K L P S / The Grey / Helve @ The Peer Hat, Manchester, 27th February 2026

It’s safe to say that I had been looking forward to this gig since I reviewed the latest release from K L P Sin March last year. No dates were in the pipeline, but having chatted with lead singer Daniel Wallenberg on Instagram, he messaged me in December to say that they were playing The Peer Hat in Manchester and there was no way I was going to miss this one.

Opening the Static Dissent promoted night of terrifying post-metal madness was Helve, who have come across the Pennines from Leeds to brutalise us with their demonic musings. Starting with Slumber Of Cowardice, there’s a slow brooding build-up, with singer James staring into the abyss before his huge roar deafens the crowd. Guitarist Joel adds the calmer vocal, getting the balance just right, as I watch a flat-edged screwdriver being used against guitar strings. The low-end bass sound is impressive, and the song feels painful and anguished, a perfect way to start the evening off.

The excellent Teeth was up next, and it’s another brutish song. I love the fact that the slow, metronomic drum sound was crystal clear, each tap on the hi-hat was perfect, and combines well with the dreamy bass. It’s a more crushing and forceful sound, and after a quick mic lead change, they launch into Guns Heal The Sick which has an echoed vocal and a brilliant guitar intro. It’s full of melody and then some random guy, more about him later, appears and shares vocals as they have a face-off on the floor.

They round off with another colossal sounding track Scarlet Rot – I think as I’m trying to read the voclaist’s writing as I type – but it feels like a slow, painful death, administered in the most beautiful of ways. The rhythm section is imposing before the chaos finishes off their superb set.

The previously mentioned random guy, then reappears as Andy Price, bass player/singer for Cambridge post-metallers The Grey and following a smooth intro, they launch into the ominous sounding Russians. The trio play largely instrumental music that is weighty and pummelling, and with Price in the crowd throwing his instrument all over the place, they are high energy and musically, tight as hell.

With barefooted guitarist Charlie Gration all over his pedal board, they create a sizeable racket with Painted Lady followed by Jimmy which was how it was written on the setlist I took the photo of. The small drum kit doesn’t do justice to the huge noise that Steve Moore, looking wonderful in his Lucipurr cat t-shirt, rattles off, and I enjoyed watching the double bass pedal work up close.

‘Nothing says happy Friday like slow, sad riffs’, remarks Price, as he dedicates a song to Helve, which is full of power and aggression, whilst also being slow and menacing. The tempo changes are dramatic and with smoke starting to billow out across the stage, they beckon the crowd forward as they tear into Bends. Their songs are complex and detailed compositions, full of evil and malicious intent, and after thanking the crowd for making them feel welcome, they introduce CHVRCH, which is slow and wistful. ‘This song is for you, this song is for us, this song is for everyone’and it releases a monumental and imposing noise that is amazing to watch live. Another random guy appears to join on vocals, and then it’s over. Time for a breather.

Having rapidly become one of my favourite bands, K L P Sare finally here in Manchester for their debut UK show. After having a quick chat with Wallenberg earlier, they were excited to be here and would be playing all of last year’s EP. With new drummer Servane Beljaew now firmly in place, they kick off with the barrage of noise known as Subverse. With bass player Alexander Kirst roaming around on the floor like a lion hunting its prey, they set about bludgeoning us into submission with their mix of heavy breakdowns set amongst atmospheric calmness.

Their ambient melancholy is even more intense live than on record and Katarsis is another huge song, with tempo changes galore. The smiling Beljaew sits behind her kit, wildly and accurately pounding away as the rest of the band follow suit, unleashing their full emotional fury upon us. ‘This is our first time in the UK, in England and in Manchester, and we appreciate you being here, it means a lot to us’, says Wallenberg, before erupting into Tribulation. The bass sound is expansive, and you can see the pained expression on the frontman’s face, as the hard-hitting sections combined with the hypnotic riffs from Peter Valefors on guitar, pierce our darkened souls.

They somehow manage to eclipse this with Nattsvart, which, as I described in my album review, crushes you into submission. It is so intense and dramatic as the strings are played in perfect symmetry, the headbanging in unison, and the gothic element shines through for a destructive sound. There’s the guttural vocal on the experimental Undertow, showing the band isn’t afraid to push boundaries, and live they are expressive and focused, falling to their knees towards the end.

There’s a brief pause before they rip into Murrian from 2021’s The Pandemic Sessions, which has another level of potency with the prominent bass sound powering through the PA. ‘Thank you for coming out, this is our last song, and we hope to see you again’says Wallenberg before they commence with Aureola.

By this time, I’d put down my notepad and stood and watched the quartet put their heart and soul into this sensational song. With deafening drums and mournful melodies, it sees the quartet exhausted after giving their all. Kirst is lying on his bass on the floor, Valefors and Wallenborg are huddled on their knees and Beljaew is sprawled over her drums, which perfectly brings an end to a night of tectonic post-metal.

K L P S

The Grey

Helve

Scribed by: Matthew Williams
Photos by: Lee Edwards