Loscil is back, and ready to release the full nine track long album Lake Fire. Loscil has been working in the electronic scene for over 20 years, and has more than 20 studio albums under his belt. This new album was highly disjointed in this creation, as it was originally scrapped only to then be picked up in the light of the most aggressive wildfires America have seen in modern history, which fits the theme perfectly as this album was left to burn, and has now risen anew out of the charred remnants of what came before. Starting with the sounds of distant ringing bells, 'Arrhythmia’ brings a pulsating beat much like a heart, as different synths wave in and out creating a spacious and airy atmosphere. As the reverberations build through the song, the pulsating beat continues until it slowly fades and brings back those chiming bells from the introduction, to bring the track full circle. ‘Bell Flame’ is lighter than the last track, using more electronic features to bring a luminated atmosphere, and opting for repeating melodies that set the tempo rather than any sort of percussion parts to once again reiterate the airy ambience, very much sounding like the album cover art looks. Track three ‘Candling’ starts darker than its predecessors with a low grumbling, as if a roaring fire had been made melodious. The bassline using the same two notes repeating all the way through, as a synth melody chimes through, which sounds like it could have been improvised on the spot as it's not really sure of where it’s going. An unsettling undertone permeates through the track. as the bassline slowly fades away at the end leaving just the ringing melodies to lead. ‘Silos’ much like track one feels spacious and empty but becomes more sinister in its last minutes, bringing deeping synths and a slight beat to bring it apart. As the next track ‘Spark’ continues with this lower gloomy tone you can hear the inspirations of the album ringing true, and can picture large catastrophic clouds with embers flying through them. ‘Ash Clouds’ resembles its name well, as dense layers come together to create an overwhelming grey, which fortifies itself as layers add and strip away without much variation through the almost seven minute run time. Commencing with a deep repetitive bassline, ‘Flutter’ uses pulsating and ringing synths, constructing an expansive illustration of hills and mountainous areas. This once again continues for the full 6 minutes without deviation. ‘Doux’ opens with a more string sounding arrangement, along with a profound bass beating like a heart all the way through. Meaning 'soft' in French, the sound much reflects the name as there are no harsh or loud sounds, just a constant hum the entire way through. This track much resembles an underwater feeling, perhaps representing the lake found in the name of the album which was chosen to represent the tradition of naming lakes after large fires that have happened nearby. The last track, ‘Lake Fire’, as the album is named, brings the album to a close with an expansive intro that howls through the listener like a gust of wind. The reverberations lay on top of each other, making the sound denser as the timer runs, before coming to an almost complete halt just after the halfway mark. Then, letting the deep bassy synths rule the rest of the number, as they ring out and eventually are extinguished. Individually, each track is a genius instrumental piece that does a great job at conjuring up specific imagery in the mind of the listener - however as a whole, the album lacks much variation and might only be enjoyable to those that find pleasure in genres built around ambient electronic instrumentals. The album has a gripping story behind it, and is positively cinematic in the way it evokes the imagery of fire and ash, so Loscil fans are still sure to enjoy this dense abyss of an album. Score: 7/10 Lake Fire will be released on May 2nd 2025 via Kranky. Words: Amy Smyth Photos: Loscil

Weezer is one of those bands that somehow managed to soundtrack both your awkward teenage years and your mid-twenties identity crisis without missing a beat. Their catalog swings from alt-rock staples to weird synth experiments to full-blown pop moments, and somehow, it all works. Now they’re bringing that beautifully unpredictable energy to Download Festival. Whether you’re crushed against the barricade or hanging back on the hill with a pint, there are certain songs you’ll want to hear — and scream every word to when they hit. Here’s a completely arguable, but absolutely necessary, list of the top ten Weezer tracks to hope for when the lights come up. 10) The Good Life There is a particular kind of joy in a song that does not pretend everything is fine. 'The Good Life' is ragged around the edges, full of frustration and exhaustion, but it never stops reaching for something better. Live, that rough honesty comes across even louder. It is the sound of pushing through the bad days just to catch a glimpse of something good. By the time this song hits late in a set, everyone's a little tired, a little hoarse, and a little sunburnt, and it feels exactly right to shout along with a song that knows growing up is messy but still worth it. 9) Pork and Beans 'Pork and Beans' is what happens when Weezer decides not to play nice. It is a bratty, stomping track about doing things your own way, and it sounds even better when it is shouted by a crowd that knows exactly what that feels like. There is nothing subtle about it. The guitars are crunchy, the lyrics are cheeky, and the chorus barrels straight through without asking permission. In a festival setting, it feels like a little pocket of rebellion you get to carry with you for the rest of the weekend. 8) Undone (The Sweater Song) There are very few songs that could get away with starting with a weird little spoken word conversation and still end up with thousands of people absolutely losing it. 'Undone' pulls it off because it is honest about being awkward and weird. It starts slow and uncertain, almost like it is going to fall apart at any second, and then it builds into something way bigger than you expect. When that chorus finally crashes in, the whole thing transforms into a huge, joyous mess. It is not about singing it perfectly or moving perfectly. It is about losing yourself in the oddness and feeling completely okay with it. 7) My Name Is Jonas 'My Name Is Jonas' does not bother easing you into anything. It grabs you by the collar and drags you straight into its rolling, crashing momentum. Live, it feels like a rallying cry. The acoustic intro gives you just enough time to catch your breath before the distortion drops in and the whole thing kicks into high gear. It is a song built for movement, for shouting, for stomping the ground until your legs give out. It does not just tell a story, it barrels through it like a runaway train and drags the crowd right along with it. 6) El Scorcho There is something so beautifully unpolished about 'El Scorcho.' It is all awkward energy and half-finished thoughts, lurching forward and stumbling over itself, and somehow it becomes completely electric live. The best part is that you do not have to sing it perfectly. In fact, it is better if you don’t. The crowd becomes a chorus of wrong lyrics, out-of-sync claps, and massive grins. It is the kind of song that makes you feel like being a little weird and a little loud is the entire point of standing in a muddy field with thousands of strangers in the first place. 5) Buddy Holly 'Buddy Holly' is pure joy packed into two minutes and change. It is the kind of song that cuts through all the festival noise and makes people who barely even know each other start grinning and singing in unison. The second that first riff kicks in, the whole crowd seems to get lighter. It is simple, fast, and a little goofy, but it works because it does not try to be anything else. No matter how heavy the rest of the lineup gets, hearing “Buddy Holly” live reminds you that sometimes a great rock song just makes you feel good, no questions asked. 4) Hash Pipe From the second the riff punches out of the speakers, 'Hash Pipe' demands your full attention. It is heavier and grimmer than most of Weezer’s catalogue, and it fits perfectly into the rougher, louder world of Download. The beat stalks forward with a kind of grim determination, and the vocal delivery leans into that weird, sleazy energy. Live, it feels massive. There is no pretending this one is about anything delicate. It is about giving into the volume, letting the distortion shake your chest, and not overthinking it. 3) Thank God for Girls If there is a song that captures Weezer’s ability to be both completely absurd and somehow still totally on point, it is 'Thank God for Girls.' It is all over the place in the best way, twitchy and strange, with lyrics that sound like they were pulled from a fever dream. But when they play it live, it makes a weird kind of sense. The crowd locks in with the energy, shouting along to every bizarre line like it is gospel. It is a song that reminds you that festivals are supposed to be a little chaotic, a little messy, and a lot of fun. You don’t need to understand it. You just need to feel it. 2) Say It Ain’t So This is the one that hits you right in the gut every single time. 'Say It Ain’t So' feels like it was built for a crowd that needs to yell out all the things they cannot say in real life. It crawls in slow and heavy at first, bassline pulsing low and steady, and then erupts into a chorus that rips out of thousands of lungs at once. You can hear the collective roar travel across the field like a wave. It is messy and loud and emotional and absolutely perfect. No matter how many times you have heard it, when that chorus hits at a festival, it feels brand new all over again. 1) Island in the Sun Some songs don’t just get played at festivals, they take over. 'Island in the Sun' is one of those rare tracks that shifts the whole vibe of a field full of people. As soon as the guitars chime out, the noise softens, the tension fades, and suddenly you’re not thinking about your aching feet or the beer that got spilt on you earlier. You’re just there, moving gently, letting the warmth of the song wash over you. It is not the loudest moment of the set, but it might be the most unifying. At a place like Download, where everything else is cranked to eleven, there is something almost rebellious about slowing down and just floating for a few minutes. Weezer might not be the heaviest band at Download, but underestimate them at your own risk. Their best songs hit a nerve that heavy guitars alone can’t reach. They tap into that messy, brilliant mix of nostalgia, chaos, and pure joy that turns a good festival set into a great one. Whether you’re a diehard or just someone who has heard “Buddy Holly” on every road trip ever, their set is going to be one of those moments you look back on when the mud’s washed off and the wristbands are packed away. Don’t miss it. Catch Weezer at Download Festival, alongside headliners Sleep Token, Green Day and Korn Words: Kelly Gowe

We're back at Rebellion tonight for the fourth and final quarter-final round of Manchester's Metal To The Masses. The cultural home of the city's local music scene, the venue has hosted some of the best emerging bands, with irreplaceable memories slathered in sticky floors and dripping ceilings. Amongst the lively raucousness of show-goers, there is the unmistakable claim that they made their moment count. Tonight's entertainment is courtesy of contending artists Phallic Rage, Syntara, Swole Castrati and Technologist, with a headline performance from North West metal legends Divintas. Only two will go through to the competition's semi-finals, based on a crowd vote and the other by the judges for the evening, respectively. The competition's finals will decide which band will be playing the iconic New Blood stage at Bloodstock Festival. It’s a battle-of-the-bands style showdown, and the pressure is on! Phallic Rage The arrival of the first band began with the frantic inflation of blow-up cows as the main crowd lingered near the pit, with cow-ear headbands anticipating the Rage. Not just any rage, Phallic Rage. Now at OOR, we know a thing or two about raging (it's in our namesake, and we know it), but this set was pure hedonistic fun, championed by five blokes and their riff-centric sludgy rock. The vocalist has a Brent Hinds quality to his voice as he churned up the pit, introducing the crowd to their bovine-infused music: He begins as he means to go on: "We're Phallic Rage and this is our song Phallic Rage." Whilst the connection between crowd and cow had been somewhat lost, they certainly put on a good show and wanted to win, throwing crocheted dicks around as they stormed through each of their hit songs. Fuelled by innuendos, inside jokes and a love of the scene that the crowd seemed to reciprocate, they pushed through the last song, bringing with them a man in an inflatable cow costume. With an impressive final chant of "Phallic Rage" to end the set, they made an impressive effort at making the most of their hometown crowd. Syntara Tensions are high. There is a coveted spot at Bloodstock Festival up for grabs. When emo-rock quartet Syntara exploded onto the stage with their metalcore-infused riffs, there was a uniform headbopping, appreciating the band's reaching harmonies as the first song hit its dramatic choruses. Sporting two headless guitars, the band made the most of the Manchester crowd. Their stage presence was more suited to an indie rock band, with mullets and white t-shirts, but they pulled impressive punches when it came to their riffs. Adding melt-in-your-mouth buttery vocals, it was reminiscent of early 2000s emo (and yes, the resemblance to the iconic Stuff Dylans was staggering). If I were 14, I would have loved this- but at this point in the set, we were waiting for more- a scream, some genre-defying moment. The band were tight, well-rehearsed and professional, outsiders to the inside jokes that preceded with Phallic Rage. Then the pits opened, like sunshine on a rainy day, opening up the possibility of a The Plot In You or a Bad Omens style set. The second half of this set was textured, emotive and looking for a fight. Impressive, especially for a band that looked that young. If they don't capture the hearts of Metal To The Masses, with time and dedication, there could be a category 5 hurricane named Syntara in the near future. Swole Castrati If you didn't think there could be a second penis-inspired band, meet Swole Castrati. Bordering on the more violent end of noise, the correct term for this style of music is defribulator punk, instantly shocking the audience with their fast-paced riffs, abrasive beats and loud gang chants. If their goal is to make the fastest-paced music possible, they're definitely on to a winner. However, the beginning of their set was overwhelmed with noise, and it was hard to truly appreciate the moment. When the band slowed down, there was glimmering moments of greatness, wielding a harmonica like there is no tomorrow. One truly empowering factor of tonight's competition is the impressive variation of genres and sounds making their mark on the rebellion stage. Technologist Certainly the most 'Bloodstock-esque' band of the evening, Technologist was a band built on wielding pointy guitars and windmilling their impressive hair. Sounding similar to bands like Sylosis and Tremonti, the band leaned into the more melodic style of traditional metal, cauterising the crowd's affection for the band with dramatic pre-choruses building into a swell of emotion as soon as the chorus hits. Arguably, taking into account that they were the last of the competing bands of the evening, they also drew the biggest crowd. The band were exceptionally tight musically and loving playing in front of the crowd, who managed to craft an impressive circle pit. The vocalist had wildman energy, with a glint of unpredictability in his eyes, showing off his impressive dance moves. Divinitas The guest headliners tonight were local metal band Divinitas. Having competed in the competition last year, the band were back to show off their new album ‘It’s All Gone Quiet Now’, which was released earlier this year. Incorporating a seamless fusion of prog, screamo and metalcore, they also blend the uplifting elements of black metal to make a truly impactful performance. Whilst there were some tech issues at the beginning of the set, the whole unit performed wonderfully, showcasing each member's talents (and a lot of that mid-2010s tapping which should definitely become fashionable again). Vocalist Andy Mac was phenomenal, a real performing talent that made his presence known and was technically brilliant, even having a moment away from the mic to show off his scream. The future of Manchester’s metal scene is bright. A great performance from all the bands performing that evening, and an even better demonstration of the dedication of the Manchester underground community coming together to support their scene. The winners of the competition were Phallic Rage and Technologist, who advanced to the next round.

On paper, combining spoken poetry with metal seems like it wouldn’t work. In fact, it’s the concept behind one of the most controversial albums of the 21st century, Lou Reed & Metallica’s Lulu. If you know anything about that album’s reception, you would know that Metallica and Lou Reed fans both seem to dislike it - and they’re two of the most beloved acts in music. If they can’t do it, who can? Enter SUMAC & Moor Mother. SUMAC is the brainchild of Aaron Turner, formerly of sludge group Isis, whose 2000s output is now considered some of the most influential in the genre. It’s a supergroup of sorts, with drummer Nick Yacyshyn and bassist Brian Cook coming from esteemed groups like Genghis Tron and Botch respectively. However, as much as the term “supergroup” makes it seem like a gimmick, it absolutely is not. SUMAC are producing some of the most mind-bending music in metal at the moment, showing a huge range of versatility while still remaining extremely heavy; their collaboration with noise legend Keiji Haino in 2018 being a great example of the boundaries they’re willing to push. Our other key player is Moor Mother, an artist who has covered too much ground in the past decade to fit into just one review. She is arguably best known for her hip-hop albums, though, such as 2020’s Brass, a collaborative album with similarly conscious rapper billy woods, which she released within the same year as True Opera, a noise rock album with Mental Jewelry. The keyword here is, once again, versatility. It’s this versatility that allows SUMAC and Moor Mother’s collaboration on The Film to make sense - and the music itself backs this up as well. The first single and opening track on The Film is ‘Scene 1’. Just like the first scene of a movie, it sets the themes and types of sounds you’ll be hearing throughout the record. Consisting of droning, distorted guitar chords and no percussion, it lends your focus directly to Moor Mother’s poetry. Her words touch on conflict, racism and injustice with lyrics like “All they know is hate” and “We didn’t demand more from a democracy of monsters”, her delivery gradually becoming more and more impassioned matching the progressively more claustrophobic noise of distorted feedback in the background. The second single, ‘Hard Truth’ is a sort of transitionary moment on the album, along with the similarly short ‘The Truth is Out There’. Their inclusion on the record makes some sense, they break up the more intense moments on the album - even if they can feel a tad unnecessary. It makes repeated listens much more palatable, and they both clock in at around 90 seconds regardless. The final single released, ‘Scene 4’, shows another side of the record entirely. The cacophony of backing vocals at the start, the way the guitar rumbles in the background, never quite picking up but you always expect it to. It creates this striking sense of unease, as Moor Mother repeats the phrase “Nobody told me” between verses, over and over, before reaching some sort of conclusion. However, the bulk of this album is made up by second and final tracks, ‘Scene 2: The Run’ and ‘Scene 5: Breathing Fire’, respectively reaching 13 and 17 minutes. Not a second is wasted in either song either. ‘Scene 2’ in particular has this sort of pulse at its core. At certain points, a single low, metallic bass note is strummed. It’s SUMAC bringing you back to planet Earth after this heavy yet almost formless exercise in tension and release. Moor Mother’s words compliment this perfectly, the phrase “I was running” central to the song, imagery such as “What do we return to? Demolished homes?” delivered with such urgency. It’s terrifying to listen to at points, there’s this apocalyptic feel to it, but that feels like the point - this is reality for many people in war-torn countries that she talks about throughout the record. ‘Scene 5’ is similarly a call to action, the end of Moor Mother’s part has her repeating “Take off running”. It’s probably the most huge-feeling song on the entire album, and you’d be right for thinking that this is because of the 17-minute runtime - however, while it certainly does feel like a journey of epic proportions, it also might be the heaviest SUMAC’s instrumentation gets on this record, with these pummelling drums and sustained guitar chords all throughout the entire first half of the song, before winding down during the last seven minutes into something more gentle. It marks some sort of respite from everything you’ve heard up to this point. It closes the album on a reflective note - much like the lyrics themselves. It’s like staying behind in the cinema to watch the credits after a movie - which in the end, is quite fitting for The Film. Score: 8/10 The Film was released on April 25th 2025. Words: Jake Leonard Photos: SUMAC + Moor Mother

Approaching old customs and traditions with an uncommon style seems to inspire lots of artists, and the same goes for Alukta, the 2023 formed duo from France and Belgium. Inspired by the Toraja people from Indonesia, especially by their elaborate funeral rituals, their debut album, Merok, is a way for the vocalist and instrumentalist Marie and the record master Déhà to mourn and explore the old tribal customs. The six-track long doom metal album is a wonderful combination of doom metal and black metal elements, diving into heavy, yet almost symphonic vocals, accompanied by extensively used drums and guitars. Right from the beginning of the album, in the second track ‘Laissez entrer ceux qui pleurent’, we can hear a mesmerising blend of heavy drums, guitars and screams, peaking into a beautiful harmony of vocals that is sure to give the listener goosebumps. The clear vocals sound very raw and sad, and together with the melody imply the act of mourning, yet also celebrating the time they spent on the planet with their loved ones. The blend of emotions in the clear vocals and heavy screams is vital for the whole track, as it can be interpreted as giving us a glimpse into the different stages of grief. On the other hand, the fourth track, bearing the name ‘Kombengi’, is shorter than the other pieces on Merok, but starts off with a quicker tempo, giving the listener a feeling of being personally included in a ritual. Yet again Marie and Déhà combine together the clear, calming vocals of hope with the piercing screams of anger, despair and sadness. The second and fourth track share lots of similarities such as the emotions and use of instruments, but at the same time are unique in their own ways, always bearing unpredictable characteristics that are ready to catch the listener off guard. The rest of the tracks on the album, such as ‘Aluk To Dolo’ and ‘Des Teintes d’éternité’, are just black doom metal songs, that are well composed, but do not really stand out from the rest, especially since the length of all the tracks is mostly over seven minutes and the listeners can get lost in the sounds quickly, not having a single transition or break to catch their breath. Overall, Merok is a gracefully composed piece that dives into the traditions of tribal funerals with an ease, introducing the listeners to non-conforming instruments in metal. Although the tracks are very lengthy and often difficult to distinguish, as there is not a single transition in between the songs and so they can sometimes appear repetitive, the unique usage of vocals makes the album interesting to listen to. Alukta have done a great job of establishing themselves on the metal scene, debuting their first album just two years after forming. We will absolutely hear more about the duo in the future, as their work surely will come to the attention of the scene as soon as the album comes out. Score: 7/10 Merok will be released on May 2nd 2025 via Transcendance. Words: Katerina Stepanikova Photos: Alukta

Prima Queen’s debut LP is nothing short of fantastic. With The Prize, the indie duo have proved they have the full package with incredible lyrics, instrumentation and production, that all serves to showcase the bands individuality, and is definitely not an album to be slept on! The Prize is such a well-put-together album that it really wouldn’t be hard to believe they already had a series of albums under their belt - however, this isn’t the case for the indie duo, consisting of friends Louise Mcphail and Kristen McFadden from Bristol and Chicago. Prima Queen only had one EP out prior to the album announcement, but had already built an incredible live reputation through appearances at Glastonbury, SXSW and Pitchfork in Paris; also going on tour with the likes of Olivia Dean, Wet Leg and Whitney. Having had praise from all corners of the press and a fanbase of people eagerly awaiting their debut album, there was some pressure with this release, but it's safe to say they did not disappoint. The album opens with opener ‘Clickbait’ which is a 42-second intro track but sets the scene for the album perfectly. This then flows seamlessly into ‘Mexico’ which provides a strong opening to the album, with an incredibly catchy chorus and perfect guitars running through the entire song, which come in even stronger at the chorus. ‘The Prize’ follows on strongly, with a particularly catchy bridge and an upbeat vibe throughout the whole track. ‘Oats (Ain’t Gonna Beg)’ features some incredible guitar lines with a catchy guitar riff from the get go, it also switches up the vibe from the songs so far, proving that Prima Queen have various different sounds in their locker. ‘Flying Ant Day’ opens with a more acoustic feel, before a strong bass line accompanies the acoustic guitars in the opening. With an incredibly catchy chorus and a summer-like rhythm, this song will definitely fulfil all your summer song needs. ‘Meryl Streep’ is a catchy indie-rock song, with an infectious bass line and a well put together chorus. ‘Spaceship’ then brings a new energy to the album with serene vocals and a stripped back melody, and allows a moment of appreciation for the incredible vocals on display. This then goes into ‘Fool’ which brings pure pop-rock bliss with catchy guitars and choruses. ‘Woman and Child’ opens with infectious guitars and drums which continue throughout the entire song and is accompanied by another catchy chorus and strong vocals. Closing tracks ‘Sunshine Song’ and ‘More Credit’ round out the album on a much calmer note, showing Prima Queen can also do more stripped back and acoustic songs as well as they can do pop-rock. Ultimately, this album has set Prima Queen on a bright path with an album that has fully encapsulated their talent and individualism. If you haven’t yet heard of Prima Queen, it's time to check them out! You can also catch Prima Queen live this December as they head out on tour supporting Everything Everything, playing a series of shows across the UK. They will also be playing at All Points East in August. Score: 8/10 The Prize was released on April 25th via Submarine Cat Records. Words: Olivia Hermans Photos: Prima Queen

Embarking on their UK tour, Gama Bomb have graced us with their presence over to England from Northern Ireland to show off their trash metal style with the satirical extreme metal band known for their comedy skits and crowd-engaging music, Raised by Owls from Derbyshire. Kicking the night off with electrifying energy, Raised by Owls take the stage as the opening act, instantly commanding the crowd’s attention. The audience erupts with enthusiasm as the band launches into the chaotic brilliance of ‘Satanist’s on t’Yorkshire Moors’, a fan-favourite track from one of their earlier records. The energy in the room is palpable, but things take a truly surreal turn with the arrival of a surprise guest — none other than the infamous Mr Blobby. Clad in his signature pink and yellow polka dots, he bounds onto the stage, wildly swinging two double-ended dildos in rhythm to the riotous track ‘Strictly Come Dancing’. The crowd loses it. For many, it’s an absurd collision of nostalgia and adult absurdity — witnessing a distorted childhood icon now gloriously unhinged in a metal-fueled fever dream. The chaos continues as the show takes an unexpected turn into full-blown game show territory, complete with quirky prizes and crowd participation. The highlight of the segment? A dance-off challenge to see who could best imitate none other than Napalm Death frontman Barney Greenway. With a tongue-in-cheek flair, the band bursts into their hilariously aggressive track ‘Dance Like Barney Greenway’, prompting the pit to transform into a makeshift stage. Dozens of eager fans dive in, flailing limbs and stomping with primal intensity, each trying to outdo the others with the most unhinged interpretation of Barney’s signature moves. As the night hurtles toward its climax, the band delivers a thunderous cover of ‘Break Stuff’ by Limp Bizkit. But of course, it wouldn’t be a Raised by Owls show without one final twist — they bring out the ‘Nookie Monster’, a hilariously unholy hybrid of Cookie Monster decked out in full Fred Durst attire, complete with red cap. The crowd is in stitches, moshing and laughing in equal measure. Throughout it all, frontman Sam keeps the vibe alive with his sharp wit and constant banter, making sure every single person in the venue feels part of the mayhem. Raised by Owls don’t just play a show — they put on a riotous, bizarre, and unforgettable experience. If you haven’t caught them live yet, make it a priority. Then it was time for the headliners — the mighty Gama Bomb — and the anticipation in the room was electric. As soon as they hit the stage, the energy surged, with fans immediately locking in, primed for the onslaught of thrash-fuelled chaos. The band wasted no time, tearing into ‘Electric Pentacle’ with blistering speed, triggering an instant mosh pit as the crowd erupted into a frenzy of flailing limbs and headbanging. Without missing a beat, they launched into ‘666 Sixteen’, and that's when things truly kicked off. In a wild burst of adrenaline, frontman Philly Byrne leapt off the side of the stage and plunged straight into the crowd. A circle pit instantly formed around him, fans swirling in a whirlpool of pure metal mayhem as he belted out lyrics from the eye of the storm. As the set wore on, the energy in the room began to noticeably dip. While the tracks kept coming, there was a sense that the band’s enthusiasm had started to wane — their stage presence growing increasingly static, as if their minds were already somewhere else. In stark contrast, the vocalist pressed on with unwavering commitment, doing his best to rally the crowd and keep the momentum alive. Despite his efforts, much of the set began to blur together, with many of the songs sounding tonally similar, creating a sense of monotony. Slowly, clusters of audience members drifted away toward the bar or out into the beer garden, in search of a break from the lull. But just as the mood threatened to flatline completely, the band threw a curveball, they summoned Snowy “The Gamabominable” Snowman during their track ‘Bring Out the Monster’. Towering, ridiculous, and gloriously absurd, Snowy's entrance was exactly the jolt the room needed. The dullness vanished as quickly as it had settled, replaced by laughter, cheers, and a renewed wave of movement — a reminder that sometimes, all it takes is a giant snowman to bring a show back to life. While the night was billed as Gama Bomb’s tour, there was no denying that Raised By Owls completely stole the spotlight. Their chaotic brilliance, unrelenting energy, and sheer unpredictability set an almost impossibly high bar early on — one that lingered long after they left the stage. Their performance felt like a masterclass in how to entertain, leaving the crowd buzzing with adrenaline and laughter. By comparison, Gama Bomb’s set, though packed with potential, left us wanting more. What should have been a triumphant headline slot felt somewhat underwhelming, like a rollercoaster that never quite hit its final drop. As the lights came up, we couldn’t help but feel a little unfulfilled, as though the night had peaked too soon. Words: Ciara Hicks-Evans Photos: Noah Collins

After dragging us through the gothic gloom of Horrifier, Wednesday 13 emerges from the shadows not to brood - but to party with the undead. Mid Death Crisis finds the Duke of Spook doing what he does best: resurrecting sleaze metal swagger with grave-digging glee. Gone are the isolationist themes of the pandemic years - this time, the monsters are front and centre, and they’ve brought their leather jackets and lipstick-stained chainsaws. Right from the jump, the intro track ‘There’s No Such Thing As Monsters’ whispers that familiar line over an eerie, tech-toned drone. It’s classic horror cheese with a sci-fi tint, and as that tension fades into distortion, the record wastes no time detonating into the high-octane frenzy of ‘Decease and Desist’. Guitars hit like a car crash through a foggy graveyard, sharp and snarling, while Wednesday’s vocals lurch in with the confidence of a seasoned slasher villain. There’s a bounce to the track — a rhythmic throb that makes it part arena metal, part haunted strip-club anthem. It’s not deep, and it doesn’t need to be. This is horror punk by way of Hollywood sleaze, and it rips. That trash-glam-meets-terror continues on ‘When the Devil Commands’, one of the album’s most immediate and memorable moments. With a stomping beat, massive chorus, and a riff that nods to classic Mötley Crüe, this is Wednesday 13 at his most infectious. There’s a ritualistic energy to the track, like it was written to be shouted back from the pit. The hook is pure fire-and-brimstone pomp, the kind of thing that feels tailor-made for live shows drenched in fake blood and smoke machines. It’s both cartoonish and commanding, which is precisely what makes it work. Another highlight, ‘No Apologies’, features Faster Pussycat’s Taime Downe on guest vocals - and the pairing is pure sleaze metal magic. There’s a reckless, late-night strut to the track, echoing the Sunset Strip decadence of the late ’80s but with a bloodstained twist. Downe and Wednesday trade lines like two degenerates swapping barroom confessions, and the result is a fast-paced exorcism of all things toxic. It’s brash, catchy, and self-aware without being self-important. For long-time fans of both acts, it’s a match made in hell and hair spray. But, Mid Death Crisis isn’t all snarl and sneer. ‘My Funeral’ provides a surprising emotional depth beneath the theatrics. Slower and more deliberate, the track finds Wednesday reflecting with rare vulnerability, his voice raw and nearly mournful over moody guitars and a creeping, melodic undertow. While still laced with macabre imagery, there’s sincerity here - an acknowledgment of time passing, of life lived in shadows, and perhaps of the cost of it all. It’s the kind of track that proves Wednesday isn’t just playing dress-up; he knows what darkness really feels like. That balance - between camp and catharsis, horror and hooks - is what makes Mid Death Crisis such a potent entry in Wednesday 13’s discography. Produced by guitarist Alex Kane, the record sounds massive: guitars slash and shimmer, drums pound with purpose, and there’s just enough grime in the mix to keep things dangerous. From the danceable chaos of ‘Xanaxtasy’ to the doom-laced pummel of ‘Sick and Violent’, the album flexes its genre muscle while never losing its identity. More importantly, this is an album that knows it’s a good time. Wednesday 13 isn’t trying to be profound here - he’s channelling every VHS tape, fog machine, and glam-metal b-side into a record that invites you to scream along, throw horns, and leave your existential dread at the door. Mid Death Crisis doesn’t reinvent horror rock. It raises it from the grave, gives it a shot of Jack, and pushes it back onstage. Score: 8/10 Mid Death Crisis was released on April 25th via Napalm Records. Words: Jason De Mendonca Photos: Wednesday 13

There are shows where you go to hear music. Then there are shows like this one—where you leave feeling like you’ve been inside a vision. Alt Blk Era’s latest tour stop was one of those rare nights that felt less like a concert and more like a statement. Every beat, lyric, and movement carried weight, and from the moment the lights dimmed to the final defiant note, it was clear: this wasn’t just performance, it was declaration. Opening the night was Crae Wolf, delivering her sole appearance on the tour, and it quickly became obvious that she wasn’t here to play warm-up act in any traditional sense. Shrouded in theatrical flair, dark glam, and an undeniable sense of command, Crae Wolf stalked the stage like it belonged to her—and for the length of her set, it truly did. Her sound — a fierce blend of gothic pop, UK rap, and experimental theatre—felt at once unplaceable and exactly right. You could hear gasps ripple through the crowd as she shifted from venomous verses to vulnerable croons. Between tracks, her presence never dimmed; she locked eyes, leaned into the crowd, and never once broke character. For many in the room, this was an introduction. By the end, it felt more like an initiation. When Alt Blk Era took the stage, the energy shifted again—this time toward full-scale immersion. The sister duo, who’ve built their name on unflinching self-expression and genre-crushing sound, turned the venue into their own world. Kicking off with “Freak Show”, they didn’t ease the crowd in, throwing us straight into the heart of their chaos-pop universe. Sirens blared, lights strobed, and the air was electric with that rare kind of anticipation: the sense that anything could happen next. “Straight To Heart” followed in their Rave Immortal set, a track that hit with both sonic intensity and lyrical vulnerability. It was emblematic of what Alt Blk Era does best — melding raw emotion with futuristic production, punk venom with rave euphoria. The duo performed with such synergy, it often felt like they were a single organism moving to the pulse of something much bigger than the stage they stood on. “Come On Outside” and “Crashing Parties” brought a more anthemic energy, their choruses shouted back by an audience clearly ready to rage and release. There’s something deeply cathartic about watching Alt Blk Era live — the way they move, scream, laugh, and convulse is its own language, a dance of liberation and defiance. “My Drummer’s Girlfriend” was a standout moment, fusing chaotic fun with chaotic truth. It’s the kind of track that breaks rules simply by existing. Then came “Come Fight Me For It”, a track that felt like a line drawn in the sand. It’s bold, it’s brash, it’s challenging—and live, it felt like a dare hurled into the face of anyone still unsure of the duo’s place in the alternative scene. The ferocity of “Run Rabbit” and “Catch Me If You Can” pushed the night into even wilder territory, fusing glitchy breakdowns with almost folklore-level storytelling. Somehow, between all the digital noise and distortion, you could still feel the heartbeat behind it. The night climaxed with the arrival of “Rave Immortal”, reappearing as a standalone moment of raw power. It was explosive, euphoric, and transcendent. And yet, Alt Blk Era didn’t leave on a massive, bombastic final note. Instead, they closed with “I’m Normally Like This”, a quieter, self-aware outro that felt as intimate as it did unsettling. The lights dimmed not in triumph, but in reflection — like waking from a vivid dream you’re still trying to understand. Alt Blk Era’s live show doesn’t offer escapism. It offers confrontation. Beauty and brutality exist in the same breath. And for anyone lucky enough to be in the crowd that night, one thing was clear: the future of alt is already here, and it's wearing fangs. Words: Jason De Medonca Cover Photo: Simon Arinze

Employed To Serve are a band in full flight right now. With their brand new album ‘Fallen Star’ dropping the day after the show, they’ve been tearing through a run of intimate venues across the UK, and Cardiff’s Clwb Ifor Bach was one of the final stops. On April 24, they brought the chaos, the catharsis, and the kind of energy that makes you feel lucky to be packed into a tiny room with them — and it’s safe to say they left it all on stage. Joined by London’s Burner and East Anglia’s Celestial Sanctuary, the night promised a snapshot of the UK’s thriving heavy scene: diverse, uncompromising, and full of heart. First up was Burner, who brought a raw, explosive energy that immediately loosened up the crowd. Their blend of hardcore ferocity and metallic punch was impossible to ignore — the riffs hit hard, the drums felt like gut-punches, and the frontman’s constant encouragement kept spirits high. Between songs, they hyped not only their own material but also shouted out Celestial Sanctuary and Employed To Serve, too, creating a real sense of community in the room. It felt less like an opener trying to prove themselves, and more like a band proud to be part of something bigger. Burner didn't just warm up the room — they cracked it wide open. Celestial Sanctuary Celestial Sanctuary took the stage next, shifting the night’s energy into heavier territory with their slab of old-school death metal grooves. Their set was relentless without feeling repetitive — dark, crushing, and immersive. From the first riff, heads across the room started banging in time, pulled into the band’s thick, chugging sound. Their set wasn’t about chaos — it was about locking the room into a heavy, relentless rhythm. Every song hit like a slow-moving avalanche, building the tension and setting the stage perfectly for what was still to come. When Employed To Serve appeared, the room exploded. Launching straight into ‘Atonement’, they immediately commanded Clwb Ifor Bach like it was an arena. Vocalist Justine Jones was a force of nature, roaring through tracks with feral energy, while guitarist Sammy Urwin drove the band’s signature sound — a massive, metallic blend of groove and hardcore. Employed To Serve The set leaned heavily into ‘Fallen Star’ material, including ‘Fallen Star’, ‘Owed Zero’, and ‘Breaks Me Down’, but was balanced with fan favourites like ‘Eternal Forward Motion’ and ‘I Spend My Days (Wishing Them Away)’. Every track landed with the precision of a wrecking ball. At one point, Jones reminded the crowd that ‘Fallen Star’ would be out at midnight — not so much an announcement as a shared countdown between band and fans, most of whom were already itching to hear it. Circle pits ruled the floor for most of the set, and while there were no crowd surfers, the sheer volume of movement kept security on their toes. Tracks like ‘Party’s Over’ and ‘Mark of the Grave’ saw the room ignite, with bodies colliding but smiles everywhere. Employed To Serve know how to summon chaos — but they also know how to make it feel like a celebration. By the time the final notes rang out, the walls felt like they were sweating. It was sweaty, cathartic, and brilliant — exactly what live heavy music should be. Lights like this are exactly why Employed To Serve remain one of the most important bands in UK heavy music. Their set was tight, furious, and bursting with heart — and with ‘Fallen Star’ now officially released, it feels like they’re only just getting started. Burner set the fire, Celestial Sanctuary kept it burning, and Employed To Serve tore the roof off. Clwb Ifor Bach might be small, but on April 24, it felt like the centre of the heavy music universe. Words and Photos: Klaudia Skalska

In a month plagued by anti-queer, anti-trans rhetoric, Nottingham (and the world) needs more queer music. Gender Warfare heard the call, and screamed back at it. We went a long to see them work their queer magic at JT Soar. With their bold and unapologetic music, accompanied by the three support bands, the gig was sure to be a chaotic but cathartic experience. First on the support bill was queer hardcore/emo grunge band Retina, a Nottingham based three piece who served up songs about being queer and working class, with hard hitting lyrics from songs like “Bullet on a Cross” and a heavy bass guitar backing. With the crowd getting into the sound very quickly, two stepping and chanting ‘Fuck the TERFS’ at the encouragement of the band, it was very apparent why DIY spaces like JT Soar are so badly needed right now. Darkwave, industrial duo Mandibles were next on stage, bringing ethereal vocals and atmospheric soundscapes, with tracks like “A Thousand Cuts”, where all that was missing was a dark, smoky room of people swaying along. With a performance that would not be lost on an ’80s movie soundtrack (think The Lost Boys), these self-confessed ‘electro creeps’ brought a slightly different vibe to the other bands on the bill, with their blend of various sounds, but got the crowd going. Next up, with a curated mix of noise, hardcore and hip hop, Nailbreaker, the solo project of George Hammond, was the standout performance from the support on the night. With his energetic crowd participation, for songs like “England is Mine” with mosh pits, crowd surfing and screaming enthusiasm when running out to grab a Palestinian flag, Nailbreaker brought a mix of aggression and catharsis to the room, exploring themes of politics and mental health. Headliner Gender Warfare (who are on gender tour-fare… see what they did there?) came to bring the queercore noise we all needed to hear. With songs like “(I Am Not Your) Dude”, “Commodity” and “Queers to The Front” from their first studio release “New Wave of British Transphobia”, talking about the fetishisation of minorities, being perceived and the always needed reminder to stand up, fight back, Gender Warfare encouraged and received most pits aplenty, leaving everyone feeling hyped and some what exorcised of our anger and resentment after a good old fashioned queer dance party. DIY venues like JT Soar hold a special place in the queer and trans communities, creating safe spaces for people to come and enjoy live music, free from discrimination, helping to building and foster inclusive communities, as well as giving cultural preservation in a scene plagued with constantly closing venues. Bands like Gender Warfare playing a venue like JT Soar shows exactly how the queer and trans communities can come together, even when their very existence is constantly up for debate, and bring joy and most importantly, music, to those who really need it. Words: Lou Viner Photos: Daisy Evans

Hailing from France, LANDMVRKS has earned the place as one of the most inspiring modern metalcore bands in the scene. The band formed in 2014 and released their debut album Hollow in 2016, with Florent Salfati as the lead vocalist, Nicholas Exposito and Paul C Wilson as the guitarists and Kevin D’Agostino as the drummer of the band. They've come a long way since the formation of the band, embarking on a world tour in 2024 that captured the attention of metal fans across the world, and have now released the latest chapter in their story, new album The Darkest Place I've Ever Been. From the very beginning of the release it is obvious that this is going to become a staple in the metalcore genre. Opener and title track ‘The Darkest Place I’ve Ever Been’ starts off with Florent’s raw and undeniably talented vocals, before it completely switches about a minute in and we are hit with the familiarity of the intense guitar riffs and heavy vocals that we all know and love. This song will certainly be one that fans will love live, with all the chanting and the screaming we can already see the mosh pits. ‘Creature’ starts off with a fast paced beat and Florent begins rapping in French which further shows off his many vocal talents, as it then almost immediately shifts into those gnarly screams. The chorus in this song is really a catchy one - “crawling in the dark, everything we knew is falling down” - it won't take long until you're singing along with everybody else! ‘A Line In The Dust’ is definitely a favourite from the album. From the incredible vocals, to the electrifying guitar riffs and intense drumming, this song is an experience from start to finish. The snarly screams are really impressive, we are only three songs into the album and things have already heated up. ‘Blood Red’ starts off with soft vocals and features more rapping in French. Although this song is a lot less heavy than the rest, the latter stages of the track with Florent's call of “Take. Me. To. The. Darkest. Place. I’ve. Ever. Been.” does hit incredibly hard. While listening to this song, you can hear the outpouring of emotion and it comes across as to just how much of themselves the band put into the record. Everything flows very well together, and the band has truly outdone themselves. Going seamlessly into the next song, ‘Sulfur’ takes the album up to another level. The riffs in this one are exhilarating and really bring this song together and again, the chanting of “Sulfur” and “Bring us closer to the edge” will make fans go wild during live performances. LANDMVRKS clearly put their everything into this song. ‘Sombre 16’ is a short one, but it provides us with a hip hop type beat accompanied with more rapping. It adds something different, before diving back into the metalcore sound with the next track ‘The Great Unknown.’ The vocals in this track are raw and raspy, with a lot of brutal, and outstanding, screaming. ‘The Great Unknown’ kicks off with an intense riff before the vocals are introduced. The verses feel a lot more fast paced compared to the chorus, where the vocals pick up and everything comes together excellently. The song ends with yet more screaming, and with the harsh beat of the drums it’s a perfect way to bring the song to a close. Starting off with soft, angelic vocals is ‘La Valse du Temps’ - but don’t be fooled, it does pick up into one of the heavier songs on the album. It's evident that this is one that fans will love, being five minutes of metalcore bliss. ‘Deep Inferno’ amazed us. Listening to this song we could really see Florent's wide vocal range - this man can really scream. The low growls and emotional screams add a heap of energy into this song, making you want to scream along with him - and I’m sure a lot of us will be. While ‘Requiem’ starts with a softer guitar riff, the beat drops almost immediately, and the drumming in this song is something to appreciate, adding to the emotional intensity of the song. The album has had a lot of strong lyrics, but a line that stood out to us on this track in particular is "There is nowhere left to hide because it’s eating me alive". The meaning isn'r subtle here, and this is a feeling plenty of us will have dealt with before, making for one of the most vulnerable songs here. ‘Funeral’ is the last song, kicking off with a beautiful piano melody before Florent's raw vocals come in and truly tug on our heart strings. This song is one of a kind, and it's a bold yet personal move by LANDMVRKS, who have decided to close the album on such an emotional note with a song that talks about grief in a way that fans may relate to incredibly keenly. The Darkest Place I've Ever Been does an incredible job at summarising what LANDMVRKS can do as a band, whilst simultaneously blowing us away with every track on the album. They provide their listeners with the brutal metalcore they love, while also giving them something to relate to, albeit that is no surprise given the band's penchant for those vulnerable moments. In their darkest place, they've found a light in the form of this phenomenal album, and we're so glad they've shared it. Score: 9/10 The Darkest Place I've Ever Been was released on April 25th 2025. Words: Kelsey Mainwaring Photos: LANDMVRKS