Two years in the making but with an incredible 30 years of seasoned talent behind it, Sacramento band FOREIGN FILM have cultivated their debut record A Love Letter, incorporating hints of their hardcore roots with their more prevalent shoegaze influences, all melded together into a sound individual from anything they’ve tried before. The original creation of WILL HAVEN’s Jeff Irwin, through his early stages of exploring sound he gradually brought over other members of WILL HAVEN and recruited other renowned musicians from varying genres, forming a supergroup from different musical backdrops but all united in their efforts to create something stirring and innovative, 10 tracks of cinematic, moving rhythms and weighted vocals that harmonise throughout. A Love Letter is an album that will leave you unsure how to feel, with the urge to put a name to the emotion by repeatedly listening to it. Starting track Aprile almost feels like the dawn of a new day, apt for the formation of FOREIGN FILM, building from languid guitar plucks, steady drums, and Irwin’s voice floating in the ether to a collide of instruments in a cinematic melody, the triple team of guitarists - Irwin, Sean Bivins, and Rylan Kerr - weaving between each others tones to harmonise. Kwen leads in with thunderously low bass from Adrien Contreras, building up in atmosphere and instrumental power as Irwin sings “my heart it bleeds tonight”, backing vocalist Tami Taracena’s ethereal chants adding gravitas to the track. Wish takes a darker turn into a blend of more gothic and grunge rock, the instruments contradicting each other on the final chorus as hopeful notes war against the downcast guitars. Santa Carla builds in with synths and guitar riffs as Irwin sings sorrowfully “is this the end?”, the instruments crashing in together over Mitch Wheeler’s steady drums, the energy rising as Taracena’s vocal runs hover over them all, until it falls away to Robin Florkin’s sombre piano accompaniment. Sol keeps us on the solemn track with a rock-infused melody and hopelessly hopeful synths breaking through to echo the emotional lyrics that break for a piano riff, before distorted guitar riffs play across the space and warn of an impending breakdown. Somnolence launches straight in with Wheeler’s booming kick-drum beats and bleak guitar and riffs brewing in the back, Irwin and Taracena harmonise with clear vocals, the rhythm suddenly falling to crunchy synths and driving back in with dramatic rock. Crunchy amp feedback that’s reminiscent of fireworks leads us into Terrace’s slowed and grunge heavy rhythms, pausing for a melancholy piano and synth segment as Irwin sings at such a low octave it’s a near-whisper, an abrupt blare of metal-inspired rhythms shattering the brief quiet. Black Sky maintains the reverberating rock elements, but feels different to the rest of the tracks with a more promising tone and major chords, in contrast with the lyrics “it’s time to say goodbye” that fade from clear vocals to a faint backdrop before the triple guitars dance around each other again as the message changes to “until we meet again”. The title track Love Letter combines minor and major notes into a haunting melody as Irwin sings of his “devotion” in an earnest way over unhurried drums and reverbed guitar, toeing the line between a true love letter or a missive of obsession depending how the melody makes you feel. Fading in gradually with spectral synths, we come to the end of this letter with Essen, a mournful piano piece joined by Taracena’s faint vocals over an undercurrent of jarring synths and beats that feel like distant thunderclaps, the piano rising slightly in emotional depth but never breaking out into a final crescendo, drawing this cinematic experience to a humble close. Score: 7/10 A Love Letter will be released on 12th June 2026. Words: Julia Stark Photos: Eric Rivera

GUILT TRIP have carved their name into the steely genre of hardcore metal and it’s not hard to see how they’ve built their fanbase and success, through tirelessly developing and polishing their sound to an endless string of tours and festival slots, as well as lifting up the local Manchester metal scene and supporting worthwhile causes. Formed from the Manchester, Northern, and Midlands scenes, GUILT TRIP have solidified their place at the top of an ever-expanding scene with the release of their tearing album Armour Of Angels, an explosive and euphoric sound that will captivate fans of ALPHA WOLF, BULLET FOR MY VALENTINE and DOOM soundtrack appreciators. From white-hot, searing guitar riffs and solos, to the relentless bass and battering drums, while the lyrics demand you get the fuck up now, Armour Of Angels is a culmination of their decade-long career to date, “We believe these songs embody our journey from the very beginning to now, everything we have experienced over the past decade translated into twelve tracks.” From a personal level, it symbolises their coming together as a complete unit and sculpting the sound they’re now synonymous with, the journey they’ve taken together as a band that can be shared with the fans who have seen them earn their achievements. From a musical appreciation view, it’s an album that scratches the hardcore itch in the brain, the instrumentals piercing through while the guttural screams speak to a cathartic fury caged within. From a gradual build of menacing bass and guitar and subtle cymbals that descends into a shouted “GO!”, One By One drives us headfirst into Armour Of Angels with slick guitar solos and ferocious rhythms and sets the sky-high expectations for the rest of the album - spoiler, it doesn’t just meet those expectations, it shatters them. Blood Atonement rips through, only slowing for the weighty breakdown before dropping into splintering guitar whammies, straying along the edge of intricacy without becoming too overwhelming. The track fades into Cut From God and its staccato intro before hitting the gas and reaching new speeds of harmonised guitar while singer Jay Valentine screams “come on, come on”, demanding your attention. Dirt’s muffled start of screams and instrumentals descends into scalding metalcore of sick guitar riffs and licks from Jak Maden and Lily Kilcoyne as Valentine’s layered screams and clean vocals echo “breaking your silence in two”, guttural ‘bleurghs’ landing throughout. Angel Eyes has guitar plucks that almost echo a warning siren over Liam McCarry’s unflinching double pedal, a prolonged roar overlaying the thunderous drums and bass. Veins starts deceptively slower with muffled clean vocals before the band attack the melody and your ears mercilessly, feeling like a battle cry in song-form. No Love Lost soft-launches with faded guitar and cymbals before crashing in full force with Valentine’s primal screams keeping pace over the instruments, Bradley Hall’s resounding bass slamming in tandem with McCarry’s purposefully discordant drum solo. Hall’s bass shapes Intermission, hitting ominous levels in contrast to the near melancholy guitar strings, a brief lull on the album but still powerfully resonant. Burn is as fired up as it sounds, with molten screams and drum pedal work that suddenly plunge into an unnerving quiet of instruments and Valentine’s growing whisper “burn inside the fire”. Suffer Me fades in with drum rolls and skin-tearing riffs , screams of “breathe in, breathe out, suffer me, you already know” undercut by guttural roars as the pace changes from a dramatic build-up to a rage-fuelled frenzy. Resurrected sees GUILT TRIP share the mic with seasoned vocalist Sonny Sandoval (P.O.D.) in a rapid-fire rhythm that has the tempered speed of a gatling gun, Valentine and Sandoval’s combined vocals delivering a renewed ferocity. We come to the end of this ‘battle at the gates of hell’ album with closer The Banner Of Heaven, the band’s final stand in this epic compilation, keeping the brutal energy and metalcore sounds to an all-time-high as they end triumphant. Score: 10/10 Armour Of Angels was released on 5th June 2026 via Roadrunner Records. Words: Julia Stark Photos: Guilt Trip

Since forming in 2018, Massachusetts band LOVEWELL have steadily dropped singles over the years as well as 2022 EP Around The Flowers, exploring a mix of genres and developing their signature sound. That sound has officially reached new heights on their debut album Everything You Ever Wanted, a collection that sees the four-piece blending their hardcore roots with alternative sounds and hypnotic vocals for an unexpected and entirely enjoyable sound. Focusing on grunge rhythms that switch from languid intros to rushing speeds, the vocals slow and dreamy over crackling, distorted guitar and heavy bass riffs, Everything You Ever Wanted feels like the space between BLUSH PUPPY’s alternating sounds and early FOO FIGHTERS’ gentler tracks, a space you wouldn’t expect but once heard it just feels right. This is a LOVEWELL that feels ready to take on the world. It’s not often you see the word Gloaming out in the wild, but the opening track encapsulates both the dreamy quality of dusk in singer and bassist Mark Palladino’s yearning vocals as he asks you to “meet [him] in the gloaming again”, and the inevitable dark of twilight in the brooding, grunge-like instruments and feedback-infused intro - it’s a song to play to the backdrop of evening stargazing. Make Me Whole picks up the pace with a racing drum beat from Jack Francis that cuts through Joe Bradshaw and Jacob McCabe’s fuzzed guitar chords, while the lyrics paint a heartbreaking portrait of someone who’s struggling to feel okay again. Go Again starts in the same vein of emo instrumentals of distorted riffs and crispy drums under lulling vocals, but it suddenly switches up midway to a frenzy of drums and giving the deceptive appearance that everything has ramped up. Less Than Forever is 90s grunge but in the modern area, giving a distinctively NIRVANA sound as Palladino sings about letting go of something that isn’t working and choosing not to live in the nostalgia but to accept the reality of the situation, a simple yet upbeat guitar solo breaking through the moody feel. With a shoegaze-esque guitar riff intro, Want To Bloom has a deceptive start that is quickly shattered as it goes from languid and expectant to surging forward with speed and slick riffs, the track a similar tale of taking the next steps in a journey of self-discovery and healing. Overflow is a standout track given that there are no vocals barring a recorded movie scene at the start - the track begins with a 60’s psychedelic rock guitar before becoming more of a shoegaze sound where it’s up to you to interpret the song. Prepare to blast this out of a car on a night time road trip just to feel something. In Your Corner starts to feel more like Palladino has done all the healing he needs and is trying to match the energy and speed of the instruments around him, the lyrics “let me down again” repeating over and over, a pulsing drum roll and power-driven riffs keeping time with the cadence of the track. Drear is slightly deceptive in its unhurried approach, before it changes tack to the beat changing up between repeated vocals, the riff repeating throughout the song until a final melancholy guitar piece echoes in the background, before descending into scuzzy chords under muffled calls of “you’re so close, you’re almost there”. Final track of the album Untrue stays consistent in the album’s sound, beginning slow and then charging ahead as if there’s no time to waste, suddenly dropping back down in speed to give space for Palladino to sing “we’ll try to bring you back to life”, slowing back down for the third and final act with the apt words “take your time”, fading out to feedback that mirrors and opposes the album’s introduction. Everything You Ever Wanted stays consistent in its sound and gradually the expectation to not expect the norm, blending 90s grunge with shoegaze and an undertone of punk beats on the faster segments. It won’t sit comfortably in any one certain genre camp, but it’s created a place for itself to be appreciated. Score: 7/10 Everything You Ever Wanted will be released on 12th June 2026 via Financial Records/Another Year Collective. Words: Julia Stark Photos: Lovewell

From the very beginning, SLEEPING WITH SIRENS have built their music around connection. Their songs have always felt like a refuge for listeners navigating loneliness, frustration, heartbreak, and self-doubt. Whether through huge singalong choruses or cathartic post-hardcore breakdowns, the band have consistently created music that reminds people they are not alone. On An Ending In Itself, that sense of connection remains at the centre of everything they do. Produced by Will Yip, the album feels both like a culmination and a continuation. It carries forward the emotional themes explored on How It Feels To Be Lost and Complete Collapse, while simultaneously reconnecting with the spirit that first made so many people fall in love with SLEEPING WITH SIRENS. The result is an album that feels confident in its identity, embracing the band's past without becoming trapped by it. One of the album's greatest strengths is its balance. There is plenty of energy throughout the record, with catchy hooks and memorable choruses appearing at every turn, but there is also a clear emotional depth running beneath the surface. Kellin Quinn delivers one of his strongest vocal performances in recent memory, effortlessly moving between soaring melodies and more vulnerable moments. The album repeatedly finds ways to showcase the range and emotion in his voice without feeling forced or overly polished. Tracks such as Forever/Always tap directly into the emotional intensity of the band's earlier material. There are echoes of previous albums throughout the song, particularly in the way it balances explosive sections with softer, more reflective moments. However, it never feels like an attempt to recreate the past. Instead, it feels like a band revisiting the qualities that made them special while applying everything they have learned over the years. The production also deserves significant credit. Small details constantly elevate the songs, whether it is the shifting guitar work, layered vocal arrangements, or clever use of dynamics. God In My Head is a perfect example of this, using subtle production choices and emotionally charged lyrics to create one of the album's most memorable moments. Likewise, Need You Here demonstrates how effective the band can be when they allow songs to breathe, stripping arrangements back before building them back up with precision and purpose. Perhaps the album's most surprising moment arrives with Left On Repeat. It is unlike anything else on the record and arguably unlike anything else in the band's catalogue. From its unconventional opening to its stripped-back closing moments, the song constantly evolves while remaining remarkably cohesive. There is a lot happening throughout its runtime, yet it never feels overcrowded. Instead, it highlights just how versatile SLEEPING WITH SIRENS have become. Even after the track ends, it lingers in your mind long after the next song has already begun. Elsewhere, the album continues to showcase the band's ability to blend accessibility with emotional honesty. Songs are packed with hooks that feel destined for live performances, while the heavier elements are used purposefully rather than simply for impact. The balance between clean vocals, screams, and layered instrumentation gives the album a sense of movement that keeps it engaging from beginning to end. One of the most rewarding moments for long-time fans comes during Process, which references Who Are You Now from Let's Cheers To This through the lyric "Sometimes you gotta fall before you fly". It is a simple callback, but an effective one. Rather than feeling like fan service, it reinforces the album's themes of growth, reflection, and perseverance. It serves as a reminder of how far the band have come while acknowledging the journey that brought them here. The latter part of the album also demonstrates impressive pacing. The frantic energy of PTSD captures the overwhelming feeling suggested by its title, while Looking Back At Me offers a moment of reflection and calm. The contrast between the two tracks is striking and allows the emotional weight of both songs to land more effectively. What makes An Ending In Itself such a strong release is that it never feels like a band chasing trends or attempting to recapture former glory. Instead, it sounds like a band that understands exactly who they are. The album embraces the melodic, emotional, and energetic qualities that have defined SLEEPING WITH SIRENS for years while continuing to push forward creatively. For a band now well into their career, that is no small achievement. An Ending In Itself feels like both a celebration of everything SLEEPING WITH SIRENS have accomplished and a reminder that they still have plenty left to say. It is emotional, catchy, ambitious, and above all authentic. More than a decade after their breakthrough, the connection between the band and their audience remains as powerful as ever. Score: 9/10 An Ending In Itself will be released on 12th June 2026 via Rise Records. Words: Con Macadam Photos: Travis Shinn

Described by Tarja Turunen herself as the "heaviest record of her career", releases her tenth overall solo studio album Frisson Noir, first metal album since In The Raw back in 2019. Produced and mixed by veteran rock producer Neal Avron, known for his work with LINKIN PARK, FALL OUT BOY, and YOU ME AT SIX, helps to give the album a raw alternative rock bite within the symphonic metal landscape. This dynamic is immediate from the title track with a calming melody that gradually darkens and twists into the record's first heavy moment as the band comes in. Frisson Noir brilliantly toys with expectation with softer moments anchoring the start of the first verse before kicking up the intensity for the second verse, into the bridge and soaring chorus of operatic notes fans of Turunen expect. The first glimpse of Frisson Noir came in the form of the first single At Sea back in March 2026, a ten minute classical operatic masterclass of symphonic metal at its finest. Starting with the calm haunting opening of the beautiful piano notes of Niklas Pokki taking the listener on a journey, before starting to ramp up alongside the intricate violin notes by Mervi Myllyoja. This kicks on into full on storm crescendo with the orchestral sections of the track by BUDAPEST ART ORCHESTRA uniquely blended with heavy metal guitars and drums this genre is known for. A true testament to the crashing waves of emotions real human created music makes the listener feel. The album features many familiar faces from the metal and rock scene, making the album a collaborative effort featuring Dani Filth (CRADLE OF FILTH), Finnish band APOCALYPTICA and Chad Smith (drummer of RED HOT CHILLI PEPPERS) to name a few. A celebration of the human element of music, in a world of AI music that can be made in seconds, a core theme for this new album. One of these collaborations sees a welcome return with former NIGHTWISH bandmate Marko Hietala on the song Leap of Faith. Turunen and Hietala last reunited on his solo album Roses from the Deep for the song Left on Mars back in 2025. For Leap of Faith in essence is a deeply resonant piece that leans into their legendary vocal chemistry. Playing adroitly with tension and release, the song dips beautifully into an orchestral midsection that allows for the track’s emotions to breathe, with the last few minutes delivering an exquisite duet that gives the track its definitive show-stopping moment. One of the more intriguing tracks on the record is the latest single The Trace Outlives, which has a unique mix of heavy electric guitar riffs and an acoustic Japanese shamisen played by Soyo Komada. A shamisen is a three stringed instrument that gets plucked aggressively with a plectrum creating a distinctive soundscape. Neal Avron’s mix shines here, ensuring the acoustic notes are heard clearly over the guitars. If this wasn’t enough the song builds with a tight rhythmic cadence in Turunen’s verse delivery, before leading beautifully into her iconic soprano vocals in the chorus, amplifying the song to another level. From here the album pivots into a more softer emotional note with Tango featuring APOCALYPTICA, where the dark staccato notes of brooding cello alongside Turunen’s theatrical verses lead beautifully into a more upbeat chorus layered with iconic operatic vocals that soars with the music. After the bittersweet Anemoia which adds a more acoustic feel to the album with a sense of longing, this leads beautifully into the second released single I Don’t Care with Dani Filth sharing dual vocals. Throughout the track Turunen and Filth share the lead harmonising together, intertwining their unique vocal styles, ensuring each remains present rather than taking turns in separate verses. The song, while solid in its execution, feels slightly overshadowed given the high bar set by the other two singles At Sea and The Trace Outlives. Ultimately the grand finale Against the Odds featuring Chad Smith resurrects a track that was left unfinished until now, here the track shines as a beautiful moment with orchestral notes, the drums bringing it all together to the perfect close. The album Frisson Noir true to its title which translates to a “dark shiver” delivers exactly what Tarja set out to achieve. The way music is able to reach into the soul to send a shiver throughout the body, to not only hear it, but to feel it emotionally. The album, whilst heavy in its nature, has a deeply ethereal haunting atmosphere. By anchoring these musical arrangements in genuine raw collaboration and compelling lyricism that draws you deeper in, TARJA has crafted an album that proves music belongs to human creators. Score: 9/10 Frisson Noir will be released on 12th June 2026 via earMUSIC. Words: Amy Lynch Photos: Tim Tronckoe

When discussing the modern-day titans of Hardcore, TRAPPED UNDER ICE simply cannot be ignored. Exploding onto the Baltimore Hardcore scene in 2007, their influence over today’s scene is astronomic, and they are rightfully one of the most well-respected groups in hardcore, with bands like SPEED citing them as influences. TRAPPED UNDER ICE was originally founded by Sam Trapkin on guitar, Justice Tripp, who went on to later found ANGEL DU$T, on vocals, with Daniel Klipa on guitar, Eric Mach on bass and Ben Esparaza on drums in 2007 with their demo debuting in the same year. The band are massively influenced by the New York hardcore scene, with bands like HATEBREED, MERAUDER and BULLDOZE being listed as influences for them. Within a year of this debut, they had successfully been a part of the ‘10 for $10’ tour with POISON THE WELL headlining as well as a group of rotating bands including legends like MADBALL, TERROR and BANE and in September 2008, the first EP Stay Cold was released. Stay Cold is an explosive 9-minute project that cemented the sound that TRAPPED UNDER ICE have stuck with since the beginning. In this EP, you can hear the influence it has had on shaping the landscape of modern hardcore, and yet despite being a classic for most, it still sounds fresh to this day. This EP garnered attention from critics within the hardcore scene for its fresh take on hardcore, with an article from 2008 on ‘Punk News’ saying ‘Following up their promising 7" demo, Stay Cold finds the band refining their NYHC base to a fresher and more polished sound'. This EP set the perfect stage for their debut full-length album Secrets of the World, which was released in 2009. Following the departure of drummer Ben Esparaza, Daniel Klipa and Eric Mach in 2008 and 2009, the band recruited Jared Carman on bass, Brad Hyra on guitar and Brendon Yates on drums, who went on to co-found the vocalist for hardcore titans, TURNSTILE. The band embarked on tours with the likes of BANE and MADBALL, really reaffirming their place on the hardcore landscape at the time. With this lineup, TRAPPED UNDER ICE released the widely acclaimed album Big Kiss Goodnight in October 2011. The impact of this album can still be heard throughout the genre, and it set a precedent for a new era of hardcore. Big Kiss Goodnight brought a freshness to the scene and breathed new life into the genre. The album truly solidified itself into the catalogue of modern hardcore classics and cemented the band’s place in the upper echelons of the scene. With big choruses, riffs galore and unbridled vocal anger, the album's sonic landscape was layered yet polished with something for everyone. Despite some critics in the scene accusing the band of ‘going soft’, this album was a catalyst for TRAPPED UNDER ICE’s continued success. In 2013, TRAPPED UNDER ICE went on a two-year hiatus, not to be heard from again until 2015 when they were set to reunite for a headline slot at Back to School Jam festival. This marked the beginning of a new era for the band, and their third album Heatwave was announced for release in 2017. Heatwave feels like a masterclass in classic hardcore, with eleven tracks spread over only fourteen minutes of music. It is harsh and abrasive, yet groovy and complex and demonstrates real growth in technique, despite feeling like a return to the roots of the band. The whole band’s performance on this project is a masterpiece and is an absolute pleasure to listen to. Despite not releasing any music since Heatwave, other than features such as Too Late with PAIN OF TRUTH and See Ya Later with MISSING LINK, TRAPPED UNDER ICE are still an incredibly sought-after band. With a legacy like theirs, it comes as no surprise. The influence that TRAPPED UNDER ICE has had over the hardcore scene for the past fifteen years is absolutely undeniable. In recent years, the group have made a handful of select festival appearances. You can catch TRAPPED UNDER ICE at Outbreak in Manchester this June. Words: India-Turkan Akca

The room became one as a sea of two-hundred onlookers swayed back and forth in rhythmic timing to the hypnotic synth tune sphere of annihilation. Entranced by the sound, it was clear that this moment would be career defining for IVRI. The Theory of You Tour Pt. 2 marked the first time IVRI not only played in London, but embarked on an international tour. With the London show fully sold out, anticipation buzzed around the room in conversations between likeminded fans, many of whom had travelled long distances for this moment. The question lingered - would this performance live up to fan expectations? UK based indie-pop artist MARSKII was first to take to the stage. From the very first chord, she made the space her own, floating around like an alt-fairy. A gentle stream of people were still entering the venue, and the excitement of the night took the crowd a moment to settle, but once they did, they were invested. By the third song, MARSKII had more than warmed up the crowd with her track Just Like You. Voices belted back the lyrics as if it were a household classic. With lyrics exploring the all-too-familiar issue of body image struggles, it was powerful to see how MARSKII unified the room and injected energy into the crowd. Slowing down the pace with Twelve Years Old, the beautifully delicate finger plucking pattern repeating throughout swept a wave of nostalgia through the crowd. Wearing a mask of white face paint, MARSKII’s talent here was anything but hidden. Despite battling a cold, MARSKII pulled off a set that was authentic, clean and drew people in. Cheers and screams erupted from the crowd before headliner IVRI even took to the stage. The glowing green lights and atmospheric synth backing track filled the room as a soft-spoken introductory voice played over the speakers. Catapulting eager onlookers into another world, the stage was set. The crashing of the drums from the opening number, Erosion, really set the tempo for the night. It was impossible not to move, and what started out as calm swaying and head bopping quickly evolved into headbanging and occasional thrashing from the audience. The addition of a live band - Romello on drums, TK the Architect on guitar and Zachary Kirismae on bass, added depth to the set. Contrasting the delicacy of IVRI’s voice, her band were a full force of sound that maintained momentum throughout the show. Still, IVRI’s shoegaze roots shone through with every song, her vocals overlapping beautifully with the lo-fi beats, sharply transitioning into alternative rock. Clearly a master of genre blending, spoken word interludes were peppered throughout the night, keeping the performance fluid and anything other than static. These moments felt like diary confessions - raw, inviting and with a sprinkle of 90s nostalgia. Much to the delight of dedicated supporters, IVRI treated the room to two extra songs, Infinitesimal and telekinesis, at the special request of a fan. Although the vocals were momentarily faded by the intensity of the other instruments, the powerful but weightless delivery of the chorus vocals was a hypnotic pull into IVRI’s world. The interludes were chrysalises, wrapping the audience up in IVRI’s inner world of thought. Moving into her next song, slip & let go was an emo-rock butterfly breaking free. Her voice slipped from sweet, echoey and layered verses to powerful, controlled choruses. In a moment that brought IVRI herself to tears, fans were right there to support her through the vocals. As humble as she was grateful, IVRI took many opportunities to speak with the crowd: “Thank you for showing up for me” - she gushed to a cheering audience. Fuelled by the emotion of the previous track, IVRI launched into a cover of DEFTONES’ Be Quiet and Drive (Far Away), earning headbangs and cheers as she yet again showcased her shoegaze prowess. This powerful energy spanned the whole setlist, with eager crowd members screaming ‘five more songs’ as the band momentarily left the stage. Returning for just one more song, the show wrapped up with the crowd still on a high, many clearly eager for the night to continue. Energy lingered like stardust in the sky as fans waited, basking in the post-concert glow as the lights came up. Unearthly and divine, IVRI’s performance was from another world. With gen-z talent emerging and reviving the shoegaze genre, IVRI is a standout in blending alternate rock with dreamy sounds. She could have easily drawn in a crowd twice the size, who would have lapped up a set twice as long. For IVRI, this is only the beginning. Her magnetic presence and floaty vocals demand much larger stages in the near future. Words: Mary Horner Photos: Nicola Small

Here comes a sad one. The spectacular UK screamo trio ALGAE BLOOM are done. They’ve played their last show (this writer was at the second-last one), they’ve now released their last music, and can’t be long off shipping their final bits of merch off. So, in order to give them a little more of a send-off, it’s only right to show them a little love and cover the last music that the band will be putting out. Across just thirteen minutes and three tracks, …it lasts forever, and then it’s over does what screamo should at its best. Cutting deep to the soul with visceral and vulnerable shrieks, staccato-burst stabs of guitar cutting across explosive drums that all serve to compliment the whole, it’s a tour-de-force in why we’re absolutely gutted to be losing the band. When discussing this, the band stated that it is “a record in dialogue with all that we have created up until now”. Carrying on, they note that “these songs are a reflection on a decade of growth, change and turmoil both as individuals and as a band. They mean everything to us.” If that doesn’t sum up the weight of the emotion found within, nothing will. life in blight starts off the swan song in brilliant fashion, every heartfelt yell bringing up a lump in the throat without being even halfway into the EP. drowning numbers carries on the slightly higher intensity end of their sound, still pulling on heartstrings and dragging the listener into a flood of tears and emotions, before the final ALGAE BLOOM song ever can wrap proceedings up for the very last time. and yet, still… is about six minutes in length and grows from graceful, delicate beginnings into an abrasive and painful piece that feels like the only truly correct way for a band like this to leave us. It won’t take you long to listen to the entire release. Less than fifteen minutes of your time and you’ll be finished - as long as you’re happy to manage the almost inevitable blurry eyes and stifled sobs this will draw out. It’s a beautiful, deeply personal set of songs that can’t be described adequately with mere words. The group will live on in our hearts and minds and souls long after this, and have helped to foster a UK screamo scene that’s healthier than ever in their time together, so there’s a horde of new acts who will take the spirit of ALGAE BLOOM forward with them. But the scene will never quite be the same without them. RIP ALGAE BLOOM. You will be sorely and dearly missed. Score: 10/10 …it lasts forever, and then it’s over will be self released on 5th June 2026. Words: Jasmine Longhurst Photos: Algae Bloom

FUCKED UP are back with their new album Year Of The Monkey, the second chapter in the Grass Can Move Stones trilogy, which picks up where Year Of The Goat left off in December 2025. This marks the penultimate entry in their Zodiac album series, with nine parts coming before last year’s effort from as early as 2006, and one more left to come later this year - Year Of The Rooster, currently billed to release in October. The Grass Can Move Stones trilogy tells the story of Monkey and Good Goat, two young friends who embark on a journey of self-discovery whilst encountering gods, magical creatures, and dangers along the way. The tale loosely follows the narrative of the fundamental Journey To The West, written in the 16th century by Wu Cheng’en. It also acts as a very loosely semi-autobiographical story of the band themselves and their journey across, around, over and under the musical spectrum. Anchored vocally by Damian Abraham and Tuka Mohammed, on Year Of The Monkey the band is joined by a gargantuan selection of guest voices, all working in tandem to bring to life the supporting characters of Grass Can Move Stones. Amongst them are John Brannon (NEGATIVE APPROACH, LAUGHING HYENAS), Carson McHone (THE OUTFIT), Walter Schreifels (QUICKSAND, GORILLA BISCUITS, YOUTH OF TODAY), Dan Bejar (DESTROYER), Keith Morris (CIRCLE JERKS, OFF!), Jacob Bannon (CONVERGE), Brandon Welchez (CROCODILES), Chris Colohon (LEFT FOR DEAD, CURSED), Leigh Arthur (EXTRAVISION, SISSY), and Annie-Claude Deschênes (DUCHESS SAYS) reprising her role as Tiger from FUCKED UP’s 2012 release Year Of The Tiger. Now to the music itself. As suggested earlier, the Toronto punk band have careened their way across the musical gauntlet and engaged with more genres than you can shake a stick at - and this is exactly how this release comes across. There are as many influences and inspirations as you could ever imagine, with opener Looking For Heaven And Not Finding It sounding - at one point - like the searingly emotive black metal group AGRICULTURE, and at others like the riotous punk rock they’re more regularly known for, whilst still touching on folky sounds and acoustic moments of softness. To go any further into any one track risks dissecting to the point of killing the art form, as even the shortest here (track three, Monkey Meets The Dragon), is over 24 minutes in length. Track two of four, Before Us Tigers Stood, is a more synth-driven effort if it’s any one thing. Clocking in at the longest single track length on the release, 27:30, it’s a long piece but incredibly rewarding upon a full listen. This sentiment echoes across the whole LP, which covers four sides of vinyl comfortably. Taking up approximately 100 minutes of listening it’s certainly not a quick, train-on-the-way-to-work kind of album, but will unfurl itself to those willing to sit with it and engage fully. Finale Empty Is The Hand felt the most impressive overall, as a track that evolves from hardcore punk rock into expansive rock, then nearing ambience before diving into the most confining and claustrophobic sounds on the album, then working back to somewhat gothic rock and alternating the two, before of course a beautifully uplifting finish that caps off a tremendous, expansive, and quite frankly, simply, damn impressive effort from the Ontarians. It’s impossible to sum up a release like this easily, and in a not-ridiculously-long manner. But to attempt to, it is thrilling, it is gratifying and rewarding, and it’s truly a journey worth embarking upon. Taking the time to listen to this release is not for the fainthearted music fans who don’t regularly engage in even a routine album of half an hour, but for those happy to put in the legwork then that dedication will return tenfold. FUCKED UP have done so many things on this record, and amongst all that they’ve done here, they could never be accused of having fucked up. Score: 9/10 Year Of The Monkey will be released on 5th June 2026 via Hidden World / FU Records. Words: Jasmine Longhurst Photos: Lindsay Duncan

Two albums in the space of a few months? From one of the best bands to ever do it? Count us in. CONVERGE are icons, heroes in the world of uncompromisingly heavy music. Having already put out a contender for album of the year with Love Is Not Enough earlier this year, we’re now lucky enough to be treated to a double dose of the esteemed metalcore collective in Hum of Hurt, a more noise-inflected release rather than the metallic -core sound of the former. Right off the bat, we get a foaming-at-the-mouth Jacob Bannon losing his mind on Slip the Noose, a DILLINGER-esque angular, mathy noise track that already shows off the essential sonic differences between this album and the last. Doom in Bloom slows down slightly with a groovy intro riff that cuts off for a relatively sparse verse, and this less claustrophobic style continues for the majority of the track. Third on the release is It Only Gets Worse, which alternates between sounding rather like the frantic 2000’s CONVERGE we all adore, and the more groove-laden musicality of this specific release that - whether we hear more of it in future or not - is a sound the band have taken to admirably, mirroring super group BETTER LOVERS in many aspects. Detonator starts off as the most immediately obvious song in its differences from the conventional CONVERGE catalogue; its wider open channels and gruff semi-spoken word style vocals with a much less all-encompassing atmosphere lets the emotions found within bare themselves more cleanly, to potent effect. This one is for the CHAT PILE fans for certain, being only the unhinged Southern drawl of Raygun Busch’s vocals away from their next LP. I Won’t Let You and It’s Not Up to Us are back into the more aggressive side of things, before Dream Debris rips a six minute hole in your life that you’ll never want to get back. The final three tracks exist both as individual songs and as one larger piece. The way It Used to Matter flows into the title track, which gracefully evolves into closer Nothing is Over, makes for an astounding listen. Lasting a total of eleven minutes between the three, it’s a resounding statement that caps off a brilliant - and different - album from one of the best bands around. With moments of introspection and calm, segments of eerie, unsettling noise, and high-intensity scream-alongs, this is the best of everything we’ve heard condensed into a trio of fantastic songs that leave us on a real high. Hum of Hurt could have felt like the secondary album to Love Is Not Enough. With the two so close together, and plenty of the songs being written at the same time across the pair of LP’s, it’s only natural to have suspected there to be potential for similarity, and maybe for this to feel like the B-side to the previous. That could not be further from the truth. Marking a significant change from their most recent release before this one, not only does this stand up as an excellent release in and of itself, it’s also entirely free from the shadow of anything before as it so clearly shows off how good CONVERGE are at fluidly shifting sound to one we’ve not heard much of from them, and doing it so so well to boot. Named for the supposed ‘sound of pain’ that’s been catalogued the world over, Hum of Hurt recognises its namesake and lives up to the haunting premise in style. Score: 8/10 Hum of Hurt will be released on 5th June 2026 via Epitaph / Deathwish. Words: Jasmine Longhurst Photos: Nick Fancher

Progressive metal legends VOIVOD are unleashing a symphony of chaos with QUEBEC SYMPHONY ORCHESTRA on this latest live release. VOIVOD are musically dense and complex, but the addition of an orchestra will make listeners truly understand how layered their music can be. As a live album it will not create any new fans, but it can give a new level of appreciation to VOIVOD's songwriting craft. The band sound as heavy as ever with a new found cinematic energy which takes them close to symphonic bands such as MAGMA. They are one of the few prog metal bands that keep a foot wholly in metal and wholly in prog without diluting either genre. As a track listing it does feel like a best of the band, but they are not the definitive version of songs. They are great versions and worth owning for a fan, but they don’t replace the original. The sci-fi nature of the band shine through and the band manage to make a soundtrack to the best film that never existed. For a band that has been around for 42 years they still sound as genre breaking as ever. At points it feels surprising that this is a live release and not a studio outing as the orchestra and band become so in sync they create a cohesive punch of prog metal. The recording quality is clear and definitive which makes the live album a worthy asset in a fan’s collection without being pointless. Often orchestral gigs can feel gimmicky, and the orchestra feels out of place but the addition of an orchestra with VOIVOD only adds to the power of the band in a live setting. The band’s entire dedication to their sound shines through in everything they create, their sound is wholly their own. As this is a live release there is little to hide behind and the band are on full show. They do not compete with the quality and power of an orchestra, they instead hold their own. It feels a shame that the album is only 12 tracks long as it would be interesting to see how other tracks in the bands long discography would benefit from the treatment. It also feels a shame that there is not an accompanying video release to see the spectacle of sound being created. Orchestras audibly work as one unit of sound so without a visual element it does somewhat undervalue the sheer spectacle of having so many musicians working to play one song. Yet the band’s strong identity and powerful tracks does make the release retain the power of having so many musicians come together to create one unforgettable gig. The band still sound powerful and every single note helps to create the overwhelming atmosphere the band has become known for. The album can almost become sensory overload at certain points but by design, VOIVOD's songwriting is dense and chaotic in such a virtuosic nature. Fundamentally the band just know what they do well and they bring everything they can into this performance. It feels as if this live album helps to cement the band’s legacy as one of the most important prog metal bands to ever perform. The addition of an orchestra makes the band feel like a true titan of metal. They will forever seem as if they are a singular entity in the musical landscape and no one can copy what they can do. A band built upon a dedication to the craft release a new orchestral album to prove that they are truly titans. Score: 8/10 Symphonique will be released on 5th June 2026 via Century Media Records. Words: Will Freeman Photos: Stéphane Bourgeois

Anyone who isn’t familiar with LINKIN PARK, past and present, must be living under a rock. Titans of nu metal, they wrote some of the world’s most renowned and iconic heavy albums, Hybrid Theory and Meteora, after all. But this is by far not the only thing they’ve got to offer — with over two decades behind their back, they keep shapeshifting at every step. Finally reunited after Chester Bennington’s tragic death put life on hold for years, the band teaches us how grief and the legacy of the past can coexist with the joy we can still find in the present. Originally called XERO, the band was formed by Mike Shinoda and his school friends in Agoura Hills, CA. Releasing their first mixtapes produced in a bedroom studio, XERO’s first ever show back in 1997 was in support of none other than SYSTEM OF A DOWN. Chester was a late addition to the mix, first recruited as an outsider, but soon enough bonding very strongly with the group. The label soon even tried to force the singer to fire Shinoda from the band, to which he thankfully protested. Hybrid Theory was finally released as the millennium rolled around, and quite definitively split life for LINKIN PARK into before and after. With almost 5 million copies in the first year, it became the best-selling album of 2001. Such a rapid rise to world domination is hardly possible anymore, but back then, it was clear to everyone: this band is something special. With flyers put around by self-organised fans, the movement later grew into an official Linkin Park Underground club, still alive to this day. Even then, the band could not sit still for a moment, playing over 320 shows in one year, which included putting on their own festival-style tour called Projekt Revolution. Throughout the 00s, it had a massive couple of runs, inviting acts like KORN and MY CHEMICAL ROMANCE. Their sophomore album, Meteora (2003), was no less influential, similar in genre but with even more quirky infusions of different instruments and DJ techniques. From then on, LINKIN PARK just kept experimenting — and a tale as old as time — people kept judging them for it. Minutes to Midnight (2007) already invited plenty of criticism both for pushing the boundaries and straying away from nu metal, despite having some of their heaviest songs on it. Coming right after, A Thousand Suns (2010) was what truly divided the crowd. The album is largely electronic, infused with softer synths and long interludes. It also centres on more political topics, such as the disasters of nuclear warfare. Mike Shinoda addresses the criticism eloquently on one of the singles When They Come for Me: 'Stop talking, start tryna catch up motherfucker' — this line will be as relevant as ever with anything LINKIN PARK do. The band kept fluctuating between leaning more into their electronic (Living Things, 2012) or heavy sides (The Hunting Party, 2014) from then on. The latter even served as a brief return to their metal roots, although it was still unable to satisfy the older fans at that point. One More Light (2017) is the last album featuring Chester, released just two months before his passing. Even though genre-wise it might be as pop as it gets, it still keeps the true LINKIN PARK essence with the lyrics. Overall, no matter how much they experiment around the soundboard, it will always somehow make sense altogether as being LINKIN PARK. Of course, the legacy the group have left is immeasurable; even a regular person who doesn’t listen to heavy metal has probably heard and loved some of their songs. They have been cited as the biggest inspiration for so many artists that followed, including BRING ME THE HORIZON, EVANESCENCE, and PAPA ROACH, to name a few. One of the crucial elements here is the band’s openness about mental health issues, uniting so many people through their own struggles. LINKIN PARK, and Chester in particular, were one of the first to write about depression and addiction in such depth, not shying away even from the ugliest aspects. Even though we are far removed from the spirit of the 00s, with LINKIN PARK, it seems as if no matter how old they get, they will look and sound as youthful as ever before. Both completely unexpected and long-awaited, their comeback in late 2024 brought smiles not only to many of our faces but to the members themselves. At all of the shows since then, Mike Shinoda has been brimming with joy, seeing how they brought together the fans of different generations. Those who missed them dearly, those who never got a chance to experience LINKIN PARK live before, those who became fans just a couple days ago. It is impossible to forget Emily Armstrong, the fresh voice fronting the band along with Mike Shinoda. This turn of events attracted yet another wave of criticism, partly simply because of her gender, which is somehow still a point of contention. Still, LINKIN PARK continues to move forward, their decision to take a queer woman to represent the band proving to be an important step for a lot of the wider fan community. From Zero (2024) is the band’s most recent work, serving as both a reflection point and a new beginning. Its sound is a mixture of all the different versions of LINKIN PARK that were, encompassing both the heaviest and the lightest elements. Short but sweet, it takes you through their journey, blending in all the genres seamlessly, like they know how to. This album might be a perfect introduction for someone who is not familiar with the band but wants to get a quick taste before catching them at a festival this summer. Catch Linkin Park headlining Download this summer. Words: Mariia Bulkina