There’s something so effortlessly immediate about GOOD KID’s debut LP Can We Hang Out Sometime? that it feels almost impossible not to be pulled into its world from the very first note. Built on bright guitar lines, punchy rhythms and choruses that practically beg to be shouted back, this is an album that understands exactly what it wants to be. More importantly, it knows exactly how it wants its audience to feel. This is a record made for movement, for singing at the top of your lungs with friends, for the kind of summer evenings that seem to stretch on forever. From the opening rush of Rift, GOOD KID establish the record’s sense of momentum with remarkable confidence. It is upbeat, infectious and impossible not to move to, carrying that immediate feel-good energy that runs through much of the LP. There is a lightness to it, but never at the expense of substance. The track’s stripped-back ending gives it an extra sense of intention, proving that even in their most energetic moments, the band are carefully shaping how each song lands. It is an opening that instantly sets the tone for what follows: an album full of big summer dance vibes and even bigger singalong moments. That energy flows seamlessly into Eastside, one of the record’s standout singles and arguably one of its defining moments. Built around sharp riffs and an undercurrent of tension, the track captures that feeling of confrontation and catharsis without ever losing its accessibility. It is the kind of song that feels tailor-made for live performance, where every lyric can be screamed back in unison by a crowd that knows every word. There is a sense of defiance at its core, but rather than feeling heavy, it transforms that tension into something communal and exhilarating. One of the most striking things about Can We Hang Out Sometime? is how naturally it balances consistency with variation. The album’s brighter, more upbeat moments are undeniably its backbone, yet it never becomes one-note. Instead, GOOD KID understand the importance of pacing, allowing space for the record to breathe. Tea Leaves is perhaps the clearest example of this. Coming in as a more relaxed, reflective moment, it offers a welcome step back from the surrounding rush of energy. It still carries that same warmth and feel-good atmosphere, but in a softer, more understated way. It acts as a breather without ever slowing the album down too much, and that balance is part of what makes the record flow so well. The emotional centre of the LP, however, lies in Ghost Keeper. While the earlier tracks invite movement and release, this is where the album becomes something more intimate. It steps away from the dance-floor immediacy and instead leans into something more vulnerable and reflective. There is a gentleness here that makes it instantly stand out, the kind of track that trades jumping around for swaying along. It feels deeply emotional without becoming overindulgent, and it is perhaps the moment where the album’s heart shines through most clearly. That sense of dynamic control continues into Tornado, another standout moment that perfectly demonstrates the band’s ability to shape atmosphere. Beginning in a slower, more relaxed space before gradually opening into something brighter and more expansive, the track feels beautifully constructed. The vocals here are a particular highlight, carrying the song with a warmth and clarity that lingers long after it ends. The fade-out towards the end, before the final cut, is especially effective, creating a sense of space that feels both satisfying and slightly haunting. What truly elevates Can We Hang Out Sometime? beyond simply being a collection of strong indie rock tracks is its production. Every high and low feels carefully considered, each song placed with purpose to maximise the emotional and sonic journey of the album. The production quality is consistently excellent, giving every chorus room to soar while ensuring the quieter moments retain their intimacy. Perhaps the most impressive thing about this debut is how clearly it reflects the relationship between GOOD KID and their audience. There is an undeniable sense of care running through the entire record, as though every track has been crafted with the listener in mind. From the huge singalong choruses to the quieter, more reflective moments, the album feels designed to meet its audience wherever they are. Can We Hang Out Sometime? is, above all else, a genuinely feel-good album. It invites movement, reflection and connection in equal measure, capturing the warmth of summer and the comfort of shared experience. For a debut LP, it feels remarkably assured, delivering a sound that is both instantly accessible and emotionally resonant. GOOD KID have not only met the anticipation surrounding this release, they have delivered an album that feels built to soundtrack the moments people will want to remember. Score: 9/10 Can We Hang Out Sometime? will be released on 3rd April 2026 via Good People Record Co. Words: Con Macadam Photos: Evie Maynes

Some albums arrive like a statement. Others arrive like a feeling. Love Letters, the debut release from Bristol trio MASCA, does the latter, unfolding less like a carefully staged introduction and more like stepping into someone’s world halfway through the story. It is immediate, emotionally charged, and above all deeply human, the kind of record that understands how messy it is to exist and somehow turns that mess into something bright, loud, and impossible not to hold onto. There is a tension running through Love Letters that gives it its identity. MASCA sit in that liminal space between pop sheen and rock bite, where glittering hooks meet blistering riffs and vulnerability is allowed to take up space without softening the edges. It is music that moves, physically and emotionally. The album never lets itself become static, even in its quieter moments. Instead, every track seems to pulse with momentum, as though it is always pushing toward something just out of reach. That sense of movement is felt immediately in Elevate, one of the album’s most infectious moments. It carries an energy that feels impossible to resist, the kind of song built for jumping in a crowd with strangers who somehow know every word. There’s a rush to it, but not one that feels careless. Instead, it captures MASCA’s ability to pair emotional honesty with release, turning introspection into something euphoric. At the other end of the emotional spectrum sits the title track, Love Letters, which feels like the heart of the record. It slows the pace just enough to let its vulnerability settle in, allowing the lyrics to breathe in a way that makes them hit harder. The self-questioning woven through it gives the song a quiet ache, and yet it never feels defeated. Instead, it carries that same thread of hope that runs through the whole album: the desire to make sense of yourself, even when you’re not sure where to begin. This is perhaps where MASCA’s greatest strength lies. They understand how to make vulnerability feel expansive rather than isolating. Even the most introspective moments are carried by melodies that lift them beyond the private sphere. There is always a sense that these songs are meant to be shared, shouted back across venues, played through speakers on long summer evenings, soundtracking moments that feel both intimate and cinematic. That cinematic quality comes through beautifully in Oxytocin, a track that feels like the album’s moment to exhale. Following some of the more immediate emotional intensity, it creates space to breathe. There is something deeply comforting in the way it builds, allowing warmth and anxiety to exist side by side. It feels like waiting for something life-changing, holding your breath in the quiet before everything shifts. Then there’s Cry Baby, a clear standout that leans further into the record’s pop instincts without losing its emotional weight. The layered harmonies and overlapping vocal lines give it a lush, almost sunlit texture, making it feel tailor-made for summer. It’s the kind of song that slips effortlessly into everyday life, whether that’s getting ready for a night out, walking through the city with your headphones in, or trying to convince yourself that things are finally starting to feel okay again. What makes Love Letters so compelling is that it never settles into one emotional state. Joy and uncertainty coexist here. So do anger and comfort. MASCA allow the album to shift naturally through multiple shades of feeling, mirroring the instability of life itself. That emotional honesty is what makes the record feel so deeply recognisable. The production deserves praise for how carefully it supports that movement. The guitars snarl when they need to, the drums keep everything driving forward, and the vocal layering adds richness without ever feeling overworked. It still feels lived in, warm, and human. Nothing about it sounds distant or untouchable. For a debut, Love Letters feels remarkably self-assured. Not because it is trying to prove anything, but because it already knows exactly what it wants to be. MASCA have created something that feels made for every version of the listener: the one who is thriving, the one who is hurting, and the one who is somewhere in between. More than anything, this is a record about feeling seen. It meets you where you are, whether that’s in joy, grief, healing, or uncertainty, and somehow leaves you lighter than it found you. In a season built on movement and possibility, Love Letters feels destined to soundtrack the summer. Score: 8/10 Love Letters will be released on 3rd April 2026 via Cold Hard Bangers. Words: Con Macadam Photos: Masca

It really has been a long time since the boys in CORROSION OF CONFORMITY graced us mortals with an album. As much as it doesn't feel like it due to some disease-related shenanigans, 2018 was a really fucking long time ago. And now they've got a new album out, the first since stick-slinger and founding member Reed Mullin departed this mortal coil in 2020. Then during the pandemic, bassist and fellow founding member Mike Dean decided to step out, which left only two members, Pepper and Woody, to pick up the pieces. They must have deliberated for a long time, ultimately bringing in previous drummer Stanton Moore and bassist Bobby "Rock" Landgraf for their new record. After the longest hiatus between albums the band has ever endured, will it live up to the hype? As for the format, Good God / Baad Man is a double album, no points for guessing what the names of each half are. Given this, a lot of the tracks here harken back to the band's earlier days when they were steeped in punk-crossover worship. Doubtless, there’s still heaps of sludge in here, enough to tarmac a highway, so don't panic. It feels more like the band is feeling its way toward a newer sound with its newer members, yet it remains recognisably COC through and through. The opener, Good God? / Final Dawn, functions very much as an overture, it doesn't really stand on its own, but it primes you for the entire album experience to come. You're unlikely to see anybody saving this song into a playlist anytime soon. You or Me? is a forceful, propulsive arrangement that rides high on its beat until it dissolves into a strange ambient chamber, before surging back to energy to finish things off. Gimme Some Moore was almost certainly a jam name that stubbornly stuck as the song’s title. This track seems to be a showcase of their new drummer's vitality, resulting in an upbeat, sludgy number, though nothing life-changing. Bonus points if you catch MINISTRY's Al Jourgensen lurking on backing vocals. The Handler has quite a formidable riff behind it and some of Pepper's best vocal work on the album. You can picture yourself trucking down a long stretch of nothing to this one; it fits the bill like a glove. Bedouin's Hand has a peculiar name that oddly suits it; the guitar carries an eastern flair and the drums loosen their structure for a jammier instrumental passage. Run for Your Life is more of what we've come to expect from these guys, opening with a brilliantly flanged riff and delivering nine minutes of 70s-infused rock wisdom. Cool as fuck. This could very well be the direction COC might want to entrench themselves in going forward; more FU MANCHU-esque forays into the long, dusty instrumental side of their sound, more ruminative and unhurried than anything. The band as it stands now has palpable chemistry, and it would not be amiss for them to fully embrace this facet of their musicality. Kicking off the second side of the record with some beautiful patois, Baad Man feels like a long-lost GRAND FUNK RAILROAD tune, with an incredibly fun to sing chorus (“he was a reeeeeeeal badmaaaan!”). It could just as easily double as the end-credits music to a Bruce Willis film in which he stars as a mechanic taking revenge on a group of ruffians with a spanner. You'll have to listen to see what's meant by that, just picture it. Lose Yourself has one shot, one opportunity to impress, and what results is a song that doesn't distinguish itself in any particular way, though it does a decent job of filling out the album. Mandra Sonos is a one-minute lute solo that abruptly terminates with some GEEZERist N.I.B.-type bass licking, leading directly into Asleep on the Killing Floor, a pounding, bluesy track that barrels headlong like a big rig blocking the middle lane on the highway. Handcuff Country is one hell of a Southern number, low-riding on a bass groove so languid and carefree that it wouldn't be out of place in an episode of My Name Is Earl. Swallowing the Anchor is another groovy ditty that doesn't mean business until the almighty cowbell is introduced halfway through, then it really gets your feet tapping with a "neener-neener" guitar line. Brickman brings some much-needed tonal differentiation to the record, because as gratifying as the album's cavalcade of "driving down the highway, hell yeah" songs are, no listening experience is complete without a more contemplative number in the mix. The closing track, Forever Amplified, brings the sludge down in bucketloads across a six-and-a-half-minute cascade, featuring an extraordinary soulful turn from jazz-funk vocalist ANJELIKA "JELLY" JOSEPH, who belts out the album's final lines with conviction. For the more casual COC enjoyer, this should be the one to appease them, one hell of a strong closer indeed, and one that's reminiscent of the best material from Deliverance and Blind. Hooey. So what's the verdict on Good God / Baad Man? Buy the album. Buy the album so that you can put it on your turntable, CD player, lithograph, or whatever-the-fuck, and do some astral projecting. This really does feel like a double album, few songs particularly stand out in isolation, but the record as a whole simply works. That's more than likely down to the improvisational nature of the whole thing; the sense of the band committing more than a few jam sessions to tape and fashioning them into tracks is utterly palpable. There's also a musical freedom, a "fuck it" ethos that permeates the entire affair. "Hell, let's put a jazz-funk vocalist at the end there." "How about a five-minute guitar solo here?" "How about a monologue about suicide?" Ahhhh, fuck it! There's an effortlessness to it, something nonchalant and unencumbered that simply doesn't give a fuck, conjuring a musical flow-state that translates directly to the listening experience. It's the sonic equivalent of sitting on the porch on a long, sweltering summer's day in your rocking chair, shotgun across the lap and hooch in hand, just waiting for the next thing to wander too close to your property. There's no doubt that Reed would be proud, gratified that the band still makes good music for the sake of it. The record feels far more unguarded than their previous albums, and that's a damn good thing. Run free, Corrosion of Conformity, the time has come for you to assume your rightful place as reeeeeal badmen. Score: 7/10 Good God / Baad Man will be released on 3rd April 2026 via Nuclear Blast Records. Words: Kiarash Golshani Photos: Danin Drahos

Directions is the debut album from KNUMEARS, a rising screamo trio from LA. It blends bone-crushing drums, gritted-teeth guitar solos, and harrowing screams that throw listeners into a mental mosh pit or push them to scream out their own emotions. Since forming in 2021, the band have grafted their way through the music scene, progressing from local shows to touring the US. They have carved their own path, ignoring any how-to formula, instead turning the amp up to eleven and unleashing raw, unfiltered emotion. The opening track Introduction lives up to its name. It builds slowly around a repeating scale, layering guitars and intensifying drums while shifting tempos to create tension and anticipation. One Light, Sunshine begins with the ticking of a clock, as if warning that something is about to erupt. It quickly explodes into a barrage of screams, guitars, and drums that hit like a stampede. A mid-track drum break offers a brief moment to breathe without losing momentum, before the crashing guitars drive the song to a head-banging finish. My Name opens with a bass-led build before bursting into distortion and overdrive. Like earlier tracks, it balances chaos with a brief melodic pause, giving just enough space before plunging back into intensity. Sharp, abrasive amp noise becomes a recurring theme, echoing the sound of a sudden high-speed turn. Breaking Ground highlights this best, drawing clear influence from earlier screamo acts, reminiscent of Sorry You’re Not A Winner by ENTER SHIKARI. The unified screams carry a strong sense of anger and release. The title track Directions slows everything down. Its distant drums and blurred guitars create an almost secretive, atmospheric feel. It acts as a reset point, building anticipation for what follows, though it risks stalling the album’s momentum. Untitled abruptly pulls the listener back in with crushing force. Deafening screams and rapid guitar work dominate, flowing seamlessly into Bridged. While standing alone, the connection between the two tracks is clear. Bridged stands out, particularly for its drumming, shifting from intensity to near stillness before closing with a powerful, unified finish. Fade Away, the album’s lead single, is dynamically ferocious. Blending past and present elements of the genre, and featuring JEFF SMITH of JEROMES DREAM, it serves as a perfect introduction to the band despite appearing later in the track list. Friendly Face keeps the energy high as the penultimate track. It is relentless, driven by aggression and emotion, and demands to be played at full volume. The North closes the album on a fitting note. There is a sense that everything has been poured into this final track, with the band’s voices merging before the guitar slows to an almost reversed sound. As the final notes fade, the brief silence allows space for reflection. Directions reflects a band with a clear vision. KNUMEARS aim to establish themselves in an ever-evolving metal scene, and this album is a strong introduction to their raw sound and potential. The tempo shifts and sustained energy are particularly effective. Its unpolished nature works in its favour—it feels authentic, immediate, and real. A very promising future lies ahead. Score: 7/10 Directions will be released on 3rd April 2026 via Run For Cover Records. Words: David Waites Photos: Kara Aguilera

Reigning from Arkansas, LEVELS have delivered the latest instalment in their ever-impressive and diverse discography, This Will Make You Feel Again. Entering their tenth year as a band, this stands as arguably their strongest release to date. LEVELS are often described as a cyber/industrial group that fuses multiple elements of metalcore, and this album reflects both their journey and growth. Following the success of Pulse, which surpassed 1 million streams, they leave no style untouched and no influence ignored, crafting something close to a masterpiece. The album opens with Blue Heaven. Synths build the track before dark, ominous vocals align with a bassline reminiscent of the opening scene of Blade, creating a striking introduction. The vocals shift into something more “human-like,” transitioning between styles as if two entities are battling for control. The influence of BRING ME THE HORIZON is clear, with the track feeling at home alongside their POST HUMAN: NeX GEn material. Godlike hits with immediate force. Rapid shifts between high and low screams showcase KOLBY CARIGNAN’s vocal range and control. The synths blend seamlessly with pounding drums, giving the track a mosh pit-ready energy, with subtle elements reminiscent of PRODIGY woven throughout. While the album flows cohesively, Death Dance stands out as a potential standalone track. It moves unpredictably, shifting between trance-like rhythms and explosive bursts of energy, keeping the listener constantly on edge. Black Dove follows, driven by the drumming of DALTON KENNERLY, which elevates the track into anthem territory. It carries a heavy, BAD OMENS-esque sound that will resonate with fans. The bridge introduces a sense of euphoria, and even as the intensity returns, the structure maintains its momentum effortlessly. Drawing a comparison to THE WEEKND within a metalcore context may seem unusual, but Fume immediately evokes that atmosphere. The fusion works seamlessly, adding another layer to the album’s diversity. Fragile is the softest track on the album, but it avoids any sense of fragility. Blending pop elements with metalcore foundations, it feels suited to late-night reflection, carrying an emotional weight without losing its identity. Feel experiments with a drum and bass style. Despite being the shortest track, it acts as a moment of calm within the album, offering an addictive rhythm that complements rather than disrupts the overall flow. Covert One maintains the album’s intensity, reintroducing aggressive screams alongside tight instrumentation. JAGER FELICE and JACOB HUBBARD combine effectively, delivering a track filled with vicious breakdowns and a strong melodic core. Strange Things leans back into the band’s darker, almost “vampire-core” aesthetic. Its stop-start structure and heavy screams drive the energy forward, making it a clear standout for live performances and festival settings. The Grave closes the album exactly as needed. It brings together all the elements explored throughout, without ever feeling cluttered or excessive. It serves as a definitive statement of the band’s identity and sound. Creating an album that maintains momentum while shifting between genres and influences is no easy task. LEVELS achieve this with confidence, crafting a cyber metalcore record that feels both expansive and cohesive. They continue to evolve on their own path, improving with each release. This is essential listening for any metalcore fan. Score: 10/10 This Will Make You Feel Again will be released on 10th April 2026 via SharpTone Records. Words: David Waites Photos: Levels

In the summer of 2017, the music world lost an icon: Chester Bennington, the lead singer of LINKIN PARK, DEAD BY SUNRISE and STONE TEMPLE PILOTS. A pioneer of the nu-metal genre, he possessed a voice that defined a generation and a soul treasured by millions. Nearly a decade later, the legacy he left behind remains just as powerful today as it was during his lifetime. On his birthday, we remember the legacy of Chester Bennington. LINKIN PARK, Chester’s most recognised band, are widely regarded as one of the defining faces of the nu-metal movement. The genre itself blends elements of hip-hop with heavy metal, and the band’s sound was shaped heavily by Mike Shinoda, whose ability to incorporate hip-hop rhythms and groove helped create LINKIN PARK’s distinctive identity. Yet it was Bennington’s emotional intensity that gave the music its depth. The band’s success ultimately came from this powerful combination — a group of musicians whose strengths perfectly complemented one another. Over the years, LINKIN PARK built an anthology of incredible albums and unforgettable tracks. Their songs contain everything that defines a rock anthem: crushing guitar riffs, iconic melodies, and unforgettable hooks. But beyond the instrumentation, it is the lyrics that continue to resonate. Their music explores themes of pain, anger, grief, and internal struggle — emotions that many people find difficult to articulate. Through BENNINGTON’s voice, these feelings were given clarity. Hearing his words, whether through headphones or sung by thousands in arenas years later, proves that these songs are truly timeless. Chester Bennington was a global phenomenon. His voice remains one of the most distinctive in modern music, capable of transitioning seamlessly from melodic singing to powerful, heartfelt screams. Whether heard through headphones or witnessed live in front of tens of thousands of fans, his ability to connect with an audience was extraordinary. His stage presence and emotional authenticity allowed him to captivate crowds in a way that very few performers ever achieve. Chester’s influence extended far beyond music. For many, he became a beacon of light for those struggling with mental health and addiction. He was widely praised for speaking openly about his own battles, allowing others to feel less alone in their struggles. Through his honesty and vulnerability, countless listeners found comfort, understanding, and sometimes even the strength to seek help. When Chester died in 2017, the world was left shaken. Fans across the globe felt heartbroken, lost, and vulnerable. Yet his passing also sparked an important global conversation about mental health. People began speaking more openly about their own struggles, recognising shared experiences and supporting one another. For many, that vulnerability became a source of strength rather than silence. The awareness that grew in the wake of his death continues to have a lasting impact within the mental health community, reminding people that many battles are fought silently — and that no one truly has to face them alone. When a band loses a member as significant as its lead singer, it can often signal the end. History has seen this with bands like INXS after the loss of Michael Hutchence, or NIRVANA following the death of Kurt Cobain. Maintaining the same energy and connection with fans can feel impossible. Stepping into that space is an enormous challenge for any musician. Emily Armstrong has taken on one of the most difficult roles in modern rock as she performs alongside LINKIN PARK. Rather than attempting to replace Chester, she honours his legacy. During performances of songs like Crawling, she often allows the audience a moment to reconnect with the memories those opening notes bring before delivering her own powerful interpretation. It is clear she approaches the role first and foremost as a fan of the music and the band’s history. Together, the band continues to honour their former frontman with respect and pride. Some moments remain too sacred to revisit. The song One More Light, arguably one of the band’s most emotionally powerful pieces, has been laid to rest as a live performance — a tribute preserved in memory rather than on stage. In 2026, LINKIN PARK continue their journey with a world tour, including headline appearances at major festivals such as Download Festival. Fans will gather in their thousands — not only to hear the music, but to reconnect with the spirit of Chester Bennington, the band, and the community he helped create. The world lost a truly special man — a titan within the metal scene. But his legacy, his message, and the memories he created will continue to endure for generations to come. Chester Bennington will remain forever in our thoughts. If you or someone you know is struggling with mental health issues, please reach out. You are not alone. Mind - 0300 123 3393 https://www.mind.org.uk Andy’s man club - https://andysmanclub.co.uk Young minds - youngminds.org.uk Rethink - https://rethink.org Mindout - 0300 7729855 or 01273 234839 https://mindout.org.uk Change grow live - 01642 673888. https://www.changegrowlive.org Words: David Waites

Despite forming thirty-three years ago, this is only the second time Phoenix based GREY DAZE have graced the UK soil. Initially founded by the late Chester Bennington, they made headlines and solidified their place in rock history with some iconic songs. After pausing making music in 1998, the band reformed with original drummer Sean Dowdell and with a new front-man, but the same killer sound that fans know and love. After touring for a while with their back catalogue, reissuing songs and mastering songs with Bennington’s vocals layered atop of new music, the band announced a new single Fake Little Lies. This would be the band's first song with new singer Cris Hodges. Paying homage to the original vocalist whilst also giving this band a new lease of life to a new audience. Opening the night are Manchester rising stars PAVÉ. Opening with The End Of Us, vocalist Alayna-Jade’s pitch, energy, and range showcased that this band is another hit in the roster of female fronted bands taking over the scene at the moment. Throughout their set they played a blend of new songs and more established numbers showing that they know how to create hit songs. From slow song If It Hurts where the crowd's phones lit up the room, to headbanger Whatever The Cost where Alayna-Jade demanded the room to move, the openers played with the confidence of a band that has been around for decades, refining and honing their craft to a fine art that is just stage brilliance. From the moment GREY DAZE stepped onto the stage, the audience could sense that it would be a special night. Not only was this the band's first time in Southampton, but they were going to make sure the audience never forgot every moment of their show. Opening with More Than I Can Offer the band reminded the audience that the music that was made thirty years ago is timeless and packed with energy. Throughout the night the band flipped between newer songs such as Fake Little Lies and Saturation to older classics such as Wake Me and Just Like Heroin. This allowed the audience to truly appreciate the seamless transition from old to new and solidified their sound decades later. The whole band seemed to feed off the energy from the crowd and you could tell that they enjoyed every moment just as much as the audience did. Despite having huge shoes to fill, Cris Hodges took to the front-man spot with enough charisma and talent that any band could wish for.. Cris spent the evening not only tearing up the stage but also interacting with the audience. From standing at the barrier, allowing fans to scream the words with him, to shouting out those that sung with him. He was constantly building that connection between the audience and the band to create something truly magical. Within the show there was a poignant tribute to Chester by Hodges. Telling the audience “Yes we are writing new music. Yes we are moving into Grey Daze 2.0. But we will never forget the legacy of Chester Bennington”. It allowed the audience to appreciate the legacy that Bennington has left not only to the band, but the wider music community. Audience members lifted glasses, raised torches, and lit lighters while the band played Soul Song and Sickness, proving to the world that the spirit of Bennington lives on through his music. Ending the show with Shadows and B12 was nothing short of a perfect ending. With the band playing on stage and Hodges weaving his way through the audience to interact with as many fans as possible, it truly felt like the night should never end. Like it needed to be captured and kept as a memory, never to fade away. It may have taken GREY DAZE over thirty years to come to the UK shores, but it was certainly worth the wait. Words and photos: Laura Davies

Most people choose to spend their Sunday evenings relaxing and preparing for the week ahead. Instead, two-thousand people came down to the Shepherds Bush Empire to dance, mosh and have the time of their lives inside Midwichopolis, the city where CARPENTER BRUT’S Leather Trilogy takes place. But first, the crowd needed to be warmed up a bit. Enter SIERRA VEINS, who took to the stage armed with nothing more than a MIDI keyboard, pad, and a MIDI controller. But calling her setup minimal would be missing the point entirely. What SIERRA VEINS created was a singular, overpowering universe that blended EBM, synthwave, industrial, and darkwave into something that felt both futuristic and primal. The stage design was nothing short of spectacular, with cyberpunk aesthetics brought to life through careful lighting and, most memorably, SIERRA VEINS herself wearing a smoke machine like it was part of her performance art. Her distorted vocals, processed through layers of effects, meant that her words and production could shine further as her vocals were anonymised through this process. What set this performance apart was the live instrumentation woven throughout her set. The audience reception was immediate and electric. She did not need to say anything to earn thunderous cheers; her music spoke volumes, and when she raised her arm to command the pit, the crowd responded instantly. By the end of her set, screams and little cheers filled the venue. As we waited longer and longer for CARPENTER BRUT to come on, it felt like a rave full of metalheads, and somehow that made perfect sense. As the Iron Tusk tower towered over the pit, it was evident that CARPENTER BRUT, real name Franck Hueso, was primed to take the stage. And the pit was ready for him. Flanked by guitarist Adrien Grousset and drummer Florent Marcadet, both from French tech-metal band HACRIDE, Hueso delivered a performance that felt like witnessing the apocalypse through VHS static. The massive tower-construct behind the stage served as both visual anchor and symbolic monument to the industrial decay that permeates CARPENTER BRUT’s aesthetic, making you feel like you are fighting with Bret Halford. Everything about this performance was designed to complement the music - the fake real estate ad that opened the show, the sprawling dystopian visuals that accompanied each track, the way Hueso communicated through gestures and prerecorded voice lines that had the spirit of the usual MCing on stage. The setlist was a journey through Hueso's Leather Trilogy, with most songs from the finale of the trilogy, Leather Temple. She Rules the Ruins showcased those hypnotic arpeggio synths that made the track such a standout, while Looking for Tracy Tzu delved deep into worldbuilding with its omnipresent Iron Tusk branding and the chilling dystopian atmosphere it represents. What made the performance truly special was how everything complemented each other. The visuals used throughout the gig immersed you in the everyday life of Midwichopolis, both the good and the ugly side of the city and the extent of the tyranny that main character Bret Halford is prepared to fight against. Perhaps the most endearing moment came when the audience sang "Happy Birthday" to the sound engineer. Despite the dystopia of Midwichopolis, there is still hope in evading this kind of future, and the pit proved that to be true. Ending on an electric cover of Maniac by MICHAEL SEMBELLO, the only song on the set with lyrics, CARPENTER BRUT proved that energy and enthusiasm are the key things needed for metalheads to mosh and jam out to music. Anything is moshable, if you put in the work, and CARPENTER BRUT did just that. Despite being the last date on the tour, it felt more like he was just getting started. Words and photos: Atoosa Salamat

HAIL THE SUN prove why boundaries are there to be broken and needles are there to be moved with a new era for melodic post-hardcore. Innovating a clean, vocals-forward sound, laced with intricate guitars that prescribe intense emotion, with their new record Cut Turn Fade Back, they have defined their own space within the Will Swan adjacent cinematic universe. With the phenomenal KURT TRAVIS - and in Leeds BLACK SURF - the band embarked on yet another highly acclaimed tour many miles from home. Local Leeds lads BLACK SURF opened the night to get the crowd pumped up. Bringing a blend of alt-rock and grunge they define their music as “the sound of no responsibilities and endless fuzzy summers”. Heavily inspired by the likes of WEEZER, the band brings a great energy to a room but can also have a crowd deep in their emotions at any given moment. Relative newcomers on the scene having released their debut EP Make Friends With Hell in 2023, they have been on a rapid ascent. Being brought in to play as support for HAIL THE SUN in their hometown is a testament to the hype BLACK SURF have growing around them. KURT TRAVIS needs no introduction to fans of the post-hardcore scene. A journeyman, who has been involved with countless iconic bands and artists while also growing an esteemed discography of solo work. From the moment the set began with the incredible Easy Peasy, the crowd went wild, knowing they were in for something special. Following it up with the iconic Desperate, this only brought more energy into the room, whilst also making time for his new releases. KURT TRAVIS gave the crowd a treat with his 2025 singles How Could I and same as it’s been. He then spent the latter half of his eight-track set playing songs from bands he has been a part of. Starting with Fantasy from the short-lived but much loved ETERNITY FOREVER and then following up with Tootsie Roll from one of his current bands GOLD NECKLACE. Still, he had another even more exciting surprise. Taking a moment to have a heart-to-heart with the fans, KURT TRAVIS reminisced on his time with one of the bigger bands, and this led into Strawberry Swisher Pt.2, sending the crowd into a state of bliss. Saving the best for last, he closed out the set with Uneasy Hearts Weigh The Most which created an atmosphere of euphoria in the room and left everyone exhilarated for the headline. Frontrunners of the post-hardcore scene, California natives HAIL THE SUN headlined the tour off the back of their latest LP Cut Turn Fade Back, which came out in 2025. Having a catalogue of stellar albums dating back to their formation in 2009, the band has nurtured a large and loyal fan base. Starting the set with the opening track of latest album The Drooling Class, the band had the room bouncing from front to back instantly. Vocalist Donovan Melero graced the ears of everyone with his angelic vocals. This got a big cheer, only to be outdone moments later as he unleashed hellish screamed vocals. Before long, the crowd had become the choir for Melero singing all of his words right back at him with a beaming smile. Fans who have been with the band a long time were rewarded with Falling On Deaf Ears from the exemplary 2014 album Wake. The band then made time for more tracks from the latest album, all of which went down a treat with fans. In the moments between songs, Melero remarked on his love and appreciation for playing smaller European and UK venues because of the intimate and intense environment it nurtures. Only a few songs in and covered in sweat, his iconic leather jacket came off. For part of the set, drummer Allen Casillas made way for vocalist Donovan Melero to play drums and sing while the rest of the band stayed at the front of the stage. Having spent seven years as the drummer alongside his vocal duties for the band, Melero is highly regarded for his drumming skills. Letting him have his time to play drums at their live shows gives all fans an admiration for his talent, belting out incredible drumming and heavenly vocals simultaneously. Fans who have stuck around with the band since the beginning were graced with one of the most beloved HAIL THE SUN songs Ow! (Splidado!) [I Like It, Though], from the timeless 2012 EP Elephantitis. The desire to hear all eras from the band was on perfect display here as the crowd roared into another level of energy for this song. Moshers went flying and bodies were moving throughout the entire room. Towards the end of the set, the energy was brought down for the highly emotional Relax/Divide, which left fans singing from their souls and tears welling up in the eyes of many. HAIL THE SUN have an astounding ability to have you dancing one moment and crying the next with their intricate sound and hard hitting lyrics. Not to end the night on a sad note, the band took a moment to tell the crowd how thankful they are for the continued support before lighting up the room with the glorious Maladapted from 2023’s Divine Inner Tension. The building shook one last time from the crowd, giving every last bit of energy they had into the song. A perfect ending to a sensational set, even if the fans would have liked them to play all night. HAIL THE SUN have been a band that have broken boundaries with every new release and this latest album has been no different. There is so much passion from fans across the world and this tour was yet another huge success. A sign of many more fantastic things to come for the post-hardcore juggernauts. If you have not seen HAIL THE SUN live, you are missing out on an experience that is more than just a gig. You are missing out on an emotional experience that will take you to places no other band can. Words and photos: Alex Long

Coming back with an album filled to the brim with head-banging hits? Absolutely not a problem for the German four-piece SAMURAI PIZZA CATS. The metalcore band, formed back in 2021 by the vocalist Sebastian Fischer, guitarist Daniel Haniß, bassist Stefan Reufer and drummer Stefan Buchwald, has been rapidly gaining popularity among the fans, and it is to no surprise, as their songs get easily stuck in head and refuse to leave at any cost. Their second full-length album, Press Play, is another fun project that presents each song as its own unique level in a game. A song directly addressing this choice is Error 809, boasting intricate guitar riffs and catchy drums, as well as synths through the whole track. Fischer is not only using his vocal fry, but also his clean vocals when needed, creating a perfect balance of sounds that still give off unmissable 80s/90s vibes. From the twelve unique tracks on Press Play, three short tracks – Insert Coin, Level Up and Thanks for Playing all serve as transitions between the different songs, reminding the listeners what the album is about, as well as offering short breaks to gather thoughts and take all the feelings in. While Insert Coin and Thanks for Playing contain speeches from a child character, who is playing through the different ‘stages’ of the album, Level Up brings retro synths and melody, that is progressively becoming faster, before the character commands “Off to the next level!”. It would not be a SAMURAI PIZZA CATS album without collaborations, and although there is significantly less than in their debut album, it does not take from the intensity of both pieces. T-Rex(plosion), featuring Jessie Williams of the Catalonian band ANKOR, brings an explosive and powerful mix of guitars and drums, as well as a blend of Fischer and Williams’ voices, that always seem to fill any gaps for each other, creating a moshpit-worthy hit. On the other hand, Ramen-Man is the collaboration between the band and the Japanese-metal pop trio BABYBEARD, consisting of Ladybeard, Suzu and Mizuki, and is a perfect example of groovy-metal. With the vocal fry of the frontman, as well as the addition of Japanese lyrics, the song opens completely new territory for SAMURAI PIZZA CATS and introduces them to the world of idols. It is a funny addition to the already stacked list of songs and a good introduction to the Japanese artists. Within the rest of the tracks on Press Play, Super Zero, Penguin Supreme, Fear No Slice, City of Gold and Pandastruck have memorable intros and melodies, as well as lyrics. The metalcore quartet put to use everything they had on hand and made sure the text kept being consistently enjoyable and engaging, while diving into the topics about waddling on the ice in a tuxedo or galactic pizzas. The closer of the twelve-track release, Pizza Homicide (STVW Version), is only a cherry on top of the already stacked list of songs, even though it is a different version of a classic from their debut album. Turning the metal banger into a rave hit, there is no better way to bring Press Play to the end than this. SAMURAI PIZZA CATS managed to raise their own bar higher with Press Play and showed the metalcore scene why they are one of the best rising bands of the decade. Fischer, Haniß, Reufer and Buchwald create a wonderfully chaotic symbiosis and that is exactly what makes the band and their work so unique - coupled with their unseriously serious lyrics. It is a perfect listen for everyone, who wants to switch off their brain and just vigorously headbang. Score: 9/10 Press Play was released on 27th March 2026 via Century Media Records. Words: Katerina Stepanikova Photos: Calogera Cimino

There’s a tension running through What If Better Never Comes? that never quite resolves — and that’s exactly the point. MALLAVORA’s debut doesn’t follow the usual arc of arrival. There’s no sense of a band trying to prove themselves in obvious, commercial ways, no over-polished bid for mass appeal. Instead, this is a record that leans fully into discomfort — structurally, emotionally, and sonically — and trusts the listener to stay with it. The result is something that feels less like a statement piece and more like an exposed nerve, constantly shifting, constantly resisting resolution. Prologue opens the record with an eerie, slow-burning atmosphere that feels deliberately incomplete, like a door left slightly ajar. It doesn’t so much introduce the album as it unsettles it, bleeding seamlessly into Smile. As one of the album’s lead singles, Smile still lands with impact, but within the full context it takes on a sharper edge. Its jagged riffs and sudden vocal shifts feel more volatile here, less like a standalone burst of energy and more like part of a wider emotional spiral. That sense of instability carries into Waste, which pushes even further into unease. There’s a suffocating quality to its pacing, as if the track is folding in on itself, refusing the listener any easy release. Lilith & Esther (feat. BANSHEE) emerges as one of the album’s most striking moments. It’s not just the feature that elevates it, but the clarity of its vision. Drawing from Jewish and Middle Eastern influences, the track expands MALLAVORA’s sonic identity while grounding it more deeply in heritage and storytelling. Jessica Douek’s performance here is particularly compelling — moving from controlled, almost reverent delivery into something far more feral. There’s a theatrical edge to it, but it never feels performative; it feels necessary, like an emotional language that can’t be expressed any other way. The middle stretch of the record is where its weight really settles. Hopeless and Break feel intentionally dense, both musically and emotionally. They resist the kind of cathartic release that heavy music often leans on, instead circling their own tension. It’s an effective choice, even if it makes for a more demanding listen. Birth of a Sun offers a brief moment of lift, a flicker of something lighter, but it never fully blooms. That sense of almost-relief makes the transition into Sick hit harder — a track that feels like one of the album’s most direct confrontations with its central themes. There’s anger here, but it’s focused and deliberate, aimed outward as much as inward. Walking The Edge Of The Knife thrives on imbalance. It constantly feels like it’s about to tip over, pulling back at the last second and keeping the listener suspended in that tension. It’s one of the album’s most dynamically engaging tracks, using restraint as much as release to maintain its grip. Empty follows with a more subdued emotional palette, but it doesn’t feel like a break. Instead, it captures a quieter kind of exhaustion — the kind that lingers rather than explodes. By the time Make The World Wait arrives, there’s a subtle shift in perspective. It feels more reflective, almost observational, as though the album is taking a step back to assess everything it’s just put the listener through. That distance is short-lived. Host reintroduces a creeping sense of unease, building slowly and deliberately toward the final track. The title track, What If Better Never Comes? closes the album in a way that feels entirely in keeping with everything that precedes it. It’s expansive and emotionally open, but it refuses to offer resolution. There’s no neat conclusion, no clear sense of closure — just the lingering weight of the question itself. What ultimately makes this record land is its intent. Guitarist Larry Sobieraj’s experience with chronic illness is embedded deeply within the instrumentation, giving the music a physical sense of strain and weight. That feeling is then translated through Jessica Douek’s vocal performance, which moves fluidly between vulnerability and aggression. Together, they create something that feels less like performance and more like dialogue — an ongoing exchange of emotion that doesn’t always seek to be understood. As a debut, What If Better Never Comes? is strikingly self-assured. It doesn’t chase clarity or validation, and it doesn’t simplify its ideas to make them more accessible. Instead, it sits firmly in complexity, allowing contradictions to exist without resolution. MALLAVORA haven’t just introduced themselves here — they’ve drawn a line. Score: 9/10 What If Better Never Comes? will be released on 27th March 2026 via Church Road Records. Words: Mia Gailey Photos: Mallavora

When a completely unknown band appears on the lineup for one of the biggest rock festivals in the world, people notice. When that band has released no music, shows no faces, and speaks only in cryptic teasers? People start investigating. That’s exactly what happened when PRESIDENT burst onto the scene in February 2025 after appearing on the lineup for Download Festival. At the time, the name meant absolutely nothing to anyone. No singles, no music videos, no press—just a name on a poster. Naturally, the rock and metal community immediately went into detective mode. The mystery deepened when images of the band began to circulate. The frontman, known only as President, appears wearing a haunting mask: grey-silver hair swept back, deeply etched wrinkles in the face, and an almost wax figure quality that feels both human and slightly unsettling. Behind him stand the rest of the anonymous lineup is guitarist Heist, bassist Protest, and drummer Vice forming a fourpiece built as much around atmosphere and identity as music. But the truth is that PRESIDENT didn’t appear overnight. According to interviews, the project originally began as a solo venture, developed quietly behind the scenes for several years before expanding into a full band. The secrecy was deliberate. By the time the public caught a glimpse of the project in early 2025, the groundwork had already been laid. Shortly after the Download announcement, the band launched their social media accounts and began posting cryptic teasers - short clips, imagery, and fragments that hinted something big was coming. In April 2025 they released a teaser for their debut single, building anticipation until May 2025, when In The Name of the Father finally arrived. The response was immediate. The track didn’t just introduce the band, it launched them. Just days later, PRESIDENT announced their first ever headline show at The Garage in London, scheduled for 30 July 2025. Tickets sold out in less than 48 hours, proving that the intrigue surrounding the band wasn’t just online curiosity- it translated into real-world demand. A second single, Fearless, followed on 5 June, further fuelling the hype just days before the band stepped onto a stage for the very first time. Their live debut at Download Festival in June 2025 only intensified the mystery. The performance reportedly turned the tent into “absolute pandemonium from the off,” with fans cramming in to witness the spectacle of a band that had barely existed a few weeks earlier. Of course, the biggest question surrounding PRESIDENT isn’t the music - it’s the identity behind the mask. Almost immediately after the first singles dropped, speculation exploded online about who might be fronting the project. One name that kept resurfacing was Charlie Simpson, best known as the vocalist of FIGHTSTAR and former member of BUSTED. Fans quickly began pointing out similarities between the PRESIDENT vocals and Simpson’s unmistakable tone. Then came the so-called “bracelet incident.” During festival appearances, observant fans claimed to have spotted a matching bracelet worn by both Simpson and President on the same day. Some fans even went as far as tracking helicopter flight paths between festival locations to see if the timing lined up. Whether the theory is true or not, the band themselves have remained completely silent on the subject. The identities of the members remain officially undisclosed, and PRESIDENT seems perfectly happy letting the speculation run wild. Another theory that circulated just as quickly was that PRESIDENT might be an industry plant, strategically launched by labels to go viral. The band strongly rejected that claim, stating that their music, including their debut EP, was self produced and released independently without label backing. Regardless of how they got there, the momentum was undeniable. Following their early singles and explosive festival debut, PRESIDENT announced their debut EP King of Terrors in July 2025. The announcement came alongside the release of the third single, Rage. Soon after, a fourth single titled Destroy Me arrived in early September to build anticipation for the full release. The EP finally dropped worldwide on 26 September 2025, accompanied by neon styled visualiser videos for additional tracks Dionysus and Conclave. Within six months, the record had already surpassed 50 million streams on Spotify, an impressive milestone for a band still hiding behind masks. The band’s rapid rise didn’t stop there. PRESIDENT were soon announced as support for ARCHITECTS on several tour dates spanning late 2025 and early 2026, exposing them to even larger audiences across international stages. Festival appearances also continued to pile up. The band secured a headline slot at Takedown Festival in Portsmouth in April 2026, while additional festival slots followed for Slam Dunk, Nova Rock, Rock for People, and Copenhell throughout the summer. Recognition arrived quickly too. In November 2025, PRESIDENT were awarded Best New Artist at the Rock Sound Awards, cementing their place as one of the most talked-about new bands in rock and metal. And perhaps most excitingly, the story is far from over. The band has already confirmed that work is underway on their first full length album, which will reportedly expand on the mythology and narrative surrounding the mysterious President character. Whether the masks eventually come off or not, one thing is clear: PRESIDENT didn’t just arrive quietly. They arrived like a campaign rally: loud, theatrical, and impossible to ignore. And honestly? Half the fun is still trying to figure out who’s standing behind that mask. Catch President this summer at both Takedown Festival and Slam Dunk. Words: Angel Turley