They’re back swinging. Taken from their yet to be unveiled new record, ‘Oldest Daughter’ see’s Philadelphia’s The Wonder Years returning with yet another instant classic that hints towards the band entering their finest chapter yet. The conceptual sequel to their 2013 track ‘Madelyn’, the single documents that no matter how hard you try, it’s sometimes impossible to save those determined on self-annihilation. It’s an impassioned exploration of the subject, one that showcases their continuous evolution in storytelling through song and one that’s delivered with a balanced sound that mares the more matured alt-rock sound within 2018’s Sister Cities with the pop-punk bounce of their career defining effort The Greatest Generation. Truly, it sounds like the band have complied all the best aspects of their sound into one cohesive effort here. With their upcoming record being produced by Steve Evetts – the same producer of the aforementioned The Greatest Generation and 2011’s Suburbia I’ve Given You All and Now I’m Nothing – it’s absolutely undeniable that The Wonder Years’ next record is going to be yet another hallmark courtesy of the band that revolutionised pop-punk for the better. – Dan Hillier
Celebrating their recent signing to Church Road Records, metal troupe Ohhms have released the first taste of new music since 2020’s excellent Close. ‘The Mephisto Waltz’ not only features striking artwork but something of a shift in emphasis from the band themselves. Where Close and predecessor Exist looked at a broad range of topics, including the harrowing subject of animal abuse, ‘The Mephisto Waltz’ pays homage to the 1971 horror flick of the same name, where a musician sells his soul to the devil for fame and fortune and the band have opted, after the horrors of the past few years, to simply focus on writing fun songs and enjoying the ride. Eschewing the slow burn post metal of their earlier work, there’s a far bluesier, but still sludgy feel to ‘The Mephisto Waltz’, along with a hefty dose of rock’n’roll swagger. It’s a bold step forward into new pastures for the band rather than stagnating or wallowing in the mire of the pandemic, resolutely injecting a sense of fun into their new sound. – Will Marshall
Crossover thrash metallers Cage Fight have released the latest single taken from their upcoming self-titled debut, the vicious ‘Killer’. Featuring their by-now trademark of frenetic guitar and vocalist Rachel Aspe‘s spleen-venting roar, along with a brief but no less vicious breakdown, it’s another slab of aural brutality taking aim at those that wrong others. Bassist Jon Reid explains, “‘Killer‘ is a release of anger and fury directed at anyone that has caused wrong and is a rallying cry to those that feel pure visceral rage and need a soundtrack to that pure emotion. The song’s intensity is based in a simple remit, if you have wronged… you better start running…”. The accompanying visual shows the creation of the album’s artwork as a visualiser, with the band’s logo being tattooed onto a client’s palm, strapped down given how painful the area is to tattoo and perfectly captures the band’s own blend of aggression. – Will Marshall
Striving to dance around an agonising spiral into the depths of the unknown; the Sandgrownian alternative rockers Boston Manor kick off the post-Desperate Times, Desperate Measures era with the distinct essence of peculiarity with their latest single ‘Foxglove’. With its groove based instrumental beckoning listeners into a full scale swing factor, it’s lyrics detail a much darker tale of the penultimate moments into an unavoidable mental nosedive, that feels eerily familiar when casting our minds back to the various instances of assumed lived experience through psychological battery, which are laid to rest within the fine lines of some of their most haunting additions to their discography. With the band currently touring North America, as well as gracing a sprinkling of stages across Europe before landing back in the UK for their stint on the Main Stage at 2000 Trees; you would be mad to miss the chance to see these contemporary rock revivers thrash it out to an adoring crowd, especially with such a banger added to their set list. – Bennie Osborne
‘Reverse the Curse’ is the second single to be released from Alexisonfire’s upcoming album Otherness. It’ll be the band’s first studio album in 13 years and see’s them embracing uniqueness and individuality. It even has an interesting history too, with George Pettit saying “Some riffs stick around for a while until they make sense. ‘Reverse The Curse’ has existed in one form or another since Crisis. There was even a version that we used as the original ‘Young Cardinals’ but that one wasn’t meant to be. It found its way to creation during our covid rehearsals and I’m glad it’s finally coming to light.” Regardless, with it’s bluesy Southern Rock style, the song holds as much groove as it does charm with the usual melodic swoon of Dallas Green and growling snarl of Wade MacNeil. The song further cements the sound that band have crafted that comfortably incorporates the Alexisonfire tropes of old and newer textures and layers. There is still a sense of urgency and raw vulnerability to their sound too which brings the listener right back to what sets Alexisonfire apart. For those that have waited 13 years, the album is certainly living up to the hype and expectation so far! Otherness will be released June 24th via Dine Alone Records. – Jac Holloway
A companion to lead single ‘It Dwells’, ‘Rot’ is the latest single from Conjurer‘s hotly anticipated second album Páthos and flips the narrative. While lyrically it deals with the same concepts of anxiety, fear and dread, it instead gives voice to those feelings and in doing so, plumbs the most disgusting, depraved depths of the band’s sound. Cavernous roars, dissonant guitar and slow, pummelling drums form an aural battering ram of horrors. ‘Rot’ shows the band continuing to explore and develop the fringes of their sound; still identifiably Conjurer but with more grime, more rot and a sense of formless, shifting horror that seeps out of its every pore. The band comment, “Rot looks at the same topics of anxiety, fear, and depression that feature in ‘It Dwells’ and flips the perspective/narrative. We wanted to hone in on the most visceral and disgusting parts of our sound when we were writing it and, along with the lyrics, play with the idea of giving that fear and dread a voice. (It’s not very nice.)” – Will Marshall
Their debut might only have launched last year, but grindcore/powerviolence outfit Knoll haven’t wasted any time. In between tours supporting Interstice, the ever-busy sextet found time to enter the studio and record their second album. Metempiric is out June 24 and first single ‘Felled Plume’ gives a short, sharp lesson in what to expect. Swirling, cacophonous guitars; vocals that alternate between piercing shrieks and bowel-rattling gutturals and drums that are a barely-controlled maelstrom, plus three guitar parts making their grinding assault even more impenetrable, ‘Felled Plume’ is an intense, compelling whirlwind of sonic obliteration. Of the new release, vocalist Jamie Eubanks said “Felled Plume is equal parts a lament of epiphany and a lapse in the illusion of guidance. It is the first piece released off of Metempiric and a continuation of visual woes with our friend Frank Huang.” – Will Marshall
Coinciding with the announcement of their new record The Evil One – which boasts album art that hints towards the band dropping the filthiest D-Beat record on the planet – ‘Drop Out’ see’s Nervus returning with an utter power pop blinder. A hook-laden ode to discovering new modes of modern living amidst a crumbling society hellbent on criminalising marginalised people, the track is one of vexed optimism, one that promotes new ways of community based existence and one that references the most self-assured body of work thus far from the Watford unit. The Evil One is poised to be the band’s most characteristic and confident record to date, with the band forgoing the identity-based songcraft to explore the value of independence, community and existing outside the cesspit that is modern capitalism. The Evil One is released June 24th via Get Better, and if this track is anything to by, it’s going to be one of the most vital records this year. – Dan Hillier
Gaining acclaim from everyone from the Manchester Evening News to Brooklyn Vegan, the level of support Loose Articles have received just after one EP is staggering. But when judging their latest single ‘Chaos’, there’s really no surprise why this band have become so quickly beloved the world over. The title track of their latest EP – released July 1st via Alcopop! Records – ‘Chaos’ demonstrates the band’s sardonic stance on combating the age of austerity with a pint in hand, two feet on the dance floor and a middle finger raised. It’s a blistering track that displays their sarcastic and threatening approach to barbed danceable punk, and as the band detail, ‘Chaos’ explores how we’ve crossed the point of return and how the only thing left to do is watch the world end with good friends and strong drinks. “Whilst politicians fly their private jets to climate change conferences only to sit around scratching their collective heads as to why it’s so warm in February, all that’s left to do is head to the nearest beer garden and watch the world burn.” – Dan Hillier
Fresh off the release of ‘Mannequin’ Kubrick has dropped ‘Waved’, a song he’s been teasing for some time through guitar videos on Social Media and a song that was originally intended for his previous band Shields, who were making waves for some time in the metal scene. Fans of Kubrick and Shields will love this as it is actually an adapted version of the song that was going to act as a transitional single revealing Sam (now known as Kubrick) would be the new frontman and main vocalist. It came at an intense time for the band following the tragic loss of fellow band member and Guitarist George Christie and eventually the band disbanded with ‘Waved’ never seeing the light of day. Fast forward and it has been re-recorded and polished to be a brand new Kubrick track. This is a bouncy post-hardcore bopper said to be the closest to straight up Metalcore fans will get in a while. Its groove and pop-centric chorus balance out the roaring guitars and fast paced heavier moments of the song. As usual with Kubrick, the vocal range displayed is remarkable with screaming/guttural vocals hitting like a sledgehammer and moments later small falsetto vocals can be heard. The song has some major grit and snarl whilst also having a Kubrick experimental spin on it. – Jac Holloway
Something gargantuan this way comes. Emerging from the ashes of the now defunct Archelon is Gozer, a sludge-caked trio dedicated to manifesting sounds in the vein of Neurosis, Amenra and Cult of Luna at their most claustrophobic and polluted. Taken from their debut full-length An Endless Static – released June 17th via Trepanation Recordings – the group’s new single ‘Fading Light’ is a testament to their prowess and focus on suffocating atmosphere. A musical mirroring of the internal sieges that our mental states lay waste to, here, granulating riffs crunch against tribalistic drums and industrial noise in order to portray the embattled recesses of a mind tormented by modern living. It’s an intense listen, especially as tides of crushing density and open atmosphere alternate in a way that’s hypnotic, but one that shows the promise that Gozer possess. – Dan Hillier
Even in a scene and genre as saturated as UKHC, Shooting Daggers stand out proud and firm; that’s because they’re the real deal. In a scene populated by bands with very little to say, the feminist trio weaponise the most lethal aspects of the genre to bring to light the injustices and prejudice faced by women and queer people in daily life. ‘Liar’ is a testament to that. Positively and rightfully pissed off, the three minute hammering forgoes all mundane gimmicks stagnating modern hardcore in order to truly bring to light the often obscured pandemic of abuse that’s blighting the community as a whole. If this is anything to go by, then their upcoming EP Anthames is set to be potentially the most impactful hardcore debut of this year upon it’s release on May 20th – Dan Hillier
Born from the hotbed of fervent creativity that is the South West scene, Cosmic Ninja exist is a vessel of volatile energy, one that channels the energy from both genres into their own characteristic sound. However, whilst many current acts specialising in hybridising the two genres are doing so in unfamiliar and unexplored ways, the Bristol foursome instead return to the days when the sound was new, adolescent, exiting – above all else – energising. It’s their new EP Dissident Transmission that showcases this. Siphoning acts such as Enter Shikari, Pendulum, Hadouken!, Bring Me The Horizon and other bands that soundtracked the 2010 revolution, the record is a conduit that’s political, openly-queer and optimised for carnage.
With the record out now independently, we got in touch with the band to dissect their sound, their approach, the current political environment and how the unison of punk and electronics is the perfect catalyst for change and chaos.
“The aim of our band has always been to mash up rock and electronic styles into an energetic audio experience that will have you head banging hard whilst throwing shapes in your rave gear.
We want to cross boundaries, harnessing the power of a rock or metal band and splice that with the textures, emotions and trance like qualities of punk and electronic sounds. We want to write powerful songs that people can engage with and express with us through our energetic live performances. We aim to be a down-to-earth genre-bending band who champion social issues, encourage political awareness, and share our struggles and experiences around mental well being.”
“We love bands who try to do something different musically and that try to have more meaningful subject matter. It’s always a difficult one though because we listen to a lot of different styles of music and everything we hear inspires us.”
Jonny (Angelini, Guitars, Vocals): “Musically I would have to highlight Pendulum as one of my biggest inspirations. They broke a lot of ground in terms of what can be achieved with a rock/dnb/dance crossover. I was always a rock kid growing up but Bristol has a massive drum n bass scene which I loved. Those guys really helped me to see the potential in merging the two worlds, and such a powerful live sound also. Thinking more old school Rage Against the Machine are band favourites, probably no surprise there! We love big riffs, rocking out and the political message embedded in their lyrics and who they are as a band. Their music is as relevant as ever and I think their sound is still fresh and has stood the test of time well. More recently we are really digging Nova Twins. Very innovative in what they are doing, I think Georgia South is one of the most creative musicians of the last decade and her bass playing really needs to be seen live to be fully appreciated! Would love to know how she pulls off some of those sounds.”
Tamsin (Cullum, Vocals): “I grew up with System of a Down, I just love the way they take you on a journey and aren’t afraid to mix things up genre wise. Their dynamics and song structures are something I definitely try and take influence from. Enter Shikari in particular are a massive influence on us, those guys really are incredible. Musically they are so free and diverse, they have covered so much ground sonically and are truly one of the best live bands from the UK right now. They also use their platform to promote important issues which is great to see as so many bands don’t bother. I love Bring Me The Horizon too who are also pushing the envelope in terms of mixing electronic sounds and rock music. It is nuts to think how much their sound has developed over the years.”
Rob (De Wandelear, Bass, Vocals): “It varies with time but, at the time of writing materials for Dissident Transmission, I would say Nine Inch Nails, Pendulum, Enter Shikari, Prodigy, Bring Me The Horizon…to name a few.”
Boston’s legendary Cave In barely need any introduction. Since their monumental 1998 debut Until Your Heart Stops, they’ve helped define and redefine metal, rock and hardcore. Ten years since their last album comes Heavy Pendulum, produced by Kurt Ballou and second single ‘Blinded By A Blaze’, alongside lead single ‘New Reality’, show the band haven’t lost their touch one iota. This latest song flows between swirling, pensive rock and post metal chugs, all with Stephen Brodsky’s distinctive vocals. A squalling guitar lead partway through leads into towering post metal grandeur that winds and crushes in equal measure. Describing the song, Brodsky says, “I had the idea for Blinded By A Blaze during the Final Transmission days, but it really came to life for Heavy Pendulum. Lyrically, it’s a sonic photograph of a strange magical moment that I had while driving along the Pacific Coast Highway during the golden hour, and the feeling of looking back on it years later – something everyone should try to experience at least once in their lifetime.” – Will Marshall
The infernal son of modern goth rock beckons. Returning five years after the disbandment of love metal pioneers HIM, Ville Valo returns to the crimson spotlight with his latest single ‘Loveletting’. Branded with the classic Heartagram logo, flying under the new moniker of VV and following on from his first solo endeavour in 2020, the track see’s Valo channeling the same dark woe and whimsy that made his image so irresistible all those ears ago. “As fun as the funeral rites for HIM were, it took me more than a few moons to lick my wounds in the shadow of the Heartagram and come up with an excuse to strum and hum again”, says Valo on the new track. “Eventually I decided to put a leash on my beloved black dog and we started howling together instead of barking at each other. That’s how Loveletting was born”. – Dan Hillier
After establishing themselves as one of the most promising young acts with their debut EP last year, Young Pretorians are back with their latest single in the form of ‘Why Worry?’. Further pushing the sound found on their first outing, the track urges one to tune out the deafening noise from the past several years and start focusing on the here and now. It’s a great track, one that feel’s perfectly optimised for Spring with it’s alt-rock stylings reminiscent of acts such as The Gaslight Anthem, The Menzingers, those of their ilk and one that’s grounded by a sense of cautious optimism. Young Pretorians have already found themselves the subject of early acclaim due their relatable tales of living in soulless towns and existing through grinding jobs and it’s clear that this track is only the start of their next prosperous chapter. – Dan Hillier
US Groove Rockers Clutch have released a brand new single and video, titled ‘Red Alert (Boss Metal Zone)’. The band have talked about there being an album on the horizon and have suggested this is one of the faster cuts from it. This would mark the band’s thirteenth album and would follow up Book Of Bad Decisions, released in 2018. The song boasts roaring riffs and Neil Fallon’s raw raspy tone. It is also spattered with bluesy riffs and captures a lot of the elements that Clutch have honed in their live performance over the years. The accompanying video and general premise for the song pays “homage to Philip K. Dick and a future where we have distortion coursing through our veins.” says Fallon. This was following Fallon discovering the Boss Metal Zone pedal schematic early in 2021; “I learned the Boss Metal Zone pedal schematic was being presented as “proof” that the Covid-19 vaccine had an electronic component to communicate with 5G cellular networks. It was, of course, nonsense.” Clutch are currently on the road in the midst of their worldwide touring schedule, including summer festivals, further headline dates, and a return to Europe. – Jac Holloway
The fifth single to be taken from the rifflords second record Pure Evil – released May 8th on Rude Records – ‘My Offer’ see’s Puppy ratcheting up the tempo and conjuring one of their most filthy, sludgy riffs to date. In true vein to the band’s ardent focus on revelling in the inherent fun of metal, the track is a boisterous slab of metallic joy that happily doesn’t take itself too seriously; something made animated by it’s great it not slightly disturbing video. “We made the video for the track using an iPhone face-hacking app normally used for lip sync videos on Tik Tok, turning the technology instead onto scenes & characters from our favourite paintings by Hieronymous Bosch. ‘The Last Judgement’ and ‘The Garden of Earthly Delights’ are two triptychs which juxtapose fantastic images of divine purity & grandeur with some of the most nightmarish & grotesque visuals ever painted”, say the band. We figured that if anything could make these eerie creatures more surreal & unnerving, having them sing along to the latest Puppy track might be a good place to start.” – Dan Hillier
It’s not just the year that’s passed since Devil Sold His Soul released Loss, their first in a whopping nine years. It’s also been a whole five years since their last headline tour, the shows celebrating their debut A Fragile Hope’s 10th anniversary where for the first time, they went out with two vocalists. Ahead of their upcoming April tour that hits Nottingham, Bristol, Glasgow, Manchester and London from the 4th to the 9th, we caught up with both vocalists Ed Gibbs and Paul Green.
Paul: “Yeah, pretty good, actually. I feel like I’ve been ill for most of the year so far but I’m finally starting to see some light at the end of it. Now the tour’s coming round, hopefully the stars all line up and we’re all in a good place.”
Ed: “Yeah, weirdly the same. I’ve been ill for the past month and the timing is so dogshit!”
Paul: “We’ll be alright vocally but we’re going to crash harder after each show (laughs). We’re probably going to be asleep a minute after set time!”
Paul: “Five years! We did a couple of shows in Japan, which we’ll call a tour. That’s one of the things that’s a bit strange, mentally going on tour is something that feels so alien, when it used to feel so natural. I’m sure we’ll click into gear straight away but at the moment, I can’t even imagine being in a sprinter van driving round the country!”
Ed: “I think the weirdest thing is that we put out the record a year ago. It feels like… You put a record out then do a year of absolutely fucking nothing!”
Paul: “I’ve missed feeling that connection of music in the room with everybody… But we have been really busy in the background, like tour management is just a slog. It’s been carnage the past couple of weeks. We’re in tour mode, just not physically in the room yet!”
Joining the likes of Jimmy Eat World, Turnstile, Thrice and Idles today is a mixture of classic Trees icons and new talent. Spearheading today’s announcement are none other than You Me At Six, who will be returning to the festival after their headline set at the last rendition of the festival back in 2019. Also returning to the awards winning Cotswold festival are Blackpool alt-rock luminaries Boston Manor, fast rising sensations Nova Twins and previous Trees headliners Twin Atlantic, who will be making an exclusive acoustic appearance in The Forest.
Also joining the ranks today are KennyHoopla, Angel Du$t, Mannequin Pussy, They Fell From The Sky, As December Falls, Heavy Lungs, Salem, The Hurt Process, Kid Burnswick, Peaks!, Cheerbleederz, GIRLI, Petrol Girls, Daisy Brain, Berries, The Scratch, Me Rex, Grandmas House, Cold Years, Cassyette, Crashface, Joe Unknown, Onelineddrawing, Gaz Brookfield, James And The Cold Gun, Bastions, XL Life, The Violent Hearts, Joe Appleford, Masca, Dean McMullen, and of course, Thrill Collins.
On todays announcement, festival booker, main organiser and general head honcho James Scarlett says, “There is a lot to be excited about at Trees this year… Particular highlights for me are Twin Atlantic doing a special forest acoustic sett and just generally watching the best up & coming rock acts in the world (Cassyette, Salem, GIRLI etc etc etc). I can’t wait!”
2000 Trees Festival 2022 takes place at it’s usual home of Upcote Farm, Cheltenham, between the 6th – 9th July. As expected, tickets are absolutely flying out but remaining tickets and additional information can be found here. See the full lineup below.
