Black Country, New Road have been one of the most consistently exciting bands in the UK over the last few years. Their new album Forever Howlong is truly great, like all of their past work, yet takes them into a different direction - a dazzling mixture of baroque pop and prog that has them feeling like an unearthed band from the 70s. The album boldly opens on an harpsichord solo, with the song ‘Besties’ showing where the band currently aims to go, somewhere very vintage yet still looking forward. The track itself was one of the singles released before the album dropped and did split some of the fanbase, as the track isn’t as dark as their last two studio albums. The track itself - and much of the album - feels almost like incidental tracks on 70's Genesis albums. The band shares many parallels with Genesis at this point in their story, with this being the first album the band have created after their famous frontman left the band. The weight of expectation to create a brilliant album surrounds them, but the end project more than lives up to expectations of greatness, albeit with a slightly altered sound. The band are such a solidified unit within the album, working together as a team with every instrument breathing life into each of the tracks on display. The almost-vaudeville moments on the album, such as the track ‘Socks’, showcase the band’s ability to create these beautiful songs from the most unusual structures and influences. The album is very accessible for how unusual it is within the modern alternative music scene. There’s a plethora of sounds to be found that haven’t been heard in anything this mainstream for a while in music, and frankly the sheer prog-iness of the album is impressive. The only non-progressive thing about the album is the lack of long tracks, with every song being six minutes or less. The album is not only progressive in sound, but also in the fact that it clearly is pushing music forward. Black Country, New Road know what they want to create and nothing is holding them back. The production is luxurious and organic, the album feels almost as it’s breathing, despite having such layered instrumentation. There’s an unusual energy from the production which also grounds every song, and you can tell this is an album made by humans expressing themselves as a group through art - this humanity takes away any sense of pretentiousness the album may have. This is music to be experienced, letting it wash over your ears as you feel out where the album is taking you. The band now having feminine lead vocals - that are less aggressive in nature than their previous lead singer - definitely helps the songs on this album keep that element of grounding, that may have been taken away with other vocals. The band are using the opportunity presented to them to explore something different in glorious fashion. There’s so many elements of a multitude of 70's prog bands, with some of the vocal layering of a band like Gentle Giant, the slightly darker acoustic passages of a band like Comus, the beautiful medieval balladry of a band like Renaissance. This isn’t to say that the album is derivative of these influences, but instead builds upon them in many ways. BC,NR stands out throughout all their work for pushing originality in their sound and this album demonstrates why, taking all these influences and channelling them through the band as a unit. This may be one of the most truly beautiful albums to come out in recent memory, everything about it makes you need a break after to process the journey. Although not a concept album, it’s paced perfectly to be listened to in one go where songs compliment each other. There’s nothing really like Black Country, New Road this big currently. The album will introduce so many people to all the good reasons as to why music pushing genres is one of the best parts of music. Everything the band sets out to achieve in songs is met and exceeded. Tracks like ‘For The Cold Country’ are transportive, the grounded production just seems to elevate the song writing’s power. The song writing for an album this prog is tight. There's no self-indulgence on the album; everything serves its purpose - quite notably, the title track itself expands some of these ideas and compounds on the beauty and subtlety of the release, letting the album flow over it into the final song on the LP. As an album, it truly is a one-of-a-kind experience of true musical excellence. After the album ends, and you’re surrounded in silence, emotions will be running high all over the place, and the hairs will be up on the back of your neck. Emotionally complete in its delivery yet confusing to process, like all good art, this is not an album to be ignored - it is an album to be truly loved. Score: 10/10 Forever Howlong will be released on April 4th 2025 via Ninja Tune. Words: William Freeman Photos: Black Country, New Road

Hairpin’s debut EP, Modern Day Living, is a raw and introspective introduction to the UK-based indie punk/post-hardcore outfit. What started as a handful of scrappy demos written by Adam Edwards has evolved into a six-track release that captures the mundanities, anxieties, and frustrations of everyday life with a mix of grit and melody. Produced in-house at Community Noise recording studio, the EP keeps things organic, favouring unpolished authenticity over studio gloss. With friends Jack Kenny (Jaguar Throne, Milk Teeth, Gold Key, Nervus) on drums and Roberto Cappellina (Lakes, Jaguar Throne) providing guest vocals on 'Okay Thru There', Modern Day Living feels very much like a product of the DIY ethos that shapes so much of the genre. Opening track 'Okay Thru There' immediately sets the tone with its sharp guitar work and melancholic energy. The song leans into its post-hardcore influences while maintaining an undeniable sense of melody, striking a balance between tension and catharsis. The vocal delivery is both pained and anthemic, carrying a sense of frustration that resonates through the track. Lyrically, it paints a picture of disillusionment, making it an effective starting point for an EP rooted in navigating modern existence. Hairpin’s ability to channel raw emotion into their music is evident here, making even the more familiar elements feel fresh and engaging. Following up, 'Curtain Call' continues in a similar vein, built around driving bass lines and gritty, overdriven guitars. There’s a natural flow between the verses and chorus, and the track’s structure plays well with its themes of uncertainty and self-reflection. However, while it’s well-executed and fits comfortably within the genre, it doesn’t necessarily push any boundaries. That said, the passion behind it is undeniable, and the song carries an energy that feels tailor-made for live shows. A standout moment comes with 'Wiped', a track that carries an almost inexplicable, beach-like atmosphere. There’s something about the way the guitars flow that evokes the feeling of sitting on pebbles, lost in the music. It’s not exactly a departure from the EP’s tone, but there’s a looseness here that makes it distinct. The interplay between the instrumentation and the vocals feels effortless, adding another layer of depth to the record. Modern Day Living is a solid debut that establishes Hairpin’s foundation within the indie punk and post-hardcore space. While the EP doesn’t necessarily break new ground, it shows a band that understands its influences and is beginning to carve out its own voice. Fans of bands like Crywank, The Front Bottoms, and Sparkbird will likely find something to enjoy here. What sets Hairpin apart is their knack for creating moments that linger—whether through their biting lyrics, driving instrumentals, or unexpected melodic turns. If this release is any indication, Hairpin has the potential to develop into something distinct—it’s just a matter of time and refinement. As a first outing, Modern Day Living feels like a testing ground, and it will be interesting to see where the band takes their sound next. Score: 6/10 Modern Day Living will be released on April 3rd 2025. Words: Jason De Mendonca Photos: Hairpin

NevBorn are a progressive metal band from Switzerland who've combined a love of storytelling and complex tracks, and they've just released their second album called Alkaios • Part II • The Peacock. This latest release is a continuation of their first album Alkaios • Part I • The Eagle, and the album continues to tell the story of Herakles in four expansive tracks, each featuring four more of the labours that were given to him to be performed. Starting off with a track called ‘Elis’, the almost fifteen minute long track tells the story of the fifth labour Herakles was told to do, the cleaning of the stables of King Augeas of Elis. Beginning with the sound of water, implying the cleansing of the stables with the River Alpheios, and featuring haunting vocals of the band’s frontman Matthieu Hinderer, the band dives into the story, told from the perspective of Herakles himself through the enchanting melodies that fit the narrative perfectly. The second track on the album is called ‘Stymfalia’. Portraying the sixth labour, where the hero had to face the man-eating Stymphalian birds with bronze beaks and metallic feathers near Lake Stymphalia in Arcadia, the band decided to go for a slower tempo, complimented by heavy guitar riffs performed by Hinderer, Julien Ehrensperger and Alan Gualandris. Turning more aggressive as the story was coming to the peak, the song showed off the emotions of Herakles precisely. One of the most famous stories from the Greek mythology, the capturing of the Cretan Minotaur, is Herakles’ seventh labour and the subject of 'Knossos', the third song on the album. The slower transition between this and previous song gives the listener enough space to get prepared for the piercing screams that are about to come, highlighting the brutality of the fight, before changing back into a peaceful melody featuring a synths and a saxophone solo. The clear vocals are highlighting the urgency of the matter right before Xavier Almeida’s mesmerising drum work, that evolves into beautiful and heavy melody. The track, longest of the four, is surely the highlight of the album, featuring many changes in the pace, vocals, and use of instruments, reflecting the way the infamous story goes. Last, but not least, is ‘Tirida’. The song is portraying the eighth labour, capturing the man-eating mares of the Thracian king Diomedes. The track starts off with a melody resembling the sound of running horses, that is present throughout the song until the end, before turning into a magnificent blending of guitars, synth and drums, supported by the great bass player Brice Geiser. The band decided to include piano as well, which is an interesting addition, but with the heavy motifs of this particular track sometimes feels like too much, as the harmonies supported by synth get too overwhelming. There is, however, still a striking balance between the heavy and light melodies, even when the song is inclining more towards the heavy side, and the track is very pleasant to listen to. NevBorn’s newest album surely is a well executed work, including lovely riffs and bone-chilling vocals. It continues with the theme of the first album flawlessly and will sound even better when the whole trilogy is out. The band’s usage of synths with classic instruments is well done, does not sound too crowded and compliments the vocals. Although the addition of a piano was a good idea, the placement was not a perfect choice, as it was drowning in the other sounds, but all together the album is a lovely experience for anyone who enjoys the Greek mythology and welcomes a new telling of the well-known stories. Score: 8/10 NevBorn’s new album Alkaios • Part II • The Peacock was released on March 30th 2025 via Luminol Records. Words: Katerina Stepanikova Photos: NevBorn

Takedown returns to Portsmouth this April after being postponed and subsequently cancelled last year, due to ongoing work being done on The Guildhall. This makes it Takedown’s second year running since its eight-year hiatus from 2015 until 2023. The festival has roots starting in Southampton back in 2012 being held on the university campus and also Salisbury City Hall and has since been revived by Divergent Promotions and The Guildhall Trust, bringing it to Portsmouth. With previous line ups consisting of bands like Sleep Token, Bury Tomorrow, Skindred and Funeral for a Friend, Takedown has long established itself as a standout weekend to start off festival season. With a brilliant variety of bands, big and small, it’s a great place to broaden your music collection and get that gig calendar filled up. In this article we’re going to look at the 10 bands to mosh, jump and two-step to! URNE With hints of Alice In Chains, Metallica and Mastadon, URNE is hardcore’s answer to the classic metal we all know and love. Get ready to have a sore neck after hearing their irresistible drum beats. Off the back of a UK show run back in February, they’re ready to get you’re festival season started off right with them performing on Friday. They currently have 2 albums, ‘SERPENT & SPIRIT’ , ‘A Feast On Sorrow’, and with two new singles, ‘I’ and ‘Throes Of Grief’, there are plenty of tasty tunes to sink your teeth into. THE RAVEN AGE For fans of more classic British metal The Raven Age are a great watch for fans of Iron Maiden, Disturbed and Trivium. With clear influences from the aforementioned bands their sweet guitar riffs and vocals resembling those of the classic metal powerhouses they’re for sure to be enjoyed by headbangers and air guitarists alike. Performing as a stop on their European tour catch them at Takedown and if you love what you see, we’re sure you will, you can catch them again at the latter end of June as they start their UK leg of tour. DESERT STORM Melodic guitar riffs, gravely vocals and cymbals are what Desert Storm are bringing to Takedown. With a new album due this year look forward to the good stuff with each album release topping their last. Since forming in Oxford in 2007 they have released six full length albums developing their sound more and more into the stoner metal-rock mashup they are today. With their sheer dedication to touring they have completed a sheer astounding number of shows all across the UK and Europe so are sure not to disappoint. SCARLET REBELS Embodying the popular sounds of 80’s rock this band is the one to see if you’re a Guns ‘n’ Roses fan. Formed in 2018, Scarlet Rebels have already achieved a UK Top 40 Album for their 2022 album ‘See Through Blue’ making them the first ever band from Llanelli, Wales, to do so. Since then they’ve released ‘Where the Colours Meet’ in 2024 jumping headfirst into a new era for the band. Constantly developing their sounds makes them an exciting follow where you’ll always be waiting for what they do next. PINTGLASS One word, “Geezercore”. With growls, chants and a Stella in hand, Pintglass sing about going out with the lads and there’s nothing as quintessentially British about it. For those who love a pit, and there WILL be pits, the bands leneancy towards the deathcore side of the metalcore genre is perfect. Originating from London and Guildford the band released their first album, ‘Way of the Geezer’, back in 2019 this relatively new band have already made their imprint on the scene with their unique take of metal/death core and are certainly not to miss. SEETHING AKIRA This local band are perfect for fans of Electric Callboy and The Prodigy with their perfect mesh of electronic and nu-metal sounds. A band on the up and sure to go far as they gain popularity in the underground scene, broadening what it means to be part of said scene. Since forming, they have released a total of 4 studio albums with the latest, ‘Cancel Estate’ being released in 2024. Another one for moshers for sure. THE NIGHTMARES Currently on tour supporting Save Face, The Nightmares are a solid choice for fans of The Cure and Placebo. With a headline tour under their belt and various tours supporting the likes of Holding Abscence and Creeper this Post-Punk, Gothic band are quickly developing a loyal fan base which despite their more “relaxed” tones, should not be underestimated as they will bring the lively to live. The Newport based band have just released their new album ‘Fire In Heaven’ so look forward to hearing ‘Something In The Dark’, ‘Letting It All Go’ an, from their previous album, ‘From Above’. HARBINGER A staple to the UK underground metal scene, Harbinger will be the ones to look out for those always running to the pit. With aggressive riffs, heavy drums and growling vocals they’ll be a great offering for those who love Knocked Loose and Parkway Drive. After merging onto the scene back in 2015 this London based band have released 3 EPs along with their debut album ‘Compelled to Suffer’ back in 2019. Their latest single ‘No Vermin’ is a great look at what this band has in store in the, hopefully, near future. DREAM STATE Dream State are not ones to miss, with the crunchy vocals of lead singer Jessie Powell, the influences like A Day To Remeber and Linkin Park shine through with this female-fronted post-hardcore band. Formed in South Wales back in 2014. Catch them before they head to France on tour with TEN56 at the end of April. Prepare to scream along and mosh to the drops of their latest single ‘Bloom’ as well as the tunes from their debut album ‘Primrose Path’. SAVE FACE Stopping at Takedown on their debut UK headline tour this New Jersey band are definitely a must see. For fans of My Chemical Romance, AFI and Creeper, get ready to mosh, crowd surf and have an all round great time. This is their penultimate show of the tour and the last time they’ll be playing the majority of their latest album ‘Another Kill for the Highlight Reel’ so look forward to songs like ‘Sharpen Your Teeth’ and ‘GLITTER’. Their stage presence is iconic with the band (and fans) donning red jumpsuits where the band coined the nickname Gay Slipknot. Words: Chloe

On the last leg of their farewell tour, You Me At Six delivered a night that was nothing short of unforgettable. It wasn’t just a gig; It was a send-off packed with emotion, nostalgia, and an overwhelming sense of community. The night kicked off with Mouth Culture, one of the UK’s fastest-rising grunge rock bands, and they couldn’t have been a better choice to open the show. Their raw, anthemic sound hit hard from the first chord, and despite being the newcomers on the bill, they held the crowd’s attention with ease. The introduction of unreleased song Ratbag into the set was a great addition, and the mix of gritty guitars, soaring hooks, and emotionally charged vocals resonated, proving exactly why they’re making waves in the scene. By the time their set wrapped up, the energy in the room was already buzzing. That energy exploded when You Me At Six took the stage, diving straight into Room to Breathe and Loverboy. The roar from the crowd was deafening, at times even overpowering the PA system. This was a room full of people who had grown up with this band, and they weren’t holding anything back. Every lyric was shouted back with a passion that made it feel more like a conversation than a performance. Josh Franceschi was a force of nature, barely standing still as he bounced across the stage, feeding off the crowd’s energy and giving it right back. The lighting was dramatic; bright white strobes and sharp laser effects cutting through the air. It was the atmosphere that really set the night apart though. This was an intimate farewell between the band and their fans that no one seemed quite ready to say. The setlist was a perfect blend of their career-spanning hits, packed with songs that defined an era for so many fans. "Reckless" had the crowd moving in waves, while "Stay With Me" carried a powerful weight, voices blending into an almost spiritual moment of unity. "Bite My Tongue" sent the room into absolute chaos, with fans screaming every word with an almost cathartic intensity. But it was "Take on the World" that truly brought the night’s emotions to the surface. As thousands swayed together, arms raised, voices merging into a powerful chorus, it felt like the entire venue was holding onto something bigger than just the music, it was holding onto years of memories and a band that had been the soundtrack to so many lives. The band’s ability to balance high-energy anthems with softer, more reflective moments was on full display. They stripped things back at points, allowing for those intimate, raw moments where it felt like Franceschi was speaking directly to every person in the room, particularly during Liquid Confidence, where Josh shared the story of how their band came to be. It’s rare to find a band that can ignite a crowd into a frenzy one minute and have them silent and reflective the next, but You Me At Six mastered that dynamic effortlessly. Beyond the music, what stood out most was the overwhelming sense of community in the room. It wasn’t just about the band; it was about the fans, about the friendships formed through their music, about the shared experiences that tied everyone together. You could see it in the way people clung to each other during the emotional moments, in the way strangers became allies in mosh pits, in the unspoken understanding that this was something truly special. As the final notes of the encore faded, there was a reluctance to let go. The band stood together, taking in the moment, as the crowd erupted in a final, heartfelt cheer. It was a send-off, but it wasn’t a goodbye. You Me At Six may be stepping away from music, but their sound, their impact, and the memories created on nights like this will live on long after the final show. Manchester gave them the farewell they deserved, loud, passionate, and full of love. And if this really is the end, they went out at the very top of their game. Words: Vee Richardson Photos: Kieran Atkinson

From New Delhi, showcasing their Indian Folk Metal, Bloodywood, arrive at the Manchester O2 Ritz as part of one of their stops for their ‘Return of the Singh’ EU/UK Tour, promoting their new album ‘Nu Delhi’. Opening with Demonic Resurrection, a symphonic death metal with hints of black metal, they are a band from Mumbai India. Providing us a sweet taste of the Indian metal genre before we get to the main headliners. The 4 piece have a sinister intro playing before they blast into their opener “Matsya – The Fish”. Taking inspiration from Cradle of Filth, Emperor and Dimmu Borgir, from their deep vocal screams to their longer songs for the list, they filled up nicely and the crowd were onboard as soon as it began it was a strong start to open. The second support act was Calva Louise, a three-piece British multicultural band formed in Manchester, which has a mix of alternative rock and electronic music, giving the crowd a burst of energy. The vocals from Jess Allanic were so powerful, and the variance of changing from scream to singing while playing two instruments is very impressive. This is where the pits started to form, and the crowd surfers started amping up the atmosphere. They were great overall; however, they personally would have fit better at the start, putting the two Indian metal bands one after another to connect the two together, allowing the crowd to warm up for what was to come. As the anticipation peaked, the night's main event, Bloodywood, took the stage, instantly captivating the audience with their electrifying presence. Their distinctive sound is a powerful fusion of traditional Indian folk music seamlessly intertwined with the intense, hard-hitting elements of Metal and Rap, resulting in a dynamic and invigorating Nu-Metal experience. Right from the start, they commanded attention, launching into a gripping instrumental intro that seamlessly transitioned into the explosive track ‘Dana Dan.’ The moment the first notes hit, the entire crowd erupted into a frenzy, immersing themselves in the pulsating rhythm, headbanging, moshing, and fully embracing the raw energy radiating from the stage. It was an exhilarating start that set the tone for an unforgettable performance, as fans lost themselves in the music, moving as one to the thunderous beats and powerful lyrical delivery. Between each song, Raoul Kerr, who is the rap vocalist, gave the crowd some wise words of wisdom and also told stories, uniting everyone as one and linking each song together so each one flowed together seamlessly. The very talented percussionist, Sarthak Pahwa on the Dhol, came into the crowd when they played the song ‘Machi Bhasad’ where the crowd formed a circle around him, so he was able to play within them, showing that in the metal community, we keep each other safe and entertained, making everyone want more! The band works well together, bouncing off each other's vibes. Even when they played their song ‘Bekhauf feat BABYMETAL’ playing their vocals over a backing track, the pits formed from the front and the middle and gave an ultimate performance as if BABYMETAL were really there on stage with them: we can imagine this would be epic to see in full force! Closing their electrifying set with the hard-hitting anthem ‘Gaddarr,’ Bloodywood gave the crowd exactly what they had been screaming for. As the opening riffs tore through the speakers, a surge of excitement rippled through the audience, igniting a sea of movement. Flames erupted from the stage, casting an intense glow over the relentless waves of jumping fans, while the band delivered a performance that was nothing short of spectacular. The mosh pits were an absolute spectacle, a chaotic yet mesmerizing whirlwind of bodies colliding in perfect sync with the pounding drums and searing guitar riffs. For those standing on the outskirts, the pits were just as thrilling to watch as the band itself, adding another layer of raw, unfiltered energy to an already unforgettable finale. Bloodywood is one of those rare bands that sound just as powerful and precise live as they do on their studio recordings, delivering every note, beat, and lyric with raw intensity and unwavering passion. From the very first moment they step onto the stage, it’s clear that they are driven by a deep love for their craft, and that energy radiates through every performance. Their connection with the audience goes beyond just playing music, with every drumbeat and roaring riff, they pull the crowd deeper into their world, ensuring that no one is simply watching but rather fully engaged in the moment. They don’t just perform; they interact. Through their music and stage presence, they invite fans to not only hear but feel the culture and spirit behind their sound, making every show an unforgettable, high-energy celebration. Words: Ciara Hicks Evans Photos: Simon Arinze

The cosy venue of the O2 Institute Birmingham witnessed a night of raw energy and captivating performances as Canadian rock duo CLEOPATRICK delivered a memorably stellar set, supported by Brighton's PROJECTOR, on a Friday night brimming with infectious vitality and rebellious spirit. Brighton-based PROJECTOR, formed in 2018, have carved a niche for themselves with their post-punk attitude, blending humility with chaotic stage presence. Their brief but impactful opening set, a testament to their "no f***s given" attitude, served as the perfect appetizer for the headlining act and effectively warming up the crowd. It was a smart move for CLEOPATRICK to bring PROJECTOR on the UK leg of their tour as they set the tone well for a night of unbridled rebellious energy. PROJECTOR's performance was a whirlwind of punchy angst and punk attitude. They delivered a strong intro, instantly grabbing the audience's attention. ‘Sucking on my own dick’ served as the memorable arc of their set, eliciting both laughter and a surge of rebellious energy from the audience. Additionally, a highlight was their new single ‘The Sham! The Sham! The Sham’ and ‘Tastes Like Sarah’ which effectively showcased the sonic chemistry between lead vocalist Edward Ensbury and bassist Lucy Sheehan, electrifying the venue with pure post-punk electricity. The band firmly put their stamp on the night with the crowd smitten by their short and sweet kick-ass set. The anticipation reached fever pitch as CLEOPATRICK, featuring Luke Gruntz (vocals, guitar) and Ian Fraser (drums, backing vocals), graced the stage. An excited uproar from the crowd signalled the start of a memorable set. With the backdrop of a blown-up image of their new album ‘FAKE MOON’ featuring a photo of the moon with a circle and arrow provided subtle cosmic energy as the band setup with intense focus whilst the crowd screamed in anticipation. Opening with the powerful ‘GOOD GRIEF’, CLEOPATRICK immediately ignited the crowd and setting the audience’s energy alight. Following this, a highlight of their set was the crowd favourite ‘HAMMER’, which firmly established a mosh pit that persisted throughout their entire set and raised the united rebellious vibe to the roof. They then smashed out songs from their new album ‘HEAT DEATH’, ‘PLEASE’ and ‘SARAH’ which maintained the electrified buzz that pulsed through the venue. These were moments when the lighting crew showed off their fantastic syncopation with the music, layering upon the fantastic energy that floated around. At the sets peak, the crowd sung (or screamed?) ‘BAD GUY’ in unison with Luke without missing a beat, a testament to the band's strong connection with their fans and our personal favourite song of the night. CLEOPATRICK's set was a masterclass in engaging with the audience, with frontman Luke's relaxed and humorous banter adding a personal touch. His anecdote about being told that Birmingham apparently has more canals than Venice was particularly well-received with an uproar of laughter and comments from the audience about the state of the city, which Luke responded with unbelted laughter. A surprising twist midway through the set saw Luke and Ian switch instruments, with Ian taking on guitar and Luke on drums. This unexpected move led to a hilarious exchange as Luke, feigning incompetence, commented "don't start a drum solo if you don't know how to finish a drum solo", drawing laughter and cheers from the audience. For their finale, ‘LOVE YOU’, Luke utilized auto-tune effects on his vocals adding a dreamy air to the song whilst showcasing a unique and unexpected vocal range from the singer. The song's slowed-down vibe provided a warm and personal goodbye from the Canadian duo to end their set. Despite the crowd chanting “one more song!”, we knew the band were finished but the energy they left for the audience failed to dissipate – a sign of a fantastic and memorable set. CLEOPATRICK and PROJECTOR delivered a night of visceral, unadulterated rock energy, leaving the O2 Institute Birmingham buzzing. From PROJECTOR's chaotic post-punk to CLEOPATRICK's powerful performance and engaging stage presence, the night was a testament to the enduring appeal of live rock music. Both bands proved their ability to connect with the audience, creating a sensationally memorable experience in a cosy venue that will not be forgotten anytime soon. Words: Katherine Russel Photos: Lizzie Jones

Low ceilings, sticky floors and a bass that you can feel in your bones: Kid Bookies headline show in London at The Lower Third was the epitome of all things grunge. Kid Bookie is a familiar name to many fans of metal in the UK right now as he's moving up in the new genre splicing metal community. Bookie has been active in the scene since 2009 and worked with massive names including Slipknot's Corey Taylor, Wheatus and Good Charlotte. His own music blurs the lines between genres including elements of metal, pop punk and rap it draws in fans of all different genres making his audience incredibly diverse. The ‘Dead or Alive’ tour has been marketed as a funeral of the old era of Kid Bookie asking his fans to wear black to mourn with him whilst simultaneously welcoming the new era. The venue slowly filled as the openers Weller took to the stage, the crowd stepping forward to give the band their attention. Weller have been releasing music 2020 and have been catching attention across the UK with their singles ending up on BBC radio stations. Their music follows Bookies genre bending footsteps and blends the likes of punk and metal which worked perfectly to hype up the crowd and bring up the energy. Lead vocalist Charlie Weller took a moment to mention how the band had only been given three days notice for the show but this did not show at all in their performance. Charlie showed impressive range vocally from singing to screaming to rapping, switching effortlessly. Weller brought crazy energy to the stage making the crowd despite being small give them back that energy tenfold with head banging, cheering and applause. The band definitely gained a few new fans that night. The venue started to fill as the time slot for Kid Bookie approached, the energy from Weller still in the air as the fans started to grab their spots to see the set. Kid Bookie trampled onto the stage getting straight into his first song, much of the crowd jumping along with him instantly. Bookie has a song for every type of fan as he switches between rap tunes, to more vocal pop punk then to heavy head banging, mosh pit opening numbers. The best part of seeing such a genre bending artist is not knowing what to expect next especially as he played newer unreleased songs, giving fans a taste of what's to come. The rap sections of Bookies sets are truly impressive as he spits lyrics rapidly without slipping and keeping rhythmically perfect. Rap is a large part of Bookies music with his earliest collaborations being with Dot Rotten who was the first to recognise his talent and bring him onto a BBC performance at the age of only 16. His experience and time in the industry pays off in his performance. Between tracks Bookie took the time to give the crowd motivations, reiterating his out with the old in with the new mindset and urging fans to leave behind anything and anyone holding them back from chasing their dreams. It was clear to see the fans in the room were not just there for the music but to talk and socialise with people that have mindsets like their own, Bookie has done a great job at creating a tight knit community that is welcoming and kind, polarising the popular opinion that fans of these genres are anything but that and kicking those opinions out the door. The accompanying band at this show had no issues keeping up with Bookies energy and brought the heat and noise that his set needed, all of them looking the part and playing their instruments without fault. As the show continued the fans got more and more rowdy with drinks being spilt and mosh pits beginning to open up, they hyped each other and offered back the enthusiasm they were given. No part of the stage was left unexplored and Bookie paraded up and down singing directly with his fans making sure every person in the room was involved. Bookie continued to push boundaries, his screams echoing through the room as the crowd sung back every word, the cheers after each song overwhelming to the ears despite the small room. However the set purely wasn't long enough as the crowd demanded an encore and of course Bookie had to deliver, his song ‘Love Me When You're Angry’ having everyone in the room reciting the lyrics along, clearly one of the favourites of the night. The largest mosh pits of the night opened up for this one until Bookie left the stage with the words “Have long in your hearts for those who stand next to you” an inspiring message that is sure to stick with those fans for time to come. As the house lights finally rose the room burst into conversation with everyone explaining how fun the show was and what a good time they'd had, there was a special sense of community in the room that was great to see. Kid Bookie is definitely a name to watch moving into 2025 with his name appearing more and more, we can only expect him to move into bigger and better things. Words: Amy Smyth Photos: Claire Cabanac

Telepathy are a four piece band that includes three brothers from Poland and a guitarist from England. The band was formed in 2011, and have been steadily releasing music since 2014. Their new album Transmissions is seven tracks long, with some being as long as 15 minutes due to their use of instrumental storytelling and the fact that they incorporate samples from radio transmissions - hence the name of the album - to move that story along. The album opens with a nine minute arrangement ‘Oath’, the perfect soundtrack that drags you into the world they've created. Shredding guitar riffs and a mixture of psychedelic synths and crashing symbols bringing the tempo up and down giving the listener a real sense of journey through the song. The track sets the tone for this album, using samples from radio transmissions in Poland the band bring in their history and culture to add more layers to the music. It's difficult to believe they were able to conjure this in just one day! Next is ‘Augury’, which in its name refers to a sign of what the future will hold. It holds more structure than the last track, staying pretty unvaried in its riffs and beats, but it does however lead right off of the first track with a satisfying transition that the listener may not even realise. The third track ‘Knife Edge Effect’ is more on the synth heavy side, creating an apocalyptic mood bringing in those samples of radio transmissions to build on top of that. The second half becomes very drum-centric, yet still keep a good hold of the melancholy vibe, changing the end product yet still sticking mostly to the original recipe of the song. ‘Tears in Fibre’ is the second longest track on the album with a 14 minute run time. It starts off slow and a light and mesmerizing guitar riff, joined by layered synths and eventually a crashing drum beat. Five minutes in, the song comes to a slow, using a sample of a phone call the listener could discern a desolate world with the music bringing such strong emotion. The kind of track that could perfectly theme a world overridden with chaos to then turn uninhabited and mournful. A break in the album is bought on by ‘A Silent Bridge’ which brings a sample of a radio transmission and emotive synths to back it. It centres around the sample, yet again bringing the album back to its core and continuing with the message to practice the art of living. The next track is the longest, at 15 minutes long, yet ‘End Transmission’ seems to pass in the blink of an eye. The number starts much heavier compared to its neighbouring tracks on the album with thick earthy guitar riffs, and not even halfway through the song transforms introducing shredding riffs and a heavy groove, the kind perfect for headbanging. Booming drums then build as synths wash into the background and guitars play a repetitive and haunting melody bringing that approaching final boss fight energy, with minor chords being added at the end of the riffs later on truly keeping the listener on their toes. The end of the song leads to the heaviest section so far, before leading to a sample of a speech that brings a message of hope and living life to the fullest, again circling back to the message of the album. The last track ‘Home’ brings a more uncertain feeling than the rest, bridging on an almost nostalgic sound. In the second half of the song it picks up again, bringing in more metal sounds while withholding that slight hint of hope in its chords. The end of the song sounds much like the fifth track, and explores the use of synths to back up these radio transmission samples. Transmissions tells a full story of losing hope and helplessness, before finding that hope again in the shape of a new world to explore and make your own, and listening back to front this is so audibly apparent. On paper, this album may be labelled as instrumental metal, but it reaches far beyond that - each section of each song brings a new sound, and the clever use of samples and sounds throughout is both engaging and unrestrained to any one genre. Score: 9/10 Transmissions was released on March 30th 2025. Words: Amy Smyth Photos: Telepathy

The technical prowess of the tech metal quintet Pravitas is on full display in The Parasitic Divine, running the gauntlet of the genre - from heavy hitting pure metal to tracks fitting for a supervillain or Doom-style game. This project opens with some stunning guitar runs akin to playing classical guitar on an electric, but the drums take over by its follow up 'Delusions of Morality', which stands out immediately from its beginning tracks. Kicking immediately with a thrashy first act, Les Harrison runs his first marathon on the double bass pedals over the first three minutes of this 4:30 minute piece, but by 2:30 the guitar solos have returned to create a metal orchestra with heavy replayability. The fill at minute four scratches an itch in the brain too. One of our favourite elements of this album is the tracks that feel like they belong in a game as a supervillain's intro music. ‘Once There was Only Dark’ embodies this energy the most: a track made to show off the technical prowess of guitarists Richard Barnes and Joseph Taylor as they trade shreds and bounce off each other, all the while playing with 8-bit style guitar plug-ins. This track sandwiches its hardcore vocals between guitar solos, getting heavier when Sellers is on the mic before rolling back and letting Barnes and Taylor have their time in the sun in a freeflow. This track in particular stands out for how seamless it is, and has to be one of the strongest on The Parasitic Divine overall. Another satisfying element about this project is how well the names embody their tracks. Exile manages to build tension in its intro and maintain it in such a way that the track feels like a journey into the unknown; there is a level of sneak that brings the images of living in exile into the mind. 'The Crustacean' swings its beat just enough to have a shanty energy around it, and its follow up 'Breakneck' moves at that kind of a speed. The main critique for this project, however, is that a couple of these tracks come over as filler as the album trucks on. For all that 'Breakneck' moves fast and packs a punch, apart from its speed there is not much to say. Its follow up, 'Hightower', is an improvement with catchy riffs and a floor lead jungle groove on its breakdown, but has steered itself more into hardcore compared to the tech metal offerings in the rest of the project. Its follow up 'The Eye of the World' is forgettable, though the use of the piano melody is a nice touch; none of these tracks are bad, but the initial wow has worn off by this point and the tracks have begun to feel like more of the same. When this album closes, though, the point of the song names made earlier comes back through 'Monolith'. Working as a culmination of all the elements in this project prior, it begins with a sinister intro and maintains that energy throughout. The midpoint ambience is effective as the midpoint breakdown charges itself, then becomes a breakbeat as the midpoint of the song plays out. The guitarists send it one last time from 3:34 before a refreshing cleaner vocal rings out in the last chorus; the finale breakdown is played safe, but that breakbeat gets to make its return in the finale and leaves the ears satisfied. Overall, The Parasitic Divine is a well executed exercise of technical prowess - each showing their skills to the highest level while complementing each other with ease. You would not know that this was Sellers’ first stint as vocalist for Pravitas as he fits right into their sound, with his scream working well on the electronically infused and hardcore focused outputs alike. The main thing that keeps this project down is the filler within the second half, and some somewhat bloated track lengths - less of the latter may protect from the former - but this does won't stop us recommending The Parasitic Divine for a listen. Score: 6/10 The Parasitic Divine was released on March 30th 2025. Words: Julia Brunton Photos: Pravitas

When 2025 has concluded, it is entirely possible that The Squirrely Years Revisited will be remembered as the most surprising release that it produced. Few could have foreseen industrial-metal pioneers Ministry revisiting their early synthpop material, not least because of the countless times that their ever-outspoken frontman Al Jourgensen has viciously decried it. The resurrection of songs from ‘In Sympathy’ – the band’s debut LP, which Jourgensen has refused to sign for anything less than a $1000 donation to charity – is nothing short of miraculous, and yet here they stand, reworked and remastered, on an album dedicated to their celebration. This unlikely reconciliation with his past is heartwarming on a personal level, but has prompted a fascinating re-evaluation of Ministry’s awkward beginnings. Were the Squirrely Years dense with hidden treasures, or are they best left in hibernation? The answer to this question lies somewhere in-between. On the surface, it is easy to see why Jourgensen dismissed this collection of songs for so long. This album is relentlessly cheesy, and constantly straddles the border between delightful and ridiculous. To its credit, The Squirrely Years Revisited starts strong, with the funk-inspired guitars of 'Work For Love' as well as 'Here We Go’s piercing synths staying on the right side of the line. The first sign of trouble comes on 'All Day', which is derailed by its bizarre use of sound effects and vocaloid. The clang of hammer-on-metal which permeates the song becomes headache-inducing very quickly, not helped by the evil chipmunk vocals which accompany Jourgensen. Both of these prove to be recurring problems, with tracks like 'Just Like You' and 'We Believe' being stylistically reminiscent of a child playing with their “My First Keyboard” set, as well as Jourgensen sounding as if he’s recording his vocals from underwater throughout the record. 'Revenge', already a chugging dirge of a song, suffers from this the most, with the misery being compounded by the return of 'All Day’s rogue blacksmith. Perhaps unsurprisingly, given the direction that earned them their notoriety, Ministry find the most success when leaning into the gothic end of early-80s alt-pop. Both 'Everyday is Halloween' and 'I’m Not an Effigy' sound like The Sisters of Mercy at their most darkly bombastic, whilst 'I’m Falling’s instrumentals could plausibly pass for a rejected Cure cut from the Pornography era. All three tracks serve as a joint high-water mark for The Squirrely Years Revisited, and provide a fascinating insight into an alternative timeline in which Ministry morphed into rivals with late-era Depeche Mode. Unfortunately, Ministry fail to match these peaks in the second half of the album. Though 'Same Old Madness' is not meritless, it is impossible to shake the lingering feeling that it could be the accompaniment to a particularly difficult Sonic The Hedgehog boss battle. This unease is dwarfed by 'I’ll Do Anything For You', one of the least romantic love songs in recent memory. This album’s palate does not lend itself whatsoever to matters of the heart, with its ludicrous synths and foreboding vocals completely undercutting the track’s central declaration. Following this, the aforementioned 'Just Like You' and 'We Believe' fail to revive the album after this low-point, before one last appearance from Ministry’s resident metalworker on closer 'Over The Shoulder' marks a merciful end to a dismal side B. Though The Squirrely Years Revisited is a fascinating epilogue to Al Jourgensen’s war with his younger self, it does also serve as a reminder that the opinions we all form when we’re young and stupid aren’t entirely without value. At points in the tracklist, the album shows glimpses of a synthpop band brimming with potential, but these are outweighed by an inescapable maximalism that makes it difficult to take seriously. For fans of industrial metal, it is an inessential oddity, and for fans of 80s alt-pop, it all too often borders on parody. Score: 3/10 The Squirrely Years Revisited was released on March 28th 2025. Words: Ali Glen Photos: Ministry

Behemoths of rock'n'roll The Darkness are back with their highly anticipated eighth studio album. Promising their well known flair for the dramatics, uptempo rock beats and a sprinkle of ridiculousness, Dreams On Toast could well be be their best album to date. Bringing to the forefront exactly who The Darkness are, ‘Rock and Roll Party Cowboy’, is the perfect reintroduction into everything these icons of British rock stand for. Exhibiting their aptitude for the farcical, ‘Rock and Roll Party Cowboy’ is four and half minutes of the perfect 80s classic rock rift behind incredibly comical lyrics. Any listeners experiencing The Darkness for the first time will automatically have their vibes on lock from this brilliant album opener. Feeding straight into ‘I Hate Myself’, the second track on the album which resembles the sounds of the 70s mixed with a small dusting of ska, thanks to the impeccable use of the saxophone. Sounding like it could be lifted straight from A Night At The Opera by Queen, ‘I Hate Myself’ showcases the Hawkins' brothers ability to write a unhappy refrain with an old fashioned melody and make it into a hit so catchy it will have you dancing alone round your bedroom. Sticking to the 70s aesthetic, ‘The Longest Kiss’, track six of the album is the brainchild of old school The Darkness, and yet another classic rock influence, ELO. One of the shorter tracks on Dream On Toast, ‘The Longest Kiss’ packs a serious punch. Think 2000’s rom-com montage music, with bluesy guitar and a heavy drum beat. It perfectly encapsulates the reason The Darkness have been at the top of their game since 2003, they can seamlessly blend multiple genres of music all the while making it sound original, and unique to them. Being on the top of their game for so long, allows The Darkness to have a sense of musical superiority when it comes to marketing the album. Frontman and all round diva (in the best sense of the word) Justin Hawkins described this album by saying “we popped out a dozen bangers before lunch. And these bangers we present to you here.” This attitude is carried on into ‘Walking Through Fire’. A more authentic sound than the rest of the album, showcasing their prowess, Hawkins sings “we’re only doing this cause it’s fun, don’t even think my mum bought the last one”, once again proving that The Darkness make music just because they love it, and in no other song is that more evident than ‘Walking Through Fire.’ Some would say that after seven studio albums, a band may start to lose their sparkle. But more than 20 years after The Darkness burst onto the British rock scene, they have once again donned their bedazzled catsuits and produced a belter of an album. The Darkness have been showcasing the sheer amount of fun this album brings to fans all across the UK on their Dreams On Toast tour, and the fun only promises to continue with Justin Hawkins taking to the District X stage at Download Festival in July. Score: 8/10 Dreams On Toast was released on March 28th via Cooking Vinyl. Words: Emily Bancroft Photo: Simon Emmet