Some bands clearly need no introduction. VOIVOD are clearly progressive thrash metal legends, and are definitely capable of selling clubs wherever they go. Pair them with blackened thrash heroes MIDNIGHT, and an appetising yet bizarre menu is set. Unusually, Rebellion hosted this co-headline monolith which is strange as the iconic Manchester venue rarely hosts shows where more than one headliner is involved in, so not only is the lineup slightly random, with having blackened death metallers CRYPTOSIS open the night, the Mancunian live music staple had a brand new challenge as well, making for a fascinating evening that was easily one of the most energetic the venue has ever had. After being let in at Seven in the evening, even though most people expected to be let in an hour prior, the room, which could fit in a few hundred people, started filling up in no time. At half past, CRYPTOSIS took to the stage, and immediately left no prisoners. The incredibly skilled three-piece kept the crowd engagement to a near minimum, letting the music speak for itself, which worked incredibly well. This has been a common theme throughout most of the evening up until the second headliners came on. There were a few speeches though, notably frontman Laurens Houvast thanked the crowd, which at this point in their set, at just about halfway done, for showing up this well and early. The audience at that point rammed the venue, almost filling the club up completely, showcasing how hungry the audience was for a night packed with brutal riffs and vocals. Finishing their set with Transcendence, the three-piece proved that not only is their music irresistibly catchy, but it is also melodic and energises the audience as if CRYPTOSIS supplied an opening performance akin to 45 minutes of a constant supply of your favourite energy drink. After a short wait, the first headliner of the night, which was the black n roll band MIDNIGHT, came onstage to one of the biggest ovations Rebellion has surely ever had. With the church bells tolling in the background, the hooded and somewhat masked three-piece ran onstage, and from that moment on, the American outfit delivered a co-headline set that would be almost impossible to beat. There were constant crowdsurfers and a moshpit that never stopped for a second. Seeing this, the band matched the energy with two of the members stepping on an elevated platform musicians use to gesture to the audience, but this time, on top of this, the members of the anonymous outfit started slapping the speakers on each side of the stage. Musically, this band is near flawless live. The solos are exceptional and the drumming is exceptional, especially the blast beats. Songs such as Necromania caused a wave of energy and passion of the likes you will only ever see at a hardcore gig. Proving that not only this set was a monumental success, but that MIDNIGHT must return, as every single person in the room chanted the band name constantly at every opportunity they got in their set. A audiovisual sight that is rarely seen at a show of this calibre. Once MIDNIGHT finished, a slightly longer wait begun as the crowd eagerly awaited for the legendary VOIVOD to hit the stage, and when they did, fist bumps and handshakes were given constantly between each member apart from drummer Michel “Away” Langevin. Already proving that no matter what happens, this set will be a undisputed triumph before the opening track even starts. Once the set-opener Experiment did begin, just as the crowd did with the previous act, the moshing was instant. This time though, there were maybe two crowd surfers throughout the set. Musically, the four-piece are unbelievable, with guitarist Daniel “Chewy” Mongrainbeing the clear highlight of the set. Another moment that stood out was the fact that a cover of a PINK FLOYD track, Astronomy Domine was performed. This showcased just how unorthodox this thrash and progressive metal hybrid band is, and evening in general, has been. This cover won the attendees even more, and encouraged the outfit to play an extra song. This ended the night on the best possible way for the mega fans of the progressive thrash outfit, which clearly adored this performance. This evening was a showcase of a band that at this point is considered as a classic act, and two bands that are current, and clearly younger. This created a fascinating contrast between all three acts, but one that evidently worked better than it should have. With both headliners delivering sets that were both engaging and energetic, the audience clearly thought that this was a win, and was one that Rebellion will remember for the foreseeable future. Words: Itay Gilad Photos: Ace Cheng

Manchester has never struggled to produce exciting guitar bands, but right now there feels like something particularly special brewing in the city. Among the new wave of artists helping shape that resurgence, PYNCHER continue to establish themselves as one of its most intriguing voices. Following the promise of debut EP Every Town Needs A Stranger, upcoming EP I Really Mean It This Time doesn’t simply build on that foundation, it reinforces it with sharper songwriting, bigger hooks and a confidence that suggests the quartet are only just getting started. Across its runtime, the EP feels simultaneously scrappy and calculated. There’s a restless energy running through every track, one that thrives on contradiction. PYNCHER are capable of sounding chaotic and tightly controlled at the same time, marrying scuzzy indie rock, post-punk swagger and bursts of fuzz-drenched melody into something that feels entirely their own. Lead single Oh Boy perfectly encapsulates that evolution. While it retains the wiry unpredictability that made their debut so captivating, everything here feels amplified. The riff arrives with genuine menace, snarling its way through a pounding rhythm section that gives the song an almost industrial pulse. Beneath the distortion and swagger lies a surprisingly vulnerable core, with vocalist Sam Blakeley dissecting feelings of alienation and dissatisfaction through lyrics that feel both deeply personal and universally relatable. It’s catchy, uncomfortable and exhilarating all at once. What makes I Really Mean It This Time so compelling is the way PYNCHER balance those introspective themes with an infectious sense of movement. Even when the lyrics explore disconnection, self-doubt or frustration, the music rarely stands still. Every song feels like it’s pushing forward, driven by Jack Rainbow’s relentlessly inventive drumming and Brittany Dewhurst’s bass work, which frequently becomes the glue holding together the band’s more chaotic impulses. Meanwhile, Harvey O’Toole’s guitar work constantly shifts between abrasive noise and shimmering melody, ensuring that even the most straightforward moments contain unexpected twists. The production from Alex Greaves at The Nave in Leeds deserves significant credit too. Rather than sanding down the band’s rougher edges, Greaves leans into them. The result is a record that feels alive and unpredictable, capturing the intensity of a live performance without sacrificing clarity. Layers of fuzz and feedback never overwhelm the songs themselves; instead, they enhance the emotional weight behind them. Throughout the EP, PYNCHER demonstrate an impressive understanding of tension and release. Tracks often begin with a sense of unease before erupting into huge, cathartic choruses, while quieter moments are deployed sparingly but effectively. It’s this dynamic range that prevents the record from becoming one-dimensional. Every burst of noise feels earned, every hook hits harder because of the chaos surrounding it. There’s also a noticeable growth in songwriting maturity compared to their earlier material. While Every Town Needs A Stranger introduced a band bursting with ideas, I Really Mean It This Time feels more focused without losing any of that excitement. The hooks are bigger, the structures more refined and the emotional themes more clearly defined. Yet crucially, none of that polish comes at the expense of personality. It’s easy to understand why the band have attracted support from BBC 6 Music and publications such as The Guardian, DIY and The Line of Best Fit. They occupy an increasingly rare space where artistic ambition and accessibility comfortably coexist. Their songs are weird enough to feel distinctive but immediate enough to stick in your head long after they’ve finished. As Manchester’s latest wave of alternative talent continues to gather momentum alongside peers such as Westside Cowboy, TTSSFU and Martial Arts, PYNCHER feel particularly well-positioned to break beyond regional hype. I Really Mean It This Time isn’t a radical reinvention, nor does it need to be. Instead, it’s the sound of a band refining their strengths and discovering just how powerful they can be. For a group still early in their journey, that’s perhaps the most exciting thing of all. If this EP serves as a statement of intent, it’s a convincing one. PYNCHER aren’t simply another promising name emerging from Manchester’s thriving scene, they’re becoming one of its most essential. Score: 8/10 I Really Mean It This Time will be released on 19th June 2026 via Heist or Hit. Words: Angel Turley Photos: Gabbi Goldman

ZERUEL is an artist as mysterious as he is prolific. With the release of only one EP, he’s already been opening for groups like DEAFHEAVEN on their UK and EU tour alongside PORTRAYAL OF GUILT, and also shoegaze hall of fame-ers LSD AND THE SEARCH FOR GOD, whose studio discography ironically contains less tracks than the upcoming ZERUEL album this review is about. Some accounts refer to “him” as a singular artist, others refer to “them” as a band. It’s hard to know what the intended form of address is. But maybe that’s for the best - named after one of the “angels” from Neon Genesis Evangelion and with the lyrics to both projects narrating stories about a fallen angel, it almost seems as though a lack of clarity is the objective here. Ruin;Rebirth is ZERUEL’s newest gift to the world, a significantly more conceptual venture compared to 2024’s albeit much more cohesive Awakening EP. That EP was very much an exercise in ZERUEL’s grunge and alternative metal-inspired brand of shoegaze. Ruin;Rebirth, however, shows itself to be something of a left-turn immediately - the opening track Ruin is a string-laden narration recounting the outline of the story of the fallen angel, leading straight into For An Angel Who’s Fallen. There’s a high level of ambition on display here, ditching the shoegaze aesthetic in favour of pounding drums and a string section. The only holdover from his previous work being the quiet, almost whispered vocals. That is, until the halfway mark of the song, when vocalist Braydon Hill completely lets loose, with some screamed vocals. The song later devolves into this intense stop-start feel, as the instrumentation drops out and then gets dragged back in. It’s a ballsy way of starting the album to anyone familiar with his work, and it only steps things up from there. What Future Awaits is unrelentingly noisy, you feel every snare hit and scream over a minute as it leads you away with an equally as unexpected ambient outro. It’s only the fourth and fifth tracks, Limbo and Archeia respectively, that feel more in keeping with his previous releases. There’s a careful approach to pacing and loud-quiet dynamics, plus the instrumentation is soaked in reverb, a hazy backdrop to the understated vocal performance - these ones are for the shoegazers. There’s plenty more variety on here too, the mid-album interlude Rest serves as a kind of intro to Merciful, a song which feels like a slow build up to a well-deserved wall of sound in its last moments. Resurgence Befalls begins with blast beats over a repeated chord, Hill’s vocals piercing their way through the mix, the most overwhelmingly loud and merciless passage on the whole release up to this point. Vessels of Light is a gorgeous track, with a bittersweet chord progression which matches the vocals perfectly. Easily the standout of the more traditional alt rock and shoegaze blends on here, we only wish it went on for longer. The first of the final two tracks here, A Feather Falling With Wind, effectively acts as the closer. It’s a suitable finale, an intense display of self-reflection and healing which the music conveys effortlessly, via powerful, reverberating drums, which precede a lone, desolate guitar, signalling the final wall of sound section, which aptly reaches higher and higher into the heavens as it progresses. Rebirth picks up where A Feather Falling With Wind ends, a piano melody to lead us to the end of the story, where we hear a comforting voice that has appeared at various points in this story welcoming our narrator back. ZERUEL’s debut album is ambitious, no doubt. There’s a wide variety of sounds on here, which work in service of the central narrative - however, in spite of this, it can occasionally feel somewhat one-note. The song structures tend to follow the same patterns at various points, though tracks like For An Angel Who’s Fallen and Resurgence Befalls provide a good reprieve from this. Even with this in mind, it’s a promising debut album, and we hope that ZERUEL continue to evolve and rise to the proverbial heavens. Score: 7/10 Ruin;Rebirth will be released on 19th June 2026 via Rise Records. Words: Noise Leonard Photos: Zeruel

It's well and truly festival season - with a few major ones already having just past - and we're seeing tons of subsequent announcements across the board. Mainly upcoming tours across the UK and Europe, but we've had quite a few albums, and of course, singles. Here's what we've been listening to lately: As It Is - Live, Laugh, Love Los Angeles Confronting the ever worsening political climate in vocalist Patty Walters' home country, AS IT IS have chosen to release a final single from their upcoming self titled album, infused with their bright riffs and even an expected saxophone. Live, Laugh, Love Los Angeles is a track that unpacks Patty’s relationship with the USA and having to watch from afar as tensions rise, where “you’ve got no cash for the ambulance” and “you can’t afford to live, you can’t afford to die”. As the band have clearly stated themselves alongside the release of the single - fuck fascism. Words: Lou Viner-Flood Carsick - Social Smoker Rising Salisbury four‑piece CARSICK have released Social Smoker, a bleary post‑party confessional track, where their undeniably loveable rogue persona and soft accent comes blaring through. The band give similar vibes to THE LAFONTAINES and KID KAPICHI, and their new single, a love song at its core, is a a tribute to those Saturday nights spent with someone whose energy is so infectiously bright that anywhere you end up feels like the right place to be. CARSICK have a busy festival filled summer ahead of them and this track is surely going to get everyone dancing. Words: Lou Viner-Flood Chat Pile - Deep Blue CHAT PILE seem on track to keep up the momentum after their first two stellar studio albums with new single Deep Blue, the first taste of the upcoming Who Loves the Sun. Their brand of nervous yet visceral noise rock presents itself via Raygun Busch’s disaffected vocal performances in the verses, blood-curdling screams in the chorus, and tense harmonic notes picked on the guitars. There’s a suffocating atmosphere on here that the group have mastered at this point, but also a strangely cool groove to the rhythm section. It’s an exciting start for a new album cycle. Words: Noise Leonard Cult of Luna - In The Shadow Of Your Shadow CULT OF LUNA can’t help but uphold their reputation as one of the most consistent groups in sludge metal. 2022’s The Long Road North was a highlight of its year, and they don’t seem to be showing any signs of slowing down, even 25 years after their debut album. New single and title track for the upcoming album In The Shadow Of Your Shadow is a seven and a half-minute epic with a crushing vocal performance in the first half, and later on, an instrumental section where the song completely opens up before crashing back down to earth again. It’s some of the heaviest they’ve sounded in a while, and we’re extremely excited to hear more! Words: Noise Leonard Hollow Tongues - Bootlicker HOLLOW TONGUES fuse the raw edge of heavy punk with the restless energy of their pop‑punk roots in debut single Bootlicker. Formed in Northampton from the ashes of two local bands, the four‑piece channel urgency and defiance through the lyrics of the track that pushes back against a world losing sight of basic human dignity. With vocals that bury themselves straight into your ears, HOLLOW TONGUES are a band to watch out for. Words: Lou Viner-Flood Imminence - The Sword That Never Bends A new era has begun for alt metalcore giants IMMINENCE, releasing The Sword That Never Bends. Leaving behind self published album The Black, the band have reached for a new sound and have also now signed to Sumerian. If you’re an IMMINENCE fan following hearing The Black, The Sword That Never Bends is probably not what you expect, but that doesn’t stop the immaculate riffs and steadfast vocals coursing through you, and of course that violin. To accompany the track is a music video so cinematic that it could be fresh out of your favourite medieval fantasy show, with plenty of blood and drama to keep you on the edge of your seat. Words: Danielle Henderson Lake Malice - Ghost In A Hell Frantic from the off, LAKE MALICE drive forward like an uncontrollable freight train on Ghost In A Hell, a fusion of dramatic anime inspired sound effects and heavy nu-metal drums slicing through with a rampant beat, singer Alice Guala giving clean, powerful harmonies of "what does it mean to be alive?" as she leads us up to the hammering alt-metal breakdown of Blake Cornwall's furious guitar riffs over deafening beats and synths. Released just in time for the Download crowds to lose their minds to and ahead of their debut album (Sept 11th), Ghost In A Hell has an emotionally driven centre wrapped in futuristic alt-metal. It's further proof that LAKE MALICE are a force to be reckoned with. Words: Julia Stark Mouth Ulcers - Space Ahead of the release of their debut EP, Silent Pictures, MOUTH ULCERS have unveiled another gothic post-punk offering that taps into society’s enduring appetite for nostalgia, Space. While the track’s two verses repeat throughout, Zac Watson’s vocals are gradually mirrored by those of Josephine Rose, creating a layered and emotional sound that emphasizes the human longing for lost connections. The atmospheric instrumentals, which invite slow movement, seamlessly complement the previously released singles, sustaining anticipation for the EP’s full release on 10th July. Words: Theviya R Karunaharan Public Opinion - When Kevin Gets Free Back in April, Denver, Colorado punk band PUBLIC OPINION announced their second album, The Curse of Public Opinion, along with their kickass lead single, Balloon Man Running. Good news for fans: their second single When Kevin Gets Free builds on the band’s thunderous garage rock sound with caustic, biting lyrics that convey lead vocalist Kevin Hart’s angst about choosing to hold back emotions. In a just under two-minute track, the five-piece group shows that they’re ready to let loose, as gang vocals, blistering drumbeats, and energetic power chords will have listeners headbanging. Walls of noise and pure anger run through the track’s entirety, including a furious bass riff break from Sebastian Stanley that’s likely to get one’s blood pumping. Words: Bill Cooper Polyphia - CAN YOU FEEL IT Though POLYPHIA hasn’t announced a 5th album, the band’s latest single CAN YOU FEEL IT will build hope for an eventual arrival. Regularly, the Plano, Texas-originating prog rock foursome mashes various music types together, some of which could be heard in their last LP, 2022’s Remember That You Will Die. Still, this disco-infused opening of warbling synth lines, heavy Balearic-adjacent club beats, and screaming guitars will push listeners’ excitement to the next level. When it culminates with an intense breakdown near the end of the piece, they’ll know for sure that the group is more all over the map than it ever has been - in the best possible way. Words: Bill Cooper Rozemary - Bleed Me Dry The Northwest baddiecore legends ROZEMARY build on their previous work, releasing a hefty new single Bleed Me Dry. Izabel’s vocals sound phenomenal as ever, while also seemingly effortless. Initially inspired by the likes of SPIRITBOX, the band has already developed their distinct identity, both sonically and visually. The eerie instrumentals completely immerse us into ROZEMARY’s world, its progression keeping the listener hooked all throughout the song. The band’s sophomore EP It’s Harder Now to Breathe comes out very soon on the 8th of July. Words: Mariia Bulkina South Arcade - DEADMEAT Ahead of their packed and manic set at Download on the coveted Apex stage, SOUTH ARCADE have once again dropped an absolute banger with DEADMEAT, the type of track you scream along to with your friends as you jump in a crowd of strangers-turned-companions. With a gradual build of instruments and singer Harmony Cavelle leading us in with "bite your tongue, don't tell anyone", DEADMEAT picks up the pace and unmistakably high-energy fun that SOUTH ARCADE have cultivated in their Y2K pop-rock sound. With upbeat and uproarious guitar riffs over crispy drums over catchy lyrics, it tells the age-old story of finding someone and getting the hell out of dodge to start a new life. Words: Julia Stark Spitting Glass - Full Send The immediate vocal onslaught from Joe Bad threatening to "leave you slumped" will wake you the fuck up for SPITTING GLASS's latest release Full Send, a track that feels like a teeth-rattling crack to the chin with a ferocious rhythm that speeds forward before dropping into a menacing pace. Utilised as their opening track on their live shows, including their dusty, bruising Dogtooth stage opening slot at Download, Full Send sets the expectation for listeners to fully lose their shit to the venomous lyrics, battling guitar and bass riffs and obliterating drums, resulting in absolutely delightful carnage. Words: Julia Stark unpeople - friends Easing us in with a quick drum roll, UNPEOPLE rip into new track friends with gritty guitar riffs and gut-punching bass, high strings cutting through the rhythms for an aggressively enjoyable fight track. Vocalist Jake Crawford belts out powerful lyrics in a cynical view on developing love in "I gotta make sure that I mean it / when I say "I wanna love you to death", harmonising with bassist Em Lodge on the second verse, before they descend into explosive screams on a deliciously turbulent breakdown, rising back up with a clapping sing-along that will be a sight to behold live. friends is an anthem for those navigating love and those just looking to throw their feelings down in the pit. Words: Julia Stark Witchsorrow - Hades Chains In the buildup to their album The Devil And All His Works next month, doom metal pioneers WITCHSORROW give the final push with track Hades Chains which came out recently. Hades Chains is a certified headbanger, with slick metal goodness that you can’t help but move to. The last minute is just pure power, a true masterclass to the genre. There is a refreshing contrast to this and their previous single release Bacchus, where Hades Chains is more upbeat, and Bacchus delivers the classic sludgy doom sound. Whilst both are great, Hades Chains feeds perfectly into the anticipation as the countdown begins for the album release. Words: Danielle Henderson Editor: Naomi Colliar Duff Photos: Various Artists

This was to be a night of firsts. First tours, first time touching down on UK soil, first live experience of already loved bands, but what was familiar was the energy in the room buzzing as five-hundred people filed in, every inch of the venue filled shoulder to shoulder with excited gig goers, the electrifying anticipation of a night to remember hanging in the atmosphere. Taking to the modest sized stage that seemed as if it wouldn’t be big enough to house this five piece group, having played on the very same stage only a few weeks earlier, WITHIN REACH were no strangers to the small space, as was made clear when they came on like a storm, claimed every inch of it as their own and commanded the crowd’s attention from the moment the snare hit on their newest release Liar And The Host. This up and coming band are well seasoned in opening shows and supporting already established names such as WE CAME AS ROMANS and OUR PROMISE, easily getting hearts racing, blood pumping and faces smiling with their high energy and immediate tempo setting for the night, these lads are the perfect kick starter for an adrenaline fuelled night. Upon calling for everyone to put their torches up, or in the case of one fan amongst the crowd, the old school lighter in the air, for the raw and emotional track Hesitate, bright white lights swayed in time as the deep hellish sounds of frontman Kenzie Clagie accompanied the stunning melodic chorus vocals from guitarist Bailey Dopson. Filling the packed out room with heavy growling vocals from Kenzie and sharp crashing drum beats from exceptionally skilled drummer Aidan Scally, the mission to hype up every person in place was a major success! If this UK based metalcore standout isn’t on your radar, you’re missing a trick. Gritty, biting and infectiously passionate, WITHIN REACH are well on their way to becoming an industry sensation. Having clearly been dipping their toes into the fountain of youth, these talented beyond their years powerhouse young guns are going big places. And we can’t wait to see it! Bringing their highly anticipated headline ‘BITE BACK’ tour to the UK for the very first time, playing for three dates only - including the monumental Download Festival, HOLYWATR hit the stage at their sold out London show, entering through smoke and spotlight. The intimate venue of The Underworld packed wall to wall with eagerly awaiting fans, ready to give their warm welcome. Playing hits from their new album Deo Gratias such as Pure Leaf, Burn The Witch and Give Me A Show, the Californian collective stay true to their genre pushing sound of sultry, gritty alt metal mixed with heavy emotion, melodic falsettos and raw screaming vocals that fans know and love. After a brief pause in the set for lead vocalist Patrick Middelthon, known as Holy in online spaces, to speak on the brotherly bond the band shares and connect with the crowd, where it was revealed that a handful of devoted fans flew all the way to New York, USA to see the four piece perform and then back again, ears were graced with their most popular tracks Nail Polish, Fade and Winter Pine, allowing elongated breaks in the songs for the ‘congregation’ - the name given to HOLYWATR fans - to excitedly sing the lyrics back. Whilst encouraging pits, stage diving and crowd surfing throughout the set, it was announced that for the four minutes that For The Plot played, there would be a girls only pit, allowing for a friendlier mosh than traditional pits. The girls gathered and joyful screams filled the room as the soft angelic vocals into deep guttural growls from Holy rang in ears, heavy powerful beats from drummer Daniel Gallardo hit and clean, hypnotising riffs filled the room from guitarists Chandler Martin and Quintin Kelley. Towards the end of the night, HOLYWATR did the classic exiting of the stage with a wave for the inevitable demand for an encore, and demand the sea of hungry-for-more fans did. Chanting “ONE MORE SONG!” over and over until the lights dimmed again, the intro track of the next song began to play and the cheering and hollering crowd were treated to not just one more song, but three! Bringing it home with one of their most popular and well loved songs, Loose Ends, both band members and congregation alike sang at the top of their voices in harmony, a truly special moment for all and the perfect way to end an incredible night. Though never having blessed us with their presence before now, this side of the globe is well aware of HOLYWATR’s addictive sound and collectively basked in its glory while we could, and impatiently await its return. Words and photos: Ashleigh Robinson

June 2026 marks the first Bulletproof Festival, a three-day event placing grassroots music culture at the centre of its mission. As part of the Music For The Many campaign, Bulletproof has spotlighted the importance of grassroots venues. Recognising their role in showcasing emerging talent and providing accessible, affordable live music within local communities. Across four grassroots venues in Hackney, presenting over thirty bands, festival-goers were invited to explore some of the lesser-known music spaces whilst discovering their new favourite artists. Founded by Peace and Justice, the festival brings together organisers, artists and activists with a distinctly political perspective. An appearance from Jeremy Corbyn establishes the foundations of their beliefs. Every child deserves the opportunity to explore music, to dream and be expressive. Everyone, despite class, race and gender, deserves the opportunity to make music. Corbyn also established that the festival was raising funds for medical aid in Palestine, a cause that resonated strongly with attendees throughout the weekend. With advocacy woven throughout the sets, fans buzzed with excitement all weekend, and anticipation grew for more. DEAD AIR A catchy opening riff immediately turned heads as South London’s DEAD AIR opened the stage for the Bulletproof festival. Blending alternative rock with post-hardcore influences, the band delivered a chaotic yet controlled atmosphere throughout their set. The band’s strong chemistry translated into their stage presence, making full use of the stage and higher platforms. Without disrupting the flow, each member had showcased their individual instrumental talents, hypnotising the crowd to headbang along. DEAD AIR ensured that momentum was built throughout their set. By the end, their energy was contagious. It was evident that the opening performance had left a lasting impression on those curious about the first Bulletproof festival. SOAPBOX Describing themselves as "a band in their 20s who are angry at the political climate", SOAPBOX's passion is evident. From bouncing between raised platforms and singing amongst fans, there is an effortless wave of movement amongst the crowd. Calling out the uncomfortable reality through their speeches and lyrics, SOAPBOX embody the spirit of punk. From the struggles of the working class to the rise of fascism within the country, the Glaswegian four-piece band are adamant on having its voice heard. Tracks such as Fascist Bob and Yer Da were crowd favourites. If you're not already familiar with SOAPBOX, these tracks encapsulate their punk rage. CQ WRESTLING A deceptive mellow introduction lures the audience before unleashing a storm of energy. CQ WRESTLING wasted no time showing off their magnetic band chemistry. Blending their atmospheric synthetics offers a unique flair to their indie rock sound. The band’s audience participation was evident throughout the show, even during slower moments. Waves of clapping hands created a sense of connection that elevated their performance. The lighting, the staging placement and group presence made their performance impossible to ignore. As the set gradually slowed down, CQ WRESTLING’s strength as musicians persevered through their synths and melodic hooks. For fans of indie rock, this is a band to seek out as they tour across the country. MARUJA MARUJA ended the first day of Bulletproof festival as headliners. Anticipation was rising through the crowd as they waited for the noisy jazz punk band. A cinematic atmosphere was created with violins seeping through the speakers. There was a brief moment of tension before the band’s crushing heaviness. As the first note dropped, a sense of urgency forced the crowd to form a pit. Their flair: the saxophone. At times, the saxophone offered an unsettling intensity that seemed in with the political chants between songs. Watching a push pit occur around the sound of the saxophone remains a highlight of night one. Engagement from the crowd had been maintained during the gradual shift to mellower tracks. The instrumental transitions between songs had connected with fans, some shedding tears. An incredible way to finish off day one. CLT DRP From the moment CLT DRP stepped on stage, this three-piece delivered a performance overflowing with energy and confidence. With Annie Dorrett utilising every inch of the stage, the band wasted no time luring the audience into their universe. Flashing lights feed into the energetic atmosphere cultivated by the band and their connection to the audience. Blending electronic textures with a punk flair, dancing and movement were invited. Closing the set with a fiery scream, the final release of raw emotion, the venue was left wanting more. CLT DRIP proved that they are electro punk at its finest: bold, energetic and impossible to ignore. WESTSIDE COWBOY A surprise act, blurred out on the set times, has been stirring up speculation amongst festival goers. The four-piece band WESTSIDE COWBOY were announced 12 hours before and brought their folky indie rock tracks to the stage. Aoife leans into their folky vocals as the band takes on a unique britainicana sound. Their set shifted seamlessly from slower tracks to playful rock. Waving arms and swaying flood the venues as the crowd observes with awe. The band’s chemistry is enchanting as they close their set with the quartet gathering around a singular microphone. It was evident that they were a group of friends who loved performing music together. SPRINTS Rounding up night two of Bulletproof festival, SPRINTS had managed to fill up the venue. A countdown fuels excitement within the crowd, ready for the second headliner of this festival. The energy for the first song was undeniable, with a sea of bodies moving along to the sound of the drums. SPRINTS infectious enthusiasm was contagious fans engaged in their electric world. Audience participation was a defining characteristic of this closing performance. The band invited fans to sing along and participate in call-and-response. Each response was louder than the last; momentum was never lost. A buzz followed each person who left the venue. A feeling of excitement and satisfaction accumulated from SPRINTS’ set. JOOLS Any concerns that a knee brace would limit Mitch Gordon’s performance were quickly put to rest. The staging arrangement had moved slightly with the drums living on the front right. JOOLS had utilised every inch of the stage from the very beginning, forcing the crowd to observe every movement. With their voices blending effortlessly, both lead singers delivered a phenomenal performance. The most powerful moment occurred during 97%, a politically charged track about the mistreatment of women in everyday life. A track that deeply resonated with every woman in the crowd. Crutches were raised into the air in a show of solidarity and celebration, a fitting image for a performance that refused to be defined by limitations. RORY CITY Hidden on the bill was the side project of trans artist, RORY CITY. Known as the lead singer of GENDER CRISIS, there was a growing excitement towards this set. His DIY approach felt perfectly suited to the venue, Jago, creating an intimate atmosphere that emphasised the authenticity and passion behind the performance. While the set leaned towards the mellower side, every song was delivered with a clear sense of purpose. His enthusiasm was contagious, forcing bodies to feel free and dance. Crowd engagement was a memorable experience as RORY CITY wove through the crowd, dancing along with others. A mission to connect with every single person in the room had left them feeling connected to their music. Even a side quest can be as enjoyable, accomplishing and rewarding. CODY FROST Closing Bulletproof festival on Saturday, CODY FROST was on a mission to create a memorable night. It was clear they knew exactly how to interact with audiences: giving a mesmerising performance whilst balancing their infectious energy. There was a series of powerful screams that elevated throughout the set, which drew an enthusiastic response. Crowd interaction remained constant throughout the set as the audience crouched low before erupting into synchronised jumps. Blending electro punk with hyper pop ensured the crowd were kept on their feet. Whether this was dancing, opening a push pit or two-stepping, there was a strong sense of community within the room. With the tease of the unreleased track “Violet,” the excitement lingered long after the audience had left. Words: Theviya R Karunaharan Photos: Amy Lynch

On 11th August 2007, in a park in Bacup, Lancashire, Sophie Lancaster and her boyfriend, Rob, were assaulted by a group of 5 boys. After this brutal, unprovoked attack against their appearance, Sophie was then hospitalised and passed away at the age of twenty on 24th August 2007. As a result of this assault and previously witnessing the abuse that Sophie had received, her mother, Sylvia Lancaster, established The Sophie Lancaster Foundation. To this day, the work of the foundation remains important, as in 2021, the Law Commission recommended not adding alternative subcultures as a strand of monitored hate crime due to insufficient evidence of targeted criminal behaviour. This prompted the foundation to launch a survey to gather evidence on violence towards alternative people - the ACT (Alternative Communities Together) Project. Statistics gathered from this project revealed that hate towards alternative people is still a major issue, both in person and online, 87% of those surveyed had been threatened/ harassed in person, 71% had been threatened/ attacked online, and 56% had been physically attacked. These findings resulted in an independent action plan developed by The Sophie Lancaster Foundation which in 2024 was awarded £258,928 over three years by the National Lottery Community Fund to launch the ACT project. This project works to not only share the stories of alternative people but to educate people on hate crimes, including where and how to report it, working with the criminal justice system to ensure that crimes against people in alternative subcultures are better understood, as well as an online guide to offer advice and support to those affected by targetted hostility due to their identity and the knowledge on how to report hate crimes. The foundation spreads the message of ‘Stamp Out Prejudice, Hatred and Intolerance Everywhere’ (S.O.P.H.I.E) through means of educating, training, and raising awareness, while also celebrating Sophie’s life. This includes school visits designed for all age groups and workshops to educate younger people on hate crime, bullying, developing empathy, critical thinking, and not to fear differences. Working with young people in these stages is critical as it generates awareness by teaching the story of a young person’s life cut short at the hands of others out of prejudice. The work of Sylvia Lancaster, even after her own passing in April 2022, and the foundation in Sophie’s honour, has been pivotal to adapting hate crime legislation to protect people within alternative subcultures, ultimately aiming to ensure that violence towards alternative people is treated the same as disability, race, religious and LGBTQ+ hate crimes. Another large aspect is music and festivals. Beginning with the very first ‘Make a Noise’ event on what would have been Sophie’s 21st birthday, celebrating and making noise to commemorate her life, instead of just a minute's silence. This would become an annual event with live music. Another key moment in the live event space came in 2009 when Bloodstock Festival renamed their second stage ‘The Sophie Lancaster Stage’ in tribute, which it remains named to this day. Bloodstock, Download and other festivals continue to support the foundation every year, with them having their own stall each year for people to support the charity and what they stand for, learn more information about their work and sell merchandise. This is an important aspect for the alternative community as it not only offers visibility for the foundation to vast amounts of festival goers, but also continues to spread awareness to the next generations, as well as offering a space for people to share their own stories and gain a sense of belonging amongst others who have shared experiences. Bloodstock supports The Sophie Lancaster Foundation immensely through fundraising at the festival. In 2025 alone, the festival was able to raise a huge £8,909 through various means, including guest and media donations, a t-shirt amnesty, bar tips, charity raffles and other competitions held over the weekend, allowing festival goers and bands alike to get involved in the fundraising. Sophie Lancaster’s legacy continues to inspire young people to this day. With the foundation every week sharing a ‘Freak of the Week’ post, to not only reclaim the language that is used against the alternative community, but also to celebrate people who are different and don’t fit into the mainstream. The foundation itself is also very vocal on its stance towards the LGBTQ+ community, through celebrating LGBTQ+ history month and recognising that everyone deserves to exist safely and authentically, and that the root of prejudice is the same for both communities, the fear of difference. Sophie’s legacy has also inspired many alternative and queer people to start their own events, such as ‘Sophie’s Night’, just one of many charity music and arts events hosted by GothFrog Productions, raising money for the foundation and also providing a safe space to gather, listen to music and celebrate being different. Words: Libby Percival Photo: James Smith

The pleasure of your company is requested this festival season for a banquet of sound oozing with decadence and baroque pop delights. Meet THE LAST DINNER PARTY - a London-based indie-rock and pop band playing the main stage at the Isle of Wight Festival this June. The band are no stranger to the music scene, having played the festival back in 2023, and touring globally since their first show at The George Tavern in 2021. Their earliest commercial success can be credited to their first single release, ‘Nothing Matters’ in April 2023, but their story begins amongst the buzz of London’s music scene. Meeting through university, mutual friends and concerts, the band formed just before lockdown hit. Consisting of five members, each musician brings a unique energy that, when combined, alchemises into something powerful. Abigail Morris is the lead singer whose vocals - both enchanting and hauntingly beautiful- move listeners through a plethora of emotion: from broken hearts to feminine seduction and all the vulnerability in between. Lizzie Mayland - who also has a career as a solo artist- is the band's vocalist and rhythmic guitarist, harmonising mesmerisingly with Morris and at times, leading on some of the band’s tracks. The ethereal medieval charm of the flute melodies and moving guitar riffs is the work of Emily Roberts, lead guitarist and mandolin/flute player. Georgia Davies is the band's bassist, creating punchy bass lines of depth that move throughout each song. Classically trained musician Aurora Nishevci brings beautifully crafted sounds on the piano, accompanied by vocals. Lead vocalist Abigail Morris admitted to Rolling Stones magazine that forming just as the pandemic hit “was frustrating at the time, but kind of a blessing ... It meant we had so much time to really come out fully formed”. And this clearly shows. There is a cohesiveness around THE LAST DINNER PARTY, a band whose distinctiveness captivates audiences, whose sound refuses to be stagnant - metamorphosising, growing and expanding as their catalogue of shows expands. Their first studio album, Prelude to Ecstacy, released in February 2024, debuted at number one on the album charts in the UK. From start to finish, the album guides listeners through the highs and lows of human connection and experience. The baroque-rock sound is distinct and present throughout the tracklist. The decadence of the corsets, ribbons and lace complements the lyrics rich in metaphors for power and love, religion and identity and growth and connection. This album wasn’t merely tantalising, it was to be consumed and devoured, which fans and critics alike hungrily indulged in. Evolving their sound, From The Pyre is their sophomore release. It blurs the line between power, passion and pain. Leaning further into theatrics, myths, mortality and often unspoken feelings, this album carries a specific story with each song. Ghosted by a situationship or lover? Let the marching beat of the drums, dramatic piano intro and collective chants of ‘Here comes the killer' in ‘This is the Killer Speaking’ avenge your broken heart. For those grieving a loss, allow the rawness of the lyrics in ‘The Scythe’ pieced with powerful guitar riffs to guide you through the pain. Taking a darker turn, THE LAST DINNER PARTY’s sound is bold, raw and unleashes the intensities of our inner emotions. Their artistry also explores the concept of gender and femininity. Their music is a strong reminder of how this band does not conform to a singular label - they are not defined by gender or binary. As a non-binary and female band, a community quickly blossomed, especially amongst queer, female and non-binary fans. People are drawn to the inclusivity and acceptance that the band holds, not only in their music, but at their shows, online, and in the wider community. It is not uncommon to see a pride flag hanging from the stage, or thrown to a band member from the crowd. THE LAST DINNER PARTY isn’t just a band - it’s a community. Outspoken, passionate and vocal, they have continuously used their platform to stand up to hate and violence, whilst actively advocating for the rights of others. They have often taken time during their sets to address the ongoing genocide in Gaza, encouraging fans to donate towards medical aid for those in Palestine. Most recently, their song ‘Let’s Do It Again!’ featured on War Child’s HELP(2), a collaborative project supporting children affected by global conflict. If you have ever been so fortunate as to have attended one of their performances, you may have noticed an extraordinary number of ribbons adorned to concertgoers' hair, outfits and bags. This is Ribbons for Provisions - a fundraising scheme with charity Bankuet that exchanges food bank donations for ribbons embossed with the band's logo. It is one of the many ways they are using their platform to directly give back to their community. THE LAST DINNER PARTY is not a band that moves quietly. Intentional and bold, it’s hard to believe that the band have only just released their second piece of work. Songs with magic weaved into the rhythm and honeyed vocals, THE LAST DINNER PARTY’s sound is a feast for the wanting. Catch THE LAST DINNER PARTY on the main stage at the Isle of Wight Festival, Sunday 21st June 2026. Words: Mary Horner

It’s been noted all too often over the past several months that 2026 is very much the year of the “comeback album”. A band releasing their first great project in years (decades, in one or two cases) is one thing, but a band releasing their first new project in a long time is a different thing entirely. Enter WARNING, whose previous album, 2006’s Watching From A Distance is hailed as one of the greatest records in the doom metal subgenre. It’s easy to see why it’s endured too, with a 12-minute behemoth of an opening track setting the scene for an album that escapes descriptors like “moody” and skips straight to “depressive”. All the while featuring some of the filthiest guitar tone in the genre and Patrick Walker’s absolutely wonderful Ozzy-esque vocals with something of an extra expressive and emotional flair to them. The only other WARNING material we’ve had since then is a live album of them performing Watching From A Distance in full at Roadburn 2021 - an incredible listen, no doubt, but the sole purpose of Walker bringing WARNING back in 2017 was to perform that album. It seemed as though the group had served its purpose, and it only felt right to focus on slowcore group 40 WATT SUN instead. So it came as a huge surprise when the nine-minute Stations released some months ago. Fans everywhere were in utter disbelief. The possibility of original WARNING material was never completely off the table, but shocking nonetheless. A new album in 2026? The excitement was only amplified when fans listened to the song and discovered that it's yet another masterpiece from the group. A sonic manifestation of loneliness that only Walker and co. could achieve, from the desolate atmosphere created by guitars that ooze like molasses, moving at the tempo of a snail with the weight and punch of a thousand tonnes behind it, as well as the poetry. “Tonight, there’s nothing that can reach me in the world outside. It’s just another vast, aching hunger; an emptiness of another kind”, Walker wails in his signature pained tone, over an increasingly intense wall of guitars. The slowcore sensibilities from 40 WATT SUN are evident here, it feels as effortless as a song like Stages. It easily goes toe-to-toe with the best from Watching From A Distance. So, does the rest of the album live up to the hype? If the 13-minute opener and title track Rituals Of Shame is anything to go by, we’re off to a great start. You press play on the album, and you’re met with an instantly iconic riff that makes you feel as though they never left. Walker’s lyrics throughout this track are arguably even more mature than on WARNING’s previous album - which might be a deal-breaker for some. The appeal of that album’s lyrics is how his emotions are laid bare, simple yet crushing under the sheer openness of them. But it’s still present here to some extent, and it’s hard not to be in awe of passages such as “It's not in the darkness of certainty that I need you most, but in an ever-living, self-defeating horror that follows me wherever I fall.” The second single and third track Night Comes Down is likely to be seen as the weakest cut here. The album’s comparatively cleaner production was noticeable on the first two tracks, but it didn’t hold them back particularly. The guitars on this song just don’t pack the same punch, at least not until the chord progression switches up in the fourth minute. That’s not to say there’s nothing to like about the first half, the riff is yet another highlight - at this point in the album it’s fair to say that they do doom riffs like no other. But that second half is excellent. The vocals and guitars work together to create one of the most emotionally poignant moments yet. It’s still an eventful listen, the problem is that it’s a great song on an album filled with phenomenal tracks. Landing Lights is quite the hearty track, some of the instrumental sections here feel immense, due in no small part to the drumming from Andrew Prestidge. It’s a fitting precursor to the final track, Teacher, which opens with agonised guitars, a passionate vocal performance and some of the most hard-hitting poetry yet. The repeating lyrical motif of “time will turn to me”, sung in Walker’s forlorn tone almost makes it feel like an anthem of defeat. The dynamic build of the quiet section towards the end sets it apart from everything else on the album thus far, before roaring back into gear again to deliver a gut-punch of a conclusion. As Walker sings “I can’t count to the ways I love you”, the song dissolves, left with nothing but the last bit of lingering sustain from the guitars. After 20 years, WARNING have produced an album bound to leave casual fans and doom metal vanguards alike saying “they’ve done it again”. To compare it to the quality of a record like Watching From A Distance feels wrong in some way, but Rituals Of Shame is indeed another masterpiece of the same calibre - and in the same way, if this ends up being their final studio album under the moniker, it’s a worthy one. Score: 9/10 Rituals of Shame will be released on 19th June 2026 via Relapse Records. Words: Noise Leonard Photos: Warning

A few months after the release of their album FADED INTENTIONS in November 2025, FALSE REALITY, a mosh pit ready, hardcore piece from London provides fans with extra goodies. Comprised of vocalist Rachel Rigby, guitarist Dave Connolly, bassist Joe Cornwell, and drummer Louis Dale, the band although fresh is already gaining traction with household names such as SPEED featuring on their first album. FADED FEATURES takes a select few from FADED INTENTIONS and baptizes them into a fresh set of songs for listeners to two step to. As hinted by the title, the EP focuses on features with artists such as DEFIANCE HC, DENIAL OF LIFE, SHOOTING DAGGERS, and ZAND (with ZAND featuring twice in a remix). All titles utilize UPPERCASE which gives you a feel for the resounding drums and intense vocals about to come. Opening track OUT OF TIME (ft. DEFIANCE HC) begins with what feels like a call to action. A sample akin to an emergency broadcast, coupled with Connolly's guitar, screams out to anyone not ready to get up and dance yet. Time is running out and the lyrics remind listeners of that. A quasi-breakdown starts before we are called to action by Rigby’s compelling vocals. MIRROR (ft. DENIAL OF LIFE), second on the EP, blends thrash backing with hardcore vocals. Dale’s drums are the star of the show in the beginning of this track as they act as a suitable cohesive agent between the hardcore and thrash elements of the song. It is punchy and quick at the beginning, however, it contains elements of reflection as it slows down at periods. With vocals full of rage and lyrics complimenting them, this song is a great listen for anyone facing betrayal. DENIAL OF LIFE coming in towards the end is almost soothing, and needed as it preps for a softer song to come. Next up is SONDER (ft. ZAND) which provides a complete change in pace to the rest of the EP. It begins with an acoustic sound and is more reminiscent of post punk or shoegaze with Cornwell's bass shining through more on this track. SONDER almost feels as though from a different band at first as it is much slower paced to begin. This makes the breakdown much more powerful as it feels like achieving a much needed breakthrough. Greeting us in the penultimate song, EVERY GAZE (ft. SHOOTING DAGGERS), begins with an intense roar. The intro, screaming instrumentals, breakdown, and spitting vocals makes this the most melodic song on the EP. The fast paced guitar coupled with drums and bass calls for dancing, running around and entering the pit. The tempo also creates a desire to replay the song as it feels shorter than it is. This is positive however, as it is due to the energy of the song that creates a desire to replay. SONDER is repurposed as the ending track through the form of a remix by GHOSTCHANT. It is completely different to the original (on this EP), as it focuses more on the mellow elements of the song. Consequently, this remix eliminates the breakdown in the original. It is more echoing in vocals and contains less variation in sound. As such, we prefer the original version of SONDER but would not rule it out for those in a reflective mood. FADED FEATURES is a refreshing take on FADED INTENTIONS especially if listeners are looking for a feel of an extended version of their favourite songs on the 2025 album. However, we would end with EVERY GAZE. This EP is definitely worth a listen and we're excited to see what’s next for the band! Score: 7/10 FADED FEATURES was released on the 12th June 2026 via Hassle Records. Words: Renée Bennett Photos: False Reality

Bringing energy, fun and addictive anthems, the debut album from pop-punk rising stars DOUBLE XP, All A Game is packed with nostalgic moments that feel like finding an old iPod Nano loaded with all the songs that defined a generation. Hailing from New York, DOUBLE XP are a four-piece band that have clearly found their sound and committed to it. Head-nodding and toe-tapping tunes make up the backbone of this album, utilising everything that pop-punk is renowned for. Fast-paced guitars, huge choruses, background distortion and heartfelt lyrics combine to create a record that feels familiar while still allowing DOUBLE XP to carve out their own identity. 1 HP opens with exactly those elements. It’s energetic, refuses to stand still and immediately sets the tone for the rest of the album. There is a huge pop influence throughout, perhaps more so than rock at times, but songs like this are exactly why fans fall in love with the genre. The chorus acts as a welcome breather between the frantic riffs and relentless drums, creating a catchy contrast that sticks in the mind long after the track ends. Hangman follows with a stronger punk edge. Built around a fast tempo and groove-laden guitar work, it captures the spirit of classic 2000s pop-punk. The vocal delivery from Marc Leveroni flows effortlessly, making the lyrics instantly memorable and easy to sing along to. The title track, All A Game, is the album’s only collaboration and features WSTR. Celebrating over a decade in the scene, WSTR leave a significant imprint on the track. While their contribution adds credibility and exposure for DOUBLE XP, it occasionally feels as though the guest appearance overshadows the band’s own identity. The song would not feel out of place on a WSTR record, though the collaboration could prove valuable in introducing DOUBLE XP to a wider audience. It would have been nice, however, to hear a little more of DOUBLE XP’s own identity pushed to the forefront. Pop-punk has always had a habit of weaving pop culture into its lyrics and song titles, and Anakin On Mustafar continues that tradition. More importantly, it restores any momentum lost on the previous track. There is a real sense of unity throughout the song, with Rossi’s commanding lead vocals complemented perfectly by the rest of the band’s harmonies. The call-and-response style works brilliantly and gives the track a charm that is difficult not to enjoy. God Mode continues the album’s relentless pace. Shouted vocals blend seamlessly with melodic passages, while the guitar solos and ever-consistent drumming combine to create a track that feels tailor-made for live performances. It has all the ingredients of a future set opener. No pop-punk album feels complete without an emotional acoustic moment, and DOUBLE XP deliver theirs with Save & Quit. Echoing the style of NECK DEEP, the song strips things back with acoustic guitar, raw vocals and reflective lyrics exploring love, hardship and personal growth. The delicate instrumentation and soaring harmonies elevate the track, making it one of the album’s most heartfelt moments. The tears have barely been wiped away before Looney Tunes completely flips the mood. The energy is instantly restored and the band come flying back out of the gates. Some excellent guitar work steals the spotlight here, with the solos standing among the album’s strongest moments. It is a track that showcases the band’s musical talent just as much as their songwriting ability. Continuing the pop culture-inspired naming convention with a subtle nod to The Lord of the Rings franchise, Fly You Fool adopts a heavier and slightly slower approach. Driven largely by its bassline, the song channels frustration and anger effectively. Its brief runtime works in its favour, allowing the emotional intensity to hit without overstaying its welcome. The penultimate track, Sever The Bad Ties, initially feels like a continuation of the previous song before taking an unexpected turn. Out of nowhere, a Mediterranean-Latin inspired guitar passage arrives and completely changes the atmosphere. On paper it sounds like something that should not work, but in reality it becomes one of the track’s most memorable moments. There are clear influences from bands such as SIMPLE PLAN throughout, yet the song still manages to maintain its own identity. Closing track Highrise offers one final surprise. Rather than just Rossi, fellow lead guitarist Marc Leveroni steps into the spotlight. Having previously provided backing vocals throughout the album, it is a welcome change that works remarkably well. It’s difficult enough for a band to find one distinctive vocalist, never mind two who complement each other so naturally. While still retaining the energy and character that define DOUBLE XP, the track introduces subtle synth elements and moments of a cappella that help it stand apart from the rest of the album. It provides a strong and memorable finish to an impressive debut. As far as debut albums go, All A Game is an impressive introduction and a solid foundation for DOUBLE XP to build upon. The album flows well, embraces the core elements of pop-punk and delivers a collection of feel-good tracks packed with personality. If this record is any indication of the band’s future trajectory, festival appearances and greater recognition seem inevitable. If this is the standard being set by the next wave of bands breaking through, then the future of pop-punk looks very bright indeed. Score: 9/10 All A Game will be self released on 12th June 2026. Words: David Waites Photos: Blake Walters

A common sentiment in some music circles over the past several years is a yearning for the days where artists could simply release an album every year. Of course, the current streaming-based music landscape makes this extremely difficult for many. But it hasn’t stopped the Canadian avant-garde and drone metal group, BIG|BRAVE, from dropping an album every year since 2023. Granted, last year’s OST was entirely drone and electroacoustic, inspired in no small part by guitarist Mathieu Ball’s solo endeavours in the genre. It would, however, be unwise to consider OST a mere interlude in the band’s now ten-album discography. The comparatively softer textures and attention to detail have been carried over to the upcoming In Grief Or In Hope, just with the extra emphasis on distortion and noise. We hear this on opener what may be the kindest way to leave, with a backdrop of a static-y guitar as Robin Wattie sings these elaborate vocal melodies over Liam Andrews’ slow, chugging bass. It’s the first time BIG|BRAVE have welcomed a dedicated bass player onto a full studio album, and over the runtime of this piece, he adds some much needed rhythm in lieu of percussion. All the while, the sustained crunch of controlled feedback from the guitars, bouncing around the song with a cavernous echo. Wattie, when speaking on this album, has written that she wanted to “explore catchy, melodic phrasing” in her vocals as a contrast to the sheer overwhelming feel of the instrumentation. This is clear on the second track, a shape of shame, as she sings with an almost uncertain tone, holding back until what might even resemble a chorus, where she finally projects her voice over strummed guitars, her vocal becoming gradually more bitcrushed as it reaches higher. If the idea of a pop song structure turning itself on its head was what they were going for, they achieve it here with an effect not too dissimilar to BJÖRK’s Pluto in its effect and execution, as her visceral yell is complimented by a never ending wall of buzzing, droning guitars. Elsewhere on this album, we get verdure, the feedback you get when trying to plug your guitar into your aux given physical form, serving as the rhythmic and textural basis for the song. It immediately provokes the aesthetics of industrial music, the reverberating yet muted drums being integral to the most atmospherically rich take on the record so far. Occasionally, it shifts into a glimpse of a much more nightmarish world, before fully committing to it with noise that feels like the instrumentation screaming in agony. The rhythmic feedback continues to loop, the now wailing guitar noise trapped within it, unable to escape. It’s an absolutely harrowing effect to listen to. Ending this record off is title track in grief or in hope, another monolithic sonic landscape that we’ve come to expect at this point. There’s something to be said for a group not surprising us in the slightest, but the music they’re producing is so good that it doesn’t matter regardless. The hazy mess of sound in this track is just so easy to get lost in that you can’t help but fall in love with it. It builds itself up over around four minutes, introducing what sounds like phaser and hitting you over head with waves of noise that start as immediately as they stop. Little explosions of sound appear in the background occasionally, almost volcanic in nature, before fizzling out. On this album BIG|BRAVE do what they do best, with influences from genres like electroacoustic adding to their broad sonic palette, giving it a new kind of sonic complexity compared to their previous albums. The choice for melody to be mostly reserved to Wattie’s vocals is a welcome one, providing contrast on an album whose main appeal in terms of the instrumentation is the layered textures and soundscapes. The rhythmic edge given by the percussion and newly-introduced bass only helps to round it out, providing more means for each individual performer and the songwriting to stand out. Wherever BIG|BRAVE go from here, we’re excited to see. Score: 8/10 In Grief Or In Hope will be released on 12th June 2026 via Thrill Jockey. Words: Noise Leonard Photos: BIG|BRAVE