There is a list of fundamental qualities that every truly innovative band must possess: consistency, creative independence, and a defining, unmistakable sound. Everything about DMA’S self-titled latest album embodies those characteristics. The Australian trio are renowned for the gritty, emotionally charged vocals of frontman Tommy O'Dell, the creative guitar work of Matt Mason, whose inventive riffs and melodies have become a key part of the band’s identity, and the song writing talents of Johnny Took, the acoustic and rhythm guitarist responsible for much of DMA’S musical foundation. Combining melody-driven indie rock with classic Britpop influences and modern production, DMA’S continue to honour the sound that established them while subtly evolving their approach to song writing. Opening the album is El Alamein, a track that immediately feels unmistakably DMA’S. Tommy O'Dell’s instantly recognisable voice soars over shimmering Britpop-inspired guitars, delivering the band’s signature sound from the very first note. The chorus is upbeat, melodic and instantly addictive, creating an infectious indie anthem that captures the euphoric atmosphere DMA’S have become known for. My Baby’s Place follows with a warm sense of nostalgia. Rather than relying on standout instrumentation or lyrical brilliance, the song succeeds through the atmosphere it creates. While the lyrics lack the iconic quality of classics such as Silver or Tape Deck Sick, O'Dell’s softer vocal performance provides a comforting sense of clarity and peace, allowing the song to reveal more of its charm with every listen. With Hurricane, everything clicks into place. The melody, heartfelt lyrics, polished production and O'Dell’s passionate vocal performance combine effortlessly. DMA’S have built a reputation for writing unforgettable choruses that audiences immediately connect with, and Hurricane is another perfect example. Its gradual build may test the patience of some listeners, but the restraint ultimately makes the payoff even more rewarding, resulting in one of the strongest songs on the album. Next comes Killing Time, one of the album’s more understated highlights. It may never become the crowd’s biggest singalong moment, but its irresistible groove makes it difficult to ignore. The bouncing rhythm, layered guitars and crisp production create an indie disco atmosphere that feels effortlessly infectious. Heatin Park injects fresh energy into the record. Britpop-inspired guitars evoke echoes of OASIS, yet the track remains unmistakably DMA’S. From the opening chord, it bursts with confidence, combining swagger, groove and raw emotion into one of the band’s most exciting songs to date. It may not define DMA’S as a band, but it deserves to become one of the standout tracks within their catalogue. Emailz introduces a subtle psychedelic edge. Its gentle sway allows the guitars and drums to perfectly complement O'Dell’s reflective vocal delivery. The repeated guitar motif is deceptively simple yet highly effective, giving the song an emotionally satisfying quality as the lyrics unfold naturally. One & Only showcases the band’s continued maturity as songwriters and their willingness to experiment without abandoning their identity. The nostalgic melodies and expressive guitar work form the emotional core of the track. Although it may not become one of the album’s defining moments, it stands comfortably above the level of simple album filler. The pace slows for Dancing Luck, returning to the acoustic sound many fans consider DMA’S greatest strength. O’Dell’s weathered, strained vocal performance possesses a remarkable beauty, giving the song a deeply personal quality. The drums act more as a metronome than a driving force, allowing the emotion to take centre stage. While the lyrical depth may require several listens to fully appreciate, the reward is well worth the patience. Maintaining the reflective mood is Concrete. O’Dell once again delivers a compelling vocal performance, but the song feels relatively safe compared to the surrounding material. While it will undoubtedly resonate with many listeners, it lacks the ambition needed to become one of the album’s defining tracks. The penultimate track, Windows, represents DMA’S at their emotional peak. The acoustic arrangement strips everything back, allowing both the song writing and O’Dell's vulnerable vocal performance to shine. His delivery feels deeply authentic, while the lyrics rank among the strongest on the album. Arguably one of the finest acoustic songs the band have ever written, Windows demonstrates just how powerful simplicity can be. Closing the album is Distance, which reintroduces electric guitars with exhilarating effect. The riffs burst back into life, the guitar solos weave seamlessly throughout the track, and O’Dell's vocals remain the emotional focal point. Overflowing with energy and summer festival atmosphere, it provides the perfect finale and leaves listeners wishing the album had just one more song. DMA’S have never aimed to reinvent indie music. Instead, they have embraced a different responsibility: preserving and revitalising the genre while remaining authentic to themselves. At times, that commitment means they can appear reluctant to push their sound further, occasionally favouring familiarity over experimentation. Even so, their self-titled album never chases trends or abandons the identity that earned them such a devoted following. Instead, it refines that signature sound with confidence, proving once again that few modern bands understand melody, atmosphere and emotional honesty quite like DMA’S. Score: 8/10 DMA’S will be released on 7th August 2026 via RCA UK. Words: David Waites Photos: Roman Jody

There are three things about CEREMONY we can say for certain: they like to keep everyone guessing as they adapt their sound between releases; no matter the changes, they know how to play punk that makes you want to tear a room apart; and finally, after seven long years they’ve returned with blistering new album Tell Me Your Dream, a ten track labour of love and rage that’s full to the brim with solid beats, hulking riffs, and a twenty one year evolution of their political morals and beliefs that continues to point the finger at those in charge whilst giving a rallying cry and demanding more bands use their voice for change. Reuniting with producer John Reis, eleven years on from their album The L-Shaped Man, CEREMONY’s collective approach to their sound and production has altered slightly over the years, but their unshakable, headfirst assault on the world order around them is how they’ve maintained their reputation as an unflinching punk band and a respected name in their original underground hardcore scene in California. Prograde makes a grand entrance to the album with Jake Casarotti’s steady drumbeat and Justin Davis pounding bass line teasing us, Andy Nelson and Anthony Anzaldo gradually building the anticipation with their guitars until it hits its peak with vocalist Ross Farrar delivering a vocal uppercut. Other Hells descends into a frantic punk rhythm you can happily lose all sense to, Farrar’s scorching shouts consuming the track as Anzaldo’s synths cut though and give it an elevated feel. Madness doesn’t hold back on its assault against other artists not using their platform more, yells about the Palestine genocide, class wars, and the lure of fame and celebrity met with a cynical response of “you couldn’t care less”. Dark Summer has an early FOO FIGHTERS quality to its riff and tempo, a mournful air permeating Farrar’s vocals to match the title theme, as synths accentuate Davis and Nelson’s unrushed riffs and backing vocals and make you homesick for a place you’re not even sure exists. Deep Down Where I Belong spins a 180 and comes in hot with a punk core that throws out a medley of other genres, hardcore and indie elements making their mark unexpectedly under shouts of “I believe in all your gods, now are you gonna believe in me?”. Antenna beats its way in with a synth and bass accompanied intro and a singalong of “la-di-dah-dah-dah”, a head-in-the-sand response to everything going wrong in another cutting finger point at everyone choosing their comfort over speaking up. Justify goes heavy on the bass throughout as it takes on a cinematically dramatic feel, some elements feeling vaguely similar to THE BLACK KEYS in its tone and rhythm as the guitars and vocals pitch up, demonstrating the fluidity of the band’s sound in one album. Death Destruction Mayhem has a filthy punk sound full of Casarotti’s searing drumrolls joined by meaty riffs and bass, Farrar delivering more eviscerating lyrics at the world around them, the sneer on “fighting makes you feel strong, killing really turns you on” practically audible through the recording. 10 Planets again swerves from the unexpected in sound and calls to mind SOFTPLAY, the vocals still bringing hard punk vibes against contrasting stripped back instrumentals that build to a softer breakdown. Paradise takes an initially laid-back approach as it closes out the album, a dreamlike quality to its instrumentals as Farrar laments he has “so much to tell you, but it’ll have to wait until the next life”, a brief pause in the middle a red herring to its ending before it continues with the plead of “take me to paradise” growing in volume and earnestness before the album abruptly stops to a running tape sound and leaves us wanting more. Tell Me Your Dream isn’t an album hastily written and rolled out before the red-mist clears, it’s a project that’s taken real thought and feeling over nearly a decade of societal uncertainty, a way for CEREMONY to declare they didn’t disappear but were waiting for the moment to strike the political and industry jugulars. Score: 8/10 Tell Me Your Dream will be released on 7th August 2026 via Relapse Records. Words: Julia Stark Photos: Martin Sorrondeguy

If GREEN DAY and THE HIVES had a lovechild, that would be a bit weird. But it would likely sound like rock-and-roll anthem highfliers PUBLIC OPINION, originating from the Colorado hardcore scene before reshaping their sound and their passion for music into the type of alt-punk-rock that leaves your voice hoarse and your feet knackered, but feels entirely worth the pains. With 1 album, multiple EPs and a handful of singles under their belt already, PUBLIC OPINION are ready to deliver their biggest project to date with new album The Curse Of Public Opinion, a 10-track listing of fiery revelry, explosive instrumentals, and potent lyrics that give “quiet guy” vocalist Kevin Hart (no affiliation to the actor) an outlet for his implosive feelings. The Curse Of Public Opinion is more than the band’s sophomore album, it’s an admittedly pointed step away from the scene’s current music designed for self-catharsis and internal emotion, instead taking aim at everything wrong with the world and saying “fuck it, let’s stay angry”. Rather than a one-and-done album, this is to be experienced, absorbed, and then unleashed every time you feel pissed off, a deafening, mighty backdrop that adds volume to your pent-up feelings. Balloon Man Running immediately kicks off with a power-driven anthem of epic rock riffs and an earworm chorus that sets the frenetic tone for the rest of the album, the lyrics lamenting a happiness that constantly feels out of reach yet you keep reaching, over muscly bass and a solid guitar solo. In less than 90 seconds Flowers By Irene leaves its mark with a quick-fire sound reminiscent of THE WHITE STRIPES, the layered screams on the bridge adding to the racing speed of guitarist Kevin Johnson’s riffs. I Pay Everyone I Still Talk To shifts the focus onto their instrumental flair in a pop-punk track that melds from alt verses into a boppy chorus, Sebastian Stanley ripping through with a deliciously distorted bass riff that complements and contradicts the woefulness of the lyrics. Lucky Me is unquestionably Hart taking aim at himself, his lowered pitch and echoing bass tones of “it’s all my fault” from the opening bars spelling the theme for this punk-rock melody, abruptly switching gears into a revved up yell that feels all too relatable over a pummelling drum roll, gradually falling away to an acceptance that “fortune never comes in twos” and a lone bass line. Kicking back into anthemic rock with Johnson and Stanley bringing riffs that just won’t quit, Closed Captioning sees Hart lambasting himself and his day-in-day-out never changing routines, an alarm clock puncturing through in a jarring fashion before the ferocious beats collide with self-aware lyrics that scream for change. When Kevin Gets Free goes all in on the garage rock, a veritable feast of merciless drums and volcanic riffs adding to Hart’s vocals that soar and plummet like a rollercoaster. Enhancement Talent opens with Johnson’s stunning guitar hooks gradually layered with an additional riff and Stanley’s punchy bass, the track’s feeling a difficult one to put a name with its cocktail of emotional notes and yearning lyrics as Hart pleads his case to someone seemingly indifferent to him, his promise of “I’ll stick around just in case” a juxtapose to his self-aware “I know it’s not okay”. Epitaph strips back on the anthemic rock yet it holds just as much power as the rest of the album in a way that compels you to listen to the heart-rending lyrics, the three-piece coming together for a melody that doesn’t rely on intricacies but is heavily muffled as if they’re trying to reach the listener from beyond a veil of feeling. Modern Convenience shatters the spell Epitaph had us under with a furious punk-rock rhythm, frenetic riffs and solos, and catchy vocals that immediately attack with “I hate the way that you are”, I AM THE AVALANCHE’s Vinnie Caruana adding a gritty level to the track that demands to be screamed along to. Title track The Curse Of Public Opinion draws this experience to a close by taking us on a tour of all the genres that inspire the band, a hardcore element dragging us in before giving way to anthemic garage and punk rock rhythms underlying the passionate and defiant lyrics that feels like the 00s rock scene has been revived. Score: 9/10 The Curse of Public Opinion will be released on 7th August 2026 via SideOneDummy Records. Words: Julia Stark Photos: Michael Dubin

After nearly two decades of refusing to be put in a box, CITIZEN brings forth a new chapter with Halcyon Blues. Announced alongside the towering lead single Highs and Lows, the album drops on August 7th via Run For Cover Records. Reflecting its spirit, the promotion rollout has so far been an intimate reachout from the band to their audience with surprise shows and a newly announced world tour. Rather than presenting a dramatic stylistic pivot, Halcyon Blues feels like a collection of experiences that the band has sown together since emerging from Toledo's emo and post-hardcore scene. The record opens with Good Fortune which does not waste a single second in introductions. The audience is immediately thrown into motion as if chasing after a running train. The driving drums and urgent momentum carry the promise of a live show opening with a Britpop-rock shimmer. CITIZEN doesn’t build new foundations, they run on tracks, establishing the restless energy that carries through the album. I Can See You From Here shifts gears almost instantly. Wrapped in a dreamlike haze, the instrumentation feels as though it's drifting through fog while Mat Kerekes' voice cuts through with remarkable clarity. That contrast between obscured surroundings and direct emotion becomes one of the album's defining qualities. The title track Halcyon Blues slows the pace some more without sacrificing intensity. It opens as a beautiful ballad, carrying feelings of longing and nostalgia while being unafraid to reinvent itself as it goes through a modern electronic bridge. Released as the album's third preview, the track explores the quiet dissolution of a relationship, reinforcing the recurring themes of change, distance, and acceptance. That experimentation continues on Is It In My Brain?, which starts with dissonant electronics that almost feel like an echo of the previous song. Its cinematic atmosphere reinforces the film soundtrack quality of the album while delivering a constant push between uncertainty and progression. We reach an emotional peak with Always the Last One to Leave. The layered vocal harmonies create a new depth, blurring the line between our own echo and other people’s voices. The effect is beautifully disorienting, evoking those endless nights where time feels suspended and nothing is certain. As the harmonies gradually dissolve into distortion, the song seems to drift the listener into sleep. Either Way stands apart through its production. Rather than placing the strings in a supporting role, every instrument has an equal space within the mix. The result is one of the album's richest arrangements, where no single element dominates and every texture contributes equally to the emotional weight. The album regains its edge with Matador. A pounding rhythm section launches the track before an unexpected scream completely changes its trajectory. It carries flashes of a NEW ORDER post-punk precision before the chorus erupts into garage rock and punk energy. It's one of the record's most unpredictable moments and a reminder that CITIZEN remains unwilling to stay in one stylistic lane. Ether and Smooth Talker are perhaps the album's least distinctive moments, sharing similar sonic territory. Both rely heavily on electronic textures and create atmospheres that occasionally seem to blend together within the larger scope. They match the overall feel while leaving the impression of being supporting pieces, not having the same lasting impression as the surrounding tracks. Highs and Lows, the album's lead single, delivers another standout. Massive electronic production collides with a sharp and early 2000s garage rock guitar work, resulting in one of the album's biggest, most anthemic choruses. It perfectly encapsulates Halcyon Blues' wish to merge organic and synthetic sounds into something uniquely CITIZEN. The closing track, Anne, feels like watching the credits roll after a long journey. At times almost acoustic, it strips away much of the album's grandiosity while preserving its emotional resonance. Rather than ending with a dramatic climax, the band chooses reflection, allowing the record to quietly settle after its many emotional highs. Throughout Halcyon Blues, CITIZEN embraces movement in every sense. The album unfolds like a summer road trip, constantly changing scenery while maintaining a clear destination. Every song offers a different perspective through post-punk grooves, shimmering electronics, garage rock aggression, or soaring ballades. Yet, none of these stylistic turns feel forced. Instead, they reinforce the album's central message: growth comes from exploration rather than conformity. The band proves that refusing to stand still can be the surest path toward finding your own voice. Score: 7/10 Halcyon Blues will be released on 7th August 2026 via Run For Cover Records. Words: Lysandre Pons Photos: Atiba Jefferson

Over recent years, CINEMA STARE have built a reputation for writing heartfelt pop-punk anthems that are as infectious as they are emotional. Blending shimmering synth melodies, catchy early-2000s pop-punk hooks, heartfelt lyricism and occasional indie rock textures, the Connecticut outfit wear their influences proudly, drawing inspiration from bands such as PARAMORE while carving out an identity of their own. Their latest release, Stink E.P. is a six-track record produced, engineered and mixed by Chris Teti at Silver Bullet Studios, with mastering by Will Putney. Every song carries a genuine sense of passion, making this a release that feels right at home within the modern pop-punk scene. Opening track Plus Ultra! wastes no time setting the tone. Rapid percussion and punchy guitars immediately deliver the energy fans of the genre crave before Quinn Miller’s vocals crash into the mix. One of CINEMA STARE’s biggest strengths is how seamlessly every element works together - nothing overpowers anything else. The song captures the feeling of an overstimulated mind through both its frantic instrumentation and sharply written lyrics, something the band have become increasingly skilled at portraying. Few Things follows with Miller’s softer vocal delivery easing listeners in before the full band bursts into life. Quirky synths and irresistible hooks make it one of the EP’s catchiest moments. Rather than overwhelming the song, Sean Maclure’s drumming remains measured and precise, allowing his technical ability to shine without ever stealing the spotlight. The EP reaches its most explosive point with FML, and the title couldn’t be more fitting. Fuelled by frustration and anxiety, the opening lyric, “Wish I could cry on my own damn shoulder and fuck off forever,” immediately sets the emotional tone. The intensity never lets up until the closing moments, where the instrumentation gradually falls away, leaving Miller’s voice to carry the chorus alone. It’s a simple but incredibly effective ending that highlights both the songwriting and production. James Pack is the complete opposite. Where FML thrives on chaos, this is a straight-up pop-punk love song. The drums take more of a supporting role, giving Joe Pelegarno’s bass lines room to drive the song forward. His playing provides a constant groove beneath the guitars, adding warmth and character throughout. Every great pop-punk release seems to have its acoustic moment, and Skipping initially appears to fill that role. It opens with distorted conversation before gentle chords and MILLER’s delicate vocals create a reflective atmosphere. Then CINEMA STARE completely tear up the script. The guitars roar back in, the drums explode and the song transforms into one of the EP’s defining moments. Miller delivers one of her strongest vocal performances, backed by addictive guitar riffs, dynamic drumming, rich harmonies and snarling bass work. Even the xylophone outro melting into a synth feels like the perfect finishing touch. It’s easily one of the standout tracks on the record. Closing song Scissors rounds the EP off perfectly. One thing Cinema Stare achieve throughout Stink E.P. is giving every member the opportunity to showcase their individual talents while never losing sight of the collective sound. Austin Hainey and Quinn Miller’s guitar work is consistently impressive, weaving effortlessly around the vocals while locking in with the rhythm section. The shifting melodies create an uplifting finish, leaving the EP on a genuine high. Hailed by many as one of modern pop-punk’s most overlooked bands, Stink E.P. only strengthens that reputation. CINEMA STARE feel ready to step beyond the underground scene, and with another tour or two behind them, they have every chance of breaking through. The talent is already there; now they simply need the opportunity to introduce themselves to a wider audience while staying true to their Connecticut roots. Score: 8/10 Stink E.P. will be released on 7th August 2026 via Static Era Records. Words: David Waites Photos: Logan Grosclaude

I'd like to set the record straight - at the forefront of everything we do, we make journalism accessible. We've designed a platform that's future-focussed, built around our community. We uplift and centre our conversation around young people, making sure we put LGBTQIA+ matters first. In the last three years, we have built and curated a platform that continuously strives to offer opportunities regardless of ability or background. That is Out Of Rage to its core. Yes, we provide pathways for entry-level talent. By joining our platform, we can inspire professional work practices and industry-level standards right from the start. Outside of our usual coverage, photographers can workshop their editing skills through our weekly editing challenges. We also make our single reviews the entry point for writers who want to build their confidence. I make it clear that by joining Out Of Rage, it’s never an easy ride to the top. Whilst it's never been the end goal, we've been delighted to work with arena-level acts and cover some of the UK’s leading festivals. Our community is taught from the beginning that anything is achievable if you put the work in, and even though we operate shows on a lottery-style system, this is to put the best person on the job, taking into account external factors like location and camera equipment. It also means we can give opportunities to as many people as needed, and the system is as fair as possible. We can support a wide range of abilities and also communicate clearly about accessibility. It’s no secret that we do things unconventionally, but ultimately, it’s a direct reaction to providing a community-focused environment driven by our contributing team. We know that it’s not going to be the best fit for everyone, but for those who have worked with Out Of Rage, it’s given lifelong connections and those much-needed ‘firsts’ to inspire and a safe space to make mistakes. As editor, my favourite bits of the job are celebrating individual wins - those moments when our contributors really push themselves to create their best work. In these situations, we celebrate loudly and publicly. I do not do my management team justice here. I represent and support a selfless roster of individuals who go above and beyond to make Rage what it is. Their editorial voice is crucial to our operation, and where we can, we try to reflect our community as much as possible. Our monthly online covers, at the centre of this, are artists we champion who represent the future of alternative music, or at the very least would be of interest to our network and readership. Our coverage, driven by community interest, is shaped by what is accessible and important to young people. Over the years, we’ve developed a heavy music-centric voice that is open to all and champions acts on the fringes of the genre. We like to be inclusive and adopt an Outbreak-style approach of creating an ecosystem fronted by the outcasts and the relevant voices of today. Here, we’ve adopted hardcore values into our publication, offering authenticity, a strong sense of identity, and a desire to support live music spaces, and we are continuously building connections with local promoters. Even though we are a queer publication, we open our doors to anyone who shares our message. As a non-binary person, Out Of Rage has been the space I’ve needed to find community. We are the first heavy music magazine of its kind to champion LGBTQIA+ voices, something I find baffling given the long history of the culture and punk roots. By supporting Out Of Rage, you are supporting the future of music journalism. We’ve grown a lot since the network’s inception, but we always offer support to student media. As we grow, we will continue to adapt and tailor our platform to our community wherever we can. I want Out Of Rage to inspire real change in the music industry, and the change I needed to see when the platform was first created. I want to make sure we’re not the only young people in the pit, and we can work together to make an inclusive space that gives people hope. Love and Rage, Amber Brooks Co-founder and Editor-in-Chief If you'd like to reach out to us, please contact the magazine at info@outofrage.net Find our Instagram at @out.of.rage.network Cover Photo by Ben Blissett for Out Of Rage Article Photos by Libby Percival for Out Of Rage

If you've been to a festival at any point in the last couple years, chances are you’ve come across UNPEOPLE. Having recently played the main stage at Download Festival this year alongside LINKIN PARK, THE PRETTY RECKLESS and RORY on Sunday, they feel like a rising band to look out for. Featuring guitarists Jake Crawford and Luke Caley, joined by Emily “Em” Lodge on bass and Richard Rayner on drums, this alternative rock band from the heart of London brings raw energy, brimming with heavy riffs and throat-shredding, melodic, infectious songs that make them impossible to ignore. The band brings a community spirit for those who feel they don’t belong, with the meaning behind their name UNPEOPLE being those who are considered politically unimportant. A feeling shared by the band members themselves that, in turn, creates a deep connection to their fans, with anyone who relates to their philosophy and ethos. Their rallying cry at live shows is: "We are UNPEOPLE, you are UNPEOPLE, we are all UNPEOPLE!" You may also recognise a few of the members from another iconic band on the festival scene. Exactly three years back, in July 2023, PRESS TO MECO, after eleven years and three critically acclaimed albums, played their final show to a crowd of 15,000 at 2000trees festival. The band came to a natural end, after announcing their break-up back in December the previous year. Reborn from the ashes of PRESS TO MECO, Crawford and Caley debuted their new project UNPEOPLE the very next day at the same festival. The first track on the set list being waste, giving the crowd their first taste with the lyrics “Give the people what they want, no questions!”, the start of something unique and fresh. While UNPEOPLE haven’t released much music yet, what they have put out has been unbelievable and fresh to the alt-rock scene. There’s a reason they are making waves, the way they are able to blend catchy, approachable pop rock that hooks you in, with the twists and turns of overwhelming emotional explosion that whiplashes you. By completely flipping the script and pulling the rug from under your feet to bring in the heaviness and screaming breakdowns before whipping back to the melodic tone. Their latest singles, Friends and Clouds, showcase this perfectly. While most bands have backing vocalists alongside the lead, UNPEOPLE take things in a different direction with a four-vocalist dynamic, each bringing something unique to the music. The way they blend and mix together in interesting ways, but also each has moments to shine on their own. We have Crawford with the gritty delivery, Caley bringing in the punk vibes, Lodge with her melodic vocals, and finally Rayner behind the drums with his chaotic driving energy. This is best shown in their music videos and live shows with their intense stage presence. The way the quartet just always seems to be having the best time jumping around and jamming with each other. UNPEOPLE have a visual language that matches their tone, a dreamlike quality that gives off a trippy, surreal nature. Caley’s partner, Bethany being the band’s key visual creative working behind the scenes to create something that showcases the psychological weight of their music. When UNPEOPLE first arrived back in 2023, the band originally had bassist and vocalist Meg Mash in the group. She brought a Pixies-like sound with her ethereal melodic vocal style mixed with the heaviness that UNPEOPLE is known for. You can hear Mash on the band's self-titled EP released in 2024, and whilst being in love with playing heavy music, her visceral bass on tracks like Smother and Going Numb harmoniously show this. Unfortunately, a chronic illness diagnosis after a severe case of COVID-19 caused Mash to make the hard decision to leave UNPEOPLE. Enter new bassist Em Lodge, bringing the raw energy that defined her previous band DELAIRE THE LIAR, one of her standout tracks from that era being the haunting ballad Angel Number, which saw her take on lead vocals for the band. While also on other tracks, being able to harmonise her vocals to bring texture and a punk vibe, not to forget her iconic melodic basslines. This made her a key piece to safeguard UNPEOPLE’s four part harmonies going forward into the next festival season. Lodge matched the vibes of Crawford, Caley and Rayner with frantic on-stage energy and made 2025 a breakout year. Live shows like supporting VUKOVI on tour, Download for the first time, returning to 2000trees where they first made their debut, all these set up their current explosion. Leading into 2026 UNPEOPLE kicked off the year by headlining Underground Festival in Gloucester, dominating Slam Dunk and moving to the historic main stage at Download. If this year wasn’t big enough for the band already they are set to release their highly anticipated debut full-length album, WE ARE UNPEOPLE on 9th October 2026. This is bound to be something special if the singles are anything to go by. Catch UNPEOPLE when they play Radar Festival on 1st August 2026. Words: Amy Lynch Cover Photo: Simon Arinze and Libby Percival

In the midst of their grand festival summer, in between major stops like Lollapalooza in the US and various European appearances, CHALK have blessed London with a one-off, but no less thought-through, headline show. The band brought along a well-curated line-up, including the Welsh post-punk collective SLATE and Brighton’s blistering four-piece LEMONSUCKR. Altogether, they lit up and packed out Electric Ballroom, leaving the audience with no room to stand still, but only to sway to the electronic beats and dance the night away. Photo by Mariia Bulkina Hailing from the heart of Cardiff, SLATE are not just your regular post-punk band, as their unique identity can be felt from the first glimpse of their performance. Jumping between throbbing rhythms of Tabernacl and St Agatha, the vocalist Jack rips his heart out, belting the never-ending choruses. Next thing we hear is a slow and quiet but incredibly soul-punching lament, with the voices of both Jack and the bassist Lauren intertwining into a beautiful song, possibly inspired by their Celtic roots. SLATE alternate between a couple of these brief interruptions that serve almost as a grounding mechanism, and their usual gritty upbeat tracks, that still have their time to shine and warm up the room for what’s next. And what’s next is nothing if not a shock to the system, as LEMONSUCKR captivate our full attention from the mere moment they appear onstage. With only one EP out, they play as if they’re headlining a festival stage, firing out bangers after bangers like a pub kitchen. Having played Sedated and Instant Kinks, the singer goes into the middle of crowd on their third song, and pretty much stays among the audience for most of the set. The rest of the band follow suit, as the guitarists also take turns jumping in onto the dancefloor, or simply leaning over on the edge of the stage, as if they want to be as close to the action as physically possible. LEMONSUCKR continue to bring on the H.E.A.T., finishing off on the dark and spine-chilling Rugrat. Photo by Mariia Bulkina CHALK goes in with immense force right away, starting off with their album’s opening tracks Tongue, Pain and Can’t Feel It. The energy in the room rises rapidly, as the huge pit begins to open up in its centre, at times reaching almost the size of the venue itself. In the true fashion of 'crystalpunk', the duo plays on juxtapositions, with the singer Ross Cullen stood in front of us in bare flesh, bringing all of the attention on his spiky gloves as the centre piece. Meanwhile, his bandmate Benedict Hardie-Goddard is constantly switching gears between the heavy industrial synths and the electric guitar, which he of course also takes on a little walk with him into the centre of the crowd. CHALK pay equal attention both to their debut LP release Crystalpunk, and to the EP trilogy: Conditions I, II, and III. Tracks like Them and Pool Scene immerse us fully in a sort of trance, with the brilliant lighting work supporting the illusion. The Belfast legends clearly learn a lot from their Irish cousins like FONTAINES D.C., and they too start to conquer the hearts of Londoners one by one. CHALK pay homage to their hometown with the 8-minute-long Béal Feirste before vanishing offstage. Returning with an awaited encore, the duo play their last bits Get Fucked and Conditions. It is clear from the audience’s reaction that most of the visitors have had an absolutely spectacular night, coming out the venue even bigger fans of the band than before.

These past two weeks, we've heard everything from the haunting dark-folk vocals of CHELSEA WOLFE, to IMMINENCE's melodic metalcore mayhem, to the sweeping Viking metal sagas of AMON AMARTH. Here's what we've been listening to lately: Track of the Week: Chelsea Wolfe - Cold The queen of darkwave is back - CHELSEA WOLFE’s third single for the upcoming album The Dark hints at what might be her most accessible release yet. Cold is a fairly straightforward gothic folk track - and while it lacks the grandiosity of something like Death Is Not The End, it’s a gorgeous tune, with soft pianos, and what even sounds like a pop chorus. The final chorus is quite sinister, with whispery backing vocals that offset the strangely familiar feel of the rest of the song. It’s set to be the opener to the album - and hopefully works just as well on context as it does on its own. Words: Noise Leonard Amon Amarth - Gjallarhorn In a triumphant return to full-scale Viking metal with Gjallarhorn (Heimdallr's horn signaling that Ragnarök has arrived), AMON AMARTH hits with crushing riffs, thunderous drumming, and JOHAN HEGG's commanding growls. Once again, it carries the flair of sagas, a soaring chorus, verses roping the listener in, and a cinematic atmosphere that represents everything that made the band one of the defining acts of melodic death metal. In its chants, we can, however, find connecting pieces to the surprisingly folk release Upphaf, creating a thread leading us to AMON AMARTH’s upcoming album The Allfather Awakens, recently announced for October 2026. A release to watch out for, where the band seems to be merging musical diversity and its classic sound without sacrificing intensity or epic storytelling. Words: Lysandre Pons Beartooth - Eyes Closed BEARTOOTH's Eyes Closed is a hard-hitting anthem that combines raw emotion with infectious energy. Blending metalcore, hard rock, and alternative metal influences, the song delivers punchy rhythms and a powerful chorus that feels made for fans to join in during shows. That also comes with strong guitar work, balancing thick, down-tuned rhythm sections with melodic lead lines in a masterful way that adds both texture and emotion. The instrumental intensity stands side by side with the flight of lyricism laced with aggression that Caleb Shomo delivers. Packing a punch, Eyes Closed is an alert for all to keep an eye out for the band’s upcoming sixth studio album, Pure Ecstasy which is coming out on August 28th via Fearless Records. Words: Lysandre Pons Burner - What Will You Give? (ft. Josh Middleton) Since forming in 2021, BURNER have been a constant fixture on UK metal lineups. In the wake of their second album No One Is Coming to Save Us, they’ve hit us with an intense new single What Will You Give? featuring Josh Middleton of UK metal royalty, SYLOSIS. The track starts ferociously, no build up or slow burn, matching perfectly with the lyrics and meaning of the song. It stays intense throughout, with a short instrumental before Middleton’s vocals come in, bringing in hardcore elements, it begins to feel personal, “What will you give to save this world?” feels like a direct question. BURNER’s music has always been politically charged, but it feels more evident in What Will You Give? BURNER are heading out on a full UK run this October to celebrate the release of their sophomore album. Words: Kei Wells downcast - falling to pieces (ft. Youth Fountain) Their first step into music for 2026 since last year's earworm home, emo-rock quartet DOWNCAST have returned with falling to pieces, their most personal and rawest sound to date that cuts apart the inescapable grief of losing someone. From the opening reverbed riffs and Liam Edwards' heart-rending lyrics, there's an unmistakable melancholy that builds to pure rage, the melody surging between the two emotions as if this is all that's been left for us to feel. YOUTH FOUNTAIN's Tyler Zanon adds a sorrowfulness over the angry hooks before launching into screams in tandem to Edwards, as if shouldering some of the pain as the instruments rise to a crest of powerful emotion. falling to pieces doesn't welcome grief in, but instead grips it back and refuses to be shattered by it. Words: Julia Stark Her Last Sight - My Mirage With an early 2000 flair, My Mirage is a catchy metalcore track that explores themes of illusion, longing, and the struggle to distinguish reality from false hope. Bullet-like verses with raw screams are balanced by a memorable, melodic chorus that adds depth without sacrificing heaviness. HER LAST SIGHT's strong instrumentals are brought forward by a polished production that enhances every element, creating a dynamic and immersive piece that pulls in the listener. My Mirage captures both vulnerability and strength while visually keeping the goofy visuals that make the band popular. Words: Lysandre Pons Imminence - False Light / Crestfallen They say all good things come in threes, which was certainly the case for listeners of IMMINENCE. The band released the second single of their new album run, False Light, followed closely by the album announcement, Axis Mundi which will be released early October. Very quietly they also released a third single at the same time, Crestfallen. False Light must be up there with one of IMMINENCE’s most brutal songs to date, the energy is unmatched throughout with a myriad of drum patterns and breakdowns all with strings soaring into the gaps. The track is hostile as singer Eddie Berg switches out of his favoured clean vocals to the extreme, with the peak of the screams breaking into a raw, gut-wrenching cry of “Fear!”. As with the previous single The Sword That Never Bends, False Light is accompanied by a music video that reveals more of the lore surrounding the album, and really gives a deeper rooted understanding of the lyrics. Crestfallen in comparison is haunting and plays more on the melodic side of things. The collective of instruments tell a story and almost feels cosy with soft clean vocals. A highlight would be a short section where the deeper guitar and bass riffs combine with vocal harmonies that scratch the right part of your brain. If we’re learning anything from these tracks it’s that IMMINENCE are able to build these vast rich worlds with versatile soundscapes without losing momentum. Words: Danielle Henderson In This Moment - Crawl Bringing forward unexpected dark electronics blended with a heavy industrial and haunting sound, IN THIS MOMENT's Crawl is a hypnotic piece. In this fierce statement of resilience, MARIA BRINK's captivating vocal performance signals that the band is back with a bang. Layered with an artistic video packed with symbolism, the track is an awe-inspiring, relentless fight building towards an anthemic chorus that lingers long after it ends. Crawl builds up from its own darkness to hand a mirror to the listener as a weapon, empowering them to confront abuse, reclaim power, and emerge stronger in the face of adversity. The release also marks the official announcement of the band's ninth studio album, WITCH, due in August 2026. Words: Lysandre Pons Kim Dracula - Molecular Conversion Much as the name would suggest, KIM DRACULA is going through an evolution that sheds the past and welcomes in a new era with new record label Rise Records. Molecular Conversion is the first single through the label, a genre defying track that DRACULA defines as a "new song, new label, new story". Molecular Conversion alters between genres, Gothic metal riffs and beats taking centre stage with mournful vocals, before it shifts to a startling Blues Gossip segment with haunting pitches, harmonising choirs and hopeful piano, finally descending into guttural heavy metal roars that transform the song from a story of defeat to furious resoluteness, a story immortalized in the accompanying music video that hints at fresh purity ripped apart in nature. This is just the beginning of DRACULA's legend. Words: Julia Stark Olive Vox - Hear Me Out OLIVE VOX hit the ball out the park once again with latest single Hear Me Out, combining their alt-rock origins with classic pop-punk for a boisterous rhythm and bouncy riffs. Having already teased Hear Me Out on their live setlists earlier this year, this is the track to listen out for on their upcoming support slot for TOADIES US tour, kicking their set into immediate high gear with a steady beat and bass combo as catchy riffs and pleas of "hear me out, I believe that one can change" rush in. Its core theme of being unable to move on and heal from internal guilt in a continuous vicious cycle of self-punishment is at war with the upbeat melodies, enjoyable solos and synths contrasting to the desperate screams "hear me out" as they try to break from the cycle, a feeling that will resonate with many as they dance through the struggle. Words: Julia Stark Scene Queen - METALICIOUS (ft. Left To Suffer) Still riding the high of opening the Friday Apex stage at Download (a reminder we rightly had female headliners and fest openers), SCENE QUEEN unleashes another "bimbocore" track in METALICIOUS that sounds like KESHA or FERGIE if they had a metal makeover. SCENE QUEEN straight up ignores the music pipeline and boldly brings dance-pop and heavy metal together, creating trap beats that merge into heavy riffs to assault your ears, the lyrics sounding like a pisstake of pop songs getting ready for club night, except the Queen is "here for the mosh", her call of "all the fellas say?" met by LEFT TO SUFFER's throat-tearing growls. SCENE QUEEN continues to be unapologetically herself and embrace everything that brings her joy. Words: Julia Stark SNAYX - Nice Day 4 It Self-labelled as their summer anthem, punk band SNAYX release new track Nice Day 4 It through their new record label Nettwerk Music Group, containing their signature flavour of memorable punk hooks with an essence of near-Nihilism in the lyrics. Quick-fire rhythms refuse to let up throughout as an ominous guitar note rises in the intro and intermittently in the background, a promise of more to come, the instruments crashing together into a riotous sound. Nice Day 4 It pulls you in with its undeniably catchy chorus, the lyrics portraying the feeling of being in a never ending spiral of despair as the world burns around you, and having to say "fuck it, let's have some fun anyway". It's not a song about ignoring what's happening, but coping with life through taking advantage of "a nice day". Words: Julia Stark Stand Atlantic - LUCID STAND ATLANTIC’s new single LUCID blends the band’s signature pop-punk energy with a darker, more atmospheric edge. Singer Bonnie Fraser’s vocals are both vulnerable and engaging, delivering emotionally charged lyrics with insistence with ease. Catchy hooks, driving guitars, and punchy rhythms create an infectious sound that lingers long after the song ends. In anticipation for their new album, GODBREATH, Lucid feels fresh while staying true to STAND ATLANTIC’s identity. The song feels like a showcase of their continued growth and development as musicians and feels like a nod to the past alongside a spotlight for the future. It’s an addictive, emotionally charged track that deserves to be added to every playlist immediately. Words: Laura Davies Tanzana - Without A Sound Luck has befallen those who can’t get enough of Glasgow trip-hop, alt-rock quintet TANZANA; not only are we being treated to their latest single Without A Sound, it also drops with the announcement of their debut EP Etched In. The track eases us in with the tranquillity of guitar strums, before Freya Talbot makes her entrance with a deep, dark-folk timbre that leads into a true showcase of her vocal prowess. A tsunami of sound washes over us, the clashing of drums sounding off in the midst of waves of guitar and bass; all the while, the vocals escalate to a chant-like chorus, the singer making herself an imposing presence against the storm. This is just a taste of what TANZANA have to offer: the esoteric rhythms of their EP will grace our speakers in October, and we have much to look forward to. Words: Naomi Colliar Duff Editor: Naomi Colliar Duff Photos: Various Artists

Is it finally time to ditch the “Windmill Scene” moniker? Because what makes a band or artist sound “windmill-y” is a little unclear at this point. Sure, in the late 2010s you could easily point to groups like FAT WHITE FAMILY, SHAME and the wave of seven-inch singles released on Speedy Wunderground as having something of a similar sound. But since then, there’s been much more variation in genre within the walls of the Brixton Windmill, with electronic acts like PVA and FAT DOG, as well as the slow, methodical DEATHCRASH, which couldn’t sound any less alike. But in the centre of all this, there’s always been groups combining post-punk with saxophones - and the best part is they all sound nothing alike. OPUS KINK have almost been impossible to pin down with their past two EPs. 2022’s Til The Stream Runs Dry was a great introduction, with an absolute powerhouse of a title track to close off their debut, then in 2023 they seemingly caught lightning in a bottle with My Eyes, Brother, one of the most eclectic 25 minutes you’ll ever hear. So a full LP was always on the table, and living up to the hype of those first two EPs is no small feat - so it only makes sense that they took a few years before releasing The Sweet Goodbye. We open with Come Over, Do Me Wrong, featuring everything that makes the group likeable. An almost spoken-word delivery, a klezmer-y saxophone melody, and a strange breakdown in the middle that borders on chaos, but rides that line with a tight rhythm to bind it together. The repeating motif of “half of any good thing” followed by “is its proximity to its end” or “is the reason it cannot be yours” is an apt thesis statement for the song. Frontman Angus Rogers describes it as “the mad philosophical leap of ‘I don’t care what you do as long as you do it to me’”. That much might be clear from the title alone, but there’s a certain wit about it - some of those lines make it a worthwhile album opener on its own. There’s more where that came from as well, second track Will It Come For You? is built around foreboding, whispery background vocals and a melodically minimalist bassline. Notably, the song takes a much more quiet turn in a bridge before the final chorus, as Rogers ponders on this disaffected feeling of purpose in the face of the enormity of the world. Meanwhile, the title track is a similarly playful affair as the opening track, the band’s inherent strangeness worming its way in during a chorus of baritone voices towards the end. The Tom Waits-esque feel of this moment is carried into the following track, Peckham Nocturne, whose sleazy saxophones and shuffly rhythm wouldn’t feel out of place on an album like Rain Dogs. There’s an almost noir-ish feel to it that makes “The Long Goodbye” feel like a more appropriate title, feeling out of time similarly to Marlowe in that film, like walking into a sketchy bar that stinks of whisky. It’s a shame that it’s the shortest track on here, because it’s likely the standout in terms of personality. Crucify! dwarfs the rest of the track lengths here, at just over six minutes, and split into two sections that both stand on their own yet compliment each other. The first is more of what we’ve heard over the past half hour or so, angular melodies, quirky and poetic lyricism, and some genuinely lovely harmonies during the chorus. The second half on the other hand is a slow buildup, with the repeated phrase of “crucify me now” underpinning the whole thing. Meanwhile, a cacophony of saxophones slowly become more and more berserk until the song unceremoniously fades out. You’d expect this to be the closer, but OPUS KINK still have one more surprise up their sleeve. Oh, Irony is almost like their take on DAVID BOWIE’s Rock ‘n’ Roll Suicide, which feels like a strange comparison to make. Maybe it’s the chord progression, the horns, or the feeling of melancholy surrounding it. Either way, the song tricks you into thinking it’s going to end on some similarly explosive and grand outro, but it never really does. It feels bittersweet, with the percussion, a synth, and a brass section to send us out. Somehow it still feels satisfying - a “sweet goodbye”, some may say. To loop back to where we started, is it possible for OPUS KINK to escape the endless comparisons to the “Windmill scene”? Well, that’s a trick question, really. If BLACK COUNTRY, NEW ROAD and the former members of BLACK MIDI couldn’t do it with their new and vastly different styles, it’s hard to believe anyone can. That being said, with this album, OPUS KINK also firmly cement their own sound. At points, maybe it lacks the same exciting variety as their prior EPs, but it’s a good start. They’re the kind of band who can clearly branch out even further and it would be a fantastic thing to see where they go next. Score: 7/10 The Sweet Goodbye will be released on 31st July 2026 via SO Recordings. Words: Noise Leonard Photos: Jacob Ray

Manchester's MALAMUTANT arrive with a party cannon firmly in hand, bringing together former members of underground favourites FOOTPRINTS IN THE CUSTARD and GODHAND to create something that refuses to take itself too seriously. The result is an album packed with infectious grooves, humour and hardcore energy; it packs just enough chaos to keep you grinning from start to finish. From the outset, it's clear that MALAMUTANT have no interest in writing typical hardcore songs. Instead, they turn everyday frustrations and absurd observations into riotous anthems that are just as likely to make you laugh as they are to start a pit. As Per My Last Email is instantly relatable to anyone who's ever worked in an office, venting the frustration of having to repeat yourself over and over again. It's a sarcastic middle finger to corporate life of the usual colleagues who don’t read the first email you sent originally, wrapped in punchy riffs and plenty of attitude. My Diet Starts Monday is a reality check, taking aim at the all too familiar excuse we tell ourselves after one too many sweet treats. Musically, the song throws in a slight jazz tempo in the middle section which will get you down low for it to then kick back in to then jump up to continue going crazy in the pit; this could be a good one for the live shows. Post-Pandemic captures the strange reality of life after COVID, blending upbeat and danceable grooves with lyrics reflecting on lockdown, anxiety, and the unexpected realisation that maybe staying at home wasn't so bad after all however now you don’t want to go out and socialise. The infused riffs give the track an infectious energy despite its surprisingly reflective subject matter. No Party pokes fun at the realities of getting older in a band. Rather than endless nights of debauchery, it's about finishing work, playing a show, and dreaming of getting into bed. Of course, whether the band actually skips the after party is another matter entirely, but the self-awareness makes it all the more enjoyable. Perhaps the most ridiculous song on the record, Monster Truck celebrates exactly what its title promises. Built around a funky bass groove, laid-back guitar work, and comically low vocal delivery, it's impossible not to smile as the band enthusiastically explains just how cool monster trucks really are. And honestly, they're not wrong. The Great British Nonce Off delivers some of the album's darkest humour, taking aim at the depressing regularity with which beloved celebrities are exposed for horrific crimes. Rather than glorifying them, the song satirises the media circus surrounding these revelations by imagining them battling to become the "greatest" offender, making it abundantly clear that none deserve any praise. Closing things out is AI Could Become Sentient in the Next Few Years, opening with a thick, meaty riff before diving headfirst into fears of artificial intelligence taking over our jobs and lives. A huge gang vocal section chanting "ROBOTS!" feels destined to become a live favourite, providing the perfect send-off to an album that's impossible to take too seriously. MALAMUTANT have crafted an album that embraces everything fun about metal and hardcore. While many bands focus on bleak subject matter, they instead find humour in the everyday, transforming mundane situations into energetic, comedy anthems without sacrificing the crushing riffs or memorable songwriting. It's an album that's just as enjoyable blasting through your speakers as it will undoubtedly be in a sweaty venue surrounded by smiling faces. If this album is anything to go by, MALAMUTANT's live shows are going to be absolute chaos and that's exactly how it should be. For fans of RAISED BY OWLS, EVIL SCARECROW, PARTY CANNON. Score: 9/10 This Time It's Personal will be released on 31st July 2026. Words: Ciara Hicks-Evans Photos: Malamutant

Sweden has gifted many wonderful artists to heavy music over the years including MESHUGGAH, VILDHJARTA, THROWN and other renowned acts. ALLT had been a rising star from this scene, taking some of the technical and progressive stylings of VILDHJARTA and applying it to a more palatable metalcore sound. However, with their sophomore album Ataraxia, they have elected to move away from these elements that once provided great intrigue, now in favour of a much safer and sanitised alt-metal sound. ALLT being the Swedish word for everything means they have truly lived up to their namesake on this release. The opening track New Day begins with the unrivalled low-tuned barrage of chugs and harmonics against a backdrop of shimmering clean guitars that are the staple of the Thall sound this band has come from. Immediately however, the song takes a sharp turn into auto-tuned hip-hop style vocals, reminiscent almost of the stylings we have come to see from BAD OMENS or SLEEP TOKEN. Seemingly this sets the tone of the album to come, a collection of contrasts and contradictions cemented in the modern metalcore context we have all become quite familiar with. In similar fashion, the following track Omerta hits a number of stylistic features we would have heard from Nu-metalcore artists such as DARKE COMPLEX, leaning more into the hip-hop sounds of the 2010s, which is another surprising moment for ALLT. Not an unwelcome choice stylistically however, as few other artists of note have attempted to pursue this specific blend of sub-genres. As we delve further through the tracklist, we're shown more and more of Robin Malmgren's sheer vocal range, particularly in tracks such as Nevermind, Enemy, and Ultraviolence that seem to heavily focus on the softness of his singing amidst the tight and practiced technique of his screamed vocals featuring across the rest of each track. It’s clear that the intention for this album was to be more measured, composed and a reflection of personal experience, which can be appreciated in that regard, but it seems we now stand at a turning point in heavy music. We can continue down this path of safety, of countless layers of synth tracks and over-produced vocals, or we can take risks. Other artists that have released this month have shown it is possible to find success in the chaos and abrasiveness that comes with entrenching oneself in life and truly experiencing the sub-culture that metal comes from. All in all, ALLT has missed the mark on this one. A truly astounding group of insanely talented musicians who seem to have succumbed to trends and the need to stay favourable to the algorithm. That’s not to say that this album won't do well though. It’s very likely some of these songs will end up on notable Spotify editorial playlists and alternative radio stations, achieving this commercial success on the surface. However, there is a likelihood that these songs will fade into the ether, neither memorable or infectious enough to leave their mark. Score: 5/10 Ataraxia will be released on 31st July 2026 via Century Media Records. Words: Alex Boyd Photos: Allt