WELCOME to LAZ (Live Art(s) Zine) Magazine, ushering in the ressurection of objectively good opinions. Based in Manchester, we strive to keep you informed of what’s happening in the big wide world of Manchester’s theatre, music and art scene - from parties, protests, poetry, and back again. 

Reviews, interviews, essays - you name it. Plus a lovely little poster on the centre spread. Pull it out and stick it on your wall. You’re welcome x


thelazmag@gmail.com

@thelazmag

https://ko-fi.com/lazmag



 ISSUE 01 COMING SOON


SUPPORT PRINT MEDIA. Help us sculpt LAZ’s material form. We are working on ISSUE 01 as you read this - help us speed up the process and send some spare change our way. You’ll be supporting local, indepentdent artists & writers - PLUS giving us the funds we need to make LAZ bigger and better for YOU, dear reader. Thanks in advance.










DJ DEATHDEFY from BAD REVUE #2. Photo @hnrywde.png.

2025:  A YEAR IN BAD REVUE

Recently, I began a noise promotion company. August this year I sat down with local artist and Borough big shot Wren Adobe to discuss our shared love of noise music. Our shared frustration with the lack of local community and scene lead to the natural conclusion of creating one ourselves. BAD REVUE began, equally split between me and Wren in shared technical and creative practices. We set out planning setlists, visual identities and venues. It was fairly new to both of us, but achievable.
From the get go the biggest challenge we faced was securing a venue for the shows. For the first ever show we hauled ourselves and gear into the small basement of a good friend and creator of the LAZ. The sound of Misery Cell’s incessant grind reverberated through the ceiling and up into the house. Late-comers described being able to find the house from the sound leaking out from the basement ventilation. We wish we could go louder. Borough HNW (harsh noise wall) artist BALF came down just to perform. He drove 4 hours for the show after dropping his kids off at school. This became a theme for a lot of our acts. He hands me one of his tapes and insists I take it for free. It really stuck with me as a reminder of how in such an unprofitable and difficult landscape, the mutual respect and support of its artists keeps everything together. Everyone I spoke to after the sets has had a real pride in the community and a positive attitude. The demand for noise exists more than we expect must now meet it. 


BAD REVUE #2 returned to the basement. To this day it has been one of my favourite shows we’ve done. Manchester newcomers SUCCULENT CHINESE MEAL (SCM) formed a week before the show and go on to play one of my favourite sets so far. The overspill of pedals and instruments from the ironing board to the floor proved an ironic contrast from the stripped back spoken word performances from Wren Adobe and DJ DEATHDEFY. The stark contrast between the two acts works to exemplify how different and how much we can push performance and what we expect from a listening experience. DEATHDEFY’s uncomfortable silences and pauses cut even sharper when you become accustomed to SCM’s layered and evocative synth blare. This further highlights to me the importance of sequencing and organising these shows, and how much piecing complimentary or dissident acts can impact the audience experience. 


Several weeks ago, I was asked if I thought noise music would ever see mainstream attention. I paused. I don’t imagine it ever will, but I also don’t think it wants to be. While small pockets of noise see themselves in the mainstream from time to time, it never is pure noise rock or HNW etc etc. I often think about how Nirvana had to pack Endless, Nameless as a hidden track to secure it on Nevermind. As I look to the scope of the current music landscape my hope lies in one small corner. As of writing this the highest charting rap album is Liverpool newcomer EsDeeKid with his new album Rebel. Each song on the album was produced by Wraith9, recognisable from his signature OK tag. The influence from Wraith’s frequent collaborations with UK noise artists Blackhaine, Rainy Miller and more is ever present, with harsh distorted basslines, layered melodies, and simple repetitive loops, one cant but help think of early post-hardcore.

December was the first show, and the only event thus far, to charge for tickets. BAD REVUE #5 saw the highest turnout of all. Having the name of a venue attached I think drew more people in and gives an air of professionalism that your mates basement can’t provide. We now stand at a crossroads on how to approach future events. As we begin to grow a bigger and bigger audience, we now face risking the intimacy that our first few shows had. We miss this aspect, and we don't want to get rid of free shows altogether. One of my aims going forward is to find that balance of free and ticketed events. It's an important part to both me and Wren and to get rid of such would be to lose part of its soul.


Going into the new year we have set some aims for ourselves. Of course, growing and putting on better shows is at the forefront of our minds, but the thought of doing more and achieving more is sweet. Combing back through the performances, we selected 5 to fit onto cassette tapes, ready and packaged with the BAD REVUE REVIEW zine ready for purchase January’s BR6 reminiscent of old magazines with a prepackaged toy. This is a collection of photos from the year’s shows, and written work by myself and Wren based on the BR. Looking back, we’ve also begun to discuss new release shows. With Inventing The Plow’s upcoming release, we’re in talks to organise a more intimate show for it. It’s great. 2026 proves to be more and more promising with both of us able to invest more time towards improving and honing what we do. Big things coming. Follow the newsletter too. 





Article Written by Henry Wade.

Photographer. Local Artist
Co-Founder of BAD REVUE. 






 @hnrywde.png - @badrevue
 henry@henrywade.co.uk - badrevuenoise@gmail.com