, Blackburn is urgently mellow in his heavier eruptions throughout the album. This track is no different, although with its heaviness matched by a vulnerability that gives it real emotional punch. We’re driving forward with a relieving rush that is impossible to ignore. The combination of McSorley’s frantic yet tight drumming (which never overwhelms the guitar, a harmonious footnote in our musings) and that signature raw vein of intensity makes ‘Party To Blame’ another instant classic. It’s a moment of pure musical synergy, one that you’ll want to hit repeat on, and it’s stunningly followed by the equally potent ‘Only Quietness’. It just oozes that classic stoner rock fuzz – slow, thick riffs that make your teeth ache and leave your mind feeling loose and carefree. Subtle and pervasive, it captures the essence of that era without sounding grunge in its nostalgia; rather, creeping under your skin and staying with you long after the song ends. One of the most impressive things about This Summit Fever is how lean it is. With the exception of the closing track, most of the songs come in under four minutes. There’s no fat here – each song is concise, punchy, and to the point. The tracks get in, make their mark, and then leave you wanting more. Saying that, ‘It Haunts Us’ arguably offers this overarching, pinnacle piece of poignancy we’ve been pushing towards. Offering a departure from the high-energy rock that precedes it, it feels like a natural end to an album: the softer vocals, lighter drums, and haunting melody are naturally introspective, and it’s a beautiful listen through. In the end, This Summit Fever is a record that feels real. No fluff, no filler. A collection of songs that speak to the complexity of life – be it the riff-drenched, head-banging bonanzas, or the moments of surprising depth – reflected in all its messiness and contradictions. It’s an album you’ll want to come back to, again and again, because of the digestible promises of honesty (including bigger things for the band in the future!). This Summit Fever is the sound of a band finding their voice and embracing it fully, and if this debut is any indication, we’re in for a crackin’ ride ahead. Score: 7/10 This Summit Fever was released on April 4th 2025 via Majestic Mountain Records. Words: Talia Robinson Photos: This Summit Fever

Caliban aren’t interested in nostalgia. With Back From Hell, the German metalcore veterans have taken a hard look at who they are and what still drives them. The result is their most focused and uncompromising record in years. Built on self-reflection, frustration and a desire to cut through the noise, this album doesn’t reinvent the band. It recentres them. For lead guitarist Marc Görtz, the creative fire behind this album wasn’t sparked by momentum, but rather by discontent. “I wasn’t happy with the previous album,” he admits. “It felt lost in the details. At first, I thought it was good, but that faded quickly. It just didn’t feel worthy of the Caliban name.” That lingering dissatisfaction became the driving force behind Back From Hell, pushing the band to create what Marc calls a “milestone” record; one that distills the essence of Caliban while introducing new life. “We wanted something honest, something straightforward. It still sounds like us, but with new spices. It’s pure Caliban.” The band approached writing with fresh intent, treating every track like it could stand alone as a single. Early demos like ‘Till Death Do Us Part’ and ‘Back From Hell’ quickly set the tone - direct, heavy, and emotionally grounded. “They’ve got hardcore energy, old-school metalcore roots, and something new too,” Marc says. “But more than anything, they just get to the point.” Part of that sharpness came from focusing on frontman Andy Dörner’s vocal delivery, building songs around his renewed intensity. “Andy’s voice is in pristine condition right now,” says bassist Iain Duncan. “There’s so much emotion in the way he performs. This album gave him room to really show that.” To help tap into that energy, the band brought in a new vocal coaching team who pushed Andy to dig deeper and reconnect with the fire of earlier records. “We didn’t want him to fall into a routine,” Marc explains. “They encouraged him to blend the old aggression with the strength he has now.” The result is an album that feels both familiar and fresh, steeped in history, but not beholden to it. And while its themes are rooted in emotional truth, Back From Hell avoids the overwrought or overly polished. “We didn’t really scrap anything,” Iain says. “This wasn’t about tearing things down, it was about refining. It was like, ‘This part works, but what if we do this instead?’ We just kept pushing ideas until everything felt exactly right.” That push-and-pull between bandmates created a kind of creative think-tank; an environment where ideas evolved instead of being erased. “Marc and I would bring stuff to the table and shape it together,” Iain adds. “Everyone had input. There was a real consensus, but also room to experiment.” That mindset extended to the album’s production. Rather than following the clean, ultra-compressed trend dominating modern metalcore, Caliban went the other way, embracing a raw, dirtier tone that echoes their early 2000's sound, while still sounding massive. “We were testing it out with the first singles,” Marc explains. “One was super rough, the next more polished, and then ‘Guilt Trip’ landed in the middle. That became the blueprint. We wanted to keep the aggression - make sure the energy didn’t get lost.” Even once tracks were mixed, they weren’t afraid to walk things back. “At one point I told Iain a version of a track had lost its drive,” Marc recalls. “So we went back and made it rougher. It’s a fine line, but I think we landed on the sound that best represents this record.” The final version, now remastered and unified across streaming platforms ahead of its April 25th release, captures that perfect middle ground: sharp, immediate, and alive. That same sense of revival stretches into the live sphere, too. After nearly seven years away, Caliban are finally returning to the UK. It’s a long-awaited reunion; one the band is eager to embrace. “It’s been way too long,” Marc says. “Even though it’s only three shows right now, we’re already talking about coming back for a longer UK run. Scotland, Ireland, we want to do the whole thing if we can.” Fans have already begun sharing memories online, with some recalling shows from as far back as 2008. For the band, the reaction has been emotional. “It feels like a high school reunion in the best way,” Iain laughs. “To reconnect with people who’ve been with the band all these years, that means everything.” The live show promises a mix of eras; songs from ‘Back From Hell’, deep cuts, crowd favourites, and a few surprises along the way. “The set is really diverse,” Marc promises. “We’ve got some blasts from the past, some evergreens, and obviously a lot of the new stuff. It’s going to be heavy, and it’s going to be fun.” But, perhaps the most surprising moment of the Back From Hell era came from a song that wasn’t even supposed to exist. ‘Echoes’ was born out of a late-night demo Marc sent the band while they were already deep into vocal sessions in Cologne. “I’d just finished ‘I Was A Happy Kid Once’ and sent them this thing I’d been working on,” Marc recalls. “It came together in minutes; one of those moments where you don’t stop until it’s done. I was really hyped.” The rest of the band were instantly sold. “We were in the studio, working on something else,” says Iain, “and the demo just dropped into the group chat. Everyone stopped. We were like, ‘Okay, we’re doing this now.’” The timing was uncanny. The word echoes had already been floating around the lyric sheets for weeks, tied to long conversations between Iain and Andy about personal trauma and emotional release. The new demo gave those words a place to live. “It just clicked,” Iain says. “We pulled the lyrics together, wrote the track in two days, and decided on the spot that it would be the next single.” It’s a perfect example of what makes Back From Hell so compelling: nothing is wasted, everything is intentional - somehow, even the unplanned moments fell in line. That creative energy was amplified by the people surrounding the band during recording. The team wasn’t just in-house; it was a rotating circle of vocalists, producers and old friends who helped shape the album without diluting the band’s core vision. “We switched studios and built a completely different team around us,” Iain explains. “There were so many people involved who aren’t in Caliban, but who brought something to the process.” From Dave of Vitja, who ran the studio and Matty from Nasty, to Buster from Thrown, Nahuel from Mental Cruelty, Benny Richter, and Callan from Dream on Dreamer, the sessions felt more like a creative collective than a traditional band setup. “It wasn’t about co-writing or anything like that,” Iain says. “It was about being surrounded by people who get it. Sometimes someone would hear a riff and just say, ‘That’s cool.’ And that spark was enough.” Back From Hell marks a clear shift for Caliban. It’s not about returning to form, It’s about reshaping it. After years of refining, rebuilding and rethinking what their band should sound like, they’ve landed on something that feels more honest and more deliberate. It’s a reinvention, but one that makes complete sense. Back From Hell will be released on April 25th 2025 via Century Media Records. Words: Vee Richardson Photos: Caliban

Some bands will bring up memories and feelings just by being named; Korn is most definitely one of them. The American nu-metal band formed in 1993 in Bakersfield, California, and revolutionized the metal scene. Pioneering the nu-metal genre, Korn’s raw, emotional sound and unflinching exploration of personal struggles resonated deeply with fans from the get-go. Their self-titled debut in 1994 marked the beginning of a groundbreaking career, but it was their 1998 album Follow the Leader that propelled them into the global spotlight. Over the years, Korn has influenced countless bands, shaping the course of modern rock and metal. We therefore got wondering, after the monumental announcement of their Download headlining slot, what could be their 10 best songs? 10. A.D.I.D.A.S. (Life Is Peachy, 1996) Short for "All Day I Dream About Sex" while also being a nod to the band’s sportswear aesthetic, this stands as one of Korn’s most playful and chuckle-worthy tracks. It marks a different side of Korn, with over-the-top lyrics and an equally surprising video while staying on brand with a heavy sound and raw vocals. 9. Cold (The Nothing, 2019) More than a song, “Cold” is a catharsis and search for a root. Its both groovy and darker rhythm fighting with the downward spiral of the deeply personal lyrics. In a grief-stricken voice, Jonathan Davis expresses feelings of isolation and emotional numbness, letting people in on his struggles with his mental health in this difficult part of his life. With heavy, downtuned guitar riffs and a grinding, relentless rhythm, “Cold” is one of the band’s most vulnerable tracks and stands as a testament to their ability to blend personal vulnerability with raw energy. 8. Somebody Someone (Issues, 1999) A true benchmark for the band’s early sound, which may have been underrated at its release but turned into a fan favourite. With a stand-out, leading bass rhythm, a different screaming from Davis, and a mind-blowingly heavy breakdown, the song is nothing short of memorable. It quickly also became well known for its strong live performance and became a concert staple between 2000 and 2011. 7. Got The Life (Follow The Leader, 1998) A turn and statement of the band’s rap and metal blend. This energetic, high-impact track combined Korn’s signature heavy sound with a catchy, infectious groove-laden beat. This also translates into the lyrics where Davis explores the dichotomy between having everything one could ever want in terms of fame, money, and success, yet still feeling unfulfilled and disillusioned. It also ironically became one of Korn’s biggest hits, receiving significant radio play and reaching No. 5 on the Billboard Modern Rock Tracks chart. 6. Here To Stay (Untouchables, 2002) The song marks a significant point in the band’s career, showcasing their evolution both musically and lyrically. In a controlled explosion, it conveys a sense of empowerment against the chaos and negativity surrounding them. We can also find this in technical aspects of the song with a staccato rhythm, slap bass and punchy drums. It’s an anthem of standing up for yourself and not giving up. 5. Twisted Transistor (See You On The Other Side, 2005) "Twisted Transistor" represents a shift in Korn’s musical approach. Known for its more experimental and funk, electronic-infused sound compared to their earlier work, the song still blends with Korn’s signature nu-metal style in a polished production. The song opens with an eerie, synth-driven intro, immediately setting a more atmospheric, almost futuristic tone. The lyrics explore themes of manipulation, exploitation, and the pressures faced by musicians who are put on a pedestal by both the public and the industry. Its music video featuring Lil Jon, Xzibit, David Banner and Snoop Dogg also became an iconic step supporting the song. 4. Daddy (Korn, 1994) Korn's most intense and controversial song, featured as the final track on their 1994 self-titled debut album. Impossible to ignore, the raw pain of “Daddy” has haunted every listener since and is an experience no one can forget. In this album known for approaching topics of stolen innocence and corrupted childhood, it is an autobiographical song written by Jonathan Davis to process his feelings surrounding the sexual abuse he experienced as a child. Davis has openly spoken about how challenging it was to write and perform "Daddy" as it forced him to relive and confront those painful memories but also offering with it a voice to others who may have suffered similar experiences. The track is widely regarded as one of Korn's darkest and most emotionally charged songs, both due to its harrowing subject and its sinister-sounding melody. The song established Korn as a band that wasn’t afraid to delve into taboo topics and face trauma by building a community. 3. Falling Away From Me (Issues, 1999) No escaping this track’s haunting but melodic atmosphere, heavy and distorted guitars that complement the emotional intensity of the lyrics with Davis’ voice ranging from soft, almost pleading tones in the verses to anguished screams in the chorus. Delving into Davis’ mental health and his struggle with depression and overwhelming emotions as well as topics of domestic abuse, it became a place for fans to feel less alone in their own struggles. It now is one of Korn's most recognizable songs and solidified the band's place in the mainstream music scene during the late 1990s. 2. Freak On A Leash (Follow The Leader, 1998) Its hypnotic, bass-heavy, dark and brooding tone building in tension quickly made “Freak on a leash” a Korn anthem. Davis has explained that the song was inspired by the frustration and anger he was experiencing at the time, particularly related to how he felt about being manipulated by others, whether it was by the media, his relationships, or societal pressures. He felt like a "freak" under constant pressure. This innovative song’s success helped propel Follow the Leader to multi-platinum status and brought Korn a larger, more diverse fanbase. 1. Blind (Korn, 1994) Often the first song that comes to mind when you ask someone about the band, “Blind” is an explosive power that transcends time. Its opening battle cry “ARE YOU READY?” remains engraved in the core of all lovers of nu-metal for the heavy breakdown it brings and the unity it inspires. The universal topic refers to the feeling of being unable to see a way out of one's pain or situation, being "blind" to solutions or hope, and gave a common ground to everyone who ever felt lost. “Blind” remains not only a song but the spark of a movement that defined nu-metal with a fusion of heavy metal, alternative rock, hip-hop, and industrial elements. Ultimately, pointing out the band’s best songs is a never ending battle as Korn's power and legacy lies in their ability to break musical and lyrical barriers to connect with fans on an emotional level, leaving an indelible mark on the world of music. Korn will be headlining Download Festival this year alongside Green Day and Sleep Token. More information can be found on their website. Words: Lysandre Pons

O2 City Hall had a jovial rock and roll party on Tuesday with The Darkness, playing their rescheduled final date of their Dreams on Toast tour with ASH. The set was an even mix of classics and new material, while the screen on stage showed some gorgeous visuals to compliment the sound and era that the quartet were covering. The crowd filed in late to O2 City Hall, padding out half of the large sloped room comfortably before the 8pm start of Downpatrick three-piece ASH, who swanned onto the stage with the comfort of a band in its third decade. They had a long pre-intro then hopped straight into their opener, with muted response. The energy of the room warmed up with ASH, though, as Rick McMurray hit his drum solo in Orpheus he was greeted with egging claps from the crowd followed with a quick happy birthday to bassist Mark Hamilton belated from the original date. Their set was pleasant and seemed to get some conversions if not hips moving, though there was a feeling that the frontman had either overestimated the energy for this weekday show or the crowds passion for ASH as he played riffs with a “you know this one” look in his eye in lieu of a song title and coaxed his own applause on an occasion at the end of the half hour. Justin and Dan Hawkins did join them for the set closer ‘Burn Baby Burn’ donned in matching ASH t-shirts before the three piece made their bloated exit from the stage. Decent set, decent vibes, but perhaps a little self important. There was a 40 minute or so lull before the lights dropped again for The Darkness to make their entrance. Frankie Poullain opted for a vinyl suit and red silk shirt - slay - while frontman Justin Hawkins settled on a waistcoat and necktie setup which was fetching while it lasted, though the waistcoat was eventually cast aside. They opened with a new offering, Rock and Roll Party cowboy; a tongue and cheek manifesto of a guy who gets drunk and goes to shows. Their stage presence was phenomenal, managing to command both sides equally with ease while still making time to jam with drummer Rufus “Tiger” Taylor whenever they needed a break. It did not take long for the crowd to get dancing either, so by the end of Growing on me the party had well and truly started. Hawkins' stage presence wasn’t limited to when the music was behind him: after some lighthearted joking about crying at the cancellation with a thanks for coming, the first of the many call and responses began in the form of the sides of the room giving him a d (cheeky) then an -arkness, letting it build before Get Your Hands Off of my Woman kicked off, matched with a fetching red and black visual and a secret c u next tuesday flashed on the screen through its runtime. This was bookended with a vocal warm up using mother and a declaration that we were officially warmed up before hitting up the run of older crowd pleasers. Hawkins did toe the line of humour and contempt, as he salvaged a bit that he thought the crowd would get immediately where they were expected to repeat the last word back of the spoken element of 2015’s Barbarian by overexplaining how said bit would work. Though the back and forth needed some work the song itself went down a dream, and the little viking hat on the logo in the background was a nice touch. A few songs later and we’re back to the crowd work, this time for Walking Through Fire, where Hawkins asks for the crowd to march in place and pump their fists then spin around and do it on the other side so they could put it on the internet! The room enjoyed it after a couple of goes, though Dawkins’ assertion that it was the best of the tour didn’t have the conviction it needed to be the truth, and there is something oddly endearing about the generations that did not grow up with the internet trying to make user generated content with an arms length approach. After crowd pleaser Love is Only a Feeling, Dawkins decided it was time for the longest kiss, which required a word to be shouted in its lull; he asked for ideas but got nothing apart from the expected body parts, so settled somehow on his name said in a French accent. No one quite got the timing, but the song is sweet, then after Heart Explodes they introduced the sound tech to drum My Only so that Taylor could sing his love letter to his dog, matched with photos of the french bulldog scrolling in the background - a beautiful song for a beautiful animal. Now well into the swing of the 90 minute set the quartet hopped back into their archives for Dancing on a Friday Night (the thought about how fitting this would have been on the original date bounced around) and got the crowd moving once again. The energy by this point was relaxed as groups of friends moved and laughed with one another; but Hawkins had a rant he simply needed to get out. Pinching a phone from someone in the front, Hawkins decided to show Newcastle City Hall his impression of someone filming a show on their phones, backtracked a little with a statement that he liked how much footage of his band is out there, the apologised to the concertgoer he had taken the phone off by popping it down his trousers and taking a photo of what they contained (or possibly a selfie from that angle, but that thought is less fun). He asked for a phoneless number in the form of a cover of Back for Good, which was mostly obliged, and for the first time in the evening the crowd did their own work by giving him the backing vocals in this subdued cover. The energy picked right back up, though, as I Believe in a Thing Called Love rang out for the “closer” and the band leaving for their encore. This ended up being belated a little, leading to some leaving before it started, but finally the screen flashed to a pretty caricature of Italy and Taylor took the mic once more for new album track Weekend in Rome, followed by Dawkins theatrically smelling flowers and introducing the band then actual closer I hate myself. All in all, The Darkness put on quite the party, ensuring that the crowd stayed engaged even if the not-quite-rightness seemed to get to Dawkins after a little while. Dawkins’ vocals were just as gorgeous as they sound on record, and Taylor’s stint on the microphone showed he’s been hiding some deep and soulful pipes behind that drum kit. The crowd had fun, the drinks stayed flowing, and there was just enough humour in the chaos for the night to still feel smooth. Words: Julia Brunton Photos: James Smith

The MySpace deathcore revival is alive and well! Ocean Sleep are proudly leading the charge in the MySpace-era deathcore revival, and with their new EP 0114 Deathcore, they’ve delivered us three tracks that serve both as a love letter to the genre and a bold statement of intent. This is raw, scrappy, heavy-as-hell music, and it absolutely rips. Opening track ‘My Favourite Position Is 1st Place In Mario Kart’ lays it down right off the bat. With a tongue-in-cheek title and a pedal-to-the-metal approach, it’s a tightly wound burst of chaos that highlights everything Ocean Sleep do best. Fiery riffs, machine-gun drums and feral vocals entwine into a short, sharp shock of deathcore mayhem. A powerful opener, and a clear indication that this band haven't just come to play. ‘Monster Energy’ follows: starting with a slower, doom-tinged opening before kicking into a more stereotypical chugfest. The vocal performance is the real hero here; gutturals, screams, and all things in between are spat out with aggression and clarity. The instrumentation on this track doesn’t exactly break a ton of new ground, but it is solid, well-paced, and doesn’t overstay its welcome. Running for about two and a half minutes, it’s a brief blast of sonic violence that lingers. The longest and most developed track on the EP, closing track ‘God Gives His Silliest Juice To His Silliest Goose’ is also the most concrete; Ocean Sleep really takes the time to let it unfold. The pacing is astute, from crushing breakdowns to introspective guitar moments to relentless blast beats. This is where the band exercise their songwriting chops a bit more, with dynamic shifts and some surprising flight paths that indicate a deeper level of musicianship. That title might be a lark, but the track itself is heavy duty; this is some serious underground heaviness. What 0114 Deathcore does better than most is lean into everything that made 2000's deathcore so exciting in the first place, while still managing to sound fresh and relevant today. Ocean Sleep aren’t breaking new ground in the genre, but they do seem to be having a hell of a lot of fun with it, and their enthusiasm is contagious. If you’ve ever owned a band logo belt buckle, or posted your band poster on MySpace, this one’s for you. Score: 7/10 0114 Deathcore will be released on April 4th 2025. Words: Vee Richardson Photo: Riccardo Cenci

Ash Twin Project, a progressive metal band from Agen, France, has created an impressive debut album with Tales Of A Dying Sun. Combining elements of post-rock, progressive metal, and cinematic storytelling, the band crafts intricate soundscapes that are both thought-provoking and emotionally evocative. With members who have honed their skills in bands like Prophetic Scourge, Titan, and Silent Opera, Ash Twin Project brings a wealth of experience to their music, resulting in a sophisticated and immersive listening experience. From the first note to the last, the album takes listeners on a journey that feels both deeply personal and universally resonant. The release opens with 'Cœlacanthe', an immediate attention-grabber with its grating guitars and dynamic shifts. Lead vocalist Eg Scargot delivers a captivating performance, showcasing her impressive vocal control. The song seamlessly transitions between heavy, orchestral elements and softer, more introspective moments, featuring a delicate piano melody and strings around the three-minute mark. This interlude creates a poignant sense of wonder before launching into an electrifying guitar solo that pairs perfectly with the driving drumwork. The track effectively sets the tone for the rest of the LP, highlighting the band’s ability to blend genres and moods. The interplay between melody and aggression is executed masterfully, making for a very strong opening track. The shortest track on the album, 'The Wilds', takes a more restrained, ethereal approach. Scargot’s layered vocals add an otherworldly dimension to the track, perfectly complementing its atmospheric instrumentation. The song progresses naturally, moving from calm, ambient sections to more intense passages featuring abrupt, wild screams. This dynamic structure mirrors the unpredictability of nature, evoking the imagery of wandering through a forest at dusk, with the last remnants of sunlight lingering in the air. Closing out the release, 'Moon' begins with an underwater-like audio effect that gradually fades, revealing confident, driving guitar lines. At times, the instrumentals can feel slightly overwhelming in comparison to the vocals, but the overall composition remains strong. The track encapsulates the thematic and musical elements present throughout the LP, making for a fitting and impactful conclusion. The song’s ending is particularly effective, as the instruments slowly fade into silence, leaving the listener with a lingering sense of reflection. It’s a powerful closer that ensures Tales Of A Dying Sun ends on a memorable note. Ash Twin Project’s Tales Of A Dying Sun is an impressive debut that highlights the band’s artistic vision and technical prowess. The album’s ability to weave together intricate compositions, emotional depth, and thematic storytelling sets it apart in the progressive metal landscape. While there are moments where the production could benefit from slight refinements - particularly in balancing instrumentals and vocals - the overall execution is strong. What stands out most is the band’s ability to evoke emotion through both their songwriting and performances, creating an experience that feels cinematic in scope. This release positions Ash Twin Project as a band to watch, and it will be exciting to see how they evolve in future works. Fans of progressive and atmospheric metal should keep a close eye on their journey, as Tales Of A Dying Sun is a testament to their potential. Score: 7/10 Tales Of A Dying Sun will be released on April 4th 2025 via Klonosphere Records. Words: Jason De Mendonca Photos: Ash Twin Project

Deafheaven, the unsung heroes of melodic black metal, are set to have a phenomenal 2025. With the release of their latest album, 'Lonely People With Power', they cement why they're the frontrunners for extreme music- the kind that makes people feel a multitude of gnarly emotions. On stage at Outbreak Festival and this year, their UK homecoming will be nothing less than a triumph. The band will also return to headline Damnation Festival in November. So in celebration of a masterpiece (and the first Out Of Rage 10/10 album), here is a list of the top 10 Deafheaven songs. 10) DREAM HOUSE As the first song of Deafheaven's 'Sunbather' album, this is the song that turned Deafheaven into a feeling, not just a band. "Dream House" is George's screaming. It feels like sunlight hitting your face after a night you barely survived. Like most of Sunbather, it’s about longing for something you’ll never have, chasing ghosts and carrying that heavy feeling of wanting. And no, it’s not actually about real estate, but hey—if black metal can be about home ownership, I’m here for it. Who doesn’t love an existential crisis with their mortgage? 9) BROUGHT TO THE WATER Deafheaven's 'New Bermuda' album kicks off with this banger. The song builds up and then it kicks in, almost as feel like we're starting a new song. George’s vocals hit, the tempo keeps climbing, and the blast beats tear through the air. And those cathedral bells? Like a funeral for something you can’t name. Chaos and beauty smashed together. "Where has my passion gone?" The line hits me most. The riff towards the end of the track is such a Deafheaven moment. Feels like sinking and soaring at the same time. 8) GIFTS FOR THE EARTH The closing song of "New Bermuda" is almost a dreamlike farewell: soft, self-reserved, floating out to sea. Bodies in the ocean, flowers drifting… there’s something peaceful about it, like slipping under the waves and just letting go, which we all have to do some part of our lives…And, that riff - unreal. This is what I love most about Deafheaven: those long, sprawling compositions, the raw, emotional vocals pulling you in, giving you time to feel everything before they drop a riff that wrecks you. 7) VILLAIN The 6th song of the 'Great Mass of Color' album, Deafheaven's shoegaze-leaning album, clean, dreamy vocals and tunes. It has similar song structures to Deafheaven's previous albums. The vocals hit harder after all the dreamy build up too. it feels like nostalgia and longing, but also less dark. The lyrics drip with introspection, self-loathing, and fractured memories. It’s a song for those late-night walks or commute back home after a long work day. 6) GREAT MASS OF COLOR This is a favorite song from 'Infinite Granite'. It starts off soft and dreamy, it is shoegaze goodness. You wouldn’t even guess it’s a metal band playing. It’s probably Deafheaven’s most melodic song, and while it’s full of warmth, there’s this hidden sadness beneath it—like a quiet struggle against depression. Then, around the 5-minute mark, these raw screams break through, and it kinda gives me an Alcest vibe, like that perfect mix of beauty and pain. 5) MAGNOLIA Deafheaven’s latest single, 'Magnolia', from their upcoming album 'Lonely People with Power', brings them back to their signature sound, growling vocals that hit deep and leave a mark. The song builds slowly, but once it grabs you, it pulls you into a trance, weaving a haunting atmosphere. George’s vocals are as powerful as ever, carrying that eerie, almost timeless quality. It is full of raw emotion, a wave of melancholy that crashes over you. It’s haunting, beautiful, and packed with feeling. 4) CANARY YELLOW "Canary Yellow" stretches beyond 12 minutes, moving from quiet introspection to pure catharsis. The slow, hazy build feels dreamlike, but then it suddenly wakes you up. It’s the kind of song that makes you want to run until your lungs give out. With its long, challenging composition, similar to most Deafheaven songs, it starts with a dreamy build-up until George’s powerful vocals kick in. Way over the 10 minute mark, it becomes much more. The track is empowering, it's structure feels like resisting something, then finally giving in and realizing it wasn’t as bad as you imagined. 3) VERTIGO Another great, lengthy cinematic piece from Deafheaven's critically acclaimed 'Sunbather'. That middle section? Pure bliss. Guitars spiraling, drums rolling like a storm, and George screaming like he’s ripping something straight from his soul. It’s raw, messy, cinematic. The lyrics dive into youth, distance, and life slipping away. Like most Deafheaven songs, Vertigo sounds and feels like very much nostalgia. "Lost in the patterns of youth, and the ghost of your aches comes back to haunt you.” About Deafheaven—deep, poetic, yet brutal. This is what makes Deafheaven special. 2) GLINT The 5th song from 'Ordinary Corrupt Human Love', What we love about this track is how it builds up- its just the right amount of time, like it's teasing you with anticipation before that epic riff slams in. The build is flawless. And the drums they're on another level, so tight, so powerful. The lyrics hit deep, talking about loss and acceptance. It's heavy, kind of depressing, but there's something real about it. Losing someone you love is part of life, and this song captures that emotional journey of embracing the hurt and learning to move forward. It’s about accepting what you can’t control. 1) PECAN TREE Deafheaven’s 7th track from the critically acclaimed 'Sunbather'. From the very start, it’s full speed, full blast, no warning, just pure chaos. The riff at the beginning of the song is so good, giving classic Scandinavian black metal energy, sharp and relentless. You barely have time to catch your breath before it keeps pushing forward, until it finally gives you a moment to breathe. The track moves into a place where you imagine that you're overcoming challenging times, you fought your battles and it's now time to move on. It all climaxes and the final moment of acceptance, like surrendering to all negative thoughts. It's hard to feel that many emotions in a single song; it feels like a full-length film with a journey packed with highs and lowsLyrics are again about longing and nostalgia, you can tell it's about yearning for something that’s slipping away, whether it's love, or maybe even a part of yourself or maybe your youth. There’s this deep nostalgia mixed with pain and longing. It’s about the feeling of being stuck in the past, knowing it’s gone but still reaching for it anyway. Deafheaven will be at the Manchester leg of Outbreak Festival this summer alongside Knocked Loose, Danny Brown and Speed. Words: Bella Cologlu