Breaking down all expectations of how math and prog-rock should sound together without a single word spoken on the record, Bristol-born MAEBE have continued to meld a multitude of genres into the sound of their new album Brain Paint, a trove of meticulously produced and experimental tracks that can’t be boxed into one description. Recorded across Bristol’s Humm Studio and band founder and leader Mike Astley-Brown’s bedroom, Brain Paint sees their return to the multi-genre magic following their 2023 album Rebirth. Relive. Repeat., not only putting them on the map for math/prog-rock fans but garnering praise for their innovation and individuality by multiple music outlets, particularly for recreating their complex studio sound in live time flawlessly. Brain Paint not only sees MAEBE refreshed return but sees them build on their previous success and take their sound to further heights than ever before. Every note, beat, and instrument placement has been crafted precisely to create an experience unlike anything else, and it’s purely instruments - there are no vocals interrupting the intricate melodies, instead every track feels open to any and all interpretations and MAEBE are simply along on the trip with you as you rise with the cresting synths, consume the frenetic drive of the drums, and feel the force of the guitars as they war against rhythms and then sink into harmony. There’s no one way to enjoy this album and each listen will reveal more details in the composition. Title and opening track Brain Paint has chaotic energy from the off with rapid-fire guitar licks and feedback blending into a more cohesive sound, the breakdown dropping away to a false sense of calm before all three guitars fight for control of the rhythm before banding together in synchronisation. Switching to a more post-hardcore, dangerous intro, Do Not Take Risks throws in a guitar riff that’s so damn catchy the whole track could be at home in an epic story-building videogame, the rolling synths adding a touch of nostalgia and the whole track turning into a heart-lifting melody. Combining math-rock with post-hardcore shouldn’t work, but lower case song title achieves this impressive feat, the bass line running from dramatic to understated as guitar licks and solos leap in and out at precise moments. Sadstorm starts on a slower and (who could have guessed) slightly sadder note, the synths adding weight to the emotion, everything fading away to fuzzed echoes and a lone synth riff before gradually piecing back together in a hopeful melody that vibrates your blood cells. Ephemeral is the sort of song you have to lie down on the ground to truly appreciate it, both hopeful and hopeless and maintaining a recognisable rhythm throughout while the other instruments build in volume. A poignant almost grunge-rock welcomes you in on Young Lungs, practically the most “stripped back” track on the album, as it takes its time to build in momentum and heavy drums, the instruments suddenly stacking each other for a loud but emotive composition. Decidedly a math-core intro, Dripping Colour launches into a crispy drum roll before a guitar lick buzzes through, giving the song a feel of it being stuck in a past time you can’t quite pinpoint, the melody weaving from simplicity to complexity and feeding the nostalgia the whole time. God Wit kicks its way in with thundering, vibrating bass, snappy drums and a frenetic synth rhythm that’s echoed and elevated into something more on the guitars, bluntly dropping down into a shoegaze bridge for a moment only to punch back up again with high-pitched, fast-paced riffs and blistering drums. Echoing a tempo and genre change felt intermittently in the album, Downer has a grunge/shoegaze pace to it before introducing a simple bass line and contrasting guitar riffs that holds promise, a beat of silence before the song transforms into something intoxicating. Auroraborus is the type of song that plays when the failing protagonist begins to believe in themself, the melody somewhat slow but still as powerful as ever as synths crest to a feeling of certainty that you’ll triumph whatever it is in your life, everything coming together in a dramatic, crescending meld. Our journey comes to a bitter end with Who Do You Think You Aren’t as distant guitars echo, suddenly coming in shockingly close and wavering for a moment before the bass and drums absolutely thunder in, twisting into post-hardcore and feeling like a final battle tune. It’s an album that relies on the power of math and the skill of instruments, but listening through conjures your own lyrics and feelings and every turn will invoke a different experience and wave of emotion. It’s almost written like a film score that’s been designed to turn your life into a cinematic dreamscape you’ve been waiting for. Score: 9/10 Brain Paint will be released on 22nd May 2026 via Ripcord Records. Words: Julia Stark Photos: Olly Curtis

Humour is an extremely difficult thing to get right in metal. It almost feels as though extremely intricate performances shouldn’t go anywhere near comedy, you’d expect them to be completely at odds, otherwise you can quickly veer into self-parody. There’s two ways to avoid this that come to mind. The first is to use the songwriting and song structure itself as a vessel for the band’s sense of humour to come through. The other is to be Serj Tankian. For most people, the first option is the only viable one, and that’s what MUSTH do throughout this EP. Already having made something of a name for themselves over 23 years of performing together, the upcoming Jollysad is just the newest example of this approach from the Norwegian alt-metal genre blenders. One of the first things you hear on the opening track, Jollysad, is vocalist Alex Delver’s operatic performance over a cacophony of guitar noise, immediately followed by the first verse, which takes quiet-loud dynamics and twists them up a fair bit - this verse feels as though it’s part of a different song. Clean, hand-picked guitars, a tight rhythm, a much more relaxed vocal performance. It’s a jarring effect for sure, and it’s a good introduction into the eclecticism of this release from the get-go. Ending on a heavy, intense outro with a particularly odd time signature, it’s an outwardly, and vitally unashamedly, theatrical song. Second track Pixeldust spends about thirty seconds going between plucky guitar playing that wouldn’t feel out of place on a MR BUNGLE’s California, distorted riffs, more varied and wacky vocal performances from Alex Delver, immediately followed by a short, chilled out break that almost sounds drug-influenced, clearly intentional as Delver sings “I’ve had too much… and it’s gone straight to my head… Woo!” All this before going straight back into the main riff we’ll hear again throughout the song, surrounded by several more unexpected little moments. Despite every moment feeling completely unique here, it manages to keep some level of cohesion. It ends on what sounds like traditional Spanish-inspired guitar playing with the band cheering and hollering in the background. Delver ends the whole affair while the song fizzles out by saying “Thank you, music lovers”. Third track Disposable Income in the Hands of Teenagers might be the most essential cut here, despite being the shortest. The post-hardcore riff at the start is thrown out of the window immediately as they start playing what can only be described as the type of music you’d expect to hear in the background of a cartoon set on a tropical island, with some surf rock sensibilities thrown in there. Why this works within the song regardless is impossible to describe. “Oh, I’m living the fucking dream, I’ve got porn!” Delver screams halfway through the song as the song collapses in on itself over a thunderous performance. All before going back into the same surf rock riff as earlier! At a certain point you have to question what goes through the minds of the artists here, and more importantly, why more people haven’t had similar ideas before. In comparison, En Passant plays it a bit more straight. Less theatrics, just a fun alt-rock tune, great dynamic builds and intense performances. That’s the thing with this release - even if you’re not acclimated to the sense of humour MUSTH put across here, you’ll still likely find something to like. Even in its silliest moments there’s clearly a real vision as well as fantastic instrumentation, and their influences come through in a balanced way. Since it’s such a short release, it’s absolutely worth a go! Score: 8/10 Jollysad will be released on 22nd May 2026. Words: Noise Leonard Photos: Musth

We're swinging out of spring and into summer here at Out of Rage, with clear skies above our heads and a sun-charged atmosphere all around us. We've been enjoying kicking our feet back and spinning some sick new tunes for the season. Here's what we've been listening to lately: As It Is - Do You Remember? AS IT IS return with Do You Remember?, their most nostalgic and self‑mythologising track yet. The track is the third single from their upcoming self‑titled album out in July and was co‑written with Max Helyer of YOU ME AT SIX. Written as a candid look back at fourteen years defined by chaos, camaraderie, and the kind of hard‑won connection that only comes from weathering every high and low together, the track features choruses of voices asking the key question, “Do You Remember when?” backed by heavy pop punk guitars and energetic drums. Words: Lou Viner-Flood Beartooth - Pure Ecstasy After the release of Free, BEARTOOTH marked the start of a new era full of attitude as lead vocalist Caleb Shomo expressed himself as openly as he could. Pure Ecstasy is a violent continuation of that narrative, being unapologetically himself while raining absolute hell on the track. He lets rip with his vocals, screaming through the end of almost every line while insane beats and guitar riffs leave no survivors. The chorus takes a step back to that classic metalcore letting the melodies shine through the eye of the storm before the verses assault the peace. These two tracks almost polarise each other while both keeping that signature BEARTOOTH sound, leaving everyone questioning what the full record will bring. Words: Amy Smyth Boards of Canada - Introit / Prophecy At 1420 MHz Where to even begin with this? The very concept of BOARDS OF CANADA being back on its own is massive. 13 years on from Tomorrow’s Harvest, possibly the most beloved IDM duo of all time teased a new album cycle with cryptic posters appearing in some cities. This was followed up with Tape 05, a teaser video as gorgeous as it is surreal posted on YouTube. Now, the opening two tracks on the upcoming Inferno have been released as singles. Introit is a short intro, reminiscent of the openers from classics like Geogaddi, but the real heavy hitter here is Prophecy At 1420 MHz. A common sentiment has been that waiting all this time for BOC to do a synthwave song of all things SHOULD be disappointing, and yet, it’s everything fans wanted and more. A natural progression but still their distinct style. With music fans everywhere in jubilation, this single has propelled Inferno into discussion for most anticipated album of 2026. Words: Noise Leonard Burner - Sunrise, Parabellum With a real claim to be London’s heaviest band, it’s a true pleasure to hear BURNER back with new music on the way to album two. However, this new music comes with a serious change - there’s a weird bloke singing. From what sources have told us, his name is Matt Heafy, and he apparently sings for TRIVIUM? Credit where it’s due to BURNER, doing their best to lift up other bands. The song is as incendiary as every single one in their discography, with their proper deathcore (made with 100% death metal and hardcore, no symphonic bits) gouging away at the eardrums of the listener in a fashion that brings an immense sense of comfort bizarrely. In barely two minutes, there’s still bags of time for gnarly riffs and dizzying drumming, so if you like things ludicrously heavy then you need to listen to this. Words: Jasmine Longhurst Charli XCX - Rock Music CHARLI XCX is a name it's been impossible to be in the music scene without hearing, topping charts around the world for over a decade and reaching a new level of stardom with her latest album release she started a craze that shook the world. But her latest single has completely turned her pop sound on its head, not conforming what you'd expect from her or from any song called Rock Music. It’s a track packed with attitude and heavy guitar riffs tangled with the repetitiveness and experimental guts of dance pop, it's something completely new for both her and the music scene and we cannot wait to see what this new era will transform into. Words: Amy Smyth Deaf Havana - Car Crash (ft. Sierra Annie) As if DEAF HAVANA needed to make Car Crash any more devastating, vocalist (and girlfriend of lead vocalist James Veck-Gilodi) Sierra Annie has added her haunting voice to the track. After joining the band on stage to perform the track on their recent UK and German tour, Car Crash has been re-recorded with Sierra’s harmonies adding even more emotion to the song, which was written at Veck-Gilodi’s lowest point. Creating a new duet doesn’t dilute the darkness of the original version, Sierra’s voice reframes it, offering clarity without diminishing the rawness at its core. It’s poetic that James’ voice is now joined by the voice of the person who has helped to pull him back to earth. Words: Lou Viner-Flood Erotic Secrets of Pompeii - Crowstepper Weird, wonky, jangly art rock and post punk is the name of the game when you’re talking EROTIC SECRETS OF POMPEII. With two stellar albums under their belt already, Crowstepper comes as the beginning of whatever comes next. Adopting ideas from Jung’s theory of the self, the Crowstepper acts as a shadowy second self allowing for escape from all that is bad about modern life, even whilst layering satire and sarcasm into the new world found within the song. It’s a murky, eerie exploration of the world the band inhabits, and has us very excited for what comes next from here. Words: Jasmine Longhurst Green Lung - Evil in this House Showing us the first glimpse into their mysterious, haunted view of London on upcoming album Necropolitan, the gaze of the mighty GREEN LUNG and their vast pagan knowledge have turned to the great capital of this nation. With the trademark synths and chewy guitar sound we’ve come to love like a child, the protectors of Albion are here to watch over stoner and doom for another album cycle. Now, although potentially controversial, the similarities in sound to GHOST must be brought up. Whilst the Swedish metal makers are certainly more melody driven, and a little more tongue in cheek, their sonic output has its similarities - which we should be mighty excited about! The thought of a GREEN LUNG arena show should bring out any metal fan in goosebumps (not just from the eerie lyrics); we can but hope! Words: Jasmine Longhurst Headwreck - Raindrops Australia does nu-metalcore arguably better than anyone, and HEADWRECK are exhibit A. Raindrops pulls no punches, with an immediately infectious intro that gives way to a crushing heavy section without a moment's hesitation. Razor-sharp riffs, relentless grooves and glitchy textures that crawl through the mix sit beneath a juxtaposition of rap verses, metalcore aggression and soaring cleans that few bands could pull off. The chorus lands as a dreamy, melodic pop hook, and the final breakdown is nothing short of unhinged. Following their ARIA-charting Attitude Adjustment, it's a fun, unique spin on nu-metalcore that feels genuinely refreshing, and unapologetically so. Words: Adrian Chapman Holding Absence - Reflection HOLDING ABSENCE waste no time making their intentions clear in their new era with Reflection. A track built around the painful road to self-acceptance, it keeps the heartbreaking lyricism fans know, while pushing the instrumentals far beyond their post-punk emo ballad days. Hyperpop and electronic influences flood the production throughout, with the breakdown being a genuine gut-punch surprise. Chugging guitars, punishing drums, a thunderous low end and the harsh vocals make this their heaviest work since the ALPHA WOLF EP. It's a catchy, anthemic track that's built for huge arenas – fitting, given they'll be opening for ENTER SHIKARI on their UK/EU run this year. Where Whisper of a Dream introduced their new sound, Reflection hits the ground running. Words: Adrian Chapman Kulk - An Endless Knife Norwich’s KULK already have a reputation for curating some of the finest doomy noise that you’ll hear, and latest single An Endless Knife fits in firmly at the gnarliest end of their discography. Coming as the second single off of their upcoming album Choosing to Die, it’s a statement-making two and a half minutes of vehemently nihilistic sonic aggression that provides an experience much like taking a hammer to the head, only more cathartic. The duo have got plenty of fantastic music behind them, so it only remains to be seen how good the rest of this album cycle will be - we’ll bet it’s more than worth your while. Words: Jasmine Longhurst The Last Dinner Party - Big Dog The studio recording of a cut that THE LAST DINNER PARTY have been performing since 2023 is the heaviest they’ve ever sounded. Abigail Morris has made a name for herself at this point for her expressive vocal chops, and the glam rock sensibilities she’s known for accompany the more hard rock approach to this song effortlessly. It almost feels like an early PJ HARVEY song, with a certain push and pull approach to dynamics but a suffocating atmosphere and rawness that sets this apart from the rest of their discography. It’s a standalone release, but one to look out for regardless, whether you’re a fan of the group or not. Words: Noise Leonard MOTHER - Unholy Drawing on modern metalcore and the sounds of gothic rock and metal, the debut single from new project MOTHER rips onto the scene as a statement on BPD and mental health issues surrounding identity. Unholy feels like the crossroads between uncertainty and fear; self-actualisation and satisfaction. With some sounds that feel reminiscent of SLEEP TOKEN and PRESIDENT, along with influence from LINKIN PARK and EVANESCENCE, this is sure to be a project that finds a home in many listeners’ heads. Words: Jasmine Longhurst Movements - Dissolve Me Dissolve Me is the quintessential emo‑tinted post‑hardcore track from MOVEMENTS, released as a double single alongside new track Back In My Ways. The first track written for upcoming album Happier Now, the song captures the band's signature blend of emotional sharpness, simmering melodic tension and unflinching honesty through bare‑knuckled confessions. Dissolve Me circles the feeling of being trapped inside your own head, where you replay every interaction, second guessing your choices, and spiralling into self‑critique. If this is what is to come from Happier Now, fans are not going to be disappointed. Words: Lou Viner-Flood Sakoya - Some Things Never Change Distorted guitar feedback rings through, but listen closer and it begins to sound like a geiger counter warning. SAKOYA's latest single Some Things Never Change continues in this malignant theme, with intense bass drops and sick riffs, as the drums pound out a marching beat under wavering synths. The track descends into a muffled breakdown that builds into an instrumental cacophony, while throughout the venomous, weary lyrics force a reality check on the subject listening - for all their empty promises, their history proves their true intentions. It's emotive, it's loud, it's perfect for when you're pissed off, and it's a sure sign for more infectious tracks to come from SAKOYA. Words: Julia Stark The Sankaras - The New Sensation Ever wonder what would’ve happened if Marty McFly had taken a wrong turn in the DeLorean and wound up in Glasgow in the year 2026? Probably not, that’s really specific. But THE SANKARAS answer that question, bringing a vintage-yet-unique swagger to the stage with their rocking new single The New Sensation. It pulses and sparks like a livewire, fizzing with electric rock’n’roll riffs that make this track one you absolutely have to witness in person. You might not be ready for it yet, but your kids are gonna love it. Words: Naomi Colliar Duff THEATRE - You Are Little is still known about the esoteric Limerick-born THEATRE, but one thing we can say for certain is they have undeniable talent and soul, their latest single You Are cementing them further into the folk-rock scene as ones to watch. Guitars clash together, fuzzed chords vs haunting riffs, an undercurrent of bass felt more than heard stalking through the song. Ethereal vocals rise and sway before dropping into powerful holds, while the drums pivot from simple beats to a snappy marching beat, the singer's voice creating ever higher. If you felt you missed the era of THE CRANBERRIES and SINEAD O'CONNOR, that transcendental sound and passion is alive in THEATRE. Words: Julia Stark Wealthy Women - 37 Days A brand new band coming out of San Francisco, the doomy, sludgy WEALTHY WOMEN have announced themselves very loudly on second single 37 Days. Telling the story of Asaad al-Nasasra, a Palestinian Red Crescent paramedic detained for the titular 37 days by Israeli forces after an attack that killed 8 of his colleagues, the three piece’s writing is heavy both lyrically and musically. Sounding like a cousin of CHAT PILE and MELVINS, there’s plenty more to come from this lot with an album arriving August time, so keep your eyes and ears wide open for some WEALTHY WOMEN. Words: Jasmine Longhurst Witchsorrow - Bacchus As classically doomy and Sabbathian as you’d hope for from pure doom metal, WITCHSORROW make a return to recording after several years with a suitably satanic sound on Bacchus. As the first single in the build up to their upcoming album The Devil And All His Works, it’s got pressure to perform the necessary rites to be accepted as truly ritualistic enough, but NECROSKULL and Co. know heavy music better than most of us can even imagine, and their devil worshipping skills are no joke. Everything feels like the perfect blend - the syrupy slowness of the main riffs and echoing vocals, even a solo that could’ve been recorded in 1974, it’s all there and it’s all gleefully devilish and it’s all GREAT. Words: Jasmine Longhurst Yard Act - Redeemer On Redeemer, the first single for the upcoming album You’re Gonna Need a Little Music, YARD ACT present a radical change in style compared to The Overload’s plucky post-punk and Where’s My Utopia?’s quirky dance-punk. This is a straight up alternative rock song, with James Smith talk-singing over the verses and chorus over a riff with a certain ferocity that you wouldn’t expect from YARD ACT. Speaking openly about PETER GABRIEL’s third self-titled album (subtitled “Melt”) being an influence on them all, the almost-industrial influences from something like Intruder definitely come through here. A bold start to the band’s new era, we’re curious to see what they do next. Words: Noise Leonard Editor: Naomi Colliar Duff Photos: Various Artists

The uproarious Belgian band BEAR are back and better than ever on latest EP Anhedonia, blending their groovy mind-melting mathcore with moments of calm, and violent whiplash between them. The four-piece recorded the entire thing live in the studio together, as one band playing with every ounce of energy you can feel in the music. Coming off of the back of a fantastic release in Vanta, it was going to be tough to top it but the Belgians have gone hell for leather on the follow-up, and clearly for good reason - as two members of the band explained in conversation recently. Guitarist James Falck comments: "After writing Vanta (the band’s previous release), which was written during a particularly unpleasant moment in my life (cancer, surgery, treatment, family deaths, breakups), I personally was able to exorcise a lot of demons, and since then a lot of incredible things have happened in my life. Making music has always been a big source of therapy for me, and these songs really represent this state I was in until recently; where I had a lot to be grateful for, but the trauma and pain I had experienced in the years before had created a certain level of numbness, apprehension, and indifference." Bassist Dries Verhaert adds: "We indeed approached this project quite differently, both creatively and in the studio. Looking back, I’m proud of what we’ve achieved. Anhedonia is BEAR at our most authentic and vulnerable. If you ever find yourself in the dark, keep pushing. Accept help from those around you, and keep moving forward. This album is proof that even in the toughest times, there’s a way through." The music itself, as described earlier, blends the mad mathcore they’re known for with some moments to breathe, but never quite warns the listener of them. This makes for a listen that ends up feeling like you’ve played an ice hockey match, or been in a spar with a heavyweight boxer, such is the sheer intensity of the experience. Even though the EP only comes in at five tracks, clocking in for a total of 19 minutes of listening, it’s a multi-faceted release and certainly isn’t afraid to take risks. Opener Empty Markers takes mere seconds of eerie intro before uncorking a can of ‘hefty guitar’ straight out of the biggest amp you’ve ever seen, and is followed up by Lacerate which is as apt a name for a song as there’s been in many a year. The Smile is anything but happy, but the real standout is probably the title track, which we find in penultimate position here. With influences ranging as far as abrasive metalcore and punked-up hardcore to pure doom and fuzzy sludge, it runs the gauntlet of sounds that would have your elderly neighbours quivering in their garden wondering why the apocalypse has arrived, before Metastatic arrives just in time to add some anthemic value and rhythmic shenanigans to the end of times. Anhedonia is fantastic. It’s great fun to listen to, whether all in one or as individual songs, and never feels boring or derivative. Named for a condition that, amongst other things, is known to prevent the feeling of pleasure, this EP compounds that into less than 20 minutes listening that is so much more than worth a speedy jaunt through. Score: 9/10 Anhedonia will be released on May 22nd 2026 via Pelagic Records. Words: Jasmine Longhurst Photos: Yngwie Vanhoucke

Few can say they’ve had as explosive a debut as Venice Beach based hardcore punks XCOMM; only fully formed in 2025 and barely out the gate, they’ve already made their mark in the hardcore scene with their ‘fuck around and find out’ sound, and lyrics that speak to the indignant youths facing injustice as well as the older punks still fighting the everyday bullshit machine. Fresh from signing to Blowed Out Records and supporting FOO FIGHTERS at their sold out charity show in January, XCOMM don’t have time to rest before their Warped Tour slot as they unleash their debut album Time To Burn, and it’s just as heated as it sounds. Time To Burn brings together their early singles that put XCOMM on everyone’s radar, alongside an arsenal of tracks that came together through the band being vulnerable with each other and translating that emotion into shredding guitar, obliterating drums, and visceral screams. Produced by renowned Ross Robinson (SLIPKNOT, KORN) who “transformed [them] into musical weapons”, their vivacity and drive inspired him during the process and made him realise the importance of the “pulse of youth”. Kicking off with their better known singles, Time To Burn fades in with feedback before Reasons goes full force with Revel Ian’s quick-fire beats and Jay Vargas’ riffs, dropping to Adan Escoto’s lone bass line before Michael Gatto’s punk screams pierce through, DJ Hunter Grogan peppering in unnerving synth and effects in the background - if you hadn’t limbered up beforehand, godspeed because the album refuses to let up from the first notes. Frenetic and frank, Hot Pursuit is 70 seconds of absolute carnage as Gatto screams that you should “run for your life” while steely drums and brief guitar solos echo around this threat. Blending straight into One And Nothing, the pace switches to more of an alt-punk rock feel while maintaining a blistering attitude as the bass rumbles throughout, the instruments working cohesively together as a unit. Fake ID strips back to cymbal roll intro, Ian layering different aspects of the drumkit as the song progresses, swiftly joined by Escoto and a dominating bass riff that doesn’t hold back as Gatto screams about being let into a venue to support a band. Their most recent single and music video released, Borrowed Happiness, features a satisfying guitar riff harmony from Vargas and Gatto over repeated screams of “why why why why can’t you look at me?” as the drums build to a crescendo and the track fades out to a funky lick and background voices, immersively like you’re in the studio with XCOMM. Title track Time To Burn barrels in like an out of control freight train, the changing rhythm and beat as fired up as the acidic screams of “fucking burn!”. Leaving no room to breathe and recuperate, Pirates plunders (sorry, we had to throw in a pun) your ears and energy with a ferocious bass line leading into fast punk underlying lyrics around people who use and abuse for their own gain with “morality that’s paper-thin”. Flipping the script on its head, Running Zeroes has more of an indie-punk sound to it that’s giving a little BAD NERVES crossed with HOT MULLIGAN in its composition, but with more pent-up punk that will inspire more let-loose dancing than a full-on mosh pit, with fuzzed solos and a catchy beat. Relevance lures you into a false sense of calmness before it launches headfirst into the rapid-fire punk that’s overtaken this album, Gatto screaming “don’t apologise for nothing” on a contradictorily upbeat rhythm before the chorus descends into a savage wall of noise and a relentless guitar solo. Opening with a near fatal bass line and stripped back drum beat swiftly joined by distorted guitar, No Teeth feels like a welcome kick in the teeth, entirely punchy and vulnerable in its lyrics of feeling out of place in today’s world and not knowing why, the infuriated emotion driving the lyrics and instruments to new heights. Purity races through with solos and frosty riffs, with less than 90 seconds to make its fury and dynamism known, with subtle but effective sounds from Grogan complementing the frantic drums and screams. Negativity ends us on an energized high, switching from a “calmer” introduction and verses with Grogan’s eerie synths echoing in the background, compared to the catapulting chorus that sounds like everyone just decided to go fucking nuts and have fun. Time To Burn is an album that clamps down with its teeth from the first track and brands XCOMM as a band to have uproarious fun in the pits to - XCOMM is a band that understands you and is passing you the torch to burn everything down. Score: 9/10 Time To Burn will be released on 22nd May 2026 via Blowed Out Records. Words: Julia Stark Photos: Darren F*cking Craig

Sometimes a band comes along and somehow make the world feel a little lighter and a little different. For the past two decades, SPARTA have done exactly that. With their latest album Cut A Silhouette, the El Paso trio add another emotionally charged chapter to their ever-growing catalogue. For those unfamiliar with SPARTA, the band fuse melodic guitar rock anthems with angst-ridden songwriting, balancing raw emotion with soaring instrumentation. Their 2002 debut Wiretap Scars remains the cornerstone of their success, built on rugged post-hardcore foundations, while later material like Trust The River revealed a more polished and mature side to the band. Cut A Silhouette comfortably sits somewhere between the two. Opening track Split Lip wastes no time setting the tone. Sharp guitar chords crash into pounding drums with a classic 2000s rock feel, delivering the kind of toe-tapping, head-rocking energy SPARTA have always thrived on. There’s angst running through its core, but also a frantic groove that instantly pulls listeners in. Crater follows with shades of QUEENS OF THE STONE AGE buried beneath the grit. Jim Ward’s raspy vocals and slick guitar work give the track a swaggering confidence, while Mouthbreather keeps the momentum going with fast riffs, controlled bass and a dominant sound throughout. Both tracks were co-written by Frank Iero of MY CHEMICAL ROMANCE, and although he doesn’t feature directly, his fingerprints are all over their restless energy. Together, they feel like two underground hysteria tracks ready to explode in a packed-out venue. Daydream is a reflection on their past material and what many fans will love about SPARTA. Psychedelic and euphoric tones, addictive guitar riffs, and solid drum work from Neil Hennessy gives the track a strong sense of identity and flow. See You Soon slows things right down; there is an element of U2 in its delivery, which allows it to become something genuinely beautiful. It moves through emotions of loss and pain into hope and love with ease. It’s a real gem of a song — the raspiness of Ward’s voice alongside piano and guitar work creates something that drifts into an almost rock lullaby. See You Soon was co-written with Kemble Walters , who also plays on it, while Adrian Bourgeois adds piano, bringing different influences together to shape its melodies. Everything You Say takes a turn down a more synthetic path, shifting through multiple styles, changes in pace, and texture before ultimately grounding itself again. The bassline remains the constant driving force throughout, with bass guitarist Matt Miller delivering a steady, commanding performance. Without Your Hands is the final full rock eruption on the album, packed with standout moments. From a face-melting guitar solo courtesy of Ward to a stomach-churning drum solo from Hennessy, it delivers pure intensity. The production also stands out, with heavy distortion, amp texture, and fading guitar notes making it one of the strongest tracks on the record. Midnights drops back into a slower sway. A soul-stirring guitar solo in the bridge lifts it into anthem territory, clearly built for gigs and festival crowds. It’s a track that will resonate with die-hard fans, and the echoing line “I wanna feel everything” lands with real emotional weight. Mystery Of Missing feels like a time machine back to a ’90s Britpop influence. Isolated, distorted guitars and a slower drum pace set the tone before it catapults back into the present with raspy screams and heavier hits to close it out. The final track on the album, Glimmer, begins with an acoustic undertone — just Ward and his guitar at first — before the full trio join in unison. The pace is steady, the lyrics feel raw and meaningful, and it closes the record in a restrained, reflective way that suits the album’s experimental nature. Bands don’t stay relevant or at the peak of their ability by playing it safe or going too rogue — they lose their sound and drift out of touch with the organic feel that made them stand out. SPARTA add another strong entry to their catalogue here: a record that makes you feel, while still throwing in a few straight-up rock moments for good measure. Score: 9/10 Cut A Silhouette will be released on 29th May 2026 via Rude Records / Equal Vision Records. Words: David Waites Photos: John Carluccio

After four decades of performing classic metal music, a regular Joe would struggle to keep things fresh - that’s certainly not the case for ARMORED SAINT, who are once again injecting new life into the classic rock scene with their upcoming album Emotion Factory Reset. Proudly proclaiming they’ve “never repeated ourselves” and that each album “is a snapshot in time”, Emotion Factory Reset demonstrates this well with sounds that resonate with the older fans, but featuring a modern feel to it that doesn’t feel aged - it’s “dad metal” that all ages can appreciate and headbang to. Their ninth full-length album in an illustrious career that’s seen them share the stage with fellow powerhouse bands METALLICA, SEPULTURA, and TESTAMENT, ARMORED SAINT have drawn their inspirations for this album from the sounds they’ve been immersed in for years, an inner look at themselves as a band of allies, and their individual journeys over the course of their time. It’s an introspective album of lyrical word play and powerfully hefty rhythms, but also feels laidback in the sense the band aren’t focused on remaining in the past, instead choosing to surge onward while staying true to their roots. Emotion Factory Reset begins with stirring strings and a triumphing guitar riffs on opening track Close To The Bone, before giving way to fast paced rhythms and John Bush’s raw vocals about hiding his feelings, featuring tearaway guitar solos that would make IRON MAIDEN sit up. Dropping into a palpitating bass line, Every Man-Any Man is one of the more nostalgic tracks on the album, using wordplay to say “every man, any man, has his price”, calling into question the morality of the music scene while adding a mischievous flair to the bridge around bold riffs and thumping drums. Diving headfirst into the snappy drums of Not On Your Life, the pitch of the instruments and vocals feels like a jeering “come and have a go” as Bush sings over rich guitar riffs. Hit A Moonshot’s eerie glitching synth falls into red hot riffs and high-strung licks, with rough vocals layered over harmonious backing vocals, the bass tearing through the melody and the cymbals crash onward in a frenzy, as if they’re in a rush to deliver their nostalgic sound, dropping slightly in pace and lower pitches for the bridge before ramping the speed back up. Slowing down for a more soundtrack-esque and heartfelt melody, Buckeye almost has a 90s grunge-metal feel to it that hints to SOUNDGARDEN, with layered backing vocals, languid riffs and beats, and a bass that has all the time in the world because it knows you’ll stick around. Compromise is the antithesis to its predecessor, racing back in with Gonzo Sandoval’s fiery beats and Joey Vera’s bone-shaking bass, ramping up to a ‘solo-off’ between Jeff Duncan and Phil Sandoval’s ripping guitar solos, Vera making his riffs heard and felt. Fading into a more cinematic, battle-ready intro, It’s A Buzzkill drops into more of a prog-rock anthem with venomous lyrics and striking solos as Sandoval keeps steady time on the drums in a pedal-heavy but understated beat. Throwing Caution To The Wind is the first track that saw the band writing and recording in the studio together, no easy feat with the pressures of modern life. Starting with a rhythm that gets you in a headlock and drags you into a mosh pit, the pace and instruments switching up from rapid-fire to marginally slowed down, before a solo absolutely rips through. A more modern prog-rock drum beat and fuzzed guitar riffs pave the way for Ladders And Slides before it returns more to its classic metal feel, traversing years and genres to compile them into a blend of all their best sounds and inspirations, creating a track that will resonate across more fans of alternate rocks. Echoing fret slides are joined by a dangerous guitar riff, distorted bass, and pummelling, killer drum beat, Bottom Feeders descending into Bush’s derisive lyrics and untempered rage fuelling his emotive singing, showing they have zero time for people who believe themselves better than others. Aptly named Epilogue sees us out on Emotion Factory Reset, with a blistering rhythm and breathless bass line that undercurrents the melody, the whole song meaning business as it shifts slightly into an exultant call of “I am the catalyst” and delectable guitar solo. They may close out with “the end is near”, but ARMORED SAINT have shown they’re nowhere near done claiming their rightful throne in the metal scene. Score: 8/10 Emotion Factory Reset will be released on 22nd May 2026 via Metal Blade Records. Words: Julia Stark Photos: Armored Saint

WREX aren’t just refusing to slow down, they’re torpedoing through the nu-metal-alt scene at breakneck speed, with the release of their new EP SADWORLD. Following a year of non-stop grafting and touring and the promise of another stacked year, whilst finding the time around their 2025 touring slots and everyday life to record the tracks, SADWORLD isn’t just an impressive feat of the band’s production skills and ability to think outside of the box, it’s a journey of emotions from cathartic release to rending fury, in a succinct but solid collection of 5 motley tracks. From humble beginnings starting as “two people with a laptop”, SADWORLD is a testament to the band’s progression and upward trajectory, vocalist Mae Seaton and instrumentalist and producer George Donoghue at the helm with their touring band adding their efforts to the EP, with additional features from other skilled musicians hoping to help elevate WREX to the next level. With open-minded collaboration and audience connection their ultimate goals as a duo, WREX are steadily building their empire brick by brick, SADWORLD signifying five roads leading to the heart of their stronghold. Starting with deceptively soft, mournful vocals from Seaton as guitar and bass buzz in the background, first track Paranoia explodes into crispy drums and shuddering riffs as Seaton and Donoghue harmonise acidic lyrics that could be aimed at a specific subject or their own inner demons. The melody weaves into synths reminiscent of film soundtracks from the turn of the millennium, the thundering riffs and drums surrendering to a strident beat on the breakdown as Seaton’s vocals climb in pitch and Donoghue cuts through with wrathful yells. 111 launches straight in with Seaton’s matter-of-fact, venomous spoken word over a rising, pulsing synth, sudden instruments and yells breaking the stripped back sound, dropping to a whisper then crashing in with a bang. Lethal in its rumbling sound, Donoghue takes the wheel to bring hoarse yells of “you’ll poison yours, I’ll poison mine”. Renowned for being the live track Donoghue flings himself into the crowd for, it’s not hard to visualise throwing yourself around to the beats and screaming back the words in, for a brief moment letting go of control. The first single and video dropped from SADWORLD, Consume is the punchiest and most interlaced with instruments track on the EP, beginning with a command of “when you hear the rhythm, start to move” - you don’t need to tell us twice. Seaton brings scathing lyrics that call out everyone for watching the world fall into chaos while we pay “a service charge for being alive”, and to remember “what’s yours is theirs and what’s theirs is theirs”. Consume is a track for truly feeling the rage at the world’s injustice in a neat package of pounding drums, echoing synths and howls, and guitar and bass that embodies that pit in your stomach looking at the state of the world. An amalgamation of their new sound mixed with abandoned segments from previous EPs, The Noose keeps the heat of this EP burning with a delicious guitar solo introduction, before it descends into a tearing rhythm. Donoghue and Seaton complement each other as a well-oiled machine, with visceral shouts and siren-like vocal runs that snap between emotions. Suddenly dropping to an entirely stripped back sound of soulful piano as Donoghue sings “you wouldn’t believe the things that I’ve seen”, Seaton echoing hauntingly in the background “we’ll find a way to escape, navigate these sinking feelings” - The Noose feels like a hand reaching out when you’re at your lowest, ready to pull you back from the ledge. Subverting expectations, SADWORLD steps away from the alt-metal sound we’ve been raging through to A Thousand Ways’ piano accompaniment, for a poignant ending to this emotional experience. Donoghue bares all in a vulnerable melody of lonely piano and lyrics “I’ve tried a thousand ways of numbing this pain, but it swallowed me whole”, gradually introducing string synths and layering Seaton’s harmonies over his before the track abruptly ends and leaves you wanting more. It’s the dark before the dawn, the anger and upset already spent in the preceding tracks with A Thousand Ways the final emotional upheaval before you have to pick yourself back up. Score: 9/10 SADWORLD will be released on 20th May 2026. Words: Julia Stark Photos: Ethne Lever

JOEY VALENCE & BRAE brought their unwavering positivity and energy to their biggest ever headline set at The Roundhouse. Opening the night was up and coming pop forward hip-hop group WHATMORE who got the crowd warmed up in a brief thirty-minute set showcasing all their influences. Opening with DJ led mixes whilst each member showcases their lyrical flow. The crowd started to dance and celebrate the joy that is live music. The group then transitioned into showcasing their instrumental skills by bringing guitars and bass into the set. This allowed WHATMORE to prove why they have already started to gain a following, their passion for the craft of their music with that alternative pop sheen. The crowd began to showcase their energy that they would only grow for the rest of the night. JOEY VALENCE & BRAE’s DJ Ewook warmed up the crowd even further with a short fifteen-minute set of classic sing-along tracks. This got the crowd in the mood to party with mosh pits already opening up. The crowd was full of anticipation for the night’s headliners. As soon as JOEY VALENCE & BRAE took the stage the crowd began to show their love for the duo. Chants of their name erupted in any gap they had between tracks. Everyone in the room was there to show how much they loved the headliners. When each track hit the crowd reached a new high of energy. The set covered every aspect of the duo’s career and showcased every type of hip-hop they can do. Everything they do on stage is positive. The duo play expertly off each other making sure to show their genuine love of each other. Hugging each other, giving each other praise and exchanging dance moves on stage. Their relationship is what makes their music so likeable, they have passion for their craft that shines through every track. Their stage presence is some of the most uplifting around, they challenge everything that can make music toxic and inapproachable. They fight everything to make their gigs a true safe space for everyone. The main set concludes with the fan favourite The Baddest which creates a surge of power through the audience, the pits reach a chaotic climax, everyone is dancing to see if they are the baddest when the real answer is JOEY VALENCE & BRAE. The duo leave the stage briefly, the volume of the chants forces them to come back near instantly. When they come back they start the two song encore with Punk Tactics which keeps the same energy that has been kept up all night. It’s simply a joy to see JOEY VALENCE & BRAE bounce off each other on stage. The final track of the night is the melancholic Disco Tomorrow which creates a reflective mood in the audience. People crowd surf till the end but it’s an oddly emotional finale. Confetti covers the audience as the song comes to a close, capping off a night of pure joy. JOEY VALENCE & BRAE don’t leave the stage, instead they walk into the crowd and start talking with fans, it’s some of the most casual behaviour you will ever see from music superstars. Words: Will Freeman Photos: Ben Blissett

There's a quote that circulated the room at New Cross Inn on the 4th of May, by one of the organisers: "hardcore exists for shit like this." Not for streetwear. Not for big corporations. For this - an afternoon of music, community, and solidarity that raised over £4,000 for Palestinian relief, packed into one of South East London's most beloved grassroots venues. Punks for Palestine was not an event defined by a rigid definition of being ‘punk’. What followed throughout the day was proof that punk, in its truest sense, is less about how you sound and more about how and why you show up. UNWITNESSED UNWITNESSED opened the afternoon with three songs of London hardcore that set the tone immediately, with deep growling vocals paired with real technical singing, and a pit that formed earlier than anyone expected. For a new band, they command the room with ease. Short, purposeful, and surprisingly heavy for the time of day. MASHAAL MASHAAL brought with them hardcore through diasporic eyes and experiences. The energy is instant and overwhelming, with songs Aliyah and Alhamdulilah hitting hard with the crowd. This is what it sounds like when the personal and political are one and the same, showing that politics and identity constantly intersect. YUNG YUSUF YUNG YUSUF offers a shift in texture: rap over punk-ish instrumentals, raw and rebellious. Closer Coloniser, a direct response to being told to "go back home", lands with the kind of clarity that only lived experience can produce. The crowd listens hard. RITUAL ERROR RITUAL ERROR are the outlier in the best way, as their post-hardcore noise trades moshing for something more unsettling and urgent. One song targeting bands who perform politics as aesthetic without the substance earns a knowing reaction from a crowd that knows when someone is being authentic in their politics. KEMASTRY KEMASTRY arrives as the afternoon's elder statesman, opening with a poem before settling into shamanic UK hip-hop wordplay. Performing on a near-broken voice makes it no less commanding - if anything, it shows his strength and dedication to the Palestinian cause. KILA KOSA KILA KOSA bring South London hardcore that hits with the force of early BRING ME THE HORIZON, bringing cathartic riffs, vocals, and people doing somersaults in the pit. The "free, free Palestine" chant that closes their set is taken up by the whole room. SARSOUR SARSOUR are only on their second-ever live show, and you would never know it. Punk through an Arab lens, rooted in geopolitics and resistance, the Syrian-fronted band pulls three mosh pits and a standing ovation. "This has always been my dream," the singer tells the room. Based on the reception, the room is glad they're here to stay. SHOOTING DAGGERS SHOOTING DAGGERS are everything and nothing at once, with London queercore that swings between slow hope and furious moshing, between emo vulnerability and circle pit energy. Their upcoming album Real Life Things, is previewed with three new songs, one of which makes the whole room sit down. The last three songs are dedicated to women and queer people. "Representation is so important on this stage," they say, and the room erupts. A circle pit on the final song brings the day to its most joyful moment yet. CHINNED And who could forget CHINNED, the Stevenage Grindcore Mafia, reunited for one night only after six hours total of practice across two years. The pit goes harder here than at any point all afternoon. Their set is brief, chaotic, and phenomenal, the vocals cutting through with real force. "It's truly sick to do this one last time," the frontman says, "then we'll probably do this again in eighteen months." The crowd takes it as the promise it's meant to be. £4345 raised. Eleven acts. One room, mixed in age, subculture, and background, united by the understanding that art and music have always been political, and that the work of building a better world happens in exactly these kinds of spaces. Punks for Palestine continues to show the importance of unity and community organisation to fight against the imperialist core that has permitted and enabled the subjugation of the Palestinian people for the past 78 years. Words and photos: Atoosa Salamat

CQ WRESTLING’s second studio album, Resistance, is set to release on 22nd May, packed with emotional and vulnerable tracks that mix grunge with touches of post-punk. The first song on the album, Pacifico, is a perfect opener. A melodic, almost hypnotic riff leads us into the song and keeps us captivated throughout, while the rest of the instrumentals remain relatively simple. The same can be said for the vocals, which fit the song perfectly. Through this simplicity, the vocals feel more intimate and vulnerable. The song explores themes of journeys and the path to change, ideas that are heavily emphasized throughout the track. This makes Pacifico a heavy and emotional introduction that sets the tone for the album perfectly. Innocence starts out with a huge amount of grunge energy. Stripped-back verses lead into heavy, massive choruses. The song almost recalls the likes of NIRVANA, especially during the verses. Thematically, it focuses on the need for change in the world. Lines like “change the rules of the game” effectively emphasize this desire for transformation throughout the song. The next track on the album, Smoke Screen, also refuses to leave this topic behind. Beginning with a slower verse and an almost hypnotic guitar riff, the song initially seems like one of the calmer moments on the record, only to completely erupt into screams and despair towards the end. Shine Not Burn (Under The Sun) is another song that begins slowly. A gritty bassline carries the track, while the other instruments remain mostly stripped back. The song portrays the feeling of loneliness and separation from loved ones. It feels isolated not only because of the sparse instrumentals in the verses, but also due to the well-crafted and intimate lyrics. The most post-punk-inspired track, HEALTH+, starts off explosively. A huge, gritty bassline alongside aggressive drums introduces us to another side of CQ WRESTLING. A side they portray perfectly. As one of the heaviest songs on the album, it stays in your head long after listening and sounds like it would be incredible to experience live. The opposite can be heard on Finish Line. At first, nothing but a simple guitar riff can be heard. Slowly, the distortion increases and more instruments are introduced, allowing the song to evolve into a slow-burning and emotional track about death and fading away at the finish line. This quickly becomes one of the album’s highlights. Its intimacy and emotional depth are rarely executed this well and are genuinely impressive. The song itself feels like an experience, drawing you deeply into both the band’s emotions and your own. Catherine Wheels also maintains a slower tone at first before erupting into a huge, reverb-heavy chorus. Mesmerizing guitar riffs can be found throughout the song, helping to maintain the atmospheric mood that defines the album. Forgive & Regret sounds the happiest out of all the songs on the album and can more or less be considered a love song, although it still remains far from conventional. The track carries a dreamy indie texture throughout, combined with strong lyrics that create a surprisingly catchy moment on the record. All Change arrives with a slightly different approach. Distorted vocals blend with an intimate guitar riff during the chorus, while the verses feel dreamy and stripped back. The distorted vocal effects provide an interesting shift right before the end of the record, refreshing the listener’s attention and keeping the album engaging. Guns In Their Hands, however, starts off rough and raw. An acoustic riff is paired with simple vocals before the song bursts into an explosive chorus, which is definitely one of the most enjoyable moments on the album. Guns In Their Hands offers another emotional insight into the band’s mindset while also standing as an incredibly well-executed and catchy track. The album closes with Soft Top, one final emotional journey from the band and yet another brilliantly executed song that feels intimate enough to truly sense the emotions behind its creation. CQ WRESTLING does an amazing job of moving from soft, intimate verses into catchy, melodic, and aggressive choruses that stay with you long after the music ends and Soft Top is no exception. All in all, Resistance is absolutely worth listening to. From front to back, you can feel the emotion of the band. This level of intimacy is something rarely found on an album. Musically, CQ WRESTLING explores an interesting combination of grunge, post-punk, and dreamy elements, incorporating them into every song without ever making the record feel generic or repetitive. With Resistance, CQ WRESTLING has created an incredible emotional piece of work that everyone should experience at least once. Score: 10/10 Resistance will be released on 22nd May 2026 via Truth Records. Words: Hannah Martin Photos: CQ Wrestling

One of the most promising newer alternative bands, ALT BLK ERA are set to release their newest EP, Our World. After their debut album Rave Immortal, the young band from Nottingham is continuing their journey to the top with a brand new genre-bending project. Tissues is an intimate start to the EP. The track dives into vulnerability and captures what it feels like to be overwhelmed by the world. The chorus portrays this feeling really well with lines like: “Everything’s messed up, a million issues. I’ll be crying my heart out till I run out of tissues,” which showcase the raw emotion of the song perfectly. Musically, ALT BLK ERA are hard to define and sit somewhere between rock, pop, and electronic music. This song reflects that perfectly, combining distorted guitars with a wide range of electronic elements, all delivered in a melodic and pop-inspired way. Lost In The Back Of My Mind takes a slightly different musical direction. It presents itself as much more upbeat, but still doesn’t shy away from combining different genres. Overall, the song leans more towards the electronic side, with a huge chorus erupting throughout, rather than sounding like a “normal” rock song. Lost In The Back Of My Mind explores what it feels like to reconnect with lost parts of ourselves and the struggles that come with it. Their newest single, Silhouettes In The Mirror, is the heart of this EP. The song shows how horrible and disorienting it can be to live in a world full of injustice and violence, reflecting on our actions as humans while barely being able to recognise ourselves anymore. Musically, this track is the absolute highlight of the EP, perfectly utilising electronic and alternative rock elements. It feels incredibly fresh and memorable, which is also largely due to the outstanding vocals. Okay (Cyber Racing) further proves how ALT BLK ERA cannot be confined to a single genre. Glitchy electronic elements are mixed with a huge, dirty bassline, while guitars are only used in moments where they feel impactful and necessary. The rap sections add another refreshing aspect to the track and help create this chaotic, genre-bending mix. The EP ends with the title track, Our World, which functions incredibly well as a closing song. It is the most stripped-back track on the EP, but that makes it stand out even more. The instrumentals and vocals feel epic and expansive, making the song feel like a major highlight. The chorus effectively repeats the phrase Our World, which not only makes the song memorable, but also reminds us of the journey the EP has taken us through. Our World is a genre-bending journey by the talented Nottingham-based band ALT BLK ERA. Moving from electronic to pop, rap, and rock, the EP delivers a unique listening experience and serves as a fantastic introduction to the band’s distinctive style. Score: 9/10 Our World will be released on 22nd May 2026 via LAB Records. Words: Hannah Martin Photos: ALT BLK ERA