After the last few years of non-stop touring, a changing lineup, and the devastating state of the world, no one should be surprised by DEATH LENS latest album release being a cathartic liberation for the Southern Californian 4-piece. A project that examines breakups, fascism in the US, and self-worth, What’s Left Now? is an album that epitomises the feeling of the world being against you, even yourself. Released through Epitaph Records on 24th April, What’s Left Now? is the culmination of everything the band has gone through and how they’ve levelled up, with the horizon of opportunity still ahead of them. Inspired by multiple alt, rock, and punk genres, each track holds a therapeutic significance, individually delivering a unique sound that showcases the full talent of DEATH LENS and how their line-up is entirely unified. What’s Left Now? doesn’t give you time to stop and sit with these feelings before barrelling onward with its post-punk urgency - it’s exactly how it feels to have everything pile up with no end in sight, the only reprieve in the form of frontman Bryan Torres’ punchy vocals and the biting instruments that thunder around him. Opening with distorted radio and a bachata-inspired intro, Monolith kicks off What’s Left Now? with heavy power and a spacey sound effect cutting through. Torres barely pauses for breath as he unleashes raw vocals and haunting high notes over Ernie Gutierrez and Jhon Reyes ominous guitar riffs and bass lines. Tony Rangel carries the beat from understated to a crispy, roaring rhythm, their sound rising in pitch and power. What’s Left Now? doesn’t let up with its frenetic energy and demanding, switching from Power’s alt-punk feel that’s wired from the off with layered heated vocals, to Out Of My Skin’s more tearing punk-rock rhythm, easing down for a breakdown of Gutierrez and Reyes’ effective guitar licks. Waiting to Know slows the pace with a cinematic echo and a vulnerable feel throughout, building to distorted guitar and weaving bass that gives way to MILITARIE GUN's featured powerhouse vocals. Blending straight into Drown, the mood changes to a more upbeat pitch and rhythm that’s reminiscent of FOO FIGHTERS, the instruments juxtaposing against the emotive lyrics of “I need some help” faintly in the background, Torres repeatedly calling out “I feel the same again and again…”, as Rangel’s drum rolls progress into a collective crash with the guitars, before Drown fades to feedback. Am I A Drug To You is one of the most vulnerable tracks on the album, a moving expression of going through a break up with simple notes and chords that evoke emotion at a lower, poignant octave, Torres singing “am I a joke to you?” as the instruments rise, his voice breaking over the dreamlike guitars. Fading in with sound effects, distorted drums and a low, rumbling bass, Saints In The Panic Room touches on a turbulent childhood progressing to a stressful adulthood, the bridge stripped back for a moment before the instruments slam back in in a growing crescendo. DEATH LENS flip back into a post-punk vibe with Off The Edge, reminiscent of many punk-rock bands at their peaks, with a deafening and fast-paced sound and frustration lacing the lyrics “I’m good on my own”. Sticking with the post-punk feel, Useless is as edgy as it gets, all the power lying in the crashing instruments while the vocals sound wearied by the emotion conveyed with the lyrics delivered in a hard-hitting and far too relatable way. After journeying through all other feelings, Last Call brings the final straw of rage felt after dealing with so much shit, the pace slowing and shifting to something different but still retaining the high energy and bite of this furious track. Pulling Teeth is as dangerous as its title, with a QUEENS OF THE STONE AGE vibe to its anthem-like rhythm throughout, pausing for an alarm sound effect before the beats and guitars synchronise over fired up lyrics. Closing out this cathartic journey for DEATH LENS, Debt Collector is one final blast of power with staccato singing and background yells over a rageful anthem, ending What’s Left Now? with a personal and political war cry. Score: 9/10 What's Left Now? will be released on 24th April 2026 via Epitaph Records. Words: Julia Stark Photos: Derek Pearlman

I Know A Place, the debut album from KROOKED TONGUE, feels like a record that understands its own identity from the start. It does not try to do too much, but it never feels limited. Instead, it focuses on strong songwriting, clear structure, and a balance between energy and restraint that keeps the album engaging the whole way through. There is a consistency to it that makes it easy to sit with, but also enough variation to stop it from blending into itself. For a debut, it feels assured. The band lean into what they do well, particularly when it comes to rhythm and melody, and build the album around that. A lot of these tracks feel like they are made with a live setting in mind. There is a sense of movement running through the record, even in its quieter moments, which gives it a kind of momentum that never fully drops. The title track, I Know A Place, sets that tone early on. It opens with a steady rhythm that gradually builds, layering in vocals in a way that makes it feel bigger without losing control. The backing vocals stand out here, adding depth without overcrowding the track. It works well as an introduction, not because it is the most dramatic moment on the album, but because it establishes the sound so clearly. It feels intentional and measured, which ends up being one of the album’s strengths. That sense of control carries into one of the album’s strongest moments, Dog Days. This is where everything feels like it fully clicks. The build is more noticeable, the chorus lands harder, and there is a real sense of release when it opens up. It has that singalong quality that feels natural rather than forced, and the lyrics give it something to hold onto beyond just the sound. It is the kind of track that feels like it will grow even more in a live setting, but it already holds its weight on the record. Another standout is Ember Mile, which brings a shift in tone that helps the album breathe. It feels lighter and more open, with a rhythm that leans more into something you can move to rather than something that pushes forward. That change does a lot for the pacing of the album. It breaks up the heavier sections without feeling out of place, showing that the band are comfortable stepping slightly outside their core sound while still keeping everything cohesive. Later on, Nothing Ever Grows stands out for a different reason. There is something more atmospheric about it, something that feels slightly bigger in scope. It carries a weight that builds gradually, rather than hitting all at once, and that makes it feel more immersive. It sits well within the album, but also feels like one of the tracks that could extend beyond it, particularly in a live environment where that atmosphere can be pushed further. What ties these moments together is the album’s sense of balance. KROOKED TONGUE never let one element take over completely. The more energetic tracks are offset by ones that pull things back, and the shifts in tone feel deliberate rather than abrupt. It gives the album a steady flow, where each track feels like part of a larger whole rather than something separate. Lyrically, the album stays grounded. It focuses on connection, uncertainty, and everyday experiences without overcomplicating them. There is a simplicity to the writing that works in its favour. It never feels like it is trying too hard to say something profound, but it still manages to be relatable. That balance between honesty and restraint carries through the whole record. The closing track, I Don’t Believe in Ghosts, shifts things in a more noticeable way. Stripping everything back to keys, vocals, and harmonies, it feels far more exposed than the rest of the album. The change in instrumentation is immediate, and it gives the track a different kind of emotional weight. It is quieter, more reflective, and it allows the album to end on a more personal note. It does not try to build into a final big moment, which makes it feel more genuine. I Know A Place works because it feels consistent and considered. It is not trying to reinvent anything, but it understands what makes its sound effective and sticks with it. The combination of strong rhythms, clear structure, and controlled dynamics gives it a sense of identity that is already fully formed. For a debut, that clarity stands out. It feels like the start of something, but not something uncertain. KROOKED TONGUE know what they are doing here, and that confidence carries the album from start to finish. Score: 9/10 I Know A Place will be released on 24th April 2026. Words: Con Macadam Photos: Krooked Tongue

Such a sad but wholesome EP: The Cloud of Unknowing by SEPULTURA. The Brazilian-American heavy metal band are on the road currently celebrating their 40th anniversary concluding late 2026, and have brought out a 4-track EP which serves as a sweet goodbye from their hard-earned legacy, from 16 records - 14 of which have gone gold. It is more than just a collection of songs, this EP plays out like a reflective journey, touching on themes of identity, conflict, and transformation while also delivering the intensity fans expect. All Souls Rising kicks off strong and bold, making an entrance that ensures SEPULTURA will not be forgotten! From the opening seconds, the track hits with unrelenting force as Derrick Green delivers one of his most ferocious vocal performances on the record, fully locked into the song’s aggressive pulse. The orchestral touches clash and merge with razor-sharp riffs, creating a dynamic tension, slight subtle nods to Schizophrenia-era chaos; if you’re a longtime fan, you’ll certainly notice it. Beyond The Dream represents one of the most defining and emotional highlights of SEPULTURA's era, capturing the essence of a legacy forged through decades of iconic albums, touring, and their dedication to music. "Believed in what we did and said, the future is not our end." These lyrics give such a warm feeling that, from where they started to now looking back on their final touring moments, makes you all teary eyed. It’s showing a new dimension of the band but just a little too late, fulfilling a long-held ambition to embrace the ballad format while staying true to their unmistakable heavy sound. Sacred Books is the shortest track on the EP but the experimentation is still happening because we get some piano taking centre stage with a jazzy vibe, while still holding down its metal weight. Andreas Kisser keeps the riffs dense and controlled, while Derrick Green delivers a solid, measured vocal performance. Though not a standout, the song works well as a transitional moment. The Place leaves us wanting more, while sobbing knowing it’s the end - however even though it’s the end, it doesn't stop them from taking it in a darker direction. Lyrically the song is reaching out about migrants searching for refuge and fresh start which is very heavy with how today’s world is. As we journey towards the end, we get your usual SEPULTURA vibes with the thrash metal roots. Sadly, the end is nigh. SEPULTURA's The Cloud of Unknowing stands as a fitting and multifaceted closing statement. Rather than simply revisiting past glories, the band chooses to evolve, blending their thrash roots with more atmospheric melodies and even cinematic elements. As a final chapter, this EP doesn’t just celebrate what SEPULTURA were, it reinforces what they have always been. Thank you for the good times. Score: 8/10 The Cloud of Unknowing will be released on 24th April 2026 via Nuclear Blast Records. Words: Ciara Hicks-Evans Photos: Sepultura

TWENTY ONE PILOTS, The Alternative two-piece band hailing from Columbus, Ohio, return to their much-loved London, England, to headline their own version of All Points East, called East Is Up. With such a huge show on the way that will be their last for an indefinite time, here is everything you need to know about the band before they rock your socks off. So what are they like? it’s honestly hard to describe the kind of music this band makes, an insane level of genre blending goes into their work but if you like anything from rock, pop, rap or alternative, they’ve definitely got something in store for you. Starting in 2009 originally as a three-piece, Tyler Joseph only ever had two careers he could choose, basketball or music; he decided to pursue music and after the other two members, Nick Thomas and Chris Salih left, Tyler decided to bring in close friend and fan of the band Josh Dun in 2011 and TWENTY ONE PILOTS as we know it today was born. These two gained some serious traction through their incredible live shows, utilising the spectacle of the songs to elevate their performance with wacky audience interaction and pure passion. Within 4 years and 3 albums, they became a Grammy award-winning band, with Stressed Out becoming a hit you couldn’t escape in 2015, skyrocketing them in popularity and taking their dedicated fan base to the next level. Everyone went feral for this band with a crazy obsession that was only more intoxicating as the band started bringing in a story to accompany their music. Which is going to be quite important to this final show, as many speculate it may be the final chapter of the story, like how The Clancy Tour in London had a fan theory confirmed for the second follow-up album Breach. It wasn’t apparent at first, only dropping hints, clues and some imagery in 2015’s Blurryface; The story truly began with the last music video they released for this album for the song Heavydirtysoul. In the video Tyler’s character, which we now know as Clancy, escapes from the villain of the story, Blurryface AKA Nico, through a fiery diversion (they blew up a car). After that, the image of a red eye began to close on their social media. Once closed, we had radio silence for over a year, greeted only by a yellow eye slowly opening. This is where the Trench era began, the new logo was revealed with a new single, Jumpsuit, continuing the story, with Clancy being chased by Nico and finding the Banditos, a group of rebels, opposing Nico and the Bishops of Dema, who have brainwashed the world into submission with their religious control of media. If you wanted an allegory for the politics of the music industry, you’ve got it here in this story. At the end of Jumpsuit, we see Clancy dragged back to Dema, trapped again until freed by the Banditos in the next video Nico And The Niners, before being taken back to Dema at the end of Levitate, if you couldn’t see a theme here, it’s a story of endless cycles and relapses, Nico represents that anxiety and depression that always creeps back to you. After some time inside Dema during Scaled And Icy, performing for the bishops and another escape, Torchbearer (Josh Dun) and Clancy, alongside the banditos, spend the album Clancy preparing for the final battle with the Bishops, where many fans speculated that the song Paladin Strait could not be the end to this story, a cliffhanger for the end? The fans wanted more. After lots of cryptic messages and changing imagery on tour, the fans knew that certain action would show the way to a double album, they predicted right and Breach was released with two more video for the story, The Contract taking place in Clancy’s head as he’s being subdued by Nico and the final piece of the story, City Walls which depicts the final fight; Clancy defeats Nico but then himself becomes a Bishop, so it’s up for interpretation whether he won or not, the Torchbearer leaves and moves on to continue the cycle. It’s anyone’s guess what’s going to happen at this final show of the story. Will more lore be revealed, or will we see one final send-off to these characters? All will be revealed at All Points East on the 30th of August. Words: Ben Blissett

The room was already busy before the first support act had even stepped out. There was a low buzz of anticipation, the kind that only really builds when a crowd knows what they are here for. Merch dotted the room, a clear sign that this was a loyal audience. In a space this intimate, that kind of devotion can feel exposing. It leaves nowhere to hide, for the crowd or the bands. WHERE OCEANS BURN took to the stage with confidence, even if things did not land perfectly straight away. They came in loud and clearly wanted movement from the crowd. At first, it felt like they were pushing for mosh pits that were not quite ready to happen. Still the energy grew. More people filtered in during their set and by the end there was a visible shift in engagement, with heads moving in unison. There were some technical issues that held them back. The microphone was often inaudible and at times it was difficult to fully catch what was going on. The lead vocalist also showed signs of strain as the set went on. Even so, there were moments that cut through. Inviting a friend on stage to share vocals brought a genuine warmth to the set. It felt unscripted in the best way. By the final stretch, they had won the room over. It was not flawless, but the intent and energy were there, even if the lighting and sound left things feeling slightly underwhelming. If the first act built momentum, TROPIC GOLD took it and ran. From the opening song, they had a grip on the crowd that did not let go. The connection felt immediate. The vocalist moved with purpose, locking eyes with people across the room and drawing them in rather than demanding attention. The difference in production was noticeable. Clean vocals sat comfortably in the mix and there were no obvious technical issues pulling focus. Even the slower moments held attention, which is often where a set can dip. Instead, they used those sections to showcase range. There was a clear effort to make every member visible. The drummer and guitarist were given space to shine, which added depth to the performance. A theatrical voiceover about angels threaded through parts of the set, lifting the overall presentation. It added a sense of scale that felt bigger than the room itself. One of the strongest moments came with This Is What It Feels Like, which stood out as a natural peak in the set. The lighting synced tightly with the music, and the pacing of the setlist felt considered. Crowd interaction hit another level too, with a loud call and response of “I fucking love that” echoing back from the audience. It felt like a band already operating at a headline level, even in a support slot. By the time ARCHERS were ready to take the stage, the room was fully locked in. Their entrance was anything but subtle. An unexpected interlude featuring the EastEnders theme played out, setting a strange but oddly effective tone. The crowd leaned into it, singing along before the band had even appeared. It bled straight into an intro that caught people off guard in the best way. Once they were on, the excitement was immediate. The vocals were sharp and clear, cutting cleanly through the room. It did not take long for the first mosh pit to open. From there, the energy rarely dipped. Interaction with the crowd felt natural. At one point, the question “you can sing, you can move, but can you jump?” sparked another surge of movement before the next track kicked in. There was a clear awareness of the audience too. When a new song was introduced, it came with a nod to fans already singing along, a small moment that reinforced how engaged this crowd was. The lighting stayed relatively simple, but it worked in their favour. It kept the focus on the band rather than distracting from them. Short interludes between songs kept things flowing while they reset, and these moments were timed well enough that the energy never stalled. The setlist balanced calmer tracks with heavier moments, giving the room space to breathe before pulling them straight back in. Vocally, the performance stayed strong throughout, though it was the bassist who consistently drew attention. Between fluid stage movement and deep, cutting screams, they added a layer that elevated the whole set. Older material seemed to land harder, with tracks like Better Off getting a stronger reaction than newer cuts. That said, the variety worked. When Never Enough hit, a circle pit opened almost instantly. Composure followed, keeping the pace high, while small moments in the crowd stood out, like two fans bouncing together for most of the set, carrying their own pocket of energy. By the time Bitter closed things out, there was no doubt left. ARCHERS knew exactly how to handle a room like this. It was tight, energetic, and confident without feeling forced. In a night that started with potential and built steadily, they delivered the finish it needed. Words and photos: Lauren Wenham

There's something fitting about SKINDRED choosing Banquet Records in Kingston as the launchpad for their new album, treating the sleepy suburb to two shows on the day before they release their newest album, You Got This. The beloved independent record store and events promoter has long been a cornerstone of the south west London live music scene and tonight, the night before You Got This hits shelves, they've packed the room to the rafters. It's also their second show of the day, following an acoustic set at The Fighting Cocks earlier. Two hours after their set at The Fighting Cocks, SKINDRED didn’t want to rest just yet. No, they wanted to go bigger and harder alongside a packed Circuit. They arrive to the Imperial March from Star Wars, each member of the band taking the stage in turn as the room builds to fever pitch, people chanting the band’s name before they’ve even appeared. When Benji Webbe takes to the stage, he's wearing a white jacket with tassels, bedazzled and bearing the colours of his home flag, telling everyone present that he’s here and ready to make a statement and get people to mosh. This is the Sound opens the set proper, followed by Set Fazers and Rat Race, and by the third song, it's already clear that this crowd has come to give everything. Radio 01633 / Jump / Jump Around feels like a mod podge of genres and sounds, perfectly encapsulating SKINDRED’s cult following. A SNOOP DOGG sample gets the whole room chanting along; the iconic Jet2 holidays jingle gets an electronica remix; Last Resort by PAPA ROACH resurfaces as a dubstep mash-up that probably shouldn't work but absolutely does. "I say Skin, you say Dred" rings around the venue. A circle pit opens up.Webbe calls it, grins at it, and calls it again. It’s clear that SKINDRED were more than ready to have a third concert on the spot. You Got This is the first of the new material, and the reception is immediate and overwhelming, as the crowd were chanting the title back in a back and forth with Webbe. It's a matured sound from a band who already had plenty to say for thirty years, showcasing Webbe's vocal range with real confidence. For a song that hadn't existed in most people's ears until tonight, it feels like it's been a SKINDRED staple for years. Kill The Power follows, hip-hop instrumentals for an intro before an immediate turn to metal that hits like a gear change you didn't see coming. "Kingston, you are amazing, thank you!" Webbe tells the room, and Kingston agrees. Can I Get A brings the most overtly dancehall moment of the evening, with swaying arms, a room singing in near-unison and the warm communal energy of a song built around togetherness. "I dedicate this to all you beautiful people," Webbe says. "Keep loving, keep fighting, keep breathing." It lands the way it's meant to, encapsulating the themes and messaging behind their newest album, You Got This. Nobody follows with a brass intro that builds through Tommy Gleeson’s bass and Arya Goggins' drums before the guitar comes crashing in, the TikTok-famous track closing out the main set as an evident crowd favourite, and for very good reason. The encore opens with the band just letting Boom play while the crowd sings along, which quickly segues into the song itself proper, letting Mikey Demus' guitar skills swing with a groove that makes the whole room move, and Webbe rapping with total command. Then War Pigs, sung along to in its entirety, before sliding into a dubstep remix that gets exactly the bewildered, delighted reaction it deserves. And finally Warning, at a pace that conveys every bit of urgency the title implies. By the breakdown, Webbe is holding up a blue sequined scarf alongside the crowd, shirts and scarves and other articles of clothing swinging overhead as the mosh pit opens up below. By the end of the set, Webbe is wearing a white tee with UNITY spray-painted across the back. Certainly, the unity was felt across the room and throughout the night, as everyone travelled to one south west London suburb to celebrate SKINDRED. The show ends with flowers thrown to the crowd, as "Skindred" chants faded into the kind of cheering that tells you a room has given everything it had. Two gigs in one day, a new album out the next day, and SKINDRED played it with all they got, maximising the time they could spend with their well earnt fanbase. Words and photos: Atoosa Salamat

The night felt bigger than a typical gig from the very start. Celebrating the release of their second album 25 Forever, CHROMA’s hometown show carried a sense of occasion, one rooted not just in a new release, but in identity. With a lineup made up entirely of Welsh acts with LADY GARDEN, BAMBEES, and CHROMA, it became something more: a showcase of the country's thriving music scene, and a reminder of the depth of talent coming out of it right now. LADY GARDEN opened the evening with the kind of confidence most new bands spend years chasing. Hailing from Cardiff, they may be the freshest name on the lineup, but you wouldn't know it from their performance. Having already headlined three sold-out shows thanks in part to a strong social media presence, but more importantly their undeniable musicianship, they're quickly cementing themselves as ones to watch. Their rise through iconic local venues like Fuel, Le Pub, and now Clwb Ifor Bach feels well-earned. Despite only having one released single, Funny, it already plays like a greatest hit. The crowd sang words back to them and a cheer erupted when it was introduced. The song is catchy, sassy, and a perfect snapshot of who the band are as a whole. If you're a fan of LAMBRINI GIRLS or PANIC SHACK, LADY GARDEN should already be on your radar. If LADY GARDEN warmed things up, BAMBEES had the whole place moving.They're the kind of band that thrives in small venues where energy matters. The five-piece band from Merthyr Tydfil delivered a set that was chaotic in the best possible way, raw, angry, and completely unfiltered. Their sound hit hard, but it was their presence that truly drove things forward. Heartbreak Kid emerged as a clear standout with an explosive chorus built around a single word "jump" , and that's exactly what the crowd did, moving in unison as the energy surged through the room. The response was instant and electric. Frontman Rhys Davies was at the centre of it all, relentless from start to finish. Rarely still for a second, his energy poured into the room and came right back at him. At one point, the band even split the crowd in half, creating a buzz of anticipation just before the floor detonated with even more energy, it was messy, loud, and alive, everything punk should be. Everyone was now ready and primed for CHROMA, people shuffled forward and the room filled, there was a clear sense of anticipation before they even stepped on stage. Emerging from the South Wales Valleys, CHROMA are a three-piece deeply embedded in the fabric of the Welsh music scene. From the cover art of their 2023 debut Ask For Angela being famously painted on a door in Le Pub, to appearing on major stages supporting the FOO FIGHTERS in Manchester and making an appearance at 2000 Trees Festival, their rise has been both grounded and expansive. Their second album, 25 Forever, marks a significant step forward, a coming-of-age record that captures the uncertainty and self-discovery of navigating your twenties with striking honesty. Their sound is built on real experiences, and nowhere was that more evident than in Coalminer's Granddaughter. As the first song written for the album it carried a striking emotional weight. Katie Hall's voice was full of passion, cutting through the room with clarity and conviction, all while Zac Mather's driving drums and Liam "Bev" Bevan's guitar worked together in an unstoppable, high-energy rhythm that powered the track from start to finish. Reflecting on the night, Katie described the whole experience as "all my dreams come true," and it felt genuinely earned. There was a sense of a band fully stepping into their moment. CHROMA didn't just close the night, they elevated it, leaving the crowd with the sense that they had witnessed something both personal and expansive, a band turning experience into something shared and unforgettable. It didn't just feel like a celebration of a new album, but a celebration of the band as a whole. Words and photos: Owain Morris

TURNSTILE are on a serious hot streak at the minute, opening the door to hardcore for a lot of people and propelling the genre into the public eye; This summer they take on All Points East sharing the stage with the ever so effervescent TYLER, THE CREATOR. Today we rank TURNSTILE’s EP and Albums to prepare for this evening of chaos. 7) MOVE THRU ME Starting off the list, we have the bands second EP released just after their second studio album Nonstop Feeling and just because it’s at the bottom of this list doesn’t mean it’s bad in any capacity, it’s just more of transitional EP, if anything it’s a 7 minute care package of TURNSTILE’s style and aggression at the time, featuring a song that was re-worked on their third album and 3 songs that feel like a quick fire round of how heavy hitting this band can be, if there was any doubt from anyone that these guys didn’t have an insane amount of energy, it was erased with this EP. We highly recommend this one for anyone wanting to tap into the band's older style, this is absolutely the way to go, with some bridges that definitely laid the path for the future stuff. 6) PRESSURE TO SUCCEED The first release from the band and frontman Brendan Yates’ first dive into vocals after drumming for the legendary TRAPPED UNDER ICE, the band really set an example of how underground Baltimore hardcore likes to tear it up, with some insanely tight riffs, bouncing bass-lines and some drum mixing that sounds so insanely tough; Sounding like a complete live recording with the echoey vocals, raw drums and crunchy guitars. This EP really begs to be heard live with every inch of its being being an inescapable black hole of ruthless fun, all you feel when listening to it is a sudden urge to stage dive into a sea of people below. 5) NONSTOP FEELING A special one for this publication, the origin of our name is within this album and what a string of bangers are inside this album; and honestly TURNSTILE’s last purely hardcore album, this one laid the groundwork for what was to come. The guitars are stripped back and simpler, but if anything it makes for a punchier and more gut punching sound, the drums followed suit with a lot of the tracks having a backing that again are slowed down but Daniel Fang is hitting twice as hard and really exercising his technical ability. The bands discipline with this album is really what stands out, holding back for the perfect amount to have basically every song a breakdown that leaves any heavy music fan unable to stand still. The album is perfectly named in this sense, it is a straight 27 mins of Nonstop Feeling and movement. 4) STEP TO RHYTHM The first studio album from these guys is one of their most vital and most influential, an unstoppable rocket that blasted onto the hardcore scene in 2013. From the opening riff, it lures you in, with an insatiable feeling of rage and a need to mosh pit. This album is simply iconic in how it still gets played by the band today, because without some of these songs it wouldn’t make it TURNSTILE show; the most recent tour showed us the power of opening two tracks as every night had fans erupting into a pit of pure carnage. This is the kind of first album where if a band says ‘this one’s for the old school fans’, you don’t roll your eyes, you lose all sense of calm and the music makes you go crazy. Hardcore at its finest, no remorse, just pure anger, sound and energy, the ultimate catharsis for any TURNSTILE fan. 3) NEVER ENOUGH The Grammy winner, the game changer, the best seller, the band truly hit the mainstream with this one, opening up the world of hardcore but perfectly blending, pop and alternative with hardcore. They took everything they had learned from the previous record and made it more atmospheric, more melodic and a truly brilliant album. TURNSTILE really rocked the world with this album and have been a dominating force ever since it dropped alongside the film to go with it, by far making it their more successful and recognisable. Although this album is fantastic, it can be a bit too long for the bands style, but it has possibly their best songs ever made on it, with fierce simplicity and infectious hook of BIRDS, the grand ambience and scope of songs like Light Design and the funky riffs of Seein’ Stars, this album has everything. 2) TIME AND SPACE Hope you like getting punched in the face, because this album is absolutely that, opening with one of the most hard hitting riffs the band has ever produced, Real Thing; apart from some intermissions containing some chill synths and samples, the album is relentless. It almost feels structured like how a show should be played, nonstop energy, nonstop passion for the genre of hardcore and a pure example of how outrageous their sound can be. The sheer speed and adrenaline of this album coupled with its eccentric use of other genres and samples really showed the bands depth and their love of all genres of music and this was absolutely the first album it became glaringly apparent. Some may call this TURNSTILE’s last good album, some may call it the beginning of something beautiful but there’s no denying how fantastic this album is. 1) GLOW ON There’s no other choice, their magnum opus, the leap of faith, the absolute slam dunk; TURNSTILE tried something new and redefined themselves to make one of the greatest post-hardcore albums ever created. The funky opening synths of Mystery set the tone of this album immediately, simple effective riffs, catchy vocals and an immense sense of positivity channeled through chaos and fun. You’d honestly be hard pressed to find a skip in this album, it is a genuine start to finish joy-ride that has something for anyone who has any ounce of love for guitars, drums and energy. For a lot of people this acts a gateway drug into post hardcore, easing you in as the album slowly infects you with its catchy songs, positive message and undeniable talent. We would be seriously shocked if TURNSTILE ever top this album as nothing comes close to the pure craft and skill put into Glow On, it is absolutely their best album and an instant classic. Words: Ben Blissett

On a night that joined two bands, one from each of Philadelphia and London, there was NOTHING to see at Hackney’s Moth Club. Supported by local band HITMEN for two nights - this being the second of the two - the American shoegaze icons took to the cosy confines of the East London venue to entertain and impress on equal measure. The gold glittered ceiling sparkled in anticipation as various punters grabbed a Red Stripe on tap as we waited for both bands to step on stage, and as the venue filled and the noise rose, we all took a step closer to the cramped stage to be at the forefront of the sound tsunami to come. Openers HITMEN had but half an hour with us, but their upbeat and energetic approach to shoegaze was somewhat reminiscent of MILITARIE GUN, and their setlist ran through both their 2024 EP Rock to Forget as well as both recent singles Early Riser and Three Drains. Even in that short time (and with a mild issue involving a bass guitar and its string) they presented themselves as a great live band who would be as much at home on small stages like the one in front of us as they would on a far grander one. A great start to the evening, and a fantastic introduction to a cracking local band. With only one band opening for them, it was a relatively short but sweet night for us with headliners NOTHING. The five piece are touring on the back of their recently released record a short history of decay, which showed on a night that had five songs off the record feature on the setlist. From opening the set with purple strings to playing the title track of the LP, we were treated to a healthy spread from across an excellent release, made all the better by the hefty volume and extra energy within the room. The lights were low, with the golden backdrop behind them rarely showing its true colours, but the simplicity and openness the band displays every time they play live always makes for an evening of earnest emotion and heart-on-sleeve feeling, from both audience and act. Of course, not everyone was getting caught in their feelings, with more than a couple of people headbanging along or jumping around to the higher energy portions of the event, but for a band as happy at Outbreak as they are anywhere else this is nothing new. Wrapping up with a song off the latest record, never come never morning, into an older fan favourite Eaten by Worms, the Philadelphians gave as good as we could’ve asked and finished with a flourish. Words: Jasmine Longhurst Photos: Herbert Barlow

Where others were sleeping off the bank holiday weekend, hundreds of fans decided to round it out at Dust, Brighton, by getting sweaty in the dance pit for MOUTH CULTURE, with support from OVERGROWN and CLUB BRAT. Having exploded onto the scene after supporting YOU ME AT SIX on their goodbye tour (we are not over it) and playing Slamdunk Festival in 2025, MOUTH CULTURE have been on an upward trajectory ever since. Performing at Takedown Festival 2026, selling out their Brighton tour show, and poised to take on the Avalanche stage at Download Festival 2026, word has spread from the growing fanbase’s mouths that this is the band to watch – wise words indeed. No one could have been prepared for opening act CLUB BRAT and their eclectic genre-blended sound. Opening their set in dramatic, statue-still poses to an alt-rock EDM intro, each musician utilised their set to display not only their musical prowess but their individual characters. From the bassist literally bending over backward to pluck a rattling bass line, the guitarists headbanging in their limited space while shifting from scratchy, distorted solos to harmonised riffs, and the drummer thumping out a consistently snappy beat with plenty of cowbell. CLUB BRAT’s singer maintained a stoic, intimidating presence, not letting tech issues get in the way of delivering noise-pop-punk singing across two microphones, heavy alt-rock screams, and sombre spoken word. Weaving through as many genres as possible in a funky, crashing sound that’s a little bit THE HIVES, CLUB BRAT close out again as motionless figures and let the music and lights fade them out. Scottish up-and-comers OVERGROWN switch up the pace and bring a confident sound and a genuinely humble attitude, repeatedly expressing their awe at the crowd numbers and energy in the room. They match this energy in spades, kicking off their set with a room shaking, prolonged bass riff, joined by the dual guitarist/vocalists in an emotive harmonisation. Their slow, intense lyrics juxtapose with the high toned riffs and the frantic drumming, moving fluidly from mournful sounds to rapid alt-rock tones and guttural screams. Calls for their “swayey song” entice the crowd closer, as they deliver an atmospheric sound that highlights the instruments and their individual skills, lying under clear-cut but devastating lyrics that plunge to the heart. They direct the crowd through moments to headbang and dance, advising “don’t pull a muscle though” – even if you’re unfamiliar with their music, OVERGROWN makes the effort to include everyone in their impressively polished sound. With a summer of tour support slots and festivals on the horizon, it won’t be long before the crowd need no direction. Within a minute the sold-out crowd have surged in to fill any lingering spaces, the stage lights dropping to a soft, orange back glow and we await MOUTH CULTURE, the band taking the scene by storm. One by one silhouettes take to the stage, distorted bass notes hyping up the vigorous audience until frontman Jack Voss bounced out with a “what the fuck is up Brighton – are you ready?”. Kicking straight into On and On, it’s not hard to see why they’ve been amassing their fanbase and accolades, as the audience screamed back their lyrics while Voss wheeled about with a delighted smile on his face, clasping the front row’s hands and repeatedly holding the mic out to the chants – this night isn’t just MOUTH CULTURE’s, it belongs to their devotees. With passionate screams and clean lyrics, the band performed as a tight-knit unit through their crowd-pleasing tracks, with the quality of a studio sound and the energy and sentiment of being connected to their fans for this packed crowd. Tod Groome’ captivated us with hauntingly high notes and jarring distorted guitar riffs in Dead in Love, coupling with Mason Clifford’s dark and intricate bass lines in Picking Wings Off a Butterfly, the pair commanding their stage space with headbangs and swaying, Clifford taking in the pulsing fans with clear admiration, while Groome looked utterly thrilled to be there. Touring drummer Max Nicolai didn’t hold back throughout the set, particularly on popular track Sharkbait, thrashing at his kit while Voss encouraged the crowd to open the pits up, a request they’re only too happy to oblige. Voss demands a cheer for each of his “best fucking mates” in a genuinely moving moment, before spraying the crowd with water as they propelled into a fully charged Cherry Red Rage. With fans literally swinging from the ceiling and mosh pits taking up almost the entire dancefloor, MOUTH CULTURE are already cementing themselves as a band guaranteed to bring chaotic, heartfelt excitement to their live shows. Words: Julia Stark Photos: Teala Lynas

For many of us, GOOD CHARLOTTE is one of the many cornerstones of early 2000’s pop-punk and our gateway drug into the genre. Now, in 2026, they are about to headline Slam Dunk Festival, playing a European exclusive show. Having formed in Maryland, USA all the way back in 1995, the band, built around twin brothers JOEL and BENJI MADDEN, accompanied by PAUL THOMAS and BILLY MARTIN, have been staples in the headphones of many since their inception. With a somewhat softer sound that some of their punk adjacent peers, GOOD CHARLOTTE have never shied away from singing about anti-conformity, frustration with wealth culture and family hardships, and have remained a consistent voice for the misfits and underdogs, many of whom adopted the spiky hair and studded belts the band were known to wear. Their music sits at the gateway intersection of pop punk, emo and alternative rock, where they mix emotionally charged choruses with radio-ready hooks, with lyrics delivered with heartfelt vulnerability. The band's first album, titled Good Charlotte, was released in 2000 and introduced the world to their melodic but scrappy sound. The release established their identity as the voice of kids who didn’t fit the mould, with tracks like The Motivation Proclamation and breakout single Little Things, setting the tone for their underdog identity. Arguably their best known release came just two years later. The Young and the Hopeless cemented their place in the pop punk scene, with the videos for breakthrough tracks The Anthem, Lifestyles of the Rich & Famous, and Girls & Boys gracing every rock music channel around and going multi‑platinum, despite Rolling Stone magazine giving the album a completely undeserved 2 out of 5. The follow up, The Chronicles of Life and Death, released in 2004 was a more ambitious, theatrical, and polarising album. JOEL MADDEN has said that the group faced "a lot of criticism from all sides" and felt out of place in both the pop scene and the pop-punk genre they had come from. This led to them internalising this whilst making the album, with the end result leading to contrasting tracks like The Chronicles of Life and Death, I Just Wanna Live and We Believe. The band released another diverse album, Good Morning Revival, in 2007, which turned out to be a sleek, dance‑rock‑infused reinvention of GOOD CHARLOTTE. With lead single The River, featuring AVENGED SEVENFOLD's lead singer M. SHADOWS and guitarist SYNYSTER GATES, the album was well received by fans, but critics were not so complimentary. However, with single tracks Keep Your Hands off My Girl and Dance Floor Anthem (I Don't Want to Be in Love) gracing the US Billboard Top 100 and the album going Platinum in Australia, they were to eat their words. Cardiology followed in 2010 with another flurry of fan favourites, like Last Night and Like It’s Her Birthday and the more vulnerable tracks Harlow’s Song and 1979. BENJI was quoted as saying of Cardiology; "It was really important, more emotionally than anything else at that time. That record was more for me and the band than it was for anybody else." After the release of Cardiology, the band announced a hiatus in 2011, but fans still got to hear from the MADDEN’s brothers, when they released a mix tape and full album, respectively. The band returned in 2016 with their comeback album Youth Authority; fan favorites include Makeshift Love, Life Changes and Keep Swingin', which featured KELLIN QUINN from SLEEPING WITH SIRENS. This album presented their more mature sound but was still packed full of underdog nostalgia, with a sense of reclaiming the scene they had stepped away from. Generation Rx was released in 2018 and to date, is probably the band's most raw, emotionally heavy record. The themes within the lyrics touch on addiction, trauma, and healing, in a short album which comes in at just over half an hour long. JOEL MADDEN’s vocals appeared more mature than heard previously, but compliments the themes of the album perfectly. After stepping back from the stage once again, GOOD CHARLOTTE returned in 2025 with their latest release, Motel Du Cap, which also marked the band's first album without their drummer DEAN BUTTERWORTH after his quiet departure from the band earlier that year. The album was a clear return to the band's roots with a more personal, reflective edge, with the concept built around an imaginary hotel, in a liminal, dreamlike space inspired by the band’s 2022 visit to the Hôtel du Cap‑Eden‑Roc in the south of France. Critics praised the release for feeling like you were experiencing every GOOD CHARLOTTE era, all at once, in just one album. GOOD CHARLOTTE are a band built on connection and this is heavily felt in their live shows. On stage, it feels less like a performance and more like a church congregation; fans singing the songs like hymns, with dedication and passion, and the band performing with a matching electric energy. Despite years of playing music, there’s a complete lack of arrogance and only an sincerity that reaches out. Their fanbase spans literal generations now; from their debut self titled album back in 2000, up to their return with Motel Du Cap in 2025. The crowd can always expect that perfect mix of nostalgia and evolution; with the classics like The Anthem, Lifestyles of the Rich & Famous and Hold On always making an appearance on the setlist, but you’ll also find deep cuts like Actual Pain, Last Nightctual Pain, Last Night and Wondering, showcasing the darker and more mature material they’ve released as they’ve grown. JOEL MADDEN often talks in between songs in a way that adds even more emotional weight, but without preaching, about mental health, the band’s sometimes difficult journey and the families they’ve now made. He is a born storyteller who wears his heart on his sleeve. Couple this with every member's ability to still be a tight, talented musician, even after years of touring, and you expect a polished but dynamic set ahead of you. From the very beginning, GOOD CHARLOTTE carved out a place in the pop punk scene for themselves to deliver their working class, underdog storytelling, in a way that has been increasingly commercially successful. With their legacy sitting on on the skate ramp alongside bands like BLINK‑182, SIMPLE PLAN, and SUM 41, they have outlived even the biggest of bands, and since their return in 2025, they show no sign of retiring any time soon. Catch Good Charlotte headlining Slam Dunk Festival this summer. Words: Lou Viner Flood

Florida’s quintet, WAGE WAR, are solidifying the fast approaching sweaty and humid summer season with their upcoming EP It Calls Me By Name. Their previous album, Manic, has seeped into the crevices of our minds with catchy lyrics and rhythmic tracks. An album that's created sleeper agents ready to scream along and spin kicks. WAGE WAR have solidified their position within metalcore since 2010 and constantly prove to listeners that their enhanced sound is a mutation of familiarity that deserves a spot in playlists. Bringing brutal screams paired with dense riffs, this is an EP that you’ll walk away from with a sore neck. Metalcore remains one of heavy music’s most contested entry points, often framed as both a gateway and a battleground for evolving tastes. It Calls Me By Name is a tightly curated five-track EP that highlights the genre’s evolution, weaving together elements that have defined metalcore across its past and present. The EP consists of layered bridges and pulsating breakdowns alongside heart wrenching ballads, highlighted on the middle track “BLINDFOLD”. The tracks are anchored by strong emotions and urgency displayed in the suffocating humidity of a swamp bound landscape. With the sounds of nature, the gentle croaks of frogs paired with the trickling rain, listeners aren't prepared for the lurking danger upon the horizon. The single Song of the Swamp introduces Briton Bond’s ferocious snarls, tapping into a sense of familiarity found on tracks loved by fans before. The track has already sunk its teeth into your shoulder, and there is a certainty in listening to the rest of the EP. The blood thirsty screams paired with the harsh drums create a perfect song to bounce into a mosh pit. 4x4 makes sure you've got hooks right down your spine with a gradual build and catchy chorus that you’ve memorised before the end of the track. The short track merges the genres that are craved by modern listeners: metalcore and nu-metal. The pairing of the drum work and melodic guitars allows the vocals to offer a chaotic yet contained environment for a live crowd to rage to. The harshness is dialled back with the soul crushing ballad, BLINDFOLD. With the strip-back, the track accentuates the vulnerability and cracking rage that lingers within Cody Quistad’s clean vocals. There is a projection within the chorus that allows the track to soar without losing any substance. Listeners are forced to reset and have their heartstrings pulled, which WAGE WAR have mastered. The EP swings back on its fourth track, Karma, celebrating the various elements of metalcore explored in the previous songs. The placement of the third and fourth tracks now feels purposeful, bringing a clearer sense of cohesion to the EP as a whole. As the track builds, its bridge channels a surge of rage, only to be undercut by rapid drum cymbals that ultimately diminish its impact. Closing the EP with the most atmospheric track, Purify drags you back by one leg through the murky mud water to the first track, Song of the Swamp. An eerie ambience crawls out of the track with darker tones that are slashed by high pitched cymbals that inject urgency. The monstrous screams build up to the breakdown, which features a sharp animalistic squeal. As the track ends, the landscape of the swamp resurfaces, compelling you into another playthrough. WAGE WAR isn’t trying to create something completely new but are proving their ability to refine the skills they had already mastered in previous metalcore projects. The five tracks are meticulously placed in their respective orders and allow you to dive from the surface of a swamp down to the gritty mud at the bottom. It Calls Me By Name is the clear mutation of metalcore that is swerving its way onto your playlist. Score: 8/10 It Calls Me By Name will be released on 17th April 2026 via Fearless Records. Words: Theviya R Karunaharan Photos: Wage War