Following an impressive Slam Dunk debut of the new lineup (as the festival’s self-proclaimed house band, where else of course), Zebrahead’s new 15 minute quick-fire EP ‘III’ signals a fresh start and a third wave for the band. If this EP is a precursor to the band’s next decade of adventure, then strap in because they’re planning on giving you a sugar rush like buzz from the start.

‘Lay Me to Rest’ has a chorus that will make it a staple for any live set going forward, acting as a new anthem (pun not intended) for anyone who’s grown through their youth and into adulthood with Zebrahead in their lives. The lead single is the perfect display of the band’s versatility and the new dimensions that Estrella is able to add to their previously formulaic sound. Estrella brings more depth vocally and a reinvigorated intensity than either of his predecessors, giving the band an exciting, modern touch, allowing for the exact kind of growth and maturity that they’ve been overdue for.

Not only that but veteran co-vocalist Ali Tabatabaee seems to have found a new groove, rapping sublimely alongside his new partner in crime; their individual strengths complement each other fantastically, making for a seamless transition from old to new.

Elsewhere on the EP, ‘A Long Way Down’ features a classic mid-song Dan Palmer guitar solo, alongside their trademark sticky sweet melodies and rap rock combos (that are here to stay, much to our relief), but it sounds more self-assured and daring than they have ever been before.

Dropping their less mature characteristics, rather than songs about getting drunk and passing out, the band go deeper on ‘Out of Time’ with the idea of living the life you want to lead before time runs out instead of meeting the expectations of others.

Never afraid to mix things up, ‘Homesick for Hope’ displays the band going full speed punk while ‘Russian Roulette is for Lovers’ offers an old school Zebrahead style metal and ska punk mashup, as Estrella screams in “I’m Not Your Saviour” firmly putting his own mark on the song.

Everything about ‘III’ tells you where Zebrahead are heading and it couldn’t be in a more perfect, pop punk filled direction with a new member breathing some fresh fire into the band, without wavering from their already beloved style. A true return to form for the MFZB.

LOUIS KERRY

Despite having been written before lockdown, almost every track on ‘Life is Pain’ comes with an almost entirely new perspective. The band’s nu metal meets metalcore meets industrial hybrid descends into a nasty swipe at “the shit-stains of society” as expletive-filled opener ‘Shut Up’ takes no time at all in filling up the swear jar.

Exploding with euphoric choruses and psychotic vocal lines, vocalist Paul Barrow often stretches his boundaries with his schizophrenic style, showing off just how far his chords can go as every scream hits you with more bile than the last. Although lyrically when he doesn’t resort to a naughty word, it can sometimes veer into cliche territory such as the done to death “how will I ever love again” on ‘Sorrow’ for example.

Elsewhere on the album, ‘In Your Head’ is a hard as nails blend of metalcore and a Linkin Park sized melodic chorus. The title track offers a respectful nod to The Prodigy with an EDM and industrial vibe before it descends into a menacing assault where you finally get an understanding of Burrow’s personal agony that can be so relatable. The band’s savage musicianship comes into play throughout the album as they lead into huge breakdowns which should come with a warning as it will cause ceilings to collapse and risk any headbanger’s skulls to crack.

There are a handful of standout moments from the rhythm section like the mind boggling drum fills that come out of nowhere and the breakneck speed of the intro to ‘Anger’. The song’s superfast and inspired riff catches you off-guard in a whirlwind before leading into a gargantuan gang vocal. Most notably the riff heavy ‘One Release’ acts as the band’s epic ode to the mosh pit. The perfect song to release all of your frustrations to, whether that’s in the middle of a wall of death or just having a stomp around your own bedroom. Speaking of frustration, a mammoth amount of pent up emotion goes into Barrow violent yell of “you fucking liar” on lead single ‘Choke’.

While the anger and sheer viciousness of the album is clear, the hooks and depth of each track lacks a certain atmosphere and any kind of musical grandiosity. There’s nothing monumental that sets ‘Life is Pain’ apart from a collection of mid-noughties Soil, Sevendust, Drowning Pool and Mudvayne albums but as far as debuts go, Death Blooms are following all the right footsteps.

Closing on the most vocally unique ‘Inside’, the band take you by surprise with an unexpected almost ballad like song that gives ‘Life is Pain’ the rapturous crescendo that it needs. Death Blooms prove that there may be further diversity to them after all, ready to be tapped into more in the future.

Offering a big swipe of nu metal nostalgia and a small debt to Slipknot, ‘Life is Pain’ is fun, catchy, depressing and heavy as hell. Every song is a guaranteed singalong. The confrontational yet impulsively addictive sound makes Death Blooms a brilliant modern gateway band for all things metal, now with an arsenal of pit-ready alternative anthems.

LOUIS KERRY

Refining their sound and trimming some fat with a new lineup, the Canadian lads are back having found the perfect blend of old school nostalgic pop punk while offering a refreshing twist to the decades old genre. The band manages to push themselves forward creatively, keeping all the clichés in the past while still honouring their contemporaries. No time machine required; just huge choruses, lightening quick tempos and some of the cleanest melodies.

Opener ‘Shameless’ instantly hits you with its catchy bass lines and well crafted, classically angst-ridden lyrics that spit at modern society’s self important outlook as frontman Randy Frobel sarcastically yells “I’d rather be dead than nameless, so shameless”.

Turning a simple statement into a huge chorus, ‘Bring Me Down’ is a bonafide thriller that would sit comfortably on any Sum 41 album with its early noughties vibe. ‘Problems’ is full of sweet harmonies and summer vibes, sitting comfortably between Seaway and Yellowcard with well timed and intricate bridges from guitarist Jason Mooney that gives the standard formula the kick this genre often needs.

Elsewhere, ‘Ready to Go’ is a singalong anthem as good as any other and ‘Ashley (Pt 2)’ hits you like a malfunctioning rollercoaster with its breakneck speed. It’s not just bands across the pond that ‘New Low’ takes influence from. ‘Over This’ has a distinct You Me At Six vibe as Frobel’s vocals go in more of a pop rock direction, complimented by a euphoric solo and stunning musicianship to give it the perfect summer atmosphere.

It might be a little bit safe and sometimes it goes more pop than punk, but if you’re ready to add some sunshine to an otherwise gloomy year, ‘New Low’ will do just the trick. More melody and everything played with a purpose, We Were Sharks clearly perform with a bigger drive than ever before, resulting in an action packed album full of new ideas while giving a nod to the genre’s hall of fame. No Tik Tok gimmicks needed, just ultimate conviction and a knack for a damn good chorus.

LOUIS KERRY

Rather than resting on their laurels and living out the rest of their careers as a nostalgia act, as easy as it could have been for them, the gang have regrouped with super producer Bob Rock and signed to a new label to create a back to basics approach, with some unexpected curve balls thrown in for better or worse (let’s also try and forget last year’s Tiger King cover). Leading the band as always, Frontman Dexter Holland and guitarist Noodles have overcome an array of personal and legal challenges as well as lineup changes, resulting in a collection of old school thrillers.

Wasting no time, The Offspring transport themselves in time as the title track’s early noughties melodic so-cal vibe could have soundtracked thousands of crash and burn moments on Crazy Taxi and Tony Hawk’s Pro Skater. ‘Army of One’ also provides a raw, no thrills assault, which goes hand in hand with Holland’s sharp as ever lyrics, snapping each song with equal parts social commentary and his classic warped sense of humour.

Not as self deprecating as Blink-182 or Weezer, and nowhere near as morbid as Alkaline Trio, The Offspring land in slightly darker middle-ground than their Bart Simpson comedy riddled younger selves. The bleakness of ‘The Opioid Diaries’ stands out as the album’s most fleshed out song, even with a mildly simple message of the American crisis and opioid dependency, with critical swipes like “Now we’ve made a nation full of kids on dope. They’re looking down now at the end of their rope.”

Elsewhere, complete with a jazzy bass intro, ‘Never Have Sex Anymore’ marks the band’s obnoxious tendencies but with a matured touch. ‘Coming For You’ features an eighties metal stomp that Bob Rock’s production style is synonymous with, as bass player Todd Morse performs his finest Motley Crue impression. Unfortunately, fans would have heard it for the first six years ago when it was originally released. Why it’s been placed on this album still is anyone’s guess.

Amongst these quick-fire melodic punk anthems is more unnecessary wastage that feel and sound like nothing more than attempts of dragging out what could have been a classic EP into a charlatan’s excuse of a full length album. A random ‘In the Hall of the Mountain King’ interlude is a bewildering addition but at least it shows off Noodles guitar chops. Perhaps it’s the band’s idea of being out of the box. Ultimately a pointless piano led rendition of their 1997 fan favourite ‘Gone Away’ and a bizarre lullaby style reprise closes the album on more a whimper than the inspired bang the band were likely gunning for.

Still far away from the heights of Smash (it’s been almost thirty years, get over it), but they can be razor sharp when they want to be; ‘Let The Bad Times Roll’ has the hooks and unforgettable melodies that are synonymous with The Offspring in their prime days and there’s enough of Noodles’ trademark so-cal guitar throttling to whet your appetite for their unadulterated punk rock. It’s just a shame that after so many years, so much more was expected from what is a release half empty with either time wasting or plain laziness. Perhaps they should stick to the nostalgia if this and Joe Exotic tributes are all they’re prepared to offer for another ten years.

LOUIS KERRY

Back with heavyweight producer Nick Raskulinecz (Stone Sour, Foo Fighters, Code Orange) after such a long gap since their last big release, what does Evanescence have left to offer almost two decades since ‘Bring Me To Life’ drove them to superstardom? The Bitter Truth is not about the evolution of the band itself but more the growth of Amy Lee’s character and her outlook on the world. It’s a little political, with dashes of new musical influences and some joyous feelings of nostalgia thrown in. Even if the album doesn’t reinvent the wheel, it comes with a defined purpose alongside one of the most iconic voices in rock that fans have been longing to hear again.

From the slow burn intros on opener ‘Artifact/The Turn’ alongside the added electronic elements (something they have been experimenting with since 2017’s Synthesis that reworked classic tracks), there’s plenty of new territory that the band sound confident enough to explore deeper than before, but it’s Lee’s haunting melodies that as always steal the show.

Amy Lee’s one of a kind voice leads the album effortlessly, giving it the atmospheric force that she has become synonymous with. When she sings the way she does, with lyrics that are so crushingly personal, it drives her feelings of anger, hurt and defiance straight through your ears and into your gut. Despite laying herself bare, the lyrics at times lack depth but when sung with the tenacity only she can do, the pain can be felt.

‘Feeding the Dark’ is arguably the most classic sounding Evanescence song on the album featuring the combination of big riffs, incredible vocals that send a shiver all the way down to your tailbone and some of the darkest lyrics. Elsewhere, latest single ‘Yeah Right’ is a weird sarcastic soft rock thriller that takes shots at the industry that almost chewed up and spat out the band’s career remorselessly. It has  an unusual bounce to it in direct contrast to the pissed off tone of the song and is a little out of the box, but carries an attitude they’ve rightfully earned.

Political thriller ‘Use My Voice’ features moments of metal and ‘whoas’ to end all whoas. The anthemic chorus that everyone should get behind reminds you that Amy hasn’t forgotten how to pen a singalong as “Drown every truth in an ocean of lies” is spat with an articulated venom that only she could conjure.

Elsewhere, the overproduced ‘Wasted On You’ could have been the next ‘My Immortal’ if it was just Amy behind a piano but it suffers from a barrage of different ideas that don’t work all that cohesively. Luckily, ‘Far From Heaven’ is the ‘Fallen’ moment of the album. Stripped bare with just keys, some well placed strings and that emotionally honest voice, this is the standout moment of ‘The Bitter Truth’.

Evanescence still launch their aggressive side on tracks like ‘Part of Me’ which features epic drum fills, while Tim McCord’s heavy bass leads drive each song, matching the power of Lee’s pipes as she shines through.

‘Blind Belief’ ends the album with a statement that they are still at the top of their game. Hitting big notes with some of the biggest riffs behind her. The high end production might not be for everyone but whether it’s the gut busting solos from Troy McLawhorn or the skyscraper sized vocals, ‘The Bitter Truth’ proves that the iconic band still has plenty to offer. A role model to the next generation of rock singers, Amy Lee continues to be a true rockstar in the purest sense of the word and as she says in her own words “I never lost my crown.”

Louis Kerry

Seaway waste no time in making a statement of intent on the direction they’re heading as opener ‘Brain In a Jar’ offers an alt rock twist. Featuring breezy guitar riffs and a hyperactive chorus, the band transport you back to a time when the likes of Weezer and Pixies were king.

The band haven’t just rehashed the past with more complexities, ‘Mrs David’ offers a burst of new influences and experimentation. Using synths without being overbearing, some vocal lines that are more pop than punk and a huge drop that takes a page out of You Me At Six’s book, the track is a curveball that suits them down to a tee. The eighties era chorus alongside the singer Ryan Locke’s chilled out vocal style makes for the perfect outdoors singalong in the beer garden.

Elsewhere, ‘If You Let Me’ is the most forward thinking song on the album, complete with unique drum fills, an outstanding guitar solo from Andrew Eichinger and unique storytelling that would make anyone feel invincible. Combining cohesive musicianship with indie rock gang vocals, ‘Wicked’ also captures Seaway’s musical ambitions while being their most aggressive style performance yet.

The band’s bubblegum sticky sweet style of sound is still served in huge scoops. ‘Pathetic’ is a pure pop punk track, crafted with the nuance and creativity that would tell Machine Gun Kelly where to go. ‘Sick Puppy’ is also the most lyrically melancholic song of their career, forming heavy clouds around their sunshine selves. The track offers a surprising amount of emotion for a band that are usually pretty laid back, leading into a beefed up crescendo and ending the album with one of their biggest heavyweight hits.

On the flip side, ‘Peach’ is a fun song but Locke pushes his narrow vocal range as far as it goes, without leaving a lasting impression. Unless you’re looking for a soundtrack to an awkward teenage couple romcom, ‘Wild Things’ goes too far beyond, draining the life of all the good vibes out of ‘Big Vibe’ half way through. This out of touch One Direction B-side strips away Seaway’s huge personality, settling for mediocre instead.

Big Vibe is not going to offend or smash the state in any way, but if you’re looking for escapism and songs to add some sunshine on a rainy day, there is no better band than Seaway. Without conforming to their typical well-trodden style, the new alt-rock layers that the band experiment with add a jaunty and dark edge to the album – marking a thrilling and fresh chapter for the band.

LOUIS KERRY

As time moved on, so did most of the scene, and all the Aidens and Kill Hannahs went on to different projects. By 2013 Madina Lake were on an indefinite hiatus, and the shattered remains of noughties emo became nothing more than Slam Dunk Fest nostalgia acts.

It’s been almost a decade since the band’s last full length release, and emo is no longer such a dirty word. Following the beginnings of their reunion a few years back, Madina Lake have woken up from hibernation and marked their official comeback with a brand new EP, ‘The Beginning Of New Endings’.

‘Playing With Fire’ slams straight into where they left off – this atmospheric and high-octane opening track has all the energy of their younger selves. With a fun breakdown at the end of the track, the band make their all or nothing mission statement clear.

Vintage Madina Lake with a relentless approach, ‘Love is War’ has a surprisingly heavy intro, featuring a riff that gives them a thrash metal badge of honour. As you headbang to Mateo Camargo’s impressive guitar work, front man Nathan Leone keeps things in check with lyrics that are as emotional as ever – time to wipe away the tears and running mascara just like old times, this track is the most reminiscent of their original run.

As well as crafting an anthemic chorus, ‘Heart of Gold’ displays Leone’s genuinely inventive lyrics that are potentially a career best for the band. The drum breaks from new recruit Chris Morris adds a lease of life to the song at all right moments, and this track marks where the band are stylistically better than any other.

Unfortunately, Leone still falls short vocally – the singer’s unique style is something that always let them down in the past, and that trend has continued here. Their most sentimental fans will continue to love this, but it’s not welcoming to a more casual listener who’s more familiar with either the polished vocalists of arena rock, or something grittier from the metal corner of the alternative world. A purgatory for mediocre vocal chords.

Trying to reignite the depth of storytelling they were best known for, the EP ends on an unfortunate whimper with an eight minute self-indulgent mess named ‘Tiny Weapons’. It’s a collection of tidy ideas and cohesive musicianship that misses the mark, trailing off into an excessive void. At this point, Leone has gone beyond an acceptable amount of time doing his trademark quiet, whisper-like vocals instead of singing with any actual power behind it- sadly, the band’s reliance on slow builds doesn’t pay off when the crescendo is an off key chorus.

For better or worse, Madina Lake are back. There’s nothing wrong with nostalgia, we are all indebted to the bands that soundtracked our youths, and this EP is an expressive outpouring from a band not ready to be remembered solely for their past accomplishments. While it’s a little rough around the edges with some bad habits that need buffing out, ‘The Beginning of New Endings’ is proof that Madina Lake still have a bigger story to tell.

Louis Kerry

‘Hope Rituals’ is WACO disregarding typical genre conventions without concern, offering a whirlwind of styles and influences from vintage prog rock to Black Flag style hardcore. Not only does their performance steer far away from what you’d expect, the lyrics are often as deep as their sound, built around hope, individualism and creating your own reality – certainly beyond the generic rhetoric you often hear from their contemporaries.

Opening track ‘Wrecking Ball’ starts off with a chilled vibe alongside singer Jak Hutchcraft’s quite noticeably quirky style, easily comparible with a less stoned and more psychedelic take on Dune Rats’ ‘we’re all mates here’ style gang vocals.

The band’s bursts of uplifting choruses are the highlights of the album. Gritty lead single ‘Good Days’ takes you back to a pre-pandemic era that you can’t help but connect with. Full of dry wit and British accents, this, along with the likes of ‘Dark Before Dawn’, sits perfectly alongside the surge of post punk artists emerging. Not only do the band provide an honest view on modern Britain but they pack a melody that would have the likes of IDLES and Sports Team running for cover.

When so much of the alternative scene prefers to stay in one lane, afraid to innovate, WACO goes beyond expectations with the level of diversity on ‘Hope Rituals’. ‘Learn To Live Again’ has a classic rock groove that is bold yet successfully completed challenge in the middle of a self-proclaimed punk album. WACO’s experimentation is hardly detrimental to the pace or authenticity of the album. ‘Baracuda’ is a psychedelic seventies prog epic as guitarist Tom Pallot channels his inner Hawkwind while Hutchcraft showcases his most convincing top form vocal performance on the album.

Before you know it, WACO will take you on another unexpected journey, like they’re almost trying to catch you off guard with the brit-pop worshipping Busy Livin’. Featuring a catchy sunshine chorus, the track is perfect for a singalong on Brighton seafront with a pint and chips clutched in hand.

Never letting you get comfortable, WACO follow up with a song that is complete opposite in styles, the unconventional 100mph ‘Physio’ bashes your skull in with a hardcore punk assault and chucks you through the window on the way out in less than two minutes.

The lack of continuity between WACO’s rule-bending anthems is not without a stumble of misguidedness. ‘If’ offers some life lessons in the acoustic country track but it sits rather uncomfortably alongside some of the more leftfield songs on ‘Hope Rituals’ . The earnest song uncovers where WACO’s limitations are.

WACO has delivered experimentation without confines seamlessly. Rarely do you hear so much ambition on one album as on ‘Hope Rituals’. Redefining the expectations of UK punk, WACO, in the midst of their healing process, are here to tell you that punk rock can be anything you want it to be.

LOUIS KERRY