Florida pop-punk veterans THE RED JUMPSUIT APPARATUS impressed us last year with their release of X’s For Eyes - not just a return to form for the band, embracing plenty of old school pop-punk vibes, but an evolution of their sound that feels like something we’ve been waiting for since we first heard Face Down on the radio in 2006. Now they've reissued the album as deluxe reissue. Overall the album has some truly incredible pieces, it gives us the impression that the band knows exactly what their audiences are looking for. Their sound has grown up with them over the past twenty three years but they certainly haven't forgotten where they came from or how to make some real, true pop punk. Perfection is a standout for us, placed early in the album; it's one of the first few tracks you’ll hear on a listen, and one of the first singles released in the album's marketing cycle. This is absolutely a strong choice. Discussing themes of individuality, self acceptance and the titular “perfection” this song sounds like it could have been ripped straight from 2006's Don't You Fake It and tweaked with a new producer to create a modern yet classic sounding pop punk anthem. Speaking of anthems - the titular track X’s For Eyes will start showing up on lists as one of the all time top pop-punk anthems. In the same vein as My Heroine by SILVERSTEIN and Savior by RISE AGAINST, X’s For Eyes blends slower melodic sections with harsh, high tempo choruses driven by some incredible drum work. The primary difference between this deluxe release and the original album release in October 2025 is three additional tracks, the first single of which is Angels Cry. If you want melodic, heartfelt and emotional pop punk - this is where you need to be. As we said earlier, “A return to form for the band” is precisely what this song is. Incredibly reminiscent of 2006’s Your Guardian Angel the track opens with a beautiful piano and strings ensemble with lyrics that clearly come from a dark place in frontman RONNIE WINTER’s heart. The other new tracks on offer are alternate versions of Perfection, Slipping Through (No Kings) and another all new track Not Today. Now it can be said that alternate versions of existing songs are sometimes hit or miss, which we can say in this instance is definitely the case. Perfection ft. DEREK SANDERS of MAYDAY PARADE fame is what a reimagining should be - a new flavour to choose from that adds to the original without changing it beyond recognition. DEREK's vocals suit the track to a tee and you wouldn't be amiss to listen to this version and think this is how it was originally written (who are we to even say it wasn't written with DEREK in mind?). Slipping Through (No Kings) however is one of the weaker tracks of the original release, with a reimagined version not really adding a huge amount. Don't get the wrong idea, the bar for this album is already incredibly high, potentially being the band's best release to date, but that doesn't mean that they’re infallible, and such high praise means that weaker offerings from the album highlight themselves more obviously. Overall the album certainly is one of the band's best releases, arguably their best, and you can tell the last twenty odd years of experience have all come through to produce it, with plenty of inspiration from other bands. THE RED JUMPSUIT APPARATUS have been accused of sounding a little too much like SILVERSTEIN in the past, and while that still remains true it's hardly a bad thing, there's plenty of influence here with enough of their own flare to make it unique and well worth a listen. If you enjoy pop punk, especially pop-punk that harkens back to the mid noughties then THE RED JUMPSUIT APPARATUS have you covered, and not only are some of these songs going straight into my daily playlist but some will remain there for years to come. Score: 8/10 X's For Eyes (Deluxe Reissue) will be released on 6th March 2026 via Better Noise Music. Words: Chris Brown Photos: K Enagonio

For those unaware of the Belgian heavy music scene, here’s a band worth your time that might help introduce you to some of what’s in store - RONKER play a brand of adrenaline-fuelled punk rock that they’ve labelled speed noise, a pretty apt descriptor for music that’s as fast as it is abrasive. RONKER’s sophomore effort comes in the form of the album Respect The Hustle, I Won’t Be Your Dog Forever, and it’s a great slice of everything both the band, and the Belgian punk scene, have to offer - so without any further ado, let’s dig into the LP. The eleven tracks offered up to the public start off with Tall Stories, and the first thing that comes to mind upon hearing vocalist and guitarist JASPER DE PETTER's voice is how rather similar it is to that of IDLES frontman JOE TALBOT's - if he had gargled a little more piss and vinegar before taking to the vocal booth. The musicianship hits a whole variety of markers, such as the walls of sound of THE CURE and MY BLOODY VALENTINE and the straight-shooting attitude of THE PRETTY VICIOUS, but with the grizzled edge and fearsome snarl of GALLOWS and EYES. Putting this all together makes for a potent brew that never slows down, and track two, all but the title track, Respect The Hustle pivots even further into the outright aggression the band has to offer, as if IDLES had ground up their first album with a barrel of nails. This musical theme continues in some way or another across every song on the album; lead single No Sweat keeps up the punkish abrasion, although with ever so slightly more melodic focus, whilst Clear The Air shows the menace and unease that comes with RONKER letting some more space into their music, even whilst not letting up for one moment. Snuff is the most left-field track on the record, with the group becoming melancholic as brass and cymbals subtly add a haunting atmosphere to a much stripped sound, eventually building into a grand crescendo of gargantuan proportion that feels both imposing and ominous in nature - a fantastic take on their usual style, with plenty of scope for the band to take this direction (and others) available now. Where The Dogs Sleep may appear, at first glance, to be no more than an interlude, but it splits the album perfectly in two and flows wonderfully from the previous track into House Of Hunger, another of their noisier and more abrasive tracks. This is one of those tracks that feels ready-made for circle pits and chaotic live shows, and will no doubt prove anyone right who dares catch RONKER in the flesh. Disco Dust and Deliver The Liver offer much of the same, before penultimate track Limelighter and finale Using Eyes breathe plenty of air into the formula once again, as the Belgian cohort open the valves of sinister tension once more for a finish that feels uncomfortable and intensely worthwhile. A fantastic listen from front to back, RONKER have pushed themselves to a level above their previous effort and are within touching distance of becoming cult heroes already if they keep up this phenomenal output - this should be on any punk fan’s record player ASAP, and if they’re playing nearby you’d better pray there’s a ticket available. Score: 9/10 Respect The Hustle, I Won't Be Your Dog Forever was released on 30th January via Labelman. Words: Jasmine Longhurst Photos: RONKER

An album that experiments with polar genres while the lyrics debate the themes of mortality, grief and love. The Mountain is a fifteen track album released just as GORILLAZ reach the 25th anniversary of their debut album and tells the story of everything they have learnt between then and now. It contains umpteen collaborations, each of them bringing their own flavour to every single track, creating an album with waves of emotion and power. The album is heavily based on the bands time in India and is influenced by a range of genres from all across the country, it imitates as well as welcoming aboard India's own musicians. The first track is an instrumental that sets the tone for this with collaborators DENNIS HOPPER, AJAY PRASANNA, ANOUSHKA SHANKAR, AMAAN ALI BANGASH, and AYAAN ALI BANGASH helping to carve a beautiful landscape featuring various Indian instruments such as Sitars, Bansuri and a collective of Indian drums. Four minutes passes in a flash leaving you with relaxed, inquisitive and colour filled visions in your mind, ending with echoed and layered speech repeating the name of the album over and over. Track two The Moon Cave starts much more mystical with heavenly strings intertwined accompanying the same Indian instruments introduced in the last track. Eventually an 80’s style synth beat kicks in, a traditional GORILLAZ groovy bassline joining it. The beat switches halfway through becoming syncopated and bringing in the rich voice of BLACK THOUGHT to rap over the rest of the track. The beat dances around his words, it's groovy and addictive all while sticking with the Indian theme. The Happy Dictator starts with the distant bustle of a public place before DAMON ALBARN brings his distinctive monotone vocals that have layers of lyrics, picking apart the modern word we live in with wild metaphors that confuse your brain to analyse. The entire track is back and forth in a conversation with SPARKS before they come together in the end to sing in unison, their voices stacking together superbly. THE HARDEST THING is a special track featuring the recently passed TONY ALLEN. He collaborated with GORILLAZ on many projects in the past such as THE GOOD, THE BAD & THE QUEEN and ROCKET JUICE & THE MOON. He has a legacy as a pioneer of afrobeats as well as being one of the most renowned drummers in the world, the track discusses grief and how strange it can feel. A beautiful tribute to someone close to the band as well as providing comfort for those listeners that may have also lost those close to them. The next track Orange County echoes the words and tube of the last track, remixing it into a new track and giving it another alternate life. It continues the discussion of grief with the additional input of the features BIAZARRAP, KARA JACKSON and ANOUSHKA SHANKAR. The God of Lying is next opening with lines that question spirituality and the unknown. The track features British post punk band IDLES and is psychedelic, like your mind is waving in and out of consciousness. The lyrics delve into the dreary headlines that we see and ask if we as people have grown numb to the world and its hardships, just to drone on and go to work as the system has taught us to do. The Empty Dream Machine creates a vast landscape that almost carries on from the last track, a monologue that shows an individual waking up from their routine and questioning their existence. BLACK THOUGHT come back for this track to add to the monologue meanwhile ANOUSHKA SHANKAR experiments with her sitar in the background. The Manifesto brings perhaps the most unexpected fusion in the album. It melds together Indian instrumental and features the Argentine rap of TREUNO then flipping that on its head halfway through, adopting a hip-hop beat and welcoming American rapper PROOF to the track. The final section of the song sees all these elements coming together, not messy at any point yet still leaving the listener unable to predict any section coming. The Plastic Guru questions a person's beliefs and is based on a personal experience two members of the band had in India when meeting a Guru. This track is one of multiple where JOHNNY MARR of THE SMITHS features on the guitar using Indian scales along with the sitar, blending into one another pleasingly. As we delve into the latter half of the album Delirium brings a break to the theme of the album, moving away from the Indian style. Choirs sing in the background while DAMON monologues in the foreground, the chorus arrives with a bang with a heavier beat and funky bass line, 80s esc synths and this brings this track's feature. MARK E. SMITH, who sadly passed away in 2018, has vocal lines in this track that were presumably recorded long ago, GORILLAZ worked with him for the PLASTIC BEACH album released in 2010. Another special feature that can only be made possible when you've been in the industry for so long and had the chances to work with such great figures. Damascus opens with echoing vocals before bouncing into an Indian drum style beat with electronic synths riffs dancing around it. The vocals are delivered by YASIIN BEY and OMAR ALMASIKH in both English and Arabic, being originally written for the PLASTIC BEACH record the track has had many lives before this one, with many different names and versions being mentioned across various interviews. It's another rare fusion that makes the album so unique. The Shadowy Light calls back to the first track with a heavily Indian style instrumental, this time with synths and a piano melody. The vocals are first brought to life by both DAMON ALBARN and ASHA BHOSLE with a chanting call and reply echoing behind it. The song almost rings like a song of prayer while the lyrics question what should be prayed to, a fabulous juxtaposition. The third to last track is Casablanca which is much more relaxed than the rest of the album , as close to a ballad as GORILLAZ get. The beat sways and is joined by a harmonious choir and humming strings, slotting together to fill the track to a pleasing instrumental. Bringing another oxymoron DAMON sings about uncertainty and life in all its grandness along with its many sadnesses. The Sweet Prince enters with a sweet bansuri solo and a mellow beat. The track features the bansuri, electric guitar, sitar and hard as well as others all rolled into one, blending together. It's experimental without sounding disturbing its own balance at any point, it's another track that like the last is honeyed and delicate in tone. The very last track of the album The Sad God brings multiple elements from the album all together, its chords and lyrics whisper of an end, the end of the album and the end of everything. BLACK THOUGHT has one last intellectual rap before a two minute outro, the last words repeating themselves as the bansuri and sitar dance around each other one final time, closing the album fulfillingly as it rings out. Ultimately the album is a genius fusion of the typical style of GORILLAZ and various genres from across the world. The variety in features recorded both now and long before this album's fruition bring a deeper level to the discussions of grief and mortality, meanwhile the instrumental features, being heavily influenced by India, season the album with another layer of adventure and vitality. It gives you everything, all at once all while maintaining the surface level of being purely enjoyable music, it's everything an inspiring musician lives out their lives to make. Score: 10/10 The Mountain was released on 27th February 2026 via the Orchard / Sony. Words: Amy Smyth Photos: Gorillaz & Reuben Bastienne-Lewis

CHARLOTTE SANDS’ biggest strength has always been her vulnerability. She wears her heart on her sleeve, with bold, openly-emotional lyrics and deep sentimental meanings woven into the fabric of her songs. 2024 saw the release of her debut album can we start over? and very soon, she’s set to release her follow-up - an album built on the personal growth following that first record. Through Satellite, SANDS takes us on a journey of self-discovery, through breakups and cycles of sadness to embracing the fun the night offers, with an inherent relatability easy to latch onto. She does this with haunting vocals and a genre-shifting sound that feels simultaneously ripped from the early noughties and also uniquely modern. Satellite serves as the opener for this record, easing us in with a round of trippy beats and the silky-smooth vocals we’ve come to expect from the singer. As the track progresses, she builds up to increasingly-powerful vocals, echoing the track (and album) title. It’s a strong introduction, and leads us into a standout single; one eye open. On display is heart-wrenching honesty, with an instrumental that fades from crashing, waterfall-like drums to the serene river of her siren-song vocals. The song is upfront with its message: love shouldn’t have to feel like survival, and you shouldn’t have to sleep with one eye open. If you’ve ever been trapped in a controlling relationship, this is an intense anthem for you to find strength in. HUSH takes us to the other end of SANDS’ musical spectrum; just when she has us sinking into our feelings, she drags us back up with dance-worthy bangers like this. This track is one of two worlds: it’s mosh pit meets club night, less about finding meaning in the world and more about letting go for the night, embracing the fun life has to offer. “It’s time for brat rock summer,” the singer says about the track, and we couldn’t agree more. half alive follows with an almost-metalcore instrumental that blends with sonorous vocals into a track that feels designed for the artist’s electric live performances. Afterlife takes that vocal thread and ties it to impassioned inner meanings; this is about a love so powerful it persists not just through this lifetime, but into the next. This feels more than a love song to a partner - it feels addressed to the fans that have stuck by her and supported her through the years. On the polar opposite side is back to you, the soundtrack to a breakup scene in a melodramatic teen movie from the 2000s. Backed by the strums of an acoustic guitar, the singer leads us into a vivid anthem that takes us right back to our teen years; we can picture ourselves belting out the chorus in a bedroom decorated in magazine-cutout posters of dye-haired emo bands. It’s about being stuck in a relationship where every decision, every ‘what if’, leads you back to where you started. The song, much like its singer, goes through cycles; it goes from gentle, acoustic strums to emotionally-charged intensity, and back again. neckdeep is the clear evolution from those feelings, laced with angsty lyrics and heavier, rock-focused instrumentals. “Why would you tell me that you’re neck deep when you’re really just one foot out?” the singer questions, channelling her inner turmoil at the neglect she’s facing in this relationship. She tries to convince herself that she’s okay, that she’s not being torn apart from the inside, but her soul-stirring vocals betray her facade. She continues that idea of pretend into water me down, where she sings about striving after the idealised image of perfection desired by a partner. Being watered down into something acceptable, a picture of a person that isn’t true to herself, but easily digestible. Pretty, but not enough that people stare; dressed up, but only in her partner’s presence. It’s about changing yourself to fit a partner’s insecurity, and how damaging that is. None of My Business features a welcome return to the crunchy beats and rapid-fire sound of tracks like spite and pity from the singer’s previous album. Very AVRIL LAVIGNE, especially when the chorus hits; the singer cultivates an electric atmosphere with a massive, mosh-worthy instrumental to get the whole room moving, with lyrics that will surely have the crowd chanting along. We know this track will be blasting from our surround-sound systems all summer. Sunday wraps up the album with a calmer sound to its predecessor, acoustic strums melting into beautiful, melodic vocals. These last two tracks are a perfect contrast that sum up CHARLOTTE SANDS musically: a frenetic, punchy rock rager into a serene pop tune, both sure to be staples of her future setlists. If there’s anything Satellite tells us about CHARLOTTE SANDS, it’s that she contains multitudes. In the space of ten tracks, she takes us through heart-wrenching intimate ballads, into punchy, anthemic crowd-pleasers, and then acoustic breakup-scene bangers. Not only pushing her genre-blurring musical vision to new lengths, she also spends the record’s runtime providing incredible introspection into her emotional state and creating something wholly relatable, no matter what stage of life you’re at. Score: 9/10 Satellite will be released on 6th March 2026 via CS Records. Words: Naomi Colliar Duff Photos: Megan Clark

The haunting, loving embrace of the fog-filled dew, the wonder of the Emerald Isle rising into the heavens in the distance. The car, its warmth, its finality, driving silently through; one less passenger than you arrived with inside. But you’re there. You’ve survived- bloodied, battered and bruised- but you, victorious, have survived. Such a scene, backdrop worthy of a generational film of the early 2000s, is precisely the Hollywood-like alternative rock passion brought forth by the MOLLY VULPYNE BAND with their hard-hitting debut album, Houndstooth And The Hum. The result of a passion project towards authenticity in music gone perfect, the band features not only the titular MOLLY VULPYNE of THE VULPYNES, band curator after the success of her then-solo EP Amortise in 2024, but a cadre of talented musicians ever-coalescing the delightful Irish punk scene. PETER JONES and JAY BAGNALL join in support on guitar and drums; some of Ireland’s heaviest hitters, forefathers of PARANOID VISIONS, co-conspirators with the legendary STEVE IGNORANT. Keeping this whole show somehow on its tracks is TONY CARBERRY of the LEE HARVEYS on bass, providing integral spice ensuring audio perfection. From CRASS to MERYL STREEK, the MOLLY VULPYNE BAND prove Irish punk will never die, and walk proudly and deservedly in a truly starred tradition – much to the likely annoyance of U2. Totalling ten tracks of terrific bliss, the band’s debut includes both old and new- remastering some of Molly’s singles like Hook, Inertia Right Hand Man, My Expiry and Ur a Fad x with new studio-derived mastery. Sweetening a deal already devilish in its delight, the debut also provides brand new pieces of dream-like art. It Don’t Fit, following the explosive deluge of rock from Hook perfectly, tracks the melancholy of creative visions entrapped in a society ever-increasingly antagonistic to the very concept of inspiration, let alone art. Boasting brilliantly layered guitars and a drum of which you distinctly hear every beat, the track feels as if crashing, collapsing around you- yet not violently, not in panic, but in a serene longing for the romanticism of the clean slate. Much has been said of these ethereal ambiances audible throughout the MOLLY VULPYNE BAND: with well-earned comparisons to Twin Peaks particularly apt. Instead, however, we would like to offer an even closer comparison, of alternate but equally massively complimentary proportions. One equally inspired by the works of David Lynch, a seminal piece of art of the 2000s in its own right, and yet still criminally underrated for its musical accompaniment. In those restless, verdant dreams, we still see that town – and while here that town is Dublin, the band beautifully reminds of the stellar work composed by AKIRA YAMAOKA and MARY ELIZABETH MCGLYNN throughout the Silent Hill series. Complimentary in hauntingly harsh ensembles of guitars, inspirational yet melancholic drums and the ever-present eternal bass groove, there is bountiful reason the debut so reminds of haunted survival. MOLLY’s vocals particularly hit similar masteries of tone, style and sheer emotion as MCGLYNN’s, ensuring any listener of the Houndstooth And The Hum will find themselves as if the protagonist of a horror experience they know they can live, as long as they endure. If between the two tracks of Hook and It Don’t Fit an entire cinematic experience can be fit, then only further greatness lingers between the rest. I Wanna Be Your Filter particularly stands out; it’s jumpier groove and more deliciously vindictive tone a perfect romanticism of love turned addiction, delightfully manic invocations for you to stay. A point must be made to mention the sheer clarity of the mixing: no lie is there in hearing every drum beat; every vocal, every guitar string, every pull of the bass fantastically echoes through each song. 14, on the other hand, is a light-as-a-feather melody recounting the crushingly infinite pressure of a kind of unknowable, individual and eternally heavy pressure that all may relate to; doing well in its quest to teach how to grieve. Ripe follows first in this trend of melancholy at first, before descending into a fine showcase of just what the band can accomplish when furthering their heaviest sound- with Ode To Your Farewell a classic punk angered encore of bright, bright light. The astute may have noticed that is only nine of the ten songs. There is another. Hidden, hiding between the lines, slam poetry tucked between the guitar strings. It is worth being found. The MOLLY VULPYNE BAND has made something truly special. Tenured skill meeting pioneering progress in punk rock solidarity, Houndstooth And The Hum makes more than a hum- it makes thundering waves across the entire scene. Stuffed with singles and new releases, one can only hope for even more in the band's future. And of course, if they were to ever cover One More Soul To The Call from Silent Hill: Homecoming, we’re certain no one would complain. Score: 8/10 Houndstooth And The Hum will be released on 6th of March 2026, via FOAD Musick. Words: Jakub Tomasz Czaicki Photos: Molly Vulpyne Band

AUTUMN FIRES are back with a new EP titled BLOOM featuring four tracks. With this release they are giving something back to the scene that raised them, after finding themselves in the community and now building their own. The Milton Keynes/ London band members bonded through gaming online during the pandemic, with an instant connection, after the vocalist CHARLOTTE HAIMES parted ways with an old band. Inspired by the likes of THE STORY SO FAR, TONIGHT ALIVE and KNUCKLE PUCK, they have created a style of pop punk refashioned into something of their own. That sound creates an energy that combines both the uplifting energy and moments of moodiness. The chance to record this EP at the Marshall Studio was part of the Kerrang! and Marshall annual competition, which also gave them a chance to open the Avalanche stage at Download Festival in 2025. BLOOM easily caters for a wide audience and allows it to be listened to by anyone who likes pop punk, which is critical in this stage of their career, building the fan base to create their community. The EP rockets into Fall For You with the classic guitars followed by drums and a dancing riff throughout. Lyrically the song carries femininity and light pop punk spirit through the vocals. It catches you and keeps you in its grip with the melody and lyrics intertwining, and will be a strong contender to grow their fan base. Gone By June is an instant headbanger with a powerful riff, showcasing a modern pop punk vibe. It is a track full of expression and emotion with an argumentative theme throughout the lyrics. Closure has a way of expressing a story of the band’s journey via the way the song plays out. It carries a true nostalgic feel to it, keeping a high energy sound with the guitar riffs and drums. For a sound that runs through the listener’s body Running Away is a track that does just that. It is a track that fully expresses the female vocals being up front and centre, with the track being a strong method for storytelling. BLOOM combines the talent of this five-piece band and creates a great way for listeners to quickly become fans of AUTUMN FIRES. We imagine that we will start to see them in the festival and touring scene a lot more, and it is clear as to why they were the perfect opener for Download Festival . They are definitely a band to watch through the rest of 2026 and in the future! Score: 7/10 BLOOM was released on 25th February 2026 via Marshall Records. Words: Angel Turley Photos: Autumn Fires

SCRATCH ONE GRUB’s debut album One arrives with the urgency and volatility of a band determined to establish its identity quickly and loudly. Hailing from Aberdare in South Wales, the six-piece operate within modern progressive and alt-influenced metal, but what defines One is not only its heaviness. Instead, the record thrives on contrast: between screamed and sung vocals, electronic textures and raw guitar tones, density and restraint. Across its eight tracks, the album introduces not just a sound, but a band testing the limits of what that sound can hold. From the outset, One makes its intentions clear. Opening track Swamp Scum crashes in on heavy drums and distorted guitar and bass, establishing a thick, confrontational palette. The drumming is particularly striking, giving the track momentum that rarely lets up. Vocally, the song shifts between fast screams and cut-back spoken passages before accelerating again, creating a push-and-pull dynamic that keeps the listener engaged. It’s an effective opener: abrasive, energetic, and confident enough to let rhythm and tone carry much of the impact. That momentum continues into Vagabond, which leans further into electronic distortion and layered textures. While still rooted in heaviness, the track introduces more space, allowing electronic elements to surface. Midway through, the instrumentation drops to a more exposed vocal section before swelling into a larger sound. The shift provides one of the album’s strongest structural moments and demonstrates the band’s ability to build tension rather than simply sustain volume. Track three, GTFP, offers a recalibration. Its introduction is more melodic and spoken-led, stepping away from the aggression of the opening tracks. The tighter feel gives the album breathing room without sacrificing cohesion. This dynamic awareness becomes central to the record’s success, particularly in standout track Absolution. Opening with synth pads and atmosphere, it gradually expands into a fuller sound. Sung verses contrast with screamed choruses, and the return to synth-driven textures helps unify its shifting moods. It’s arguably the album’s most fully realised fusion of atmosphere and impact. The middle section continues to explore tension between build and release. Bad Habit grows gradually before returning with heavier intensity. #1 follows with a more direct approach, driven by drums, guitar, and bass. While not as distinctive as surrounding tracks, its mix of screamed and sung vocals keeps the album’s energy consistent. Even where songs feel less memorable, rhythmic drive and tonal cohesion prevent any loss of momentum. Later tracks bring renewed texture. Ysbryd opens with softer drums, synth pads, and shimmering guitar, creating a spacious environment before reintroducing weight. The balance between melody and aggression reinforces the band’s interest in mood as much as force. That carries into the closing track Planet Killer, which begins with announcement-style vocals and distant sirens that draw the listener in. Gravel-edged singing and harmonies build a dense soundscape, ending the album with a sense of scale rather than simple finality. Production across One is clear, allowing each instrument to occupy its own space even in dense moments. Guitars are thick but defined, drums punch through without overpowering, and synths add depth without feeling ornamental. Sequencing also plays an important role: heavier tracks are offset by more atmospheric ones, preventing fatigue and helping the record feel more dimensional than its runtime suggests. As a debut, One feels both raw and self-assured. SCRATCH ONE GRUB demonstrates a clear understanding of their strengths within rhythmic intensity, vocal contrast, and textural layering, while leaving room for refinement. The album doesn’t smooth out its rough edges entirely, and that works to its advantage. There is an instinctive immediacy that gives the record character, even when it leans on familiar genre tropes. Ultimately, One succeeds because it prioritises balance. It is heavy without being monotonous, atmospheric without losing impact, and varied without feeling scattered. For a band at the start of their trajectory, it’s a strong introduction that suggests a clear direction and potential for even greater cohesion as their sound evolves. Score: 8/10 One was self released on 27th February 2026. Words: Con Macadam Photos: Scratch One Grub / SaN PR

American shoegaze heavyweights NOTHING return with their sixth studio album, a short history of decay. Formed in 2010, the band are known for their ever evolving line up, but lead vocalist and guitarist DOMENIC "NICKY" PALERMO is a constant presence. With a sound that perfectly blends shoegaze, post‑hardcore, and slowcore, NOTHING are a band that consistently deliver a collision of crushing distortion and fragile melancholy and a short history of decay is testament to that. Starting off the album with a slow track, never come never morning eases in the listener, with a solo guitar, at first, building into a heavy drum beat and background soundscapes. A repetition of time connected phrases litter the track, ““When I was young, life was easy”, “When I was one, before it split me” and “When I was old, ain’t life terrible”, drawing the listener in further. In stark contrast to the preceding track, cannibal world features heavy guitars and fast electronic breakbeats, going in a direction that you wouldn’t expect from a shoegaze band, until the faded, breathy vocals come in. Title track a short history of decay, also the longest track on the album, continues the wall of distortion, starting with a backing of electronic drum beats, before PALERMO’s forever recognisable vocals leach in behind them. The repetition of the beat sounds similar to a siren; whether this was intentional is anyone's guess, but it creates a sense of urgency and almost anxiety when listening. Starting with that solo guitar heard in the opening track, the rain don’t care, leans towards a moodier ambience, bringing with it a haunted elegance that seems misplaced on a short history of decay. It slows the pace down, almost to a stop, which comes abruptly to the listener and is somewhat disconcerting. It is an intimate, melancholic track that would perhaps have been better as the closer. purple strings is the most unexpected track on the album. Following the preceding slowing down on the tempo, this stripped down, acoustic track, with harpist MARY LATTIMORE. PALERMO bears his soul, which cannot be ignored, with the track sounding similar to Creep by RADIOHEAD, and redelivers that almost unsettling feeling felt in the rain don’t care. Overloaded with layers of industrial leaning guitars that screech and drums that are dealt a violent stroke, toothless coal brings the album back to the weighty ethereal soundscapes shoegaze always delivers, and something that NOTHING moved away from in the mid section of the album. The siren-like repetition also returns, along with the dulcet vocals. ballet of the traitor sees PALERMO sighing a quiet sorrow, with a backing of soft reverbing drums, returning back to the slower pace heard in the middle of the album, in a somewhat tiring manner. More breathy melodies are delivered in nerve scales, accompanied by delicate guitars and more crisp drums. Closing track essential tremors delivers an insight into PALERMO’s entire being; his own tremors, from the genetic neurological condition he has, can be heard throughout the vocals, something that has deliberately been left in the track, with lyrics that are hauntingly intimate. The song ends in a reverb soaked haze of shoegaze familiarity, bringing the album to a close on the sound NOTHING are really about. NOTHING brings together a unique sound that is reminiscent of MY BLOODY VALENTINE, but with the emotional rawness of post‑hardcore. a short history of decay delivers exactly that. Though the subtle change in sound may not be to the liking of old-school fans, more new listeners will be noticing the band and listening for the first time. If you’re looking for an album that is full of contemplative, introspective lyrics, with a sonically expansive sound, a short history of decay is the album you’re looking for. Score: 7/10 a short history of decay will be released on 27th February via Run For Cover Records. Words: Lou Viner-Flood Photos: Luke Ivanovich

As we near the end of the second month of the year, we're realising it's already been quite a busy one - we've had expansive tours, much-anticipated album releases, and of course, countless singles. Here's what we've been listening to: Chalk - Tongue Belfast-based trio CHALK pull the listener into a rage-filled, eerily intimate emotional freefall with their new single Tongue, released ahead of their debut album Crystalpunk. The opening whispers (a remnant from the song’s demo, born from creative necessity) paired with a thin, unnerving thread of a note that slowly gives way to distortion, immediately set a tense, claustrophobic scene before the track explodes into frenetic energy. Tongue is abrasive and confrontational, sounding like a barely controlled detonation; it is visceral, raw, volatile, and unrestrained. CHALK blend rough guitars, and harrowing electronic textures into a sound that feels like it’s vibrating at the edge of collapse, culminating in a cathartic and compelling ride. Words: Cara Hyndman Death Lens - Drown DEATH LENS dive straight into their new single Drown and leave no rest for the wicked, with a steady drumbeat and fast-paced guitar and bass riffs for an indie-punk beat you can rush around to. In the lead up to the April release of their new album What’s Left?, they’re slamming out a track that doesn’t hang about and demands a frenetic energy, with a bridge that builds for the wild finale. With a sound reminiscent of classic FOO FIGHTERS and an energy to rival THE HIVES, this will have crowds thumping and shouting for more in less than three minutes. Words: Julia Stark Gaerea - Nomad GAEREA are ready to brand their intricate mark on the world with new, blood-pumping, headbanging single Nomad, ahead of the lead up to the March release of their latest album Loss, their EU tour and recently announced UK exclusive tour. From the immediate frantic double pedal overlaid with a cutting riff and harmonised, mournful vocals, this sinks its teeth in and doesn’t let go, the heavy vocals shifting from lyrics of isolation to self-infliction, dropping into a deceptive breakdown that subtly slows before roaring into your ears. Whether belting out or crashing around to the beat, there’ll be no nomadic feelings with everyone screaming this on their tour. Words: Julia Stark Ice Nine Kills ft. Mckenna Grace - Twisting The Knife ICE NINE KILLS continue expanding the cinematic horrorcore universe surrounding THE SILVER SCREAM 3, and Twisting The Knife stands as one of its most theatrically brutal entries. Featuring MCKENNA GRACE, the track balances eerie melodic passages with serrated riffing and thunderous percussion that erupts into a suffocating breakdown. Grace’s haunting delivery contrasts with SPENCER CHARNAS' snarling theatrics, amplifying the narrative tension hinted at in lines like “feel the blade beneath your skin.” The single’s artwork and title reinforce the band’s obsession with psychological torment, while recent tour momentum has only sharpened anticipation for the album’s full release. Words: Kelly Gowe Hot Mulligan - I Don't Think It’s The Right Time For Emojis In the midst of their electrifyingly energetic EU/UK tour, pop-punk legends HOT MULLIGAN release their first single of the year with I Don't Think It’s The Right Time For Emojis. The track is very much on-brand for the band's current discography, having emo-flavoured, wryly cynical lyricism about TADES' own feelings about faith and critiquing modern zealotry. Grit-driven vocals float over punchy guitars in a newly refined production sound, making this single release feel both refreshingly vibrant yet nostalgic. Its earnest, mid-tempo melodies and catchy hooks provide a compelling contrast for the track's weighty themes, a familiar juxtaposition for any long-time listeners. As always, HOT MULLIGAN has provided the ideal backing track to simultaneously two-step and undergo an existential crisis. Words: Adrian Chapman Opal Mag - World End Brighton’s little star OPAL MAG keeps on shining, releasing another song from her upcoming EP Goodbye Lavender. In her signature style, the dreamy and whimsical tune clashes with the dreary central theme of the song. World End describes a relationship where one keeps emotionally draining another, wound up in a cycle of traumatic events: "kick me when I’m down". With soft but slightly piercing vocals resembling MAZZY STAR, the singer gets a more serious and almost angry tone towards the end, like a kaleidoscope of feelings ready to shatter into pieces. Words: Mariia Bulkina Shinedown - Safe and Sound Back with their classic sound, SHINEDOWN have crashed in with their single Safe and Sound, from upcoming May album Ei8ht. Diving in with a striking guitar riff and a drum beat that cracks sharper than a ginger snap, singer Brent Smith’s lyrics warn you not to “fuck around and find out”, a message to anyone doubting their momentum. With the pulsing bass working in tandem with the pounding drum beat, the guitar solo is a simple riff but has a powerful build up for the final chorus, overlaid with a subtle synth-like sound in the final bars. Fans better “Look alive” on their upcoming worldwide tour. Words: Julia Stark SISTER MADDS - Table Manners Get ready to eat your heart out for Glasgow's very own five-piece SISTER MADDS and their sarcastic ode to the perils of the modern dating scene. Table Manners takes that all too familiar feeling of being chewed up and spat back out again emotionally - and still expected to smile politely through it - and turns it into a wickedly tongue-in-cheek anthem. Guitars snarl, swaggering brightly, while MADDIE CASSIDY’s vocals lilt playfully, carrying a mockingly confrontational edge. With a knowing smirk, the single skewers the kind of emotional opportunists who treat people like a buffet, gorging on their time and energy and leaving nothing behind but a few meagre crumbs. A wonderfully dancey track, Table Manners is the perfect appetiser for their upcoming EP, Are You Hungry?, and our stomachs are already rumbling for what’s to come! Words: Cara Hyndman Twenty One Pilots - Drag Path Kings of leaving everyone on a cliffhanger, TWENTY ONE PILOTS have been promising the final episode of their storyline for almost two years, only for it to not quite be the end each time. Drag Path is a bonus track of their September release Breach, previously available only with purchasing a digital version of the album. Outside of the lore, the 'drag path' can also be interpreted as a tangible or abstract item that serves as a reminder of the past, this nostalgic effect making the unreleased track already go viral. The band then decided to make it available for everyone, but in an alternative version: this way, they kept it fair for the fans who bought in the first place, but also kept its essence and soul intact. Words: Mariia Bulkina Editor: Naomi Colliar Duff Photos: Various Artists

A wicked rock 'n' roll blizzard is coming your way. Atlanta quartet STARBENDERS have a beast of a record ready to unleash. The stunning The Beast Goes On arrives three years after their critically acclaimed record Take Back the Night, and it exhales themes of love, loss and reinvention woven through. Sonically sharp, unique and pure STARBENDERS at its core, the band bring their witchy, glam-soaked world to its most fully realised form yet. The record blends the glamorous decay and excess of 80s glam rock with something grungier, grittier and rawer underneath; the band composed by vocalist KIMI SHELTER, bassist AARON LECESNE and guitarist KRISS TOKAJI, now take new drummer QI WEI under their wing, feeding on each other's musicality to renew their vows to rock and roll. STARBENDERS have always taken creative risks as a foundation, and this record is where those risks pay off most fully. The Beast Goes On is the statement of a broad colour palette that pushes the boundaries of creativity and builds a world entirely its own: glorious, fierceful, and uncompromising. It doesn't hold back. Setting the scenario, the title track opens the record with a harmonic organ and KIMI SHELTER's choral voice: "I love the way you make me hate you / Penetrate you and drink your blood", before the band breaks in with the dramatic force that introduces the album and prepares you for what's about to hit. One of the strongest tracks of the record. From there, the album never lets up, each track a new shade of the same vivid, untamed world. Immediately followed by Nothing Ever Changes, a classic rock anthem with upbeat energy. The guitar takes over as the stellar protagonist, alongside the angry, courageous vocals. Energetic bass and drums bring an animalistic charge that invites the listener to let their hair down and jump about. Keeping up the pace, Chantilly Boy comes in to keep your feet off the floor. QI WEI is the star of this one on the drums, marking the rhythm with real authority while SHELTER's voice shows its full range, the rawness of the verses melting into poppy softness for the chorus. Cold like its title, Cold Silver is a dreamy ode to nostalgia, a longing for a happiness that never quite existed. Moody 90s grunge comes out from the vault and runs rampant through the track. As a juxtaposition, Forever Mine follows: a heavier, optimistic, feel-good anthem. The bass drives this one with a confidence that anchors the whole track, laying the groundwork before it opens up into a gloriously audacious breakdown and a glam guitar solo that fades out on a high. Other tracks like Hello, Goodbye carry that thread beautifully, balancing the longing of Cold Silver and the warmth of Forever Mine without losing the edge that runs through this record. Tokyo, the first single released back in 2024, deserves an ovation of its own. A story of extraterrestrials arriving in the city at night, trying to make sense of their surroundings, grounding themselves through music. "From the shadows on the streets of Tokyo / I found God in the midnight hour on my radio." Combining undertones of KATE BUSH with the force of SIOUXSIE AND THE BANSHEES, it is catchy, synth-driven, and irresistible. Songs like Summon My Heart and Somebody Else remind you why this band are called STARBENDERS: defiant, glam-riffed, and built to fill the sky. Grand and heroic in equal measure. To Be Alright and June offer a softer counterpoint, metallic yet ballad-leaning, with a tenderness that earns its place among the heavier moments. The Beast Goes On also makes space to honour two icons. Saturday, originally by ALL THE DAMN VAMPIRES ft. MINT SIMON, and BAD RELIGION's 21st Century Digital Boy both get the full STARBENDERS treatment: colourful, irreverent, and faithful to the spirit of the originals while making each one their own. The Beast Goes On is a triumph. Ethereal at times, raw and gritty at others, and anthemic through and through. The production is stellar, the instrumentals victorious, and the whole thing captures exactly what STARBENDERS are: hotblooded and softly nostalgic all at once. This is a band morphing into their truest form, and it is euphoric to witness. Score: 9/10 The Beast Goes On will be released on 27th February 2026 via Sumerian Records. Words: Lorena Hurtado Photos: Alec Weeks

What happens when you combine two great nights of metal into one? You get a truly special night of seven bands showcasing what they can do and why metal is not going away any time soon. Doors for tonight’s gig open at four, this early start is to accommodate every band being able to play. The majority of bands tonight only get half an hour, with the longest set only being an hour. The first band to take the stage is Life Cycles, who bring a more hardcore-based approach to metalcore. They hit the stage at 4:30, and the crowd do take a little while to warm up as it is so early, but once they get into it, we see the first pit of the night open, complete with a few spin kicks. It’s a hard job opening to a crowd this early, but they smash it out of the park with their charm. This is the band’s first time in Londo,n and if they come back, it’s likely most of this crowd would go to see them again. Second on the bill is the European deathcore band Distant. Their sound is that distinct modern deathcore sound, complete with the typical extreme vocals and modern guitar tones. The guitar work features significant use of harmonics, and at some points it does feel somewhat excessive, but it’s what defines the band’s guitar stylings. The band’s frontman takes a lot of time during the set to encourage moshing, as even as they take the stage it’s only 5:15, their set is just enough time to fill your need for deathcore this evening while still leaving you wanting a little more. Then, it's time for some modern death metal, and Frozen Soul hit the crowd hard. A special shoutout needs to be put into for the microphone stand made out of chains. Custom stage decorations always make a band more memorable. Their take on death metal is everything you want to mosh and headbang to. The crowd starts to build up its intensity as they have had enough time to warm up and get into a metal mood. The band bring the right kind of metal energy onto the stage, a celebration of the emotional catharsis the genre can get, and make sure to shout out, looking out for you and your friends' mental health. It’s early in the evening, and the crowd is becoming intense. The middle point of the night sees technical death metallers Revocation play. Their sound is forward looking and still has the elements of traditional death metal that help make great tracks. The band are tight on stage and help send the crowd into a head banging mood. It’s another short set, so the band spend very little time between songs and uses the limited time to showcase what they can bring to metal. Chunky riffage and masterful guitar work help the set to deliver a punch, especially after following three great sets. It has the energy of a festival set rather than a traditional support slot. Oddly low down on the lineup is legendary The Black Dahlia Murder. As the gig Is already a duel headline event, The Black Dahlia Murder make it feel as if it’s a three headliner event. The band are just simply wonderful live. They don’t take themselves too seriously and bring some absolute banger tracks with them, played perfectly. Current frontman Brian Eschbach brings a very unique stage presence which is somewhat laid back for the intensity of music on display. It feels as if a significant portion of the crowd are out to see them play as the band haven’t had a UK tour in a fair while. Their three quarter of an hour set feels short just because of how big the band are. The crowd left wanting so much more and will likely have to wait till the band’s next tour. Heaven Shall Burn are the first of the two headliners of tonight, despite being a headliner, they only get an hour to fill the hunger of their fans. Their sound touches on metalcore, death metal and general extreme metal. The band has been around since 1995 still feel so modern in sound and fit completely into place with the rest of the lineup. The band take the time of their set to showcase everything that makes up their approach to metal, and it allows the set to have built in diversity, which helps every song stand on it’s own. The only unusual thing about their set is that a few tracks have longer intros, which means the band spend time off stage to let the intro happen. This is not normally an issue, and especially won’t be if they get a normal headline length set but it does feel a little out of place in a short set. But the set is great, and the crowd has become a ferocious beast of crowd surfers and circle pits for every track. Ending a night of highs on another high is Sylosis. Sylosis are hard to categorize as they have elements of so many sub-genres, so they can best be described as simply metal. Tonight is the release of their new album, The New Flesh which does feature in their set, but they take time to play something from every stage of the band’s history. The band create a wall of metal as they become one to take the crowd on one last hour-long blast of metal. The crowd has built to its most intense moment of the night. Circle pits form with high levels of speed. Wave upon wave of crowd surfers take flight. The band play track after track with pure passion for craft and the audience. After six other band's they have a challenge to keep everyone interested, but as soon as their first notes ring out on stage everyone in the crowd is on side. They have an hour to fill, and that hour is crammed with as much musical joy as they possibly could have. A set of pure jubilation. Every track is treated as a classic, which is in tonight’s set. It’s a truly career-defining moment of metal magic. Seven bands in one night is truly the only way you should spend a Friday. Words: Will Freeman Photos: Kat Stepanikova

FINAL GASP, a Boston based hardcore/death-rock band with post-punk influences are bringing the heat with their brand new album titled New Day Symptoms following their upcoming tour, starting 26th of February. Packed with ten head-banging tracks to get stuck into, and if you’re craving some guttural, edgy riffs that echo through your soul and powerful, rich vocals then this is for you. Their influences for their debut album Mourning Moon consisted of SAMHAIN and KILLING JOKE, with this new album, they want to keep the energy from them but broaden the scope and explore something completely different. Opening with an instrumental track titled Eternal Silence, this sets the theme of the album perfectly by using deep tones and high-pitched chirps in short intervals, creating suspense - until your ears are filled with punchy drum beats and visceral guitar tones. This aligns with the name, giving the listener a sense of Eternal Silence before stripping it away. What stands out in the chaos though, is that PETER MICANOVIC - one of the band's guitarists uses a small riff in between the drums to break up the tension, giving the instrumental more depth. Next up, Look Away comes in with clean drums and a yell, before you hear the aggressive chugging of the guitar leading into the rich vocals by JAKE MURPHY, with a beautifully composed riff layered on top. All of these elements work together seamlessly throughout the track, making it an immersive experience for the listener as you hear every beat from the drums, twang from the guitar and grit from the vocals. The Apparition, released before the album, starts with a more guitar-heavy intro. The drums being introduced in abrupt hits before gradually becoming quicker like a heartbeat would in panic, bringing a sense of unease as haunting vocals come in, especially near the end as the distorted buzzing of the guitar rings out and the drums become slower. Gifted Shame is a track filled with intensity and unfiltered screams, starting off quiet before exploding into a mix of thunderous guitars and powerful drums with intent in every hit, the vocals becoming more prominent in volume. This is something that repeats a few times within the track, and it feels like a sudden burst of rage - despite the band saying they “wanted to minimise emotion.” This is followed by No Hand To Lead, clearly influenced by (Don’t Fear) The Reaper by BLUE OYSTER CULT as it starts with a slow, distorted riff but still shares the same essence of groove, making it their own with electrifying vocals. In this track, the drums feel more present and dramatic than the previous, overpowering the rest at certain parts. KEVIN ORDWAY really knows how to bring the spotlight to the drums. Prediction, the sixth song in the album starts off with fast-paced hits of a drum, showing the punk influences with how chaotic the drums sound but it is accompanied with over-amplified guitar tones and mesmerising vocals as you can hear JAKE MURPHY’S voice being layered together to create a choir of different pitches, bringing the track to life. Burials Of Birth enters with a single bang of a drum, grungy guitar tones and a clear yell that overpowers the instruments, creating an angelic atmosphere. The rest of the track is perfectly balanced, between the vocal fry and the long overdriven guitar notes. Fractures takes a different approach from the previous tracks, as a wave of synth and the periodical beat of a drum can be heard, lasting for one minute and four seconds. There are no lyrics but it sets the tone for the title-track New Day Symptoms, bringing a hardcore atmosphere with feral beast-like vocals now and again, mixed with gnarly guitar tones and sharp drums. Finally, the album ends with a track titled Pale Sun, a mellow start as you hear a slow guitar riff, soul-stirring vocals ringing out over the top. This leads up to crunchy guitars and shrill drum tones, changing the vibe completely but enough to keep the listener engaged. Overall, New Day Symptoms is a flawless second album. It brings disorder and leaves the listener astonished. “If you like punk, you’re going to be into FINAL GASP. If you like hardcore, you’re going to like FINAL GASP. If you like metal you're going to like FINAL GASP. If you like goth, you're gonna like FINAL GASP.” We definitely couldn’t agree more with that as it brings a new definition to all of those genres, mixing them into one, creating a lasting experience for everyone. Score: 9/10 New Day Symptoms will be released on 27th February 2026 via Relapse Records. Words: Jynx Cosgrove Photos: Caleb Gowett