For the past 13 years, Scottish band TWIN ATLANTIC have created a legacy of 70s inspired hooks, explosive breakdowns, and sentiments that range from the deepest inner turmoils to having a night out with your mates. They’re an established act within the alt-rock scene that’s seen them take on countless headline tours, support slots and festival appearances, amassing a following with each show they do. Yet, for all their work, their latest album Separation From The Animals is undoubtedly their most brutally honest work to date, an album that sees them baring their souls, embracing old friends, and sounds like TWIN ATLANTIC at their most refined. With a monumental career holding them high, there was uncertainty of the band’s direction after their 2024 release Meltdown with lead singer and guitarist Sam McTrusty moving to Canada to start a new life with his family, while bassist and backing vocals Ross McNae remained in the UK, sowing more doubt for fans and McTrusty himself as he grappled with a creative block and the concerns that being so far away from the band might hinder him further. In a twist, his steadfast decision to focus on his family on the other side of the world instead stirred inspiration and forced him to confront his upbringing and the feeling of never quite having a fixed home between separated parents. It had always been a topic touched on in the band’s music history, McTrusty describing his initial feelings as “I found my tribe, my people, my band. My entire adult life is meant to have been looking ahead but my personal life is always looking back. That baggage is basically what the whole band is about.” But Separation From The Animals takes this so much further, McTrusty feeling more emotionally mature to truly delve into his feelings and how the entirety of TWIN ATLANTIC has healed him and sparked a renewed love. More than this, the album miraculously reunited McTrusty and McNae with founding drummer Craig Neale, bringing his intricacy and powerfully-driven beats to two of the more vulnerable tracks, and saw founding and touring member Barry McKenna contributing to the quintessential TWIN ATLANTIC sound, making this the first album the original four-piece had worked on since 2021’s Transparency album. Separation From The Animals doesn’t just call back to the band members’ individual histories; snippets throughout call to mind some of their most memorable work that put them on the map, notably in addictive anthem Don’t Quit It with bone-rattling bass, the familiar rhythms and vocal cadence, and unmistakable guitar hooks that are the pure essence of TWIN ATLANTIC. Opening track Your, The End and follow up track I’m Not Coming Home are a sign of the band’s softer side that’s appeared throughout their discography, Strong in particular taking a much more personal and uplifting approach while holding onto the strength felt in their harder-hitting tracks. Save Your Breath performs a dramatic twist from an acoustic intro and McTrusty’s smooth lower register, before symphonic strings and drums elevate it into a heartfelt affirmation that could be toward his family, his bandmates, or the person he’s grown into. Meanwhile, the emotion pitches and swells on In Your Eyes and Confidant against heavier, racing beats and defiant lyrics, the thumping rhythms utilised on Unless It Hurts but at a slower pace that borders the track between weighty triumph and heart-rending declarations as the vocals reach higher pitches. The Risk Of Love Is Always Loss is a transcendental experience, stripped back entirely to McTrusty’s cresting vocals and McNae’s keys the blend melancholy and hope together, the band’s emotions completely exposed to the listener; its antithesis is found in Supersweetness, with vibrant instrumentals and gratifying lyrics set to a rhythm stronger than a sugar craving. Lost has a deceptive intro that drops key but soon transforms into a substantial track that brings minimal, but authentic, lyrics and centres the focus more on the woven instrumentals, fading into finale Feel It All and the closure it brings to the album and the listener. Separation From The Animals is, in the simplest of terms, a love letter. It’s a love letter to the past and the wounded, confused, and frustrated people that TWIN ATLANTIC started out with; it’s an ode to who they are now and their unshakeable friendship; it’s a tribute to their families, their loved ones, and the fans who have stayed with them; it’s a declaration from McTrusty to his daughters that is told from the opening notes. It’s a testament that TWIN ATLANTIC are pushing their limits and explorations but still staying true to their roots. Score: 8/10 Separation From The Animals will be released on 2nd October via Dance To The Radio. Words: Julia Stark Photos: Steve Gullick

With mythologic content comes a new legend. AMON AMARTH has mastered storytelling and has been building vivid universes over the span of three decades. They return with The Allfather Awakens on October 2nd, making everyone curious about what’s next. This new chapter is, for the Swedish melodic death metal veterans, another saga shaped by Norse mythology, historical conflict, sacrifice, and the pursuit of something greater than oneself. Across ten tracks, the band delivers a familiar combination of thunderous riffs, sweeping melodies, commanding growls while still packing some surprises. But the band also look to explore new ways to tell its stories, with the album showing us a band that are at times surprising, at times falling back on familiar formulas, but that ultimately demonstrates why AMON AMARTH remains such a formidable force. Odin, the Allfather and deity of war, wisdom, death, magic, and poetry, once again provides the album's thread, while the band makes it clear that this is not a thematic album. His pursuit of knowledge through sacrifice provides a fitting theme for the record's underpinnings. In Norse mythology, Odin sacrifices an eye at Mímisbrunnr, the Well of Wisdom, in exchange for insight beyond mortal comprehension. He also hangs himself upon Yggdrasil in his quest for the runes, undergoing a symbolic death and transformation in pursuit of wisdom. This transition from ignorance to understanding, from sacrifice to awakening, is seen throughout The Allfather Awakens. Conflict, perseverance, and the willingness to pay a price for a greater purpose recur across its historically inspired tales. The album's making also reflects a shift in the band's own approach. Rather than waiting until touring was over, AMON AMARTH began writing while on the road. Recording took place across two sessions at Jacob Hansen's studio in Denmark, beginning in spring 2025 and concluding in March 2026. It is their first collaboration with the Danish producer and also a more concentrated songwriting process. Guitarist Olavi Mikkoken describes the approach as working on one song at a time, completing every element before moving on to the next. Drums, guitars, and vocals were finished individually, allowing each composition to receive focused attention. Technically the band have moved away from its more modern guitar approach, returning to Marshall amplifiers. The production keeps the weight and clarity expected but allows the melodies and individual instrumental arrangements to take centre stage. The opening track, Gjallarhorn, immediately sets out the album's intentions. Named after Heimdallr's horn, whose sound announces Ragnarök, it begins with an energetic guitar riff that propels the song forwards at an impressive pace. Crushing guitars, thunderous drumming, and Hegg's unmistakable growls provide the backbone, while the soaring chorus and cinematic atmosphere brings us their trademark storytelling. There is a triumphant quality to the track almost as if it is announcing its own return to full-scale Viking metal. But its chants also hint at the folk-oriented experimentation announcing an interesting connection between the album's more traditional and adventurous moments. Its infectious chorus and driving rhythm, makes it a strong opener for the record but also a track that could become a live ritual. Eight Legs of Thunder continues with another heroic tale, this time inspired by Sleipnir, Odin's legendary eight-legged horse. The galloping rhythm provides a clear musical match to its topic, with soaring riffs and powerful vocal passages giving the track a strong sense of movement. It has a memorable melody and battle-ready atmosphere that has the chances of becoming one of the great songs from the band. The accompanying video also takes an unexpected direction with the myth being relocated to a gritty American Western populated by cowboys, pickup trucks, and open roads before Sleipnir appears in a surreal dream sequence. This unusual and fun contrast reinforces the band's willingness to play with its own mythology without losing sight of its identity. We go darker and deeper with Kvasir's Blood. Inspired by the myth of Kvasir, whose blood was turned into the Mead of Poetry, the song explores the fascinating intersections between wisdom, violence, and creation. It surprise with it heavy metal feel and prominent bass line which establishes a darker, almost doom like atmosphere compared to the opening tracks. The topic itself is also a good analogy for the band's creative inspiration and heaviness, as Kvasir's wisdom is transformed into a source of poetic inspiration through an act of murder and deception, creating a story in which beauty and brutality are inseparable. We Rule the Waves moves the focus towards communal celebration. Its repeated "we are, we are Vikings" chant invites an audience to join in, creating the impression of a song written with the live setting in mind. It also echoes the band's long-standing relationship with its audience, as their concerts have become synonymous with the famous Viking Row, in which fans synchronise their movements as if rowing an invisible longship. This track is bound to embrace that spirit of shared identity and participation, making us imagine it reverberating through a venue with raised fists and voices. Then comes Upphaf, arguably the album's most unexpected song. Trading crushing guitars for acoustic instrumentation, it offers AMON AMARTH's first fully acoustic song, and immediately sets a different atmosphere. Inspired by the poetic tradition of the Edda, it combines a folk feeling with a more intimate form of storytelling around a campfire. It is both reflective and grand in a more emotional sense, like passing a tale down to the next generation so that it continues to live. That unusual rhythm also allows the lyrics and listener to breathe in a way the heavier tracks rarely permit. We are given an opportunity for reconnection and reflection in a contemporary world increasingly shaped by technology, distraction, and disassociation. It is a reminder that the band's musical identity does not solely depend on volume and aggression. The heaviness is, however, never far away. It returns with Die With a War Cry. Built around strong guitar work and a slower, deliberate progression, the track feels less like an immediate explosion and more like the preparation for battle. The riffs can become repetitive at times, but this repetition also creates a solid foundation, allowing the song to build a sense of anticipation. The result is effective in its own way, even if it lacks the immediate impact of the album's strongest material. Raven God holds a measured pace while reintroducing folk-inspired elements. Its solemn, majestic riffs give the track a slightly different feel and the instrumental is some of the album's most satisfying melodic play. A traditional heavy metal quality comes up again in its arrangement with the guitars developing into an extended feature. When listening to the track, there is no doubt that this is a band that knows itself well and is a well oiled machine. They easily prove how much atmosphere can be created without relying on constant speed or overwhelming heaviness. The title track, The Allfather Awakens, fades a bit into the band's repertoire. Its central ideas and mechanics are fitting for the album, but the song feels like it stretches its material longer than needed. The repetition occasionally undermines its momentum and it struggles to establish an identity that is different from the strong tracks coming before. The guitar solo and production are however notable. Oden's Hunt is more adventurous in its composition. Rather than launching straight into a familiar riff, the guitars seem to communicate with one another, establishing an atmosphere before the song accelerates dramatically. The powerful drumming added creates a momentum that approaches speed metal territory. The arrangement is genuinely interesting and new, bringing a different energy to the album. The vocals seem to struggle to find their place in comparison. It feels disconnected from the powerful instrumental happening, sometimes feeling like it is almost in the way and the song would have worked best as an instrumental break. However, the repeated "Oden's Hunt" chant is strong and befitting, making us wish that there was more of that in the song. The album closes with Ascending Like an Eagle, which combines the bands established strengths with some of the more exploratory elements introduced throughout the record. It continues to the narrative of overcoming obstacles through persistence and determination, as a continuation of Serpent's Trail from The Great Heathen Army. It is not as memorable as the early tracks on the album but makes sense in its overall. The Allfather Awakens does not attempt to change everything we know about AMON AMARTH. It reinforces what they're known for and allows room for experimentation. The band understands its strengths, and much of the album's appeal is that confidence with which they continue to deploy them. If this will likely make longtime fans happy, others might wish to have seen more of the new cards brought to the table. All in all, it is less of a reinvention and more of a deliberate expansion of their territory. Which is how all conquests begin. And as Odin's pursuit of wisdom reminds us, awakening is not necessarily about abandoning everything that came before. Sometimes it is about seeing familiar things from an entirely different perspective. For a band whose identity has always been built around the stories of gods, warriors, and sacrifice, that is a good place to open another chapter. Score: 7/10 The Allfather Awakens will be released on 2nd October 2026 via Metal Blade Records. Words: Lysandre Pons Photos: Sylwia Makris & Christian Martin Weiss

As autumn begins to set in after the long festival season, it's time to retreat from the open fields and set foot into the inviting, intimate venues across the country. Tucked up in the smaller room in the Brudenell Social Club in Leeds, the five piece GAEREA performed for the fourth night of their six night run for their UK album tour following the release of Loss earlier this year. Their last UK headline tour was in 2022, and after a successful tour last year supporting ORBIT CULTURE it was time for them to come back on their own. Taking to the stage shortly after Feel by ROBBIE WILLIAMS had filled and left the room, the four piece CONJURER had a few tricks up their sleeves. They begin their set with All Apart from their 2025 album Unself, its raw and dynamic sludgy groove setting the stage for the evening ahead. Guitarist and vocalist Brady Deeprose at their first break exclaims about the lack of knowledge of this space in the venue "This is sick!” and it was, CONJURER’s sound reverberating from all four corners was a marvel to hear. In the beginning the crowd seemed tentative but a couple songs in and they’re in for the longhaul, the cheers getting louder and the head nodding intensifying. Partway through CONJURER’s set, main vocalist Dani Nightingale dedicates the next track to the trans community, stating they “Have always existed and always will,” the song is Let Us Live. The lyrics are deeply moving and the riff is mesmerising, the desperation in the screams are felt by everyone. As the song is performed the lighting behind them flickers between blue, pink and white. The final moments, where “let us live” is cried out, carry an overwhelming emotional weight. There is a rawness and urgency to the words, transforming the performance into something deeply powerful as the importance of the message resonated through the venue. To round off the set, It Dwells tearing through the room, and bassist Conor Marshall steps off the barrierless stage and charges into the centre of the pit to play the remainder of the song. The act alone gives permission for the crowd to interact, circling him and relishing in the moment. As the lights dim and members of GAEREA step onto the stage, the tone shifts to uphold the spectacle that’s about to unfold. Following an almost regimental introduction, Luminary forces its way in and the crowd responds. Vocalist Alpha commands the lighting with his hands, with his very poised, flowing theatrics. Every track from the band’s latest album Loss made an appearance in the setlist, which melded well with the older tracks they played, which included World Ablaze and Hope Shatters. Old and new fans alike rejoiced, embracing every song with equal enthusiasm no matter what came next. The room span for most of the night, following the momentum of CONJURER’s set the circle pits continued, particularly for Hellbound where the atmosphere was electric. Alpha doesn’t hesitate to interact with anyone filming, whether they’re using a camera or a phone, readily playing up to the lens whenever the opportunity arises. Submerged takes no prisoners, driven by its soaring melody and the relentless double- pedal work of drummer Xi. The right side of the tiny stage is crammed with talent, as both the guitarist Beta and bassist Rho give everything they’ve got to the performance. The band as a whole possesses an almost spirit-like quality. They give everything to their performance, but the theatricality and sense of drama they maintain from start to finish creates the illusion that they are something other than simply performers, almost like entities inhabiting the stage. Haunting vocals from guitarist Delta particularly in LBRNTH add to this characteristic, the ethereal sound is really beautiful. As the set drew to a close, Alpha dedicated the last song to the people that were no longer with us, explaining that they had created this song as a way to cope with the grief that they were facing. Before the song’s name was announced, a prolonged silence fell over the room. At first, it seemed intentional, with the crowd hanging on to every word as Alpha spoke. Moments later, however, it became apparent that the power had actually gone out, leaving the room to talk amongst themselves in darkness. It was worth the wait. Stardust is an incredibly powerful song, the eight minute studio version is a masterpiece, but hearing it live brings a whole new wave of emotion and depth, something that you can only experience from a live performance. The evening was magical. The intimacy of the space, paired with such an engaged crowd, made for a night filled with energy and enjoyment. It was clear that everyone was immersed in the experience, with people of all ages joining in. With appearances at next summer’s festivals already beginning to emerge, it looks set to be another promising year for GAEREA. 2026 marks ten years since the band first formed, and with any luck, we’ll be able to witness them perform for years to come. Words: Danielle Henderson Photos: Adam North

Would it be fair to say that GILLA BAND are quite unappreciated? At least in relation to their influence over modern noise rock and industrial. They’ve been around for fifteen years now, but curiously, when discussing modern noise rock, names like CHAT PILE, BLACK MIDI (at least on their first album) and MODEL/ACTRIZ are brought up more than anything else - the latter of which has released both their debut and sophomore albums since the last GILLA BAND record, and are now working with the likes of MILEY CYRUS, so their influence can’t be understated. But GILLA BAND’s third full-length offering, 2022’s Most Normal, felt like it should’ve been a similarly big breakthrough as Schlagenheim, God’s Country or Dogsbody. With songs fusing synthesisers and distorted guitars into ugly, intense controlled chaos, and others based around hypnotic and mechanical percussive sections, it should’ve been an extreme music fan’s dream. Notably, though, the extremely clean production only helped these sections pop out. One of its biggest strengths was touted as a misstep, and although it worked like a charm in the context of the album, some saw it as emblematic of a perceived lack of rawness in modern noise rock. So unfortunately, it went under the radar somewhat. It was disappointing to see people miss out on this music that felt so singular and bustling with ideas. “The trick is to be louder than everyone else” is a line from bassist Daniel Fox that Pitchfork keeps posting alongside recent coverage of GILLA BAND. But it’s too great to bring up; it’s effectively the band’s thesis statement - and it feels all the more prescient in the face of what might be their most important release yet - Pugnello. The album title? A reference to a thriller novel by vocalist Dara Kiely’s uncle, following a laptop with a haunted font - Pugnello. The album cover? Kiely painted over various bad photos from tours, attempting to prove that he could create something great from it. It’s a striking metaphor for their music as a whole, mashing concepts that should usually never work together and creating something wholly new out of it. Opening track The Angelus kicks things into gear with rhythmic guitar distortion, as Kiely starts listing off these bizarre, stream-of-consciousness phrases that sound as though they could be commonplace sayings. It’s this surreal mix of familiar and alien - all the while his words are broken up by bursts of percussion and noise. Even at its silliest, it keeps the listener on the edge of their seat with the sheer tension created by the instrumentation. The second track and second single, Placeholder, is where the album really starts to sink its teeth into you. Broken up into two notably different sections, the first half has Kiely doing this Mark E. Smith-esque delivery, with musings on cultural events from the mid-2000s and other moments from his childhood, before launching into a chorus of delay-laden instrumentation and wailing guitars, all the while Kiely’s maniacal vocals make it almost impossible to make heads or tails of what he’s saying. The second half switches it up - whatever life the song had in it has been drained and replaced by a cold, mechanical rhythm. It’s completely hypnotising; you don’t even notice the two minutes go by while listening to it. Lines like “I’m injecting a lethal dose of nothing, I’m blaring a dangerous amount of Coldplay” orbit around your brain, just barely picking up on what Kiely’s saying through it all. Throughout the album, Kiely speaks about some intensely personal topics, firstly on Alogia, a song whose title names a condition characterised by extreme difficulty with speech, generally linked to mental health conditions. It was written at the same time that Kiely himself was diagnosed with schizophrenia, and the album at points touches on how he deals with this diagnosis. “A steady structure, routine and purpose / That kind of life would be so perfect / Especially ‘cos I’m a schizophrenic” is one of those lines that you don’t know how to interpret, whether it’s supposed to be tragically funny or just tragic. Many of the words here feel like unfinished thoughts, a choice that is undeniably intentional. Jacobsons also outlines a major theme personal to Kiely that runs through the album: the death of his estranged father. The unbroken distorted rhythm slowly grows in volume like a tidal wave at points while Kiely reflects on his grief, and how he feels he should navigate it, how he should be expected to navigate it. “I should be more sad”, he shouts, fighting the growing intensity of the track, battling this inner turmoil before it finally fizzles out. We end on the two-track run of Crisp Pop and The Gallop, the former being this album’s longer cut. Every GILLA BAND album has something like this, whether it’s The Weirds, Paul, Why They Hide Their Bodies Under My Garage or Prefab Castle. It’s usually one of the standouts. Crisp Pop is no exception to the rule, with the first four minutes being a cacophonous piece that keeps growing until it mutates into every instrument bashing you over the head, creating this pummeling wall of sound. The second half features spoken word from Kiely over an unrelentingly repetitive percussion section, as they slowly garnish it with more and more noise. The guitars sound like they’re breathing at points. When their techno influences come through in full force, there’s really nothing quite like it. Final track At The Gallop, on the other hand, is bound to be somewhat divisive. It features some of the most dynamic instrumentation on the album. There’s a controlled chaos that they’ve kept up for the vast majority of the album, but this is where the floodgates open. Skip through the track, and no one section will sound the same. That’s not the problem here, though; the first thing the listener will notice when they listen to the song is the vocoder. It’s inspired by NEIL YOUNG’s first stab (and only really successful stab) at synthpop, 1982’s Trans, in which he uses the vocoder to simulate a conversation between him and his child suffering from cerebral palsy. On this track, Kiely takes the same concept and simulates what a conversation with his father might have sounded like before his death. It’s not an easy listen at all, but in context it’s significantly less jarring, and extremely in keeping with not only the album’s themes but the aesthetic as a whole. GILLA BAND once again prove that they refuse to look backwards in their songwriting process. Every subsequent release features elements that you’ve likely never heard done anywhere else, or at least not to the same effect. The stream-of-consciousness songwriting serves it remarkably well; the instrumentation manages to tread the line between rigid, robotic rhythms and monolithic walls of noise, doing both at precisely the right moments while somehow keeping this omnipresent sense of tension running through each second of each song. If this is how the songs sound in the studio, then imagine how they’ll sound live - louder than everyone else, hopefully. Score: 9/10 Pugnello will be released on 25th September 2026 via Rough Trade Records. Words: Noise Leonard Photos: El Hardwick

BRAT's latest release, Manslayer, is a showcase of what makes the band so appealing: a true antidote to the toxic masculinity and misogyny that can often infect the heavy music scene. BRAT are heavy, and this album hits in the way all great heavy music truly hits. They describe their sound as being 'Bimboviolence', which fits somewhere in the landscape of grindcore, power violence and general metal greatness. Their sound is an unrelenting, uncompromising onslaught of anger, passion and power. It’s as heavy as music can be, with the lyrical content matching the musical direction. It’s everything heavy music should be doing and feels welcome in the current music landscape. The first half of the album focuses on more daily issues faced in society, but still with the darker edge that often crosses into camp the band is known for. Vocally, it’s everything you want from heavy music, brutal and textured with that trademark passion behind it. They stand toward the front of the mix but help to elevate the excellent instrumentation. Liz Selfish has really come into her own, with her own trademarked stage persona becoming even more present in the music; it’s something truly original, especially in the way the band covers issues women face, but has elements that you know and love from most excellent heavy music vocalists. BRAT, as with all great heavy artists, are part of a lineage of everything that has come before them, and everything that influenced them has only helped to create a more cohesive band. The hardcore influence the band draws upon for this album adds some excellent breakdowns into the mix and, even when listening at home, makes it hard to resist crowd-killing. BRAT have captured the energy that a great live show has and put it into the record; there’s just something about the music that sounds alive. It’s hard to believe that this is only their second album as the band is fully formed into a true unit of creativity. The whole album sounds like one cohesive beast of rage against patriarchal society in a way that hasn’t really been seen before. They aren’t just opening doors in heavy music that are blasting them away with their riffs; they aren’t asking for a place; they are taking the place they deserve and won’t move because some sexist idiot thinks women can’t be metal. Brat are as metal as possible, and there’s no way to deny it. The end of the album is filled with lyrics focusing on revenge fantasies, which feel like a reaction to a lot of the violent imagery within heavy music that focuses on causing violence to women. Tracks such as Ways To Kill Your Husband and Femicidal Tendencies feature the violent imagery associated with heavy music but twist the convention on its head, giving agency to the female characters of the lyrics, which is truly refreshing to hear. The track I Spit On His Grave is another one of the tracks that twists convention - as a parody of the film 'I Spit on Your Grave '- and gives the power back to women. Metal and wider heavy music has had an issue with misogyny for a long time, and this album is one of the most direct attacks against it. The album is dark but in a way that is rarely seen. The album also has a quality reminiscent of campy horror movies in the way the violence is extreme, but it’s serving a wider purpose beyond being typical edgy fodder. Manslayer feels like it’s everything the heavy music world has needed for a while, pushing boundaries and taking on the issues of the heavy music scene. It’s a pointed rage that most people with any sense of morality will understand. A true triumph of music. Perhaps the album will lead to a Brat autumn. Score: 9/10 Manslayer will be released on 25th September 2026 via Prosthetic Records. Words: Will Freeman Photos: V Valadez

These past two weeks, we've been treated to the Y2K punchy riffs of SOUTH ARCADE, the emo-tinged alt-rock of CRAWLERS, and VANA's RnB-influenced alt-metal. This one's for the young people. Here's what we've been listening to lately: Track of the Week: Vana - Bleeding Heart Taking inspiration from the Lamprocapnos spectabilis flower, VANA explores the inevitability of destruction within something that is cherished the brand new single Bleeding Heart. The lyrics showcase that vulnerability can very quickly transform into anger as themes of betrayal and oppression seep throughout. Featuring heavy breakdowns with a genre blend of alternative metal and RnB influences, VANA keeps listeners on their toes with an unpredictable soundscape that remains distinctly their own. VANA’s artistic vision continues to shine through their haunted cinematic universe filled with Easter eggs and occult imagery. Fans are eager to unpack the bigger picture as they dive deeper into the elaborate lore. Words: Theviya R Karunaharan Anxious - Secret Weapon ANXIOUS release their second single in six weeks, and it's a banger. Secret Weapon is laced with catchy riffs, and has a grungey sound through the vocals. The Connecticut band are following their sophomore album Bambi and you can hear the growth in this single, and also previously in Don’t Move. They’re pulling inspiration from the depths of 2010s emo music, and it's paying off incredibly. There are less hardcore influences on this track, which is new for ANXIOUS, but sounds incredible. ANXIOUS are one of the most promising up and coming emo bands on the scene, keep and eye out for what's to come! Words: Kei Wells Beyond Extinction - A Dark Sickness (Three Swords) Echoing thumps and metallic clangs of a slaughterhouse draw us into BEYOND EXTINCTION's new single A Dark Sickness, the first track from their just announced EP Three Swords. Driven by the Black Death that swept through their native Essex and decimated the population, A Dark Sickness centres on the repellent disease, noxious bass oozing underneath a swelling of guitar that bursts at the thrashing of the drums. The screams drop into such a guttural level it's like a feral boar grunting, whipping upwards into skin-shredding fry screams, until it abruptly plummets into over a minute of unnerving distorted static that feels like the dead shrieking to be brought back. BEYOND EXTINCTION have announced their return with something visceral and sinewy and full of rage at their history. Words: Julia Stark Crawlers - BIRTHDAY CRAWLERS don't shy away from sharing their personal stories, holding out their vulnerability to us knowing far too many will relate. Their latest track Birthday touches on lead vocalist Holly Minto's feelings about her birthday, expressing the fear of the unknown of surviving to an age you hadn't planned for, of living without a plan and feeling aimless. It's also a hopeful cry for help as Minto reaches out to the listener. But it's her best friends that answer the call of "someone hold me", Liv May keeping us grounded and centred with a steady bass, while Amy Woodall thrashes through on guitar that gives weight to the emotion. Birthday is a beacon for everyone who didn't think they'd make it this far, CRAWLERS’ way of saying we're all stumbling through together. Words: Julia Stark Desire Lines - Atlas Flitting between multiple genres, Kent band DESIRE LINES have released their first track in over a year Atlas, showcasing their musical growth and genre trajectory as they toe along the borders of fuzz, post-grunge, and alt-rock. Fading in from feedback, a bass line cuts in and dances in tandem with a crispy, restrained drumbeat, building the anticipation as the vocals break through with an accompanying guitar squeal, lamenting on the chorus "tell me that I'm good enough" in a pleading, soulful tone. The vocals fade away to an instrumental breakdown of rattling bass and distorted guitars over thumping drums as the band release a slew of emotion that briefly changes the track into a heavier melody. Words: Julia Stark Django Django - Feel Alright (ft. Max Pope) DJANGO DJANGO’s sixth studio album Doveland is due out in November, but for now we have Feel Alright to tide us over, featuring Max Pope. The track has a familiar coming of age film feel to it, the layering of the multitude of instruments is gorgeous. The backing choral vocals are the cherry on the top, the sound overall comes across as an organic “finding yourself” moment as opposed to the genre pushing that we’re used to hearing from the band. Feel Alright does exactly as the title implies, it will put a spring in your step and a smile on your face. Words: Danielle Henderson EIVØR - Spøkilsir / Revenants The Nordic queen EIVØR released another track last week ahead of her new album Tungl, which will be released next month. Sung in her native Faroese, Spøkilsir / Revenants has a GARBAGE-esque 90s grunge sound with a pinch of PJ HARVEY’s pitch that feels perfect for the darker evenings. Its smooth, comforting melody against a stuttering driving vocal hook, embellished with a deep fuzzy bass makes for a treat for the ears. This song and by extension the album seems to be a step away from EIVØR’s distinctive ancient inspired anthems and a sure footing into a new gothic realm. Words: Danielle Henderson Eleine - Liars Linger ELEINE’s Liars Linger is a powerful and atmospheric release that brings forward the Swedish band’s talent for combining symphonic grandeur with modern metal intensity. The songs balance crushing guitar riffs, dramatic orchestration, and Madeleine Liljestam’s commanding vocals, creating a track that feels both cinematic and emotionally charged. It is beautiful by contrast with delicate melodic passages and heavier, more explosive sections. Its polished production still does not strip away the aggression that makes the song compelling. Lyrically, it explores betrayal, inner strength, and confronting painful truths, in a way that fits with the darker musical atmosphere. Overall, it is a confident, dramatic release that should appeal to both symphonic metal newcomers and longtime fans. Words: Lysandre Pons Genital Shame - Down Titration Strategies One of the newest acts to join The Flenser’s catalogue, GENITAL SHAME’s brand of transfemme avant-garde black metal is some of the most exciting stuff happening in the genre. New seven-minute long single Down Titration Strategies proves this, with a huge, monolithic first half that makes use of synthesisers to accentuate the pounding blast beats and harsh vocals, making way for a brilliant second half. Chord changes that you never quite see coming, tremolo-picked guitars, and a flair for angular melodies that keep the listener on their toes. The prospect of new album Wellness Plan’s release becomes all the more exciting with each passing day, and Down Titration Strategies leaves us wanting more. Words: Noise Leonard Lacrimas Profundere - Faceless LACRIMAS PROFUNDERE keeps surprising us by coming through with a harder, more metalcore edge than we’re used to hearing from them in Faceless. It takes us on a dark and atmospheric journey that captures the German band’s distinctive blend of gothic rock, melancholic metal, emotional intensity while adding deep guttural screams. The track thrives on moody guitar work, haunting melodies, and a strong sense of drama. These combined create an immersive atmosphere from beginning to end. The contrast between heavier and more restrained, vulnerable moments gives a whole new emotional depth. It brings an interesting card to the band’s hand while continuing to explore the themes of loss, isolation, desire, and inner conflict we know them for. Its memorable melody turns up the excitement ahead of their upcoming album, Lay Me Down O Silent Fear that is releasing on September 25th! Words: Lysandre Pons Trivium - Dead Inside Of Me From the first crushing riff and slug bass line, Dead Inside of Me grabs us into a chokehold and refuses to let go. TRIVIUM unleashes a ferocious and emotionally raw track, combining their trademark heaviness with a darker, more introspective flair. Matt Heafy’s gritty vocals shift between fry screams and melodic parts, while the thunderous guitars and relentless drumming give the song a huge momentum. The band’s bassist Paolo Gregoletto pointed out that the song was loosely inspired by the Japanese concepts of honne and tatemae, which he described as “the tension between your true inner feelings and the mask you present to the outside world to hide them.” The track is a powerful reminder of why the band is held as metal giants and displays once more their ability to make a song sound both technically sharp and genuinely personal. Words: Lysandre Pons LEAP - Bloodlines There is something unmistakable about LEAP's signature sound that makes them recognisable from the first few bars of new single Bloodlines, faint instruments broken by the powerful crack and snap of Hector 'Heccy' Cottam's drums, swiftly joined by Declan Brown's velvet smooth bass and Adam Mason's stirring reverbed guitar notes. Jacky Balfour makes his entrance with huge, emotional driven lyrics delivered in his distinct voice that wavers between silk and grit. Bloodlines hints at other LEAP tracks, certain elements, rhythms and groove reminiscent of such tracks as Energies and Calling Anybody, the lyrics an ambiguous tale that could be chasing a love or something more sinister. LEAP have created yet another track impossible not to dance to. Words: Julia Stark Mouth Culture - Growing Pains The new faces of the rock scene have showed us their softer side as MOUTH CULTURE take on what could arguably be almost a ballad. Growing Pains feels like a love letter to feeling out of sorts and finding yourself in the world. Vocalist Jack Voss has a quintessentially British voice that lends this song to a 90’s anthem whilst the other members create a sound that feels exactly like MOUTH CULTURE but just a bit different. Whether this new sound lends to the future of the band or not, it’s a song that’s going to be a staple on many a playlist. Words: Laura D Royal Blood - Swallow The Bomb With their fourth album, Dead Company, fast approaching, ROYAL BLOOD have released their second single Swallow The Bomb. An adrenaline fuelled track showcasing the pounding drums by Ben Thatcher and the thrilling gnarly bass riffs produced by Mike Kerr. Driven by the idea of confronting and digesting one’s inner monologues and doubts, the lyrics strike a motivational passage. One that transforms introspection into an irresistible urge to dance. This track serves as a reminder that ROYAL BLOOD hasn't abandoned their signature sound, but rather matured it. Words: Theviya R Karunaharan South Arcade - F.A.M.O.U.S Mixing pop anthem with electro and rock, SOUTH ARCADE are onto a nostalgic feeling winner with new single F.A.M.O.U.S. An infectiously catchy song that feels like a post summer blues buster, vocalist Harmony Cavelle entranced listeners with her slick vocals. The song feels like a metaphorical middle finger to those that don’t believe in others whilst also feeling like an anthem to keep going and try something new. The excitement of the band heading on the road next year is magnified by a song that just begs to be sung as loud as possible from a gig venue audience. Slick, fun, and brilliant; words to describe both the band, and this new single. Words: Laura D Editor: Naomi Colliar Duff Photos: Various Artists

Emerging from the depths of South London, BURNER return with No One Is Coming To Save Us, an 11-track assault that sees the band push their sound well beyond straightforward extremity. While the foundations remain firmly rooted in the darker corners of modern metalcore and hardcore, BURNER are clearly unwilling to remain confined by convention. This is a record that embraces atmosphere and experimentation without ever losing sight of what makes their music hit so hard. Adding even more weight to an already formidable record is an impressive collection of guest appearances. Matthew K. Heafy of TRIVIUM, Josh Middleton of SYLOSIS and Anthony Lucero of CULT LEADER all make appearances throughout the album. Thankfully, these don't feel like obligatory celebrity cameos designed simply to add familiar names to the track listing. Instead, each guest brings something meaningful to the songs, complementing BURNER's sound while allowing the band's own identity to remain firmly at the forefront. The album opens with The Third Revelation, a lengthy, nearly eight-minute introduction that immediately sets the tone for what is going to be a seriously meaty record. The opening minutes take a more melodic and atmospheric approach, allowing the tension to build before, around the two-minute mark, the familiar BURNER sound comes crashing through. It's a clever way to introduce the album, demonstrating from the outset that there is considerably more going on here than simply throwing one crushing riff after another at the listener. That balance between atmosphere and outright brutality becomes one of the album's greatest strengths. Beneath the savage riffs and punishing rhythms are flashes of serene post-metal, expansive textures and a cinematic quality that gives the record a genuine sense of scale. Rather than taking away from the heaviness, these moments make the more aggressive sections feel even more devastating. BURNER understand that sometimes the best way to make something sound enormous is to give it room to breathe before unleashing hell. Sunrise, Parabellum (feat. Matthew K. Heafy) provides one of the album's standout collaborations. You can hear the exact moment Heafy's vocals kick in, with his instantly recognisable tone cutting through BURNER's crushing instrumentation. His distinctive delivery adds another dimension to the track without overshadowing the band's own sound, making the collaboration feel natural rather than forced. It's a particularly satisfying guest appearance and one that demonstrates how well BURNER can incorporate another artist without losing their identity. A Shattered Visage Lies brings another welcome change of pace, finishing with a brilliant polyrhythmic outro that introduces a technical edge before dropping into a solid, crushing breakdown. The rhythmic complexity gives the closing section an additional layer of aggression, making it particularly satisfying for those who enjoy their metal with a little more intricacy. It's another example of BURNER knowing exactly when to introduce something different without allowing the experimentation to distract from the sheer heaviness. Then there's Accelerationist, which feels almost purpose-built for the live environment. This is the track that should have crowds moving before the first chorus has even finished. Huge breakdowns, frantic energy and enough momentum to get a circle pit going make it one of the album's most immediate offerings. There is even plenty of opportunity for those inevitable fly kicks. Despite being one of the shorter tracks on the record, its compact runtime works in its favour, keeping everything fast, direct and relentlessly aggressive. It leaves a lasting impression and stands out as one of the album's most chaotic moments. Kurtz (feat. Anthony Lucero) sees BURNER explore further. Anthony Lucero's vicious vocal performance adds another layer of aggression, while infectious vocal hooks and sharp lead work provide plenty of memorable moments. It's a track that manages to be both punishing and strangely catchy, with certain riffs and vocal lines likely to remain lodged in your head long after the record has finished. That ability to balance melody, atmosphere and sheer brutality is ultimately what makes No One Is Coming To Save Us such an engaging listen. BURNER haven't simply taken their established formula and turned the heaviness up another notch. Instead, they've expanded the palette that give the album a greater sense of depth. No One Is Coming To Save Us represents a significant evolution for BURNER. They haven't abandoned the extreme sound that established their reputation; they've sharpened it, this is BURNER sounding more ambitious than ever. With its crushing breakdowns, memorable collaborations and willingness to explore beyond the boundaries of conventional heaviness, No One Is Coming To Save Us is a record that demands to be played loud, preferably with a circle pit within reach. Score: 8/10 No One Is Coming To Save Us will be released on 25th September 2026 via Church Road Records. Words: Ciara Hicks-Evans Photos: Kieran White

Raw, unfiltered emotion under the red and blue lights bled through Merseyside into the crowd, as Steph O'Sullivan (vocals) and Paul O'Sullivan (guitar) from Irish emo band GREYWIND gave it their all on a Sunday evening at District in Liverpool. OUT OF RAGE caught up with the band before the show to talk about touring with AS IT IS, their latest record Severed Heart City, recent and the emo resurgence. The band has had a lot of fun playing new songs from Severed Heart City. When asked about the fans' reactions to their new record released back in January this year, Steph was pleasantly surprised how people connected with it so quickly, adding “it's been amazing, beyond my wildest dreams honestly! Because we're so proud of that record.” Paul added that their song Waterfall has been going viral again, with “so many new fans discovering our music”. Also making an interesting point with a favourite thing of his, “you could be a band for 10 years and so many people haven't discovered your music yet, and they can discover it today and you're a new band to them.” GREYWIND has supported so many bands in recent years, and shows with WATERPARKS, TONIGHT ALIVE and now AS IT IS show a consistent and repeated desire from crowds to see them again and again, and having them on this line up in particular felt like a perfect fit for the crowd attending. When asked about their favourite moments, Steph particularly highlighted her thoughts about the Academy in Dublin whilst on tour with WATERPARKS. “I know we're not from Dublin, but it felt like a hometown show in a way because obviously it's an Irish crowd!”, and as Paul reminisced about Camden Town Forum in London, Steph added with excitement that it was a “brilliant venue!” The way they spoke about these shows felt like they were core memories for the band, not least due to some of the new fans they picked up along the way saying things like 'Oh, I saw you with WATERPARKS!', Steph looked back at those moments saying “it's so cool to be like, okay, we did a good job!" Back in July, GREYWIND played at 2000Trees festival, which felt like another iconic moment for the band. Both Happy and Make Believe made their live debut from the new record, and even better in Paul's eyes was the fact that the band “got a mosh pit immediately!” In Steph's own words, playing at such a unique festival “felt magical”. Festivals like this one have been amazing for the band, they’ve started to notice so many familiar faces in the crowds. “That's what's getting so exciting for us, is that you start to see the little Irish emo cult growing”. Emo has been making a huge resurgence in recent years, and GREYWIND has been there throughout the last decade. Their first album Afterthoughts released in 2017, which is coming up to its 10th anniversary next year. “I'm so proud of it, 'cause I feel like when we released it at the time, a lot of people were like, 'This genre is dead, it's done.'" Paul states. But the band persisted, pushing on with their dreams of being in an emo band. They grew up listening to some of our favourite bands and this shows in their music, taking influence from the likes of MINERAL, JIMMY EAT WORLD and of course MY CHEMICAL ROMANCE - “this is the music we've always loved”. When you hear in the news that 'Emo’s back!', Steph is wants everyone to know "We've been doing it all along, emo never left!” Lyrically, GREYWIND keep to the tried-and-true emo doctrine of more emotion and more vulnerability is generally better. When asked how they navigate tapping into those heavy themes, Paul felt that “songwriting is therapeutic” to them. Steph added that “we're not afraid to just be blunt and just say it”. Taking these songs out on the road, to let those emotions ring out into the crowd is a beautiful thing. Fan reactions after a show letting Steph and Paul know a song 'helped [a fan] in a really dark moment in my life' is the reason they “are never afraid to say something”. They are authentically themselves. "Hey, this is us, if you like it, great, if you don't, then it's not for you." For a small Irish emo band like them, things are looking better than ever as they're starting to be known all over the world. Nowhere is this more true than in the US, where they’ve played in places they’ve never been before like Lincoln, Nebraska, playing to fans who know all their songs, while touring many miles from home. After they finish the tour with AS IT IS, they’ll be back over there for their first ever US headliner, and you can feel the excitement in the room with Steph adding “some of the shows are looking like they're going to be sold out, which is insane!” Paul felt “this year has been the best year in GREYWIND so far, and it's not even over!”, as their dreams are slowly but surely coming true. Both Paul and Steph joke around with how an “Irish Emo Takeover!” is coming, they “feel like it's brewing!”. Certainly it's been a great year, not only for GREYWIND but for emo as a whole. Going into 2027, this band might just be the big ones to keep an eye on. Words: Amy Lynch Photos: Amy Lynch With thanks to: Major PR and Greywind

Four years in the making and the five piece from Nagoya, Japan are back with their eighth album, OPTIMIZE = OPTDEMISE. COLDRAIN have made their mark globally with their own multi genre metal centric sound. Their lineup has remained unchanged since they started the band in 2007, made up of Masato (vocals), Y.K.C (guitars), Sugi (guitars), RxYxO (bass) and Katsuma (drums). Just under a year ago, COLDRAIN released their EP OPTIMIZE which was a five track taster of their latest undertaking, tackling big subjects such as the digital world and the quick rise of AI. With the release of the track EX HUMANITY in the summer came the announcement of the new album, OPTIMIZE = OPTDEMISE alongside it, which combines the EP into a new album. Meaning that fans will be treated to seven new tracks to sink their teeth into, with a few having been released already as singles in preparation. The first five tracks of the album that comprise the current standing EP are high energy, bouncy tracks, with OPTIMIZE effortlessly blending electronic sounds in a loud and exciting way. CHASING SHADOWS was born to be played live with its clear interaction cues that crowds love. INCOMPLETE is a clear pit opener, and without a doubt encapsulates the true COLDRAIN sound. Of these tracks, DIGITOLL would be the one that stands out the most with its strong message. It’s static-y beat combined with lyrics that question the toll that the digital world has on us, “This isn’t progress, this is war,” and in the same vein there’s FREE FALL that alludes to a “copy pasted hell,” where they would rather feel pain than feel nothing at all. There’s a lot to digest beneath the energetic noise but it’s delivered in a way that doesn’t let you spiral too much into an existential crisis. The songs from this EP have already been played live on their last UK run at the end of last year, and received a great reception, so there’s no doubt that the new tracks will be met with the same open arms. The release of EX HUMANITY breaks the cycle of the EP with the new era as it transcends into the new album. In Masato’s words, EX HUMANITY describes “What it means to be human and what we could become if we lose the things that make us who we are.” which falls into the overarching message of the album. The urgency carries on with REST OF ME, a hardcore-esque track that shifts seamlessly between lighter passages and heavier moments. At first glance, the appearance of Bert McCracken of THE USED in POISON may feel like an unlikely collaboration but with a slightly fuzzier sound, and addictive rhythm it makes complete sense. McCracken’s unmistakable vocals that would wake a whole generation of emos add a fun layer to the track. G.I.A.I.G (Give It All I Got) is a catchy tune with a busy riff that doesn’t let you go, and the grip of SING is of a slower, reflective mood. The choral aspect in SING would make for a great sing along moment on stage. The beginning of PICTURE PERFECT HELL makes you feel like you’re in an arcade before bursting into the first chorus, another song that makes a statement about the truth being hard to distinguish, hence the term picture perfect hell. Last but certainly not least, SAVIOR closes out the album, featuring Kenta Koie from CROSSFAITH. It’s edgy stature combined with Ken’s iconic vocals makes for an action packed track, and a perfect ending for an album that combines thought provoking topics with a dance party. Ultimately the album is clearly inspired by rapid expansion of the digital world particularly where AI is concerned. OPTIMIZE = OPTDEMISE emphasises the importance of humanity although not as a plain anti AI statement but more of an exploration of one’s self and what it means to be human. In a world of technology where people are constantly fed information, it’s becoming increasingly difficult to decipher the truth. We must prioritise human connection and stay true to our emotions to not lose ourselves to the fabricated world of the digital. Stylistically the tracks all have a distinctive style but that is because there is no main style, COLDRAIN’s ability to construct their sound in a way that there are all different genres and styles at play at once. This alone makes their style interesting and unique but it is also in danger of things sounding a bit samey. As a whole OPTIMIZE = OPTDEMISE is a full, cohesive album where the songs feel unified and part of a larger story. One of COLDRAIN’s biggest assets is their ability to create anthemic songs built to be played live, and to be danced along to. This album delivers just that. Score: 8/10 OPTIMIZE = OPTDEMISE will be released 25th September 2026 via Century Media Records. Words: Danielle Henderson Photos: Maciej Kucia

“It's like having a diary from a year ago be randomly released to the public - it's good, but it's strange.” Having seen SHOWING TEETH at their debut headline show and witnessed their presence online, it's no surprise to us that singer and founder Addison is as down-to-earth and witty in person. The natural charm she shows on stage is true to her authentic self and adds a layer of ease to our chat, which comes through in her humble candour about her rocketing success and notoriety, and the anxiety that comes packaged with this. “The hype came a lot faster than I could have ever expected and at a rate I never expected,” Addison remarks honestly. “I love that I can have music as a job now, but it's scary to know every time I post online people are upset about it apparently. I’m biased, so I'm obviously gonna see the negative comments more than the nice ones, but it makes it worth doing these shows, and I'm glad I've taken these opportunities.” Addison’s tone has shifted from uncertainty to determination and self-assurance by the end of this answer - proudly defiant of those who would try to tear her down. SHOWING TEETH had a less-than-conventional introduction to the heavy music scene, originally starting as a cathartic creative outlet for Addison, who had already built a mass following from posting memes, clean covers and self-tapes of her practicing vocal screams in her car. “I would do all that shit posting and thinking I was hilarious, me and SHOWING TEETH felt like two totally different things, and then through doing serious covers I started connecting with what I now consider my music family." "I’m a huge fan of PERIPHERY, and that was how I was introduced to Matt Halpern (drummer for PERIPHERY). He was shown some videos, and suddenly all these people came into my life as mentors who wanted to help co-write and help with production - a weird hodgepodge of internet friendship from being chronically online. I get asked if I’m his niece or something and I have to go ‘no, I was just a keyboard warrior in the PERIPHERY subreddit’,” she adds with a deadpan delivery and self-deprecating smile. We reflect for a moment on how the community came together to support Addison’s project and has helped instil more belief in herself and her place in the new wave of ‘core artists. This sentimental moment is quickly hijacked by the appearance of not one, but two cats behind Addison. “He cannot handle me giving anyone or anything more attention,” she laughs freely and fondly about her first cat, Stanley. “That’s the EP cover right there,” she follows up the entrance and exit of her other cat, happy with a moment in the limelight. “Her name is Mike; she doesn’t usually appear. That was a rare sighting!” We’re confident OOR has just been blessed by SHOWING TEETH EP A Fate Worse Than Loneliness cover royalty - Michael the cat has her yawn immortalised on the EP artwork. The inner workings of the EP, however, kept everyone awake and bustling. “I already had a lot of demos of my own. I like to use electronic instruments, but I'm talking very general bleeps and bloops, but that's how I get a lot of my melody and scream cadence ideas.” At this point, Addison gets a pensive look on her face as she runs through how many people worked with her on the EP and heard out all her ideas. “Sometimes I think some of these people believe in it more than I do, which probably sounds depressing, but to me it’s just me spilling my guts out on a song. I like what I write; I take it extremely seriously, so it was very shocking at the start to have people immediately on board without me convincing them after years of begging people to listen to my ideas.” In Addison’s own words, “Spilling guts” feels like an apt way to describe an EP that’s bursting with emotional catharsis, not necessarily following a structure or telling a story in parts but instead sees Addison baring her soul through experimental sounds. It’s the vocal recording that really labels her as a force to be reckoned with, using bare minimum resources to create a visceral sound that competes with much broader budgets and deeper pockets. “Some of the vocals I retracked, but most of the vocals are from my car in one take, so it's purposefully messy. Compared to stuff I’m writing now, the EP is extremely raw and unedited; it’s meant to be ingested as a whole. I love recording in the car, not so much when it was my only option, but this was made before anyone even knew anything. The only way I can write is just whatever comes out in the moment, and it’s still raw - it can be frustrating, and I have to record it and then step away and not over-edit it, but it’s still pretty experimental.” The UK was fortunate to be treated to the full live performance of these tracks before anyone else. Flying halfway around the world to launch SHOWING TEETH was a huge risk, but one that paid off monumentally with a sold-out headline show in Camden and huge crowds drawn in at Outbreak Festival's huge weekend double of BRING ME THE HORIZON shows. “It hit me that people had bought tickets to see me, that was so overwhelming and good, and horrifying in an ‘I can’t let them down’ way. It’s so rewarding knowing that my fans are nice and beautiful and they really care about the music and asked me wonderful, genuine questions. It was everything, more than I could have ever hoped.” Addison continues her upward trajectory as SHOWING TEETH are making ever larger waves, opening evenings on PRESIDENT’s US tour, and we part ways on the promise that she’ll come back over to the UK soon - “I’ll swim over.” See you soon, SHOWING TEETH! Words: Julia Stark Photos: Showing Teeth With thanks to: Spinefarm and Showing Teeth

There is something different about a festival day built around one band. Before the gates had even opened at Victoria Park, Sunday at All Points East already felt like more than a collection of performances. Fans arrived dressed as characters from TWENTY ONE PILOTS' lore, while the queues became a sea of band shirts and handmade creations that were traded between strangers, creating a community before anyone had reached the stages. When the gates opened, the excitement only grew. Fans made their way towards the main stage, with some half-running despite staff asking everyone to walk, desperate to reach the barrier. Inside, every stage was full, with crowds ranging from younger teenagers to adults. Despite the size and energy of the festival, fans looked out for one another, calling for security when something happened and making sure those around them were okay. HALF•ALIVE HALF•ALIVE opened the day with a set balancing familiarity with the unexpected. Alongside recognisable favourites such as “RUNAWAY” and “still feel.”, the band introduced several new tracks, including four live debuts. It was an ambitious choice for an early festival slot, but one that paid off by giving the crowd something they could discover alongside the songs they already knew. Rather than simply relying on familiar material, HALF•ALIVE offered a glimpse towards what comes next. The combination of established songs and new material made for an exciting start to the day. HOT MILK HOT MILK brought an immediate burst of energy to the East Stage. Their short set moved between the band's heavier punk-rock moments and more emotional material without allowing the momentum to drop. “HORROR SHOW” and “90 Seconds to Midnight” provided plenty of energy, while “BREATHING UNDERWATER” showed the more vulnerable side of the band. The crowd responded quickly, creating a lively atmosphere despite the early position on the bill. There was little time for anything unnecessary, but that only worked in HOT MILK's favour. Every moment felt concentrated, leaving the audience wanting more. PVRIS PVRIS offered a change of pace from the intensity of HOT MILK. Led by LYNN GUNN, the set relied on atmosphere and control rather than constant movement, allowing the band's blend of electronic textures and alternative rock to take centre stage. “Oil & Water” provided a quieter moment, while “Use Me” and “Snakes” brought back the heavier side of the performance. The contrast worked particularly well in the festival setting. Rather than trying to compete with the louder performances around them, PVRIS created their own atmosphere. It was a reminder that commanding a festival stage does not always require being the loudest band on it. ARTIO ARTIO brought one of the day's most fitting surprises to the Rising Stage with a live debut performance of “Hometown”, originally by TWENTY ONE PILOTS. With the headliners' fans already making up a large part of the festival crowd, the cover immediately connected the smaller stage to the main event. It was a moment fans could instantly recognise and share, while still allowing ARTIO to retain their own identity. Long before TYLER JOSEPH and JOSH DUN took the East Stage, their music was already becoming part of the wider festival experience. NOVA TWINS NOVA TWINS turned the North Stage into one of the day's most physical spaces. AMY LOVE and GEORGIA SOUTH combined heavy riffs, electronic influences and an unmistakable stage presence, with “Antagonist”, “N.O.V.A” and “Drip” giving the crowd plenty to react to. The pit quickly became a sea of movement, but the energy never lost the sense of community seen throughout the festival. Fans continued to look out for one another as the crowd became more intense. NOVA TWINS' music is built to be felt as much as heard, and the packed North Stage demonstrated exactly how effective that becomes in a live setting. REN REN's performance felt less like a conventional festival set and more like stepping into a story. Animation was used alongside the songs to build a narrative, with the visuals and music working together rather than simply existing as separate parts of the show. Moving between rap, guitar and theatrical storytelling, REN created a world for the audience to step into. The appearance of CHINCHILLA for “Chalk Outlines” added another memorable moment, but the strength of the performance came from the way every element contributed to the wider story. REN demonstrated how music and visual storytelling can become one experience. NOAHFINNCE NOAHFINNCE had one of the day's most difficult positions, performing just minutes before TWENTY ONE PILOTS were due on the main stage. With fans already finding their places for the headliners, there was every possibility that the crowd would disappear early. Instead, people stayed. The performance also marked NOAHFINNCE's return to live shows after more than a year away, making the response particularly significant. The short set was energetic and unapologetic, proving that even with the biggest performance of the day waiting nearby, the audience still had a reason to stay until the end. TWENTY ONE PILOTS By the time TWENTY ONE PILOTS appeared on the East Stage, anticipation had been building for hours. Yet the extended headline slot came with one major advantage: nobody really knew what to expect. Festival sets can often be predictable, with limited time forcing bands towards their biggest songs. Here, TYLER JOSEPH and JOSH DUN had considerably more time to move through the band's history while leaving room for surprises, with All Points East being a longer set than previous festivals this year. The biggest surprise was the live debut of “Robot Voices”, performed with EMI GRACE. The audience's reaction made it one of the night's standout moments, particularly following EMI GRACE's recent signing to TYLER JOSEPH's record label, ARR0. The band's crowd interaction was less surprising, but no less exciting. During “Ride”, somebody was always likely to end up on stage, but the question was who. This time, a security guard was brought up, creating a moment that felt spontaneous despite being a familiar part of TWENTY ONE PILOTS' live shows. The B-stage brought the performance even closer to the crowd. A medley incorporating the car became one of the night's biggest spectacles as it was set alight, while “Message Man” brought back the Blurryface paint ritual. The extended production allowed the show to move between spectacle and the more personal moments that have become such an important part of the band's performances. The crowd became part of the production too. During songs such as “The Contract”, and “RAWFEAR”, fans held platforms above their heads for TYLER JOSEPH to stand on. With “Trees”, the moment became even bigger as both TYLER JOSEPH and JOSH DUN stood above the audience, with drums also being held up for them to play together. JOSH DUN had his own moment of spectacle during the drum show, climbing the drum tower while giving the crowd a view of the festival name printed across the back of his shorts. Throughout the day, Bandito Camp had also given fans the opportunity to become part of the world. Ukuleles were available to play, Bandito-inspired tape could be worn, and fans could sign their names onto a flag. Later, JOSH DUN, dressed as the Torchbearer, carried that flag during the performance, bringing the names of fans directly into the show. “Downstairs” was another particularly exciting inclusion, having not been played frequently live. Its appearance demonstrated exactly what made the longer set so effective. Unlike a shorter festival appearance where the audience can have a fairly good idea of what is coming, there was genuine uncertainty over what would appear next. When “Trees” finally closed the show, it felt like the natural conclusion to a day built around connection. TWENTY ONE PILOTS did more than headline All Points East; they made the festival feel like a shared experience, where the fans were not simply watching from the crowd but were part of what happened on stage. Words: Con Macadam Photos: Lizzie Jones

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 Orleans rapper LA REEZY was a force on stage at the North Arena, where he opened proceedings. Commanding the crowd from the off, he had the audience bouncing in unison throughout the set. In between songs, he addressed the packed-out tent, “Can ya’ll make some noise for All Points East, Tyler, The Creator, and all of the artists playing here today.” Later he added, “My home is New Orleans, but today my new family is here in London.” FAKEMINK Brit rapper Fakemink won hearts with an unexpected singalong moment in the North Arena tent, performing a remix of Cyndi Lauper’s ‘Time After Time’ after telling the crowd: “Think about the one ex that got away. Think about her. There’s only one thing. There’s love.” POUR LA VIE On the Rising Stage, fresh from a support slot with SIENNA SPIRO, multi-instrumentalist Pour La Vie wowed the crowd with her unique sound. POUR LA VIE said: “I just love how multicultural London is. I look out there, All Points East, and I see people from so many different places. I feel right at home.” CLIPSE Legendary Virginia rap duo CLIPSE, PUSHA-T and MALICE, returned last year with Let God Sort ‘em Out, their first album in more than 15 years. Their emotional West Stage set included The Birds Don’t Sing, about the loss of their parents, with family photos displayed on screen. MARIAH THE SCIENTIST MARIAH THE SCIENTIST emerged amid roars from the crowd. The Atlanta R&B star performed songs from her 2025 album Hearts Sold Separately, with the audience singing along to every word. Three songs in, she stepped to the front of the stage to throw her hat into the delighted crowd, with one audience member at the barrier catching it and holding on tight for the rest of the set. TURNSTILE Earlier, double Grammy Award-winners TURNSTILE took to the West Stage after a tribute walkout to Islands In The Stream by DOLLY PARTON and KENNY ROGERS. The hardcore outfit burst into action; the moshing crowd visible on screen, with crowdsurfers from all backgrounds pulled smiling out by security. Singer Brendan Yates kept the energy high throughout as the band rattled through fan favourites, including songs from the acclaimed 2025 album Never Enough, along with a cover of THE STONE ROSES’ I Wanna Be Adored The frontman acknowledged London as an important part of the band’s history, telling the crowd: “It’s a second home for us. (Guitarist) Meg is from here. Thank you for always making it feel like home.” TYLER, THE CREATOR In the highly anticipated London return, TYLER, THE CREATOR took to the Underground-styled stage set, complete with its full-scale train carriage. Pyrotechnics exploded from the off, as the California rapper/producer opened with Big Poe from his recent album Don’t Tap the Glass. From there, he powered through a crowd-pleasing set featuring tracks from across his discography, including She, Earfquake, and Are We Still Friends?. Not long into the set, he paused to speak to the crowd: “It’s been what, a year since I hung out with you motherfuckers?” He soon used the runway to part the audience, delivering high-energy renditions of ‘Noid’ and ‘Darling, I’ before mounting the underground carriage to the delight of a frenzied crowd. Midway through the set, he spoke of his early beginnings in music and the role the UK played: “London, London, London, London. It’s weird, I was bigger in London for a second. I have a special relationship with y’all.” He added: “The first label I signed to was XL. They’re based in London. Me and Adele were label mates.” The bass-driven Earthquake had the audience in full singalong toward the end of the performance, with red flashing lights and flames leaping from top to bottom of the stage, before 2017 fan-favourite, See You Again, closed the set in emphatic fashion. All Points East is a festival that captures the excitement and multicultural beating heart of London. Each stage, artist and attendee packed a punch in their own unique way that accumulated into a day to remember. A blur of outfits, music blending throughout, and plenty of stages to stumble into to find a new favourite you might have never heard before. Words: Tyler Whiting Cover Photo: Khali Photography