With a name that references a variety of works - from a song by VAN DER GRAAF GENERATOR to a film by Robert Eggers, the band A PLAGUE OF LIGHTHOUSE KEEPERS are no strangers to taking influence from across the spectrum of art and culture. Based in Haarlem in the Netherlands, the group has garnered a reputation for unpredictable and intense live shows, all the while collaborating with plenty of other musicians. Now, they’ve come to the point of releasing their debut EP, named Towers of Silence. A three track release, it appears small at first before you realise that it ends up around the 20 minute mark through each song being a minimum of five minutes, up to nearly ten. Opening with lead single The Massacre of Flour - a ferocious statement condemning the hideous ongoing genocide against the Palestinian people - the EP starts off in potent fashion. The near seven minute runtime allows plenty of room for the band to expand the blend of doom and sludge into post-metal territories, without ever compromising on the claustrophobic atmosphere being created. I Fuck People comes next, which takes a hugely different musical direction and lyrical theme. Showing their support for global queer and marginalised communities, A PLAGUE OF LIGHTHOUSE KEEPERS broaden their scope into a doomy free jazz band, expanding their sonic palette and showing off the variety of talents and instruments at their disposal. Alternating between pure chaos and some moments of slightly more minimalist space, the song is a wild six minutes of both intensity and room to breath. To finish we’re treated to the title track of the EP, which is the longest piece yet at a good nine and a bit minutes long. A more drone-based song that dwells on human finality, and asks where we can find meaning and hope amidst it all. A multitude of spiritual styles are rolled into one great maelstrom here, never overtaking the overarching drone and still incorporating the doom and sludge of earlier. Mournful and meditative, it’s a brilliant track to get lost in and feels like a very consciously crafted piece of music, that sounds up everything that has been before with a (rather long) flourish. Whilst it’s only three songs long, Towers of Silence does not let its time go to waste with three potent statements, all made over the top of fantastically fascinating, free flowing heavy and avantgarde music. An intriguing, perplexing, and deeply rewarding listen, this EP makes for a standout start to A PLAGUE OF LIGHTHOUSE KEEPERS’ recorded collection. Score: 8/10 Towers of Silence will be released on May 9th 2026 via Lay Bare Recordings. Words: Jasmine Longhurst Photos: A Plague of Lighthouse Keepers

There’s a fine line between contrast and contradiction, and on brutalist, SACE6 lean fully into the latter. Their whole approach hinges on a simple question: how heavy can something get while still feeling undeniably pop? It’s not about blending genres neatly together, but forcing them to coexist, and more often than not that tension is exactly what makes this debut hit as hard as it does. After making serious waves with 2025’s Limerance, the duo wasted no time in levelling up. Not even a year later, brutalist arrives as both a continuation and a clear evolution: building on that same haunting, emotionally driven foundation, but pushing it further in both scale and confidence. There’s a strong sense of identity here, not just in how it sounds, but in how deliberately it’s been shaped. Opener besotted sets the tone immediately. It starts with a kind of understated beauty before distortion creeps in, eventually giving way to heavier instrumentation without ever losing its sense of control. It’s a smart introduction, enough to establish the band’s duality without showing their full hand too early. That push-and-pull becomes a defining feature of the record, whether it’s the shimmering R&B textures or the sudden, almost jarring bursts of weight that follow. That contrast feels especially natural once you understand how the band actually writes. Sometimes Noah builds out full instrumentals for Sace to work over, other times it starts with a vocal idea that the production grows around. Either way, the process never feels rigid, and that lack of structure carries through into the music itself. There’s no sense of chasing trends of ticking genre boxes. It’s more instinctive than that, pulling from whatever influences happen to stick at the time. You can hear flashes of everything from atmospheric pop to heavier alt influences, all sitting side by side without feeling forced. A good example of that balance done right is reverie, featuring JXDN. The collaboration makes sense without feeling like a gimmick, with the contrast between vocal tones adding real depth to the track, especially in the closing moments where the harmonies really flourish. It’s one of the more immediately accessible tracks, without delving too far into the heavier or more distorted side of SACE6’s sound, but it still holds onto the emotional weight that runs through the rest of the album. Later in the album, ego is the clearest turning point. Already sitting on huge streaming numbers ahead of the album’s release, it’s easy to hear why. The track opens with a burst of intensity before dropping into something far more restrained, only to explode again when it matters. It’s dynamic without feeling messy, and it captures exactly what the band seem to have been aiming for all along: a graduated version of their earlier sound where everything finally clicks into place. SACE6 then deliberately strip things back on dolorous. It’s arguably the softest moment on the record, but it never drifts into filler territory. Instead, it lingers, understated, melodic, and quietly affecting in a way that sticks with you long after it ends. That calm doesn’t last long, though, with nepenthe immediately flipping the switch again. It opens with heavier vocals before settling into a brighter, almost deceptively light rhythm. It’s one of the clearest examples of the band’s core idea in action, showing softness and intensity not competing, but colliding. By the time perfidy closes things out, everything feels fully realised. Stretching close to five minutes, it pulls together every thread the album’s been building - clean vocals, heavier passages, textured production, and that constant pop undercurrent tying it all together. It doesn’t feel like an ending so much as a full-circle moment, the kind that leaves you satisfied but already considering another listen. Across the record, there’s a hypnotic quality to the R&B elements, something warm and almost cinematic that pulls you in before the heavier moments hit. It’s the kind of album that feels built for long summer evenings, but there’s always something slightly darker sitting underneath. That sense of atmosphere isn’t accidental either - the band have spoken about drawing inspiration from everything from 90s romance films to narrative-driven games like Life Is Strange, and you can absolutely hear that focus on mood and storytelling in how these tracks unfold. Lyrically, brutalist stays consistently strong. There’s a mix of vulnerability, confrontation, and reflection that feels genuine rather than overworked. Knowing that a lot of the material comes from personal experiences, it never feels closed-off. There’s enough space for listeners to project their own meaning onto it, which makes the whole thing hit just that little bit harder. For a debut, this album is impressively self-assured. It’s not flawless - the constant shifts can feel disorienting on a first run, and it’s definitely an album that benefits from being heard front-to-back rather than in isolation - but that unpredictability is also where a lot of its appeal lies. The songs don’t always go where you expect, and that’s very much the point. SACE6 aren’t interested in playing it safe, and brutalist makes that clear from the very start. If this is what they can pull off this early on, it’s hard not to see why there’s already so much momentum behind them. Score: 8/10 brutalist will be released on 8th May 2026 via Sumerian Records. Words: Zuzanna Pazola Photos: Sad Swim

Having formed in the Long Island, NY underground back in 2020 KOYO cemented their identity from the jump, bending their hometown’s revered sound into something raw, urgent, and uniquely theirs, with vocals from Joseph Chiaramonte, guitars from Harold Griffin, TJ Rotolico and bassist Stephen Spanos, and drums from Salvatore Argento,. Debut release Would You Miss It? was well received by critics and listeners alike, with people loving the unique blend of emotionally bare punk, hardcore, and emo, and new album Barely Here sharpens that combination even further. Title track Barely Here opens the album, with dial tones and a heavy drum beat. KOYO waste no time in slamming into your ears; unrelenting volume, and with clear intent. It lands like an adrenaline rush, addressing the dissatisfaction and distance of being away from the people you love, and this theme continues into Jet Stream Wish, with the melodic roar of Chiaramonte’s voice punctuating the defiance against the circumstances he is facing. Saying Vs Meaning, which features Sammy Ciaramitaro of DRAIN, is a fiery track that sees Chiaramonte delving into the feelings of isolation and misplaced shame for choosing “this kind of life”. Griffin, Rotolico and Spanos anchor the track with heavy bass and guitars that complement the vocals of Chiaramonte and Ciaramitaro perfectly. It Happens to the Best of Us echoes early NEW FOUND GLORY, with its punchy melodicism and vocals that stay loud, forceful, and driven by intent. Highlighting KOYO’s unrivalled ability to create a punk song with hook after hook, You Hate Me is built around relationship tension, emotional fallout, and self‑blame, with Chiaramonte asking “Caught up in a contradiction/Can't you be happy with yourself?” Released as the final single before the album release, it is emotionally heavy, musically tight, and instantly memorable. Selden Mansions leans even harder into thick guitars and melodic grit, with the track ending with what sounds like the soft bing‑bong two‑tone chime you hear when you enter or leave a store. Oxidize, a driving duet with Marisa Shirar of FLESHWATER, tackles the challenges Chiaramonte has had to deal with back home head on, with his grandmother as she deals with dementia. Lamenting “All I need is tomorrow”, the vocalist captures what we all want in life: more time with the ones we love. Shirar’s guest vocals add a softer end to the track, but the melodic heaviness is still felt. Diving into darker waters and dragging buried frustrations to the surface, What I’m Worth unfolds as a cathartic release set against brooding chord changes that nudge KOYO’s sound deeper into post‑hardcore territory. Standout lyrics like “Heaven-sent with my closest friends/In a game where no one wins in the end” make the track the darkest, most emotionally volatile of the entire album. Pace and Loiter pulls the record back into lighter territory, landing one of the biggest choruses KOYO have ever written, with Chiaramonte’s vocals delivering a tale of saving himself from the brink of the darkness, by finding appreciation in the little moments where everything feels okay. Closing track Irreversible is a final reminder of the band's command over blistering tempos. Lyrics like “You deserve a panic attack on an Amtrak train/Going far the fuck away from me” showcase the track as one of the most scathing and confrontational tracks in KOYO’s discography and end the album with a much needed final jolt of clarity and venom. Barely Here is an album from a clearly confident band who know exactly what they want to make and excel at making it. It’s an album that feels entirely instinctual — a tight fusion of emo melodicism and hardcore bite, every moment charged with personality and intent. It captures a band not just finding their footing, but fully claiming it. Ten tracks, 28 minutes, no excess — just a sharp, anthemic blast that nods to THE MOVIELIFE’s spark and TAKING BACK SUNDAY’s sweeping hooks, while carving out a space that belongs wholly to KOYO. Score: 9/10 Barely Here will be released on 8th May 2026 via Pure Noise Records. Words: Lou Viner-Flood Photos: Matt Fevrier

A new day is dawning for alt-metal band SUNGRAVE, a quartet that have been hammering at the French music scene and making space for themselves since 2023, and are now ready to let the world know who they are with debut album Afterglow, releasing through independent record labels including No Need Name, Ace of Wands, and Uproar for Veneration to name a few. Inspired by a mix of 90s grunge, metal, and prog-rock, SUNGRAVE takes all the classically loved features of these genres and fuses them into an atmospheric album that subverts expectations and showcases each musician and their artistic flair. Guitarist Pierre Podsiadlo explains they “sometimes explore rhythmic and structural complexity” on several of their songs, while on others they look to highlight the darker side of the band’s genres, bringing the grunge and post-hardcore factors together. Afterglow is loaded with potential and is a chance for this up-and-coming, already seasoned band to shine. From a calm, swooping intro that wouldn’t be out of place in a Dune movie, Adelita’s simple guitar progression paves the way to Emelien Cornet’s rousing vocals, weighted between hoarse shouts and clean emotion reminiscent of early Chester Bennington, swiftly joined by Lionel Bigois’ rumbling bass line that twangs and scratches an itch in the brain. Sickening guitar riffs and cymbal heavy drums carry the inaugural track through to its crescendo ending. Mascara starts with drummer Roch Deroubaix delivering a solo that belies the true power he soon unleashes on the booming chorus, guitarist Pierre Podsiadlo interspersing the rhythm with fuzzed chords and stripped back but potent notes, the entire pace fluctuating but delivering a mix of alt-metal movements that form a cohesive sound, the track ending with layers of Cornet’s alternating raw screams and vulnerable notes and a final prolonged yell. Switching to a more BIFFY CLYRO inspired pace and sound, To The Brightest is so bass-heavy as to rattle your teeth, Deroubaix’s double pedal beats thundering forward like there’s no time to lose, the bridge falling away to Bigois’ heavily distorted bass that’s juxtaposed by Podsiadlo’s high-pitched guitar notes, Cornet shifting from a distinctive yell to a clean, defeated-sounding “it’s never enough”. Until The Crash is another track that flips the percussive script on its head, changing the tone and beat from section to section, at times more DEFTONES inspired and intermittently a hint of SYSTEM OF A DOWN on the guitar licks and pace of the entire piece, before suddenly dropping into a near metal-rap. Everything falls away to a simple bass and guitar harmony on Quicksands, a fuzzed sound effect climbing in the background until it peters out to sound like static or even falling sand. Like its title, the tune grips you where you stand and sucks you in with riveting lyrics and a lush bass line, vocals layer atop each other into an ascending pitch, the track gradually fading out until only an understated drum keeps time in the gathering silence. Self-confessed as the first track they “jammed on” at the start of Afterglow’s conception and inspired by 90s grunge movements infused by their modern sound, their first music video off the album The Mirror is chock full of grunge bass and guitar melodies and lyrical call backs, an appropriate buzziness to the track that gives it that enjoyable 90s scuzz-rock element. Bass and drums meld together for the beginning of Yökai, the sound taking on a more alt-rock THE SMASHING PUMPKINS vibe, with ripping guitar solos over thudding bass and pulverising drums as Cornet holds a high yell that melts into a clean note. The Boundaries of Change slows the pace to more poignant on the verse before bursting with powerful instruments and vocals, almost a reprieve from the more post-hardcore feel of the album but possibly the darkest and most desolate of the tracks. Broken Lines kicks off with a riff DON BROCO would appreciate, building the energy and expectations before meeting both head on in the primal roar of the chorus, the rhythm and lyrics feeling like you’re in a boss fight on your last legs but you’re going down swinging, taking as many enemies as you can with you on the final visceral fry scream and drum roll. Our time comes to an end with the slow-building Prayers, with a charged middle section and raw screams, the guitars and drums each taking centre stage at a time while the bass sprints through the melody and brings a lethal element to the final track. For a dark, melodically dramatic sound, Afterglow is a shining beacon for SUNGRAVE fans and those soon to discover them. Score: 7/10 Afterglow will be released on 8th May 2026 via No Need Name. Words: Julia Stark Photos: Sungrave

Richmond, VA punks STEELBOY keep it classic on their full-length debut Thanks for the Invite…, taking twelve tracks to run the gauntlet from 90s ska punk to pop punk. Lyrically tongue in cheek, the pop punk energy is distilled in musings on former relationships, with enough time taken at the end to talk about their favourite happy hour spot. Thanks for the Invite… starts with Cliffhanger, which sets the angsty yet forlorn energy that embodies the rest of the project as STEELBOY recalls how they “made out in the mosh pit” and they “We’re cocky but [they] liked it.” The first half of Thanks for the Invite… isn’t all sunshine and rainbows when Last Summer starts, with a soundscape that reminds of GOLDFINGER, STEELBOY begs an ex to stop gossiping about what they did last summer, supplemented by the harmonies in the back and finished by a funky delayed end. The standout for Thanks for the Invite… first third would be Hell No: a fuck the system song that features the only trumpets across the runtime. The trumpets punctuate a chord progression that’s easy to dance to while STEELBOY proclaims that “They won’t listen/Dissent is our only option”, and the chorus motif of repeating the last word or syllable is satisfying to the ear and made for live call and response. As Thanks for the Invite… hits its stride the commentary on the current dating scene is tongue in cheek; No Lives Left laments a man who treats his lovers like the games he won’t hop off, the frustration embodied in the little scream as the instrumental breaks into a swinging movement. Chernobyl, a couple tracks later, uses the disaster (which was 40 years ago to the day a few days before the album’s release) as shorthand for a toxic love affair. Chernobyl leads towards the 90s punk fast tempos and keeps itself short and sweet like most of STEELBOY’s tracks, though by this point in the project some soloing would have been good to hear for a break in the structure of Thanks for the Invite... In terms of pop punk the 'Why do you want them over me?’ trope is tried and true, and in XO it’s matched perfectly with ‘upbeat song angsty lyrics.’ XO begs for just one chance from someone still hung up on an ex partner. XO makes its point well over its two minutes then finishes with a flare, then is followed up by Tres Machos, a sweet track that starts a heavier set than a lot of Thanks for the Invite… so far. As the lyrics kick in it becomes clear that this is a love letter to their happy hour spot, proclaiming their love for their go to cheesy chips and rice and beans spot with a cheeky plug for it at the end. The tonal contrast between Tres Machos and Buzzkill is satisfying; it’s a quick flip from love to hate as STEELBOY laments that the subject is in perpetual misery, bringing everybody else down and is “only happy when it rains.” Buzzkill is one of the longer and heavier tracks of Thanks for the Invite... and it is worth every second: the unrelenting punk drums move the sound in and out of halftime with ease, swinging their way through the runtime in places and stopping and starting to take a breath in the angstfest. Rounding out Thanks for the Invite… is Honey, Honey, a ska punk version of the ABBA classic that forces a smile onto the face even if it doesn’t want to be there. The cover is as happy as it is punchy and is only missing some of the earlier trumpets. The final track The One adds a bit of grandeur for the finale through heavier crashes and keeping the angst with its theming on ‘the one that got away.’ Thanks for the Invite… is distilled 90s ska punk with pop punk that feels classic; STEELBOY make you want to dance despite the angst of the lyrics. The only drawbacks of STEELBOY’s debut may be the repetitive structure in each tracks finisher, but for a debut project Thanks for the Invite... speaks to quality to come. Score: 7/10 Thanks For The Invite was released on 1st May 2026 via Punkerton Records. Words: Julia Brunton Photos: steelboy

As of 2026, it has been a decade since Taran Plouzané and Gavin Purcell formed the formidable post-rock duo BICURIOUS. They first made a lot of noise in Dublin, Ireland for a handful of riff-hungry concert goers with early tracks such as Sugar Beats, before gradually taking their thrilling energy to what’s now a mighty fanbase throughout Europe. They hail two full length albums, the first being re(constructed) in 2021, then in 2024 they released Your life Is Over Now…, a highly personal, heavy hitting record that demonstrated both members’ vigorous passion. After touring the latest LP extensively for 2 years, the duo isn’t quite ready to reel it in, revealing a handful of B-sides from YLION that didn’t quite make the cut, but were too good to keep hidden for long, as well as stripped back acoustic takes on a few favourites that did make it. Both members keep up the quality we’ve seen from them lately with Afterthoughts, what feels like a victory lap for both fans and themselves. First single and opening track Papa kicks off strong, with Purcell’s punchy drumming and Plouzané’s slick guitarwork immediately demanding attention leading into the dense track, followed by the unfamiliar shouting of French lyrics, the first attempt by Plouzané to incorporate his childhood language into his writing. Despite the language barrier for most native fans, the song remains sonically cohesive, staying true to the band’s loud and lashing nature. It’s an authentic track that expels energy and confidence with its grit and power, climaxing as a culmination of sound roaring into your ears before suddenly ceasing all noise, bar the wailing guitar that opens the song to come full circle. The following track I Talk About You In Therapy is an immediate bop, being a spiteful track about an ex that the speaker despises for causing him anguish, with lines such as “I talk about how you crippled me” bluntly stating the level of pain caused through the relationship. For BICURIOUS’ standards it’s a fairly transient song, it’s straight to the point and knows not to overstay its welcome, with a sound comparable to early 2000s post rock bangers. It’s understandable as to why this track was left out of the LP, but we could easily see this being a hit with fans. Foetal is another highlight, a brooding, in your face tune that smacks you with boisterous force through relentless instrumental noise and harsh, stellar vocals, you truly cannot underestimate these songs for being B-sides. Moving onto the acoustic versions of existing songs, the poignant delivery enhanced by Plouzané’s acoustic guitar and cello, performed by Stella Spieß, combines to offer a fresh approach towards what once were belters to fling your hair around over, now beautiful renditions that tug at the soul. The acoustic take on Uncle Kevin in particular is arguably even more impactful than the original heavier version, as the emotional themes of the song cut deeper with the stripped back percussion and additional cello, harmonising with the vocals in such a manner that truly completes the atmosphere built by the heartbreaking writing. The remaining versions all do their original counterparts justice, by re-inventing the delivery to depict the songs in a new light, such as Irish Summer Day (Acoustic), where the plucky guitar and floaty strings compliment the theme of longing impeccably. The delicate ambience aids the listener’s understanding of what the lyrics speak of and knowing that they all come from a genuine place in Plouzané’s heart, some being true stories, gives these versions all the more reason to exist. While Afterthoughts doesn’t necessarily offer much in terms of flavour or uniqueness for BICURIOUS’ discography, the consistency in ability to produce songs ripe for both neck and soul remain undamaged. The duo continues to plant their status as a must-see act across the European rock scene, and they simply refuse to slow down for anything. BICURIOUS is touring Germany between the 20th to 23rd of May, as well as performing at 2000 Trees festival in July. Score: 8/10 Afterthoughts will be released on 15th May 2026 via Big Scary Monsters Records. Words: Paul Cutts Photos: Bicurious

ATREYU have fresh eyes on their tenth studio album The End is Not the End, creating their most hardcore-infused album while keeping their signature blend of thrash and metalcore. The End is Not the End's fourteen tracks are placed with purpose to create a satisfying build and resolve, capturing the energy of the new heavier sound for its first half then resolving into a conclusive yet theatrical finale that demands to be heard. A signature of ATREYU is their grandiose soundscape, which layers Dan Jacobs’ and Travis Miguel’s guitars in harmony and pulls ambient noise from everything from pianos to mandolins to add the melodrama. On the note of the instrumentals their time spent songwriting in Japan shows through with the sudden tonal shifts between tracks, shown wonderfully in Children of the Light with SEPULTURA’S Max Cavalera. The track opens with a full throttle drum lead solo that gets infused with electronica, then cuts out sharp at the end of the first section for just a theremin in a style that reminds of J-metalcore acts such as HANABIE. Children of Light also exemplifies the larger than life sound ATREYU perfect with long building instrumentals dropping into the chaotic breakdowns that make up part of a new heavier sound for the quarter. Their exploration into a heavier sound has added depth and chaos throughout The End is Not the End, where Brandon Staller teases his scream in the first half: Glass Eater teases what ATREYU sounds like without a clean vocal element, going on the attack with volatile lyrics about a “hypocrite pacifist” supplemented by military style drum rolls and the breakdown dissolving in growing static. The commitment to the hard vocals comes in Ego Death, opening with scratchy power chords and an angelic vocalisation then devolving into the hardest breakdown of The End is Not the End. The End is Not the End structures its fourteen track runtime wonderfully, taking a two act structure with a midpoint crescendo in Wait My Love, I'll Be Home, a ballad where Staller reaches out to a lover to wait for them atop a power-chord fuelled soundscape. The choral call to be guided home is beautiful, as is the final sentiment of the subject being Staller’s “greatest adventure”, then the tonal whiplash of Ego Death and Death Rattle taking The End is Not the End to its heaviest places launches the second half into something more chaotic and passionate. The final two tracks build into album closer Break The Glass, utilising a building introduction then adding the piano in the midpart to foreground the grand finale energy. Despite the heavy build up, ATREYU decided to tone it down for the ending, finishing The End is Not the End with just vocals and electric guitar before fading out into static. Throughout the whole album every track feels intentionally placed to build tension or explore the expanding horizons of their soundscape which speaks to the amount of dedication put into the album as a whole. Lyrically, The End is Not the End explores isolation and reconnection with those around you. One end of this is the focus on personal angst, including the ‘Why did I change myself' theme of All For You or the experience of ego death in the song of the same title. Others project the frustrations of isolation of those who are around including the promise of “You’re never going to break me again” in Break Me, or the disparaging of the subject of Glass Eater; metal and hardcore is often the space to vent about the people who cause anger or distress, and using this convention to convey isolation make those that convey reconnection all the more impactful The lyrics that hit the hardest in Afterglow, which initially comes across as a ‘wait for me until I come home from tour’ track, but as the track kicks Staller muses on watching his children “grow up through the screen of a phone” it becomes clear Afterglow is a love letter to the band’s families. This paired with midpoint finale ties together the theme of reconnection as it covers the impact that being away from home for long stretches can have on the connections already there. The End is not the End is a breath of fresh air for ATREYU, taking heavier and more chaotic sonic choices and mixing them perfectly with their already commanding style to create something brand new and on brand for the quartet. The intentionality of each track is clear throughout, and the themes of isolation and connection fit perfectly within the rapidly-moving parts of The End is Not the End’s sound. Score: 8/10 The End is not the End was released 24th April 2026 via Spinefarm Music Group. Words: Julia Brunton Photos: Sean Stiegeimeier

The masters of old school death metal worship FROZEN SOUL are back and ready to get nasty. New record No Place of Warmth is all but upon us, so here’s a look into the next stage of life for the Dallas five piece. Opening into the pummelling title track, FROZEN SOUL have pulled all the stops out and, on this introduction to the album, have managed to coerce the iconic Gerard Way of MY CHEMICAL ROMANCE to come and spew vitriolic verse. His black metal style is a fantastic departure from what we know him for, and harks back to his feature on TRIVIUM’s Matt Heafy’s solo album. The iciness that consumes their sound is felt in buckets here, and pervades the whole album from top to bottom. Straight into another feature, track two Invoke War brings in the California bruisers MACHINE HEAD for a stomping, gurn-inducing, death metal rollick. With rolling blast beats and bottom heavy riffs aplenty, it’s great fun - or at least, as much fun as a seething song about hatred and violence ever can be. It’s followed up by a short little song that very accurately describes the average temperature of the music this band produces - Absolute Zero - before we move right into the last feature on the album, with SANGUISUGABOGG joining the fray on Dreadnought. The punishment doesn’t stop here, as of course the mighty ‘BOGG bring the pain to match up to the heft of FROZEN SOUL, and the pair size up excellently on this fourth track. Moving further into the depths of the album comes Chaos Will Reign, Eyes of Despair and Ethereal Dreams. The first of these is one of the slower moments on the album, with a more menacing atmosphere than much of what’s come - however Eyes of Despair follows up with a positively machine gun-esque aggression and pace, ripping through the listener’s ears with shredding guitars and the blast beats to match. Ethereal Dreams takes some time to warm up, but the razor-sharp tone of FROZEN SOUL’s guitars cuts right down to the bone from the moment it gets going. After a brief semi-interlude track in Skinned by the Wind, we’re back to the full length tracks with DEATHWEAVER - a proper stomping death metal piece, with all the heft and weight of the best of 90’s death metal. Frost Forged feels a little more modern in its structure and pacing, but is still ultimately (much like most FROZEN SOUL tunes) an overt homage to old school death metal; if packaged a little differently. The finale brings about one of the silliest song titles the band have had in some time - but Killin Time (Until its Time to Kill) doesn’t just have a great name, it’s also a strong finish that’s got all the piss and vinegar and ridiculous distorted heaviness any death metal fan would want to round off an album. Before anything else, it must be noted that this album doesn’t feel like an evolution so much as a refinement. It’s still a great LP, and still contains everything you would typically desire of a good FROZEN SOUL record, but it doesn’t build upon previous work and find greener pastures so much as carve away at the glacier of before to make for a slightly sharper project. All that said, No Place of Warmth is a relentless exercise in aggression and absolutely worth listening to in its entirety - just don’t go expecting the next wave of modern death metal. Score: 8/10 No Place of Warmth will be released on May 8th 2026 via Century Media Records. Words: Jasmine Longhurst Photos: Kate Russell

While still a brand-new venture and yet to be known, SHORTDAUGHTER are undoubtedly a band that have overflowing potential to reach peak heights with their annihilating EP Promo 26, releasing 8th May. Hailing from Manchester, the newcomer alt-punk rock duo blend a variety of punk, emo, and hardcore genres into a sound that feels like being kicked in the teeth and asking for more. SHORTDAUGHTER is self-described as a vent system for lead singer Red Longson to “yell about men” and for guitarist/instrumentalist Cameron Wilson to “write silly dance parts and bounce-alongs”. And that perfectly sums up exactly what to expect from Promo 26. It’s a rage-fuelled, lightning-fast cacophony of cutting lyrics focused on the entitlement of creepy men and the screen-obsessed, daily doomscrolling society we live in, overlaying a cohesive hardcore sound with experimental segments and quick-fire tempo changes. Promo 26 is an EP to cathart to with the inaugural track, titled with hilariously fitting Eww!!!. Fuzzed guitar blasts through with stomping drums, the pace changing from fast-paced to breaking the sound barrier, switching from a pop-punk feel to a scuzz-punk sound as Red belts out powerfully about misogynistic men who can’t take a fucking hint. Breathe begins in the same muffled guitar vein as Eww!!! before a gradual drum roll flips the track into a crashing alt-rock sound with dangerous guitar riffs, walking us through with low vocals before Red turns the heat higher and brings us a track that cuts to the bone about wishing her valentine “the very worst goodbyes” in a raw scream. Layered vocals harmonise in the background under her emotive voice, fading briefly before the bridge launches into turbulent screams and Cam’s roaring instrumentals and an understated game-like synth carries us to the end. Completely out of the blue but jarringly entertaining, I Don’t Trust My Screen, I Trust Myself starts with a Japanese monologue (potentially taken from an anime, bragging points to you if you recognise it!), before ripping into a fired up punk-rock riff, dropping into a quietened steady beat before uppercutting back into a wicked rhythm, Red giving an acidic breakdown of never having a day off from society’s bullshit in a constant doomscroll, blaring out in a scathing shout “no peace, no cease” while the instruments reverberate and add force to the message. SHORTDAUGHTER are already proving they’re no-nonsense, experimenting with alt-punk rock sounds and genres while sticking to their core values and figuring out what works for them. Promo 26 delivers a sound that has the guts and range to attract a wide audience, whether it’s the music or the message you feel an affinity for. With more music releasing later this year and a slot on the upcoming Manchester Yule Fest, this is a duo that has towering ambition and the moxie to achieve it. Score: 7/10 Promo 26 will be self released on 8th May 2026. Words: Julia Stark Photos: Shortdaughter

The German metalcore outfit THE NARRATOR returns with their sophomore record Phosphor, a powerful follow-up that builds on the foundation of their debut while pushing their sound further into both emotional and aggressive territory. Opening with the title track Phosphor, the band wastes no time setting the tone. The track delivers raw metalcore energy right from the start, backed by great production and crushing breakdowns. It’s a confident opener that immediately showcases the band’s strengths, tight instrumentation, impactful pacing, and a clear sense of identity. Aurora, the second track, quickly establishes itself as one of the album’s highlights. Emotionally charged and deeply atmospheric, the song carries a sense of despair that feels both authentic and overwhelming, in the best possible way. The band doesn’t shy away from political commentary either, with lines like “We've been chosen to endure this hell, while a few keep growing their wealth” showing us their opinion on this world. Paired with a catchy and melodic chorus, Aurora becomes one of the album’s most memorable and complete experiences. Modern Age Blasphemy leans heavily into a darker, more aggressive sound, reminiscent of bands like PALEFACE SWISS. The track maintains its intensity throughout, eventually opening up into a powerful, emotionally driven chorus that contrasts the heaviness effectively. Political undertones continue to show here, reinforcing one of the album’s recurring themes. Previously released single Stasis serves as a defining moment on the record. Featuring AVRALIZE, the track feels like a modern German metalcore anthem. The collaboration works perfectly, the emotional chorus amplifies the impact of the heavier verses, and AVRALIZE’s contribution adds an extra layer of depth. Pills From The Start returns to a heavier palette while diving into more personal subject matter. On the surface, it tackles themes of overdosing and substance abuse, but as the track unfolds, it reveals a deeper narrative about toxic relationships. This dual meaning is executed with precision, making the song both emotionally engaging and lyrically entertaining. Agnosia introduces a more modern metal influence, particularly through its guitar riff. While the verses stay rooted in traditional metalcore, the song evolves through dynamic shifts, blending clean vocals with crushing breakdowns. There’s a palpable sense of desperation throughout, as if the track itself is a scream to be understood. With Two Lives, the band strips things back initially. The more minimalistic opening highlights vocalist Fabian Jochum’s range and control before the song erupts into a massive chorus. The contrast between vulnerability and intensity is one of the track’s greatest strengths. The track Dissection flips that dynamic entirely. From the very beginning, it’s relentless, energetic and arguably one of the heaviest tracks on the album. At just around two and a half minutes, it feels like a sustained breakdown, delivering a burst of pure energy that serves as a chaotic interlude before the album’s final songs. Iron Grip brings things back into a balanced metalcore framework. It’s a well-rounded track that blends aggressive breakdowns with more restrained moments. Once again, Fabian Jochum’s vocal performance stands out, delivering intensity with precision and emotional weight. The closing track 9010 is one of the album’s strongest moments. It shows a perfect balance between energy and emotion, opening with a melodic guitar riff that smoothly transitions into a raw, high-energy verse. The chorus provides a melodic counterpoint, giving the track a dynamic flow that makes it both engaging and memorable. As a closer, it encapsulates everything Phosphor does well into one track. With Phosphor, THE NARRATOR successfully expands on the sounds of their previous album Lore. The record offers a well-crafted blend of crushing heaviness and melodic riffs, all while weaving in emotional and political depth. It’s a clear step forward for the band with a bright future ahead. Score: 8/10 Phosphor will be released on 8th May 2026 via Nuclear Blast Records. Words: Hannah Martin Photos: Kathi Sterl

HAGGARD CAT are synonymous with the post-hardcore scene, already establishing their artistry in previous project HECK and their prowess and nerve by powering through the 2020 lockdown to create bone-shaking rhythms in their album Common Sense Holiday and follow up EP Cheer Up. They’re back to break down your door and crush the status quo with their charged up album The Pain That Orbits Life, via their new label Church Road Records, a blistering 10-track record that pushes the expectations and carries the bat-shit frenetic sound HAGGARD CAT are renowned for. Teaming up with double Grammy-winner Adrian Bushby, The Pain That Orbits Life is classic HAGGARD CAT but a bit fuller, a lot wilder, and clearly inspired by progressive sounds. The duo, vocalist/guitarist Matt Reynolds and drummer/backing vocalist Tom Marsh, have pushed their skills and production out of their box by experimenting with more electronic sound effects that elevate the album, while still keeping the brazen grittiness fans love bodyslamming to, a reputation the band have garnered from their live performances previously supporting ENTER SHIKARI and PLANET OF ZEUS, and more notably kicking off 2000 Trees Festival 2025 where it was difficult to decide who was having more fun, them or the audience. It would be wrong to say this is the duo at their peak as there’s still space for them to level up, and while it’s their signature sound at its core their experimental features are taking them in a different direction than fans may have expected, but it’s a road we’re happy to travel down to see them at their most proficient and exhilarating - at least, so far. Describing The Pain That Orbits Life as a “journey of self reflection and personal growth”, the band have approached this from a personal and evolved viewpoint to create the sound they’ve been chasing since they started in 2017 and have caught in a snare. From the first rapid-fire synth sounds that announce the album and serpentine across headphones and speakers, first released single I HATE IT HERE combines with rhythmic cymbals, snare rolls and fuzzed guitar as Reynolds calls out “I hate it here” repeatedly and increasing to a primal scream, the melody looping back into synth. SOAR focuses on Marsh’s crispy drum beats before guitar and high keys unleash together, the duo providing dual vocals that reach contrasting low and high octaves over an adapting rhythm, crashing into an anticipatory bridge that feels like marching into battle. HALCYON delivers more of the post-hardcore grit the band are known for, a buzzy riff and stank-face-inducing beat rivalling the heat of the cutting lyrics “was it worth it?” AFTERLOVE wastes no time rushing forward and dragging you by the collar with it, blistering beats and rich backing vocals interspersed with a cinematic theremin-esque feature in the background, before the bridge descends into a threatening beat and riff and Reynolds’ vocals distorted to the point of sounding underwater before he screams “I hate being around you” with raw emotion. APNOEA starts with robotic sound effects as it loads the track into a slick riff and off-the-beat drum beat and snare rolls, a prolonged scream halfway through blending into an instrumental solo and pounding beat, almost 8 minutes of their most progressively experimental sound heard on the album so far. NAILS has more of the HAGGARD CAT chaotic charm with rapid-fire rhythms and lyrics that reach a feverish pitch as harmonies echo in the background like an audience to their own havoc. Kicking off with a threatening drumbeat and low chords on SUPRESSOR, screams erupt and are joined by high guitar licks as the drums take their sweet time. It slows to an eerie tune and tempered beat as a quietened “I’m not getting better, I want to scream but your love is my suppressor”, a ferocious scream and crash of instruments bringing it back to the heat. LANDSCAPES starts melancholy in its sound before diving into blaring grunge-punk, a solo of lightning strumming undercutting Reynolds and Marsh’s vocals. Their second single off the album and by far the most heated track, WARPATH combines Marsh’s intense drumming with distorted guitar and ghostly synth over catchy lyrics that feel cathartic shouting along to. Closing out the album at a whopping 10:40 minutes, ZION feels like a tribute to classic metal with a triumphant, chest-beating intro that blends into post-hardcore and alt-rock and shakes things up. A moment of poignant quiet is shattered with a resounding, thrashing riff and beat as layered vocals call behind Reynolds’ heart-rending shouts of “every hope I ever had has taken such a beating”. It’s HAGGARD CAT at a level not heard yet, but there’s still room for the glass ceiling above them - it won’t be long until they smash that to smithereens. Score: 7/10 The Pain That Orbits Life will be released on 8th May 2026 via Church Road Records. Words: Julia Stark Photos: Ruena

Summer isn’t just around the corner, it’s epitomised by newcomer TRIAL TAPES on his debut EP 5 Notes, releasing 5th May. Every track feeling like you’re in an 80s movie where the colours are over-saturated and gauzy and you’re driving down the beachfront in a classic convertible to the promenade funfair. Perhaps a little too specifically descriptive, but from the first unrushed, hazy guitar licks and softened but poignant lyrics it conjures an affecting emotion that can’t quite be captured without waxing lyrical. Emotionally driven by his late coming out and having to start life from scratch on his own after a long stint in Brighton before returning to Liverpool, TRIAL TAPES has poured that terrifying uncertainty and optimistic hope into a sound that threads through multiple genres and decades, in a self described “queer-baked scuzz” genre. From first being inspired by OZZY OSBOURNE and later TEARS FOR FEARS, to spending a period away from music, TRIAL TAPES draws not only on his moving experiences but takes his namesake from his previous music projects, combined with a BBC documentary about the harrowing AIDS crisis. But it’s also a nod to his penchant for recording on cassette tapes and capturing a feeling that’s both timeless and dated. 5 Notes delivers that cathartic release and the emotion of moments lost to time or fear with lulling, lo-fi guitar riffs and licks, rambling deep bass lines and steady, sharp drum beats that move from the back seat to the forefront with rolls and jolting whips across the cymbals. TRIAL TAPES sings like he’s holding something back, on the precipice of bursting with emotion but trying to stay sedated, with stirring lyrics that feel deceptively upbeat with the rhythm but show his outlet for everything he’s been through and has yet to challenge. From an almost gentle bursting into tune, Slowpoke’s vulnerably soft lyrics juxtapose with the hazy indie rhythm, TRIAL TAPES singing matter-of-factly “I’ve been dead for a long time, I just didn’t know, just didn’t know…”, over steady claps, staccato guitar rhythm and lilting guitar notes. 42 begins deceptively with a restrained intro before revving up to a fuzzed guitar riff and beat that bounces off the walls, upbeat synth weaving through on the final chorus and elevating the sound, the fastest-paced track on the EP that paints the story of a love story that could have been if time and circumstances were kinder. The first single released last year, Coughing Fits has the far-away sense of both the 60s psychedelic-pop-rock and the 80s dreamy synth-wave-rock, the beat invoking shoulder shimmying while the words are cutting, slowing completely down to muffled synth and tender, hushed lyrics before the instruments build back up again to the bittersweet tune. Leopard Print Skulls has an anticipatory intro that falls away into fuzzed acoustic and languid tempos with layered soft vocals, an intermittent cymbal crash pulling you out of the soothing feeling. Despite the sensitive lyrics, it’s almost like an acceptance of the things that can’t be changed. 5 Notes ends with a psychedelic-funk intro on Sliding, the tempo similar to the other EP tracks, but suddenly blasting in with screams and tearing guitar riffs reminiscent of BECK and T.REX, the juddering bass more prevalent from the end of the chorus and frequent bouts of distortion that should feel jarring but bring the track together, the instruments mashing together in a way that feels like organised chaos and a cathartic outlet, before fading away into an unknown but no longer obscure potential. Score: 8/10 5 Notes will be self released on 5th May 2026. Words: Julia Stark Photos: Anton McMahon