What sets Brutus apart is the incredible front woman and drummer Stefanie Mannaerts. Her unique, large, and beautifully crafted vocal pallet adds layer upon layer to this exciting trio’s progressive take on hardcore.

Opening track ‘Fire’ drips in slowly inside your conscious mind whilst Mannaerts hauntingly soft vocals give way to a more frenetic scream of ‘Fire’; the ability to drum with such ferocity and also hold your vocals so tightly is no mean feat.

Stand out track on the album ‘War’ displays Mannaerts greatest attributes – her ability to pull you in on a soft vocal cushion, where she proclaims that “our world is gone, did we ever grieve or cry”. A fitting ode to current global chaos and uncertainty, the warmth of the bass provides a crescendo undercurrent that allows the song to build akin to a full blown orchestra. Before you have time to consider that this may be a full track of ambience, the cymbal of Mannaerts drum kit and a quickened guitar lick announce a chaotically delightful breakdown that draws huge comparisons to the mighty Svalbard, before the rip-roaring juggernaut tears and punctures and the song slows again whilst maintaining a colossal sounding wall of noise – live, this song must ignite immediately. Converge and Mutoid Man’s Ben Koller perfectly summed it up on Twitter by stating “Fuck that was great”.

The vocal brooding and sheer range in ‘Django’ dips from more spoken parts perfectly into frenetic vocals, whereas ‘Cemetery’ perfectly enhances Mannaerts craft where she declares “that girl I could never trust her, she’s a fucking wreck; we never were, we never will be best friends”, with the energy coursing through the veins of the listener. It’s impossible to not be blown away by the sheer scale and sonic presence of this band.

‘Techno’ opens with a thumping bass beat atop a spiralling display of lead guitar work, the vocals the cherry on top the cake, a bird’s nest cake if you will. There is a long mid-song interlude where Mannaerts declares she wants to “dance, dance, dance in the big, big city” – her vocals shoegaze in style, the relative calm again being exchanged for a feverish and frenzied conclusion where the vocal round returns for a large end of song scream-along.

The album finishes with ‘Sugar Dragon’ where the blend of bat shit crazy and relative calm are perfectly realised, the hairs on the neck standing tall as Mannaerts sings “she was never ever there”. Brutus save the most vehement of conclusions for an incredibly fitting end to a blissfully raw and energised release. Nest is wonderfully exhausting and a full, unabated assault on the ears. With ‘Nest’, Brutus have stepped it up big time – it is now up to the world to catch-up.

DAVE BULL

Earth Moves are first up, but in their own right could headline an event like this – they possess a gripping energy that sends shivers down your spine. The band could easily work as an instrumental act, the delicately delicious licks coursing out over the venue, sounding like the lovechild of Deftones and Mono, but Jordan Hill’s vocals perfectly enhance the musical backdrop and provide a fitting start to the evening.

Fall of Minerva take the place of the absent Up River, which proves to be no bad thing at all. The band, who have just moved to London from Italy (presumably because of being more able to do show like this) show why they are hot property. Despite some mic issues, the band sound crisp, fresh, and full of energy. They mostly sing in English, apart from during ‘Traume’, which ends their set in ballistic fashion. This band mean business, and are certainly ones to look out for.

Maths play their first show in over two years after a sabbatical. Though not to everyone’s taste, they are visceral and raw, and produce an amazing amount of noise considering they’re a three piece. The crowd are bathed in appreciation throughout, as vocalist Zen thanks everyone for their continued support. The crowd picks up some energy throughout their set, and it becomes clear that this band are slicing a groove for themselves, if they choose to stick around.

The Tidal Sleep are another non-UK band on the bill, which can be seen as a positive; there is such a strong, home-grown scene at the moment that we don’t need to rest on the backs of our brothers and sisters from elsewhere. However, it is nice to have The Tidal Sleep who, in their own words, are the oldest act of the bill, but with that comes an assured and responsible set that showcases the bands excellence. Sounding like a mix of La Dispute and Touché Amoré, the potential of this band is huge. The crowd response is subdued, but it ebbs and flows at energetic intervals, and many down the front are simply bathing in the warmth of The Tidal Sleep.

Svalbard take to the stage with the world on their shoulders. They possess the potential to become something truly groundbreaking. The quite timid inter-song voice of Serena Cherry is replaced with a cacophonous scream as the band tear through tracks from ‘One Day This Will End’, with ‘Disparity’ receiving the greatest reaction of the night. There is even a new one thrown in, as Cherry declares the follow up to the aforementioned will drop in early 2018. ‘Unpaid Intern’ is a song about the impossible financial demands put upon people who are essentially forced to do unpaid internships for lack of anything else, but who cannot afford to live on nothing. Thus the whole process is designed for the privileged; those with money. This, as Cherry states, is unfair, as she screams ‘fuck unpaid internships’. The band are a wonderful melting pot of hardcore punk, heavier metallic riffs and even darker, scream-based vocal work. The release of their new album cannot come soon enough  and tonight leaves us like forlorn puppies waiting for the next meal.

Wallflower are quite something and deserve a look within a UK scene that is overflowing with talent in 2017. With delicate melodies, the vocal dexterity of Jesse Lacey, rock riffs that are deep and penetrating, and an energy that seems to come very naturally, there is a perfect slot for them in the scene.

They offer something unique and are the perfect starter for what’s to come tonight. With a new EP out soon, we are treated to ‘Splintered’, which highlights all those qualities in spades. The beat is intoxicating, the vocals dreamlike, the riffs and chorus vocals reminiscent of Brand New’s ‘The Devil and God Are Raging Inside Me’. They’re certainly for fans of the band, and a genuinely exciting proposition.

Employed To Serve are not to be messed with — they are grabbing their limelight and showing everyone why they shouldn’t just be noticed. They’re proving why they should be taking more and more plaudits for being one of the best technical hardcore bands around, and from tonight’s performance, one of the best bands around right now. Period.

They destroy the Borderline. Justine’s timid and humble pre-performance appearance is replaced by a raucous frontwoman who owns all in her sight. It is quite something to behold. As the opening riff spills out she shouts “what’s the fucking point of going to a gig and standing at the back?”, a sentiment repeated by guitarist and crowd surfer extraordinaire Sammy Urwin.

The 20-30 strong pit rarely lets up. The band flow through a range of new tracks from their incredible ‘The Warmth Of A Dying Sun’, including ‘Never Falls Far’ and the mesmerising ‘I Spend My Days – Wishing Them Away’. Then they treat everyone to ‘No One’s Perfect, This Includes You’ which is the most frenetic the band are all night.

The crowd responds with hoards of additional pit supporters and crowd surfers, including guitarist Urwin who is having so much fun doing so. He then delays proceedings by having to tune his guitar, but no one cares one iota. This band have just laid down the gauntlet for a heavy, technical live performance and they should be warmed by the prospects of their bright futures. There is no dying sun today — just spades of sweltering appreciation for a special band and a monumental live performance.

For lots of bands, following the previous two performances would feel difficult, but not for Milk Teeth. They are systematically breaking down every hurdle in front of them, and very soon should be a household name across (and more than likely beyond) the alternative music scene. They possess something unique: an ability to write incredibly catchy songs that stay in your head, whilst writing riffs that are aggressive in both musicality and sentiment. Even ‘Owning Your Okayness’ sounds heavy live and this is their most pop moment on new EP ‘Be Nice’.

Their increasing confidence as live performers is greatly enhanced by guitarist Billy Hutton and he revels in the crowd’s appreciation. ‘Prism’ is reminiscent of an ’80s pop tune merged with a grungy edge. Becky Blomfield’s vocals are intoxicating, as is her live persona — she owns that stage, and the crowd responds in euphoric waves. The venue’s energy lifts to impossible highs tonight, and the bulging crowd becomes a sweaty feast for the entirety of their set.

The sky is the limit for for Milk Teeth. If you want to catch them at a small venue then do so soon, as it cannot be long before they start headlining the larger venues. Their global domination continues, and it was a pleasure to see. Hopefully, such diversity in tours will also become commonplace, as this was one of the best shows of the year.

DAVE BULL

Waking Aida kicked off proceedings with their form of math inspired technical electronica. Apparently they used to be purely instrumental but now are doing some vocal work, which does add to the songs live. There is a bit too much chit chat for a support band, but underneath this, Waking Aida do enough to warrant themselves on this experimental lineup and show promise for the future. It will be interesting to see how they develop, both aurally and in terms of their live persona.

Body Hound are incredible. Featuring ex members of Rolo Tomassi and taking influences from the likes of Meshuggah, this four piece instrumental act tear the rather noble surroundings of the Sheffield City Hall a new one. Each of the band possess that likability that instantly attracts and the musical technicality is second to none. Bassist Joseph Thorpe is wonderfully energetic and expressive, as are both guitarists who seem to be having the time of their lives. ‘Vector Approaching’ is as frenetic as it is technical. It would be great to see some new music from this band – a wonderful experimental band, who are sure fire to be future leaders in their scene.

Gallops are a wonderfully strange blend of electronica and noise and synth inspired dance music. If the music doesn’t take you, then the flat out performance by the band will. The electronic synths and overlays of sound greatly enhance the erratically rich guitar licks. The tracks, like ‘Pale Horse’ build like dance music, the pressure gauge ticking hot, before the ‘impossible not to nod head enthusiastically to’ beat carries the audience aloft a heady high. The beauty of having a set-up like Gallops is the blur between the lines of genre definition. And this is what is so great about them – they freely recycle drum loops whilst kicking into groovy guitar tunes, the euphoric break downs saliva inducing, and our support for this band is absolute.

God Damn have been making waves for a couple of years and have put in some memorable performances, such as their Camden Rocks one a few years ago. But tonight, despite their now three piece appearance, fail to really get anyone too excited. There are some great moments, and undoubtedly they are a superbly talented rock band. The live addition of James definitely adds another wall of intensity but they fail to really meet expectations, particularly this far up the bill, and particularly considering the performance of previous bands on the stage today.

Myrkur (aka Amalie Bruun) performs one of the sets of the night, a scaled back acoustic affair complete with grand piano and strange multi stringed instrument akin to a combination of stringed instrument and squeeze bag. Amalie’s vocal ability is nothing short of mesmerising and is unlike anything else on the bill today. Despite singing in a ‘foreign’ language, the crowd is enthralled. Bruun even jokes, ‘thanks for enjoying a set that you don’t understand’, her blunt sarcasm adding to her overall mystique and awe. She gently floats from stringed instrument to piano, her vocals intoxicating all before her. Despite various sound issues which continue from here and throughout the Oathbreaker set, the crowd take in every note, every breath. This was something truly special, and everyone knows they have witnessed something more than most bands can achieve in a live setting. There is even a song that was co-written with Chelsea Wolfe, a more angst-ridden piano piece, with those famously used lower notes, the perfect end to a perfect set.

Oathbreaker, as everyone already knows by now, smash the venue to pieces. There is a ferocity about Oathbreaker tonight that is electric to behold. From ’10:56′ onwards the set is bulging with that unmistakable Oathbreaker seal of approval. ‘Needles In Your Skin’ is as relentless live, as it is on wax. The only disappoint is that Caro Tanghe’s voice is often drowned out in the more exuberant sections of each song. Nothing can be taken away from the band as they try to increase the volume of both vocals and guitar output throughout, even the crowd try with call of ‘we need more vocals’, but to no avail.

The band are riding a never ending wave of success after last year’s ‘Rheia’ stunned audiences with its musical brilliance, its complex matrix of instrumental genius and vocal perfection. If there is one band that can do no wrong right now, it’s Oathbreaker. Hail the new kings and queen of alternative music. Tramlines Fringe wouldn’t have been the same without you.

The start to their latest EP, ‘Under The Mask’ starts like a mix of Avenged Sevenfold meets AFI, the mysterious keys sections providing an interesting hook. They perfectly ramp up the seductive feel to this track and the repeat vocals of “the witching hour” are categorically what it takes to make a hook laden, catchy tune, sure to be an instant hit.

‘Under The Mask’ continues the smoky vocal theme, the head banging riffs perfect in places. The pace is slow throughout this track, but it skates under the subconscious and intoxicates all in its path. The clean vocal style of Tank is refreshingly poignant, exploring themes of depression and love lost. It contains all the meat that gives this album the saleability and the audience it is aimed at will surely lap it up like lovesick puppies. The breakdown beat and riff is replaced by an unexpected counter retort as the song drifts to a rather flat end, the hope for a raucous final drop perhaps a missed opportunity.

‘A Prayer For Rain’ is going to send Creeper fans off into delirium as they celebrate their next obsession. The calls of “we pray for rain” are so perfectly emotional that you can almost hear people singing it back. The screamed and almost tortured vocals that spiral around in the background offer new soundscapes which show diversity, before ‘I Killed Your Boyfriend’ almost sounds like a completely new band.

Energy waver into pop punk territory. And hey, whilst they might not be as poignant as previous tracks, the hooks of “I killed your boyfriend, I chopped him up with a knife” are sure to ring home to an audience who are more likely to be younger and going through the emotional relationship turmoil that is their teenage years. The lyrics will probably ring true to some of their feelings, but perhaps it’s not advisable to actually do what Tank suggests…

‘The Shape Retreats’ is a reasonably pointless interlude, complete with a thunder clap, perhaps to add to the mystique and wonder that the band’s PR are trying to create, before ‘Leave Me Alone’ closes out the EP with good old fashioned dose of emo/punk. There is even an acoustic intro before an electric riff that is sure as hell going to get some incredibly excitable. Lyrics of “leave me alone, surviving the unknown” are going to be sung back at fever pitch across venues very soon. Mark our words: this band are here to stay. And with a goth-punk scene that is burning with energy, it’s time for bands like this to step up and be noticed. With ‘Under The Mask’, Energy are exposing all that they offer – and it’s infectiously good.

DAVE BULL

This track doesn’t settle for moderation, with lyrics such as “you just got knocked the fucked out, let the punishment fit the crime”, Stray From The Path directly oust those on the right that are reigniting fires of their own all over the world. The best and most raucous moment of this killer track comes at 2:40 and if you’ve seen Stray live, then you’ll understand when Drew screams “Nazi punk fuck off” and all delightful hell breaks loose.

‘Only Death Is Real’ is out on the September 8 and I cannot wait.

‘Kill The Cult’ is by far the stand out track on the album that showcases their newer sound, the opening riff as punishing as it is catchy, and whist the spoken word verse is the song’s weakest moment, the chorus of “kill this cult, cult of lies” is one of the choruses of the year (yes this is a thing!). The drum parts are just as fast and unrelenting as they ever were, and the new and incredibly entertaining licks are commendably ferocious and intricate, but there is a softening to the overall tone of this album, and it may not please their die hard fans of the ‘Winds of Creation’ and ‘Nihility’ days.

‘One Eyed Nation’ is a return to a heavier sound once deployed by Decapitated and is the best overall track, simply due to the fact that it is as punishing as you will find on this release. The scream within the chorus is breathtaking and sounds akin to those high pitched squeals that Danny Filth of Cradle of Filth does so well, whilst ‘Anger Lines’ portrays the new effects in full, the guitar twisting round your conscience before the vocal repeats of ‘closer than ever, closer to kill’ bring the curtains down as the insanity is pumped to pressure point.

‘Earth Scar’ is the perfect example of their change in direction. The riff is much more upbeat and the overlaid bass is almost relaxed in temperament. The big change is the vocoder-esque mic used on ‘Rasta’s vocals. The effect is much more mainstream metal than this band have ever been known for before and will sound rather out of place in a set of their classics from the early noughties.

‘Never’ starts with some smokey trickles from the guitar before a ‘hardcore’ style drum breakdown brings the verse to its most punishing, but it can’t be overlooked that the quality seems to have dipped from previous tracks, and indeed albums.

Mediocre is not a word to use lightly with any Decapitated release because they are usually incredible in terms of technicality and overall songmanship. However, ‘Anticult’ is just that – it has moments of brilliance and those which are better forgotten. If we were evaluating the career of the band, then they would no doubt be deemed one of technical death metal’s greatest of all time, but we’re not. Progression should obviously be celebrated but there aren’t enough truly great moments in ‘Anticult’, and it feels very much like this album will disappear into their back catalogue alongside some of the genres truly groundbreaking material that they have previously created.

DAVE BULL

The album has allowed the band to reach out to other artists and produce tracks which enhance their instrumental brilliance. Take ‘CHONxGo Yama: Berry Streets’, which features Go Yama, a dance/electronic beat maker from San Francisco – the waves of Californian warmth amidst layers of that now famous guitar sound that make CHON a unique proposition in today’s scene. The highly stylised, broken beats, almost minimal in their delivery, and the staccato clicks and bites of sound are reminiscent of Russia’s Bop. The mirage and combination of the two is something to behold, providing credence that CHON weren’t afraid to step out of the mould of ‘Grow’.

There is a beautifully natural groove to CHON and their collaborations on this release do nothing but enhance it. Masego makes an appearance on ‘CHONxLophile: Nayhoo’ where he purrs “can nobody replicate this feeling?” It has a deeply commercial vibe to it as a sound piece, but is so much deeper than most on the radio in terms of complexity and delivery that any puzzlement instantaneously melts away.

The guitar work and complex time signatures continue where ‘Grow’ left off with ‘No Signal’ and ‘Here and There’ providing the strongest evidence for their stellar ability to build crescendo-laden riffs on top of ice cream sweet grooves. ‘CHONxGiraffe: Feel This Way’ has a trickling guitar and quite cheesy/poppy intro, before a liquid drum and bass groove picks you up and transports you to downtown San Francisco. In fact, the whole album was recorded beach-side and it really feels like a summer soundtrack.

With these collaborations CHON have widened their appeal. This can often mean that a band has ‘sold out’ or made an album that compromises their integrity but with ‘Homey’, CHON have metamorphosed into a wholly new proposition – one that offers technical, math-inspired rock, but also enhances their obvious love for surf/beach electro soundscapes. The best, albeit shortest, collaboration on the album is saved for last. With ‘xROM: Glitch’, the punching guitar licks give way to a deeply intoxicating electronic blur of beats and synth before the juxtaposed guitar perfectly lifts the track and carries it awash a froth of warm waves.

CHON’s ‘Homey’ is an ‘instrumental’ tour-de-force and will wash away your worries with west coast sunshine. It possesses everything that should be celebrated about a second album: a new direction whilst revelling in what came before. If you’re looking for an album to lift the mood and carry you on foot, by train, by plane or by bus – this is the album for you.

DAVE BULL

Acoda are a young band but their maturity shines through in spades. Their form of technically gifted math rock is something to behold. Songs like ‘Won’t go Running’ sound incredible. The vocal delivery is crisp and precise and almost dreamlike in its aural intentions. Vocalist Damon Tang sports a Circa Survive tee and the similarities are evident. Crescendos of warm guitar float over the lyrics of “I’ll scratch your back, you scratch mine”. Their performance is worthy of a headliner in their own right and even Press To Meco comment that their performance was “hard to follow”.

And so to Press To Meco. There is a feeling of anticipation in the room, despite the relatively small turnout of around 100 people. From the moment the trio bump fists before kicking off their set, there isn’t a second of letup. ‘Family Ties’ winds in through the PA, and from this moment on, they are, in many ways, the best band tonight, and that is saying something as both Acoda and Black Peaks play sets that would receive eight or nine out of ten.

Their live ability is second to none, and songs such as ‘Diffusion Of Responsibility’ sound absolutely massive, as does show stopper and song of the night ‘Honestly’ which perfectly displays the vocal ability of all three, especially drummer Lewis Williams. The harmony work of all three in places is nothing short of sublime, particularly at the end of ‘Autopsy’ which is a real hairs on neck moment.

On to the headliners, Black Peaks, who seem to have done no wrong over the last 18 months, having supported Deftones to huge acclaim and releasing one of the albums of the decade, let alone the year. The trick is of course the second album, which tonight we are privy to perhaps up to half of the tracks, and on the whole excitement is warranted.

The band play a set full of the bangers from ‘Statues’, including ‘Hang ‘Em High’ which always gets things going, the cathartic ending one of the best songs in the business right now. ‘Crooks’ and ‘Saviour’ sound incredible, but to be honest, nothing else is expected from this band. They set the bar so high with not only their debut, but their fiery live sets, that nothing short of perfect will do. It is hard to live up to all the time – an envious limitation.

‘Glass Built Castles’ shakes the foundations of the building and gives the crowd, albeit small, an opportunity to work off the beers, and the bass in the intro to ‘Drones’ is worth the ticket money alone.

The new material comes thick and fast, cleverly interspersed between the material from ‘Statues’, and on the whole is a resounding success. The only minor point is that Will’s vocals are in places not as crisp or as full of clarity and diction as they usually are, so it is nigh on impossible to hear the lyrics, but stylistically it is in the same ball park as ‘Statues’ which will please most; there is an increased air of professionalism about the tracks.

There are some cleverly crafted choruses and sing-along moments and they do enough to convince those in attendance that there is more to this band than their debut. It will be interesting to hear the finished article and to see how they weave it into their live set once people know the material. The jury remains temporarily out, but is expected to return with aplomb.

DAVE BULL

The soundscapes used within their latest offering are new and uncharted territory, having developed and matured since their more eccentric ‘Greyer Than You Remember’. The first addition is that the vocal work of Justine Jones is the main course with this album; it is everything a heavily technical band requires and gracefully decapitates all in its wake. And it pays off. The change in pace exhibited throughout the album to the more sludgy end of the spectrum has required Jones to adapt her vocal style – a challenge which she has greatly accepted.

Take ‘Lethargy’, a scaled back, doom layered introduction, before a rift of increased pace and a barrage of Jones’ most aggressive outpourings. Or ‘I Spend My Day (Wishing Them Away)’ which opens with a densely laden and hypnotic beat, highly synonymous with other Holy Roar compadres, the vocal elements of Jones’ even more knife like throughout. The final section of this song has a blistering guitar riff which is the perfect juxtaposition to the seemingly endless bass line that evokes madness and beauty all at the same time.

The third single from the album, ‘Never Falls Far’ impossibly turns the screw some more. The energy this album exudes is impressive, the math-like guitar giving way to a series of breakdowns that make The Chariot look like a bunch of indie rockers. The unnerving guitar which carries this track to its end do nothing but elevate this band as crushers of all that is easy listening.

The album is however, not without the slower moments and it is not all about the extreme. Take the moody ending to ‘Half Life’ which would make one hell of a set ender as the pace spirals up. The guitar twisting and turning before ‘Apple Tree’ shows a side to the band not seen throughout this album, and it is easy to see the influence of Lewis Johns and the link to Rolo Tomassi, the pace much slower and the dual vocal work evidence of their development.

It is really exciting to hear an album that is so ground breaking in so many ways and is coming from our fair shores, adding to a hugely varied and forward thinking group of British artists such as Black Teeth, Press To Meco, Milk Teeth, Creeper and Palm Reader – and the list could be expanded even more. Employed To Serve deserve their place at the table: ‘The Warmth of a Dying Sun’ will still be playing in December and surely will be one of the better releases of this year. It is certainly the most ambitious to date, and it is certainly the most raucous.

With a huge touring schedule over the coming months, including an interesting tour with Milk Teeth and a date at the Old Blue Last which promises to be one of the gigs of the year, the horizon is surely one soaked in warmth. Employed To Serve peel back the skin of what is deemed heavy and inject a new and unseen layer of addictively insane sonic heaviness. This album is going to shake the walls of many a venue and home for quite some time. Lock up the frail and the young – this album is coming to get you.

DAVE BULL