It’s been four long years (And it’s felt like a lot longer) since we had a new record from The Menzingers , and while we still don’t have an official announcement on the next one, we do have a new song from it. ‘There’s no Place In The World For Me’ is a classic slab of emo-Americana, replete with lyrics that’ll burrow their way into your brain and make you stop and think. With the world in a significantly worse place than it was around the time of Hello Exile, it isn’t too big of a stretch to picture the next full length as a bit of a difficult listen. However, as with all of their work, hope is sprinkled throughout in the melodies, the vocal lines and the sheer amount of personality in each beat. Mark our words, the next time the band grace our shores, you’ll have your phone torch aloft, tears in your eyes belting out the chorus. – Chris Earl
The return of four kings, accompanied by a living legend. The title track of the band’s first album in over nine years, ‘History Books’ sees the heartland rock defining sensations The Gaslight Anthem collaborating with the borderline mythical entity that is The Boss himself, Bruce Springsteen, for an exercise in finding glory and affirmation in the pain that comes with the human condition. As something that can be attested by fans of both or either artist, The Gaslight Anthem and Springsteen have forged their respective legacies in weaving tale of joy amidst the greyness of modern life, and ‘History Books’ is a life-affirming testament to this time-honoured skill that both artists harness. “When Bruce Springsteen said I should write a duet for us, I think my head exploded”, states Brian Fallon. “It will never get old to me that one of the greatest songwriters in the world, and the voice of one of my heroes will forever be captured in a song I wrote at a small wooden desk, in October, in New Jersey.” – Dan Hillier
The fourth single from the Welsh emos’ third album, ‘Scissors’ is “a love letter to post-hardcore” according to vocalist Lucas Woodland. It’s also, as ever, a huge song that sits comfortably at the heavier end of Holding Absence‘s range. Lyrically it, ‘Scissors’ depicts its narrator committing to severing parts of themselves in order to grow, sacrificing parts of themself to evolve and change. The song starts at almost galloping pace courtesy of long-undersung drummer Ash Green, though the chorus slows to almost half speed to truly hammer its message home as Woodland’s voice soars. It’s everything we’ve come to know and love from the band, its emotional gutpunch capped off by a seismic breakdown toward the end as Woodland screams “Weapons of glass and steel / towering over me / I’m desperate to be seen / I’m petrified of being perceived” in a sentence likely all too many of us relate to. – Will Marshall
The coolest band in the world return with the monolithic and sweeping ‘Take Shape’ which features one of alternative rock music’s biggest legends. Frontman Jami Morgan has never sounded more melodic than he does at the beginning of this track and continues to add more tricks to his ever growing vocal arsenal before one of the heftiest choruses of 2023 ploughs into your ears in what is now typical Code Orange style. Morgan’s Jonathan Davis-esque cadence on the verses of this track isn’t the only nod to nu-metal’s heyday either, as guitarist Reba Myers’ backing vocals conjure memories of Korn at their very best. As if all of that wasn’t reason enough to celebrate (as Morgan commands listeners to do throughout), Smashing Pumpkins legend Billy Corgan arrives to add his calming yet unsettling touch to a track that is bound be one of the year’s most talked about releases. – Jordan Aldridge
The modern masters of doom return with their latest two-track single, ‘Glaive (It’s All the Same)’. This could be a cheeky tongue and cheek title for any criticism thrown at them for their extremely consistent walking pace groove. The lead off track ‘Glaive (It’s All the Same)’ continues their familiar sound, though the high-quality melody at its centre brings thoughts of Iron Maiden at half speed. As always, the Swedish trio find the extra nuances to enhance their sublime heavy melodic doom. There is the grandstanding thump, mountain sized guitar melodies, thunderous bass, and expertly woven shifting subtle tones to allow the main melody time and space to elegantly glide. They’re in no rush to get to the end, and why should they, when they are this good. An instant hook you in pleasure, ‘Glaive (It’s All the Same)’ confirms there are still gold nuggets to be mined in Monolord land. – Andy Little
Wait, is this The Armed? Or The Strokes? Kasabian? Maybe even Lullabies era QoTSA? It’s whatever they want and it’s all of the above whilst still being uniquely The Armed. Big chords, slick classy 4/4 pop beats and vocals spread like lovingly buttered toast. It’s evolution in metaphysical form. Even the reprieve doesn’t allow anything but tightly caged restraint, every chord that is played, every synth line that is tapped out seems to be on the edge of breaking out into the chaos of The Armed we’ve come to know over time. The blasts are there still albeit only right at the end, a contrasting closing salvo that epitomises the direction they have taken with the new record. It begs to be listened to in context, and you should be as excited as everyone else to do so. Also a shout out to Illuminati Hotties for providing the backing vocals for the track. It seems The Armed have swelled their ranks even more so since the last album, increasing the ever swirling maelstrom of influence that is deftly thrown across the audible canvas of their soundscape. Refract. – Rob Bown
Continuing their upward trajectory to becoming some of modern emo’s biggest stars, Spanish Love Songs‘ third single from their upcoming album No Joy is once again, a deeply introspective slide of synth laden rock music. Dylan Slocum, once again, conjures up imagery all too real to some, singing about hate preachers, sick fathers and the album’s titular concept of having no joy in life. Not focusing on one person in particular, the track circles around a number of people, showing that there’s a good chance you’re not alone in your sadness. On a musical level, it’s a slower number, with Dylan’s voice carrying the track alongside some simple yet powerful chords. With the album just over a month away, and the band set for a UK stint supporting fellow sad rockers Hot Mulligan, if you’ve not delved into Spanish Love Songs, then now is the time. – Chris Earl
The last five years have been agony for most TesseracT fans, but the wait is now over. Standing at a monumental 11 minutes long, new track ‘War of Being’ is a turbocharged launch into a new chapter that takes the listener through rapid drums, soaring vocals and classic TesseracT prog arrangements. “I was sold a lie” screams front man Dan Tompkins, shortly before the band dives into a myriad of pummeling rhythms, odd-time signatures and the heaviest sections since their early days. Tesseract‘s whole back catalogue is not a linear experience, more a progression through a series of remarkable sounds and feelings. This newest offering shows how much they’ve built on their classic sound since last album Sonder. Don’t let the long run time put you off – at no point in this behemoth are you left anything but captivated. This song delivers everything that fans have been craving and is a masterclass in prog from one of the genre’s most beloved groups. – Jude Bennett
The second single from Svalbard‘s upcoming fourth album (and first for Nuclear Blast) The Weight of the Mask, ‘Faking It’ is as its name suggests, all about the face we on to get through the day, or the world. An uncompromising account of living with depression, it does what Svalbard have always sought to do; helping those who identify with its lyrics to feel less alone. Blending elements of blackgaze, post-metal and post-hardcore, a stirring opening lead gives way to the dual vocal interplay between guitarists Liam Phelan and Serena Cherry, laying bare the exposed nerves and heart at the centre of the music. Backdropped by those soaring leads, the atmosphere is one of defiance and fighting back against the black dog of depression. As ever, the lyrics are as blunt as the music is hard-hitting and euphoric in equal measure; if this and previous single ‘Eternal Spirits’ are to go by, this could well be one of 2023’s most essential albums, musically and thematically. – Will Marshall
The UK’s post-metal and blackgaze scene is positively alight right now, with acts all across the four constituent countries brewing musical concoctions as punishing as they are atmospheric. However, Copse are one the acts burning most brightly with promise, and ‘Old Belief’ is a blinding testament to that. The first track to be taken from their upcoming EP Old Belief | New Despair – released August 11th via Church Road Records – ‘Old Belief’ is a towering and colossal take down of the bigotry that has become embedded in our nation’s long-poisoned sociopolitical foundation. Truly, it’s searing and beautiful in equal measure, and with Copse cohesively condensing the best qualities of post-black metal into five awe-inspiring minutes with this track, ‘Old Belief’ is crucial listening for even the most passive fans of acts such as Deafheaven, MØL and Celeste. – Dan Hillier
Nu-metal’s recent yet not unwelcome renaissance continues to display new blending with other genres, and at the forefront of that, are SiM. Though not a new band, they’ve really came to more prominence in recent years with their ska/reggae/punk/hardcore take on the baggy jeans genre, and new single “RED” is all of those lovely influences in one tidy package. At first you might be thinking “It’s just Skindred isn’t it?” but the vocals are where things end in the similarity stakes. The band are more willing to take risks, and despite the absolutely massive sounding chorus, there’s a heavier edge to things, more outwardly reggae moments and some moments that seem primed to start a pit that’ll end with fists swinging rather than T-shirts. The band got a massive turnout on their recent UK shows and it seems like the west is ready to embrace SiM lovingly. – Chris Earl
One of the most satisfying aspects of death metal is that the invention in song titles can often tell you what a song will be like before you’ve heard it. Whatever you imagine ‘The Lurid Glow of a Dead, Burning Body;, the brand new track from Celestial Sanctuary sounds like, you’re right. A sinister, lumbering opening gives way to some classic death metal stomping and a smattering of disgusting lyrics. Tom Cronin makes his riffs sound like they came straight out of a Cannibal Corpse record, and the drumming is as chaotic as it is menacing. The Cambridge crew are gearing up for their second full length, Insatiable Thirst for Torment, and it’s clear the band have a big future. Combining a healthy respect and love for the genre’s fetid past with modern production and one foot in the hardcore scene, they’re a shining light in the new wave of death metal. Will their sophomore record put them on the same stage as tour-mates Undeath? If there’s any justice in the world, then definitely. – Chris Earl
The latest single to be taken from KEN Mode’s upcoming record VOID – released September 22nd via Artoffact Records – ‘He Was A Good Man, He Was A Tax Payer’ is the same nihilistic KEN Mode we all know know and love, albeit with a slightly new sound. A classic tale of how we are all are nothing more than just expendable and disposable clogs in the stuttering machine that is capitalism, the single see’s the Canadian noise merchants tinker with a more post-punk orientated sound. However, Yard Act or the likes this is not. ‘He Was A Good Man, He Was A Taxpayer’ is another abrasive and holistic exercise in noise that’s only further fleshed with a mantric tempo that only highlights the sheer level of animosity that’s inherent to KEN Mode’s sound. “Perhaps [it’s] a little more post-punk than people are used to hearing us – but we had fun playing with synth and pushing the boundaries of the emotionality of this track”, states Jesse Matthewson on the track. “Is this noise goth? I don’t know. Does that sound stupid? Did I just invent a new genre? There are equal parts Bauhaus and Unsane on this, so maybe?” – Dan Hillier
Yes, the thought of a black metal band taking on one of trip hop’s biggest names may sound naff for some, but before you cast judgement, this is Underdark we’re talking about. They’re the band that released one of the black metal’s best releases in 2021 with Our Bodies Burned Bright On Re-Entry and goodness me is this cover fantastic. Coinciding with the announcement of their signing to Church Road Records and the unveiling of their second record Managed Decline, Underdark’s rendition of the Massive Attack classic bares witness to the band’s brilliant skill in circumventing the stereotypical tropes of black metal and incorporating elements far flung from the gene’s long established blueprint. If this cover is anything to go by, Managed Decline is poised to Underdark’s tightest and most adventurous offering to date. – Dan Hillier
Another cover, that on paper alone, shouldn’t work. After all – if stereotypical perception is anything to go by – the Venn diagram of common ground shared between Post Malone and post rock are two unique circles separated by a country mile. However, Blanket’s cover of this Posty classic is fantastic and just shows how genre is a redundant construct. By fleshing out the emotion within early Post Malone track, Blanket’s cover of ‘I Fall Apart’ is a cinematic exercise in grandiose experimentation and creativity. Furthermore, with the band’s forthcoming Blue Eyes EP seeing the band take on the 28 Days Later soundtrack and Radiohead alongside Palm Reader, Blanket are truly one the greatest bands showcasing how post-rock still has new ideas to offer. – Dan Hillier
Following on from their recent UK run of dates and releasing ahead of their second leg of dates coming this October, Derry’s Cherym are back with another offering of irresistible and effervescent guitar pop in the form of ‘Taking Up Sports’. A classic tale of falling helplessly in love with the sporty type who’s oblivious to your existence, the single is an encapsulation of what makes Cherym just so damn lovable. Filled with melodies, licks, charm and zingy adolescent energy, ‘Taking Up Sports’ is indie-punk in the most unfiltered and zesty form. The video also does the song fantastic justice too. Directed Thomas Mckeown at show at The Ryan McBride Brandywell Stadium, the video see’s the band facing off against the band’s local Derry FC football team in a way that just highlights the band’s unfiltered charm. If you’re yet to be quantitated with Cherym, ‘Taking Up Sports’ is the kick up the arse you need. – Dan Hillier
Their hard work, flair and proclivity for blurring the lines of heavy and happy led them to make the top 100 for Eurovision this year, going far closer to the mainstream than what most metal bands could hope to achieve, and becoming the first full band to represent Australia at the event. Mere months after their star performance, and with a new album arriving imminently, guitarist Scott Kay took the time for a talk about how surreal the last year has been for him and his bandmates.
“It was surreal for us. Even though we treated the actual performance like a normal show just cranked up to 11, a lot of thought went into capitalising on the event. We had this opportunity to earn some new fans in front of us, so we needed everything around our performance curated and ready to go. The hype of Eurovision is so massive, but to be able to maintain the hype and capture a new audience is a completely different story.”
Reaching that mainstream audience – many of whom hadn’t had much exposure to metal – was a challenge that the band took on enthusiastically, Scott says.
“You’re going to get more casual listeners in that environment, and that was something we weren’t used to, but we want to be as welcoming as possible – all of us would rather see metal everywhere than nowhere.”
Though still featuring big riffs and occasional screams, the band are far from being inaccessible to people from other genres. “We’re not neck-deep in blast beats and double kicks.” Scott chuckles. “So, we’re very fortunate that we have the opportunity to be a gateway band for people”.
Detroit band The Armed might’ve started life in the math/hardcore scenes but they very swiftly outgrew them, especially with 2021’s Ultrapop. Now returning with their fifth album, Perfect Saviors, The Armed are perhaps reaching ever closer to their final form as they leave genre ever further behind them. Lead single ‘Sport of Form’ is far closer to pop than they’ve ever been, but with their own uniquely experimental, noise-influenced take on its sonic template. Gone are the outbursts of harsh screams; instead we have filtered, robotic-sounding voices at the outset. There’s still the bursts of guitar and drums, but again through their evolved pop lens that transcends simple genre trappings. Of the song, vocalist Tony Wolksi (his actual name, as the band claim to be ditching the pseudonyms this time) says “there are two types of sport—those of measure and those of form. A sport of measure like basketball, football, or soccer has a point system and a sort of binary path to victory. A sport of form is something like diving, figure skating, or bodybuilding—something with evolving standards and a layer of subjectivity and some sort of critical component. The world that surrounds us is complex, and our lives are truly more akin to a sport of form than one of measure. Yet, so many people see it as exactly the opposite.” – Will Marshall
Things had been a little too quiet on the Baroness front recently. Having been four long years since the release of 2019 album Gold & Grey, when teasers started popping up on their social media platforms, fans were immediately whipped into a frenzy. Revealing their new album Stone, firmly breaking away from the colours saga and into a new era for the band, first single ‘Last Word’ makes for one hell of a comeback. Feeling like it falls somewhere between the band’s Blue & Yellow/Green albums, this is everything you could ask for from Baroness after such a long wait. Blasting to life with a return of their sludgy guitar tones, John Baizley and Gina Gleason’s delicate interwoven guitar riffs, melodies and ripping solos are magnificent throughout, paired with both members’ stellar vocal performances. Nick Jost’s bass licks are non-stop and stay thoroughly impressive as they lock in and explore the space between Sebastian Thomson’s phenomenal drumming. ‘Last Word’ has set the bar high with expectations for Stone and has made the agonising wait melt away. – Harry Shiels
Seattle noisemongers Filth Is Eternal rightly turned heads with their last album Love is A Lie, Filth is Eternal and now they’ve unveiled its follow-up, Find Out, alongside lead single ‘Crawl Space’. As ever it’s a thrill ride through crust punk, d-beat hardcore and more, all capped off with a strong sense of melody that could only be punk. Think a d-beat The Distillers, and you’re sort of in the right ballpark. In just ninety seconds, ‘Crawl Space’ goes off like a sonic pipe bomb, breakneck paced drums, even a screaming solo and, most importantly, a bucketload of attitude sure to whip up pits. As vocalist Lis Di Angelo puts it, . “It’s about that small window of time when everything feels like it’s working – the band, relationships, work, mental health, the meds, everything – but something still feels off, like it’s destined to fall apart no matter what choices you make.” – Will Marshall
Welsh emo stars Holding Absence have always had a strong current of feeling in every song, but new single ‘Honey Moon’ might just be one of the strongest ballads they’ve penned yet. It’s, in their words, “a lovesick poem that looks to the stars to portray a deep, isolated yearning for the love of another,” exploring this through its slow tempo, very much ballad-esque pacing. Lucas Woodland once more showcases his stunning range, switching into higher registers with ease before coming back down to deliver heart-rending melodies. It’s a slow-burning, yearning song that captures that feeling of distance and loss expertly, as only Holding Absence can. It’s the third single from upcoming third album The Noble Art of Self Destruction and shows a band unafraid to explore the edges of their sonic identity and their mastery of the emotional spectrum. – Will Marshall
In Greek mythology, Orion is said to the god of hunting. Those ancient legends say that no creature could escape or subdue the greek god. Fitting then, that the latest track from The Sun’s Journey Through The Night is an inescapable and slaughtering slice of atmospheric black metal. The group’s third single to be taken from their upcoming record Wordless – released 28th July via Church Road – ‘Orion’ is seven minutes of pure misery and nihilism that only intensifies as the track transitions from melancholic black metal to hushed and desolate minimalism. Whilst the term ‘cosmic black metal’ may receive scoffs from elitists and the like, there’s truly no better way to describe this track and The Sun’s Journey Through The Night as a whole – no other band in the black metal game has done so well in metamorphosing personal anguish into black metal that’s atmospheric on a celestial level. – Dan Hillier
There’s been some trepidation among fans that despite the quality of the preceding three singles, that the new Blood Command record would be a mellower, slower affair without the bite and fury of their previous work. Thankfully, the fourth single from their upcoming September album World Domination puts those concerns to bed. ‘Forever Soldiers Of Esther’ is a deeply personal one, taking inspiration from guitarist Yngve Andersen’s late mother. The verses are comprised of words spoken by her to Yngve as a child and the chorus is what he wished he could say to her, but sadly never did. The juxtaposition between the classic, punky music and hard hitting lyrics is great, and shows that the band haven’t lost their edge in producing fast, feisty bangers. – Chris Earl
Following on from their reimagined version of ‘courtney, just relax’ featuring Jess Nyx of Canadian hardcore outfit World of Pleasure, Static Dress are back with yet another fresh take on music from their debut album Rouge Carpet Disaster, gearing up for the Redux version due later this year. This time, we are treated to a beautiful stripped-back rendition of ‘such.a.shame’, on which Olli Appleyard pulls off one of his finest vocal performances to date. The sheer vulnerability that emirates from his simply incredible melodies being draped over little more than a piano is stunning and the vocal effects that are utilised still give you that trademark Static Dress sense of this music being from a world of the remarkable. One of the band’s finest accomplishments to date. – Ryan Ward
They might’ve unveiled a three-track EP not too long ago, but Dream State haven’t rested, releasing brand new single ‘Chin Up Princess’ that shows yet another sonic evolution from the post-hardcore quartet. Where Untethered was their way of introducing a new lineup to the world, ‘Chin Up Princess’ shows them pushing their sound further, and is closer to debut Primrose Path while still charting its own course. It’s “a song about having to deal with a narcissist, whose world falls apart around them as they start to lose everyone and everything close to them, due to bad habits and toxic traits. The music is dark, fierce, and all over the place, mirroring the theme of the lyrics,” as the band describe it. Musically, it’s a bouncy, synth-driven song that showcases vocalist Jessie Powell’s knack for soaring melodies just as much as her snarling screams, one that’s sure to be a hit live when they surely debut it at next week’s 2000 Trees. – Will Marshall
Urne turned heads with their debut album Serpent & Spirit, as it gained them a cult following who loved its blend of thrash, heavy metal, groove and more to form a promising debut from the trio. Followup A Feast on Sorrow is a much darker, harrowing affair; gone is the “fun”, so to speak, and in its place are musings on illness, death and grief as frontman Joe Nally experienced over the past few years. It’s also a huge sonic step up for the band; the riffs are heavier, the grooves are even more impressive and the songwriting has been tightened up immensely if its singles are to be believed. ‘The Burden’ has a massive arena metal riff, capped by snarling vocals that are menacing and harrowing in equal measure. It’s a striking, building-flattening heavy hitter that sounds far larger than the sum of its parts. Bring on the album, we say. – Will Marshall
The return of the award winning festival, 2000 Trees are going all out for their 15th birthday bonanza. But of course, you already know that. By now you’ve probably already got a rough schedule for the weekend in place. We don’t need to tell you to go cry to Holding Absence, aggressively fingerpoint to The Wonder Years, get your ears utterly annihilated during Sugar Horse and openly lament your fading youth whilst watching American Football. Once again, the lineup for 2000 Trees is god tier, and you all know it.
But beneath the big names and scene favourites lies an utter treasure trove of new and fresh artists playing across the weekend. And with that in mind, here’s our top picks for the artists you would be utterly foolish to miss next weekend.
One of the best surprises tucked away on The Forest stage last year, up and coming London/Manchester queer punk quartet The Oozes have cultivated a large online presence since the release of their debut EP in 2020, the band find themselves bumped up to the Neu stage for their second year at 2000trees. With unapologetic lyricism revolving around the modern realities of being part of the LGBTQ+ community in the UK and a blend of groovy instrumentals weaved through uncompromising trad Brit-punk energy. Fostering a wholesome live atmosphere full of love and support for their community, finding the time to joke and interact with the crowd whilst constantly clad in colourful stage costumes, The Oozes are a live delight for those seeking out authentic modern punk attitude and an unabashed celebration of queer music. – Harry Shiels
When, Where?: Saturday, approximately 15:45, Neu Stage
Part of a wave of bands fearlessly mashing together trap, metal and more, Brighton noisemakers Lake Malice haven’t released a debut EP or album yet but have earned tour spots with the likes of Bloodywood, Enter Shikari, Vended and more. A wild amalgam of hyperpop, vicious screams and soaring choruses, Lake Malice are a prime example of the creativity of the UK’s scene right now, with songs like ‘Magic Square’s’ rapid-fire flow or recent single ‘Bloodbath’s’ callout of toxic relationships all underpinned by thunderous riffs and glitchy electronics. Playing early Thursday afternoon on the Cave, they’ll be sure to bring the party. – Will Marshall
When, Where?: Thursday, approximately 13:00, The Cave
Garnering a reputation for confrontational and chaotic live shows whilst exuding the undiluted feminist energy of the ‘90s riot grrl movement, queer punk collective Lambrini Girls have been on a fast rise up the UK underground scene. Finding themselves heavily praised and now opening for the living legend Iggy Pop (and for good reason), the Brighton based trio combine biting feminist lyricism pointedly attacking societal ills, sleazy, powerful bass lines and fast paced noise soaked punk rock. Having just one EP and a handful of singles, Lambrini Girls are staged to go down as one of the sets of the weekend when all is said and done, with it only being a matter of time before they climb the ranks of festival bills and playing the larger stages. This is required watching at 2000Trees, prepare to have your face melted and watch the Neu stage buckle under the chaos. – Harry Shiels
When, Where?: Thursday, approximately 13:30, Neu Stage
Over the years, we’ve included Press To Meco a good few times in this yearly feature on the best bands to catch at 2000 Trees. And for good reason too; they’re simply sublime. No other band has quite managed to match the trio’s unrivalled talent in combining blissful vocal harmonies, visible chemistry, killer pop hooks and lacerating riffs. However, if you didn’t heed our advice previously, this will be your final opportunity to do so. Yes, after three brilliant albums and five prior appearances at Upcote Farm, Press To Meco will be going the way of Arcane Roots, Black Peaks and other now sadly dormant Trees favourites by playing their final ever show in the forest. A sad prospect indeed, but instead of this being a funeral, Press To Meco’s final show is set to be a celebration of a brilliant career in fantastic company. Be a fan of the band or not, this is a farewell not to be missed. – Dan Hillier
When, Where?: Wednesday, approximately 18:05, The Forest
Another Trees favourite – one thankfully not breaking up – returning for their sixth appearance down the farm. Ever since their first set at 2000 Trees back in 2014, The St. Pierre Snake Invasion have become something of a dearly dotted community favourite in thanks for their pulverising, often painfully intimate sets that see the Bristolian bruisers mash up hardcore, punk, metal and everything in between. However, this set will see them in a different light. Riding high following the release of their utterly fantastic new record Galore, a record that see’s the band taking inspiration from acts such as Soulwax, Massive Attack, Meshuggah and The Chariot, the band are set to demonstrate their new and brilliantly inspired sound on the main stage once again. Expect dance floor fillers, utter bedlam, and – topically – ‘Submechano’, a song about meeting your end in a doomed submarine. – Dan Hillier
When, Where?: Friday, approximately 12:00, Main Stage
Rage. Speed. Fury. Knocked Loose is back and firing on all cylinders with two blistering new singles dropped with little warning. If ‘Deep in the Willow’ is the nuclear bomb, ‘Everything is Quiet Now’ is the post-apocalyptic wasteland that follows. Keeping things exciting, a thumping kick drum ties the two soundscapes together in furious harmony, all other sound dropping out after a call-out line that only a hardcore band could get away with. Laying down some disgusting riffs and beatdowns, whilst also showing the songwriting versatility they’ve honed over the years, the band have proven that they are still on top of their game and the scene in general. – Jude Bennett
Three years on from their ferocious debut album, British DIY punk collective Dream Nails are back to point fingers and tear down fake allies. Incorporating both riotous guitar riffs and hard-hitting electronic influences, Dream Nails both reinvent and refine their sound effortlessly, confidently storming back in to hold self-identifying queer allies accountable while sharing their own experiences being harassed by “good guys”. The repeated line “It’s not a lone wolf it’s the whole damn pack/it’s not a bad apple it’s the whole damn tree” encapsulates the track’s message so elegantly, calling out men who claim to be feminists but whose actions prove them to be hypocrites. – Tom Bruce
The New Wave of British Death Metal continues in earnest, with flagbearers (and the band that coined the term) Celestial Sanctuary returning with the first single from their hotly-anticipated second album. ‘Biomineralization (Cell Death)’ is as metal as as it sounds, being themed around a dystopian world where extracting the iron and copper from blood makes the best weaponry and armour around and, in the band’s words, “the usual apocalyptic shit ensues”. It’s as death metal as it gets, opening with pounding snare and chainsaw guitars before a furious, twin-lead riff caves in skulls. There’s squealing pinch harmonics, disgusting guttural roars and a mid-paced, churning groove that demands neck movement. If you love death metal and you don’t love them already – Celestial Sanctuary are your new favourite UK death metal band that aren’t called Bolt Thrower. – Will Marshall
Bristol quartet PEACH have quickly been generating a buzz about themselves on the underground scene, helped in large part with prior singles ‘Bad Touch’ and ‘I’m Scared’ as well as their unreasonably powerful live presence. New single ‘Already There’ takes things in a slightly different direction, sticking to a sleazy hard rock tempo for maximum boot stomping riffs, really showcasing their desert-rock and noise influences on their sleeves. At just over two-and-a-half minutes, its a short and sweet release that expresses a different side to the band, feeling more deliberate and groove focussed. Ellie Godwin’s vocals are unique as ever and really elevate the band to feel different from their contemporaries, helping with the flowing dynamic energy of the instrumentals that slowly build to a noise ravaged guitar solo to close the song. ‘Already There’ is well worth anyone’s time who want something a little different with their desert-riffs, they’ve got the live presence, they’ve got the singles, now we can only wait patiently for word on the debut album that will inevitably level buildings across the country. – Harry Shiels
New CLT DRP is always a good thing. Having just finished off their first headline tour of the UK, anticipation for any news on their follow up to their outstanding 2020 debut album Without The Eyes was starting to reach a fever pitch. Fortunately, now we not only have news, but the title track of the album in the form of the four-minute dance floor destroyer ‘Nothing Clever, Just Feelings’. Still featuring their unique signature sound of one-man guitar drive synth engine Scott Reynolds and Daphne Koskeridou’s hypnotising drum grooves, the band’s instrumentals feel decidedly poppier than they have so far, especially when the beat breaks half-way through for a tremolo synth driven dance beat. Vocalist Annie Dorrett’s powerful, personal lyricism and vocal performances still act as the beating heart and driving force of the bands ethos, with the instrumentals formed spectacularly around her vocal passages. CLT DRP have great things ahead of them, between this and previous single ‘New Boy’, September can’t come soon enough to experience what they have in store for their fans. – Harry Shiels
Seemingly dropping out of absolutely nowhere before their extended summer tour schedule, Icelandic avant-garde ambient post-rock trio Sigur Rós surprised everyone by debuting their first new single in seven years: ‘Blóðberg’. Focussing on experimental ambient projects and commissioned compositions since the release of 2016’s non-album single ‘Óveður’, ‘Blóðberg’ sees Sigur Rós return to the swelling ambient soundscapes evoking a feeling of their early albums. Opening with airy synths and soft orchestral instrumentation, the seven minute track takes listeners on an emotional journey through ambient bliss, featuring vocalist Jón Þór “Jónsi” Birgisson’s signature falsetto’s and Icelandic lyrics and their dream like atmospherics before slowly building to the emotional climax at the end of the road. The real surprise came when shortly after releasing ‘Blóðberg’, the band announced their first studio album in ten years: ÁTTA. If ‘Blóðberg’ is anything to go by, then expect a return to their classic form and one of the best post-rock and ambient experiences of the year. – Harry Shiels
Mutoid Man‘s second single from incoming album Mutants with newly added bassist Jeff Matz (also of High On Fire), ‘Siren Song’ is classic rock ‘n’ roll banger served up the mutoid way. Stephen Brodsky’s chugtacular riffs, laced later with stellar finger work, accompanied by his yearning falsetto come urgent vocals. This oozes acidic psychedelia which fits with the mesmerising video put together by Loverman. The trio continue to knock out songs like they are classics from a bygone era blasting out of that old tape deck your dad had when he was younger. Six years has been worth the wait for new material and a UK tour later this year. – Adam Vallely
Post-rock and shoe gaze inspired alt-rock band Blanket have been quietly plugging away since the release of their 2021 album Modern Escapism. Seeing the Blackpool quartet experiment more with heavier atmospheres alongside their dreamy soundscapes and featuring collaborations with dark wave artists Gost and Kadeem France of Loathe, ‘Blue Eyes’ sees Blanket continue to push themselves into new territories. Opening with a riff that wouldn’t sound out of place at the start of a Mastodon track before breaking into a softer bass groove, Blanket play with textures and dynamics throughout, weaving soft vocals, catchy choruses and ambient soundscapes with screamed vocals and chunky, distorted, almost post-metal guitars. ‘Blue Eyes’ is a continuation of the band’s progressive tendencies and stalwart dedication to remaining fluid in their songwriting. Hopefully this is the first of many new singles that see the band continue to experiment and explore further expanding sonic textures and soundscapes. – Harry Shiels
