SPLIT DOGS are running wild and loose across the scene with the sort of classic British rock’n’roll punk that our parents warned us about. Drawing on years of experience and their varied love of all things rock, the quartet are showing their bark and bite with their third album Nice N’ Rough, a celebration of their coming together and a boisterous and bold sound that brings the vitality of rock’n’roll punk into the modern world. SPLIT DOGS might have one of the most rock ‘n’ roll origin stories ever told; from flying out to Australia to perform in Evil Dead musicals and burlesque shows, to sneaking out to play guitar in dive bars at the age of 13, founding members Harry Martinez, lead vocalist, and guitarist Mil Martinez formed the punk band a mere five years ago with a strong ethos that they wanted to play “rock’n’roll like we loved as kids”. Taking shape during strict lockdown and gradually finding its feet as restrictions were lifted, SPLIT DOGS is now a solid unit and their “forever band” with bassist Suez Boyle and drummer Chris Hugall. Where their previous album Here To Destroy still had the fresh foursome finding their groove, Nice N’ Rough sounds like mates having a laugh together, attacking with assertive rhythms and riffs and brazen lyrics in Harry’s distinct vocals, SPLIT DOGS keeping to their core value of having fun with the music they adore. Opener Be Somebody makes it unmistakeable from the offset this is an album for the fun and free, an intro of drawn-out notes leading into a steady heartbeat of Hugall’s thrashing drums, Mil delivering the first of many slick guitar solos while his fuzzed riffs play in tandem with Boyle’s robust bass, and Harry brings it all together as they sing of their glorious comeback. Born Too Loose quickly changes gears into a rapid-fire beat and frenzied strings, channelling the ‘don’t give a fuck’ attitude of AC/DC and the powerhouse, fiery solos of CHUCK BERRY into a track that doesn’t take itself seriously and just wants to go hard but not home. Breaker keeps up this attitude as it rockets through with loud, in-your-face riffs and fretboard slides over quick-fire vocals of being unapologetically themselves until comes to an abrupt end. Get The Look punches in with a feral bassline and a matching guitar riff, building to a Brit-punk sound that brings to life the sound of the 80s, until Harry delivers a prolonged scream over the thumping rhythms. Rather than go speedy, Speed Demon certainly goes heavy and delightfully wicked on its catchy medley and rich vocals, capturing that essence of early AC/DC with the unexpected addition of a harmonica riff complementing the choruses, a guitar solo ripping through and ringing out slowly. Leave It Alone is a warning to just let the band do their thing as they try to navigate life and its hurdles, exasperated sighs giving way to a delicious solo as they beg you to get off their case and stop griping. Shake Sum Action sounds like a punk-rock track but there’s an element to it of 50s rockabilly groove, a frenetic speed and thudding bass over the cries of “I just can’t control these shakes” for a sound that would invoke a random choreographed dance mob in a 50s diner. Rock N Roll Business does exactly as it title suggests, drawing on legendary rock and roll influences like CHUCK BERRY and STEPPENWOLF, with rough and tumble riffs and seamless drums over a lightning-fast piano that takes us back through time to the birth of rock ‘n’ roll. Mamma Said focuses more on rhythm with weighty guitar riffs over drum beats that weave from tempered to obliterating, the bass subtly rising and falling in the background and adding texture to the track, the vocals climbing to a high key until a backing yell joins in and brings attitude until it gradually fades out. Suffer enters with a heavier tone with shimmering cymbals and a more dangerous riff, pausing for a moment to build anticipation before everything rushes together into a crash of racing instruments and Harry’s notable voice, giving the feeling of being in a high stakes car race. I Wanna continues the theme of rapid rock ‘n’ roll, as if the band can’t or won’t stop, the lyrics taking on a more emotional weight of having to cut someone off because it’s the best thing for you, hitting hard with “I never wanna let you go, it’s so hard when I see through you”. Dirty Denim starts purposefully and pauses a beat before it reveals its true speed and fervour, Harry dropping down to a lower register that almost turns her voice sardonic against a backdrop of brassy, venom-coated instrumentals. Nice N’ Rough ends on rock-heavy Power Out, but it certainly doesn’t feel like a gentle power down, with layered yells of “There’s gonna be a power out, the British are in town” and unstoppably scrappy strings and drums, it ends the album on the carefree, fun-filled tone that’s been core throughout. Score: 8/10 Nice N' Rough will be released on 25th September 2026 via Venn Records. Words: Julia Stark Photos: Maciek Mastalerz

As the days grow colder and the nights draw in, hardcore fans inevitably find themselves searching for something to cut through the gloom. Something loud. Something physical. PAIN OF TRUTH have provided exactly that. Their self-titled album is the kind of record that makes standing still feel almost unnatural. One foot instinctively lifts, the other follows, and suddenly you’re two-stepping across the room. From its opening moments, Pain of Truth is unapologetically rooted in the band’s signature sound: groove-heavy riffs, punishing drums and an atmosphere charged with anger. Nik Hansen, Ridge Rhine and Zach Stachura build the album around riffs that feel less like something to listen to and more like something to collide with. Nick Barker’s drumming only strengthens this by a brutal snare sound and relentless kick patterns that give every track a punch-like feeling. Originating from New York, PAIN OF TRUTH has become a prominent force within the modern hardcore scene. That East Coast identity is impossible to miss in Michael Brian Smith’s vocals, as they carry a distinct Long Island character, shifting effortlessly between smoother vocals and jagged, furious screams. Despite these changes, there is a constant underlying hostility; his voice adapts to each track without ever losing the sense of frustration that runs through the record as a whole. Consistency is difficult to achieve, particularly when a band is producing music at such a rapid pace. PAIN OF TRUTH, however, have managed to release three EPs and an album within three years. Which is extremely impressive. Almost as impressive as starting their album with Obliteration. Its rapid rhythm feels practically made for a spin-kick, throwing the listener straight into the album’s world of violence and fury. As an opener, it establishes the classic style and tone without hesitation, branding the album as PAIN OF TRUTH’s. Done For follows with a more desperate, resigned atmosphere. Its repeated declaration of “this is our fate” commits a feeling of inevitability, as though it has stopped fighting against what is coming. That tension eventually collapses into a syncopated breakdown, giving the track a suitably heavy conclusion. This Is Hatred is one of the album’s standout moments. Its rhythmic melodies and weighty riffs are accompanied by a sense of purpose that makes the track feel larger than its individual parts. Hatred and fury have always been central to PAIN OF TRUTH’s identity, and here that theme is made particularly explicit. Only four tracks into the album, the band have already established exactly what drives them. Unforgiven, previously released as a preview of the album, is another highlight. Hansen and Rhine’s riffs take centre stage, constantly pushing the song forward while Smith’s prolonged screams create a sense of complete disorder. Towards the end, the chaos begins to slow, eventually giving way to a heavy, burdensome riff that feels almost suffocating in its weight. Chinatown, NY is equally striking. The inclusion of gang vocals gives the track an immediate sense of collective identity, reinforcing the communal aspect of hardcore. Its opening lyrics comment on the lifestyle being lived, repeatedly returning to “this ain’t my style” before eventually arriving at the need to “bring this to an end”. The track captures both social division and the strange sense of belonging that can emerge within a hardcore community. This leads naturally into Fed By Fear, which continues the album’s examination of division and the forces that keep people separated. For an album this aggressive, Pain of Truth is remarkably danceable. Beyond The Damage is perhaps the clearest example, bursting with energy and built around the kind of bouncy rhythm that practically demands movement. Filth In Your Head follows with frequent changes in tempo, keeping the listener constantly off-balance. Then comes Web Of Lies, where blast beats drive the track forward before everything eventually slows into a crushing ending, complete with gang vocals. What makes Pain of Truth more than simply an enjoyable hardcore record is the consistency of its themes. Conflict, division and struggle are present not only in the lyrics and song titles, but in the music itself. Smith’s vocals sound as though they are being dragged directly out of frustration. The riffs feel confrontational; and the drums feel relentless. Pain of Truth, is a record which wants to be felt. It is rhythmic without giving up its heaviness, and fury. In a genre built around physicality, PAIN OF TRUTH understands exactly how to make an album move a room. As Michael Smith himself described it, he “wrote this track to give a sense of hope in horrible times”. That hope may be buried beneath layers of distortion, drums and screams. But it is there. And that is what makes the album hit as hard as it does. Score: 8/10 Pain of Truth will be released on 25th September 2026 via DAZE. Words: Sojifa Liugaite Photos: Estevan Oriol

Musical theatre meets pop punk. A tale as old as time (or at least as old as the latter), but not so commonly done in this fashion. As we delve into the history of Northamptonshire acoustic duo THE WOT NOW, made up of Katie Perry and Margot Taylor, as well as the beginnings of upcoming debut single Out of Time, there's plenty more than meets the eye with this new act. Together with Katie's background in theatre and her instinct for melodic hooks, alongside Margot’s love of pop punk and emo, their raw dynamic is one built for a disenfranchised generation. Routinely, enduringly popular songs allow listeners to reflect and find something to connect to, and the same goes here - “I just hope they know that they're not alone” explains Margot. THE WOT NOW feels like a band for those who feel they don’t belong, for those teenagers and young adults coming into adulthood for the first time. Margot continues “We've said from day one, almost accidentally, that I think our music is meant to resonate with that 'growing out of being a teenager or young adult' faction of people. There's no manual for growing into adulthood.” Certainly something many of us have felt along the way, and it's certainly something the duo themselves feel; “I think on a certain level, all humans are deeply broken” Margot reflects. “The way you circumvent that is just by someone, whether it being in a piece of music, a painting, or someone sitting you down in person, telling you it is going to be fine”. Starting out as a cover band, Out Of Time was the first piece of original music Katie and Margot wrote together, and somewhat poetically, “Pushed the boat out to the stream” was the lyric that started that initial spark. The song is, at its core, a look back at a childhood moment that you wish you could get back. “We found this old abandoned wooden paddle tub boat essentially at this lake near my house” Margot reminisces “I remember I was in school at the time and I'd be in maths class or whatever, looking out the window being like 'Oh, I can't wait to go out on the boat today with Ethan'". The song plays heavily with nostalgia and that longing for the past - “You know, him and I, as you do with a lot of childhood friends, you grow out of each other's lives and I haven't spoken to him in nearly seven, eight years, maybe.” Their initial pitch for this new project was making a pact to themselves “But if we're going to write together, we have to be sincere to the point of cringe” Margot explains. “To be cringey is to be free”. Katie adds “You have to really get past that 'no lyrics are cringe' sort of thing”. That allowed the creative ideas to flourish into the identity THE WOT NOW holds today. Drawing inspiration from the greats of the '70s and '80s, such as FLEETWOOD MAC and MAZZY STAR, alongside contemporary artists that push genre boundaries such as JULIA WOLF, the duo began to carve out their own space. One thing that stands out when you hear Out Of Time is the harmonious way Katie and Margot’s vocals intertwine with one another. When asked how they approached arranging those dual vocals, Katie responded that “It's very much what feels right in the moment in context to the song and the lyrics”. Margot added to that, saying “In the lyrics where there's tension growing, we'll tend to have like almost by accident, have crunchier, more clashing harmonies." Crafting the instrumental side in a way that complements the emotional weight of the vocals is no easy task, but Margot was up for the challenge with her love of pop punk. “For a lot of pop punk specifically, but emo too, you essentially take these nursery rhyme-esque chord progressions, you speed them up to the point of silliness, add some extensions in there and put a driving drum beat behind it, and you have a pop punk song, which is so interesting," Margot starts, “But I think for this in particular, we knew that it was going to have these off-kilter rhythms and a lot of these weird slash chords and we thought, 'well let me apply that pop punk archetype of these driving melodies', to create something that's a little bit out there, and we ended up with this alternative folk whatever it is, you know?”. The duo have gathered some real momentum playing live together too, alongside being bowled over seeing the crowd's reaction to their lyrics and how much they mean to others. Katie explains how she was quite surprised at their fans' reactions to The Wolf, another one of their songs. "Someone asked "Oh my god, did you write that?" and I said yes, and they're like, "Agh! That resonates with me so much, it's so honest!”. Katie continues, “It's really surreal, because I write music when I feel like there's nothing else that will explain how I feel or in the way that I'd like it to. For someone else to come out and say, 'Oh, I completely resonate with this' is just a whole new world”. That surreal moment of recognition is living proof that their initial pact paid off. By choosing to be sincere, cringe and all, THE WOT NOW have built something far greater than just a mere "alternative folk whatever it is". Out of Time isn't just a bittersweet, nostalgic look back at an abandoned boat or lost youth, it's a reassuring hand for anyone trying to figure out adulthood without a manual. As long as Katie and Margot keep turning raw vulnerability into soaring harmonies, their listeners won't have to face it alone. Words: Amy Lynch Photos: The Wot Now With thanks to: The Wot Now

The intrigue at the core of Man/Woman/Chainsaw’s emergence from the ever fruitful London post-punk scene is quite a simple one: how can a band so young already have developed such an expansive yet simultaneously messy sound? Youth be damned, through their impressively distinct early singles, as well as a chaotic live show which sent word of mouth endorsements travelling through the capital like the Tube, they have earmarked themselves as a band to know for those in the know. 'Eazy Peazy', their debut EP, should do little to dampen this enthusiasm, although at times does reveal a band who are yet to fully forge their own identity separate from their many influences. The EP’s opening track 'The Boss' sees Man/Woman/Chainsaw wear their local inspirations on their sleeves, sounding like what would happen if Lily Allen and black midi collaborated, complete with prominent discordant strings and noisy guitars from the latter and a compelling story of a dysfunctional, plausibly abusive relationship from the former. It is a characteristically lofty ambition of the five-piece to want to meld these particular worlds, and one that at times pays off spectacularly, with the opening, scene-setting lyrics meshing perfectly with the chaos of the instrumental beneath it. Unfortunately, however, the track is overcooked very slightly by the chorus, where the shouts of vocalist Vera Leppanen are drowned out somewhat by Lola Cherry’s cacophonous drumming. 'Eazy Peazy' is produced by Gilla Band’s Daniel Fox, and his fingerprints are most evident over the next couple of songs, 'Sports Day' and 'Maegan'. The former’s fuzzy, repeating motif bassline evokes memories of the producers’ own group, although the stellar keys and violin on the chorus from Emmie-Mae Avery and Clio Starwood respectively move the track in a more melodic direction than you’d expect from the Dublin outfit. 'Maegan', meanwhile, does not escape this trap: this minute long wall of noise, interspersed only with the occasional interjection of the title being repeated, is nestled comfortably in the Gilla Band wheelhouse. Any concerns that Man/Woman/Chainsaw are unable to step out from the shadow of their predecessors should be assuaged by 'Ode To Clio', the EP's wonderful lead single. The explosion of hard rock that takes place in the second half of the track feels painstakingly earned by its beautiful beginning, portraying a heartbreakingly bittersweet tale of love and yearning despite imperfection. Ironically enough on a song which is dedicated to her, it is Starwood who proves to be the MVP of this track, with her soaring violin lines holding the whole thing together: bringing the emotional edge out of the quieter passage and reminding the listener of the build-up during the louder finale, cementing it as a satisfying pay-off to the song as a whole. Although they have prided themselves on a style which they describe as “orchestral mayhem”, 'Eazy Peazy’s best moments take place when Man/Woman/Chainsaw show restraint from throwing all of their ideas at the wall and seeing what sticks. Like 'Ode to Clio' before it, 'Grow a Tongue In Time' demonstrates this perfectly. It is a dreamy, folk-inspired number, whose sparse arrangement allows Avery’s haunting keys and Leppanen’s excellent vocals to come to the forefront. Man/Woman/Chainsaw are at their best when they allow these individual elements to shine, rather than having to fight each other for air as took place on some of the EP’s earlier tracks. This is not to say, though, that the group should only be encouraged to strip back their sound, as the closer and almost-title track 'EZPZ' demonstrates. Here, Cherry’s polyrhythmic drumming is the star, providing the song with an foreboding atmosphere which sets the tone perfectly. Meanwhile, the rest of the band builds on this base with what I imagine Fairport Convention would’ve created had they made their start in the contemporary London post-punk scene - in particular, its cascading crescendo enshrines this track as one of the EP’s highlights. 'Eazy Peazy' is not the work of a finished article, but this makes Man/Woman/Chainsaw all the more exciting. For every time that they do get lost in imitations of their idols, there is another where they manage to incorporate their forebears into a style that maintains their distinctiveness and highlights their strongest attributes. As they progress, and begin to develop an understanding of themselves as a band, I expect them to flourish into a group who leave their own fingerprints on whatever style they pursue. Even at a very early stage in their careers, this EP clearly shows that they have the capability to do exactly that. 'Eazy Peazy' will be released on November 8th via Fat Possum Records. You can catch Man/Woman/Chainsaw on Thursday the 7th and Friday the 8th of November in Cardiff and Bristol respectively, as well as on Wednesday January 3rd in Bognor Regis. Words: Ali Glen Photo: Ella Margolin

“Looking back from when we first called it quits to now, and just how special and remarkable this whole scene is, it’s the best feeling in the world.” Originating in the Chicago underground scene in 1998, punk-rockers SPITALFIELD took an indefinite break back in 2007 that was broken by stop-start reunions and projects, but it was never quite the right time to fully reform while personal life continued to hurtle forwards for each of them. Now, however, the time has finally come - not only have the stars aligned with their schedules, it feels like the perfect moment for them to celebrate the album that first launched their name off towards the musical horizon, Remember Right Now. Ahead of their UK tour where the album will be played in full, we sat down with founder and vocalist Mark Rose to talk about how the scene has changed over the last 30 years, but the response from fans old and new is still as unwaveringly loyal as ever. “When we started the band we were just kids, we were already into the local punk hardcore scene even though we were very young, there were a lot of DIY shows happening and we wanted to start a band like THE GET UP KIDS, THE PROMISE RING, and TEXAS IS THE REASON.” Chicago is renowned for having an expansive underground scene, connecting young musicians performing in multiple bands at once to create their own concrete projects, with notable acts like FALL OUT BOY, RISE AGAINST and SMASHING PUMPKINS joining the ranks with SPITALFIELD. “We’d been a band for almost five years and were already in college when we signed our first recording contract, which is crazy to say because for a lot of folks Remember Right Now was our debut album, but it’s the one that had major distribution and a team behind it. That came out and we became a full-time touring band, and it was just ‘go go go!’”. Given they were barely out of college, it’s alarming how much pressure there was for the band to perform worldwide at such young ages, but as the years have gone by with them continuing to tour under separate projects, touring today feels a world away from where they started. “The concept of touring has evolved from a mental standpoint,” Rose states as he considers his answer. “It’s similar regarding going from city to city in a vehicle and all that goes with that, but having toured more (Rose went onto a successful solo career after SPITALFIELD first hit pause) you gain a different approach, where you treat it like an opportunity to do something you love. The competitive side of trying to ‘make it as a band’ is in the rear view, now we’re talking to people who grew up with our music and supported us for decades so it’s a totally different feeling than when you’re green to it all.” With the impending tour locked and loaded, it’s given the band members more opportunities to meet and practice together, and added to their already strong camaraderie. “It’s been therapeutic in a way,” Rose explains with plain joy and relief at playing with his friends again. “It’s kind of a small getaway, even just for a few hours, but getting to hang out is so important. It’s like seeing a long lost friend after a while and you’re trying to catch up quickly; when you start to see people more often you can hit a routine with them, it’s more natural, and ahead of the tour we’re settling into that natural state and I feel like we can just be.” Jamming sessions are letting SPITALFIELD relive the best moments of Remember Right Now, a nostalgic connection they look forward to sharing with their fans. “For folks who know the album, it’ll be like watching a movie that they love where they know it from start to end but it still captures them. I Love The Way She Said LA will probably get the biggest crowd response and singalong, but I really love In The Same Lifetime off the B side. It lets me catch my breath and lets me think about where I’m at in my life - life happens fast sometimes. To get to perform that overseas for a fanbase that hasn’t seen us perform live in so long, plus folks who are seeing it for the first time, I think that might hit hardest for me.” SPITALFIELD are set to travel across the UK and see the sights as they go, their decision to tour here based on their dedicated fanbase that have welcomed them from overseas before and have eagerly awaited their return. More than that, the band in fact take their name from the London area that has a history steeped in horror and intrigue. “When we come over and perform there it’s a fun moment of “we’re SPITALFIELD from Chicago!”. With only one London date available on the tour, will they get to visit their namesake area? “London is normally the busiest day on a tour because there’s so much going on, but at the beginning of the tour we built in a little bit of a buffer.” Their first stops are Bristol and Brighton before they head up toward the Midlands and beyond to Glasgow, their tour dates are back-to-back with barely any room to breathe - perhaps the sight-seeing tour will be reserved for their next visit across the pond. Words: Julia Stark Photos: Spitalfield With thanks to: Major PR and Spitalfield

Punk is, and always will be, the erratic, chaotic branch of rock music. It is where opinions are formed, songs have meaning, and angst takes centre stage. It is also a genre that is frequently fused and meddled with to create different dynamics. In the eyes of GALLUS, however, Life Is Bliss is a reminder that punk can remain unapologetically itself. Hailing from Glasgow, Scotland, GALLUS embody everything that makes punk so compelling. They possess relentless energy and tackle difficult subjects in a way that communicates not only the message but the emotion behind it. Their successful debut album in 2023, We Don’t Like The People We've Become, catapulted them into the music scene, leading to support slots with Scottish rock giants BIFFY CLYRO. Now, they are preparing to embark on their biggest UK tour yet. Opening the album is Au Contraire, which arrives in typical punk fashion: as a battle-cry anthem. Rock-steady drums, combined with shrieking vocals delivered in unison, send goosebumps down the back of the neck. Despite its aggression, the track retains a sense of melody and swagger. It is a fantastic introduction and an effective pace-setter for the album. Better Than Nothing opens with a distorted introduction before a gritty Scottish vocal performance is accompanied by a rough, raw bassline. The combination gives the track a snarling quality, but it never quite develops the edge it seems to promise. Something feels missing. The raspy vocals are undoubtedly its strongest feature, providing the character that prevents the song from becoming forgettable. MK Des (Miss Out) is where GALLUS step up a gear. The track is built on a number of impressive foundations, with production that deserves particular recognition. The album was produced by Blair Crichton of DEAD PONY, and the use of breaks, additional sounds, and spoken-word passages is particularly effective. The lyrics are well written and passionately delivered. The song reflects on a changing Glasgow, a subject that will resonate not only with locals but with anyone who has mourned the transformation of their city or hometown. A saxophone is incorporated into the arrangement. It may not be the most conventional punk addition, but it is distinctly GALLUS, and it works wonderfully. Next comes ALERT ALERT, a track that carries unmistakable MILBURN energy. It is arguably the album’s first true indie-rock moment, combining a catchy chorus with an energetic, effortlessly shifting production style. The track moves between scales and octaves with an ease that gives it a distinctive character. There are clear pop and indie influences, but GALLUS retain their punk identity through the unison vocals and increasingly desperate cries towards the end. It is a change of pace that works exceptionally well. Stupid Dog is arguably the strongest track on the album. It showcases not only the band’s considerable musical talent but also the humour that runs throughout their style and helps explain the loyalty of their fan base. The song opens with what appears to be a prank call and ultimately returns to the same audio, providing a quirky and memorable framework. The chorus is melodically and chaotically brilliant. The guitar work from Eamon Ewins and Gianluca Bernacchi complements the deep vocals of Barry Dolan, creating a beautifully balanced combination of musicianship, humour, and controlled chaos. Do For You is tasked with maintaining the album’s momentum, and it does precisely that. A face-curling guitar riff echoes throughout the track, creating something aggressively beautiful. The guitar work is exceptional. The way the riffs are played gives the song a distinct identity, and the musicianship on display is genuinely impressive. It is one of the album’s most convincing examples of GALLUS’s ability to make aggression sound refined without losing its rawness. Sick Bastards is a funky, punky track that, on paper, sounds like it should be a terrible combination. In practice, it works surprisingly well. The guitar has an unusual quality, with echoes of LYNYRD SKYNYRD in the way the chords flow up and down like those of an early classic rock song. Then the vocals arrive, dragging the track back towards punk’s familiar angst. DJ scratches overlay the guitar, constantly shifting the tone and mood. It is a creative choice that pays off. The track feels tailor-made for the live environment and could become a mainstay of GALLUS’s festival and gig performances. Just A Man initially slows the pace, although only for a matter of seconds before the band returns to full intensity. Dolan’s vocals sit front and centre throughout, delivered with such emotion and force that it feels as though a wall of energy is being blasted through the speakers. It is a solid track in its own right, although it does not quite reach the same heights as some of the album’s standout moments. Donnie Murdo opens with what sounds and feels like SEX PISTOLS energy. The track, from which the album’s title is taken, sees Dolan deliver his vocals with the distinctive aggression associated with punk’s predecessors. It is a mosh-ready song, and the challenge of matching GALLUS’s energy is a difficult one for any crowd. The track is raw, direct, and unapologetic, making it an obvious candidate for a particularly chaotic moment in the band’s live set. For a punk album, Something There is about as close to a slow track as GALLUS get. It carries an indie-pop sensibility, with hints of the style associated with FONTAINES D.C. The change in mood provides a refreshing break from the album’s relentless intensity. For listeners seeking constant punk-rock aggression, however, the skip button may be required. It is a good song nevertheless, and whether it works will ultimately come down to personal taste. Jesus Wept is the penultimate track, and once again, it is the guitar work that immediately grabs attention. The riffs prick the ears, get the heart beating, and encourage the toe-tapping that has become a recurring feature of the album. The production is particularly effective, with the guitars almost acting as backing vocals during the chorus before the melody takes over. It is another example of GALLUS using their instrumentation to add depth to their sound without compromising their identity. M8 closes the album with a subdued sound compared with what came before. The bass rolls in alongside the vocals, but the track initially lacks the impact and urgency that have defined much of the record. Even the guitars seem weighed down by the slower pace. Not every track needs to be played at 100 miles per hour, but M8 feels as though it could have benefited from greater intensity. The absence of scream vocals or the raw angst heard elsewhere on the album is particularly noticeable, and the song does not immediately stand out musically. So why does it work? The answer arrives in the form of a heartfelt monologue at the end, offering a moment of reflection. It may not possess the fundamentals of a punk classic, but it communicates something deeply human. It is a reflection on the band’s city and an expression of how they process the changes around them. The track’s emotional weight ultimately gives it purpose, even if its musical execution is less convincing than that of the album’s highlights. GALLUS are turning heads and putting fire in people’s bellies. Whether it is through their commitment to punk’s roots, the messages they convey, or their authentic, raw, and often hilarious approach, the Glasgow band have developed a sound that is distinctly their own. Life Is Bliss is a fantastic record that builds on the foundations of their debut album. It is energetic, inventive, emotionally charged, and unafraid to experiment. Not every track hits the mark, and some of the quieter moments lack the impact of the band’s more aggressive material. Nevertheless, the album demonstrates a band growing in confidence and ambition. GALLUS are not simply revisiting punk’s roots; they are making the genre their own. If Life Is Bliss is an indication of what lies ahead, the band’s biggest successes may still be to come. Score: 9/10 Life Is Bliss will be released on 25th September via Marshall Records. Words: David Waites Photos: Brian Sweeney

There was something special, something fitting about three of Toronto’s most enduring musical exports sharing a stage together. All three bands had spent decades orbiting the same venues, they had members collaborating and moving between projects as well as real friendships running through each other bands’ foundations. The ‘All the Feelings Tour’ brought all of their tangible history together on one stage and proved to everyone just how much warm, ear-happy noise can come from such a cold city. METRIC’s new 10th album Romanticize the Dive came out as of April this year, as well as BROKEN SOCIAL SCENE’s Remember the Humans in May which gave a fresh hit of material to their already classic set-lists. On the other hand, STARS decided to carry the proverbial flame of Set Yourself On Fire to its twentieth anniversary which gave the entire show a huge hit of nostalgia to get the crowd hot and ready for Toronto’s finest. STARS kicked off the night with their killer indie pop promises and introduced Day to Day with Amy Millan who stripped things back with her solo performance and held the room captive, until eventually the whole band stepped in showing they know how to start things off with style. Following that, Hold On When You Get Love and Let Go When You Give It and Losing to You showed off the band’s ability to balance intimacy with more widescreen melody. Next came Elevator Love Letter and Build a Fire which provided the set with more energy, while The Theory of Relativity and Dead Hearts afterwards leaned into STARS' knack for making melancholy feel familiar and hands down, showstopping. Finally, Take Me to the Riot, Ageless Beauty and Your Ex-Lover Is Dead were brought in, rounding out their set but sitting with you as a potent emotional swell which has become part of STARS’ unmistakeable trademark. This is truly a band that can make older classics feel alive and present rather than preserved. BROKEN SOCIAL SCENE were next up with their unpredictably fluid and collective sound that thrived on layers of vocal work as well as heart thumping rhythms coalescing into something larger than any one performer. Their performance fired off with Cause = Time, before Sweetest Kill brought an unexpected turn in which Kevin Drew hurt his ear, this only forced them to change course with their set and announce that they would be going “basement style”. The resulting set then became more subdued without felling smaller which only proved their lasting tenacity as a band. Superconnected allowed them to settle into the new and improved mood before launching into Hug of Thunder gave way for restoration of the group’s familial mass. By Shoreline, Drew was wearing the necessary ear defenders, an unusual sight that only emphasised their spirit and skill, not only in music but in their unwavering showmanship. Ibi Dreams of Pavement carried the set forward before Anthems for a Seventeen Year-Old Girl became one of the night's defining moments with Emily Haines and James Shaw bringing heaps more METRIC energy to the room with the crowd itself roaring in excitement. Looks Just Like the Sun followed before KC Accidental wrapped up the electric set framing what could only get a whole lot bigger. And so entered METRIC. Emily Haines, James Shaw, Joshua Winstead and Joules Scott-Key brought a bigger package of sound, more sharp, and definitely drew the crowd’s attention away from the bar. Chattering became held breath, shuffling leather boots became a cacophony where the pit got tighter. Everything from Victim of Luck and Oh Please, to Youth Without Youth and Monster Hospital is where the crowd really picked up, almost drowning out Haines herself. Crush Forever gave Manchester an insight on how Haines truly commands a stage, only to be matched by Shaw’s high end guitar work and Winstead’s unforgiving bassy grasp. The set kept building bigger and more hearty with tracks like Antigravity, Now or Never Now and Breathing Underwater, the latter of which featured Amy Millan, which not only enabled their sound to multiply but had the crowd tearing the roof off with cheers of unbridled encouragement. By the time Synthetica had started, jaws were agape, hands pointed at the sky and BROKEN SOCIAL SCENE’s horn section had joined the collective sound mid way through, only before before Sam Goldberg Jr. had made his appearance to spark even more life into Gold Guns Girls. That final sequence of the set belonged to everyone that found themselves on stage. BROKEN SOCIAL SCENE once again joined METRIC for Loyal, even STARS filled the remaining space on stage with whatever they had laying around to use as a shaker. Gimme Sympathy and Combat Baby were the remaining two tracks where all three bands were joined together to share the rhythm in unison. Finally came their encore, a slow chant of hot rubber smacking the worn wood floor, palms clashing to a rhythm for eager ears. Everyone knew there was more to come. Until the lights fell one last time for METRIC’s final bout. Silence gave way to a couple of big words, “I tremble”. Introducing Help I’m Alive where floods of cheers from adoring fans rang out. Haines didn’t need to sing for you to know exactly what the lyrics were. The synth showed its exit and so came the night’s finishing blow. Black Sheep had found its way home as a steady bassline leaned into a heart pumping chorus. Sending their love on a wire, heart strings were easily pulled into place with this iconic tune making the walls rumble with chorus and giving everyone “a ride” they were looking for. Words and photos: James Smith

There’s something about pop-punk that just oozes nostalgia. AS IT IS established themselves during the peak of the genre in 2012, and have since journeyed across two record labels, had an extraordinarily brief hiatus, numerous lineup changes and, amongst that, a stacked discography. Originally launching into the spotlight doing screamo covers of unlikely pop songs on YouTube, vocalist PATTY WALTERS had garnered a small army that followed him through his different musical ventures. For La Belle Angele in Edinburgh, early Saturday evenings are usually spent preparing for long nights of merriment. Tonight, AS IT IS were about to play a special, quickfire show. Supported by local emo quartet FATE HAS FAVOURITES and Ireland's own GREYWIND, it looked as though it could be one to remember. FATE HAS FAVOURITES have become closely intertwined with Glasgow's local emo scene, so it was a delight seeing that they were on the bill. Unfortunately, the door times hadn’t been amended anywhere online to reflect their addition to the lineup, resulting in a disappointingly empty room for an otherwise powerhouse of a band. Despite the tiny audience, they were an explosion of unrelenting energy and gave us a whiplash runthrough of their discography. They used the opportunity to promote their newest single, The Silence, and unleashed powerful renditions of songs from some of their EPs, most notably Our Favourite Place to Go. Following on was GREYWIND, whose gradual rise over the past 12 years has been no accident. Having secured support slots on tours with heavyweights such as the recently disbanded YOU ME AT SIX and PALAYE ROYALE, it was immediately clear that they had the experience to back up their mojo. Most notably, they just very sincerely looked like they were having a lot of fun - an infectious energy that seeped into the crowd. Frontwoman STEPH O’SULLIVAN wore a dazzling nurse's outfit that had you thinking “...why?” in the best way, and had a well-honed way of engaging with the crowd that made it feel as though you were friends. “Can I tell you my deepest secret?” she asked. “...I killed all my friends!” before the opening notes of I.K.A.M.F rang out. The set had a certain cohesion that came from how the songs were presented by the band, using the space between tracks to weave a coherent story together. Through songs such as Swing and Sway and Antidote, they prompted mosh pits, repeated swaying, and glistening phone lights, all directed by the band. GREYWIND is definitely one to be experienced. The intervals between acts were brief, meaning that the momentum created by the previous two artists was maintained. Coming out with a bang and diving headfirst into I’m So Alive!, there was immediately a buzz of excitement reverberating throughout the room. It only increased as they continued with some of their quintessential, classic pop-punk tracks, like Live, Laugh, Love, Los Angeles, and Cheap Shots & Setbacks. Early on, guitarist BENJAMIN BISS introduced the concept of “wildcard songs” - randomly selected tracks from across their entire discography that they’d chosen to perform that night - which is an excellent way for a band that's been around so long to keep the entire room in a state of anticipation. Before diving into the first of the three, fan-favourite Horoscopes, the touring crew and opening bands came out with a birthday cake for the delighted and surprised WALTERS, who went on to request the crowd sing Happy Birthday, but only saying the word “birthday” in the song; a hilarious antic that should definitely be done more often. After Hey Rachel, WALTERS switched up the tone, swapping out his punchy guitar for an acoustic one, which he sheepishly mentioned he’d had since he was 15. He politely asked if it was okay if they played songs from As It Is first, addressing the musical difference and joking that “we’re not in as much pain as we were in our twenties”. Despite much of the setlist comprising songs from this album, the crowd's energy was surprisingly lacklustre towards it, with moshpits dissipating as swiftly as they began. This response from the room was one that, when the album was released, extended to the press - with one reviewer saying that you “couldn’t call them rock music anymore.” The band did seem to have taken this in good stead, however, with BISS jokingly calling it out and merch featuring the phrase “You wouldn’t call As It Is a Rock Band” up for grabs. Whilst the set was high-energy, it almost had an undercurrent of panic, with the strict curfew of the venue being repeatedly referenced throughout their whirlwind of a show. They concluded the night by playing some of their earlier hits, including The Stigma (Boys Don’t Cry) followed by Dial Tones, before very quickly thanking the crowd and rushing off stage. All of the bands had boundless energy, which unfortunately wasn’t matched by the audience at times. The primary issues didn’t lie with the bands themselves. The earlier door time than what was advertised left FATE HAS FAVOURITES in an unfortunate position; GREYWIND had a lot of the people who were only just trickling in, and AS IT IS just couldn’t get the crowd energized consistently. Despite these hiccups, all of the bands were genuinely top of their game musically and sounded excellent, not letting themselves become discouraged at any point. The headliner especially made you feel that nostalgic feeling which is often difficult to recreate. If you’re looking to reexperience those feelings of your youth, AS IT IS are worth catching when they’re in your town. Words: Chloe Sodeau Photos: Joshua Cunningham

Grunge has been one of the most revered rock subgenres, portraying vulnerability and anger at the world through gritty instruments and pulverising rhythms, the misconception of grunge being a “don’t care” attitude when really they care so deeply the rage erupts out of them. Liverpudlian quartet EAST EXCHANGE are now taking on two incredible feats: bringing classic grunge expression into a modern setting, and breathing new life into the underground scene in Liverpool. “The whole reason we started this project was to emulate that sound,” explains lead vocalist Sonny K. “We love the whole dynamic of it all and making it is just where we’re happiest.” Drummer Elliot Burge praises guitarist Frank Madri, “he’s good at producing his tone to feel that they might have felt back then.” “We love the modern day grunge or post-grunge movements, we love hardcore - but that 90s era grunge is definitely where we want to be,” Sonny K adds. Inspired by giants of the 90s movement such as NIRVANA and SOUNDGARDEN, they’ve also incorporated alt-rock elements that were based on their love for PINK FLOYD and SMASHING PUMPKINS. From an assortment of genres, EAST EXCHANGE have carved out their own sound that sits on the edge of nostalgia without feeling like a replica of the bands that came before them. “We did all the demos and then we could hear our sound from the outside,” Burge thinks back on how the band first found their ‘chosen’ sound. “We were taking advice off of all sorts of people, they were giving us feedback and what not, and it was about a year and a half ago when we really started to get settled on the demos for our EP. It was three years of trial and error.” “We’ve moved into a more powerful era,” adds Sonny, “we’re a lot more established when we play now.” The EP in question is torn between ties., a six-track record full of personal feeling and fighting back the discontent of everyday life over gutsy instruments and hardcore factors. It took an incredible three years for the quartet to select from an impressive backlog the defining songs for their record, a decision that has paid off and shown the scene exactly who EAST EXCHANGE are. “We just love writing and jamming and creating, it all coming together - we’re always ready for the next thing to come at us,” Burge says about the direction they’re heading in, explaining that the band all write together and collaborate as a close-knit unit. “We look back on songs [that didn’t make the EP] and go “oh remember that one!”, but we wrote them at a time when we felt a certain way and the next EP will feel different, we don’t want them to sound the same.” “Maybe one day we’ll get a demo link out there,” Sonny half-jokingly offers a way for fans to hear the songs left off. The recording process was not a simple one though, with the band being unceremoniously kicked out of their recording space mid-project and forced to finish the EP in a dangerously freezing warehouse. At the risk of them reliving the trauma, we had to ask about it. “We look upon it fondly,” Sonny laughs. “That might be the reason I got rasp in my vocals, I’ve got asthma now or something!” “That was the turning point in our whole band,” Burge also laughs with his friend, “It was a warehouse full of the wildest props ever, so it was a good laugh. We recorded some videos and people loved the dark look, so it made us what we are. There was something about it that felt right for the music we were making.” Sadly, the warehouse has since been converted to a superstore, but we joke with the duo that they could perform on the grounds where it all started whilst the shop sells its wares around them. As alternative music faces a revival, we’re curious to hear what EAST EXCHANGE think, particularly as a young band emulating older grunge. “It’s nice to see that people are branching out into all these songs that we’ve obviously loved and grew up on, it’s nice to see it coming into the real world more,” Burge muses. “We’d love it to be the case that Liverpool becomes another home for grunge,” Sonny continues, - Burge jokes it’s not exactly Seattle, the actual birthplace of grunge - “It’s got a long history of doing similar music - we’ve got mates younger than us and they’ve started a movement similar to grunge, so hopefully people start recognising it as that.” “There’s definitely more alternative rock coming out of Liverpool. There’s not as much grunge, so it becomes difficult to book gigs that make sense for us as we don’t have that grunge community around us. But we did a show in London and that was one of our best shows because grunge is what people have gone to see and we love that,” concludes Burge. “There’s all these sorts of alternative rock icons from each subgenre that we take influence from and we’ve fused that into our own ‘Scouse grunge’.” There’s a collective laugh at this unexpected but accurate description, before they both agree they need to get this movement going fast. With ideas brewing for their next EP and their sights set on touring in the near future, EAST EXCHANGE will soon be bringing their unique grunge movement to their growing fanbase and other grunge appreciators. For now though, we leave them to the more immediate plans of celebrating torn between ties. with their band and crew. EAST EXCHANGE released their debut EP torn between ties. on 4th September 2026 via AWAL. Words: Julia Stark Photos: Dylan Cox With thanks to: Halestorm PR and East Exchange

There is something familiar about the fuzz and distortion running through BEABADOOBEE’s Pylon. Her fourth studio album finds her leaning back into the guitar-heavy indie rock that first established her identity, though this time, those influences feel far more refined. In a social media landscape obsessed with curated ‘whimsy’ and ‘chic’, this shift from bubblegum indie-pop into a rougher, grunge-soaked sound feels particularly refreshing. Gen Z’s fixation on nostalgia has brought the 90s back into focus, alongside a growing fascination with the optimism of the 2010s. Pylon, however, gives these familiar influences a new context. With TITLE FIGHT’s Shane Moran co-writing eight of these tracks, alongside features from Hayley Williams, Brendan Yates, Chino Moreno, Matty Healy and George Daniel, the record takes these iconic sounds of the past and gives them a place in 2026. Pylon opens in a haze of soft guitar and feedback, slowly building into a crescendo that feels lifted from the climax of a coming-of-age film. Drenched in reverb, it has the intimacy of opening a sticker-covered diary, immediately setting up the album’s fixation with memory and nostalgia. Meanwhile, Sun Has Set sharpens exactly that into something much more angsty, drawing heavily from the sound of Laus’ past EPs with a distinctly 2000s emo-pop edge. There is even something vaguely Pete Wentz-ish about its lyricism, particularly in the way it turns this deep-rooted frustration over relationships into something punchy that sticks with the listener. From Estranged through to Memories, the songs bleed naturally into one another, held together by ridiculously catchy basslines and dreamy grunge-pop. The whole stretch feels like the last few days of summer melting into autumn, warm and slightly wistful without ever losing its sense of fun. Beneath that haziness, the lyrics become increasingly interested in human connection and the vulnerability of wanting to be known and understood. There’s a distinctly 90s quality to these songs, but their emotional core keeps them from feeling like simple nostalgia. Nothing To Prove features Hayley Williams on backing vocals, a surprisingly restrained appearance from such a powerhouse presence. Laus sings, “’cause I’ve got nothing to prove to you” just before the chorus gives way to Williams’ wordless “la la la”, making her contribution feel like an affirmation of the song’s sentiment. Rather than turning the feature into a headline, Laus seems more interested in paying homage to the artists who shaped her, allowing their influence to sit naturally within the record. That becomes more apparent on Powerlines, where Brendan Yates takes a full verse and brings his own voice into the song. Considering TURNSTILE's own shift towards a more melodic, pop-influenced sound, hearing their vocalist appear on a BEABADOOBEE record feels like a neat collision of scenes. His contribution adds a sharper edge without overwhelming Laus’ songwriting, making the collaboration feel entirely reciprocal. Where Williams’ appearance feels like a clear homage, Yates’ contribution carries a sense of mutual respect between two artists meeting somewhere in the middle. Spark strips things back to little more than Laus and a guitar, with orchestral sections gradually appearing around her. Lullaby-esque and delicate, the song slowly gathers itself, like piecing together fragments of a dream after waking. That softness makes Despite That feel all the more jarring. Distortion and reverb gradually creep into the production, surrounding her gentle vocals with something much harsher. There is a strange comfort in the song’s unease, capturing the fear and relief that comes with accepting that some things in life simply cannot be changed. The album’s final track Satellite perhaps comes closest to encapsulating the album’s central sentiment. “I wonder if you think of me, like the way you used to” sits at the heart of a song soaked in nostalgia, before its screeching chorus blows the track wide open. It feels like Laus folding every version of herself into one song, pulling from the different sounds and eras she has explored throughout her career. By the final minutes, the reverb and distortion return in a huge, hazy swell, mirroring the opening of Pylon and bringing the record back to the same place it began. The album beginning and ending in a similar soundscape feels like a reflection of how deeply it draws from Laus’ roots. It circles back to the lo-fi intimacy of the blue-haired teenager recording in her bedroom, even after exploring so many sounds and eras. Pylon is ultimately a record about looking backwards and understanding how those influences continue to shape BEABADOOBEE’s music. The features throughout the EP bring some of those influences directly into it, from Hayley Williams’ understated backing vocals to Brendan Yates taking a full verse. By the time Satellite returns to the hazy guitars of Pylon, the album has come full circle. It ends in the same place it began, with the sound of the teenager who started making these songs still lingering underneath everything that came after. Score: 9/10 Pylon will be released on 18th September 2026 via Dirty Hit and Interscope Records. Words: Adrian Chapman Photos: Erika Kamano

HONEY REVENGE have always known how to make complicated feelings sound deceptively fun. Since Retrovision, the Los Angeles duo have built a world where glossy pop hooks collide with messy emotions, turning anxiety, jealousy and heartbreak into something you can dance to. On Loving and Losing, vocalist Devin Papadol and guitarist Donny Lloyd take that formula and make it bigger, brighter and more ambitious without losing the immediacy that made them so infectious in the first place. The result is an album that sounds like therapy conducted underneath a disco ball. From the opening seconds of Technicolor, HONEY REVENGE make their intentions clear. Funky guitar lines, polished production and Papadol’s effortlessly catchy vocals create an instant rush of colour. It’s impossible not to move with it, but beneath the sugar sits something more vulnerable. HONEY REVENGE aren’t pretending everything is perfect; they’re simply finding increasingly creative ways to have fun while everything falls apart. Run Your Mouth turns irritation into an irresistible bounce, while Sunday Scaries captures that familiar Sunday night dread and transforms it into a pop rock party. There’s something wonderfully self aware about the track’s attempt to outrun anxiety by squeezing every last drop from the weekend. It feels nostalgic without becoming trapped in the past, recalling those moments when loud music and questionable decisions could temporarily make tomorrow somebody else’s problem. That playful darkness continues through Poison Apple Baby, where glitchy textures and punchy guitars add a slightly sinister edge. It’s a reminder that the ‘honey’ has never completely swallowed the ‘revenge’. Meanwhile Hot Commodity arrives with a swaggering confidence, sounding like the musical equivalent of finally deciding to stop caring what everybody else thinks. But beneath the bright production, Loving And Losing is ultimately concerned with insecurity. Jealousy Monster turns the mirror inward, confronting the uglier side of comparison and self doubt, while Trust Issues explores what happens when the person you struggle to believe most is yourself. The cleverness lies in how rarely these heavier subjects are allowed to drag the album down. Instead, they become fuel for huge melodies and relentlessly catchy choruses. Sorry Much continues that balancing act, pairing polished pop instincts with an emotional sting, before Freaks of Nature keeps the momentum racing forward. Risk brings some extra guitar muscle into the mix, ensuring that the record’s pop sensibilities never completely smooth away its rockier edges. By the time Butterfly Effect arrives, the album’s themes begin to connect. Fate, control and the unpredictable consequences of seemingly insignificant choices sit at the heart of the track, reflecting a record preoccupied with change. Sometimes things fall apart without a satisfying explanation; sometimes all you can do is accept the chaos and keep moving. Superstitious and Inevitable continue that journey, showcasing a duo increasingly comfortable stretching beyond their established sound. There’s more experimentation here, but never at the expense of what HONEY REVENGE do best: writing songs that lodge themselves in your head almost immediately. Then comes the title track. After thirteen songs packed with colour, movement and glossy production, Loving And Losing strips everything back. Acoustic guitar replaces the dancefloor, leaving Papadol’s vocals exposed and allowing the emotional weight of the album to finally settle. It’s a surprisingly vulnerable ending, but one that feels completely earned. After spending the record learning how to dance through difficult feelings, HONEY REVENGE finally allow themselves to sit with them. That’s what makes Loving and Losing so effective. HONEY REVENGE haven’t abandoned the formula that made Retrovision work; they’ve grown into it. The anxiety remains. The heartbreak remains. The self-doubt remains. But alongside all of it is a greater sense of acceptance. This is pop rock that refuses to apologise for being fun while still taking its emotions seriously. It’s colourful, chaotic, occasionally bittersweet and almost impossible to resist. Most importantly, it understands that healing doesn’t always have to look profound. Sometimes it looks like putting on something sparkly, turning the volume up and dancing until everything feels a little bit smaller. Score: 9/10 Loving and Losing will be released on 18th September 2026 via Thriller Records. Words: Angel Turley Photos: Honey Revenge

If you’ve had your ear to the music industry door recently, you’ll know about the increasing uphill battles faced by artists and hopefuls still attempting to fight their way in. Texan alt-rock unit SAINT BLONDE are leading a new charge on the brutal reality of being a band in an unforgiving scene with their latest album …with a little ease, a 13-track record that voices their experiences and concerns and turns a scathing look on being a viral sensation is the only way to get a crumb of attention. SAINT BLONDE don’t go down the route of hardcore, ‘in your face’ alt-rock, but instead incorporate a punk spirit into its indie-surf-rock hybrid sound, a gritty and defiant tone prevalent throughout that highlights their authenticity and adds weight to the palpable dissatisfaction in their more targeted songs, pointing to the disillusionment and moving goalposts felt by their generation and fellow artists. It’s an album designed to keep that defiance simmering and bubbling as you keep fighting for the actual truth instead of a manufactured one. Title track …with a little ease instantly delivers these themes in the shape of singer Hunter Fitch’s raw vocals “bad luck, is hanging over my head, bad news, I feel it coming again, I don’t care no point in wasting my breath”, an honest take on no longer being shocked or angry with the constant ocean of negativity washing over the world, Tyler Lee’s beats keeping steady pace with Kyle Cade’s punchy bass line as guitarists Tre Rollins and Alexander Hernandez call and respond to each other’s riffs and stirring notes. smooth talking sounds just as smooth as its title, guitar riffs echoing in a way that feels like a Western Sci-Fi over simplified cymbals and persistent bass as the vocals climb to a higher key, calling out people who have a ‘smooth’ persona for the public but are entirely self-serving. dirty $$$ races in with surf-rock hooks and running bass, Fitch stating “get the money first, then wallow in the dirt” as they critique the capitalistic mindset that making a quick buck is more important than being mentally well and happy. prowl comes in with a catchy rhythm that feels like a carefree indie bop akin to ONLY THE POETS, but the lyrics paint a picture of a lovesick person who knew from the moment they got their shot they “were done for”, for a sweet anthem of being unapologetically smitten. trendsetter changes up the tone into punk infused rock with staccato-paced lyrics throughout that runs parallel to the instrumental pulses, the moment “listen to the broken clock, hear it tick-ing on the wall (you can’t stop)” hitting a beat that tickles an unknown brain itch. Reverbed vocals, rumbly bass and swooping drums echo on swimming lessons as if from underwater, never quite reaching a refined clarity but leaning into this slightly muffled effect as Fitch talks of “treading water with my friends”, speaking to their efforts in the music industry that continues to demand more without throwing a lifeline. grand slam has a beach bandstand tinge to the guitar hooks and horns, the drums beginning restrained before ramping up as the lyrics talk of the band being destined to change their daydreams into big-time realities. gimme my flowers is an emotionally charged track with an urgency to its rhythm and earnestness to the vocals that ask “do you ask about me now?”, pleading for someone to notice their performative behaviour and expecting acclaim for doing the bare minimum. playing for keeps’ castanets and finger snaps give a suave feel as the lyrics brim over with desperation to be set free from a toxic relationship told in a yearning tone that contradicts the red flag message, played out over sway-inducing guitar strums and shimmery drums. chainwhip rockets in out of the calm and delivers explosive choruses with instigating lyrics that have a clear target on corrupt authorities here to “serve and protect”, but instead beat the helpless and innocent in a display of power-hungry ignorance, “someone’s kid just hit the deck” being as incendiary as necessary. worms treads the line between surf and alt-rock with twangy guitar notes, eerie synths and thudding bass under defeatist lyrics of “happiness might be an option”, a scrutiny of the endless cycle that is life and finding brief hits of dopamine where we can just to make it all bearable. fall like dominos skips in with a nostalgic indie dual riff to a steadily jogging drum beat and unrelenting bass, the upbeat melody a juxtaposition to the sorrowful lyrics of trying your hardest to stay positive for everyone else and trying to make everything fall into place. Closing track bail out! is riotous fun from the off, a rhythm that gallops through with rapid-fire riffs strummed in time to crashing drum beats, bass working overtime as it moves its way front and centre, echoing backing vocals of “ready to bail out” adding to the main vocals that take us on an anxiety-ridden journey of life struggles and the urge to escape it all. …with little ease is an album for the tired and disillusioned that tells them it’s not in their heads, but it’s not too late to change things. Score: 8/10 ...with little ease will be released on 18th September 2026 via Pale Chord/Rise Records Words: Julia Stark Photos: Abigail Mueller