We are back at Camden Town’s premier celebration of bone-dry guitars, nasty tones, Orange amps, Red Stripe beer, sick-ass riffs, and desert rock madness known as “Desertfest”. Once again, for those not in the know, Desertfest is the home of Stoner/Doom/Psych metal in the UK. And just for your convenience, dear reader, your reviewer-photographer dream-team (who are currently recovering their necks from three days solid of riff-slanging and head bangin’) are here to give you the rundown on what transpired on that magical weekend in May. Not much sun this year, though, actually this might have been the coldest edition of Desertfest yet, which means it was actually viable to wear a leather jacket this year AND the Underworld was actually (mostly) a bearable temperature! (We thought the day would never come, but we live in unpredictable times.) Last year we quipped that the event was becoming less “doomy” and more “zoom-ey”, with bands generally picking up speed to be known as the fast and sludgy “desert rock” rather than the slow, methodical “doom metal”. The question is… is it still awesome? (Spoilers: yes) But enough waffle, here’s who and what we witnessed. SERGEANT THUNDERHOOF It was a bit of a shock when RUBBER SNAKE CHARMERS pulled out of the festival with barely two weeks left until they were due to play, but luckily they were replaced by the resplendent SERGEANT THUNDERHOOF, much beloved by OOR for their wondrous personalities as well as their swell music. Even with an expectant crowd, they manage to conjure up a wild storm of a performance, mixing their upbeat numbers from 2022’s This Sceptred Veil with their more sombre offerings from 2024’s The Ghost of Badon Hill. The laities in the crowd are struck by the sheer magnitude of emotion they manage to convey through the vocal and riff delivery, with them receiving a grand cheer at the end of their performance. It is not a stretch to imagine they will be back once more, but on a grander stage, possibly one more rounder and house-ier. LORQUIN’S ADMIRAL Somewhat lesser known are LORQUIN’S ADMIRAL, the project of HERMANO bassist Dandy Brown and his wonderful wife Dawn Brown, as well as having members of AFGHAN WHIGS, YAWNING SONS, SONS OF ALPHA CENTAURI and LUNA SOL. Sure, unless you’re enamoured with the scene, you probably won’t know some of these names, but trust us, this is a damn good lineup. They have one album out, and it absolutely rocks, so hopes were high. Turns out that before they were standing before us at the Underworld, their flights to the UK from the USA got cancelled - but they made it anyway, and the show must go on, as they say. So not only is this their first show together, it's their first ever rehearsal together. Many other bands would cancel given the short notice, but not Lorquins; they put on a good show regardless of the circumstances. Sure, they were reading off a lyric sheet, and their microphones were barely audible at times, and certain sections of songs were met with confusion by the guitarists who appeared utterly confounded - especially for their last song, Inexplicable Things. But above all that, the ethos of the band shone through, and Dandy seemed to be having loads of fun onstage with his wife, so what’s there not to like? It’s cute, and we like cute. They deserved better for sure, hopefully, once they return, LORQUIN’S ADMIRAL can truly spread its wings. CWFEN Glasgow’s CWFEN are a truly transformative band, as evidenced by their interview with OOR last year; a band with about a million influences that transmutates each of them into their own sound - the very essence of solemnity. On-stage, they’re a bit like a neutron star, with the gravitational pull of their supermassive sound pulling everyone away from the bar and into the crowd at the Underworld. One thing is certain: this is not the same band that played with FAETOOTH at the Black Heart last year. They’ve been refined like tempered steel from their tours with PARADISE LOST, sharper and heavier. Hell, they were great before. Now they’re on another level. They uphold their dour tone through heavy use of reverb and a substantial gothic influence to bathe everyone in their trademark tenebrous atmosphere. Vocalist Agnes Alder careens around the stage in dreamlike motions, occasionally leaping out at any unsuspecting filming phones whilst Guy De Nuit strums dark riffs that won them their accolades in the metal press last year. It all feels very involved and is a surefire highlight of the weekend. Long live CWFEN! HÄLLAS Hopes were high for HÄLLAS before they even set foot on the stage. Their new album, Panorama, is a brilliant piece of music, with it making some people’s Album of the Year lists already (blimey!). They came, wielding some beautiful instruments with capes on their backs and delivered the goods. “Eight years since we last played the UK!” yells Tommy Alexandersson, singer and bassist, wielding the most beautiful Rickenbacker bass you’ve ever seen, as they careen into their feel-good setlist. One qualm would be with the sound in the Underworld itself. On the record, they sound large, as they use actual equipment from the 70s, but they can’t help but sound a little subdued in the room they were playing in. Face of an Angel felt more like it was being played in a pub than the large arena sound it deserves. Perhaps that’s a bit of a large ask for them, but they still manage to get the whole joint singing and dancing along. Overall, the Swedish boys put on a real corker of a performance that leaves the whole crowd satisfied and hungry for what the future brings. INHUMAN NATURE Ok, let’s get the elephant in the room out of the way; they ain’t doom. There’s nothing desert about them either. INHUMAN NATURE is a straight thrash metal band, and the first band to play the Roundhouse this weekend. Do we care? Do we ‘eck. These guys are the real article. Desertfest isn’t a stranger to bands from outside of the genre, and these guys still deliver some metal thrashin’ madness. But… (and that’s a big but), it is pretty early on in the day for most, and they bring their guitars screaming for succour in front of a doom-fed crowd that can’t manage to do anything aside from politely nod along. As the show unfolds, people appear to be waking up, and some miniature mosh pits begin to form. But nothing that this band deserves, like people throwing themselves towards the barriers and crowd surfing, it’s far too early on for that. Nevertheless, they put on a hell of a show, and hopefully next time they play to a thrash crowd with little regard for their own well-being. WYTCH HAZEL The Christian cavalcade has come dressed in all-white to tell us how much they think Lucifer sucks, and they have a hell of a way of displaying it. With more crosses here than a graveyard, some even rendered on their guitars with Gorilla Tape as a cute DIY touch, they deliver their own brand of noblebright lawful-good metal with soaring vocals and cinematic instrumentals. They get the people boppin’ and the unbelievers droppin’. Seriously, there are SO many crosses onstage. ELEPHANT TREE You’ve got to love London’s own ELEPHANT TREE for stepping in for CHURCH OF THE COSMIC SKULL of all bands. The first actual slow doom metal band that day at the Roundhouse, their luscious and weighty riffs pack the venue airtight, and by God, it's beautiful. There’s no extravagant stage set-up, no set-pieces, no flashy lighting and certainly no crosses, nope, just the guys, their equipment, and their big-ass logo being projected behind them. They certainly appeared unsure of themselves, too, with frequent banter alleviating the mood. Very much a jam band, like SOLACE, it feels like a couple’a dudes having a good ol’ time onstage, and that’s a-OK in our book. Kudos, gentlemen. PIGS PIGS PIGS PIGS PIGS PIGS PIGS The hand-picked penultimate band of the Roundhouse are none other than PIGS PIGS PIGS PIGS PIGS PIGS PIGS, whose set feels less like a performance and more like a test of endurance. People go absolutely bananas for these guys, and we’re not sure what it was. Was it the humongous sound, brutal riffs, epileptic lighting, or guitar tone so monstrous that people around us were complaining that they nearly crapped themselves? It could be anyone. Their energy is magnetic, and whilst the crowd is all sweating in one writhing, cavorting mass to the thrumming of their pandemonious sound, you can’t help but notice your chest rumbling. Their set is a damn good time, and for a time, it can be said that the Roundhouse truly experienced perdition - and we’re all eating from the trough. Oink oink. GREEN LUNG Here it is, the main event. The central vehicle with which this particular Desertfest was promoted, proudly advertised with “hey look, guys, we have GREEN LUNG headlining!” And that’s seriously all it takes. These guys are the darlings of the scene, the ones that got away. That made it big and signed with the largest label in metal, their meteoric rise has been such that we may never see its like again. They’ve also got a new album coming out in September, Necropolitan, of which they only played one song, the new single Evil in this House. No new tracks, but this is a celebration of 10 years of the Lung. Beginning on the bombastic “Old Gods”, the band very quickly establish why they’ve made it so far; with an unassailable energy and a panache for the theatric, with the band getting their legendary roadie Metal Joe to don a giant caprine monster costume for one song (which feels like something out of Spın̈al Tap). They crack open some deep cuts and songs less play’d, Woodland Rites, One For Sorrow, Song of the Stones, and the classic Into The Wild (though to us, it will always be known as Freak on a Peak). Drummer Matt Wiseman pounds along a heavy rhythm whilst Scott Black channels his guitar god mode with an energy siphoned from Brian May himself. Everyone gets their moment in the sun, even original bassist Andrew Cave returns for their hit Let the Devil In whilst current bassist Joseph Ghast breaks out the sax. It’s a triumphant return and the crowd are churning in the mosh-pit like butter. For those that can’t get enough, they only have to wait until December when the Lung returns to the Roundhouse with HIGH ON FIRE and GNOME in tow. Excelsior! MIDHAVEN Many stumble in heavy-headed into the Underworld for MIDHAVEN in their Desertfest debut. All the way from Mumbai, it’s clear that they’re here for a good time and to rock the house down. They sound like an Indian HIGH ON FIRE with their larger-than-life sound and haughtily thick riffs. And they’re having an absolute blast whilst they do it. One of the members even admits to breaking into a Desertfest as a broke college student years ago in search of some of that doom goodness, and now here he is sporting a triple-A badge. Funny how things work out. For sure, they are one of the bands that people who missed them think “dammit, I should have been there!”, and all are in love with ‘em by the end of their set. Magnificent stuff, lads, please come back soon! TRUCKFIGHTERS There may not be much energy to go around on Sunday, but it seems that the real place to blow any energy reserves you may have left is TRUCKFIGHTERS. Hot from releasing their new album, Masterflow, they’re back in the big smoke to cover the Roundhouse in more fuzz than that sandwich you forgot about at the back of your fridge. Between ‘Ozo’ on bass n’ vocal duties and ‘Jolo’ banging out the driving four-on-the-floor drum lines, you have shirtless guitarist ‘Dango’ jumping and sprinting around the stage whilst simultaneously cranking out riffs in a thunderous purr. Many in the crowd struggle to film him as he sprints hither and thither, and all video footage ends up making him look like a cryptid. But the energy in the room is static lightning, by the time they get to all-time bona fide desert metal classic Desert Cruiser, the whole room is bouncing along. And to be fair, if you don’t bounce along to Desert Cruiser, you might actually be legally dead. Fun is the name, and fun is definitely the game here too, and by the end, we’ve all but run out of fuel (Oh yeah! Oh yeah!). EARTHLESS We were warned pre-EARTHLESS that their set is actually “one long guitar solo” and told in conversation by Scott Black of GREEN LUNG that guitarist Isaiah Mitchell “is one of the greatest living guitarists”. To say that’s high praise is a bit of an understatement, and hopes were indeed high. What was witnessed afterwards was immaculate. Desolate, huge, spacey riffs cut through with Floydian guitar solos and hardly any beginnings and endings to speak of. Indeed, all the songs they play flow into each other, and there’s no time for the frivolities of stage banter and other pleasantries. The synergy of the group is absolutely flawless, the soloing seems to go on for ages, and just when you think it can’t get any more impressive, it does. Until there’s a song break towards the end and some actual vocals, it all felt like one extremely long and fantastic instrumental. The Roundhouse may never see shredding like this ever again. Phenomenal. There are a few bands that can follow that up! THE SWORD Although Texans THE SWORD are one of those bands. Coming onstage to a rap number for some reason, they waste no time and launch into their set for the hungry crowd, and you can really tell that people have been waiting eagerly for them, as there are some bodies half-hanging off the barriers in anticipation. They take a few songs to get going, but by the time they break out the bangers like Tres Brujas, Maiden, Mother, & Crone and Freya, the party has well and truly started. Their retro sound and slow chugs get people jumping about and flinging themselves into crowd surfs and other such mosh-isms like a medieval brawl. And by the time they’re finished, they have everyone eating from the palm of their hand. CLUTCH And now we have the finisher, our last band of the festival, the mighty stoner metal mainstays CLUTCH. Flushed in red light, they emerge and waste no time getting into it as frontman Neil Fallon careens into his mad southernisms, it almost feels as if he is the head pastor at some insane megachurch that’s warning people about psychic attacks on their mind and assuring us, You better believe it, brother! They’re aware that everyone seems a bit exhausted, with Neil quipping, “I hope you’re not thinking about Monday…” and just like that, we’re all thinking about Monday. Psychic warfare at work. Their set is a good mix of older and newer numbers to showcase the history of this band that’s been a part of this scene for so long, and people are loving it. They deliver the goods, and after a quick encore, their bizarro-awesome set, and the festival itself, is over. Well, that’s Desertfest 2026 complete. And compared to other years, this one seemed to be more rounded out and complete. There were far fewer left-field bands that divided the regular attendees, and it appears they really emphasised the desert scene this year. And as the last pints and being pulled and the amps are packed away for another year, one thing is for sure. In terms of camaraderie, professionalism, and vibe, Desertfest might be the best damn festival in the whole country. It proves that the scene is alive and well, and that London remains the home of grassroots doom metal in the UK and possibly even Europe as a whole. Roll on next year! Words: Kia Golshani Photos: Oz Davies

Coming from Skövde, Sweden is screamo act KID, FERAL. Making a return to recorded music that’s awfully long-awaited - their first album was released in 2018 - follow-up 2019 was recorded all across the period since LP1 and now. The eight tracks across 2019 are shaped by hardships, failed relationships, serious injuries, and personal ruin. Written largely during the band’s youth but released at what they’ve called the ‘dawn of their middle age’, the album reflects years of persistence, frustration, and creative obsession. The drums were recorded all the way back in October 2019, while the rest of the album was written, rewritten, recorded, and reworked over the years, revising the guitar and bass parts again and again until they reached the form we hear them in today. The fifteen or so minutes of time the release spans rush by in a blur upon listening, as the heartwrenching sounds of opener Funeral In A Grocery Store morph into the more tender intro found on penultimate track I Want To Be Your Canopy before breaking into raucous, anguished chaos. Substance and Medieval Poetry go back to back with emotive shrieks and stabs of noise through the wall of sound, and Puddle Jumper closes off the LP with more desperately sorrowful yelling. The most important thing to keep in mind here is that this release should, nine times out of ten, be listened to in full. It’s very short and flows incredibly well so won’t feel like much time has passed at all, but dividing up the vast well of emotion present into smaller segments will only serve to diminish the beauty and spectacle of 2019’s fifteen minutes. In a weird way, the album is quite endearing, feeling like an old friend after just a couple listens, and is certainly one worth visiting over and over again. Summing up 2019 could either be done in just a few short words, or with pages and pages of work, but to try and cut that down the middle here are our thoughts. It will leave you with a mushy pang of searingly aching nostalgia for a time gone by that you don’t quite remember, all drenched in a slightly cold but deep yellow sunlight. Every moment manages to worm inside of you, and each extra listen will push this closer to your heart and open you up that little bit more until you’re barely holding yourself together. That is the point of this album. It’s brilliant, it’s devastatingly sad, and it’s angry and pissed off and needs you to listen to it. Score: 8/10 2019 will be released on 29th May 2026 via Backpack Records. Words: Jasmine Longhurst Photos: Kid, Feral

Manchester’s underground metal scene has never lacked intensity, but with The Final Nail, BEYOND SALVATION sounds ready to push themselves far beyond local acclaim and into far heavier territory. After years of sharpening their craft through EPs, relentless live shows, and support slots alongside some of the UK’s most respected heavy acts, the band’s long-awaited debut full-length arrives with all the force you would expect from a group that has spent years building momentum the hard way. From the opening moments, The Final Nail wastes no time making its intentions clear. This is an album rooted firmly in old-school thrash values, but it avoids sounding dated or trapped in nostalgia. Instead, BEYOND SALVATION channels the spirit of classic aggression into something modern, muscular, and genuinely exciting. There are traces of groove metal woven throughout the record, while flashes of death metal brutality add extra weight without overwhelming the songwriting itself. What stands out most is the strength of the writing. Rather than leaning on trends or studio trickery, BEYOND SALVATION trusts the quality of its material to do the heavy lifting. The riffs are memorable, the arrangements are tight, and every track serves a purpose. It is a confident approach that pays off throughout the album A huge part of that success comes from the chemistry between the members. Vocalist and rhythm guitarist Jon Pedley delivers every line with venom and conviction, balancing hardcore intensity with a thrash metal snarl that feels authentic rather than forced. His vocal performance throughout the album constantly drives the songs forward, adding urgency to already punishing material. Lead guitarist Arun Kamath deserves equal praise for bringing technicality and melody into the chaos. The solos across the record never feel self-indulgent; instead, they elevate the tracks and give the album moments of atmosphere among the violence. Whether unleashing frantic lead work or locking into crushing groove sections, his playing helps give the record its identity. The rhythm section is equally essential to the album’s impact. Bassist Luke Entwistle provides a thick backbone that keeps everything sounding huge without becoming muddy, while drummer Owen Ashworth delivers one of the album’s strongest performances. His drumming is relentless but controlled, shifting effortlessly between breakneck thrash patterns, groove-heavy stomps, and tighter death metal passages. Together, the four musicians sound completely locked in, which is perhaps the album’s greatest strength overall. Tracks like Broken Reflections perfectly showcase what makes this record work so well. The title track combines ferocious riffing with memorable hooks and enough groove to stay stuck in your head long after it ends. It captures the balance the band achieve throughout the album: aggression without chaos, heaviness without sacrificing structure. It feels like the natural centrepiece of the record and fully earns its place as the album’s title. Elsewhere, the album thrives on variety without losing cohesion. Some songs lean harder into blistering thrash speed, while others embrace slower, crushing grooves that hit with almost hardcore-like force. Despite those shifts in tempo and influence, the album never feels disjointed. Every track sounds unmistakably like BEYOND SALVATION, which is impressive considering the range of styles being fused together. What also makes The Final Nail such a strong debut is how confident it sounds. There is no sense of a band still searching for their direction. This feels like a record made by musicians who already know exactly what they want to be. That confidence likely comes from years spent building their reputation on stage, including appearances at major festivals and support performances alongside respected names within the UK metal circuit. The live energy translates directly into the recording, giving the album a constant sense of momentum and danger. Fans of modern thrash bands like SYLOSIS will appreciate the precision and weight on display here, while listeners drawn to the hardcore-infused aggression of HATEBREED or the groove-heavy attack of SEPULTURA will also find plenty to enjoy. Still, The Final Nail never comes across as imitation. The influences are obvious, but BEYOND SALVATION uses them as foundations rather than crutches. For a debut album, it feels remarkably complete. It is aggressive, focused, and packed with enough memorable riffs to keep listeners returning long after the first spin. More importantly, it establishes BEYOND SALVATION as a band capable of standing alongside the strongest names in the modern UK metal scene rather than simply supporting them. If this album is intended to be the next step forward for the Manchester quartet, then they have driven that nail straight through the coffin lid with absolute force. Score: 9/10 The Final Nail will be released on 29th May 2026. Words: Jack Norris Photos: Beyond Salvation

Consisting of members of some seriously big names in heavy music, ABLATION is the new death metal supergroup that you need to listen to. The iconic NY death metal scene is one that needs no introduction for long-time listeners of extreme metal, and so a band with members from SANGUISUGABOGG, SUFFOCATION and DEHUMANIZED should feel right at home. Their first release, the EP Lethal Abuse, is a six track hit-and-run intent only on causing sonic decimation - luckily enough, the title track (and lead single) opens the EP to do just that. Starting off with a nice aggressive sample, as all good death metal and hardcore releases should, it swiftly launches into assault on all the senses, battering the listener into submission in moments. Track two, Victim Kink, not only carries on the brute-force pummelling from the song before, but also introduces a very special guest - rejoining his two former bandmates Eric Morotti and Derek Boyer, both members of ABLATION, comes the one and only Frank Mullen; original vocalist of SUFFOCATION, making a return to the microphone. Tracks three and four are no different in their single-minded aim of destruction, as Sporadic Slaughtering and Indecorous Disembodiment make eardrums into some form of soup, before Mullen once again joins the fray - talk about kicking us while we’re down - on the penultimate song Eradicating The Feebleminded. Finale Immersed In Carrion ties everything up in a lovely, bloody, slightly meaty, gristly, and rather chewy bow, with something that most definitely isn’t a cherry on top, but you would not want to look any closer to find out what it actually is. Now to say that this EP does only one thing would not be fair, there is notable variation between tracks, tempo changes, different drum lines and riff styles can certainly be found across the entire release. However, it does not actually matter in the slightest whether it evolves hugely or not in any capacity, as you’re not listening to this for ‘musical progression’ or ‘evolving technique’. This is music for gurning and headbanging, or for crowdkilling. Or for brooding on top of a really tall building in a mask that looks like a bat but is legally distinct from being a Batman mask and then jumping down to pummel people who are in costumes that resemble henchmen for a clown, but are of course legally distinct from being associated with the Joker (who is of course not called the Joker). Long story short, go listen to this if you need to be really angry and want a suitably crushing soundtrack to yell along to. It’ll be a blast. Score: 9/10 Lethal Abuse will be released on 29th May 2026 via Fortress Records. Words: Jasmine Longhurst Photos: Kamryn Nickdow

Hopping across the pond for the first time since 2022, the Canadian singer-songwriter LIGHTS is bringing her sixth album A6 on a near sold-out UK tour. This body of work is LIGHTS in her truest form, produced and fully owned by the artist herself. The synth-pop star managed to pour her joy into the rest of us tonight, sharing this sacred moment with the London crowd. In her own words: "We’re humans, we’re not AI, so let’s get together and dance!" It’s a Friday night at the Garage, and the whole room is almost at capacity already just past 7pm. This is admirable, especially considering that there are no supports for the evening, just the one and only. Whether it is an unusual choice or a return of events, it’s refreshing to see all the attention focused on the main act for a change. Even more, it points to how successful and charming LIGHTS is to be able to pull it off with just her and the band, and raise such a high demand in the capital seemingly effortlessly. And oh did she prove the set was worth the wait. From the first chords struck and the first words sung, the whole room got pulsing in excitement. Starting off with the strong opener Come Get Your Girl, LIGHTS moved right onto belting it in River and Running With the Boys. The singer sounded miraculous throughout, and every new track seemed to be a crowd-favourite, with lingering claps after each one and careless, joyous dancing all around the venue. This is her first headline tour in the country since 2019, and LIGHTS is now taking us seven back, to this very room. She notices familiar faces arriving here from far beyond just London; another indicator of just how enormous the power of music can be that it has brought us together here. Although much of the setlist consists of the cuts off her newest release A6, LIGHTS goes on to explain that this album is all about looking back at different versions of ourselves. With that, she puts on a medley of Timing Is Everything / Flux and Flow / We Were Here for the fans who were there during the older eras. The disco balls begin to shine as the cover of Love Me by FELIX CARTAL rolls on, followed by the rave-fit energy that Batshit unleashes. After a half hour of tireless jumping, LIGHTS decides to wind it down for a brief moment, letting her band leave the stage to play a solo piece. Written on this very soil, Cactus in the Valley is deeply relatable to many, even if we’ve got no cactuses around. Sprinting right back to the hits shortly after, LIGHTS has full control over the audience, not letting them lose an ounce of energy too early. Witnessing the performance of Okay, Okay and Surface Tension leaves you in shock, thinking "Damn, they know every single word!" A few more crowd-pullers and a cover of All The Small Things later, it is encore time, the walls vibrating one last time before she sings Up We Go and finishes off with Education. As nice as it is to get home early, we all waddle out of the venue wishing it could have lasted a tiny bit longer. On the flip side, there is still plenty of time to soak in the feeling and catch your roommates in the kitchen to tell them all the stories from the show. As always, LIGHTS has put on a stunning performance, both visually and sonically, that certainly makes you feel Alive Again. Words: Mariia Bulkina Photos: Nicola Small

When it comes to the current state of hard rock, there are bands who focus on creating really catchy, albeit bland-sounding music with a structure that people are used to. This is fine, but this isn't something that'll make you stand out. This is where SHINEDOWN come in. With EI8HT, the band, who have never been more popular, will be marking the release of what is their most unique, and varied album yet. With 18 songs on the tracklist, this is the American four-piece at their peak. EI8HT kicks off with At The Bottom. At first, the song sounds like a piano ballad, the first verse being led with piano and acoustic guitar melodies. This leads into the chorus, where the full force of SHINEDOWN appears for the first time. The second verse is much more cinematic, with strings appearing in the background, before the drums help to build the energy up ahead of the second chorus. A guitar solo follows, and this leads into the final chorus. The track ends with the repetition of one of the chorus vocal lines, drilling the hook into the back of your head, and starting the record with a song that instantly keeps you on your toes, not knowing what to expect. The third track is Burning Down The Disco, and this one, especially for those familiar with SHINEDOWN, will give out a sense of nostalgia. The main riff sounds huge, and the verses are rather mellow, which contrasts the explosive chorus. This is a formula that the band has used for years and years, and it works for them every time, and this track is no exception. After the second chorus, another guitar solo takes place, before the chorus gets built up from something soft, just like the verses, into the bombastic-sounding hook that plays the first couple of times. Dizzy is the band at their most vulnerable, and as a result, this is one of the songs that stands out the most. The chorus kicks the track off, but gently. The first verse starts with just the bass drum, and strings. This gets built up before the pre chorus which leaves the listener with a sense of anticipation as the chorus returns much livelier. The second verse is pretty similar, but when the chorus returns, there are different vocal elements, which matched with the clever use of the synths, really elevates this song. The instrumental section here is a mix of synths and stellar guitar work, which is another reason as to why this song not only deserves to be in the spotlight on EI8HT, but also in SHINEDOWN's discography. Properly kicking off the second half of this record is Safe And Sound, one of the most fast-paced tracks throughout the 18 songs. After the ferocious start to this song with the main riff and first verse, the chorus is where this song stands out. It sounds humongous, and ambient, which is very rare to find in hard rock. This is helped with the use of the vocal layers. After the solo section, which is short, yet effective, one of the best hooks in hard rock this year returns to wrap things up. The main riff returns at the very end with the repetition of “one by one” to finish the song up. The following track is a ballad, but despite there being a few on this record, the vocal performance here is above any other on these slower tracks. Starting with just vocals and acoustic guitars, frontman Brent Smith is stellar here. After the first chorus, the drums make their presence known, but this is very much a vocal driven song, and every member does their very best to help them shine through. There is a very delicate guitar solo which leads into the final chorus. Searchlight ends just how it begun, with the stripped back guitar, giving the song a really satisfying finale. Deep End is one of the most experimental sounding songs on this record. It is rapid tempo-wise, but it is synth driven, as opposed to being guitar focused. The chorus is just as much of a highlight as the keys are. It is rapid, but irresistibly infectious. After the second chorus, the simplistic approach to the guitars come through as the solo is basic but works with the vibe this track brings to the table, and the transition from solo to the chorus is possibly the best on this album. Back To The Living is another standout Smith performance. This song is a particularly gradual builder. It starts off with just Smith and the synths, which leads into a stripped down first chorus. Things get gradually louder during the second verse, but it is the following chorus where the track really comes to life. It is not loud, or heavy, but it is cinematic, and the guitar solo that follows is sensational. The song ends with an extended final chorus, before a combination of electric guitars, acoustic guitars and keys end the song. This is the ultimate SHINEDOWN album. It has glimpses of their past, glimpses of their more recent sounding releases, and teases of where the band may be heading in the future. Musically, this is what you would expect from this band, there are some guitar solos scattered, but the highlights lie in the vocals, and the amazing choruses, making for an outstanding listen. When it comes to the evolution of musicians and artists in general, very few embrace change. SHINEDOWN know that they are the most popular they have ever been, and they know what people expect from them, but with an album this big, both in the length and the anticipation, things need to be slightly out of the box, and this is what this record is. It is an experiment of new sounds, combined with the classic sound their fans adore. This is not only a triumph, this will be a release that defines this hard rock outfit for years to come, and that is not a prediction, it is a guarantee. Score: 9/10 EI8HT will be released on May 29th 2026 via Atlantic Records. Words: Itay Gilad Photos: Ryan Camp

Breaking down all expectations of how math and prog-rock should sound together without a single word spoken on the record, Bristol-born MAEBE have continued to meld a multitude of genres into the sound of their new album Brain Paint, a trove of meticulously produced and experimental tracks that can’t be boxed into one description. Recorded across Bristol’s Humm Studio and band founder and leader Mike Astley-Brown’s bedroom, Brain Paint sees their return to the multi-genre magic following their 2023 album Rebirth. Relive. Repeat., not only putting them on the map for math/prog-rock fans but garnering praise for their innovation and individuality by multiple music outlets, particularly for recreating their complex studio sound in live time flawlessly. Brain Paint not only sees MAEBE refreshed return but sees them build on their previous success and take their sound to further heights than ever before. Every note, beat, and instrument placement has been crafted precisely to create an experience unlike anything else, and it’s purely instruments - there are no vocals interrupting the intricate melodies, instead every track feels open to any and all interpretations and MAEBE are simply along on the trip with you as you rise with the cresting synths, consume the frenetic drive of the drums, and feel the force of the guitars as they war against rhythms and then sink into harmony. There’s no one way to enjoy this album and each listen will reveal more details in the composition. Title and opening track Brain Paint has chaotic energy from the off with rapid-fire guitar licks and feedback blending into a more cohesive sound, the breakdown dropping away to a false sense of calm before all three guitars fight for control of the rhythm before banding together in synchronisation. Switching to a more post-hardcore, dangerous intro, Do Not Take Risks throws in a guitar riff that’s so damn catchy the whole track could be at home in an epic story-building videogame, the rolling synths adding a touch of nostalgia and the whole track turning into a heart-lifting melody. Combining math-rock with post-hardcore shouldn’t work, but lower case song title achieves this impressive feat, the bass line running from dramatic to understated as guitar licks and solos leap in and out at precise moments. Sadstorm starts on a slower and (who could have guessed) slightly sadder note, the synths adding weight to the emotion, everything fading away to fuzzed echoes and a lone synth riff before gradually piecing back together in a hopeful melody that vibrates your blood cells. Ephemeral is the sort of song you have to lie down on the ground to truly appreciate it, both hopeful and hopeless and maintaining a recognisable rhythm throughout while the other instruments build in volume. A poignant almost grunge-rock welcomes you in on Young Lungs, practically the most “stripped back” track on the album, as it takes its time to build in momentum and heavy drums, the instruments suddenly stacking each other for a loud but emotive composition. Decidedly a math-core intro, Dripping Colour launches into a crispy drum roll before a guitar lick buzzes through, giving the song a feel of it being stuck in a past time you can’t quite pinpoint, the melody weaving from simplicity to complexity and feeding the nostalgia the whole time. God Wit kicks its way in with thundering, vibrating bass, snappy drums and a frenetic synth rhythm that’s echoed and elevated into something more on the guitars, bluntly dropping down into a shoegaze bridge for a moment only to punch back up again with high-pitched, fast-paced riffs and blistering drums. Echoing a tempo and genre change felt intermittently in the album, Downer has a grunge/shoegaze pace to it before introducing a simple bass line and contrasting guitar riffs that holds promise, a beat of silence before the song transforms into something intoxicating. Auroraborus is the type of song that plays when the failing protagonist begins to believe in themself, the melody somewhat slow but still as powerful as ever as synths crest to a feeling of certainty that you’ll triumph whatever it is in your life, everything coming together in a dramatic, crescending meld. Our journey comes to a bitter end with Who Do You Think You Aren’t as distant guitars echo, suddenly coming in shockingly close and wavering for a moment before the bass and drums absolutely thunder in, twisting into post-hardcore and feeling like a final battle tune. It’s an album that relies on the power of math and the skill of instruments, but listening through conjures your own lyrics and feelings and every turn will invoke a different experience and wave of emotion. It’s almost written like a film score that’s been designed to turn your life into a cinematic dreamscape you’ve been waiting for. Score: 9/10 Brain Paint will be released on 22nd May 2026 via Ripcord Records. Words: Julia Stark Photos: Olly Curtis

Humour is an extremely difficult thing to get right in metal. It almost feels as though extremely intricate performances shouldn’t go anywhere near comedy, you’d expect them to be completely at odds, otherwise you can quickly veer into self-parody. There’s two ways to avoid this that come to mind. The first is to use the songwriting and song structure itself as a vessel for the band’s sense of humour to come through. The other is to be Serj Tankian. For most people, the first option is the only viable one, and that’s what MUSTH do throughout this EP. Already having made something of a name for themselves over 23 years of performing together, the upcoming Jollysad is just the newest example of this approach from the Norwegian alt-metal genre blenders. One of the first things you hear on the opening track, Jollysad, is vocalist Alex Delver’s operatic performance over a cacophony of guitar noise, immediately followed by the first verse, which takes quiet-loud dynamics and twists them up a fair bit - this verse feels as though it’s part of a different song. Clean, hand-picked guitars, a tight rhythm, a much more relaxed vocal performance. It’s a jarring effect for sure, and it’s a good introduction into the eclecticism of this release from the get-go. Ending on a heavy, intense outro with a particularly odd time signature, it’s an outwardly, and vitally unashamedly, theatrical song. Second track Pixeldust spends about thirty seconds going between plucky guitar playing that wouldn’t feel out of place on a MR BUNGLE’s California, distorted riffs, more varied and wacky vocal performances from Alex Delver, immediately followed by a short, chilled out break that almost sounds drug-influenced, clearly intentional as Delver sings “I’ve had too much… and it’s gone straight to my head… Woo!” All this before going straight back into the main riff we’ll hear again throughout the song, surrounded by several more unexpected little moments. Despite every moment feeling completely unique here, it manages to keep some level of cohesion. It ends on what sounds like traditional Spanish-inspired guitar playing with the band cheering and hollering in the background. Delver ends the whole affair while the song fizzles out by saying “Thank you, music lovers”. Third track Disposable Income in the Hands of Teenagers might be the most essential cut here, despite being the shortest. The post-hardcore riff at the start is thrown out of the window immediately as they start playing what can only be described as the type of music you’d expect to hear in the background of a cartoon set on a tropical island, with some surf rock sensibilities thrown in there. Why this works within the song regardless is impossible to describe. “Oh, I’m living the fucking dream, I’ve got porn!” Delver screams halfway through the song as the song collapses in on itself over a thunderous performance. All before going back into the same surf rock riff as earlier! At a certain point you have to question what goes through the minds of the artists here, and more importantly, why more people haven’t had similar ideas before. In comparison, En Passant plays it a bit more straight. Less theatrics, just a fun alt-rock tune, great dynamic builds and intense performances. That’s the thing with this release - even if you’re not acclimated to the sense of humour MUSTH put across here, you’ll still likely find something to like. Even in its silliest moments there’s clearly a real vision as well as fantastic instrumentation, and their influences come through in a balanced way. Since it’s such a short release, it’s absolutely worth a go! Score: 8/10 Jollysad will be released on 22nd May 2026. Words: Noise Leonard Photos: Musth

We're swinging out of spring and into summer here at Out of Rage, with clear skies above our heads and a sun-charged atmosphere all around us. We've been enjoying kicking our feet back and spinning some sick new tunes for the season. Here's what we've been listening to lately: As It Is - Do You Remember? AS IT IS return with Do You Remember?, their most nostalgic and self‑mythologising track yet. The track is the third single from their upcoming self‑titled album out in July and was co‑written with Max Helyer of YOU ME AT SIX. Written as a candid look back at fourteen years defined by chaos, camaraderie, and the kind of hard‑won connection that only comes from weathering every high and low together, the track features choruses of voices asking the key question, “Do You Remember when?” backed by heavy pop punk guitars and energetic drums. Words: Lou Viner-Flood Beartooth - Pure Ecstasy After the release of Free, BEARTOOTH marked the start of a new era full of attitude as lead vocalist Caleb Shomo expressed himself as openly as he could. Pure Ecstasy is a violent continuation of that narrative, being unapologetically himself while raining absolute hell on the track. He lets rip with his vocals, screaming through the end of almost every line while insane beats and guitar riffs leave no survivors. The chorus takes a step back to that classic metalcore letting the melodies shine through the eye of the storm before the verses assault the peace. These two tracks almost polarise each other while both keeping that signature BEARTOOTH sound, leaving everyone questioning what the full record will bring. Words: Amy Smyth Boards of Canada - Introit / Prophecy At 1420 MHz Where to even begin with this? The very concept of BOARDS OF CANADA being back on its own is massive. 13 years on from Tomorrow’s Harvest, possibly the most beloved IDM duo of all time teased a new album cycle with cryptic posters appearing in some cities. This was followed up with Tape 05, a teaser video as gorgeous as it is surreal posted on YouTube. Now, the opening two tracks on the upcoming Inferno have been released as singles. Introit is a short intro, reminiscent of the openers from classics like Geogaddi, but the real heavy hitter here is Prophecy At 1420 MHz. A common sentiment has been that waiting all this time for BOC to do a synthwave song of all things SHOULD be disappointing, and yet, it’s everything fans wanted and more. A natural progression but still their distinct style. With music fans everywhere in jubilation, this single has propelled Inferno into discussion for most anticipated album of 2026. Words: Noise Leonard Burner - Sunrise, Parabellum With a real claim to be London’s heaviest band, it’s a true pleasure to hear BURNER back with new music on the way to album two. However, this new music comes with a serious change - there’s a weird bloke singing. From what sources have told us, his name is Matt Heafy, and he apparently sings for TRIVIUM? Credit where it’s due to BURNER, doing their best to lift up other bands. The song is as incendiary as every single one in their discography, with their proper deathcore (made with 100% death metal and hardcore, no symphonic bits) gouging away at the eardrums of the listener in a fashion that brings an immense sense of comfort bizarrely. In barely two minutes, there’s still bags of time for gnarly riffs and dizzying drumming, so if you like things ludicrously heavy then you need to listen to this. Words: Jasmine Longhurst Charli XCX - Rock Music CHARLI XCX is a name it's been impossible to be in the music scene without hearing, topping charts around the world for over a decade and reaching a new level of stardom with her latest album release she started a craze that shook the world. But her latest single has completely turned her pop sound on its head, not conforming what you'd expect from her or from any song called Rock Music. It’s a track packed with attitude and heavy guitar riffs tangled with the repetitiveness and experimental guts of dance pop, it's something completely new for both her and the music scene and we cannot wait to see what this new era will transform into. Words: Amy Smyth Deaf Havana - Car Crash (ft. Sierra Annie) As if DEAF HAVANA needed to make Car Crash any more devastating, vocalist (and girlfriend of lead vocalist James Veck-Gilodi) Sierra Annie has added her haunting voice to the track. After joining the band on stage to perform the track on their recent UK and German tour, Car Crash has been re-recorded with Sierra’s harmonies adding even more emotion to the song, which was written at Veck-Gilodi’s lowest point. Creating a new duet doesn’t dilute the darkness of the original version, Sierra’s voice reframes it, offering clarity without diminishing the rawness at its core. It’s poetic that James’ voice is now joined by the voice of the person who has helped to pull him back to earth. Words: Lou Viner-Flood Erotic Secrets of Pompeii - Crowstepper Weird, wonky, jangly art rock and post punk is the name of the game when you’re talking EROTIC SECRETS OF POMPEII. With two stellar albums under their belt already, Crowstepper comes as the beginning of whatever comes next. Adopting ideas from Jung’s theory of the self, the Crowstepper acts as a shadowy second self allowing for escape from all that is bad about modern life, even whilst layering satire and sarcasm into the new world found within the song. It’s a murky, eerie exploration of the world the band inhabits, and has us very excited for what comes next from here. Words: Jasmine Longhurst Green Lung - Evil in this House Showing us the first glimpse into their mysterious, haunted view of London on upcoming album Necropolitan, the gaze of the mighty GREEN LUNG and their vast pagan knowledge have turned to the great capital of this nation. With the trademark synths and chewy guitar sound we’ve come to love like a child, the protectors of Albion are here to watch over stoner and doom for another album cycle. Now, although potentially controversial, the similarities in sound to GHOST must be brought up. Whilst the Swedish metal makers are certainly more melody driven, and a little more tongue in cheek, their sonic output has its similarities - which we should be mighty excited about! The thought of a GREEN LUNG arena show should bring out any metal fan in goosebumps (not just from the eerie lyrics); we can but hope! Words: Jasmine Longhurst Headwreck - Raindrops Australia does nu-metalcore arguably better than anyone, and HEADWRECK are exhibit A. Raindrops pulls no punches, with an immediately infectious intro that gives way to a crushing heavy section without a moment's hesitation. Razor-sharp riffs, relentless grooves and glitchy textures that crawl through the mix sit beneath a juxtaposition of rap verses, metalcore aggression and soaring cleans that few bands could pull off. The chorus lands as a dreamy, melodic pop hook, and the final breakdown is nothing short of unhinged. Following their ARIA-charting Attitude Adjustment, it's a fun, unique spin on nu-metalcore that feels genuinely refreshing, and unapologetically so. Words: Adrian Chapman Holding Absence - Reflection HOLDING ABSENCE waste no time making their intentions clear in their new era with Reflection. A track built around the painful road to self-acceptance, it keeps the heartbreaking lyricism fans know, while pushing the instrumentals far beyond their post-punk emo ballad days. Hyperpop and electronic influences flood the production throughout, with the breakdown being a genuine gut-punch surprise. Chugging guitars, punishing drums, a thunderous low end and the harsh vocals make this their heaviest work since the ALPHA WOLF EP. It's a catchy, anthemic track that's built for huge arenas – fitting, given they'll be opening for ENTER SHIKARI on their UK/EU run this year. Where Whisper of a Dream introduced their new sound, Reflection hits the ground running. Words: Adrian Chapman Kulk - An Endless Knife Norwich’s KULK already have a reputation for curating some of the finest doomy noise that you’ll hear, and latest single An Endless Knife fits in firmly at the gnarliest end of their discography. Coming as the second single off of their upcoming album Choosing to Die, it’s a statement-making two and a half minutes of vehemently nihilistic sonic aggression that provides an experience much like taking a hammer to the head, only more cathartic. The duo have got plenty of fantastic music behind them, so it only remains to be seen how good the rest of this album cycle will be - we’ll bet it’s more than worth your while. Words: Jasmine Longhurst The Last Dinner Party - Big Dog The studio recording of a cut that THE LAST DINNER PARTY have been performing since 2023 is the heaviest they’ve ever sounded. Abigail Morris has made a name for herself at this point for her expressive vocal chops, and the glam rock sensibilities she’s known for accompany the more hard rock approach to this song effortlessly. It almost feels like an early PJ HARVEY song, with a certain push and pull approach to dynamics but a suffocating atmosphere and rawness that sets this apart from the rest of their discography. It’s a standalone release, but one to look out for regardless, whether you’re a fan of the group or not. Words: Noise Leonard MOTHER - Unholy Drawing on modern metalcore and the sounds of gothic rock and metal, the debut single from new project MOTHER rips onto the scene as a statement on BPD and mental health issues surrounding identity. Unholy feels like the crossroads between uncertainty and fear; self-actualisation and satisfaction. With some sounds that feel reminiscent of SLEEP TOKEN and PRESIDENT, along with influence from LINKIN PARK and EVANESCENCE, this is sure to be a project that finds a home in many listeners’ heads. Words: Jasmine Longhurst Movements - Dissolve Me Dissolve Me is the quintessential emo‑tinted post‑hardcore track from MOVEMENTS, released as a double single alongside new track Back In My Ways. The first track written for upcoming album Happier Now, the song captures the band's signature blend of emotional sharpness, simmering melodic tension and unflinching honesty through bare‑knuckled confessions. Dissolve Me circles the feeling of being trapped inside your own head, where you replay every interaction, second guessing your choices, and spiralling into self‑critique. If this is what is to come from Happier Now, fans are not going to be disappointed. Words: Lou Viner-Flood Sakoya - Some Things Never Change Distorted guitar feedback rings through, but listen closer and it begins to sound like a geiger counter warning. SAKOYA's latest single Some Things Never Change continues in this malignant theme, with intense bass drops and sick riffs, as the drums pound out a marching beat under wavering synths. The track descends into a muffled breakdown that builds into an instrumental cacophony, while throughout the venomous, weary lyrics force a reality check on the subject listening - for all their empty promises, their history proves their true intentions. It's emotive, it's loud, it's perfect for when you're pissed off, and it's a sure sign for more infectious tracks to come from SAKOYA. Words: Julia Stark The Sankaras - The New Sensation Ever wonder what would’ve happened if Marty McFly had taken a wrong turn in the DeLorean and wound up in Glasgow in the year 2026? Probably not, that’s really specific. But THE SANKARAS answer that question, bringing a vintage-yet-unique swagger to the stage with their rocking new single The New Sensation. It pulses and sparks like a livewire, fizzing with electric rock’n’roll riffs that make this track one you absolutely have to witness in person. You might not be ready for it yet, but your kids are gonna love it. Words: Naomi Colliar Duff THEATRE - You Are Little is still known about the esoteric Limerick-born THEATRE, but one thing we can say for certain is they have undeniable talent and soul, their latest single You Are cementing them further into the folk-rock scene as ones to watch. Guitars clash together, fuzzed chords vs haunting riffs, an undercurrent of bass felt more than heard stalking through the song. Ethereal vocals rise and sway before dropping into powerful holds, while the drums pivot from simple beats to a snappy marching beat, the singer's voice creating ever higher. If you felt you missed the era of THE CRANBERRIES and SINEAD O'CONNOR, that transcendental sound and passion is alive in THEATRE. Words: Julia Stark Wealthy Women - 37 Days A brand new band coming out of San Francisco, the doomy, sludgy WEALTHY WOMEN have announced themselves very loudly on second single 37 Days. Telling the story of Asaad al-Nasasra, a Palestinian Red Crescent paramedic detained for the titular 37 days by Israeli forces after an attack that killed 8 of his colleagues, the three piece’s writing is heavy both lyrically and musically. Sounding like a cousin of CHAT PILE and MELVINS, there’s plenty more to come from this lot with an album arriving August time, so keep your eyes and ears wide open for some WEALTHY WOMEN. Words: Jasmine Longhurst Witchsorrow - Bacchus As classically doomy and Sabbathian as you’d hope for from pure doom metal, WITCHSORROW make a return to recording after several years with a suitably satanic sound on Bacchus. As the first single in the build up to their upcoming album The Devil And All His Works, it’s got pressure to perform the necessary rites to be accepted as truly ritualistic enough, but NECROSKULL and Co. know heavy music better than most of us can even imagine, and their devil worshipping skills are no joke. Everything feels like the perfect blend - the syrupy slowness of the main riffs and echoing vocals, even a solo that could’ve been recorded in 1974, it’s all there and it’s all gleefully devilish and it’s all GREAT. Words: Jasmine Longhurst Yard Act - Redeemer On Redeemer, the first single for the upcoming album You’re Gonna Need a Little Music, YARD ACT present a radical change in style compared to The Overload’s plucky post-punk and Where’s My Utopia?’s quirky dance-punk. This is a straight up alternative rock song, with James Smith talk-singing over the verses and chorus over a riff with a certain ferocity that you wouldn’t expect from YARD ACT. Speaking openly about PETER GABRIEL’s third self-titled album (subtitled “Melt”) being an influence on them all, the almost-industrial influences from something like Intruder definitely come through here. A bold start to the band’s new era, we’re curious to see what they do next. Words: Noise Leonard Editor: Naomi Colliar Duff Photos: Various Artists

The uproarious Belgian band BEAR are back and better than ever on latest EP Anhedonia, blending their groovy mind-melting mathcore with moments of calm, and violent whiplash between them. The four-piece recorded the entire thing live in the studio together, as one band playing with every ounce of energy you can feel in the music. Coming off of the back of a fantastic release in Vanta, it was going to be tough to top it but the Belgians have gone hell for leather on the follow-up, and clearly for good reason - as two members of the band explained in conversation recently. Guitarist James Falck comments: "After writing Vanta (the band’s previous release), which was written during a particularly unpleasant moment in my life (cancer, surgery, treatment, family deaths, breakups), I personally was able to exorcise a lot of demons, and since then a lot of incredible things have happened in my life. Making music has always been a big source of therapy for me, and these songs really represent this state I was in until recently; where I had a lot to be grateful for, but the trauma and pain I had experienced in the years before had created a certain level of numbness, apprehension, and indifference." Bassist Dries Verhaert adds: "We indeed approached this project quite differently, both creatively and in the studio. Looking back, I’m proud of what we’ve achieved. Anhedonia is BEAR at our most authentic and vulnerable. If you ever find yourself in the dark, keep pushing. Accept help from those around you, and keep moving forward. This album is proof that even in the toughest times, there’s a way through." The music itself, as described earlier, blends the mad mathcore they’re known for with some moments to breathe, but never quite warns the listener of them. This makes for a listen that ends up feeling like you’ve played an ice hockey match, or been in a spar with a heavyweight boxer, such is the sheer intensity of the experience. Even though the EP only comes in at five tracks, clocking in for a total of 19 minutes of listening, it’s a multi-faceted release and certainly isn’t afraid to take risks. Opener Empty Markers takes mere seconds of eerie intro before uncorking a can of ‘hefty guitar’ straight out of the biggest amp you’ve ever seen, and is followed up by Lacerate which is as apt a name for a song as there’s been in many a year. The Smile is anything but happy, but the real standout is probably the title track, which we find in penultimate position here. With influences ranging as far as abrasive metalcore and punked-up hardcore to pure doom and fuzzy sludge, it runs the gauntlet of sounds that would have your elderly neighbours quivering in their garden wondering why the apocalypse has arrived, before Metastatic arrives just in time to add some anthemic value and rhythmic shenanigans to the end of times. Anhedonia is fantastic. It’s great fun to listen to, whether all in one or as individual songs, and never feels boring or derivative. Named for a condition that, amongst other things, is known to prevent the feeling of pleasure, this EP compounds that into less than 20 minutes listening that is so much more than worth a speedy jaunt through. Score: 9/10 Anhedonia will be released on May 22nd 2026 via Pelagic Records. Words: Jasmine Longhurst Photos: Yngwie Vanhoucke

Few can say they’ve had as explosive a debut as Venice Beach based hardcore punks XCOMM; only fully formed in 2025 and barely out the gate, they’ve already made their mark in the hardcore scene with their ‘fuck around and find out’ sound, and lyrics that speak to the indignant youths facing injustice as well as the older punks still fighting the everyday bullshit machine. Fresh from signing to Blowed Out Records and supporting FOO FIGHTERS at their sold out charity show in January, XCOMM don’t have time to rest before their Warped Tour slot as they unleash their debut album Time To Burn, and it’s just as heated as it sounds. Time To Burn brings together their early singles that put XCOMM on everyone’s radar, alongside an arsenal of tracks that came together through the band being vulnerable with each other and translating that emotion into shredding guitar, obliterating drums, and visceral screams. Produced by renowned Ross Robinson (SLIPKNOT, KORN) who “transformed [them] into musical weapons”, their vivacity and drive inspired him during the process and made him realise the importance of the “pulse of youth”. Kicking off with their better known singles, Time To Burn fades in with feedback before Reasons goes full force with Revel Ian’s quick-fire beats and Jay Vargas’ riffs, dropping to Adan Escoto’s lone bass line before Michael Gatto’s punk screams pierce through, DJ Hunter Grogan peppering in unnerving synth and effects in the background - if you hadn’t limbered up beforehand, godspeed because the album refuses to let up from the first notes. Frenetic and frank, Hot Pursuit is 70 seconds of absolute carnage as Gatto screams that you should “run for your life” while steely drums and brief guitar solos echo around this threat. Blending straight into One And Nothing, the pace switches to more of an alt-punk rock feel while maintaining a blistering attitude as the bass rumbles throughout, the instruments working cohesively together as a unit. Fake ID strips back to cymbal roll intro, Ian layering different aspects of the drumkit as the song progresses, swiftly joined by Escoto and a dominating bass riff that doesn’t hold back as Gatto screams about being let into a venue to support a band. Their most recent single and music video released, Borrowed Happiness, features a satisfying guitar riff harmony from Vargas and Gatto over repeated screams of “why why why why can’t you look at me?” as the drums build to a crescendo and the track fades out to a funky lick and background voices, immersively like you’re in the studio with XCOMM. Title track Time To Burn barrels in like an out of control freight train, the changing rhythm and beat as fired up as the acidic screams of “fucking burn!”. Leaving no room to breathe and recuperate, Pirates plunders (sorry, we had to throw in a pun) your ears and energy with a ferocious bass line leading into fast punk underlying lyrics around people who use and abuse for their own gain with “morality that’s paper-thin”. Flipping the script on its head, Running Zeroes has more of an indie-punk sound to it that’s giving a little BAD NERVES crossed with HOT MULLIGAN in its composition, but with more pent-up punk that will inspire more let-loose dancing than a full-on mosh pit, with fuzzed solos and a catchy beat. Relevance lures you into a false sense of calmness before it launches headfirst into the rapid-fire punk that’s overtaken this album, Gatto screaming “don’t apologise for nothing” on a contradictorily upbeat rhythm before the chorus descends into a savage wall of noise and a relentless guitar solo. Opening with a near fatal bass line and stripped back drum beat swiftly joined by distorted guitar, No Teeth feels like a welcome kick in the teeth, entirely punchy and vulnerable in its lyrics of feeling out of place in today’s world and not knowing why, the infuriated emotion driving the lyrics and instruments to new heights. Purity races through with solos and frosty riffs, with less than 90 seconds to make its fury and dynamism known, with subtle but effective sounds from Grogan complementing the frantic drums and screams. Negativity ends us on an energized high, switching from a “calmer” introduction and verses with Grogan’s eerie synths echoing in the background, compared to the catapulting chorus that sounds like everyone just decided to go fucking nuts and have fun. Time To Burn is an album that clamps down with its teeth from the first track and brands XCOMM as a band to have uproarious fun in the pits to - XCOMM is a band that understands you and is passing you the torch to burn everything down. Score: 9/10 Time To Burn will be released on 22nd May 2026 via Blowed Out Records. Words: Julia Stark Photos: Darren F*cking Craig

Sometimes a band comes along and somehow make the world feel a little lighter and a little different. For the past two decades, SPARTA have done exactly that. With their latest album Cut A Silhouette, the El Paso trio add another emotionally charged chapter to their ever-growing catalogue. For those unfamiliar with SPARTA, the band fuse melodic guitar rock anthems with angst-ridden songwriting, balancing raw emotion with soaring instrumentation. Their 2002 debut Wiretap Scars remains the cornerstone of their success, built on rugged post-hardcore foundations, while later material like Trust The River revealed a more polished and mature side to the band. Cut A Silhouette comfortably sits somewhere between the two. Opening track Split Lip wastes no time setting the tone. Sharp guitar chords crash into pounding drums with a classic 2000s rock feel, delivering the kind of toe-tapping, head-rocking energy SPARTA have always thrived on. There’s angst running through its core, but also a frantic groove that instantly pulls listeners in. Crater follows with shades of QUEENS OF THE STONE AGE buried beneath the grit. Jim Ward’s raspy vocals and slick guitar work give the track a swaggering confidence, while Mouthbreather keeps the momentum going with fast riffs, controlled bass and a dominant sound throughout. Both tracks were co-written by Frank Iero of MY CHEMICAL ROMANCE, and although he doesn’t feature directly, his fingerprints are all over their restless energy. Together, they feel like two underground hysteria tracks ready to explode in a packed-out venue. Daydream is a reflection on their past material and what many fans will love about SPARTA. Psychedelic and euphoric tones, addictive guitar riffs, and solid drum work from Neil Hennessy gives the track a strong sense of identity and flow. See You Soon slows things right down; there is an element of U2 in its delivery, which allows it to become something genuinely beautiful. It moves through emotions of loss and pain into hope and love with ease. It’s a real gem of a song — the raspiness of Ward’s voice alongside piano and guitar work creates something that drifts into an almost rock lullaby. See You Soon was co-written with Kemble Walters , who also plays on it, while Adrian Bourgeois adds piano, bringing different influences together to shape its melodies. Everything You Say takes a turn down a more synthetic path, shifting through multiple styles, changes in pace, and texture before ultimately grounding itself again. The bassline remains the constant driving force throughout, with bass guitarist Matt Miller delivering a steady, commanding performance. Without Your Hands is the final full rock eruption on the album, packed with standout moments. From a face-melting guitar solo courtesy of Ward to a stomach-churning drum solo from Hennessy, it delivers pure intensity. The production also stands out, with heavy distortion, amp texture, and fading guitar notes making it one of the strongest tracks on the record. Midnights drops back into a slower sway. A soul-stirring guitar solo in the bridge lifts it into anthem territory, clearly built for gigs and festival crowds. It’s a track that will resonate with die-hard fans, and the echoing line “I wanna feel everything” lands with real emotional weight. Mystery Of Missing feels like a time machine back to a ’90s Britpop influence. Isolated, distorted guitars and a slower drum pace set the tone before it catapults back into the present with raspy screams and heavier hits to close it out. The final track on the album, Glimmer, begins with an acoustic undertone — just Ward and his guitar at first — before the full trio join in unison. The pace is steady, the lyrics feel raw and meaningful, and it closes the record in a restrained, reflective way that suits the album’s experimental nature. Bands don’t stay relevant or at the peak of their ability by playing it safe or going too rogue — they lose their sound and drift out of touch with the organic feel that made them stand out. SPARTA add another strong entry to their catalogue here: a record that makes you feel, while still throwing in a few straight-up rock moments for good measure. Score: 9/10 Cut A Silhouette will be released on 29th May 2026 via Rude Records / Equal Vision Records. Words: David Waites Photos: John Carluccio