Liverpool's CUT SHORT have spent the last few years quietly building a reputation as one of the UK's most promising rising heavy bands. Sharing stages with Wargasm UK, Dream State and Heart Of A Coward, while earning support from BBC Radio 1, Kerrang!, Metal Hammer and Rock Sound, they've steadily proven they are more than another name in the ever-growing metalcore landscape. Their latest EP, Modern Affliction, is further evidence that the hype surrounding them is well deserved. Across five tracks, the band explore themes of mental health, burnout, addiction and the emotional toll of modern society, creating a record that feels intensely personal while remaining universally relatable. Rather than leaning on familiar genre clichés, CUT SHORT blend hardcore urgency, progressive experimentation and crushing metalcore into something that feels both calculated and unpredictable. Every song carries its own identity, yet together they form a cohesive journey through frustration, despair and resilience. Opening track Reverie wastes little time establishing the EP's atmosphere. Beginning with an almost deceptive sense of calm, the song gradually builds tension before exploding into a wall of jagged riffs, pummelling drums and emotionally charged vocals. It's an introduction that showcases the band's ability to balance melody with sheer aggression, setting expectations high from the outset. Rather than throwing everything at the listener immediately, the track unfolds naturally, rewarding repeated listens with subtle layers hidden beneath its abrasive exterior. The title track, Modern Affliction, sees the band at their most direct. Tackling the pressures of contemporary life, the song captures feelings of emotional exhaustion and societal decline without ever becoming preachy. Instrumentally, it demonstrates just how comfortable CUT SHORT are moving between different styles. Bone-crushing breakdowns collide with soaring melodic passages, while progressive influences add depth without distracting from the song's core purpose. It's a standout performance from every member and arguably the EP's defining statement. Things become even more emotionally charged with Unrequited, a track that explores rejection, longing and unresolved pain. While still undeniably heavy, there's a vulnerability here that gives the song its lasting impact. The dynamic shifts feel purposeful, allowing quieter passages to amplify the intensity when the full band crashes back in. It's a reminder that heaviness isn't simply about volume or speed, but about emotional weight, and CUT SHORT understand that balance exceptionally well. If there's a heart to Modern Affliction, it's The Worst of Myself. The song perfectly encapsulates the EP's recurring themes of self-doubt and internal conflict, pairing introspective lyricism with some of the release's most memorable instrumentation. Rather than relying solely on relentless aggression, the band demonstrate impressive restraint, allowing moments to breathe before unleashing devastating crescendos. That contrast creates one of the EP's strongest emotional payoffs and highlights CUT SHORT's growing maturity as songwriters. Closing track Malcontent serves as a fitting conclusion to the journey. Furious from beginning to end, it pulls together everything that has made the previous four songs so compelling. Crushing riffs, relentless percussion and emotionally raw vocals combine with progressive flourishes that never feel excessive or self-indulgent. Instead, the song feels like a final emotional release, ending the record with both impact and purpose while leaving listeners wanting more. One of Modern Affliction's greatest strengths is its consistency. Every track earns its place, with no filler or unnecessary moments across the EP's concise runtime. The production allows each instrument room to breathe without sacrificing the sheer weight that defines CUT SHORT's sound, while the songwriting continually prioritises atmosphere and emotion over technical showmanship. In an era where heavy music often risks becoming formulaic, CUT SHORT refuse to remain confined within one subgenre. Their willingness to weave together hardcore intensity, progressive textures and emotionally driven metalcore results in a record that feels authentic rather than manufactured. Modern Affliction is a confident statement from a band finding their identity while pushing themselves creatively, and if this EP is any indication of what's still to come, CUT SHORT are only scratching the surface of their potential. Score: 9/10 Modern Affliction will be released on 3rd July 2026. Words: Mia Gailey Photos: Cut Short

Things are really kicking off now: not only do we have the iconic 2000 Trees festival next week, but we've also had a solid slate of tours sweeping the UK. METALLICA, MY CHEMICAL ROMANCE, HAYLEY WILLIAMS, and so much more that the summer has to offer. In the off-time, though, we're taking in these recent singles from bands both big and small. Here's what we've been listening to lately: 156/Silence - Proxy Idols Fresh off the back of a tour supporting THORNHILL as well as a huge upcoming US tour, 156/SILENCE have released a brand new single Proxy Idols. This is the second single released from their upcoming album From A Distance which is out in September this year - just before their US tour. The track is a violent transcript on the modern day celebrity culture and rains absolute devastation for 3 solid minutes. The atmospheric metalcore track features a multitude of vocals and distortion, each section switching the tone and keeping the listener engaged. This track sets the tone for what could be to come from the rest of their upcoming album. Words: Amy Smyth Bring Me The Horizon - Dehumanize BRING ME THE HORIZON is going back to the beginning with Dehumanize! A brand new song for Count Your Blessings | Repented, the upcoming 20th anniversary re-recording of the band's landmark debut album, releasing on July 10th. It dives headfirst into a dystopian soundscape where crushing heaviness meets glitchy electronics and cinematic atmospheres. The track thrives on contrast, shifting from eerie, industrial verses into explosive choruses without losing momentum. Oli Sykes delivers venomous screams alongside haunting melodies, reinforcing the song's themes of technological dependence and the erosion of humanity. The visible gore is a vessel for a meticulously constructed piece, balancing aggression with memorable hooks and futuristic textures. Another reminder that BRING ME THE HORIZON continues to redefine modern heavy music, seamlessly blending influences into something both unsettling and irresistibly addictive. Words: Lysandre Pons Beabadoobee - Sun Has Set BEABADOOBEE has a brand new album Pylon coming your way in September and for this one, she’s completely switched her vibe. As an artist that dabbled in various genres, she's no stranger to grunge or shoegaze but this track shows a completely new side to her. Her light and airy voice decorates the track while distorted melodies ring through the guitars. With small melodic additions coming at the listener from all angles it’s a track that was clearly made with intent and attention to detail. Her new album is coming with a tour that's taking her all the way to the O2 arena in London as well as many other huge venues across the UK. Words: Amy Smyth Crawlers - AFRAID TO DIE Born from an uncertain period of not knowing who CRAWLERS wanted to be, AFRAID TO DIE is an introspective reawakening for the now-established trio of best friends and how they choose to approach their musical journey. For anyone who saw them support PIERCE THE VEIL in 2025, AFRAID TO DIE isn't a surprise drop, having been introduced exclusively to live shows before the band decided it was time for the masses to hear this emotive track of losing one's sense of self and trying to claw it back, lowered vocals rising in power over steady beats and blasting post-rock riffs. AFRAID TO DIE isn't just a tale of caution, but the re-introduction of a more seamless, confident CRAWLERS. Words: Julia Stark Dear Youth - Illusion (Feat. As December Falls) DEAR YOUTH take their featured artists seriously, their previous with BROADSIDE’s Oliver Baxxter was a hit across the scene and catapulted to the top of their most listened to track list. Could their latest venture with Bethany Curtis of AS DECEMBER FALLS do the same for the Canadian alt pop rock outfit? For fans of The Home Team and Honey Revenge this synth heavy track will not only scratch that itch but have you reaching for more. Bethany Curtis is a proven powerhouse feature (see her recent track with THE HARA for further proof), going toe-to-toe with Jared Zuckerman and holding her own. A better choice to accompany DEAR YOUTH on their latest venture could not be found. Words: Jade du Preez Evil Island - Melted Heart (ft. Sleigh Bells) The frenetic energy and unrestrained pace of EVIL ISLAND's Melted Heart can't be easily put into words - it's the scald of a room on fire and nobody wanting to leave, the itch in your brain of a million fun ideas that need to be done in that moment or else, the embodiment of being in a crowd and someone in an incomprehensible costume is juggling beside you. It's feral and exhilarating, the pulsing drums and brutal riffs rocketing forward and expecting you to keep up, screams savagely blasting at you from all angles as SLEIGH BELLS's Alexis Krauss repeatedly hollers "we're melting to the ground". EVIL ISLAND bring a wild fury and heat that simply can't be contained. Words: Julia Stark Fiddlehead - Baby I’ll Change Melodic post-hardcore supergroup FIDDLEHEAD continue to blur the lines on heartfelt new single Baby I'll Change, the title track from their new three track EP of the same name. Bolstered by a huge main stage Outbreak Festival appearance on release weekend, Patrick Flynn and co have proven once again that they remain one of the genre’s most captivating bands. Expertly channelling grief into something profoundly uplifting and personal. Shimmering guitars and Flynn’s impassioned voice giving every word genuine weight, whilst the artwork mirrors the title track’s reflective mood. Words: Andrew Nile Green Lung - Necropolitan Line “MIND THE DOORS!” screams Tom Templar in an inversion of Crazy Train’s iconic opening scream before the Lung burst forth in another Brit-folk encomium, this time lauding the trains that carried the dead on London’s Underground network. The new title-ish track from their upcoming release is a decided departure from their previous sound, instead embracing the campier and synthier trappings of 70s British rock but keeping things chugging along. The real highlight of this track is the mega long solo where the synths of John Kong dual with Scott Black’s virtuoso playing in a display of Deep Purple-ness not seen since the days of the band themself. The production may be more raw than some fans are used to, but rest assured the Lunglings are in for another absolute belter at the band’s next live gig. Choo choo motherfuckers! Words: Kiarash Golshani Ice Nine Kills - Play Dead ICE NINE KILLS once again prove they can turn horror into anthemic metal with Play Dead, a track that captures the tension and brutality of Dead by Daylight for the game’s 10th anniversary. The song balances faithful homage with INK’s signature cinematic style. Marching drums are arming a singalong chorus, while the heartbeat sound creates an eerie immersion and suspense. One that will also translate into gameplay as characters gain INK-themed in-game merch and the Silence's mask joins the cosmetic roster. The hellish screams feel like the gates of the Entity’s realm bursting open, unleashing chaos fit for the pit. ICE NINE KILLS keeps building milestones in the merging of horror and metal ahead of their headlining show at The O2 on 27 March 2027. Words: Lysandre Pons I Prevail - Paradise (ft. Amira Elfeky) I PREVAIL returns from the Australian leg of their Violent Nature tour with a haunting track featuring alt goth x grunge singer AMIRA ELFEKY. Clearly infused with the sound of converging genres, the piece is laced with dark electronics, ethereal notes turning into scalded growls from both singers. In its 3 minutes, everyone gets a turn into the light including a smashing display of instrumentals from a drum heavy breakdown to a heavenly guitar solo, all standing side by side with the leads rather than supporting them. Paradise stands as the perfect anthem to perform together on stage during the upcoming EU/UK tour where ELFEKY will join I PREVAIL amongst other notable openers such as POLARIS and GORE. Words: Lysandre Pons Loathe - Fangs In the lead up to the release of their new album, A Stranger To You, Merseyside’s finest LOATHE have graced us with another single. Opening with a thick riff, Fangs gets the blood flowing immediately before leading into a more melodic verse that allows the angelic vocals of Kadeem France to create an ethereal atmosphere. The chorus stands out as one that will be sung in full voice by crowds at all their shows going forward. In typical LOATHE style, there are heavy moments that will definitely have moshers flying across the room. This album is going to be monumental and this single is a perfect way to hype up what LOATHE have in store. Words: Alex Long The Menzingers - Better Angels Those eagerly awaiting THE MENZINGERS’ tenth album will be relieved to hear the core elements that make a MENZINGERS album great condensed into this three track single. Chance Encounters is the opening track of their upcoming album, and although it sets a bleak scene with that emotive chorus of “no one’s coming to save us”, this track walks a fine line between depressive and optimistic, something THE MENZINGERS do so well. Better Angels is a high energy track that could easily be a summer defining song for those that enjoy a melancholic bite to their dog days. Ultimately rounding things off with Nobody’s Heroes, a final gut punch of emo punk brilliance. Three tracks made for the summer, released just in time too. Words: Jade du Preez Motionless In White - R.I.P. (ft. Skylar Grey) Holding hands with SKYLAR GREY, MOTIONLESS IN WHITE delivers a haunting ballad summoning “the power of a lover's lament inscribed on a headstone". Built on space and yearning, the stripped-down instrumental relies on drums for pacing, allowing every emotion to breathe and come back at full force when the chorus hits. GREY's rising and falling vocals emphasize beautifully everything the silence cannot, carrying grief in a register completing Chris Motionless’ perfectly. Together, they don't simply harmonise; they haunt each other with a gothic flair undeniably characteristic of the band. With its instantly catchy chorus, R.I.P. stands as a deeply emotional third single from Decades, MOTIONLESS IN WHITE’s upcoming album, dropping on July 17th via Roadrunner Records. Words: Lysandre Pons Muti - Blood Brand new underground shoegaze artist MUTI has released yet another track, Blood. With an embellishing b-side track - Blue Nothing - to go along with it, they are building and architecture with their releases in the same way an established musician would. Blood is a conversation about the feeling of falling in love, comparing it to your veins being drained like vampirism. MUTI’s vocals drag and echo through the track accompanied by various layers of guitars and crashing upbeat drums, really portraying those conflicting feelings in the lyrics. The track is well made and polished and we sit with baited breath to hear what they’ll make next. Words: Amy Smyth Noahfinnce - Mr Overwhelm NOAHFINNCE hasn't just translated his vulnerability into lyrics on new track Mr Overwhelm, he's created a sound that portrays the chaos, claustrophobia, and build of emotionally drowning in a blend of Y2K and pop-rock. Released ahead of his support slot for TWENTY ONE PILOTS at All Points East, NOAHFINNCE continues to draw inspiration from the pop-rock bands that guided him through his adolescence and helped him shape his feelings into words. Mr Overwhelm is a stark inner look at trying to break out of the mould cast by others wrapped in fluctuating instrumentals and jarring rhythms, digital elements breaking through to keep you second guessing what NOAHFINNCE might do next. Words: Julia Stark PUP - If This Is It If This Is It may be new to listeners, but for Toronto punks PUP this burst into life during their 2025 Who Will Look After The Dogs? sessions, it was merely waiting for the right moment to unleash this gritty track full of strained feeling that erupts into desperately human shouts. Heavily fuzzed bass races through the intro as if spelling impending doom, before the accompanying guitar and drums strip away some of the danger and spin it into a track of furious merriment, a searing guitar solo on the breakdown backing vocalist Stephen Babcock as he calls out everyone around him, including himself in the cutting, self-deprecating words "you're still full of shit but so am I". Words: Julia Stark Sesame Girl - Kick In The Teeth SESAME GIRL have captured the feeling of not feeling "enough" in a relationship and turning the fault inward on hard-hitting Kick In The Teeth, the latest single from their upcoming EP Butterfly Wing In A Silver Locket. Loaded with hazy guitar riffs and chords, singer Heather Duncan vocalises in a dreamy fashion as the instruments complement her without being overpowering. The rhythm and power behind the track don't soar too high, instead SESAME GIRL have embodied that almost disquieting, uncertain feeling that you must be the problem when someone doesn't want to take pride in your presence. Kick In The Teeth is a balm for a vulnerable, cracking heart and a caution to not give pieces of yourself away. Words: Julia Stark Snayx - Brain Cellz SNAYX have made their mark with inflammatory tracks that hold up a mirror to society and smash their face into it - new single Brain Cellz is no exception to their rule that all bets are off and everyone should watch their backs. From a glitchy synth intro that drops into cutting lyrics, a twitchy drum beat with crispy cymbals, and distorted guitar and bass that rips into your bones, SNAYX refuse to hold back on tracks like Brain Cellz with their rebellious sound and catchy rhythms that have seen them pack out festival grounds and headline slots, their venomous, punk spirit stirring at their sound's core ready to strike. Words: Julia Stark The XCERTS - Bury You Eclectic Scottish alt-rockers THE XCERTS share bury you, the fourth and final preview of their forthcoming sixth album i think i want to go home now. Electric guitar drives the track from a gritty basement rock sound into an explosive arena rock chorus: catchy, colourful and far from vapid. Sitting towards the end of the album's emotional arc, the single is a reflective conversation about managing pain and facing oneself; what frontman Murray Macleod calls "a sobering conversation" of tough love. The music video carries echoes of the 2000s, with photographs and on-screen lyrics, transporting the listener to simpler times - very much in tune with the theme of the record. Catch them at 2000 Trees, the day after release, on July 11th. Words: Lorena Hurtado Waterparks - BETTER THAN THERAPY With just weeks to go until the release of their fifth studio album, JINX, WATERPARKS have dropped their fifth single, BETTER THAN THERAPY. A bubblegum-rock infused earworm that follows the whirlwind of a relationship while remaining self-aware of one's own toxic traits. With an addictive chorus, Awsten Knight is engulfed by their love for the other person. The playful contrast of the lyric, "Draw you like Titanic. Worship you, Satanic," hints that the relationship is ultimately doomed. Yet the intoxicating highs keep the narrator hopelessly infatuated, unable to let go. With distorted guitars and layered melodies, this track clearly radiates lively production of Entertainment and Fandom. Do you relate to this song too much? Maybe it’s time to catch up on some therapy. Words: Theviya R Karunaharan Editor: Naomi Colliar Duff Photos: Various Artists

Aren't you glad that heatwave is over? We're certainly glad to no longer be sweating buckets, hiding away from the relentless sun. Now it's over (for now) we can trade in that heat for these hot new tunes. Here's what we've been listening to lately: Against The Current - Dead Man Walking Still riding the high from their last single and gearing up for an immense 2026/27 of tours and new music, AGAINST THE CURRENT are firmly establishing their latest evolution with gut-puncher Dead Man Walking. Vulnerable in its lyrics and its instruments, an acoustic guitar, slow drums and singer Chrissy Costanza's low-pitched vocals draw us in, before the chorus crashes in with earnest lyrics pleading for anyone to know Costanza is "still here but still forgotten", her voice rising in power on the breakdown in tandem with the fervour of guitar and drums. The final chorus repeats the mantra "I'm still here" as the rhythm leads out, a message to all that AGAINST THE CURRENT aren't going away any time soon. Words: Julia Stark BE N!CE - OOPSIE BE N!CE have carved out a space in the post-punk and heavy-alt scenes, filling their 2026 cup to the brim with a slew of festivals and a headline tour in September. Never ones to shy away from calling out society's bullshit, their latest single OOPSIE is more searing than last week's heatwave, taking aim at dodgy, money-grabbing landlords and giving them both barrels. Singer Pol Mills cuts to the bone with sarcastic lyrics about landlords excuses for uninhabitable conditions, assuring us "I'm very against property damage" with a nudging tone, bassist Emily Harris and guitarist Alex McIntosh running circles round each other with menacing riffs, while drummer Brett Lee brings a destructive beat. The vibe? Don't comply, revolt. Words: Julia Stark Catch Your Breath - Control Building momentum before their massive tour announcement, CATCH YOUR BREATH have fans primed and ready to let loose to their latest single Control, an emotionally charged track with intense instrumentals complementing singer Josh Mowery's exposed lyrics. On the surface, it's a song to get lost in with Cianan Madigan's dominating bass notes going full force throughout, Onell Hernandez drums drifting from faded buzz to a crispy headbanging pace, and Teddy Herrera's guitar riffs screaming in under Mowery's guttural roars. At its core, it's the devastation of losing yourself to someone who destroys your soul and leaves you a shell and knowing you've handed over too much control to an emotional vampire. It's a raw experience delivered in an explosive sound. Words: Julia Stark Man/Woman/Chainsaw - Goddamn, Lizard Man! Goddamn, Lizard Man!, the third single for MAN/WOMAN/CHAINSAW’s debut LP Cannonball, is a playful and messy affair, with a much looser approach compared to the comparatively more straight-forward (yet still brilliant) indie rock singles preceding it, Only Girl and Noisedive. It opens with this scratchy sort of guitar noise, before Billy Ward starts telling a story about a beastly yet lovable “lizard man”. With a cover taking characters from old Japanese comics, kaiju monsters are no doubt an inspiration here, and it suitably reflects this, with a much bigger sound compared to their previous output. It’s an unexpected primer for the upcoming album, but a welcome one regardless. Words: Noise Leonard Mastodon - Your Ghost Again In a surprise drop, the sludge metal legends MASTODON return with their first single since the passing of their much beloved guitarist and singer Brent Hinds. The title; “Your Ghost Again” is apt, as between the classic MASTODON-isms we have come to know and love, there is now a palpable absence. Like a gigantic spirit, the ghost of Brent Hinds haunts this track, and through the slick riffs and guitar solos you’d expect his distinctive southern croon to pop up at any moment. This large void only makes you appreciate his contribution to the band much more, but even without him this band proves they can still make music like they did during their classic era. As this band so punctuated by loss steps forward into the uncertain future, they show the world that the MASTODON is far from extinct. Words: Kiarash Golshani Opus Kink - The Sweet Goodbye OPUS KINK’s new record inches closer every passing day - we’re at the halfway point between the lead single’s release and the album itself. As the fourth teaser, the boys have released the title track, and it’s potentially the most memorable cut yet. A hooky, instantly memorable lead melody and a saxophone note slurring downwards laid over it is about what you’d expect from the group’s aesthetic and personality, amplified by rhythmic guitar stabs as well as a quieter, more atmospheric section. Is it worthy of sharing the record’s title? Perhaps, but for now all we can do is excitedly wait and see. Words: Noise Leonard PRESIDENT - Doom Loop Their first campaign a roaring success, PRESIDENT have swiftly returned to run for their second term with genre-blending, synth-wave inspired Doom Loop. Already established as a band that works exclusively outside of the box to create sounds that speak to a multitude of fans, Doom Loop sees the elusive band utilise weaving and engaging synths for a sound that almost feels like it would make waves in the club scene. The synths blend into an alt feel with hoarse yells, thundering drum beats, and fuzzed guitars, before the upbeat club imagery is shattered with a guttural scream and the instruments colliding together into a heavier movement. Doom Loop doesn't abide by anyone's laws and demands you dance for your PRESIDENT. Words: Julia Stark RØRY - STRANGE Bridging the gap between pop-rock and alt-metal, RØRY is climbing swiftly to the top of this niche genre, their latest single STRANGE a multifaceted track that intensifies and leaves you either feeling heart-broken or your pain finally seen. Over thrashing drums and searing guitars and bass riffs, faint synths in the background give rise to the nostalgic emotion in the lyrics, RØRY contemplatively singing "how strange it is, to wanna die, to wanna live", the instruments lifting their layered vocals to a powerful volume. It's a bittersweet song about trying to move on from the past but being stuck in those feelings, grieving the person you were and the person you could be if only you could let go. Words: Julia Stark Sesame Girl - Wings Of A Butterfly A looping guitar strum with a country twang, a steady drumbeat, and dreamy, girl-next-door vocals are what lead us into SESAME GIRL’s newest single, Wings Of A Butterfly. This is a song for long bus journeys, head resting against the window watching the world go by through a light summer’s rain, reflecting, getting lost in your mind. The indie-rock quartet share a very simple, yet intensely relatable sentiment: love needs proof over promises. It’s all well and good saying you love someone, reassuring them you won’t ever leave, but sometimes that isn’t enough. There’s something really nostalgic about this track. It might be that timeless message, or it might be their sound: their melodies blend 90s-era alt-rock with a modern, indie pop-styled edge, with a hint of fuzz. SESAME GIRL are a soundtrack for daydreamers. Words: Naomi Colliar Duff Two Year Break - Listen To Your Body TWO YEAR BREAK are no strangers to fusing genres into experimental tracks full of fast-paced rhythms, swerving tempos, and personal lyrics full of emotion. Latest single Listen To Your Body is a textbook example of their unique, off-the-wall sounds that have their stomping feet in multiple camps, never sticking to a genre's expectation. From a muffled intro awakening, layered vocals from singer Bradley Tyler create a resonant sound to the despairing, pining words, his raw screams breaking through on the second chorus, as guitarist Charlie Barnard and bassist Daniel Wright attack the alt-heavy chorus and breakdowns, while George Lilley shifts drum tempos effortlessly with snappy beats. Listen up, because this is a track that will get stuck in your head. Words: Julia Stark Twin Atlantic - Don’t Quit It Making us wait a year for new music was evil of TWIN ATLANTIC, but sizzling new single Don't Quit It was well worth the wait. Singer Sam McTrusty's first words "I've got a new addiction" couldn't be more apt, Don't Quit It joining their roster of catchy tracks with huge choruses and Joe Lazarus' pounding rhythms, paired with electrifying lyrics and rising choral additions, interspersed with Ross McNae's signature funk guitar riffs, cohesively fused together into a buoyant melody you can't help but move your body to. Don't Quit It is quintessential TWIN ATLANTIC but has a new frenetic energy about it that promises the band have more to come and it'll all be just as addictive. Words: Julia Stark Westside Cowboy - Kick Stones (The Boys) It’s been an exciting year for WESTSIDE COWBOY. The Manchester group’s second EP, So Much Country ‘Till We Get There was released in January and really took off in the “windmill scene” and beyond. This was helped in part by a stint of opening for similarly breakout indie rockers, GEESE, during their UK dates. Along with the announcement that their debut album, It Goes On, is set to release this August, they released lead single Kick Stones (The Boys) a title which seems in stark contrast to their last EP’s Don’t Throw Rocks. On this song especially you can absolutely see why GEESE took to them - they absolutely wear their influences on their sleeves, but twist them in a way that very much feels like their own, notably featuring a beautifully built-up-to outro and an extremely vibrant and exciting instrumental break in the middle. They’re playing all over the UK and Europe at the tail-end of the year, so catch them if you can! Words: Noise Leonard

With a varied career of staggering highs and massive lows, it’s fair to say that California artist TYLER, THE CREATOR, born Tyler Okonma, is one of the most controversial musicians alive who still manages to get radio plays. From being banned from entering countries for lyrical material, to winning Grammys and performing six consecutive sold-out nights at the biggest arena in Los Angeles, he has done it all, all whilst writing and producing almost the entirety of his own catalogue. This summer will see him headline his first festival in the UK in four years at All Points East in London. Here are the ten songs we hope to hear him play. 10) SHE Teaming up with fellow Odd Future member and frequent collaborator FRANK OCEAN, She is a glittering diamond in the sea of edgy, shocking lyricism and underdeveloped production on TYLER, THE CREATOR’s second album GOBLIN, released in 2011. Weaving a dark tale of stalking and violence, the subject matter is at home amongst the rest of the lyrical content of the album – much of which led to Tyler, The Creator to be banned from the UK, and his Australian tour to be cancelled in 2015. But the vocal performance from Ocean paired with rare vulnerability in Okonma’s lyrics set it leagues apart from the songs it sits amongst on the album. She is a glimpse into the bright future careers that both artists would go on to enjoy. 9) DEATHCAMP Released as one of the lead singles from his polarising fourth studio album Cherry Bomb, DEATHCAMP marks a turning point in TYLER, THE CREATOR’s sound and artistry. With a heavy, aggressive beat, it’s a boisterous opener to the album that takes the first major step away from the shock-rap and horrorcore that he had previously been known for, building on the varied production on previous album WOLF and diving into a more unique and experimental sound. Whilst Cherry Bomb is widely acknowledged as his least successful album, it’s an important stepping stone towards the critical acclaim he’d later receive. 8) IFHY Enlisting PHARRELL to co-produce and feature alongside him, Okonma delves into a tale of obsessive love and jealousy told from the point of view of Sam – a recurring character in his first few albums. Included on the 2013 album WOLF, the song features low-key instrumentals and a driving dark synth line. Like all of the music videos he has released so far in his career, the video for IFHY was entirely self-directed and sees him in creepy doll-like prosthetics alongside a love interest in a set designed to look like a dollhouse. 7) I KILLED YOU It has been a steady build to superstardom for TYLER, THE CREATOR, but it’s safe to say that the release of Chromakopia in 2024 propelled him to new heights. Nominated for three Grammys (and winning one), the album delves into themes ranging from paranoia to the struggles of dealing with an unplanned pregnancy, and the recurring theme of Okonma’s relationship with his black identity. I Killed You is an ode to hair, discussing the role that hair has played in black survival in America and how it is still policed today. Set against a traditional African drum beat, it’s a mature exploration that fans of his early work may have never expected to hear from him. 6) CORSO A cut from the 2021 album Call Me If You Get Lost, CORSO is a loud, bouncy anthem that is as introspective as it is boastful. A lifelong car collector, Okonma spends the first half of the track talking about his Rolls-Royces, and the second half talking about a lost love that has left him with a void he’s trying to fill by buying more of them. The sound of many tracks from this album is reminiscent of his earlier work, but the subject matter is more mature than anything released in his young adulthood. 5) LIKE HIM Perhaps the most constant theme through TYLER, THE CREATOR’s music is his relationship (or lack thereof) with his father, whom he has never met. On Chromakopia, this is no different. Like Him is easily the most personal and introspective exploration of his feelings regarding this throughout his whole career, wherein he wonders which parts of him resemble his father and wonders how he can miss someone he never knew. The song is addressed to his mother, who raised him as a single parent. At the end of the song, it’s revealed that the reason for his father’s absence was not that he didn’t want to be present, but that his mother, who features heavily on the album with spoken adlibs, did not want him present in his life. 4) ARE WE STILL FRIENDS? 2019’s IGOR is regarded by many to be TYLER, THE CREATOR’s most impactful album. Dealing with themes of jealousy and love, IGOR’s subject matter revolves around a love triangle between Tyler, a male love interest and the love interest’s on-again-off-again girlfriend. After 11 songs of agony, betrayal and lust, ARE WE STILL FRIENDS? seeks a resolution to the situation, admitting defeat and asking if things can go back to the way they were. The light, twinkly guitars contrast with an intense synth that give the song a dreamlike quality, and perfectly caps off the Grammy-winning album. 3) SEE YOU AGAIN It’s impossible to compile a list of the best TYLER, THE CREATOR songs without mentioning See You Again. With just under three billion streams on Spotify at the time of writing, it is handedly his biggest song – and for good reason. Released on 2017’s Flower Boy, twinkling bells and piano chords fill the track, balanced against sung vocals from the vocal powerhouse KALI UCHIS and rap verses from Okonma. It’s catchy, breezy and beautiful, and it’s impossible not to sing along whenever it’s played. 2) BEST INTEREST Originally intended for release on IGOR, BEST INTEREST was released as a standalone single in 2020. It’s a light-hearted track exploring themes of a secret affair, filled with a small orchestra of horns, strings and piano. It’s summery and bright, but just as soulful as anything no the album it was intended to be on. The video features Okonma being recorded on the back on a vehicle riding through a small river on a boat, interspersed with clips of crocodiles and sunny fields. It’s the perfect setting for a song so light and breezy. It’s painful to think that this song may have never seen the light of day, as even as a rough draft, it’s a standout in Okonma’s discography. 1) NEW MAGIC WAND TYLER, THE CREATOR does many things well. He’s an incredible producer, writer and performer – and all of those talents are on display here. NEW MAGIC WAND is one of IGOR’s darker tracks, where he fantasises about killing his love interest’s girlfriend so that they can be together, and that darkness does spill into the instrumentation of the track too. Dark, haunting synths creep around underneath frantic percussion and an apathetic, intentionally resigned-sounding vocal performance. When the music drops out to just the sound of a muted warning siren, the anticipation builds until everything comes back louder – along with the need to lose your mind in a crowd of people doing the same. TYLER, THE CREATOR is a generational talent, and this song makes it impossible for you to forget that. Catch Tyler, the Creator at All Points East this summer. Words: Ellen Lovell

Dutch death metal group SAVAGE are finally ready to release their first studio EP. Featuring members from ENTRAPMENT, they’re not exactly new to the scene, but as SAVAGE, their sole release until now was a fairly promising demo from 2023. In those three tracks they made it clear what they’re here to do - harken back to old-school death metal, taking clear influence from ENTOMBED (specifically their earlier releases under the name NIHILIST). They further this goal on Septic Tomb, with four new songs here to sink our teeth into. We open with Nightmares, unrelenting from the get go, pounding drums play in time with a chugging riff, swirling around both channels before assaulting your ears a particularly gnarly lead riff after upping the tempo. It’s only then that the raspy vocals come in, paired with the whirlwind of instrumentation that never seems to be able to stay still for even a second. More tempo changes, wild guitar solos and what almost sound like doom riffs played in double speed, this track keeps you on your feet the whole way through. Second track S.A.V.A.G.E. opens with a quick stick count-in followed by an intro that wouldn’t feel out of place on a deathgrind record. The song takes a quick breath, with layers of feedback and distortion, before launching back into full throttle. An intensely noisy track that once again never lets up. So far on this record, SAVAGE are proving how relentless their performances can sound, two tracks in and we’ve already heard tight arrangements with the band members playing like one uniform group. The synergy between performers here is really something to behold. They show this once again on Spectral Torment. The first half of the track is quite the slow-burn, priming you for a blitzing during the second half, an infernal piece of music that makes you feel like your skin’s melting off. The title track, Septic Tomb, has possibly the most guttural vocal performance here, a similar cadence to each phrase adding a complete new layer of filth to compliment those nasty-sounding guitars. The last three tracks on here are from the aforementioned Demo I, released in 2023. It’s immediately clear from the opening moments of Mortal Decay that these songs were recorded separately, with significantly more lo-fi production and echoing vocals. The performances here are still wonderfully intense, and arguably even more claustrophobic, though it is somewhat jarring. Unfortunately, this issue never really goes away, even by the end of closing tracks Revulsion and Malformation, which is a shame because the former contains some of the most engaging guitarplay on this release. The moment when both guitars intersect at the two minute mark is possibly the best few seconds the EP has to offer. The strange thing about Septic Tomb is that almost every track here presents something fantastic, and yet it never fully reaches its potential. It’s hard not to get hung up on the sheer incongruency between the production during the first four tracks and the last three. If you can get past that, SAVAGE have made a great death metal release that has clearly been made with a lot of appreciation for their forefathers, but as it stands, it ends up a somewhat confusing listen as points. Score: 7/10 Septic Tomb will be released on 4th July 2026 via Dawnbreed Records/Necrolatry Records. Words: Noise Leonard Photos: Savage

Engraving their furious sound into the underground hardcore scene, MARTYRS SAINT are now ready to step from the shadows and unleash their epic debut EP From Strength To Strength. Hailing from Bristol, the four-piece band have created an EP that has a quality and weight of 20 artists performing together. It’s a marker of how seamless they’ve become as a unit and the force they feed into their sound to portray such power and intensity that translates to their live shows. While From Strength To Strength only holds four tracks, they pack an absolute suckerpunch that will leave you reeling, demonstrating the efforts MARTYRS SAINT have put into refining the more intricate details and solos while still maintaining the absolutely delightful chaos of hardcore tangled with thrash-metal. It’s an EP of frenzied energy, scorching solos and hooks, and rhythmic elements woven together, driven by pulsating beats and savage lyrics. Title track From Strength To Strength immediately goes off-piste with a soundbite of Peter Griffin giggling that he's stronger than air, before Louie Hawkes’ drums thunder in with an accompanying riff that swings wildly from piercing notes to a stank face rattling level that welcomes chaos in the form of Brandon Goodair’s scathing lyrics and barks, the rhythm slowing imperceptibly as the instruments attack in formation for the building breakdown of Goodair’s screams “I'll face my front, you fucking face yours”. Enemy Of My Enemy whips in at rocket-speeds, the pulsing drums racing against Amaré Hurley’s frenetic riffs and Harvey Lewis's bassline, the type of bass chords that churn your stomach and rattle your teeth. Blistering screams give way to a staccato run of individual instrumental licks, before they all merge together into a frantic breakdown with classic metal guitar solos from Hurley, the tempo refusing to be anything but fired up, until it culminates in a final yell and fades out. In Amber begins with a more thoughtful and sombre guitar riff, the atmosphere rising to soaring heights with epic guitar notes that eventually give way to a haunting pitch, the drums and vocals falling in together in a reserved cadence. The deceiving sense of calm is shattered as Goodair descends into visceral screams and the entire rhythm drops into a searing melody, Lewis branding the track with his bassline, until everything changes up and chases pace to the MARTYRS SAINT speed we're accustomed to. It weaves between classic metal and post-hardcore for something that transcends time. The Divine Art Of War feels exactly like sprinting across the battlefield and screaming in the face of the enemy, guitar solos reaching stinging pitches that sound like falling bombs. The band attack the rhythms together, Lewis and Hurley flanking Hawkes' shattering drumbeats with their fired up riffs and hooks, as Goodair leads the charge with screams of “motherfucker”, the feel of the track shifting between prog-metal reminiscent of METALLICA and elements of post-hardcore that tear at you with sharp teeth. MARTYRS SAINT bite with full force and dare you to get free from their electrifying sound. Score: 8/10 From Strength To Strength will be released on 3rd July 2026 via Imperative PR. Words: Julia Stark Photos: Martyrs Saint

On one of the hottest days the UK has experienced this year, with temperatures soaring into the mid-30s, three of post-hardcore and alternative rock’s most influential bands arrived at OVO Arena Wembley to celebrate landmark albums that helped define a generation. What unfolded was far more than a nostalgia tour. It was a celebration of perseverance, friendship and community, delivered by artists who continue to perform with the same passion that built their reputations over two decades. TOUCHÉ AMORÉ opened the evening beneath a veil of darkness, allowing the emotion of their music to take centre stage before the band themselves were fully revealed. Jeremy Bolm’s unmistakable screams immediately cut through the arena, delivering every lyric with the raw urgency that has made the Los Angeles outfit one of post-hardcore’s most respected names. There was little time for lengthy speeches. Instead, Bolm explained that the band wanted to fit as much music into their set as possible, squeezing every last moment out of their time on stage. It perfectly reflected TOUCHÉ AMORÉ’s ethos: honest, direct and emotionally uncompromising. That intensity was matched behind the drum kit, where every strike showcased remarkable speed, agility and precision. Even within the vast surroundings of Wembley Arena, the band retained the intimacy and vulnerability that have always defined them. At one point, Bolm simply smiled and remarked on how much of this is a dream to them, and that sentiment l would resonate throughout the evening. If TOUCHÉ AMORÉ provided the emotional weight, BILLY TALENT delivered pure adrenaline. Arriving to a countdown rolling back through the years, the Canadian quartet transformed Wembley into a celebration of more than two decades together. Archive footage and career highlights filled the giant screens behind them, creating a visual tribute to one of alternative rock’s most enduring bands. Launching straight into Devil in a Midnight Mass from Billy Talent II, the arena erupted. Fan favourites, including Fallen Leaves, inspired deafening sing-alongs and relentless celebrations across the floor, even in this heat, while Benjamin Kowalewicz remained an endlessly charismatic frontman. Despite the oppressive heat, the band repeatedly paused to thank the audience and encourage everyone to look after one another. The sense of community felt completely genuine. “We’re all part of the same community,” they reminded the crowd, reinforcing the togetherness that has long been at the heart of alternative music. Reflecting on their beginnings, the band spoke about being four friends who first started playing together in 1993. Looking out across a packed Wembley Arena, there was a palpable sense of disbelief and gratitude. A dream born in small local venues had somehow led them here. Rather than feeling like a victory lap, BILLY TALENT performed with the hunger of a band still determined to earn every cheer. Their repeated thanks to fans served as a reminder that careers of this longevity are built on loyalty, consistency and genuine connection. As impressive as the first two sets had been, ALEXISONFIRE ensured the evening ended on an unforgettable high. Opening with footage of a blizzard, a visual nod to the album being celebrated, the introduction provided a fitting contrast to the sweltering temperatures outside. Wade MacNeil acknowledged the irony with a smile: “It’s funny to be celebrating an album about a historic blizzard while in the middle of a historic heatwave.” One of the evening’s most moving moments came during You Burn First, as the band paid tribute to the late Gared O’Donnell. His name appeared across the arena screens as originally his guest vocals honoured both the song and the memory of a close friend, prompting an emotional response from both the audience and the band themselves. ALEXISONFIRE once again demonstrated why they remain one of the defining bands of the genre. This Could Be Anywhere in the World, and Boiled Frogs ignited huge reactions across the arena, with relentless crowd movement and passionate sing-alongs despite the intense heat. The contrast between George Pettit’s ferocious screams and Dallas Green’s soaring melodies remains as captivating as ever, while the chemistry between the band members reflects decades of shared history and friendship. Like BILLY TALENT before them, ALEXISONFIRE repeatedly returned to themes of gratitude. Looking across thousands of fans, they reflected on an unlikely journey from small Canadian venues to one of London’s most iconic arenas. Hearing Crisis performed in full carried an undeniable sense of nostalgia, with many fans perhaps struggling to believe that the album has now reached its twentieth anniversary. The night’s final surprise came during the encore with a rare performance of Thrones, providing a fitting conclusion to an already remarkable evening and leaving those unable to attend with plenty of reason for envy. By the end of the night, a common thread had united all three bands. Each spoke of dreams realised, friendships sustained and appreciation for the fans who made their success possible. On a day defined by record-breaking temperatures, TOUCHÉ AMORÉ, BILLY TALENT and ALEXISONFIRE delivered something equally unforgettable: a reminder that great music scenes are built not only on iconic songs, but on the communities that keep them alive. More than a celebration of classic records, this was a celebration of endurance, connection and the enduring power of live music more than twenty years in the making. Words and Photos: Ben Young

10 years on from his previous band APPOLLONIA, Vincent Mery has made his triumphant return to music with his brand new project HEX DIVIDED, a one-man project of epic riffs and hooks, commanding drumbeats, and searing lyrics delivered with a silkiness that threads into powerfully husky notes. You won’t need to wait long to appreciate HEX DIVIDED’s taste of alt-metal with the impending release of the EP Hex Divided I, a short but sweet collection that shows the evolution of his sound and talent, as well as a tribute to THE SMITHS game-changing album The Queen Is Dead with his fresh take on There Is A Light That Never Goes Out. The timing of his re-emergence into music couldn’t be more perfectly timed as THE SMITHS celebrate the whopping 40th anniversary of their prime album. A love letter to a track that’s inspired so many other artists lovingly nestled between pace-changing, atmospheric original tracks, Hex Divided I is an exceptional reintroduction and display of Mery’s technical skills coupled with his unwavering passion for music. Opening with a building percussive roll and faint guitar riff, The Faithless is Mery’s first opportunity to hook you in on the EP and he executes this seamlessly. With driving beats and a bassline that growls underneath the post-metal riffs, it’s a track that calls up the spirit of 90s prog-rock to meld with modern post-metal in its rhythms and lyrics that weave from velvet smooth to jagged calls for you “embrace the beast in your heart”, choral voices echoing out before giving space to an understated guitar solo. By & By shreds from the off with intent guitar hooks and a pulverising bass riff, Mery’s voice overlapping itself with harmonious pitches before he uncages a bitter yell, the melody bringing to life the sound and energy of AUDIOSLAVE. Chinese Democracy plunges into a deeper and darker pitch with an addictive riff and steady bass that briefly overpowers the drums before they crash back in with purpose, the vocals dipping and swooping around notes like a murmuration as the lyrics proclaim “I’ve got shit to do, I’ve got love to harness” that captures the attitude and rhythms of classic 90s grunge. Starting with a funky drum roll and riff, Heart of Gold (They Say) feels significantly more upbeat with a blend of prog-rock rhythms and alt-metal hooks and beats, the solos shifting from pleasantly indie to a jagged medley of piercing notes that keeps you on your toes, everything dropping away to Mery’s lone, dropped vocals before it slams back in with an exultant crescendo ending. There Is A Light That Never Goes Out has had an endless number of homages paid to it, and HEX DIVIDED’s take on it shows exactly why it’s a popular choice, blending layered instrumentals with a heavier feel over the haunting vocals sung in a softer, higher pitch, the result sets it apart from other covers with its juxtaposition of melodies and gives it a fresh prog-rock look. Cruel Tide closes out the EP with a heavy, catchy intro riff DON BROCO would appreciate, the sound shifting to a more epic rhythm with soaring guitar solos and blistering drums, the bass evident throughout the track without taking the spotlight from the other instruments. Where The Faithless was the first chance to get your attention, Cruel Tide is HEX DIVIDED’s vow there’s plenty more to come on their new, shining venture. Score: 8/10 Hex Divided I will be self released on 3rd July 2026. Words: Julia Stark Photos: Hex Divided I

Another year, another Download! It's almost ceremonious how important Download is to the British heavy music scene. For one weekend, Castle Donington is the proving ground of the world's best alternative music acts, ready to lay siege to an over 95,000-strong crowd. This is the make-or-break moment, a chance to see artists find their place or fall. How an artist fares at Download can catapult the trajectory of their careers in real time. It's safe to say there were a lot this year that dominated and dazzled, down to Download's continued efforts to showcase new acts, many of whom have not played the festival before. Revamped stages, with the Apex stage becoming the largest in the UK this year, are set for coronation for headliners GUNS 'N' ROSES, LIMP BIZKIT, and LINKIN PARK - and for the first time in a few years, the weather wasn't that bad. This is what our fantastic writers caught this year at Download Festival. Words: Ben Blissett (BB), Julia Stark (JS), Adrian Chapman (AC), Amy Smyth (AS), Elena Meadows (EM), Jack Norris (JN), Mia Gailey (MG), Theviya Karunaharan (TK) Photo: Julia Stark FIVE FIVE prove rock is a state of mind, bringing literal fire to the Doghouse stage as they powered through their nostalgic tunes and entertaining choreography to tumultuous applause. “Who came out this weekend to get down?” was promptly met with crowdsurfers and dancing to the back of the room, the band pausing briefly for Download DJ Kylie’s surprise proposal, before ending with a manic mosh pit for Keep On Moving. We definitely got down in the dance pit for FIVE! (JS) HEADWRECK HEADWRECK’s Dogtooth stage opener proved that Download isn’t just about the giants. Blending electronic, hip-hop, nu-metal and pop into something chaotic and distinctly their own, they channelled exactly the forward-facing energy this festival’s smaller stages are built on. Opening with Filet-O-Fish set the goofy, fun tone instantly, while Raindrops stood as one of the year’s best modern metal releases. Merch jerseys scattered throughout the crowd told their own story: this lot have been grinding hard and leaving a mark across the UK. Pit-hungry newcomers and devoted regulars up front, the boys brought pure feral, chaotic fun either way. (AC) SLEEP THEORY Nothing says you’re at a rock/metal festival like MILEY CYRUS’ Party In the USA, but SLEEP THEORY are renowned for blending genres and having enormous fun with their fans. Vocalist Cullen Moore was fully engaged with the audience, proclaiming “I don’t care if you’ve got bad knees, get moving!”, as the quartet delivered body-moving banger after banger, guitarists Paolo Vergara and Daniel Pruitt joining in for a 3-person vocal harmony on Words Are Worthless, encouraging crowdsurfers to “put security to work” on floor-shaking ender Static, as Moore leapt into the crowd - SLEEP THEORY continue to bullseye their target with every show. (JS) MOUTH CULTURE MOUTH CULTURE made their mark at Download Festival, playing out the Avalanche tent and gathering an impressive crowd. Lead vocalist Jack Voss owned the stage, knowing exactly how to get everyone off their feet and moving. Their set was compiled of their best hits like Don't Pull Up, Rat Bag and Everyday, they had the entire crowd singing along, whether they knew the words or had to be coached to join in. The lively crowd also decided there was one for surfing, with a crazy amount of them being collected over the barricade throughout the set. (AS) BABYMETAL The Fox God (or possibly Etsy witches) finally blessed us with sunshine and declared it BABYMETAL’s time to conquer the Apex stage. Matching onto the stage with stoic expressions before launching into BABYMETAL DEATH, lead vocalist Su-Metal couldn't hold back her delight at finally being able to perform. Demanding to see “big circles” in the pit, BABYMETAL tore through their setlist of blended JPop and heavy metal whilst performing killer choreography as the audience crowdsurfed wildly, even during the intermissions. It's hard to say who was more excited to be in attendance. (JS) LAKE MALICE LAKE MALICE brought an explosive burst of energy to the Dogtooth Stage, wasting absolutely no time in getting the crowd moving. From the moment they launched into their opening song, the atmosphere shifted up a gear. The band had the audience clapping along almost instantly, and by the end of the first track, there were already mosh pits opening up and crowd surfers making their way across the packed field. Alice & Blake fed off the chaos brilliantly, delivering a performance that felt equal parts controlled and unpredictable. One of the standout sights throughout the set was the lead guitarist, whose seemingly endless supply of energy saw him launching himself into the air at every opportunity. It added another layer of excitement to a performance that never stood still. Festival crowds always create memorable moments, and LAKE MALICE’S set was no exception. A crowd-surfing seagull somehow became one of the most talked-about moments of the afternoon, perfectly capturing Download's unique sense of humour. As if that wasn't enough, eagle-eyed fans also spotted the guitarist casually playing Minecraft during the set, creating a bizarre but hilarious contrast to the chaos unfolding around him. It was a fun, energetic and unforgettable performance that proved exactly why LAKE MALICE continued to build momentum. (JN) AS IT IS With their first performance at Download festival since their reunion, after nine years, AS IT IS were pumped with energy. Ben’s hair swaying across the stage. Foley is showing off his passion for drums. Ali is ready to give an outstanding performance. Patty catches his mic after flinging it high past the stage structures. Giving diehard fans a taste of their upcoming album, Do You Remember, offers the nostalgic reminiscence of the band's roots. Finishing their set with the classic Dial Tones, the band’s energy was contagious. A track that compels the crowd to erupt into chaos. Family reunions occur at every edge of the pit, and crowdsurfers cover the surface of the front crowd. AS IT IS leaves clarity hanging in the air: this is just the beginning. (TK) LANDMVRKS Debuting at Download festival for the French metalcore band LANDMVRKS was already a huge achievement. To have built up a fanbase to perform on the main stage was astounding. Opening the set with relentless energy and flaring pyro, Florent Salfati's compelling crowd control immediately sparked waves of crowdsurfers and mosh pits. Rage was evident as Sulfur had built momentum for deathly screams. Shifting between hip-hop melodies in English and French and crushing metalcore breakdowns in Blood Red, it becomes clear why LANDMVRKS have received such high praise. The band's infectious energy lingered as the crowd dispersed, with fans already looking forward to a future performance by LANDMVRKS. (TK) TRIVIUM In 2005, Download welcomed TRIVIUM with open arms and gave them the biggest set of their careers at that point. 21 years later and many visits since then, TRIVIUM have returned to their biggest set as sub-headliner to 90,000 strong. And the show they put on absolutely solidified their place in that slot, opening with Pull Harder On The Strings Of The Martyr, they wasted no time taking the audience on a showcase of all their greatest hits; punts erupted as the band cut deep into the ears of every punter at the festival. The sheer restlessness of this band pulled you in and gave you no time to rest with the level of talent and intricacy they displayed as Guitarist Corey Beaulieu did not falter on both his playing and unclean vocals, as was the same for Lead Vocalist Matthew Heafy, never missing a note and giving a brilliant and positive energy to the set that only ever uplifted the crowd. It’s safe to say that this set was one of the best of the entire weekend. (BB) AS EVERYTHING UNFOLDS One of the weekend’s most impressive performances came from As Everything Unfolds, who delivered a set that felt far too big for their slot. From the moment they stepped on stage, the band had the crowd completely in the palm of their hand, blending crushing heaviness with soaring melodies that had fans singing along from the front barrier to the back of the field. Charlie Rolfe was a commanding presence throughout, effortlessly switching between powerful vocals and raw emotion while encouraging the crowd to give everything they had. The band's chemistry was undeniable, with each member bringing an infectious energy that never let up. It was a set packed with passion, confidence and momentum, proving exactly why As Everything Unfolds are becoming one of the most talked-about names in modern British alternative music. (MG) CREEPER Playing three sets over the Download weekend, CREEPER once again demonstrated their flair for theatrical, immersive performances. Starting with the three same songs at opus stage and dogtooth stage, it was evident that the shows were going to have a focus on gothic glam sister albums: Sanguivore. The crowd was packed with devoted fans, screaming every lyric. Razorwire showcased the phenomenal vocal range of Hannah Greenwood. As the mistress of death struts out onto stage and a guillotine was present, the crowd knew they were in for a show. With William Von Ghould’s head dropped into a basket and held up triumphantly, the Friday set comes to a close with roars. The vampire familiar Darcia opened the dogtooth set on Sunday with Will’s decapitated head, embracing the theatrical ending of the Friday set. A sign of relief crosses the crowd as Will’s head is successfully stitched back on, ready for a new set consisting of a new array of tracks. A sweet dedication of “more than death” to Will’s girlfriend was proclaimed as the song made its first debut at a festival. CREEPER are a band that could perform multiple times in one weekend! Captivating a crowd and leaving a lasting impression is what continues to set them apart. (TK) PENDULUM Whilst Download Festival holds home to metal adjacent genres, PENDULUM’s unique fusion of drum and bass and rock is consistently welcomed by attendees. Featuring heavier tracks from Inertia, the band invited chaos into the crowd as mosh pits formed, kicking up clouds of dust. A guest appearance from Rou Reynolds had the audience ecstatic with seas of claps to a newer rendition of Sorry You’re Not A Winner. After an encore, PENDULUM’s hits were piled on from witchcraft, watercolour and tarantula. A palpable energy filled the Donington grounds as the crowd danced with infectious enthusiasm. PENDULUM continue to spotlight the diversity within alternative music. (TK) SCENE QUEEN One of the most chaotic and high-energy sets of Download Festival 2026 came from Scene Queen on the Apex Stage, and it felt like total controlled chaos from start to finish. Opening with Barbie & Ken and Pink Push-Up Bra, she set the tone instantly, turning the field into a pink, shouting, mosh-ready crowd. Later tracks like Pink Panther and Pink Rover pushed things even further, with call-and-response moments and pits breaking out across the Apex Stage. Between songs, her crowd interaction kept everything moving at full speed, making it feel like one continuous, messy celebration. By the end, the Apex Stage felt completely taken over, loud, unhinged, and unforgettable in every way. Proving she can dominate big festival stages without losing the attitude that made her breakout in the first place at all here. (MG) THE PLOT IN YOU Fans gathered in droves for one of the loudest names in metalcore as of late, THE PLOT IN YOU. Playing at the Opus stage on Sunday, directly following THROWN, most of the crowd stayed in their spot to see both of these huge up-and-coming artists. Having last played in the UK in October, this set marked their first-ever appearance at Download, and the crowd showed up for them. Brutal mosh pits lined their set with a constant flow of crowd surfers being hoisted over the barricade while they played hits like the brand new Divide as well as classics, Forgotten and Feel Nothing. (AS) SPITTING GLASS If you were hoping to take it easy for the last day, tough shit, as SPITTING GLASS ripped apart the morning peace in their Download debut on the Dogtooth stage. Whether fatigue or nerves held fans back at first, it wasn't long before the band’s frenetic energy spilt over into the crowd, and chaos reigned supreme, with circle pits, full-body headbanging and cartwheeling fans releasing their inhibitions to the opening track Full Send. A quick check-in from The Nicest Hardcore Guy Joe Bad was swiftly followed by a scream-along of “I'm fucking spitting glass” to 1HP. Debut? Completed it, mate. (JS) SOUTH ARCADE Download newcomers South Arcade took to the Apex Stage for the first ever time in their career, and we do not believe it will be their last. Arriving on stage to a growing crowd of thousands of people, South Arcade wasted no time launching into HOW 2 GET AWAY WITH MURDER. From the opening moments, it was clear that the band had this infectious energy that drew attention. Vocalist Harmony Cavelle owned the Apex Stage with confidence, balancing insane vocals with the playful, bubbly attitude that the band has become known for, thanks to their rapidly growing online presence. (EM) SILLY GOOSE At the Avalanche stage, someone nearby asked their friend if SILLY GOOSE were even heavy enough for mosh pits. Within minutes, the entire crowd had their answer, tearing the tent apart with barely a person left standing still. Frontman Jackson Foster whipped everyone into a frenzy from the first note, Live It Up getting the whole place screaming about ‘rockin’ with the goose’. Red baseball caps everywhere made it feel like the unofficial LIMP BIZKIT warm-up. He closed Bad Behaviour by leaping off stage himself to help catch crowdsurfers, the whole sweaty tent feeling like it had stepped straight into a music video. (AC) HOT MILK HOT MILK turned the Avalanche Stage into absolute mayhem with a set that never eased off the accelerator. Before the band had even properly settled into their opening moments, Han was already screaming, " Where's my giant hole, where is the movement?" and from there the energy simply never dropped. The band's ability to connect with the audience was one of the defining features of the performance. Han Mee in particular was relentless, demanding the same level of energy from the crowd that she brought to the stage herself. The result was pure chaos, with pits constantly forming and movement spreading throughout the packed audience. What stood out most was how willing the crowd were to follow every instruction. Whether it was singing back lyrics, throwing themselves into the pits or simply matching the band's intensity, the audience became an extension of the performance itself. At one point, Download's trademark festival weirdness made an appearance when a fan dressed as Cookie Monster found themselves in the middle of a circle pit, drawing laughs from those watching while somehow fitting perfectly into the madness around them. HOT MILK has always thrived on high-energy live shows, but this felt like a statement performance. Loud, chaotic and packed with personality, it was one of the most entertaining sets on the Avalanche Stage all weekend. (JN) TOM MORELLO It doesn’t get more legendary than this. When one of the greatest guitarists of all time graces the stage, you can’t help but fall in love with his energy, message and insane talent. Playing everything from his solo songs to a medley of all of RAGE AGAINST THE MACHINE’s best riffs throughout their whole discography, this group of musicians accompanying Morello, including his son, Roman Morello, who astonished the crowd with his intense skills as a sensational guitarist despite his age. Morello did not hold back in the song choices, choosing to also throw in Like A Stone by his band with Chris Cornell, AUDIOSLAVE, which was especially moving with imagery of the late Cornell on the screens. But no moment was grander and more significant than when Morello called out Fascism and ignited into KILLING IN THE NAME to create the peak of the set. (BB) LIMP BIZKIT Few bands can command a Download crowd quite like Limp Bizkit, and their 2026 appearance was a reminder of exactly why they remain festival favourites. From the moment the opening notes rang out across Donington Park, the atmosphere shifted. What followed was a set packed with nostalgia, chaos and an undeniable sense of fun as thousands of fans threw themselves into every song. Frontman Fred Durst had the crowd eating out of the palm of his hand, effortlessly bouncing between humour, crowd interaction and the swagger that has defined the band for decades. Classics such as Rollin', My Generation and Break Stuff sparked huge sing-alongs and relentless movement across the field, with circle pits opening up almost instantly. While many came for the nostalgia, Limp Bizkit proved they are far more than a legacy act. Their set felt energetic, fresh and perfectly suited to the Download atmosphere. Equal parts ridiculous and brilliant, it was one of those performances where everyone seemed to leave with a smile on their face, reminded of why Limp Bizkit continue to be one of the most entertaining live bands on the festival circuit. (MG) PALEFACE SWISS Don’t let a band go without food vouchers. Download festival wasn’t ready for the sassy, hangry band who were ready to unleash rage. Whilst not being able to encourage crowd chaos and playing a set before 3 pm, the deathcore fans had united with their common purpose. Any sense of order dissolved within seconds as an influx of crowdsurfers swarmed over the barricade to “hatred”. “Best before: death” invites a call and response with pyro flaring in front of the band. PALEFACE SWISS carry a contagious and controlled energy that highlights their passion and crushing heaviness. If you need proof that the upcoming The deathcore scene is thriving. PALEFACE SWISS is a band to look for. (TK) A DAY TO REMEMBER If there was one set that felt like pure Download chaos in the best possible way, it was A DAY TO REMEMBER. From the second they hit the stage, the crowd exploded into a sea of crowd surfers, circle pits and voices screaming every lyric back at the band. Their set was the perfect mix of crushing breakdowns and massive sing-along moments, bringing together old-school fans and first-timers alike. There was something special about looking around and seeing thousands of people completely lost in the moment. Loud, emotional and relentlessly fun, it was the kind of Download set people will still be talking about long after the festival ended. (MG) BAD OMENS For the first time, BAD OMENS finally played at Download festival, after a cancelled appearance in 2024. The band shot straight up to the second on the bill on the Apex stage, coming on just before their good friends LINKIN PARK on the Sunday this year. The band gathered a huge crowd and did not disappoint; they played their hits such as Just Pretend and Limits, as well as shiny new songs like Spector and Impose. Lead vocalist Noah Sebastian brandished his live vocals, switching from light and airy high notes to deep barking growls. The end of their set Dethrone was certainly the most impressive of their set, raining down their rage on the festival and leaving their mark on the Apex stage. (AS) MELROSE AVENUE Melrose Avenue at Download Festival 2026 felt like one of those breakout sets people stumble across and then don’t shut up about afterwards. Melrose Avenue took to the Avalanche Stage, and even in that early slot, they managed to pull a crowd that spilt well beyond the tent. From the first song, their mix of modern alt-rock hooks and heavier, more emotional edges landed straight away. It had that perfect Download balance of being catchy enough to draw people in, but gritty enough to keep the heavier crowd locked in. The band looked genuinely stunned by the reaction at first, but quickly settled into it, feeding off the energy and tightening with every track. By the end, the Avalanche Stage felt packed, loud, and fully theirs for the moment—a proper “we’ve arrived” kind of performance that hinted at much bigger stages to come. (MG) THE PRETTY WILD A Labubu, Ghost Face, and a cockroach enter a circle pit. That's not a joke, it's what happened at THE PRETTY WILD’s set. The Avalanche Stage was just right for their indelible energy and for the explosive crowd, mosh pits opening the moment sister/singer duo Jyl and Jules Wylde bounded on stage. Harmonising clean vocals and taking it in turns to fry-scream PARADOX over ear-bursting drums and guitar, it was as wild as could be, even down to security headbanging and dancing, the sisters dedicating button eyes to “the girly pops” and everyone losing their minds to supreme favourite Sleepwalker. (JS) THORNHILL One of the most standout moments at Download Festival 2026 came from Thornhill on the Dogtooth Stage, where they delivered a set that felt heavy, cinematic, and completely absorbing from the start. Opening with Arkangel, they immediately set a dark, atmospheric tone that pulled the crowd deep into their sound. The tent filled quickly, with people packed in tight, locked into every shift between aggression and melody. Mid-set tracks like Casanova and Viper Room hit hard live, with huge riffs cutting through the space while the vocals added a haunting emotional weight. Every transition felt deliberate, building tension rather than just moving through songs. By the final moments, the Dogtooth Stage felt like a different world entirely—intense, immersive, and one of those sets that sticks with you long after the noise fades. (MG) RORY TikTok sensation RØRY landed herself a slot at the Apex stage on Sunday, and she absolutely brought her A game. Her lyrics are emotional and vulnerable, with a lot of her songs, like Anti-Repressant and Sorry I’m Late, relating to her struggle with mental health throughout her life. The crowd was full, especially of a younger audience singing their hearts out, and some even being brought to tears. Years of playing tug of war with the music industry and eventually finding her feet through social media have rewarded her with a deeply connected and caring fanbase. (AS) DOGSTAR After a triumphant return a few years ago, DOGSTAR have had a newfound wave of fans after they picked up their instruments for the first time since 2002, and this performance marked their first time at Download, and they didn’t miss a beat. They pulled a pretty huge crowd for the Opus stage as everyone certainly wanted to take a look at the legendary Keanu Reeves on bass, with many signs and call-outs being directed at Reeves as he felt the love radiating from the audience. The band took it through the motions as they showed their range with beautiful, slow and melodic songs before rotating back to songs heavier on the riffs and hitting a bit harder. After 20 years away, DOGSTAR certainly haven’t lost it. (BB) DIE SPITZ DIE SPITZ have exploded onto the scene, and their Avalanche stage set demonstrates exactly why they've gone nuclear. All bets were off as bassist Kate Halter literally walked out on stage on her hands before kick-off track Pop Punk Anthem (Sorry For The Delay), guitarists/drummers Ava Schrobilgen and Chloe de St. Aublin casually swapped instruments mid-set, and Eleanor Livingston harmonised forceful growls with Schrobilgen on My Hot Piss as Halter wheeled about the stage like a Beyblade. It was manic, it was wild, it was everything. (JS) VIANOVA Getting to the barrier early for VIANOVA paid off in full. Frontman Alex Kerski strolled out in his trademark fluffy ushanka and orange sunglasses, grinning at the crowd: “I see the hats, I know you guys know the words!” Squier Talk hit hard despite Alex sweating it out in a sweater and slacks. Genuinely impossible to pin down, their sound fuses jazz, soul, metalcore, pop and swancore into something that just works, heavy riffs colliding with proper singalong choruses. The pits delivered, fluffy hats flying everywhere amid constant crowdsurfers. Another Dogtooth band is making the case for checking out smaller acts. (AC) ICE NINE KILLS Ice Nine Kills, a band that is no stranger to the Download scene, made their return to the Apex Stage on the last day of the festival. Just six months after they hosted their A Work of Art Tour across the UK, the theatrical, horror-inspired band were set to perform in front of the thousands of people in attendance that Sunday. Musically, Ice Nine Kills blends elements of metalcore, punk and hard rock to create a sound that complements their horror-inspired storytelling perfectly, pairing well with their theatrical elements. All of the band members were constantly energised and jumping around the stage, which felt very contagious to the audience. (EM) THROWN Making their Download Festival debut, THROWN arrived on the Opus Stage with a lot of hype surrounding them, and they more than lived up to expectations. From the opening moments, it was clear the crowd had been waiting for this one. The audience response was immediate and intense. Pits erupted across the field almost constantly, with fans two-stepping from front to back as the band's crushing sound echoed around the arena. There was a raw aggression to the atmosphere that suited THROWN perfectly, creating one of the heaviest crowd reactions of the weekend. The Swedish outfit delivered a performance that felt uncompromising from start to finish. Their blend of crushing riffs and relentless breakdowns kept the crowd moving throughout, while the occasional flashes of crowd killing added to the sense that anything could happen at any moment. Despite the chaos, there was a shared understanding among fans that they were witnessing a band fully embracing their first appearance at Download. Vocally, the performance was exceptional. The harsh vocals sounded every bit as powerful live as they do on record, cutting through the wall of instrumentation and driving the set forward with real intensity. For a first Download appearance, Thrown looked completely at home on one of the festival's biggest stages, delivering a set that left many fans hoping it won't be their last visit to Donington anytime soon. (JN) LINKIN PARK After 12 long years, LINKIN PARK returned to Donington to make history as the first female-fronted headline act in Download history, and they brewed up a show that goes hand in hand with their previous headline shows as absolutely legendary. With an incredible set-up, impeccable light show and an insane amount of confetti, they pulled out all their stops for this set. Opening with their newest hit, The Emptiness Machine, Emily Armstrong put any doubters to sleep as she powered through every song on the set, keeping up with the rest of the band's talent and experience. The new era of LINKIN PARK is certainly here and they took the audience on an unstoppable joyride of new songs and old bangers that kept the crowd moving the entire time, with an insane amount of mosh pits down the front, jumpers in the back and everyone singing at the top of their lungs, Donington embraced this new version of LINKIN PARK with open arms, tears were shed, and so many moments of energy were had to make an incredible headline set for the ages. (BB) See you next year, Download!

Earlier this year, JUNIUS released their first new song in nearly ten years. It’s been quite the break for them - since 2017’s Eternal Rituals For The Accretion Of Light they’ve only played a few gigs, including a short Europe tour last year. With that in mind, new music wasn’t a huge surprise, but with all this time having passed, and only two founding members remaining in the group, a completely different sound was to be expected. That’s what they did with Initiatrix, the lead single for Sotera, their fourth full-length LP. JUNIUS are a band that often get slapped with the “post-metal” label, which first time listeners might find somewhat confusing, considering Initiatrix is played quite straight, leaning more into gothic metal than anything else. There’s operatic vocal performances from Joseph E. Martinez, as well as dark and almost choral walls of guitars in the chorus, with a generally moody atmosphere across its runtime. It’s a solid tune, and while not as ambitious as other cuts on the album, makes sense as a sampler for the record. This is clear on the opener, Disciple. The gothic feel is on full display here, with a wonderful post-chorus, as he croons “I am the one you doubt” and “I’ll make you fall in love”. There’s a massive emphasis on space on the track, every instrument feels miles apart, anchored together by the permeating rhythm from Dana Filloon’s drums. The way the three guitar parts work together in tandem here feels entirely natural, despite them all achieving drastically different effects. It sets the stage perfectly for the second track here, The Oracle. The Oracle opens with a noisy, distorted riff that wouldn’t feel out of place in a post-hardcore song. Don’t be misled, however, as the verse kicks in with Martinez wailing over pounding toms in a Robert Smith-esque vocal inflection. The relative quietness of the verse and the almost happy-sounding chord progression only adds to the release given by the chorus. It feels gargantuan on this song in particular. The bridge after the second chorus features feedback and loose, distorted playing over a spoken word section. It’s the first hint that there’s more to this song than meets the eye. Of course, it doesn’t take long for this to come into full effect, as the second half of this song ends up leaning more into prog metal. There’s a certain tension to the occasionally chugging guitar and Martinez’ disaffected vocals, broken by his screams launching the song into its exhilarating outro, everything coming back together. An extremely dense track, and likely the highlight here. Elsewhere on the record, we get tracks like Darkwater, a slow burn with the most prolonged calm before the storm on the album. When said storm approaches three minutes in, it never leaves. Occasionally dropping one sole distorted guitar into the right channel before exploding again, it’s an intense experience. This one really lets the group’s guitarwork shine, a testament to their ability to build a grand soundscape out of them. Lucifera is easily the most mellow tune on here, opening with nothing but chorused-up guitars, with an intimate vocal performance from Martinez, especially when he goes into that higher register. There’s still that all too familiar gothic darkness on here, condensed into its purest form yet. With comparatively softer and slower instrumentation throughout, it almost feels romantic. We end on Scythian, six and a half minutes long, making it the longest track on here. It certainly lives up to that, rarely relenting - and if it does, it’s either in service of a huge wall of sound, or something entirely new. Usually both. A fitting end to such a grandiose and theatrical album. Sotera is an album that feels like it should be taking bigger swings than it actually does. There are some great moments here, like The Oracle and Scythian, where their ambition shows on full display and sticks the landing completely, but after ten years or so, it feels as though something is missing. JUNIUS have crafted a group of songs that, at points, feel somewhat underdeveloped, but with a little extra care, could be fantastic. For that, we’ll just have to see how they bloom in a live setting. Score: 6/10 Sotera will be released on 26th June 2026 via Prosthetic Records. Words: Noise Leonard Photos: Junius

MILLION MOONS, a relatively small group on the London post-rock circuit, are back for their third full-length LP, You Be Good, I Love You. Already striking is the title and artwork, both a reference to Alex the Parrot, a parrot studied by scientists researching animals and their ability to communicate with human intelligence - the title is named after his last words. So it’s all the more effective when you find out the album’s thesis is about the complexity of the animal kingdom, the ultimate thesis being that animals are not “less than” humans. This is captured immediately on opening track Titan of the Deep. The title refers to the rarely seen colossal squid, reflected by the song’s sweeping tremolo-picked guitars to create an image not of ferocity, but of majesty. The nearly nine-minute runtime allows the piece to breathe - the section five minutes in features driving drums that increase in intensity as does the lead guitar melody, eventually crescendo-ing in a tidal wave of sound. An extremely cinematic depiction of one of the most mysterious creatures on the planet, but a fitting one regardless. Second track Last Days Together on the other hand is utterly heartbreaking. A song about the final few days with a pet, it evokes THEE SILVER MT. ZION MEMORIAL ORCHESTRA’s classic debut album, which Efrim Menuck similarly devoted to his dog Wanda. And while MILLION MOONS are clearly more influenced by groups like MOGWAI, the real sense of sentimentality is present here too. The final climax effortlessly manages to distil a wave of mourning and grief-stricken emotion into just a few minutes. Secret Histories is undoubtedly the centrepiece of this project, five tracks in and just about the lengthiest piece here. The album as a whole thus far has attempted to paint a picture of wildlife, notably their habitats. Obviously, there’s an elephant in the room here, and multi-instrumentalist Edward Thompson says as much, as a marine conservationist - “it’s truly sad what has happened to their habitats as a result of human activity.” Secret Histories wordlessly approaches this subject head-on, with various changes to the sonic landscape that are impossible to ignore across this piece’s runtime. So many walls of sound that it becomes impossible to turn your head away. It feels like a call to action in a totally non-judgemental way. A reminder of hope in the face of cruel odds, that we are all fighting this together, and not just humanity, at that. The closer here, Floating For Eternity opens on these soft piano notes, and the type of guitar playing and drumming that wouldn’t feel out of place on a MONO album. As the drums intensify, we reach our first crescendo. The piano plays the same melody, a constant, not quite buried in the ferocity of the unrelenting guitars and drums - and then as it winds down, silence. There’s still just under five minutes left of the song, but nothing plays at all, no matter how long you wait. It’s like what BOARDS OF CANADA did with the silence throughout the duration of Magic Window, it’s clearly purposeful, which makes it all the more unsettling. That’s the note, or rather, lack thereof, that we’re left to ruminate on. MILLION MOONS’ third full-length is a highly sentimental journey through vibrant sonic palettes that reflect the natural world. While the instrumentation itself isn’t exactly re-inventing the wheel, the intent behind it is extremely commendable, and as a result the imagery provoked by the music is wordlessly and effortlessly more effective as a result. Here’s hoping we hear more from them soon! Score: 7/10 You Be Good, I Love You will be released on 26th June 2026 via Ripcord Records. Words: Noise Leonard Photos: Callum McMillan

For a band whose music has always balanced vulnerability with infectious indie-rock charm, In Heaven There’s Rainbows feels like the moment SNARLS truly come into their own. The Ohio quartet’s latest EP is both a celebration of youthful optimism and an acknowledgement of the realities that threaten to dull it, delivering six tracks that shimmer with hope while carrying the scars of growing up. At its core, In Heaven There’s Rainbows is about holding onto the things that once felt impossible. Whether it’s chasing creative ambitions, preserving meaningful relationships or refusing to abandon the dreams that shaped you, SNARLS spend the EP navigating the often complicated space between who you were and who you’re becoming. It’s a relatable premise, but one that the band executes with enough sincerity and personality to avoid slipping into cliché. Leading the charge is recent single One Wish, arguably the clearest representation of where SNARLS are heading next. Written as a reminder to actively pursue the dreams you once imagined for yourself, the track bursts with colourful energy. Bright melodies collide with noticeably grittier guitars, signalling the heavier direction the band have hinted at while retaining the infectious hooks that have become their trademark. There are flashes of WET LEG’s playful confidence and the expansive indie-rock textures that have made WOLF ALICE such a formidable force, but SNARLS never lose sight of their own identity. Instead, they use those influences as a foundation for something increasingly distinct. What’s immediately striking throughout the EP is just how much more confident the band sound. Previous releases showcased their knack for crafting memorable indie-rock songs, but In Heaven There’s Rainbows feels far more focused and deliberate. The guitars hit harder, the choruses land with greater impact and every arrangement feels carefully considered. Rather than chasing trends, SNARLS appear to have spent time figuring out exactly what they want the project to sound and feel like. That confidence extends beyond the instrumentation. Lyrically, the EP captures the strange contradiction of modern adulthood: the expectation that you should have everything figured out while simultaneously feeling completely uncertain about what comes next. SNARLS tackle those anxieties with refreshing honesty, avoiding grand declarations in favour of smaller, more personal reflections. The result is a collection of songs that feel deeply human, inviting listeners to see their own experiences reflected back at them. What prevents the record from becoming weighed down by introspection is its undeniable sense of fun. Even during its more reflective moments, In Heaven There’s Rainbows remains vibrant and alive. The band’s chemistry is impossible to ignore, with every track benefiting from the feeling that these songs were built collectively rather than around a single creative voice. It’s fitting, then, that the idea of friendship sits at the heart of the EP’s identity. The belief that shared ambition can overcome uncertainty runs through every song, giving the release an uplifting undercurrent that lingers long after the final notes fade. The title itself perfectly encapsulates the EP’s outlook. It’s whimsical and slightly surreal, suggesting that beauty can exist even in difficult circumstances. That perspective defines the entire project. Rather than pretending life is easy, SNARLS acknowledge the challenges that come with growing older while choosing optimism anyway. It’s a subtle distinction, but an important one. With In Heaven There’s Rainbows, SNARLS aren’t reinventing indie rock, nor do they need to. What they have done is refine their strengths into a concise and compelling statement of intent. By embracing heavier textures without sacrificing melody, and pairing emotional honesty with an undeniable sense of joy, they’ve delivered their strongest collection of songs to date. For anyone who’s ever felt caught between youthful ambition and adult reality, In Heaven There’s Rainbows offers a welcome reminder that it’s never too late to keep chasing what matters. Sometimes all it takes is one wish, and the courage to follow it. Score: 8/10 In Heaven There's Rainbows will be released on 26th June 2026 via Take This To Heart Records. Words: Angel Turley Photos: Sumner Howells