“[the album] What A Fucking Nightmare will undoubtedly make you angry. But, somewhat ironically, if you’re a fan of old school punk rock the way it was meant to be rolled, it will also make you very happy. What a fucking dream.”
4/5 KERRANG!

“anthemic, no-frills punk realm, and they’re still writing face-value lyrics “about dickheads, working class people, punching people, getting punched,”
BROOKLYN VEGAN

The Chisel formed in 2020 out of the same pool of talented friends and collaborators that bore bands like Violent Reaction, Arms Race, and Chubby & The Gang. After a series of singles and EPs, the band–whose current line up is vocalist Cal Graham, guitarists Luke Younger and Charlie Manning Walker, bassist Momo, and drummer Lee Munday released their debut full-length, Retaliation, in 2021 and secured their reputation as one of the most exciting new punk bands coming out of the UK. With more attention often comes more pressure, but The Chisel approached their second album with something very key in mind: “If it isn’t broken, don’t fix it,” says Younger, explaining, “after we recorded the first record we just didn’t stop writing. So by the time it came out we already had even more new songs.” That prolific streak didn’t stop and the result is What A F*cking Nightmare–a behemoth of a punk record that doubles down on everything that makes The Chisel such a compelling band.

“Overflows with singular, soaring and soulful energy.” 8/10 CLASH MUSIC

“Genre-defying angst never sounded so good” 8/10 CLASSIC ROCK MAGAZINE

“Ginormous hooks”

“Life Under the Gun may frequently taste like candy, but, in the end, it’s a lollipop whittled into a shiv.” 9/ 10 Rolling Stone

“Life Under the Gun explodes out of the basement show without abandoning its energy and essence.” 8/10 Pitchfork

8/10 KERRANG!, 8/10 NME

Militarie Gun can’t be stopped.

In just two short years since their inception, the Los Angeles-based group have been turning heads with a menacing-yet-melodic sound that’s impossible to ignore and a creative drive that borders onobsession. Now Militarie Gun are teaming with Loma Vista Recordings to release “All Roads Lead To The Gun(Deluxe)”: a collection that combines their dual 2021 EPs, All Roads Lead To The Gun and and All Roads Lead To TheGun II, along with four new songs, capturing the essential first chapter of one of the most unique and prolific new bands.

Formed in 2020, Militarie Gun is defined by the musical restlessness of vocalist/mastermind Ian Shelton. “I’ve always been the kind of person who’s very compelled to do things,” he explains. “Everything suddenly become surgent, and that’s how I feel about songwriting—it’s just something I have to do when the inspiration comes.”

The band–whose lineup has expanded to include guitarists Nick Cogan and William Acuña, drummer Vince Nguyen, and bassist Max Epstein–draw on a wide range of influences to make something that sounds combative yet accessible, and undeniably their own.

There’s the unhinged guitar work of Born Against, the propulsive cadences of hip hop, the up-front bass of Fugazi–and most importantly, the hooks. Militarie Gun’s songs are instantly memorable, employing a melodic sensibility that’s just as informed by the work of Robert Pollard and Paul McCartney as it is by Black Flag.

THE NONE formed at the start of 2023 and bonded over hours in the rehearsal room – making noise, discussing shared obsessions, and, most importantly, playing together. 

The anonymity of their name reflects a creative approach that favours egoless experimentation and open collaboration. This ethos, the combined decades of music making, and the unique musical identities of all four members can be clearly heard in the art they create.

Following their debut shows in February 2024, THE NONE have quickly built a reputation as a formidable live band – racking up shows with the likes of Mannequin Pussy, Les Savy Fav, Metz and The Jesus Lizard, as well as sold out headline dates and a string of festival appearances. 

The band released their debut EP, MATTER, in August 2024, exclusively on Bandcamp. They’re now gearing up to release the follow-up, CARE, before embarking on more tour dates and festival appearances across 2025.

‘MATTER is a brooding, furious blast of an EP … throughout the barrage of threshed instruments, bellowed vocals, and pounded drums, THE NONE somehow manage to summon infectious melodies from the center of this flaming blizzard.’– Bandcamp Album of The Day

‘They ricochet across a cavalcade of genres. Stuttering early noughties inspired Brit rock, bullish hardcore grit and even Life Without Buildings-style post punk’– The Quietus

‘… a brilliant industrial racket’– Rolling Stone

‘THE NONE write from the gut. They know who they are, what they like, and how they like to play it’– DIY

‘Britain’s most intriguing new band’– Far Out Magazine

‘[THE NONE] blew everybody’s minds away from the moment they entered the stage. By far, one of the most interesting acts to grace Supersonic this year’– Sleeping Shaman

“…one of the more demanding new punk records…it doesn’t settle to the idea that you can be a passive listener, it wants to drill deep down inside you”– Steve Lamacq, BBC 6 Music

“The band I’m probably most excited about … There’s one thing you should do in 2025: go and see THE NONE live”– Emily Pilbeam, 6 Music Mixtape’s Ones To Watch

“I saw this band supporting The Jesus Lizard at The Electric Ballroom … They were ace”– Daniel P Carter, BBC Radio 1 Rock Show

“Genre-defying immersion and ambience”. **** NME

“blurs krautrock, shoegaze, trip-hop and alt-pop into a moody, grainy whole. The result is an atmospheric and expansive electronic sound, in places, a bit like a goth Burial – even if it is faceless. But in 2025, perhaps that’s more honest than anything.” The Guardian

HONESTY is not a band in the traditional sense. With four core members - George Mitchell, Matt Peel, Josh Lewis and Imi Marston – and a rotating cast of collaborators which have included musicians and visual artists like Kosi Tydes, Softlizard, Rarelyalways, Florence Shaw, and Liam Bailey, the Leeds-based collective emerged as an exercise in doing things differently on a journey towards self-acceptance.

HONESTY’s debut album U R HERE represents a renewed sense of creative expression amidst a world that can sometimes seem like it's crumbling apart.

The songs on U R HERE are a fluid, exhilarating, and uniquely introspective take on club music – sonically mapping the psychological impact of the modern age and harnessing the vitality and freedom that comes with new beginnings. U R HERE, right now, and that is all that matters.

The Quietus on Big Break:

The various members of Sheffield’s Big Break have a solid body of ex-bands to their name. As it goes, those bands skew decidedly more indie than what transpires on Angel’s Piss (Wrong Speed), which claims influence from Negative Approach and is pacey and thrilling enough to give this credence, considering it sounds pretty much nothing like Negative Approach. Though minute-long LP opener, itself titled ‘Big Break’, could reasonably be called hardcore, a selection box of keyboard-larded garage punk follows.

‘The Smoke’ testifies with the demented sass of Hank Wood & The Hammerheads, ‘Happy Bank Holiday’ is like if Alien Nosejob had written Devo’s ‘Girl U Want’ and ‘Fuckboy’, in taking a turn for the ineffably camp, had me reminiscing over good times spent with trashy Oaklanders Gravy Train!!!! The concluding ‘Yes, Goddess!’ portrays vocalist Joseph Armstrong as a foot-licking human toilet – albeit the lyrics are a cowrite with an outside party, Jennifer Reid of Big Break-related hardcore band Champayne. Reid, incidentally, is also a researcher and performer specialising in broadside ballads from 19th century Lancashire, back when times were ‘ard and human toilet was a job description not a hobby.

Big Break lament their habitual use of what they coyly call the ‘Computer Phone’, and indeed present as a fairly online bunch: ‘GGG’, short for “gaslight, girlboss, gatekeep”, is one of a few songs to ambiguously mull the spectre of vilification for microtransgressions. Is it just me who prefers (not only, but especially) punk bands to write lyrics as if the internet had never been invented? I should probably have got over it by now, right? And yet.