OLD MOON’s Home To Nowhere doesn’t arrive like a debut album trying to introduce itself to the world. It feels more like a document recovered from somewhere cold, wet and emotionally exhausted. Seven tracks stitched together from grief, collapse, isolation and whatever survives after all of that burns out. Born from the endless grey atmosphere of the Pacific Northwest, the Portland outfit leans fully into that environment, creating a record that sounds drenched in rainwater and emotional ruin from beginning to end. Led by Michael Priest also known for work with GONE IN APRIL, IDOLATROUS and ex-BOUDICA, OLD MOON fuses melodic death metal and post-black metal with orchestral textures that never feel decorative. Everything here serves the emotional weight of the record. The strings don’t exist to sound 'epic'. The atmosphere doesn’t exist to fill silence. Every layer feeds the same suffocating emotional core. And that’s what makes Home To Nowhere work so well. Between the Stars opens the album with restraint rather than explosion. The track slowly unfolds through mournful melodies and aching atmosphere, immediately establishing the record’s identity. There’s heaviness here, but not in the traditional sense. The weight comes from tension, the feeling that everything is constantly on the edge of emotional collapse without ever fully breaking apart. My Name is Death pushes further into darkness, balancing blackened aggression with sweeping orchestral depth. The guitars cut sharply through the mix while the melodies underneath keep everything emotionally grounded. It’s the kind of track that feels massive without becoming overproduced or theatrical. Something OLD MOON handles surprisingly well throughout the album. Obsidian is where the record becomes genuinely suffocating. The blend of melodic death metal riffs and post-black atmosphere creates a crushing emotional density that never lets up. Instead of relying on constant speed or technical excess, the band focuses on mood and emotional pressure. It makes the heavier moments hit harder because they actually feel earned. Then comes Distance, which slows the pacing without killing momentum. The track drifts through isolation and emotional numbness in a way that feels painfully human. There’s a loneliness embedded into this album that constantly feels real rather than exaggerated for effect. A Rest to My Name might be the emotional peak of the record. Fragile melodies weave through waves of heaviness while the orchestral elements quietly bleed into the background like fading memories. It’s one of the few moments where the album feels almost peaceful but even then, the peace feels temporary. The title track, Home to Nowhere, acts as the emotional centrepiece. Everything the band builds across the album converges here: the atmosphere, the grief, the melodic tension and the overwhelming sense of emotional displacement. It doesn’t chase catharsis. It simply sinks deeper into itself. By the time Creations Undone closes the record, Home to Nowhere feels less like an album and more like surviving someone else’s emotional collapse in real time. There’s no triumphant ending waiting at the finish line. No sudden light breaking through the clouds. Just acceptance, devastation and silence. What makes OLD MOON stand out is sincerity. A lot of atmospheric metal bands can imitate sadness sonically, but very few actually feel emotionally genuine. Home to Nowhere does. Every melody, every orchestral swell and every crushing riff feels connected to something painfully real underneath it all. For a debut full-length, this is an incredibly confident statement - bleak, immersive and emotionally devastating in all the right ways. Score: 7/10 Home to Nowhere was released on 8th May 2026 via M-Theory Audio. Words: Mia Gailey Photos: Old Moon

Hardcore continues to make itself known across UK alternative festivals. Whether it is inside a packed-out tent or across an open field lined with food trucks and plastic cups, its presence is immediate. The energy arrives before the bands are even visible, pulling crowds in unexpectedly. To understand why hardcore now holds such weight, it helps to look at its roots. Emerging in the late 1970s and early 1980s, hardcore punk pushed beyond traditional punk with greater speed, aggression, and intensity. Built on a DIY ethos, the scene rejected large-scale production in favour, of raw performance and tight-knit community. Over time, the genre evolved into multiple subgenres, including melodic hardcore, beatdown, and post-hardcore. Each brought a different approach, but all retained that core intensity. During the 1990s, hardcore techno and electronic scenes also developed, mirroring the same fast, distorted, and underground qualities. Despite sonic differences, both worlds shared a loud, unapologetic, grassroots identity. SLAM DUNK FESTIVAL reflects just how much the landscape has shifted. In 2016, the lineup leaned heavily towards pop punk, with NEW FOUND GLORY, PANIC! AT THE DISCO, YELLOWCARD, and MAYDAY PARADE are leading the charge. Heavier acts were present, but they existed on the periphery, offering an alternative rather than defining the experience. In recent years, that balance has changed dramatically. The festival now places metalcore and post-hardcore at the forefront. Artists such as HOLDING ABSENCE, MALEVOLENCE, COUNTERPARTS, THE DEVIL WEARS PRADA, FIT FOR A KING, and KNOCKED LOOSE have all taken prominent slots. The overall atmosphere has shifted with them. What was once a nostalgic singalong now regularly gives way to high-intensity pits and relentless energy. Hardcore has a unique ability to awaken a crowd. At SLAM DUNK FESTIVAL, this shift is visible in real time. As soon as the first note hits, the atmosphere transforms. Audiences who were moments ago relaxed in the sun are suddenly pulled into movement. The energy spreads quickly, influencing even more melodic acts, who often respond by pushing their own performances further. Hardcore does not just shape lineups. It reshapes audience behaviour. The influence extends beyond major festivals. Smaller independent events across the UK have embraced hardcore in a way that feels authentic to its origins. Festivals such as 2000TREES FESTIVAL, OUTBREAK FESTIVAL, and ARCTANGENT FESTIVAL provide space where hardcore is celebrated rather than sidelined. These environments thrive on community, something hardcore naturally supports. Band members remain present after sets, spending time at merch tables, watching other acts, and interacting directly with audiences. This creates a sense of closeness that larger, more commercial genres often struggle to replicate. At these festivals, hardcore often becomes the backbone of the day. Even when technical issues arise, bands push forward with humour and resilience. Early set times do not deter them. Instead, they use it as an opportunity to energise the crowd from the outset. That rawness aligns perfectly with the DIY spirit these festivals champion. The culture surrounding hardcore has also encouraged greater inclusivity and emotional openness. The pit, often misunderstood as chaotic, operates on an unspoken sense of community. People look out for each other, picking each other up and encouraging participation. It is intense, but it is also supportive. Hardcore is no longer just present within UK alternative festivals. It has become a defining force. Its rise from the margins to the centre signals a shift in what these festivals represent. They are louder, more connected, and more willing to embrace intensity than ever before. Words: Lauren Wenham

GADGET are, notably, fairly slow with releases. This isn’t a problem at all, but it’s ironically in stark juxtaposition to the immediacy of the genre they primarily operate in - grindcore. Outside of split releases with PHOBIA in 2010 and RETALIATION in 2021, their past two releases have been in 2006 and 2016 respectively. They’ve been around for over half the genre’s lifespan, and a lot can happen within a genre in 20 years, so it’s interesting to see if they can keep up with their contemporaries on the upcoming EP, Coerced. Thankfully, it doesn’t take long for them to assure us that they can. After a buildup of feedback, they put full pedal to the metal on opening track Nonsense, with a flurry of blast beats and blood-curdling screamed vocals and growls from frontwoman Emilia Henriksson. It’s absolutely incredible what they manage to do in such a short amount of time on these tracks, most notably the shortest song on here, the 24-second Gnistan, humorously the first single released for the EP. It might be short, but it’ll certainly be the most abrasive 24 seconds you’ll hear this month, and perhaps beyond. The back half of this EP takes things a step above however. For those uninitiated within the genre of grindcore, it could easily lose its novelty a few tracks in. But it seems to take some kind of turn from sixth track Flatline onwards. Flatline is a track that starts with a wonderfully sludgy riff that quickly tears itself apart, ground down into shreds over unrelenting percussion and vocals, before the sustain fades into the 5-minute False Pulse. False Pulse is unlike anything else on this release, it’s a grimy drone piece, featuring this crunchy, static effect every few seconds. A wildly discomforting piece in the way it completely subverts what we’ve come to expect from this record thus far, but the emphasis is still on noise and claustrophobic doominess that emanates from this group’s work. All this concludes with the second-longest track on here, Violently Silent. Closer to the sensibilities of a sludge-laden hardcore punk group like CONVERGE, GADGET still manages to up the ante compared to them, with suffocating guitar tones, break-neck shifts in dynamics and more blast beats just to top it off. Absolutely a perfect way to end this 13-minute thrill ride. With this release, GADGET go beyond simply being 'veterans' in the genre, proving that even with ten years between releases, you will trust that it will be worth the wait. To achieve so much on a release shorter than fifteen minutes is unbelievable. It’s the kind of EP you listen to over and over just to pick apart at all the details and intricacies, or simply just for the thrill of it. Easy to appreciate and even easier to return to, Coerced is likely to be a highlight EP of 2026, talked about for the rest of the year. Score: 9/10 Coerced will be released on 8th May 2026 via De:Nihil Records. Words: Noise Leonard Photos: Erik Larsson

Mayday, mayday - we're already in May; time really flies, doesn't it? While some are putting their heads down and getting through their exams, others are hastily shoving folded clothes into their suitcases for the holidays, and here at Out Of Rage, we're prepping for every metalhead's favourite time of year - festival season. What better soundtrack for that than all these new releases? Here's what we've been listening to lately: Blood Dealer - Apologies BLOOD DEALER have been branding their mark in the alt-metal scene with genre blends of metal and trap, and it seems they're building up to something bigger with new single Apologies, a track that defies expectations and shows their penchant for melding sounds. Starting with a lone, echoing vocal run, Apologies plummets into an alt-metal tearing guitar riff and pulsating drum beat, the bass descending to distorted lows as an undercurrent. Vocalist Billy Douglas drives emotion into his soaring vocals on the first chorus before closing out with a dangerous, low murmured "I want apologies". It holds back on the screams usually prevalent in a BLOOD DEALER track, but we forgive them. Words: Julia Stark Citizen - Highs and Lows Gearing up for a world-spanning tour for their upcoming album Halcyon Blues, CITIZEN have exploded back onto our playlists with Highs and Lows, a song curated to be screamed back to them by fans. With a stripped back intro introducing effects and instruments individually, frontman Mat Kerekes shifts from soulful low-pitched vocals to higher-pitch, frustrated near-screams, the vocals layering over Nick Hamm and Mason Mercer's twanging guitar notes and yearning riffs. Ben Russin shifts between funk-like sounds to snappy cymbal heavy beats to keep the pace eclectic, while Eric Hamm keeps the rhythm on trajectory with a thudding bass line, the final uplifting strings complementing the emotional lyrics, both forlorn and blindly hopeful and absolutely a song to belt out. Words: Julia Stark His Daughter Harry - Big Girl An up-and-coming grunge band from London, HIS DAUGHTER HARRY have just come out with their debut single Big Girl. As it was pre-launched at their already sold-out headline show in the capital, the excitement and anticipation built up, and it was absolutely justified. The song talks about a situationship who is slowly ruining your life, something so awkward yet relatable to so many. After the spell has worn off, all you are left with is the lingering question: do I take revenge or do I keep being a bigger person? Big Girl is for everyone who misses the early 00s Internet, loves Bratz dolls, and is in dire need of a new earworm. Words: Mariia Bulkina Loathe - Revenant (ft. NOWHERE2RUN) If you also lost your mind over new LOATHE music getting announced, you're entirely valid for that. The metal community has collectively gained whiplash headbanging to their galvanising new track Revenant (ft. powerhouse electronic punk duo NOWHERE2RUN), the first track off upcoming album A Stranger To You, releasing July 17th. From the first pulverizing notes it feels like a battle cry, ascending into a rapid fire, crashing beat and shuddering guitar and bass rhythms, singer Kadeem France bringing an annihilating heat with his screams of "caged with this for so long, step into my strength". It sinks its teeth in and won't let go, you can only sink yours back in and thrash to this battle track together. Words: Julia Stark Motionless In White - Playing God (ft. Corey Taylor) You’ve not seen gore quite like this! Screamo mainstays MOTIONLESS IN WHITE are back with their damaging single Playing God, the first release from their new album Decades. Featuring the signature raspy howls of SLIPKNOT vocalist Corey Taylor, the track opens with an Eyeless inspired jungle beat. The track is all-consuming, fast and cleaved with sharp, damaging moments of ferocity. Chris Motionless’ bloodcurdling screams decimate the record. The band’s signature sung choruses elevate the track to anthemic status. The new era of Scranton PA’s hottest export is bloody, their most abrasive in years, culminating in a fierce statement that demands devotion at arenas in their upcoming US headline tour. Words: Amber Brooks RATSALAD. - North West Coastal Highway The newest single, North West Coastal Highway by Australian punk band RATSALAD. delivers pure punk energy. With this single, leading up to their new album Pest From The West, the band captures listeners with melodic yet gritty riffs. The lyrics are ironic and portray the fun of a road trip, and the song captures that energy surprisingly well. It’s catchy, and that’s exactly what it needs to be. A surprising solo in the bridge gives the track just the right amount of uniqueness to stand out among the many simple, straightforward punk songs out there. North West Coastal Highway is exactly what it wants to be and it succeeds in the best way possible. Words: Hannah Martin Siiickbrain - Filthy (ft. Fetish) SIIICKBRAIN continues the rollout for upcoming album Houndstooth with Filthy, featuring FETISH, carrying an intoxicating sense of danger. The track thrives on a heavy, almost industrial texture, with layered instrumentals that feel abrasive and texturally dense. There’s a club-ready pulse underneath, but that never softens its bite, with punchy drums and distortions keeping things tense. Vocally, SIIICKBRAIN balances seduction with menace, making the title feel deliberate as the track sounds exactly as it promises. As a third single, Filthy frames Houndstooth as a record built on sharp production choices and controlled intensity. Words: Zuzanna Pazola Sixth Wonder - IS THAT WHAT YOU WANT FROM ME? Scottish metal trio SIXTH WONDER are known for their grime-ridden riffs and melancholia-driven sound - and they’re back with their latest single IS THAT WHAT YOU WANT FROM ME? The band kickstart the track with a headbanging djent riff, and vocalist Rebekah Kirk takes charge with her gutturals; with an impressive fluidity, she melts into clean, siren-song vocals, and back into anguished screams. It echoes a very personal journey: shortly after the band’s debut, she lost her voice to Covid-19, and this track is driven by the reclamation of her identity in the aftermath. As she gives us one last gut-wrenching scream, it becomes clear that SIXTH WONDER are living up to their name, becoming a definite landmark amongst others in the developing metal scene. Words: Naomi Colliar Duff Sleeping With Sirens - Forever/Always SLEEPING WITH SIRENS return with a track that leans into the emotional intensity of their earlier work on Forever/Always. The single draws clear parallels to With Ears to See and Eyes to Hear, particularly in its blend of soaring melodies and moments of raw vulnerability. With their upcoming album An Ending In Itself set for release on June 12th, the band seem to be revisiting their roots while sharpening their songwriting. The track balances explosive sections with softer, layered vocals, creating a dynamic contrast that feels both nostalgic and refined rather than purely retro. As the song builds, the repeated refrain “forever or always” becomes its emotional anchor, designed to hit hard live while still carrying weight on record. Words: Con Macadam Static Dress - …hospice First teased and played in full at their one-off Live Death Display in Leeds, …hospice is the latest single by STATIC DRESS. Each of the three released tracks from their sophomore album Injury Episode sound drastically different to one another, yet they are all equally glorious. In …hospice, the band explores their softer and warmer-toned side; there is no breakdown, but it is arguably one of their most monumental pieces. Comparisons with the sound of MCR’s The Black Parade were soon to follow, and a music video shot in the legendary King’s Hall in Stoke-on-Trent only added to the grandiosity of it all. STATIC DRESS learnt how to keep everyone on their toes with every single move, and the anticipation of Injury Episode could not get stronger. Words: Mariia Bulkina Editor: Naomi Colliar Duff Photos: Various Artists

Some gigs ease you in. This one didn’t bother. At Rough Trade Bristol, there’s always that split feeling — relaxed on the surface, something heavier underneath. Early on, it felt calm enough. Drinks moving, conversations going. But the room already felt loaded, like it was waiting to tip. The openers made sure it did. KNIFE BRIDE came in sharp and straight to the point. No slow build, no filler — just a set that knew exactly what it was doing. Controlled, aggressive, and properly paced. They didn’t try to steal the night, but they didn’t fade into it either. It was tight. Measured. Enough weight to wake the room up, enough restraint to keep things building. By the end, the shift was obvious. The crowd had moved in, the noise picked up, and the focus locked. Exactly how it should be. Then it flipped. No drawn-out intro, no build-up — CALVA LOUISE walked out and hit immediately. Tunnel Vision landed and the whole space changed. Glitching visuals lit up behind them, screens flickering, everything fractured and sharp, with that neon aesthetic cutting straight through it. It didn’t feel like background — it pulled you into it. For a three-piece, the sound is ridiculous. Not just big — full. It fills the room without losing shape, without turning messy. Live, it hits harder than it should, but still stays controlled. The reaction was instant. No hesitation, no warming up — just movement. The kind where the whole room locks in at once. Front to back, people moving like it’s all running off the same pulse. Jess Allanic sits right in the middle of it, and it feels real. Not forced, not overdone — just completely in it. Vocally, she doesn’t miss. Clean sections, heavier switches, everything lands exactly where it should. Behind that, it stays tight. Alizon Taho’s bass gives everything its weight — sitting forward enough to matter, never getting lost. Ben Parker keeps it driving, but it’s the detail that stands out, especially when the electronic elements start to creep in and shift the feel. Those moments do the work. They pull things back just enough. Let it breathe. So when it hits again, it hits harder. That’s where CALVA LOUISE separate themselves — the movement between styles. Electronic textures, heavier sections, subtle shifts — none of it feels forced. It just flows. The guitar work pushes that even further. One guitar, but it doesn’t feel like it. However it’s built — effects, layering — it fills space properly, giving the set a scale that shouldn’t really be there. And the energy holds. That’s the difference. No lull. No point where it drops off. The whole room stays in it, moving, reacting — like the space itself is shifting with the set. At one point, Jess mentions the heat, and it lands because everyone feels it. Same room, same pressure. No gap between band and crowd. It doesn’t feel staged. It feels shared. As it starts to close, it doesn’t slow down. Aimless lands clean, showing how strong the songwriting actually is underneath everything else. Nothing feels like filler. Then Oportunista finishes it — one last push, no drop in energy, no holding back. It doesn’t feel like early days anymore. There’s no sense of a band still figuring things out, no rough edges being hidden behind energy or visuals. Everything about this feels deliberate. What stands out is how complete it already is. The sound, the visuals, the pacing — it all connects. Nothing feels separate. It’s a full picture, and it lands exactly how it’s meant to. A lot of bands build toward this kind of identity over time. CALVA LOUISE already have it, and more importantly, they know how to use it. And live, that matters. Because when everything clicks like this, it doesn’t just sound good — it feels right. This isn’t a band testing the waters. It’s a band already moving with purpose — and pulling everything else with it. Words and photos: Mia Gailey

There are some shows that are just as unforgettable for bands as they are to the attending public, and this was the mutual feeling shared by Swedish electronic metalcore act SOLENCE and the packed Manchester academy 3 that showed up for a party unlike no other, with a show of non-stop, raw, energy and infectious, rhythm infused metalcore. The Swedish heroes did not come alone, as support came from one of the most exciting up and coming international bands WRITTEN BY WOLVES, as well as British metalcore four-piece DREAMSTATE. This behemoth of a lineup delivered in almost every aspect, kicking off this bank holiday weekend with one of the biggest parties anywhere in the country. The evening kicked off with the trio known as WRITTEN BY WOLVES, who, hailing from New Zealand, are playing some of their biggest shows of their career. It is this passion that was clearly oozing out of each member. Vocalist Michael Murphy was having the time of his life onstage whilst simultaneously singing his heart out. An alternative music concert is about bringing people together, and all throughout the set, Murphy kept bringing this up, pointing out how happy it made him seeing so many youngsters at the show. Creating a moment these children will never forget. In terms of musical ability, Genius was the song that truly kicked off the party atmosphere in the room as technicolour stage lights filled the entire venue ensuring that everyone got the chance to rave and mess around. This got the crowd engaged on a complete other level. Not just for the remainder of WRITTEN BY WOLVES, but also for the remainder of the night that was still to come. A brief wait later, and DREAMSTATE took to the stage. Instead of an extravagant introduction, the Brits decided to go all guns blazing by demanding the crowd to move, before ripping into Bloom. What is noticeable right from the offset of this performance is just how exceptional each member is at producing harsh vocals. As they stole the show throughout this performance, and matched with the constant energy, this set proved to be another triumph with the Mancunian crowd. Frontwoman Jessie Powell wins the crowd over with her charisma, and just like with what came before, each member of the band seemed to be thrilled to be onstage and created unforgettable memories for those in attendance. Once DREAMSTATE got offstage, another short wait commenced. What came after this wait, however, was a set that is sure to go down as one of the biggest parties of the entire year. After the ABBA classic Dancing Queen blasted through the venue PA system, a futuristic sounding voice welcomed us all to the “SOLENCE experience.” A term which frontman Markus Videsäter referred to throughout this spectacular headline set. Once the band got onstage to an ovation that blew the roof off of the third academy, the four-piece ripped into the title track of their latest studio album Angels Calling. Following this, the band had the crowd at the palm of their hands and kept everyone there until the end of the performance. Blackout, All Of The Pain Must Go and their world-class cover of the IMAGINE DRAGONS track Warriors were all executed to absolute perfection. Words: Itay Gilad Photos: Robert Hall

With a name that references a variety of works - from a song by VAN DER GRAAF GENERATOR to a film by Robert Eggers, the band A PLAGUE OF LIGHTHOUSE KEEPERS are no strangers to taking influence from across the spectrum of art and culture. Based in Haarlem in the Netherlands, the group has garnered a reputation for unpredictable and intense live shows, all the while collaborating with plenty of other musicians. Now, they’ve come to the point of releasing their debut EP, named Towers of Silence. A three track release, it appears small at first before you realise that it ends up around the 20 minute mark through each song being a minimum of five minutes, up to nearly ten. Opening with lead single The Massacre of Flour - a ferocious statement condemning the hideous ongoing genocide against the Palestinian people - the EP starts off in potent fashion. The near seven minute runtime allows plenty of room for the band to expand the blend of doom and sludge into post-metal territories, without ever compromising on the claustrophobic atmosphere being created. I Fuck People comes next, which takes a hugely different musical direction and lyrical theme. Showing their support for global queer and marginalised communities, A PLAGUE OF LIGHTHOUSE KEEPERS broaden their scope into a doomy free jazz band, expanding their sonic palette and showing off the variety of talents and instruments at their disposal. Alternating between pure chaos and some moments of slightly more minimalist space, the song is a wild six minutes of both intensity and room to breath. To finish we’re treated to the title track of the EP, which is the longest piece yet at a good nine and a bit minutes long. A more drone-based song that dwells on human finality, and asks where we can find meaning and hope amidst it all. A multitude of spiritual styles are rolled into one great maelstrom here, never overtaking the overarching drone and still incorporating the doom and sludge of earlier. Mournful and meditative, it’s a brilliant track to get lost in and feels like a very consciously crafted piece of music, that sounds up everything that has been before with a (rather long) flourish. Whilst it’s only three songs long, Towers of Silence does not let its time go to waste with three potent statements, all made over the top of fantastically fascinating, free flowing heavy and avantgarde music. An intriguing, perplexing, and deeply rewarding listen, this EP makes for a standout start to A PLAGUE OF LIGHTHOUSE KEEPERS’ recorded collection. Score: 8/10 Towers of Silence will be released on May 9th 2026 via Lay Bare Recordings. Words: Jasmine Longhurst Photos: A Plague of Lighthouse Keepers

There’s a fine line between contrast and contradiction, and on brutalist, SACE6 lean fully into the latter. Their whole approach hinges on a simple question: how heavy can something get while still feeling undeniably pop? It’s not about blending genres neatly together, but forcing them to coexist, and more often than not that tension is exactly what makes this debut hit as hard as it does. After making serious waves with 2025’s Limerance, the duo wasted no time in levelling up. Not even a year later, brutalist arrives as both a continuation and a clear evolution: building on that same haunting, emotionally driven foundation, but pushing it further in both scale and confidence. There’s a strong sense of identity here, not just in how it sounds, but in how deliberately it’s been shaped. Opener besotted sets the tone immediately. It starts with a kind of understated beauty before distortion creeps in, eventually giving way to heavier instrumentation without ever losing its sense of control. It’s a smart introduction, enough to establish the band’s duality without showing their full hand too early. That push-and-pull becomes a defining feature of the record, whether it’s the shimmering R&B textures or the sudden, almost jarring bursts of weight that follow. That contrast feels especially natural once you understand how the band actually writes. Sometimes Noah builds out full instrumentals for Sace to work over, other times it starts with a vocal idea that the production grows around. Either way, the process never feels rigid, and that lack of structure carries through into the music itself. There’s no sense of chasing trends of ticking genre boxes. It’s more instinctive than that, pulling from whatever influences happen to stick at the time. You can hear flashes of everything from atmospheric pop to heavier alt influences, all sitting side by side without feeling forced. A good example of that balance done right is reverie, featuring JXDN. The collaboration makes sense without feeling like a gimmick, with the contrast between vocal tones adding real depth to the track, especially in the closing moments where the harmonies really flourish. It’s one of the more immediately accessible tracks, without delving too far into the heavier or more distorted side of SACE6’s sound, but it still holds onto the emotional weight that runs through the rest of the album. Later in the album, ego is the clearest turning point. Already sitting on huge streaming numbers ahead of the album’s release, it’s easy to hear why. The track opens with a burst of intensity before dropping into something far more restrained, only to explode again when it matters. It’s dynamic without feeling messy, and it captures exactly what the band seem to have been aiming for all along: a graduated version of their earlier sound where everything finally clicks into place. SACE6 then deliberately strip things back on dolorous. It’s arguably the softest moment on the record, but it never drifts into filler territory. Instead, it lingers, understated, melodic, and quietly affecting in a way that sticks with you long after it ends. That calm doesn’t last long, though, with nepenthe immediately flipping the switch again. It opens with heavier vocals before settling into a brighter, almost deceptively light rhythm. It’s one of the clearest examples of the band’s core idea in action, showing softness and intensity not competing, but colliding. By the time perfidy closes things out, everything feels fully realised. Stretching close to five minutes, it pulls together every thread the album’s been building - clean vocals, heavier passages, textured production, and that constant pop undercurrent tying it all together. It doesn’t feel like an ending so much as a full-circle moment, the kind that leaves you satisfied but already considering another listen. Across the record, there’s a hypnotic quality to the R&B elements, something warm and almost cinematic that pulls you in before the heavier moments hit. It’s the kind of album that feels built for long summer evenings, but there’s always something slightly darker sitting underneath. That sense of atmosphere isn’t accidental either - the band have spoken about drawing inspiration from everything from 90s romance films to narrative-driven games like Life Is Strange, and you can absolutely hear that focus on mood and storytelling in how these tracks unfold. Lyrically, brutalist stays consistently strong. There’s a mix of vulnerability, confrontation, and reflection that feels genuine rather than overworked. Knowing that a lot of the material comes from personal experiences, it never feels closed-off. There’s enough space for listeners to project their own meaning onto it, which makes the whole thing hit just that little bit harder. For a debut, this album is impressively self-assured. It’s not flawless - the constant shifts can feel disorienting on a first run, and it’s definitely an album that benefits from being heard front-to-back rather than in isolation - but that unpredictability is also where a lot of its appeal lies. The songs don’t always go where you expect, and that’s very much the point. SACE6 aren’t interested in playing it safe, and brutalist makes that clear from the very start. If this is what they can pull off this early on, it’s hard not to see why there’s already so much momentum behind them. Score: 8/10 brutalist will be released on 8th May 2026 via Sumerian Records. Words: Zuzanna Pazola Photos: Sad Swim

Having formed in the Long Island, NY underground back in 2020 KOYO cemented their identity from the jump, bending their hometown’s revered sound into something raw, urgent, and uniquely theirs, with vocals from Joseph Chiaramonte, guitars from Harold Griffin, TJ Rotolico and bassist Stephen Spanos, and drums from Salvatore Argento,. Debut release Would You Miss It? was well received by critics and listeners alike, with people loving the unique blend of emotionally bare punk, hardcore, and emo, and new album Barely Here sharpens that combination even further. Title track Barely Here opens the album, with dial tones and a heavy drum beat. KOYO waste no time in slamming into your ears; unrelenting volume, and with clear intent. It lands like an adrenaline rush, addressing the dissatisfaction and distance of being away from the people you love, and this theme continues into Jet Stream Wish, with the melodic roar of Chiaramonte’s voice punctuating the defiance against the circumstances he is facing. Saying Vs Meaning, which features Sammy Ciaramitaro of DRAIN, is a fiery track that sees Chiaramonte delving into the feelings of isolation and misplaced shame for choosing “this kind of life”. Griffin, Rotolico and Spanos anchor the track with heavy bass and guitars that complement the vocals of Chiaramonte and Ciaramitaro perfectly. It Happens to the Best of Us echoes early NEW FOUND GLORY, with its punchy melodicism and vocals that stay loud, forceful, and driven by intent. Highlighting KOYO’s unrivalled ability to create a punk song with hook after hook, You Hate Me is built around relationship tension, emotional fallout, and self‑blame, with Chiaramonte asking “Caught up in a contradiction/Can't you be happy with yourself?” Released as the final single before the album release, it is emotionally heavy, musically tight, and instantly memorable. Selden Mansions leans even harder into thick guitars and melodic grit, with the track ending with what sounds like the soft bing‑bong two‑tone chime you hear when you enter or leave a store. Oxidize, a driving duet with Marisa Shirar of FLESHWATER, tackles the challenges Chiaramonte has had to deal with back home head on, with his grandmother as she deals with dementia. Lamenting “All I need is tomorrow”, the vocalist captures what we all want in life: more time with the ones we love. Shirar’s guest vocals add a softer end to the track, but the melodic heaviness is still felt. Diving into darker waters and dragging buried frustrations to the surface, What I’m Worth unfolds as a cathartic release set against brooding chord changes that nudge KOYO’s sound deeper into post‑hardcore territory. Standout lyrics like “Heaven-sent with my closest friends/In a game where no one wins in the end” make the track the darkest, most emotionally volatile of the entire album. Pace and Loiter pulls the record back into lighter territory, landing one of the biggest choruses KOYO have ever written, with Chiaramonte’s vocals delivering a tale of saving himself from the brink of the darkness, by finding appreciation in the little moments where everything feels okay. Closing track Irreversible is a final reminder of the band's command over blistering tempos. Lyrics like “You deserve a panic attack on an Amtrak train/Going far the fuck away from me” showcase the track as one of the most scathing and confrontational tracks in KOYO’s discography and end the album with a much needed final jolt of clarity and venom. Barely Here is an album from a clearly confident band who know exactly what they want to make and excel at making it. It’s an album that feels entirely instinctual — a tight fusion of emo melodicism and hardcore bite, every moment charged with personality and intent. It captures a band not just finding their footing, but fully claiming it. Ten tracks, 28 minutes, no excess — just a sharp, anthemic blast that nods to THE MOVIELIFE’s spark and TAKING BACK SUNDAY’s sweeping hooks, while carving out a space that belongs wholly to KOYO. Score: 9/10 Barely Here will be released on 8th May 2026 via Pure Noise Records. Words: Lou Viner-Flood Photos: Matt Fevrier

A new day is dawning for alt-metal band SUNGRAVE, a quartet that have been hammering at the French music scene and making space for themselves since 2023, and are now ready to let the world know who they are with debut album Afterglow, releasing through independent record labels including No Need Name, Ace of Wands, and Uproar for Veneration to name a few. Inspired by a mix of 90s grunge, metal, and prog-rock, SUNGRAVE takes all the classically loved features of these genres and fuses them into an atmospheric album that subverts expectations and showcases each musician and their artistic flair. Guitarist Pierre Podsiadlo explains they “sometimes explore rhythmic and structural complexity” on several of their songs, while on others they look to highlight the darker side of the band’s genres, bringing the grunge and post-hardcore factors together. Afterglow is loaded with potential and is a chance for this up-and-coming, already seasoned band to shine. From a calm, swooping intro that wouldn’t be out of place in a Dune movie, Adelita’s simple guitar progression paves the way to Emelien Cornet’s rousing vocals, weighted between hoarse shouts and clean emotion reminiscent of early Chester Bennington, swiftly joined by Lionel Bigois’ rumbling bass line that twangs and scratches an itch in the brain. Sickening guitar riffs and cymbal heavy drums carry the inaugural track through to its crescendo ending. Mascara starts with drummer Roch Deroubaix delivering a solo that belies the true power he soon unleashes on the booming chorus, guitarist Pierre Podsiadlo interspersing the rhythm with fuzzed chords and stripped back but potent notes, the entire pace fluctuating but delivering a mix of alt-metal movements that form a cohesive sound, the track ending with layers of Cornet’s alternating raw screams and vulnerable notes and a final prolonged yell. Switching to a more BIFFY CLYRO inspired pace and sound, To The Brightest is so bass-heavy as to rattle your teeth, Deroubaix’s double pedal beats thundering forward like there’s no time to lose, the bridge falling away to Bigois’ heavily distorted bass that’s juxtaposed by Podsiadlo’s high-pitched guitar notes, Cornet shifting from a distinctive yell to a clean, defeated-sounding “it’s never enough”. Until The Crash is another track that flips the percussive script on its head, changing the tone and beat from section to section, at times more DEFTONES inspired and intermittently a hint of SYSTEM OF A DOWN on the guitar licks and pace of the entire piece, before suddenly dropping into a near metal-rap. Everything falls away to a simple bass and guitar harmony on Quicksands, a fuzzed sound effect climbing in the background until it peters out to sound like static or even falling sand. Like its title, the tune grips you where you stand and sucks you in with riveting lyrics and a lush bass line, vocals layer atop each other into an ascending pitch, the track gradually fading out until only an understated drum keeps time in the gathering silence. Self-confessed as the first track they “jammed on” at the start of Afterglow’s conception and inspired by 90s grunge movements infused by their modern sound, their first music video off the album The Mirror is chock full of grunge bass and guitar melodies and lyrical call backs, an appropriate buzziness to the track that gives it that enjoyable 90s scuzz-rock element. Bass and drums meld together for the beginning of Yökai, the sound taking on a more alt-rock THE SMASHING PUMPKINS vibe, with ripping guitar solos over thudding bass and pulverising drums as Cornet holds a high yell that melts into a clean note. The Boundaries of Change slows the pace to more poignant on the verse before bursting with powerful instruments and vocals, almost a reprieve from the more post-hardcore feel of the album but possibly the darkest and most desolate of the tracks. Broken Lines kicks off with a riff DON BROCO would appreciate, building the energy and expectations before meeting both head on in the primal roar of the chorus, the rhythm and lyrics feeling like you’re in a boss fight on your last legs but you’re going down swinging, taking as many enemies as you can with you on the final visceral fry scream and drum roll. Our time comes to an end with the slow-building Prayers, with a charged middle section and raw screams, the guitars and drums each taking centre stage at a time while the bass sprints through the melody and brings a lethal element to the final track. For a dark, melodically dramatic sound, Afterglow is a shining beacon for SUNGRAVE fans and those soon to discover them. Score: 7/10 Afterglow will be released on 8th May 2026 via No Need Name. Words: Julia Stark Photos: Sungrave

Richmond, VA punks STEELBOY keep it classic on their full-length debut Thanks for the Invite…, taking twelve tracks to run the gauntlet from 90s ska punk to pop punk. Lyrically tongue in cheek, the pop punk energy is distilled in musings on former relationships, with enough time taken at the end to talk about their favourite happy hour spot. Thanks for the Invite… starts with Cliffhanger, which sets the angsty yet forlorn energy that embodies the rest of the project as STEELBOY recalls how they “made out in the mosh pit” and they “We’re cocky but [they] liked it.” The first half of Thanks for the Invite… isn’t all sunshine and rainbows when Last Summer starts, with a soundscape that reminds of GOLDFINGER, STEELBOY begs an ex to stop gossiping about what they did last summer, supplemented by the harmonies in the back and finished by a funky delayed end. The standout for Thanks for the Invite… first third would be Hell No: a fuck the system song that features the only trumpets across the runtime. The trumpets punctuate a chord progression that’s easy to dance to while STEELBOY proclaims that “They won’t listen/Dissent is our only option”, and the chorus motif of repeating the last word or syllable is satisfying to the ear and made for live call and response. As Thanks for the Invite… hits its stride the commentary on the current dating scene is tongue in cheek; No Lives Left laments a man who treats his lovers like the games he won’t hop off, the frustration embodied in the little scream as the instrumental breaks into a swinging movement. Chernobyl, a couple tracks later, uses the disaster (which was 40 years ago to the day a few days before the album’s release) as shorthand for a toxic love affair. Chernobyl leads towards the 90s punk fast tempos and keeps itself short and sweet like most of STEELBOY’s tracks, though by this point in the project some soloing would have been good to hear for a break in the structure of Thanks for the Invite... In terms of pop punk the 'Why do you want them over me?’ trope is tried and true, and in XO it’s matched perfectly with ‘upbeat song angsty lyrics.’ XO begs for just one chance from someone still hung up on an ex partner. XO makes its point well over its two minutes then finishes with a flare, then is followed up by Tres Machos, a sweet track that starts a heavier set than a lot of Thanks for the Invite… so far. As the lyrics kick in it becomes clear that this is a love letter to their happy hour spot, proclaiming their love for their go to cheesy chips and rice and beans spot with a cheeky plug for it at the end. The tonal contrast between Tres Machos and Buzzkill is satisfying; it’s a quick flip from love to hate as STEELBOY laments that the subject is in perpetual misery, bringing everybody else down and is “only happy when it rains.” Buzzkill is one of the longer and heavier tracks of Thanks for the Invite... and it is worth every second: the unrelenting punk drums move the sound in and out of halftime with ease, swinging their way through the runtime in places and stopping and starting to take a breath in the angstfest. Rounding out Thanks for the Invite… is Honey, Honey, a ska punk version of the ABBA classic that forces a smile onto the face even if it doesn’t want to be there. The cover is as happy as it is punchy and is only missing some of the earlier trumpets. The final track The One adds a bit of grandeur for the finale through heavier crashes and keeping the angst with its theming on ‘the one that got away.’ Thanks for the Invite… is distilled 90s ska punk with pop punk that feels classic; STEELBOY make you want to dance despite the angst of the lyrics. The only drawbacks of STEELBOY’s debut may be the repetitive structure in each tracks finisher, but for a debut project Thanks for the Invite... speaks to quality to come. Score: 7/10 Thanks For The Invite was released on 1st May 2026 via Punkerton Records. Words: Julia Brunton Photos: steelboy

As of 2026, it has been a decade since Taran Plouzané and Gavin Purcell formed the formidable post-rock duo BICURIOUS. They first made a lot of noise in Dublin, Ireland for a handful of riff-hungry concert goers with early tracks such as Sugar Beats, before gradually taking their thrilling energy to what’s now a mighty fanbase throughout Europe. They hail two full length albums, the first being re(constructed) in 2021, then in 2024 they released Your life Is Over Now…, a highly personal, heavy hitting record that demonstrated both members’ vigorous passion. After touring the latest LP extensively for 2 years, the duo isn’t quite ready to reel it in, revealing a handful of B-sides from YLION that didn’t quite make the cut, but were too good to keep hidden for long, as well as stripped back acoustic takes on a few favourites that did make it. Both members keep up the quality we’ve seen from them lately with Afterthoughts, what feels like a victory lap for both fans and themselves. First single and opening track Papa kicks off strong, with Purcell’s punchy drumming and Plouzané’s slick guitarwork immediately demanding attention leading into the dense track, followed by the unfamiliar shouting of French lyrics, the first attempt by Plouzané to incorporate his childhood language into his writing. Despite the language barrier for most native fans, the song remains sonically cohesive, staying true to the band’s loud and lashing nature. It’s an authentic track that expels energy and confidence with its grit and power, climaxing as a culmination of sound roaring into your ears before suddenly ceasing all noise, bar the wailing guitar that opens the song to come full circle. The following track I Talk About You In Therapy is an immediate bop, being a spiteful track about an ex that the speaker despises for causing him anguish, with lines such as “I talk about how you crippled me” bluntly stating the level of pain caused through the relationship. For BICURIOUS’ standards it’s a fairly transient song, it’s straight to the point and knows not to overstay its welcome, with a sound comparable to early 2000s post rock bangers. It’s understandable as to why this track was left out of the LP, but we could easily see this being a hit with fans. Foetal is another highlight, a brooding, in your face tune that smacks you with boisterous force through relentless instrumental noise and harsh, stellar vocals, you truly cannot underestimate these songs for being B-sides. Moving onto the acoustic versions of existing songs, the poignant delivery enhanced by Plouzané’s acoustic guitar and cello, performed by Stella Spieß, combines to offer a fresh approach towards what once were belters to fling your hair around over, now beautiful renditions that tug at the soul. The acoustic take on Uncle Kevin in particular is arguably even more impactful than the original heavier version, as the emotional themes of the song cut deeper with the stripped back percussion and additional cello, harmonising with the vocals in such a manner that truly completes the atmosphere built by the heartbreaking writing. The remaining versions all do their original counterparts justice, by re-inventing the delivery to depict the songs in a new light, such as Irish Summer Day (Acoustic), where the plucky guitar and floaty strings compliment the theme of longing impeccably. The delicate ambience aids the listener’s understanding of what the lyrics speak of and knowing that they all come from a genuine place in Plouzané’s heart, some being true stories, gives these versions all the more reason to exist. While Afterthoughts doesn’t necessarily offer much in terms of flavour or uniqueness for BICURIOUS’ discography, the consistency in ability to produce songs ripe for both neck and soul remain undamaged. The duo continues to plant their status as a must-see act across the European rock scene, and they simply refuse to slow down for anything. BICURIOUS is touring Germany between the 20th to 23rd of May, as well as performing at 2000 Trees festival in July. Score: 8/10 Afterthoughts will be released on 15th May 2026 via Big Scary Monsters Records. Words: Paul Cutts Photos: Bicurious