Most people choose to spend their Sunday evenings relaxing and preparing for the week ahead. Instead, two-thousand people came down to the Shepherds Bush Empire to dance, mosh and have the time of their lives inside Midwichopolis, the city where CARPENTER BRUT’S Leather Trilogy takes place. But first, the crowd needed to be warmed up a bit. Enter SIERRA VEINS, who took to the stage armed with nothing more than a MIDI keyboard, pad, and a MIDI controller. But calling her setup minimal would be missing the point entirely. What SIERRA VEINS created was a singular, overpowering universe that blended EBM, synthwave, industrial, and darkwave into something that felt both futuristic and primal. The stage design was nothing short of spectacular, with cyberpunk aesthetics brought to life through careful lighting and, most memorably, SIERRA VEINS herself wearing a smoke machine like it was part of her performance art. Her distorted vocals, processed through layers of effects, meant that her words and production could shine further as her vocals were anonymised through this process. What set this performance apart was the live instrumentation woven throughout her set. The audience reception was immediate and electric. She did not need to say anything to earn thunderous cheers; her music spoke volumes, and when she raised her arm to command the pit, the crowd responded instantly. By the end of her set, screams and little cheers filled the venue. As we waited longer and longer for CARPENTER BRUT to come on, it felt like a rave full of metalheads, and somehow that made perfect sense. As the Iron Tusk tower towered over the pit, it was evident that CARPENTER BRUT, real name Franck Hueso, was primed to take the stage. And the pit was ready for him. Flanked by guitarist Adrien Grousset and drummer Florent Marcadet, both from French tech-metal band HACRIDE, Hueso delivered a performance that felt like witnessing the apocalypse through VHS static. The massive tower-construct behind the stage served as both visual anchor and symbolic monument to the industrial decay that permeates CARPENTER BRUT’s aesthetic, making you feel like you are fighting with Bret Halford. Everything about this performance was designed to complement the music - the fake real estate ad that opened the show, the sprawling dystopian visuals that accompanied each track, the way Hueso communicated through gestures and prerecorded voice lines that had the spirit of the usual MCing on stage. The setlist was a journey through Hueso's Leather Trilogy, with most songs from the finale of the trilogy, Leather Temple. She Rules the Ruins showcased those hypnotic arpeggio synths that made the track such a standout, while Looking for Tracy Tzu delved deep into worldbuilding with its omnipresent Iron Tusk branding and the chilling dystopian atmosphere it represents. What made the performance truly special was how everything complemented each other. The visuals used throughout the gig immersed you in the everyday life of Midwichopolis, both the good and the ugly side of the city and the extent of the tyranny that main character Bret Halford is prepared to fight against. Perhaps the most endearing moment came when the audience sang "Happy Birthday" to the sound engineer. Despite the dystopia of Midwichopolis, there is still hope in evading this kind of future, and the pit proved that to be true. Ending on an electric cover of Maniac by MICHAEL SEMBELLO, the only song on the set with lyrics, CARPENTER BRUT proved that energy and enthusiasm are the key things needed for metalheads to mosh and jam out to music. Anything is moshable, if you put in the work, and CARPENTER BRUT did just that. Despite being the last date on the tour, it felt more like he was just getting started. Words and photos: Atoosa Salamat

HAIL THE SUN prove why boundaries are there to be broken and needles are there to be moved with a new era for melodic post-hardcore. Innovating a clean, vocals-forward sound, laced with intricate guitars that prescribe intense emotion, with their new record Cut Turn Fade Back, they have defined their own space within the Will Swan adjacent cinematic universe. With the phenomenal KURT TRAVIS - and in Leeds BLACK SURF - the band embarked on yet another highly acclaimed tour many miles from home. Local Leeds lads BLACK SURF opened the night to get the crowd pumped up. Bringing a blend of alt-rock and grunge they define their music as “the sound of no responsibilities and endless fuzzy summers”. Heavily inspired by the likes of WEEZER, the band brings a great energy to a room but can also have a crowd deep in their emotions at any given moment. Relative newcomers on the scene having released their debut EP Make Friends With Hell in 2023, they have been on a rapid ascent. Being brought in to play as support for HAIL THE SUN in their hometown is a testament to the hype BLACK SURF have growing around them. KURT TRAVIS needs no introduction to fans of the post-hardcore scene. A journeyman, who has been involved with countless iconic bands and artists while also growing an esteemed discography of solo work. From the moment the set began with the incredible Easy Peasy, the crowd went wild, knowing they were in for something special. Following it up with the iconic Desperate, this only brought more energy into the room, whilst also making time for his new releases. KURT TRAVIS gave the crowd a treat with his 2025 singles How Could I and same as it’s been. He then spent the latter half of his eight-track set playing songs from bands he has been a part of. Starting with Fantasy from the short-lived but much loved ETERNITY FOREVER and then following up with Tootsie Roll from one of his current bands GOLD NECKLACE. Still, he had another even more exciting surprise. Taking a moment to have a heart-to-heart with the fans, KURT TRAVIS reminisced on his time with one of the bigger bands, and this led into Strawberry Swisher Pt.2, sending the crowd into a state of bliss. Saving the best for last, he closed out the set with Uneasy Hearts Weigh The Most which created an atmosphere of euphoria in the room and left everyone exhilarated for the headline. Frontrunners of the post-hardcore scene, California natives HAIL THE SUN headlined the tour off the back of their latest LP Cut Turn Fade Back, which came out in 2025. Having a catalogue of stellar albums dating back to their formation in 2009, the band has nurtured a large and loyal fan base. Starting the set with the opening track of latest album The Drooling Class, the band had the room bouncing from front to back instantly. Vocalist Donovan Melero graced the ears of everyone with his angelic vocals. This got a big cheer, only to be outdone moments later as he unleashed hellish screamed vocals. Before long, the crowd had become the choir for Melero singing all of his words right back at him with a beaming smile. Fans who have been with the band a long time were rewarded with Falling On Deaf Ears from the exemplary 2014 album Wake. The band then made time for more tracks from the latest album, all of which went down a treat with fans. In the moments between songs, Melero remarked on his love and appreciation for playing smaller European and UK venues because of the intimate and intense environment it nurtures. Only a few songs in and covered in sweat, his iconic leather jacket came off. For part of the set, drummer Allen Casillas made way for vocalist Donovan Melero to play drums and sing while the rest of the band stayed at the front of the stage. Having spent seven years as the drummer alongside his vocal duties for the band, Melero is highly regarded for his drumming skills. Letting him have his time to play drums at their live shows gives all fans an admiration for his talent, belting out incredible drumming and heavenly vocals simultaneously. Fans who have stuck around with the band since the beginning were graced with one of the most beloved HAIL THE SUN songs Ow! (Splidado!) [I Like It, Though], from the timeless 2012 EP Elephantitis. The desire to hear all eras from the band was on perfect display here as the crowd roared into another level of energy for this song. Moshers went flying and bodies were moving throughout the entire room. Towards the end of the set, the energy was brought down for the highly emotional Relax/Divide, which left fans singing from their souls and tears welling up in the eyes of many. HAIL THE SUN have an astounding ability to have you dancing one moment and crying the next with their intricate sound and hard hitting lyrics. Not to end the night on a sad note, the band took a moment to tell the crowd how thankful they are for the continued support before lighting up the room with the glorious Maladapted from 2023’s Divine Inner Tension. The building shook one last time from the crowd, giving every last bit of energy they had into the song. A perfect ending to a sensational set, even if the fans would have liked them to play all night. HAIL THE SUN have been a band that have broken boundaries with every new release and this latest album has been no different. There is so much passion from fans across the world and this tour was yet another huge success. A sign of many more fantastic things to come for the post-hardcore juggernauts. If you have not seen HAIL THE SUN live, you are missing out on an experience that is more than just a gig. You are missing out on an emotional experience that will take you to places no other band can. Words and photos: Alex Long

Coming back with an album filled to the brim with head-banging hits? Absolutely not a problem for the German four-piece SAMURAI PIZZA CATS. The metalcore band, formed back in 2021 by the vocalist Sebastian Fischer, guitarist Daniel Haniß, bassist Stefan Reufer and drummer Stefan Buchwald, has been rapidly gaining popularity among the fans, and it is to no surprise, as their songs get easily stuck in head and refuse to leave at any cost. Their second full-length album, Press Play, is another fun project that presents each song as its own unique level in a game. A song directly addressing this choice is Error 809, boasting intricate guitar riffs and catchy drums, as well as synths through the whole track. Fischer is not only using his vocal fry, but also his clean vocals when needed, creating a perfect balance of sounds that still give off unmissable 80s/90s vibes. From the twelve unique tracks on Press Play, three short tracks – Insert Coin, Level Up and Thanks for Playing all serve as transitions between the different songs, reminding the listeners what the album is about, as well as offering short breaks to gather thoughts and take all the feelings in. While Insert Coin and Thanks for Playing contain speeches from a child character, who is playing through the different ‘stages’ of the album, Level Up brings retro synths and melody, that is progressively becoming faster, before the character commands “Off to the next level!”. It would not be a SAMURAI PIZZA CATS album without collaborations, and although there is significantly less than in their debut album, it does not take from the intensity of both pieces. T-Rex(plosion), featuring Jessie Williams of the Catalonian band ANKOR, brings an explosive and powerful mix of guitars and drums, as well as a blend of Fischer and Williams’ voices, that always seem to fill any gaps for each other, creating a moshpit-worthy hit. On the other hand, Ramen-Man is the collaboration between the band and the Japanese-metal pop trio BABYBEARD, consisting of Ladybeard, Suzu and Mizuki, and is a perfect example of groovy-metal. With the vocal fry of the frontman, as well as the addition of Japanese lyrics, the song opens completely new territory for SAMURAI PIZZA CATS and introduces them to the world of idols. It is a funny addition to the already stacked list of songs and a good introduction to the Japanese artists. Within the rest of the tracks on Press Play, Super Zero, Penguin Supreme, Fear No Slice, City of Gold and Pandastruck have memorable intros and melodies, as well as lyrics. The metalcore quartet put to use everything they had on hand and made sure the text kept being consistently enjoyable and engaging, while diving into the topics about waddling on the ice in a tuxedo or galactic pizzas. The closer of the twelve-track release, Pizza Homicide (STVW Version), is only a cherry on top of the already stacked list of songs, even though it is a different version of a classic from their debut album. Turning the metal banger into a rave hit, there is no better way to bring Press Play to the end than this. SAMURAI PIZZA CATS managed to raise their own bar higher with Press Play and showed the metalcore scene why they are one of the best rising bands of the decade. Fischer, Haniß, Reufer and Buchwald create a wonderfully chaotic symbiosis and that is exactly what makes the band and their work so unique - coupled with their unseriously serious lyrics. It is a perfect listen for everyone, who wants to switch off their brain and just vigorously headbang. Score: 9/10 Press Play was released on 27th March 2026 via Century Media Records. Words: Katerina Stepanikova Photos: Calogera Cimino

There’s a tension running through What If Better Never Comes? that never quite resolves — and that’s exactly the point. MALLAVORA’s debut doesn’t follow the usual arc of arrival. There’s no sense of a band trying to prove themselves in obvious, commercial ways, no over-polished bid for mass appeal. Instead, this is a record that leans fully into discomfort — structurally, emotionally, and sonically — and trusts the listener to stay with it. The result is something that feels less like a statement piece and more like an exposed nerve, constantly shifting, constantly resisting resolution. Prologue opens the record with an eerie, slow-burning atmosphere that feels deliberately incomplete, like a door left slightly ajar. It doesn’t so much introduce the album as it unsettles it, bleeding seamlessly into Smile. As one of the album’s lead singles, Smile still lands with impact, but within the full context it takes on a sharper edge. Its jagged riffs and sudden vocal shifts feel more volatile here, less like a standalone burst of energy and more like part of a wider emotional spiral. That sense of instability carries into Waste, which pushes even further into unease. There’s a suffocating quality to its pacing, as if the track is folding in on itself, refusing the listener any easy release. Lilith & Esther (feat. BANSHEE) emerges as one of the album’s most striking moments. It’s not just the feature that elevates it, but the clarity of its vision. Drawing from Jewish and Middle Eastern influences, the track expands MALLAVORA’s sonic identity while grounding it more deeply in heritage and storytelling. Jessica Douek’s performance here is particularly compelling — moving from controlled, almost reverent delivery into something far more feral. There’s a theatrical edge to it, but it never feels performative; it feels necessary, like an emotional language that can’t be expressed any other way. The middle stretch of the record is where its weight really settles. Hopeless and Break feel intentionally dense, both musically and emotionally. They resist the kind of cathartic release that heavy music often leans on, instead circling their own tension. It’s an effective choice, even if it makes for a more demanding listen. Birth of a Sun offers a brief moment of lift, a flicker of something lighter, but it never fully blooms. That sense of almost-relief makes the transition into Sick hit harder — a track that feels like one of the album’s most direct confrontations with its central themes. There’s anger here, but it’s focused and deliberate, aimed outward as much as inward. Walking The Edge Of The Knife thrives on imbalance. It constantly feels like it’s about to tip over, pulling back at the last second and keeping the listener suspended in that tension. It’s one of the album’s most dynamically engaging tracks, using restraint as much as release to maintain its grip. Empty follows with a more subdued emotional palette, but it doesn’t feel like a break. Instead, it captures a quieter kind of exhaustion — the kind that lingers rather than explodes. By the time Make The World Wait arrives, there’s a subtle shift in perspective. It feels more reflective, almost observational, as though the album is taking a step back to assess everything it’s just put the listener through. That distance is short-lived. Host reintroduces a creeping sense of unease, building slowly and deliberately toward the final track. The title track, What If Better Never Comes? closes the album in a way that feels entirely in keeping with everything that precedes it. It’s expansive and emotionally open, but it refuses to offer resolution. There’s no neat conclusion, no clear sense of closure — just the lingering weight of the question itself. What ultimately makes this record land is its intent. Guitarist Larry Sobieraj’s experience with chronic illness is embedded deeply within the instrumentation, giving the music a physical sense of strain and weight. That feeling is then translated through Jessica Douek’s vocal performance, which moves fluidly between vulnerability and aggression. Together, they create something that feels less like performance and more like dialogue — an ongoing exchange of emotion that doesn’t always seek to be understood. As a debut, What If Better Never Comes? is strikingly self-assured. It doesn’t chase clarity or validation, and it doesn’t simplify its ideas to make them more accessible. Instead, it sits firmly in complexity, allowing contradictions to exist without resolution. MALLAVORA haven’t just introduced themselves here — they’ve drawn a line. Score: 9/10 What If Better Never Comes? will be released on 27th March 2026 via Church Road Records. Words: Mia Gailey Photos: Mallavora

When a completely unknown band appears on the lineup for one of the biggest rock festivals in the world, people notice. When that band has released no music, shows no faces, and speaks only in cryptic teasers? People start investigating. That’s exactly what happened when PRESIDENT burst onto the scene in February 2025 after appearing on the lineup for Download Festival. At the time, the name meant absolutely nothing to anyone. No singles, no music videos, no press—just a name on a poster. Naturally, the rock and metal community immediately went into detective mode. The mystery deepened when images of the band began to circulate. The frontman, known only as President, appears wearing a haunting mask: grey-silver hair swept back, deeply etched wrinkles in the face, and an almost wax figure quality that feels both human and slightly unsettling. Behind him stand the rest of the anonymous lineup is guitarist Heist, bassist Protest, and drummer Vice forming a fourpiece built as much around atmosphere and identity as music. But the truth is that PRESIDENT didn’t appear overnight. According to interviews, the project originally began as a solo venture, developed quietly behind the scenes for several years before expanding into a full band. The secrecy was deliberate. By the time the public caught a glimpse of the project in early 2025, the groundwork had already been laid. Shortly after the Download announcement, the band launched their social media accounts and began posting cryptic teasers - short clips, imagery, and fragments that hinted something big was coming. In April 2025 they released a teaser for their debut single, building anticipation until May 2025, when In The Name of the Father finally arrived. The response was immediate. The track didn’t just introduce the band, it launched them. Just days later, PRESIDENT announced their first ever headline show at The Garage in London, scheduled for 30 July 2025. Tickets sold out in less than 48 hours, proving that the intrigue surrounding the band wasn’t just online curiosity- it translated into real-world demand. A second single, Fearless, followed on 5 June, further fuelling the hype just days before the band stepped onto a stage for the very first time. Their live debut at Download Festival in June 2025 only intensified the mystery. The performance reportedly turned the tent into “absolute pandemonium from the off,” with fans cramming in to witness the spectacle of a band that had barely existed a few weeks earlier. Of course, the biggest question surrounding PRESIDENT isn’t the music - it’s the identity behind the mask. Almost immediately after the first singles dropped, speculation exploded online about who might be fronting the project. One name that kept resurfacing was Charlie Simpson, best known as the vocalist of FIGHTSTAR and former member of BUSTED. Fans quickly began pointing out similarities between the PRESIDENT vocals and Simpson’s unmistakable tone. Then came the so-called “bracelet incident.” During festival appearances, observant fans claimed to have spotted a matching bracelet worn by both Simpson and President on the same day. Some fans even went as far as tracking helicopter flight paths between festival locations to see if the timing lined up. Whether the theory is true or not, the band themselves have remained completely silent on the subject. The identities of the members remain officially undisclosed, and PRESIDENT seems perfectly happy letting the speculation run wild. Another theory that circulated just as quickly was that PRESIDENT might be an industry plant, strategically launched by labels to go viral. The band strongly rejected that claim, stating that their music, including their debut EP, was self produced and released independently without label backing. Regardless of how they got there, the momentum was undeniable. Following their early singles and explosive festival debut, PRESIDENT announced their debut EP King of Terrors in July 2025. The announcement came alongside the release of the third single, Rage. Soon after, a fourth single titled Destroy Me arrived in early September to build anticipation for the full release. The EP finally dropped worldwide on 26 September 2025, accompanied by neon styled visualiser videos for additional tracks Dionysus and Conclave. Within six months, the record had already surpassed 50 million streams on Spotify, an impressive milestone for a band still hiding behind masks. The band’s rapid rise didn’t stop there. PRESIDENT were soon announced as support for ARCHITECTS on several tour dates spanning late 2025 and early 2026, exposing them to even larger audiences across international stages. Festival appearances also continued to pile up. The band secured a headline slot at Takedown Festival in Portsmouth in April 2026, while additional festival slots followed for Slam Dunk, Nova Rock, Rock for People, and Copenhell throughout the summer. Recognition arrived quickly too. In November 2025, PRESIDENT were awarded Best New Artist at the Rock Sound Awards, cementing their place as one of the most talked-about new bands in rock and metal. And perhaps most excitingly, the story is far from over. The band has already confirmed that work is underway on their first full length album, which will reportedly expand on the mythology and narrative surrounding the mysterious President character. Whether the masks eventually come off or not, one thing is clear: PRESIDENT didn’t just arrive quietly. They arrived like a campaign rally: loud, theatrical, and impossible to ignore. And honestly? Half the fun is still trying to figure out who’s standing behind that mask. Catch President this summer at both Takedown Festival and Slam Dunk. Words: Angel Turley

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

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

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

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

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

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

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