Review - Toria and The Terror 'The Operating Table' EP

Toria and The Terror

The Operating Table

EP, out May 15th from We Are Horror Records

Barely a week goes by at the moment without another storming entry into the current wave of UK horror punk - we're living through a golden age of the New Wave of UKHP, bands emerging and gaining wider recognition, releasing essential records and starting to take on the established scenes from around the world. At the forefront of this are the bands signed to We Are Horror Records - now with a renewed UK focus - a home grown label spreading fear, horror and spine chilling jams across these cursed islands and across the seas. Numerous UK acts have appeared on past compilations from the label (as punk rock always has done, compilations have proved essential gateways to discovering new bands) and one which has stood out, alongside the release of three standalone singles, are Liverpool's Toria and The Terror (currently based over in Tokyo), a ferocious force blending the theatrical gothic side of horror punk with the always outspoken empowerment of the marginalised and forgotten in the very best traditions of the feminist-led punk legacy of this country. The unholy trinity of past single releases have been essential - the caustic anger of 'I Want Blood', the skin crawling terror and insanity of 'Worms for Brains' and  the haunting 'Funeral' have mixed metal, goth and riot grrrl influences, wrapped them up in a horror punk cape and battered listeners who may have come expecting some good ol' fashioned horror punk melodies with something altogether more dynamic. 

News of the band's first EP release was therefore pretty exciting. When bands aren't rigid in their stylistic output you never know what quite to expect, so on firing up 'The Operating Table' I wasn't sure whether to expect gothic rock influenced tales of woe, anger-fueled riotous punk rock or something else entirely. Amazingly, all of the above - and more - weave their way into what is quite simply an excellent EP. It starts with a bang - 'Frankenstein Girl' is a fuzzy, metal meets garage punk tale of self-loathing and the perils of celebrity worship. It seethes with anger, barely containing the rage as it courses along, always threatening to explode and take the world with it as Toria screams 'with every little stitch I become a new bitch'. Few bands can properly blend the horror aesthetics with pointed social commentary (possibly the best example of a UK band doing so would be The Ruined, which is never a bad comparison) but the band do it superbly here. 

The second song ('The Morgue') takes a different tact, an atypical horror punk song blending influences from horror surf, psychobilly, 60s horror shock rock akin to Lord Sutch and a spooky vibe, all coupled with the teetering-on-the-edge of madness style that is somewhat a signature of the band. It's a marked departure from the bands previous output, but is enormous fun showing how varied their influences are, and is the sort of instantly likeable song that brings to mind their fellow Liverpudlian icons Zombina and the Skeletones. 

The final track of the release has appeared before - on WAHR's 'The Kids are all Fright' comp last year. I absolutely raved about it then, an intense cover of the classic Bauhaus song 'Stigmata Martyr' that sounds like Bikini Kill covering the goth rock pioneers and time has not diminished it's impact. It's a spine-chillingly powerful slice of blasphemous gothic riot grrrl noise.

With the two opening tracks set to appear on the bands upcoming debut album 'Wicked Hymns', and with the pedigree of their earlier releases and the bands range of influences and sounds, Toria and The Terror are set to take the horror punk world by the scruff of it's metaphorical neck before tearing it off, all whilst wearing a blood-soaked smile. An absolute class release from a band who brings something different to the table and who could very well be the UK's biggest horror punk export in the years to come. 

You can pre-order the digital release on the WAHR website and it will be on all the usual streaming and download services come the 15th may. Whilst over on WAHR pick up some band merch and the previous single releases. You can follow the band over on Facebook, Instagram, Spotify, and over on WAHR's Bandcamp page (and give the label a follow over on Instagram and Facebook too!)

Review - Esmeralda's Ghost - 'Invasion of the Zombee Girls' EP

Esmeralda's Ghost

Invasion of the Zombee Girls

EP, self released on April 15th

I don't want to worry anyone but with the sheer amount of horror punk bands crawling from the depths of this island right now I'm pretty sure we're about to be consumed by some sort of undead uprising. This may or may not be an improvement on our current situation. To disgracefully paraphrase Emma Goldman, though, 'If I can't dance, I don't want to be part of your damn apocalypse' and this new wave of British horror punk (NWOBHP if you will) is ushering in the end times with fun. Enter Esmeralda's Ghost from Leeds who drift into the melee with a debut EP to add to the Zombie Girl Summer of punk we're about to embark on. Emerging, phoenix-like, from the remains of previous solo project Ashes On The Cemetary Ground this is a full-on horror punk assault (rather than delving into the goth rock elements of AOTCG) which delivers some toe-tapping good tunes.

Starting off with a minute of zombie moans in the appropriately titled 'Zombie Shuffle' it soon shifts into the excellent, dark and bouncy 'You Make My Screams Come True' and a track resurrected from AOTCG 'Zombie Girl', a gloriously fun horror punk anthem which remains just as fun as it was a couple of years ago when I heard it's previous incarnation. Amongst the rather somber offerings of the previous band this stood out; a hideously catchy, and fun, story of loving the (un)dead which can sit happily alongside the numerous similar tales of necro-love in the annals of the genre - and on it's own merit, too. Infectious B-movie inspired punk is very much the theme of this EP - the short but sweet 'Invasion Of The Bee Girls' buzzes in, leaves an impression and then flies off.

'(I'd Love You More) If You Were Dead' hits with menacing 'woah-oh's' before another stand-out track rumbles in with 'Screamplay'; name dropping horror icons as it rolls along on a solid horror punk foundation that would not sound out of place among the best of the current crop of US bands. 'Night of the C.H.U.D' is another punchy track referencing classic b-movie fare (and may or may not have another meaning), before the EP is rounded off by a spoken word afterlude which finishes things off nicely.

There's an awful lot to like on this strong EP - impressive as a solo effort, it's clearly born from a love for the style and sound of horror punk, drips with an admiration for the spooky and b-movie chic, and is full of fun, catchy tracks that leave an impression. 

You can purchase the EP digitally from the 15th April, with a physical CD release also imminent, as well as being available on all the normal streaming services. Go give the band a follow on Instagram and Bandcamp (where a quartet of the songs are already available).

And a special thanks to Esmeralda's Ghost for designing the new logo of this blog - fitting that this EP is the first review in the newly named era of the site!

Review - Midnight Feature - Hex Rentals album

 

Midnight Feature

Hex Rentals

Album, released 17th April 2026

Birmingham's Midnight Feature have been around for a couple of years now in the UK horror punk scene, releasing a few singles and last year's 'Creeping Fear, Raging Monsters volume 1' EP to some acclaim - delivering a theatrical yet menacing gothic punk meets horror punk sound, they very much threatened to become a leading light in the unquestionably small (but rapidly growing and always thirsty for more) scene on these islands. Stepping into 2026 and the news that they would be releasing their debut album was warmly received, and I've spent the last few months eagerly awaiting what promised to be yet another quality English horror punk release. Now it (it being Hex Rentals, which is a great name by the way) is here and - early spoiler alert - we've got another banger of an album on our hands here.

Every good album needs a kick-arse start, and Hex Rentals certainly does that. 'Final Girl' is a new one and an extremely strong start; a rumbling, atmospheric gothic horror punk number dedicated to iconic female names and reverberates with the sort of dark menace that the best of the genre manage so effortlessly. Listen in a dark room with only the flickering light of a CRT TV playing iconic b-movie horror and this is close to bliss.

'Vampires and Other Creatures' is next up, and whilst this appeared on their 2025 EP the version here sounds much better. Production is cleaned up but it loses none of the brimming terror which ever-threatens to consume you. It was a good song previously but it's now a great song. 'Night of the Demon', named after that classic of British horror cinema delivers another slice of goth-tinged horror punk; this also appeared on their earlier EP and yet again the improvement in production elevates it (although I do miss the audio clips!). There's little better in life than a dirty ol' horror punk band delivering rock n' roll the way Satan himself intended - three tracks in and Midnight Feature are contending with Calabrese (masters of the craft) in doing just that. To underline that very point, next track 'Death Walks in High Heels' swaggers in with a Gothabilly attitude that I'm an absolute sucker for. Another new song to me this is just a foot-tappingly awesome, and rightfully satanic, gothic tale.

'Hellavision' was first released as a single back in 2024 (as 'Hell-A-Vision'); it's been reworked but still slices with precision as it delivers a Danzigesque number showcasing the bands range within the often pigeon-holed genre - next track 'Saturday Night Fever Dream' taps into the same rich vein, another song which just glistens in its gothic punk assault, less full on assault more slowed down suffocation in the doom-laden riffs and attitude. It benefits from being another song greatly improved production wise from its appearance on the earlier EP.

'His and Hearse' hits with some more atmospheric gothicness before 'Satans Night Out' (released as a single in March) melds catchy horror punk with a sort of deathrock sensibility; satanic cries mixed with 'woah-ohs' and more unrelenting, leather jacket-wearing sauntering that would make Glenn blush, delivered with the intentional DIY gloom and confidence of a band that knows exactly what it is going after. Take next track 'Lets All Do The Frankenstein' - a gothabilly influenced ode to B-movies which comes off like The Brickbats doing a Blitzkid cover of a Zombina and the Skeletones song; that hint of whimsy which good horror punk needs, but an underlying doom and gloom and old school horror aesthetics.

The range of the band is noticeable, and the influence from various sectors of the scene makes its presence felt again in next track 'Damned If You Do', a take on horror punks borderline obsession with the sound of doo-wop - done right. A new version of a song which appeared on their EP and much improved again, this is a (serial) killer take on the melodic, nostalgic mix of horror and 50s sound which comfortably sits alongside the best examples other bands have produced. 'From the Grave' is another previous single released back in 2024 and my first exposure to the band and this improved version delivers another great slice of 'traditional' horror punk with those hints of goth, Danzig-inspired darkness. It's missing the audio clips from the single again (I do love a good audio clip) but the improvement of production is noticeable and is a stronger song as a result.

'Rite Here' first saw a release a single in 2025 and is another song which benefits from the production overhaul here. A spooky, Samhain-meets-Calabrese vibe, this is another one you can chalk up as a staggeringly cool and confident track, before the album closes up with the haunting and sombre slowed down title track. Few bands deserve comparison to some of the bands mentioned in this review (I don't like dropping other bands names in too much as it feels like taking credit away from the band itself), but its hard not to compare the style and vibe to those greats of the genre, although Midnight Feature still maintain their own identity.

We've already seen some great albums crawl from these haunted shores this year and Hex Rentals join that list - stirring up some darkness with a mix of gothic horror punk, accomplished musicians and improved production, this can comfortably sit alongside the best in the business.

Hex Rentals is available to stream and for digital download on the 17th April; a limited run of physical copies will also be available at upcoming shows. The 'Satans Night Out' single is also out now!

You can find Midnight Feature on Bandcamp, Instagram, Facebook and Youtube, as well as streaming on Spotify.

Review - Oracular - Jack the Ripper

Oracular

Jack the Ripper

Single, released 30th January 2026, We Are Horror Records

Leicester horror punk band Oracular are a band to keep an eye on as we stumble into 2026; they impressed with the literary-inspired 'Fictious Science' on last years WAHR comp 'The Kids Are All Fright!!!' but return here with a new iteration of the band, promising to deliver some more top tier horror punk to these islands. Their first single is now here, a classic take on the genre in more ways than one, dragging the UK horror punk scene into the new year with singalong-worthy, hard hitting melodic punk rock with a new take on an old tale. 

Fronted by Danny Demented, formerly of UKHP legends Siblings of Samhain, these misfits from the Midlands delve back into the smog filled, gas-lit streets of Victorian London to tell their tale of old Saucy Jack himself, from the infamously unknown serial killers own point of view. A scathing manifesto of the Whitechapel fiend follows, speaking of the joy in his murder spree, of cementing his legendary status which - more than a century on - transcends the murders and has turned the Ripper into an iconic horror figure drenched in the blood soaked events that happened on those dark London streets.

Guitarist Alexander the Grimm, bassist Gonz Van Ghoul and drummer Dee Kreeper deliver horror punk in the 'traditional' style, taking the melodic but aggressive approach of genre luminaries such as Blitzkid, Ripsnorter and the aforementioned Siblings of Samhain and adding a suitably British take on the sound - there's a touch of a rougher, Victorian-slum-like street punk sound to the song, from the spoken-word intro delivered by 'Jack', right through the crunching riffs and the anthemic chorus.  

It's a great start to the year for the newly energised and refocused band, delving into a subject matter that is always ripe for content and delivering a solid and highly enjoyable song which is sure to introduce them to the wider horror punk scene in a suitably blood-drenched and murderous way. 

'Jack the Ripper' is available to stream on all streaming platforms from the 30th January. You can also buy the song from We Are Horror Records which I certainly encourage you to do!

Review - Haddonwood - Deadcase

Haddonwood

Deadcase

Album, released 31st October 2025

Haddonwood hail from the North East of England, that current hotbed of horror punk talent, and have been steadily releasing tracks for all of 2025, each teasing the eventuality of this debut album release which arrived, fittingly, on Halloween. With a stated goal to deliver anthemic, energetic and catchy horror punk covering a wide variety of horror themes (and boasting a literal skeletal drummer, which must be unique) and a good reception to their earlier releases, this is certainly a band on the up - so how does the album hold up? Is it yet another top UK horror punk release this year? Time to take a look.

Review - Bats Bats Bats - All My Friends Are Ghosts and Soon I Will Be Too

Bats Bats Bats

All My Friends Are Ghosts and Soon I Will Be Too

Album, released 30th October 2025

Bats Bats Bats describe themselves as 'emotional punk rock' and that's a very valid description of a band who are horror punk in the vein of Creeper, Alkaline Trio and Salem. A mix of the gothic side of the genre with the emotion-driven melodic punk rock, the band (hailing from London and the south east of England) deliver a polished sound but keep a strong DIY ethos. After a string of a very good single releases, they finally release their debut album - but can it fulfill the potential those earlier releases promised? Let's take a look.

The album (the artwork for which, I must add at this point, is beautiful. It has a vintage Halloween vibe to it which sits very well with the bands sound) starts in a suitably hauntingly way with the scene-setting The Deep, a spoken wood gothic poem before kicking straight into a reworked Ghosts, which was the bands second single release. The original has quickly become a firm favourite of mine, driven along on an energetic melodic punk sound, and the version is here is just as good. There's an added 'echoey' element which works really well and loses none of the punch. A memorable and catchy track to open things up, and legitimately one of the best UKHP songs of all time.

Review - We Are Horror Records - The Kids Are All Fright!!! Compilation

The Kids Are All Fright!!!

Various Artists

Released by We Are Horror Records in 2025

Review

Punk Rock is built on great compilations and the discovery of new bands. I practically had my 90s punk exposure dictated by Epitaph's 'Punk-O-Rama' series and Fat Wreck Chords 'Fat Music'; legendary 80s compilations like Dischord's 'Flex Your Head' or the 'This is Boston not LA' record expanded the spread of early hardcore punk in the states and stand as testaments for the era today, whilst 'Bullshit Detector' did the same for the anarcho-punk bands of the day. In fact it would be impossible to even try and list all the great examples that have peppered the punk scene over the decades - and if I had to list every band that I got into due to hearing them on a compilation, I'd never finish this review (although special mention to the Household Name Records comps in the early 00s which capture the punk/hc/skacore era perfectly). Horror punk is not immune to a good comp either - the 'This is HorrorPunk' records are essential and my first exposure to dozens of great proponents of the genre has come from the numerous examples available from labels both small and big. In the last few years however, it has been UK record label 'We Are Horror Records' which has put out the most noteworthy examples, packed full of great bands and with plenty of representation from these islands. It's not an understatement to say that the labels continued devotion to the genre has given me, and no doubt others, a real boost in our own love for the music with quality releases aplenty and - some would say finally - a real UK edge to the genre. The latest release from the label - just in time for Halloween! - packs in 19 songs from 19 bands (15 songs on the vinyl release), the majority of which are previously unreleased, with strong representation from UK horror punk bands, some genre-adjacent picks and some pretty awesome covers to boot... so how does it compare to other great compilations? Let's take a deep dive...

Review - The Magnetic Monsters - Wrong Side of Town

 

The Magnetic Monsters

Wrong Side of Town

Album, released October 11th 2025

There seems to be something stirring in the North East of England. Fast becoming a formidable location for up-and-coming UK Horror Punk bands (with both Hellbound Heist and Haddonwood also from the region), there's clearly something horrific blowing up to the area from the gothic paradise of Whitby, as here comes The Magnetic Monsters with a debut album to welcome in the spookiest of months. The Washington-based duo (Conor Dutson and Alexandra Duston-Mitchell) deliver 11 tracks of straight up Horror Punk with clear inspiration from the masters of the genre, whilst not being afraid of putting their own spin on things. I'd been following the band on social media for a while, eagerly awaiting this release - so how did it turn out?