If you are a fan of post hardcore, you would be amiss to have not heard of the band ALEXISONFIRE. Having been around the scene since 2001, these musical legends have not only grown a fierce, loyal following, but have made record after record of hit songs that have been the soundtrack of rebellion, teenage angst, and all-around fun. Born out of St Catherine’s, Ontario, Canada in 2001, the lineup brought together musicians from different local bands, creating a unique blend of influences right from the start. From the beginning, the band’s identity revolved around contrast: beauty and aggression, melody and dissonance, structure and unpredictability. Teaming three vocalists with three different styles in one band created something rather spectacular. From George Pettit’s harsh screams to Dallas Green’s serenading singing and Wade MacNeil tying things together with his brash vocals, things just seemed to fit perfectly into place. Their self-titled debut album dropped in 2002 and immediately set them apart. It wasn’t just heavy—it was chaotic, melodic, and deeply expressive. Having to give themselves a brief description on flyers, they settled on “Two Catholic School Girls in a Knife Fight”, which was then captured on their album cover. A true sentiment of the absurd that this band may seem on the surface, layered with the technicalities of brilliant musicians working together. Their first notable single was Pulmonary Archery, a song that still had them question whether this band was one for the ages, or just a one-hit wonder. By the time their sophomore album, Watch Out was released in 2004, a buzz surrounded the band, and they were well and truly on the radar of those in America and beyond. The opening riffs of Accidents was an iconic sound for 2000’s teens, and it brought auditory chaos that juxtaposed the softness of vocals in songs such as No Transitory. Ending with Happiness By The Kilowatt left audiences knowing that this band was something quite special. Twenty years ago, their next album Crisis, allowed them to solidify their status as the most unique post hardcore band out there. Blending more clean vocals from Dallas Green with George Pettit’s iconic screams meant that they could flex and lean into what they knew the audience loved. The mix of vocals that the fans could sing along to alongside the screams allowed them to create something truly unique that modern bands still look to replicate even to this day. By bringing in Jordan “Ratbeard” Hastings on drums, their unique style was able to develop even more to create hits such as This Could Be Anywhere In The World and Boiled Frogs. From the embers of Crisis rose Old Crows/Young Cardinals, a tribute to punk and blues and everything in between. The soundtrack of maturity and the band developing their sound into something that felt more grown-up both musically and within their songwriting. Wade MacNeal stepped into vocals more, and the themes of the songs were unapologetically both political and honest. Singing the lyrics “We are not the kids we used to be” was a fitting lyric to show the development of the band and proving to audiences that they were not a one-trick pony. Throughout the 2000’s, the band could be dubbed the hardest working band in the post hardcore genre. That was until 2012 when the weight of family commitments and the popularity of side projects pushed the band to the breaking point, and they all felt it was right to walk away. A farewell tour saw emotions run high as their most iconic songs were sung by fans across the world, and this was seemingly the end of a band that had more highs than lows and won the hearts of a generation. Dallas Green took to his own solo endeavours under the popular name of CITY AND COLOUR, whilst Wade MacNeil took to the UK to become the new frontman of popular punk outfit GALLOWS. For a while, it felt like ALEXISONFIRE were done. That they had quietly closed one door to make way for whatever the future held. After playing a handful of one-off reunion shows, the band announced their return in 2015, it took until 2019 for new material to be released. Familiar Drugs, Complicit and Season Of The Flood showed fans that whilst the band may have taken a break, their sound was still unapologetically ALEXISONFIRE. Whilst the post hardcore was still there, woven throughout the tracks were touches of doom rock blended with Dallas Green’s even more sublime vocals to give a completely unique yet classic sound. Thirteen years after releasing their previous album, Otherness was released in 2022. A blend of scuzzy riffs, psychedelic sounds, and three vocals that harmonise together in a way only ALEXISONFIRE could, this album solidified the fact that the band could do no wrong when it came to music. Whilst the band went off to discover themselves, this album felt like they had brought back all they had learnt and created something rather special. A look at what the future of the band may look like. ALEXISONFIRE embody post hardcore through their fusion of melody and chaos. Their dynamic as a band plays on both aggression and vulnerability, capturing their emotional core whilst allowing themselves to push boundaries and challenge what it means to be a post hardcore band. They may have jokingly dubbed themselves “The Only Band Ever”, this sentiment has cemented their status as defining a sound and spirit for generations of listeners. Words: Laura Davies

“We left the studio with a record we fucking loved,” proudly retorted CHAD GREEN, frontman of death-metal stars FROZEN SOUL. In just five years, the band has spread its icy, raucous sound across the scene, having opened for powerhouses in the industry such as NAPALM DEATH, KILLSWITCH ENGAGE, and HEAVEN SHALL BURN, as well as a run of headline tours of their own. Their single, No Place of Warmth, the title track of their recently released album, has already sent ripples across the community; a sure response to GERARD WAY unexpectedly delivering death metal vocals. We caught up with the band to dig into the frozen nitty-gritty of their new record and find out where they’re headed next. While those of us across the pond might not instinctively associate Texas with extreme metal, the state has undoubtedly become a breeding ground for it. GREEN admitted that he didn’t fully find heavy music until his teenage years, reflecting on a rocky upbringing that led to him finding solace in it. “I resonated with the anger, and not feeling confident enough in myself to do something about it,” he explained. That emotional foundation now sits at the core of FROZEN SOUL’s identity. For GREEN, the band has always been about self-empowerment, with the band saying, “It’s just about having something to help you get through the day.” Music, he said, is what makes him feel alive, and he hopes their unrelenting sound can offer others the same sense of strength and release. While FROZEN SOUL has been riding a wave of international success on the road, that momentum came at a cost. Their upcoming album, NO PLACE OF WARMTH, was created under relentless pressure. “We were touring so much, it’s hard to get home and want to write music,” GREEN admitted. “I didn’t even remember how to write music.” After coming home from touring, the process was all-consuming: “Pretty much twelve hours a day we were doing stuff with no time off really.” That intensity pushed GREEN back to the emotional core of the band, and death metal generally. While the genre is often associated with violent imagery, for him it became a lens to process something far more personal - the loss of his brother three years prior. “I started getting sappy and thinking about my brother and the games we used to play,” he says, reflecting on the grief of losing his biggest supporter. “He was always willing to drop everything to do this shit with me.” The result is two of the album's most personal tracks, Ethereal Dreams and Invoke War, the latter featuring metal icons MACHINE HEAD. Photo: Kat Stepanikova for Out Of Rage Discussing Ethereal Dreams, GREEN drifted onto a tangent about his love for EverQuest, an MMORPG he used to play with his brother. He recounted a well-known in-game controversy involving a guild coming close to defeating an unbeatable dragon, only for the developers to despawn it at the last moment. For GREEN and his brother, the story became an inspirational symbol of perseverance and teamwork. In the song, he reimagines his brother as the dragon, but with a rewritten ending about him “winning in the long run, and his legacy surviving for everyone else.” Framed as a warrior's scroll, the track closes with a deeply personal touch. “At the end, I broke character and had lyrics from just me to him… But nobody really knows that.” While Ethereal Dreams carries the deepest emotional weight, the song that GREEN was most excited for fans to hear was the title track. Explaining how it came together, he pointed to an unlikely connection with GERARD WAY, best known as the voice of MY CHEMICAL ROMANCE. “We became friends with one of his security guys,” he recalled, who eventually put them in touch. While WAY is not known for guttural screaming vocals, bringing him onto the track was surprisingly straightforward. “We were wrapping up the record and one way or another I just thought, ‘I wonder if Gerard would be down,’” GREEN says. He was quick to praise WAY’s approach: “You can tell he’s the kind of guy that just wants to do things that are fun and cool… and he hadn’t sung on a death metal song before.” As for the reception, GREEN laughs at how quickly WAY’s fanbase caught on. “Even days before the song came out, there were people who found the single artwork and were doing all this research,” he joked. Despite the obvious gap between MY CHEMICAL ROMANCE fans and the death metal world, the response has been largely positive. “We got some hate here and there, but you get hate on everything,” he added. For GREEN, though, these collaborations aren’t about clout or social status. “I’m not a feature chaser, it’s all about friends and homies”, he insisted. “If we are inspired by you, then we wanna make art together.” With NO PLACE OF WARMTH poised to make an impact, FROZEN SOUL isn’t slowing down. For GREEN, the focus is simple: to keep creating. “You know, just writing more music. It’s crazy to think that right now, I see that as like, the future. When, after the last two records, I was like, ‘how the fuck are we gonna write another record,’” he says with a grin. Beyond the studio, he also mentioned major tours on the horizon. One of his bigger dreams is to do a full-tour experience inspired by the band's current Dallas-based festival, Wrecking Ball Metal Madness. “It’s just like a giant fucking hangout. It’s got all of our friends on it,” said GREEN, “so it would be cool to turn that into a tour.” Having already played with dream artists, such as CANNIBAL CORPSE and OBITUARY, at some of the biggest venues in the United States, like Red Rocks, GREEN’s vision makes sense. But if you ask him how long they plan to keep going? “I wanna just really run that shit until the wheels fall off.” Words: Chloe Sodeau Live Photo: Kat Stepanikova Cover Photo: Katie Lewellyn Cover Design: Robert Halls With Thanks To: Dave Stewart and The Noise Cartel

In an instant, we’ve been catapulted back to the golden years of late-90s/00s pop-punk thanks to SUPER SOMETIMES, a Gen Z pop-punk band that pays homage to the bands that clearly inspired them to create the boisterous and nostalgic album Show The World What’s Underneath, released via Pure Noise Records on 15th May. After a tumultuous 2025 that saw a name change, record deal and first album, the San Diego-based trio have already high-kicked into this summer with a support slot on ARM’S LENGTH immense US tour, alongside CALLOUS DAOBOYS and HARRISON GORDON, their album release date in the middle of this career-boosting tour, not to mention taking the stage at June’s Warped Tour in Washington, DC, the homing beacon for pop-punk fans worldwide. They may be strapped in for a rocketing year ahead, but Show The World What’s Underneath is a testament to the band’s whole ethos of 'growing up in real time', a sentiment shared throughout the genre. They’ve had to deal with industry fears and roadblocks, as well as growing up in the current world (particularly the US) and chasing their destined future, all while trying to prove this really isn’t a phase. They’ve stayed true to themselves, their lyrics relatable and their attitudes humble and energetic, laid over riotously enjoyable riffs and beats. Opening track Afterthought is reminiscent of PARAMORE’s Riot!, its belting riffs and frenzied drums assuring you from the first note you’re in for a damn good time here, while Make Up Stories continues the upbeat vibes, drummer Matthew Ludwig briefly dropping to a lone beat before dual vocalists and guitarists Gabriel Muñoz and Dylan Guzman collide back in with a mix of riffs and defiant vocals. Always You’s rhythm doesn’t stick to the expected, switching back and forth and representing all the best parts of pop-punk in its slowed down, stripped back moments, rising notes, and fiery breakdown, as Muñoz and Guzman overlay each other in a push/pull of emotion and demands of the song. Learned My Lesson is a classic feel-good, body-jumping tune with moving lyrics, you’re not sure whether to dance or stare at the walls and process the words, until the sudden piano trills break you out of the sad trance. See This Coming overflows with the indignation of losing someone and knowing it’s for the best but man does it still suck, the bitter and biting words rising over catchy riffs and a crashing drum beat, giving a STATE CHAMPS feel to its attitude and sound. The title track Show The World What’s Underneath switches the album into a slightly heavier feel, the fury echoing through the amped up guitars and pulsing bass as Muñoz and Guzman layer their vocals before the track drops into a blistering breakdown of prolonged screams. Spend is a deceptively enjoyable and rapid-paced track where the band are clearly having the time of their lives playing, particularly Ludwig thrashing at his kit, while the message speaks of overcoming difficulties and still holding your head up, “it’s not hard to not quit and walk away from this”, certainly feeling like a reflection on sticking to their guns to perform and make music in an industry that grows tougher every year. Common Place slows compared to its fellow tracks, a more poignant sound that’s giving BLINK 182 meets MAGNOLIA PARK, where the lyrics call for a time that just can’t be returned to, as synths and strings ring in the background, a musical addition SUPER SOMETIMES experimented more with on this album in subtle but effective ways. Firing back in with renewed vigour, Medicine has an absolutely bone-rattling bass line that intersects with acidic lyrics, pulsating beats, and riffs that drive over the speed limit, the breakdown guaranteed to draw the crowd into a huge mosh-turned-dance pit. Prophet closes out the album and is the most viciously sung and ferociously sounding track for certain, Muñoz and Guzman harmonising hoarse yells of “all respect I had for you, you fucking lost it”, descending into a dual riff and solo as Ludwig unleashes hell on the drums. It’s a song to cathartically throw yourself around to whilst screaming the words back to the band. With a fired up 2026 on the cards that will pave the way for their future, Show The World What’s Underneath feels like an open reflection of how committed SUPER SOMETIMES are to their craft, taking their inspirations and adding their own flair and fervour. Their sound is welcomingly nostalgic for the older emos and punks, but there’s something else in it, a fresh spark that has juice to grow into a blaze. Score: 8/10 Show The World What’s Underneath will be released on 15th May 2026 via Pure Noise Records. Words: Julia Stark Photos: AJ Loera

DESICCATION are ready to release their follow-up to 2022’s Cold Dead Earth, their debut album. Graciously toeing the line between various styles such as atmo-black, doom, death and post-metal, it was a fine debut. Since then, some of their named influences such as ULCERATE, BLUT AUS NORD and NEUROSIS have released career highs, and this isn’t even scratching the surface - it’s an exciting time to follow bands blending these particular genres of metal together. Legatum Mortuorum is set to follow this trend from start to finish, but whether they do it successfully or not and build from Cold Dead Earth is up in the air. DESICCATION pull no punches on the opening track, All Light Is Gone, opening with a blackened wall of sound. The song goes through various phases, with chugging guitars, symphonic backing vocals, and guttural lead vocals, all over this tremolo-picked haze from the guitars. And this is all before one final pained delivery of vocals from Soell Bratt to end the song. Second track Cursed in Cold Silence ups the ante, starting with a backdrop of a wall of fuzz, just getting louder and louder, the entire song taking place within this face-melting, monolithic sonic landscape. With a much slower tempo compared to the first track, this effect absolutely comes through, most notably in the nearly two-minute outro, with an emphasis on the repetitive guitar riff and synth line, as the drums pound into your skull. Up next is title track Legatum Mortuorum, the centrepiece and sole pre-album single here. Once again we get a blackened wall of chords, a suitably gloomy doom riff, but also some wonderful drumming. The ride cymbal appears at just the perfect level in the mix and the blast beats propel the song forward. The whole thing has a real sense of momentum behind it, only stopping for one small moment and immediately rushing back in like a tidal wave to underpin a DEATH-esque solo. And we’re only halfway through the song at this point. The rest of the song delivers with the same level of intensity and dynamic push and pulls - absolutely worthy of its title track status. The Alchemy of Grief and Ashes Unto the Abyss continue the theme up to now. Both noisy ordeals with gnarly, growled vocals, oppressive atmospheres. The former slows down about halfway through and almost becomes ethereal, with the background vocals providing a healthy counterbalance to the hellish instrumentation, before suddenly speeding up again at the end. The latter is closer to sludge/post-metal, with slightly muddy production that doesn’t feel out of place, with gorgeous backing vocals throughout, under some of the most violent screams the record has to offer, and at times an almost hopeful-sounding chord progression. All this is in service to the final track, the epic 12-minute Lamentations Beyond the Veil. An exercise in dynamic changes and ambitious song structure, this is where DESICCATION have to prove they can stick the landing. There’s a moment about two minutes in which might be the single most intense passage on the entire record, evoking images of apocalypse, the seemingly never-ending blast beats and ever-pervasive wall of sound grinding themselves into your skull. Finally, at the halfway point in the track’s runtime, there’s a little glimmer of hope in the chord progression, specifically the second chord played, once again slipping through the cracks. But the fourth chord in the sequence is almost sinister-sounding in stark contrast to this, and in what is possibly the most eerie moment on the record, it lingers on this, leaving the last few minutes of the song to an ambient piece, before slowly fizzling out. It’s an unexpected direction for sure, but it’s a bittersweet reprieve from the sheer doom of the record. On their second full-length effort, DESICCATION have evolved, their sound has equally become more grand and cinematic, yet also more unrelenting at times unnerving. While it does occasionally run out of surprises for the listener, it’s hard to feel upset about this when the music simply sounds this good. Overall, this band is one to look out for in the future - give this a listen. Score: 8/10 Legatum Mortuorum will be released on 15th May 2026 via Carbonized Records. Words: Jake Leonard Photos: James Bratt

Self-described masc pop star, DIRT FLIRT (Kit Eaton Kent) is about to release her new EP scorpio fever on May 22nd and we don’t think the world is ready for her. scorpio fever is a richer and more expressive sound from Kit, effortlessly bringing her into a world of alternative pop and blending seamlessly with some of the more electronic names on the scene and we have to say the with the change in style from some of her earlier releases scorpio fever feels like you are being drawn into a deeper emotional experience. We recommend that you check out some of her earlier work in order to experience the journey so far. Originally named 'Scorpio Season', in ode to 'Bieber Fever' ,this new EP feels like a letter to relationships at its core. With the release of honest in April, we got a sneak peak behind the curtain into her world and behind the concept of scorpio fever. With only five tracks it's an intense journey but hold on because it's worth the ride. don't tell anyone hits harder than expected with its mix of electronic elements blending seamlessly with heartfelt emotions that we have all experienced. You know when you have a secret you can't keep to yourself but you need to share with someone? This is that song. play pretend feels like a summer club experience, someone you would lock eyes across a crowded floor with and lose yourself completely, just being in this moment. It's upbeat but doesn't fall short in the lyrics and leaves you wanting more like a summer romance. focus on you feeds into that first glance attraction and that intense pull you feel when you meet someone new and you want your whole world to revolve around that person. It feels like the early stages of obsession before the real slow burn of a relationship. honest is raw and unfiltered reflecting the parts of us we don't like to think about when a relationship doesn’t always go perfectly. “I’m just being honest, maybe you should try it”- the track feels like it's coming from a place of heartbreak that most of us have experienced before. high horse is the final track on the EP but it doesn’t disappoint and is worth the wait. It feels like a goodbye to lost loves, mixing electronic beats with high emotions to leave you feeling sad but soulful and leaves you ready to say goodbye despite any regret you may feel. This track feels like the ending of one story and yet the beginning of a new one. Overall scorpio fever is an emotional ride; from the first glance across the bar to the final goodbye, fitting in with elements of pop but also sitting solidly in the alternative section and in your favourite playlist. We're so excited for this new music to be released because we think the music scene needs the next masc pop star. So DIRT FLIRT, this world is yours for the taking. Score: 8/10 scorpio fever will be released on 15th May 2025 via Final Girl Records. Words: Rebecca Davidson Hackett Photos: June Ghisolfi

DEAD PONY have never exactly been a band built for subtlety, and on Eat My Dust they sound louder, sharper and more self-assured than ever. The Glasgow four-piece return with a six-track EP that throws itself headfirst into chaos, nostalgia and catharsis, while still managing to feel surprisingly focused. It’s messy in all the right ways. The kind of release that feels designed for sweaty venues, bruised knees and shouting every lyric back at the stage. Following the success of their debut album Ignore This, which rightly put them on the radar as one of Scotland’s most exciting alternative bands, Eat My Dust feels like the sound of DEAD PONY refusing to stand still. There are flashes of early 2000s influence throughout nu-metal grit, punk attitude and glossy alt-rock hooks but none of it feels like cheap nostalgia. Instead, the band reshape those sounds into something modern and distinctly their own. From the opening moments of What If? there’s an urgency that never really lets up. The title track arrives with swagger and bite, balancing distortion-heavy riffs with massive choruses that practically demand to be heard live. DEAD PONY have always had energy, but what stands out here is how controlled that energy has become. Every track feels deliberate, even when it sounds like it’s on the verge of falling apart. Freak Like Me is the undeniable standout. Built around Anna Shields’ fierce vocal performance, the track is both chaotic and strangely heartfelt, an anthem for outsiders wrapped in pounding drums and razor-sharp guitars. There’s a confidence to it that captures exactly what DEAD PONY does best: making vulnerability sound powerful. Inspired by Glasgow’s grassroots music scene and the feeling of finding your people in the middle of the madness, the song carries a genuine emotional weight beneath all the noise. Elsewhere, Boom! leans fully into the band’s punk instincts with explosive energy and a sense of fun that keeps the EP from becoming too heavy, while Fury channels frustration into something darker and more aggressive. The closing track Lost Inside Of Me offers one of the EP’s most interesting moments, pulling back slightly to reveal a more introspective side to the band without losing any intensity. What Makes Eat My Dust! work so well is that it never feels overly polished but definitely feels finished. DEAD PONY embraces imperfections, unpredictability and volume in a way that suits them perfectly. The production still feels huge, but there’s enough grit left in the mix to stop things becoming sterile. You can hear a band pushing themselves creatively while still holding onto the rawness that made people connect with them in the first place. At just six tracks long, Eat My Dust! doesn’t waste a second. It’s bold, aggressive and unapologetically fun, a statement release from a band clearly entering a new phase with confidence. If this EP is a sign of where DEAD PONY are heading next, they’re heading there at full speed. Score: 10/10 Eat My Dust! will be released on 15th May 2026 via ADA. Words: Jack Norris Photos: Dead Pony

Doom metal trio ỤBỤRỤ are on track to release their debut self-titled album. A relatively unknown Leeds-based group, they’re looking to prove themselves with this record following gigs over the past couple years. Several songs on this album have made live appearances previously, uploaded to their YouTube channel, although they don’t feature anywhere near the level of polish as the studio versions - particularly what would become the monolithic closer to the album, Shaman. But let’s start with the first standalone single, opener Butchered. As a first impression, it’s a decent taste of what this band is aiming to achieve. A monstrous opening riff, reminiscent of early BLACK SABBATH, over pounding drums that, while they could be louder in the mix, by the time the guitar squalls and the vocals come in, you don’t notice it all that much - lead vocalist Joe’s growls have the perfect level of bite to accompany the sludginess of the riff here. However, when they go into double time the production noticeably begins to feel muddier. It’s slightly distracting, especially when it goes back into the verse and the guitar sounds much clearer again. That being said, the effect still works, with the faster section shaking the pacing of the song up a lot. At six minutes, it certainly needs some variation and this first song manages to do so, even ending on an unexpected solo, which doesn’t feel out of place at all, and adds a little bit of extra dimension to the song before ending on a sustained chord. So there’s a few hang-ups with the first song, but it still does a good job of setting the stage. Thankfully, the second single and also second track on the album, In Tatters, is certainly an improvement. Instantly starting with a roar from both the guitars and vocals, you get this caustic riff that feels ready to melt your ears off. It keeps this up for about three minutes before introducing some time signature trickery, and while somewhat disorientating, the drums help the rhythm feel anchored. It’s hard to notice unless you’re looking for it, but nonetheless impressive at how seamless it feels. Throughout the album we get more mind-bending riffs and dynamic builds and switches, notably on fifth track Shaman, but it’d be a disservice to talk about this album without mentioning the closing track Oblivion in detail. By far the longest song on here, nearly reaching nine minutes, it manages to carry the momentum from the rest of the album. It feels like there’s a real driving force to this song, the moments where it goes into double time, the tempo shifts, the sheer intensity of the riffs throughout and Joe’s vocals permeating through all of this once again. It’s not uncommon for a closing track to feel like the thesis statement of an album, and especially one as long as this, but it’s thrilling nonetheless. The section from four and a half to five minutes in where you hear these grinding, endless-feeling sustained guitar chords is unbelievable. And that comes before an instrumental section that swaps between chugging guitars and as fast-paced of a riff as you’re going to get on an album like this. Even with all that, it still manages to pick up the pace with another extended instrumental section that might even fit the definition of stoner metal, going on for several minutes before a few more growls before some sustain, and abrupt end. Unbelievably heavy and a hell of an effort for a debut album, ỤBỤRỤ manage to alleviate reservations we may have had with the production on the first track and excite with some wonderful pieces of doom and sludge on the remaining seven tracks. Keep an eye out for these guys - they’d surely be a treat to witness live, and this album is proof of that. Score: 8/10 ỤBỤRỤ will be self released on 15th May 2026. Words: Jake Leonard Photos: ỤBỤRỤ

“There’s no such thing as taking it easy over here.” Vocalist Mae Seaton concisely sums up what it’s been like for WREX since they formed in 2020, particularly the last year of non-stop touring and finding time to create their upcoming EP SADWORLD, releasing 20th May. “In terms of finishing it, it was tough,” admits guitarist and producer George Donoghue, “we were behind schedule, naturally off the back of that comes burnout, your health and trying to juggle having lives and jobs, but we’re not weird about it, we just trusted the process on that.” Trusting the process has resulted in an EP of 5 sublime tracks that incorporate nu-metal steely beats, charged trance synths, and alt-punk attitude. SADWORLD isn’t just enjoyable to listen to from a production sense, it’s also a cathartic release that expresses a multitude of feelings. “It becomes a journey and every song hits a different emotion, not necessarily intentionally,” Seaton muses. “I think A Thousand Ways will probably resonate the most, or I hope so - the people that do connect with it will connect quite deeply.” “It’s the rawest song we’ve ever done,” Donoghue continues, “and it came together the fastest. I think they all serve different purposes as songs musically and in terms of what they draw out of you in energy. Once the song is made and it’s out there, it’s not ours anymore, it’s everyone else’s - the catharsis of creating the EP is what helps me through the emotion.” This is a sentiment you’ll find, not just within the lyrics and sound of WREX, but in how they interact with audiences at shows, despite their time on the road and in general everyday life hindering how they cathart their emotions. “I always go into the crowd on 111, and I jumped off the stage bar and really let loose, I remember getting back on stage and going “thank you, I really needed that”. It was a built up tension and then releasing energy when we were on a tour break,” Donoghue says, almost looking relaxed as he relives that moment of audience interaction. “You get connected to it, it’s a personal thing,” adds Seaton on the feeling of letting go to other collaborators and trusting the growth of their music. “It’s like having 5 eclectic children and managing to send them all off to college, but 10 children [ideas for the EP] never made it,” Donoghue explains in an unexpected but effective analogy. “We don’t talk about those children... this has taken a weird turn,” laughs Seaton. “But they’ll blossom in due course.” From stepping away from synths to real guitar and their first live piano, to combining an abandoned track intro from a previous EP into the end of The Noose in a “eureka moment”, WREX have worked tirelessly to stitch together a sound that highlights their favoured nu-metal, alt-rock roots and merged ideas with friends and inspirations. Creating SADWORLD presented WREX with the chance to work alongside other musicians and assimilate other ideas and vibes into their work, a process that wasn’t exactly difficult but was new for Donoghue, having to “let go” and trust the production to someone else for a while. “Our drummer showed our friend Kieron [Pepper, SLEEPER bassist] Paranoia while it was on its way, and he texted me out of the blue “can I work on this? I think I can add value”. I really respect him and it was a turning point for me to let go of additional production ideas to a third party. He created whole synth layers, percussion, and electronic programming, and that then influenced Consume and opened my mind to how to add an extra layer to things.” Collaboration has been the end goal for WREX since they first formed and released their first EP Paradise in 2022 as a duo, with SADWORLD being their biggest collaboration project to date. “We started off as a space we could create under the name WREX and as it grew we could invite people in to collaborate. The first record was just us two, the next we had an actual bassist, drummer, and guitarist, and for this record we wrote 111 with Adam Sedgwick [TRIBE OF GHOSTS], and Kieron [Pepper] coming in on production, and its grown to become a space for more people to come into as an extension of performing it live and being that special level as well,” Donoghue explains, breaking down the evolution of the duo’s journey. The dream collaborators for the duo? “We both said PAPA ROACH,” admits Donoghue, with Seaton laughing that they were at the front of her mind mulling over the question. Given their trajectory and remarkable determination, it won’t be long before we see WREX working with such an influential band, with an absolutely stacked 2026 ahead of them and projects they can’t spoil for us yet. With another full-to-bursting year ahead of them, the duo reflect on how they handled being on the road as a full band and what that looks like for the coming months. “We’re good as a band at enjoying the wholesome side of things, we just find wholesome things to do, almost like a family.” Donoghue considers, before Seaton excitedly reminisces about a safari park and inflatable course. “We’re in the toughest part of this new growth as a band, it will beat you into the ground, so you have to find the joy in it.” WREX will release their EP SADWORLD on 20th May 2026. Words: Julia Stark Photos: Ethne Lever With thanks to: Halestorm PR and WREX

Despite the venue’s small size, the room is already busy before the first band even appears. There is a quiet anticipation building early on, with people squeezing closer to the stage as the night gets underway. Opening the evening were STEPOVER, making the trip over from the Isle of Wight. Their set begins slowly and atmospherically, easing the crowd in before crashing drums suddenly kick the room into life as they launch into their latest single. The drummer was easily the standout of the set, driving the performance forward whenever the energy threatened to dip. Being the opening act in a small venue can be awkward, especially when people are still arriving, but STEPOVER handled it well. As the set goes on, more people pile into the room and it quickly becomes obvious that a good chunk of the crowd are there specifically for them, with fans already singing along to multiple songs. Next up are UGLY OZO, who immediately brought a completely different kind of energy. Within moments of getting on stage, the vocalist asked everyone to move closer because they “hate big spaces”, which instantly gets a laugh out of the crowd and breaks down any distance between band and audience. The excitement from the band is obvious throughout the set. At one point, the vocalist complains the microphone is repeatedly giving her electric shocks, leading to a slightly chaotic attempt to fix it mid-song that the crowd absolutely loved. Technical problems aside, the set itself was fantastic. The vocals were strong throughout, while the dual guitars gave the performance a huge amount of texture and weight. There is a confidence to the whole thing that makes the band incredibly easy to warm to. By the time THISTLE were ready to headline, the sold-out venue was packed shoulder-to-shoulder. The atmosphere through the set up felt restless in the best possible way, with people clearly desperate for the set to start. The band came out swinging with one of their best-known tracks, instantly setting the room off. People were jumping within seconds, and despite the lack of space, it feels like the crowd was constantly on the verge of exploding into a full pit. Interestingly, THISTLE did not introduce themselves until after the third song. Instead, they charge straight through the opening section of the set without stopping, which somehow makes them seem even cooler. It carries this unspoken confidence, like they already know most people in the room are fully locked in. What really stands out is how strong the fanbase already feels. Some people know every single word, screaming lyrics back at the stage, while others who clearly came in unfamiliar quickly get pulled into the atmosphere anyway. Even in such an intimate venue, the connection between the band and crowd felt massive. Overall, it was one of those gigs where the small venue actually makes everything hit harder. Every band brought something different, but THISTLE left the biggest impression by the end of the night. If this is the level they are already operating at in rooms this size, it will be interesting to see where they end up next. Words: Lauren Wenham Photos: Anna Goley

The All-American Rejects are not the early‑2000s angst ridden pop rock band of yesteryear anymore; they are entering a new era as “a band of the people,” returning to the scene with new album SANDBOX. The spark hit in 2023, first with the sold‑out Wet Hot All-American Summer Tour, then with the House Party Tour, a chaotic, free‑to‑all victory lap that felt less like a comeback and more like a band remembering exactly who they were. SANDBOX is the band's first full-length release in fourteen years and their first independent release. It captures their uncontainable energy, delivering sharp and defiant anthems from the opening track. Opener Easy Come, Easy Go was the heartbeat of their viral House Party Tour with vocalist Tyson Ritter at his most cutting and poetic, with the song being a portrait of a relationship that only thrives in chaos. It is a roaring, hook‑driven track built on gritty riffs, spoken‑sung verses, and a chorus that hits you hard. Get This was released as an early single, which hugely contributed to the band's viral re-entry into the scene and the traction that set them back on the right track. It’s a track that reenergised their fanbase, and sits perfectly within the bands signature mix of melody and tenacity. Search Party! was also released as a single (as well as making a return later on in the album with a live version as the closing track) and is a lovably bright and breezy number, with a ridiculously infectious chorus, where Ritter sings “I brought the clown to your search party/And he's even got balloons”. Another track released before the album drop, and continuing the more indie leaning direction The All-American Rejects go for with SANDBOX, is Eggshell Tap Dancer. They blend their their hook‑heavy pop‑rock with the ever imaginative lyricism with lines like “I'll be your eggshell tap-dancer/If you give me another chance or two/I'll wrap a tight rope 'round the world/And really show you what I can do” conjuring up the image of an obsessive, but one sided love story. Green Isn't Yellow harks closer to a gentle indie/country theme; telling Ritter’s own childhood story, from his days back in Oklahoma which have clearly influenced the foundation of his whole artistic identity. With the title track Sandbox, the album seems to take a darker turn. With lyrics like “ The sandbox is thirsty/Outside, the bombs are bursting” and “See the children play in camo green/Mornin' tea, cuppa casualties”, it's not hard to see the song as a quiet commentary on the war‑shaped reality children wake up to in Palestine, Lebanon, Syria, Yemen, and across the Middle East — a childhood defined by fear instead of safety. Latest single King Kong follows and is a raw, perspective‑shifting account that finds Tyson Ritter walking out of Los Angeles and peeling off the hollow industry sheen that defined his twenties and early thirties. The song is made up of creaking acoustic guitar, a pulse‑driven, hypnotic bassline, and a sky‑reaching, defiant chorus that turns personal disillusionment into something sharp and anthemic. Clothesline has an undeniably danceable groove that snaps at the waistline, framed by glossy, high‑shine synth work. It’s the rare moment where the album’s cohesion slips, its high‑shine synths feeling disconnected from the world SANDBOX builds elsewhere. Lemonade funnels frustration and exhaustion into punchy, tightly wound guitar work and a weary, looping refrain of “I don’t know where I’m going/I don’t care anymore.” An unexpected ballad, For Mama, is dedicated to the band’s mothers and was released on Mother’s Day in the USA. The band shared that “The 1 thing nobody tells you about life is that the older you get, your perfect family starts to show its underbelly. This song is about holding each other together through reflection on the good times.” It returns the album to a similar vibe heard in Green Isn't Yellow and features lyrics like “From a son to his mother/I can’t fix you, I sure miss you” and “But I still don’t love you any less than the day before/Still more” that pull at your heart strings. Staring Back At Me stands as the track that could push The All-American Rejects back into arena‑sized rock, with Ritter’s desperate, near‑spoken vocal delivery winding the tension tighter with each line. Heavy, surging guitar lines followed by a sharp, insistent synth hook give the track the feel of a fuse burning towards an explosive end. SANDBOX ends with a live version of Search Party!, recorded during the Medium Sized Backyard shows. It’s a poetic way to end the album; an exciting, energy driven return to a stage, just not the same one they left. SANDBOX is written by a band who have lived several lives; Ritter is writing from the centre of where he is now - enriched by fatherhood, with a decade of self reflection and distance from the industry machine. Ritter is joined by primary composer Nick Wheeler on lead guitar, Mike Kennerty on rhythm guitar and Chris Gaylor on drums, and SANDBOX delivers a reminder that The All-American Rejects never really left, they just needed the space to become the band they were always meant to be. Score: 7/10 Sandbox will be released on 15th May 2026 via independent release. Words: Lou Viner-Flood Photos: Andy Knight

Vindicate sees BLACK VEIL BRIDES continuing to refine the theatrical and emotionally driven sound that has defined much of their career, while also showing just how much they have evolved musically over time. The album feels carefully constructed from beginning to end, balancing heavy moments with softer and more reflective sections in a way that keeps the pacing engaging throughout. Rather than feeling like a collection of disconnected tracks, Vindicate flows like a complete concept, with each song contributing to the larger emotional journey of the record. Opening track Invocation To The Muse acts as a dramatic introduction to the album’s atmosphere. The organ driven instrumental and spoken word section create a cinematic opening that immediately establishes the darker and more theatrical tone of the record. While it works more as a setup piece than a standout song in its own right, it successfully creates anticipation for what follows. That anticipation pays off quickly with Vindicate, which immediately injects energy into the album. The accordion intro adds something slightly unexpected to the band’s traditional sound before the guitars and drums fully kick in. The verses move at a fast pace, allowing the chorus to land with much more impact once it arrives. It is one of the album’s strongest singalong moments and highlights one of the biggest strengths of the record overall. Many of these songs feel designed for live performances, with massive choruses and crowd driven energy running throughout the album. The contrast between screaming vocals and melodic singing becomes one of the defining elements of the album. Songs such as Certainty, Hallelujah, Alive and Revenger all make strong use of that balance. The screams bring aggression and urgency, while the clean choruses create emotional release and memorable hooks. Importantly, the heavier moments never feel forced or excessive. Instead, they serve the emotional weight of the songs and make the melodic sections feel even larger in comparison. Certainty stands out through its powerful instrumentation and the way the harsh and clean vocals interact with each other. The song feels intense without sacrificing melody, something the album consistently handles well. Meanwhile, Hallelujah opens with layered harmonies before exploding into screaming vocals and then transitioning back into soaring melodies. The pacing of the track feels particularly effective because of how naturally those shifts happen. It demonstrates how confident the band has become in combining theatrical elements with heavier instrumentation. Production across the album remains consistently strong. Every instrument feels purposeful within the mix, whether it is the aggressive guitar driven sections or the more orchestral arrangements involving strings, piano and keys. Nothing feels overcrowded, even during the album’s biggest moments. The transitions between songs are also handled extremely well, particularly when moving between heavier tracks and softer interludes. The album avoids becoming repetitive because there is always a shift in tone or atmosphere before any section begins to lose momentum. The emotional core of the album becomes most apparent during tracks such as Cut, Purgatory (Overture IV), Grace (Interlude), and Eschaton. These songs showcase a more vulnerable and cinematic side of BLACK VEIL BRIDES while still maintaining the scale and drama present throughout the album. Cut serves as one of the album’s standout moments. Beginning with stripped back piano and violin alongside LILITH CZAR, the song gradually builds into something far more expansive. The harmonies throughout the track are layered beautifully, while the overlapping vocal sections create a genuinely satisfying climax. Lyrically and melodically, the song carries significant emotional weight, and every addition to the arrangement feels deliberate. It is one of the clearest examples of the band’s musical growth, showing restraint in the quieter moments before fully embracing the larger emotional payoff later in the track. Following the energetic momentum of earlier songs, Purgatory (Overture IV) arrives with a completely different atmosphere. The use of strings and keys gives the song an uplifting and almost healing quality. Positioned where it is within the tracklist, the song lands with even more emotional impact because of the contrast it creates against the heavier material surrounding it. Ave Maria immediately shifts the mood again with a much more energetic opening. That sudden change initially feels jarring, but it ultimately works because it prevents the album from becoming too comfortable in one emotional space. Conceptually, Vindicate succeeds because of how carefully its emotional highs and lows are arranged. The album constantly shifts between aggression, reflection and triumph without ever losing focus or momentum. More importantly, it highlights how much BLACK VEIL BRIDES have grown as musicians and songwriters. Rather than abandoning the theatrical identity that made them stand out originally, the band refined it into something more mature, emotionally resonant and musically confident. Score: 9/10 Vindicate was released on 8th May 2026 via Spinefarm. Words: Con Macadam Photos: Black Veil Brides

One of the most exciting emerging names in metallic hardcore, YOUR SPIRIT DIES return with It Is Well…, a short but crushing three-track EP that further cements the band’s growing reputation within the genre. Hailing from South Carolina, the five-piece revive the spirit of early-2000s metalcore and sludge with a modern sense of weight and atmosphere. Following the success of last year’s My Gnawing Pains Will Never Rest, the band continue to build on the dark, groove-driven intensity that earned them praise from fans and critics alike. Where that release announced their arrival with force, It Is Well… feels more focused, deliberate, and emotionally punishing. Opening track Starless wastes no time throwing the listener into chaos. Brandon Byars delivers desperate, throat-ripping screams over pounding drums and suffocating riffs as the track surges forward with relentless momentum. The stop-start breakdowns are easily the song’s defining feature, creating moments of tension that briefly let the track breathe before crashing back down with even more force. At times, the pauses feel almost claustrophobic, as though the song itself is gasping for air. The guitar work from Tyler Dorman and Hunter Lenoir balances melody with heaviness, weaving dark, sludgy riffs through the track without sacrificing momentum. Meanwhile, Keenan MacNeal anchors the chaos with hard-hitting percussion that drives the song forward with precision and urgency. When Peace, Like A River acts as a haunting interlude between the EP’s heavier moments. Built around distorted production, distant choir-like textures and creeping static, the track feels deeply unsettling from start to finish. Rather than offering relief, it drags the listener further into the dread that hangs over the entire record. The result is eerie, cinematic, and surprisingly memorable despite its restraint. Closing track Whispers In Omen delivers the EP’s most complete display of the band’s strengths. Rapid-fire drumming collides with slow-burning guitar work while Killian Dawson adds a powerful low-end bass presence that sits beneath the chaos while helping control it. Byars’ vocals sound particularly vicious here, shifting between desperate bellows and raw screams that feel close to breaking point. The track’s breakdowns land with devastating force, but it’s the atmosphere that pushes the track beyond straightforward aggression. Violent guitar crashes dissolve into eerie passages of distortion and static, giving the song a feeling of emotional collapse rather than simple heaviness. Beneath the chaos, the track feels like an exorcism of rage and emotion — tense, suffocating, consuming and impossible to look away from. The closing screams fade into static and feedback, leaving behind a lingering sense of unease. Like their debut album, It Is Well… carries itself with confidence and dominance, but there’s a sharper sense of control running throughout these songs. Rather than simply recreating the sound that first earned them attention, YOUR SPIRIT DIES sound more focused, more cohesive, and far more threatening. This EP is not an introduction or a reintroduction — it’s a statement of intent from a band continuing to carve out their place within modern metallic hardcore. Score: 8/10 It Is Well… will be released on 15th May 2026 via MNRK Heavy. Words: David Waites Photos: Ricky Mina