Wargasm Venom review: London duo continue to light up the UK heavy scene

Featuring an appearance from Limp Bizkit's Fred Durst, Wargasm's debut album is a thrilling statement of intent

This debut album has been nearly five years in the making, but it cements Wargasm’s position as one of UK heavy music’s leading forces. The London-based duo – singer-instrumentalists Milkie Way and Sam Matlock – turned heads as soon as they debuted in 2018 with their ear-catching blend of electronic and industrial sounds. Having supported Limp Bizkit, Corey Taylor and Neck Deep in the past 18 months, ‘Venom’ arrives on a significant wave of hype.

At the same time, it’s been a long and winding journey to this point. Before they came together, Matlock – the son of original Sex Pistols bassist Glen Matlock – was working in bars after the promise of his former band Dead! faded away, while Way was juggling modelling and sporadic session work after moving to London from Northern Ireland.

It turns out they needed each other as much as heavy music needed them. From their monstrous 2020 breakout single ‘Spit’ to this year’s rap-metal masterclass ‘Do It So Good’ – a highlight on this album – they’ve proved why, arguably, they’re this generation’s answer to The Prodigy. Following an impactful appearance at 2021’s Download Pilot, Wargasm have garnered a vocal and passionate fanbase, who revere the band for both their charisma and genre-splicing approach to their music.

With a “busking approach” guiding the tour, the band rehearsed more than 70 songs and have performed around 43 so far, so this is not the predictable hit conveyor belt of Oasis’ shows. It feels refreshing to never know what is coming next. The setlist leans heavily on the treasures from “OK Computer” and “In Rainbows” and gives equal space to the once-dismissed but now appreciated “Hail To The Thief”. It creates a kind of Radiohead-style hit parade, without “Creep” of course, and includes the occasional glammed-up oddity to let the show breathe.

There is the roaring political fear of “2+2=5”, the huge and aching sweep of “Lucky”, the pulsing electronic rush of “15 Step” and the joyful sing-along of “No Surprises” anchoring the early part of the performance. This section also includes “Sit Down. Stand Up.” with a new soft happy hardcore ending, “Bloom” from the fragile “The King Of Limbs” that now carries a brighter neon energy, and “The Gloaming” flowing into “Kid A”, giving the night a moment to sink before everything intensifies again.

There is not a single chance for a toilet break from that moment onward. From the gentle pain of “Videotape”, to the wild three-part surge of “Weird Fishes/Arpeggi” into “Idioteque” and “Everything In Its Right Place”, to the guitar-driven “In Rainbows” songs and the massive first-act finale of “There There”, every moment lands exactly how a Radiohead fan would hope. The visuals also look spectacular.

Then we reach the reward of a seven-song encore that reads like fantasy on paper, complete with the newly viral “Let Down”, a playful return to “a song we wrote on a freezing cold farm in 1994” with the indie powerhouse “Just”, and the huge final blow of “Karma Police”. This show becomes the cinematic and artistic contrast to Oasis’ carefree chaos, capturing that feeling of “standing on the edge” and letting everything wash over you. The entire night carries a fierce energy and a well-judged sense of scale, offered with warmth and intention, and Yorke leans fully into his rockstar presence as the band rotate around the stage to engage each part of the arena. For a group that once cringed at the idea of “arena rock”, no one performs it better. A new album and another night like this would be welcome as soon as possible.