With festival season and summer drawing to a close, many music lovers are currently left waiting for their next music fix. Thankfully, fans were saved from their post-festival blues by recent All Points East performers HEADSEND, as they took to the stage in Camden for a night of raw, unfiltered talent. Australian-based alt-rock grunge trio HEADSEND started out in 2024, and have supported the likes of WUNDERHORSE, TOOL and AC/DC. With fans queuing en masse in hopes of getting into their London gig, it was clear that HEADSEND were more than ready to headline in the UK. A crowd gathered in the bar downstairs, eagerly waiting for the venue doors to open. Those that got there early were treated to the sounds of support act BLOOM soundchecking in the space above, the bass reverberating through the whole building as anticipation for the night grew. After navigating a few technical difficulties, the night was underway. Under cool, blue lights, BLOOM launched into their first song of the night. Unusually, there was no setlist or introduction from the band about what was to unfold. The band have yet to release their music on any streaming platforms, but have been teasing snippets of original songs along with acoustic covers to their tens of thousands of TikTok followers. Like any true alt-rock band, the four-piece Bristolians kicked off their first song showcasing their technical skills with a guitar shred solo before launching into the main melody and sustained vibratos. Keeping the energy high, they intensified the grunginess of their set with a heavy riff from lead guitarist Toby Coup. The band built up the tune nicely, Reuben Griffiths adding a steady cymbal and drum beat with bassist Finley Cornwall and lead singer/guitarist Charlie Port joining in as the beat dropped as the crowd moved to the rhythm. As the band moved through their set with ease, Charlie put down his guitar, trading it for a pint glass. It was at this moment the crowd got to see a new side to BLOOM. Short, catchy guitar riffs and a steady, slow drumbeat complemented Charlie’s raspy vocals. He stood sipping beer in between vocals like a Gallagher brother on stage, with the talent and edge of an alt rockstar. Anticipation built as the crowd, already buzzing from the support act, were ready for the main event. Having made their All Points East debut just a day prior, there was a mixture of nostalgia from fans who were able to witness their performance with excitement from those who were seeing the trio for the first time. HEADSEND wasted no time demonstrating their talent, opening with Stove. Drummer Bon Soric led the charge on this track with his steady but equally energetic beats. Facing each other, the band fed off this energy, bassist Kyuss King following suit, with lead singer Rasmus King launching into raw, gritty vocals. Stove created an electrical current in the room, with the crowd instantly thrashing their heads. Moving through the set, fans were treated to upbeat rhythms of And Angel and Doo doo, both tunes reminiscent of the 90s grunge scene. Before continuing the show, frontman Rasmus took a brief moment to introduce the band and express thanks to the crowd for their support, of which the room erupted into thunderous cheers. The audience was treated next with Biopsy of an Unknown Growth, HEADSEND’s latest single. The haunting vocals and the guitar melody reverberated throughout the room, building up momentum to a crescendo where drummer Bon really let loose. The room exploded as a powerful tidal wave of pure emotion flooded into the crowd before drawing back again to the grungy melody of the next verse. Chugg kept the momentum high, with the themes of anger and confusion reflected in the short, sharp riffs. Slowing down as the lyrics of ‘“I’m asking for a friend/You’re free until the end” echoed around the room before picking up the pace as the band went into the next verse. With epic changes in tempo, Chugg cemented HEADSEND’s power within the grunge scene. Finishing off the night, the band went straight into their unreleased track Slayerish. The low vocals and simple, clean repetition of guitar riffs immediately sent the crowd into a hypnotic sway. Bursting into raw screams, the song took on a new life as the band did what it does best - jam out at full force. The sound was literally bouncing off the walls as Rasmus crashed into the side of the stage as the trio went all out for their final song. The way that HEADSEND effortlessly commanded the energy of the night was magnetising. There is no doubt that HEADSEND possess an authentic talent, and are certainly ones to watch in the alt-grunge scene. Words: Mary Horner Photos: Simon Whytock

As lightning lit up the sky over the iconic Digbeth area of Birmingham, five bands descended upon the Subside bar, intent on rivalling the roar of the thunder with their own might, led by UK based pop-punk four-piece DOWNCAST on their UK summer tour. This free gig was a must-see endeavour for pop-punk enthusiasts, which is why it was a shame to see the floor of the dim, warmly lit pub somewhat quiet for the first act, alt artist LENNOX, who were certainly a promising sound to start the night. Full credit is owed, as one might walk past outside and imagine a room full of sweaty bodies rocking out with such energy radiating from the trio, clearly dead set on delivering 100% for those early goers. Paul Lennox’s vocals were delivered without nerve, having a naturally enticing voice for rock that he demonstrated clear capability to control, while Adam on bass and Nathan on drums performed with their own technical abilities evident. With a strong stage presence and equally solid sound, this felt like the ideal opener for a powerhouse like DOWNCAST. West Midlands based alt-rock band NOTHING IN RETURN were next in line, another up and coming group keen on making themselves known in the scene, wasting no time getting into gear and letting loose. Their set was not without tribulation however, as their guitarist was temporarily out of action due to a technical issue, but luckily, he was in good hands, as the rest of the band held their nerve and nailed the song despite the setback. With a sound drawing inspiration from many contemporary indie rock artists, their set offered a less intense, but still catchy pace to an otherwise rather full-on selection of artists. Finding themselves caught short of time, the band tore into their final track, which was arguably the grandest, most infectious piece of work they had in their arsenal, including a sweet guitar solo, which worked well to make an impact before concluding their appearance. The remaining openers accompanied DOWNCAST throughout their tour, truly elevating the evening as by now the ever-dimmer bar had started to collect fans and intrigued patrons alike. The first of said openers was STAY SAFE, a Manchester based four-piece that immediately burst into action with frightening enthusiasm, demanding complete attention from the crowd. The word to sum up this set would be ‘relentless’, with the energy and presence that could be reserved for much bigger crowds, but these lads clearly aren’t fussed, they just want to be on a stage together kicking ass, and that’s exactly what they did. The most notable aspect of their set other than their immense power was their chemistry, both as a band and with the crowd, smiling throughout their entire set, interacting with one another, and guitarist Chris planting himself amongst the crowd on multiple occasions. The brother of bassist Jack even had a moment to shine, trading spots with Chris for a song. This truly felt like a headline performance, brilliant pop punk set from all members (and Jack’s brother). Somehow after that there was still one more act before the actual headline, a band that made the impressive journey all the way from Poland to be a part of this tour, this being CF98, a pop-punk band raised by the likes of GREEN DAY and PARAMORE, who spend a lot of time wreaking havoc across Europe. Vocalist Karolina was highly animated, bringing an infectiously joyful energy to their aggressive sound that the audience easily latched onto. If you’ve ever been in a small crowd in a charming pub and thought “this place could really use a wall of death right now”, Karolina has got you covered. A tight, unfaltering performance of blazing drum work, riffing guitars and powerful vocals, including a few covers from the likes of BLINK 182, much to the delight of those attending. Finally, after hours of commendable dedication to giving the best performance possible, we are left only with DOWNCAST, and with lightning continuing to flash over the Birmingham skyline, it only made sense for the opening song to be raincheck, the opening track from their 2024 EP ‘WTF HAPPENED???’. As guitars swung, cymbals crashed and screams tore through the air, the band established that they meant business, and all around the dancefloor heads were rolling, with it being almost impossible not to rock along. Maintaining such power, especially for vocalist Liam, must be a brutal task, but he nor any other member showed this during their set, which extinguished any feeling of fatigue beforehand as an audience member. Deep into the set bassist Jeff lifted himself upon a speaker, motioning towards the crowd to lend a few hands, and despite being a handful of people, they enthusiastically carried him around while he played, which was quite the spectacle for onlookers. The set ultimately closed with catharsis, the band’s 2020 track that grew to become their most beloved, an undeniable banger that easily blows the roof off any venue, and an epic climax to a thrilling evening. Words & Photos: Paul Cutts

Crawling out from beneath the crypts of London, GREEN LUNG return with their fourth studio album, Necropolitan. After the enormous reception they received when they were announced for Bloodstock 2027, it’s clear there’s still a serious appetite for the band’s particular brand of occult-flavoured heavy metal. And if Necropolitan is anything to go by, both the old guard and any newcomers are in for one hell of a ride. GREEN LUNG have never been shy about wearing their influences on their sleeves and throughout Necropolitan there are plenty of nods towards the likes of OZZY OSBOURNE, BLACK SABBATH and JUDAS PRIEST. Yet, despite those obvious influences, the album never feels like a simple exercise in nostalgia. It’s unmistakably GREEN LUNG, but the band have expanded their sound with enough atmosphere, theatrics and groove to make this arguably one of their strongest records yet. The album opens with the doom-laden transition Open the Hellmouth into Dance to the Grave, immediately dragging you into GREEN LUNG’s dark and theatrical world. Haunting vocals and ominous organ give the track plenty of momentum before the doomy guitar work crashes in. From there, the band lean heavily into everything that makes them so enjoyable. Black Magick Radio fully embraces the theatrical side of the band, blending vintage keyboards with a hazy occult-rock atmosphere that feels ripped straight from the late ’60s and early ’70s. Close your eyes and you could almost convince yourself that the great OZZY OSBOURNE has returned to summon us back to the hallowed grounds of Villa Park. It’s gloriously retro, wonderfully strange and exactly the sort of track GREEN LUNG does best. That leads into the epic Necropolitan Line, which feels like stepping aboard a supernatural soul train. Taking inspiration from London’s infamous Necropolis Railway, the specialised Victorian railway service that transported the dead and their mourners beneath the city. There’s a funky groove running through it which, given the subject matter, is probably what you can imagine the smell would have been like as well and makes you want to climb aboard, although perhaps not for obvious reasons. Together In Death pulls the album into darker, more melancholic territory, with a noticeable nod towards the theatrical gloom of ALICE COOPER. The slower pace allows the gothic atmosphere to breathe, creating one of those moments where you can simply sit back and let the song come over you. Then comes Ozymandias, which takes a completely different approach, bursting into life with funky riffs and chunky grooves. Inspired by Percy Bysshe Shelley’s famous 1818 poem about the temporary nature of political power and the inevitable decay of empires, GREEN LUNG turn the story into a wonderfully theatrical piece of heavy metal storytelling. It feels as though the band are standing on a podium, delivering the warning for everyone to take heed. Alostrael (Be My Babalon) keeps the theatrical momentum going, with Riley Pinkerton of CASTLE RAT adding her distinctive vocals and making an already eccentric track feel even more elaborate. It’s another example of GREEN LUNG understanding exactly how much theatricality they can throw into a song without losing the riffs underneath it. The album closes with To The Gallows Born, a suitably dark finale inspired by the infamous Tyburn gallows in London. There’s a genuine sense of impending doom running through the track, but GREEN LUNG never allow things to become completely bleak, injecting their trademark groove into the darkness. It feels like the perfect final chapter to an album that has taken you through Victorian London, occult rituals, graveyards and supernatural railways. Necropolitan is an album that demands to be experienced rather than simply listened to. GREEN LUNG have packed it with huge riffs, infectious grooves and haunting organs to make every track feel like another chapter in the story. Whether you’re here for the doom, the psychedelic weirdness or simply some bloody good riffs, there’s something to sink your teeth into. It’s dark without becoming miserable, theatrical without taking itself too seriously, and most importantly, incredibly fun. If you’ve never ventured into GREEN LUNG’s world before, Necropolitan is one hell of a place to start. Score: 9/10 Necropolitan will be released on 11th September 2026 via Nuclear Blast Records. Words: Ciara Hicks-Evans Photos: Andy Ford

RØRY has built a career on saying the things many people struggle to admit. Across her music, she has turned trauma, recovery, anger and the messiness of simply trying to survive into songs that feel painfully honest. That honesty has earned her a fiercely loyal audience, and with BLOODLETTING, set for release on 11th September, she appears ready to take that relationship with her listeners somewhere darker. The hype surrounding the album has already been building at a serious pace. RØRY has introduced DEGRADATION, SWALLOW, KIDS THESE DAYS, and DEAD GIRL WALKING to Spotify, while strange having its live debut at Download festival. Those tracks have quickly become favourites among fans, making bloodletting one of her most anticipated releases yet. And based on the album as a whole, the excitement is completely justified. [welcome to the bloodletting] opens the record like a warning. It does not feel like a gentle introduction, but more like the moment before you willingly step into something you already know is going to hurt. The tone is set immediately: whatever RØRY is about to put herself through, she is taking us with her. Then comes DEGRADATION. The opening beat is absolutely insane and immediately makes you wonder just how far RØRY is willing to push herself vocally. The screams are something that fans will be waiting to hear more of as the album continues, and this song delivers some of the heaviest material we have ever heard from her. It is a massive step into a darker and heavier sound, but somehow it still fits her perfectly. SWALLOW immediately shows another side of RØRY’s versatility. The difference between this and the previous track is huge, proving just how much ground she covers throughout the album. Lyrically, it is another standout, while the rap section in the middle is beautiful, especially as it builds around the repeated "swallow, swallow, swallow me". It is one of those moments that sticks with you long after the song ends. a cure for cancer is arguably the most emotionally difficult track on the record. You can hear that this is a tough one. There is a real weight to the performance that makes it feel almost uncomfortable to listen to at times, but that is exactly what makes it so powerful. MORTAL brings in hints of Bring Me The Horizon, while still remaining unmistakably RØRY. The combination works incredibly well. It is a direction that feels natural rather than forced, and honestly, after hearing this, we definitely need more of it. The broadcast-style message of [the death of a people pleaser] brings an eerie atmosphere to the album before KIDS THESE DAYS kicks in. Already a fan favourite, it is an amazing song with a strong meaning behind it, while its music video only added another layer to the experience. Unique and memorable, it is no surprise this track has already found its way onto plenty of on-repeat playlists. DEAD GIRL WALKING is a definite standout song from the album. It is ridiculously catchy, but the heavier beats still hit perfectly. The balance between accessibility and aggression is what makes it work so well, and it feels like one of the clearest examples of RØRY pushing her sound forward without losing what made people connect with her in the first place. GREY brings another shift in mood before [oh when the saints] acts as a fitting introduction to hometown. The interlude gives a small insight into RØRY’s return to Southampton, her hometown, before the song itself explores her complicated relationship with the place and the struggles within it. hometown feels deeply personal, especially knowing the struggles she faced going back there on the blossom tour. The acoustic elements bring out both the emotion and meaning behind the track, giving it a sense of vulnerability that cuts through the album’s heavier moments. STRANGE is one of the slower and more meaningful songs on the album, but somehow that makes it one of the most impactful. Having already been played at Download, the song has given fans a glimpse of just how powerful it can be in a live setting, and in the context of the album, it hits even harder. Finally, [do you want to live] brings BLOODLETTING back to the question at its heart. Featuring messages around why people choose to keep living, it is an incredibly emotional moment and creates a powerful connection between RØRY and her #37club. BLOODLETTING is not an easy album, and it is not supposed to be. It is heavier, darker and more emotionally confrontational than anything RØRY has done before. From rage and grief to mortality and survival, every part of the record feels like an attempt to dig something out that has been buried for too long. And maybe that is what makes BLOODLETTING so powerful. This is RØRY refusing to be nice about her pain. Refusing to soften the edges. Refusing to hide the ugly emotions that so many people are taught to bury. The result is her heaviest and most ambitious album yet. Score: 10/10 BLOODLETTING will be released on 11th September 2026 via SADCØRE Records. Words: Jack Norris Photos: Derek Bremner

Manchester has long been one of Britain’s most prolific breeding grounds for elite music. OASIS and THE STONE ROSES may be two of the city’s most influential exports, but Manchester’s musical identity stretches far beyond them. Within its metalcore and alternative scene, MIDNIGHT SWIM are beginning to make their presence known, and their self-titled debut is an impressive introduction. Formed in 2023 after lead vocalist Jack Valentine and guitarist Danny Heaton’s previous project reached the end of the road, the pair chose not to put their instruments down. Instead, they recruited Matt Lunn on guitar, Matty Ashton on bass and Liam Clough on drums, creating the five-piece that would become MIDNIGHT SWIM. There is an immediately nostalgic quality to the band’s sound, but it never feels as though they are simply attempting to recreate the past. They combine elements of alternative rock, pop and metalcore, taking familiar influences from the 2000s and 2010s and giving them a distinctly modern edge. The album opens with Tease, and it wastes little time making an impression. Valentine’s gritty, abrasive vocals sit alongside a rich electric-guitar riff that runs throughout the track, acting almost as a rhythmic anchor rather than simply waiting for the opportunity to become a traditional guitar part. When the solo eventually arrives, however, restraint goes out of the window. It is explosive, technically impressive and immediately establishes the band’s ability to balance melody with heavier instrumentation. Play It Cool (Wanting More) takes the album in a more accessible direction. Its infectious vocal phrasing and harmonious instrumentation give it an upbeat quality, with a strong 2000s/2010s alternative-pop-rock influence. Crucially, though, it does not sound like a band attempting to recreate a particular era. The nostalgia is there, but it is filtered through a contemporary production and songwriting style. One of the album’s strongest moments arrives with Shaking You From My Feelings Would Be Easier If You Were Dead. The title may be a mouthful, but the song itself is anything but complicated. This feels like MIDNIGHT SWIM at their most natural: energetic, catchy and built around the kind of moments that should translate exceptionally well to a live audience. It has the characteristics of a future crowd favourite, with enough hooks to encourage an entire room to sing back at the band. Don’t Wanna Talk About It introduces a heavier side of the record. One of its most distinctive features is Valentine’s strong Mancunian accent, which gives the track an identity that cannot simply be replicated by another vocalist. The band wear their roots proudly, and there is a clear nod towards their punk influences. It feels rawer than some of the preceding material and provides an important change of pace. Then comes In The Rain, By The Car, featuring additional vocals from Shannon Gillespie. Her voice adds another dimension to what is perhaps one of the album’s most emotionally driven tracks. Rather than relying on wall-to-wall guitar riffs, the instrumentation is used to create atmosphere. The guitar provides texture and space, while the drums prevent the song from becoming static. The real strength lies in the relationship between the two vocal performances. Valentine and Gillespie do not compete for attention; they lean into one another, allowing the emotional weight of the song to build naturally. It is a heartfelt track centred around pain and vulnerability, and its restraint makes the emotion more effective. Sinners turns the amplifier back up. The guitars become more aggressive, while the drums - particularly the bass drum - become a dominant force within the arrangement. The track has an infectious rhythmic quality and feels deliberately constructed for audience participation. Melodically, it is one of the album’s most satisfying moments and another song that feels destined for a loud live reception. Bend & Break takes a more intimate approach. There are shades of SHINEDOWN in its atmosphere, particularly in the way the instrumentation creates space around the vocal. Clough’s drums resonate throughout the track, almost marching beneath Valentine’s softer delivery before his vocals develop into something closer to a desperate cry. It is one of the album’s most emotionally raw performances, and much of its impact comes from the restraint of the arrangement. Clough and Valentine deserve particular credit here; neither attempts to overpower the other, allowing the song to breathe. Then comes Push Back, perhaps the album’s biggest stylistic departure. The track introduces a funkier character without abandoning the band’s heavier guitar sound. The bass is the star of the arrangement, with Ashton moving up and down the fretboard to create a groove that becomes almost impossible to ignore. Valentine’s vocal approach also changes, at times carrying echoes of Patrick Stump, and surprisingly, the comparison works. The combination of funk, rock and pop sensibilities makes Push Back one of the album’s hidden gems and demonstrates that MIDNIGHT SWIM are not afraid to experiment with their identity. Do You Want To Get Away brings the record back towards more conventional rock territory. It is by no means a bad song, but its position on the album works against it. Following the heights of Push Back, it inevitably feels less distinctive. That is perhaps less a criticism of the song itself than a consequence of the standard set by what comes before it. The Last Song I’ll Write About You is arguably the album’s most intriguing collaboration. James Veck-Gilodi, frontman of DEAF HAVANA, contributes creatively to the production and vocals, having previously worked with Lunn and Ashton on an earlier project. His involvement elevates the track without making it feel disconnected from the rest of the album. It is considerably more pop-oriented and modern, with the electric guitar dialled back to create a smoother atmosphere. There are hints of THE 1975 in its approach, but the song never feels like an attempt to imitate them. It moves outside the conventional boundaries of a rock track and, as a result, feels like one of the album’s most commercially accessible moments. Fade, the penultimate track, returns to a heavier sound. The opening guitar immediately establishes a darker tone, with echoes of classic alternative rock and CREED in its construction. When Valentine’s raspy Mancunian vocals enter, the track takes on an almost sonnet-like quality. Once again, vulnerability becomes one of the band’s greatest strengths. There is nothing particularly polished or artificial about Valentine’s delivery; the imperfections are part of what make it convincing. The song feels exposed, and that authenticity runs through much of the album. The record closes with Like You Love To, its longest track, and perhaps its most appropriate conclusion. After the stylistic shifts throughout the album, the placement feels deliberate. The electric guitars are a particular highlight, moving between controlled passages and full-on shredding before eventually giving the impression that the band have emptied the tank. MIDNIGHT SWIM have created a debut that is energetic, varied and emotionally honest. The album moves comfortably between rock, metalcore, pop and funk without becoming completely defined by any one of them. There are songs designed for reflection, songs designed for a festival crowd and melodies that are likely to remain lodged in the listener’s head long after the album has finished. The influences are clear, but MIDNIGHT SWIM do not appear interested in simply replicating the bands that came before them. For a debut, that is perhaps the album’s greatest achievement. It does not sound like a band who have already decided exactly what they are. It sounds like a band discovering how far they can push their sound - and enjoying the process. Score: 9/10 Midnight Swim will be released on 11th September 2026. Words: David Waites Photos: Clayton Visuals

SHOWING TEETH have already taken the hardcore scene by storm, bringing a breath of fresh and vicious air from singer Addison that's received admiration all the way across the pond, with a coveted support slot for BRING ME THE HORIZON’s Count Your Blessings show at Outbreak Fest and a headline show in the heart of Camden. Garnering a rapidly growing fanbase and critical acclaim on just two released tracks, SHOWING TEETH unleash their full assault with ear-shredding EP A Fate Worse Than Loneliness. While some may be amazed at the band’s immediate notoriety with only two tracks, it's a testament to Tennessee-based Addison who started out by posting memes and snippets of her vocals and built the base of their following, exploring and refining her sound until people rightfully noticed her work. She may self-doubt at how quickly her “small project” SHOWING TEETH has taken off, but when you consider A Fate Worse Than Loneliness was partly recorded in her car and still sounds studio-grade level, it's easy to see why. A Fate Worse Than Loneliness leaves an immediate mark with Bad Exchanges’ threatening riffs steadily drowned out by Addison’s distorted vocals building to a thrashing of drums and bone-rattling bass, her screams morphing from guttural, to fry, to pitched shrieks in an impressive display of self-taught vocal power, the opening track a searing brand that says SHOWING TEETH aren't here to fuck around. Labyrinth became an understandably immediate fan favourite, rabid screams pulling us into a tearing rhythm that bends and flexes around the softer chorus of clean, soulful vocals that centre around giving your all to someone to the point of fusing skeletons together, bass riffs swooping upward as guitar shrieks pierce through against raging drum beats. Make It Out steps away from being pure hardcore and blends with alt-metal beats and dual riffs, Addison delivering clean, soaring vocals that descend into guttural growls that show her prowess and expressive experimentation, before the track builds into classically metal guitar solo of epic levels. Rip does exactly as its title suggest and shreds through with thundering drum solos and double pedals that go hard, bass thudding steadily throughout as the guitars shift from menacing riffs to juicy squeals, vocal screams rising and falling in octaves but dominating without question. Shallow Grave combines the exploration and excellence of the band's musical talents to bring together a track that highlights the best parts already displayed on the record, from Addison's alchemising vocal abilities that range sonically and emotionally, to the agility and force at which the riffs are plucked, the unrelenting force of the drum beats bringing the track and the dream of SHOWING TEETH together. A&Ox1 takes us out for a surreal minute and a half of muted synths and dreamlike, fading vocals over a spoken monologue of therapeutic advice of “if you are looking for a better life than you have now, then there are some things you're gonna have to accept”, spoken with a Southern drawl that feels like a no-nonsense relative giving you a pep talk. This moment of calm folds into the closer Paradigm, introducing gentle piano and climbing synths over soft but hopeful vocals “I feel fine when I close both my eyes and rewrite both the lives”, Addison giving us a vulnerable look into her inner feelings as the drums and guitar begin to crash in, before descending into raw screams on the breakdown as she unleashes everything to a heartfelt melody that should feel out of sorts compared to its track siblings, but instead gives peaceful closure to A Fate Worse Than Loneliness. Score: 9/10 A Fate Worse Than Loneliness was released on 4th September 2026 via Republic Records and Spinefarm. Words: Julia Stark Photos: Showing Teeth

AS IT IS is a band that never fails to make you feel something. They have the ability to snap you straight back to the first time Dial Tones made your chest tighten, or when Okay. felt like a mirror held up to every messy, unspoken feeling you’d been carrying around. They were the band you found through Tumblr posts, YouTube rabbit holes, or in the sweat‑heavy crush of a tiny venue where every lyric felt like it was being shouted directly at your ribs. Brighton might be where they formed, but their reach sprawled far beyond the coastline. The earliest era of AS IT IS was defined by urgency. EPs like Blame It On The Weather and This Mind Of Mine were scrappy, melodic sketches of a band figuring out how to articulate the chaos inside. These releases weren’t polished, but they were honest. They carried the DNA of what would soon become their signature: vulnerability delivered with pop‑punk bite. You can hear the foundations being laid, the emotional candour sharpening, the sense that something bigger was nearing. That “something” arrived with Never Happy, Ever After. Their debut album detonated them into the scene. Tracks like Dial Tones, Concrete, and Speak Soft captured the panic of early adulthood with hooks sharp enough to leave marks. It was a record built on confession, anxiety, and the quiet terror of growing up. Fans connected because the band didn’t pretend to know how people were feeling, they told the truth, even when it hurt, and that integrity became a source of hope to listeners who were tired of pretending they were fine. But AS IT IS never stayed still. Their second album, Okay., arrived with brighter colours but heavier truths. It leaned fully into mental health, self‑worth, and the pressure to perform happiness. The title track’s refrain became a rallying cry for fans who needed permission to not be okay. Sonically cleaner, emotionally deeper, Okay. marked the band’s first major evolution. It proved they could grow without losing the heart that made them matter. Follow up record The Great Depression was darker, theatrical, and concept‑driven, a bold step into territory that split opinion but showcased their ambition. It interrogated societal numbness, emotional burnout, and the commodification of sadness. Songs like The Wounded World and The Fire, The Dark pushed their sound into heavier, more confrontational spaces. This era wasn’t neat, but it was intentional. It showed a band willing to tear down their own foundations to rebuild something braver. By the time I WENT TO HELL AND BACK arrived, AS IT IS had shapeshifted again, including a change in line up. This album was chaotic, genre‑blurring, and emotionally raw, pulling from pop‑punk, emo‑rap, hyperpop, and alt‑rock. It reflected survival in its least glamorous form. Tracks like IDGAF and I Lie To Me captured the fragmentation of navigating personal upheaval while trying to stay afloat creatively. It was messy in a way that felt purposeful, mirroring the instability of the world it was born into. Then came the hiatus - announced in January 2024 via a rare Instagram post from Patty Walters, stating, "Here's to another new chapter. It's never goodbye. It's just 'see you around'". Fans weren’t necessarily shocked by this, but it was definitely not a welcome departure. Times changed, people changed, and by August of 2024, the band's social media accounts were wiped and began to hint at a reunion. What came next was more than fans could ask for - Never Happy Ever After X, a re-recording of their debut album Never Happy Ever After, was released, featuring other artists from the UK music scene like HOLDING ABSENCE, ARTIO and NOAHFINNCE. Lead vocalist and guitarist Patty Walters is now joined by Ben Biss on guitar and vocals, Patrick Foley on drums and Alistair Testo on bass, in a new line-up. Having just released their new self‑titled album, AS IT IS are stepping into a new era. A self‑titled record is always a statement, but for a band who’ve rebuilt themselves more than once, this time it’s a declaration of identity. With anticipation rising and a new chapter unfolding, the band are gearing up for their appearance at BURN IT DOWN FESTIVAL, ahead of a headline tour later this year. For a band like AS IT IS, who’ve rebuilt themselves more than once, stepping onto a stage built for catharsis feels exactly right. It’s not just a performance; it’s a reminder that evolution is survival, and survival is something worth shouting about. Words: Lou Viner-Flood Cover Photo: Artemi Falzon

ALL POINTS EAST has teamed up with OUTBREAK to bring one of the heaviest lineups the London-based festival has seen. With DEFTONES set as their headliner and a stacked roster full of punk and metal bands coming from all over the planet. We were invited by OUTBREAK to come along and review the madness, so here’s how our day went. SHOW ME THE BODY Opening up the day at the North Arena were SHOW ME THE BODY, and there is no way you would've guessed they were first on by the crowd they pulled. The tent was about half full and gradually grew throughout their performance, bringing a bigger crowd than even some bands playing after them. SHOW ME THE BODY are an American post-hardcore band, and they came along to ALL POINTS EAST with their A game. The energy from the band and crowd was immense, with the crowd shouting every word of each song, mosh pits and crowd surfers throughout the set, as well as the band getting into the crowd themselves. It was a great lasting impression for the very opening of the festival day. DEAFHEAVEN Next in the same tent was DEAFHEAVEN. Coming out to cheers, a huge pit pushing out to the very edge of the crowd opened up during their set. The blackgaze metal band commanded the crowd. “Open the fucking floor now”, lead vocalist George Clark yelled, getting everyone off their feet. It was a set where you could tell that lots of people in the crowd were familiar with the band and their music, but it was also bringing in lots of surrounding people just looking for a good time to mosh, and they decided DEAFHEAVEN was just that. MANNEQUIN PUSSY Playing on the West stage, which is the second biggest stage - being only just smaller than the main stage - was MANNEQUIN PUSSY. The indie punk rockers brought all their rage with them; the band are famous for their emotionally raw lyrics paired with the powerful feminine rage presented by the whole band, but mainly from lead vocalist Marisa Dabice. The multi-talented band also switched roles, with bassist Colins Regisford taking lead vocals for their song Pigs Is Pigs. Their set was littered with prominent speeches about the state of fascism, racism and xenophobia - gaining huge cheers from not just the fans but also those just casually viewing. JPEG MAFIA Meanwhile, on the other side of the festival at the East stage, JPEG MAFIA was bringing an insane fusion of experimental hip hop. Bringing in samples from a huge range of genres, including of course, metal. The pits during his set were non-stop, with the crowd being the rowdiest yet; mosh pits threw up dust clouds visible from the other side of the lawn. He even added an iconic cover of Carly Rae Jepsen’s Call Me Maybe, which of course got the whole festival singing along and smiling. OVERGROWN Behind the mainstage crowd is the smallest stage at the festival, the rising stage. OVERGROWN played one of the slots on this stage, a small up-and-coming nu-metal band from Scotland. The four-piece were the perfect fit for the DEFTONES lineup, with a sound massively inspired by the headliner and a very well-executed performance. Their vocals were clean and smooth while the distortion of the instrumental assaulted your eardrums; they had multiple mosh pits and crowd surfers despite playing the smallest stage. Passersby were drawn into the crowd as the sound of the band attracted them; they are definitely some rising talent to keep an eye on. ECCA VANDAL The X-stage was graced by the mighty ECCA VANDAL, the crowd spilling out of the sides of the stage, all cramming in to try and get a good view. This South African alternative rock singer and songwriter came all the way from Melbourne, Australia, for her performance, and the crowd made sure it was worth her time. Her music drew in a large, mainly female audience, with her call-out “Any girls in here today?” gaining an overwhelmingly loud cheer. The audience was loud throughout, shouting every word and pouring their hearts out to the music while ECCA did the same, dancing, jumping, two-stepping, and even getting into the crowd herself. AFI AFI having one of the biggest sets of the day on the West stage drew a strong crowd and passionate gathering. Fans from the very front all the way to the back were shouting lyrics and throwing their fists in the air in unison. AFI themselves embody everything that is rock, the lead vocalist Davey Havok being flamboyant and expressive in his performance, never staying still even for a moment. He sang every word into the crowd while fans sang them back to him, really connecting with the audience while the band rocked their instruments, using as much of the stage as possible. They played their hits like Miss Murder and Girl’s Not Grey as well as tracks from their latest album Behind the Clock and Holy Visions. AMYL AND THE SNIFFERS Second to last on the Main East Stage was the legendary AMYL AND THE SNIFFERS. The band have made a name for themselves as one of the biggest pub/ punk rock names in the current day despite only debuting in 2019. “You know it's gonna be a good set when I've already lost one of my eyelashes lead vocalist Amy Taylor joked during the second song. Their music is jam-packed with unapologetically feminine rage, which was reflected heavily in the crowd. The whole of the lawn was on their feet, headbanging, dancing, screaming the lyrics as loud as their lungs could take. The whole bands energy on stage was impeccable but its vital to note that Amy really ruled that stage and took it as her own, having the perfect golden hour sunward facing set made her shine as she smiled bright and interacted with her fans for the duration of the set, not taking a moments set, her pure joy was incredibly infectious. IDLES Headlining the East stage loudly and boldly was the British post-punk band, IDLES. Opening the set exactly as expected, politically, with the track Levitator and the lyrics “As if the war is won Against you racist cunts”. The whole festival was amped up with rage, fans being crowd surfing over the barricade with limps and bloody noses - we wish them all a speedy recovery, of course - but the smile on their faces didn’t fade for a moment. The band paraded the stage, multiple of them taking their instruments into the crowd with them while they played songs like Rottweiler, I’m Scum, and Never Fight A Man With A Perm. With the set being an hour long and in between album cycles, the setlist felt like a greatest hits with everything that any fan wanting to see them could expect to hear. DEFTONES And of course, finally at the main Stage of the festival, every single person made their way over after all the other sets had ended for the incredible headliner DEFTONES. If you were anywhere near Victoria Park on Sunday, you would’ve seen hundreds of people gathering in the many different iconic DEFTONES T-shirts, and this is where they were all headed. The band with almost 40 years of experience have garnered such a wide fanbase for their unique sound, paving the way for other nu-metal and alternative metal artists. Pulling nearly 50,000 attendees made it DEFTONES' biggest UK show to date, and despite being so far into their career, they played with all the vitality and passion of a fresh band. They opened with the iconic Be Quiet and Drive (Far Away) coming onto the stage to cheers that could burst your eardrums. Despite having so many oldies to play to the crowds nostalgia they also have hits like my mind is a mountain, locked up and milk of the madonna from their 2025 album private music which is also widely regarded as one of the best modern alternative metal albums. This meant no matter the next track that was spun, the crowd went wild for it all, new and old. Lead vocalist Chino Moreno bounced around the stage, barely pausing for a moment, portraying the desperation in the music with his body perfectly. It was also very impressive to see the band using their own controls and pedals instead of having an automated system or someone side stage controlling it, as most bigger bands do. It really shows the band's passion is still burning strong, with the love for live music and performing to fans being at the front of their priorities. The band closed the day perfectly, being one of the most metal days London has seen this summer, we hope to see OUTBREAK and the All Points East Festival team up again to give us more banger line-ups like this in future years. Words: Amy Smyth Photos: Ben Blissett

Following the breakthrough success of 2024’s People Watching, 156/SILENCE return with From A Distance, a record that finds the Pittsburgh quintet further refining the dark, cinematic identity that has become central to their sound. While their previous releases have often thrived on unpredictability by jumping between metallic hardcore, mathcore chaos, and experimental detours, their sixth album feels like a band narrowing their focus. Rather than throwing every idea at the wall, From A Distance immerses itself into the particular atmosphere of the beauty within a world collapsing in on itself. The album opens with Control Burns, immediately establishing this world 156/SILENCE intend to create. A chilling spoken-word introduction gives way to ominous electronics and a slow-burning instrumental, before the band’s familiar heaviness crashes through. It is an effective opening statement, introducing an album that feels less like a collection of individual songs and more like a carefully constructed soundtrack to something much darker. No Arms brings a more immediate modern metalcore groove, blending nu-metal influence with the band’s more melodic instincts. There is a clear confidence in the way 156/SILENCE incorporate cleaner vocals and more accessible hooks following the success of People Watching, though they never fully abandon the aggression that has defined their career. This balance between melody and brutality is where the band’s evolution becomes most apparent. An unexpected highlight of the record arrives with An Early Exit, a track that sees 156/SILENCE embracing a dreamier, almost ethereal approach. For a band so often associated with crushing breakdowns and chaotic intensity, its willingness to slow down is a reminder of the creative freedom they have built for themselves. It perfectly embodies guitarist Jimmy Howell’s statement that “nothing is ever off the table”. Rather than feeling like an unnecessary detour, the track feels like a natural extension of the band’s growing palette. The influence of horror media is clear throughout, with the band embracing the uneasy tension of games like Silent Hill and Resident Evil. This distinctly gothic edge to 156/SILENCE’s interpretation of metalcore culminates with Collateral and the inclusion of CRIPPLING ALCOHOLISM, a gothic post-punk/noise band far from the realm of modern metalcore, adds an unpredictable edge to the track’s snarling vocals and frantic pacing. Similarly, Mike Hranica’s appearance on Cannon Fodder feels like a fitting collaboration, bringing together two bands that have long occupied the darker corners of modern metalcore. Where bands like THORNHILL have explored atmosphere through shoegaze textures and progressive songwriting, 156/SILENCE approach it from a darker, more hostile angle, replacing dreamlike melancholy with something closer to a psychological thriller. However, From A Distance is at its most interesting when the band allows themselves to step outside of their established formula. Order & Entropy and Swept From Under (Call of the Void) both lean heavily into cleaner vocals and atmospheric songwriting, creating a more spacious and vulnerable side to the band. These moments may not hit with the same immediate impact as their heavier material, but they demonstrate a willingness to experiment rather than simply recreate the sound that earned them a larger audience. The latter track in particular captures the album’s darker themes, exploring intrusive thoughts and the overwhelming presence of negativity with a sense of genuine unease. Thankfully, the closing stretch provides one of the album’s strongest moments. The title track, featuring Alex Reade of MAKE THEM SUFFER, acts as the emotional centrepiece of the record. Vocalist Jack Murray describes the track as “a love song” and “probably the most Twin Peaks-inspired song” on the record - a bizarre pairing at first glance, given that few things immediately spring to mind less than romance and David Lynch’s surreal nightmare world. Yet somehow, it makes perfect sense within 156/SILENCE’s universe. Beautifully melancholic while still carrying the weight and atmosphere that defines the album, it feels like the culmination of everything 156/SILENCE have been building towards. The album’s greatest strength is also its greatest weakness. By committing so completely to its bleak, cinematic identity, From A Distance rarely breaks the atmosphere it creates. The immaculate production ensures the mood is unwavering with huge guitars and the delightfully unsettling energy throughout, but by the latter stages, individual moments begin to bleed into one another. When the band do step outside that shadow, as on An Early Exit and the title track, the contrast is immediately striking. From A Distance is not 156/SILENCE reinventing themselves once again, instead, it is the sound of a band fully embracing one particular corner of their identity. At its best, that focus creates some of the most atmospheric material of their career. At its weakest, it leaves the record feeling trapped within its own darkness. Beneath the crushing guitars and sinister soundscapes, From A Distance is ultimately a record about vulnerability, connection, and the difficult process of confronting the darker parts of ourselves. Yet even when the songs begin to blur together, the ambition behind them remains clear - this is a band still searching for new ways to make heavy music feel unsettling. Score: 7/10 From A Distance will be released on 4th September 2026 via Pure Noise Records. Words: Adrian Chapman Photos: Errick Easterday

The Japanese black metal icons are back and ready for business. SIGH have been masters of the genre for three and a half decades now, and have never failed to leave an indelible mark on anyone who’s spent time listening to their unique brand of heaviness. Alongside the trio of Mirai Kawashima, Dr Mikannibal and Nozomu Wakai this album sees them joined by Frédéric Leclercq of KREATOR on bass and drummer Mike Heller of FEAR FACTORY and MALIGNANCY. The album title Goh-ka has three potential meanings, those being firstly 業火, or ‘infernal fire scorching sinners’, secondly 劫火, ‘a huge fire that burns down the world at the end of time’, and finally 業果, the simplest and least fiery definition, ‘karma’. The primary theme behind the album is Kuso-zu; a series of Buddhist paintings and illustrations depicting all nine stages of a human's decomposition after death, created to encourage meditation on the impermanence of life, the inevitability of death, and the detachment from physical beauty and worldly attachment. It shows the harsh reality that no matter how beautiful you are, you’ll be dead and rotting sooner or later. The artworks on the cover and in the booklet of Goh-ka are therefore Kuso-zu themselves. It’s difficult to approach this as a selection of songs, and might be simpler to contemplate as one larger scale piece of music. With four separate songs referencing the Kuso-zu - namely the songs beginning Kuso-shi and a number - it’s clear to see the deep influence that the concepts above have had writ large across the face of the entire LP. Musically, it also draws deeply from classically Japanese instrumentation and sounds, as well as the progressive black metal sound they’ve fostered across many years of work. With lyrics in Japanese, it may not be immediately obvious to the average British listener what’s being sung about, but the emotion behind the lyrics and music help you find your way into the minds of SIGH more than well enough to dive into the heart of this record. One notable moment of the album that’s worth mentioning specifically is Unputenpu, the single that features OPETH’s Mikael Åkerfeldt, however whilst listening to it alone is excellent it still finds an even better place once nestled firmly into the heart of the album. With gorgeous highs and lows found throughout, riffs that chug and delicate melodies that soar ever so high, there’s a depth and density to the release that should make the listener pause their day to truly engage with it. Every new moment brings something different to the table, and there are such a vast array of sounds on offer that it almost acts as a what’s what of influences on SIGH. Close inspection shows more than the obvious black metal and Japanese stylings, revealing classic metal, doom metal, psychedelic rock, classical music, and hell even moments that sound a little power metal-y. The hour-long runtime may seem daunting at first, especially when coupled with foreign lyrics, but neither should stop anyone from getting into this spectacular album. Unfolding more and more of itself as you delve onwards, the rich tapestry of sounds and feelings put to record here makes for a wonderful listening experience and will reward those who try it handsomely. Score: 8/10 Goh-ka will be released on 4th September 2026 via Peaceville. Words: Jasmine Longhurst Photos: Poko

Bristol hardcore upstarts CIRCUMVENT are on the cusp of releasing their debut EP, Feel The Cold, and it’s a great start to recorded life for the dancey punks. Releasing on the fantastic Betrayed By Life Records, the five-track release is short, to the point, and plenty of fun. Opening with a self-titled sub-two minute rager, it’ll be side to side on this call to arms from beginning to end. The customary location namedrop of “Bristol hardcore!” is prominently featured within the lyrics, whilst the chugging guitars serve their primary purpose of raising heart rates and blood pressure fantastically. Next up is Not Your Mate, which is comfortably the longest song on here at nearly three minutes, and is - rather unsurprisingly - about not being someone’s mate. Calling out their apathy over a big rock riff, there’s no compromise or subtlety here, just anger and lots of room for spin kicks. Third on the EP is the song Dead End Path, and it’s the most aggressive on the release. With lyrics flying out at breakneck speed for the first half of the song before a delightfully hefty change up to a half-time section that’s bound to cause some serious gurning, this makes for a particular highlight of ours on the EP. The penultimate track to be heard is Hurt My Feelings, a track that, even by hardcore standards, makes a quick exit - certainly not overstaying any welcomes with its one minute runtime. Our neck tendons are standing up preemptively even just listening to it, and it’s sure to be one song that will serve the live arena better than anything. Rounding up the five songs comes the EP’s titular track, Feel The Cold. Another that runs over two minutes, it’s quite melodic to start before a good old fashioned fuzzy riff kicks the door in and gets things back in order. Whether you feel the cold or not, you definitely won’t need another layer with this on as it’s bound to be sweaty whenever this comes up on the setlist. There’s loads to love here. Across the entire EP we find less than ten minutes of music in five songs, all of which have some choice guitar parts, great groove, and bags of energy. It’s a release rooted in the community and DIY sensibilities of hardcore and is clearly written by people embedded in that same culture. The wheel isn’t being remade, but that isn’t the point - for fans of hardcore to dance to, you’re firmly in the right place at a CIRCUMVENT show. Score: 7/10 Feel The Cold will be released on 4th September 2026 via Betrayed By Life Records. Words: Jasmine Longhurst Photos: Oz Davy

To most, it’d seem like CHAT PILE have risen to relative ubiquity extremely quickly. You’d be strapped to find a modern noise rock or sludge metal band that haven’t been compared to them at some point. As quick as their rise might feel, frontman Raygun Busch, for example, has been in various bands over the past 20 years, only finally seeing some success with CHAT PILE. This is also in spite of the odds being against the group from the start, with them struggling to book any gigs at all in their hometown of Oklahoma City. As it happens, Oklahoma City is a place which inspires much of their core identity, with their name being a reference to piles of toxic waste that townies would use to hang around, play and do whatever, really. It’s a poignant image of the societal rot that the band tends to write about in their music, just on a micro level rather than a macro level. Their breakthrough was 2022’s God’s Country, their debut album with The Flenser. As with the rest of their discography, it’s very much its own thing; much looser performances than on later albums, less emphasis on things like tone and riffs and more on atmosphere, most notably on opener Slaughterhouse and closer Grimace_Smoking_Weed.jpg. 2024’s Cool World, on the other hand is a much more direct record. Tighter performances, more emphasis on the metal side of their stylings, almost gothic guitar tones, and more affecting lyrics and melodic choruses like on Shame and Masc. We also can’t ignore last year’s In The Earth Again, a collaboration with local American Primitivism artist HAYDEN PEDIGO, who’s been having a great few years himself. He happened to live a few blocks away from bass player Stin, and as such the recording process was relatively simple. Once again, a new direction from the band, taking more influence from folk and blues traditions as per PEDIGO’s contributions. It never feels like the two artists clash, however. They both have a sense of americana embedded within their music, a vital part of CHAT PILE’s songwriting over these early releases. With this in mind, you’re left wondering - is there anything CHAT PILE can’t do to push the envelope of noise rock? We’ve not even mentioned their early EPs, monumental 2023 Roadburn performance and ensuing live album, split EPs with artists like PORTRAYAL OF GUILT and NERVER, or their Sub Pop-released single Masks / Sifting (not to be confused with their songs Mask, The Mask or Masc - and yes, they have performed all four in a row before). These all have completely new things to offer from the group, most of which being essential listens to understand the ways in which the group have progressed. All this is to say that the prospect of a third full-length LP from such a prolific group, as inevitable as it may have felt, would be impossible to pin down. What could they possibly do to twist the conventions of noise rock, an already ever-evolving genre, this time? Well here we are, with their new album Who Loves The Sun, whose title feels a little ironic with it being released mere days after Summer ends. A direct reference to the VELVET UNDERGROUND track of the same name, though the band claim that the name was chosen in “not any profoundly meaningful way”. Of course, finding an interview or live performance where Raygun doesn’t speak about film at least once is like finding a needle in a haystack (just watch the episode of Amoeba’s “What’s In My Bag” series featuring them), so it makes sense that the visual components of their work have more intention behind them than something like the album title - and Who Loves The Sun might have their most striking cover yet. A photograph of old, dilapidated buildings contrasted by sleek and futuristic skyscrapers in the background. Tech corporations and the rise of artificial inte lligence being built by way of treading on everything beneath it, and an all-encompassing apathy towards what is happening - a suitable metaphor for the modern era, and one we’ll be seeing more of as we dive into the record. In fact, it couldn’t be more clear from the opening track, Creature, that this is exactly what we’re dealing with here. Raygun is clearly enraged about the climate crisis, or more accurately, the powerful people who have allowed us to get to this point. Every CHAT PILE album has an unabashedly politically-motivated song towards the start, notably Why? And Shame. Those songs felt more like passive observations, as heartbreaking as the lyrics were - the difference here is that Raygun is more than happy to point a finger at the perpetrators. Lyrics like “please don’t tell me we couldn’t stop this [...] cause this is what you always wanted” and “don’t let them hide” show him directly placing the blame for this on the CEOs and governments, and anyone who’s ever told you that we all have a part in preventing this - and it feels more like a call to action than an acknowledgement. All this over pounding drums, a cold and metallic bass tone underpinning the verses, and a vocal performance that switches between tired almost-speak-singing in the verses, and blood-curdling screams in the chorus that aptly match the words being spoken. Creature also features uncharacteristically melodic guitar parts, and as noisy and abrasive as the guitars themselves might sound, it wouldn’t be out of the question to call them catchy - but it’s nothing compared to the next track and first single Deep Blue, which confidently announces its presence with the most memorable set of hooks in the band’s entire discography. Stin claims that “...it sounds like CHAT PILE doing a BILLY SQUIRE song. It’s our Lonely Is The Night, which is actually a fake LED ZEPPELIN song so who knows what the hell we’re actually doing here?”. And in fairness, we don’t fully know what he meant by that either. That same distinct suffocating atmosphere present in CHAT PILE’s music is very much present here, and the emphasis is suitably placed on those wailing guitars, but something just feels different about it, and to some extent comparing it to a classic rock track makes sense - this is hook heaven. The lead riff implants itself in your head immediately, there’s the spidery pre-chorus riff, and a complete change in chord-progression during the chorus which seamlessly connects itself back to that lead melody. Just incredible stuff all around. Same Rules, in spite of its title, shakes everything up. The first two and a half minutes of this consist of straight-forward gothic rock. Just listen to those electronic drums, sharp, bright guitar tone, and creeping bassline and imagine one of the gothic rock icons of the 80s singing over it rather than Raygun, whose vocals on here are the one grounding element. That combined with a breakdown in the second half, both reminding you that you are, in fact, listening to a CHAT PILE record. It feels like living in one of the 80s b-movies that Raygun loves so much, and it’d be hard to believe that it’s not a huge influence on this song. All that being said, Same Rules, as great a song as it is, also serves to slows the pace of the record down a bit, winding the listener in before the utterly monolithic fourth track, PEN I S MALL. The thing you have to remember when listening to CHAT PILE is that when they appear to be at their silliest on the surface, you’re likely about to hear one of the best songs of the year (also see Grimace_Smoking_Weed.jpg). The title is actually in reference to a vandalised sign in Penn State Mall, with the song itself following construction workers at a mall, Greg and Ray, as well as their manager Simon. Lyrics like “Greg dreams about owning a Harley. Greg and Ray live under the same boot.” and “Hard to believe but your whole life can pass, as a series of acts of subordination” are chilling reminders that not only the American dream, but capitalism as a whole preys on peoples’ aspirations and the basic need to exist. The exploitation of workers and physical conditions people are put in just to survive is present just from the opening lines - “it’s time to work under the blazing hot sun, it’s time to smash your shins to bits”. All this is complimented by the heaviest instrumentation in the band’s entire body of work. The real standout here, though, is Raygun’s performance. It’s made from the stuff of nightmares, with an absolutely demented, almost militaristic delivery on every line. It sounds like he’s in physical pain while performing this, as if he’s forcing the lines in the chorus out through gritted teeth. The song slows down in the second half, accompanied by a bong rip and a few coughs, before launching into a sustained breakdown that challenges the intensity of even the most unrelenting of a genre like no wave. When they perform the chorus again, much slower this time, to close out the song, it feels as though the song is destroying itself, consuming itself in a fashion akin to the ouroboros. A perfect anthem to personify the horrors of simply trying to get by day-to-day. We’re not even halfway into the tracklist yet and CHAT PILE still have plenty of tricks up their sleeve. Shrine and its constant push and pull between quiet and loud, seemingly switching between the two on a whim. It feels like a song structure pulled straight out of something from one of the great 90s grunge albums, an era whose music the band have never been shy about adoring. Intruder is the first and only time you’d be able to call a CHAT PILE song “groovy”, with a tight, mid-tempo rhythm, a ridiculously catchy bridge to the chorus featuring backing vocals from Claire Hannah and Brittany Sawtelle, and a manic vocal performance in the chorus. Passages like “someone told me a storm is coming, someone told me this house needs haunting” make it feel like a gothic folk story, told from the perspective of the monster hiding under the bed. There’s more gothic imagery elsewhere on this album too, second to last track Family Funeral is absolutely full of it. The conversational tone of the lyrics is reminiscent of what they were doing on God’s Country, with every line sounding like Raygun is on the verge of some sort of nervous breakdown. It’s a story about the narrator moving elsewhere with a partner to find a new life, with no way back. “Where am I supposed to go? Where am I supposed to go now?” Raygun yells in a passage before revealing that the narrator has killed their children and themself, ending on the line “and though it hurts me, I needed to hurt you”. HAYDEN PEDIGO returns on this track, lending his hand in helping to make a slow-paced five-minute track go by in what feels like mere moments. The song devolves into insanity during the last minute as more and more layers of vocals and tape noise are added, before abruptly ending. At this point, we reach closing track October All The Time. Compared to the rest of the album, this feels like a brisk walk in the park. Mostly centred around a single acoustic guitar being strummed, it’s the perfect way to wind the album down after forty minutes of sheer insanity. Of course, it ends on a noisy breakdown, but you were probably already expecting that. Of course, CHAT PILE realise this as well, and being ever-subversive, keep it brief. The distorted guitars and drums are present on here for less time than the 30 seconds of relative silence that close the song out. To quote one of Raygun’s main literary influences on this album, T. S. Eliot, “this is the way the world ends, not with a bang, but a whimper” - perfectly in keeping with the theme of apathy underpinning this entire project. CHAT PILE have once again proven that they can effectively do anything. God’s Country was a great album, but ultimately it felt like a showcase of a band who had the potential to do something incredible. Cool World was nearly that album, it just suffered from a few misses in the production department and a few tracks that slightly missed the mark. Who Loves The Sun, however, is that album and more. Every problem that either of those previous albums might have had are no longer present here, and there’s a noticeable increase in ambition and variety here. It’s hard to point to one song and say it sounds exactly like another, there’s so many different styles they manage to tackle here. Even so, they pass each assignment with flying colours, with some utterly transcendent moments - perhaps at least one you could point to on each individual track. This is the CHAT PILE we’ve been waiting to hear all these years, and easily their definitive release - dare we say their masterpiece, and hopefully the first of several. The sheer level of craftsmanship on display here is unparalleled, orchestrated by a band at their absolute peak. All we can do is hope for more. Score: 10/10 Who Loves The Sun will be released on 4th September 2026 via The Flenser. Words: Noise Leonard Photos: Ryan Lawson