Taking place across SWX, Rough Trade, The Station and The Lanes – with the courtyard being reserved for acoustic sets – in Bristol City Centre, the festival is set to host Twin Atlantic and Yonaka as co-headliners we well as featuring the likes of Kid Bookie, Mimi Barks, Pengshui and Lozeak. On top of this, the festival has partnered with Heads Above The Waves, the brilliant Cardiff non-profit organisation raising awareness of mental health issues and self-harm in alternative culture and beyond.
On the announcement, promoter Ian Chadderton says, “The Bristol alternative scene means the world to me. It accepted me with open arms and everything I do is a testament to how I’ve grown over the last decade whilst immersing myself within this wonderful city. This festival is a chance for me to show the world why I fell in love with Bristol and a chance for me to give something back to the place that gave me everything.
“An important part of the ethos of the festival is for mental health awareness, diversity and inclusivity. We have partnered with an incredible organisation called Heads Above The Waves, who are a non-profit that raises awareness of depression and self-harm in young people. They promote positive, healthy coping mechanisms and remind people that they are not alone. We are also striving to promote gender equality which is at the heart of our event, with 50% of the acts having female and/or non-binary members.
“MLC23 will have an incredible line-up of some of the UK’s most exciting bands crossing all genres from alt-pop to metalcore and I’m so excited to have 2 bands sharing the headline spot, Twin Atlantic and Yonaka who will both be playing full headline sets at our main stage at SWX.
“We have huge plans for Misery Loves Company and in the coming years we want to establish ourselves as a major festival in the UK, where we bring the biggest rock and alternative artists from across the world to Bristol.”
Tickets for Misery Loves Company Festival 2023 are on sale now and can be found here. Check the lineup thus far below.
Empire State Bastard by name, Empire State Bastard by nature. Simon Neil, Mike Vennart and Dave Lombardo joining forces is on paper a force to be reckoned with and ‘Harvest’ has quickly proven this to be true. Before anyone asks – Biffy Clyro, this is not. Rather, it’s an amalgamation of the darkest, most horrible parts that has added extra intrigue and depth to Simon and Mike’s work over the years in the moments they have wanted to add the last dab of hot sauce to the mix. Pulling heavily from the worlds of thrash, grind, hardcore and sludge this is a chaotic bombardment of heavy music. Dave’s drums feel like an avalanche of boulders crashing down of you as Simon uses every last dying breath to belt out his lyrics. You’ll need a lie down and a cup of tea to calm down after taking this in. Additional props to Empire State Bastard for taking former Bitch Falcon bassist Naomi Macleod under their wing and having relatively new Leeds band Grub Nap as support for the upcoming and surely wild debut live shows this week. – Adam Vallely
On the surface, one wouldn’t assume the latest track from Calligram to be a joyous affair. After all, a furious and frigid amalgamation of D-beat and black metal, ‘Ex-Sistere’ sounds like the pure musical equivalent of woe and misery. Yet amongst the tremolo picking and screeching stands something celebratory indeed. The first track to be taken from the London-based international band’s second record Position | Momentum – released July 14th via Prosthetic Records – ‘Ex-Sistere’ see’s the band stepping into a more spaciousness and atmospheric sound whilst defying some of black metal’s most stereotypical tropes in a way that’s not alienating, but wholly progressive. Recorded alongside Russ Russel (Napalm Death, At The Gates, Dimmu Borgir), the track see’s the band further ratcheting up the intensity whilst vocalist Matteo Rizzarddo details the tales of pain, trauma and anxiety that formed him in his native Italian. However, this is not a record of woe and nor is it a vessel for catharsis. Instead it’s one of jubilation, with the album as a whole serving a somewhat of a chronicle of Rizzardo’s journey from the darkest times of his life, detailing the acceptance, learning and ultimately joy that came inherent with recovery. With that in mind, and with ‘Ex-Sistere’ being utterly jaw-dropping in scope and delivery, it does well appear that Position | Momentum is bearing all the hallmarks of the one of the best black metal releases of 2023 already. – Dan Hillier
Beloved west coast math rock band Covet are back with a new single track that balances impressive technicality with chill, sparkly vibes. After 2022 left the trio with an entirely new lineup apart from original guitarist Yvette Young, Covet have rebuilt their sound from the ground up, focusing less on Young’s intricate riffs, instead using them as one layer in a rich, vibrant soundscape. ‘Lovespell’ also incorporates some subtle synth textures and a tasteful saxophone solo from Alex Rose of Minus The Bear which seamlessly weaves into the track, playfully trading lines with Young’s guitar. – Tom Bruce
Emboldening the damaged, deflated and downtrodden among us with a heavy dose of terminal ferocity, the East End native horror thrash quartet Saint Agnes, drag us out of the depths of despair with their sharpest assault on noxious external influences with the title track of their upcoming album Bloodsuckers. In being galvanised by denying peripheral elements the chance to diminish their shine, lead singer Kitty A. Austen has funnelled the pinnacle of their most outrageous savagery towards all constraining and supercilious entities in their midst. While appealing to hardcore zealots, its further evident appealing stature as a defiant call to arms for all whom strive for a dependable, accepting and authentic support system, especially in times of tremendous sorrow just expands the sense of awe into rather gargantuan realms. With the release of this addictively monstrous banger, the accompanying news of their imminent sophomore album’s release date has left us utterly exultant due to our expectance of high-grade musical explorations to ready their loyalists into a riotous bash in the pits. – Bennie Osborne
Headlined by Northern Irish post-rock legends And So I Watch You From Afar and Japanese pioneers Mono and featuring some of the best talent within the UK contemporary scene, Portals Festival will see Hackney become the temporary global capital of post and math rock in late May.
Taking place the celebrated multi-purpose venue EartH on the 27th and 28th of May, the lineup boasts some of the biggest names in post and contemporary rock, with the event set to host Nordic Giants, Maybeshewill, A. A, Williams, Jambinai and more alongside some of the best emerging talent such as Pupil Slicer, Svalbard, VLMV, Memory Of Elephants, Dead Bird, El Moono and Straight Girl. Whilst Portals is well established in the scene for hosting some of the best events across London, Portals Festival 2023 is set to the promoting group’s biggest endeavour to date, and unsurprisingly, tickets are already flying out.
“When we booked the first ever Portals all dayer at the New Cross Inn (South East London) in 2015, never in a million years did I think we would ever book a band with the stature of Mono”, states festival organisers Sam and Asher on booking Mono. “They are true pioneers, defining what we now know as post-rock. Their live show mesmerises and tranfixes you, transporting you to new worlds. The band formed in the late 90s, when we weren’t even in our teens, before we even knew what post-rock was. Around that time, grunge, punk and alt-rock were the weird, experimental, counter-culture music that we and our peers fell into. Who knew that the sonic landscape would be changed so dramatically by stripping away the aggression to the bare bones, and rebuilding music through extreme dynamic range and carefully crafted instrumentation. Mono were one of those bands, and it’s an honour to be able to bring them to such a dedicated, enthusiastic and reverent audience, such as our Portals Festival family.”
Portals Festival 2023 takes place on May 27th and 28th and you can see the full lineup below. Get further information and tickets here.
Just how do you follow up one of the most critically acclaimed debuts of the 2020s? That would have been the big question hanging over London mathcore noisemakers Pupil Slicer after their debut album blew the metal scene’s collective socks off. Filled with righteous rage, nihilism and an uncompromising sense of heaviness, many expected maybe an evolution or refinement of their sound…but judging from new track ‘Blossom’, the band aren’t content with that. The first single from the album of the same name, ‘Blossom’ is an alt metal tinged banger that wouldn’t sound out of place in the early 90s grunge scene. Kate Davies sounds absolutely phenomenal, delivering some pop-laden hooks and throat ripping screams while being backed by some furious drums and shredding guitars. The solo just over halfway through is incredibly satisfying and this whole track will bring a smile to your face. By releasing the closing track and one that represents such a huge stylistic shift first, Pupil Slicer are doing things on their own, unique terms and it could lead to one of the best records of the year. – Chris Earl
“Fuck the scene, I’m the Queen”. LA based matriarch of bimbocore, Scene Queen, is back after a landmark 2022. Releasing two EP’s, selling out her first U.K. headline tour in 5 days, opening support slots for Set It Off and Wargasm, Scene Queen kicks off 2023 with uncompromising new single “18+”. Taking aim at predatory behaviour within the alternative space and the industry at large, “18+” is a blunt callout of an issue that is, unfortunately, still incredibly pervasive to this day. Pulling no punches, Scene Queen’s incredibly sharp, witty and catchy lyrics are the big pull of this track, the vocal delivery is spot on. Instrumentally this follows the bimbocore style Scene Queen has cultivated for herself: samples, 808s and trap beat verses with big 2010s era metalcore singalong choruses and down tuned breakdowns. Production wise, this is a marked step up, everything sounds tighter, the quality is crisper, where both the BIMBOCORE EPs were highly enjoyable, well written and produced collections of tracks, this might be Scene Queen’s best work so far. If this is the opening call to arms, then bring forth the pink rapture. – Harry Shiels
Philadelphia legends Jesus Piece have returned and with them is an insanely brutal new single titled ‘Silver Lining’. This track is everything the listeners have come to admire from the 5 piece unit. Yet somehow feels completely different in the best way. Utilizing their multi-genre style by combing metallic hardcore with hints of death metal, the track hits the ear drum almost like a Fit For An Autopsy or The Acacia Strain track while also staying true and unique to Jesus Piece’s own sound. This track is guaranteed to be a liability when played live due to the amount of bodies that will need to be stacked by the end of the song. Be sure to keep eyes peeled and jam the new tracks as we wait for new album “…so unknown” which drops April 14, 2023 via Century Media Records. – Nathaniel Maure
Glacial Texan death metal quintet Frozen Soul share the second cut from their highly anticipated 2nd album Glacial Domination, this slab of pummelling old school death metal is a tribute to a late friend of the Texas metal community. Opening with pounding war drums and the sounds of distant battle, ‘Arsenal of War’ breaks into a frenzied main riff, very much channeling the energy of Bolt Thrower. There is a surprisingly catchy chorus with Chad Green and guest backing vocals from Reese Alavi (Creeping Death), the growled vocal hook taking centre stage, followed by a Kerry King esque guitar solo from Blake Ibanez (Power Trip and Fugitive), before a brutal rhythmic switch up leading into the final third of the track which is begging to be pit fodder in a live environment. Lyrically, Green weaves the legend of Swiftarrow (an Everquest character played by his brother, the late Cory Green) with both references to Swiftarrow as a character and the man behind him, reflecting on their life and ability to push through and see light in the darkness. ‘Arsenal of War’ is sure to be another fan favourite from one of the most anticipated death metal albums of the year. – Harry Shiels
UK powerhouse Sylosis have just dropped their newest music of 2023 with ‘Deadwood’ and let’s just say, it lives up to the reputation Josh Middleton and the band have made for themselves over the years. With a punchy drum beat mixed with catchy riffs and brutal vocals, the song almost couldn’t get better, but it does. At the 2:45 mark, the listener is blessed with one of the cleanest guitar solos followed by some almost unexpectedly beautiful singing. But not without slamming back into that catchy, bouncy chorus and closing us out. Deadwood is no doubt a contender for one of the best metal tracks so far this year. – Nathaniel Maure
Composed of Guy Jones (Keys, Bass, Strings, Guitar, Vocals), Joe Caple (Production, Percussion, Synths) and Beth Cannon (Vocals), LibraLibra are a being of flux and energy. Wholeheartedly dedicated to creating musical art that’s driven, passionate, meaningful – and above all else – unshackled by neither conventional norms nor cliched, LibraLibra’s craft epitomizes the inherent freedom of queer joy. As those who have encountered the act previously can attest to, to even attempt to pinpoint the band’s sound is a fools errand. It’s dramatic, fierce, emotional and zealously individual.
But what makes LibraLibra so special and vital? What distances themselves in a city and scene globally renowned for producing some of the most dynamic acts in the UK? Well, such answers lie within their ideology, approach, production, background and disregard for protocol. Ardently DIY, the group’s foundations lie in the realm of post-rock, with the band first meeting whilst each member performed in different respective post-rock projects. Then, as each member moved to Brighton, LibraLibra took shape. Implementing their understanding of dramatics, flow and tension as a core of their sound, the trio took these critical lessons of post-rock theory and applied them to a new sound, one driven by sardonic punk sensibilities and electronic pules.
As found within their first standalone singles ‘Animali’, ‘Tongues’, ‘Loverboy’ and their 2020 EP Hail Mary, the band’s sound is well read in composed musical theory whilst remaining totally unchained. Elements of punk, electronic, artpop all things inspired melt and amalgamate in a way that’s not forcibly fused, yet chemically fluid. In these songs, one can easily found motifs reminiscent of acts such as CLT DRP and AK/DK as much as can find elements of Fugazi and even Bjork. The band’s sound is overwhelmingly broad yet cohesive in a perfect display of freed postmodernism.
Yet, it’s LibraLibra’s upcoming EP CUT that see’s them at their most inspired. As presented in the singles ‘Mothers’ Ruin’ and ‘SADFACE’, the EP channels the entire spectrum of noise found within Brighton, is bounded by a greater emphasis on spacious dynamics and bridges the gap between modern and classical understandings of harmony. Truly, it’s where the band deliver their message with even further artful flair. Addressing trauma, tragedy, sexism through playful poetry bolstered by synths, jazz chords and strings, the EP is a wonderful and broad record full of more substance than most bands would produce in their entire careers. Impossible in scope yet presented cohesively, it’s a testament to the band’s creativity, ethos and freedom.
With CUT releasing March 23rd, we sat down with the band to talk Brighton, their approach and more.
Queercore duo Death Goals have released ‘P.A.N.S.Y’, the second single taken from their hotly-anticipated second album A Garden of Dead Flowers. Where their debut The Horrible and the Miserable showcased a purging of emotion as the pair excised as much negativity as possible over its runtime, the new album takes a much broader view, showing a band much more comfortable in their own skins, both personally and musically. ‘P.A.N.S.Y’ is a far more emotive affair, though still shot through with Death Goals‘ own take on chaotic hardcore. The two trade vocal hooks, equal parts snarl and shouts as the song churns away beneath them. Lyrically, they address what it’s like being queer when you’re young, having to hide it from those around you but also there’s an undercurrent of joy in the self-discovery of queerness. Its biting title feels like a nod both to the judgement queer people so often receive from bigots, as well as a reclamation of the term on that same journey. – Will Marshall
It’s been a busy year so far for the boys in Enter Shikari; coming off the back of their single ‘Bull’, the band went on to announce the April 21st arrival of their seventh album, A Kiss For The Whole World, along with residencies in five UK cities across three months. ‘Bloodshot’ is the third track to be released from the upcoming album, arriving just before the band set off on their second wave of the residencies, and presents as yet another banger in the Shikari catalogue. With a heavier electronic feel than the previous two singles, thanks to the layers of stuttering synths and pitched up vocals that snake their way around the verses of the track, ‘Bloodshot’ is definitely going to appeal to those who haven’t clicked with the poppier sounds of the bands recent material, especially during the heavier choruses and killer climax. – Ryan Ward
Fresh off an exceptional support run for French legends Gojira, Employed To Serve have released a deluxe edition of latest album Conquering, complete with a brand new song, ‘Take Back Control’. It sits snugly alongside the other songs on the album as a full-bore rager drawing on groove metal, hardcore and flourishes of classic heavy metal. Opening with a riff that’s unmistakeably them and a howl of “take back control!” from vocalist Justine Jones, it quickly accelerates to a pit-inciting frenzy with duelling vocals between Jones and guitarist Sammy Urwin. It sounds tailor made for arenas; an enormous, bellow-along chorus, towering riffs, a blistering solo and breakdowns that’ll have limbs flying in no time. ‘Take Back Control’ doesn’t let up for a single second, and it’s sure to decimate crowds on the band’s headline tour later this year. – Will Marshall
Michigan post-emo’s Hot Mulligan released their latest track ‘Shhhh! Golf Is On’ along with the announcement of a brand new album Why Would I Watch. Classically Hot Mulligan, the title has no connection with the song’s meaning. With no golf involved, the track sees singer Tades Sanville taking a swing at his own mother. A cut-throat dose of maternal slander, he says, “‘Shhhh! Golf Is On’ is about my mom. I’m asking her to die.” Ouch. Vehement, abrasive vocals are met with bright Midwest style guitars, finger-pointing grooves and a good dash of cowbell for extra added effect. An extremely promising lead single from one of the hottest emo pop-punk bands around right now. – Katie Ashton
A beautiful return to form after the band’s chaotic and wildly experimental previous release, The Xcerts channel the synth driven, emotive energy of their 2018 record Hold On To Your Heart alongside a fresh new energy, reaching an exhilarating new high point with new track ‘Ache’. With a runtime of less than two minutes, the track is a tantalising smattering of more to come, and with duetted guest vocals from none other than Architects’ Sam Carter, alongside frontman Murray MacLeod they reach exquisite harmonies descended directly from the gods. It’s been 5 years since we had a record from The Xcerts, and though their upcoming full length remains to be formally announced, the band haven’t been shy about the extensive time they’ve spent in the studio working on these tracks with Blood Red Shoes‘ Steven Graham Ansell on production duty. Hold on to your hearts, this is sure to be a thrilling ride. – Elliot Grimmie
