It's a gorgeous sunny Wednesday here, and while our eyes are busy taking in the beautiful sun, we're keeping our ears occupied with a wide variety of recent musical drops. Here's what we've been listening to lately: The Band CAMINO - Holly! THE BAND CAMINO is set to release their fourth studio album NeverAlways (Vol.2) in May. The album opener Holly! is their newest single and it’s bringing exactly the indie rock we’re expecting from a band like THE BAND CAMINO. It’s a feel good anthem, a song that feels like a warm summer day. While it’s really repetitive and simple, their catchy chorus is making up for it. A playful guitar solo and a more restrained bridge add just enough variation, giving the track shape without disrupting its momentum. It’s not a reinvention, but it doesn’t need to be. Holly! feels like a reminder of what THE BAND CAMINO does best, and is a promising glimpse into the tone of NeverAlways (Vol. 2). Words: Hannah Martin Burglar - Star-Crossed Blending their mixed genre backgrounds into a poignant indie-rock sound, BURGLAR bring the emotive track Star-Crossed that weaves between floating, dream-rock similar to BLACK HONEY and crashing alt-rock. A stripped back intro featuring Eduardo's tones is gradually joined by Willow's harmonious notes and an understated drum beat, Eduardo conveying the feeling of baring all to the listener through touching lyrics like "make it go away, I don't wanna hide it". Each instrument added rises in volume until the bridge where they're all vying to be heard best, yet complement each other. BURGLAR's dual vocals echo their instruments progression, building in emotion and strength with each section, until Star-Crossed fades out to its lone acoustic guitar riff, the track's emotion spent. Words: Julia Stark Dead Pony - Freak Like Me From vocalist Anna Shields' first lines sitting atop a steady beat, DEAD PONY’s new single Freak Like Me suddenly catapults you into an electro rock feel with vocals being distorted over guitar riffs and heavy drums. Creating a catchy song with lyrics such as “you wish you could be a freak like me” leads to singalong moments and a perfect blend of pop punk and nu metal. Whilst this song starts as something soft and melodic, it certainly doesn’t end that way with DEAD PONY showcasing their heavier side with a chaotic yet perfect breakdown to tie the song together. Words: Laura Davies Graphic Nature - Faceless GRAPHIC NATURE have finally opened a new chapter, after 2 years of music drought they've released the brand new single Faceless. With the promise of this only being the beginning of a new era for the band we can expect more to come. The track slaughters your ears with their unique industrial, nu-metal sound, lead vocalist Harvey's voice rips through the track, his screams clean and gritty. The instrumental is complete chaos and is accompanied by a horror themed music video that really captures the corrupt core of the song. The band have a London headline show prepared for next week so grab your tickets if you want to hear this insane tune live! Words: Amy Smyth HAWXX - Feral Mother HAWXX have released their third single ahead of their upcoming album The World Splits Open, out 26th June 2026. Unlike their last release, Macho Bullshit, this track feels more cinematic, with folky elements woven throughout. This pairs beautifully with the breakdowns and Anna Papadimitriou’s vocals. The Londoners are able to show a new side of their music. One that feels more cinematic and, in a way, more polished than their previous songs. The folk-inspired build-up creates a safe atmosphere, allowing the breakdown to hit perfectly, and with even more impact than usual. Combined with the beautiful vocals, this creates a unique track that builds excitement for the upcoming album. Words: Hannah Martin Lip Critic - Talon After their breakout 2024 album Hex Dealer, the New York group LIP CRITIC are ready to release their second full-length studio album. The concept of a group like LIP CRITIC with a significantly larger budget is a slightly terrifying one, and they prove why on third single Talon. Intense, zany, somewhat offputting but brilliant in spite of all that. An incredibly fun song from an incredibly fun band, and with UK tour dates lined up for early July, you’d be doing yourself a disservice if you missed out on what this group are doing. Words: Noise Leonard Millpool - Decide MILLPOOL are a London-based four-piece group, currently only having one release to their name - last year’s One Last Midnight EP. Like many of their London contemporaries, they make quirky and often atmospheric almost-post-punk with some jazz instrumentation, in this case a saxophone. So it’s nice to seem them back with new single Decide, combining shouty vocals with this sort of tension and release between each segment in the song. The tone on the guitars is absolutely to die for as well. The group played the famed George Tavern a few days ago - so if you’re around London and hear about them playing, it’s worth giving them a go. Words: Noise Leonard Mouth Ulcers - Closer To You An insanely catchy riff found in MOUTH ULCERS’s post punk single, Closer To You, is capturing red eyeshadow wearing vampires lurking around. The instrumental layering creates an eerie ambiance, featuring a minimalist melodic bassline and steady, driving drums. An atmospheric vocal delivery, by Zac Watson, compels listeners to dance and enjoy as the lyrics play on the themes of devotion. Touching souls that are craving a sense of nostalgia, MOUTH ULCERS are keeping fans excited for their upcoming EP release, Silent Pictures, coming out in July. Words: Theviya R Karunaharan Red Alleyways - Disillusion From a muffled intro of distortion heavy guitars and Brandon Bishop's crispy drums, RED ALLEYWAYS' second single Disillusion snaps into clarity with a sound that fluctuates between indie, pop-rock and alt-rock. Vocalist Sophia Gainsford leads us through each genre with her matter-of-fact singing of "baby, that's just life, innit?" and hypnotic layered vocals sweeping in the background, while guitarist and bassist Kyle Dodds and Jaydee Johnson harmonise over conflicted minor and major chords, all building to a rise in pitch and power as Gainsford seems to finally lose her patience. Disillusion feels like a disgruntled pep talk you've been through already - whether it's to someone who just won't get their shit together or to yourself, is open to your interpretation. Words: Julia Stark Seahaven - February Flowers It may be a sunny April, but the winter blues are crushing in SEAHAVEN's latest track February Flowers, from their upcoming self-titled album Seahaven. With a reverberating guitar riff that echoes with yearning in the distance, singer Kyle Soto serenades in a way that isn't powerful in volume but carries weight in the hopefully desperate words. The instruments and rhythm are minimalist and at times deceptively upbeat, but heartbreakingly emotive, the bass understated before getting its spotlight on the second verse, whilst the drums roll steadily in the background. February Flowers is the feeling of reaching out to a loved one knowing they won't reach back. Words: Julia Stark South Arcade - Superman Feeling like it’s thrown straight from the early noughties, SOUTH ARCADE’s new single Superman is a Y2k fever dream. Fresh off supporting FIVE SECONDS OF SUMMER where this single debuted to arenas of new and existing fans, Superman has won the band listeners already. Feeling both nostalgic and modern at the same time and giving you that upbeat yet angry feel, the band are bringing their classic vibes whilst also blending catchy choruses with head banging breakdowns. Vocalist Harmony Cavelle’s anger fuelled lyrics alongside the bands Nu-Metal inspired sound make this a rage anthem for a generation. Words: Laura Davies THEATRE - The Fall Taking the Irish music scene by storm is elusive folk-rock band THEATRE and their latest track The Fall, mysteriously the only song currently offered online despite amassing a fanbase with multiple shows over the last few years. Starting slow and dreamlike, the instrumentals feel purposefully out of sync in a controlled chaos as the singer's vocals echo in an subdued way. THEATRE all come crashing together for the chorus, the vocals rising to a prolonged call, the rumbling bass and thundering drums keeping pace while the clean and distorted guitar riffs war against each other on the breakdown. The Fall is deceptively powerful, shifting from an understated dream to solidified vision as it falls to a faded end. Words: Julia Stark THROWN - split Set to return to the UK in June for Download Festival, THROWN have released their first single in 2 years! split is 2 minutes of modern metalcore madness, with different electronic samples mixed in with these distorted guitars riffs, You struggle to know what's coming next. The beat switches up for the choruses of the song going from a head banger to a two stepper and flipping back and forth, the breaks of silence are hard hitting and back breaking. This Swedish hardcore foursome did not come to play with this single and as it marks the start of a new era we can't wait to see what they could possibly follow up with! Words: Amy Smyth VANA - In Your Name Pretty metal artist, VANA, is back with the cinematic single In Your Name. Blending crushing metalcore riffs with dark pop vocals, the track navigates how far a person is willing to stay in a toxic relationship driven by their devotion. An eerie atmosphere is created with the steady clean vocals paired with organ-like synths in the first chorus. The second half leans into an industrial metalcore sound that flows effortlessly from the opening pop and R&B atmosphere. The layering of clean vocals with razor slashing screams emphasises the push and pull dynamic of the relationship. With a heart wrenching track added to VANA’s discography, this is an emotional tune that belongs in playlists. Words: Theviya R Karunaharan Venus Grrrls - Eve Alternative rock quintet VENUS GRRRLS are back with new single Eve. A catchy track filled with yearning towards women as one comes to terms with their bisexuality. The pulsating song is filled with grungy riffs paired with the energetic drums. A sensual atmosphere crystallises in the chorus’s closing line, where Grace Kelly’s vocals soften into a hushed, spoken register. A slow burn of anticipation builds through the layered spoken-word bridge before it storms into the high energy release. Why not take a bite of both? It’s the perfect bisexual anthem. Words: Theviya R Karunaharan Waterparks - PROWLER "Wait, Waterparks? If this is heavy metal, I’m going to be so fucking pissed" - the intro snippet from a podcast already tells us there’s something interesting. Even if not exactly heavy metal, WATERPARKS sure do take us for a ride in the Prowler. Teased earlier in the tour, the track is a response to some of the parasocial relationships and idolisation that the fans engage in. A tale as old as time, Awsten Knight is not trying to stop it, but at least highlight how much of a burden it can be to bear: "I’m a singer, not a savior". As the vocalist noted himself, Prowler might be the band’s proudest work of the last three years. Along with the single, we received the long-awaited album announcement. The opening track will feature Mark Hoppus along with many others, so there is definitely something to look forward to before July 24th. Words: Mariia Bulkina Editor: Naomi Colliar Duff Photos: Various Artists

PORTRAYAL OF GUILT’s …Beginning of the End feels less like a collection of tracks and more like a deliberately mapped collapse, where each song doesn’t just follow the last but actively mutates it. Released via Run For Cover Records, it pushes their blackened hardcore and industrial-leaning sound into something more structured, more suffocating, and more controlled in its intensity. Rather than relying on chaos alone, the album is built on progression through erosion — every track feels like it is degrading the one before it. The record opens with Backstabber, which hits with direct, serrated force—no introduction, just impact, immediately setting the tone. That aggression then tightens and distorts in Human Terror, where density takes precedence over speed and repetition starts to act like a destabilising force, with riffs wearing themselves down in real time. By the time Heaven’s Gate arrives, the violence has cooled into something more clinical; it still cuts, but it’s been reshaped into structure, almost detached from emotion entirely. Under Siege locks everything further into place, creating a sense of containment where nothing feels able to expand or release. From there, Ecstasy becomes deliberately deceptive; instead of catharsis, it strips emotional texture away until all that remains is motion without feeling, reinforcing the album’s refusal to resolve tension. Death from Above shifts the pacing into something militarised, more forward-driving but still trapped within its own mechanical loop, advancing without ever escaping the pressure around it. At the record’s emotional and structural core, God Will Never Hear Me stops implying despair and fully inhabits it, but still through restraint rather than explosion—slow, grinding repetition that feels like acceptance rather than expression. That space is then bent by Camber of Misery Pt. IV (Feat. Slim Guerilla), where the feature doesn’t disrupt the atmosphere but warps it slightly, adding a new texture that is absorbed rather than separated from the whole. The final stretch begins with Total Black, which strips everything down to pure atmosphere, where form starts to dissolve entirely. Object of Pain briefly reintroduces fragments of structure, but they arrive distorted and unstable, like corrupted remnants of earlier ideas. By the time The Last Judgement arrives, there is no climax—only dissipation. The album doesn’t end so much as it thins out, as if it’s collapsing into silence rather than resolving. One of the most striking elements across the record is how consistently it resists traditional release, instead choosing to sustain tension until it becomes its own form of atmosphere. That approach gives even the heaviest moments a sense of restraint, where impact is felt less as explosion and more as pressure accumulating over time. In that sense, the album feels closer to a continuous environment than a set of individual songs, with each transition deliberately designed to feel unavoidable rather than abrupt. This is where the industrial influence becomes most apparent, not as decoration but as structure, shaping how repetition and distortion function across the entire runtime. It ultimately reinforces the sense that nothing here exists outside the system it creates entirely at. Ultimately, …Beginning of the End is PORTRAYAL OF GUILT refining their identity into something more deliberate and oppressive. It trades unpredictability for sustained pressure, using structure as its own form of violence. What emerges is not just an album of heavy moments, but a sustained environment of decay that never fully releases its grip. Rating: 9/10 …Beginning of the End will be released on 24th April 2026 via Run For Cover Records. Words: Mia Gailey Photos: Craig Murray

There’s a particular kind of tension that only exists in bands who still feel like they have something to prove—not in a performative sense, but in the way every note sounds like it’s being dragged out of them in real time. That’s exactly where ROMAN CANDLE operate on this full-length: a record that doesn’t just document growth, but captures the friction it took to get there. Emerging from Las Vegas’ desert underground, the four-piece have always leaned into emotional extremity, but here it feels more controlled, more intentional. Not cleaner—never that—but sharpened. Where earlier material like Discount Fireworks thrived on volatility, this album feels like it understands when to hold back just enough to make the impact land harder. Opening track Blasphemous Act sets the tone with a slow, uneasy burn before rupturing into something far more urgent. It’s a statement of purpose: restraint as a weapon. That sense of push-and-pull runs throughout the record, particularly on This Band Has Led Me To Places I Wouldn’t Go With A Gun, where the band weaponise repetition and pacing to create a suffocating emotional loop. It’s not just heavy—it’s exhausting in a way that feels deliberate. Can We Watch Something Happy? stands as one of the album’s defining moments, and not just because of its backstory. Pipe Ferrari’s vocal performance here feels less like delivery and more like confrontation, teetering between collapse and control. There’s a rawness that never tips into self-indulgence; instead, it feels grounded, painfully specific. That specificity is what gives the band their weight—these aren’t abstract emotions, they’re lived-in, named, and impossible to ignore. Musically, the band thrives in contrast. Jonas Vece’s guitar work shifts between serrated chaos and unexpectedly delicate passages, often within the same track. Fire In The Night Sky Forever is a prime example, balancing angular aggression with moments that almost feel reflective, like the calm after something irreversible has already happened. Meanwhile, the rhythm section—Sergio Lopez and Alex Dupuis—anchor everything with a sense of physicality that keeps the songs from drifting. There’s heft here, but it never feels static. Tracks like Bite Harder Than You Bleed and Nothing Is Original lean further into the band’s hardcore influences, delivering some of the record’s most immediate moments. But even at their most direct, there’s an undercurrent of unease that stops things from feeling straightforward. It’s this refusal to settle that makes the album compelling—it’s constantly shifting, never letting you sit comfortably for too long. The back half of the record leans more introspective, without losing intensity. My Silence Costs More Than You Can Afford and For Once My Hands Are Still trade explosive catharsis for something quieter but no less heavy. These tracks feel like aftermath—what’s left when the initial emotional surge has burned out, leaving something colder and harder to process. Closing track How To Be Considered When You’re Not In The Room feels less like resolution and more like acceptance of ambiguity. It doesn’t tie things up neatly, and that’s the point. The album isn’t interested in clean endings; it’s interested in honesty, even when that honesty is unresolved. What makes this record stand out isn’t just its intensity, but its sense of purpose. There’s a clarity to what ROMAN CANDLE are trying to do, even when the music itself feels chaotic. Every moment feels earned, every shift intentional. It’s a record that understands the power of restraint as much as release, and uses both to devastating effect. At twelve tracks, it never overstays its welcome, but it leaves a lasting imprint. This is a band stepping fully into their identity—not refining the edges away, but sharpening them. Score: 7/10 Unadulterated will be released on 24th April 2026 via Sumerian Records. Words: Mia Gailey Photos: Roman Candle

When a frontman leaves a band that once felt like a fortress, many would expect his next steps to be a repetition of his previous success, playing it safe and settling back into familiarity. Ex-BLIND CHANNEL Joel Hokka’s debut, under the name HOKKA, chooses to do the complete opposite: Via Miseria IV is a record that looks back without living there, trading the past for something darker, more considered, and theatrically alive. Joined by legendary guitarist Pauli Rantasalmi (THE RASMUS) and “wonderkid” drummer Jimi Aslak, HOKKA delivers an album that feels like a triumphant rebirth and a deliberate step forward from the shadows. Joel Hokka arrives at this record bruised by the aftermath of sudden success - years of relentless touring and the dizzying machinery of big-time rock left him burnt out and unsure of his place in the world. Those experiences are the driving force behind Via Miseria IV, informing a voice that sounds both raw from the fall and steadier for having learned how to stand alone. The record wastes no time establishing this new era with opening track Blackbird. It is a defiant mission statement, leaning into the intense personal struggles Joel has faced, with lyrics like “crawl back from the graveyard”. Knowing the history there, the track feels like a literal exhumation of the past to make way for the future. Anyone expecting a BLIND CHANNEL 2.0 will be immediately corrected - while the pop sensibilities remain, the delivery is far more grounded and atmospheric, setting a moody precedent for the nine tracks that follow. Musically, the album balances two complementary instincts. There are the immediate, hook-driven moments built for singalongs and festival stages, with choruses that land with satisfying force, contrasted by quieter, more intimate passages that let the emotional content breathe. In The Darkness is the clearest example of this duality. It’s cinematic in scope, dramatic enough to soundtrack a pivotal scene, yet also grounded by a brief Finnish interval near the end of the track. It’s a particularly inspired touch, keeping the song tethered in its Finnish roots, even as the band aims for a global sound. Pauli’s guitar work on the record is undeniably impressive. On songs like Death by Cupid’s Arrow and title track Via Miseria, the guitars do more than just provide riffs. They shape the mood, switching from jagged urgency to lush, melancholic washes. Those instrumental choices give the album a unique texture and prevent the songs from blurring into one another. The “Warrior and Sensei” dynamic described in the band’s press release isn’t just marketing fluff: you can hear the synergy in how the instrumentals and vocals give each other room to breathe. We see this really clearly on Heart Said No, which provides a necessary shift in dynamic. Pulling the intensity back to let a softer, more vulnerable vocal performance take centre stage, it allows listeners to fully sit with the melancholy HOKKA has openly embraced. Jimi’s drumming complements this dynamic perfectly. It’s punchy and precise on the glam-leaning Bon Apetit, restrained and devastating on the stripped back and aptly-named power ballad, Murder Ballad, and propulsive when Joel’s vocals need momentum. Murder Ballad acts as the emotional centre piece of the album, beautifully showcasing Joel’s vocal range and proving he can hold a power ballad without tipping into artificial melodrama. It’s followed seamlessly by Angels Fall, which kicks the tempo back up and works well to balance the emotional weight of the previous track. The sequencing here is a masterclass in attention to detail, proving that the trio’s interplay is what makes the album feel most alive. As the album reaches its climax, Serpent’s Song delivers a cathartic, riff-driven build up that feels like a natural finale. However, the true talking point is the closing cover of SEAL’s Kiss from a Rose. While some critics may find the choice jarring, it acts as a symbolic coda for the entire project. In the context of HOKKA’s journey, the themes of intoxication and transformation mirror the “golden cage” of Joel’s previous success and the new, transformative connection he has found with his bandmates. It’s a powerful, hypnotising end to a record that is obsessed with the idea of finding beauty in pain. Via Miseria VI’s production is polished, but far from sterile. The mix gives each element space to sit forward when it needs to, and equally to step back for a deeper impact. There’s a contemporary clarity that keeps the arrangements from sounding too much like a pastiche of early-2000s influences, even as the record nods to that era’s melodic instincts. The theatrical flourishes are balanced by moments of restraint, which is why the album never feels pretentious. Ultimately, this album is an incredibly strong debut that avoids the pitfalls of its own high-concept narrative. The “Warrior and Sensei” chronicle could have easily become far too heavy-handed, but here it functions as a creative framing device for someone finally choosing to tell their story on their own terms. For listeners who mourn the end of BLIND CHANNEL, Via Miseria IV offers a profound sense of consolation. It doesn’t attempt to be a replica or safe continuation of what came before, instead providing a sophisticated evolution that makes the loss of the former band feel like a necessary sacrifice. Score: 9/10 Via Miseria IV will be released on 24th April 2026 via Nuclear Blast Records. Words: Zuzanna Pazola Photos: Natalie Pastakeda

FROM ASHES TO NEW were no strangers to leading crowds. Having formed back in 2013, and touring extensively across the States, the Pennsylvanian nu-metal rap quartet were ready to make their mark as they embarked on their first ever headline European tour. With expectations high, and the London crowd ravenous for a good show, would the band from across the pond sink or swim in waters new? If starting as you mean to go on was the task for the night, nu-metal London based band PARADISE FELL understood the assignment. Bursting onto stage, their presence electrified the room. For a band that only released their first single in 2023, they owned the stage as if they had been around for far, far longer. Matty Bankhust’s raw, clear vocals cut through the room in No Lies, reminiscent of fellow metal heavyweight BRING ME THE HORIZON. When the house lights were temporarily raised so they could look at the crowd, the room was packed. Their set packed a punch. With tight guitar riffs, and beats that demanded a mosh pit be opened up for (and guitarist Harry Acreman shredding in the pit for the final song), PARADISE FELL proved they can energise a crowd. If PARADISE FELL aren’t already on your radar, this is your sign that they should be. Keeping the energy high, the loud kicks of the drum and the erratic red and blue flashing lights let us know that alt-rock duo COMASTATIC had arrived. Back4blood, the opening track from their set, veered in a slightly different direction from the sound of the first act. Starting with a slower tempo and building up, the steady electric guitar riffs of Jules Luongo filled the room, earning nods of approval from the spectators. We were in for a treat as vocalist Mattia Di Paolo introduced us to American Nightmare, released only a day prior. A standout from their set, Di Paolo’s vocals were bright, controlled and enunciated, with a slight hint of nostalgia to early ALL TIME LOW’s Alex Gaskarth. COMASTATIC were just as committed to their sound as they were to the audience. Stopping the show completely, calling for security and organising the audience when a concertgoer was taken ill was a reminder that at the core of live music is a strong ethos of care and respect for one another. Ensuring that the fan in question was okay, the duo jumped back into their set. Slowing down the tempo for their song Halo before opening up the mosh pit to shred heavily for Self Sabotage showed off their diverse range. There’s no doubt that COMASTATIC is only just getting started. With the support acts sparking life into the room, would the headliners be able to push the crowd even further? The room flooded with a red glow as a strong, rough guitar riff set off the main event. Swifty followed by the thud of drums, clear and controlled vocals from FROM ASHES TO NEW’s lead singer Danny Case introduced New Disease. The energy in the room was ignited, and it never went out. No sooner had the set begun, the floor was cleared once again for the ever growing moshpits of the night. It was like a team sport, watching rapper and vocalist Matt Brandyberry and Case balance the vocals between them so effortlessly. The rapid, fluid lines from Brandyberry blended perfectly with Case’s range of clean vocals and contrasting growls. As a nu-metal and rap metal group, the breadth of sound, both from the vocalists and the electro-rock mix of the music, gave the band a unique edge. As flashing spotlights bounced across the room, the band launched into Nightmare. This is where they truly came alive. The crashing of the drums drove the crowd into a frenzy - heads thrashing to the addictive rhythm. Here is where the guitar really shone, the magnetic riff overlaying the drum beat and adding another dimension to the track. The momentary technical difficulties after Scars That I’m Hiding worked in the favour of one fan, who took the opportunity to ask to sing Hate Me Too with the band. It was a resounding yes as the crowd roared in support of FROM ASHES TO NEW’s temporary sixth member. As the lights flashed between purple and green, the stage was teeming with momentum. It was a truly beautiful moment, with Brandyberry taking the time to remind onlookers to not fear being judged. Kicking it way back to My Name, the tempo was slowed as Brandyberry’s steady bars filled the room. Released almost a decade ago, the song’s theme of pursuing dreams and overcoming the odds was particularly poignant, as the band celebrated the release of their fifth studio album, Reflections, earlier that day. The passion and support for FROM ASHES TO NEW runs deep. From a special shoutout to their agent and friends in the crowd to watching a sound engineer air drum the beat in perfect time was a testament to the extent to which people truly believe in their music. FROM ASHES TO NEW radiated the room with a fresh energy. Masters of their craft, their genre blending was electric. With this tour being their first time headlining in Europe/UK, there’s no doubt that there will be masses of metalheads and rap fanatics alike counting down the days for their return. Words: Mary Horner Photos: Roxy Moloney

It’s Friday night in Leeds, and you can feel the excitement of fans walking up to the Project House. Since bursting onto the scene from a sweaty, overpacked tent debut at Download Festival last summer to sold-out venues across the Atlantic, PRESIDENT is exploding onto the scene as one of metal’s most electrifying new bands. Few bands have sparked as much buzz in such a short time. There was a lot of curiosity in the queue, people talking, trying to figure out what the band would actually be like live, whether the hype was going to be worth it. Support came from THEBOYSHADOW, the new project from former LOATHE guitarist Connor Sweeney. He left the Liverpool lads back in 2021 and has been quietly working on this for the last four years. The press release talks about how he faced his demons head-on and channelled them into songs, surrounded by a tight crew of artists who feel more like family. With just their debut single, Give Me A Seam & I’ll Show You The Meaning only out so far, it was hard to know exactly what we were walking into. But once they landed on the Roadrunner roster, you just knew it was going to hit hard. On paper, it looked like a strange match for the bill, but the brutal, full-on assault they delivered worked a treat. A harsh, spiralling mix of worn-down riffs and unrestrained vocals, it feels right, abrasive, and almost suffocating. Their sound grabs hold, unrelenting, pressing in with a kind of cruel intensity. It makes for a striking and formidable introduction. It added real contrast to the night and built the atmosphere nicely, rather than trying to one-up the headliner. By the time they finished, the crowd was properly warmed up, though a few people still seemed a bit unsure what to make of it all. Finally, what everyone was here for. All lights in the place were cut out except for a small pink President logo glowing on Mr President’s lectern. Straight away, the crowd lost its massive screams, phones flying up everywhere with the iconic presidential campaign music playing. Opening with Fearless, one of the band's two big breakout singles, the whole crowd was straight away chanting the chorus back at them. Mr President held the microphone out to us, and everyone belted out “Fearless” at the top of their lungs; it was deafening. Leeds was well up for it.The sound hit hard, tight but still raw enough to feel live, not overproduced. The vocals were controlled but still aggressive where they needed to be. The whole anonymous image could’ve come off as a bit gimmicky, but it worked in the room. It added to the tension more than anything. You weren’t just watching a band, you were trying to figure them out while they were playing, and that made it more engaging. Project House suited them perfectly. It’s not a huge venue, but that worked in their favour; it made everything feel louder and more direct. Covering Change by DEFTONES was interesting and not something people were expecting. The lights went orange, and Mr. President sang his heart out; his vocals were incredible and gave the song justice. It lets you hear what they want their sound to be like through the interpretation of other music. Not mentioning Destroy me would be wrong, a great metal sing-along, with some brilliant melodic screams, as well as a catchy riff. The emotional wreckage of our masked frontman is what really cuts deepest. The synths used in tracks by PRESIDENT create a unique element about the band, not only making their look distinctive but also their sound. All the live music was on top form. After a heavy, thought-provoking monologue about sparking a movement and carving out their own sound, Mr. President stood at his lectern like a dark silhouette, slowly pointing out into the crowd before raising his finger to the sky as In The Name Of The Father rumbled in. The whole room felt heavier at that moment, and the pit opened. Leeds really was waiting for this one, eager to sing, and it really didn't disappoint. The track came out right at the start of PRESIDENT’s rise last summer, and honestly, it still stands as one of their strongest. You’d never have guessed it was their first proper headline show in the UK; the place felt electric from start to finish. Words: Kieran Atkinson Photos: Zak Pinchin

After the last few years of non-stop touring, a changing lineup, and the devastating state of the world, no one should be surprised by DEATH LENS latest album release being a cathartic liberation for the Southern Californian 4-piece. A project that examines breakups, fascism in the US, and self-worth, What’s Left Now? is an album that epitomises the feeling of the world being against you, even yourself. Released through Epitaph Records on 24th April, What’s Left Now? is the culmination of everything the band has gone through and how they’ve levelled up, with the horizon of opportunity still ahead of them. Inspired by multiple alt, rock, and punk genres, each track holds a therapeutic significance, individually delivering a unique sound that showcases the full talent of DEATH LENS and how their line-up is entirely unified. What’s Left Now? doesn’t give you time to stop and sit with these feelings before barrelling onward with its post-punk urgency - it’s exactly how it feels to have everything pile up with no end in sight, the only reprieve in the form of frontman Bryan Torres’ punchy vocals and the biting instruments that thunder around him. Opening with distorted radio and a bachata-inspired intro, Monolith kicks off What’s Left Now? with heavy power and a spacey sound effect cutting through. Torres barely pauses for breath as he unleashes raw vocals and haunting high notes over Ernie Gutierrez and Jhon Reyes ominous guitar riffs and bass lines. Tony Rangel carries the beat from understated to a crispy, roaring rhythm, their sound rising in pitch and power. What’s Left Now? doesn’t let up with its frenetic energy and demanding, switching from Power’s alt-punk feel that’s wired from the off with layered heated vocals, to Out Of My Skin’s more tearing punk-rock rhythm, easing down for a breakdown of Gutierrez and Reyes’ effective guitar licks. Waiting to Know slows the pace with a cinematic echo and a vulnerable feel throughout, building to distorted guitar and weaving bass that gives way to MILITARIE GUN's featured powerhouse vocals. Blending straight into Drown, the mood changes to a more upbeat pitch and rhythm that’s reminiscent of FOO FIGHTERS, the instruments juxtaposing against the emotive lyrics of “I need some help” faintly in the background, Torres repeatedly calling out “I feel the same again and again…”, as Rangel’s drum rolls progress into a collective crash with the guitars, before Drown fades to feedback. Am I A Drug To You is one of the most vulnerable tracks on the album, a moving expression of going through a break up with simple notes and chords that evoke emotion at a lower, poignant octave, Torres singing “am I a joke to you?” as the instruments rise, his voice breaking over the dreamlike guitars. Fading in with sound effects, distorted drums and a low, rumbling bass, Saints In The Panic Room touches on a turbulent childhood progressing to a stressful adulthood, the bridge stripped back for a moment before the instruments slam back in in a growing crescendo. DEATH LENS flip back into a post-punk vibe with Off The Edge, reminiscent of many punk-rock bands at their peaks, with a deafening and fast-paced sound and frustration lacing the lyrics “I’m good on my own”. Sticking with the post-punk feel, Useless is as edgy as it gets, all the power lying in the crashing instruments while the vocals sound wearied by the emotion conveyed with the lyrics delivered in a hard-hitting and far too relatable way. After journeying through all other feelings, Last Call brings the final straw of rage felt after dealing with so much shit, the pace slowing and shifting to something different but still retaining the high energy and bite of this furious track. Pulling Teeth is as dangerous as its title, with a QUEENS OF THE STONE AGE vibe to its anthem-like rhythm throughout, pausing for an alarm sound effect before the beats and guitars synchronise over fired up lyrics. Closing out this cathartic journey for DEATH LENS, Debt Collector is one final blast of power with staccato singing and background yells over a rageful anthem, ending What’s Left Now? with a personal and political war cry. Score: 9/10 What's Left Now? will be released on 24th April 2026 via Epitaph Records. Words: Julia Stark Photos: Derek Pearlman

I Know A Place, the debut album from KROOKED TONGUE, feels like a record that understands its own identity from the start. It does not try to do too much, but it never feels limited. Instead, it focuses on strong songwriting, clear structure, and a balance between energy and restraint that keeps the album engaging the whole way through. There is a consistency to it that makes it easy to sit with, but also enough variation to stop it from blending into itself. For a debut, it feels assured. The band lean into what they do well, particularly when it comes to rhythm and melody, and build the album around that. A lot of these tracks feel like they are made with a live setting in mind. There is a sense of movement running through the record, even in its quieter moments, which gives it a kind of momentum that never fully drops. The title track, I Know A Place, sets that tone early on. It opens with a steady rhythm that gradually builds, layering in vocals in a way that makes it feel bigger without losing control. The backing vocals stand out here, adding depth without overcrowding the track. It works well as an introduction, not because it is the most dramatic moment on the album, but because it establishes the sound so clearly. It feels intentional and measured, which ends up being one of the album’s strengths. That sense of control carries into one of the album’s strongest moments, Dog Days. This is where everything feels like it fully clicks. The build is more noticeable, the chorus lands harder, and there is a real sense of release when it opens up. It has that singalong quality that feels natural rather than forced, and the lyrics give it something to hold onto beyond just the sound. It is the kind of track that feels like it will grow even more in a live setting, but it already holds its weight on the record. Another standout is Ember Mile, which brings a shift in tone that helps the album breathe. It feels lighter and more open, with a rhythm that leans more into something you can move to rather than something that pushes forward. That change does a lot for the pacing of the album. It breaks up the heavier sections without feeling out of place, showing that the band are comfortable stepping slightly outside their core sound while still keeping everything cohesive. Later on, Nothing Ever Grows stands out for a different reason. There is something more atmospheric about it, something that feels slightly bigger in scope. It carries a weight that builds gradually, rather than hitting all at once, and that makes it feel more immersive. It sits well within the album, but also feels like one of the tracks that could extend beyond it, particularly in a live environment where that atmosphere can be pushed further. What ties these moments together is the album’s sense of balance. KROOKED TONGUE never let one element take over completely. The more energetic tracks are offset by ones that pull things back, and the shifts in tone feel deliberate rather than abrupt. It gives the album a steady flow, where each track feels like part of a larger whole rather than something separate. Lyrically, the album stays grounded. It focuses on connection, uncertainty, and everyday experiences without overcomplicating them. There is a simplicity to the writing that works in its favour. It never feels like it is trying too hard to say something profound, but it still manages to be relatable. That balance between honesty and restraint carries through the whole record. The closing track, I Don’t Believe in Ghosts, shifts things in a more noticeable way. Stripping everything back to keys, vocals, and harmonies, it feels far more exposed than the rest of the album. The change in instrumentation is immediate, and it gives the track a different kind of emotional weight. It is quieter, more reflective, and it allows the album to end on a more personal note. It does not try to build into a final big moment, which makes it feel more genuine. I Know A Place works because it feels consistent and considered. It is not trying to reinvent anything, but it understands what makes its sound effective and sticks with it. The combination of strong rhythms, clear structure, and controlled dynamics gives it a sense of identity that is already fully formed. For a debut, that clarity stands out. It feels like the start of something, but not something uncertain. KROOKED TONGUE know what they are doing here, and that confidence carries the album from start to finish. Score: 9/10 I Know A Place will be released on 24th April 2026. Words: Con Macadam Photos: Krooked Tongue

Such a sad but wholesome EP: The Cloud of Unknowing by SEPULTURA. The Brazilian-American heavy metal band are on the road currently celebrating their 40th anniversary concluding late 2026, and have brought out a 4-track EP which serves as a sweet goodbye from their hard-earned legacy, from 16 records - 14 of which have gone gold. It is more than just a collection of songs, this EP plays out like a reflective journey, touching on themes of identity, conflict, and transformation while also delivering the intensity fans expect. All Souls Rising kicks off strong and bold, making an entrance that ensures SEPULTURA will not be forgotten! From the opening seconds, the track hits with unrelenting force as Derrick Green delivers one of his most ferocious vocal performances on the record, fully locked into the song’s aggressive pulse. The orchestral touches clash and merge with razor-sharp riffs, creating a dynamic tension, slight subtle nods to Schizophrenia-era chaos; if you’re a longtime fan, you’ll certainly notice it. Beyond The Dream represents one of the most defining and emotional highlights of SEPULTURA's era, capturing the essence of a legacy forged through decades of iconic albums, touring, and their dedication to music. "Believed in what we did and said, the future is not our end." These lyrics give such a warm feeling that, from where they started to now looking back on their final touring moments, makes you all teary eyed. It’s showing a new dimension of the band but just a little too late, fulfilling a long-held ambition to embrace the ballad format while staying true to their unmistakable heavy sound. Sacred Books is the shortest track on the EP but the experimentation is still happening because we get some piano taking centre stage with a jazzy vibe, while still holding down its metal weight. Andreas Kisser keeps the riffs dense and controlled, while Derrick Green delivers a solid, measured vocal performance. Though not a standout, the song works well as a transitional moment. The Place leaves us wanting more, while sobbing knowing it’s the end - however even though it’s the end, it doesn't stop them from taking it in a darker direction. Lyrically the song is reaching out about migrants searching for refuge and fresh start which is very heavy with how today’s world is. As we journey towards the end, we get your usual SEPULTURA vibes with the thrash metal roots. Sadly, the end is nigh. SEPULTURA's The Cloud of Unknowing stands as a fitting and multifaceted closing statement. Rather than simply revisiting past glories, the band chooses to evolve, blending their thrash roots with more atmospheric melodies and even cinematic elements. As a final chapter, this EP doesn’t just celebrate what SEPULTURA were, it reinforces what they have always been. Thank you for the good times. Score: 8/10 The Cloud of Unknowing will be released on 24th April 2026 via Nuclear Blast Records. Words: Ciara Hicks-Evans Photos: Sepultura

TWENTY ONE PILOTS, The Alternative two-piece band hailing from Columbus, Ohio, return to their much-loved London, England, to headline their own version of All Points East, called East Is Up. With such a huge show on the way that will be their last for an indefinite time, here is everything you need to know about the band before they rock your socks off. So what are they like? it’s honestly hard to describe the kind of music this band makes, an insane level of genre blending goes into their work but if you like anything from rock, pop, rap or alternative, they’ve definitely got something in store for you. Starting in 2009 originally as a three-piece, Tyler Joseph only ever had two careers he could choose, basketball or music; he decided to pursue music and after the other two members, Nick Thomas and Chris Salih left, Tyler decided to bring in close friend and fan of the band Josh Dun in 2011 and TWENTY ONE PILOTS as we know it today was born. These two gained some serious traction through their incredible live shows, utilising the spectacle of the songs to elevate their performance with wacky audience interaction and pure passion. Within 4 years and 3 albums, they became a Grammy award-winning band, with Stressed Out becoming a hit you couldn’t escape in 2015, skyrocketing them in popularity and taking their dedicated fan base to the next level. Everyone went feral for this band with a crazy obsession that was only more intoxicating as the band started bringing in a story to accompany their music. Which is going to be quite important to this final show, as many speculate it may be the final chapter of the story, like how The Clancy Tour in London had a fan theory confirmed for the second follow-up album Breach. It wasn’t apparent at first, only dropping hints, clues and some imagery in 2015’s Blurryface; The story truly began with the last music video they released for this album for the song Heavydirtysoul. In the video Tyler’s character, which we now know as Clancy, escapes from the villain of the story, Blurryface AKA Nico, through a fiery diversion (they blew up a car). After that, the image of a red eye began to close on their social media. Once closed, we had radio silence for over a year, greeted only by a yellow eye slowly opening. This is where the Trench era began, the new logo was revealed with a new single, Jumpsuit, continuing the story, with Clancy being chased by Nico and finding the Banditos, a group of rebels, opposing Nico and the Bishops of Dema, who have brainwashed the world into submission with their religious control of media. If you wanted an allegory for the politics of the music industry, you’ve got it here in this story. At the end of Jumpsuit, we see Clancy dragged back to Dema, trapped again until freed by the Banditos in the next video Nico And The Niners, before being taken back to Dema at the end of Levitate, if you couldn’t see a theme here, it’s a story of endless cycles and relapses, Nico represents that anxiety and depression that always creeps back to you. After some time inside Dema during Scaled And Icy, performing for the bishops and another escape, Torchbearer (Josh Dun) and Clancy, alongside the banditos, spend the album Clancy preparing for the final battle with the Bishops, where many fans speculated that the song Paladin Strait could not be the end to this story, a cliffhanger for the end? The fans wanted more. After lots of cryptic messages and changing imagery on tour, the fans knew that certain action would show the way to a double album, they predicted right and Breach was released with two more video for the story, The Contract taking place in Clancy’s head as he’s being subdued by Nico and the final piece of the story, City Walls which depicts the final fight; Clancy defeats Nico but then himself becomes a Bishop, so it’s up for interpretation whether he won or not, the Torchbearer leaves and moves on to continue the cycle. It’s anyone’s guess what’s going to happen at this final show of the story. Will more lore be revealed, or will we see one final send-off to these characters? All will be revealed at All Points East on the 30th of August. Words: Ben Blissett

The room was already busy before the first support act had even stepped out. There was a low buzz of anticipation, the kind that only really builds when a crowd knows what they are here for. Merch dotted the room, a clear sign that this was a loyal audience. In a space this intimate, that kind of devotion can feel exposing. It leaves nowhere to hide, for the crowd or the bands. WHERE OCEANS BURN took to the stage with confidence, even if things did not land perfectly straight away. They came in loud and clearly wanted movement from the crowd. At first, it felt like they were pushing for mosh pits that were not quite ready to happen. Still the energy grew. More people filtered in during their set and by the end there was a visible shift in engagement, with heads moving in unison. There were some technical issues that held them back. The microphone was often inaudible and at times it was difficult to fully catch what was going on. The lead vocalist also showed signs of strain as the set went on. Even so, there were moments that cut through. Inviting a friend on stage to share vocals brought a genuine warmth to the set. It felt unscripted in the best way. By the final stretch, they had won the room over. It was not flawless, but the intent and energy were there, even if the lighting and sound left things feeling slightly underwhelming. If the first act built momentum, TROPIC GOLD took it and ran. From the opening song, they had a grip on the crowd that did not let go. The connection felt immediate. The vocalist moved with purpose, locking eyes with people across the room and drawing them in rather than demanding attention. The difference in production was noticeable. Clean vocals sat comfortably in the mix and there were no obvious technical issues pulling focus. Even the slower moments held attention, which is often where a set can dip. Instead, they used those sections to showcase range. There was a clear effort to make every member visible. The drummer and guitarist were given space to shine, which added depth to the performance. A theatrical voiceover about angels threaded through parts of the set, lifting the overall presentation. It added a sense of scale that felt bigger than the room itself. One of the strongest moments came with This Is What It Feels Like, which stood out as a natural peak in the set. The lighting synced tightly with the music, and the pacing of the setlist felt considered. Crowd interaction hit another level too, with a loud call and response of “I fucking love that” echoing back from the audience. It felt like a band already operating at a headline level, even in a support slot. By the time ARCHERS were ready to take the stage, the room was fully locked in. Their entrance was anything but subtle. An unexpected interlude featuring the EastEnders theme played out, setting a strange but oddly effective tone. The crowd leaned into it, singing along before the band had even appeared. It bled straight into an intro that caught people off guard in the best way. Once they were on, the excitement was immediate. The vocals were sharp and clear, cutting cleanly through the room. It did not take long for the first mosh pit to open. From there, the energy rarely dipped. Interaction with the crowd felt natural. At one point, the question “you can sing, you can move, but can you jump?” sparked another surge of movement before the next track kicked in. There was a clear awareness of the audience too. When a new song was introduced, it came with a nod to fans already singing along, a small moment that reinforced how engaged this crowd was. The lighting stayed relatively simple, but it worked in their favour. It kept the focus on the band rather than distracting from them. Short interludes between songs kept things flowing while they reset, and these moments were timed well enough that the energy never stalled. The setlist balanced calmer tracks with heavier moments, giving the room space to breathe before pulling them straight back in. Vocally, the performance stayed strong throughout, though it was the bassist who consistently drew attention. Between fluid stage movement and deep, cutting screams, they added a layer that elevated the whole set. Older material seemed to land harder, with tracks like Better Off getting a stronger reaction than newer cuts. That said, the variety worked. When Never Enough hit, a circle pit opened almost instantly. Composure followed, keeping the pace high, while small moments in the crowd stood out, like two fans bouncing together for most of the set, carrying their own pocket of energy. By the time Bitter closed things out, there was no doubt left. ARCHERS knew exactly how to handle a room like this. It was tight, energetic, and confident without feeling forced. In a night that started with potential and built steadily, they delivered the finish it needed. Words and photos: Lauren Wenham

There's something fitting about SKINDRED choosing Banquet Records in Kingston as the launchpad for their new album, treating the sleepy suburb to two shows on the day before they release their newest album, You Got This. The beloved independent record store and events promoter has long been a cornerstone of the south west London live music scene and tonight, the night before You Got This hits shelves, they've packed the room to the rafters. It's also their second show of the day, following an acoustic set at The Fighting Cocks earlier. Two hours after their set at The Fighting Cocks, SKINDRED didn’t want to rest just yet. No, they wanted to go bigger and harder alongside a packed Circuit. They arrive to the Imperial March from Star Wars, each member of the band taking the stage in turn as the room builds to fever pitch, people chanting the band’s name before they’ve even appeared. When Benji Webbe takes to the stage, he's wearing a white jacket with tassels, bedazzled and bearing the colours of his home flag, telling everyone present that he’s here and ready to make a statement and get people to mosh. This is the Sound opens the set proper, followed by Set Fazers and Rat Race, and by the third song, it's already clear that this crowd has come to give everything. Radio 01633 / Jump / Jump Around feels like a mod podge of genres and sounds, perfectly encapsulating SKINDRED’s cult following. A SNOOP DOGG sample gets the whole room chanting along; the iconic Jet2 holidays jingle gets an electronica remix; Last Resort by PAPA ROACH resurfaces as a dubstep mash-up that probably shouldn't work but absolutely does. "I say Skin, you say Dred" rings around the venue. A circle pit opens up.Webbe calls it, grins at it, and calls it again. It’s clear that SKINDRED were more than ready to have a third concert on the spot. You Got This is the first of the new material, and the reception is immediate and overwhelming, as the crowd were chanting the title back in a back and forth with Webbe. It's a matured sound from a band who already had plenty to say for thirty years, showcasing Webbe's vocal range with real confidence. For a song that hadn't existed in most people's ears until tonight, it feels like it's been a SKINDRED staple for years. Kill The Power follows, hip-hop instrumentals for an intro before an immediate turn to metal that hits like a gear change you didn't see coming. "Kingston, you are amazing, thank you!" Webbe tells the room, and Kingston agrees. Can I Get A brings the most overtly dancehall moment of the evening, with swaying arms, a room singing in near-unison and the warm communal energy of a song built around togetherness. "I dedicate this to all you beautiful people," Webbe says. "Keep loving, keep fighting, keep breathing." It lands the way it's meant to, encapsulating the themes and messaging behind their newest album, You Got This. Nobody follows with a brass intro that builds through Tommy Gleeson’s bass and Arya Goggins' drums before the guitar comes crashing in, the TikTok-famous track closing out the main set as an evident crowd favourite, and for very good reason. The encore opens with the band just letting Boom play while the crowd sings along, which quickly segues into the song itself proper, letting Mikey Demus' guitar skills swing with a groove that makes the whole room move, and Webbe rapping with total command. Then War Pigs, sung along to in its entirety, before sliding into a dubstep remix that gets exactly the bewildered, delighted reaction it deserves. And finally Warning, at a pace that conveys every bit of urgency the title implies. By the breakdown, Webbe is holding up a blue sequined scarf alongside the crowd, shirts and scarves and other articles of clothing swinging overhead as the mosh pit opens up below. By the end of the set, Webbe is wearing a white tee with UNITY spray-painted across the back. Certainly, the unity was felt across the room and throughout the night, as everyone travelled to one south west London suburb to celebrate SKINDRED. The show ends with flowers thrown to the crowd, as "Skindred" chants faded into the kind of cheering that tells you a room has given everything it had. Two gigs in one day, a new album out the next day, and SKINDRED played it with all they got, maximising the time they could spend with their well earnt fanbase. Words and photos: Atoosa Salamat