There’s no easing in, no softness or nostalgic familiarity. Opener ‘aftermath/afterthought’ is an industrial-laced, Nine Inch Nails-goes-metalcore masterstroke, and the perfect way to kick things off. Putting a track so wildly different to their past output at the top end of a new album is meaningful. Experimental tracks dotted through a record is expected, demonstrating a band playing around with their sound, but putting something like this right at the start boldly says “we’ve changed.” This is not going to be what you expect, and there is plenty more where this came from. This is Four Year Strong 2.0.

Things begin to get a little more familiar with the hugely catchy ‘bad habit’, its chorus packing that sun-soaked hit the band have become so good at making, but there’s still an aggressive undertone to it that gives them a much sharper edge than they usually have. That breakdown has the potential to be lethal live. ‘uncooked’ is an upbeat bop with big hardcore vibes, ‘out of touch’ is a fist-pumping ballad hybrid, ‘rollercoaster’ is a white-knuckle blend of both; every track has its own genetic code, but they all very clearly belong to the same family.

This album isn’t all about the creative shift. There’s plenty of material that slots into their discography with ease, such as the towering ‘better get better’ and its irresistible dazzling aura, or the punchy and anthemic ‘paranoia’, the grooves of which you can picture getting a crowd pulsing within seconds. What’s special about this record, though, is that the familiar and comfortable tracks aren’t the ones that’ll have you initially reaching for the repeat button. 

Songs like the furious ‘daddy of mine’ and the heartbreaking riff-fest ’STFIL’ feel so fresh and exciting that it’s almost like listening to a new band. A band with a wealth of experience, finely tuning their songs with gusto. The emotional finale ‘how do i let you go?’ is a suspense filled spine-tingler, ending the record in the most grand and dramatic way. This album is a real breath of fresh air, and the creative risk they took making it has definitely paid off.

Easily the band’s most ambitious album, ‘analysis paralysis’ expands Four Year Strong’s sonic palette in a very confident and thunderous manner. The band haven’t just put out a powerful record, they’ve reinvented themselves too. This still has all of the characteristics that they’ve done such a good job of establishing over the years – the thick riffs, the irresistible rhythms, the enormous summery hooks – but the addition of that dark layer has amplified their punch tenfold.

Four Year Strong have, against all the odds, made an album that really pushes the boundaries of the genre they sit in, enhancing their own DNA along with it. This isn’t the record anybody was expecting them to make – it might not even be the record they expected to make – but it’s definitely the record we all needed. The bar has been raised.

DAVE STEWART

Words: Aaron Jackson [AJ] and Yasmin Brown [YB]  Images: Penny Bennett

ZAND

Let’s get the cliche out of the way – it’s no mean feat to open a festival. However, this feels particularly pertinent after experiencing alt-pop wildcard ZAND’s performance on the Rock Scene Stage. Before the clock had even struck midday, demonic laughter echoed through the flush of summer sunshine as the Blackpool-born, self-proclaimed “ugly popstar” brashly rattled through their bass-drenched hits. Unflinchingly confrontational in everything they do, ZAND’s set was delivered with unbridled conviction. Regrettably, fans had to do without ‘Slut Money’ as Slam Dunk cut the slot short. Regardless of the abrupt ending, ZAND had kicked the day off with a boldness which stood unrivalled for the remainder of the festival. [AJ]

VUKOVI

Next up on the Rock Scene Stage were Scottish duo VUKOVI. Fresh off the back of receiving their first Heavy Music Award the night before for Best Production on their latest effort ‘NULA’, the spring in their step was plain to see. Vocalist Janine Shillstone swept across the stage, working the audience with vocals that fluctuated from delicate to intensely powerful at the flick of a switch. Meanwhile, Hamish Reilly relished the points in their set in which he had a licence to take the crowd to riff city with his guitar. New cut ‘I EXIST’ boasted a particularly impressive breakdown that was executed with aplomb. Provoking motion in and amongst the spectators, VUKOVI more than played their part in wiping away any cobwebs that might have gathered in those pesky queues. [AJ]

Movements

Relative to some of the veterans on this year’s bill, Movements have earned a calibre of adulation from their audience that much older artists still pursue. Of course, the highlights came in the singalong moments, with ‘Full Circle’ marking the point in the set that the Californian quartet really seemed to find their feet. The Kerrang! Tent was teeming with eager fans bellowing every word back to frontman Patrick Miranda, and this didn’t let up as they launched straight into ‘Colourblind’. Sure to give attention to the ‘Outgrown Things’ EP which put them on the map back in 2016, Movement’s rendition of ‘Kept’ was as sincere as ever, demonstrating the strength across their whole discography. Newer tracks like ‘Lead Pipe’ and ‘Barbed Wire Body’ may not have hit as hard on the heartstrings, but they were still expertly performed, with a special mention to Austin Cressey on bass who held it down exceptionally. Bowing out with the powerful ‘Daylily’ marked a poignant end to a set to remember. [AJ]

Spanish Love Songs

Sad summer season is here, baby. Taking to the stage with a complete air of modesty, there was little fanfare as frontman Dylan Slocum slipped straight into ‘Routine Pain’ after a brief soundcheck. Their flowers came in the form of the loudest singalong that had been seen up to that point. The ultimate form of sonic catharsis, there appeared to be a genuine relief on the faces of the band who unfortunately had to withdraw from the previous lineup. As Slocum recalled how that this time last year he was stuck at home with COVID, it must have felt incredibly gratifying to perform at what they called the “best festival” that Spanish Love Songs have ever booked. What’s more, the future looks incredibly promising for the band, with their newest single ‘Haunted’ not letting the team down as a huge portion of the audience managed to recite every lyric, despite the song only being out for a couple of weeks. [AJ]

Holding Absence

Holding Absence are a band who have found themselves steadily but surely rising up the festival ranks, today appearing proudly on the Slam Dunk main stage. The band bring all the energy we’ve come to expect from a Holding Absence set, but unfortunately for them, their first opportunity to show off music from their upcoming album falls flat – through no fault of their own. The sound on the main stage is lacklustre at best, meaning front man Lucas Woodland’s usually ferocious voice is lost, as are screams from guitarist and back up vocalist Scott Carey, and the drums hit fiercely by Ash Green fail to reach your chest in the way they usually do. As a result, chatter among the crowd can easily be heard, with fans barely having to raise their voices to ensure words reach their friends – words that we usually wouldn’t want to utter as a result of being so lost in the amazing music of this unique, “one to watch” band. It’s hard not to feel as bad for the band as you do for the fans, neither one quite getting the experience we deserved. [YB]

Trophy Eyes

“We just got here” mutters drummer Blake Caruso sheepishly into his mic. Indeed, Aussie four-piece Trophy Eyes were one of multiple artists to experience significant delays upon entering the festival’s site. Not ideal after already travelling over from the other side of the world. Nonetheless, this really feels like a period of rebirth for the band. All three of the singles released to this point from the forthcoming LP ‘Suicide and Sunshine’ featured proudly on the setlist and were met with a rapturous response. Naturally, the cuts from 2016’s flawless ‘Chemical Miracle’ stepped it up a level, with ‘Chlorine’ especially sending the crowd into a frenzy. Unfortunately, Trophy Eyes were also victims of a prematurely cut set, causing fans to miss out on the anthemic ‘You Can Count On Me’, much to the visible disappointment of the band. Music aside, it was impossible to ignore Floreani’s fighting form as he shadowboxed his way through the set. He’s no Vulkanovski, but it still wouldn’t be wise to get in the way. [AJ]

Real Friends

Fundamentally built for this festival, pop-punk mainstays Real Friends wasted absolutely no time in whipping their crowd up into a frenzy. The already-packed Kerrang! Stage descended into a blur of flailing limbs and aggressive finger pointing syncopated with frontman Cody Muraro’s singing. To the delight of all involved, the most feverish of fans flew above the crowd and were sent sprawling over the barrier (hopefully safely). It should go without saying that, as one of the true anthems of the scene, ‘I’ve Given Up On You’ was the standout hit from the set and left the most lasting impression. In their element and loving every minute, Real Friends dropped a set packed out with their brand of all-out pop-punk hits. If it ain’t broke… [AJ]

Boston Manor

Cool as ice, Boston Manor take to the stage with a confidence that commands respect and attention. Going by the amount of festival goers adorned in BM clothing, and the sheer volume of people in the tent during their set, it’s fair to assume that, for plenty, this was the most anticipated performance of the day. Certainly one to catch in person, the Blackpool quintet’s brand of moody, industrious alt-rock sounds infinitely beefier in a live setting. Naturally, this is at the sacrifice of some of the atmosphere that is curated in the band’s conceptual approach to their releases, it’s an entirely different experience, but one that shouldn’t be missed. Featuring a stellar live debut of ‘I Don’t Like People (& They Don’t Like Me)’ and the colossal ‘Halo’, during which frontman Henry Cox demanded “one hundred crowd surfers”, there were plenty of high points in this performance. It is a shame, however, that Boston Manor seem to have left behind anything released before 2018’s ‘Welcome To The Neighbourhood’. Nonetheless, progress waits for no one, and Boston Manor show no signs of slowing down. [AJ]

Four Year Strong

Four Year Strong instantly reminded everyone why they are one of the most steadfast pillars in the alt/pop-punk scene. Bouncing through their chug-tastic selection of aggressive, yet catchy hits, this performance highlighted just how strong the band’s discography has become over the years. Hits spanning from their debut album ‘Rise of Die Trying’ through to 2020’s ‘Brain Pain’ offered fans a blend of reminiscence and excitement. ‘It Must Really Suck to be Four Year Strong Right Now’, ‘Out of My Head’ and ‘Wasting Time’ created an excitable vigour among the crowd, while exhilarating covers of Green Day’s ‘Jaded’ and ‘Brain Stew’ went a long way to win over first-time listeners of the band. The triumphant opening riff to Heroes Get Remember, Legends Never Die summed up the set and was met with one of the biggest roars of the performance – washing the hundreds of fans in the tent with nostalgia before they resumed hurling themselves towards one another. Beards. Chugs. Sing-a-Longs… in that order. [AJ]

The Menzingers

Perhaps one of the last loud and proud rock and roll bands, The Menzingers have been flying the flag for some time now. With six full-length albums under their belt, there was a healthy spread across their discography on offer, with considerable love especially going to 2012’s ‘On the Impossible Past’. Fans were also treated to the live debut of a brand new song titled ‘There’s No Place In This World For Me’ which was respectfully observed by a crowd of fans who will no doubt relish the reveal of new music from the Scranton four-piece. Their formula is tried and tested, but The Menzingers deliver every time and this performance was no different, executed with seasoned expertise. Is there a better band to sip a beer in the sun with? Doubtful. [AJ]

PVRIS

Fronted by superstar talent Lynn Gunn, it’s clear that PVRIS held a core of devoted fans at the festival, who met the band’s walkout with awed cheers and applause. With a setlist featuring a healthy spread across the artist’s esteemed discography, this was a true showcase of the many facets of PVRIS’ dynamic. Gunn’s vocals were hauntingly fragile at points, demonstrating her remarkable range. The louder, more electrifying songs such as ‘Monster’ and ‘Fire’ were unfortunately dampened by what felt to be poor mixing. The heavy peaks were sucked from the stage and disappeared into the open air and, even more disappointing, Gunn’s efforts often fell into the background. Despite a sound quality that left some wanting more, PVRIS performed with spirit and were clearly relishing every minute on their platform. Maybe some of the crowd were feeling the heat by this point, but there was a palpable outpouring of passion coming from that heartbeat of fans who were with PVRIS every step of the way. [AJ]

Creeper

Back with a theatrical bang as multi-instrumentalist Hannah Greenwood strides onto the stage wielding frontman Will Gould’s severed head (not really), it was fitting that Creeper’s time came as an early hue of dusk began to bleed across the sky. The goth/glam/punk outfit boast an aesthetic that is infectiously cool, oozing with horror iconography that gorgeously decorates a sound equally as evocative. Creeper are a band that know how to make the most of their instruments, with the synths adding a particularly effective texture. It initially felt as though Gould’s voice suffered through the skulking verses of ‘Ghost Brigade’ and ‘Born Cold’, but once the band flew into the choruses, Gould absolutely soared. Complete with a (successful!) on-stage proposal before ‘Hiding With Boys’, this set had everything to make a lasting impression on fans both existing and prospective. Wrapping up with ‘Misery’ demonstrated just how powerful this band are, completely abandoning all instruments and microphones for the final chorus, leaving the crowd to shine. They went above and beyond, marking an emotional end to a landmark moment of the festival. [AJ]

Enter Shikari

The festival’s headliners never fail to deliver fireworks, on this occasion, quite literally. Visually stunning, the stage is drowning in digital flames, and LED lava, before Enter Shikari even walk out. Complete with the sun setting behind the stage, the atmosphere was already bliss. Launching into ‘(pls) set me on fire’ commanded attention from a crowd that had been eager for this moment all day. Such is the pull of this band, it’s no wonder they were billed as the main attraction. For years now, Shikari have been at the cutting edge of the scene, pushing boundaries and redefining perceptions of noise along the way.

A glaring downside to the performance, through no fault of the artist, was again the poor sound quality coming from the Rock Scene Stage. The mix was all over the place and resulted in the band’s music, which is consistently so impactful, falling disappointingly flat. One of the finest live acts this country and scene has ever produced were regrettably disserviced by the stage setup on the day.

Nonetheless, a setlist packed with the highlights across their seven-album strong discography served as a reminder, as if one was needed, just how much value can be found in a Shikari performance. London duo WARGASM joined the band onstage for a special run-through of the recent award-winning single ‘The Void Stares Back’, an apt celebration for both artists involved. All things considered, there’s no better band for the occasion, Enter Shikari closed out a challenging festival to the best of their ability, and those standards could not be higher. [AJ]

A spectacular firework display capped off a day of mixed emotions. On one hand, the music on offer was, to an artist, fantastic. Slam Dunk has comfortably graduated from being just a pop-punk festival and hosts a sprawling lineup of some of the scene’s most elite artists, all of which delivered. However, it’s impossible to look past the shambolic organisation of the event. Hours wasted in standstill traffic and queues, leading to numerous acts missed for many, not to mention the countless health and safety red flags. That’s just scratching the surface of what went wrong with this year’s Slam Dunk Festival. Plenty of discourse can be seen across social media as patrons are justly frustrated and disappointed with the festival’s execution.

Let’s just say that Slam Dunk have a lot of work to do if they are to make reparations and restore the faith of a fanbase so loyal and passionate.

If it’s an answer you’re after, then quite simply, it’s yes (please don’t stop reading though). Easing into opening track ‘It’s Cool’, there is a quiver of excitement that builds in swelling riffs, dripping in a sense of understated grandeur that feels familiar, yet still different to what we’re used to – like ‘The Takeover’, but all grown up. It’s the perfect set up to an album that takes Four Year Strong’s well established sound and washes it in new and brighter colours; it would be so easy for such a distinctive style to become stale, but then, not every band is Four Year Strong.

The singalong choruses that mark part of that distinctive style come swiftly bounding in alongside meaty chugs aplenty on ‘Get Out Of My Head’, and from here on out it’s energy, sunshine, and perfect breakdowns in endless supply. The upbeat vibe is, at times, a stark contrast to the lyrical content, with no shying away from the difficulties of adulthood, anxiety, and an ever-changing world. There’s something comforting about the juxtaposition – the knowledge of not being alone in hard times, yet still finding the brightness in the melodies of life.

Title track ‘Brain Pain’ finds itself nestled in the centre of the album with the most old-school FYS sound, and one that’s sure to please fans of their earlier work. It’s just enough of a nod to their history without dwelling on it, before charging headfirst into the frantic chaos of ‘Mouth Full Of Dirt’, evoking the rapid thoughts of a cluttered and anxious mind – “I don’t need to self-medicate / I’m already numb”, the chorus calls atop dancing riffs, before slowing things down (slightly) for a soaring dose of nostalgia on ‘Seventeen’.

It’s all delicately balanced, flowing seamlessly along with the kind of confidence that only experience can bring, though acoustic number ‘Be Good When I’m Gone’ lacks some of the heartfelt lyrical punch of older, similarly emotive tracks like ‘One Step At A Time’ as it rolls in towards the back end of the album. It’s a gentle number with delicate strings and a soothing atmosphere, but ultimately fades into the background in comparison to the strength of the album surrounding it – as is made clear when ‘The Worst Part About Me’ picks up the pace again with screaming, cathartic rage and ‘Usefully Useless’ bops along with irrepressible energy.

‘Brain Pain’ feels like the work of a band who know now, more than ever, who they are, and it’s made clear in the bold optimism of album closer ‘Young At Heart’ as it fills the senses, like the freshness of a cornflower blue sky after rain. Four Year Strong remain the masters of compressing summer into soundwaves, and ‘Brain Pain’ is exactly the kind of album that will swiftly find itself in ‘all-time favourites’ lists; engaging, full of heart, and brimming with life, it’s a wild and glorious ride where the breakdowns are more than welcome. Worth the wait? Always.

GEM ROGERS

With the rise of streaming, the 2010s have seen the subtle merging of genres, making what might be the most interesting decade for alternative music yet. With that in mind – and with a lot of difficulty narrowing down the potential candidates – the Punktastic team have taken a look back over the past decade and picked our favourite albums of the era.

Check it out. The most unmissable albums of the decade according to Punktastic.

Don’t forget to read our Bands Of The Decade and Bands Of The Next Decade articles.

Oathbreaker – ‘Rheia’ (2016)

Oathbreaker’s 2016 opus ‘Rheia’ would turn out to be the last thing they released before an as-yet unfinished hiatus, but good lord did they leave us on a high point. The Belgian quartet, headed up by the captivating and enigmatic Caro Tanghe, served up a bewildering and gut-wrenching slab of post-black metal delivered with all the fury and indignation associated with the hardcore and punk scenes in which they cut their teeth. The one-two punch of ’10:56′ into ‘Second Son of R’ is one of the most impactful openers in alternative music history, soaring from sombre serenity into unbridled panic with very little warning, and the rest of the album that follows is stellar right up to the last gasp. The band recently teased a comeback with a single released through Adult Swim, so hopefully it won’t be long before we see a proper follow up to this breathtaking album. LIAM KNOWLES [LK]

MOST NOTABLE TRACKS: Second Son of R, Needles In Your Skin, Immortals

Rolo Tomassi – ‘Time Will Die And Love Will Bury It’ (2018)

To say that Rolo Tomassi have undergone a transformation over the years is somewhat of an understatement. From their beginnings as mathcore synth-heavy makers of noise, they’ve slowly but surely refined their craft into what it is today, creating moody and flowing sonic soundscapes that have the power to both summon demons and slay them. Their 2018 record ‘Time Will Die And Love Will Bury It’ is a masterpiece, not just setting a career high bar for their own discography but hugely raising it for all of their peers, too. It’s one of those albums that begs to be listened to from beginning to end in order to fully appreciate the sheer beauty of the ebb and flow of the album. From the black metal-tinged onslaught of ‘Rituals’ to the soaring epic walls of tone in ‘A Flood Of Light’, the record masterfully drifts in and out of the aggression and the serenity like child’s play, taking you on an intense and often magical journey through musical genius. This isn’t just one of the best records of 2018 – it’s one of the best of the entire decade. Simply extraordinary. DAVE STEWART [DS]

MOST NOTABLE TRACKS: The Hollow Hour, Rituals, A Flood Of Light

The Dillinger Escape Plan – ‘Dissociation’ (2016)

The influence that The Dillinger Escape Plan has had on extreme music is entirely undeniable. They established themselves as rule breakers and equipment breakers from a very early stage, stunning audiences and panicking venue owners all over the world with their unmistakable brand of chaotic, raw and mind-bending noise. They started out as a band doing things differently and became legends over time, every album release further cementing their legacy. ‘Dissociation’ was their final record, marking 20 years of the bands existence and putting a heavy and definitive bookmark at the end of their phenomenal career. From the white knuckle rollercoaster of ‘Limerent Death’ and the shrilled stabs of ‘Honeysuckle’ to the subtle and serene title track, and the bipolar mind bender ‘Surrogate’, it rounds off their career in the best way possible. It not only shows how much they grew as musicians over the course of their career, but it also effortlessly showcases that they’re still very much in touch with their roots and haven’t lost a shred of the unpredictability that brought them to everyone’s attention in the first place. A frenzied, intense and poignant final note for one of the most unique bands of this generation. [DS]

MOST NOTABLE TRACKS: Limerent Death, Symptom Of Terminal Illness, Honeysuckle

The Heavy – ‘The Glorious Dead’ (2012)

Combining hard-rock and soul, on paper, sounds awful and it would be, had the quartet from Somerset not spent the past five years perfecting it. Despite not being a metal album, The Heavy deliver just that with their third album – a weighty fusion of genres that is as unpredictable as it is enjoyable. Samples from old grindhouse horror in ‘Can’t Play Dead’, wailing backup vocals mixed with teeth-chattering percussion in ‘Same Ol’’, and the kind of riffs that reverberate in your chest on ‘What Makes a Good Man’ make for the kind of album that feels all over the place, but whose core ideas connect ten energetic tracks into something truly pulse-pounding. It’s bluesy, it’s pompous, but somehow also wonderfully self-reflective and introspective when it wants to be. It’s a style no band has been able to replicate, and it remains The Heavy’s magnum opus seven years on, an unmissable sound of the decade. FIACHRA JOHNSTON [FJ]

MOST NOTABLE TRACKS: What Makes A Good Man?, Same Ol’, Curse Me Good

Idles – ‘Joy As An Act Of Resistance’ (2018)

This doesn’t need explaining. It’s not often a punk album gets nominated for a Mercury Award but that’s exactly what happened with Idles sophomore album ‘Joy As An Act Of Resistance’. Politically charged from the outset, it contains all the cynicism from their debut ‘Brutalism’ and even more societal observations. What it adds in spade is singsong choruses. The likes of ‘Danny Nedelko’ and ‘Samaritans’ offer stunningly visceral social observations but contain choruses you can picture arena sized crowds screaming, while ‘Never Fight A Man With A Perm’ has the perfect combination of wit and venom, not to mention some feet stomping rhythms. It wasn’t really considered for our Album Of The Year in 2018 but it should have been. And it should have won. ANDY JOICE [AJ]

MOST NOTABLE TRACKS: Never Fight A Man With A Perm, I’m Scum, Danny Nedelko

Gojira – ‘Magma’ (2016)

Nobody, not even the most determined of metalheads, could make a case for technical progressive metal being the most accessible of genres. Although popular in its own way, it has always felt like something that will remain more of a niche sound – that is, until Gojira came along. The band have been masters of their craft since their beginnings nearly 20 years ago, but 2016’s ‘Magma’ is their true piece de resistance. Brimming with gut churning heaviness and an introspective darkness, there is tremendous pain reflected in many places – driven by brothers Mario and Joe DuPlantier losing their mother – building in phenomenally powerful layers, topped by Joe DuPlantier’s haunting vocal performance. It offers a more ‘radio-friendly’ version of their progressive metal, if radio-friendly could ever be the right word for such a crushing sound; with beautifully constructed riffs and melodies, it’s only right that this was the album to elevate this magnificent band to festival headliners. Quite frankly, we don’t deserve metal this good – but boy are we glad we’ve got it. GEM ROGERS [GR]

MOST NOTABLE TRACKS: Silvera, Stranded

The Hotelier – ‘Home, Like Noplace Is There’ (2014)

Unrelenting in its voice of despair, tragedy, reminiscence, pain and its desperate attempts to heal, ‘Home, Like Noplace Is There’ is framed by the frantic, yet poetic, lyricism of Christian Holden, begging you to sit up and listen. The anguish of their cries throughout the record, from the “So if I call / Should I beg? / Because I’m desperate here” in ‘An Introduction To The Album’ to the “I felt weaker when I bent, beaten to the end / Folding on myself, too damaged to mend” in ‘Discomfort Revisited’, are almost too uncomfortably raw to intrude upon, yet leave listeners unable to look away from what is about to unfold.

From the one-two punch of scrappy punk in ’The Scope Of All This Rebuilding’ to the almost-ethereal ‘Housebroken’, ‘Home..’ is masterfully paced from start to finish, always knowing when to pause when it seems like everything is about to implode. Whilst conveying various mental health crises masked in upsettingly close to the bone metaphors, the Hotelier also succeed in making a record that broaches topics such as gender dysphoria, the systemic failures of the state, and police brutality. ‘Home…’ also nods to long-term fans of the band with subtle references to their earlier material in ‘An Introduction’ (“we are all alone” / “Grab a hold, I know I said to not”) and in particular in ‘Discomfort Revisited’, borrowing the first verse and melodies of ‘Southern Discomfort’. The Hotelier’s growth as artists and the evolution of their songwriting on ‘Home…’ is never more apparent than on these two songs. The infinite looping of the traumas of life are alluded to in the album’s final moments as a guitar reprises the beginning notes of ‘An Introduction…’; the album beginning exactly as it started. ‘Home…’ offers listeners no salvation, but serves as a reminder that you too can weather the extreme storms life can sometimes bring and make it through to tell your story. ROMY GREGORY [RG]

MOST NOTABLE TRACKS: An Introduction To The Album, Your Deep Rest, Dendron

Arcane Roots – ‘Left Fire’ (2012)

Realistically, any one of Arcane Roots’ three albums could easily have made this list. Picking one is like choosing your favourite puppy from the litter of labradors next door, but this time, it falls to the trio’s 2012 debut ‘Left Fire’. Clocking in at just 33 minutes, it was nevertheless a fearsome display of their capabilities; the intense technicality, the irresistible frenetic energy, the harmonies that swell like the ocean on a stormy day… It’s the perfect album to lose yourself in completely and utterly, and despite its musical complexity never feels inaccessible or overdone. Such was the genius of Arcane Roots, who sadly called it a day in 2018 – but not, at least, before leaving us with this slice of perfection to enjoy forever. [GR]

MOST NOTABLE TRACKS: You Are, Habibty – Extended, Rouen

Twin Atlantic – ‘Free’ (2011)

It’s so rare to find an album where every single track hits home in some way. This might not be the case for everyone when they listen to ‘Free’, in fact, for many it’s probably not – the harsh Scottish accent I understand might be too much for some – but for me, since the very first time I listened through, I knew this record would be with me for a long time. Now it’s the end of the decade and ‘Wonder Sleeps Here’, ‘Yes, I Was Drunk’ and ‘Serious Underground Dance Vibes’ are still three of my top favourite songs… pretty much ever.

With this record there are memories of dark winter nights, first loves, and a feeling of belonging. ‘Free’ has a song for falling both in and out of love, offering a warm hug through the latter. It has a song for when you’re angry and need to shout it from the rooftops. It has a song for when you’ve never felt happily and a song for when you finally learn to love yourself. As the album title suggests, it takes you on a journey following which you will undoubtedly come out the other side feeling a sense of liberation.

Free’ is not just one of the best rock albums of this decade, but to me, at least, it’s one of the best rock albums of all time. To create something that builds memories for your fans is a powerful thing, and Twin Atlantic have proven on more than one occasion that they have the ability to do this, though never more so than with ‘Free’. YASMIN BROWN [ YB]

MOST NOTABLE TRACKS: Wonder Sleeps Here, Yes, I Was Drunk, Serious Underground Dance Vibes

twenty one pilots – ‘Vessel’ (2013)

“The sun will rise and we will try again”, sings frontman Tyler Joseph at the start of closing track ‘Truce’. It’s a simple yet powerful phrase that six years later still holds as much weight as it did upon the release of the band’s third album ‘Vessel’ back in 2013. This line alone encompasses everything that this record stands to achieve. It’s comforting and supportive. It acknowledges pain but equally it acknowledges our ability to push through it without belittling the stark reality of depression that many of us have faced over the course of our lives.

The reason so many of us can relate to twenty one pilots – and to ‘Vessel’ in particular – is their uninhibited approach to topics that were, upon its release, still massively stigmatised in mainstream music. To talk so openly (albeit through the use of metaphors) about self-harm and suicidal ideation was, and still is to an extent, brave. It’s something so many of us experience on a daily basis and yet we feel alone in that because so few of our idols have addressed it. That’s why when ‘Vessel’ was released, those who experienced these thoughts, feelings and urges finally felt a little more understood, and through that, many could hope to heal, too.

‘Vessel’ came before tøp hit arenas; they had little expectation in terms of who this record might reach, and yet the lives of those it did reach were made so significantly better for the songs that live within its confines. Whatever you may think of twenty one pilots now, ‘Vessel’ has been one of the most important records of this decade for the band’s fans, and that’s something no one can deny. [YB]

NOTABLE TRACKS: Holding Onto You, Guns for Hands, Truce, Screen

Boston Manor – ‘Welcome To The Neighbourhood’ (2018)

As twenty-something year olds living through the turn of another decade, there’s a lot we’ve experienced in our lives. Society has changed monumentally since we were kids, and politics are more polarising than ever. Millennials are so riled up about some things, yet so apathetic about others, and it’s hard to articulate how we feel and why we feel it.

Boston Manor have somehow perfectly tapped into this total confusion with their sophomore album, Welcome to the Neighbourhood, building on a fictional world that’s based on our stark, painful reality, and telling a story from within it. This album is a message from peer to peer, highlighting issues to the point that makes you want to do something about it. It’s angry and passionate because we are angry and passionate, and it’s impactful for the exact reason that there’s no bullshit here. It’s an album that tells it like it is, and as you make your way through each flawless track, you find yourself wanting to make a difference.

As someone in my late-twenties – someone that, along with others my age, often gets reduced to “Ugh, millennials” – this record leaves me feeling empowered enough to go out there and do something. Anything at all. Released in 2018 it’s a late arrival in the running for most important album of the decade, but there’s no doubt that it absolutely deserves a spot on this list. [YB]

MOST NOTABLE TRACKS: Halo, The Day I Ruined Your Life, Flowers in Your Dustbin, If I Can’t Have it No One Can

Fucked Up – ‘Glass Boys’ (2014)

‘David Comes to Life’ (2011) may have fared better commercially and ‘Dose Your Dreams’ (2018) may have been more critically acclaimed, but for Fucked Up fans missing the tightness of the band’s early singles, ‘Glass Boys’ (2014) was the band’s best album of the 2010s. Whilst the Toronto sextet said they wanted to do away with the concept album and rock opera tendencies of their second and third albums, what they delivered was an autobiographical concept record about their own anxieties over having potentially become thirty-something sellouts. The guitars lost the overly radio-friendly sheen that producer Shane Stoneback brought to them on ‘David…’ and each song featured four (count them!) drum tracks. Highlights included ‘Sun Glass’, ‘Paper the House’, and the poignant title track. ‘Glass Boys’ was a moving meditation on the tension between youthful ideals and adulthood’s commercial imperatives, whose songs are now sadly eschewed from Fucked Up’s live sets. GREG HYDE [GH]

MOST NOTABLE TRACKS: Sun Glass, Paper the House, Glass Boys

The Rocket Summer – Zoetic (2016)

On his sixth studio full length, The Rocket Summer – aka multi-instrumentalist Bryce Avary – changed the formula. Injecting these eleven tracks with a more electric, dark vibe resulted in something completely unexpected from the man more known for his gentle, acoustic sound, but one thing is key – the heartfelt familiarity and beauty of his lyrics remains, and ultimately, it all comes together for some of the greatest work of his career so far. Avary’s words are at times the most comforting of embraces, or at others, a steady hand of support, dancing through this often energetic and always vibrant release; from the echoing harmonies of ‘Help Me Out’ to the truly gorgeous pop chorus of ‘FL, CA’, this is an album that quickly finds itself embedded in the heart and soul, offering a boost of life to anyone in need. Avary is an artist who has continued to grow and shine through the last decade, and we can’t wait to see what the next one has in store. [GR]

MOST NOTABLE TRACKS: You Are, You Are, Help Me Out, FL, CA

La Dispute – ”Rooms Of The House’ (2014)

La Dispute released three albums in the 2010s and although ‘Wildlife’ (2011) remains the one most well-liked by die-hard fans, the band’s most accomplished storytelling and musicianship featured in ‘Rooms of the House’ (2014). The album portrayed the downward trajectory of a young, blue-collar, Midwestern couple’s relationship from the viewpoint of their household objects. It cut between various points before, during, and after their break-up across a timeline spanning 1956 to 2009. Frontman Jordan Dreyer’s delivery made you really want things to work out for the couple, but there was a constant sense of doom underpinning a narrative played out across an unforgiving economic landscape where job opportunities were few and alcohol addictions were cheaper alternatives to cocaine habits. Despite the epic timeline, the domestic setting leant a feeling of intimacy to the songs that was lacking from the almost as great ‘Panorama’ (2019). [GH]

MOST NOTABLE TRACKS: First Reactions After Falling Through the Ice, Scenes From Highways 1981 – 2009, For Mayor in Splitsville, Extraordinary Dinner Party

Oxbow – ‘Thin Black Duke’ (2017)

The only album of this decade from the veteran San Francisco avant-gardists comprised eight songs depicting the inner torment and external confrontations faced by the titular duke (possibly an alter ego of preceding Oxbow album ‘The Narcotic Story’ (2007)’s protagonist Frank Johnson). Inaccurate comparisons to Faith No More were made in reviews that discussed the album’s sound upon its release, with one far more shrewd online comment saying it sounded like The Jesus Lizard playing Bond themes. Either way, the album took listeners on a disturbing narrative journey from catchy single ‘Cold & Well-Lit Place’ (which gained the band BBC airplay) through to the Jean-Paul Sartre-alluding ‘Other People’ and devastating closer ‘The Finished Line’. It may be less abrasive than albums like ‘Fuckfest’ (1989) and ‘King of the Jews’ (1991) but the songwriting displays a maturity and world-weariness that those works lacked. ‘Thin Black Duke’ remains Oxbow’s most profound, satisfying, and multi-layered album yet. [GH]

MOST NOTABLE TRACKS: Cold & Well-Lit Place, Other People, The Finished Line

Touché Amoré – ‘Stage Four’ (2016)

‘Stage Four’ (2016) is the most moving album of Touché Amoré’s career and was one the best albums of 2016, dealing as it did with the death of front man Jeremy Bolm’s mother from cancer. The songs dealt with the various stages of grief in an admirably honest way, from the regret over various things left unsaid to a deceased loved one in ‘Flowers and You’ and ‘Palm Dreams’, to a bereaved atheist’s acceptance that while there may be no afterlife, there may instead be a spirit world on ‘Skyscraper’. The elegiac sounds made by Nick Steinhardt’s and Clayton Stevens’s guitars bolstered the lyrical content considerably, with the Godspeed You! Black Emperor influences on the latter’s playing style in evidence here far more than ever before. ‘Stage Four’ remains one of the most touching albums ever made about grief, released in a year when its songs’ sadness seemed to reflect many accompanying political upheavals. [GH]

MOST NOTABLE TRACKS: Flowers and You, New Halloween, Palm Dreams, Water Damage

My Chemical Romance – ‘Danger Days: The True Lives Of The Fabulous Killjoys’ (2010)

My Chemical Romance becoming the posterboys for modern emo came as little surprise to anyone – they wore their eye liner thick, clothes black, and wrote lyrics that dripped venom and sorrow in equal parts. With ‘Danger Days’, however, they took all the grandeur of glam rock – vocalist Gerard Way having previously cited Bowie as a massive influence in his life – and rolled it in the dirt of that first basement show they ever played. The result? Gritty punk rock with soaring choruses, glittery melodies and synthy accents that shattered the hinges of the broken and damned box they were put into to showcase a band capable of achieving a more uplifting sound. Not to say their lyrics became less introspective, but it shifted the spotlight to more positive aspects and wrapped it in storytelling and concept – all delivered in Gerard’s Billy Corgan-esque vocal. This album is fun, danceable and a true testament of what this band is capable of. RENETTE VAN DER MERWE [RVDM]

MOST NOTABLE TRACKS: Vampire Money, Party Poison, Planetary (GO!), Na Na Na (Na Na Na Na Na Na Na Na Na)

Bring Me The Horizon – ‘Sempiternal’ (2013)

Regardless of how you might feel about Bring Me The Horizon post ‘That’s The Spirit’, it’s impossible to deny the impact of their 2013 album, ‘Sempiternal’. Not only was is released to critical acclaim, but it also won ‘Best Album’ at Alternative Press’s 2014 Awards and placed at no.11 on the Billboard charts – not bad for a band who had been ridiculed since their inception back in 2004. Regardless of its acolytes, ‘Sempiternal’ is a sonic masterpiece. It felt bigger than everything they’d done prior, hell, it felt bigger than what any other metalcore band was doing and it definitely felt like they’d gotten rid of the chip on their shoulder and fully embraced a sound that was their own. With the addition of electronic elements and more variety in Oliver Sykes’ vocals, the album felt ambient, cohesive, refreshing and, most importantly, accessible. ‘Sempiternal’ will no doubt go down in history alongside the best metal albums of our time. [RVDM]

MOST NOTABLE TRACKS: Sleepwalking, Shadow Moses, Can You Feel My Heart, And the Snakes Start to Sing

Microwave – ‘Death Is A Warm Blanket’ (2019)

Isn’t it something when a band transitions from one genre to another and does it really well? When Microwave left the uplifting melodies of ‘Stovall’ and ‘Much Love’ behind to dive into the brooding sound of their third album, ‘Death Is A Warm Blanket’, it resulted in what seemed like a totally different band. Yet, despite having embraced the dark side, it is still the same four guys from Atlanta who tell stories through their music, write clever lyrics and melodies with heart. Nathan Hardy’s vocal range remains impressive and his voice acts like a firefly, bright and illuminating against the moodiness and urgency of the instruments. ‘Death Is A Warm Blanket’ is not only sonically impressive and diverse – the intro to ‘Float to the Top’, as an example, has all the jazzy makings of a lounge song while they lean further into post-hardcore or grunge on other tracks – but it’s the album we need right now. The anger and hopelessness of an entire generation encapsulated in 10 tracks. [RVDM]

MOST NOTABLE TRACKS: Leather Daddy, Mirrors, Float to the Top, Part of It

Against Me! – ‘Transgender Dysphoria Blues’ (2014)

There are albums out there, occupying shelves in record stores or bytes on streaming platforms, that are all about lyrical content, and ‘Transgender Dysphoria Blues’ is one of those albums. It touches on vocalist Laura Jane Grace’s journey to where she is today, and the brutal honesty about her pain becomes a thing of beauty through her powerful storytelling. It’s wrapped in the punk rock beats, jangly guitars and anthemic structures we’ve come to adore from Against Me!, but ultimately ‘Transgender Dysphoria Blues’ is a stellar record because of the anger, the sorrow and the bravery of someone living with gender identity disorder. Laura Jane Grace, as one of the first transgender musicians in punk rock, is a bastion of light for anyone in the LGBTQ+ community and this album is her reaching hand to pick you up off the floor when you’ve fallen down – what the hell is more punk rock than that? [RVDM]

MOST NOTABLE TRACKS: Transgender Dysphoria Blues, Drinking With the Jocks, Paralytic States, Black Me Out

SWMRS – ‘Drive North’ (2016)

The first studio album under the new name from Californian rockers, SWMRS, but most certainly not the last. To me this album signifies the passion the band have to make a change. To most this was the first they heard of SWMRS and I believe it was a stand out album that is still being name dropped 3 years on. Each song on this album links well with the next which makes for easy listening every time. This album is a pinpoint within the bands’ career and is a testament to what they are capable of. KIRSTY FOX [KF]

MOST NOTABLE TRACKS: Harry Dean, Drive North, BRB, Palm Trees

Deaf Havana – ‘Old Souls’ (2013)

In perhaps one of the most surprising evolutions of the decade, Deaf Havana emerged in 2013 with their magnum opus (in this writers’ eyes) and unashamed tribute to the one and only Bruce Springsteen with ’Old Souls’. A far cry from their preceding album ‘Fools and Worthless Liars’, Deaf Havana embraced the expanded musicianship in their arsenal head on, creating an album resonant with dense orchestration, rich harmonies and expertly-crafted choruses. From the get-go with the barn-storming Americana of ‘Boston Square’, ‘Old Souls’ drips with tenderness throughout, due in no small part to James Veck-Gilodi’s heart-on-sleeve lyricism. With such poetically crafted lines such as “because I view my life through a telescope / that I built from a bottle and a slippery slope” in ‘Speeding Cars’, Veck-Gilodi’s self-deprecation woven throughout ‘Old Souls’ speaks directly to anyone who has tendencies to doubt themselves. Whilst not the most warmly received of Deaf Havana’s releases, particularly after the success of ‘Fools and Worthless Liars’, ‘Old Souls’ is perhaps the best, yet most criminally underrated, straight-up rock record from a British band in the decade. [RG]

MOST NOTABLE TRACKS: Everybody’s Dancing and I Want To Die, Speeding Cars, Kings Road Ghosts

Four Year Strong – ‘Enemy Of The World’ (2010)

If any album could possibly define summer, it’s surely this one. Coming in early in the decade to start things strong, Four Year Strong’s ‘Enemy Of The World’ was one hell of a sophomore release (covers album ‘Explains It All’ doesn’t count… sorry) for the band who blasted onto the pop punk ‘easycore’ scene three years earlier, and there’s not a single low point to be found on this lively and joyous 40 minute tour through the world of FYS. Within seconds of hitting play, it feels like being transported back to a happier time, when the only thing that mattered was friends and happiness – whether that time ever actually existed or not, the memories evoked are clear as day. Four Year Strong weren’t just about bright riffs and a punchy attitude, though, and their emotive lyrical strength shines on tracks like ‘One Step At A Time’. Then, of course, there’s the album artwork. The words you’re looking for to describe it are ‘majestic’ and ‘breathtaking’, just FYI. Made to be played loud and sung along to even louder, ‘Enemy Of The World’ defined an era of music, and it only takes a quick glance at the size of the jubilant crowds bellowing the words to ‘Wasting Time (Eternal Summer)’ at any festival to realise just how well loved this album is – and it deserves every scrap of it. [GR]

MOST NOTABLE TRACKS: Wasting Time (Eternal Summer), ‘One Step At A Time’, It Must Really Suck To Be Four Year Strong Right Now

The first headliner to be revealed is Don Broco, whose Slammy D set will be their UK festival exclusive for 2020 and so is definitely not one to be missed.

Broco will also be joined by State Champs, The Wonder Years, Mayday Parade, Four Year Strong, Knuckle Puck, Bayside, Issues, Ice Nine Kills, Motion City Soundtrack and Hands Like Houses in a weekend long, pop-punk bonanza.

AND there are still plenty more acts to be announced.

Tickets on sale now!

Prices range from £59 for a limited number of early bird tickets up to VIP tickets at £99.
Please visit www.slamdunkfestival.com for more info and to buy tickets.

MAY
23 SLAM DUNK NORHTH – LEEDS, Temple Newsam
24 SLAM DUNK SOUTH – HATFIELD, Hatfield Park

Jimmy Eat World, Taking Back Sunday, Sleeping With Sirens, State Champs, Four Year Strong, and Trash Boat will play the festival which takes in Leeds, Hatfield and Birmingham, from the 26th to the 28th May 2018. More acts will be announced soon.

It should be noted that next year will see the Hatfield site expand to Hatfield Park due to outgrowing its previous home at the University. Tickets go on sale this Friday 17th November at 9am, costing £49 or a £55 option which includes entry into the afterparty. They will be available here.

MAY 2018
26 LEEDS City Centre
27 HATFIELD Hatfield Park
28 BIRMINGHAM NEC

A b-side from the band’s recording sessions for their 2011 fourth album ‘In Some Way, Shape, or Form’, it will be featured on their upcoming new rarities/unplugged collection, ‘Some of You Will Like This//Some of You Won’t’. It will be released on the 8th September via Pure Noise Records. Pre-orders can be found here.

The record will feature unplugged renditions of old songs, rarities and previously unheard tracks. It will be released on the 8th September through Pure Noise Records. To coincide with the announcement, they have shared a stripped back version of ‘Heroes Get Remembered, Legends Never Die’, which you can hear below.

The band will headline the tiny room on June 10, and will perform their now classic album ‘Rise Or Die Trying’ in its entirety. Very limited tickets are on sale now.