Before we go any further, there’s a slight elephant in the room. Following on from the success of 2019-early 2020 – the extensive touring, general burnout and not listening to the warning signs of his body –  frontman extraordinaire Matt Bigland was diagnosed with Crohn’s disease and, subsequently rediagnosed with ulcerative colitis. Taking its toll on him physically, mentally and spiritually, it threw everything back into perspective – being famous and getting cool doesn’t amount to shit if you’re not here to see it. I strongly recommend going through the 4-part mini doc on the official Dinosaur Pile-Up instagram (Dec 2024) for Bigland’s direct account but let me confirm here, the dude went through a journey. HOWEVER, during the height of his illness, when people would ask him how he felt, his response would always be ‘I’ve Felt Better’ to hide the deep and daily layers of trauma he was experiencing. And thus, the title of their latest release was born. 

As a title track, ‘I’ve Felt Better’ hits like vintage Dinosaur Pile-Up. Big singalong choruses and machine gun delivered verses pertaining to everything that changed between Bigland’s hiatus from social media/admission to hospital, and his release down the line. Pop culture references are rife, with references to a certain person being ‘a Nazi’ and another changing genre to punk, it’s the sort of statement you would be rubbing your eyes to wake up from if you’d been isolated for two years. 

Opening track and lead single ‘’Bout To Lose It’ is the perfect reintroduction to Dinosaur Pile-Up for those who’ve missed the threesome, and a perfect initial introduction for the uninitiated. Thundering distortion, Bigland’s distinctive vocals and ferocious drumming from Mike Sheils fill your ears. It’s effortlessly catchy, with a chorus line that’ll be stuck to your ears like marmalade toast sticking to the floor, before a gentle acoustic fill prior to the sudden explosion of the final chorus reminds you that they can play soft when they need to. 

‘Love’s The Worst’ is a good example of them teasing expectations. Gentle, tactful, and built around a minor melody, it’s a classic breakup song of melancholic verses before a viciously delivered chorus. Bigland’s strength has always been in making his writing approachable, and ‘Love’s The Worst’ continues that trend; it’s poetry, but more like Rupi Kaur than Wordsworth; less flounce and more punch (although also less fingersnaps and more fingers up). The fact is, there’s very little subtlety, there’s no hidden messages. The day they leave you do want to die, and love is the best until it’s the worst, and that makes it eminently relatable. 

‘Punk Kiss’ has one of the grungiest intros we’ve heard from DPU for a while, with crunchy rhythms and squeals of guitar, while second single ‘My Way’ feels like the spiritual successor to 2019’s ‘Back Foot’ – sardonic, rapidfire vocals, a hiphop beat and hook that’ll get your feet moving. Lyrically, where ‘Back Foot’ is an expression of a struggling musician trying to make it big, ‘My Way’ works as the sort of antithesis of that; fuck everyone else, do what makes you happy. 

‘Sunflower’ feels like a traditional rock song – the kind of song that would makes you appreciate and yearn for old Foo Fighters. Uplifting to its core, it’s about moving on, growing and appreciating the path you’re on. “The sunflowers couldn’t grow without the rain” is a message that exemplifies the summery vibe throughout, but it’s Jim Cratchley’s bass that really leans into that sunlight feel. It carries the entire melody, never once stepping on the toes of Shelis or Bigland, but gling everything together.

‘Unfamiliar’ is a playful reflection of Bigland’s inner psyche, with instrumentation that could’ve come off straight from the Viagra Boys discography, complete with whistling through the second verse and background sound effects (admittedly, a staple of the DPU sound) while closer ‘I Don’t Love Nothing And Nothing Loves Me’ puts a stamp on loneliness; sombre and strangely eerie, it’s a personal end to an album of thematic ups and downs, replicating Bigland’s journey over the past half decade. 

‘I’ve Felt Better’ is a compendium of the last five years; breakdowns in old relationships, building of new relationships, health scares, societal changes, and everything in between. Despite some of the more sombre themes, it’s a record of positivity and adjustment, being grateful for what you have and appreciating the little things. It’s achingly personal at points, genuinely hilarious at others, and full of more hooks than a tackle shop, and absolute proof that Dinosaur Pile-Up are back, and this album is guaranteed to make you feel better.

ANDY JOICE

Words: Fiachra Johnston and Lisa Fox.  Images: Penny Bennett and Download Festival / Todd Owyoung

Bloodywood

Now this was a pleasant surprise. The Nu-metal representatives of India were a relative unknown to the audience, but the impact they left have made them an instant favourite. Preaching combat against injustice, sexual violence and depression among a host of other topics close to the heart of a modern audience, the unique blend of tradition Indian instrumentation and headbanging heavy metal quickly wins over a bleary-eyed crowd. Vocalists Jayant Bhadula and Raoul Kerr’s roles onstage as vocalist and rapper will invariably incite comparisons to Bennington and Shinoda of Linkin Park, but their Hindi language tracks put a fresh spin on an aging genre, and the energy on stage is infectious to no end. If there was ever a band to hype up the crowd on the final day, Bloodywood are it.

Blind Channel

From India to Finland, the former Eurovision hopefuls on the Opus stage have made good use of the spotlight, stepping foot into Donington for the first time ever. While ‘Dark Side’, their contest entry naturally draws huge cheers, the rest of set is just as engaging, with ‘HAPPY DOOMSDAY’ making it clear why I Prevail brought them on tour through Europe. The mix of modern metalcore and 2000’s nu-metal vibes make them such a unique presence on the second stage, and Joel Hokka and Niko Moilanen strut down the stage with such joy on their faces as the crowd enthusiastically chant along to their cover of Anastacia’s ‘Left Outside Alone’ – a wonderful scene. There are so few band that break out of the shadow of Eurovision fame/infamy, and after this we can only hope Blind Channel are one of those lucky few.

Lorna Shore

Thank god Liquid Death sponsored this weekend, because Will Ramos is gonna need a bucket of ice cold water after those screams. Lorna Shore seem to have settled into their newest roster over this tour, and their fans have as well, drawing an impressive crowd whose excitement surprises even Ramos as they launch into ‘Cursed To Die’. The sonic violence they incur over the course of 45 minutes is impressive, an absolute wall of sound putting the entire park on notice. Ramos invoking whatever spirits he needs to produce the guttural squeals he vomits out during ‘To The Hellfire’ is a sight to see. Jovially trotting off stage after the 3-part blow of ‘The Pain Remains’, this year’s deathcore representatives leave us feeling like we need to take a lie down to take it all in.

SiM

This isn’t just the Japanese alt-metal outfit’s first Download, it’s their first ever UK show, and vocalist Manabu ‘MAH’ Taniguchi is having a lot of fun teasing an unsuspecting crowd (“Arigato means fuck you!” he exclaims as the crowd try to respond to the band’s opening remarks). Their unique pairing of reggae and metal invokes the energy of Skindred a few nights ago, and MAH is just as charismatic a host as Benji was, dancing to the ‘London Calling’ riff that opens up ‘TxHxC’. Of course, anime fans will recognise ‘The Rumbling’ from the latest ‘Attack on Titan’ season, but to the average viewer it’s simply a beast of a track that gets the already interested crowd properly moving. It only gets heavier from their as SiM earn their place at Opus with ‘f.a.i.t.h’, closing with a speed metal breakdown that any upstanding festival goer joins the pit for. SiM know full well they’ll be welcome back, putting their faith someday they’ll be performing on the Apex: “This is not the biggest stage? Aw.. next time…”

The Hu

Even if you aren’t at the Apex stage, you hear The Hu perform ‘Black Thunder’/’Sugaan Essena’. From the top of Opus, to the Church of Genxsis tucked behind the Avalanche, you can hear the low bellow of Galbadrakh “Gala” Tsendbaatar’s throat singing and the rolling gallop of the ‘Hunnu rock’ outfit’s folk instrumentation. It’s no wonder that the crowd begins to swell halfway through the Ulaanbaatar eight piece’s howling performance, and no wonder they receive such an ovation. For longtime fans this is a pretty standard set, if a little safe, but The Hu know how many new eyes are on them here, and their showcase as one of the few Mongolian metal bands has certainly piqued the curiosity of the Download fanbase.

Amity Affliction

Like Motionless in White, Amity Affliction feel like they just belong on the Opus. The casual confidence on display is enough to endear them to the packed crowd, despite barely saying a word to the audience throughout their set, but the waves of pyro spilling over everyone as the angelic chorus of ‘Like Love’ certainly got everyone going even further. Beyond some check-ins throughout, Ahren Stringer is solely concerned with the energy of the crowd: ‘You got some more gas in the tank?” he cries for the finale of ‘Soak Me In The Bleach? For AA, it’s by-the-numbers show for the most part, but for anyone who made the harsh trek up the hill to the stage, it was well worth it.

Jazmin Bean

Donington’s own Audrey Hepburn and online star Jazmin Bean is something of a wildcard for this year’s festival, and the usual crowd just looking to escape the afternoon heat in the Avalanche tent may look at the pastel pink bonnet and army boots of Bean with a level of derision. Having witnessed them beat a dancing Hello Kitty to death onstage, before breaking into the explosive ‘Saccharine’ with all the energy of an old school metal frontman, the newfound love for Jazmin many will leave the tent with is proof enough they’re ‘punk enough’ (whatever that means) to make the stage at Donington their home.

Cleopatrick

Luke Gruntz and Ian Fraser have brought traces of the weather from Ontario to Avalanche, as the first wispy clouds of the weekend meander overhead, yet the duo only aim to crank up the humidity in the tent. Their full-bodied, wailing guitars cut through the mugginess of the day, the ever-popular ‘hometown’ getting the crowd riled. Like a lot of rock duos, the focus on instruments means the two remain relatively static on stage, but the crowd have enough movement left for everyone, and ‘SCARING ME’ sets them into overdrive. It’s a quick set, but it’s the perfect stage and the perfect atmosphere of it, and fans of the two will leave the tent with a smile on their face.

Dinosaur Pile-Up

Sometimes you have to turn manure into diamonds, and Dinosaur Pile-Up have been handed a bin liner full of the stuff. Massive tech issues mean their set is cut to just five songs, and its clear from the nerves onstage that all of this is being worked through on the fly: “We’re so grateful for you to be here with us while we take a shit on stage” chuckles Matt Bigland as they rip into ’11:11′ with all the gusto of a drowning man swimming to the surface. This is an underground show on a big stage, and the mix is rough going no matter where you are around the stage but the fight to stay afloat propels the trio forward. ‘Stupid Heavy Metal Broken Hearted Loser Punk’ blasts out to a crowd just relieved to see the boys back on track. The tension is palpable around the Opus, but DPU are able to feed off the encouragement of the crowd into a short but sweet set, and while they leave the stage thinking all is lost in a sea of technical issues, the warm response from the crowd hopefully proves otherwise.

I Prevail

If there was ever a time for the Apex stage’s speakers to start going awry, it had to be now huh? The first half of the Michigan metalcore outfit’s otherwise impeccable performance was difficult to parse through a sea of feedback from unfortunately mixed drums and electronica, but that didn’t stop them from making the most of the slowly setting sun. From co-vocalists Brian Burkheiser and Eric Vanlerbleghe stopping during ‘Hurricane’ to take the moment in with the crowd, to the duo picking their favourite circle pit and assigning referees to them in ‘Deep End’, to the cover of ‘Chop Suey’ that drove what few members of the crowd that weren’t already moving down into the pits, this was a vibrant and engaging set from the get go. It was so fun a time, we’ll even forgive Vanlerberghe for being a Red Wings fan.

Set It Off

Cody Carson exudes old school emo right from the get go: “Our name is Set It Off and we came to fuck shit up” he cries to an impassioned crowd, one who are more than happy to turn the Avalanche stage into a sweltering hotbox of movement. Whether it’s the synchronised side hops on ‘Projector’, or drummer Maxx Danziger getting a warm reception as he moves to the front to perform ‘Hypnotized’, or surprise saxophone solo in ‘Loose Cannon’, the Florida trio have the tent in the palm of their hands. Probably a good thing they ended when they did, as the heat of the day and the amount of movement from the crowd was turning some folks a little pale.

Parkway Drive

It’s Parkway Drive’s first post-covid international festival, and there’s a lot of catching up to do. Certainly, the amount of pageantry the New South Wales rockers bring to the main stage shows how much they’ve missed this, as druids with torches ablaze line the stage, now adorned with great spikes and metal sconces. The crowd have missed this too, as even before the breakdown of the opening ‘Glitch’ hit the dust from the pits rises, turning Winston McCall’s pearly white outfit a sordid brick red almost instantaneously. Not that he cares: “You can tell it’s a good set when you can taste the dirt from the stage” he says, grinning from ear to ear after the guitars of ‘Soul Bleach’ send the crowd into overdrive.

Both McCall and the audience have no intention of keeping things static for even an iota of a second, and in what is maybe the highlight of the festival, McCall descends into the frenzied Apex pit for ‘Idols and Anchors’. With a succinct “Jeff, give ’em a fucking ripper”, he’s hoisted aloft by his feet as a circle pit envelops him. The image of a hundred people swarming around a muddy, maniacal McCall will stay with a lot of us for a long time, and the string trio that accompanies the soft intro of ‘Shadow Boxing’ seems to reset the crowd for another round of rioting. Parkway Drive have suffered through a lot of darkness and put a lot of work to get a new record out, but their return to British soil has been an entirely successful venture. Don’t stay away for too long this time, guys.

Ghost

The second big clash of the weekend, Electric Callboy and Ghost were sure to cause a rift between fans. We wish we’re able to tell you how ‘Hypa Hypa’ Electric Callboy’s set was, but when the crowd at the Avalanche is spilling out the sides into the surrounding area, there’s not a lot you’re able to discern beyond the fact people love Electric Callboy. Fortunately, it means we can dedicate all the time in the world to Opus headliners and resident gothic sex cult Ghost. A supposed technical error means we sadly get no appearance from the reanimated, saxophone wielding Papa Nihil, but otherwise Ghost delivers exactly what is expected: a monstrously fun time. From the batwings of ‘Cirice’ to full unholy regalia of ‘Year Zero’, Tobias Forge, AKA Papa Emeritus IV takes his role as head of the Ministry and leader of the Nameless Ghouls that shred alongside him seriously, even managing to summon the first dark clouds of the entire weekend, much to the elation of a sun bleached audience. Despite playing the Cardinal Copia as a swaggering, sensual dark priest (‘Are you ready to get your teats tickled?” bring raucous responses from the audience), there are moments where the more ghoulish persona of past records come out to play, such as the sinisterly regal Emeritus III, who growls his way through ‘Mummy Dust’. The problem with a festival-length set is there’s always going to be some omissions, and with a rather extensive discography of popular tracks, some cuts need to be made, such as excluding their debut record. Yet they hit all the high notes, closing on the ever popular ‘Square Hammer’. The size of the rabid crowd crying for a longer set, the pageantry and charisma of the band, the altogether excellent performance? Oh, they’ll be back here soon for sure.

Slipknot

Talk about a big finish. After two nights of classic Metallica, a jolt of modern energy with BMTH, and enough dirt kicked up to fill a canyon, there’s really only one group you can bring on to set the weary crowd rioting one last time; Slipknot are quite the panacea for the poison. Not to say they’re not also fighting a degree of war weariness, with the nebulous status of longtime member Craig Jones, and Corey Taylor battling a throat injury, but with Shaun ‘The Clown’ Crahan returning from family responsibilities and 90,000 strong crowd packing the Apex to the gills, this feels like the finale the crowd have been waiting for.

The monstrous pop that the opening track of ‘The Blister Exists’ receives is testament to how badly Download wanted Slipknot back. In Taylor’s own words. “Let’s just get this out of the way: it’s good to be home”. Taylor, even injured, immediately makes it known why the final headline slot could only ever be theirs. For the first eight straight tracks, Slipknot’s eight man team and their new mysterious keyboard player are solely focused on the performance, barely pausing to take in the absolutely manic atmosphere after tracks from their newest record, ‘The Dying Song’ and ‘Yen’ get to properly stretch their legs against crowd favourite ‘Pyschosocial’, and though the industrial-styled stage, with giant rusted fans and flickering shadows gives an air of tension, the band are as vibrant and powerful as ever. Their recent personal stumbles having no effect on just how good a show they’re able to put on, and its only after finishing contorting on stage for ‘Hopeless’ that Taylor finally addresses the crowd: “I just lost twenty quid”. It seems the gang have made a bet with Taylor that he could do a dozen songs without saying a word to the crowd and we would still lose our shit, Which, to be fair, we did.

From there, it’s an hour of some of the best heavy metal you’re going to see in the 21st century. No one, and I mean no one does it like Slipknot, and the setlist is more or less the perfect combination of golden oldies and well received new singles. ‘Left Behind’ gets its tour debut to great delight, while ‘Wait and Bleed’ is dedicated to Slipknot’s friends at Kerrang and ‘Unsainted’ reminds us that every era of the band’s career has its shining moments. An encore of Slipknot’s biggest hits (mysteriously sans ‘Before I Forget’, which is a surprise) closes us out: ‘Duality’ and ‘Custer’ sets the now truly exhausted crowd alight one final time, before the evergreen ‘Spit It Out’, the bands second ever single, sends us home with a nostalgic glow.

It’s a show for the ages, and it closes out four days of headliners just like this one. Metallica showing the metal of old still reigns supreme, Bring Me The Horizon finally coming into their own as a world-class headliner of the future, and Slipknot reminding us why they have never stopped being *the* heavy band of the here and now. Past, present, and future, all putting their best foot forward. Despite the crowd feeling jam packed, especially with how packed the queues and tent stages feel at times, and the maddening lack of shade, this is a festival well worth of Download’s 20th anniversary. A dozen different brands of rock have been represented, from metal to metalcore, electronically-tinged and acoustically-infused, from every corner of the world. In a year where inclusion and diversity has been more important than ever, Download have come through to make every fan feel welcome. All we have to do now is beat the final boss of the festival: the morning traffic out of here.

Words by Yasmin Brown [YB] and Catie Allwright [CA]. Photos courtesy of 2000Trees

Holding Absence

It’s only Thursday afternoon and we’ve barely even managed to pitch our tent yet, but 2000Trees might have already peaked. A latecomer to this year’s line-up, Holding Absence were asked a week ago to play and of course they said “fuck yes”. This is their fifth time to grace the festival’s stage, for them the best weekend in the UK, and something will have gone hideously wrong if they’re not back to perform on the Main Stage (their last to tick off) in 2023. Just like 2000Trees itself, which has been steadily growing in popularity and reputation year-on-year, Holding Absence have been taking the alternative music scene by storm – and they truly deserve all of it and more. 

Despite the slightly sketchy sound emanating from the Axiom Stage, and even though we’re only just getting warmed up, these five incredible musicians from Wales have us screaming, dancing and sobbing our hearts out. Their latest album ‘The Greatest Mistake Of My Life’ came out last year, which almost everyone in the tent has clearly memorized from start to finish, but there’s no better set-closer than the devastatingly beautiful ‘Wilt’ from their self-titled release in 2019. Vocalist Lucas Woodland said we’d been perfect – but we’re just mirroring what’s in front of us. [CA]

Can’t Swim

The tent might not be packed, but those who are in attendance for Can’t Swim’s set today aren’t messing around. These New Jersey natives immediately rouse the crowd and in no time at all, arms and legs are swinging at breakneck speed as fans lose themselves in their favourite songs. Most apt is ‘Set the Room Ablaze’, taking from the band’s latest album ‘Change of Plans’; today’s relentless head combined with the raucous nature of Can’t Swim’s discography has certainly ignited a fire in us all.

Frontman Chris LePorto sweetens up the non-male portion of the audience, dedicating ‘My Queen’ to “the ladies” (a nod to the LGBTQI+ community, perhaps, given the rainbow bandana tied around his arm), before playing one of the band’s most revered songs from 2018’s ‘This Too Won’t Pass’ with circle pits aplenty before the set takes a turn, becoming increasingly heavier with each song that passes. Shoes start to fly as this more chaotic part of the set ensues (if “more chaotic” is even really possible) as the band launches into ‘Prick’ and their favourite of all Can’t Swim songs, ‘Power’. 2000Trees marks their 8th time in the UK and it’s clear they feel comfortable in front of a British crowd, and as they close out their set with fan favourite, ‘Stranger’, we can only hope they’ll be back for a 9th time very soon. [YB]

Dinosaur Pile-Up

“Oh shit”, says lead singer and guitarist Matt Bigland. In his words, Trees is a fucking ace festival with nice people – but the setting sun is melting the eyeballs out of his face. That’s apparently only the first challenge as a shot of tequila just minutes before gracing the stage might have been a mistake. We almost have to serenade a very public vomit, but Bigland manages to hold it together through 50 minutes of rock and roll (the same can’t be said for drummer Mike Sheils who breaks his snare drum, which apparently happens at every gig). 

The band may have gone through some changes in members over the years, but there’s a maturity to Dinosaur Pile-Up’s sound and performance… and a grassy open-air stage in Upcote Farm is the perfect place to enjoy it. Whether the aggressive riffs throughout songs like ‘Thrash Metal Cassette’ and ‘Stupid Heavy Metal Broken Hearted Loser Punk’ send you straight into a pit, or the velvety grooves in closing track ‘11:11’ create ripples through your limbs, there’s something for everyone from this grungy, angsty, melodious trio. [CA]

Lonely the Brave

Sauntering onto stage supported by a long track introduction, it’s clear that Lonely the Brave have been much anticipated by Thursday’s crowd. Things quickly fill up as they launch into their afternoon set as fans sip on increasingly warm cans of beers and inhale fast-melting ice creams under the protection of the tent, kicking off with the ever-loved, ‘Backroads’, much to the delight of those already in attendance.

With (not-so) new singer Jack Bennett at the helm, the setlist is made up of a combination of old and new songs, with Bennett clearly leaning into those he had a hand in writing and producing himself. With some time behind them, these newer songs see the crowd just as animated as those from previous albums, as clapping immediately to the likes of the first live performance of ‘Distant Light’. Lonely the Brave are a softer choice for 2000Trees but this crowd never misses an opportunity to crowdsurf, whatever the situation, and ‘Bound’ from 2021’s ‘The Hope List’ turns out to be such an opportunity part way through the set, setting the tone for the remaining few songs which were executed with a childlike energy. With just a couple of shows under their belt with Bennett leading the charge, it’s hard to believe these guys don’t have years of experience under their belt; so tight is their performance and so powerful are Bennett’s vocals. With a headline tour upcoming, they’re only set to get stronger and we’re excited to be here for the ride. [YB]

Creeper

The heat is lingering well into the evening and the crowd is swelling in anticipation of our cult favourite, Creeper. Walking around the festival, the “goth punk” quintet’s merch can be seen on what feels like every other person – so there’s absolutely no hesitation getting stuck in. Lead vocalist Will Gould seems in delighted disbelief at the crowd’s response to ‘Down Below’ – thousands of slightly-sunburned faces shouting back at him on cue – although no-one’s voice can compare to his deep, dulcet tones or those of the incredible backing vocalist Hannah Greenwood (whose stripped-back rendition of ‘Crickets’ is haunting).

Creeper’s most recent album ‘Sex, Death & The Infinite Void’ was released during the “troubled times” in 2020, so we’ve had plenty of time to familiarise ourselves with hit tracks including ‘Cyanide’, ‘Born Cold’, ‘Annabelle’ and almost country-esque ‘Poisoned Heart’, accompanied by plenty of well-worn favourites from ‘Eternity, In Your Arms’ (2017). This is a band that doesn’t simply play music, which would more than stand up in its own right. Their performance is a feast for the senses, erring just on the right side of gimmicky with costume changes, pyrotechnics and drama – and they clearly relish every second of their time on the Main Stage. Dracula is even roped in at the end to warn us that there’s evil afoot, and it’s very important we aren’t at Camden’s Roundhouse in November (unless you’d like to see Creeper’s biggest headline show to date, in which case tickets are on sale now – but it’s “laced with malice” so attend at your own risk). [CA]

Cassyette

A guttural scream emerges from the stage and it’s plain to see that Cassyette has arrived. This powerhouse has taken the UK by storm over the past year, becoming a frequent name on festival lineups and with her crowds increasing with every set. Today, her fans are eating out of the palm of her hand, screaming along with her and attempting to match the dirtier features of her vocals, unsurprisingly failing miserably given her unmatched ferocity. Fans climb on each others’ shoulders of their own volition, so desperate are they to feel more involved in the set, and while Cassyette encourages circle pits to open, it’s far from necessary as bodies are launched at other bodies freely and without hesitation. The only possible complaint is that today’s set ends a little sooner than expected, leaving us feeling robbed of another song or two, but as with any good performer, Cassyette left us wanting so much more and we won’t stop until we get it. [YB]

Jimmy Eat World

For a band that have been going for as long as Jimmy Eat World, it’s hard for them to find new ‘firsts’ to experience. Tonight, however, is one of those moments as the band headlines a festival of this size for the first time ever. They’re as humble as ever, of course, as frontman Jim Adkins marvels at the sight before him: “Oh my God, there’s so many of you”. And there are so many of us – all here to witness that glory that is Jimmy Eat World playing a headline set.

Never a band of many words, the four-piece make their way seamlessly through a 21 song setlist, pulling hit after hit from their extensive 23-year-long discography. The sound, as ever, is flawless and you can’t help but feel awestruck as freshly blown bubbles float overhead, popping gently above us. Songs such as ‘Futures’ and ‘Bleed American’ are played in stark contrast to this picture perfect scene, whereas the likes of ‘Blister’ (led by “your favourite member of Jimmy Eat World”, guitarist Tom Linton), the ever-emotional ‘Hear You Me’ and ‘23’, and a stunningly acoustic solo version of ‘555’ lend themselves perfectly to this movie soundtrack moment. Humble from start to finish, Adkins can’t help but repeat his gratitude as he looks out once more at the crowd before him. He admits they’ve never done a show like this, and it feels more special than ever – both for the band members on stage and every doting fan that gazes up at them. However many times you witness a Jimmy Eat World show, each feels more spectacular than the last. This one, however, will be tough to beat.  [YB]

Whilst we await the inevitable apocalypse, you can be damn sure we’ll still be sharing music with the dozens of people who want it, as well as a whole heap who don’t. With that in mind, here’s what we’re shouting about this month.

As always, follow the playlist below as we update it throughout the month. Unless the heat shrivels us up into dried prunes. In which case, good luck, and enjoy the tracks we’ve left behind.

https://open.spotify.com/user/punktastic-spotify/playlist/39Wyg2pGCmu8cxwWBa4eB3?si=P1LAZ-HjTWaB_3plNWvaiA

Bellevue Days – ‘Ripped Jeans’

With their debut album due to be released ‘later this year’, it seems the appropriate time to throwback to a classic from one of Bellevue Days earlier EPs. ‘Ripped Jeans’ is heartbreaking. Based around drinking to forget lost love, it’s something we can all relate to. That delicious blackout to get through the night, only to be in the same awful position in the morning. While it’s punchy and rousing, it’s the hook that really holds it together. A chorus that you would scream into the face of your mates at dusk, only to weep to it at dawn.

ANDY JOICE

Black Peaks – ‘Aether’

After an incredible performance at ArcTanGent with the legendary Jamie Lenman on vocals, Black Peaks have returned to my frequent listens. This was the song they closed their set with – Lenman’s favourite Black Peaks tune, and now one of mine too. Catch them later this year on tour with Black Futures, Palm Reader, and more, and prepare for your mind to be blown.

DAVE STEWART

Dinosaur Pile-Up – ‘Stupid Heavy Metal Broken Hearted Loser Punk’

Somehow, we missed their latest album ‘Celebrity Mansions’ a couple months ago, so let me make this official – we fucked up. It’s made it safely onto my personal Album Of The Year shortlist. ‘Stupid Heavy Metal Broken Hearted Loser Punk’ is a definte highlight for me. There’s a sort of grungy essence in the instrumentation, while Matt Biglands vocals hover effortlessly above it all. With throwbacks to Weezer at certain points and a heavy dollop of Descendents-esque lyrics, it’s feel good in an angsty way with a chorus that just won’t leave my head.

ANDY JOICE

Counterparts- ‘Wings Of Nightmare’

Counterparts just get better and better with each release, and their brand new single proves that they’re continuing with that trend. Think of everything you love about metalcore and it’s here in its most melodic, raw, and punishing form. Spin this one loud.

DAVE STEWART

Patent Pending – ‘Punk Rock Songs’

Patent Pending return with their most well rounded track to date. Evolving from their happy pop punk tendencies, ‘Punk Rock Songs’ speaks from the heart with a vibrant melody, passionate lyrics and fist-punching chorus. This defiant ballad screams everything that unites music lovers. Whether you’re behind the drum kit, in the studio or at the front row, ‘Punk Rock Songs’ is our new anthem.

LOUIS KERRY

Cayetana – ‘Easy To Love’

We bid a tearful farewell to Cayetana in August as the Philadelphia punks decided to call it a day after eight years and two spectacular albums. They were an important and underrated voice in the US punk scene, nestling neatly alongside prominent stalwarts such as PUP and The Menzingers. They were fearless in speaking out against misogyny and led the charge of calling out the toxic masculinity prevalent in our society at the moment. Taken from their excellent 2017 LP ‘New Kind of Normal’, ‘Easy to Love’ encapsulates Cayetana’s sound of angst-laced lyrics, delicate harmonies and beautiful lo-fi DIY punk sound. They will certainly be missed.

TOM WALSH

The Spook School – ‘Keep In Touch’

Another band calling time on their career is Glasgow’s indie-punks The Spook School. Currently embarking on their farewell tour, ‘Keep In Touch’ is almost a wistful hope from the band to its fans. The four-piece took on challenging topics of gender fluidity and binary wrapping them up in delightful pop songs. While ‘Keep In Touch’ is possibly the most heartbreaking track from their beautiful 2018 LP ‘Could It Be Different?’, it is a cause of celebration as another fine Scottish band sails off into the sunset. It’s just a crying shame we’ll never get another chance to hear their love for Linda McCartney sausages or admire drummer Niall McCamley’s nipple tape again.

TOM WALSH

Gender Roles – ‘Bubble’

If you haven’t already listened to Gender Roles, stop what you’re doing and check them out. After releasing their debut album ‘Prang’ at the end of August – another contender for Album Of The Year – they’re a breath of fresh air. While they may carry that nostalgic grunge sound, they’re also incredibly nuanced in their use of modern lyrical themes. If there’s one track that really exemplifies Gender Roles, it has to be ‘Bubble’. Delicate melodies that expand into scuzzy rhythm sections and a chorus that’s dangerously hooky. So if you’re craving that meaty grunge sound laced with angst and subtle cynicism, stop what you’re doing and check them out.

ANDY JOICE

The final day of any festival is always most notable for crowds that can generally be described as ‘half-dead’, and Download is no exception – it’s definitely easy, by this point, to tell who’s only come in for the day as they bound around with fresh faces and unusually clean shoes. Today’s line-up is one of the most varied of the weekend, as metalcore sits alongside pop-punk, rock ‘n’ roll rubs shoulders with death metal, and thrash takes the crown with one of the festival’s most important performances.

Images: Penny Bennett, Words: Gem Rogers [GR], Dave Stewart [DS]

I Prevail

When it’s the final day of a festival like Download, it really takes something to keep bleary eyes open and weary brains alert – luckily, Michican’s I Prevail are just the band to do it. It takes a song or two for things to get moving, and there’s a few awkward lulls early on as the band disappear wordlessly to the back of the stage between tracks, but their light and melodic metalcore has just the right amount of aggression to open up plenty of pits in front of the main stage and keep the energy on maximum. There can be no doubting their dedication, either, as vocalist Brian Burkheiser sprints around the stage despite a broken foot; this is a band determined to give everything they’ve got. Dominated by tracks from sophomore album ‘Trauma’, incendiary numbers like ‘Gasoline’ and ‘Deadweight’ show just what a strong band they have become – the main stage is where I Prevail belong, and this won’t be the last time we see them on it. [GR]

Dinosaur Pile-Up

One of the first bands to tackle the Zippo Encore stage was the UK’s very own Dinosaur Pile-Up. Currently surfing the waves that their critically acclaimed new record ‘Celebrity Mansions’ has made for them, they came crashing into Download Festival to deliver their ballsy grunge-laced tunes to the early risers. Riffs flew in from every conceivable angle, from the gigantic closing chords of ‘Traynor’, to the infectious hooks of ‘Back Foot’. It started to rain heavily towards the end of their set, but everyone stood their ground and embraced it as front man Matt Bigland yelled “fuck the rain” to the sky. A perfect set from one of the country’s most exciting trios. [DS]

Allusinlove

Leeds four piece Allusinlove – formerly known by the slightly less wholesome name Allusondrugs – are next up in a sparsely populated Avalanche tent. Their indie-infused rock and roll isn’t especially inspired, but it does come with a huge helping of groove and piercingly clear guitar, alongside outstanding vocals from front man Jason Moules. Though the gathered crowd are mostly fairly mellow, they show they aren’t averse to a bit of dancing at the band’s bidding – on the whole though, despite good delivery, it’s an unexciting half hour that struggles to be memorable in a busy weekend.

Underoath

Back in the 1970‘s, The Clash fought the law, and the law won. Over on the main stage at Download 2019, Underoath fought the weather, and Underoath won. The weather was dire as the post hardcore legends took to the stage, but their signature brand of raw emotive power forced a gap in the clouds to let the sun beam down on the grounds. They utilised every single inch of the stage, darting around as they performed a nice blend of both older material and cuts from their newest record ‘Erase Me’ – the latter of which fell a bit flat on the crowd. Classic anthems ‘Writing On The Walls’ and ‘It’s Dangerous Business Walking Out Your Front Door’ went down a treat though, as did the surprise inclusion of one of their heaviest songs ‘Breathing In A New Mentality’. A solid performance from one of the genres most adored bands. [DS]

Heart Of A Coward

There’s been a lot of buzz surrounding Heart Of A Coward recently. Ever since the introduction of new vocalist Kaan Tasan and the release of new record ‘The Disconnect’, the metal community has been pining to see them live to see exactly what he can do and, ultimately, whether the band are still a force to be reckoned with. Not even halfway through the first song of their set, it became very clear that Heart Of A Coward are just as devastating as ever, if not more so. Every single song connected like a wrecking ball to a crumbling building, leaving nothing but dust clouds and astounded faces behind. Classic songs like ‘Shade’ and ‘Hollow’ completely filled the Avalanche tent with their fierce tones, and new material like ‘Drown In Ruin’ and ‘Collapse’ saw them confidently prove that they’re not a band to be forgotten about. A triumphant return to the big leagues for one of British metals finest. [DS]

Black Peaks

Black Peaks are one of the most unique and exciting bands to have emerged in recent years, and the number of people that were tightly packed into the Avalanche stage to witness their performance was testament to their popularity. Full of big hitters from their last two records, they stunned and amazed onlookers with ballsy performances of tracks like ‘Can’t Sleep’, ‘Say You Will’, and the riff-heavy rager ‘Glass Built Castles’, the latter of which caused the crowd to stir themselves into a frenzy. A lot of the intricacies of their music seemed to get a little lost in the tent, but it didn’t matter to anybody that was watching. Black Peaks really know how to put on a show – whatever may have been missing aurally, they more than made up for with an adrenaline-fuelled storm of a performance. [DS]

State Champs

It is an irrefutable truth that pop punk is made for sunshine, and sunshine is made for pop punk. It’s no wonder, then, that our glowing sky orb friend has come out to play for a set from reigning kings of the genre State Champs, and the Zippo Encore stage becomes one hell of a glorious place to be this afternoon. It’s not just their back catalogue of sensationally catchy, high quality songs that make this set beautifully enjoyable from start to finish; State Champs are also outstanding performers, never putting a foot wrong and infusing the area with enough energy to power a small county. Some bold attempts at circle pits on a muddy slope ensue, along with huge singalongs to the likes of ‘Secrets’ and ‘Dead And Gone’ – State Champs are nothing short of masterful throughout. Long live pop punk. [GR]

Crystal Lake

Japanese quintet Crystal Lake released their album ‘Helix’ earlier this year to rave reviews, and their live show has a reputation for being complete chaos – as a result, it was no surprise to see that the Dogtooth tent was overflowing with people for their set. Without warning the band launched into ‘Agony’, putting on an unenthusiastic performance that still managed to turn the tent into a giant whirlpool, but as it turned out, they were still only soundchecking. That’s right, folks – they had circle pits and crowd surfers before they’d even started their set. When they did start though, the carnage that ensued was utterly relentless. The band transformed from quiet and reserved, becoming enigmatic bundles of energy, exerting electricity with every step. Bodies flew over the barrier from all directions as they smashed through gigantic songs like the groovy nu-metal smash ‘Hail To The Fire’, the gigantic ‘Apollo’ and the raw and unpredictable ‘Aeon’. Technically brilliant, musically intense, and physically impressive, Crystal Lake are completely unstoppable. [DS]

Toska

Prog fans have been spoilt for choice over this weekend, with numerous progressive and instrumental acts spread across all three days of the festival. Sunday was no different, seeing British trio Toska claim the Dogtooth stage as their own. Another unfortunately short set due to the sheer length and complexity of the bands songs made it feel like the performance was already over before it’d gotten into full swing, but the crowd lapped up every note nonetheless. Front man and lead guitarist Rabea Massaad was genuinely taken aback and stunned by the number of people in the tent as they gracefully danced through their technically impressive set, accompanied by deafening cheers and applause from fans both in and out of the tent. Stunning prog wizardry performed with absolute passion and precision. [DS]

Beartooth

It might be the ongoing sun going to everyone’s heads that causes the crowd at the Zippo Encore stage to drop everything in favour of colossal moshpits and a general descent into chaos – but, more likely, it’s a sign that Beartooth have taken to the stage. “I’ll be banging my head ‘til my brain rots” couldn’t be more appropriate lyrics as the five piece go full force with opener ‘Bad Listener’, blending utterly delicious melodies with passion, fire, and plenty of thrashing guitar.With enough bite to appease even those down the front waiting for Slayer, nobody could leave this set feeling unsatisfied, and the feel-good vibes are undeniable. Beartooth are, without a doubt, on their way to a headline slot on the main stage, and it won’t be long before they’re there. [GR]

Lamb Of God

Virginian metal outfit Lamb Of God are a band who’ve truly earned their slot at the top end of the main stage, and the gigantic crowd they’ve amassed seem to agree. Their instantly recognisable groove metal sounds fill the air as they thunder through tracks from across an impressive and expansive career so far; opener ‘Omerta’ destroys everything in its path with crushingly furious riffs, and the scene is set for an hour that metalhead dreams are made of. Front man Randy Blythe is as intense and captivating as vocalists come, his snarling vocals utterly faultless as he stalks the stage like a predator; and though the band are missing drummer Chris Adler as he recovers from injuries sustained in an accident, replacement Art Cruz is more than capable of filling the gigantic shoes Adler left with effortless style. The pit is little more than a writhing mass of bodies as circles form and merge constantly to the thunderous sounds of songs like ‘Walk With Me In Hell’ and set closer ‘Redneck’, and if anyone had any energy left on this Sunday afternoon, it’s surely spent by the end of this set. Lamb Of God are an imposing force, and though they sit among some of the biggest names in metal on today’s line-up, they easily hold their own and dominate the stage – the future of heavy metal is in safe hands with the likes of them to carry it. [GR]

Anthrax

This weekend has been graced by some true legends of the metal and rock world, but few were able to bring out the party quite like Anthrax. Most bands that have been going for as long as they have tend to show signs of their age in their performances, but not these thrash metal monsters – they were so energetic that they put the majority of younger bands on the bill to shame. The band are incredible entertainers, starting their set at full throttle and not letting up until the very last note had faded away. Cramming their set full of all their biggest and best hits caused smiles and good vibes to spread throughout the crowd, with songs like ‘Madhouse’, ‘I Am The Law’, and the mosh-tastic ‘Indians’ providing punch after punch. They didn’t miss a note, they didn’t stop moving, and they didn’t let a single person in the audience leave without a smile on their face. To top it all off, the sun got even sunnier during their set – it wouldn’t be surprising if their positive, feel good attitude made its way skyward. Thrash metal kings proving exactly why they’re still deserving of the crown. [DS]

Whitechapel

To the surprise of absolutely nobody, Whitechapel brought the heaviest set of the weekend to the Dogtooth stage. Moodily stepping out onto a eerily lit stage, Phil Bozeman and crew wasted no time opening the gates of hell, tearing straight into the disgustingly powerful ‘Brimstone’ as the crowd turned the tent into a warzone. The short set spent most of its time flaunting the band’s new material, showcasing cuts like the brutal ‘Forgiveness Is Weakness’ and the haunting black metal-tinged ‘When A Demon Defiles A Witch’ – but they also reached deep into their back catalogue as a respectful nod to their long term fans. The biggest throwback they played was 2008‘s ‘Father Of Lies’, which caused one of the most aggressive pits the tent saw all weekend. The entire performance was pure evil, almost like Whitechapel had signed a deal with Devil himself to create sounds so dark and unnerving. Absolute carnage from beginning to end. [DS]

Dream Theater

Back over on the Zippo Encore stage, prog metal lovers flocked around the stage to witness Dream Theater melt some minds with their undeniable talent. Every single member of the band is a true virtuoso at their instrument, particularly guitarist John Petrucci and bassist John Myung who are both hugely respected throughout the music world. Aurally they were flawless, each member of the band performing a note perfect set with absolute precision and ease. Songs like the 9 minute epic ‘In The Presence Of Enemies Pt 1’ and the stunning ‘Dance Of Eternity’ were completely faultless, causing many jaws in the audience to drop, eyes gazing forwards in both amazement and disbelief. It was incredible to listen to – just very boring to watch. The only member of the band that actually did some moving was vocalist James LaBrie, and that was mostly walking on and off stage to avoid him standing around during the lengthy solos. They were musically incredible, but visually underwhelming. (DS)

Fever 333

If Fever 333 aren’t a familiar name yet, it’s definitely fair at this point to ask where you’ve been for the last year. Their secret set here in 2018 was one of the hottest topics of the weekend (and beyond), so their promotion to sub-headliners on the Avalanche Stage seems only right – word has definitely spread far and wide, and the tent is rammed long before the set begins. The Fever’s fiery brand of empowering rock music hits hard, and their message of social justice spills over into every crevice of their performance as enigmatic front man Jason Aalon Butler speaks out to the underrepresented, and to those who can make a difference. Unfortunately, the sound in the Avalanche Tent is once again frustratingly poor; Butler’s vocals are frequently far too low in the mix, and the backing track overpowers just about everything else. It takes nothing away from their overall performance and message, but it’s difficult to enjoy the set as much as we should be able to – fortunately, they’re going nowhere anytime soon, and we’ll have plenty of opportunities to enjoy them when they inevitably ascend to bigger stages in future. [GR]

Enter Shikari

Following a band with a growing reputation for one of the best live performances on the scene would be a difficult feat for some – but when you’re Enter Shikari, and you’ve spent more than ten years building your own fearsome reputation for destroying every venue in sight, there’s very little to worry about. From the second Shikari take to the stage, it’s a toss-up as to who’s loudest out of the band on stage, and the thousands of people spilling from the Avalanche tent for the stage’s final set of the weekend.  Dazzling light shows, confetti aplenty, and a good helping of pyro come together to support their unique, genre-defying music; the infusion of drum and bass, techno, and just about anything else they fancy with rock absolutely shouldn’t work, but in their enthusiastic and talented hands it results in nothing short of the best party you’ll ever attend. The passion on stage is reflected in the non-stop movement in the crowd – including a pair of fans managing the impressive feat of climbing one of the tent supports, threatening to bring the show to an abrupt halt (boo, health and safety) – and it’s easy to see how this band inspire such a joyous reaction with their flawless performance and strong beliefs in a better world. It may not be the end of our weekend just yet, but if it was, this hour with Enter Shikari would be a perfect way to finish it. [GR]

Slayer

It’s difficult to know what to say when faced with the final UK set from a band who, over a nearly forty year career, came to be the defining face of an entire subculture. Say “I like metal” to anyone outside our world, and the first question you’ll probably get back is “oh, so like, Slayer?” This is a band who paved the way for hundreds of bands to follow, and not just for thrash. Sticking two fingers up to the establishment, Slayer ploughed forward with their satanic hymns and brought generations of metalheads along for the ride – and now, on this final night at Donington, we must say goodbye.

It’s not too surprising that the Zippo Encore stage has never seen a crowd the like of this one, reaching back to every corner and food van that surrounds it. Though those at the back of this mass of people may be quietly absorbing every moment of the set, the pit at the front is living up to every bit of the mad reputation Slayer shows have earned as they plough through decades-worth of utterly unforgiving thrash, packing no less than twenty tracks into their 90 minutes. It goes without saying that they are nothing short of flawless from the very first notes of ‘Repentless’, followed by the likes of ‘Evil Has No Boundaries’, ‘South of Heaven’, and ‘Chemical Warfare’. It’s frustrating that, towards of the end of the set, the sounds of an overly loud Tool on the main stage make their way over to the back corner of the field; for those on the right hand side, it becomes instantly difficult to focus and feels like an injustice for a set as momentous as this.

When the time comes and the final notes of ‘Angel Of Death’ ring out across the field, it’s an end that feels almost too abrupt. In reality, it’s an ending that nobody could ever have been ready for. It speaks to the impact of this band that a significant percentage of this audience weren’t even born when their first album was released, yet Slayer’s music has been woven into their lives and taken root in their hearts. Few words are spoken, but as the band look out on the crowd and take their time to soak in these final moments, the heartfelt love and respect is clear and mutual. There will never be another Slayer, and their presence is something we will never cease to be grateful for.

Tool

Circa Waves, Idles,  Little Comets, Dinosaur Pile-Up, Protomartyr, Future of the Left, Grace Pertrie, Get Cape. Wear Cape. Fly, The Orielles, Delta Sleep, Her’s, Dream Nails, Peaness, She Makes War, Magique, Mellow Gang, Rascalton, Rattle, Crosa Rosa, Eyre Llew, and Natalie Evans will play the Leicester based festival, which takes place at the O2 Academy on the 5th and 6th May 2018.

Weekend tickets are available here and cost either £45 or £50.

Drug Church – ‘Weed Pin’

‘Weed Pin’ is the new single from the Albany quintet. Another huge tune to add to their already impressive catalogue. Catch them on tour all over the States this month.

Turnstile – ‘Real Thing’

Put this on and bang your head. ‘Real Thing’ is the first new single since signing to Roadrunner Records. Turnstile are currently on the road throughout the USA now.

Anti Flag – ‘The Criminals’

The Pittsburg punk-rock legends have the fire back in their bellies. Having just finished up on the ‘Fireball Fuelling The Fire Tour’ in the UK, their new album ‘American Fall’ is out now through Spinefarm Records.

The Run Up – ‘WKND’

‘WKND’ is the lead single from Bristol-based The Run Up’s self-titled debut LP,  which is released next week through Real Ghost Records. A fine slice of melodic punk rock.

Old Wounds – ‘Only Your Enemies Leave Roses’

A punishingly heavy new tune from the New Jersey crew, out now through Good Fight. Think Converge meets Poison The Well. They’re back on the road for a handful of shows across the North West of the US before the end of the year.

Phinius Gage – ‘Battered And Bruised’

Having split up back in 2008, after touring an insane amount since their formation in 2002, the Brighton-punks are back together and active again. ‘Battered And Bruised’ is taken from a best-of collection, out now through Disconnect Disconnect Records.

Thrice – ‘Red Telephone’

Thrice are just awesome. Originally a B-side from the 2009 album ‘Beggars’, ‘Red Telephone’ has been given a proper release, which it truly deserves. Currently on tour in the US with Circa Survive.

Random Hand – ‘Anger Management’

Random Hand are back together and active again after a few years away. Fantastic news for UK ska punk. The first announcement is an appearance at Manchester Punk Festival in April.

Waco – ‘Mother Mercy’

Truly one of the jewels in the crown of the underground scene in the UK. ‘Mother Mercy’ is taken from ‘Deathless’ – out now through Venn Records. Catch them at The House Of Vans, London on November 15.

Dinosaur Pile-Up – ‘Red And Purple’

Dinosaur Pile-Up are currently smashing their way through an extensive UK tour. Be quick and make sure to make it to a show! Riffs and melodies galore! ‘Eleven Eleven’ is out now.

Tickets cost £8 and will go on sale on the 6th November. You can purchase them here. In September they released their latest EP ‘Summer of Luv’ via Killing Moon and Alya Records.

The band are also playing the following UK shows.

NOVEMBER
04 MANCHESTER Sound Control*
06 LEEDS Brudenell Social Club*
07 GLASGOW King Tut’s*
08 BIRMINGHAM Mama Roux’s*
09 BRISTOL The Exchange*
11 LONDON Lenmania, The Dome
FEBRUARY 2018
28 LONDON Camden Assembly

* w/ Dinosaur Pile-Up + Demob Happy

It is the title track from their latest EP, which was released last month via Killing Moon and Alya Records.

The band are also playing the following UK shows.

OCTOBER
18 EDINBURGH The Smash House^+
19 NOTTINGHAM Rock City Basement^+
20 PETERBOROUGH The Met Lounge^+
21 STOKE-ON-TRENT Sugarmill+
22 GUILDFORD Boileroom^+
NOVEMBER
02 BRIGHTON The Hope and Ruin*
03 LONDON The Garage*
04 MANCHESTER Sound Control*
06 LEEDS Brudenell Social Club*
07 GLASGOW King Tut’s*
08 BIRMINGHAM Mama Roux’s*
09 BRISTOL The Exchange*
11 LONDON Lenmania, The Dome

+ w/ Arcane Roots
^ w/ Gold Key
* w/ Dinosaur Pile-Up + Demob Happy