As 2026 draws to a close, it seems near impossible that anyone could come in as a late contender for everyone’s favourite release of the year. Storming out of left field, GLASS BRIDGES has slammed their new EP In Reverence To All That We Are in our welcome ears, lovingly crafted and mixed with tracks that have a lot to say without feeling like a one-way conversation. Scrap your current list, this EP has earned a place on it. Hailing from South England, the 4-piece are as friendly and approachable as they look, their infectious energy bounding across the stage on their live shows. It feels somewhat at odds with their damning sound, a cathartic outlet that spears through the meat of current injustices and the pervading loneliness so many of us feel. In Reverence To All That We Are gives the listener the words missing from their heart, a descriptor of their emotions and a shared sense of togetherness - but more than this, it tells us this feeling isn’t forever as long as we fight for something better. In Reverence To All That We Are opens with immediate theatricality on Pray, a crushing intro of haunting vocals and bass that shatters into a declaration of “I am not a stranger to the dark” and the terrifying reality of returning again and again to an inescapable mentality, over a curated backdrop of guitars and drums, every instrument crisply featured without drowning each other out in an impressive feat of mixing. We plunge into a breakdown of piano and Simone Cutifani’s sweeping vocals so cinematic the emptiness from the absent instruments is palpable, capturing the feeling of folding into the swirling void of depression and sinking beneath waves that feel turbulent to us and calm to onlookers. Wish is especially hard-hitting for anyone from a broken home, the opening lines noticing the generational trauma gifted by parents and shared with siblings, the chorus showing how this can be broken by finding your place of healing with chosen family. Distorted riffs give way to a drumbeat exercising extreme control, before unleashing on the chorus and running in tandem with the bass. It’s the breakdown that demands attention and steals your breath, stripping completely away to a menacing pulse of synths, climbing steadily to a precipice of shattering drums and guitars, a positively delectable bassline ringing out over double pedals and fretboard runs in a way that will have you salivating for more. Rage is exactly what you think it is. Static collapses against the breathless weight of addictive riffs and wall-of-noise drums, distorted echoing vocals bringing an exhausted frustration and untameable ferocity to the track as the instruments continue to pummel with white-hot energy. The pre-chorus drops into a layered vocalisation full of malcontent at the treatment of girls and women, before bursting into a vow to anyone identifying as female that we'll get fucking loud at the “last of a dying breed” oppressors until they “get the fuck back out”. An onslaught of righteous anarchy that combines industrial elements with alt-rock hooks and metal power to be worn as armour. We delve back into the final cinematically stirring Absolution, taking a more grunge form that builds into soaring vocals centred on the feeling of worthlessness and desperately breaking the cycle against stripped back instrumentals in the first third, before reaching peaks with high vocals and a crescendo of guitars and drums that will undoubtedly be impressive to hear live. Everything falls away for a moving segment of Cutifani proclaiming she’s “so over it, I’m so done with it” and how she longs to escape the grip of anxiety and depression - it’s a sentiment shared by so many who feel perhaps this time the sadness won’t return, only to feel bitterly defeated when it does, with a final breakdown of cataclysmic instruments that echo the moment you realise you have power over your own mind. Score: 9/10 In Reverence To All That We Are will be released on 13th November 2026 via Year of the Rat Records. Words: Julia Stark Photos: LJRphotography / @loztogs

Not everything needs to end in a spectacular breakdown. Sometimes the hardest part is picking yourself up, looking at the absolute state of everything and deciding to get on with it. For CRAWLERS, LIVE WITH THIS feels like exactly that kind of reckoning. Following the grief and loss explored on TURN OFF THE TV, the four-track EP shifts the narrative towards something altogether different: growth, acceptance and learning to make peace with the things that have shaped you. Not necessarily moving on, and certainly not pretending everything is suddenly wonderful, but recognising that the past isn't going anywhere and finding a way to live alongside it. It's a change in perspective rather than a clean break, and that distinction gives the project its weight. Opening with BIRTHDAY, the EP begins its next chapter before BORN SCREAMING comes crashing in with grunge-soaked riffs and a gloriously unapologetic attitude. There's an almost sarcastic ‘fuck it’ running through the track, capturing the familiar experience of waking up and willingly signing yourself up for another 24 hours of whatever fresh hell the world has decided to throw your way. It's a suitably defiant response to the daily chaos: if the options are laugh, scream or simply get out of bed and do it all again, CRAWLERS seem happy to choose all three. The track's grungier edge also gives the EP a welcome burst of bite, keeping its more reflective themes from becoming too comfortable. DIRTY PARTS OF HEAVEN takes a more introspective turn. Written during a period of recalibration for Holly, the track looks back on those fleeting moments of connection found on dancefloors and in bathroom stalls. There's something wonderfully human about its subject matter, particularly when considering the relationship between escapism, alcohol and the need to feel connected to something. It's nostalgic without being entirely sentimental, looking back at the thrill of those nights while questioning whether the things we once relied on to feel alive are actually necessary to experience that same connection. The idea isn't to dismiss those memories, but to understand them differently. Sometimes growing up means realising the feeling you were chasing was never entirely about what was in your glass. Then there's SURE OF IT, which delivers one final powerhouse vocal statement. There's no tiptoeing around the message here. It's a call to stop fighting what's already happened and start facing whatever comes next. The sense of looking forward feels particularly fitting after the EP's moments of reflection; rather than tying everything up with an impossibly neat bow, CRAWLERS leave the listener with a push towards acceptance. What makes LIVE WITH THIS particularly interesting is the shift in perspective. CRAWLERS aren't trying to recreate the emotional weight of TURN OFF THE TV, nor are they offering some glossy, neatly packaged version of healing. Instead, the EP acknowledges that growth can be messy, that acceptance doesn't erase what happened and that finding peace doesn't mean every question has been answered. The last couple of years have clearly been a period of reckoning for the band. Yet, as Holly explains, they've found their way back to the group that started in a shed in Warrington, only now with more confidence, experience and a much clearer understanding of what matters. Their fans and the inner circle surrounding CRAWLERS remain at the centre of it all. There's something fitting about that return to the band's beginnings: not going backwards, but recognising what made the whole thing worth pursuing in the first place. At four tracks, LIVE WITH THIS doesn't hang around, but it doesn't particularly need to. It's a concise statement of intent from a band embracing change rather than running from it. There's still plenty of grit, plenty of attitude and enough emotional honesty to stop this feeling like a simple exercise in positive thinking. It may be a shorter chapter, but it feels like an important one in understanding where CRAWLERS go from here. CRAWLERS have spent time sitting with the uncomfortable stuff. Now they're learning to live with it. And frankly, that's a far more interesting place to start than pretending everything is fine. Score: 8/10 LIVE WITH THIS will be released on 13th November 2026 via Nettwerk. Words: Mia Gailey Photos: Jess Meade

KINGDOM OF GIANTS has never been a band particularly interested in standing still. Throughout their discography, from Every Wave of Sound to Passenger, they have continually explored new sounds and pushed their metalcore foundations in different directions. With Usurper, out November 13th via SharpTone Records, the band takes that adventurous spirit even further, delivering an album that blends modern metalcore with industrial influences, electronic textures, synths and even unexpected touches of saxophone. The result is a record that feels both familiar and refreshingly different, with a strong identity of its own. One of the most immediately striking aspects of Usurper is its cinematic atmosphere. It carries itself almost as a heavy soundtrack of an 80s-90s science-fiction film. Its electronic elements create an occasionally eerie, futuristic feeling, while the industrial undertones give the heavier passages an additional layer of grit. Yet, despite all this experimentation, KINGDOM OF GIANTS never loses sight of what makes a good metalcore record: memorable choruses, crushing breakdowns and a convincing balance between clean vocals and aggressive screams. The opening track, Respawn, makes that clear from the very beginning. Electronic textures establish an almost spooky atmosphere before a huge scream announces the arrival of the heavier side of the band. From there, the song settles into an infectious groove, combining industrial flavoured metalcore and a catchy chorus. It is a slap of an introduction that immediately sets the tone for what follows. Out Of Step takes a slightly more melodic approach, with subtle strings adding depth in the background. Its chorus is another highlight, proving that the band knows how to write hooks without sacrificing the heavier elements of its sound. Then comes Reign, one of the album's highlights. The electronic flair is pushed further into an almost cyber atmosphere. The track manages to feel both faster and languid at the same time, balancing urgency with a hypnotic groove. Anchored by a strong performance, assured songwriting and polished production, it showcases just how comfortable KINGDOM OF GIANTS have become with their evolving sound. The breakdown is particularly satisfying, but it is the overall composition and its ability to move between different moods that make this such a standout. The band continues to play with unexpected textures on A Part Of You, featuring GABI ROSE. It takes a more relaxed, almost dreamy direction, with a slower chorus and a surprising saxophone solo that adds a welcome change of setting. The electronic and industrial elements return on Void Of Form with a noticeable 1980s electro influence. The synths give the track a nostalgic yet futuristic quality, while the heavier guitars and powerful breakdowns ensure that things never become too comfortable. The Edge Of A Dream follows a similar path but brings considerably more weight and speed to the guitars. Its longing, melodic chorus almost feels like a ballad you want to sway to before the band pulls the rug from underneath your feet with some particularly heavy breakdowns. This contrast between vulnerability and aggression is one of the album's greatest strengths. Slower and more atmospheric, Roll Credits feels exactly like its title suggests: the closing scene of a film, with the scenery passing by through the window of a moving car. There is a melancholic feel to it, and the distant sirens towards the end only reinforce that impression. It is almost surprising that the album continues afterwards, as the track would have made a perfectly fitting closer. They however make it clear that they’re not done yet with Jaguar which brings some of the record's strongest guttural and fry screams, alongside particularly heavy breakdowns. 10 Cent Martyr shifts the focus back towards soaring melodies and an expansive chorus, while Gods Of Karma embraces distorted electronic sounds and even flirts with screamo in certain moments. The final track, Past Life, completes the journey by bringing back all the elements that make the strength of the record. What makes Usurper work so well is the way KINGDOM OF GIANTS brings all these different influences together without making the record feel fragmented. The electronics, industrial elements, melodic passages and heavier metalcore foundations all serve the same overall vision. The production also deserves credit, giving every layer enough space while maintaining the impact of the instruments and vocals. This modern, carefully constructed sound makes for highly enjoyable and remarkably catchy tracks that stick with you long after they end. The band proves once again that metalcore does not have to follow a fixed formula. They are building their own playground and it is an exciting place to be in. Score: 7/10 Usurper will be released on 13th November 2026 via SharpTone Records. Words: Lysandre Pons Photos: Andreas Wockinger

Out Of Rage is a LGBTQIA+ focused music magazine that puts young people in control of heavy music. INTERVIEW: Blind Channel - “Are we alone in the universe? And if we are, we're not doing a very good job about it!” For BLIND CHANNEL frontman NIKO MOILANEN, stepping away from the spotlight was a chance to rediscover what making music meant to him and his bandmates. After 20 months away from touring and publicity, the Finnish band returns with Painstream, their sixth album, out now via Century Media Records. The break wasn't about giving up. It was about finding a different way forward. “We really needed to get rid of the deadlines” Niko explains. “We had no idea if we were gonna come bac LATEST POSTS REVIEW: Royal Blood - Dead Company While some may argue that there is only so much one can achieve with just a bass and drums, ROYAL BLOOD continues to evolve their rock and roll sound which showcases the full extent of their artistic expression. After three years, Dead Company is used as a positive mantra to keep pushing for both the band and Mike Kerr’s progression throughout their personal life. Nostalgia plays a huge role within the current music climate and it’s evident that ROYAL BLOOD are pulling elemen LIVE FROM THE PIT: Girli and Gen And The Degenerates Since the release of her new album it's just my opinion, GIRLI has been touring Europe including the UK, spreading the joys and struggles of female rage, being queer and the ups and downs of being in love. Out of Rage joined GIRLI and GEN AND THE DEGENERATES at Manchester's Band on the Wall for one of the final shows of the tour, this was particularly special as because it was three shows from the end, GIRLI let us know that she would not be holding back, she “doesn't care i LIVE FROM THE PIT: Deaf Havana and The Dangerous Summer Fifteen years after its release, DEAF HAVANA returned to the stage to celebrate the enduring legacy of Fools and Worthless Liars, an album that not only reshaped the band's trajectory but also became a defining record for a generation of alternative rock fans. The venue was packed long before the headliners took to the stage, with anticipation building throughout the evening as fans prepared to revisit a record that has soundtracked countless lives since 2011. Before that no THE FUTURE OF HEAVY MUSIC Rage Reviews: Recent Releases, November 4th 2026 REVIEW: Jesus And The Zealots - The Mask REVIEW: Summer Hoop - Self Disrespect REVIEW: Genital Shame - Wellness Plan What the music industry wants you to know about the future of music, reporting from Beyond The Music Festival 2026 Rage Reviews: Recent Releases, 21st October 2026 REVIEW: Ómoia - What Lies Beneath REVIEW: Venus Grrrls - To Die As Lovers May REVIEW: hot mess - Make Myself Your Favorite Scene LIVE FROM THE PIT LIVE FROM THE PIT: I Promised The World, Rosasharin and Between Machine & Me Texan post-hardcore outfit I PROMISED THE WORLD packed out Boom in Leeds on Friday evening, to a crowd that had very clearly dressed for the occasion. White studded belts, scene hair, gaudy graphic tees and skinny jeans were everywhere, and walking in felt like stepping into a time machine. This, it seems, is the new br00tal uniform – and if you don’t get it by now, you are massively behind on the times within the culture. Boom is an extremely beloved name in the hardcore sc LIVE FROM THE PIT: Citizen, Modern Color and Thistle Following their fantastic release Halcyon Blues earlier this year, CITIZEN embarked on a big world tour, with two sold-out shows in London. Supported by the Californian MODERN COLOR and our own THISTLE, the show curates a perfect blend of midwest emo, shoegaze and grunge sounds, letting every attendee get immersed into a dreamer’s state. Starting the night off is the emerging Northampton three-piece, THISTLE. Their riffs are quick to become your next earworm, with overdrive a LIVE FROM THE PIT: All Points East X Tyler The Creator One Headlining festival spot is enough, but two shows packed full of pyrotechnics, production and immense presentation? TYLER, THE CREATOR has officially left his mark in London’s biggest summer festival, All Points East. With a weekend takeover, the best Rap, R&B, genre-blurring multi-instrumentalists pack the lineup. From up-and-coming artists on the X-Stage to headliners taking over West and East stages respectively, there truly is something for everyone. LA REEZY New Orle Rage Reviews: Recent Releases, November 4th 2026 Just like that, Halloween is over for another year - a tragic time for alternative people around the world. Some would have you believe it's time to start celebrating Christmas already, but at Out of Rage we believe the best thing to celebrate right now is just how much music is coming out at the moment. Here's what we've been listening to lately: Track of the Week: Enter Shikari - Lightyears It has already been a month since ENTER SHIKARI announced their indefinite hiatus st NEW MUSIC REVIEWS REVIEW: Royal Blood - Dead Company While some may argue that there is only so much one can achieve with just a bass and drums, ROYAL BLOOD continues to evolve their rock and roll sound which showcases the full extent of their artistic expression. After three years, Dead Company is used as a positive mantra to keep pushing for both the band and Mike Kerr’s progression throughout their personal life. Nostalgia plays a huge role within the current music climate and it’s evident that ROYAL BLOOD are pulling elemen REVIEW: thrown - UNWANTED There’s heavy, and then there’s THROWN. The Swedish hardcore and metalcore outfit have built their name on doing what they do best delivering raw aggression, crushing heaviness and music that makes listeners want to throw themselves straight into the nearest pit. With UNWANTED, they've taken everything that made them stand out in the first place and pushed it even further. Heavier, more brutal and louder than before, this is THROWN at their absolute best, delivering an album REVIEW: Coilguns - Everything We Love, We Destroy With their fifth full length LP Everything We Love, We Destroy, Swiss noise-rock innovators COILGUNS are entering a new era; what they are calling “Coilguns 3.0”. Having started out in the DIY Hardcore scene they evolved from frantic, scrappy hardcore to a sound they describe as “lazier, fatter and darker” on 2018's Millennials. From there has evolved further into something often much more melodic but never losing their noisy edge, culminating in their critically acclaimed r REVIEW: Comeback Kid - Chosen Hell With over 25 years behind them, Canadian hardcore legends COMEBACK KID are back with their seventh LP, Chosen Hell. COMEBACK KID's iconic backlog has massed them a dedicated fanbase over the years, and this album keeps within their renowned sound while adding experimental layers that show exactly why they’ve been a household name in hardcore punk for so long. The album starts off strong with Target On My Back. High speed and riff heavy it’s exactly what one would expect from FEATURED COLLECTION - TWILIGHT CORE AUTUMN LIVE FROM THE PIT: Metric, Broken Social Scene and Stars REVIEW: Echo & The Bunnymen - Apples For Isaac REVIEW: Grandma's House - Baby You're A Winner REVIEW: Citizen - Halcyon Blues INTERVIEW: chokecherry - Nerves, Nostalgia, and the Seeds That Grew Into Ripe Fruit REVIEW: Man/Woman/Chainsaw - Eazy Peazy CHECK OUT OUR INSTAGRAM

Get in Touch We're always keen to work with the future of alternative music... Feel free to email us at info@outofrage.net . We will consider all applications. We typically review submissions in a wide spectrum of heavy and alternative genres. We cannot guarantee coverage, but we will submit review requests to our contributing network to see if they are interested in covering. If you'd like us to review an album or EP , please send us an email at least two weeks before release, with a listenable link, album cover and artist promotional images. We also cover singles reviews , published once every two weeks on our website and socials. All of these reviews are for tracks that are already public and at the pulse of our online community. If you'd like us to cover a show , which includes a review and photos on our website and social media, please send us an email request around a month before the tour, if possible. A picture of the tour poster is always useful to send with this pitch. Join our network Our applications to join our community are always open. Please fill out the form via this link. The Out of Rage Network is a free community for young people who love alternative music. By signing up to Out Of Rage, you can access our full range of resources, including our writing and photography opportunities. By filling out our form, you can join our online networking chats. Out of Rage is open to those who are 18+. We are currently focusing on UK opportunities, but would like to expand this internationally in the future. Our opportunities include photography, press/guestlist opportunities, reviews, and working with artists. Opportunities in videography, social media and podcasting are also available. You can participate as much as you like, even if you do want to be a community member. If you missed our email with the link to join our community, either send us an email or fill out the form again.

As a circuit-breaker solution to make digital journalism more accessible and inclusive, Out Of Rage continues to disrupt by offering opportunities regardless of ability and background. Our publication, set up with the ambitious perspective of amplifying young queer voices, is the first of its kind within the heavy subgenre. About Us As a circuit-breaker solution to make digital journalism more accessible and inclusive , Out Of Rage continues to disrupt by offering opportunities regardless of ability and background. Our publication, set up with the ambitious perspective of amplifying young queer voices, is the first of its kind within the heavy subgenre. With its global network of over 500 contributing members, we provide quality journalism education and training, as well as a thriving online network and deep-set connections with the student sector. We aim high, working with arena-level artists including Deftones, Slayer, Wolf Alice, and Biffy Clyro on their most recent tours. In 2025, we catered to over 250 live events and worked on over 400 new releases. We also provided coverage of 17 festivals, and with our monthly editorial covers, we champion the most innovative voices in heavy music. Independent and wildly authentic, by working with Out Of Rage, you are furthering the future of alternative music journalism. About Out Of Rage I'd like to set the record straight - at the forefront of everything we do, we make journalism accessible. We've designed a platform that's future-focussed, built around our community. We uplift and centre our conversation around young people, making sure we put LGBTQIA+ matters first. In the last three years, we have built and curated a platform that continuously strives to offer opportunities regardless of ability or background. That is Out Of Rage to its core. Yes, we prov Amber Brooks We're doing things differently... We believe in being the good we want to see in the industry. As a community that is built on our members and available to anyone who wants to be involved, our contributing network is at the core of our operation, and members can opt in to have access to our journalism and photography chats. From there, they can apply for a range of opportunities that build careers and provide unforgettable experiences. We deliver this by: Allowing everyone, regardless of experience, to work from the bottom up. Providing industry-level insight and resources to improve skills Making sure our platform is disability and accessibility inclusive Engineered a lottery-style system to provide opportunities for everyone on a monthly rotation Queer-centric and queer-focused learning and reporting Cultivating a brand image that reflects our diverse and fantastic community Proving that young people are the future in the music industry