Doom metal trio ỤBỤRỤ are on track to release their debut self-titled album. A relatively unknown Leeds-based group, they’re looking to prove themselves with this record following gigs over the past couple years. Several songs on this album have made live appearances previously, uploaded to their YouTube channel, although they don’t feature anywhere near the level of polish as the studio versions - particularly what would become the monolithic closer to the album, Shaman. But let’s start with the first standalone single, opener Butchered. As a first impression, it’s a decent taste of what this band is aiming to achieve. A monstrous opening riff, reminiscent of early BLACK SABBATH, over pounding drums that, while they could be louder in the mix, by the time the guitar squalls and the vocals come in, you don’t notice it all that much - lead vocalist Joe’s growls have the perfect level of bite to accompany the sludginess of the riff here. However, when they go into double time the production noticeably begins to feel muddier. It’s slightly distracting, especially when it goes back into the verse and the guitar sounds much clearer again. That being said, the effect still works, with the faster section shaking the pacing of the song up a lot. At six minutes, it certainly needs some variation and this first song manages to do so, even ending on an unexpected solo, which doesn’t feel out of place at all, and adds a little bit of extra dimension to the song before ending on a sustained chord. So there’s a few hang-ups with the first song, but it still does a good job of setting the stage. Thankfully, the second single and also second track on the album, In Tatters, is certainly an improvement. Instantly starting with a roar from both the guitars and vocals, you get this caustic riff that feels ready to melt your ears off. It keeps this up for about three minutes before introducing some time signature trickery, and while somewhat disorientating, the drums help the rhythm feel anchored. It’s hard to notice unless you’re looking for it, but nonetheless impressive at how seamless it feels. Throughout the album we get more mind-bending riffs and dynamic builds and switches, notably on fifth track Shaman, but it’d be a disservice to talk about this album without mentioning the closing track Oblivion in detail. By far the longest song on here, nearly reaching nine minutes, it manages to carry the momentum from the rest of the album. It feels like there’s a real driving force to this song, the moments where it goes into double time, the tempo shifts, the sheer intensity of the riffs throughout and Joe’s vocals permeating through all of this once again. It’s not uncommon for a closing track to feel like the thesis statement of an album, and especially one as long as this, but it’s thrilling nonetheless. The section from four and a half to five minutes in where you hear these grinding, endless-feeling sustained guitar chords is unbelievable. And that comes before an instrumental section that swaps between chugging guitars and as fast-paced of a riff as you’re going to get on an album like this. Even with all that, it still manages to pick up the pace with another extended instrumental section that might even fit the definition of stoner metal, going on for several minutes before a few more growls before some sustain, and abrupt end. Unbelievably heavy and a hell of an effort for a debut album, ỤBỤRỤ manage to alleviate reservations we may have had with the production on the first track and excite with some wonderful pieces of doom and sludge on the remaining seven tracks. Keep an eye out for these guys - they’d surely be a treat to witness live, and this album is proof of that. Score: 8/10 ỤBỤRỤ will be self released on 15th May 2026. Words: Jake Leonard Photos: ỤBỤRỤ

“There’s no such thing as taking it easy over here.” Vocalist Mae Seaton concisely sums up what it’s been like for WREX since they formed in 2020, particularly the last year of non-stop touring and finding time to create their upcoming EP SADWORLD, releasing 20th May. “In terms of finishing it, it was tough,” admits guitarist and producer George Donoghue, “we were behind schedule, naturally off the back of that comes burnout, your health and trying to juggle having lives and jobs, but we’re not weird about it, we just trusted the process on that.” Trusting the process has resulted in an EP of 5 sublime tracks that incorporate nu-metal steely beats, charged trance synths, and alt-punk attitude. SADWORLD isn’t just enjoyable to listen to from a production sense, it’s also a cathartic release that expresses a multitude of feelings. “It becomes a journey and every song hits a different emotion, not necessarily intentionally,” Seaton muses. “I think A Thousand Ways will probably resonate the most, or I hope so - the people that do connect with it will connect quite deeply.” “It’s the rawest song we’ve ever done,” Donoghue continues, “and it came together the fastest. I think they all serve different purposes as songs musically and in terms of what they draw out of you in energy. Once the song is made and it’s out there, it’s not ours anymore, it’s everyone else’s - the catharsis of creating the EP is what helps me through the emotion.” This is a sentiment you’ll find, not just within the lyrics and sound of WREX, but in how they interact with audiences at shows, despite their time on the road and in general everyday life hindering how they cathart their emotions. “I always go into the crowd on 111, and I jumped off the stage bar and really let loose, I remember getting back on stage and going “thank you, I really needed that”. It was a built up tension and then releasing energy when we were on a tour break,” Donoghue says, almost looking relaxed as he relives that moment of audience interaction. “You get connected to it, it’s a personal thing,” adds Seaton on the feeling of letting go to other collaborators and trusting the growth of their music. “It’s like having 5 eclectic children and managing to send them all off to college, but 10 children [ideas for the EP] never made it,” Donoghue explains in an unexpected but effective analogy. “We don’t talk about those children... this has taken a weird turn,” laughs Seaton. “But they’ll blossom in due course.” From stepping away from synths to real guitar and their first live piano, to combining an abandoned track intro from a previous EP into the end of The Noose in a “eureka moment”, WREX have worked tirelessly to stitch together a sound that highlights their favoured nu-metal, alt-rock roots and merged ideas with friends and inspirations. Creating SADWORLD presented WREX with the chance to work alongside other musicians and assimilate other ideas and vibes into their work, a process that wasn’t exactly difficult but was new for Donoghue, having to “let go” and trust the production to someone else for a while. “Our drummer showed our friend Kieron [Pepper, SLEEPER bassist] Paranoia while it was on its way, and he texted me out of the blue “can I work on this? I think I can add value”. I really respect him and it was a turning point for me to let go of additional production ideas to a third party. He created whole synth layers, percussion, and electronic programming, and that then influenced Consume and opened my mind to how to add an extra layer to things.” Collaboration has been the end goal for WREX since they first formed and released their first EP Paradise in 2022 as a duo, with SADWORLD being their biggest collaboration project to date. “We started off as a space we could create under the name WREX and as it grew we could invite people in to collaborate. The first record was just us two, the next we had an actual bassist, drummer, and guitarist, and for this record we wrote 111 with Adam Sedgwick [TRIBE OF GHOSTS], and Kieron [Pepper] coming in on production, and its grown to become a space for more people to come into as an extension of performing it live and being that special level as well,” Donoghue explains, breaking down the evolution of the duo’s journey. The dream collaborators for the duo? “We both said PAPA ROACH,” admits Donoghue, with Seaton laughing that they were at the front of her mind mulling over the question. Given their trajectory and remarkable determination, it won’t be long before we see WREX working with such an influential band, with an absolutely stacked 2026 ahead of them and projects they can’t spoil for us yet. With another full-to-bursting year ahead of them, the duo reflect on how they handled being on the road as a full band and what that looks like for the coming months. “We’re good as a band at enjoying the wholesome side of things, we just find wholesome things to do, almost like a family.” Donoghue considers, before Seaton excitedly reminisces about a safari park and inflatable course. “We’re in the toughest part of this new growth as a band, it will beat you into the ground, so you have to find the joy in it.” WREX will release their EP SADWORLD on 20th May 2026. Words: Julia Stark Photos: Ethne Lever With thanks to: Halestorm PR and WREX

Despite the venue’s small size, the room is already busy before the first band even appears. There is a quiet anticipation building early on, with people squeezing closer to the stage as the night gets underway. Opening the evening were STEPOVER, making the trip over from the Isle of Wight. Their set begins slowly and atmospherically, easing the crowd in before crashing drums suddenly kick the room into life as they launch into their latest single. The drummer was easily the standout of the set, driving the performance forward whenever the energy threatened to dip. Being the opening act in a small venue can be awkward, especially when people are still arriving, but STEPOVER handled it well. As the set goes on, more people pile into the room and it quickly becomes obvious that a good chunk of the crowd are there specifically for them, with fans already singing along to multiple songs. Next up are UGLY OZO, who immediately brought a completely different kind of energy. Within moments of getting on stage, the vocalist asked everyone to move closer because they “hate big spaces”, which instantly gets a laugh out of the crowd and breaks down any distance between band and audience. The excitement from the band is obvious throughout the set. At one point, the vocalist complains the microphone is repeatedly giving her electric shocks, leading to a slightly chaotic attempt to fix it mid-song that the crowd absolutely loved. Technical problems aside, the set itself was fantastic. The vocals were strong throughout, while the dual guitars gave the performance a huge amount of texture and weight. There is a confidence to the whole thing that makes the band incredibly easy to warm to. By the time THISTLE were ready to headline, the sold-out venue was packed shoulder-to-shoulder. The atmosphere through the set up felt restless in the best possible way, with people clearly desperate for the set to start. The band came out swinging with one of their best-known tracks, instantly setting the room off. People were jumping within seconds, and despite the lack of space, it feels like the crowd was constantly on the verge of exploding into a full pit. Interestingly, THISTLE did not introduce themselves until after the third song. Instead, they charge straight through the opening section of the set without stopping, which somehow makes them seem even cooler. It carries this unspoken confidence, like they already know most people in the room are fully locked in. What really stands out is how strong the fanbase already feels. Some people know every single word, screaming lyrics back at the stage, while others who clearly came in unfamiliar quickly get pulled into the atmosphere anyway. Even in such an intimate venue, the connection between the band and crowd felt massive. Overall, it was one of those gigs where the small venue actually makes everything hit harder. Every band brought something different, but THISTLE left the biggest impression by the end of the night. If this is the level they are already operating at in rooms this size, it will be interesting to see where they end up next. Words: Lauren Wenham Photos: Anna Goley

The All-American Rejects are not the early‑2000s angst ridden pop rock band of yesteryear anymore; they are entering a new era as “a band of the people,” returning to the scene with new album SANDBOX. The spark hit in 2023, first with the sold‑out Wet Hot All-American Summer Tour, then with the House Party Tour, a chaotic, free‑to‑all victory lap that felt less like a comeback and more like a band remembering exactly who they were. SANDBOX is the band's first full-length release in fourteen years and their first independent release. It captures their uncontainable energy, delivering sharp and defiant anthems from the opening track. Opener Easy Come, Easy Go was the heartbeat of their viral House Party Tour with vocalist Tyson Ritter at his most cutting and poetic, with the song being a portrait of a relationship that only thrives in chaos. It is a roaring, hook‑driven track built on gritty riffs, spoken‑sung verses, and a chorus that hits you hard. Get This was released as an early single, which hugely contributed to the band's viral re-entry into the scene and the traction that set them back on the right track. It’s a track that reenergised their fanbase, and sits perfectly within the bands signature mix of melody and tenacity. Search Party! was also released as a single (as well as making a return later on in the album with a live version as the closing track) and is a lovably bright and breezy number, with a ridiculously infectious chorus, where Ritter sings “I brought the clown to your search party/And he's even got balloons”. Another track released before the album drop, and continuing the more indie leaning direction The All-American Rejects go for with SANDBOX, is Eggshell Tap Dancer. They blend their their hook‑heavy pop‑rock with the ever imaginative lyricism with lines like “I'll be your eggshell tap-dancer/If you give me another chance or two/I'll wrap a tight rope 'round the world/And really show you what I can do” conjuring up the image of an obsessive, but one sided love story. Green Isn't Yellow harks closer to a gentle indie/country theme; telling Ritter’s own childhood story, from his days back in Oklahoma which have clearly influenced the foundation of his whole artistic identity. With the title track Sandbox, the album seems to take a darker turn. With lyrics like “ The sandbox is thirsty/Outside, the bombs are bursting” and “See the children play in camo green/Mornin' tea, cuppa casualties”, it's not hard to see the song as a quiet commentary on the war‑shaped reality children wake up to in Palestine, Lebanon, Syria, Yemen, and across the Middle East — a childhood defined by fear instead of safety. Latest single King Kong follows and is a raw, perspective‑shifting account that finds Tyson Ritter walking out of Los Angeles and peeling off the hollow industry sheen that defined his twenties and early thirties. The song is made up of creaking acoustic guitar, a pulse‑driven, hypnotic bassline, and a sky‑reaching, defiant chorus that turns personal disillusionment into something sharp and anthemic. Clothesline has an undeniably danceable groove that snaps at the waistline, framed by glossy, high‑shine synth work. It’s the rare moment where the album’s cohesion slips, its high‑shine synths feeling disconnected from the world SANDBOX builds elsewhere. Lemonade funnels frustration and exhaustion into punchy, tightly wound guitar work and a weary, looping refrain of “I don’t know where I’m going/I don’t care anymore.” An unexpected ballad, For Mama, is dedicated to the band’s mothers and was released on Mother’s Day in the USA. The band shared that “The 1 thing nobody tells you about life is that the older you get, your perfect family starts to show its underbelly. This song is about holding each other together through reflection on the good times.” It returns the album to a similar vibe heard in Green Isn't Yellow and features lyrics like “From a son to his mother/I can’t fix you, I sure miss you” and “But I still don’t love you any less than the day before/Still more” that pull at your heart strings. Staring Back At Me stands as the track that could push The All-American Rejects back into arena‑sized rock, with Ritter’s desperate, near‑spoken vocal delivery winding the tension tighter with each line. Heavy, surging guitar lines followed by a sharp, insistent synth hook give the track the feel of a fuse burning towards an explosive end. SANDBOX ends with a live version of Search Party!, recorded during the Medium Sized Backyard shows. It’s a poetic way to end the album; an exciting, energy driven return to a stage, just not the same one they left. SANDBOX is written by a band who have lived several lives; Ritter is writing from the centre of where he is now - enriched by fatherhood, with a decade of self reflection and distance from the industry machine. Ritter is joined by primary composer Nick Wheeler on lead guitar, Mike Kennerty on rhythm guitar and Chris Gaylor on drums, and SANDBOX delivers a reminder that The All-American Rejects never really left, they just needed the space to become the band they were always meant to be. Score: 7/10 Sandbox will be released on 15th May 2026 via independent release. Words: Lou Viner-Flood Photos: Andy Knight

Vindicate sees BLACK VEIL BRIDES continuing to refine the theatrical and emotionally driven sound that has defined much of their career, while also showing just how much they have evolved musically over time. The album feels carefully constructed from beginning to end, balancing heavy moments with softer and more reflective sections in a way that keeps the pacing engaging throughout. Rather than feeling like a collection of disconnected tracks, Vindicate flows like a complete concept, with each song contributing to the larger emotional journey of the record. Opening track Invocation To The Muse acts as a dramatic introduction to the album’s atmosphere. The organ driven instrumental and spoken word section create a cinematic opening that immediately establishes the darker and more theatrical tone of the record. While it works more as a setup piece than a standout song in its own right, it successfully creates anticipation for what follows. That anticipation pays off quickly with Vindicate, which immediately injects energy into the album. The accordion intro adds something slightly unexpected to the band’s traditional sound before the guitars and drums fully kick in. The verses move at a fast pace, allowing the chorus to land with much more impact once it arrives. It is one of the album’s strongest singalong moments and highlights one of the biggest strengths of the record overall. Many of these songs feel designed for live performances, with massive choruses and crowd driven energy running throughout the album. The contrast between screaming vocals and melodic singing becomes one of the defining elements of the album. Songs such as Certainty, Hallelujah, Alive and Revenger all make strong use of that balance. The screams bring aggression and urgency, while the clean choruses create emotional release and memorable hooks. Importantly, the heavier moments never feel forced or excessive. Instead, they serve the emotional weight of the songs and make the melodic sections feel even larger in comparison. Certainty stands out through its powerful instrumentation and the way the harsh and clean vocals interact with each other. The song feels intense without sacrificing melody, something the album consistently handles well. Meanwhile, Hallelujah opens with layered harmonies before exploding into screaming vocals and then transitioning back into soaring melodies. The pacing of the track feels particularly effective because of how naturally those shifts happen. It demonstrates how confident the band has become in combining theatrical elements with heavier instrumentation. Production across the album remains consistently strong. Every instrument feels purposeful within the mix, whether it is the aggressive guitar driven sections or the more orchestral arrangements involving strings, piano and keys. Nothing feels overcrowded, even during the album’s biggest moments. The transitions between songs are also handled extremely well, particularly when moving between heavier tracks and softer interludes. The album avoids becoming repetitive because there is always a shift in tone or atmosphere before any section begins to lose momentum. The emotional core of the album becomes most apparent during tracks such as Cut, Purgatory (Overture IV), Grace (Interlude), and Eschaton. These songs showcase a more vulnerable and cinematic side of BLACK VEIL BRIDES while still maintaining the scale and drama present throughout the album. Cut serves as one of the album’s standout moments. Beginning with stripped back piano and violin alongside LILITH CZAR, the song gradually builds into something far more expansive. The harmonies throughout the track are layered beautifully, while the overlapping vocal sections create a genuinely satisfying climax. Lyrically and melodically, the song carries significant emotional weight, and every addition to the arrangement feels deliberate. It is one of the clearest examples of the band’s musical growth, showing restraint in the quieter moments before fully embracing the larger emotional payoff later in the track. Following the energetic momentum of earlier songs, Purgatory (Overture IV) arrives with a completely different atmosphere. The use of strings and keys gives the song an uplifting and almost healing quality. Positioned where it is within the tracklist, the song lands with even more emotional impact because of the contrast it creates against the heavier material surrounding it. Ave Maria immediately shifts the mood again with a much more energetic opening. That sudden change initially feels jarring, but it ultimately works because it prevents the album from becoming too comfortable in one emotional space. Conceptually, Vindicate succeeds because of how carefully its emotional highs and lows are arranged. The album constantly shifts between aggression, reflection and triumph without ever losing focus or momentum. More importantly, it highlights how much BLACK VEIL BRIDES have grown as musicians and songwriters. Rather than abandoning the theatrical identity that made them stand out originally, the band refined it into something more mature, emotionally resonant and musically confident. Score: 9/10 Vindicate was released on 8th May 2026 via Spinefarm. Words: Con Macadam Photos: Black Veil Brides

One of the most exciting emerging names in metallic hardcore, YOUR SPIRIT DIES return with It Is Well…, a short but crushing three-track EP that further cements the band’s growing reputation within the genre. Hailing from South Carolina, the five-piece revive the spirit of early-2000s metalcore and sludge with a modern sense of weight and atmosphere. Following the success of last year’s My Gnawing Pains Will Never Rest, the band continue to build on the dark, groove-driven intensity that earned them praise from fans and critics alike. Where that release announced their arrival with force, It Is Well… feels more focused, deliberate, and emotionally punishing. Opening track Starless wastes no time throwing the listener into chaos. Brandon Byars delivers desperate, throat-ripping screams over pounding drums and suffocating riffs as the track surges forward with relentless momentum. The stop-start breakdowns are easily the song’s defining feature, creating moments of tension that briefly let the track breathe before crashing back down with even more force. At times, the pauses feel almost claustrophobic, as though the song itself is gasping for air. The guitar work from Tyler Dorman and Hunter Lenoir balances melody with heaviness, weaving dark, sludgy riffs through the track without sacrificing momentum. Meanwhile, Keenan MacNeal anchors the chaos with hard-hitting percussion that drives the song forward with precision and urgency. When Peace, Like A River acts as a haunting interlude between the EP’s heavier moments. Built around distorted production, distant choir-like textures and creeping static, the track feels deeply unsettling from start to finish. Rather than offering relief, it drags the listener further into the dread that hangs over the entire record. The result is eerie, cinematic, and surprisingly memorable despite its restraint. Closing track Whispers In Omen delivers the EP’s most complete display of the band’s strengths. Rapid-fire drumming collides with slow-burning guitar work while Killian Dawson adds a powerful low-end bass presence that sits beneath the chaos while helping control it. Byars’ vocals sound particularly vicious here, shifting between desperate bellows and raw screams that feel close to breaking point. The track’s breakdowns land with devastating force, but it’s the atmosphere that pushes the track beyond straightforward aggression. Violent guitar crashes dissolve into eerie passages of distortion and static, giving the song a feeling of emotional collapse rather than simple heaviness. Beneath the chaos, the track feels like an exorcism of rage and emotion — tense, suffocating, consuming and impossible to look away from. The closing screams fade into static and feedback, leaving behind a lingering sense of unease. Like their debut album, It Is Well… carries itself with confidence and dominance, but there’s a sharper sense of control running throughout these songs. Rather than simply recreating the sound that first earned them attention, YOUR SPIRIT DIES sound more focused, more cohesive, and far more threatening. This EP is not an introduction or a reintroduction — it’s a statement of intent from a band continuing to carve out their place within modern metallic hardcore. Score: 8/10 It Is Well… will be released on 15th May 2026 via MNRK Heavy. Words: David Waites Photos: Ricky Mina

If there were a competition for the most outlandish act on tonight’s roster, every band would be a strong contender. In the high rafters of Manchester Academy 3, a quartet of genre-defying acts fronted by Japanese metal headbangers PALEDUSK promise an electrifying evening set to shock and stun. As maestros of chaos, they set the standard tour with Japanese metalcore titans KNOSIS, mathrock heavyweights GREYHAVEN and Australian newblood openers HEADWRECK. Together, they effortlessly champion the future of alternative music, a stellar showcase with most of the acts from the other side of the world - one that Europe is only just waking up to. HEADWRECK have only a month in Europe to make a name for themselves. They’ve picked an impressive schedule, picking up supporting shows with THROWN before making a damaging final statement at Download. Still, people came down early to see the metalcore outfit for their second show outside of Australia. Announcing their signing to Empire (the same label that launched the careers of KENDRICK LAMAR and ANDERSON PAAK) earlier that day, the band swaggered through their hits in an attitude-era style fashion. A respectable mosh pit opened up during the course of their metalcore-infused set, resulting in plenty more fans and OOR’s undivided attention. GREYHAVEN arrived shortly after with full-frontal screams and no-nonsense guitar riffs, the same kind that dazzled in their latest release, 2025’s Keep It Quiet. Out of the lineup, they felt the most out of place, grounded within the band's post-hardcore edge. Amongst the electronica-heavy statement pieces from the other artists that evening, GREYHAVEN’s set focused on their fast and emotive sentiment, but lost its meaning through how the sound carried in the venue, as all the tracks seemed to blur into one. This did not tamper with the emotion from the band, which was clearly felt by the band it was playing to. This set was made possible by the people who came for them, rather than the new fans who came to see PALEDUSK. KNOSIS vocalist Ryo Kinoshita is brutal, throwing punches into the air as he swings the final blow on an impressive breakdown. The ferocity brought on their debut record, Genknosis, was not just a point of reinvention for the ex-CRYSTAL LAKE frontman, but a demonstration of a creative force on the rise. His legacy, brought with this touring crew, seemed to decimate the crowded stage, launching himself headfirst into the pit to get acquainted with the fast-moving horde of sweaty pitters. He certainly has lost the new band awkwardness that came with his first European supporting slot with STRAY FROM THE PATH, over two years ago. This set came with a wild and insatiated hunger for more trips to the UK, as a hidden gem of the Japanese heavy scene. PALEDUSK are the rising voice in Japanese metalcore. Reaching beyond the scene’s heavy conventions, they strive for constant experimentation to create a full, maximalist sound. When it came to releasing their latest self-titled record, this uncompromising sound has sent them stratospheric, a far cry from their 2024 opening slot with POLARIS, the last time the band were in the UK. Whilst the band fully stands on its own, success could also be seen in guitarist DaiDai’s producing credits, including assisting BRING ME THE HORIZON with a hefty chunk of Post Human: Next Gen. In Manchester, DaiDai pushes himself to the front of the stage to perform a gravity-defying guitar solo. Pushing the neck of the guitar to the base of his spiky, bleached hair, he feels the full emotion of the moment as he works his way around the tight note progressions he’s created. Guitarist Tsubasa, or “Two”, helps him find the rhythm, pacing energetically around the back of the stage. Bob, the drummer, assists as he pushes back into a rather complicated drum fill, as vocalist Kaito looks enthusiastically at the large crowd in front of him, ready to pick up the pace as the chorus of No Way. The set focussed itself on their most recent self-titled record, opting for a lighter first act and then plunging into the heavier second half. Spoilt for choice with material, the band throws in fan favourites Slay and Palehell to keep up the energy. Whilst there was not much of a pit, the band’s impressive skills on stage were highly enjoyable; it was a set to lose yourself in the intricacies of the band’s complex performance style. Centring the finale on an epic Black Parade-esque moment with I’m Sorry, the lights dip to wait for a two-song encore. PALEDUSK don’t just know how to play; they come with composition, which makes them one of the most understated bands in metal. On their UK three-date tour, they don’t just prove this; they make a statement with style. Words: Amber Brooks Photos: Izzy Sheldon

BASEMENT is the tried-and-true example of letting their music speak for them. Returning to the heavy scene back in March with their first music in eight years, the British alt-rockers released dual tracks, Wired and Broken By Design. A statement piece of contradictions, shifting violently between elation and suffocation, the tracks complement each other in their own controlled chaos - as one agitates deeply, the other seeks to soothe and find compromise. Pushed together, they charter a course of complex human tenderness, showcasing the beginning of their most heartfelt and ambitious project yet. Their new record - also called Wired - is a nostalgia trip, heavy with deep-set fuzz akin to JIMMY EAT WORLD’s Bleed American. At times, it veers into their signature shoegaze sound, cautious to remind fans where the band came from, though it is met with a cacophony of well-placed genre twinges that move through the landscape just as much as the band does. Sometimes, they move so far that tracks like scene-stealer Pick Up The Pieces, their firecracker indie-rock anthem, do not sound like BASEMENT at all. From the encroaching guitars that spur the beginning of opener Time Waster, this record starts as it means to go on - loud and unpredictable. A lot can be learned from the space the band have created, it’s lingering guilt, but aspiring need to live in the moment. As it flows into the headbanger single Wired, it feels like a band on the edge, on the cusp of spinning out of control. Photo: Adam Powell We are clearly met with an older, more experienced BASEMENT. There’s still a complexity to how the record produces feeling, but it's mature and kinder to itself. It still rolls with the punches, but it's uplifting resilience that runs through Wired. As Deadweight offers deep-set grunge that can linger on their shoegaze roots, there’s no escape from those iconic piledriver guitars that dive headfirst into all-encompassing choruses. All with those conflicting moments of refrain that sweep up the record into a frenzy. There is so much to take in with this record that a review wouldn't do it justice. Aside from how far away from what a listener would want a new BASEMENT record to feel, this has the same guts and ingenuity as the smalltown band from Ipswich releasing 2011’s I Wish I Could Stay Here. Reinvention is the best thing about this record. With pangs of these introspective guitar motifs that dance through the record, sauntering through reggaeton and indie to give it a timeless feel. There are multiple layers added with great care, oozing with self-confidence. This is also a record of reflections, the first rejoining their original label, Run For Cover Records. In the summer, they returned to the BEC Arena to reheadline Outbreak after a showstopping performance in 2024. Guitarist Alex Henery’s continued work providing visuals for the TURNSTILE tour moved into a supporting slot with them in Australia and New Zealand, alongside the release of two LPs with shoegaze supergroup FIDDLEHEAD. In all the time the band have been away from new music, they’ve been pushing a new path, choosing exactly what they want to be, and this sentiment is a blazing Hail Mary throughout Wired. And still, when they are met with their hometown crowds in the UK, playing some of the new record during their tour last year, there is a fantastic moment of elation and release - not just through the seismic resurgence of Covet that blossomed on TikTok ten years after it was released, but in the desire for music that reflects the maturing audience that has grown up with them. Wired is the record that their audience needs it to be. Rating: 9/10 Words: Amber Brooks

Hailing from Bristol, alt-metal band MALLAVORA have come a long way in recent years. It was only fitting for their debut album What If Better Never Comes? (released March 2026) that the band revisited for a special homecoming at the Exchange Bristol to play their album in full, back in the city where they first made their mark in 2019. Out of Rage last caught up with MALLAVORA during their high energy set supporting BANSHEE at London’s The Dome just last month, seeing them now take the stage for their own headline album release show a month later felt like a band truly coming into their own. In Bristol, that connection playing to their own crowd in their hometown was profound from the moment the first chord struck, documenting a pivotal moment in the band’s trajectory. First up opening the night was DYE, another Bristol band who were no strangers to the energetic south west music scene, with their unrelenting sound and commanding vocals from Amy Lewis. This was something else, an emotionally raw performance that didn’t let go of the intensity, DYE wasted no time in making their presence known. Full charged riffs filled the room with intent, songs like Rat and Dust from their Artefacts EP made the band feel formidable. DYE wasn’t here to warm up the crowd as a support, they were here to ignite it, setting the tone for what was to come for the rest of the night. Following on from that tone was the second support PAVE who turned the flames up even further, fronted by vocalist Alanya-Jade, the band brought a fierce energy to the stage, driven by the guitarist Kevin Peate’s razor-sharp riffs that elevated the intensity. Performance wise there was a chaotic energy to the band that hyped the audience when playing fan favourites like Whatever the Cost and new single If It Hurts. These sparked huge reactions from the crowd, perfectly setting the stage for MALLAVORA’s arrival. After two fantastic support acts, the stage was now set for the main event. Red and blue lights pulsing through the atmospheric darkness as anticipation and expectations started to rise. Cheers erupted as drummer Sam Brownlow took to the stage, growing louder as Larry Sobieraj and Ellis James appeared guitar and bass in hand, all playing the opening track Prologue. To the amazement of the audience, lead vocalist Jessica Douek made a surprise appearance, walking through the crowd with her hymn-like vocals eventually taking her place on the stage. One of the most anticipated elements of the night was witnessing the crowd’s reaction to the album being performed in its entirety for one night only. The audience met that challenge with an energy that matched the band’s own, singing back the lyrics and swaying their hands back and forth throughout the set. The greatest thing about What If Better Never Comes? is how its vulnerability deepens in a live setting, the album’s themes become even more apparent. It felt like a personal journey through various parts of lead singer Jessica Douek’s life and the challenges she’s faced, but it is also a narrative shared by guitarist Larry Sobieraj. For Larry, this album represents a profound personal milestone, with the release date marking the fourth anniversary of the beginning of his battle with long COVID. These life experiences affect not only the band but also ripple outward to those in their wider community who are in similar situations. One of these stand out moments comes from the shortest tracks on the album Break with the lyric “I guess this world just wasn’t made for bodies quite like mine” and this leading beautifully into Birth Of A Sun, here the theme continues to unfold through the powerful melodic vocals Douek is known for, at times uncompromising and visceral, backed by Larry’s heavy sharp guitar work that feels formidable alongside other band members Sam Brownlow on drums and Ellis James on bass. Emphasising the connection with how these moments impact not just the performers on stage but those in the crowd around them. When you hear those stories sung in a room of people who feel “seen” by the lyrics. Transforming the music from a studio recording and into a collective shared act of healing and group therapy. It is precisely for this reason MALLAVORA acknowledges accessibility issues at live shows within the disabled community and what it’s like to navigate a world that isn’t always catered for them. This event showcases that not only is it possible to dismantle the barriers of the gig experience, but to make it welcoming for all. The band does this by making sure to use wheelchair accessible venues for their headline shows, no strobe lighting in their sets, lyric sheets and free sunglasses on their merch stands. Live music is such a joyful experience that brings people of all backgrounds together, so accessibility is important, there shouldn't be a barrier for access. MALLAVORA certainly is a band to look out for this year, check them out at Download Festival when they play on the Courtyard Stage later next month. Words and photos: Amy Lynch

Under the glittering disco balls adorning the ceiling of The Grace, London, fans eagerly gathered for LOVE RARELY’s hotly anticipated release show of their debut album Pain Travels, via Big Scary Monsters. The follow up to 2024’s EP Lonely People, Pain Travels has garnered critical acclaim for the band’s charged lyrics and volatile, amped up sound, signalling the next progressive step for them. Releasing between their incredible support slot for CALLOUS DAOBOYS in early 2026 and their packed summer of festival appearances, this release show was LOVE RARELY’s initiation into a new era and a sign of the frenetic performances still to come in 2026. The batshit energy didn’t have to wait for LOVE RARELY, it came out in full force with first support act SUNDAY BEST, hailing from the fringes of London. Self-confessed as a “gang of heathens”, the five-piece blend deafening emo and post-hardcore sounds with groove rhythms, turning mosh pits into dance pits within the same song. Dressed as a unit in black with yellow stitched highlights, lead singer Alex Ekong led the charge across a stage that frankly felt too small for their high intensity with a taunt of “we’re gonna make you work for this”, the bassist propelling himself around with high kicks and full body headbangs, while the guitarists traded off riffs and solos while bouncing around. The drummer was entirely locked in on thumping out hardcore beats, as Ekong shifted from no-nonsense singing and prolonged notes to visceral screams. Calling for the first pits of the night and upping the crowd’s ante, Ekong settled the audience into an anticipation-building crouch, the restless crowd bursting upwards as Ekong leapt into the slamming mosh pit, a fitting end to their fiery set and an explosive start to the night. MISHIKUI brought the vivacious attitude of their London hometown, unleashing their punchy grunge shoegaze sound and gritty post-hardcore accents. When not focused on flawlessly hitting the notes on their intricate guitar solos or singer Harry Middleton’s raw, dominating screams, the band were hopping about the stage like Tigger on a sugar rush. Their hardcore sound encouraged bouts of mosh pits as screams and belting drum beats thundered through the venue. MISHIKUI didn’t have to call for the crowd to go feral, the fans understood the assignment and brought a frenzied mosh pit to the audacious grunge riffs. Close to wrapping up, Middleton summed up how feverish the night has been proclaiming how sweaty the band are, hesitantly following up with “I hope you are too? That’s a weird thing to wish on someone”. As much as they’ve been immersed in playing exceptionally, it’s funny moments like this that demonstrate why their lyrics are so relatable and fun to fling around to. By the time LOVE RARELY bounded out on stage, the audience was wall-to-wall packed and practically sitting on the stage. There was just enough space for singer Courtney “CJ” Levitt to stride along the edge and bring her tenacious screams to opener Whiplash, with foreboding guitar riffs and funk elements over a pulsating beat and bass, a short and sourly sweet kick-off to their electric set. Levitt powered through forceful screams and flowing tones to deliver acidic lyrics on Severed, the audience singing back with evident emotion on their faces as they channeled the song’s lamentable energy. Guitarist Lew Taylor opened the mournful Haunted, giving way to Levitt’s raw vocals, while drummer Leo Godfrey drove through with a pounding beat and guitarist Dan Dewsnap rocketed through with a distorted riff. Mould saw the first demands of a energetic mosh pit which didn’t seem to lose steam for the entire set, building in speed for short and snappy Repulsed, while math-rock heavy-hitter Will paved the way for a circle pit, bassist Dan Gilson running his own circles on the rumbling notes. Bringing back fan favourites from their previous EP, Entropy was met with wild cheers and a crowd surfer who braved the low-hanging disco balls, the crowd infected by their tenacity and beaming as they safely deposited them back into the fray. And that’s what LOVE RARELY shows are all about - to get lost in the moment, to cathart with the band, to feel everything the songs emote and come out with a smile on your face and a croak to your voice after screaming along with them. Words and photos: Julia Stark

The Swedish melodic hard rock band SELF DECEPTION is set to release their seventh studio album, One Of Us, on May 15. Blending modern metal, electronic influences, and catchy choruses, the band delivers an energetic record that feels tailor-made for live shows and festival crowds. While the album may not reinvent the genre, it succeeds in creating an entertaining listening experience filled with sing-along anthems and heavy breakdowns. Opening with the title track, ONE OF US, the band immediately sets the tone for the album with a catchy and intense modern metal anthem. The song wastes no time introducing the listener to the record’s high-energy atmosphere, combining aggressive instrumentals with in-your-face lyrics. It serves as a strong opener and perfectly showcases the direction SELF DECEPTION wants to take on this release. TIME’S UP continues this momentum without holding anything back. Beginning with rap-inspired vocals before exploding into a massive, melodic chorus, the song highlights the band’s willingness to experiment with different genres. Electronic elements are layered throughout the track, helping it stand out while also making it incredibly catchy. The fusion of metal, rock, and electronic influences works surprisingly well and leaves the chorus stuck in your head long after the song ends. Another standout high-energy track is WAKE UP, which once again leans heavily into electronic influences. At times, the song reminds of bands like SET IT OFF, who are known for combining heavy instrumentals with electronic sounds to create unbelievably catchy songs. Despite its modern and polished production, WAKE UP still manages to sound heavy and aggressive, making it one of the harder-hitting tracks on the album. With DON’T B E L O N G, SELF DECEPTION reveals a more vulnerable side. Addressing themes such as mental health and addiction, the track carries a darker and more emotional tone than the previous songs. The melancholic atmosphere is reflected not only in the lyrics but also in the melody, which allows the emotional weight of the song to shine through. It’s a welcome change of pace that adds more depth to the album overall. DEATH OF ME quickly shifts the focus back toward electronic sounds before surprising the listener with a crushing breakdown in the second half of the song. This balance between melody and heaviness is something SELF DECEPTION handles particularly well throughout ONE OF US. The same can be said for BREAK!, a song centred around relationship struggles. Hard-hitting drums and sudden breakdowns give the track an aggressive edge, while the electronic influences keep it modern and accessible. One of the biggest standouts on the album is definitely THE WEDDING. The song’s massive chorus feels perfectly designed for crowd sing-alongs and instantly becomes one of the most memorable moments on the record. Combining melodic hooks with heavy instrumentation, the track balances emotional storytelling with raw energy. Lyrically, it explores the image of a wedding that seems destined for an unhappy ending, adding a darker layer beneath its catchy exterior. KETAMINE COWBOY is another highlight and will likely appeal to long-time fans of the band. The song strongly recalls some of SELF DECEPTION’s earlier hits, particularly Fight Fire With Gasoline. Fast-paced, energetic, and incredibly catchy, it is one of the easiest and most entertaining listens on the album. Its infectious energy makes it easy to imagine this track becoming a fan favourite during live performances. BLAME takes the album into slightly darker territory once again while maintaining the electronic influences that define much of One Of Us. The memorable chorus and intense instrumentation ensure the song remains engaging from start to finish, even if it follows a somewhat familiar formula established earlier on the album. As the album approaches its conclusion, ENTERTAINED delivers one of its most emotional and impressive moments. Featuring a huge melancholic chorus and one of the strongest vocal performances on the record, the song initially feels more emotional and restrained. However, it unexpectedly transitions into one of the heaviest breakdowns not only on One Of Us, but in SELF DECEPTION’s entire discography. It’s a powerful and satisfying surprise that gives the album an extra burst of intensity before the finale. Closing track GODDAMN ME ends the album in classic SELF DECEPTION fashion. While it may not be the most memorable song on the record, it still works well as an energetic and fun conclusion to the band’s seventh studio album. The track captures the spirit of One Of Us perfectly. Overall, One Of Us succeeds in exactly what it sets out to do. It may not be the most innovative or deeply thought-out album in modern metal and rock, but it doesn’t need to be. SELF DECEPTION delivers a collection of energetic tracks, memorable choruses, and heavy breakdowns that make the album consistently enjoyable from beginning to end. Fans of modern melodic metal with electronic influences will find plenty to love here, especially in a live setting where these songs will work out the best. Score: 7/10 One Of Us will be released on 15th May 2026 via Napalm Records. Words: Hannah Martin Photos: Evelina Szczesik

Portland trio RHODODENDRON carve their way out of the underground rock scene through relentless fusion and progressive experimentation on their second album, Ascent Effort. Formed in 2019, the band have established themselves through immersive, visceral live performances and unrestrained compositions that push beyond genre boundaries and refuse to be contained. The opening track, Firmament, cascades into a mystical synthetic atmosphere, combining high tones with distorted, shadow-like guitar riffs. Delicate percussion follows, creating a sense that something mysterious and special is unfolding. The drums gradually intensify while the guitars become heavier, introducing an almost Middle Eastern-inspired melody. Together, these elements create a powerful opening track. Towards the end, the breakdown of riffs alongside the rapid percussion evokes shades of BIFFY CLYRO while still maintaining the band’s individuality. The layering of instruments and shifting tempos are fused together expertly, never feeling rushed or out of sync. It serves as an exceptional introduction to RHODODENDRON. Like Spitting Out Of Copper, the shortest track on the album, shifts into jazz-infused rock. The drums are softer and more restrained, while the bass slows the tempo and introduces subtle rhythmic variations. The guitar carries a mysterious tone, evoking a cinematic quality reminiscent of a James Bond score. With what started with an underlying sense of uncertainty and curiosity the track suddenly transforms. Gentle cymbal taps and restrained guitar chords explode into destructive drum passages and heavy riffs. Harrowing screams follow, and the song feels completely reborn. The transition is sudden and disorientating, yet the heavier elements had been subtly lurking beneath the surface throughout. Stow moves into a more traditional grunge direction, drawing clear influence from NIRVANA. Distorted guitar tones and raw energy define the track, while elements of the previous song’s vocal aggression carry over. High-pitched amp distortion, drum breakdowns, and fragmented guitar sections reinforce the band’s tendency toward constant movement rather than static composition. At times, the vocals briefly dominate the mix, but they soon dissolve back into the instrumentation, allowing the guitar work to reassert itself. The emphasis on isolated guitar notes combined with sudden drum interruptions proves to be an excellent creative choice with the bass and lead guitar remain steady anchors as the percussion drives the track into relentless intensity. Family Photo returns fully to the heavier side of metal. The snarls and bellows, combined with rapid-fire guitars and erratic drumming, push the track deep into doom metal territory. As the song descends into a whirlwind of anger and ferocity, the percussion unexpectedly softens, creating the feeling of dark clouds slowly dispersing. The shift introduces a surprising sense of clarity and calmness, acting as the complete opposite of the aggression the track was built upon. Rather than ending abruptly, the song closes with a feeling of uneasy peace. Within Crippling Light is the album’s longest and most ambitious cut, and it wastes no time showing its scale. It opens with a marching drum pulse and melodic riffs, but it drags its feet early on, looping a little too long before anything really kicks in. When it finally explodes, it hits. Gut-punch bass, snarling guitars, pure weight. But the track doesn’t stay controlled for long. It spirals into screamo chaos that often feels more messy than meaningful, with distortion piling up until things blur rather than build. By the time it reaches its finale, it’s aiming for something huge — a grand, crashing climax — but it overstays its welcome. Repeated hits and drawn-out sections sap some of the impact it’s clearly reaching for. Ascent Effort doesn’t always know when to rein itself in, but that’s part of what makes it so compelling. RHODODENDRON throw themselves headfirst into shifting riffs, explosive percussion and constant left turns, building a record that feels chaotic, unpredictable and completely unfiltered. Are there elements that seem stretched out and outstay their welcome? Yes, but in a scene flooded with safe, formulaic releases, RHODODENDRON’s refusal to compromise makes Ascent Effort feel genuinely exciting and equally refreshing. Score: 8/10 Ascent Effort will be released on 15th May 2026 via The Flenser. Words: David Waites Photos: Evan Mason-White