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Another year, another pilgrimage to Hampshire\u2019s coast for the latest installment of the annual invasion of Albert Road. Whereas other similar festivals act more as an industry showcase, this is a paean to all things DIY; whether the genre be punk or indie rock, Southsea<\/strong> is your destination for the cream of the dive-bar circuit. It\u2019s also an occasion to treasure as its situation in late September signifies the very last throes of the summer festival season, signalling a return to social normality away from muddy fields and tepid beer.<\/p>\n Despite the season verging into autumnal territory, it became clear that the first mistake I had made was not wearing shorts; even early on in the day, the tiny Fifth Hants Volunteer Tavern was heating up \u2013 one can only imagine the kind of sweatbox temperatures one would have had to endure if original headliners of this stage Brontide had not pulled out of their slot. However, a mistake was not made in seeing The Lion & The Wolf<\/strong> as my first act of the day on the stage presented by Flatpack Recordings. Tom George\u2019s between-song repartee is as priceless as ever, owning his likeness to British Bake-Off weeper Iain, which are important to alleviate the mood in-between his self-described \u201csaddest songs in the world\u201d. However, a rousing ‘Hand Of Applause’<\/em> rounds off a winning set, teeing all in attendance up for a wonderful afternoon to come. (4\/5)<\/p>\n Following in the footsteps of ex-bandmate Luke Barham\u2019s solo project Uncle Luc, former Stagecoach drummer Matt Emery<\/strong> has ventured out on his own, but the difference between this and his former involvings are striking; rather than lo-fi slacker rock territory, Emery<\/strong> and his electric piano land somewhere between an emotive film soundtrack (think 65daysofstatic\u2019s alternative scoring of sci-fi classic ‘Silent Running’<\/em> meets Yann Tiersen\u2019s ‘Amelie’<\/em> soundtrack), and neo-classical influenced post-rock in the vein of Sigur Ros and Maybeshewill. An underutilised facet in Stagecoach, his voice soars and coruscates above his tinkling, and he seems to have had a massive boost in confidence in his stylings of late. This project should make its way to a recording soon; ensure you\u2019re among the first to hear it. (3.5\/5)<\/p>\n Next up on Alcopop!\/Big Scary Monsters\u2019 Edge of the Wedge stage were London-based two-piece JOHN<\/strong>; an ingenious name based on the fact that both of its members are called John \u2013 possibly the most un-Googleable name since nu-metallers \u2018A\u2019. However, their musical stylings are more likely to frustrate your chiropodist than your search engine, taking a snarling, thrashy stance in the vein of bands such as mclusky and Pulled Apart By Horses, also putting one in the mind of fellow duos such as Winnebago Deal and That Fucking Tank. This was their second set of the day in quick succession, so understandably Drummer John\u2019s voice was starting to show a little strain, but Guitar John ensured this tiny room was filled with some strong and hefty riffage. (4\/5)<\/p>\n Back at the Fifth Hants, Body Hound<\/strong> played an astonishing set; in amongst a day of great sets thus far, this was something truly special. Having learned their craft previously in bands such as Rolo Tomassi and Antares, their cosmic technical math-rock exhibits all the spectacle promised by their EP ‘Rhombus Now’<\/em>, and delivers on the potential shown on that record in spadefuls. Songs like \u2018Momentum\u2019<\/em> and the eponymous track of the aforementioned EP are utterly mindblowing to watch unfurl, displaying dizzying, dazzling guitar theatrics anchored by Ryan Bright\u2019s excellent drumming. It\u2019s only mid-afternoon, but my jaw is already sore from being somewhere near my knees throughout this amazing set. (5\/5)<\/p>\n Following that would be a considerable task for most bands, but then Employed To Serve<\/strong> aren\u2019t most bands. A fresh face on the post-#UKSWELL hardcore scene, this Surrey-based quintet are an essential listen for fans of Stateside titans such as Converge & Punch and British acts like Pariso & Svalbard alike. Vocalist Justine Jones proves a commanding presence, overseeing a frantic dancefloor at The Loft feeding off the band\u2019s incendiary performance; all sorts of chaos breaks out, including human pyramids and guitarist Sammy Unwin playing whilst being carried by a crowd of willing pitters. The reaction to a band that have only been around a short while is as impressive as their music \u2013 definitely one to watch if you\u2019re a fan of confrontational, chaotic heavy music. (4.5\/5)<\/p>\n It\u2019s not often that Bristolians The Attika State<\/strong> play shows, but when they do, they certainly make themselves an unmissable act. Despite this being their first appearance in around 18 months, they bring the #vibes to the Edge Of The Wedge, filling the dark venue with swathes of summery tunes. Cuts from 2010\u2019s ‘Measures’<\/em> appear alongside newer songs that may yet see the light of day (make room for that one in your diary sometime in 2017 folks), with singers Warren Mallia and Rudy Barella belting them out like they\u2019ve never been away. Don\u2019t leave it so long before another show gents – we miss you. (4\/5)<\/p>\n After a much-needed burrito break, it was time to head over to The One-Eyed Dog, where Southsea DIY played host to the punk stage. However, this visit was to see a band that don\u2019t quite fit that mould, County Durham\u2019s Martha<\/strong>. Boasting far more of an indie rock vibe than you\u2019d expect members of ONSIND to display, if you imagine a cross between Lemuria and melodious indie-pop masters Los Campesinos!, you\u2019d arrive at this quartet. The groundswell of plaudits full-length ‘Courting Strong’ <\/em>has been receiving feels justified, as Martha<\/strong> course through a pacey, riotous set. If you like pop and punk but don\u2019t like pop-punk, this lot can\u2019t come recommended any more highly. (3.5\/5)<\/p>\n I write this review in a week where math-rock has lost two of its strongholds in You Slut! and Adebisi Shank, which makes you value bands like Tangled Hair<\/strong> even more. The Surrey-based trio still manage to play a hefty schedule of shows despite members also being committed to aiding the live performance of electro-poppers AlunaGeorge, and produce the fantastic set at the Edge of the Wedge we\u2019ve become accustomed to since their return from a brief hiatus. New material has been promised from the ex-Colour men, so ensure you support their continued existence so that we can appreciate James Trood\u2019s wonderful drumming for some time to come. (4\/5)<\/p>\n Back at the One-Eyed Dog (from one end of the stretch of venues that constitute Southsea Fest), it\u2019s time for Portsmouth\u2019s very own Attack! Vipers!<\/strong> to bow out before entering an indefinite hiatus. The definition of \u201clocal heroes\u201d, their fast and furious hardcore sets a packed venue alight, even managing to squeeze in a bizarre yet wonderful cover of Smashing Pumpkins\u2019 ‘Tonight, Tonight’<\/em>. As A!V!<\/strong> depart to calls of \u201cWE WANT MORE!\u201d, you get the sense this set won\u2019t soon be forgotten, and neither will this band; they may not have quite entered UK hardcore\u2019s Hall Of Fame, but their following will miss their presence. (4\/5)<\/p>\n Over at The Loft, Goodtime Boys<\/strong> have the opportunity to show Southsea that the scene is in safe hands going forward; unfortunately, it\u2019s an opportunity that goes begging. Despite the excellence of recent full-length ‘Rain’<\/em>, GtB<\/strong>’s performance tonight feels underwhelming; whether that be down to the lack of crowd participation or the sound levels making Lewis Johns’ usually bright and bold riffs sound drab, the quartet never really shift out of second gear. Their constantly changing cast of performers may be a hindrance (only vocalist Alex Pennie remains from the original lineup); once this incarnation of Goodtime Boys<\/strong> can find their feet I feel sure they can kick on, but tonight\u2019s set was sadly a disappointment. (3\/5)<\/p>\n However, the night was rounded off in spectacular style by the wonderful Talons<\/strong> over on the Edge of the Wedge. The Herefordshire sextet have, like Goodtime Boys<\/strong>, released a personal favourite record of this year so far in ‘New Topographics’<\/em> but tonight\u2019s performance is a more than worthy representation of incredible source material. From opener ‘Monuments’<\/em> onward, the busy room is held within the palm of Talons<\/strong>’ hands, their dense guitarring and stirring twin violins enrapturing the crowd filling this annex bar. It’s been a while since Talons<\/strong> have played regularly, and this latest spate of live outings is utterly unmissable, as is the aforementioned record.<\/p>\n