Bristol’s folk punk sweethearts Toodles & The Hectic Pity return with ‘Emotionally Unclean’, a new single that bridges the gap between their raw, energetic first EP and their more recent indie rock inspired work. With a distorted acoustic guitar and an energy reminiscent of The Mountain Goats at their best, Toodles fly through a single that begs for multiple listens to pick up on the poetic lyrics. Effortlessly flowing between breakneck pace punk energy and subtle, singer-songwriter inspired, acoustic rock, Toodles & The Hectic Pity prove once again that they’re capable of combining deeply personal and imaginative songwriting and unrelenting folk punk spirit to create something unique, memorable and moving. – Tom Bruce
Imagine, if you will, New American Gospel by Lamb Of God played by a hardcore band and given all of the heft of a modern production. Now, stop imagining and go and listen to Burner, and their new track, ‘Prometheus Reborn’. Filled with frankly scorching riffs, massive drums and enough groove to make a mountain dance, the second single from their upcoming debut album It All Returns To Nothing, shows a young band at their pissed off, furious best. The lyrics are chock full of nihilistic, apocalyptic imagery that coalesces into an ending of “I become death” that scratches every heavy music itch you could possibly have. No frills, no experimentation, just a vision of the world in ashes and the sonic recreation of said imagery. One of the most impressive new heavy bands in Britain? No. These guys are one of the most promising bands in the world right now. Not bad for a group of hardcore kids obsessed with death metal, eh? – Chris Earl
Pupil Slicer are already off to a banner year in 2023. Unveiling new album Blossom and its title track subverted expectations somewhat with a more accessible sound, the positive feedback came flooding in, album pre-orders sold out near instantly and the buzz surrounding the London based mathcore outfit amplified substantially. Now the band have released ‘No Temple’, which singer and guitarist Kate Davies describes as their heaviest track to date. This is definitely more in line with fans’ expectations of Pupil Slicer, which is to say absolutely crushing, technical polyrhythmic insanity. Opening with distorted trap drums before detonating with a monolithic opening riff, the next four-and-a-half minutes fly by in a blur of impressive musicianship, frantic songwriting and aggressive vocals. The gang chant of “no tem-ple!” immediately careening into two unbelievably heavy back-to-back breakdowns is sure to tear crowds asunder, especially with a cheeky discordant little bass solo thrown in there right at the end for good measure. If ‘Blossom’ and ‘No Temple’ were meant to represent the opposing fringes of songwriting for the new album, then you can’t help but wonder with what’s lurking in-between with impassioned anticipation. – Harry Shiels
Norwegian black’n’roll legends Kvelertak have had a bit of a hard time of it since releasing their last album Splid in February 2020. Losing almost an entire album and touring cycle to horrendously unfortunate timing, Kvelertak only managed to play a smattering of festivals and live shows across Europe since. Fortunately, they kept grinding away and it shows, with the announcement of their new album Endling, they debut new single ‘Krøterveg Te Helvete’, which is arguably the best the band have sounded since their legendary 2010 self-titled debut. Featuring their signature blend of blackened vocals and instrumentation with classic hard rock songwriting, ‘Krøterveg Te Helvete’ is a joyous four minute ear worm with incredibly clean production. Whether it’s the clean guitar tones on the bridge and solo that have undertones of Blue Oyster Cult, or the slight crunch of distortion on the vocals, ‘Krøterveg Te Helvete’ is sure to please any die-hards who have been chomping at the bit to hear more from them. If their relentless work ethic and determination for domination is anything to go by, then may 2023 see Kvelertak start to get the recognition they’ve always deserved. – Harry Shiels
Chaotic Washington D.C. based pop-punk duo Origami Angel have built a cult following with their hectic blend of youthful experimentation and heartfelt emo realness, their latest single ‘Thank You, New Jersey’ shows off their playful, experimental side more than ever. Only clocking in at about 2 and a half minutes ‘Thank You, New Jersey’ jumps between genres at lightning speed, flying out the gate with shredding and blast beats before settling into a skater pop-punk groove and then veering off into a Beach Boys inspired surf rock verse and a 70s soft rock sounding bridge. Origami Angel cram so much into this relatively short track that it should sound like frenzied nonsense, and it does, and it’s wonderful. – Tom Bruce
As we go about spending our days in crammed offices and wasting our meagre earnings on processed Pret A Manger lunches, it’s almost inconceivable to think that lockdown actually happened. Some time away to our own devices amidst another working week sounds heavenly; only if we forget the inherent horrors that come with forced isolation however. Such horror is the subject of ‘About New Writing’, the new single from art-punks Cassels. Taken from a 7” inch split with Beige Palace – out now via God Unknown and Human Worth – ‘About Not Writing’ is a feverish and deeply claustrophobic rumination on the creeping anxiety that came synonymous with the lockdowns, one expressed in an off-kilter fashion which sounds akin to a Swans and Viagra Boys enduring a shared panic attack in the dark. “As someone with low-level anxiety about going outside, I really enjoyed the first few weeks of lockdown”, states the band on the single. “However after a while I could feel myself starting to go weird. Writing became much harder when every experience and interaction was reduced to a screen. In the end all there was to write about was the act of writing itself. That, and the daily inertia. Sitting around in my pants, watching the days slip away. It was an odd time.” – Dan Hillier
Wales’ exports are aerospace systems, dairy products, and the best post-hardcore quartet in the music biz: Holding Absence. Their new single ‘A Crooked Melody’ is the most recent in a long line of consistently impressive songs. It features their usual pummeling percussion, dynamic guitar, grounding bass, heartfelt vocals, and clean production. Singing of a crooked melody, the apex of the song is a note higher than the ears expect, in a lovely twist. It’s brilliant songwriting, but it’s just another day for the Holding Absence crew. Hopefully, this single hints at the rumoured third album. Their sophomore outing is going to a tough act to follow, but if ‘A Crooked Melody’ is any indication, their third album will be a worthy successor. – Josiah Aden
One minute and fourteen seconds is the length of chaotic hardcore duo Death Goals‘ new single ‘Year of the Guillotine’ and you would think that not much could be said in such a small snapshot of time. However, Harry Bailey (guitars/vocals) and George Milner (drums/vocals) manage to obliterate this moment with a fist swinging racket. George’s snare cracks as Harry’s shrill guitar pierce any objects in their path. This is Death Goals at their most beautifully chaotic and noisy. The lyrics relay their message against queer erasure. “You can’t erase, you can’t erase our existence” is screamed vehemently as a response to the Tory government’s neglect of the LGBTQ+ community and should make any listener stop and take notice. With their new album A Garden of Dead Flowers and another tour just around the corner this is an exciting and important time for the duo to take on the not just the UK but the world. – Adam Vallely
Portland metalcore bruisers Dying Wish ignited a storm with their debut album Fragments of a Bitter Memory in its throwback to 2000s metalcore in the vein of Poison The Well or Killswitch Engage and brand new single ‘Torn From Your Silhouette’ is no different. Balancing brutality and vulnerability, it addresses “taking the risk of being vulnerable with another person, only to find they have dishonest intentions and take advantage of your willingness to love,” says vocalist Emma Boster. It’s poignant, especially in its tender, KSE-esque melodic vocals, with lyrics like “I’d rather feel everything, than nothing at all” underscoring its tenderness even when it also careens into towering breakdowns guaranteed to induce whiplash in pits. The 2000s metalcore revival is going strong, and Dying Wish are easily the best of the bunch, taking an established sound and updating it for the modern day without losing any of the original appeal. ‘Torn From Your Silhouette’ is a bruising affair, both emotionally and sonically, one that hopefully hints at much more to come from them and is sure to go down a storm when they finally hit the UK next month with Counterparts. – Will Marshall
Returning to 2000 Trees for their first performance post-hiatus is Soft Play, who will be headlining Thursday evening. Previously known as Slaves prior to changing their namesake, this year’s festival will be their first show back post-hiatus and their first appearance since September 2019. Furthermore, the set will be by request. You can vote on which songs you want to hear via this link.
Also joining the fray today are, Dinosaur Pile-Up, Hell Is For Heroes, B-Sydes, Bilk, Beach Riot, CARSICK, congratulations, Clarence, Gaffa Tape Sandy, Love Is Noise, NOISY and everyone’s favourite feral felines Haggard Cat, who will be playing a fully electronic set in the Word Stage on Wednesday. They will be joining a stacked bill featuring the likes of The Wonder Years, The Bronx, ASIWYFA, Rival Sons, Hundred Reasons, American Football and more.
On top of that, the festival has also announced the podcast lineup this year, with On Wednesdays We Wear Black, Three Is The Magic Number, 101 Part Time Jobs, Mark & Me, Punks In Pubs – and of course – Sappenin’ all recording live episodes over the span of the weekend.
“We’re thrilled to be able to confirm Soft Play headlining the Thursday at 2000 Trees”, states festival organiser James Scarlett. “New name, same songs, same incredible live show! They first played the festival in an early slot in 2014 before headlining in 2017 – so to have them back again now both the band and festival are bigger and better than ever is going to be something special.”
2000 Trees 2023 will take place at it’s usual picturesque home of Upcote Farm, Cheltenham, between 5th- 8th July 2023. You can grab the final remaining tickets and find further information here. See the full-up below and we’ll be seeing down the Cotswolds later this summer.
Joining the fray today is the heavy Devy himself; Devin Townsend. Headlining the Saturday night, Townsend’s set will see him ringing out the festival itself, and if his recent tour was anything to go by, it’s going to be something you would be a right fool to miss.
“[I’m} Honoured to be headlining the final night of Arctangent festival in the UK this August”, states Devin on today’s announcement. “It’s a cool festival that seems to really be committed to musical diversity. That’s something I can definitely get behind and I look forward to seeing you there.”
Also announced today are Haken, YOURCODENAMEIS:MILO, The Guru Guru, Aiming For Enrike, Ashenspire, Butch Kassidy, CLT DRP, Chalk Hands, Grief Ritual, Host Body, I Built the Sky, Naut, Ramkot and Silverburn. They will all be joining an absoutely stacked lineup featuring the likes of Converge, Heilung, Deafheaven, Igorr, Empire State Bastard, Chat Pile, ASIWYFA and some of the best names from the realm of post, math, prog, noise and all things wild and contemporary.
“We’ve been trying to book Devin Townsend for years, so to finally get him to Bristol to close out what is now officially the biggest ArcTanGent Festival we’ve ever had is a dream come true”, states festival head honcho James Scarlett. “Word to the wise, at this rate ATG will sell out this year so if you want to join us for Converge, Heilung and Devin Townsend, don’t sleep on it – you’ve been warned!”
As per always, ArcTanGent Festival takes place at Fernhill Farm, Bristol, between 16th – 19th August 2023. Globally renowned for being the ultimate destination for fans of weird and wonderful music, the festival has grown massively over the years without compromising it’s core focus on independence. You can find the last few tickets and general information here. See the full lineup and day splits below, and we’ll see you down the farm come August.
Consisting of Tommy Wood (vocals), Rob Beaulieu (bass), Rick Beaulieu (guitar), and Dillon Forret (percussion), Rust are a complete force to be reckoned with. Dedicated to DIY ethics in a scene that was very much lacking pre-pandemic, the metallic hardcore outfit has stepped up and proven time and time again why Canada’s hardcore/alternative scene needs to be taken as seriously as any other scene out there. They single-handedly represent everything Ontario hardcore has to offer which has since resonated with swathes of people, old and young, causing a massive surge in attendance and acceptance in the thriving hardcore community in Canada.
Coming from the Greater Toronto Area, what separates them from any other hardcore band in the area? Could it be their fan engagement? Their love for their community? Their thrive and willingness to push new bands? Or just the fact their music absolutely slaps? It’s actually all of the above. Rust has a massive sense of community and love for their fans, friends, and family alike. Proving they’re not only amazing hardworking musicians but also some of the most all around nicest guys out there. We got to see this first hand when sitting down with vocalist Tommy Wood to answer a few questions for us about the ever growing Canadian hardcore scene, the band, and music in general.
Brighton based electro punk trio CLT DRP are back with their captivating new track ‘New Boy’. With recent news of their signing to Venn Records and talk of a second album, ‘New Boy’ is an intoxicating opportunity to hear what’s to come from a band who’ve been moving from strength to strength since the release of their debut. Tightening and polishing their typical structure, Scott Reynolds’ signature synth heavy guitar tone rhythmically chirps and scrapes with little flourishes dotted throughout, complimented by Daphne Koskeridou’s impeccably precise drum grooves. Annie Dorrett’s unique vocal performance is a standout as usual, lyrically introspective of herself related to past relationships and independence, the almost manic nature of the lyrics are reflected in the performance itself. With undeniably catchy hooks and a breakdown that’s sure level dance floors across the country, this is quite possibly CLT DRP’s finest work so far and continues to show why they’re one of the most talked about rising acts in the country. – Harry Shiels
Everyone’s favourite rave punks Tokky Horror are back with new single ‘Toilet’. Taking a slightly more subtle approach than their previous tracks, ‘Toilet’ begins with ethereal vocals from singer Mollie Rush, flowing into a tension building lead guitar line before flying into the group’s trademark D&B meets punk chaos. If you were waiting for Tokky Horror to drop a ballad this might be the closest you ever get, with a more atmospheric and emotional tone than anything they’ve done so far. ‘Toilet’ doesn’t quite reach the manic energy we’ve come to love from Tokky Horror but it’s definitely interesting to see a new, less intense side of the band. – Tom Bruce
Fresh off the back of his fifth studio album alt-rock oddball Jamie Lenman is already releasing new music leading up to a new EP dropping on the 5th of May. Latest single Crazy Horse brings an upbeat country energy to the melancholy acoustic rock vibe of Lenman’s album The Atheist reminiscent of his first solo album Muscle Memory. Lyrically the song references the Crazy Horse Memorial, a mountain in South Dakota with the face of Native American war leader Crazy Horse’s face carved into it, Lenman uses the permanence of this towering monument to contemplate his own relatively short life and how he can make an impact on the people around him. It’s a simple but effective song combining singer-songwriter energy with the deep, imaginative storytelling we’ve come to expect from Jamie Lenman. – Tom Bruce
Norwich based trio Sleemo combine a scattershot mix of stoner metal, hardcore and alt-rock for an entirely unique and heavy sound, new single ‘Y.A.N.O.’ leans heavily into their stoner influences. Opening with a steady, droning bassline that wouldn’t sound out of place on Dopesmoker before opening up with dissonant, broken guitar chords and shuffling drums, ‘Y.A.N.O.’ makes the most of its relatively short runtime by slowly building up to a chaotic wall of noise. The diverse vocals on ‘Y.A.N.O.’ range from almost chant-like cleans to ferocious screams, culminating in a repeated, shouted mantra of “You are not owned” closing out the track. Despite the track clocking in at less than 3 minutes, Sleemo manage an impressive amount of experimentation throughout flying between genres and approaches leading up to a violent, cathartic finale. – Tom Bruce
Californian punks Scowl set the scene alight with debut album How Flowers Grow and with every taste of new music since, we’ve been more and more convinced their potential is limitless. The latest and final single taken from the EP of the same name, ‘Psychic Dance Routine’ pivots into indie and alt rock territories, all breathy vocals and stunning melodies. While it may mark a huge change in sound from their earlier work, it’s simply the sound of a band becoming ever more comfortable in their skin and embracing new (or in this case, old) sounds as they draw as much from grunge and 90s alt rock as they do hardcore. Kat Moss has come a long way as a vocalist; already a commanding presence with her snarls, the melodies now sound ever more confident, just as the rest of the band do, too. There’s an earnestness and vulnerability to the song and lyrics, drawing listeners deep into Scowl‘s world and proving they simply should not – and cannot – be bound by expectations. – Will Marshall
The subterranean sludge-coated lords of all things low and oh-so low are back, this time with ‘Thrash Music, a track that sounds something courtesy of Metallica if Lars and co where subjected to the events of Event Horizon. The first track to be released on Sugar Horse’s own Fat Dracula Records, the abrasive and claustrophobic ‘Thrash Music is a dedicated to the plight of those striking for not for just better pay, but for the necessary wages required to survive in this hellish place we call the modern day United Kingdom. Encapsulating all of this is the single’s video, a short picture animated with puppets and fuelled by the kind of breakdown that only comes after transitioning into your early thirties. “This video was recorded in the depths of the night in almost complete silence, apart from the creepy – and slightly depressing – clattering of the feet of small marionettes”, state the band on the video. “On seeing the materials I’d acquired to make this masterpiece, my loving partner stated she was no longer sexually attracted any more. While this might be quite the blow to my personal life, I think finding a new passion for low quality puppetry was almost worth the pain.” – Dan Hillier
