25 YEARS OF SABATON: "PRIMO VICTORIA" - "THIS TRACK WAS A KEY STEPPING STONE FOR US IN OUR MUSICAL EVOLUTION"

25 YEARS OF SABATON: "PRIMO VICTORIA" - "THIS TRACK WAS A KEY STEPPING STONE FOR US IN OUR MUSICAL EVOLUTION"





Internationally acclaimed heavy metallers, Sabaton, are celebrating their 25-year milestone in the music industry.

Founded in Falun, Sweden, in 1999, Sabaton's journey has been nothing short of legendary. Their music industry adventures have been fuelled by powerful anthems, 10 studio albums, passionate historical storytelling, and explosive international shows and tours, not to mention out-of-the-box initiatives and projects, all of which wouldn’t have been possible without the unwavering support of their dedicated fan base across the globe.

To mark this momentous milestone, Sabaton will embark on a year-long celebration. Fans around the world can look forward to a series of celebratory events and an abundance of surprises.

BAND FEATURESFEATUREDFEATURESSYMPHONIC METAL

Photo Credit: Tim Tronkcoe


Sharon den Adel, vocalist and co-founder of Dutch symphonic metal giants WITHIN TEMPTATION, is looking to the future. In a career that’s approaching the three-decade mark – one that has seen the band go from the Netherlands underground to landmark moments like opening for IRON MAIDEN and headlining Bloodstock Festival on these shores, or the phenomenal Black Symphony album from 2008 that saw them perform with The Metropole Orchestra, the Pa’dam Choir and a number of special guests – she’s never been one to reflect on where she’s come from, or certainly not for long periods.



“Sometimes we sit down after a show and say ‘remember when we were at this stage and this happened?’, but otherwise we don’t want to stand still,” she opines. “If you look back you lose time, and whilst we’ve had an amazing journey, we don’t want to end yet; we love that we want to evolve each time.”

The big progression on this occasion was the band’s decision to go fully independent, away from record labels. It must be pointed out that there was no bad blood when they decided to end ties with Vertigo Records, they just wanted to break away from the traditional cycle of ‘write, record, release, tour’ that a lot of bands undertake. Sharon’s quick to point out, though, that there’s always another side to the coin.

“When you’re young and starting out, it’s good to have a record company because of how much they do, but we’ve been around long enough to know how things go behind the scenes and what those companies can actually do for you, so we felt able to take on those commitments. We didn’t take into consideration things like how much they influence your appearance on playlists and certain streaming platform, but really that’s the only negative for us; having control of everything and deciding where the money goes is great.”

The break from a regimented process aided WITHIN TEMPTATION in writing material ‘in the moment’, a plan originating from the numerous delays to their Worlds Collide tour with EVANESCENCE due to the COVID-19 pandemic. With then latest album Resist already a couple of years old, the band decided to record a couple of new songs to play alongside material that would already be well-known; those standalone tracks would eventually form eighth album Bleed Out, arguably their heaviest and best album to date.


“When COVID happened and it became an endless period of sitting at home, we decided to figure things out as we went along,” Sharon explains. “We had the freedom to release things whenever we wanted, so we decided to and see what happened. The more the tour got postponed, the more we changed our plans and wondered whether we should make a whole new album and keep these songs as standalone singles, but we tested that by telling our fans as such through interviews and their feedback told us that might not be a good idea!”

Ahh, the fickleness of metal fans, both wanting new songs at regular intervals and getting shirty if they remain just as singles. That said, Bleed Out’s more direct aim at global, political issues has meant the collection of songs on the album are incredibly strong, whether it’s the spiked attack on the Ukraine war in Wireless or the call for increased freedom for Iranian women in the title track, inspired by Mahsa Amini, who was detained for not wearing a hijab and would later die in suspicious circumstances. Both matters, Sharon reveals, are particularly close to her heart.

“I lived in the Middle East for a while as a child and, while I’ve got a very positive experience, even then I could feel the differences between boys and girls without it being spoken about. To see those women speaking out saying ‘we want to have more control over how we have religion in our lives, how we dress and how we express ourselves.’ and knowing that the intense and extreme regime means they could be imprisoned or even die for what they’re saying. It’s something we don’t have anything to compare with in where we’re living right now, and that inspired me to write about it.”

“As for Wireless, we got to know former Ukrainian tennis player Alexandr Dolgopolov and his family through our daughter’s lessons – he probably won’t remember it, but he came and spoke to us while she was training, and it was a very sweet gesture. When the war broke out, he joined the Armed Forces and used his stories on social media to show the world what was really happening on the frontline. At one point, he was comparing hurling grenades to throwing tennis balls up for a serve and those sorts of moments, whether from him or Mahsa Amini, they tell a story through the emotions you feel. Then the words and the music come by themselves.”

In November next year, those stories will be performed to thousands as WITHIN TEMPTATION undertake their first UK arena tour as sole headliners, with four dates including one at the hallowed Wembley Arena. As has been the case since 2011, Sharon’s husband and other band founder Robert Westerholt will not be present on stage; he stepped back from the live circuit to focus on bring up their three daughters. That, therefore, might suggest that he would return as a full touring member once they were fully grown, but Sharon is quick to quash that suggestion. “He’s always seen himself more of a composer than a guitar player and, while he’s a good guitar player, he’s not like Stefan [Helleblad] or Ruud [Jolie, the band’s other guitarist]. He also doesn’t see himself as such a major player within the band that he’s the only one who can play those songs live, so he doesn’t want to pull rank and replace the others who, for which, playing guitar is their thing.”

She continues, “he just loves being in the studio nowadays, working on new material, how the stage should look, that kind of thing.”

As for what the stage for the next tour might look like, or whether there are any other surprises in store, Sharon can’t reveal much, but that’s not because of spoilers. “We’re still working on everything!” She admits with a smile. “But I’m looking forward to it, that’s for sure. There’s more work to do, because we had EVANESCENCE to help us with the last one, but hopefully people will remember those shows and feel it was a reason to come back and maybe even bring their friends.”

Given the tour is nearly sold out, clearly people do remember; and, as ever, Sharon is looking ahead, not back.

Bleed Out is out now via Force Music Recordings.

Like WITHIN TEMPTATION on Facebook.

ALTERNATIVEFEATURESINTRODUCINGMETALCORENU-METAL

Ahead of their first ever sold out headline show at The Black Heart in London, alt-metal duo LAKE MALICE reflect on their journey to this point. While vocalist Alice Guala and guitarist Blake Cornwall only started this project around two years ago, both members have a love of music that goes way back. That being said, the band has gained a crazy amount of traction in that time, and it’s clear people are starting to pay attention, drawn in by their striking visuals and unique sound.



Blake explains, “it’s been a whirlwind for us, we’ve been out on some incredible support tours and played some amazing festivals, but as a newer band it’s hard to gauge if there’s a fanbase out there yet. We honestly just make music that we would want to listen to ourselves, so if that resonates with people then I’m all for it.”

In the week of release of their debut EP Post-Genesis, the band are only now coming to terms with their recent success, and it’s obvious that it’s only going to go up from here. Alice goes on to say, “I feel like I often have no perception of how many people are paying attention to us, it’s so hard to grasp that in the online world. I think the first time I realised we actually built a fanbase was when we sold out our upcoming headline show in London. That’s real, it’s offline and it’s real! It feels amazing.” Still reeling from this latest triumph, the band make their shock and gratitude extremely clear.

Both members of LAKE MALICE found a love for music from an early age, playing in their respective bands in school and exploring a range of genres, from nu-metal to pop, referencing TRIVIUM, LINKIN PARK, GRIMES and CHARLI XCX as artists that have really inspired them. Alice explains that she began singing in a school choir, which taught her many of her singing techniques, but makes it clear that everything beyond that is entirely self-taught. While they’ve always taken it fairly seriously, none of their previous bands really took off, and Alice started to look for somebody new to start a new band with.


Blake says, “we got chatting and realised we were on the same page, so I immediately got to work on some demos. Everything’s just fallen into place since, it’s been crazy.” Alice adds, “both me and Blake feel really motivated because we come from similar positions of having projects that didn’t work out. Now we’re giving it all we’ve got.” Since their formation, the band have slowly developed a very specific aesthetic, made up of the visuals in their music videos and also their personal styles when it comes to fashion, with Alice coining the term ‘futuristic rave goths’. While the music is at the forefront, their striking look is undoubtedly part of what makes them so memorable.

With the release of their debut EP Post-Genesis, LAKE MALICE reflect on how it came about, and how they shaped the first few songs they ever put out into the world. Alice explains, “Post-Genesis is a collection of songs that represents the process of re-birth through negative experiences. I wasn’t in many projects of my own before, so I had a lot to unpack. I ended up writing mostly about my worst life experiences and how they shaped my identity. It’s basically a big ‘fuck off’ to a lot of people who tried to make me miserable or didn’t believe in me.”

Much like many bands and song-writers, especially in the alternative scene, Alice used music and writing to reflect on and redefine her personal experiences, transforming them into something digestible and beneficial for her mental health. She elaborates, “I think rage was a key emotion when we wrote this EP. I think it’s still important to process anger, and sometimes we tell ourselves we moved on or found ways to forget or forgive, but writing music is just a next level exorcism honestly.” The stark honesty that comes through on this EP is extremely reflective of what the band seem to be about: not shying away from anything, facing difficult topics head on, but also feeling a sense of relief and catharsis.Lake Malice live @ Radar Festival 2023. Photo Credit: Serena Hill Photography

The modern music scene is ever-changing, and it’s especially clear at the moment that there is a new wave of creativity and experimentalism in different genres, and this is most apparent in the alt-metal scene. This is something that both inspires the band, and pushes them to constantly try new things, and make an effort to stand out. Blake explains, “the alt-metal scene is absolutely popping off. I think we’re seeing lots of artists push boundaries and conventions. The modern consumption of music is forcing people to write better songs and to be more original in order to stand out.”

While there are certainly factors that are making it increasingly difficult to be a newer band in this current climate, it’s also an undeniably exciting time, with some incredible artists pushing everything forward, and LAKE MALICE fit perfectly into this sentiment. Blake cites some of the bands and artists that are inspiring him right now, which includes 100 GECS, POPPY, ASHNIKKO, WARGASM, VUKOVI, SLEEP TOKEN, HERIOT, AS EVERYTHING UNFOLDS, and CASSYETTE.

With their headline show as just the beginning, LAKE MALICE are certainly not slowing down on the touring side of things, with another UK tour announced for the spring. It’s apparent that playing live is one of the most important elements for the band, with Blake stating, “we try to give every performance absolutely everything we have. My mantra is to deliver a ‘show’, and give people something to remember.”

Now that all the songs from the EP are out into the world, the next step is to play them to crowds of people, and have them resonate. Alice explains, “I want people to sing along to Blossom‘s chorus and feel as proud as they can of themselves. I think self-worth, confidence and self-belief are what we are trying to communicate with Post-Genesis, and I want them to know that whatever they think broke them, made them into who they are today.”

Post-Genesis is out now via SO Recordings.

Like LAKE MALICE on Facebook.

THE RODS – “RATTLE THE CAGE” (2024)

“Rattle the Cage” é somente o décimo full lenght da banda americana de Hard’n’Heavy, The Rods, que saiu na data de hoje, 19/1/2024, pelo selo Massacre Records. O sucessor de “Brotherhood of Metal” chega quase exatamente cinco anos depois, com uma importante mudança no line-up. O baixista Garry Bordonaro deixou o trio logo após o lançamento do nono álbum, e o ex-Quiet Riot, Freddy Villano, o substituiu. O power trio nasceu no ano 1979, na cidade de Cortland/NY, sendo que seu debut, Rock Hard, saiu no ano seguinte, no entanto, o seu clássico mais relevante, “Wild Dogs”, só chegou em 1982.

The Rods / Divulgação / Metal Archives
“BROTHERHOOD OF METAL” X “RATTLE THE CAGE”

Embora eu ainda goste bastante do álbum anterior, “Brotherhood Of Metal”, confesso que na época de sua resenha, exagerei um pouco. Na ocasião de seu lançamento, devido a minha empolgação, cheguei a achar que fosse o Magnum Opus do The Rods, mas era apenas a emoção do momento. Não que o disco não seja bom, pois continuo colocando ele entre meus favoritos de 2019. Porém, já adianto que o atual “Rattle the Cage” o superou. Freddy Villano, que fez sua estreia gravando com The Rods, foi muito bem, pois deixou a sonoridade encorpada. Carl Canedy, inegavelmente, melhora a cada disco, tanto com The Rods, como com seu projeto solo, enquanto David “Rock” Feinstein continua sendo o vocalista e guitarrista competente e agradável que sempre foi.
TRINCA INICIAL

A faixa responsável pela abertura, “Now and Forever”, lembra demais a sonoridade do disco anterior, ainda que pareça que o som da bateria de Canedy esteja com turbinas. Heavy Metal com riffs, ao mesmo tempo, simples e marcantes, com solo de guitarra recheado de feeling e com refrão pegajoso. Ou seja, a fórmula infalível do Heavy Metal.

Um riff fantástico dá vida a “Wolves at the Door” e, em seguida, minha máquina do tempo mental me transporta direto para a década de 80. Eu sempre gostei bastante da maneira de cantar de David “Rock” Feinstein , contudo, é incrível como a maturidade fez com que sua voz encontrasse a medida certa para a sua música. Além disso, os repiques de Canedy provam que a história deveria ser mais justa com ele. Na introdução de “Cry Out Loud”, o arranjo de baixo escancara a contribuição que Villano deu a sonoridade do The Rods, não só pelo seu bonito arranjo, mas também pelo seu timbre magistral.The Rods / Divulgação / Facebook
NÚCLEO DE “RATTLE THE CAGE”

A faixa título, que também foi single em formato de videoclipe, chega a fim de manter o calor da audição e cumpre sua missão com êxito. Aqui temos a sonoridade que o The Rods fazia a princípio, Hard&Heavy pra ninguém botar defeito. Embora alguns prefiram usar o termo Heavy Rock, o qual está correto também. Mas, voltando ao que verdadeiramente importa, que é a composição, o riff de “Rattle The Cage” já faria o disco valer a pena por si só. Fora isso, ainda tem um refrão do tipo festeiro e uma música ideal para festança com os amigos.


“Can’t Slow Down” tem aquele riff a la Jimmy Page e, sim, a mesma tem o aroma de Led Zeppelin. Sendo assim, como posso não divertir com uma música que faz com que minha alma desperte. Tudo aqui soa como uma homenagem ao segundo maior quarteto britânico de todos os tempos, já que The Beatles sempre será insuperável. Logo após, a sessão Rock dá uma pausa e o Heavy Metal recomeça através de uma canção com nome sugestivo, “Metal Highways”. Se nas duas primeiras faixas desse “bloco do meio”, senti uma atmosfera Hard Rock, nessa música sinto referências em Judas Priest e Motörhead. Porém, antes que o Metal voltasse a dominar as ações musicais, “Hell or High Water” traz a Hora do Rock de volta em grandioso estilo.The Rods / Foto: Marc Papo Ripper / Facebook
TRINCA FINAL

No início, o riff de “Play it Loud” me fez lembrar “You’ve Got Another Thing Comin’’ do Judas Priest e assim que a voz de Feinstein surgira no áudio, essa impressão se foi, deixando em seu lugar uma música divertidíssima.

“Shockwave”, que também foi single/videoclipe, entrou para incendiar a parte final da audição, preparando desse modo o adeus, que estava prestes a chegar, infelizmente. Será que posso elogiar Carl Canedy como baterista outra vez? Ele, realmente, me deixa cada vez mais boquiaberto por suas performances impecáveis. Meus elogios se direcionam, igualmente, a Freddy Villano, que deixou sua marca, mesmo substituindo um importante membro de longa data do The Rods.


“Hearts of Steel”, mais um híbrido entre Hard & Heavy, encerra “Rattle the Cage”, certamente, exalando no ar o sentimento de dever cumprido. Após seu retorno às atividades em 2010, The Rods está, claramente, melhorando a cada novo lançamento e é desse modo que esperamos que continue a acontecer, por muito em muito anos adiante.

Congratulations for the great work, The Rods!

Nota 9,1

BENEDICTION TRANSCEND THE RUBICON

Dando seqüência na clássica discografia do Benediction, “Transcend the Rubicon” com certeza é o disco mais comentado e apreciado entre os fãs da banda e do Death Metal em geral, ocupando lugar de destaque entre os grandes lançamentos do gênero.

Ao analisarmos os discos anteriores, veremos que a banda já possuía uma sonoridade própria, ainda que faltasse amadurecimento técnico entre os músicos e um maior cuidado na produção. A entrada do baixista Frank Heally – ocorrida durante a turnê anterior – talvez tenha influenciado o restante dos músicos, devido a sua experiência com o Cerebral Fix, já que o nível técnico de “Transcend the Rubicon” elevou-se consideravelmente, produzindo assim algumas das músicas mais marcantes de sua carreira. A capa, desenhada pelo mestre Dan Seagrave também tem seu lugar de destaque nessa obra, recheada de detalhes e sem dúvida do lado de “Arise” do Sepultura é um dos melhores trabalhos do artista. Essa travessia macabra do rio Rubicão é certamente uma das melhores artes do Death Metal.

O disco abre com “Unfound Mortality”, alternando partes mais rápidas com momentos mais lentos, característica comum de suas composições. O mais interessante nessa faixa, é que em certa parte a música é simplesmente interrompida, para em seguida, envolta em novo ritmo, dar seqüência a pancadaria, voltando a sua forma original. O vocalista Dave Ingram solta berros sem dó nem piedade, assemelhando-se com seu antecessor, Mark “Barney” Greenway. “Nightfear”, viciante, usa a velocidade como aliada, um verdadeiro arregaço, de riffs cortantes e peso matador. Aliás, o serviço de Peter e Darren neste álbum é algo fora do normal, e ao que me parece, eles resolveram tirar da “sacola de riffs” um punhado de “navalhas sonoras” e jogar na sua cara!



“Paradise Alley” e “I Bow to None” seguem o trabalho com a podreira característica, sem nunca abandonar o peso descomunal dos riffs, seja em momentos lentos ou mais velozes. “Painted Skulls” é fora do comum, seu começo trabalhado é o grande destaque, mostrando uma quebradeira muito legal, para em seguida iniciarem uma jornada mais “doom”. Como todas as músicas são de igual valor, não preciso descrever uma por uma, creio que o ouvinte o fará ao ouvir esta obra prima, mas, não posso deixar de citar o cover para “Wrong Side of the Grave”, do The Accüsed. Trata-se de um dos covers mais matadores registrados, contando ainda com a participação especial de Karl (Bolt Thrower), Jan Chris (Gorefest) e Macka (Healer) nos vocais, fazendo aquela alternância entre as vozes que ficaram matadoras, ou seja, ao mesmo tempo em que há vocais guturais, existem os mais gritados, envoltos por esta excelente e inspirada composição.

Embora não seja um disco conceitual sobre o assunto ou qualquer coisa parecida, é interessante citar que a expressão “Transcend the Rubicon” refere-se à ideia de ultrapassar ou transcender um ponto crítico ou um ponto sem retorno em uma situação. A origem da expressão está ligada ao episódio histórico conhecido como a travessia do rio Rubicão por Júlio César em 49 a.C. Na Roma Antiga, o Rubicão era um pequeno rio que marcava a fronteira entre a província italiana da Gália Cisalpina e a Itália propriamente dita. Sob as leis romanas da época, generais romanos eram proibidos de cruzar o Rubicão com suas tropas e entrar na Itália, a menos que recebessem autorização direta do Senado. Quando Júlio César cruzou o Rubicão com suas tropas, ele desencadeou uma série de eventos que levaram à guerra civil e, eventualmente, à ascensão de César como ditador de Roma.

Relançado com algumas faixas bônus, “Transcend the Rubicon” está lado a lado com os grandes clássicos do Death Metal, e fazendo frente do lado do Bolt Thrower, Napalm Death e Carcass quando se fala em Death Metal vindo da terra do Iron Maiden e Judas Priest.



Track list:Unfound Mortality
Nightfear
Paradox Alley
I Bow to None
Painted Skulls
Violation Domain
Face Without Soul
Beakhouse
Blood From Stone
Wrong Side of the Grave (The Accüsed Cover)
Artefacted/Spit Forth

ALBUM REVIEWSHARD ROCKHEAVY METALREVIEWS

There are three certainties in life – death, taxes, and LUCIFER naming their albums after themselves, merely increasing the Roman numeral at the end by one. Hailing from Germany, based in Stockholm and led by the perennially charismatic Johanna Sadonis, the occult rockers have flown quite a bit under the radar in the decade they’ve been around, but they’ve built a strong following in that time regardless and this new, fifth record – out on Friday January 26th and, as alluded to earlier, titled Lucifer V – is their first on Nuclear Blast, having amicably left Century Media not long before.



For all that LUCIFER have continued to stay relatively underground despite their outputs and fanbase, it’s becoming harder and harder to stay there because they’ve improved with every studio album that has passed. Lucifer V is no exception – without doubt their best album to date, it’s a wonderful blend of throwback guitars, melancholic overtones and fresh delivery. Although not a full concept release, the theme of death is one that prevails a lot throughout the nine songs on show, but before the first of those comes into play Fallen Angel opens with a dirty blues guitar triplet that helps drive the opening track forward, Sadonis‘ enticing yet foreboding vocals shimmering over the top. At The Mortuary is a SABBATH-inspired, classic hard rock track with an ominous church bell at the beginning and a middle-eight that sees the tempo drop but the tone remain constant, and Riding Reaper is a doff of the hat to BLUE ÖYSTER CULT, another gorgeous twin lead with a hint of organ behind it to add an extra level to the song and a truly excellent solo to boot.


What follows is, arguably, the best song LUCIFER have ever penned; Slow Dance In A Crypt is a beautiful ode to the morbid, laced with romance and wonderfully paced, conjuring images of a danse macabre overflowing with genuine love. Don’t think for one moment that the rest of the album takes a nosedive, however; the likes of Maculate Heart (fully penned by the band’s multi-instrumentalist and live drummer Nicke Andersson) continue the trajectory with its acoustic, EAGLES-esque opening evolving into a groove-laden foot stomper and Strange Sister commencing with the unmistakable rattle of a vibraslap before it morphs into an arena-ready rock anthem, just begging to get bodies moving.

If there’s even a morsel of justice left in this world, LUCIFER will be a breakout band in 2024 – their sound and imagery will excite fans of GHOST just as much as the classic acts mentioned, a truly excellent showcase of making the old sound fresh and dynamic. All of their albums have been strong bodies of work, but Lucifer V has nailed it better than the rest.

Rating: 8/10



Lucifer V is set for release on January 26th via Nuclear Blast Records.

ALTERNATIVELIVE REVIEWSPHOTO GALLERIESPOP-PUNKPOP-ROCKPUNKREVIEWS

With the release of 2023’s No Joy not long behind them, it is due time for SPANISH LOVE SONGS to grace UK soil once more. This time, they come with a new attitude. No Joy has swayed from the band’s previous discography frequently drawing comparisons to JAWBREAKER and THE MENZINGERS with their self-deprecating flare, now onto a more nuanced, intricate approach with a sprinkling of more optimism. Tonight, they open the tour in Southampton, bringing along SUDS and HEART ATTACK MAN.

SUDS live @ Engine Rooms, Southampton. Photo Credit: Dev Place Photos

SUDS join the bill with a welcomed blend of indie-emo-folk. On paper, that may sound like a warped cacophony. But in practice, it’s a gracious mix with a soothing presence. The band steadily pedal through their set, with a backdrop of warm lights and a touch of fog. Even from the back of the room, the quartet have an ability to make the audience feel seen, oozing intimacy in their subtlety. Tracks from their most recent release, The Great Overgrowth, engage with bouncy drums and twiddly guitars, while vocalist Maisie Cater cuts through with her delicate vocals capable of any lullaby.

Rating: 7/10Heart Attack Man live @ Engine Rooms, Southampton. Photo Credit: Dev Place Photos

HEART ATTACK MAN waltz onto stage with all guns blazing, wasting no time in picking up the room’s energy. Their sound hails back to infectious 00s trailblazers like SUM 41, but with a new approach to crowd-pleaser hooks. Eric Egan catapults himself into the air on numerous occasions before flinging straight into one of his angsty ear-worm deliveries. The band reference their soft spot for the UK in between tracks saying how “lucky” they are to tour here regularly. While the band are from Ohio, they are right at home on British soil; with a sound that ignites any audience, lending itself well to the chaotic crowd participation the UK is often notorious for.

Rating: 8/10Spanish Love Songs live @ Engine Rooms, Southampton. Photo Credit: Dev Place Photos

SPANISH LOVE SONGS need no bells or whistles to command tonight’s crowd. Since 2013, they’ve gained a following of dedicated fans, sure to passionately sing back just as loudly as the band to any of the choruses in their discography. They open the set with I’m Gonna Miss Everything under a cloud of blue wash lights; the band are barely visible but the devastating lyrics of the opening verse pierce through until the they appear just in time for the pre-chorus. From the first note, it’s clear that this is a cathartic band for most of the 600 people in the Engine Rooms tonight.

The instruments that create the canvas for these shaking vocal deliveries run in parallel in their gut-wrenching sensibilities. The band is tight, with not a note out of place. It’s obvious that all SPANISH LOVE SONGS do comes from a sincere place of care, transparency and feeling. A standout moment from the set is Kick from 2020’s Brave Faces Everyone. The song dances between melodic guitar drills and guttural pauses before launching right back into the signature SPANISH LOVE SONGS hook of “the world’s gonna kick you either way”.

During older material such as Routine Pain and Losers 2, the crowd swells as several dozens of hands raise in the air, dictating the painful words right back at Dylan Slocum. There’s a shared experience between the band and the audience, each exchange of wailing shouts is matched in energy and passion; proving that SPANISH LOVE SONGS make this ilk of emotional music still very much alive and relevant.

Rating: 8/10

Check out our photo gallery of the night’s action in Southampton from Dev Place Photos here: