Detroit has produced some of the finest rock bands in history and EVA UNDER FIRE is one of the latest to proudly carry that flag. Hailing from that gritty, iconic rock landscape, the band is back to deliver “hard rock therapy” with their latest album Villainous when it releases 10th July. Fronted by lead vocalist and song writer Amanda Lyberg who is uniquely qualified to deliver on that promise, as a licensed therapist with a background in trauma and addiction. While Love, Drugs and Misery released in 2022 was their breakthrough record and a solid foundation, this new album takes things up another level, now to uncharted heights for the band in this new era. Villainous feels heavier, darker and more refined, with a confidence far greater than its predecessor. Powered by the thunderous percussion of drummer Dave Miller II, the band unleashes a triple guitar assault, lead guitarist Rob Lyberg, Chris Slapnik bringing the rhythm, Ed Gawlik on bass. All locking in with an industrial alt-rock sound of distorted riffs complete with an electronic edge. First track Awakening hooks you into the album immediately and doesn’t let go from there, the chorus bursting into the anthemic battle cry “With air in my lungs, I scream to the sky!” When this track was released as a single, hype started to build around the band's new direction and the feeling that this was going to be something special. Leading into track two My Own Name the album keeps hold, dealing with the way people try to bring you down but Amanda Lyberg bites back with the visceral vocals and builds up on the lyric “I’m not dead yet!” The vulnerability Lyberg shows in the lyrics of certain songs, captures her therapist expertise, which in turn creates a strong emotional connection with the listener who may have been through similar situations. Tracks like The Words You Say dealing with toxic relationships, gaslighting and the way words can be twisted in ways that can play with your mind, showcase this perfectly. The arc in the middle of this album takes you on an emotional journey of recovery. Don’t Say I’m Ok shows another side that feels unfiltered, visceral and raw in both the lyrics and gripping primal vocality Lyberg brings, making this a stand out on the album. Going then into Hello Hollow dealing with grief, offering a more delicate retrospective moment on the album of how to navigate that. Title track Villainous features a massive guest appearance from Maria Brink of IN THIS MOMENT pushing the industrial rock that popularised the late 90s further with a modern sound. A fierce empowering anthem where Lyberg’s melodic vocal delivery and Brink’s theatrical edge brilliantly intertwine with one another to create a dual female powerhouse moment. Lyrically the track deals with the reality of sticking up for yourself after reaching your limit and finally fighting back. In turn the toxicity in people around you can paint you as the villain simply because they resent that sudden change. Exploring the rest of Villainous and moving into the deeper cuts of the album, tracks like Dark Soul and Safe Word bring that grit from their hometown. Seamlessly mixed aggressive guitar tones, heavy bass blended with futuristic elements that fit well with the tone of the lyrics. Meanwhile on Gasoline drummer Miller II provides a relentless rhythmic beat that anchors the song’s explosive energy. The album closer A Violent End delivers some of the heaviest riffs on the record while balancing the assault with a catchy chorus and beautifully placed softer moments that creates an intriguing dynamic, the album still hooking you in until the very last note. With an up and coming tour in the US with band FIVE FINGER DEATH PUNCH it will be fascinating to see which of these new songs become crowd favourites. Ultimately their new album Villainous proves EVA UNDER FIRE is ready to command the global rock stage with some live music therapy. Score: 9/10 Villainous will be released 10th July 2026 via Better Noise Music. Words: Amy Lynch Photos: Travis Shinn

Formed in New Jersey in 2022, 3 DOLLARS are fighting to stand out amongst the countless young groups itching to leave their mark in the punk scene, but these are more than your average Joes, with most members having spent at least half of their youthful lives perfecting their instruments. The proof lies within their debut EP, Plus Tax, the culmination of the four-piece’s efforts to nail a style that has already earnt them a strong local following, growing international attention and opening gigs for the likes of QUICKSAND and 7 SECONDS. This five track EP’s themes can be defined by the result of naturally reading the words that the title is composed of, being pissed off and fed up. It revolves around adolescence and nostalgia, leaving you wiped out both emotionally and physically if you’re in the mood to rock along to adrenaline packed bangers and sink into lyrical angst. We kick into action with Nauseous, instant relentless post-emo juiciness that effectively serves as an appetiser into the band’s combo of stellar riffs, punchy drums and ardent vocals, wrapped up with very solid production. It plays around with time signatures in a flavourful manner and features a bridge that plants itself into your mind with a highly catchy clash of guitar and drum action. The lyrics offer a reflection on being desperate to escape a situation and bad influence that the voice knows is only eating at him, tension that lingers throughout the record. Like I Said I Would, the following track, found notable success on streaming platforms alongside earlier song The Last Thing I Remember, contributing to their growth in the scene, and it’s not a challenge to see why. The atmosphere immediately grips you, most notably in the guitarwork, mainly offered by Tyler Wachtel on lead and Costas Krassos on bass, enthusiasm matched by drummer Ben Kamel who never falters when keeping the song alive and fresh. It’s the kind of song that would thrive in a small, sweaty room, encouraging you to let loose and escape life for a moment. Every stage exhibits emotion, with hefty lyrics such as “Need to piece together this eulogy for a household name catastrophe” making it easy to depict the themes of crumbling relations. We transition smoothly into the next track, Suppressed Memories, the lead single for the EP, a song that only cements that the party has found their sound, all being layered in a very complimentary fashion. We experience a moment of powerful, strongly held higher pitched vocals, followed by well-placed and executed screams by vocalist Arthur Pawley, who offered some insight into the themes of the track: “this song is about being in limbo, looking for that inspiration to make sure you are doing the right thing…not getting stuck in your past mistakes”. The rapid-fire instrumentals alongside brief moments of pause allow you to experience feelings of breaking apart and holding on, trapped in a cycle by intrusive thoughts of past mistakes. Waking Up Early forces you to face reality, having lyrics that are uncomfortably descriptive of mundane yet depressive parts of life. Another song that excels in having captivating progression, where the collaboration between drums and guitars is so refined that it allows Pawley to effortlessly blend in with them, creating a satisfying mix. Despite sonically similar, each song is distinguishable, taking an approach that has a bit of flair to give each piece its own personality, which even well-established artists can struggle with. Lastly, we close the EP with Untitled #17, a song about wanting to be detached from a situation so desperately that the song about it doesn’t even get the courtesy of having a proper name. This is everything you would ask for from a kickass post-emo song, raging guitar riffs, robust drumming prowess, a voice of pure sorrow and the perfect lyrics to scream in frustration. Pent up resentment let out all at once with as much force as the group’s sound should allow. Plus Tax isn’t merely a debut record, it’s a statement, one that says that 3 DOLLARS are well on their way to becoming a formidable act in America’s post-emo scene and are undeniably one to watch. Score: 8/10 Plus Tax will be released on 10th July 2026 via Smartpunk Records. Words: Paul Cutts Photos: Michael Dubin

Two decades deep into their slow-burning crusade, WITCHSORROW return with The Devil And All His Works, an album that doesn’t so much revisit doom metal’s foundations as sink back into them like they were carved in stone. This is not a reinvention record, nor does it pretend to be. Instead, it is a reaffirmation of purpose: heavy, patient, and utterly committed to the genre’s most monolithic traditions. From the outset, WITCHSORROW make it clear they are still operating on their own gravitational scale. Omnia Finiuntur opens the record with a sprawling sense of inevitability, stretching over ten minutes of slow-burn riffs and suffocating atmosphere. Nothing here rushes. Everything drags deliberately, like iron chains across stone, setting the tone for what follows: a record built on weight rather than speed, mood rather than momentum. That philosophy carries into Bacchus, one of the album’s earlier standouts and a track that feels like the band fully locking into their groove. The riffs are thick and unyielding, while the pacing allows each note to land with real consequence. There’s a ritualistic quality to it all, as if the band are less performing songs and more conjuring them. Hades Chains continues that descent, tightening the atmosphere without increasing the tempo. Here, WITCHSORROW lean into repetition in a way that feels hypnotic rather than redundant. The guitar tone is cavernous, the drums patient, and the vocals buried just enough to feel distant yet authoritative. It’s doom in its most traditional sense: oppressive, immersive, and unashamedly slow. Midway point Altar stretches things further still, acting as the album’s centrepiece in both scale and intent. It is here that the band’s strength in dynamics becomes most apparent. Rather than relying on constant heaviness, they allow space to form between crushing passages, making the heavier moments land even harder when they arrive. The result is a track that feels like a slow ritual unfolding rather than a conventional song structure. If Altar is the ritual, then In Triumph We Rot!!! is the declaration. One of the album’s more direct cuts, it carries a surprising sense of urgency without abandoning the band’s core identity. Lyrically and conceptually, it leans into devotion itself — a life spent in service to doom, not as a style but as a calling. It’s one of the most immediate tracks here, and arguably the closest WITCHSORROW come to an anthem. Lamentation briefly strips things back into a short, sombre interlude, offering a moment of breathing space before the final stretch. It functions less as a standalone piece and more as a threshold, guiding the listener into the record’s closing statement. That final statement arrives with A Quintessence Of Dust, the album’s focus track and most expansive moment of clarity. Featuring a guest guitar solo from EMPLOYED TO SERVE's Sammy Urwin, the track pushes the band’s sound into a more expressive space without breaking its core framework. The solo cuts through the density rather than overpowering it, adding a flash of colour to an otherwise monochrome landscape of doom. Ultimately, The Devil And All His Works doesn’t aim to modernise doom metal, nor does it attempt to escape its lineage. Instead, WITCHSORROW double down on it completely. This is a record built on tradition, conviction, and endurance — a reminder that in the right hands, repetition isn’t limitation, it’s power. For those already drawn to the slow churn of classic doom, this will feel like home. For everyone else, it’s a stark, uncompromising wall of sound that doesn’t ask for attention — it simply takes it. Score: 8/10 The Devil And All His Works will be released on 3rd July 2026 via Church Road Records. Words: Mia Gailey Photos: Leanne Elizabeth

In the midst of one of the hottest weeks in Britain, it’s quite ironic that EMPIRE OF THE SUN would be headlining the legendary Alexandra Palace for three nights, with a show of extravagance, gravitas and style. Covered in sweat but nonetheless feeling the vibes, the ten thousand strong crowd of Ally Pally were treated not only to the talent of this band but the effort of their production design. Starting off the night were SKYSCRAPER who with the lighting of incense, took the audience on an ethereal ride through their psychedelic sound. With plenty of cool reverb and a sound that genuinely makes you want to start floating, these guys were a great little start. Adorned in what seemed like wrestling gear, the singer had a pretty incredible voice, with lots of falsetto and lots of projection to really carry the music to the next level. Although there is currently nowhere to listen to this band's music, we definitely recommend looking out for any official releases, as any fan of the headliner would love them. After them were BALU BRIGADA, who were ultimately held back by the sound mixing here; but that didn’t mean their energy was anything but incredible, a short and sweet setlist was all they needed to hype the crowd up, giving what i can only describe as a crash course of the bangers and greatness of BALU BRIGADA. It was honestly really great to see them get so much crowd participation too with plenty of jumping, swinging of arms and singing along, these two Kiwis were really proving themselves at this set. This isn’t the first time the band have opened for such a big headliner with their 2025 UK stint being on the Clancy Tour for TWENTY ONE PILOTS, where just like at this show, they had a sound and energy you simply can’t resist. Finally EMPIRE OF THE SUN graced the stage with such an insane elegance and beauty; from the outset, the entrance of singer Luke Steele was something to behold, his insane outfit and presence set the standard for the rest of the evening, opening with a new song named Desire, equipped with plenty of smoke and one killer light show it made a statement of this bands flamboyance and vibrance. As the set continued on, Steele came down from the stage to sing with fans, making for a really wholesome moment that really hyped the crowd up for the rest of the set. The moment that truly shone throughout the whole night was when the song We Are The People rolled around, hands were in the air as confetti rained all throughout Alexandra Palace to that chorus everyone knows. As the night went on each song had a moment that really outdid the one before; At one point Steele had the dancers behind him with giant wings to create a really beautiful blackbird dance with changing his red suit for black one, only ever adding to the incredible wardrobe of the band in this show. You would think with how layered and textured EMPIRE OF THE SUN’s music is a modicum of that would be lost live, but that is absolutely not the case here, everything from the sets, to the outfits, to the lights, the energy, the talent on this stage it made for one hell of show that fills you with such an insane sense of joy and community. Words and photos: Ben Blissett

After nearly a decade away THE DILLINGER ESCAPE PLAN return to London for a triumphant show of chaos and power showcasing why they are the reigning monarchs of mathcore. The weather outside is boiling, the venue working as a sanctuary from the blistering heat. The crowd, already sweaty, lacked any of the lethargy you would expect. Opening tonight was FRONTIERER, who managed to get the crowd moving from the moment they played their first note. Crowd surfers within a band’s first song is a rarity yet the band managed to get waves of people. The wall of sound they created hit hard in the way extreme metal should. Heavy and cathartic, it was the best way to bring an audience into a world of left field metal. From the heavy use of whammy pedals to extreme vocals, this is how you open an extreme metal show. Next on the bill was VOWER who occupy a space somewhere between post hardcore and post metal. Atmospheric guitars ringed while going into melodic hard-hitting riffs. They were the least extreme band on the bill but still held their own. Their set worked as a respite, while people still moshed and crowd surfed it felt as if the music was giving the audience a chance to breathe. The band has a fair few fans out in the audience with many of them singing along, being the only chance to do so tonight as the band have more traditional vocals. The band made sure the audience was relaxed and limber enough to survive the headliner tonight. The lights went down, THE DILLINGER ESCAPE PLAN took the stage ready to bring the audience into their world. Music fans from across the spectrum waited for the band, metalheads, prog nerds, punks, hardcore kids and anyone into music outside the mainstream. The first note of the first riff rang through the speakers, the strobe lighting started, within seconds the venue was in a dizzying frenzy of chaos. Every second of this set was important, a chance to have time with a band man thought they would never be able to see. Tonight was also the first UK show that the band’s original frontman Dimitri Minakakis has played in the UK since 2000. The night was a celebration of the band but specifically their early years as many long time fans of the band never got to see Dimitri front the band. For a set so built on nostalgia the band did not rest on their laurels. They could just play the songs and people would go home happy, but they played everything with passion for their craft. The band are brutal live, almost unrelenting yet the unconventional beauty of their music shines through everything. They occupy space in many genres, they are impossible to classify sonically, but when they play they come across so strongly as a metalcore band. The best performance aspects of metal and hardcore come through them, the chaos, the moshing and even that specific walk hardcore musicians do across stage mid song. The band became one beast on stage, an organised chaos of sonic bliss. They challenged the audience to keep the same energy they have and built their reputation through live shows, and the night was one last chance to experience their live show. The audience never wain, they only receive everything with love. In a short set wrapping in at about an hour the band managed to play most of their important early tracks including their transformative APHEX TWIN cover. As the band brought the set to a close with %43 Burnt, the band pushed everything to the extreme one final time, seeing a guitarist jump from the venue's balcony into the crowd is proof of what the band is about. The Dillinger Escape Plan will put everything on the line to follow their vision of what music should be without any regard of what other people may think. They remain one of the most important bands outside the mainstream of music, even when they were away their influence was as strong as ever. This gig was a victory lap, another chance to celebrate their musical glory. Words: Will Freeman Photos: Conrad Newton

Manchester’s Deaf Institute played host to one of the hottest alternative bills of the summer as Florida genre-benders NEVERTEL brought their UK and European headline tour to the city, also accompanied by Australia’s rapidly rising metal-core outfit OCEAN SLEEPER. With NEVERTEL following the momentum of their recent single Otherside as well as OCEAN SLEEPER doing the same with the release of Peace When I’m Dead and Break the Cycle, this was a tour that felt significant well before the doors opened. Both acts arrived in Manchester carrying some serious momentum. NEVERTEL had spent the year expanding their international reach and profile through a successful headline run as well as appearances at major festivals including that of Download Festival, while OCEAN SLEEPER continued to establish themselves as one of Australia's most promising modern metal-core exports following their signing with Rise Records and BMG. Knowing all of that, this bill was a heavy threat of rumbling ribcages and dynamic energy. OCEAN SLEEPER came out and made haste with making their mark on Manchester. Opening with You Kill the Good in Me, the Gippsland four-piece wasted absolutely no time in commanding the room with brutal hooks and relentless energy. A true blend of rib crushing riffs, soaring energy, and definitely their emotionally charged lyricism, translating their energy perfectly into a live setting was nothing short of breath-taking. Next they brought Heaven and Light In My Dark to the table which maintained their presence in the ever-packed room, leaving bodies jumping high in the pit and hands flying higher with every pounding chorus. As the set ran and the pit expanded, the crowd wailed for the band’s newest single release Peace When I’m Dead and didn’t fail to have everyone reaching for the air in a huge wall of death just showing how OCEAN SLEEPER have continuously refined their sound without sacrificing any of the emotional vulnerability that helped build their ever-loyal following. Australian publication Wall Of Sound declared themselves officially “back on the OCEAN SLEEPER train”, describing the band as being currently “at their strongest” while highlighting their mix of clean and scream vocal work being unmistakable. That assessment felt completely justified having witnessed their masterful work inside The Deaf Institute. Tracks including Maybe Death Is All I Need, Forever Sinking and Break The Cycle all reflect a quartet firing on all cylinders yet still growing in confidence and maturity. All of the face melting melodies supplied only seemed to invigorate NEVERTEL even before stepping out on stage. The crowd could sense their electric presence and swelled to fill out the room for what was about to be a chaotic cataclysm of energy. Knowing the chaos that was about to flood the room, NEVERTEL decided to kick off by dropping their most recent single, Otherside unleashing their own raw, modern metal-core sound that echoed throughout the venue and more creating a storm of sweat and screams that emanated from the crowd. Both frontmen Jeremy and Raul effortlessly rocked the room with every vocal and their untapped conviction. So much so, the floor of The Deaf Institute seemed to shift and bend beneath the audience’s feet. Following that, the crowd threw themselves into tracks such as Losing Faith, Did It All and Modified with unparallel momentum shaking the very building itself. What seemed to separate NEVERTEL from their contemporaries was their ability to balance sheer oppressiveness with true accessibility. For example, tracks like Sacrifice and Starting Over share that influence of huge head shaking choruses that get the crowd stuck in with their own backing vocals. On the other hand, tracks like SYM and ICON leaned into more of the band’s hip-hop influences without disrupting that lip biting flow they maintain. The mix of these head thrashing harmonies recalled that of LINKIN PARK, FROM ASHES TO NEW and maybe even BRING ME THE HORIZON but ultimately, these guys know how to do it their own way, in their own style. Their pacing of the set also worked flawlessly with moments of reflection and juxtaposed bursts of energy giving the audience just enough breathing room to make the most of the pit in the center. Even they know when its time to slow down for suspense, and that’s exactly what they brought with more emotional sections. One specifically, amidst Everything In My Mind, they slowed it all down to a smooth mid-verse masterpiece, everyone from the crowd raised their phones lights way up and swayed in unison creating an ocean of blue light, almost reminiscent of the aurora borealis. Every voice created a whirlpool of tactile screams as they accelerated towards a dominant closing stretch. By the end, it was clear Manchester had witnessed two bands that were at significant milestones in their own journeys. OCEAN SLEEPER demonstrated why they are quickly becoming one of modern metal-core’s most intriguing alternative prospects, while NEVERTEL confirmed that their esteemed reputation was fully deserved. For those fortunate enough to be on the inside of The Deaf Institute, it was a reminder of why alternative live music continues to matter. For everyone else, missing this tour looked like a mistake that would not be repeated the next time around. Words and photos: James Smith

Liverpool's CUT SHORT have spent the last few years quietly building a reputation as one of the UK's most promising rising heavy bands. Sharing stages with Wargasm UK, Dream State and Heart Of A Coward, while earning support from BBC Radio 1, Kerrang!, Metal Hammer and Rock Sound, they've steadily proven they are more than another name in the ever-growing metalcore landscape. Their latest EP, Modern Affliction, is further evidence that the hype surrounding them is well deserved. Across five tracks, the band explore themes of mental health, burnout, addiction and the emotional toll of modern society, creating a record that feels intensely personal while remaining universally relatable. Rather than leaning on familiar genre clichés, CUT SHORT blend hardcore urgency, progressive experimentation and crushing metalcore into something that feels both calculated and unpredictable. Every song carries its own identity, yet together they form a cohesive journey through frustration, despair and resilience. Opening track Reverie wastes little time establishing the EP's atmosphere. Beginning with an almost deceptive sense of calm, the song gradually builds tension before exploding into a wall of jagged riffs, pummelling drums and emotionally charged vocals. It's an introduction that showcases the band's ability to balance melody with sheer aggression, setting expectations high from the outset. Rather than throwing everything at the listener immediately, the track unfolds naturally, rewarding repeated listens with subtle layers hidden beneath its abrasive exterior. The title track, Modern Affliction, sees the band at their most direct. Tackling the pressures of contemporary life, the song captures feelings of emotional exhaustion and societal decline without ever becoming preachy. Instrumentally, it demonstrates just how comfortable CUT SHORT are moving between different styles. Bone-crushing breakdowns collide with soaring melodic passages, while progressive influences add depth without distracting from the song's core purpose. It's a standout performance from every member and arguably the EP's defining statement. Things become even more emotionally charged with Unrequited, a track that explores rejection, longing and unresolved pain. While still undeniably heavy, there's a vulnerability here that gives the song its lasting impact. The dynamic shifts feel purposeful, allowing quieter passages to amplify the intensity when the full band crashes back in. It's a reminder that heaviness isn't simply about volume or speed, but about emotional weight, and CUT SHORT understand that balance exceptionally well. If there's a heart to Modern Affliction, it's The Worst of Myself. The song perfectly encapsulates the EP's recurring themes of self-doubt and internal conflict, pairing introspective lyricism with some of the release's most memorable instrumentation. Rather than relying solely on relentless aggression, the band demonstrate impressive restraint, allowing moments to breathe before unleashing devastating crescendos. That contrast creates one of the EP's strongest emotional payoffs and highlights CUT SHORT's growing maturity as songwriters. Closing track Malcontent serves as a fitting conclusion to the journey. Furious from beginning to end, it pulls together everything that has made the previous four songs so compelling. Crushing riffs, relentless percussion and emotionally raw vocals combine with progressive flourishes that never feel excessive or self-indulgent. Instead, the song feels like a final emotional release, ending the record with both impact and purpose while leaving listeners wanting more. One of Modern Affliction's greatest strengths is its consistency. Every track earns its place, with no filler or unnecessary moments across the EP's concise runtime. The production allows each instrument room to breathe without sacrificing the sheer weight that defines CUT SHORT's sound, while the songwriting continually prioritises atmosphere and emotion over technical showmanship. In an era where heavy music often risks becoming formulaic, CUT SHORT refuse to remain confined within one subgenre. Their willingness to weave together hardcore intensity, progressive textures and emotionally driven metalcore results in a record that feels authentic rather than manufactured. Modern Affliction is a confident statement from a band finding their identity while pushing themselves creatively, and if this EP is any indication of what's still to come, CUT SHORT are only scratching the surface of their potential. Score: 9/10 Modern Affliction will be released on 3rd July 2026. Words: Mia Gailey Photos: Cut Short

Things are really kicking off now: not only do we have the iconic 2000 Trees festival next week, but we've also had a solid slate of tours sweeping the UK. METALLICA, MY CHEMICAL ROMANCE, HAYLEY WILLIAMS, and so much more that the summer has to offer. In the off-time, though, we're taking in these recent singles from bands both big and small. Here's what we've been listening to lately: 156/Silence - Proxy Idols Fresh off the back of a tour supporting THORNHILL as well as a huge upcoming US tour, 156/SILENCE have released a brand new single Proxy Idols. This is the second single released from their upcoming album From A Distance which is out in September this year - just before their US tour. The track is a violent transcript on the modern day celebrity culture and rains absolute devastation for 3 solid minutes. The atmospheric metalcore track features a multitude of vocals and distortion, each section switching the tone and keeping the listener engaged. This track sets the tone for what could be to come from the rest of their upcoming album. Words: Amy Smyth Bring Me The Horizon - Dehumanize BRING ME THE HORIZON is going back to the beginning with Dehumanize! A brand new song for Count Your Blessings | Repented, the upcoming 20th anniversary re-recording of the band's landmark debut album, releasing on July 10th. It dives headfirst into a dystopian soundscape where crushing heaviness meets glitchy electronics and cinematic atmospheres. The track thrives on contrast, shifting from eerie, industrial verses into explosive choruses without losing momentum. Oli Sykes delivers venomous screams alongside haunting melodies, reinforcing the song's themes of technological dependence and the erosion of humanity. The visible gore is a vessel for a meticulously constructed piece, balancing aggression with memorable hooks and futuristic textures. Another reminder that BRING ME THE HORIZON continues to redefine modern heavy music, seamlessly blending influences into something both unsettling and irresistibly addictive. Words: Lysandre Pons Beabadoobee - Sun Has Set BEABADOOBEE has a brand new album Pylon coming your way in September and for this one, she’s completely switched her vibe. As an artist that dabbled in various genres, she's no stranger to grunge or shoegaze but this track shows a completely new side to her. Her light and airy voice decorates the track while distorted melodies ring through the guitars. With small melodic additions coming at the listener from all angles it’s a track that was clearly made with intent and attention to detail. Her new album is coming with a tour that's taking her all the way to the O2 arena in London as well as many other huge venues across the UK. Words: Amy Smyth Crawlers - AFRAID TO DIE Born from an uncertain period of not knowing who CRAWLERS wanted to be, AFRAID TO DIE is an introspective reawakening for the now-established trio of best friends and how they choose to approach their musical journey. For anyone who saw them support PIERCE THE VEIL in 2025, AFRAID TO DIE isn't a surprise drop, having been introduced exclusively to live shows before the band decided it was time for the masses to hear this emotive track of losing one's sense of self and trying to claw it back, lowered vocals rising in power over steady beats and blasting post-rock riffs. AFRAID TO DIE isn't just a tale of caution, but the re-introduction of a more seamless, confident CRAWLERS. Words: Julia Stark Dear Youth - Illusion (Feat. As December Falls) DEAR YOUTH take their featured artists seriously, their previous with BROADSIDE’s Oliver Baxxter was a hit across the scene and catapulted to the top of their most listened to track list. Could their latest venture with Bethany Curtis of AS DECEMBER FALLS do the same for the Canadian alt pop rock outfit? For fans of The Home Team and Honey Revenge this synth heavy track will not only scratch that itch but have you reaching for more. Bethany Curtis is a proven powerhouse feature (see her recent track with THE HARA for further proof), going toe-to-toe with Jared Zuckerman and holding her own. A better choice to accompany DEAR YOUTH on their latest venture could not be found. Words: Jade du Preez Evil Island - Melted Heart (ft. Sleigh Bells) The frenetic energy and unrestrained pace of EVIL ISLAND's Melted Heart can't be easily put into words - it's the scald of a room on fire and nobody wanting to leave, the itch in your brain of a million fun ideas that need to be done in that moment or else, the embodiment of being in a crowd and someone in an incomprehensible costume is juggling beside you. It's feral and exhilarating, the pulsing drums and brutal riffs rocketing forward and expecting you to keep up, screams savagely blasting at you from all angles as SLEIGH BELLS's Alexis Krauss repeatedly hollers "we're melting to the ground". EVIL ISLAND bring a wild fury and heat that simply can't be contained. Words: Julia Stark Fiddlehead - Baby I’ll Change Melodic post-hardcore supergroup FIDDLEHEAD continue to blur the lines on heartfelt new single Baby I'll Change, the title track from their new three track EP of the same name. Bolstered by a huge main stage Outbreak Festival appearance on release weekend, Patrick Flynn and co have proven once again that they remain one of the genre’s most captivating bands. Expertly channelling grief into something profoundly uplifting and personal. Shimmering guitars and Flynn’s impassioned voice giving every word genuine weight, whilst the artwork mirrors the title track’s reflective mood. Words: Andrew Nile Green Lung - Necropolitan Line “MIND THE DOORS!” screams Tom Templar in an inversion of Crazy Train’s iconic opening scream before the Lung burst forth in another Brit-folk encomium, this time lauding the trains that carried the dead on London’s Underground network. The new title-ish track from their upcoming release is a decided departure from their previous sound, instead embracing the campier and synthier trappings of 70s British rock but keeping things chugging along. The real highlight of this track is the mega long solo where the synths of John Kong dual with Scott Black’s virtuoso playing in a display of Deep Purple-ness not seen since the days of the band themself. The production may be more raw than some fans are used to, but rest assured the Lunglings are in for another absolute belter at the band’s next live gig. Choo choo motherfuckers! Words: Kiarash Golshani Ice Nine Kills - Play Dead ICE NINE KILLS once again prove they can turn horror into anthemic metal with Play Dead, a track that captures the tension and brutality of Dead by Daylight for the game’s 10th anniversary. The song balances faithful homage with INK’s signature cinematic style. Marching drums are arming a singalong chorus, while the heartbeat sound creates an eerie immersion and suspense. One that will also translate into gameplay as characters gain INK-themed in-game merch and the Silence's mask joins the cosmetic roster. The hellish screams feel like the gates of the Entity’s realm bursting open, unleashing chaos fit for the pit. ICE NINE KILLS keeps building milestones in the merging of horror and metal ahead of their headlining show at The O2 on 27 March 2027. Words: Lysandre Pons I Prevail - Paradise (ft. Amira Elfeky) I PREVAIL returns from the Australian leg of their Violent Nature tour with a haunting track featuring alt goth x grunge singer AMIRA ELFEKY. Clearly infused with the sound of converging genres, the piece is laced with dark electronics, ethereal notes turning into scalded growls from both singers. In its 3 minutes, everyone gets a turn into the light including a smashing display of instrumentals from a drum heavy breakdown to a heavenly guitar solo, all standing side by side with the leads rather than supporting them. Paradise stands as the perfect anthem to perform together on stage during the upcoming EU/UK tour where ELFEKY will join I PREVAIL amongst other notable openers such as POLARIS and GORE. Words: Lysandre Pons Loathe - Fangs In the lead up to the release of their new album, A Stranger To You, Merseyside’s finest LOATHE have graced us with another single. Opening with a thick riff, Fangs gets the blood flowing immediately before leading into a more melodic verse that allows the angelic vocals of Kadeem France to create an ethereal atmosphere. The chorus stands out as one that will be sung in full voice by crowds at all their shows going forward. In typical LOATHE style, there are heavy moments that will definitely have moshers flying across the room. This album is going to be monumental and this single is a perfect way to hype up what LOATHE have in store. Words: Alex Long The Menzingers - Better Angels Those eagerly awaiting THE MENZINGERS’ tenth album will be relieved to hear the core elements that make a MENZINGERS album great condensed into this three track single. Chance Encounters is the opening track of their upcoming album, and although it sets a bleak scene with that emotive chorus of “no one’s coming to save us”, this track walks a fine line between depressive and optimistic, something THE MENZINGERS do so well. Better Angels is a high energy track that could easily be a summer defining song for those that enjoy a melancholic bite to their dog days. Ultimately rounding things off with Nobody’s Heroes, a final gut punch of emo punk brilliance. Three tracks made for the summer, released just in time too. Words: Jade du Preez Motionless In White - R.I.P. (ft. Skylar Grey) Holding hands with SKYLAR GREY, MOTIONLESS IN WHITE delivers a haunting ballad summoning “the power of a lover's lament inscribed on a headstone". Built on space and yearning, the stripped-down instrumental relies on drums for pacing, allowing every emotion to breathe and come back at full force when the chorus hits. GREY's rising and falling vocals emphasize beautifully everything the silence cannot, carrying grief in a register completing Chris Motionless’ perfectly. Together, they don't simply harmonise; they haunt each other with a gothic flair undeniably characteristic of the band. With its instantly catchy chorus, R.I.P. stands as a deeply emotional third single from Decades, MOTIONLESS IN WHITE’s upcoming album, dropping on July 17th via Roadrunner Records. Words: Lysandre Pons Muti - Blood Brand new underground shoegaze artist MUTI has released yet another track, Blood. With an embellishing b-side track - Blue Nothing - to go along with it, they are building and architecture with their releases in the same way an established musician would. Blood is a conversation about the feeling of falling in love, comparing it to your veins being drained like vampirism. MUTI’s vocals drag and echo through the track accompanied by various layers of guitars and crashing upbeat drums, really portraying those conflicting feelings in the lyrics. The track is well made and polished and we sit with baited breath to hear what they’ll make next. Words: Amy Smyth Noahfinnce - Mr Overwhelm NOAHFINNCE hasn't just translated his vulnerability into lyrics on new track Mr Overwhelm, he's created a sound that portrays the chaos, claustrophobia, and build of emotionally drowning in a blend of Y2K and pop-rock. Released ahead of his support slot for TWENTY ONE PILOTS at All Points East, NOAHFINNCE continues to draw inspiration from the pop-rock bands that guided him through his adolescence and helped him shape his feelings into words. Mr Overwhelm is a stark inner look at trying to break out of the mould cast by others wrapped in fluctuating instrumentals and jarring rhythms, digital elements breaking through to keep you second guessing what NOAHFINNCE might do next. Words: Julia Stark PUP - If This Is It If This Is It may be new to listeners, but for Toronto punks PUP this burst into life during their 2025 Who Will Look After The Dogs? sessions, it was merely waiting for the right moment to unleash this gritty track full of strained feeling that erupts into desperately human shouts. Heavily fuzzed bass races through the intro as if spelling impending doom, before the accompanying guitar and drums strip away some of the danger and spin it into a track of furious merriment, a searing guitar solo on the breakdown backing vocalist Stephen Babcock as he calls out everyone around him, including himself in the cutting, self-deprecating words "you're still full of shit but so am I". Words: Julia Stark Sesame Girl - Kick In The Teeth SESAME GIRL have captured the feeling of not feeling "enough" in a relationship and turning the fault inward on hard-hitting Kick In The Teeth, the latest single from their upcoming EP Butterfly Wing In A Silver Locket. Loaded with hazy guitar riffs and chords, singer Heather Duncan vocalises in a dreamy fashion as the instruments complement her without being overpowering. The rhythm and power behind the track don't soar too high, instead SESAME GIRL have embodied that almost disquieting, uncertain feeling that you must be the problem when someone doesn't want to take pride in your presence. Kick In The Teeth is a balm for a vulnerable, cracking heart and a caution to not give pieces of yourself away. Words: Julia Stark Snayx - Brain Cellz SNAYX have made their mark with inflammatory tracks that hold up a mirror to society and smash their face into it - new single Brain Cellz is no exception to their rule that all bets are off and everyone should watch their backs. From a glitchy synth intro that drops into cutting lyrics, a twitchy drum beat with crispy cymbals, and distorted guitar and bass that rips into your bones, SNAYX refuse to hold back on tracks like Brain Cellz with their rebellious sound and catchy rhythms that have seen them pack out festival grounds and headline slots, their venomous, punk spirit stirring at their sound's core ready to strike. Words: Julia Stark The XCERTS - Bury You Eclectic Scottish alt-rockers THE XCERTS share bury you, the fourth and final preview of their forthcoming sixth album i think i want to go home now. Electric guitar drives the track from a gritty basement rock sound into an explosive arena rock chorus: catchy, colourful and far from vapid. Sitting towards the end of the album's emotional arc, the single is a reflective conversation about managing pain and facing oneself; what frontman Murray Macleod calls "a sobering conversation" of tough love. The music video carries echoes of the 2000s, with photographs and on-screen lyrics, transporting the listener to simpler times - very much in tune with the theme of the record. Catch them at 2000 Trees, the day after release, on July 11th. Words: Lorena Hurtado Waterparks - BETTER THAN THERAPY With just weeks to go until the release of their fifth studio album, JINX, WATERPARKS have dropped their fifth single, BETTER THAN THERAPY. A bubblegum-rock infused earworm that follows the whirlwind of a relationship while remaining self-aware of one's own toxic traits. With an addictive chorus, Awsten Knight is engulfed by their love for the other person. The playful contrast of the lyric, "Draw you like Titanic. Worship you, Satanic," hints that the relationship is ultimately doomed. Yet the intoxicating highs keep the narrator hopelessly infatuated, unable to let go. With distorted guitars and layered melodies, this track clearly radiates lively production of Entertainment and Fandom. Do you relate to this song too much? Maybe it’s time to catch up on some therapy. Words: Theviya R Karunaharan Editor: Naomi Colliar Duff Photos: Various Artists

Aren't you glad that heatwave is over? We're certainly glad to no longer be sweating buckets, hiding away from the relentless sun. Now it's over (for now) we can trade in that heat for these hot new tunes. Here's what we've been listening to lately: Against The Current - Dead Man Walking Still riding the high from their last single and gearing up for an immense 2026/27 of tours and new music, AGAINST THE CURRENT are firmly establishing their latest evolution with gut-puncher Dead Man Walking. Vulnerable in its lyrics and its instruments, an acoustic guitar, slow drums and singer Chrissy Costanza's low-pitched vocals draw us in, before the chorus crashes in with earnest lyrics pleading for anyone to know Costanza is "still here but still forgotten", her voice rising in power on the breakdown in tandem with the fervour of guitar and drums. The final chorus repeats the mantra "I'm still here" as the rhythm leads out, a message to all that AGAINST THE CURRENT aren't going away any time soon. Words: Julia Stark BE N!CE - OOPSIE BE N!CE have carved out a space in the post-punk and heavy-alt scenes, filling their 2026 cup to the brim with a slew of festivals and a headline tour in September. Never ones to shy away from calling out society's bullshit, their latest single OOPSIE is more searing than last week's heatwave, taking aim at dodgy, money-grabbing landlords and giving them both barrels. Singer Pol Mills cuts to the bone with sarcastic lyrics about landlords excuses for uninhabitable conditions, assuring us "I'm very against property damage" with a nudging tone, bassist Emily Harris and guitarist Alex McIntosh running circles round each other with menacing riffs, while drummer Brett Lee brings a destructive beat. The vibe? Don't comply, revolt. Words: Julia Stark Catch Your Breath - Control Building momentum before their massive tour announcement, CATCH YOUR BREATH have fans primed and ready to let loose to their latest single Control, an emotionally charged track with intense instrumentals complementing singer Josh Mowery's exposed lyrics. On the surface, it's a song to get lost in with Cianan Madigan's dominating bass notes going full force throughout, Onell Hernandez drums drifting from faded buzz to a crispy headbanging pace, and Teddy Herrera's guitar riffs screaming in under Mowery's guttural roars. At its core, it's the devastation of losing yourself to someone who destroys your soul and leaves you a shell and knowing you've handed over too much control to an emotional vampire. It's a raw experience delivered in an explosive sound. Words: Julia Stark Man/Woman/Chainsaw - Goddamn, Lizard Man! Goddamn, Lizard Man!, the third single for MAN/WOMAN/CHAINSAW’s debut LP Cannonball, is a playful and messy affair, with a much looser approach compared to the comparatively more straight-forward (yet still brilliant) indie rock singles preceding it, Only Girl and Noisedive. It opens with this scratchy sort of guitar noise, before Billy Ward starts telling a story about a beastly yet lovable “lizard man”. With a cover taking characters from old Japanese comics, kaiju monsters are no doubt an inspiration here, and it suitably reflects this, with a much bigger sound compared to their previous output. It’s an unexpected primer for the upcoming album, but a welcome one regardless. Words: Noise Leonard Mastodon - Your Ghost Again In a surprise drop, the sludge metal legends MASTODON return with their first single since the passing of their much beloved guitarist and singer Brent Hinds. The title; “Your Ghost Again” is apt, as between the classic MASTODON-isms we have come to know and love, there is now a palpable absence. Like a gigantic spirit, the ghost of Brent Hinds haunts this track, and through the slick riffs and guitar solos you’d expect his distinctive southern croon to pop up at any moment. This large void only makes you appreciate his contribution to the band much more, but even without him this band proves they can still make music like they did during their classic era. As this band so punctuated by loss steps forward into the uncertain future, they show the world that the MASTODON is far from extinct. Words: Kiarash Golshani Opus Kink - The Sweet Goodbye OPUS KINK’s new record inches closer every passing day - we’re at the halfway point between the lead single’s release and the album itself. As the fourth teaser, the boys have released the title track, and it’s potentially the most memorable cut yet. A hooky, instantly memorable lead melody and a saxophone note slurring downwards laid over it is about what you’d expect from the group’s aesthetic and personality, amplified by rhythmic guitar stabs as well as a quieter, more atmospheric section. Is it worthy of sharing the record’s title? Perhaps, but for now all we can do is excitedly wait and see. Words: Noise Leonard PRESIDENT - Doom Loop Their first campaign a roaring success, PRESIDENT have swiftly returned to run for their second term with genre-blending, synth-wave inspired Doom Loop. Already established as a band that works exclusively outside of the box to create sounds that speak to a multitude of fans, Doom Loop sees the elusive band utilise weaving and engaging synths for a sound that almost feels like it would make waves in the club scene. The synths blend into an alt feel with hoarse yells, thundering drum beats, and fuzzed guitars, before the upbeat club imagery is shattered with a guttural scream and the instruments colliding together into a heavier movement. Doom Loop doesn't abide by anyone's laws and demands you dance for your PRESIDENT. Words: Julia Stark RØRY - STRANGE Bridging the gap between pop-rock and alt-metal, RØRY is climbing swiftly to the top of this niche genre, their latest single STRANGE a multifaceted track that intensifies and leaves you either feeling heart-broken or your pain finally seen. Over thrashing drums and searing guitars and bass riffs, faint synths in the background give rise to the nostalgic emotion in the lyrics, RØRY contemplatively singing "how strange it is, to wanna die, to wanna live", the instruments lifting their layered vocals to a powerful volume. It's a bittersweet song about trying to move on from the past but being stuck in those feelings, grieving the person you were and the person you could be if only you could let go. Words: Julia Stark Sesame Girl - Wings Of A Butterfly A looping guitar strum with a country twang, a steady drumbeat, and dreamy, girl-next-door vocals are what lead us into SESAME GIRL’s newest single, Wings Of A Butterfly. This is a song for long bus journeys, head resting against the window watching the world go by through a light summer’s rain, reflecting, getting lost in your mind. The indie-rock quartet share a very simple, yet intensely relatable sentiment: love needs proof over promises. It’s all well and good saying you love someone, reassuring them you won’t ever leave, but sometimes that isn’t enough. There’s something really nostalgic about this track. It might be that timeless message, or it might be their sound: their melodies blend 90s-era alt-rock with a modern, indie pop-styled edge, with a hint of fuzz. SESAME GIRL are a soundtrack for daydreamers. Words: Naomi Colliar Duff Two Year Break - Listen To Your Body TWO YEAR BREAK are no strangers to fusing genres into experimental tracks full of fast-paced rhythms, swerving tempos, and personal lyrics full of emotion. Latest single Listen To Your Body is a textbook example of their unique, off-the-wall sounds that have their stomping feet in multiple camps, never sticking to a genre's expectation. From a muffled intro awakening, layered vocals from singer Bradley Tyler create a resonant sound to the despairing, pining words, his raw screams breaking through on the second chorus, as guitarist Charlie Barnard and bassist Daniel Wright attack the alt-heavy chorus and breakdowns, while George Lilley shifts drum tempos effortlessly with snappy beats. Listen up, because this is a track that will get stuck in your head. Words: Julia Stark Twin Atlantic - Don’t Quit It Making us wait a year for new music was evil of TWIN ATLANTIC, but sizzling new single Don't Quit It was well worth the wait. Singer Sam McTrusty's first words "I've got a new addiction" couldn't be more apt, Don't Quit It joining their roster of catchy tracks with huge choruses and Joe Lazarus' pounding rhythms, paired with electrifying lyrics and rising choral additions, interspersed with Ross McNae's signature funk guitar riffs, cohesively fused together into a buoyant melody you can't help but move your body to. Don't Quit It is quintessential TWIN ATLANTIC but has a new frenetic energy about it that promises the band have more to come and it'll all be just as addictive. Words: Julia Stark Westside Cowboy - Kick Stones (The Boys) It’s been an exciting year for WESTSIDE COWBOY. The Manchester group’s second EP, So Much Country ‘Till We Get There was released in January and really took off in the “windmill scene” and beyond. This was helped in part by a stint of opening for similarly breakout indie rockers, GEESE, during their UK dates. Along with the announcement that their debut album, It Goes On, is set to release this August, they released lead single Kick Stones (The Boys) a title which seems in stark contrast to their last EP’s Don’t Throw Rocks. On this song especially you can absolutely see why GEESE took to them - they absolutely wear their influences on their sleeves, but twist them in a way that very much feels like their own, notably featuring a beautifully built-up-to outro and an extremely vibrant and exciting instrumental break in the middle. They’re playing all over the UK and Europe at the tail-end of the year, so catch them if you can! Words: Noise Leonard

With a varied career of staggering highs and massive lows, it’s fair to say that California artist TYLER, THE CREATOR, born Tyler Okonma, is one of the most controversial musicians alive who still manages to get radio plays. From being banned from entering countries for lyrical material, to winning Grammys and performing six consecutive sold-out nights at the biggest arena in Los Angeles, he has done it all, all whilst writing and producing almost the entirety of his own catalogue. This summer will see him headline his first festival in the UK in four years at All Points East in London. Here are the ten songs we hope to hear him play. 10) SHE Teaming up with fellow Odd Future member and frequent collaborator FRANK OCEAN, She is a glittering diamond in the sea of edgy, shocking lyricism and underdeveloped production on TYLER, THE CREATOR’s second album GOBLIN, released in 2011. Weaving a dark tale of stalking and violence, the subject matter is at home amongst the rest of the lyrical content of the album – much of which led to Tyler, The Creator to be banned from the UK, and his Australian tour to be cancelled in 2015. But the vocal performance from Ocean paired with rare vulnerability in Okonma’s lyrics set it leagues apart from the songs it sits amongst on the album. She is a glimpse into the bright future careers that both artists would go on to enjoy. 9) DEATHCAMP Released as one of the lead singles from his polarising fourth studio album Cherry Bomb, DEATHCAMP marks a turning point in TYLER, THE CREATOR’s sound and artistry. With a heavy, aggressive beat, it’s a boisterous opener to the album that takes the first major step away from the shock-rap and horrorcore that he had previously been known for, building on the varied production on previous album WOLF and diving into a more unique and experimental sound. Whilst Cherry Bomb is widely acknowledged as his least successful album, it’s an important stepping stone towards the critical acclaim he’d later receive. 8) IFHY Enlisting PHARRELL to co-produce and feature alongside him, Okonma delves into a tale of obsessive love and jealousy told from the point of view of Sam – a recurring character in his first few albums. Included on the 2013 album WOLF, the song features low-key instrumentals and a driving dark synth line. Like all of the music videos he has released so far in his career, the video for IFHY was entirely self-directed and sees him in creepy doll-like prosthetics alongside a love interest in a set designed to look like a dollhouse. 7) I KILLED YOU It has been a steady build to superstardom for TYLER, THE CREATOR, but it’s safe to say that the release of Chromakopia in 2024 propelled him to new heights. Nominated for three Grammys (and winning one), the album delves into themes ranging from paranoia to the struggles of dealing with an unplanned pregnancy, and the recurring theme of Okonma’s relationship with his black identity. I Killed You is an ode to hair, discussing the role that hair has played in black survival in America and how it is still policed today. Set against a traditional African drum beat, it’s a mature exploration that fans of his early work may have never expected to hear from him. 6) CORSO A cut from the 2021 album Call Me If You Get Lost, CORSO is a loud, bouncy anthem that is as introspective as it is boastful. A lifelong car collector, Okonma spends the first half of the track talking about his Rolls-Royces, and the second half talking about a lost love that has left him with a void he’s trying to fill by buying more of them. The sound of many tracks from this album is reminiscent of his earlier work, but the subject matter is more mature than anything released in his young adulthood. 5) LIKE HIM Perhaps the most constant theme through TYLER, THE CREATOR’s music is his relationship (or lack thereof) with his father, whom he has never met. On Chromakopia, this is no different. Like Him is easily the most personal and introspective exploration of his feelings regarding this throughout his whole career, wherein he wonders which parts of him resemble his father and wonders how he can miss someone he never knew. The song is addressed to his mother, who raised him as a single parent. At the end of the song, it’s revealed that the reason for his father’s absence was not that he didn’t want to be present, but that his mother, who features heavily on the album with spoken adlibs, did not want him present in his life. 4) ARE WE STILL FRIENDS? 2019’s IGOR is regarded by many to be TYLER, THE CREATOR’s most impactful album. Dealing with themes of jealousy and love, IGOR’s subject matter revolves around a love triangle between Tyler, a male love interest and the love interest’s on-again-off-again girlfriend. After 11 songs of agony, betrayal and lust, ARE WE STILL FRIENDS? seeks a resolution to the situation, admitting defeat and asking if things can go back to the way they were. The light, twinkly guitars contrast with an intense synth that give the song a dreamlike quality, and perfectly caps off the Grammy-winning album. 3) SEE YOU AGAIN It’s impossible to compile a list of the best TYLER, THE CREATOR songs without mentioning See You Again. With just under three billion streams on Spotify at the time of writing, it is handedly his biggest song – and for good reason. Released on 2017’s Flower Boy, twinkling bells and piano chords fill the track, balanced against sung vocals from the vocal powerhouse KALI UCHIS and rap verses from Okonma. It’s catchy, breezy and beautiful, and it’s impossible not to sing along whenever it’s played. 2) BEST INTEREST Originally intended for release on IGOR, BEST INTEREST was released as a standalone single in 2020. It’s a light-hearted track exploring themes of a secret affair, filled with a small orchestra of horns, strings and piano. It’s summery and bright, but just as soulful as anything no the album it was intended to be on. The video features Okonma being recorded on the back on a vehicle riding through a small river on a boat, interspersed with clips of crocodiles and sunny fields. It’s the perfect setting for a song so light and breezy. It’s painful to think that this song may have never seen the light of day, as even as a rough draft, it’s a standout in Okonma’s discography. 1) NEW MAGIC WAND TYLER, THE CREATOR does many things well. He’s an incredible producer, writer and performer – and all of those talents are on display here. NEW MAGIC WAND is one of IGOR’s darker tracks, where he fantasises about killing his love interest’s girlfriend so that they can be together, and that darkness does spill into the instrumentation of the track too. Dark, haunting synths creep around underneath frantic percussion and an apathetic, intentionally resigned-sounding vocal performance. When the music drops out to just the sound of a muted warning siren, the anticipation builds until everything comes back louder – along with the need to lose your mind in a crowd of people doing the same. TYLER, THE CREATOR is a generational talent, and this song makes it impossible for you to forget that. Catch Tyler, the Creator at All Points East this summer. Words: Ellen Lovell

Dutch death metal group SAVAGE are finally ready to release their first studio EP. Featuring members from ENTRAPMENT, they’re not exactly new to the scene, but as SAVAGE, their sole release until now was a fairly promising demo from 2023. In those three tracks they made it clear what they’re here to do - harken back to old-school death metal, taking clear influence from ENTOMBED (specifically their earlier releases under the name NIHILIST). They further this goal on Septic Tomb, with four new songs here to sink our teeth into. We open with Nightmares, unrelenting from the get go, pounding drums play in time with a chugging riff, swirling around both channels before assaulting your ears a particularly gnarly lead riff after upping the tempo. It’s only then that the raspy vocals come in, paired with the whirlwind of instrumentation that never seems to be able to stay still for even a second. More tempo changes, wild guitar solos and what almost sound like doom riffs played in double speed, this track keeps you on your feet the whole way through. Second track S.A.V.A.G.E. opens with a quick stick count-in followed by an intro that wouldn’t feel out of place on a deathgrind record. The song takes a quick breath, with layers of feedback and distortion, before launching back into full throttle. An intensely noisy track that once again never lets up. So far on this record, SAVAGE are proving how relentless their performances can sound, two tracks in and we’ve already heard tight arrangements with the band members playing like one uniform group. The synergy between performers here is really something to behold. They show this once again on Spectral Torment. The first half of the track is quite the slow-burn, priming you for a blitzing during the second half, an infernal piece of music that makes you feel like your skin’s melting off. The title track, Septic Tomb, has possibly the most guttural vocal performance here, a similar cadence to each phrase adding a complete new layer of filth to compliment those nasty-sounding guitars. The last three tracks on here are from the aforementioned Demo I, released in 2023. It’s immediately clear from the opening moments of Mortal Decay that these songs were recorded separately, with significantly more lo-fi production and echoing vocals. The performances here are still wonderfully intense, and arguably even more claustrophobic, though it is somewhat jarring. Unfortunately, this issue never really goes away, even by the end of closing tracks Revulsion and Malformation, which is a shame because the former contains some of the most engaging guitarplay on this release. The moment when both guitars intersect at the two minute mark is possibly the best few seconds the EP has to offer. The strange thing about Septic Tomb is that almost every track here presents something fantastic, and yet it never fully reaches its potential. It’s hard not to get hung up on the sheer incongruency between the production during the first four tracks and the last three. If you can get past that, SAVAGE have made a great death metal release that has clearly been made with a lot of appreciation for their forefathers, but as it stands, it ends up a somewhat confusing listen as points. Score: 7/10 Septic Tomb will be released on 4th July 2026 via Dawnbreed Records/Necrolatry Records. Words: Noise Leonard Photos: Savage

Engraving their furious sound into the underground hardcore scene, MARTYRS SAINT are now ready to step from the shadows and unleash their epic debut EP From Strength To Strength. Hailing from Bristol, the four-piece band have created an EP that has a quality and weight of 20 artists performing together. It’s a marker of how seamless they’ve become as a unit and the force they feed into their sound to portray such power and intensity that translates to their live shows. While From Strength To Strength only holds four tracks, they pack an absolute suckerpunch that will leave you reeling, demonstrating the efforts MARTYRS SAINT have put into refining the more intricate details and solos while still maintaining the absolutely delightful chaos of hardcore tangled with thrash-metal. It’s an EP of frenzied energy, scorching solos and hooks, and rhythmic elements woven together, driven by pulsating beats and savage lyrics. Title track From Strength To Strength immediately goes off-piste with a soundbite of Peter Griffin giggling that he's stronger than air, before Louie Hawkes’ drums thunder in with an accompanying riff that swings wildly from piercing notes to a stank face rattling level that welcomes chaos in the form of Brandon Goodair’s scathing lyrics and barks, the rhythm slowing imperceptibly as the instruments attack in formation for the building breakdown of Goodair’s screams “I'll face my front, you fucking face yours”. Enemy Of My Enemy whips in at rocket-speeds, the pulsing drums racing against Amaré Hurley’s frenetic riffs and Harvey Lewis's bassline, the type of bass chords that churn your stomach and rattle your teeth. Blistering screams give way to a staccato run of individual instrumental licks, before they all merge together into a frantic breakdown with classic metal guitar solos from Hurley, the tempo refusing to be anything but fired up, until it culminates in a final yell and fades out. In Amber begins with a more thoughtful and sombre guitar riff, the atmosphere rising to soaring heights with epic guitar notes that eventually give way to a haunting pitch, the drums and vocals falling in together in a reserved cadence. The deceiving sense of calm is shattered as Goodair descends into visceral screams and the entire rhythm drops into a searing melody, Lewis branding the track with his bassline, until everything changes up and chases pace to the MARTYRS SAINT speed we're accustomed to. It weaves between classic metal and post-hardcore for something that transcends time. The Divine Art Of War feels exactly like sprinting across the battlefield and screaming in the face of the enemy, guitar solos reaching stinging pitches that sound like falling bombs. The band attack the rhythms together, Lewis and Hurley flanking Hawkes' shattering drumbeats with their fired up riffs and hooks, as Goodair leads the charge with screams of “motherfucker”, the feel of the track shifting between prog-metal reminiscent of METALLICA and elements of post-hardcore that tear at you with sharp teeth. MARTYRS SAINT bite with full force and dare you to get free from their electrifying sound. Score: 8/10 From Strength To Strength will be released on 3rd July 2026 via Imperative PR. Words: Julia Stark Photos: Martyrs Saint