THRICE are one of the most enduring and creatively restless bands to come out of the late 90s post‑hardcore scene, and are known for constantly reinventing their sound while keeping a core emotional and philosophical intensity. After being a band of almost thirty years, forming in 1998 in Irvine, California, watching them take to the stage of Rock City on St Patrick's Day was a special moment; getting to watch a band who are still bringing the crowds together, with fans from their more melodic post hardcore years of the late nineties to early noughties, all the way to their reformation and reinvention of a more melodic, atmospheric experimentation of the more recent years. Support for the evening was just a single band, French post-rock/noise band LYSISTRATA. Opening with Death by Embarrassment, the band blew away the crowd. From the first note, the band delivered a sharp, focused set, blending math-rock, post hardcore and grunge-leaning heaviness, which created a sound that felt energetic, but not chaotic. The momentum of the drumming from Ben Amos Cooper, along with him also delivering the main vocals of the band, built up an incredible atmosphere. Guitar from Theo Guéneau and bass from Max Roy solidified the atmosphere on stage, and down on the floor. The shared vocals across the trio worked impeccably and held everything together. Despite only playing an eight song set list, which closed with Mourn, a track that came in at just under seven minutes long, LYSISTRATA not only warmed up the crowd for the impending arrival of THRICE, but they imprinted such an energy on us all, that everyone in the room was more alert and engaged than usual for watching a single support band, showing just how effective a line up with genre aligned bands can be. THRICE are a band who occupy a rare space; they have been a band for almost thirty years, are incredibly technically skilled but also emotionally grounded. They have a way of being experimental yet accessible, their influence runs deep within the post-hardcore scene, and though they are a constantly evolving quartet, they are still as relevant as they were when they formed back in 1998. They opened the set with Blackout and Gnash, two tracks from their 2025 album Horizons / West, before wasting no time bringing out the big guns and performing fan favourite, The Artist in the Ambulance, from the 2003 album of the same name. The room erupted into a singalong with lead vocalist Dustin Kensrue at its helm; when just a few notes of a song are played, and the crowd are already moving around, cheering and getting ready to sing every word, after only two songs, you just know that the night is going to be a good one. What followed was a steady journey through the back catalogue of THRICE; Hurricane and The Window from their 2016 album To Be Everywhere Is to Be Nowhere, Holding On, Crooked Shadows and The Dark Glow from the 2025 album Horizons / West and then, throwing it back in time for some nostalgia, Paper Tigers and Stare at the Sun from The Artist in the Ambulance. Next came some love for the 2005 album Vheissu, in the form of In Exile and Of Dust and Nations. Though the crowd were full of energy and from early on, the pit opened up and the crowd wasted no time in getting stuck in, the vibe was not as chaotic as you would come to expect from a post hardcore band. This is far from a criticism; it felt like a unified association of people, enjoying the moment and getting from it exactly what they needed. Teppei Teranishi delivered lead guitar, keyboards, backing vocals with a calm sensibility, alongside Eddie Breckenridge, on bass guitar, synthesizer and backing vocals, and Riley Breckenridge on drums. The final stretch of the evening, which was one filled with strong guitar solos and even more enlivened singing from the crowd. THRICE returned to the 2016 album To Be Everywhere Is to Be Nowhere with Black Honey, which was one of the biggest tracks of the night for the crowd singing along, following up with Albatross and Beyond the Pines, the only song of the set from 2018 album Palms. Rounding off the set was Robot Soft Exorcism and The Earth Will Shake, with a return to Vheissu. THRICE had played a set of almost two hours, taking fans on an epic odyssey through their back catalogue, filling the crowd with a nostalgic warmth and longing. They returned to the stage for a two track encore; performing Vesper Light and finally, Deadbolt from the 2022 album The Illusion of Safety. Ending with this track had a clear intention: a final surge of energy that left fans wanting more while underscoring a simple truth - THRICE may have been around the block a few times and reshaped their sound with each journey, but at their core, they remain the band who took what they had and made it unmistakably their own. The scene will see many bands come and go, but it looks like THRICE is forever. Words: Lou Viner-Flood Photos: Kelsey Tomlinson

There’s something quietly overwhelming about Growth, the debut record from London’s WILDERNESSES. It’s not overwhelming in volume or intensity, but in the way it makes you feel. This is an album that asks you to slow down and sit in your thoughts, to notice what’s around you, and to reflect on things you might usually avoid. It’s genuinely beautiful, not in a polished or artificial way, but in how raw and honest it feels. Rooted somewhere between the atmospheric swell of EXPLOSIONS IN THE SKY and the fragile intimacy of BON IVER, WILDERNESSES craft a sound that feels both expansive and deeply personal. They exist in that space between shoegaze, post-rock, and alt-folk, but what defines Growth isn’t genre, it’s emotion. Everything is built around feeling, from the angelic vocal harmonies to the carefully layered instrumentation that never overpowers, only supports. The opening stretch of the album sets the tone perfectly. Sleepless, an instrumental, feels almost meditative. Smooth electric guitar lines and a gentle drum build create something that’s not just pleasant to listen to, but genuinely reflective. It doesn’t feel like an introduction so much as an invitation into the album’s world. That seamless transition into Happy Hollow only deepens that feeling, with soft, layered vocals and delicate harmonies that feel almost weightless. The guitar line weaves around the vocals rather than sitting beneath them, creating this sense of everything moving together in one emotional current. One of the album’s strongest qualities is the ability to shift without ever breaking that atmosphere. Tracks like [Dread] bring a more powerful, driven energy, with stronger vocals that cut through more directly. It’s a reminder that emotional intensity doesn’t always mean quietness, and the contrast only makes the softer moments hit harder. That’s especially true with English Darkness, which stands out as one of the most affecting points on the record. The stripped-back feel allows the vocals to take centre stage, and they’re stunning in their clarity. The lower register feels grounded and intimate, while the harmonies sit so deeply in the mix they almost feel physical. It’s the kind of track that makes you pause, not because it demands attention, but because it deserves it. Elsewhere, songs like Maintenance carry a weight that’s hard to ignore. There’s something in the way the lyrics and instrumentation come together that feels almost overwhelming in its honesty. It’s the kind of song that makes you want to cry without fully understanding why, which feels fitting for an album so centred around reflection and internal experience. Even in its quieter or shorter moments, like Cassino, the album never loses its sense of purpose. These tracks don’t feel like filler, they feel like space. Space to breathe, to process, to sit with everything the album is asking you to feel. By the time Summertime, 1917 closes the record, there’s a sense that you’ve been taken somewhere rather than just listened to something. It’s a powerful ending, slightly more uplifted musically, but still rooted in the same emotional core. It doesn’t try to resolve everything neatly, and that’s what makes it work. Life doesn’t resolve cleanly, and neither does Growth. What makes this album stand out is how cohesive it feels. There are no skips, no moments that feel unnecessary. Every track contributes to the overall experience, building something that feels immersive and complete. It’s rare to find a debut that feels this fully realised, this confident in what it wants to be. At its core, Growth is about reflection. About grief, resilience, and the quiet ways people carry on. It doesn’t present these ideas in an obvious or over-explained way, it lets you feel them instead. And that’s where its strength lies. But more than that, Growth feels important. Not just as a debut, but as a piece of art that meets people where they are. It captures something difficult to put into words, that feeling of being human in the middle of everything, the pain, the beauty, the confusion, and the quiet endurance of it all. In a time where so much music competes to be louder, faster, or more immediate, WILDERNESSES have created something that does the opposite. Growth gives you permission to slow down, to reflect, and to feel without judgement. The kind you return to when you need to process, to understand, or simply to not feel alone in what you’re carrying. And in that sense, Growth isn’t just a beautiful record. It’s a necessary one. Score: 10/10 Growth will be released on 27th March 2026 via Floodlit Recordings Words: Con Macadam Photos: Joey Atchison

S8NT ELEKTRIC move through decades of rock on their debut album OFF THE EDGE, creating melodies and shreds that take inspiration from every era. OFF THE EDGE is both distinct in its sound and varied in its structure, providing a listening experience that is notably S8NT ELEKTRIC and a journey through the boundaries of their sound. The lead musician of S8NT ELEKTRIC seems to be Niko Tsangaris on lead guitar, and is the driving force of the push of their sound from the old to the new. The first full track Catacombs, and the first half of on the edge more widely, has a classic rock air to it; the focus is on electric guitar melodies and instrumental sections with shredding guitar solos. The movement into a more modern feel comes around Mirror Image, which sticks to chords a little more strictly despite the lilting but haunting melody that carries through the track and interjects some pain into the otherwise angsty track. This mood returns by penultimate entry The River, which hits the present day persuasion of an indie rock/emo song in its intro then spacing out through its runtime to fittingly create a soundscape for walking in the rain under an umbrella. The layered guitars add to the pop rock feel, with the wishes of not forgetting bringing back the angst and feeling like a resigned sigh. Though perhaps a matter of personal taste, the guitar-focus does lead S8NT ELEKTRIC to fall into the pitfall of overrunning movements to allow for the showing off of prowess. The last section or ending of every track on the album features a 15 to 30 seconds where Tsangaris’ takes the floor which becomes a little repetitive if the listener is not guitaristically inclined; a foregrounding of whole-band movements or of letting other musicians in S8NT ELEKTRIC have a turn would have been a welcome variation to this trend. Despite the guitars taking centre stage instrumentally, there is plenty of room for Trey Baker’s drumming to shine through. This is first in single and second track How2Feel, where in the breakdown the sharp yet light handed beats on the rim and cymbals create a Latin edge to an otherwise heavy track. Further on the hidden-snare beat in Under That Smile is the main thing that stick about the track overall, while the second half of OFF THE EDGE has XTC’s floor-lead adding to the more sensual energy of the track and is the last example needed of Baker’s well-rounded ability behind the kit. This ability is part of what keeps OFF THE EDGE sounding fresh in every track yet cohesive overall; being able to build drumlines on varied conventions opens up combinations with the shredding and power chords of the guitars above that do not need to change as they are placed on a beat that carries them to new places. A moment should also be taken for Bri Carbajal’s vocals, whose pop-style tone adds the genre to S8NT ELEKTRIC's fusion but lower tone and newfound scream maintains the rock and roll edge of the instrumentals she performs to. Carabajal would benefit from trusting themselves more with belting and foregrounding her vocals in the song writing process; more screams and more belts from her would be welcome and fitting for the soundscape behind them. While sonically sound, the song writing presents the main problem for S8NT ELEKTRIC in their first release. The writing style is simplistic - not a problem in itself but with the on-the-nose words and theming is a strong indicator of a freshman project that can pull the listener out from a listening experience. Going back to How2Feel the hook of who are you when the lights go down?” is good, but doesn’t quite anchor the chorus when it opens with the vague “you never know how to feel/when it all just goes away” and its follow-up Peace of Myself “give me something to believe/you know I need it” feels like a line that they were struggling to finish writing. The line delivery on each track is still solid, but the vagueness of the lyrics throughout OFF THE EDGE suggests that a bit more time spent on crafting lyrics will be beneficial to S8NT ELEKTRIC as their distinctive sound picks up the traction it is warranted. Overall, S8NT ELEKTRIC's debut is a well rounded introduction to their sound, perfect for fans of CREEPER and fusing the old and new conventions of rock with ease. The sound is distinctively theirs while falling nicely into the alternative rock sphere, moving between the high energy and the resigned angst to create something a little rough around its edges but packed with authenticity. Score: 7/10 OFF THE EDGE was released on 20th March 2026 via Long Branch Records Words: Julia Brunton Photos: Long Branch Records

Slam Dunk Festival has long been one of the UK’s most beloved celebrations of alternative music, building its reputation on bringing together the best of pop-punk, hardcore, metalcore, and alternative rock. What started as a relatively small gathering has evolved into a staple of the UK festival circuit, balancing scene legends with the rising acts shaping the future of heavy music. Taking place on Saturday 23rd May in Hatfield and Sunday 24th May in Leeds, this year’s lineup continues that tradition, offering everything from chaotic hardcore to soaring alt-rock hooks and genre-bending newcomers. With so many bands stacked across each day, planning your schedule can be a challenge. Here are ten acts that should absolutely be on your radar at Slam Dunk this year. KNOCKED LOOSE Few modern hardcore bands have climbed the ranks quite like KNOCKED LOOSE. The Kentucky outfit have spent years grinding through relentless touring schedules, steadily building a reputation for ferocious live performances and an uncompromising sound. That momentum exploded with their latest album You Won’t Go Before You’re Supposed To, which topped UK Rock & Metal album charts and cemented their place among the most vital names in heavy music right now. What makes KNOCKED LOOSE so compelling is that, despite the success, their energy still feels rooted in the underground hardcore scene that raised them. Their shows are chaotic, cathartic affairs where the barrier between band and crowd practically dissolves. Expect massive pits, stage divers, and an atmosphere that feels less like a festival set and more like a basement show that’s somehow grown to enormous proportions. BOSTON MANOR Blackpool’s BOSTON MANOR have spent the past decade evolving far beyond their pop-punk beginnings. Early releases leaned heavily into emo and melodic punk influences, but over time the band have pushed into darker, more experimental territory, blending alternative rock textures with the emotional honesty that defined their earliest work. This year’s appearance carries extra weight as they celebrate ten years of their breakthrough album Be Nothing. with a special anniversary performance. For long-time fans, it’s a rare chance to hear the record that launched the band into the spotlight played in full. Expect huge singalongs, emotional highs, and a reminder of why BOSTON MANOR’s loyal fanbase has stuck with them through every reinvention. GUILT TRIP Manchester’s GUILT TRIP is proof that hard work in the underground still pays off. What began in small venues has steadily grown into appearances at major festivals like Download Festival and Hellfest, with the band earning a reputation for absolutely feral live shows along the way. Their sound blends hardcore with flashes of beatdown brutality, thrash intensity, and just enough melody to keep the songs memorable long after the set ends. When they last appeared at Slam Dunk in 2024 they left a serious impression, delivering one of the weekend’s most chaotic performances. With an even bigger platform this year, expect something louder, heavier, and far more unhinged. STAND ATLANTIC Since forming in Sydney in 2014, STAND ATLANTIC have grown into one of modern pop-punk’s most exciting global exports. Their early EP Sidewinder and debut album Skinny Dipping helped establish a sound built on punchy guitars and instantly memorable hooks. What makes the band stand out now is their willingness to stretch the genre’s boundaries. Their music pulls from a wide mix of influences, weaving pop, alternative, and electronic elements into their fearless pop-punk core. On stage that blend translates into a vibrant, high-energy performance packed with infectious choruses and undeniable momentum. Their return to Slam Dunk promises to be one of the weekend’s most lively sets. THE HOME TEAM Few bands in the scene are having as much fun with genre as THE HOME TEAM. The Seattle group have built a following around their slick fusion of pop melodies, heavy instrumentals, and irresistible groove, creating a sound that feels as playful as it is powerful. After years of DIY touring, the band eventually signed to Thriller Records, marking a turning point that has helped them reach a much wider audience. Their music has already made the rounds across social media platforms like TikTok, and chances are you’ve stumbled across one of their ridiculously catchy tracks online. Despite that viral popularity, THE HOME TEAM are far from a gimmick band, with a tight, groove-heavy sound and sharp songwriting that easily holds its own on stage. UNPEOPLE One of the most intriguing new names on the UK alternative circuit, UNPEOPLE have quickly carved out attention with a sound that balances emotional weight with explosive instrumentation. Their music channels frustration, vulnerability, and social commentary into towering riffs and soaring vocal harmonies that feel tailor-made for festival crowds. Their self-titled debut EP in 2024 drew strong praise from outlets including Metal Hammer and BBC Radio 1, helping them build a fast-growing fanbase. 2026 marks their debut at Slam Dunk, making it one of the most exciting rising star sets of the weekend; new bands often arrive with something to prove, but it doesn’t feel like UNPEOPLE have to. VUKOVI Scottish duo VUKOVI have built a reputation for being wildly unpredictable on stage, and that’s exactly what makes them so thrilling to watch. Their music jumps between punchy alt-rock riffs, glossy pop melodies, and bursts of electronic chaos, all delivered with total confidence. Frontwoman Janine Shilstone’s commanding presence turns every performance into something theatrical and electric, pulling the audience straight into the band’s high-energy world. Jagged guitar riffs and cool electronic textures collide throughout their live sets, creating a sound that feels both rebellious and addictive. When VUKOVI hits the stage, the crowd rarely stays still for long. STATIC DRESS STATIC DRESS have become one of the most talked-about names in the UK’s modern post-hardcore revival. Their music blends metalcore intensity and screamo influence with early-2000s aesthetics into something that feels both nostalgic and completely fresh. Despite achieving major milestones - such as performing at Download Festival and supporting BRING ME THE HORIZON on their 2024 UK and European tour - the band have kept a strong DIY spirit at the centre of their identity. Their attention to storytelling and world-building gives every release and performance a unique atmosphere, enthralling live crowds and turning each set into something closer to an immersive experience than just a gig. With the band hailing from nearby Leeds, their Slam Dunk appearance also carries a sense of hometown pride. BURY TOMORROW Over the past two decades, BURY TOMORROW have carved out a place among the UK’s modern metal elite. They’ve honed a signature balance of crushing heaviness and soaring melody, creating a sound that hits hard while still delivering huge emotional moments. Their previous Slam Dunk appearance in 2021 proved just how powerful their live show can be, combining precise musicianship with an energy that spreads through the crowd instantly. Across multiple acclaimed albums and countless tours, they’ve built one of the most passionate fan communities in the scene, making their return to the festival feel less like a simple booking and more like a triumphant homecoming. DYING WISH Portland’s DYING WISH are among the fiercest modern voices in hardcore. Their music carries a raw emotional intensity that cuts straight through the noise, pairing blistering instrumentation with lyrics that confront difficult and deeply personal themes. Their latest release, Flesh Stays Together, captures that relentless spirit perfectly, blending vulnerability with uncompromising rage and heaviness into a sound that refuses to soften its edges. The band have already shared stages with artists like POPPY, SPIRITBOX, and LIMP BIZKIT, proving they can hold their own alongside some massive names. Making their first appearance at Slam Dunk this year, their set could easily become one of the festival’s most intense moments. Whether you’re diving headfirst into the mosh pit or shouting every lyric back at the stage, these ten bands should be firmly pencilled into your schedule when Slam Dunk 2026 rolls around. If you’re ready to be part of the action, tickets and further information can be found here. Words: Zuzanna Pazola Cover Photo:

There is a difference between loud punk and necessary punk. CRIMSON RIOT land firmly in the second category, and with Third Time’s A Charm, they're not just making noise, they are making a point. Out March 20 via Leg Lamp Records, the band’s third full length arrives with clarity, urgency, and a sense that this is the record where everything finally clicks. Let’s start with the centrepiece. State Of Despair does not ease you in. It hits immediately with speed, tension, and purpose. Originally planned as a later single, the band moved it forward because they felt they could not stay silent, and that decision defines the track. It sounds urgent because it is urgent. The chorus sticks, the message is direct, and nothing feels diluted. That same energy carries across the album, but what makes Third Time’s A Charm work is how it balances intensity with structure. This is not chaos. This is controlled, deliberate songwriting. The opening run sets the tone fast. Third Time’s A Charm feels like a mission statement, confident and forward moving. Decades Past follows with a more reflective edge, while Mold Age digs into themes of growth and identity without losing momentum. By the time Cross The Line hits, the album is fully in motion, sharp, energetic, and already proven as a standout through early radio support. Crack In Foundation adds tension, hinting at instability beneath the surface, before State Of Despair arrives and delivers the album’s core message. It is the turning point, both musically and lyrically. From there, the second half keeps pushing. Demons Disappear maintains the pace, Red Flag sharpens the confrontational tone, and Fear Mongerer leans fully into the band’s refusal to stay quiet. These tracks do not just follow the single, they reinforce it. The closing stretch adds something important. Here’s To You, featuring members of BUCK-O-NINE and LO(U)SER, shifts into a more celebratory and reflective space without losing energy. It feels earned rather than out of place. My Story and Broken Neon Lights round things out with a slightly more personal tone, giving the album a sense of completion instead of just ending on volume. What stands out most is how tight everything feels. The band’s chemistry is obvious. Having played together for years, they move with precision. The riffs hit hard, the rhythm section drives everything forward, and the vocals cut through with intent. There is no wasted space. Lyrically, the band are just as focused. The album takes a clear stance against sexism, racism, bigotry, and fascism, and it does not try to soften that message. It is direct, sometimes confrontational, and fully aware that not everyone will be on board. That honesty is part of what gives the record its weight. There is also a sense of growth here. The production is bigger, the songwriting more refined, but nothing feels overdone. It still sounds like a punk record, just one that understands how to hit harder by being smarter. If there is a challenge, it comes down to expectation. When a band delivers this much energy and purpose, the bar moves up. The question is not whether they can keep up, it is how far they can push it next. Right now though, Third Time’s A Charm feels like a defining moment for CRIMSON RIOT. It is focused, it is loud, and it actually has something to say. If you want punk that moves fast, hits hard, and means every word, this is it. Score: 8/10 Third Time's A Charm will be released on March 20th 2026 via Leg Lamp Records. Words: Kelly Gowe Photos: Crimson Riot

The Winter Circus’ debut in the UK was an energetic ska party driven by the 90s ska-punk royalty LESS THAN JAKE. From start to finish, every band was full of energy and love of performance; by the end of the evening the packed O2 Academy was primed for the weekend as they filed out into the crisp Leeds air. The BAR STOOL PREACHERS set a perfect tone for the evening as they opened the festivities, delivering their 90s punk with peps in their step. After set openers Choose my Friends and Trickledown, frontman Tom McFaull let the Academy know the sixome’s ethos: community, equality, and family. He took the time to praise Yorkshire’s community spirit and reminded Leeds to never look down on anyone unless they were picking them up. This sentiment set a warm tone for the rest of their eight-track set, filled in the middle with a cover of COCK SPARRER’s Suicide Girls, followed by the first single from their next album Pick a Side - an anti genocide, pro-Palestine anthem with the money raised being donated to those suffering in the Gaza strip. As their set rounded out McFaull’s large stage presence could not be ignored: saying the crowd sounded over fourty when the loud cheer came, playfully telling the crowd to shut up as they ‘woah’ out of time during Flatlined, or beginning each band’s fixation with starting the “Yorkshire” chant, that is a staple at any Leeds show, with a beaming smile. McFaull himself could not stop dancing as he shimmied his way around the stage, boogieing equally with the rest of the band and the O2 Academy, with the guitar players dancing among themselves when he was doing the latter. Their closer, the self-titled Bar Stool Preacher, had McFaull making sure the crowd’s knees were up for the final two step for their set, but not before plugging the one off Huddersfield show they were performing with follow up act THE AQUABATS! the Sunday afterwards. All in all THE BAR STOOL PREACHERS were the perfect opener for The Winter Circus: full of energy and a strong ethos that cultivated a warm environment for the evening. After twenty minutes, the tape rolled for California natives THE AQUABATS!, whose set was no less than a sensory assault in the best way possible. A high concept, racing tempo ska punk band, they ran onto stage in their blue and black supersuits as the countdown started for their ten-track performance. The opener was The Shark Fighter!, a bloopy anthem describing their escapades against the fish as a smash cut of 70-90s tv show and movie clips, mixed with clips from their TV show ran at full speed behind, while large inflatable sharks were launched into the crowd. The follow up Cat With Two Heads! came with instructions on the screen behind: shout, as if it could have been heard over the top of the blaring horns and power chords. The stage show itself was a chaotic cabaret featuring battles with zombies and an appearance of the mythical yeti. The sharks also were not the only inflatables that hit the crowd throughout their set: massive pizzas were floating atop standing during Pizza Day! — someone made a good attempt at crowdsurfing on one of them, and the classic beach balls during the set closer Pool Party!. Like these set pieces, the tracks themselves are fun, with formerly mentioned Pizza Day! portraying a time in the school canteen with their favourite food — pizza, and the latter, Pool Party!, recounting an invitation of the cool kids over to the pool. Words cannot quite capture the elation that THE AQUABATS! cultivated in their set, with highlights including groups of friends jumping around in an embrace during the only love song Red Sweater!, or the guy dressed in the swim cap, superhero mask, and the top of THE AQUABATS! uniform. Their half an hour was packed full and offered the Winter Circus a true piece of punk theatre. By contrast, THE BOUNCING SOULS’ performance was markedly calm and muted, with more focus on the music than the theatre. Using Don’t You by SIMPLE MINDS, the band strolled onto the stage with polite waves and genuine smiles, then began with Hopeless Romantic. The amount of crowd-work was small, taking three songs before asking the venue to sing along to Manthem. This did not phase the crowd, perhaps happy for the time to save their energy, as they clapped and cheered between tracks. Frontman Greg Attonio introduced themselves during their cover of AVOID ONE THING’s Lean on Sheena. He also did take the time to dad dance during The Something Special which was only accentuated by the blazer/t-shirt/flat cap combination he was donning. The second half of their set included a taste of what was to come for THE BOUNCING SOULS, including an unnamed song that they had finished recording two weeks prior, the end of which quickly pivoted to circle pit fodder East Coast! Fuck You!, their ode to their home state of New Jersey. This did mark the energy returning to the O2 Academy, as they focused on the all out punk of their 90s discography - this still warranted Attonio’s dad dancing as he jankily swayed around the middle of the stage in a way that was endearing. This calm before the storm was exactly what the room needed, as when LESS THAN JAKE arrived to close out the evening, it got boisterous. LESS THAN JAKE’s Winter Circus was a picture of red and yellow, completed with lights stringing down from the ceiling and print outs of circus performers to each of the sides of the stage. The voiceover welcomed the O2 Academy to the show before the quintet opened with Nervous in the Alley, which quickly had the crowd moving as chaotically as the branded air-dancers to the back of the stage. The crowd-surfers continued to fly during History of a Boring Town, after which Chris DeMakes started the “Yorkshire” chant once again, beaming gleefully as he asked for it to be performed at his funeral. While common for bands to play up being in their favourite city each date, there was a true air of genuineness as DeMakes and Roger Lima spoke over each other to explain how much they loved being in Leeds. The jest about making sure to give Leeds a Friday night to the glee, as the O2 Academy started a circle pit to Lie to Me, was palpable, as was the reminiscing about their shows in the city dating back to the mid 90s, gaining a satisfying amount of cheers when the crowd was asked who had seen them in The Cock Pit in 1998. As they mentioned, if you love what you do, it does not feel like work, and by the end of the set DeMakes had described them as the “five luckiest guys on the planet” to be able to play their seminal brand of ska punk for a living; their gratitude for their careers is visible not only in the pride on their faces when they play, but the time they take to acknowledge as many people in the crowd as they can find. Back into the music and despite their ten album discography, they managed to balance quite well between their whole career. Hello Rockview took the majority, with Last One Out of Liberty City causing chaos, followed straight in with All My Best Friends Are Metalheads surprisingly early in the show. The single song from their newest album was propped up by Johnny Quest Thinks We’re Sellouts from Pezcore, highlighted by the skeleton men dancing across the stage and the proclamation that they could not play a show without it. LESS THAN JAKE could not help themselves but pick out a twenty-two year old in the crowd to remark that they were writing many of these songs when the younger concert-goers were not even born yet, making the comment before playing Happyman from 1996’s Losing Streak, but also made sure to joke on their OGs with a “we talk so you lot have time to get your energy back.” The closing of the night felt more emotionally charged, bar tromboneist Buddy Schaub having a go at conducting the “Yorkshire” chant just after Sunny Side. The last pre-encore offering was Plastic Cup Politics, followed by the members leaving the stage to wait for the demand of their return. This came in a brief spell of “Yorkshire” - though by this point Leeds were “Yorkshire”-ed out - then DeMakes took a quiet moment to perform The Brightest Bulb Has Burned Out Alone. Look What Happened? felt emotional as the penultimate track, with the full band giving their most muted performance. To finish was Gainesville Rock City, where the O2 Academy took their last chance to move the pit from side to side, and the smoke machines ran to close out the Friday Night of Ska punk partying. The Winter Circus was all that is well with 90s Ska: a no-pressure rock party entrenched in values of community and a deep love of subgenre that is hard to articulate. The love of the craft from LESS THAN JAKE is clear with the time taken to assemble the cream of the genre, as well as the time to create a tracklist to please any fan old and new. The evening was a joy from start to finish and was a perfect start to a weekend in North Yorkshire. Words: Julia Brunton Photos: Ace Cheng

It’s less than two months now until the festival that is the home of Stoner Rock, Doom, and Heavy Psych is upon us. Desertfest sees three full days of the world’s most iconic acts flock to London to play in some of Camden’s most stellar venues, including the Roundhouse, the Electric Ballroom, the Underworld, and the Dev. Last year saw the likes of ELDER and ZEAL AND ANDOR as headliners and the festival brought light (and doom) to the heart of London. This year will be the 14th edition of the festival, bringing HERMANO, GREEN LUNG, and CLUTCH at the top of the bill for each day of the long weekend. According to the organisers themselves, the days have been categorised: “Friday: a classic evening of stoner heaviness. Saturday: a celebration of homegrown talent. Sunday a platter of Desertfest dreams.” We’ve put together a list of some bands that we think will be worth your time if you are planning to attend the festival in a few weeks. This year there are so many great artists on the lineup, but here’s just a few of them. ALUNAH Birmingham, known as the home of BLACK SABBATH, has a track record for great metal music and ALUNAH are no exception. Over the last two decades, they have been building a following in the heavy rock world, and were even named as one of metal’s greatest bands to come out of Birmingham by Metal Hammer. Early last year, they announced that Daisy Savage from HOT LITTLE HANDS would be taking over as vocalist following the departure of Siân Greenway, and between now and then have attended a few European festivals. Desertfest sees their first show of 2026 and is sure to make an impact. CAPRICORNS London’s own instrumental doom band CAPRICORNS are making their big comeback for this festival. In their first show in 18 years following the band’s split in 2008, Desertfest will host them on the Friday of the festival at the Electric Ballroom. With no new material released, it is assumed they will be performing tracks from their two albums Ruder Forms Survive and River, Bear Your Bones. For fans of the true underground sound of doom from the 2000's this is a true rare opportunity and not one to let pass you by. CWFEN The atmosphere conjured by this Glaswegian four-piece is second to none, with a stunning debut album Sorrows last year and an unworldly presence. Desertfest will be the best place to catch them outside of Scotland this year (so far) so definitely seize the opportunity. Their sound is often described as “doomgaze” merging dreamlike soundscapes with a modern gloomy twist. CWFEN are still a relatively new band, so now is your time to get into them before they become massive. DAUFØDT A noisy outfit from Norway are making waves with their violent punk and noise rock fusion sound. DAUFØDT are high energy, high aggression and all noise. After their Norwegian Grammy win for their debut album the band decided to go full throttle in the album that followed, Glitter which came out in 2024. Now branching out of Scandinavia and parts of Europe, they are performing in the UK for the first time at Desertfest. FORLORN Elements of black metal, unworldly, rooted in paganism and showing a different side to the folk horror you may expect if you’ve witnessed others of this genre. Vocalist Megan Jenkins flits from an almost 80s pop pitch to pure horror screams with ease, and their debut album Aether is full of magic too. Their live performances are the kind that need to be experienced, often described as both brutal and beautiful, so be sure to witness it for yourself. GREEN LUNG We’re sure by this point you’re well acquainted with the Saturday headliners of Desertfest but just in case you’re not, this four-piece from London delivers stoner hard rock that is rich with storytelling. Their style stems from classic hard rock from the 70s that blends with modern metal, creating an identity with their theming and lyrical inspiration from British folklore. If you didn’t catch them at ArcTanGent last year at their headliner slot then this is the perfect opportunity to see them own the stage at the legendary Roundhouse. GNOME In the short time Belgium’s power trio GNOME have been in the scene, they have created a name for themselves as a fun and exciting band that cover elements of stoner, prog, and heavy metal. Last year, the band had two sold-out shows in the UK, including one at the Camden Underworld, and are set to sell out more with a couple of shows coming up in the countdown to Desertfest. Performing in their infamous red pointed gnome hats you can find them during the festival on the Friday at the Electric Ballroom. HERMANO Noted for featuring the vocalist of KYUSS, John Garcia, HERMANO consists of many other established musicians, including members of SUPAFUZZ and AFGHAN WHIGS. Originally set up as a side project the band has created its own identity with its heavy bluesy riffs and cult following. Desertfest sees the band return to the stage after a hiatus on the third day of the festival marking their first show in 19 years and a UK exclusive. Known as the band that never was, seeing HERMANO will be a bucket list band for both old and new fans. THE SWORD Despite their disbanding in 2022, THE SWORD have since regrouped and have begun touring again. Their appearance at Desertfest will be their first festival appearance in the UK since. Forming in 2003 in Austin, TX the band have solidified their place in the last two decades as one of the top bands in the scene, and their album Age of Winters has become a staple to stoner metal enjoyers all over the world with its immersive and intricate composition. Their expertly crafted music that is teeming with cinematics themes has developed an astounding cult following, and if you’re not part of it, you better be as these are certainly not one to miss. WITCHSORROW Mesmerising true doom formed by Necroskull (Nick Ruskell) and Emily Doom in 2005, and later joined by Scott “Doom” Taylor last year. The trio live and breathe doom and across their four albums they have brought doom and joy to many. Another for fans of BLACK SABBATH and CATHEDRAL with their traditional style doom that you can feel in your bones. Desertfest will be hosted in venues around Camden, London from the 15th-17th May. Weekend and Day tickets are available on their website. Words: Danielle Henderson Cover Photo: Cwfen by Klaudia Skalska for Out Of Rage

On Friday night, Birmingham's Asylum, renowned for hosting the infamous Total Uprawr, welcomed a night dedicated to deathcore as part of The Hell Is Here, Hell Is Home Tour. With doors opening after 6pm, fans steadily filtered through the venue, many stopping first at the sprawling merch tables before gathering around the stage. The lineup, featuring BIG ASS TRUCK, PSYCHO-FRAME, INGESTED, and main event BODYSNATCHER, promised an evening of uncompromising mayhem and the Birmingham crowd arrived ready to throw themselves straight into it. Opening the night were BIG ASS TRUCK, who wasted little time igniting the room. Despite being the first band on stage, they immediately had bodies moving across the floor. Frontman, Abel Abarca, delivered a commanding performance, pacing the stage and urging the crowd into action while the rest of the band locked into their parts with near surgical precision. The pit sprang to life quickly as heads began moving in unison throughout the venue. A standout moment arrived with the opening notes of Bunkbed, which had the crowd audibly roaring before the breakdown had even landed. When it did, the reaction was instant. The following track only escalated things further as the crowd heated up, chanting the lines right back at the stage, turning the room into pep rally. BIG ASS TRUCK ensured their brief but impactful appearance set the tone for the rest of the evening. Next up were American deathcore collective PSYCHO-FRAME, who took the growing energy in the room and pushed it even further. Featuring two vocalists sharing the spotlight, the band brought a chaotic tag-team assault of gutturals and piercing screams that kept the audience locked in from the outset. Both frontmen moved constantly across the stage, jumping, headbanging, and unleashing piercing screams that cut through the venue’s thick atmosphere. By the time Blueprint To Idle Genocide arrived as the second track, the room had noticeably filled out and the energy had climbed another notch. A circle pit quickly formed as the band demanded movement, with bodies spinning across the floor while others threw themselves into the fray. Between songs, one of the vocalists grinned and declared that “this could be the best show of our lives,” a moment that only seemed to further ignite the already enthusiastic crowd. Encouraging constant participation, the duo ordered the audience to jump on command and welcomed any brave souls willing to attempt a crowd surf. While only one determined participant successfully made it over the barrier, the effort was met with cheers from both the band and the crowd. With relentless motion on stage and a barrage of scratchy screams and guttural delivery, PSYCHO-FRAME left the room buzzing and desperate for more. If the temperature had been steadily rising throughout the evening, INGESTED ensured things reached boiling point. The Manchester death metal heavyweights delivered a crushing performance that felt both ferocious and controlled. Stepping in on vocal duties for the tour, was Adam Mercer of DEATHSTROKE, who immediately proved more than capable of commanding the stage. From the moment the band launched into their opening tracks, the pit erupted once again. Mercer delivered cavernous gutturals that thundered through the venue, matching the band’s dense wall of riffs with ease. Behind him, the guitarists and bassist whipped their long hair in unison, headbanging through each punishing section while also contributing backing growls that thickened the already weighty sound. The set dipped into older material from the band’s catalogue, drawing a loud response from longtime fans in the crowd. A major highlight arrived with Impending Dominance, introduced as a personal favourite and delivered with crushing precision. Its groove-driven aggression carried a familiar intensity, sending the Birmingham audience into another frenzy of movement. By the time INGESTED wrapped up, the room had transformed into a furnace of sweat and anticipation. Finally, the moment the crowd had been waiting for arrived as BODYSNATCHER stepped onto the stage. With the venue now completely packed and the air thick with heat, the Florida outfit wasted no time launching into The Maker, instantly sending the pit into chaos. The band delivered exactly the kind of uncompromising performance that has cemented BODYSNATCHER as one of the most destructive forces in modern deathcore. Each crushing breakdown sparked another wave of movement across the floor as the audience responded with relentless energy. Tracks such as Wired For Destruction drew some of the loudest reactions of the night, with circle pits, headbanging, and the occasional crowd surfer adding to the already volatile atmosphere. By the time the final notes rang out, Asylum had become a sweat-soaked battleground of movement and noise. Every band on the bill had played their part in pushing the energy higher, but BODYSNATCHER ensured the night ended at its most ferocious point. The Birmingham crowd left thoroughly battered - a fitting end to a night that proved just how ferocious modern deathcore can be in a room like Asylum. Words and photos: Katie Edwards

When an album is titled with anything to do with peace, it’s rarely peaceful. If it’s the first in almost seventeen years, you know you’re in for a riot. Floridian post-hardcore heavyweights POISON THE WELL are back in the game, continuing their lasting legacy of being one of the most influential metallic bands for the hardcore underground. Following almost three decades of that signature primal desire to create brutality, Peace In Place has pushed past innovation, into a fragmented landscape that bears the well-worn scars of their own discography. Peace In Place is exactly where the band wants to be - caught between that well-earned nostalgia for long-time fans, whilst also being able to break the fast with a bold evolution of their sound. This is far from a comeback record, free from ‘gimmicks’ and ‘sell-outs’. POISON THE WELL are in a very different world since 2009’s The Tropic Riot, inflated by the stratospheric rise (and endless comparisons of influence) of artists like BRING ME THE HORIZON, NORMA JEAN and BAD OMENS. Whilst it’s easy to claim that in the time the band has been away POISON THE WELL have finally been given their flowers, this new album is the antithesis of arrogance, bleeding with authenticity and deep introspection. In conversation with Kerrang, it’s clear that vocalist Jeffrey Moreira found their bombshell return to the touring scene a reassuring place of self-confidence for the band. Large crowds at Outbreak and Furnace Fest gave the band a much-needed momentum for new music, vastly different from their small-venue shows they left back in the noughties. Underdogs by design, their twisted manifesto of unpredictability haunts the record twice in Moreira’s softly sung vocals: “I’ll change my colours and show myself out.” POISON THE WELL have never made an easy record. Sounding as raw as when guitarist Ryan Primack and drummer Chris Hornbrook started the band in high school, alongside guitarist Vadim Taver and bassist Noah Harmon, in the space of the record, they leave the door open to constant genre experimentation and attempts to tame the extreme. True to self and previous records in this approach, opener Wax Mask slugs djent-laden riffs and confrontational vocals. In desolate moments between the abrasion, fantastic moments of melodic contrast burst through like dappled sunlight. Primal Bloom continues the complex torment, adjusting to a more commercial tone that still wrecks havoc on the record. Thoroughbreds retorts with a looser punk-styled sound, reminiscent of ONE STEP CLOSER, as Everything Hurts twists the knife into the calmness with a vengeance. Gorgeous intertextured emotions peel themselves in layers from Peace In Place, exposing Moreira’s mortality in an organic progression. Whilst at times this feels imperfect and fleeting, with this lighter sound pushing against the high expectations of the record, its a moment for the listener to reconnect. Weeping Tones - despite what the title suggests - is airy and anthemic, centered around big emotional choruses. Feeling a world away from the darkness over the beginning of the record, twinned with A Wake Of Vultures, they are the standouts of the record. Gravity returns with Bad Bodies, and the balladic Drifting Without End drives the self-remorse home with prog-infused complexity. Melted brings the power back for one more refrain before a damaging final retort from Plague Them The Most. Peace In Place is a tightly woven tapestry, shifting between this GOJIRA-inspired ferocity in to the upbeat haze of the middle segment of the record. It bookends with aggressive clamour, opting to use the meat of this metalcore sandwich as standout statement pieces that dazzle in a live context. Each component, especially the guitar and vocals, are structured and technically impressive. In some ways, POISON THE WELL, having spent so much time away from making music, feels like an entirely new project in places. Maybe as a product of crossed wires or unrealistic expectations, this needs more time - and more music - to root a solid identity. Peace In Place feels transitionary, as everyone has to start from somewhere, and perfection is never obtainable. The band have always felt both of the moment and beyond their time. This record is no exception. Score: 7/10 Peace In Place will be released on 20th March 2026 via SharpTone Records. Words: Amber Brooks Photos: Poison The Well

The Portuguese masked collective are set to release their fifth album this week. Loss represents what the band has achieved so far, stretching across all corners of the metal genre to where they are today. Since the band formed in 2016, they have navigated the black metal underground scene and are slowly coming to the surface, with a loyal following and stepping foot into bigger venues. Although the members are faceless, they still somewhat have clear identities, each are named with a Greek letter. We have bassist Rho, guitarist Beta, drummer Xi, guitarist Delta, and vocalist Alpha. Last year saw the band tour with groove metal giants ORBIT CULTURE, and this year they will be taking to the UK and Europe for some headline shows in the autumn. Taking a side step from the post black metal they are known for, in this album we get to see another side of GAEREA, with haunting melodies and clean vocals. Eager to not become another trying to follow in the footsteps of the likes of BEHEMOTH, the five piece have broken away and discovered their true distinctive sound. The album was recorded in Portugal with long time collaborator Miguel Teroso, reinforcing the moment of evolution the band are undertaking, branching out whilst the roots remain the same. As Loss begins, Luminary rolls in. Beautiful, reflective and hard hitting all at once. The pacing in this track is really solid and well rounded, setting the bar high for what’s to follow. Where you think it’s going to head into another breakdown it ends, leaving you in a state of anticipation. The last ninety seconds of Submerged are a joy to listen to, with an ethereal quality overlaying both instrumentals and vocals making you feel part of something bigger. The beginning of Hellbound inserts you into what could be a video game soundtrack, before exploding into the first verse. Gut wrenching throughout the track thrashes without abandon, the lyrics hinting to betrayal. Cyclone awakens the clean vocals, which match the sway of the instrumentals perfectly, the guitar riff bending to its needs. As the momentum builds, the track passes back and forth between the urgent screams and delicate singing. The quietness only lifts the emotion, making the screams that more impactful when they kick in. Following on from Cyclone, LBRNTH is definitely an interesting one. Its electronic instrumental presence is such a switch up you’re questioning if you’re still listening to the same album. But upon a closer listen, it is more an interlude into Nomad, one of the album’s star tracks. Nomad is anthemic, crushing and demanding. Its soaring guitars and pounding blast beats are worth a mention, not forgetting the hauntingly beautiful interlude before launching into the final segment. If any song is going to make it big from the album, it’s this one. And to close we have Stardust, the longest track of Loss. Once again we’re met with clean vocals and this time a soft piano accompanying. “Are you still with me?” the lyrics call out, fitting for the final song. Throughout the piece switches between these softer instants and more intense bursts, overall it works surprisingly well, becoming an immersive story unfolding before you. Loss presents an unforgettable experience with both lyrical and musical highs and lows. The clean vocals are a welcome addition and why they add a certain element to the sound, they definitely don’t take anything away. In combination with their presence, they allow themselves to be free, exposing themselves to the masses without being known. Loss sees GAEREA settle into a style that is truly their own. Score: 9/10 Loss will be released on 20th March 2026 via Century Media. Words: Danielle Henderson Photos: Chantik Photography

Thrash metal is all about ferocity. The speed and technicality that is required to play this subgenre of alternative music is what makes it stand out. Seeing as how thrash metal was one of the first types of heavy music, it is no surprise to see that some, if not most classic bands are still around today, four and a half decades after its inception. This year, the legendary EXODUS mark their 41st anniversary as a a band. Not only is 2026 looking to be a huge year for them as they are set to tour with bands such as KREATOR and SEPULTURA, but this year also marks the release of Goliath, which is set to not only be one of the best thrash metal albums of the year, but also within the EXODUS discography. Hostis Humani Generis is the second track on the album and it is the first highlight. The track starts off relentless with a barrage of drum fills and in-your-face riffs that are sure to catch you off guard at first. The main riff continues into the first verse under the vocals. This is the first chorus that is catchy. It is yelled, in classic thrash metal fashion, but the lyrics are memorable and the guitar melodies underneath make it unforgettable. This is a patter in the first half of Goliath. There are two guitar solos here that are connected by a small bridge. The first one is short, yet effective, but it is the second solo which is the technical one which thrash metal listeners would come to expect, especially from geniuses such as GARY HOLT and LEE ALTUS. The track that follows kicks off with a riff that is as epic as it is bizarre. It is melodic one second and the next it is overwhelmingly heavy. This leads into a gorgeous build up with some incredible guitar harmonies before a different, heavier riff kicks. This leads into the introduction of the first verse. The chorus here features vocal layering combining clean vocals with the iconic ROB DUKES belts, and once the second chorus hits, the listener is fully invested in this track. The solo section on this track is much more traditional. The guitar solo begins right after the second hook and is elevated once again due to the harmonizing guitars, as well as the return of the incredible opening riff. That is when the chorus returns for the last time. The Changing Me ends with a much heavier version of the opening riff as the music and vocals fade out to the words of the song title. Promise You This is another must listen song. The main riff has a similar concept to the one in The Changing Me, but this one is much more violent, and as a result, the first verse is rowdier. The chorus, as a result, is much catchier than expected, and has a very old school melodic thrash metal sound, which contrasts the intensity of the verses. This first chorus is followed by a guitar solo which gets progressively more technical the more it develops and progresses. With the end of the solo, an epic drum fills returns the listener into a new verse, the second one of the track. A unusual song structural touch which helps it stand out. As expected though, after this second verse, the irresistible chorus returns for a last time. Violence Works is another song that has another incredibly unique riff to kick it off. This riff gets translated to a much more brutal version in the first verse, before it gets slightly adapted in the chorus, which is accompanied by one of the most impressive vocal performances on Goliath. A groovy bridge follows this before the guitar solo kicks in. Once again, this is a technical masterclass from HOLT who also is a standout throughout this entire record. Another small bridge follows the solo before the second verse which ultimately segues into the chorus to wrap the song up. The following song is by far the longest on this album. At just under eight minutes long, it has a lot to prove, as it does not start off fast. Instead, the band focus on a more groove based, ambiental opening three and a half minutes. After the second chorus, the main riff is sped up. This leads towards a more melodic, speedy first bridge which introduces the incredible guitar solo. It is fast, melodic and extremely, extremely virtuosic in sound. The solo ultimately leads into a final vocal section which is one of the easier sections to listen to due to how raw the clean vocals are, before slowing down once more to conclude the same way it begun. Overall, this is an album that is both exceptionally technical and musically. For the most part these songs are performed to an exceptionally high standard. The solos are almost always the perfect combination of technique and melody without being too long, and most of the choruses are memorable. Where the album slightly lacks is in how the bass is portrayed. It seems as if the bass is in the background for most of Goliath without getting too much of a chance to shine as opposed to the other instruments and the vocals. For a band that is so decorated and influential in the thrash metal scene to release something of this calibre is a testament to the musicianship and passion that exudes from this accomplished and experienced five-piece. With the release of Goliath, and with just over four decades now behind them, EXODUS have proven that they can still thrash around with the very best, and may continue to do so for another four decades. Score: 9/10 Goliath will be released on 20th March 2026 via Napalm Records, Words: Itay Gilad Photos: Jim Louvau

In a world on the brink of collapse, ravaged by hellish legions of cowboys, there is only one saviour we can turn to in our hour of need: Scotland’s COWBOY HUNTERS. Armed with lyrics sharp enough to kill and drumbeats that hit like rocket barrages, the rave-rock duo are one to watch - they’ve supported names like FRANZ FERDINAND and BOB VYLAN, and soon, WITCH FEVER, and have reached an incredible close-to-100k listeners on Spotify. They’re unpredictable, crass, and in every sense, fun - right down to the name of their upcoming debut EP, titled EPeepee. Spanning five electric tracks, this EP contains all the ingredients to their recipe of success; witty lyrics, bouncy beats, and mosh-worthy choruses to turn any venue into a sweatbox. The EP opens up with Have a Pint, a track laced with an element of nihilism the duo seek to subvert - everything sucks, but who cares? Let’s have a pint. COWBOY HUNTERS are here for a good time, not a long time. The world might be on the downturn, but there’s no point in sitting around moping, we should have fun while we can. “Bus, club, another club, another club” the duo chant, soon giving way to a floor-shaking, relentless chorus designed for live performances. They follow this up with witty fan-favourite Shag Slags Not Flags, containing standout lines like “43 with a flag in her bio/says she hates blanks but that is a typo.” Taking aim at internet racists hiding behind screens, the two come armed with doomy, crushing riffs, and razor-sharp lyrics that go right for the jugular. Next up is banger Cuntry Girl, a call to action from the pair; it’s anti-war, and pro-slaying the house down. “Serve cunt, not countries!” they chant, the four words that compose most of this tune. It’s a short and simple track, clocking in at only a minute and a half, but that’s all the band need to establish their message and leave us insatiable, hungry for more. Money for Drugs follows with a psychedelic rock influence, groove-laden riffs competing with a bombardment of drumfire. This is a chaotic battlefield, and they’re pulling us directly into the crossfire. While this track may build itself on repetition, it certainly doesn’t overstay its welcome, and soon leads into the final track. COWBOY HUNTERS have saved the best for last with Dust Caps. This is the duo at their most aggressive, brutal in not just their raw, scream-shouting choruses, but in their doom-laced rhythms and crashing drums. The riffs have grime in every groove, building up to an absolute belter of a finale that refuses to let up. In just five tracks, COWBOY HUNTERS have proven why they’ve cultivated such a fanbase in such a short time; their inherent energy surges through every track, with banterous lyrics, electric riffs, and heart-pounding drums. They promise every gig night will be a battlefield with them, mosh-worthy ragers their weapon of choice. If you haven’t caught COWBOY HUNTERS live yet, or listened to any of their tunes, you’re late to the party - catch up. Score: 8/10 EPeepee will be self released on 20th March 2026. Words: Naomi Colliar Duff Photos: Prescription PR