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For more than two decades, THE XCERTS have taken the music world by storm with their alternative music style that seems to stand out from the crowd. Their sixth album i want to go home now is one that proves that longevity of this Scottish born, Brighton based trio doesn’t mean that passion and talent has to be compromised or sacrificed. The opening song of the album is a short and haunting interlude that is full of emotion. Named after the album title, this emotionally fuelled song leaves lead singer Murray Macleod repeating the words i think i want to go home now in a fraught plea. No sooner has this song ended, does the album burst into do it to myself, that is packed full of energy and nostalgia with Tom Heron’s drums channelling through the song. The song almost feels fitting for an early noughties TV teen drama and feels akin to a song from a BIFFY CLYRO album with the energy levels that exude. wow comes in even harder with the nostalgia factor with a nod and feel that it could have almost been lifted from a previous album. With perfect blends of acoustics and harsh noise it gives the essence of FEEDER’s early work and a sound that screams summer fun. sinking feeling gives a more modern feel that feels like a slower break from the noise whilst still keeping up the momentum. There feels like an almost cinematic sense to the album with each track feeling like it would be fitting to be added to an angsty soundtrack. With themes running through consisting of life experiences and facing adversity, it’s clear to see how relatable this album can be to the masses. This is particularly apt in the song bury you which is arguably one of the best tracks of the album with the lyrics ‘all you do is give, give, give and you’re gonna break’ feeling poignant to the themes that lie within the album. The song feels punchy and punky from the get go yet leads into the softer rinse repeat. Giving us an almost ballad-like feel, this heart wrenching song truly feels like the perfect break in an otherwise high octane album. The second half of the album feels much like the first, packed with nostalgia, emotion, and everything in between. pretty ugly blends power vocals with incredible breakdowns whilst dream you in feels like it has stepped out of FEEDER’s Comfort in Sound album in the best way. A true testament to how a band like THE XCERTS can create a shoegaze style ballad for the ages. The last three songs end the album with a bang. Leaning into the vulnerabilities of the themes of the album breathe in what was leaving Macleod singing the lyrics "I’d give anything to feel anything at all" to unravel the layers of heartache and anguish to the listener. The album finishes with in your eyes, a song that feels like the perfect ending to this emotionally charged album. Starting soft and ending with a breakdown that juxtaposes the first half of the song to give a fitting ending. THE XCERTS have taken a while to get back to where they started and the album title feels fitting for the feel of the album. Wanting to get back to their roots and reconnect with what truly make them a brilliant band. This album is one that will last the test of time and is truly an alternative masterpiece. Score: 8/10 i think i want to go home now will be released on 10th July 2026 via FLG. Words: Laura Davies Photos: Sam Carter

“Compared to where we'd been, the alternative was to end the band, so we might as well just try this and see if we fall back in love with it.” Kitty A. Austen says this almost breezily, reminiscing on SAINT AGNES’ experience recording emotionally decimating album BLOODSUCKERS, an album borne from grief and turmoil that, at times, is still overwhelming for the band and vocalist Kitty in particular. Where it could have broken them down they instead made space for the grief to exist in a present but unobtrusive manner, the ongoing results being them healing as individuals and a unit and feeling able to create their boldest and most triumphant work to date, Your God Fearing Days Are About To Begin. “We went into the studio with the intention that we would go with whatever inspired us in the moment,” guitarist Jon James Tuffnell explains of their recording process. “Because we didn't know what we wanted to make, and we absolutely didn't feel the pressure in any way to have to sound like what we'd done before.” This candidness is a testament to how they moved forward as a band in letting go of a rigid recording process and choosing to enjoy their time in the studio, a time they intend to celebrate as friends when they're on a break from their support and festival slots. Going with the flow and taking it easy is unfamiliar for them, self-confessing to having “lofty ideas” they only trust themselves to see to fruition. “We are kind of control freaks in the sense that we have such a specific idea of how we think things should be. You've got to have a good working relationship with someone, normally you need time,” admits Tuffnell. “We do all of that ourselves. We come up with a concept, we book everything, we direct it, we edit the videos. We know we can't afford to do it in the conventional way of hiring a director and teams, so we just teach ourselves how to do it.” This DIY approach has seen them learn to play entirely new instruments in a bold approach to enhancing their sound and introducing methods that have been an ambition up to this point. “We just bought some synths secondhand and clone versions of synths,” Austen explains, “We bought them because I wanted to play and be inspired by something new. The childlike fun of taking a different path, really.” “I'll just know that we need something like that, and be like, ‘well I kind of know how to do that on a guitar, but I also know how it's gonna sound’, and I'd like to try and do it with something else,” Tuffnell adds. Austen sums up their new approach, “There's a lot of different genres in the record, and a lot of different ways of singing and playing, and I think that's because we were just feeling so light going into that record.” SAINT AGNES are no strangers to creating new elements to accompany their sound, their self-taught proficiency expanding past music into the technical and artistic industries. ““I like shows that don't necessarily have a constraint on them, using [lights] in a kind of artistic way to enhance the performance is really exciting,” says Tuffnell as they reminisce on their slot at Hellfest 2024 where they utilised screens they only found out hours before they had access to use, Tuffnell putting together a design in mere hours around soundchecks and load-in. “I think a graphic novel would be so perfect for our band of songs, I'd love to have a companion to the album, because there is a lot of vivid imagery and stories there that would really lend themselves to a dark graphic novel,” Austen considers, her visual creativity the main driving force behind the band’s lyrics. “The Beast I see at the start of the song is like a massive wolf, blocking out all of the light coming through, a terrifying, hulking monster. By the end I see it as a puppy, because the song is about letting grief in and making a friend of it. You don't have a choice, you're gonna have to carry it with you throughout life. So, learn how to live with it and hold it.” The Beast has certainly resonated with many fans who have interpreted the lyrics to mould around their personal experiences and help them heal, Austen being made aware of the song’s impact by the number of fans sharing their stories and thanking the band. “If that's the way you're hearing it. It's also about that music is universal, isn't it? I think the more honest the song is, the more it resonates with people. And that's always my goal now, is to just try and strip away layers of artifice, and try to be as honest and vulnerable as possible, because that really seems to make sense. It connects with people. Existing is lonely, so anything that can make people feel less alone is a really worthwhile endeavour.” It’s this honesty and vulnerability in their characters and music that has seen an influx of new fans come out to support them, not only to feel seen by the music but to connect with the band as they work through their grief together. As new listeners fall in love with their music, so too has SAINT AGNES fallen back in love. Your God Fearing Days Are About To Begin was released on 29th May 2026 via Spinefarm. Words: Julia Stark Photos: Jesse Rose With thanks to: Spinefarm and Saint Agnes

“I was trying to create a world of mine that was similar to those games that I love,” explained Braydon Hill, the creative force behind dark shoegaze project ZERUEL. Now that the long awaited Ruin;Rebirth has arrived, we sat down with Hill to talk about the road that led there. Going from delving into the difficulties of creating music as a side-project to the unexpected creative opportunities that came within the COVID-19 lockdowns, our conversation explored the making of this album and what it meant to take ZERUEL’s cinematic, game inspired sound to bigger stages on tour with metal icons like PORTRAYAL OF GUILT and DEAFHEAVEN. Musical career’s are rarely a linear path for even the most accomplished artists, and Hill's journey has been no exception. “I was more of an athlete,” Hill explained, admitting music didn’t become a serious pursuit until his teenage years. Even then, his early experiments were a far-cry from the dark, atmospheric sounds that define ZERUEL. “I was starting off with electric… I don’t wanna say EDM, but kind of hip-hop, electric-pop influenced kind of stuff,” he recalled. Shortly into this journey, it was another lifelong passion that began shaping Hill’s musical direction. “I’ve always done OST’s, because I was super inspired by Final Fantasy and the Souls games and that sort of stuff,” he explained. It was these cinematic, emotionally charged soundtracks that would go on to leave a lasting imprint on his music, with their influence now thoroughly interwoven into ZERUEL’s immersive sound. It wasn’t until the COVID-19 pandemic brought the world to a standstill that Hill decided to take music more seriously. With lockdowns keeping everyone indoors, he had the time and inspiration to pursue the creative ideas he had been mulling over. “When COVID came around, [artists] would be going live to make music and they’d be showing their setups,” he recalled. It was this that gave him the motivation to invest in a home studio, with the help of his dad. “I had to prove that I was serious and stuff, so I was doing stuff on GarageBand,” he joked. Our conversation turned to Ruin;Rebirth, ZERUEL’s long-awaited debut album and the successor to the project’s earlier EP, Awakening. Naturally, discussion shifted to the stark, black-and-white aesthetic of the project and where the inspiration for this came from. “I’m a huge soulsborne, and soulslike and metroidvania kind of gamer,” Hill detailed. Midway through writing the album, the release of Elden Ring: Shadow of the Erdtree reinforced this creative vision. “That sealed the deal,” he said, confirming the direction the project would ultimately take. When asked what song he was most excited for fans to hear, Hill pointed to And For An Angel Who’s Fallen. “It captures the whole album sound in one” he explained. “It has the clean, ethereal ghostly kind of vibe. Kinda like you’re just starting in one of those games. Then it has the kind of boss battle type of moment where it’s really heavy.” While he sees the track as the albums defining statement, its emotional core lies elsewhere. For Hill, the most meaningful song is A Feather Falling With Wind. Although the band had been performing this for months before its release, its themes of acceptance and grief make it particularly personal and poignant. More broadly, Hill wanted Ruin;Rebirth to be more hopeful than ZERUEL’s earlier work. “Wherever you are, whatever may have happened, it’s not the end, and you can always come back from it,” he said when discussing core messages of the album. It was one that was shaped by his own experiences writing it. Juggling two jobs and even briefly considering a career as a professional MMA or Muay Thai fighter, music became both a creative outlet and a welcome escape. Most importantly, though, “it was fun to make.” One of the challenges Hill faced while developing Ruin;Rebirth was stepping behind the microphone. While he’d spent time developing his clean singing, the album marked his first serious attempt at incorporating classic metal screams. “I started learning harsher vocals for this album, because I wanted to have those boss battle, heavier parts,” he said, once again drawing inspiration from the video games that have shaped ZERUEL’s identity. The real test came while on the road. Touring alongside DEAFHEAVEN and PORTRAYAL OF GUILT gave Hill the opportunity to put those newly acquired screams to the test night after night, while also taking advice from the frontmen of both bands. “I would ask questions specifically to George and Matt about vocals, because I’m kinda new to harsh vocals, and they helped out with that,” he mentioned. Hill couldn’t hide his excitement. “That tour is probably top three moments of my life, it was amazing. Everyone showed us so much love,” he said with a grin. The opportunity arrived in fitting fashion; “when I got the email, me and my band were actually at a rehearsal.” If the moment wasn’t surreal enough, he laughed, before continuing, “my drummer actually pulled up his shirt and he had a SUNBATHER shirt on.” Despite the tour being a highlight, Hill singles Damnation Festival 2025 as his favourite live music memory. “That was actually the biggest crowd we’d played for, but when we started it wasn’t that big of a crowd,” he recalled. “My drummer said there were people singing the words at that show,” he added, a moment that made the performance more special. Another standout came from Barcelona, where the venues lighting techs unexpected elevated the set, offering shifting and dynamic lighting that matched the band, despite a lack of setlist. “It gives us more aura, as they say,” he joked. From the beginning, Braydon Hill set out to create music inspired by the games he loves. With Ruin;Rebirth, the vision is alive and if this debut is anything to go by, ZERUEL’s journey is just beginning. Ruin;Rebirth was released on 19th June 2026 via Rise Records. Words: Chloe Sodeau Photos: Zeruel With thanks to: Good As Gold and Zeruel

Few bands have navigated the modern release cycle quite like THE PLOT IN YOU. Rather than unveiling a traditional full-length album in one moment, the band has spent the last few years gradually constructing The Volume Series across multiple EP releases, before finally bringing the material together as a single collection. With only one previously unheard track, Carved, accompanying recent singles Silence and You Get One, the release functions less as a conventional album and more as a definitive closing statement on one of the strongest creative periods of the band’s career. Viewed as a complete work, the decision makes considerable sense. While listeners who followed each EP as it arrived may find little in the way of surprises, The Volume Series highlights just how cohesive this era has been, despite each track retaining its own distinct identity. Across twelve tracks, THE PLOT IN YOU seamlessly moves between crushing metalcore, industrial textures, atmospheric electronics, and emotionally driven alt rock without sacrificing the identity that has earned them an increasingly devoted audience. That identity is anchored by vocalist Landon Tewers, whose versatility remains one of the band’s defining strengths. His clean performances carry remarkable vulnerability, often sounding as though they are on the verge of breaking apart, while his harsh vocals retain an unpredictable intensity that gives the heavier moments genuine weight. Rather than existing as separate tools, the two approaches constantly complement one another, creating emotional shifts that feel earned rather than formulaic. The opening trio immediately establishes the emotional and sonic scope of the record. Divide pairs towering riffs with haunting melodic layers and choral textures to explore themes of conflict and division, setting an ominous tone from the outset. Left Behind follows with one of the album’s most cathartic moments, transforming the pain of a toxic relationship into an empowering release, as its lyrical perspective gradually shifts from lingering resentment towards personal liberation. Forgotten delivers the collection’s most devastating blow, confronting addiction with striking honesty before erupting into a breakdown that has already become one of the band’s signature live moments. From there, The Volume Series refuses to settle into a predictable formula. Closure deliberately eases the intensity, placing emotional vocal delivery and polished melodies at the forefront without losing the sincerity that defines the heavier material. The respite proves short-lived, as Don’t Look Away immediately plunges back into abrasive territory, combining distorted instrumentation with one of the album’s most unsettling vocal performances to create an atmosphere of complete emotional exhaustion. The melodic side of THE PLOT IN YOU continues to receive significant attention throughout the record. All That I Can Give is among the most accessible entries, prioritising memorable songwriting over sheer heaviness. It may not leave the same lasting impression as some of its counterparts, but its restraint arguably prevents the album from becoming overwhelmed by constant attempts to escalate and shock the listener. Likewise, Been Here Before introduces lighter instrumentation and subtle pop-punk influences, demonstrating a willingness to broaden the band’s sound without abandoning their emotional core. That balance becomes one of the record’s greatest strengths. Pretend channels the same deeply personal songwriting that made Left Behind so impactful, leaning into soaring melodies and communal hooks that seem destined for festival crowds. Moments later, Spare Me reminds listeners that THE PLOT IN YOU remains capable of producing caustic heaviness, pairing aggressive riffs with bleak reflections on disillusionment, before closing with another punishing breakdown. The final stretch showcases perhaps the clearest representation of the band’s evolution. Silence begins with little more than acoustic guitar and vocals before gradually expanding into a dynamic piece, blending introspection with controlled aggression, and reflecting on themes of maturity and acceptance. By contrast, You Get One is deliberately disorientating. Glitching electronics, fragmented vocal effects, and sudden shifts between delicate melodies and violent outbursts create an uneasy listening experience. The song’s heavy use of religious imagery hangs over everything, adding to its atmosphere and perfectly complementing its existential examination of modern life and humanity’s tendency to lose sight of what truly matters. Closing track Carved offers the album’s only entirely new material and provides an appropriately reflective conclusion. Rather than directing blame outward, it explores personal accountability and regret, presenting an emotional perspective that feels refreshingly uncommon. While its melodic focus means it does not command attention quite as immediately as the album’s heavier highlights, it serves as a fitting epilogue to a body of work built on vulnerability as much as aggression. As a standalone release, The Volume Series presents an unusual proposition. Existing fans will already know almost every song, making the album feel less like a collection of new material and more like a celebration of everything THE PLOT IN YOU has built throughout this chapter of their career. Yet heard from beginning to end, the sequencing reveals a consistency that may have been less obvious when experienced in separate instalments. Perhaps most importantly, the collection demonstrates a band entirely comfortable embracing every facet of its identity. The crushing breakdowns remain as devastating as ever, but they are given equal weight alongside quieter, more melodic compositions. Rather than chasing expectations of what a modern metalcore band should sound like, THE PLOT IN YOU allows both sides of their songwriting to coexist naturally. In doing so, The Volume Series stands as not just the conclusion of a successful experiment in long-form storytelling, but also as compelling evidence that the band’s creative ascent shows no signs of slowing. Score: 8/10 The Volume Series will be released on 10th July 2026 via Fearless Records. Words: Zuzanna Pazola Photos: The Plot In You

“How did we get here?” These are the blistering first words and explosive energy on NO CURE’s latest frenzied album It Is Going To Get Dark, an album that boils over with insurrectionary meaning and fury laden through its rhythms as NO CURE examine the world we live in and practically scream “Is anyone else seeing this shit?”. While the recording process saw the four-piece withdraw to a remote cabin as their musical sanctuary, this calm remoteness instead fuelled the intensity in their sound and the shape of their album. It Is Going To Get Dark is a step away from their previous work, having always drawn from their internal feelings and experiences growing up in Birmingham, Alabama, translating their specific anecdotes into a sound that made their unique stories relatable for all listeners. This time, NO CURE look outward at the world around them, the hopelessness and righteous fury simmering across society, and spit back at the “very top of society” in a brazen album with meaty riffs and scathing lyrics delivered in rampant screams. NO CURE have maintained their reputation as a band that refuses to look away from the darker side, their latest work seeing them aiming the lens at those complicit and demanding retribution, while also exploring difficult themes of confronting past traumas and your best never being good enough. From the acidic opener When The Spasms Cease and its driving force of call-and-response heavy metal riffs and screams, an immediate marker that this album will get its grip on you and just tighten with each track, it shifts to Oblivion Crusade’s hardcore elements of squealing guitars and Duncan Newey’s relentless drums over layered screams of “good people don’t eat people”, something that shouldn’t need to be said, yet here we are. Brain Matter Displacement takes on a varied approach to its genres and tempo, racing along for the most part until it drops abruptly to a tempered pace of riffs and weighted pauses, building the anticipation for JAYWAY’s incendiary rapping before it falls back to vocalist Blaythe Steuer’s guttural screams. Barely letting up, we’re propelled into Slowly Turning Blue and its mounting pitch of Aesop Mongo and Kyle Ray’s howling guitars as Steuer addresses past trauma and recovery regression in despairing screams of “just like that it’s like I never left”. Ironclad sees a war of Steuer’s fry screams pitted against hardcore artist Tyler Short’s (INCLINATION) death growls on a backdrop of riffs dripping with venom, while Starved In Sanctuary (My Hands Are In Your Chest Cavity) unleashes a feverish riff, the rhythms changing regularly as a harmonious choir joins in the back before stripping back to an acoustic outro where the emotions fluctuate between yearning and near-nihilistic. Technical prowess comes into play on My World In Flames as additional guitar subtly shifts the menacing tone of the intro hook, rending screams of “sacrifice will never be enough” ripping through the frenetic beats as it pulls us into a staggering breakdown. Convulsing In the Dark is an immediate assault of slick riffs and drums that feel like a bodily impact, the lyrics exploring the sense that you have to have a purpose to “justify your existence” otherwise what’s the point in being alive. The onslaught continues into Sharpen The Blade as the album continues to hold itself as a hardcore heavyweight contender, Skyler Condor (CELL) adding muscle to the visceral track, before it blends seamlessly into the rampaging Purity Spiral, its screaming riffs and sharp beats in contrast to Steuer’s deep growls and Vincent Bennet’s (THE ACACIA STRAIN) excoriating lyrics. I Am Still Fucking Straight Edge speeds through like a bullet train, but 50 seconds is all the band needs to get across exactly who they are as people and how they won’t spare their morals for the comfort of others. Everything I Love Is Dead Or Dying is the final knockout strike on It Is Going To Get Dark, delivering a bombardment of hardcore energy and heavy metal elements over climactic screams. From the first words of the album “How did we get here?” to its skin-splitting, eardrum-rupturing ending, NO CURE gives us a light to follow through the darkest moments, the album a reminder to find purpose in life, to still fight for justice but also protect yourself in doing so. “If you listen to this, I hope you find some sort of resolution. It takes active effort and community for the world not to feel so dark.” say Steuer. Score: 9/10 It Is Going To Get Dark will be released on 10th July 2026 via SharpTone Records. Words: Julia Stark Photos: Nick Chance

Emerging from the unknown and compelling listeners to dance along, London based quartet MOUTH ULCERS are resurfacing the art of darkness in their EP, Silent Pictures. Reviving the sound and aesthetic of 1980s goth, MOUTH ULCERS have carved out a dedicated following with a series of singles that showcase their dark atmospheric sound. With recent live debuts, their success has been captured through sold-out shows across the UK and the Netherlands. Their debut EP, MOUTH ULCERS showcases their take on post punk: blending the genre's familiar grit with a distinctive sound that is unmistakably them. The seven track EP submerges listeners into a misty forest. A gloomy and melodic bass, played by Jamie-Lee Culver sets an atmospheric tone. David Zbirka’s unwavering drumming, punctuated with gradual outbursts, fuels the EP’s hypnotic momentum and irresistible urge to dance. The ominous vocals from Zac Watson and Josephine Rose contribute to the eerie atmosphere. Shimmering guitars highlight the dreamlike feel over the gloomy rhythms. The decision to open the EP with a track about perseverance proves to be a compelling one. Laying the groundwork for the resilience and determination that echo throughout the record, Prevail. Listeners are immersed into the misty gothic soundscape with hypnotic melodies that compels movement. The instrument bridge builds anticipation as listeners are told to “Prevail to the end”. There is a striking contrast between the infectious bass and the mental battles highlighted within the lyrics. There is no other way but to prevail. Western Horror Story introduces the layered vocals of Zac and Josephine. The themes of mental struggles continue as the repetition of “everything leads to nothing” and “I need to be free” emphasises the hopelessness within the narrator. Growing desperation is showcased through the gradual key change in the bridge. The title track, Silent Pictures, opens with a strong guitar melody before unleashing the rhythmic drums. After being consumed by despair, there is a turning point: time. There is an acceptance of the narrator's situation and a search for happiness which results in the lyrics “The silent pictures are fading away.” The track disintegrates into a cloud of distortion. With themes of lost love, Space features the repetition of two verses as Zac takes the lead. A layered and emotional soundscape is embedded as Josephine Rose mirrors the repetition. Opening with an intensely catchy riff opens the track Closer To You. Steady drums are reflective of the compelling and obsessive pulls of love. Due to their lack of self control, there’s a desire to impress their beloved that causes frustration. Satisfy allows the EP to mellow down and build back to the band’s chaos. A dreamlike atmosphere takes shape as the narrator drifts through a landscape suspended outside the flow of time. As drum tempos build, there is a growing desire to find a place where one belongs and be happy. A familiar feeling felt by misfits all around. Closing the EP with a track called The Perfect End is quite funny. The shimmering guitars paired with glimmering synths mocks the normalisation of suppressed feelings. Yet getting through the day can be framed as “the perfect day”. Closing with a pairing of shimmering synths and gentle humming, the track lingers into a calming yet ethereal atmosphere until chimes of church bells bring it to a definitive close. Silent Pictures distils the defying characteristics of modern goth music into a statement. Creating the opportunity to connect with fans through the EP’s danceability and lyrics, MOUTH ULCERS are proving to be a great underground band to indulge in. Score: 10/10 Silent Pictures will be released on 10th July 2026 via Lab Records. Words: Theviya R Karunaharan Photos: Jake Schneider

The world has woken up to Outbreak. Like it or not, at last year's London edition of the festival, we found ourselves in a place where TURNSTILE could headline the same weekend as CHARLI XCX. Now, she’s gone one step further in releasing her own “rock music”. We’re in a reality in which KNOCKED LOOSE could create a song with DENZEL CURRY, and Kim K is about to follow daughter NORTH WEST on a fourteen-date tour of her metal-tinged hyperpop across America. The same kind that Hayley Williams could create a four-track indie-grunge EP under the name POWER SNATCH, and - as of last week- the sleepy-sounding pandemic staple BEABADOOBEE has announced her new record, commandeered by TITLE FIGHT, PINEGROVE and DEFTONES. This is the vision. The festival’s hardcore mentality permeates at the sharpest edges of the music scene, evolving just as much as the artists it has furthered over the years. Open to intense genre-blending, curating to those that fit the moment, on one of the hottest weekends of the year, this northern hub of heavy provides an authentic music experience with a no-barrier sweatfest, following their transatlantic cousins in Furnace Fest and Sound And Fury. Outbreak has not just become a promoter, but a reason to mosh. It not only represents UK hardcore and heavy, but stands alongside a fantastic roster of independent promoters, grassroots venues and DIY organisations that all support the ethos of heavy music. On their 15th anniversary, Outbreak marks the occasion with the anthemic ooze of emo, shifting from the sentimental squeeze of Friday’s THE FRONT BOTTOMS’ headlining spot right into the festival's signature heavy staples on Sunday, including TRAPPED UNDER ICE and HATEBREED. Canadian post-hardcore veterans ALEXISONFIRE front the proceedings on Saturday on the main stage, followed by CONVERGE’s late-night masterclass in full-frontal brutality. Oh… and if that wasn’t enough for one weekend, KNOCKED LOOSE performed a one-off style show in a church at 2 AM. Here’s what we caught at Outbreak 2026. Words by: Spencer Cunningham (SC), Amber Brooks (AB), Andy Nile (AN) and Renee Bennett (RB) POOL KIDS POOL KIDS kicked off our weekend with a storm of energy, while the crowd was pouring in for the first set of the festival, they brought the people to life through their amazing riffs, catchy hooks and the sparking of stage dive fever. The band knows very well how to captivate a room. We’re no stranger to their infectious style as seen in our cover story, but now the likes of Outbreak Festival and its audience are well acquainted too. - SC Photo: Nat Wood LOVE RARELY For Leeds mathcore heavyweights LOVE RARELY, Pain Travels to Manchester for a last-minute show at Outbreak. The Friday crowd, wanting to feel this set in all of its emotional turmoil, opens up a compact but violent push pit, sending limbs flying across the Festival’s third stage. Admittedly, it’s a wildcard booking with the band’s prog-centric sound, but their deep-set ferocity and commitment to the Leeds heavy music scene make them one of the most formidable acts on the UK underground right now. Still, this set was fantastic, and for those leaving the pit at the end of their set, they take with them a dull ache that lingers across the rest of the weekend. - AB JOYCE MANOR JOYCE MANOR's set was the most energetic we saw at Outbreak all weekend, too many stage divers to catch and a pit that almost took up the whole front standing section, it was a balls-to-the-wall, sweaty mess. We loved every second of it. Be it the latest bangers from I Used To Go To This Bar or old classics like Constant Headache and Derailed, there was something for every fan who was lucky enough to be in that room. - SC Photo: Nat Wood KNOCKED LOOSE Since the release of their 2024 album, You Won’t Go Before You’re Supposed To, KNOCKED LOOSE has been using an LED cross in their shows. The cross not only mimics the one visible on the album cover but serves as a reminder of the religious themes that the band has been exploring in their music. As such, it was unsurprising to be greeted by an almost blinding (and blinking) cross upon the beginning of their set. Commenced by the pounding drums of Dylan Isaacs, it was clear that this show was going to be an extraordinary one. The applause from the audience echoed throughout the room as the rest of the hardcore dynamo walked out to Blinding Faith. Throughout the set, the crowd became more energised as vocalist Garris encouraged audience members to ‘make it special’, ‘get the fuck up’ and stage dive. As such, the stage was rarely neglected by stage divers who made use of these special circumstances and continuously flew into the mosh pits full of hardcore dancers. Audience members had much to shed throughout the night as the band (including Kevin Otten’s and Isaac Hale’s bass and guitar) screamed into a constantly moving crowd. The exit of the band after their set left something hanging in the air as the momentum was still felt throughout the room. This show has created hope for the future of the scene as the need for environments like this without barriers was clear. Outbreak has done something right by continuing to host unique events despite the growing size of their brand. A sense of freedom and the ability to fully go wild was created by this show in a way that is not typically experienced at festivals. We hope that Outbreak continues to host shows and festivals like this in the future and creates a bridge between large acts and events and the underground scene. - RB STATIC DRESS A guitarist takes the stage. The crowd is buzzing with anticipation. The opening notes of Safe In Your Skin begin to ring out above the Outbreak crowd, a massive push begins as people fight to get to the front standing area, the buzz has turned into a whirr of energy as Olli Appleyard takes the stage, greeting the crowd nonchalantly with "We are Guilt Trip!". The band jumps right into Nostalgia Kills an apt and frankly hilarious jab at those who actually believed TITLE FIGHT would have shown up. STATIC DRESS proves again that they’re a commanding force in the UK heavy music scene as well as one of the funniest. The initial energy may have come from delusional wishful thinkers, but it never died down while Leeds heavyweights were on stage. - SC Photo: Nat Wood BODYWEB BODYWEB are just heavy and wonderful, aren’t they? Their music is absolutely blistering, and this set was no different. Beautiful melodic vocals, intertwined with beguilingly heavy guitars and harsh screams that push the boundaries of the genre entirely. Another set filled with stage diving, but this time with an aggressive edge. Flailing limbs, hardcore dancing, pure emancipation. You just cannot pin BODYWEB down, and that is the best thing about them. All we know is they are heavy, they are one of the best in the north, and we can’t wait to see what they have happening next. - SC LIP CRITIC LIP CRITIC’s synth-heavy electropunk had Outbreak’s second stage bouncing on Saturday afternoon. A tricky feat considering they were competing for attention with SUNNBRELLA and TOUCHE AMORE, the latter drawing a huge crowd to the main stage. We wandered over, hoping they might scratch a similar itch to MACHINE GIRL, intrigued by rumours of the band featuring two drummers. What we experienced left us playing LIP CRITICS’ two stellar albums on repeat. Their sound (and their live show) felt completely unique: chaotic, infectious, and delightfully goofy in equal measure. The two drummers often seemed to be there as much for flair as practicality, but somehow it all clicked, adding another layer to one of the festival’s most memorable performances. - AN Photo: Anna Swiechowska I PROMISED THE WORLD I PROMISED THE WORLD really did do just all that. For their first time touring outside of the US, they stormed the second stage with their post-hardcore sensibilities, packing the crowd right up to the sound desk. Releasing their self-titled EP earlier this year, the band takes huge influence from the early 2000’s metalcore scene (a genre that deservedly needs its flowers, and it’s long-awaited revival). More was made of crowd-killing in the pit than on the stage, but they hit the perfect synergy of dome-on-dome action as their breakdowns slowed to a satisfying chug. Intense vocals and a real drive for creating carnage that sweetly leans into some shoegaze sensibilities. Yes, we’re impressed! - AB LOATHE Erik Bickerstaffe rings out the founding notes of the US national anthem - JIMI HENDRIX, Machine Gun style - as Liverpool heavyweights LOATHE take on the main stage slot. Two songs in, and the crowd has already had to be stopped for safety. The first rain of the weekend momentarily drenched the crowd in a cold catharsis, but Vocalist Kadeem France repeats himself, telling them that Outbreak is his favourite festival. We’re just over three weeks out from the release of their mythical follow-up record to I Let It In, And It Took Everything, titled A Stranger To You, and the Outbreak crowd is met by a band on the precipice of their next era, seemingly more comfortable and surprisingly cool considering the immense pressure that has been put on them by their fans to deliver. Still, new tracks Gifted Every Strength and Revenant bear the weight of their discography’s high standards, peppered in with favourites New Faces In The Dark and Is It Really You?. Time is still needed to get acquainted with the new tracks, and we’ve seen more explosive sets from the band at the BEC before. This was their biggest crowd, and this is their biggest moment. Next time, they’ll be headlining. - AB Photo: Liam Maxwell ALEXISONFIRE There is much to be said for full album playthroughs, hits of nostalgia and pangs of yesteryear, but this was another beast entirely. The privilege of seeing ALEXISONFIRE headline a stage at Outbreak with Crisis is one of those kismet moments that you just know was meant to be. From the stage diving madness, the onstage bravado and just how incredible these 20-year-olds ' songs still sound through big ass speakers, it feels nigh on impossible to properly communicate just how iconic this moment was for attendees. There were people of all ages moving, singing and holding one another throughout as it should be. There was such an instinctive reaction to this brotherhood unfolding on stage, playing these songs that hold such a special place for so many in attendance. The band's stage presence is unrivalled, both in what the kids today would call ‘aura’ and the sheer unity of these brothers. If you missed it, we truly feel for you. - SC CROWQUILL It’s an early start for CROWQUILL, writing the prelude to a no-holds-barred Sunday of intense brutality. As the second stage squirms with some of the most notable names in extreme music, including HATEBREED and SUICIDAL TENDENCIES, this Leeds metalcore quartet sets the mark with a damaging barrage of stage divers. Those who lay witness to their set also saw the true grit and determination of the Leeds hardcore community, championed by the dominating revolving roster of local bands that give Outbreak its unparalleled reputation. CROWQUILL made their debut with confidence, showering their setlist artillery in vocalist Liam’s bloodcurdling screams, right up until that overpowering final stage invasion. - AB Photo: Liam Maxwell DYNAMITE London Youth Crew legends DYNAMITE brought all the groove-laden, two-step-inducing energy you could hope for on Sunday, packing out the second stage with one of the weekend’s most infectious sets. Amid the chaos, frontman Alex took a moment to deliver a deeply poignant reflection on the loss of his and his wife’s pregnancy, before speaking about the joy of now raising their son. He dedicated the next song to him, creating one of Outbreak’s most heartfelt and memorable moments. The set also featured a parade of familiar faces, with guest vocal appearances from THE FLEX’s Sam Laycock and HIGH VIS’ Graham Sayle, to name just a couple. Even that, though, was eclipsed by Trapped Under Ice, whose seemingly endless stream of guest vocalists may well have set the record for the weekend. - AN FIDDLEHEAD We’ve never seen a guy so mad about a broken microphone stand. Frontman Pat Flynn doesn’t hold back on his hurt, stating he borrowed it from fellow bandmate and BASEMENT guitarist Alex Henery, but this teacher holds back on giving this rowdy crowd its schooling. As our main stage mosh moguls pile on stage to celebrate the recently-released FIDDLEHEAD EP, Baby I’ll Change, they are instead met with an intense love and adoration. It’s true - this hardcore supergroup loves playing in the UK, and they sound immense as they fill the outdoor stage with elated choruses filled with promise. This sound is a world away from 2018’s Springtime and Blind and their infamous Between The Richness record. Most of all, it’s been a joy to see the band come into their own. - AB HAYWIRE HAYWIRE are one of the biggest bands in hardcore right now, from their car park and underpass shows, to their songs with the likes of DROPKICK MURPHYS, the band has proven time and again their strict punk ethics on grand and small stages. Playing on the 2nd stage, HAYWIRE played what was probably the set of the weekend, endless energy, rigorous movement, a TITLE FIGHT cover and an insane amount of crowd involvement from gang chants to divers. HAYWIRE is Hardcore. - SC GLITTERER There’s a moment Ned Russin pauses to see the extent of the crowd. The room has never been this packed, and yet still more people keep flooding in to see GLITTERER. Celebrating their fourth full-length album, titled Erer, we witness the band at their most realised, alongside keyboardist Nicole Dao, the lineup is completed with drummer Robert Zeijlon and guitarist Colin Gorman. Started as a solo project, this record moves into a symphony of honest truths and an emotional frequency conveyed in lingering moments. It certainly connected with a crowd, going through the motions before BASEMENT shut the place down. - AB Photo: Liam Maxwell TRAPPED UNDER ICE For the first time during this swelteringly hot weekend, a cold breeze lingers ever so gently before TRAPPED UNDER ICE mark their place on the Sunday main stage. TUI rarely makes an appearance in the UK, with the last being at Outbreak 2023 (the very set that started Out Of Rage). With TURNSTILE’s Brendan Yates joining the band on drums, the band performed a mythical set punctuated with brashy vocal features from DYNAMITE and HAYWIRE. Bodies piled themselves high on the lower stage, reaching up to meet frontman Justice Tripp’s garisoned cries like a renaissance painting. If this was Glastonbury, TUI would have filled the legacy slot. A good proportion of modern hardcore is shaped by the Baltimore heavyweights, most of whom stood on the side of the stage watching the moment with eyes wide open. Good booking, Outbreak! - AB BASEMENT “BASEMENT are not a nostalgia band,” says vocalist Andrew Fisher. He was right - with the release of their latest record, Wired, earlier this year, their setlists have been spunkicked into a frenzy, aggravated by the bustling Outbreak crowds, who have spent the entire weekend trying to demolish each other. Long gone are the sets that punctuate the British mainstays' vibrant mark on the alternative scene with Covet, the algorithm-busting TikTok breakout that provided a new lease of life a decade after its release. For those at the BEC, an early play was a welcome surprise. The arms-wide scene stealer, complete with a fantastic sung chorus from the audience, sends late stragglers running to the front of the pit. The band know how special this set would be. Headlining Outbreak for the second time in two years, the band’s presence and prestige have doubled, putting them ever-so-sweetly up there with bands like TITLE FIGHT, as influences on the youth of today. With Wired, there is an aggressiveness to the set through tracks like Sever and Deadweight that cut cleanly through their early work between the past and the present. As their most experimental release yet, they filter through the motions, ending in an emotional lull towards the second half of the set with Broken by Design and Pine. Promise Everything came way too soon, but as a final track, it cemented their undying legacy to the shred. - AB

ROZEMARY have moved fast. Formed on the Wirral in 2023, the band went from unreleased local buzz to a widely praised debut EP, the lies they made me believe, in the space of about a year. They've picked up comparisons to LOATHE along the way, building a reputation as one of Merseyside's most exciting heavy exports. it's harder now to breathe arrives less than a year on from that debut, and the title alone hints at a band digging further into the tension that made their debut so compelling. bleed me dry punches you in the face from the opening bar, downtuned guitars chugging beneath a bone-shaking low end. It's riot grrrl refracted through metalcore, worn with a confidence that makes the fusion feel entirely ROZEMARY’s own. Izabel's harsh growls collapse into a clean chorus of real melodic tenderness, and the juxtaposition between the two is satisfying every time it recurs. The breakdown that follows is ridiculously infectious, all sharp edges and barely contained fury. It's a track that finds its beauty precisely in the anger rather than in spite of it. CALCINE's feature drops straight into a siren-like riff on anguish, all alarm and no warning. The tension it creates works entirely in the track's favour, bracing you for chaos before the pit's even opened. There's a sense of claustrophobia woven through the track that feels inspired by VEIN.FM, the anxiety of being boxed in and unable to breathe until it lets you. Once more, it's the contrast that lands the hardest, demon noises dissolving into a chorus pretty enough to pass for relief. Fuzzy distortion opens i won't change..., angelic vocals cutting briefly through before being dragged back into harsher territory. The whiplash is utterly visceral, mirroring the push and pull between vulnerability and aggression that the whole EP seems to be wrestling with. When the clean section breaks through, it arrives like a window thrown open mid-storm. There's an emotional heaviness to the mix reminiscent of LOATHE's own more devastating moments, threaded through with a shoegaze-inspired metalcore quality that sets the track apart from the rest of the EP. lost dives straight back into the demon noises, and it's welcome after the brief calm of the last track. Rapid-fire and melancholic, the track's clean sections play like a furious ballad, the anger never fully letting up even when the volume drops. Shay's drums do a lot of the damage here, burrowing under the skin in a way that's uncomfortable by design. By the time it ends, there's barely any time to catch your breath before the next track pulls it away again. i won't change... left a sentence hanging, and ...if i don't try answers it with a deeply emotive catharsis two tracks later. It's a soft acoustic track that has no business working as well as it does, the range on display across it's harder now to breathe genuinely astounding for it. Izabel's vocals here are gorgeous and vulnerable, pouring her heart out in a way that feels like intruding on a private moment. Few bands would risk something this stripped-back three tracks into an EP. Fewer still would land it this well. The EP ends on rock-inspired, softer ground with no flowers bloom. It's heartfelt in its own sincerity and full of feeling even when the harsh section eventually breaks through. The heavier sections throughout act as a counterweight to the dreaminess, giving the softer moments something to push against. Meanwhile, the chorus already sounds too big for the venues the band are currently playing. It ties in the push and pull together perfectly, the beauty found somewhere inside longing and anger that bleed me dry promised. It fades out slowly, asking you to sit in the quiet it leaves behind. Tenderness and brutality feel like two halves of the same nervous system here, each one sharpened by the other. it's harder now to breathe earns its title by the final track, and confirms ROZEMARY already know exactly what to do with the attention they've been building. With a slot at RADAR Festival confirmed at the end of this month, that attention is only going to grow. Catch them now, before the rooms get too full to get your foot in the door. Score: 9/10 it's harder now to breathe will be released on 8th July 2026. Words: Adrian Chapman Photos: Richard Mukuze

Debut releases often feel like introductions, but CUTSCENE arrive sounding like a band that already knows exactly what they want to achieve. A Piece Of Life blends the urgency of post-punk with thoughtful songwriting, creating an EP that feels just as interested in atmosphere and emotion as it does in heavy guitars and driving rhythms. While the band wear some familiar influences on their sleeve, they never rely on them, instead carving out a sound that feels distinctive through its use of dynamics and melody. One of the EP's biggest strengths is its pacing. Rather than maintaining the same level of intensity throughout, CUTSCENE understands when to pull songs back and let them breathe. Those quieter moments make the heavier sections hit even harder, giving the record a natural sense of movement that keeps every track engaging. Opening track Concrete Line immediately establishes that approach. The tense instrumentation creates an anxious atmosphere before giving way to a well-timed breakdown that provides a noticeable contrast. The transition feels natural, and despite the darker tone, the chorus is surprisingly memorable, making it one of the easiest songs on the EP to find yourself singing along to. That momentum continues with Shrine (Give Me A Chance), one of the catchiest moments on the record. Built around a strong rhythm and infectious melody, it's a song that immediately makes you want to move. Beneath that energy, however, there's a lingering sense of tension that reflects the themes running throughout the EP. It's an excellent example of how the band balances accessibility with emotional weight. The standout track is Steep Mornings. Its introduction grabs your attention almost instantly before gradually expanding into something far more ambitious than a standard post-punk track. At just under five minutes long, it allows the band to explore different textures and ideas without ever overstaying its welcome. The shifts in sound feel purposeful, and the longer runtime gives the song room to develop in a way that many modern rock songs rarely attempt. Elsewhere, Imperium highlights the band's musicianship. The movement between the instruments feels effortless, with subtle production choices and guitar effects adding depth to the track. Rather than relying on constant distortion, the song builds naturally, allowing every instrument to contribute to the atmosphere without overwhelming the mix. The title track, A Piece Of Life, closes the EP on its strongest note. A memorable riff immediately pulls you in before giving way to one of the record's most introspective moments. The dynamic shifts throughout the song allow the emotion behind the lyrics to come through naturally, while the band's ability to balance melody with intensity is at its most effective here. It feels reflective without losing any of the energy that defines the rest of the EP. Throughout the record, vocalist Seb Mason delivers performances that move comfortably between vulnerability and urgency. Alongside the instrumental work from Jack Ellis, Jacob Shotton, and Ollie Little, the songs feel carefully constructed rather than simply loud for the sake of it. Every shift in tempo or dynamic serves a purpose, helping the EP maintain its emotional impact from beginning to end. What makes A Piece Of Life such an impressive debut is that it never feels like a band trying to fit neatly into the current post-punk landscape. Instead, CUTSCENE focuses on writing memorable songs with genuine emotional depth, using strong melodies and thoughtful arrangements to separate themselves from many of their contemporaries. For a debut EP, A Piece Of Life feels remarkably confident. It showcases a band that already understands the importance of balance, combining powerful instrumentation with introspective songwriting and memorable hooks. If this release is any indication of what's to come, CUTSCENE has laid an impressive foundation for the future. Score: 7/10 A Piece Of Life will be released on 10th July 2026 via Heist or Hit. Words: Con Macadam Photos: Isabella Bull

It’s hard to fully understand how huge Scissor Sisters were during the 2000s. They were everywhere, yet they managed to reach the mainstream on their own terms, being openly queer and carving their own musical direction. Formed in New York in the year 2000, they existed at first in the vibrant cabaret scene. The core musical duo of the band is frontmanJake Shears and lead songwriter Scott Hoffman, AKA Babydaddy. Their music originally existed for Jake Shears to dance to on stage before becoming a more standard project. The band then added Ana Matronic to their lineup after performing at one of her club nights. Rounding out the original lineup was the addition of guitarist Del Marquis and the only heterosexual member, Paddy Boom, on drums. Their sound was a combination of everything the members loved: glam rock, pop, musical theatre, guitar-led music and dance. Yet it did not sound like anything that came before, but still felt oddly nostalgic. Scissor Sisters kept performing and writing songs, releasing their first single Electrobix. It isn’t one of the band’s most known songs, but included a cover of Comfortably Numb on it’s B side, which eventually became their first hit in 2004, reaching number 10 in the charts. Their next few singles from their debut album charted in the top 20, propelling their self-titled album to reach number 1 and be the biggest-selling album of 2004 and one of the best-selling albums of all time in the UK. Their level of success in the UK and Europe was never seen in their home country of America. Their next album Ta-Dah, featured their biggest song of all time, the dance floor filler ironically called I Don’t Feel Like Dancing co-written with Elton John. The success of the track and the album led the band to officially become arena-level, with the band playing a massive show at the O2, which was filmed and released. Their music became a mainstay of British media, with many TV shows using the band’s music in any way they could. The band had a place in the mainstream whilst singing songs about trans people, sex workers, gay bars and drugs. They remained unafraid to show the world who they are and gained an audience because of it. Their third album, Night Work, was another hit, but did not see the same level of singles success. The album took the band into a slightly darker direction and turned up some of the dance music influence with heavier synths. The crowning achievement of the album was the Italo disco-inspired track Invisible Light, which featured a spoken word section from Sir Ian McKellen. The band kept refining their song craft and pushed what their sound could be. The band’s last and currently final album is Magic Hour. The album contained their one hit in America and one of the band’s anthems, Let’s Have A Kiki, which has become a club classic. The album was almost purely dance music and had some of the least rock-forward songs the band has ever created, but still had that undeniable charm. Shortly after this release, the band played their last show in October 2012 before taking a 13-year hiatus. Every member of the band kept working on projects outside the band, with the most notable being Jake Shears performing in Kinky Boots on Broadway and Cabaret on the West End. After 13 long years away, the band toured again in 2025 with a revised lineup of Jake Shears, Babydaddy and Del Marquis, with Ana not currently returning due to other commitments. The band performed a UK arena tour with many positive reviews all around. The band also toured America as a special guest of Kesha. In 2026, the band have many open-air gigs and a few festival headline slots, which once again cements them as one of the most unusual and powerful pop acts to ever succeed in the UK. Catch Scissor Sisters at Boomtown this summer. Words: Will Freeman

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

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