For the past 7 years, German based post-hardcore band FUTURE PALACE have consistently unleashed devastating, emotionally fuelled projects that have now connected with millions around the world, and they are yet to slow down with their upcoming LP Resurgence. The trio, consisting of vocal powerhouse Maria Lessing, guitarist Manuel Kohlert and drummer Johannes Früchtenicht, formed the idea of a band in 2018, wasting no time bringing this idea to life with their first single Maybe releasing in March 2019. The project burst into life, and, starting with 2020, every other year has seen a fresh full-length album from the three-piece, most recently the 2024 release Distortion, which garnered positive reception for its potent soundscapes. With the band having established a history of raw, melancholic themes and crushing breakdowns, existing fans will be prepared to experience visceral emotion throughout the listen, and FUTURE PALACE know precisely how to deliver. Resurgence can be described as a brutal conflict between hope and despair, conveyed through bursts of tranquillity and fury, timed expertly within the progression of the album to deliver a cohesive, satisfying listening experience, unfolding with opening track Deep Blue. This track skips the appetiser and pulls you immediately into a feast of vocal prowess, epic guitarwork and striking drum work, complete with a menacing production that helps materialise the track’s narrative of drowning in your own anxiety. The technical ability of each member is immediately on display, and the record’s exploration of depression and insecurities emerge with frightening honesty. The title track cranks the volume to the max, gifting Maria the opportunity to demonstrate what a phenomenal vocalist she is, control on top form and a voice rich in dynamic ability that is undeniably destined for metal. This is combined perfectly with harsh guitars and violent drumming in the choruses, which encapsulates the fierce might of FUTURE PALACE. Lyrically this song is a searing contemplation of sacrificing all that you have if you could restart your life, brutally validating such an aggressive execution sonically. Supernova, the next track, is a stunning exhibition of the trio’s collective talent, a seriously flavourful song with an infectious chorus, filled with endearing, glitchy production, vigorous instrumentals and topped off with enchanting, layered vocals. This track delves into much of humanity’s lack of empathy, with the voice desperately trying to understand how a person can be so fraught with anger that they abandon their own humanity. The subsequent tracks continue the immense energy and highly catchy choruses, but also introduce surprising moments of hip-hop influence, where Maria and the beat take more of a rap approach, which do feel a little awkward in the flow of the songs at first, but at the same time serve to build the atmosphere and effectively delivers the lyrics in a more subdued, yet volatile manner, spitting venom at the recipient on Disintegrate. The Shades possesses higher calibre drums and furious guitars that soar through your speakers and includes multiple rap verses that extinguish any doubts about Maria’s flow, with the delivery being cleaner here. Following this, Nixy quickens the pace, with a more relentless beat and rushes you into a vicious display of expert screams and standout drumming from Johannes, who hardly shies away from proving his ability to thrash with unstoppable energy. Thorns offers a moment of respite and chance to breathe before the intensity returns, a guttural cry for help, each performance oozing with love and passion for their art reflecting on the quality of the music. We continue to hear the strengths of the band seep through as we push into the later stages of the album. Ebb and Flow is a strong example of the captivating lyricism that keeps the listener in the feels, Nightfall is another track where Maria’s impressive vocal range is tested and aced alongside Manuel’s crunchy guitarwork, and Symphony of the Clouds incorporates gorgeous orchestral elements to illustrate the wordplay present, such as violins and piano, which seems to always elevate a heavy track when utilised well. Tidal Waves and Cyclone are the perfect tracks to close such an album thematically, the former being a highly sombre, tender track that offers a more hopeful, optimistic tone, with a stunning breakdown, ideal after almost constant forcefulness. Cyclone wraps up the album by restoring the heaviness, but rather than screaming in rage, the voice yells defiantly, determined to reject the pain, represented by the cyclone, and instead break free, leaving the listener with a sendoff that inspires and encourages the listener, while also being a kickass anthem. Resurgence feels like a true test of willpower, you will be rocked hard physically and emotionally through the mighty soundscapes and desolating lyricism, yet the payoff is incredibly gratifying, and by allowing yourself to truly connect with FUTURE PALACE you will understand that album is aiming to do far more than entertain, and we think they are on top form right now. You can catch FUTURE PALACE on tour at festivals across Europe and North America this summer, and on the Deep Blue Tour across Europe from late September through to November. Score: 8/10 Resurgence will be released on 31st July 2026 via Century Media Records. Words: Paul Cutts Photos: Future Palace

RADAR Festival is just around the corner, bringing an absolutely stacked lineup with it. GRAPHIC NATURE are among that list, one of our favourites in the metal scene right now, and they should be yours too! The band are playing on the Friday of the festival on the 31st of July, so here's some history behind the band and why you should definitely put them on your list. GRAPHIC NATURE are a nu-metal and metalcore fusion band hailing from Kent. Their music spans horizons in its exploration through the world of metal as they create their own distinct, unique sound within the ever-expanding world of metal. The band uses a range of electronic samples and computer-based beats merged with their own acoustics, creating tracks your body cannot resist. The band were formed in 2018, with their name influenced by a DEFTONES song of the same name. In their early career, the band shifted between genres and leaned more towards grind before landing on nu-metal, a genre the members all enjoyed and felt was right. Eventually, the band released their first single, Grit, landing themselves a range of opening slots for bigger bands very early on. Lead Vocalist Harvey Freeman described their music as “a mix of nu-metal and hardcore with some garage and drum and bass influences". The key to their sound is intense screaming vocals with a unique melancholic tone provided by Freeman. The distorted guitars and bass collide with a plethora of electronic samples and synths, creating ungodly noise - in the best way. To its core, GRAPHIC NATURE are a band that heavily advocate for mental health, not just in their lyrics that discuss their own struggles but also through speeches and statements during their live sets. It doesn't matter who you are, what's on your mind or how you identify; a GRAPHIC NATURE set is a way to escape it all. Their sets frequently gain a lot of attention and movement from the crowd with moshpits, stage divers and two steppers throughout. As everyone felt the shock of the pandemic, the band channelled this into new music, releasing it in 2022 in the form of their debut EP New Skin. Then, in 2023, the band released their first album A Mind Waiting To Die, which landed on both Kerrang! and Rocksound's best albums of 2023 as well as receiving the award for Best Breakthrough Album from the HMA’s. Rolling out records so close together is no easy feat; however, the band found themselves so railed up after returning post-pandemic they just had to keep writing. They've described their creative process by starting with the guitarist Pete Woolven writing riffs over a rough drum track, then merging them with previously written vocal demos from Freeman. The process is spontaneous and unscheduled, which they believe is their key to keeping their music realistic and raw. Since these releases, the band have had huge opportunities coming their way, having played shows with CANCER BATS, VEXED, THROWN and even opening for STRAY FROM THE PATH on their final tour in Europe. Bringing it up to the present day in 2026, the band released their new single Faceless as well as an announcement that they've signed with Century Media Records. It seems to be the start of a new chapter for the band and hopefully will come along with lots of new bangers. If you're looking for tracks to add to your RADAR Festival playlist, their latest track Faceless is a must-have, as well as their biggest tracks Killing Floor and Something I’m Not. Some deeper dive tracks that are in their regular setlist rotation are Locked In and Sour, tracks that also bring immense devastation live. Taking place in Manchester, RADAR Festival will be a hectic weekend, but GRAPHIC NATURE’s set is bound to be one of the best of the weekend; whether you’re a fan of the music or someone who just wants to move, it’s the place to be. Words: Amy Smyth Photo: Kieran Atkinson

Coming from the roots of London with a passion for finding his own way through the music industry HONGZA has finally released his deluxe version of his EP Coming of Age. The original EP was released in 2024 with five tracks but the deluxe version has an additional three versions of songs the fans already know and love. This deluxe version includes two new versions of his single Lovesick, with a new alternative version as well as an acoustic version you can hear the song completely reimagined with a brand new space surrounding it. The track Lovesick is a transcript on the euphoria of reuniting with a long distance partner and reigniting the feeling of falling in love all over again. It’s new version is much more spacious with its lyrics whispered and soft, it's more stripped back than the original. The track opts for soft electronic beats rather than the original upbeat acoustic drums in the first rendition. The vocals and synths now find themselves saturated and reverberated, echoing through the brain of the listener, it almost changes the context of the lyrics with the emotions the instrumental brews. She Changes The Weather is the other added track, also being reimagined with a new alternative version. Once again the upbeat drums and guitar are dropped to introduce a new synth filled experience. The genre of the song bends towards the lofi-pop end of the shoegaze spectrum, still keeping its roots but showing the track in a fresh light. The EP ends on the acoustic version of Lovesick, stripped back to just the soft lyrics and the strumming of an acoustic guitar along with decoration from another dancing alongside it. Each version of this song on the EP brings a completely different light to the track, this one very much highlighting the vocals and really giving a moment to hear the delicacy in HONGZA’s voice. HONGZA himself took on the producing and mixing role on these tracks to sharpen his skills and perhaps even produce for other artists in future “I threw myself into the deep end to produce and mix these songs myself,” he added “I’ve now started feeling confident enough to start producing for other bands, so watch this space.” The overall journey of the EP with all the songs together portrays HONGZA’s progression through these past two years, showing his new skills and his growth within the music industry. We hope to hear more from him soon! Score: 7/10 Coming Of Age will be released on 29th July 2026 via Killabop. Words: Amy Smyth Photos: Hongza

Darkwave act BLEACHED CROSS have found their way out of the murky underbelly of Chicago, and are ready to bring their brand of mournful, industrial sonic sadness to the masses with new LP Wrath. Originating as a file-sharing collaboration between Chicago and San Diego, the band became a fully fledged live act in 2020 and has not stopped to look back since. Now they’re on the cusp of releasing the heaviest work so far in their career, blending post punk, noise rock, industrial, dark wave, goth rock, and more into an enticingly melancholic mixture. Across ten tracks and more than half an hour, Wrath acts as an exploration of the process of grief as both psychological horror and spiritual transformation. The album’s narrative takes us through loss and guilt, death and love, and the struggles that come with all this emotion in the aftermath of tragedy. Ultimately, it describes the attempt to survive unbearable loss without being hollowed out completely. The band have explained the themes of the album: “Downfall and redemption of the self are themes explored over the course of ten tracks, while love’s ability to reverberate beyond this mortal coil is central to the album’s core, and the inflection point at which Bleached Cross offer us to consider how one can both come to terms with death, and heal in the shadow of loss.” Addressing the album as a set of individual tracks would feel like reducing them all to less than the sum of their parts. Wrath should be listened to as a whole, as a full experience that considers immensely heavy emotions and their outcomes. From the opening notes of track one, Thorn Crown, you can feel the intensity behind the music, and that never stops - whether it’s accompanied by seemingly relentless blasts of drumming, aching synth melodies, viscerally vulnerable lyricism, and everything else that you can find across the 35 minute experience of the album.Whether Torment’s more abrasive blackened sound is for you or the pure goth worship of Blood Moon is more to your taste, maybe the industrial tinge on Requiem might be the bit you love most or it’s the dusk-drenched sound of The Dark, the album will draw you in and you won’t regret it. Inside of 40 minutes, BLEACHED CROSS have made an argument to be one of the most interesting goth and goth-adjacent bands in the current soundscape of alternative music. Able to jump all over the place sonically and never lose a very recognisable sound, every new moment of anguish brings that bittersweet thrill you’ll be aching for all over again as soon as it’s over. Score: 8/10 Wrath will be released on 24th July 2026 via New Morality Zine. Words: Jasmine Longhurst Photos: Matty Gagui

After their big cover in April, PINKSHIFT were back in the UK! And together with HEART ATTACK MAN were ecstatic for their final show at the Signature Brew in London. Both American bands are quite familiar with UK crowds and have built a devoted fanbase eager for more shows. Since forming in 2013, pop-punk band HEART ATTACK MAN has made consistent efforts to perform in the UK, particularly from 2023 onward. PINKSHIFT has been performing pop punk and post hardcore music since 2019 and made their first trip to the UK in 2022. Supporting this co-headliner was SUNDAY BEST, an upcoming DIY emo punk band from London. From the moment SUNDAY BEST strode onto the stage in coordinated black and yellow outfits, it was clear that this performance would find new fans within the crowd. Their commanding stage presence immediately draws the audience closer to the barricades. Rather than simply performing to the crowd, the audience participation was a crucial part of the show. Alex Ekong had taught five words from their song Margin “till you cross me out". The call and response echoed throughout the room, creating one of the night's most memorable moments and reinforcing the sense of unity between the band and their fans. As the set gathered momentum, the crowd understood their mission. The floor erupted into a series of different pits, each matching the pace of the setlist. Chaos had gushed with hardcore style, circle and push pits. The highlight of this set came from the lead vocalist entering the pit alongside their guitarist. Surrounded by fans, he instructed everyone to crouch down before erupting together into a mass jump, instantly transforming the centre of the venue into one enormous pit. The set cemented a connection between the audience and SUNDAY BEST. Launching straight into Burn the Witch, PINKSHIFT wasted no time establishing their commanding presence. Their energy was infectious and immediately compels the audience to dance and collide. Fans responded with awe to every track; clapping in time, throwing themselves into energetic pits, and matching the band's intensity song after song. At the centre of it all was vocalist Ashrita, whose performance felt deeply personal. Every lyric was delivered with passion and it was impossible to ignore the raw emotion poured into each song. Their stage presence was magnetic, balancing aggression with vulnerability in a way that made every moment feel genuine. Softer tracks pulling heartstrings within the crowd and angrier tracks cutting through the venue with controlled screams. Every member of PINKSHIFT looked completely at home on stage. Their playful chemistry with one another fuelled the band's infectious sense of purpose. Following the chaos, the music settled into a more atmospheric moment with the audience swaying in unison. The emotional depth of the performance became crystal clear, creating a powerful contrast that lingered throughout the venue. Closing the set with Something More, PINKSHIFT closed their set with an emotional experience that left a lasting impression on everyone in the room. To close their final date on the co-headliner summer tour, HEART ATTACK MAN took to the stage with an eager crowd ready to make memories. Paul from PINKSHIFT was on double duty as he went on to perform with HEART ATTACK MAN in the same evening. There was no sign of fatigue as he delivered each track with the same precision. With a devoted fanbase, each song was cherished. Every movement felt purposeful with chaotic pits and a steady stream of crowd surfers making their way to the barrier. With mesmerising stage presence, Eric Egan catapults the energy within the room calling for more pits and singing alongs. Between songs, HEART ATTACK MAN shared their appreciation for UK crowds, commenting on how fans don't just sing the lyrics but the guitar riffs too. The crowd responded back accordingly as the memorable melody from The Gallows rippled back onto the stage. Their show is exhilarating and forces the audience to move freely. As the crowd poured out of the venue, excitement lingered in the air with anticipation already building for the return of both HEART ATTACK MAN and PINKSHIFT. SUNDAY BEST left a lasting impression, establishing themselves as a band well worth keeping an eye on. Words: Theviya R Karunaharan Photos: Libby Percival

Pulling up to the O2 Academy Brixton, you would be forgiven for shuddering at the extremely long snake protruding out of the entrance. But slithery bastard it is not, those are the attendees. The sheer number of people lining up outside the venue is actually staggering (in fact we measured it, by the time we got to the back of the line we were half a mile from the entrance). There’s a very, very good reason for the volume of attendees tonight; the ever-elusive BREAKING BENJAMIN have made a rare appearance on the other side of the pond, their first in ten years actually. This is all courtesy of the titular frontman, Benjamin Burnley’s fear of flying, something represented by the cover of their 2006 album Phobia (which is also a stock image funnily enough) of a man with angel wings hovering over a runway. This means that he’ll have to leave a week before the rest of the band, a testament to how much they’ve missed touring in Europe. RETURN TO DUST are the soundtrack to a lot of people just arriving into the venue, who are also instantly hit by the suffocating humidity that turns the whole place into the worst sauna you’ve ever been in. The band are way ahead of the curve too – they’ve all got their shirts off already. The first song we see them do is a strange cover of OutKast’s Hey Ya! which… really needs to be left alone by rock artists. It just doesn’t really work, they choose not to include the “y’all don’t wanna hear me you just wanna dance” part which perfectly illustrates the point of the song… so why bother doing the cover? A certain currently popular masked band are clearly spreading their influence. Once that’s done, they break into a quite grungy number before leaving the stage in all their naked glory. Shame that a few people missed it due to the sheer length of that queue. Tour staples CHEVELLE are the next to go on, contemporaries of Breaking Benjamin, having toured with them a number of times since the early 2000s. The three-piece have seen their fair share of success in recent years, being given more exposure now than ever before thanks to the TikTok algorithm. It is refreshing to see, as they were always something of an underdog champion in the golden days of nu/post metal. And it’s clearly made quite an impression as they emerge onstage to a rapturous fanfare. Their energy is absolutely explosive and their sound is loud enough to rattle all of the fake shrubbery inside the academy. In a perfect world, these guys would have their own headline show as well, as they are clearly more than capable of blowing the house down. They break into classics which get a real great crowd reaction like Send the pain below and The Red (shame they didn’t play Jars, though) and make light of the ungodly humid conditions saying that we “like it hot and heavy just like back in the US” – much like suffocating indeed. Their strength carries the day, and it is increasingly abundant as the set goes on that fourty minutes is nowhere near enough time to fully appreciate this band, and by the time they go you’re already wanting them to come back onstage and play a few more. After the sound desk lob a few nu-metal classics at the crowd to loudly sing along to, to a massive screech BREAKING BENJAMIN almost glide onto the stage. Last of all is Ben himself who is joined by his son, also called Ben. How many Benjamins are going to be breaking tonight, exactly? Little Ben is quite the young man, standing beside his father mimicking his every action and singing into a mic that is very clearly not actually being mixed into the overall sound (if you’re reading this Little Ben, we’re sorry), but seems to be hopefully training for taking over the tenure of the group when Ben senior decides to hang up the mic. We shall see. The first song is I Will Not Bow, and by god in heaven does the crowd know every single fuckin’ word to this song. At this point the movement in the crowd picks up, and the venue starts to veer towards unbearably hot. With the world warming up due to the general disregard for anything living and breathing by the large corporations of the world, it seems now imperative that venues prioritise air conditioning. Throughout the show people can be seen walking out, or even limping out, due to the inexplicable heat. Whilst everyone seems to take their shirts off in the pit, the stage turns red and they veer into Until The End, and once again everyone knows all the words. In fact, at times its damn hard to hear Ben (senior), as everyone screams their heart out so endearingly. Throughout the show, the band is tight, Ben is also on point, and the band seems to be playing as tightly to the schedule as they possibly can. The tone is all there, and every song is performed so majestically it’s as if they recorded all of their classic albums yesterday. Through Evil Angel, Dear Agony, and Crawl, they play as if they are at their zenith. The only qualm would be with the mixing, which seems to corrugate everything into an aural mud. Seeing A Perfect Circle play at the very same venue only a month ago, their sound was magnificent in comparison. The guitars could be punchier, Ben’s voice could be higher in the mix, and overall the whole thing could be louder. There were even times when taking out ear protection was the preferable choice. Everyone wearing a Halo shirt is practically exploding when Blow Me Away starts playing. As if by magic, we are brought back to one of the penultimate levels of Halo 2 where Masterchief is happily blasting away at both Elites and Brutes to this very song, a cultural moment so powerful no shooter has managed to capture its magnificence since. People recklessly throw their shirtless selves around the moshpitswith abandon, lost in the hype moments and aura displayed before them. While it would be nice to have a screen playing the Halo mission (or modified Doom map… for some reason), all we get here in London is a flag. Bit of a shame really. But it definitely gets one of the largest fan pops of the night. We then get some emotional numbers, Follow, Angels Fall, and You make the tears well up, or is it sweat? But when they shift into So Cold, the song that took them from big to massive, the ante goes way up. This song had the whole year 2007 in a chokehold, some of you were babies in your nappies then, but trust me, people on the internet were putting this song into everything. The staying power of this song is evident by the reaction once more, not deterred by losing a good 70% of their body’s water supply to sweat, the crowd continues to scream the words right back to Ben, who even begins to crack at the end. Hard to blame him, there is a deep and vicious pain behind this song that only Ben seems to fully appreciate. They quickly follow it up with another one of their bangers, Polyamorous, by this time a good chunk of the crowd was shirtless and waving their clothes around wildly. It’s almost enough to convince you that it was the peak of the 2000s outside of these walls. After Dear Agony serves up a similar brand of angsty majesty, Big Ben and Little Ben do some talking. It sounds like Big Ben is planning on coming across the sea every TWO YEARS now! Yay! And Little Ben also gets his chance to banter. He states “you know that whispering in the next song before it gets real heavy, that’s my voice” with great pride, to which the crowd begins to chant his name. Must have been one heck of a moment for the little fella, really wholesome stuff. It segues into one of their newer songs; Something Wicked, to which Little Ben really wasn’t kidding about that breakdown, seriously heavy stuff. It goes down a storm like all the other songs, and it hits you just how consistent this band has been through the years. They drive through “Breath”, other new song Awaken, Failure and Dance with the Devil with a very economical speed, and even through the intense heat the crowd never lets up. After some words from Big Ben who is very complimentary to the city of London as the last stop of their European tour, he very earnestly states that he cannot wait to see us again before “that” riff begins… That’s right, it’s time for The Diary Of Jane, which is pure and utter nostalgic joy from start to finish, which ends all too quickly at a blistering three minutes. They really should have gone prog and extended the length to seven minutes because nobody in the O2 can get enough of it. And just like that, the show is very obviously over – there is no following that up. They don’t do the “peek-a-boo” type encores either, which is a very welcome change. They came, they saw, they conquered. And as we all breathe in the fresh and cool air soaked in our own sweat, we hope that the wait is not as brutal as before, as this band is still on the tippy top of their game to this very day. Words: Kiarash Golshani Photo: Breaking Benjamin

Having a warrior chant as an opener to their new album, HUN, it could only be done by the folk metal masters that are THE HU. Their goal is to grow and reach audiences all over the world, to share their world with their audiences. THE HU’s sound is so iconic that it has pioneered its own genre. The concoction of heavy rock riffs and traditional Mongolian instruments alongside throat singing is captivating, and it sounds incredible. First brought under the spotlight in 2019 by NPR, the band’s popularity has skyrocketed in the West, seeing them playing shows and festivals globally with no slowing down in sight. The band consists of members Galaa, Jaya, Enkush, and Temka, between them playing traditional Mongolian instruments such as the morin khuur (horsehead fiddle), tumur khuur (jaw harp), tovshuur (lute), and tsuur (flute). HUN is their third full length album, and it's a step up from their previous work, giving more of their signature style with a bit more grittiness, a bit more edge, and a story to tell. Warrior Chant begins with an atmospheric pounding beat and evolves into a layered loop, at its midpoint there’s a chant that makes you ready for battle, fiercely powering through you. The biggest surprise on the album is the track Lost Soul, featuring vocalist Jonny Hawkins from NOTHING MORE. This collaboration brings a whole new dimension to not only the genre but THE HU’s overall sound, giving a glimpse of what could be if they took a slightly different route. The track teeters on a more synth driven sound which hasn’t been fully embraced before by the band, but it works and is truly unique; there is genuinely nothing like this anywhere in the music world. Of this song, Galaa said, “To be not lost on your life journey, not losing your values, and go through life and having a courage to face the life obstacles are messages we are sending our fans through this song” which echoes as the group stay true to their roots in this track and throughout their career. The ripping riffs of The Men come crashing in, playing what feels like a guitar solo but sounds like a fiddle. Echoes of My Father builds tension as the story unfolds, the breathy vocals harmonising with the instrumentals, sounding like spirits in the mist. Drums beat in a regimental fashion, throat singing reverberates, the intricate melody laying underneath; the output is magic. The horse is a prominent animal in Mongolian culture, so a track called Horsemen shouldn't come as a surprise. The track is built of many elements, another awe-inspiring “guitar” solo, echoing whinnies both from real horses and instrumental soundalikes, embedded in a classic rock setting. Greed bounds in, this time with a western style focus, a guttural scream and ground rattling throat singing throwing everything back to where it should be. A highlight worth mentioning in Grey Hun, one of the album’s singles, is the furious solo that electrifies. The sheer madness of it grips you. On the other hand, The Universe at eight minutes long takes its time to show off, but it is beautiful and worth every second. Going out with a bang we have Second Face, a bouncy tune that warrants a crowd to dance without abandon. The power of THE HU is their ability to transcend the boundaries of language and location, and share their culture with the world. Mongolia is the most sparsely populated country on Earth, with only three and a half million living across six hundred and four square metres, which is roughly six and a half times larger than the UK. With such a rich and vibrant culture that could be seen as overlooked by the West, THE HU are able to amass listeners of all ages and walks of life, bringing them together to discover something they would have never dreamed of experiencing. Score: 8/10 HUN will be released on the 24th July 2026 via Better Noise Music. Words: Danielle Henderson Photos: Blgunee Hiroshi

Until now, Cork-based DAZGAK! had concentrated their post-hardcore, skate-punk into furious instrumentals to convey the trio’s tumultuous feelings into wordless sound - that all changed with their re-emergence as a four-piece, boldly showing off the elevated ferocity of their vocals-infused sound on new EP Stimpy. A play on Irish slang “that’s gak” (“that sucks”), DAZGAK! live and breathe this rebellious punk spirit, their chaotic energy and hard-hitting melodies balancing out their ability not to take themselves seriously. It’s clear from their determination to spread the DAZGAK! word from the Irish hardcore scene into some of the UK’s coveted underground venues that the band have their fingers on the pulse of disillusionment and bitterness in their audience, and channel that shared discontent into pile-driving hooks and whips to match fresh, caustic screams that range from grittily obscure to jarringly clear, maintaining the raw emotion throughout each breakneck track on Stimpy. Snapping into rabid action, Big In Tucson is a meaty start to a smorgasbord of rhythms, with Jake O’Driscoll and Jackson Weed’s frenzied riffs and stirring melodic strings lapping over Philly Purcell’s swinging beats that crash forward into cymbal heavy breaks, O’Driscoll’s hardened shouts paving the way for their new vocal direction. No Sweat’s guitar hook intro leads you into Enda Boyle’s shuddering and unforgiving bass line, fluctuating between leaden skate-punk chords and skittering guitars that bend sideways for a luscious bass solo and breathless shouts - in contrast to the song’s title, this will certainly work up a sweaty crowd. Tog Go Bog E (Top Sixteen) is another welcome piece of lingo, Irish Gaelic for “take it easy”. DAZGAK! are doing anything but going easy, keeping their focus firmly on frenetic rhythms whilst shifting the genre to a more pop-punk feel, O’Driscoll’s vocals shining through clearer as he sings raggedly “I wanna use my voice and learn how to control it”, symbolic of his triumphant addition to the band and their new sound. Hints of emo permeate Soulker and its interchanging tempo, the lone strums building to addictive and upbeat riffs and promising something more is to come on the track as the instrumentals collide together with the weighty screams. Trixie adds another genre and layer of emotional depth to the EP as it slows in pace and falls away from the edginess briefly to a disquiet, the vocals swollen with feeling as they still scream out but inject a soft sadness to the cries of “I don’t care”, the guitars taking on a dreamlike feel at war with the relentless bass and drums before a solo cuts through to deliver more despair. Named after the younger brother from Malcolm In The Middle, Dewey carries the frantic energy of the turbulent sitcom family as it closes out Stimpy in a short but sweet track that feels like one last effort to showcase their newfound strength as a four-piece, with beefy riffs and beats that boast an element of math-rock over the skate-punk melody. Stimpy feels like the paradigm for all angsty rock fans desiring the escape from their one-horse town, their belting voices and rhythms another beacon for post-hardcore fans looking for a sign of bigger and better things to come. DAZGAK! exploded onto the scene like a breath of fresh, sweaty-venue air, but it’s now that we see them completed and unified as they begin their upward battle to towering pinnacles. Score: 8/10 Stimpy will be released on 24th July 2026 via Floodlit Recordings. Words: Julia Stark Photos: Dylan Duncann

With Dreamstate of Fear, MIMI BARKS delivers what feels like her most self-assured release to date. While the Berlin artist has spent years carving out her own lane with her self-described doom trap sound, this seven-track EP places far greater emphasis on the emotional and psychological ideas behind the music than simply pushing genre boundaries for the sake of it. At its core, Dreamstate of Fear explores heaven and hell as psychological states, examining cycles of fear, self-destruction, and personal transformation rather than presenting them as external forces. That concept runs throughout the EP, making it feel less like a collection of individual songs and more like a complete body of work. The inclusion of shorter interlude pieces such as Polarity and States of Consciousness reinforces that sense of continuity, encouraging the record to be experienced from beginning to end rather than dipping in and out of it. Trying to pin the EP to a single genre is pointless, as metal, industrial, trap, and electronic influences constantly overlap without any one style dominating. Instead of chasing acceptance from any particular scene, MIMI BARKS commits entirely to her own vision, creating something that feels distinctive even within an increasingly experimental heavy music landscape. That confidence is reflected in MIMI BARKS’ vocal performance. Her harsh, commanding delivery is immediately recognisable, but it’s the contrast between those heavier moments and the more melodic or spoken-word passages that gives the EP much of its emotional depth. Tracks such as Dreamstate of Hell showcase that balance particularly well, shifting effortlessly between aggression and vulnerability without sacrificing either. Power durch Verrat is perhaps the EP’s most striking moment. Performed entirely in German, it feels like a confident embrace of MIMI BARKS’ identity rather than a concession to accessibility. Surrounded by English-language tracks, its inclusion strengthens the record’s authenticity, serving as a reminder that staying true to your roots can often be more powerful than broadening your appeal. If there is one title that encapsulates the record as a whole, it’s Butterfly in Chains. Throughout the EP, moments of melody and vulnerability are wrapped in abrasive production and industrial chaos. Beauty is present, but it never arrives without resistance. That tension defines Dreamstate of Fear, resulting in a release that is uncompromising, emotionally raw, and impossible to mistake for anyone else. There is something about this EP that is deliberately confrontational. Metal purists are unlikely to embrace its collision of styles, while even listeners with more open-minded tastes may need several listens before everything clicks into place. However, whether it wins over every listener or not is almost beside the point; MIMI BARKS has created exactly the record she set out to make, and that conviction is what leaves the strongest impression. Nothing here feels designed to satisfy expectations or follow trends, and the music is stronger for it. Love it or loathe it, Dreamstate of Fear is impossible to ignore. Heavy music has never been more willing to blur genre lines, but few artists do so with the same boldness and individuality as MIMI BARKS. Score: 8/10 Dreamstate of Fear will be released on 24th July via DEATHKISS Records. Words: Zuzanna Pazola Photos: Mimi Barks

It’s been eight long years of silence since the last full length MADBALL release, and finally, the wait is over. The kings of New York Hardcore return with Not Your Kingdom, an album that feels like a much-needed shot of adrenaline straight to the veins. Few bands have carried the spirit and sense of community of the NYHC scene quite like MADBALL, and this record serves as another reminder of why they remain one of the genre’s most respected and enduring names. Powered by passion, intensity, and that unmistakable MADBALL attitude, Not Your Kingdom is here to remind everyone that hardcore is still alive and kicking. The album wastes absolutely no time getting down to business. Opening track Tethered lands like a sucker punch to the gut, driven by crushing riffs the kind of energy that immediately demands attention. As the first track of this fourteen song assault, it sets the tone perfectly. Rather than attempting to reinvent the formula, MADBALL do what they have always done best by delivering powerful, direct hardcore with conviction. Tethered reinforces exactly why they have remained one of the most reliable and influential forces in the scene for decades. Rebelude acts as a brief introduction before launching into Rebel Kids, where the moment the vocals kick in, the track instantly creates that classic two-step atmosphere, it has the kind of groove where the crowd will know exactly what to do. That momentum carries directly into Don’t MisStep, which picks up the pace and injects even more urgency into the record. With its faster tempo and relentless drive, this is a track that will undoubtedly become a favourite when MADBALL hit the stage, with pits opening and bodies moving before the first chorus has even finished. What Say You keeps things simple but sharp, proving that sometimes the most effective riffs are the ones that know exactly when to hit. The mid paced groove still carries plenty of weight and intensity, never allowing the song to lose its bite. Following this, Stab Wounds explodes with a heavier attack, and the bass immediately cuts through the centre of the track, becoming a defining feature of the song. The low end presence feels like a copper coin scraping relentlessly across the strings, adding another layer of aggression to an already powerful track. A short interlude Sunrise brings the sounds of the city into focus, with distant noises and a radio broadcast creating a brief moment of atmosphere before leading into Life’s a Mural. This track brings a slightly different flavour, leaning into a more punk driven approach while still carrying the unmistakable DNA of MADBALL. It shows that after all these years; the band can still introduce variation without losing the identity that fans have connected with for so long. Perhaps a tribute to the values that have always shaped MADBALL and the wider NYHC family, Family First captures one of the movement’s most important principles. Loyalty and looking after your own have always been at the heart of the scene, and the song embodies that message perfectly. Beginning with a slow, hulking groove before kicking ass. The underpin of a blistering tempo, while the vocals snarl, chefs kiss. This is an iconic song that if you heard this one first on a playlist you would instantly be like yeah that’s MADBALL, it is their classic sound we all know and love. Not Your Kingdom is more than just another strong MADBALL release, it's a statement where it makes you say this album has mad balls, get it, MADBALL. The band sound revitalised, playing with the hunger and conviction of a group with everything still to prove. The album carries the weight of their history while looking firmly toward the future. After eight years away, MADBALL have returned not just to remind everyone where they came from, but to show that they are nowhere near finished. If Not Your Kingdom is anything to go by, their legacy remains secure, and the future looks brighter than ever. Score: 9/10 Not Your Kingdom will be released on 26th July 2026 via Nuclear Blast Records. Words: Ciara Hicks-Evans Photos: Dave Causa

Teasing the album on their Prowler tour and creating anticipation amongst the fanbase, WATERPARKS showcase their ambition through sixth studio album JINX. The band showcases their creative risks through infectious earworms that linger long after the music ends. With a commitment to evolution, JINX follows a musical story that encapsulates the vulnerabilities, tensions and complexities of everyday life. Awsten Knight operates from pure instinct which had resulted in him previously scrapping a fully completed album. Geoff Wigington brings a range of driving guitar rhythms. Otto Wood showcases his powerful drumming skills. Tune into an album that embraces their indie pop experimental and alternative rock sound. Immersing the listeners straight into the theatrical universe of JINX, TELL ME WHY dives into the existential crisis of living. The back and forth between Awsten and the single’s features as devils and angels evokes the dynamic nature of a musical theatre number. An animated environment during the bridge is formed as opposing forces close in, guiding Awsten toward hell with nowhere left to run or hide. The fan favourite singles smoothly follow along. RED GUITAR captures the hearts of previous fans who are ready to indulge in WATERPARKS’ previous pop rock albums. Diving straight into the realities of the music industry and feeling burnout after chasing childhood dreams, the heavy topics are contradicted by the upbeat instrumentals. Opening with steady drums and trains, IF LYRICS ARE CONFIDENTIAL takes inspiration from 80's hip hop. This confessional track channels the band's anger and frustration at the toxic behaviour of sections of its fanbase. By bleeping their own track, Awsten highlights the extent to which fame can demand self-censorship. Taking on similar elements, GWEN STEFANI is the most publicly acknowledged WATERPARKS demo and Awsten had finally cracked the code. This track filled unwavering drums, majestic violins and glittering piano notes. PROWLER opens with a podcast sample “Wait Waterparks. If this is heavy metal, I’m going to be so fucking pissed”. Whilst the track is not heavy metal, this is one of the heaviest tracks on the album as it features raw vocals and distorted synths. The track's simmering anger is built through gradual layers of instrumental tension, mirroring the emotional weight of its deeply personal lyrics. Focal points of dreamy pop tracks such as NOBODY BY YOU, NO NO NO NO NO and PLAYING MUSIC revolve around themes of love. NOBODY BUT YOU encapsulates a sensual environment with deep devotion lingering within the fingerpicked melody. If any track were to be found on a teen rom-com, NO NO NO NO NO and PLAYING MUSIC would be the first in line. Both tracks feature playful glistening synths that maintain an upbeat atmosphere. Whilst these are catchy tracks, they ultimately find the band playing it safe after their success with Telephone. BETTER THAN THERAPY contradict the rose coloured view on relationship as the bubblegum-rock track follows the whirlwind of a relationship. Awsten Knight is engulfed by their love for the other person whilst remaining self-aware of one's own toxic traits. With its melancholic atmosphere, MIRAGE draws listeners into an exploration of loss and longing. Through recurring imagery of light and shadow, the track captures the fragility of lingering memories as the narrator believes “Why does time heal everyone but me?”. ANY MINUTE NOW reflects on the past, present and taking everything one day at a time. Weaving through hopeless feelings to reflecting on his childhood, there will always be some lingering hope. What if it works out? The soft drums and acoustic guitar have already connected to fans, forming slow dancing pits and glistening lights in crowds. Taking influences from an imaginary video game album, TASTES LIKE TANGERINE truly is the song of the century. There is a heavy industrial sound paired with catchy guitar chords that formulate a loud and sonic track. From a quiet bridge filled with whispering and layered breaths, listeners are launched back into organised chaos. Closing with a political track, GIRLS NEED GUNS opens as a slower track featuring Awsten’s mother talking about female reproductive rights in America. “If the past’s a sign, the world’s fucked up”. Acting as a wake-up call, this is a calm approach to addressing the situation. JINX resists being confined by one genre, instead WATERPARKS is proving their ability to master a range of genres. Give this album a few spins to fully appreciate the intricacies of each track. It might end up being better than therapy. Score: 6/10 JINX will be released on 26th July 2026 via BMG. Words: Theviya R Karunaharan Photos: wATERPARKS

Throughout the alternative rock scene, musical developments and evolutions often become integral to its progression. Instrumental rock has grown into a major player over the last decade, with bands like POLYPHIA paving the way for a new wave of artists to flourish. GUDEWIFE are the latest example of this with their new EP Atoms, Don’t Die. The duo from the North West of the UK have created a beautifully addictive sound that incorporates a vast array of styles, taking experimentation to another level. Drawing influence from jazz, post-rock, math rock and touches of IDM, they have crafted a sound that feels both fresh and ambitious. Breaking down the EP’s five tracks highlights both their potential and the creative heights they are willing to reach as they continue to establish themselves within the scene. The EP opens with Tahrir, featuring guest-spoken-word vocals from Palestinian-American poet and psychologist Hala Alyan. Rapid percussion and crushing guitar chords launch the track with intensity before easing into slower passages, only to aggressively return to its heavier foundations. Alyan’s softer delivery acts almost as a narrator throughout, creating the feeling of a dystopian landscape reflecting the troubled world we live in, particularly the horrific events unfolding in Gaza. The occasional pauses in the instrumentation allow her powerful words room to resonate, leaving the listener with moments of reflection. It’s a powerful opening and an excellent example of how impactful instrumental music can be. Millennial Rot follows, maintaining the aggressive pace established by its predecessor. Guest artists Pleiades lend their post-rock influence to the track, and it’s difficult not to appreciate how naturally both bands complement one another. Andy Calderbank's harrowing screams blend seamlessly with the relentless instrumentation, while Tom Holmes delivers controlled yet frenetic drumming that provides the perfect platform for Luke Burrows to unleash snarling riffs and intricate guitar work. Next comes Halcyon Collider, a title that perfectly suits the track’s approach. High-pitched guitar melodies collide with thunderous drums, creating the feeling of a musical battle between guitarist and drummer, almost like atoms crashing together inside their own collider. It’s one of the slower moments on the EP and relies heavily on rich chord progressions before drifting into psychedelic territory through impressive guitar solos. At times, those solos carry a subtle science-fiction quality, while the drums keep everything firmly rooted in rock, allowing Burrows to explore his technical ability without ever sounding self-indulgent. The penultimate track, When Silence Forgets Itself, showcases some of the strongest guitar work on the release. The movement between riffs, melodies and tempo changes feels effortless, flowing naturally throughout. There are moments where vocals almost feel absent—something that can often divide listeners when it comes to instrumental rock. However, Burrows’ expressive playing gives the guitar a voice of its own. It’s an incredibly difficult technique to master, and the clever use of synths alongside the production creates an added sense of mystery and individuality. The closing track, Slow Hound, is anything but. While it opens at a measured pace, it’s merely the calm before the storm. Once again, the production deserves praise, particularly for the way it allows the guitar to adopt yet another distinct character. A spoken-word passage intertwines with repeating arpeggios and pounding drums, creating the feeling of a closing monologue that reflects on the short but robust journey the duo have taken the listener on. Overall, Atoms, Don’t Die serves as an excellent introduction to GUDEWIFE. They have shown not only an ability to write energetic and engaging music, but also a clear understanding of how to produce instrumental rock in a way that feels immersive and emotionally resonant. As instrumental rock continues to grow into an increasingly prominent part of the wider rock scene, GUDEWIFE deserve to be recognised as one of the artists helping to shape its future. Score: 9/10 Atoms, Don’t Die will be released on 26th July 2026 via Ripcord Records. Words: David Waites Photos: Nathaniel Scott