The return of Witch Fever has been awaited for some time. With them being gone as long as they were, the announcement of their upcoming show in London was quite a shock to the system for fans and industry members alike - but it was a more than welcome one! The mighty Manchester(ish) band and their doomy brand of punk brought a five star supporting cast with them, made up of London's own Shooting Daggers in main support, as well as the Brummies in Flesh Creep opening things up at a sold out Blondies Brewery in North East London. Whilst they may have had to come on a little late, the mighty Flesh Creep turned up and rocked on in a phenomenal demonstration of their hardcore-tainted punk. The powerful vocal display was on notably fine form during 'Turf War', with a well-deserved call out of JK Rowling and her ludicrous affixation on trans people and her mindlessly hateful attitude. Filled with raw guitar tone, booming bass, and aggressive drumming alike, the Birmingham crew are rapidly becoming a real staple of the scene and will certainly end up on much bigger stages if they continue playing such sensation sets. Next up were one of the worst-kept secrets in the London hardcore scene, the fuzzed-out, punky hardcore act Shooting Daggers. The trio gave their all in a high-energy performance that was dedicated to women and queer people, and featured their ever-present chant of "Free, free Palestine!" late on in the set, during their run through of the title track from last years excellent debut album Love and Rage. With plenty of love from the crowd, they were as popular as you'd expect from a brilliant band playing a hometown show, and they'll not be far off headlining the venue at this rate! As nine o'clock came and went, the mood in the room was getting more and more anxious and excited by the second - with everyone positively itching to see Witch Fever after their hiatus from performing. However, as the Manc's walked out onstage, there was barely a hint of nervousness apparent before they performed their latest single - and first in two years - 'Dead to Me!', like they'd been doing it every night for the entire duration of their time away. Lead vocalist Amy Walpole did remark that she was feeling a little bit stressed (although might've been a tad more colourful than this toned down paraphrasing), but you would've been hard pressed to point out any discernible symptom of that. With a setlist consisting of their biggest and best, their newest and even unreleased, any of those in attendance would've been very happy with what we heard, and yet STILL the four-piece were not done! With track four coming as not only a new piece of music, but as an announcement of an upcoming album, due for release in October, as well as the title of said album, Fevereaten, they were gifting out music and news like it was going out of fashion. Every track was a moment to relish, with plenty of their stunning debut making it's way out of the Blondies Brewery speakers - of course 'Congregation' and 'Blessed Be Thy' were amongst the favourites, but every moment was hit with love from the deeply passionate audience on the night. Selling out your comeback gig, announcing a new album, playing new songs, and sounding absolutely excellent? Maybe not something every artist can pull off, but for Witch Fever it's clearly all in a day's work. All three acts gave their all in three stellar sets, and walking into the mild evening air afterwards was nothing if not a shame, as the whole room could easily have gone for seconds of every course. Words: Jake Longhurst Photos: Claire Cabanac

Walking into Rebellion on the first truly sunny Sunday of the year, the last thing expected was the size of the buzzing crowd and the atmosphere it was producing. Showing just how much Metal to The Masses means to the bands involved, the music lovers going to the shows and to the venue itself, we were in for a night of exceptional talent and were rewarded massively with the sets produced by the incredible lineup. With only two places in the final up for grabs, and the nerves building, all that was left to do was bask in the effort all the competitors had clearly put into this heat. Always a band to bring incredible amounts of energy, Pew Pew Laserforce drew the first and arguably most difficult slot of the evening. Getting the crowds riled up and excited is nothing new to Pew Pew Laserforce, but with stakes as high as this they had to bring it. Bursting onto stage, bouncing with copious amounts of enthusiasm, the crowd was instantly engaged. Heads banging from the front of the pit to right at the back, not a single soul stood still. And with the niche of powerful, hard vocals mixed with intoxicatingly catchy electronic element,s Pew Pew Laserforce has carved into the metal scene, this came as no surprise. Keeping that energy up for the entire performance despite some, barely noticeable, difficulties with the mic, Pew Pew Laserforce had well and truly cemented themselves into the competition proving exactly why they deserved their place there on the Rebellion stage. Sadly it wasn’t enough for them to advance to the final, but with talent like theirs it won’t be long before bigger crowds will be calling their name. PPLF Bringing back the 70s old school aesthetic mixed with a healthy dose of modern prog metal, Technologist were next to grace the stage. With the intent of wooing the crowd, Technologist strutted out with the confidence of a band knowing exactly who they are and what they’re bringing to the competition. Flowing locks aside, the crowd were hanging off every syllable of Technologists' incredibly deep, dulcet tones and heady mix of smooth yet stout-hearted guitar riffs. The audience they amassed was immense, and they knew just how to work this to their advantage. Conjuring up crowd surfers and moshing so electric people couldn’t help but join in. So it came as no surprise that Technologist were handed the crowd vote of the evening, to advance to the final. Technologist Glancing around the audience, it wasn’t difficult to spot people donning merch for young upstarts Covert. And as soon as they bounded onto the stage with copious amounts of energy, sporting the iconic blacked out stage makeup they’re becoming known for, it wasn’t hard to see why. Here is a group of young lads who’ve been a band for less than a year, flying so high above their station and blowing the competition out of the water. The technical skills they posses, the complete control they hold over the crowd to get them amped up with their stage presence and their ability to improve from set to set is exactly why they’ve been awarded the judges vote for two rounds running. Covert have really upped their game since the last round, with more promising material and a finer tuned sound, they realised where they needed to be in order to advance to the final and have smashed through that goal, and have thrived in this competition. Covert Closing out the night's competition was Silence Reigns, who provided the night with a taste of thrash metal blended seamlessly into their harsh metalcore sound. Taking to the stage with an air of quiet confidence, Silence Reigns showed the Metal To The Masses Crowd exactly why they deserved their place in this competition. Their charisma on stage was palpable to all those watching, the way they gelled almost telepathically as a group was evident. The mellifluous backing paired with sub bass drops truly shook the crowd and added yet another dimension to their set. Silence Reigns brought the enthusiasm they’ve exhibited throughout the competition and they unquestionably gave it everything they had, which was visible watching the crowd throughout the venue as they performed. Unfortunately it wasn’t enough this time, but we are in no doubt that Silence Reigns are a band to watch out for in the future. Silence Reigns With the night a resounding success, topped off by headliners Wailing Banshee, Technologist and Covert are taking the remaining spots in the coveted final. All the bands who performed tonight can rest easy knowing they put on an immense show that once again highlighted the depth and diversity of the UK metal scene. Metal To The Masses has provided an evening of raw talent, and we can’t wait to see how the final pans out. Wailing Banshee Words: Emily Bancroft Photos: Libby Percival

Community, hope, friendship. Three things that the world so desperately needs right now, were all brought together so effortlessly by Brighton-based Orchards at their London show. Comprised of vocalist Lucy Evers, bassist Dan Fane and guitarist Sam Rushton, these math pop masters brought their studio album Bicker to life on the eponymous Bicker Tour. The album in question, crafted over the span of three years and released this March, marks a new and exciting era for the band. First to take to the stage was Hilang Child, the soundscape project of Ed Riman - indie singer-songwriter and newly announced drummer for Orchards. Including tracks centering the theme of social anxiety, Hilang Child’s smooth percussion beats, mesmerising drum solos and beautifully echoing vocals drew the crowd in. Set to release a new album later this year, exciting things are on the horizon for Hilang Child. Bursting onto the stage next was quartet congratulations. This Brighton based group have their aesthetic locked down - each sporting a different colour: yellow, blue, green and red, respectfully. Seamlessly, their set hopped, skipped and jumped from sports-pop surf core to upbeat, groovy melodies and heavy rock guitar riffs. Lead singer Leah Stanhope‘s electrifying vocals and hypnotic headbangs animated the audience further. The band brought their music straight to the floor - literally - with fans flocked around guitarist Jamie Chellar as he took his epic guitar riff straight into the crowd. A band that commands the stage and audiences alike with such ease. Under Moth Club’s iconic glitter covered ceiling, Orchards bright energy dazzled the room. Walking on stage to a voiceover of hate comments, the band played ‘Say It’, the first track from their newest album. Dancing around the stage quickly dispelled any doubt that the band cared about the online remarks. Moving onto ‘Honey’ and ‘Gerl’ showcased their ability to interflow catchy rhythmic guitar riffs with controlled beats. Taking a moment, Lucy Evers slowed down the tempo to deliver ‘Bethnal Green’, a tear-jerking ode to her hometown and London roots. The emotionally angelic harmonies of Lucy and Sam, delicate vocals and acoustic guitar rhythm throughout lulled listeners into a gentle sway as Dan brought the song to new heights with a layered electric guitar solo. Picking up the momentum, Orchards invited the crowd to dance along as they went straight into ‘Good For You, Good For Me’ before welcoming back old favourites, ‘Peggy’ and ‘Be Here’, stirring the crowd into chanting back the bridge. The whole room came together as one jumping and singing along to ‘Luv You 2’, following Lucy’s lead under the pride flag she donned on her shoulder for the closing song of the set. “Music is the sun. We need it to grow” lead singer Lucy expressed to the crowd, in what felt like an intimate conversation between friends. Aware of how scary the world can be right now, the band reaffirmed their stance on music as a place for comfort and unity. If music is indeed the sun, Orchards have basked in its warmth and become an energetic forcefield of their own. Continuing the spirit of community, Lucy not only helped design the merch, but went straight from smashing out powerful vocals on stage to selling merch at the stall. A true testament to the band’s commitment to the ethos of Orchards. From the vibrancy of the band’s stage presence to the carefully crafted set list, the entire night filled the room with optimism and a promise that good music has the power to bring strangers together. Orchards are the perfect example of what happens when a band doesn’t prescribe themselves to fitting into a box. The results? Glittery, gritty and full of feeling. Words: Mary Horner Photos: Shan Cullen

At this point, it’s been over twenty years since mclusky did Dallas. Their first three albums are shining examples of noise rock - some of the best to come out of these Isles. They came just before the idea of punk in the UK music press morphed into the post-punk and garage rock revival of Kaiser Chiefs, Arctic Monkeys and The Libertines. Did these bands make good music? They certainly had their moments. But mclusky strayed away from the hookiness and laddish lyrics of these contemporaries, much in part due to their secret weapon - they’re clearly huge fans of Half Man Half Biscuit, a cult Birkenhead band known for their irreverent yet utterly brilliant ideas (the song title of 'Joy Division Oven Gloves' alone is quite striking imagery). Their influence has always shown itself in mclusky’s music, and it's one of the main features that sets them apart from every other band of their era - well, that and the absolutely killer guitar tone. This, alongside their ability to stay witty and defiantly original, has helped their music age gracefully and powerfully. So, following a few years of live performances as mclusky after 15 years away from using the moniker, they announced a new album, the world is still here and so are we. Mind, this came two years after first track on the album, 'unpopular parts of a pig', was released as a single. So when pressing play on the album you might have questions like ‘how does this stack up to previous releases? Is it any good? Do they flubbity-flub over everything like a gang of big stupid flubs (their words, not ours)?’ Well, thankfully, 'unpopular parts of a pig' should immediately answer all of those questions. It’s a hell of a lot of fun, you’re hit with this sort of call-and-response style in the lyrics, where the backing instrumentation drops out, letting Falkous speak his signature sarcastic truth by himself, before a quick rush of energy, and then it leaves again. This approach is used throughout most of the first half of the song, and while you’d think it’d get repetitive, said half is about a minute long. mclusky don’t do anything more than they absolutely need to, here or anywhere else on the world is still here and so are we. In fact, it might be their tightest set of songs thus far, not dropping the ball for even a second. Of course, there might not be anything here that rivals, say, 'To Hell With Good Intentions' (keyword here being ‘might’), but consistency is the key here. There’s still highlights here though, 'chekhov’s guns' and its fuzzy bass anchoring the song down during the verses, which includes such gems as "If I knew a good thing every time that I’d said I knew a good thing / Then I wouldn’t be a member of this firing squad". The chorus then explodes with these Pixies-esque angular guitars. The album concludes with 'hate the polis', a bit of a slow burner that gradually builds towards the final chorus, in which Falkous shouts that "I hate the polis, polis. polis, polis" over a tremolo-picked guitar before winding down again, ending on some studio noise - and that’s it, mclusky seems to be back for good. Ultimately, a good comeback album is hard to do, but they seem to have absolutely stuck the landing here. So go on, you owe it to yourself to listen to the album with songs entitled 'way of the exploding dickhead' and 'kafka-esque novelist franz kafka'. Score: 9/10 the world is still here and so are we was released on May 9th 2025 via Ipecac Recordings. Words: Jake Leonard Photos: mclusky

Tampa quartet Meatwound have just released their fourth album Macho, and have tried to switch things up by experimenting with electronic elements within their otherwise sludge metal sound. Macho is a mixed bag overall; for all its interesting riffs and drumlines there are some teething problems with the programming elements, and some pacing issues that raise an eyebrow from a band into their eleventh year together. Album opener 'Compressed Hell' starts strong with some of the better programming elements present in the project, though somewhat jump-scares the listener with the first 16 bars of Daniel Wallace’s vocals in a raspy register that doesn’t suit his natural vocals too well. This is followed by lead single 'Mount Vermin' - a clear choice for a single release, with its dreamy drumlines and scratchy yet smooth melodies. Its 3:41 runtime is filled beautifully with the multiple solos bleeding into easily headbang-able breakdowns, making 'Mount Vermin' an easy standout of the project overall. It is followed by the first of the worst, as far as track names go, present on Macho - 'Obese Variants'. The number itself is a solid offering, and yet another example of Dimitri Stoyanov refusing to miss in his drumwork, hopping into a double bass/double tom combo for the basic drumline that is a joy to tune into; as 'Obese Variants' fades into 'Labor' and Stoyanov changes his tune to a floor led double bass workout it feels as if his technical skill is rising above the rest of Meatwound with ease. The midsection of this album is somewhat half-baked, with some of the best of the project layered on top of some of the worst. Frank Stallone is the first time that the electronic element is fully utilised as a device, but the hard split between it being used alone and the traditional instruments alone indicate that more time should’ve been spent working out how to integrate this element into the Meatwound sound. Overall, the track feels like filler - even if its final minute does have some of that electro-chaotic noise that scratches the itch in the brain. Both of the next two tracks - 'Pigs, Tu' and 'Europa' - are some of the best. The former is a wildly chaotic metal track, fast-paced and always driving the listener forward with both its intense vocals and intentionally messy breakdowns that build adrenaline and disperse it expertly. The pre-breakdown with the hi-hat and Mariano Iglesas’ bass is the perfect breather within 'Pigs, Tu’s chaos, almost overstaying its welcome but dropping wonderfully into the track’s final chorus. Follow up 'Europa' is short and sweet at 2:23, also starting strong with an almost dancey soundscape that is refreshing in a project filled with serious sludge. Ari Barros’ guitar stands out here with its cyclical melodies and the funky element it adds to the track overall. Unfortunately, the half-baked suggestions comes from lowlight 'Barking Dogs as a Plot Device'. First of all, the name is at best an attempt to call out to or make fun of Knocked Loose’s 'Counting Worms', but making no r5eal sense as a standalone name. The track itself seems to have wanted to incorporate some hardstyle into their hardcore, but the end result is a muffled piece of static that gives the listener a headache even through a speaker - let alone the headphones we use to review. The track does not go anywhere, staying at one tempo vocally and one note sonically; 1:55 has never felt so long. Following with ambient track 'Chunk' was kind of Meatwound, though. Album closer 'Exodus MF' does bring the project back in some regards: it’s a power metal track filled with swelling builds and a flare-filled guitar solo, layered beautifully with the drumming behind it. The only real critique of this track is its 5:47 track length didn’t feel massively necessary - the extra verse didn’t add much to the track’s quality, and a guitar fade out is nothing the listener won’t have heard before, but it's still a standout of Macho and gets the listener swaying. Overall, Macho is a passable piece of sludge metal - those head first into the genre would likely find tracks they enjoy from this latest Meatwound offering, but the project is rough around the edges in a way that a band as far into their tenure as Meatwound perhaps should be over. Though the experimentation they have tried is laudable, its execution leaves much to be desired - they would have benefitted from some assistance or waiting another cycle to perfect the sound before its inclusion in an LP project. This all said, single 'Mount Vermin' and 'Pigs, Tu' are great tracks; even though this album is hard to recommend in its entirety, those curious should check those two out. Score: 5/10 Macho was released on May 9th 2025. Words: Julia Brunton Photos: Meatwound

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

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

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

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

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

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

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