Lauren Babic has gained a lot of attention over the years within the metal community - specifically for her covers - but this time she's here to show us her first original solo metal EP, Too Much and Never Enough, and we think that any metalcore fans should be listening along. Lauren has been taking part in releases since 2013 and has been incredibly consistent since, with her covers gaining millions of views and listeners, and her experience shows across this four track EP. Being a female vocalist in a male dominated genre is nowhere near easy, however Lauren shows her ability to more than compete here. The first track 'Sanctuary’ starts fast and heavy, with classic metalcore beats along with layered synths and strings to bring a satisfying tune, Lauren's sublime vocals bringing the exact sound the song needs to really feel complete. A minute and a half in, Lauren showcases her own truly impressive scream, that'll blow any listener away - regardless of if you're a fan already, or a new listener. Next up is ‘Breathe You In’ which starts off with a more sultry beat, building with shredding guitars and an addictive bassline to accompany. The end of the song features layered vocals and harmonies that continue and trail out to bring it to a close effortlessly. Although this song doesn't feature screaming, it still is vocally charming as Lauren shows what she can bring to the table. On the contrary, ‘I’m Bored’ opens with coarse gravelly vocals both high and low pitched, the darker bassline ripping through the song. This tune is a clear stand out to demonstrate the vocal capability Lauren has, and is our personal favourite here at Out Of Rage. Featuring a cough to break the song and an ever so satisfying “blegh”, which we all know that the metalcore community loves oh so much, as well as the breakdown which presents a half time beat that is certain to make any listener head bang along. The last track ‘Let It Die’ kicks off once again with guttural screams before the pre-chorus and chorus being a disgustingly gratifying mix of heavenly light vocals and raspy notes, all the while with Lauren freely switching between the two. A phenomenal ending to the EP that sums up all the incredible talent shown through the four songs. Although short, this EP is a great way to kick off her first solo venture into the world of metalcore, Lauren Babic has gained a lot of attention over the years, and we can only hope that these songs can get her name even further out - we hope to see more from her soon. Score: 9/10 Too Much and Never Enough was released on March 28th 2025. Words: Amy Smyth Photos: Lauren Babic

Backxwash has electrified the experimental hip-hop scene for much of the decade now, releasing three seminal albums at the start of the decade before taking somewhat of a break. She has been known for the dark and often oppressive-feeling instrumentation and samples within her music - for example, I Lie Here Buried With My Rings and My Dresses’ includes the song ‘BURN TO ASHES’ featuring Michael Go, which samples one of the moodier moments in Godspeed You! Black Emperor catalogue. Her previous album His Happiness Shall Come First Even Though We Are Suffering was surprise-released on Halloween 2022, and quickly became the perfect soundtrack for its season - this body of work has garnered her plenty of acclaim in the experimental and industrial hip-hop world, being held in a similar regard to clipping. or Injury Reserve/By Storm, with a queer twist. Her music has always tackled queer themes with a dark and claustrophobic backdrop, though this newest album, Only Dust Remains, peels back a layer and reveals some brightness. First single ‘WAKE UP’ features some of her most impassioned vocals yet, as she repeatedly yells “Wake the fuck up!” before a beat switch - it marks two distinct points in the song, the second section feels significantly more reflective with its more stripped back instrumentation compared to the pounding drums of the first five minutes of the song. The lyrics still cover heavy topics, with themes of self-loathing throughout. Second single ‘9th Heaven’, on the other hand, also faces death, but with a confident feel to her delivery - “I feel so motherfucking free” is the line she chooses to close her vocal with, and she does it over a chorus of “The drummer coming”, accompanied by a rush of percussion to outro the song on a bombastic note. These two singles were already fantastic, and as it turns out, emblematic of the quality of the album as a whole. Opener ‘Black Lazarus’ is a slow-burner that rises into a sea of synths, with each snare hit feeling like a bomb exploding. With lines like “As they… pray for me, but ain’t nobody here saving me”, it does feel like a continuation from her previous work, as she not only looks inward, but also outward, with her frustration directed at the lack of action in places like Gaza, which comes up again later on the song ‘History of Violence’. For the last two minutes of the song’s runtime, she reflects on the plight of the Palestinian people and reactions to it. “Never mention the victims or you’re in league”. It’s a harrowing picture of suffering she manages to paint in this song. Elsewhere on the album, she continues to bend genres, embracing a shoegazey side on ‘DISSOCIATION’. Her and Chloe Hotline’s vocals fit the ethereal, noisy instrumentation perfectly despite their respectively aggressive and graceful approaches. The album ends on “Only Dust Remains”, a breather after the relative intensity of the previous few songs, driven by a piano melody and choir towards the end, repeating “away from me” - it’s a strangely euphoric way of ending a fantastic album. The shift away from more metal-influenced instrumentation might be a surprise to many listeners, but she entirely sticks the landing, showing off a wide range of depth in the instrumentation on display, as well as these quite abstract and poetic lyrics. Score: 9/10 Only Dust Remains was released on March 28th 2025 via Ugly Hag. Words: Jake Leonard Photo: Méchant Vaporwave

Alien Weaponry have woven nuanced social commentary and their Māori history into a full-throttle third offering. They interchange Te Reo Māori with English within and between tracks to call out the intricacies of living under imperialism, the impending doom of world war, and the harm of social media across the 11 tracks on Te Rā, producing a culturally relevant and sonically impressive project as a result. Album opener ‘Crown’ jumps straight in with a Bring Me The Horizon-style feel as the verses hop between clean vocal and screams; it also features one of the many perfect hooks that can be found throughout this project, with the line “Culture for profit and death to the sound” found within its chorus. Keeping a metalcore feel, it hits its breakdown quickly after chorus three before bringing that hook back for its final reprise - then we are hooked for the rest of the project. Around half of this project is written in Te Reo Māori, starting with the second track and single Mau Moko (to get a tattoo, a book about tattooing in Māori culture). It is the first of Te Rā’s tracks to include the military-style instrumentals and sound conventions, with its urgent guitars paired with deep military drums and Haks in its breakdown as well as a section stylised to be an army chanting in unison. These huts are also present within 'Tama-nui-te-rā' (the personification of the sun), which starts as a slower pace nu-metal track before devolving into a sinister beat then picking it up for the outro. This track stands out for the strength of resolve in its verses and layered harmonies in its chorus, as well as the perfectly done breakdown ripe for opening it up to. In this album’s second half, track 'Taniwha' (creatures that live in rivers within Māori mythology) is unashamedly metalcore, and is elevated with its feature of Randy Blythe of Lamb of God threatening the listener with poetry of the long white cloud before his verse; a fitting element when considering domination of white and western culture within the hardcore space. It is followed by the strongest song pair on the project - 'Ti Riri o Tāwhirimātea' (a god and warrior within Māori myth), a metalcore ballad consisting of heavy swung drums and passionate guitar solos that has kept up the use of the military chorus. Then comes 'Ponaturi', taking Te Rā into a sinister space sonically as it builds with screamo-vocal raps that ring like a manifesto then closing out with intense guitar solos by Raharuhi de Jong. These tracks build perfectly towards the album's closer - a two minute thrash metal offering that encompasses everything that has made this album work so far. For the English speaking songs, the themes cover the state of the world from multiple angles: '1000 Friends' is an accusatory number about the distance that social media has put between us and is exemplary of the quality of Alien Weaponry’s songwriting - “1000 friends/alone again” hits deep as a hook, while the soundscape drives on as if mimicking the speed of the digital world. ‘Myself to Blame’ stands out as one of the English tracks through its change of focus to interpersonal relationships. Its a raw apology on the back of sinister yet swelling riff, it picks up its tempo as Raharuhi de Jong begins to admit betrayals of trust and wrongdoings as the track wears on before slowing itself right back down to proclaim ‘How can you accept me when I have torn you down’. It is a chest tightening ballad begging for one more chase; it builds the world the listener is invited into beautifully, then leaves some silence at the end for the wrongdoings of the listener to marinate. All in all, Te Rā is an album with lots to say and nuances to its points. Utilising metalcore and nu metal conventions to convey the feelings of conflict that Alien Weaponry feel being knowledgeable of the world they live in while still needing to take an active role. The songwriting is high quality, the riffs encourage a head bang, and is an enjoyable listen in its entirety. Score: 6/10 Te Rā was released on March 28th 2025 via Napalm Records. Words: Julia Brunton Photos: Alien Weaponry

Since the Swedish wonders Allt released their first song on September 2020, it was obvious the band has potential and a gift to make it far. Fast-forward to the present and Allt is breaking the metal scene, playing their first headlining tour with many concerts sold out and a nomination in the ‘Best International Breakthrough Artist’ category for the Heavy Music Awards. The metalcore five-piece consists of the vocalist Robin Malmgren, drummer Adam Björk, bassist Samuel Mills and guitarists Olle Nordström and Viktor Florman. Profiler supports Allt during the UK leg of this tour with Atlas. The british nu-metal and metalcore band Profiler was formed in 2017 and has been taking on the music scene rapidly. Hailing from the city of Bristol, the four-piece band is well known for their captivating guitar and bass, with Mike Evans’s distinctive vocals. Their debut album ‘A Digital Nowhere’ came out last year, with the deluxe edition being released this February, and it surely has been a record of memorable tracks. Showcasing their album with their older singles during the set, the band kept an energetic aura in the venue from the first song, and the audience definitely enjoyed every second of it. Next in line was the mysterious Finnish band, Atlas. Heavily inspired by their native mythology and poetry, the band brought different energy onto the stage. Using just guitars, bass, drums and vocals, the members are able to produce symphonic-like melodies that sound completely otherworldly, leaving everyone listening in awe. The set started off with an impressive intro by the drummer Aku Karjalainen, and then moved immediately into a dramatic performance filled with Patrik Nuorteva’s primordial screams and Leevi Luoto’s hauntingly beautiful backing vocals. Paired with his bass skills and Tuomas Kurikka’s and Aleksi Viinikka’s guitar riffs, it was indeed an unforgettable experience. After two amazing support bands, it was finally time for Allt to claim their place in the spotlight and show the fans why they deserve the prestigious nomination. The band started off very heavy with the song ‘A Flash of Light’, that made the crowd move from its first tones and started a brutal moshpit, that did not quiet down until the end of the set, making it easier for the band to interact with the fans. Malmgren brought the audience his raw vocals, that were amazing to listen to live. At one point of the night, the band was graced by a massive wall of death after asking for it. Taking over half of the floor, it surely was a sight to behold. At the end of the set, the audience was delighted when the band came back for two encore songs, with the second one being sang with Atlas’s bassist Leevi Luoto, who together with Malmgren sounded heavenly. Overall, the night gave the fans one of the best concerts in a while, with all three acts smashing their sets. Profiler were an excellent choice for the British openers, as the audience loved them and the energy they brought with them was unmatched. Paired up with their catchy songs, they surely do know how to put on a great show. Atlas and Allt are both established bands on the scene, who do know what they are doing and aways bring something new to the table. The evening surely was sweaty, as the heating was very much on, but was enjoyed by everyone in The Underworld regardless. Words: Katerina Stepanikova Photos: Jack Walsh

For london-based LGBTQIA+ heavy music fans, events that celebrate both their queerness and also their tendencies for running headfirst into a mosh pit are very few and far between, which can unfortunately make it pretty difficult for these individuals to find people with similar interests. This lack of alternative-specific spaces in London and its surrounding areas prompted queer event organisers Glass Closet Events to partner up with Rockin’ Queers to create ‘Smells Like Queer Spirit’, an event specifically tailored to queer individuals with an alternative side. From insanely talented DJ’s and performers to up-and-coming artists/bands, ‘Smells Like Queer Spirit’ has something for every queer alternative human out there. The event gives queer alternative people the much-needed chance to socialise with others with common interests and dance til’ their docs are worn through in a safe and inclusive space, and also offer pay-what-you-can options for tickets to the event. Rockin’ Queers and Glass Closet Events also always work their hardest to ensure that each and every event space that they use is accessible and inclusive, so the event is open to absolutely everybody! ‘Smells Like Queer Spirit’ launched on 16th March 2024, and has been making waves across the queer event scene ever since due to the event being one of the only queer spaces tailored exclusively to alternative individuals, not to mention it being an absolute rager of a night! Labelled as ‘part social, part dance party’, ‘Smells like Queer Spirit’ celebrated its first birthday with a jam-packed celebration at 229 in Euston, London. The event featured astonishing live performances, such as sets from Rockin’ Queers’ very own founder DJ GayMerGirl, who has hit the decks at Voodoo London which is one of the capitals largest alternative club nights, and DJ Luna Tunes from the queer DJ collective ‘She They Press Play’, who has performed sets at multiple festivals, namely Download Festival and 2000 trees. BE N!CE Attendees were also mesmerized with performances from stunning local queer burlesque dancers Scarlet and April Alors, who left the room with everyone’s jaws hitting the floor and cheering in awe (and also pondering how a human being could possibly be that flexible). The featured band of the night was BE N!CE, an up-and-coming punk band with influences from post-punk and grunge from London, who took the stage by storm with their vigorous tracks and insane riffs leaving the room totally pumped for the remainder of the night, and are well worth checking out if you’re into the loud and high-energy punk vibes. On the flip side, the event featured a chilled-out quiet room with comfortable sofas and tables for attendees to quietly spend time together in a more relaxed environment, with fidget toys, temporary tattoos, bracelet making and more at their disposal. This specific edition of ‘Smells Like Queer Spirit’ also featured a table for BE N!CE in the quiet room where you could take a look at the bands’ merch and hear more about what they’ve got in the works at the moment such as future shows and new music. The quiet room also contained an alt clothing/gig t-shirt swap rail for guests to give up their old threads in return for a fresh new style, and as difficult as it can be choosing your newest ink, the room held a table full of the sickest temporary tattoos to try out from local queer artists’ flash designs, nothing makes a tattoo decision easier than being able to try it out for yourself! So if you’re feeling like moshing the night away with other alternative queer individuals, then keep an eye out for the next ‘Smells Like Queer Spirit’, see you in the pit! Keep up to date with Rockin' Queers via their Instagram Words and photos by Becca Wheeler

Fresh off the back of a mighty 2024, Mouth Culture visited Blackpool for the first time and left their mark on Blackpool’s best independently run live music venue: Bootleg Social. Something to note about Mouth Culture is that this is a band that simply don’t stop – from touring with The Blackout, to a European leg, playing packed out tents at Download, Truck Fest, 2000 Trees, and then an entire tour run supporting You Me At Six on their final UK tour, somehow whilst releasing their latest EP: ‘Whatever The Weather’. From the posters decorating the walls showing other artists that have also graced the Bootleg stage, to the intimate atmosphere across the venue, this was the ideal place for Mouth Culture to greet the Blackpool music scene. Supported by Kiwi, and LoveRarely, this was a show not to be missed. Opening with the anthemic ‘No Shame’, the crowd moved closer to the stage to embellish in the charismatic stage presence of vocalist, Jack, who made sure he connected with the crowd at every stage. ‘Sharkbait’ and ‘Dead In Love’ continued giving the Culture Club (Mouth Culture Fans) the ideal opportunity to scream lyrics back to the band, whilst ‘Rat Bag’ gave us the opportunity to listen to the newest song in full after seeing teasers on social media. Towards the middle of the set, we were treated to a small throwback from ‘Mishaps of My Mid- Twenties’ with ‘Johnny Cold Shoulder’ which paid perfect fan service to the Culture Club fans, and showed just how versatile Mouth Culture are. ‘Little Wednesday’, ‘Catch You Tomorrow, Sunshine’ and ’15 Missed Calls’ gave the band perfect opportunity to demonstrate exactly what they are capable of. Sometimes, the slower songs give the audience time to get a drink but not on this occasion – the audience were enamoured with just how raw and passionate these particular songs were. Contrasted with ‘Cherry Red Rage’ and ending on ‘Don’t Pull Up’, this was a setlist crafted to perfection, truly emphasising the incredible versatility that Mouth Culture can display. Seamlessly transitioning between upbeat tracks and more introspective songs, this highlighted not only their lyrical prowess but also their ability to connect emotionally with the audience. Finishing the set on ‘Don’t Pull Up’ erupted the room, with the audience continuing to jump and dance along. It became clear quite early on that Mouth Culture is not just another emerging artist; they are quickly establishing themselves as a significant force on the music scene. By the end of the show, it was evident that Mouth Culture had solidified their place in Blackpool’s live music scene. Overall, Mouth Culture’s gig at Bootleg Social was a memorable event filled with energy and passion, showcasing why they are absolutely one of the most exciting new acts to hit the scene. Words: Ellie Archer Photos: Mia Gailey

Hailing from a crossfire of wildly eclectic musical influences and growing up in north-east London, self-described “chaos merchant” Deijuvhs is slamming onto the scene with Cemetery Scum, a mixtape with a desire to blend dirty Y2K influences with rowdy nu-metal anthems. Setting up what Deijuvhs (pronounced day-u-VHS) is all about, Cemetery Scum kicks into being with ‘Comatose’ and ‘Lotus’. Leaning massively into the nu-metal elements of the genre, ‘Comatose’ embodies a new style of music, ‘hoodpunk,’ a moniker coined by Deijuvhs to fit the cutting-edge sound he’s creating. Away from boxes and labels, Deijuvhs has managed to craft a niche in the alt scene, but more importantly in the Black-British alt scene which can be felt within the meaty riffs and lyrics of ‘Lotus’. Ideas of being left behind and surrounding yourself in an environment which would only foster bad energy showcase the place that Deijuvhs is writing from. This is also evident in ‘Devil May Cry’, the final song of the mixtape. One of the more mellow but deeply moving songs featured on Cemetery Scum, ‘Devil May Cry’ is a powerful track that stems from Deijuvhs emerging from addiction. Openly talking about this Deijuvhs has said “I used to think I needed drugs to be creative.” In exact contrast to that point ‘Devil May Cry’ features some of the most hauntingly poetic lyrics featured on a nu-metal based mixtape for a long time. “The devil may cry sometimes but even he knows how to smile,” is a lyric that will carry this mixtape far into the future to be heard for generations to come. The softer tones of this song really allow the listener to hear the North-East London accent of Deijuvhs that is so distinctly his, and that truly proves his point that you can find catharsis in writing and being creative regardless of upbringing or where you’re from. You have to make these opportunities for yourself. It seems very apparent by track six, ‘Neo Massacre’, that Deijuvhs takes huge inspiration from all things noughties. Hitting immediately into a lick that wouldn’t sound out of place on a Korn album, you are then met with vocals that you’d expect to hear from the likes of Travis Scott or Playboi Carti. But that is exactly the calling Deijuvhs has set up for himself, and it really works. ‘Neo-Massacre’ also features the innovative work of young British producer, Ghosty, on the beat which adds an extra depth that this song may otherwise have lacked. In keeping with the noughties theme, ‘Zombie’, an introspective breakup song, is a track that wouldn’t feel out of place on a Kerrang TV Friday night in the early 2000s, following your first ever break up, Kerrang on full blast thinking your life is over, that is ‘Zombie’. And it hits on a life changing moment that everyone has experienced, but Deijuvhs has a talent for making the listener feel like all the experiences he is singing about are unique. Within the relatively short two and a half minutes, Deijuvhs can relate to most of the population lyrically while still creating a beat that demands to be heard. Embarking on a UK tour in June, Deijuvhs certainly has enough material on this mixtape to keep crowds engaged. This is the kind of entertainment the modern nu-metal scene is missing, the rap style lyrics of the Y2K era blended with the modern pulsating beats of rap, all encased with hefty guitar riffs. Deijuvhs has done exactly what he set out to do, he has created his own genre and put himself centre stage. Listeners of Cemetery Scum are in for a wild ride. Score: 7/10 Cemetery Scum will be released on March 28th 2025. Words: Emily Bancroft Photos: Deijuvhs

Helloween are one of the biggest names within power metal, and stand as one of the cornerstones and founders of the genre. As this legendary band turns 40, what better way to celebrate than releasing a 42 track long, remastered, Best Of album called March Of Time. The tracks selected showcase the history of the band, allowing long time fans to reminisce about tracks they grew up with, and allow new fans to take a deep dive into everything the band has to offer. One huge upside is that any tracks taken from the band's earlier albums have never sounded better. The modern mixing hasn’t taken anything away, but instead left a clearer mix where the iconic dual lead guitars shine through stronger than ever. Tracks taken from Walls Of Jericho are given a new energy through this mix and given time to truly shine, and the tracks taken from both the Keeper of The Seven Keys albums are ingrained into many metalheads and they truly come alive here. The two iconic singles from this era, ‘Future World’ and ‘I Want Out’, are the best they have ever sounded - there’s a reason they brought so many fans towards the band. Yet now they have a new lease of life, and will be enjoyed by metalheads for another 40 years. The release doesn’t just spend the time on the more popular tracks that Helloween have released, but celebrates everything the band has done. Although nothing chosen is a super deep cut, it’s still a great variety that features stuff from plenty of the less popular albums. The compilation obviously will not be everything the band has ever released - that would be a LONG album - but works well in telling the band’s story. Notably, the Andi Deris era gets a good variety of tracks on the album, as many other collections of the band’s music tends to overlook it. Having this level of coverage works well as an introduction for newer fans as it gives them a taste of every album, and frankly even some of the older fans will be less aware of these tracks, so will definitely enjoy the opportunity to rediscover them. The modern era of the band, that with two lead singers, is also featured on this compilation. This era shows best what makes Helloween a special band who are still developing their legacy. Not many bands would write anthems such as ‘Pumpkins United’ as a love letter to what the band stands for. At the time of release, it marked the return of Kiske to the band, but as time has passed it stands as an anthem celebrating where the band are, two lead singers united in one band. Filled with references to past songs, it’s a perfect choice to be included on this compilation. Including other tracks such as ‘Skyfall’ which also features dual vocals that works to celebrate where the band is now. Both vocalists did great work when they were the only vocalist in the band, but this modern era shows how joyous they are as a pair. As there is only one full studio album from this era there isn’t as much material to select from, but this is how the band exists, and this is what the band is moving forward. March Of Time is a truly great compilation album, and its impressive 42 track long length allows it to explore and celebrate the band. There’s a great variety of tracks that show everything the band has done. However, there isn’t any rare material so for the fan with everything already it may not be the best package. But - it is still a great compilation for those who have just found the band, or those who want to have a curated experience of the band they love. Score: 7/10 March Of Time will be released on March 28th 2025 via BMG. Words: Will Freeman Photo: Martin Hausler

Six years since their previous album Four of Arrows, Great Grandpa have not taken their time apart for granted and have come back stronger than ever. Constantly re-defining their sound, this quintet from Seattle is back with their new album Patience, Moonbeam. After several years of distance due to differing chapters in their lives, Great Grandpa decided to scrap most of what they previously recorded and started fresh, to give us a new perspective of their momentous years apart. With this, we have ended up with an album that truly highlights every members talent with a beautiful sound that is cohesive and whole. Patience, Moonbeam swings smoothly through opposing sounds, giving us moments that are both heavy yet tender, or playful yet serious, delving into both the pains and pleasures of life. Unlike previous record Four of Arrows, this was not recorded in the restraints of a recording studio with a producer and was created over a longer period, with each member contributing and exploring different iterations of each song. Starting with the 36 second instrumental ‘Sleep’, we’re introduced with classical orchestral sounds, letting us know this album is going to be operatic at its heart. This record is not defined by a single genre and each song flows into the next as if it is one 36 minute long song. ‘Never Rest’ highlights the previous statement perfectly, in that this is a single that takes you on a rollercoaster. An expectedly smooth start, with stunning backings of guitar, strings and drums, building toward a dramatic chorus where the speakers explode and then immediately pausing for a silent, lyrical finish. Working through the other already released singles ‘Junior’, ‘Ladybug’ and ‘Doom’, we are treated to an arrangement of sounds. Some sounds take us down an American country road for a celebration of youth and the rebelliousness that comes with this, another is almost acid-trip like electronics with a huge sounding fun chorus. Other songs like 'Kiss The Dice' and 'Top Gun' have the nostalgia effect coursing through their veins, in a sepia-tone sonic slow walk home after a break up that washes over you and drags you into the world they've fostered. Penultimate track 'Ephemera' mixes things up a little, with the trip-like electronics returning but in a more relaxed, moody manner that keeps the energy groovy and almost sultry, as Great Grandpa flex their creative muscles and demonstrate their range and talent. Finishing up the album is the only single that Great Grandpa decided to keep from their previous recordings, ‘Kid’, and it’s perfectly slotted in its final position. With the context behind this song being members Pat and Carrie’s unfortunate pregnancy loss, it gives this album a deeply emotional core and dramatic melodic ending. There is nothing that has not been thought of thoroughly throughout this whole record and there is something for everyone when listened carefully enough. You never quite know which way the album is going to go, and that makes for a listen filled with fun, emotion and constant surprise. Score: 8/10 Patience, Moonbeam is out on March 28th via Run For Cover Records. Words: Laura Hughes Photos: Great Grandpa

In their self-titled EP, Desert'Smoke have crafted a sound that conjures feelings of a wild west shootout and the conflict of this conflict across four psychedelic tracks. Utilising distorted guitar shreds and floor lead drums they build a world in the minds eye of a bar brawl gone wrong and a search for recourse that never quite gets resolved. The stage is set in track one ‘Fuzzy Txtitxu’, with its slow paced intro crafting an equilibrium in its uniform use of stoner rock conventions, with just enough ambience behind it to add apprehension of what is to come. When this song does kick in at 2:10, the band’s aim to introduce heavier conventions become clear, combining hard rock riffs with the distorted guitar to give the feeling of walking into a bustling western town. The drumline from around minute five was very pleasing to the ear too, as were the seamless guitar runs. ‘Gravity Absence’, however, is where this western feel becomes more apparent. The swinging drums do a lot of the heavy lifting in this aspect, but the aforementioned deeper guitars add to this vibe too. As the nine minutes of this track play out, the story of walking into a bar and finding oneself starting a duel begins to spin, with the track swelling to almost-chaos as shots ring out. The tempo increases with the stakes, as the consequences of these actions begin to become real, while the guitar shreds increase their chaos. ‘Blind Watcher’ feels like a real journey - looking out into a desolate landscape, only to walk back to the scene of the crime and wonder what to do about it. The melodies are dreamy and thoughtful, then at around 7:29 the track kicks in, and an audio crashout ensues like a reckoning. The outro to 'Blind Watcher' maintains its crescendo’s intensity, and the mind's eye wanders from the desert into the town once more knowing it will do something, but not knowing what. The closing track '49th Steam Box' is the heaviest of the four, managing to instil some Deftones energy into its soundscape. This track feels like a plot in the making: darting about in the night to find comrades and plan an escape, before devolving into a short drum solo. The last minute of '49th Steam Box' is a wind down, as if going into hiding; in this story, the subject has chosen to try and escape what they have done, rather than face it head on. All in all, Desert'Smoke is a piece of western whimsy that will fit well into any psychedelic or stoner rock festival setlist - it is easy to get lost in the images that the melodies concoct, as well as in the beautiful runs themselves. Score: 7/10 Desert'Smoke will be released on March 28th 2025 via Raging Planet Records. Words: Julia Brunton Photos: Desert'Smoke

London ska-punk staples Buster Shuffle return with their sixth studio album, Together. Packed with infectious energy and singalong moments, the record is bursting with the kind of cheeky storytelling and upbeat rhythms that have become the band’s signature. Rooted in themes of unity and support, Together leans into its feel-good ethos, encouraging people to come together, whether through shared experiences or just a rowdy night out. Right from the start, 'Shows How Little You Know' sets the tone with its playful, lighthearted energy. The lyrics are full of classic British humour, kicking off with the dilemma of wanting to get their first tattoo but not knowing what to get, before joking about inking "your mum" on their neck. It’s the kind of track that immediately puts a smile on your face, pairing sharp wit with bouncy ska rhythms and a melody that sticks. The whole thing is over in under three minutes, but it doesn’t need to be any longer - short, sharp, and ridiculously fun. 'Take A Pill' follows with a chant-ready opening of “woah’s”, the kind of song practically built for live crowds to yell along to. The contrast between the upbeat ska-punk instrumentation and the song’s more somber theme - turning to medication as a solution for life’s struggles - gives it an emotional weight beneath the surface. The repeated refrains like "take a pill" and "day by day" add to the track’s hypnotic, almost mantra-like feel. It’s catchy in a way that creeps up on you, and before you know it, it’s stuck in your head for the rest of the day. Later in the album, 'Knocking At 112' slows things down just a little, carrying a nostalgic and mischievous energy. The song paints a picture of childhood memories, knocking on a mate’s door to see if they can come out and play. The xylophone in the background adds to the youthful feel, giving it an almost storybook-like charm. It’s lighthearted yet brimming with warmth, making it one of the more unique moments on the record. 'One In Ten' brings something different again, in parts with a muffled vocal effect making it sound like a phone call. The lyrics feel like a direct plea for reassurance, giving it a sense of intimacy despite its lively beat. It’s a rant, a vent, a moment of frustration wrapped up in a ska-punk package, and that mix of vulnerability and energy makes it stand out. It’s another one of those tracks that sneaks up on you - the more you listen, the more it clicks. Rounding off the album, 'View For A Fool' ties everything together, but with a more reflective tone. There’s a weight to it, like the band is taking a final moment to step back and take stock. It doesn’t completely ditch the fun, but it’s got a different kind of impact, leaving you thinking just as much as you’re tapping your foot. It’s a fitting closer, showing that Buster Shuffle can bring depth to their sound without losing the charm that makes them so enjoyable in the first place. Overall, Together is everything a Buster Shuffle album should be - fun, full of energy, and packed with memorable moments. There’s a little more variety this time around, with tracks that dig into heavier themes while still keeping things musically upbeat. The balance between humour, nostalgia, and introspection makes it feel like a well-rounded, carefully considered album rather than just a collection of songs. Whether you’re a long-time fan or new to the band, it’s an easy album to get into, and one that will no doubt go down a storm when played live. There’s no filler here; just Buster Shuffle doing what they do best. Score: 8/10 Together will be released on March 28th via Do Nothing Records. Words: Jason De Mendonca Photos: Buster Shuffle

Austrian rockers Vulvarine are back with Fast Lane, their second album and first release under Napalm Records. Since 2019, they’ve been tearing through the scene with their own brand of high-energy, riff-heavy rock they call vulvarock - a mix of classic rock ‘n’ roll, punk, and heavy metal with a modern edge. With Fast Lane, they double down on that sound, delivering a record jam-packed with attitude, big hooks, and enough variety to keep things feeling fresh. Right out of the gate, 'The Drugs, the Love and the Pain' sets the tone. It’s a full-throttle opener that wastes no time, hitting you with driving riffs and Suzy Q’s infectious vocals. The whole thing blazes by in just over three minutes, and is truly a track made to be replayed, perfect for blasting on a late-night drive with the windows down. 'Ancient Soul' slows things down just a touch while keeping the energy up. There’s a bluesy, classic rock lean to it, with cymbals crashing in the background and a funky riff that adds some extra groove. Sandy Dee’s guitar solo is straight out of an old-school rock playbook, adding a nice nostalgic touch without feeling dated. Things take a turn with 'Demons', one of the heaviest tracks on the album. The production here is thick and layered, giving the song a moody, almost hypnotic vibe. Suzy Q’s vocals shift into a haunting, commanding presence, making this one of the more standout moments on Fast Lane. It’s a darker detour that shows Vulvarine isn’t just about good-time rock anthems - they’ve got depth too. Midway through, 'Alright Tonight' brings things back to a more laid-back, groove-heavy feel. This is the kind of song that belongs in a dimly lit bar, the kind where the floors are sticky, and the jukebox only plays rock classics. It’s got an effortless cool to it, with a rhythm section that makes it impossible not to nod along. Then there’s 'Fool', co-written with producer Felix Heldt, which takes the band’s sound in a slightly different direction. It’s leans towards a modern, techy sound, but still keeps that raw rock ‘n’ roll spirit intact. It’s a refreshing change of pace that shows the band isn’t afraid to experiment a little. One of the most unexpected moments on the album is their cover of Modern Talking’s 'Cheri Cheri Lady'. Covers like this are always a gamble, but Vulvarine absolutely nails it. They take the ultra cheesy 80s original and crank it up into a full-blown rock anthem, helped in part by a killer guest solo from Thundermother’s Filippa Nässil. It’s a blast - one of those tracks that makes you grin the first time you hear it. The album wraps up with 'She’ll Come Around', a stripped-down, introspective closer. It’s just Suzy Q and a gently played electric guitar, with what sounds like fire crackling in the background. It’s intimate, raw, and a perfect way to wind things down after an album that mostly operates at full throttle. Overall, Fast Lane is a solid step forward for Vulvarine. They refine their sound without losing that fiery, rough-around-the-edges charm that makes them stand out. If you’re into high-energy, attitude-filled rock that doesn’t take itself too seriously but still delivers, this one’s worth a spin. Score: 8/10 Fast Lane will be released on March 28th 2025 via Napalm Records. Words: Jason De Mendonca Photos: Vulvarine