PINKSHIFT have come a long way since their viral debut that blindsided the internet back in 2020. After a relentless run of non-stop touring that’s turned early believers into devoted fans, the Baltimore trio have been hard at work the past few years in becoming one of the most exciting bands in pop-punk. Now, with their sophomore album Earthkeeper out and a sound that’s bigger, bolder, and more politically charged than ever, vocalist Ashrita Kumar, guitarist Paul Vallejo, and drummer Myron Houngbedji are showing exactly what they’re capable of. We caught up with them on their tour with GRANDSON to find out how they’re handling being overseas, the upcoming festival season, and, apparently, how American antihistamines go absolutely feral. Ashrita is quick to reflect on how the recent run of shows has surprised them. "The shows have been kind of incredible, the fans have been so energetic and really receptive." Selling their own merch at the table has helped them actually connect with those crowds, too. “We thought the language barrier would be a thing," Paul laughs, "But everybody knows English." It has definitely not all been smooth-sailing on this tour. Just the day prior, the band had their gear stolen out of the van, and had to set up a GoFundMe to recover their losses. It ended up hitting the goal in two minutes flat. “Honestly, it was really overwhelming at first. We always feel the love at our shows, and we never take it for granted, but to see that happen in real time was just... it felt really real,” says Ashrita, “We really did build this community. And we built it based on giving back, which is why that happened. A lot of our shows have been fundraising shows, or we've tried to uplift organisations in the area whenever we can. So seeing that energy delivered right back to us with such force was really, really reassuring. It just gave us a lot of confidence to keep doing it the same way.” For a band built on community, it was perhaps the most PINKSHIFT thing that could have happened. “I mean, it’s really emotional music – emo, if you will,” shrugs Ashrita, “All of it is written from personal experience. It’s really vulnerable, and we don’t hold back as a band. We give it our all, all the time. And I think people resonate with that.” It’s not hard to see why the band’s community have rallied around them so loyally, but we wanted to hear it directly from PINKSHIFT themselves. Myron puts it slightly differently: “It’s a shared experience. The music tells a story from our own point of view, but everyone who listens can apply their own life, their own struggles, their own values to it and find meaning there. A lot of the time, people are going through very similar things to what we’ve been through.” Ashrita takes it further, adding that “This band is built on a principle of always being honest. If I don't know something, or I feel unsure, I'll never hide that. Leading up to Earthkeeper, a lot of people were asking me how I felt about being an activist, and I had never considered myself an activist at all. I just didn't know what I was doing, I was just trying my best. I think a lot of people feel like they have to have everything figured out and perfect before they present themselves to the world. But PINKSHIFT has always been about being honest and vulnerable about exactly where we are right now, where we want to be, what we hope for, and the painful stuff too, when you just don't have an answer. We're not trying to be anything or anyone but ourselves.” Given what happened with the GoFundMe, it’s hard to argue with them. Two different ways of phrasing the same idea: PINKSHIFT make music which does not keep the listener at arms length. For a band who’ve built their live reputation on small, intimate headline shows on this side of the Atlantic, it’s a significant step up, and Paul seems quietly excited about it. “I can only really draw from the UK headline shows we’ve done, because this is actually our first proper support tour here, with GRANDSON. But every UK show we’ve played, even the small intimate ones, has been kind of the best. Everyone around the world knows that a UK crowd is one of the craziest,” he grins, “I’ll be honest, I haven’t even thought about festival season in months. But after this tour, we’re going to get home and be like – right, what’s next? Oh yeah, we have all of this.” If UK crowds are as wild as advertised, PINKSHIFT are going to fit right in. Of course, returning to the UK isn’t without its hazards – at least for Paul. Myron is quick to bring up the incident from the last time the trio were here. “We’re already excited to come back. Normally, we’ve never really been able to travel internationally more than once a year, so the fact that we get to come back for the summer is super exciting,” he says. “But one thing we have been thinking about, last time we were here playing Slam Dunk, we realised that Paul is really allergic to white oak.” Paul, for his part, is philosophical about it. “It’s all good. I know the allergy meds here are very regulated and safe, so they did nothing to me. We had this super American antihistamine – they put so many drugs in that stuff over there, y’all don’t even know. I’m prepared now. I’m ready.” Consider that a warning, British flora. PINKSHIFT are no strangers to standing out in a crowd. As a diverse band in a genre still largely dominated by white male artists, we asked how much they feel the alt scene has shifted since they first burst onto it. “There’s always more diversity every year. It’s still a white, male-dominated space, obviously, but I think that’s inevitably going to change.” Ashrita pauses. “It starts to become normalised – people are less surprised by it, which is the point. It stops being remarkable and just becomes the way things are. New bands are getting more recognition, and the more that happens, the more diversity you’ll see.” And PINKSHIFT’s place in all of this? “There’s more of us.” He grins. “We’re coming in hot.” It’s a conversation that naturally leads to Download Festival, and the broader question of whether major festivals are too quick to fall back on legacy acts. The band have thoughts. “I think that’s what you’re working towards as a band – having a platform built on decades of work,” Myron concedes. “But there has been a push recently to place smaller bands from more diverse backgrounds onto bigger stages. There’s still very much a white boys club that dominates these festival line-ups, and has been for decades. But there are more eyes on bands that don’t fit that archetype now. And with social media, it’s not just the industry deciding who gets promoted anymore, artists are promoting themselves, and the attention they’re getting is just undeniable.” Paul is generous about the legacy acts themselves. “A band that’s been around thirty, forty years, like GUNS N' ROSES, for example – those people have changed and evolved over decades. If you’re still doing it forty years into your career, that serves as an inspiration for younger bands too. Anyone who does anything for that long, no matter what it is, is kind of impressive.” Ashrita sees it as a balancing act. “Legacy bands, respect them so much. But if you’re booking the same headliners for the same slots every year, it stops being interesting. You want to be uplifting the artists that are truly making the moment. When we played Slam Dunk, NOVA TWINS were headlining our stage, and that was sick. I love seeing them get all the love they get over here. As long as festivals are meeting the moment and being current about who they’re giving the stage to, I think that’s awesome.” Sounds like the scene is catching up, and the bands leading the charge know exactly who they are. As we wrap up, Ashrita offers a glimpse of what’s coming next, and it sounds like PINKSHIFT has no intention of slowing down. “We have more music coming out this year, and we’re planning to record as well. We’re never going to stop,” they say, “I think we really want to start releasing music more often. There was a long wait between Love Me Forever and Earthkeeper, and we’re trying to get into a better flow, just recording and releasing pretty constantly.” For a band that spent years gradually building something real, it feels like PINKSHIFT are only just getting started. The community is there, the music is hitting harder than ever, and the 2000 Trees crowd is about to find out exactly what all the fuss is about. Paul’s antihistamines are packed. They’re ready. Catch Pinkshift in the UK at 2000Trees Festival and supporting Heart Attack Man this summer. Words: Adrian Chapman Photos: Jack Norris Cover Design: Robert Halls With Thanks To: Sarah Maynard at Major Press

If you’ve got a hole in your life that’s the shape of a trippy, rock-EDM album where each vivid song tells its own story, then FLESH PLANET are here to fill the gap with their debut EP // first flesh, releasing 27th March. Reborn from the ashes of their previous project ALLUSINLOVE/ALLUSONDRUGS, the Yorkshire quartet have already been making fresh waves with FLESH PLANET, supporting VUKOVI on their 2026 tour and organising hometown headline shows, before hunkering down in the studio to combine every electronic and rock subgenre under the sun, to create an EP that snaps from Tarantino cinematic journeys to plunging into psychedelic cyberpunk. Treading carefully after the industry watered down their sound and spirit on their previous project, FLESH PLANET have come a long way as musicians and friends since then and are ready to express their true sound and energy, refusing to be contained. Guitarist and producer Drey Pavlovic was candid about their reformation: “Once we finally got things moving again there was this immediate shared excitement…kinda like we’d all been quietly waiting for the same moment.” Quietly waiting they may have been, but // first flesh is anything but. From opening track Computer Games & Rude Tracks introducing itself with guttural moans and screams before unleashing a grunge/electronic wall of sound, it’s telling you to expect the unexpected on every track. Jemal Beau Malki goes off the fucking chain with intense bass riffs through Big Machine, while Connor Fisher-Atack hammers the drums like his life depends on it throughout the entire EP, only slowing down marginally for brief interludes on the Evelyn verses, before powering up again for the chorus. Pavlovic is a prevalent force in each song, alternating between otherworldly riffs that feel like a dangerous musical rip tide in Prototype, to soaring solos and bridges heard in Birdcage. Vocalist, lyricist, guitarist, and synths Damian Hughes has truly made his mark with cutting callouts of socio-political issues in Absorbed, emotional catharsis examining the struggles of being neurodivergent in a neurotypical world in boisterous Pull The Wire, and the disillusionment that comes from society and the industry trying to put people in boxes in Colonise and Maximise. // first flesh feels like being put in a headlock and dragged into the pit and suddenly finding yourself as a laser show; it’s eclectic, combines multiple genres and moods, and there’s a song for everyone to feel like they’re either on a trip or in a cyberpunk movie. FLESH PLANET are showing exactly who they are this time and how they’ve progressed as artists for a distinct sound. Be prepared to go on a journey where you don’t know the final destination, but you’ll enjoyably question everything along the way. Score: 6/10 // first flesh will be self-released on 27th March 2026. Words: Julia Stark Photos: Amy Shephard

Two decades on from their formation in Pennsylvania, TIGERS JAW return with Lost on You, a record that feels both comfortingly familiar and quietly transformative. It arrives after a five year gap, a stretch that has allowed the band to reflect not only on their musical identity but on the strange, often contradictory nature of adulthood itself. Reuniting with producer Will Yip, the band capture a moment suspended between past and present, where the ghosts of youth linger beneath the surface of grown up realities. From the outset, Lost on You leans into the core of what has always made TIGERS JAW resonate: emotional honesty wrapped in melodic immediacy. The dual vocal interplay between Ben Walsh and Brianna Collins remains the beating heart of the record, weaving together perspectives that feel intimate, conflicted, and deeply human. Their voices don’t just complement each other - they converse, overlap, and occasionally collide, reflecting the album’s central idea that multiple versions of the self can exist at once. Lead single Head is Like a Sinking Stone set the tone months ahead of release, emerging as an instant crowd-rouser with its driving rhythm and cathartic chorus. It’s a track that taps into classic territory, balancing urgency with vulnerability, and it stands as one of the album’s most immediate highlights. Similarly, Primary Colors carries a midtempo pulse reminiscent of JIMMY EAT WORLD at their most reflective, pairing warm guitar leads with Collins’ quietly powerful vocal delivery. Its closing sentiment- accepting that life doesn’t always make sense- feels like a thesis statement for the record as a whole. Elsewhere, Ghost and BREEZER showcase the band’s ability to blur the lines between nostalgia and progression. The former leans into atmospheric textures and lyrical introspection, while the latter injects a sharper, almost restless energy. Tracks like Baptized on a Redwood Drive further highlight the band’s knack for crafting melodic hooks that linger long after the song fades, echoing influences from alt-rock staples like WEEZER without ever feeling derivative. What’s striking about Lost on You is how it embraces the passage of time without being weighed down by it. The band’s songwriting reflects a stage of life where certainty is expected but rarely achieved. Themes of anxiety, memory, and identity run throughout, often framed through vivid yet understated imagery- blades, ghosts, and shifting colours. There’s a sense that TIGERS JAW are revisiting the emotional landscapes of their earlier work, but with a deeper understanding of their complexities. Sonically, the album feels cohesive yet dynamic. The rhythm section provides a steady backbone, allowing guitars and keys to move fluidly between foreground and background. Will Yip’s production enhances this balance, giving each element space to breathe while maintaining a unified, immersive sound. It’s polished without losing the rawness that has always defined the band’s appeal. There’s also a palpable sense of legacy running through the record. TIGERS JAW have long been a cornerstone of their scene, influencing countless bands that followed. Lost on You doesn’t shy away from that history - instead, it embraces it. Moments across the album feel as though they could have been sung in small, sweaty venues years ago, yet they carry the weight and confidence of a band now capable of filling much larger rooms. This duality mirrors the album’s thematic core: the coexistence of past, present, and future selves. Lost on You is less about reinvention and more about refinement. It doesn’t seek to drastically reshape the TIGERS JAW sound, but rather to deepen it, adding layers of perspective and emotional nuance. The result is a record that feels both timeless and timely, capturing the uncertainty of adulthood with the same sincerity that once defined their teenage anthems. In embracing the idea that life is not a linear progression but a collection of overlapping experiences, TIGERS JAW offer something quietly profound. These songs act as portals, inviting listeners to reflect on their own timelines - to recognise who they were, who they are, and who they might become. It’s a reminder that growth doesn’t mean leaving the past behind, but learning how to carry it forward. With Lost on You, TIGERS JAW prove that they are still the band who wrote those early, formative songs - and that they are still capable of writing ones that matter just as much now. Score: 8/10 Lost on You will be released on 27th March 2026 via Hopeless Records. Words: Angel Turley Photos: Tigers Jaw

Twenty-five years after their virtual debut, GORILLAZ are still reminding us why they remain a cult classic. Bold, bright visuals and packed with a whole soundscape of genres that offered a punch with multisensory delight. Playing their sold out The Mountain Tour around the UK and worldwide to tens of thousands of fans every night, we were lucky enough to catch the tour at its stop at Birmingham, BP Pulse Live. The brand new album The Mountain indulges the listeners in multicultural and diverse artists, languages, music styles and genres. Exploring themes of death, grief and the afterlife which were inspired by both GORILLAZ creators, Damon Albarn and Jamie Hewlett, both experiencing deaths of close family members during the production process of the album. Recorded across India, London and multiple other locations, and drawing heavy inspiration from classical Indian instrumentation, The Mountain continues the Gorillaz tradition of collaboration with other artists with a wide spread range of music styles. Opening the evening was the supporting act OMAR SOULEYMAN, who also featured as a guest artist on the new album. With his unique blending of Middle Eastern melodies with electronic beats, throaty vocals and keyboards in the genre of dabke, the Syrian singer with his iconic glasses quickly charmed the audience with a humble setup of one table, backing dj/keyboardist and a dream. Even with a slight language barrier, Omar had the audience in the palm of his hand, encouraging chants, clapping of hands and a plenty of waving arms in the air. The lights went down, an excited thrum rippled throughout the arena and the artists who formed the GORILLAZ band took to the stage. A red wash encaptured the stage as the first notes of The Mountain were played, the title song of the new album. Spotlights drew everyone’s attention to different instruments where they played solo and in turn joined in the blending of instruments to create the familiar sound. A single warm spotlight on Damon Albarn as he stretched his arms up the sky in prayer formation. Title cards rolled, we watched as the tale of The Mountain was displayed live on a grand scale. With the familiar faces of Noodle, 2D, Murdoc and Russel appearing slowly as the tale unfolded before the arena, set to the cinematic score and with stunning visuals inspired by ‘a golden age of animation’, the crowd was transported into the world of GORILLAZ. Blasting into The Happy Dictator, orange lighting casted the arena in a warm welcoming glow. Callbacks and almost every word was sung along from each corner of the room, before a shift to Tranz with fast flashing screens, visuals and colours which had the entire audience up and jumping. It was clear to see why GORILLAZ have such a diverse fan base just from the range of different styles and sounds, hiphop, electric, alternative rock and art pop to name a few. The set was broken up into sections in which The Mountain animation was slowly but surely revealed in full, a cinematic experience that unraveled throughout the evening. Packed full of references to The Jungle Book, 101 Dalmations, and featuring hand drawn animations on skillfully painted backdrops that did not hold back in colours and brought that ‘goosebump’ feeling of awe. The setlist packed a punch with songs from all eras of Gorillaz discography, from Rhinestone Eyes and On Melancholy Hill which featured on Plastic Beach, Stylo and Damascus from The Mountain, 19/2000 from self titled album Gorillaz all the way to Dirty Harry from Demon Days. It would not be a GORILLAZ gig without plenty of guest appearances, and my goodness there was plenty. Joining the stage were IDLES, YASIIN BEY, OMAR SOULEYMAN, BOOTIE BROWN, KARA JACKSON, and POS - DE LA SOUL. Each in turn riled up the crowd in their own way. Even guests that were not there in person were featured on the giant screens that set the stage, vocals from the tracks played live and set to the music video animations and videos. Damon Albarn took a pause in the set to speak softly to the audience through his gramophone mic, ‘It’s nice to be back here…it never really felt like I left’. A statement that was met with cheers from all the proud Brummies in the crowd. Wrapping up the night was bittersweet, after belting out Dirty Harry raps with BOOTIE BROWN, a slower end to the evening with The Shadowy Light and The Sad God. Although after plenty of cheers and foot stomping, the arena was treated to an encore. Closing out in style with fan favourites Feel Good Inc and Clint Eastwood which had everyone on their feet dancing and singing along, there truly is nothing better than the sound of a Melodica to end your night. Words: Tyler Whiting Photos: Luke Dyson

Bringing their co-headline European and UK tour to a close, metalcore veterans MISS MAY I and CRYSTAL LAKE made their way to the O2 Academy 3 in Birmingham. The night may not have gone to plan for a few reasons, but that did not stop any band on the line up from growing caution to the wind and giving it their all. Making their UK and European performance debut, Australian Nu-Metalcore group DIESECT were up first. Being the opening support is already a tough job, especially when the crowd is a bit lack lustre. Pair this with a missing member due to a sickness that seemed to be doing the rounds through the touring company, a rough ride indeed. But, the band took this in their stride and delivered some crushing blows in the form of deep and heavy riffs which left a lasting impact. Performing tracks from their latest release Hide From The Light, songs such as Four Walls and No Home Left To Find encouraged a few audience members at the front to let loose. Linking arms and bouncing around in time with the crushing beats and drops, the band were appreciative of the movement. With only a ten minute change over between the bands, it was not long before the music started up again. However, it was not exactly a track the audience were expecting. Sabrina Carpenter’s Espresso ringed full volume from the speakers to a deafening degree, with the words “I’m working late, ‘cuz I’m a singer” bouncing off the walls of the venue. A few confused faces appeared in the audience, but as the song grew more and more distorted, it finally set in that the next band, GREAT AMERICAN GHOST, were going to leave a lasting impact. Vocalist Ethan Harrison did not intend to mess around. Mixing an abundance of energy with just the right amount of chaos, he made sure the audience would remember their set for months to come. Throwing himself around the stage, straddling his legs between it and the barrier whilst almost taking the photographers out in the process, and calling the crowd out on their lack of participation. Just a couple of examples of why GREAT AMERICAN GHOST should be on your radar of live bands to see, other than the intense nature of their music which takes a heavy political stance. Prior to playing Kingmaker, Harrison made a point to call out formerly Prince Andrew and Trump, earning some cheers from the crowd before the song dropped into an anti establishment full force surge. There were comments from the band that Birmingham was supposed to be the birthplace of rock and metal, and that the crowd was letting it down. To try and solve this, for their final track Forsaken, Harrison joined the crowd who took it upon themselves to circle pit around him, before he eventually partook himself. After that fireball of energy, the crowd prepared for the seemingly most anticipated band, CRYSTAL LAKE. The room had started to fill a bit more, but a fair proportion hung onto the sides and towards the back near the bar. New vocalist John Robert Centorrino joined the Japanese quintet in 2023, but their latest album The Weight of Sound is the band’s first release since 2019. Potentially feeling a need to prove himself, Centorrino burst onto the stage for Neversleep and marked his place in the band. With raging unclean vocals that roared through the room, the crowd was receptive to this powerful sound and started moving and singing along. Whilst tracks such as Watch Me Burn and of course Apollo were clear crowd pleasers, the main takeaway from CRYSTAL LAKE’s set was the pure showmanship and stage presence that each of the members had. Bassist YD swung his luscious locks of hair around almost theatrically, whilst drummer Gaku Taura emphasised every breakdown by standing from his kit and dramatically dropping into the beats. The band gave the audience what they were there for - a show. With this performance being the last date on the tour, the band took a moment to thank the fans for coming down as they were the people feeding their families. This wholesome moment was backed up with the last track, The Weight of Sound accompanied by the flashlights of their fans for the intro, before it descended into another heavy and fast paced tune. Headlining the final show, a band that has played a big part in the metalcore scene over the years, MISS MAY I. Whilst it was clear to see the crowd had thinned out slightly after the conclusion of the previous set, MISS MAY I did not let this phase them and brought as much energy as if they were playing a sold out venue. Vocalist Levi Benton embodied what a frontman is supposed to be, charismatic, lively and engaged. He interacted with the die-hard fans at the front screaming every word, and leapt about the stage, throwing his curly head of hair about the place in time with the rumbling rhythms. A band that has clearly played a big part in the music tastes of many, the crowd ate up all of the older tracks as the feelings of nostalgia kicked in. Guitarist Elisha Mullins shared many a smile as the band whipped through their catalogue spanning many years, with Benton looking on with pride as he suggested playing some more older tracks they wrote whilst the band was still in high school, and was met with a resounding cheer of approval from the crowd. A night of nostalgia and pure energy from the bands on stage, it may not have been a sold out evening, but the musicians came to deliver a show, and that is what the audience were given. Words and photos: Izzy Sheldon

The Lonely God tour marks the culmination of a gradual return to form for FIT FOR A KING. After releasing the front-to-back banger album Dark Skies in 2018, the album that followed, 2020’s The Path, was a disappointing step down. The Hell We Create in 2022 was an improvement, but 2025’s Lonely God sees the Texan five-piece back at their peak. The band seem to know it too – their setlist for this tour contains all but one song from the album. The show at Manchester’s O2 Ritz was the sixth of a fourty-six-show run through Europe and North America, each kicked off by the Pennsylvanian metalcore outfit 156/SILENCE. Despite being the first band of a four-band lineup, the energy was high throughout – this is a relentlessly heavy band that had the mosh pit open from the first song, and crowdsurfers flowing from the fourth. The massive success of 2024’s People Watching has made 156/SILENCE well worth keeping an eye on, and with punishing performances like this to back it up, it will certainly not be long before they are moving up the billing, and we recommend you be there when they do. Fresh off the release of their latest album The Host, ACRES kept the momentum going with another very strong set. After three songs of moshing and screaming along to every word, the crowd heartily joined the band in singing happy birthday to bassist Jack Rogers as the band’s team brought out a cake, complete with candles. After that brief wholesome interlude, ACRES returned to their set, putting Ben Lumber’s vocals to work, blending soaring choruses with some brutal screams in their heavier moments. This is a truly versatile band with a lot of range across their discography, which makes their live performances a varied and engaging watch. You would be forgiven for thinking MEMPHIS MAY FIRE were headlining based on the energy in the crowd when they took the stage. Their set drew heavily from their most recent two albums, 2025's Shapeshifter and 2022’s smash hit Remade In Misery, after kicking off with the older fan-favourite songs The Sinner and Vices. Each member of the band was electric on stage – bassist Cory Elder headbanged so hard it was a genuine wonder his cap did not fly off his head into the seething mosh pit. The Manchester audience was at a fever pitch by the time the band was cheered off stage, but as it turned out, FIT FOR A KING were about to turn it up even further. Accompanied by unsettling visuals that displayed a title card for each song, FIT FOR A KING opened the pit from the first moments of Begin The Sacrifice, and it did not close again until the end of the night with the final notes of Witness The End – a very neat bookending to both the Lonely God album and the set. It was almost as if those in attendance were trying to make up for the relatively low attendance at this particular show, and when Ryan Kirby announced a run of three particularly heavy songs, the pit was whipped up into a frenzy, raging through Monolith and Blue Venom before culminating in a self-organised wall of death during Ryan’s always-astonishing twenty-five-second scream at the end of Backbreaker. Bassist Ryan ‘Tuck’ O’Leary then took the spotlight to lead the vocals for Between Us, the closest thing to a ballad the band has released. He quickly returned to his usual incredible bass-spinning antics until the band left the stage after back-to-back floor-shakers Technium and Lonely God. However, no one was fooled by the false exit and FIT FOR A KING shortly returned to perform their biggest hit When Everything Means Nothing and to close the set for real with the Witness The End, a song inspired by horror series Midnight Mass that features one of 2025’s best guitar solos. Everyone went home sweaty, sore-throated, and incredibly satisfied after an evening that saw four bands delivering kinetic and varied sets to a crowd that met them with everything they had. It is best summarised by a direct quote from John, one of the main characters of the FIT FOR A KING mosh pit – ‘What a night! ‘ Words and photos: Isaac Laing

After a transformative period, FREE THROW’S 6th album Moments Before the Wind captures the static feeling of watching one’s life change around you. It draws on the intricate melodies of emo to take the listener to the liminal spaces that Cory Castro cites as the inspiration for FREE THROW’S 6th studio album, and delivers on the lyricism to deliver gut punches while chained in these endless hallways. Sonically, Moments Before the Wind stays muted through most of its 11-track runtime, yet the melodies and drumlines woven throughout create a sound quietly beautiful. From opener Missing No. the melody drives the track, with a higher-pitched riff atop a heavily accented hi-hat/snare trading drumline in its beginning then getting heavier by its end with a drum solo behind the crescendo bridge to be hard-stopped by a vocal only ending and windchime outro. Zach Hall’s drumming in general is assured: using a cowbell at the end of Mike Nolan’s Long Weekend to add punch to its layered harmonies; and upping the anti in Deviancy as it dabbles in a rockier sound with a ghost snare in the drumline turning into a fill-fuelled movement in the breakdown to match Castro’s full-commitment scream. As for the guitars, the melodies are created like woven lace particularly in the first half - common for emo and well executed by the scene staples. For Those Who Come After is the standout example of this in the first half: a well-timed switch to minor key and a carefully picked melody mixed with piano keys that is just as beautiful as it is sad, which is what emo is truly for. Further on There Will Come Soft Rains brings back a melody-heavy sound after a focus on chords in Moments Before the Wind’s midsection, with its own midsection using a repetitive melody to capture the stasis of the track's themes. The main pull of Moments Before the Wind, however, is the exemplary songwriting throughout, capturing the fast moving stasis of liminal spaces and major life changes. A long-term breakup and the birth of Castro’s first child in the recent past of FREE THROW’S songwriting sessions were ample fuel for resonant lyrics that are equal parts resigned and frustrated, with just enough hope littered in to usher in the life transformations that they discuss. Stand out lines include “the wind was cold/but your hand kept mine warm” from Missing No. as the positive lyrics are concerned, as well as “like opening curtains when the hour turns gold” in Floarama Town that captures the sweet in a bittersweet track. On the flip-side there is “I feel so seen/yet so obscure” from There Will Come Soft Rains, succinctly putting the depersonalisation of the transformation of one's life, as well as the brutal “Men don’t cry/I say as my lip quivers” in This Dollar General Store Ain’t Gonna Rob Itself; the best title on Moments Before the Wind paired with a raw imagery of a man coming face to face with his darkest feelings. The highlight lyrically in Moments Before the Wind is The Need For A Post-Credits Scene, hidden at the album’s midpoint and painting a painfully clear picture of the “I know it's over” stage of a long-term relationship’s breakdown. Starting with a scene of fatal indifference as the ex-partner leaves for work, Castro moves around a shared home alone, using filming as a metaphor for putting on appearances while begging to be clued into when time will finally be called. The stasis of this situation is worded wonderfully in “I haven’t fed my psyche in weeks”, then the lyricism turns into punches then stabs in the chest with the fights and nothingness described as the “murder of my self esteem.” The stab? The outro repetition of “Can you clue me in/when does this movie end” sung quietly as if begging for an emotional mercy kill. The instrumentals of The Need For A Post-Credits Scene were as there as they needed to be to lift this story from the page, giving the time and pause for a snapshot of what is for many one of the worst periods of time in their life. For balance, it should be said that the last quarter of Moments Before the Wind teeters off with its engagement as the repeated song structure starts to make the tracks blend into one another. Even then, the structure of the track listing overall feel intentional and this pays off, for example the placement of the punchier The Outlaw Star straight after The Need For A Post-Credits Scene to inject energy for Moments Before the Wind’s second act, or the placement of The Waters of Life - about Castro inviting the change that came with his first child being on the way - ending the album on a hopeful note. Moments Before the Wind is a showcase in honest songwriting, taking angst and forcing it to mature with all the growing pains that are involved. The heavy melody focus in the drumming and guitar give the album a pensive edge as well as the liminal space that Castro was inspired by, making Moments Before the Wind a gift to emo in 2026. Score: 8/10 Moments Before the Wind will be released on March 27th 2026 via Wax Bodega. Words: Julia Brunton Photos: Imani Givertz

Here at Out of Rage we've been really enjoying the change in seasons - longer days, sunlight that's no longer just fleeting glimpses, and of course, the warmer weather. What better way to enjoy it than by cracking open a cold drink, putting your feet back, and blasting some new tunes? Here's what we've been listening to lately: Catch Your Breath - Blood Money Back with another banger, Texan melodic metal/hard rock band CATCH YOUR BREATH, gives fans their newest single Blood Money to sink their teeth into as they gear up to take on the Australian leg of their tour. Coming in hot with a powerhouse drumbeat from the off that rips heavier as the track progresses, accompanied by biting guitar riffs and vocals that range from a soft rawness to intense growls, Blood Money commands attention from start to finish. Creating a fresh sound that packs a punch whilst keeping the familiarity of echoey distortion and gritty synths, all backed by the deep emotional undertones and catchy chorus that CATCH YOUR BREATH has mastered, this track is sure to be on many ‘top repeated’ playlists! Words: Ash Atlantic Foo Fighters – Caught in the Echo FOO FIGHTERS are so back, with a sound that feels inspired by their Wasting Light and In Your Honour eras. Caught in the Echo is the latest red-hot track from their upcoming album Your Favorite Toy, releasing 24th April through RCA Records, featuring the distinct FOO FIGHTERS sound that have blessed our ears for decades. From Dave Grohl’s raspy yells dropping to silk-smooth tones, to the seamless instrumentals that weave around each other and build to a cacophony, Caught in the Echo is yet another release from this band of Titans, that grabs you and bodily throws you into the pit during the breakdown of sizzling guitar and drum solos while Grohl repeatedly screams “Do I?”. Hell yeah he does! Words: Julia Stark Good Kid – Cicada Jumping straight in with a tune catchier than the flu, GOOD KID have released another classic indie track, Cicada, designed to get you jumping. Featured on their upcoming release Can We Hang Out Some Time? through Good People Record Co., Cicada steps straight in with Michael Kozakov’s melting bass line that keeps a grip on you all through the song, swiftly followed by guitarists David Wood and Jacob Tsafatinos playing an upbeat sound in harmonised tandem, and John Kereliuk’s snappy, fast-paced drumming. Vocalist Nick Frosst completes GOOD KID, with surging notes and a subtle doubt on “I could be, I suppose, someone you should get to know”, perfectly delivering the awkward nonchalance and hope of catching someone’s interest. Words: Julia Stark Love Rarely - Severed LOVE RARELY are the ones to watch this year, roaming around the country far beyond their northern hometown. Severed gives us a perfect taste of their fantastic blend between math rock and hardcore. The song touches on a father-daughter relationship, tying in with the marionette and porcelain doll visuals from the music video. The piercing vocals and screams intertwine beautifully with the soft instrumentals, LOVE RARELY’s talent bleeding out from every crease. The band have just jumped off a tour with THE CALLOUS DAOBOYS, right ahead of their first album release and festival appearances at Burn It Down, 2000 Trees and others. Words: Mariia Bulkina The Meffs – Business THE MEFFS are all party in the front and back, with their scorching new track Business, calling out the moving goal posts of society and the industry, how they “don’t fit their mould enough” in a dog-eat-dog world, and how they don’t give a fuck about ticking boxes. Crashing into your eardrums ahead of their second album, Business, released 11th September through LFG, the title track launches into an immediate crescendo of cymbals and britpunk beats by drummer and backing vocalist Lewis Copsey, weaving in with distorted riffs to rip into you from guitarist and lead vocalist Lily Hopkins, creating a dangerous sound that feels like THE MEFFS are saying “come and have a fucking go”. Words: Julia Stark Olive Vox – 14 Years Featuring fiercely produced instrumentals and raw vocals, OLIVE VOX have created a track that captures the frustration and yearning of “taking the long way” working up to something for no payoff. New single 14 Years features vocalist Parker James baring his soul, altering between soft pleas of “give up” and gravelly shouts on the chorus. Balancing out these vulnerable lyrics is Caden Shea, with riffs climbing to sudden bursts of lasting notes; Dayton Phillips keeping a steady, almost understated drum beat until unleashing on the bridge; and Ben Reid twanging a deep bass rhythm that adds emotional weight to the quiet moments. OLIVE VOX have given us a song that is heartfelt and heart-pulsing all at once. Words: Julia Stark Sleeping With Sirens - An Ending In Itself SLEEPING WITH SIRENS’ new track An Ending In Itself is a charged return. It marks their return to Rise Records and their first release since the Complete Collapse era. This track blends sharp nostalgic riffs with a polished modern edge, embracing post-hardcore roots while maintaining their arena-ready sheen. Kellin Quinn’s soaring emotionally strained hooks cut through layered guitars. The breakdown is heavy but slightly formulaic, yet lines like “we’re not the same” hit with conviction. Named with quiet finality, An Ending In Itself feels less like closure and more like a rebirth, setting the tone for a potentially pivotal new chapter. Words: Angel Turley Violet Grohl – 595 Alternating between a dreamlike sound and gnashing 90’s grunge, VIOLET GROHL brings a style that’s nostalgic and heated with 595, featured on her upcoming album Be Sweet To Me, releasing on 29th May via Aurora Records. Recorded with a variety of musicians, a method inspired by the “spirit of the Wrecking Crew session players in the ’60s and ’70s”, 595 encapsulates the vintage and seedy feel of the 90’s that’s inspired the entirety of Sweet to Me. Hushed riffs accompany Violet Grohl’s husky vocals and evocative lyrics, broken up by jarring bass and kick drums, before coming together in a commotion of rugged instrumentals. Prepare to feel transported back to ’95. Words: Julia Stark Editor: Naomi Colliar Duff Photos: Various Artists

ARTIO are a band like no other in the scene right now. Self produced, fiercely underrated and hailing from Leeds, the band headed out on tour fresh off the back of the release of their new album, Soul Rot. This record is an emotive ode to existing in a world not built for you, to creative burnout, and to the ever evolving journey of one's own identity. With the setting for the evening being the Deaf Institute in Manchester, a venue known for its intimate gigs and atmospheric, historic charm, ARTIO were able to get up close and personal with the fans who came in their droves to experience the show. For the Soul Rot tour, ARTIO proclaimed ‘Long live the local band’, and stood by this sentiment throughout, by inviting a band from each city to open up the set. For Manchester, this was the queer/grunge/shoegaze outfit BIG CAT CHIC, a five-piece band formed in the city in 2023, who bring “a new kind of fierce and feisty for your playlists”. With vocalist Eliza Waite at the helm, bringing SIOUXSIE SIOUX vibes, with matching winged eyeliner, the crowd were blessed with a high-energy live performance, with tracks merging heavy riffs, serious grooves, and dark glam inspired power. Alt rock trio HIGH REGARD, the main support for the Soul Rot tour, took to the stage soon after. Fronted by vocalist Georgia Casey, the Hertfordshire band bring the kind of energy you would usually expect from a headliner - relentless crowd engagement, big movements that almost outgrew the stage and a crowd full of fans who know every word even before the song starts. Set highlights included explosive opener Life Sentence, See Me, and Buried Alive, which is the newly released single from their Warning Signs EP. HIGH REGARD are a band who are clearly destined for bigger stages and bigger crowds, with closer Dead To Me bringing the set to a loud, chaotic conclusion. ARTIO are a band who choose a story for their record and with it, birth a piece of lore for fans to play along with. Soul Rot is an album that personifies this artistic integrity perfectly and their set at the Deaf Institute delivered the biggest and best songs of their discography so far, with a sixteen song set list, opening with an alternate version of Soul Rotting, a transitional track from the album, which features the band and fans repeating the line ‘Please call me back my soul is rotting’. Lead vocalist Rae Brazill, along with bassist Ieuan Jones and guitarists Rob Arkle and Jai Akhurst, are no stranger to connecting with their fans in a way that most bands struggle with; they take the needs and abilities of the crowd seriously, with Rae asking “for those who are able, I want to see you jump.”. It might have seemed like an insignificant gesture, but for those gathered in the crowd, it was an important shift from the norm. ARTIO are a band who consistently play accessible venues, where possible, and ensure their fans are safe, comfortable and at the very least, enjoying every moment they are watching the performance. The set list was an expertly created journey through Soul Rot, with most of the tracks on the album making their way in the performance. The crowd were treated to The Devil You Know with guest vocals from CODY FROST, Soda, Full On Fight For Fun, with guest vocals from Jevan Langridge, the drummer for HIGH REGARD and the fan‑favourite and sometimes tearjerker, Room Tone. The band made sure to reach backwards in time to the tracks that made them who they are; letting Head in the Sand, Finger on the Trigger, Babyface, Product of My Own Design, and Pyrokid surface naturally, each one folding seamlessly into the flow of the night. In keeping with the themes of Soul Rot, Rae also denounced the rise of AI‑generated art, reminding us that art comes from the soul and that is something AI could never replicate. The message was met with cheers and chants of ‘Fuck AI!’, cementing the fact that ARTIO are a band of authenticity and that their DIY ethos is still kicking. Following a quick interval, the encore wrapped the show, Seven Suns shining as the closer. Both ARTIO and the crowd dug deep for one last burst, with voices soaring, adrenaline high, the connection between them holding strong through the final note. ARTIO remains a band intent on moving forward, carrying a self‑produced sound that cuts through the everchanging landscape of the music scene. Their fans clearly trust them to steer the ship and the mutual respect between stage and crowd is something genuinely rare. Words: Lou Viner-Flood Photos: Simon Flood

HELLRIPPER remain one of the most exciting forces in underground metal, creating a refreshing take on many classic areas of metal whilst creating something wholly unique and powerful. This latest release, Coronach, from one man Scottish blackened speed metal modern legend is a showcase in what HELLRIPPER can do as a musical force. As a collection of tracks they complement each other while they remain stand alone tracks. Being a one man project when it comes to recording there is a positive element of singularity as the vison of metal mastermind James McBain does not get lost. On the other end it avoids the trait of becoming a project of ego, instead the true nature of being a passion project is evident. From the opening guitar of Hunderprest immediately launching you into the world of HELLRIPPER , you get that rare feeling where the music is so intense your hair stands up on your arms. Featuring slightly heavier vocals than the band is known for using, whilst still being in the same camp of extreme metal. HELLRIPPER are not the heaviest band in recent memory but metal does not need to get heavier to push the genre forward, great song writing in metal is what pushes the genre forward and Coronach as an album achieves this. The DIY ethos of HELLRIPPER is commendable, but their sound is not lo fi, instead every instrument rings through as a collective group of power. The guitars as with all Hellripper projects is the strong point, they can be brutal and strangely beautiful in delivery. Many of the solos will simply melt your face off with their sheer level of ferocity. Every time they appear in a track is at the perfect moment and helps create a new level of enjoyment. Hunderprest is the longest track on this project weighing it at eight minutes and forty eight seconds. It avoids any of the failings longer songs often can have, the main worry is that longer tracks can end up boring. The track is an exiting journey celebrating everything HELLRIPPER can place into one track. A complete statement of metal music intent. Carving its own identity within the world of metal. Any use of classic metal ideas aren’t cliché instead they are a part of the DNA of what makes great metal truly special. The diverse musical influences of James McBain aren’t always talked about but it appears it’s what has led to HELLRIPPER avoiding anything stagnant within music. This also seems to be the reason the song writing stands above everything, as it isn’t simply rewriting what has been, instead it’s defining what can and will be. With HELLRIPPER being such a young project there is an element of maturity within the music, but this does not remove from the simple blissful metal joy the music creates. Every track is delivered in a complete package. The title track itself works perfectly as a stand along long metal experience but also retains it’s own identity. Having eight tracks the album is on the shorter end but this means nothing on it out stays it’s welcome. The album is in the metal tradition of giving you just enough you crave more. Overall the album is a delightful release in metal. When the metal world often feels like band’s are pushing the same style to try and get named the heaviest band around, song writing often gets lost. This latest album by HELLRIPPER is a collection of eight songs that showcase why they are truly modern day greats. It’s everything you crave in metal in a tight package. Score: 9/10 Coronach will be released on 27th March 2026 via Century Media Records. Words: Will Freeman Photos: Hellripper

The Nashville five-piece CHAMBER are back with a vengeance. Releasing their debut full length Cost Of Sacrifice in 2020 and following up with 2023’s A Love To Kill For, it comes time for their third full length to obliterate the ear drums of any and all in their way. Enter this is goodbye…, a pummelling piece of metallic hardcore mosh music that dares all comers to step to the plate and make a mess of the nearest jaw. Forged in the fire of the daily grind under the permanent uncertainty and lack of comfort that our modern life provides, the LP holds nothing back in its discussion of the toll of the rat race - as vocalist/guitarist Gabe Manuel alluded to discussing the album; “Any band that's trying to get out of just playing local shows and actually tour has to be involved in what I refer to as the rat race of competing for people's attention – online and trying to play shows. And that took a toll on me personally. I love spending time with my friends in CHAMBER. We love each other very much, but the toll of being on tour, sleeping in the van every night – and wondering if you've made the right choice by making what you're doing your primary creative focus – can weigh heavy. If there’s a theme to the record, it's us reckoning with that and deciding that we are doing the right thing, and that it is worth the bullshit that you go through being in a band.” Opening the entire album is a spoken word quote – “Forever is too much for a soul to endure.” Setting the nihilistic tone quickly on opener arms for eternity, whilst belying the furious energy of the song to come, is a bold statement and one that pays off in droves. Backing up that message time and time again, from the ceaseless sense of finality and crushing weight of everything to the incredibly poignant and deeply heartbreaking addition of a funeral recording to finish the song angel, they pull no punches. Whilst discussing the album, Manuel explains the quote in angel further - “That recording is actually from the funeral of my friend who passed away, and who the song is about. I've wanted to use that clip for years and that just seemed like the perfect opportunity.” Other such songs provide a different sense of the band, where violins shows off the impact that math-core has had on the band and their evolving sound, whilst pale blue (why) allows the more expansive and dour end of their sonic palette to take the fore and crush the light at the end of the tunnel into nothing but a speck of dim, desaturated yellow you might find emanating from an old flickering lamp on the streets of the rough part of town that you try and avoid at all costs. Each moment spent listening to the album feels like an exercise in gazing the futility of life in the eye and not blinking first. The raw, abrasive emotion found across the record - particularly notable on resurrect, found nearing the end with a feature from Vincent Bennett of THE ACACIA STRAIN - is deeply impassioned and honest, whilst the jagged guitars and unpredictable rhythm section serve to disorient and confuse the senses until you aren’t sure which way is up and what time it is, you’re just sure that everything sucks except for CHAMBER. Finale in revolving doors is not only noteworthy as the last track here, but also as the pseudo-title track for this is goodbye… as the record’s title is found within the lyrics on the last song. A suitably fitting way to come across such words, if ever there was one. It contains the most melody found on the album - which still isn’t much - and embodies the cathartic feeling of giving up under the weight of the world in a most melancholic manner that serves to simply further the band’s already potent dose of sadness and numbing. In short, this is goodbye… is a chunk of fantastic metallic hardcore that will be as good for inciting crowd killing as it will be for sucking every ounce of your happiness out and replacing it with an ominous sense of dread. Whilst not a listen for the faint of heart or mind, CHAMBER have set themselves up to be one of the most talked about and celebrated acts of the year within the heavy underground. The album is a phenomenal piece of anguished music that rips from beginning to end, never once letting up or easing off, and shall rightly be lauded for years to come. Score: 10/10 this is goodbye… will be released on March 27th 2026 via Pure Noise Records. Words: Jasmine Longhurst Photos: Chamber

Brighton screamo/post-rockers CHALK HANDS are soon to release their sophomore album; they planted the seeds of their sound with their debut record Don’t Think About Death, incorporating elements of screamo, ambient, post-hardcore, and math rock, and with their new release The Line That Shapes the Coast of Us, we witness those seeds grow into something massive: a record that very much defines the band. Intro Ember Lane is CHALK HANDS laying all their cards flat out; they showcase each and every element that will be running through the record, and incorporate it all into a track that’s not just a banger in its own right, but a functional teaser for the eleven-track journey we’re in for. We’re led in with a shimmering intro, shoegazey elements the immediate forefront of the track. There’s a sombreness to it, yet it feels freeing at the same time. A light guitar riff joins the mix, and leads into a rolling drumbeat, which establishes an intensity for classic screamo vocals to capitalise on. Pauvre de Moi follows after and hits the ground running, leading in with a frenzied clash of drums and racing guitars. Despite the fact this is sung entirely in French, the vocals are strong enough to wrench at our heartstrings, emotionally captivating even in another language. Day Glow is as the name suggests, a lighter track; calmer strings lead us into a brief respite from this inner turmoil. This doesn’t last forever though - a minute in, familiar math rock riffs make an appearance, harmonic guitars intertwining their melodies. Later on, A Comfort You Borrow turns up the intensity, throwing us into a harsh wall of sound before giving way to some groovy repeated riffs; this is the shortest track of the album, but it serves as a strong tie-in to follower Peregrine. Drums crash like cliffside rocks into the ocean, and harsh waves of sound roll in one after another, sweeping us over and bringing us out to sea with them, where we float, aimlessly, surrounded by ambient peace and brief, soft, echoing vocals. It’s not long before we’re back in the swell, though, with a chaotic harshness that leaves our ears ringing. It’s this kind of contrast that CHALK HANDS excel at; they’re able to channel the forces of dark and light, of hope and bleakness, into their music, leaving us torn between emotional states. A Surefire Way to Disappear is a perfect example of this - the introductory ambient-shoegaze section is a beautiful composition in itself, and it soon brings us into a chaotic soundscape backed by the lyrics that lend themselves to this record’s title: “A line that shapes the coast of us/We live by the ocean/And die by the ocean”. If there was one track to represent this LP, it would be this. Rewired Eyes goes heavy on the screamo, harsh dissonance the main element of this track; the guitar rhythms of Tom Lester and Antoine Mansion do well to offset it between sections, intertwining melodies with Ben Moore’s basslines throughout. Your Skin Is Gold serves as a showcase for the talents of CHALK HANDS’ drummer, Gary Marsden, incorporating blast beats, ringing percussion clashes, and an anticipatory build-up to the finale backed by repeated chants that echo the track’s title. These vocals fade out to mere echoes, bringing the album to an end quietly and calmly. Sleep Tapes is more an epilogue than a finisher, a tranquil almost-instrumental piece that gives us closure to this emotional journey. They cap off this record by leaving us with a question: “What sky will I meet/When I finally sleep?” The Line That Shapes the Coast of Us is a defining record for CHALK HANDS; unpredictable, unique, and covering every possible point on the musical spectrum of their influences. Waves of post-hardcore, screamo, and math-rock crash into each other, rolling over and spilling onto sands of tranquil ambience. Undiscovered brilliance lies with this band, but with this record in this repertoire, they’re sure to reach new heights. Score: 8/10 The Line That Shapes the Coast of Us will be released on 27th March 2026 via Dog Knights Productions. Words: Naomi Colliar Duff Photos: Chalk Hands