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Another year, another Download! It's almost ceremonious how important Download is to the British heavy music scene. For one weekend, Castle Donington is the proving ground of the world's best alternative music acts, ready to lay siege to an over 95,000-strong crowd. This is the make-or-break moment, a chance to see artists find their place or fall. How an artist fares at Download can catapult the trajectory of their careers in real time. It's safe to say there were a lot this year that dominated and dazzled, down to Download's continued efforts to showcase new acts, many of whom have not played the festival before. Revamped stages, with the Apex stage becoming the largest in the UK this year, are set for coronation for headliners GUNS 'N' ROSES, LIMP BIZKIT, and LINKIN PARK - and for the first time in a few years, the weather wasn't that bad. This is what our fantastic writers caught this year at Download Festival. Words: Ben Blissett (BB), Julia Stark (JS), Adrian Chapman (AC), Amy Smyth (AS), Elena Meadows (EM), Jack Norris (JN), Mia Gailey (MG), Theviya Karunaharan (TK) Photo: Julia Stark FIVE FIVE prove rock is a state of mind, bringing literal fire to the Doghouse stage as they powered through their nostalgic tunes and entertaining choreography to tumultuous applause. “Who came out this weekend to get down?” was promptly met with crowdsurfers and dancing to the back of the room, the band pausing briefly for Download DJ Kylie’s surprise proposal, before ending with a manic mosh pit for Keep On Moving. We definitely got down in the dance pit for FIVE! (JS) HEADWRECK HEADWRECK’s Dogtooth stage opener proved that Download isn’t just about the giants. Blending electronic, hip-hop, nu-metal and pop into something chaotic and distinctly their own, they channelled exactly the forward-facing energy this festival’s smaller stages are built on. Opening with Filet-O-Fish set the goofy, fun tone instantly, while Raindrops stood as one of the year’s best modern metal releases. Merch jerseys scattered throughout the crowd told their own story: this lot have been grinding hard and leaving a mark across the UK. Pit-hungry newcomers and devoted regulars up front, the boys brought pure feral, chaotic fun either way. (AC) SLEEP THEORY Nothing says you’re at a rock/metal festival like MILEY CYRUS’ Party In the USA, but SLEEP THEORY are renowned for blending genres and having enormous fun with their fans. Vocalist Cullen Moore was fully engaged with the audience, proclaiming “I don’t care if you’ve got bad knees, get moving!”, as the quartet delivered body-moving banger after banger, guitarists Paolo Vergara and Daniel Pruitt joining in for a 3-person vocal harmony on Words Are Worthless, encouraging crowdsurfers to “put security to work” on floor-shaking ender Static, as Moore leapt into the crowd - SLEEP THEORY continue to bullseye their target with every show. (JS) MOUTH CULTURE MOUTH CULTURE made their mark at Download Festival, playing out the Avalanche tent and gathering an impressive crowd. Lead vocalist Jack Voss owned the stage, knowing exactly how to get everyone off their feet and moving. Their set was compiled of their best hits like Don't Pull Up, Rat Bag and Everyday, they had the entire crowd singing along, whether they knew the words or had to be coached to join in. The lively crowd also decided there was one for surfing, with a crazy amount of them being collected over the barricade throughout the set. (AS) BABYMETAL The Fox God (or possibly Etsy witches) finally blessed us with sunshine and declared it BABYMETAL’s time to conquer the Apex stage. Matching onto the stage with stoic expressions before launching into BABYMETAL DEATH, lead vocalist Su-Metal couldn't hold back her delight at finally being able to perform. Demanding to see “big circles” in the pit, BABYMETAL tore through their setlist of blended JPop and heavy metal whilst performing killer choreography as the audience crowdsurfed wildly, even during the intermissions. It's hard to say who was more excited to be in attendance. (JS) LAKE MALICE LAKE MALICE brought an explosive burst of energy to the Dogtooth Stage, wasting absolutely no time in getting the crowd moving. From the moment they launched into their opening song, the atmosphere shifted up a gear. The band had the audience clapping along almost instantly, and by the end of the first track, there were already mosh pits opening up and crowd surfers making their way across the packed field. Alice & Blake fed off the chaos brilliantly, delivering a performance that felt equal parts controlled and unpredictable. One of the standout sights throughout the set was the lead guitarist, whose seemingly endless supply of energy saw him launching himself into the air at every opportunity. It added another layer of excitement to a performance that never stood still. Festival crowds always create memorable moments, and LAKE MALICE’S set was no exception. A crowd-surfing seagull somehow became one of the most talked-about moments of the afternoon, perfectly capturing Download's unique sense of humour. As if that wasn't enough, eagle-eyed fans also spotted the guitarist casually playing Minecraft during the set, creating a bizarre but hilarious contrast to the chaos unfolding around him. It was a fun, energetic and unforgettable performance that proved exactly why LAKE MALICE continued to build momentum. (JN) AS IT IS With their first performance at Download festival since their reunion, after nine years, AS IT IS were pumped with energy. Ben’s hair swaying across the stage. Foley is showing off his passion for drums. Ali is ready to give an outstanding performance. Patty catches his mic after flinging it high past the stage structures. Giving diehard fans a taste of their upcoming album, Do You Remember, offers the nostalgic reminiscence of the band's roots. Finishing their set with the classic Dial Tones, the band’s energy was contagious. A track that compels the crowd to erupt into chaos. Family reunions occur at every edge of the pit, and crowdsurfers cover the surface of the front crowd. AS IT IS leaves clarity hanging in the air: this is just the beginning. (TK) LANDMVRKS Debuting at Download festival for the French metalcore band LANDMVRKS was already a huge achievement. To have built up a fanbase to perform on the main stage was astounding. Opening the set with relentless energy and flaring pyro, Florent Salfati's compelling crowd control immediately sparked waves of crowdsurfers and mosh pits. Rage was evident as Sulfur had built momentum for deathly screams. Shifting between hip-hop melodies in English and French and crushing metalcore breakdowns in Blood Red, it becomes clear why LANDMVRKS have received such high praise. The band's infectious energy lingered as the crowd dispersed, with fans already looking forward to a future performance by LANDMVRKS. (TK) TRIVIUM In 2005, Download welcomed TRIVIUM with open arms and gave them the biggest set of their careers at that point. 21 years later and many visits since then, TRIVIUM have returned to their biggest set as sub-headliner to 90,000 strong. And the show they put on absolutely solidified their place in that slot, opening with Pull Harder On The Strings Of The Martyr, they wasted no time taking the audience on a showcase of all their greatest hits; punts erupted as the band cut deep into the ears of every punter at the festival. The sheer restlessness of this band pulled you in and gave you no time to rest with the level of talent and intricacy they displayed as Guitarist Corey Beaulieu did not falter on both his playing and unclean vocals, as was the same for Lead Vocalist Matthew Heafy, never missing a note and giving a brilliant and positive energy to the set that only ever uplifted the crowd. It’s safe to say that this set was one of the best of the entire weekend. (BB) AS EVERYTHING UNFOLDS One of the weekend’s most impressive performances came from As Everything Unfolds, who delivered a set that felt far too big for their slot. From the moment they stepped on stage, the band had the crowd completely in the palm of their hand, blending crushing heaviness with soaring melodies that had fans singing along from the front barrier to the back of the field. Charlie Rolfe was a commanding presence throughout, effortlessly switching between powerful vocals and raw emotion while encouraging the crowd to give everything they had. The band's chemistry was undeniable, with each member bringing an infectious energy that never let up. It was a set packed with passion, confidence and momentum, proving exactly why As Everything Unfolds are becoming one of the most talked-about names in modern British alternative music. (MG) CREEPER Playing three sets over the Download weekend, CREEPER once again demonstrated their flair for theatrical, immersive performances. Starting with the three same songs at opus stage and dogtooth stage, it was evident that the shows were going to have a focus on gothic glam sister albums: Sanguivore. The crowd was packed with devoted fans, screaming every lyric. Razorwire showcased the phenomenal vocal range of Hannah Greenwood. As the mistress of death struts out onto stage and a guillotine was present, the crowd knew they were in for a show. With William Von Ghould’s head dropped into a basket and held up triumphantly, the Friday set comes to a close with roars. The vampire familiar Darcia opened the dogtooth set on Sunday with Will’s decapitated head, embracing the theatrical ending of the Friday set. A sign of relief crosses the crowd as Will’s head is successfully stitched back on, ready for a new set consisting of a new array of tracks. A sweet dedication of “more than death” to Will’s girlfriend was proclaimed as the song made its first debut at a festival. CREEPER are a band that could perform multiple times in one weekend! Captivating a crowd and leaving a lasting impression is what continues to set them apart. (TK) PENDULUM Whilst Download Festival holds home to metal adjacent genres, PENDULUM’s unique fusion of drum and bass and rock is consistently welcomed by attendees. Featuring heavier tracks from Inertia, the band invited chaos into the crowd as mosh pits formed, kicking up clouds of dust. A guest appearance from Rou Reynolds had the audience ecstatic with seas of claps to a newer rendition of Sorry You’re Not A Winner. After an encore, PENDULUM’s hits were piled on from witchcraft, watercolour and tarantula. A palpable energy filled the Donington grounds as the crowd danced with infectious enthusiasm. PENDULUM continue to spotlight the diversity within alternative music. (TK) SCENE QUEEN One of the most chaotic and high-energy sets of Download Festival 2026 came from Scene Queen on the Apex Stage, and it felt like total controlled chaos from start to finish. Opening with Barbie & Ken and Pink Push-Up Bra, she set the tone instantly, turning the field into a pink, shouting, mosh-ready crowd. Later tracks like Pink Panther and Pink Rover pushed things even further, with call-and-response moments and pits breaking out across the Apex Stage. Between songs, her crowd interaction kept everything moving at full speed, making it feel like one continuous, messy celebration. By the end, the Apex Stage felt completely taken over, loud, unhinged, and unforgettable in every way. Proving she can dominate big festival stages without losing the attitude that made her breakout in the first place at all here. (MG) THE PLOT IN YOU Fans gathered in droves for one of the loudest names in metalcore as of late, THE PLOT IN YOU. Playing at the Opus stage on Sunday, directly following THROWN, most of the crowd stayed in their spot to see both of these huge up-and-coming artists. Having last played in the UK in October, this set marked their first-ever appearance at Download, and the crowd showed up for them. Brutal mosh pits lined their set with a constant flow of crowd surfers being hoisted over the barricade while they played hits like the brand new Divide as well as classics, Forgotten and Feel Nothing. (AS) SPITTING GLASS If you were hoping to take it easy for the last day, tough shit, as SPITTING GLASS ripped apart the morning peace in their Download debut on the Dogtooth stage. Whether fatigue or nerves held fans back at first, it wasn't long before the band’s frenetic energy spilt over into the crowd, and chaos reigned supreme, with circle pits, full-body headbanging and cartwheeling fans releasing their inhibitions to the opening track Full Send. A quick check-in from The Nicest Hardcore Guy Joe Bad was swiftly followed by a scream-along of “I'm fucking spitting glass” to 1HP. Debut? Completed it, mate. (JS) SOUTH ARCADE Download newcomers South Arcade took to the Apex Stage for the first ever time in their career, and we do not believe it will be their last. Arriving on stage to a growing crowd of thousands of people, South Arcade wasted no time launching into HOW 2 GET AWAY WITH MURDER. From the opening moments, it was clear that the band had this infectious energy that drew attention. Vocalist Harmony Cavelle owned the Apex Stage with confidence, balancing insane vocals with the playful, bubbly attitude that the band has become known for, thanks to their rapidly growing online presence. (EM) SILLY GOOSE At the Avalanche stage, someone nearby asked their friend if SILLY GOOSE were even heavy enough for mosh pits. Within minutes, the entire crowd had their answer, tearing the tent apart with barely a person left standing still. Frontman Jackson Foster whipped everyone into a frenzy from the first note, Live It Up getting the whole place screaming about ‘rockin’ with the goose’. Red baseball caps everywhere made it feel like the unofficial LIMP BIZKIT warm-up. He closed Bad Behaviour by leaping off stage himself to help catch crowdsurfers, the whole sweaty tent feeling like it had stepped straight into a music video. (AC) HOT MILK HOT MILK turned the Avalanche Stage into absolute mayhem with a set that never eased off the accelerator. Before the band had even properly settled into their opening moments, Han was already screaming, " Where's my giant hole, where is the movement?" and from there the energy simply never dropped. The band's ability to connect with the audience was one of the defining features of the performance. Han Mee in particular was relentless, demanding the same level of energy from the crowd that she brought to the stage herself. The result was pure chaos, with pits constantly forming and movement spreading throughout the packed audience. What stood out most was how willing the crowd were to follow every instruction. Whether it was singing back lyrics, throwing themselves into the pits or simply matching the band's intensity, the audience became an extension of the performance itself. At one point, Download's trademark festival weirdness made an appearance when a fan dressed as Cookie Monster found themselves in the middle of a circle pit, drawing laughs from those watching while somehow fitting perfectly into the madness around them. HOT MILK has always thrived on high-energy live shows, but this felt like a statement performance. Loud, chaotic and packed with personality, it was one of the most entertaining sets on the Avalanche Stage all weekend. (JN) TOM MORELLO It doesn’t get more legendary than this. When one of the greatest guitarists of all time graces the stage, you can’t help but fall in love with his energy, message and insane talent. Playing everything from his solo songs to a medley of all of RAGE AGAINST THE MACHINE’s best riffs throughout their whole discography, this group of musicians accompanying Morello, including his son, Roman Morello, who astonished the crowd with his intense skills as a sensational guitarist despite his age. Morello did not hold back in the song choices, choosing to also throw in Like A Stone by his band with Chris Cornell, AUDIOSLAVE, which was especially moving with imagery of the late Cornell on the screens. But no moment was grander and more significant than when Morello called out Fascism and ignited into KILLING IN THE NAME to create the peak of the set. (BB) LIMP BIZKIT Few bands can command a Download crowd quite like Limp Bizkit, and their 2026 appearance was a reminder of exactly why they remain festival favourites. From the moment the opening notes rang out across Donington Park, the atmosphere shifted. What followed was a set packed with nostalgia, chaos and an undeniable sense of fun as thousands of fans threw themselves into every song. Frontman Fred Durst had the crowd eating out of the palm of his hand, effortlessly bouncing between humour, crowd interaction and the swagger that has defined the band for decades. Classics such as Rollin', My Generation and Break Stuff sparked huge sing-alongs and relentless movement across the field, with circle pits opening up almost instantly. While many came for the nostalgia, Limp Bizkit proved they are far more than a legacy act. Their set felt energetic, fresh and perfectly suited to the Download atmosphere. Equal parts ridiculous and brilliant, it was one of those performances where everyone seemed to leave with a smile on their face, reminded of why Limp Bizkit continue to be one of the most entertaining live bands on the festival circuit. (MG) PALEFACE SWISS Don’t let a band go without food vouchers. Download festival wasn’t ready for the sassy, hangry band who were ready to unleash rage. Whilst not being able to encourage crowd chaos and playing a set before 3 pm, the deathcore fans had united with their common purpose. Any sense of order dissolved within seconds as an influx of crowdsurfers swarmed over the barricade to “hatred”. “Best before: death” invites a call and response with pyro flaring in front of the band. PALEFACE SWISS carry a contagious and controlled energy that highlights their passion and crushing heaviness. If you need proof that the upcoming The deathcore scene is thriving. PALEFACE SWISS is a band to look for. (TK) A DAY TO REMEMBER If there was one set that felt like pure Download chaos in the best possible way, it was A DAY TO REMEMBER. From the second they hit the stage, the crowd exploded into a sea of crowd surfers, circle pits and voices screaming every lyric back at the band. Their set was the perfect mix of crushing breakdowns and massive sing-along moments, bringing together old-school fans and first-timers alike. There was something special about looking around and seeing thousands of people completely lost in the moment. Loud, emotional and relentlessly fun, it was the kind of Download set people will still be talking about long after the festival ended. (MG) BAD OMENS For the first time, BAD OMENS finally played at Download festival, after a cancelled appearance in 2024. The band shot straight up to the second on the bill on the Apex stage, coming on just before their good friends LINKIN PARK on the Sunday this year. The band gathered a huge crowd and did not disappoint; they played their hits such as Just Pretend and Limits, as well as shiny new songs like Spector and Impose. Lead vocalist Noah Sebastian brandished his live vocals, switching from light and airy high notes to deep barking growls. The end of their set Dethrone was certainly the most impressive of their set, raining down their rage on the festival and leaving their mark on the Apex stage. (AS) MELROSE AVENUE Melrose Avenue at Download Festival 2026 felt like one of those breakout sets people stumble across and then don’t shut up about afterwards. Melrose Avenue took to the Avalanche Stage, and even in that early slot, they managed to pull a crowd that spilt well beyond the tent. From the first song, their mix of modern alt-rock hooks and heavier, more emotional edges landed straight away. It had that perfect Download balance of being catchy enough to draw people in, but gritty enough to keep the heavier crowd locked in. The band looked genuinely stunned by the reaction at first, but quickly settled into it, feeding off the energy and tightening with every track. By the end, the Avalanche Stage felt packed, loud, and fully theirs for the moment—a proper “we’ve arrived” kind of performance that hinted at much bigger stages to come. (MG) THE PRETTY WILD A Labubu, Ghost Face, and a cockroach enter a circle pit. That's not a joke, it's what happened at THE PRETTY WILD’s set. The Avalanche Stage was just right for their indelible energy and for the explosive crowd, mosh pits opening the moment sister/singer duo Jyl and Jules Wylde bounded on stage. Harmonising clean vocals and taking it in turns to fry-scream PARADOX over ear-bursting drums and guitar, it was as wild as could be, even down to security headbanging and dancing, the sisters dedicating button eyes to “the girly pops” and everyone losing their minds to supreme favourite Sleepwalker. (JS) THORNHILL One of the most standout moments at Download Festival 2026 came from Thornhill on the Dogtooth Stage, where they delivered a set that felt heavy, cinematic, and completely absorbing from the start. Opening with Arkangel, they immediately set a dark, atmospheric tone that pulled the crowd deep into their sound. The tent filled quickly, with people packed in tight, locked into every shift between aggression and melody. Mid-set tracks like Casanova and Viper Room hit hard live, with huge riffs cutting through the space while the vocals added a haunting emotional weight. Every transition felt deliberate, building tension rather than just moving through songs. By the final moments, the Dogtooth Stage felt like a different world entirely—intense, immersive, and one of those sets that sticks with you long after the noise fades. (MG) RORY TikTok sensation RØRY landed herself a slot at the Apex stage on Sunday, and she absolutely brought her A game. Her lyrics are emotional and vulnerable, with a lot of her songs, like Anti-Repressant and Sorry I’m Late, relating to her struggle with mental health throughout her life. The crowd was full, especially of a younger audience singing their hearts out, and some even being brought to tears. Years of playing tug of war with the music industry and eventually finding her feet through social media have rewarded her with a deeply connected and caring fanbase. (AS) DOGSTAR After a triumphant return a few years ago, DOGSTAR have had a newfound wave of fans after they picked up their instruments for the first time since 2002, and this performance marked their first time at Download, and they didn’t miss a beat. They pulled a pretty huge crowd for the Opus stage as everyone certainly wanted to take a look at the legendary Keanu Reeves on bass, with many signs and call-outs being directed at Reeves as he felt the love radiating from the audience. The band took it through the motions as they showed their range with beautiful, slow and melodic songs before rotating back to songs heavier on the riffs and hitting a bit harder. After 20 years away, DOGSTAR certainly haven’t lost it. (BB) DIE SPITZ DIE SPITZ have exploded onto the scene, and their Avalanche stage set demonstrates exactly why they've gone nuclear. All bets were off as bassist Kate Halter literally walked out on stage on her hands before kick-off track Pop Punk Anthem (Sorry For The Delay), guitarists/drummers Ava Schrobilgen and Chloe de St. Aublin casually swapped instruments mid-set, and Eleanor Livingston harmonised forceful growls with Schrobilgen on My Hot Piss as Halter wheeled about the stage like a Beyblade. It was manic, it was wild, it was everything. (JS) VIANOVA Getting to the barrier early for VIANOVA paid off in full. Frontman Alex Kerski strolled out in his trademark fluffy ushanka and orange sunglasses, grinning at the crowd: “I see the hats, I know you guys know the words!” Squier Talk hit hard despite Alex sweating it out in a sweater and slacks. Genuinely impossible to pin down, their sound fuses jazz, soul, metalcore, pop and swancore into something that just works, heavy riffs colliding with proper singalong choruses. The pits delivered, fluffy hats flying everywhere amid constant crowdsurfers. Another Dogtooth band is making the case for checking out smaller acts. (AC) ICE NINE KILLS Ice Nine Kills, a band that is no stranger to the Download scene, made their return to the Apex Stage on the last day of the festival. Just six months after they hosted their A Work of Art Tour across the UK, the theatrical, horror-inspired band were set to perform in front of the thousands of people in attendance that Sunday. Musically, Ice Nine Kills blends elements of metalcore, punk and hard rock to create a sound that complements their horror-inspired storytelling perfectly, pairing well with their theatrical elements. All of the band members were constantly energised and jumping around the stage, which felt very contagious to the audience. (EM) THROWN Making their Download Festival debut, THROWN arrived on the Opus Stage with a lot of hype surrounding them, and they more than lived up to expectations. From the opening moments, it was clear the crowd had been waiting for this one. The audience response was immediate and intense. Pits erupted across the field almost constantly, with fans two-stepping from front to back as the band's crushing sound echoed around the arena. There was a raw aggression to the atmosphere that suited THROWN perfectly, creating one of the heaviest crowd reactions of the weekend. The Swedish outfit delivered a performance that felt uncompromising from start to finish. Their blend of crushing riffs and relentless breakdowns kept the crowd moving throughout, while the occasional flashes of crowd killing added to the sense that anything could happen at any moment. Despite the chaos, there was a shared understanding among fans that they were witnessing a band fully embracing their first appearance at Download. Vocally, the performance was exceptional. The harsh vocals sounded every bit as powerful live as they do on record, cutting through the wall of instrumentation and driving the set forward with real intensity. For a first Download appearance, Thrown looked completely at home on one of the festival's biggest stages, delivering a set that left many fans hoping it won't be their last visit to Donington anytime soon. (JN) LINKIN PARK After 12 long years, LINKIN PARK returned to Donington to make history as the first female-fronted headline act in Download history, and they brewed up a show that goes hand in hand with their previous headline shows as absolutely legendary. With an incredible set-up, impeccable light show and an insane amount of confetti, they pulled out all their stops for this set. Opening with their newest hit, The Emptiness Machine, Emily Armstrong put any doubters to sleep as she powered through every song on the set, keeping up with the rest of the band's talent and experience. The new era of LINKIN PARK is certainly here and they took the audience on an unstoppable joyride of new songs and old bangers that kept the crowd moving the entire time, with an insane amount of mosh pits down the front, jumpers in the back and everyone singing at the top of their lungs, Donington embraced this new version of LINKIN PARK with open arms, tears were shed, and so many moments of energy were had to make an incredible headline set for the ages. (BB) See you next year, Download!

Earlier this year, JUNIUS released their first new song in nearly ten years. It’s been quite the break for them - since 2017’s Eternal Rituals For The Accretion Of Light they’ve only played a few gigs, including a short Europe tour last year. With that in mind, new music wasn’t a huge surprise, but with all this time having passed, and only two founding members remaining in the group, a completely different sound was to be expected. That’s what they did with Initiatrix, the lead single for Sotera, their fourth full-length LP. JUNIUS are a band that often get slapped with the “post-metal” label, which first time listeners might find somewhat confusing, considering Initiatrix is played quite straight, leaning more into gothic metal than anything else. There’s operatic vocal performances from Joseph E. Martinez, as well as dark and almost choral walls of guitars in the chorus, with a generally moody atmosphere across its runtime. It’s a solid tune, and while not as ambitious as other cuts on the album, makes sense as a sampler for the record. This is clear on the opener, Disciple. The gothic feel is on full display here, with a wonderful post-chorus, as he croons “I am the one you doubt” and “I’ll make you fall in love”. There’s a massive emphasis on space on the track, every instrument feels miles apart, anchored together by the permeating rhythm from Dana Filloon’s drums. The way the three guitar parts work together in tandem here feels entirely natural, despite them all achieving drastically different effects. It sets the stage perfectly for the second track here, The Oracle. The Oracle opens with a noisy, distorted riff that wouldn’t feel out of place in a post-hardcore song. Don’t be misled, however, as the verse kicks in with Martinez wailing over pounding toms in a Robert Smith-esque vocal inflection. The relative quietness of the verse and the almost happy-sounding chord progression only adds to the release given by the chorus. It feels gargantuan on this song in particular. The bridge after the second chorus features feedback and loose, distorted playing over a spoken word section. It’s the first hint that there’s more to this song than meets the eye. Of course, it doesn’t take long for this to come into full effect, as the second half of this song ends up leaning more into prog metal. There’s a certain tension to the occasionally chugging guitar and Martinez’ disaffected vocals, broken by his screams launching the song into its exhilarating outro, everything coming back together. An extremely dense track, and likely the highlight here. Elsewhere on the record, we get tracks like Darkwater, a slow burn with the most prolonged calm before the storm on the album. When said storm approaches three minutes in, it never leaves. Occasionally dropping one sole distorted guitar into the right channel before exploding again, it’s an intense experience. This one really lets the group’s guitarwork shine, a testament to their ability to build a grand soundscape out of them. Lucifera is easily the most mellow tune on here, opening with nothing but chorused-up guitars, with an intimate vocal performance from Martinez, especially when he goes into that higher register. There’s still that all too familiar gothic darkness on here, condensed into its purest form yet. With comparatively softer and slower instrumentation throughout, it almost feels romantic. We end on Scythian, six and a half minutes long, making it the longest track on here. It certainly lives up to that, rarely relenting - and if it does, it’s either in service of a huge wall of sound, or something entirely new. Usually both. A fitting end to such a grandiose and theatrical album. Sotera is an album that feels like it should be taking bigger swings than it actually does. There are some great moments here, like The Oracle and Scythian, where their ambition shows on full display and sticks the landing completely, but after ten years or so, it feels as though something is missing. JUNIUS have crafted a group of songs that, at points, feel somewhat underdeveloped, but with a little extra care, could be fantastic. For that, we’ll just have to see how they bloom in a live setting. Score: 6/10 Sotera will be released on 26th June 2026 via Prosthetic Records. Words: Noise Leonard Photos: Junius

MILLION MOONS, a relatively small group on the London post-rock circuit, are back for their third full-length LP, You Be Good, I Love You. Already striking is the title and artwork, both a reference to Alex the Parrot, a parrot studied by scientists researching animals and their ability to communicate with human intelligence - the title is named after his last words. So it’s all the more effective when you find out the album’s thesis is about the complexity of the animal kingdom, the ultimate thesis being that animals are not “less than” humans. This is captured immediately on opening track Titan of the Deep. The title refers to the rarely seen colossal squid, reflected by the song’s sweeping tremolo-picked guitars to create an image not of ferocity, but of majesty. The nearly nine-minute runtime allows the piece to breathe - the section five minutes in features driving drums that increase in intensity as does the lead guitar melody, eventually crescendo-ing in a tidal wave of sound. An extremely cinematic depiction of one of the most mysterious creatures on the planet, but a fitting one regardless. Second track Last Days Together on the other hand is utterly heartbreaking. A song about the final few days with a pet, it evokes THEE SILVER MT. ZION MEMORIAL ORCHESTRA’s classic debut album, which Efrim Menuck similarly devoted to his dog Wanda. And while MILLION MOONS are clearly more influenced by groups like MOGWAI, the real sense of sentimentality is present here too. The final climax effortlessly manages to distil a wave of mourning and grief-stricken emotion into just a few minutes. Secret Histories is undoubtedly the centrepiece of this project, five tracks in and just about the lengthiest piece here. The album as a whole thus far has attempted to paint a picture of wildlife, notably their habitats. Obviously, there’s an elephant in the room here, and multi-instrumentalist Edward Thompson says as much, as a marine conservationist - “it’s truly sad what has happened to their habitats as a result of human activity.” Secret Histories wordlessly approaches this subject head-on, with various changes to the sonic landscape that are impossible to ignore across this piece’s runtime. So many walls of sound that it becomes impossible to turn your head away. It feels like a call to action in a totally non-judgemental way. A reminder of hope in the face of cruel odds, that we are all fighting this together, and not just humanity, at that. The closer here, Floating For Eternity opens on these soft piano notes, and the type of guitar playing and drumming that wouldn’t feel out of place on a MONO album. As the drums intensify, we reach our first crescendo. The piano plays the same melody, a constant, not quite buried in the ferocity of the unrelenting guitars and drums - and then as it winds down, silence. There’s still just under five minutes left of the song, but nothing plays at all, no matter how long you wait. It’s like what BOARDS OF CANADA did with the silence throughout the duration of Magic Window, it’s clearly purposeful, which makes it all the more unsettling. That’s the note, or rather, lack thereof, that we’re left to ruminate on. MILLION MOONS’ third full-length is a highly sentimental journey through vibrant sonic palettes that reflect the natural world. While the instrumentation itself isn’t exactly re-inventing the wheel, the intent behind it is extremely commendable, and as a result the imagery provoked by the music is wordlessly and effortlessly more effective as a result. Here’s hoping we hear more from them soon! Score: 7/10 You Be Good, I Love You will be released on 26th June 2026 via Ripcord Records. Words: Noise Leonard Photos: Callum McMillan

For a band whose music has always balanced vulnerability with infectious indie-rock charm, In Heaven There’s Rainbows feels like the moment SNARLS truly come into their own. The Ohio quartet’s latest EP is both a celebration of youthful optimism and an acknowledgement of the realities that threaten to dull it, delivering six tracks that shimmer with hope while carrying the scars of growing up. At its core, In Heaven There’s Rainbows is about holding onto the things that once felt impossible. Whether it’s chasing creative ambitions, preserving meaningful relationships or refusing to abandon the dreams that shaped you, SNARLS spend the EP navigating the often complicated space between who you were and who you’re becoming. It’s a relatable premise, but one that the band executes with enough sincerity and personality to avoid slipping into cliché. Leading the charge is recent single One Wish, arguably the clearest representation of where SNARLS are heading next. Written as a reminder to actively pursue the dreams you once imagined for yourself, the track bursts with colourful energy. Bright melodies collide with noticeably grittier guitars, signalling the heavier direction the band have hinted at while retaining the infectious hooks that have become their trademark. There are flashes of WET LEG’s playful confidence and the expansive indie-rock textures that have made WOLF ALICE such a formidable force, but SNARLS never lose sight of their own identity. Instead, they use those influences as a foundation for something increasingly distinct. What’s immediately striking throughout the EP is just how much more confident the band sound. Previous releases showcased their knack for crafting memorable indie-rock songs, but In Heaven There’s Rainbows feels far more focused and deliberate. The guitars hit harder, the choruses land with greater impact and every arrangement feels carefully considered. Rather than chasing trends, SNARLS appear to have spent time figuring out exactly what they want the project to sound and feel like. That confidence extends beyond the instrumentation. Lyrically, the EP captures the strange contradiction of modern adulthood: the expectation that you should have everything figured out while simultaneously feeling completely uncertain about what comes next. SNARLS tackle those anxieties with refreshing honesty, avoiding grand declarations in favour of smaller, more personal reflections. The result is a collection of songs that feel deeply human, inviting listeners to see their own experiences reflected back at them. What prevents the record from becoming weighed down by introspection is its undeniable sense of fun. Even during its more reflective moments, In Heaven There’s Rainbows remains vibrant and alive. The band’s chemistry is impossible to ignore, with every track benefiting from the feeling that these songs were built collectively rather than around a single creative voice. It’s fitting, then, that the idea of friendship sits at the heart of the EP’s identity. The belief that shared ambition can overcome uncertainty runs through every song, giving the release an uplifting undercurrent that lingers long after the final notes fade. The title itself perfectly encapsulates the EP’s outlook. It’s whimsical and slightly surreal, suggesting that beauty can exist even in difficult circumstances. That perspective defines the entire project. Rather than pretending life is easy, SNARLS acknowledge the challenges that come with growing older while choosing optimism anyway. It’s a subtle distinction, but an important one. With In Heaven There’s Rainbows, SNARLS aren’t reinventing indie rock, nor do they need to. What they have done is refine their strengths into a concise and compelling statement of intent. By embracing heavier textures without sacrificing melody, and pairing emotional honesty with an undeniable sense of joy, they’ve delivered their strongest collection of songs to date. For anyone who’s ever felt caught between youthful ambition and adult reality, In Heaven There’s Rainbows offers a welcome reminder that it’s never too late to keep chasing what matters. Sometimes all it takes is one wish, and the courage to follow it. Score: 8/10 In Heaven There's Rainbows will be released on 26th June 2026 via Take This To Heart Records. Words: Angel Turley Photos: Sumner Howells

EXPLORING BIRDSONG truly have built their rightful home as a genre-fusing band brick by brick, the release of their debut full-length album Every House We Built a new, rock-solid foundation in their expanding estate. Puns aside, this album is a venture that sees the three-piece push themselves to new heights sonically while drawing on real experiences to fuel their impassioned lyrics and performance. Initially using sparing metaphors for house construction to represent changing relationships, they found the metaphors translated exactly the deep feelings of heartbreak and hope they wanted to depict. Sticking to this theme has seen the band promote the album in the style of tan-suited estate agents, generating delight and intrigue for fans waiting to ‘see their viewing’ with Birdsong Property Developers and the band hosting early listening parties. Successfully creating a buzz ahead of the album release and September tour, let’s open the door and give you the grand tour. Archipelago kicks off the album with white noise of late night driving during a thunderstorm before lead vocalist and pianist Lynsey Ward breaks through with her soft vocals and a lilting piano scale, changing to her renowned powerhouse voice as she hints at an unavoidable truth as synths and sample drums fall in behind her, everything briefly fading to her whispers and suddenly rushing back in in a swell of sound and pounding drums. Shifting from a ballad to crispier alt-rock vibes, the album’s first release 42 perfectly demonstrated the elevated sound the band have developed, Jonny Knight shredding the bass and dramatic synths as Matt Harrison hammers at the drums while Ward’s vocals soar on words dripping in paranoia, the melody stripping back abruptly as the subject’s perspective shifts and shows how easily doubt can be cast. Romanticise crashes in with a truly catchy beat to lose yourself to, the thundering synths and drums keeping up with the racing lyrics of a vicious cycle of a toxic relationship you keep returning to. Footprints has a quiet beginning that builds into a melancholic ballad, bursting into a sonic kaleidoscope of thumping drums and uplifting synths as Ward laments for something that was never certain, with rising vocal runs and layered harmonies. Leading in with a slow, solemn intro, Arrhythmia strips back to crushing, gently sung “don’t keep me locked in this house” as piano and synth keys play in tandem, subtly adding more keys and a beat on the second verse before it climbs into an explosion of sound and soft calls. Spy In The House Of Love blurs the edges of genres and time, its 80s style synth and vocals combining with a 90s pop drumbeat and modern bass - contradictory to the heartbreaking lyrics, it’s the type of theme song you’d hear in a feel-good movie. Giving a hint of Bridgerton, I_You is one of the more uplifting tracks on the album in its hopeful and expressive sound with orchestral strings and belting drums, Ward’s vocals fierce and powerful as they remind you of your self-worth over echoes of “I love you”. The Warning drops back into a sombre sound full of yearning that abruptly changes into something dark and dangerous, reminiscent of a relationship that appears smooth on the surface but is turbulent underneath. Knight’s bass rattles through in a staccato fashion adding a heaviness to the emotion of the track as agonized strings climb to a frenzied pitch. You Like It Best When It Hurts is the furthest the band has treaded into heavier music, weaving together an operatic metal sound with Ward’s voice pitching lower as she asks in frustration “is that what you want?”, Harrison driving through with a pulverising beat mirroring the dropped bass notes, the aggression palpable. Cartography focuses on the sadder aspects of a fractured foundation, the low synths and swelling strings working in parallel to the simple piano keys that feel both mournful and resigned to their fate, the words ringing out about things breaking down and a vulnerable pleading of “can someone come and take me home”. Title track Every House We Built starts with a synth riff under dejected vocals “anchored down by the weight of the words that passed right through your lips”, the reserved drums and strings gradually joining before it all crests in volume and descends again, finally reaching a crescendo of harmonised yells and instrumentals that feel defiant even as the walls crumble down. Meadowlands doesn’t just close out the album, it breaks ground on new beginnings and the hopefulness that these things will pass, Ward singing over a lone piano “I’m here with you, you’re here with me”, Harrison and Knight joining forces and crashing back together before the album fades out to a distant piano, the gathering silence a moment to reflect and wonder what comes next. Score: 8/10 Every House We Built will be released on 26th June 2026 via Long Branch Records. Words: Julia Stark Photos: Exploring Birdsong

Punk rock and country seem entirely removed from each other, yet Montreal based TRUCK VIOLENCE have forged the two genres into opposing sides of the same coin with their emphatic second album The weathervane is my body. A sound that blurs the line between small-town folk music and forceful punk-rock, the music takes some inspiration from the band’s experiences of moving from picturesque rural zones - where guitarist/banjoist Paul Lecours and vocalist Karsyn Henderson single-handedly created a studio and radio station to encourage the scene in an already tiny town - to the urgency of Canada’s sprawling cities, discovering the expansive underground scene that furthered their musical fusions and personal beliefs. Quickly finding their counterparts in bassist Chris Clegg and drummer Thomas Hart, their innovation and self-reliance has been utilised to the fullest on The weathervane is my body as they created and mixed their eclectic sound entirely in-house. A sentence you’d never expect to read, My dog would fuck the air starts the album with a guttural scream and jarring riffs that descend into sludgy grunge, Henderson shifting from hoarse yells to clean statements of “everyone is the same”, Clegg’s bass a rumbling constant throughout that gives the opener a near-primal feeling. Jaundiced and reaching for a mother begins stripped back to a hook and a deep “I was born jaundiced”, before it ramps up into a cacophony of visceral screams, obliterating drums and borderline hardcore riffs. Compelled by Christy continues the sludge punk sound, battling through a dense, distorted bass line and Lecours’ simple yet evocative riffs and warring solos, as Henderson brings emotional breadth to a message of being knocked down but never being defeated, his screams giving way to a soulful vocal run as the track bleeds out into languid bass and guitar and a lonely banjo riff in the background. House caught fire heads more toward the folk-country route with harmonised guitar and banjo riffs accompanying Henderson’s swooping vocals that have a distant, muffled effect to them as if he’s trying to reach the listener over a great divide through the words “thinking about it brings me down”, before it falls to a pleasing hook and spoken song over a yearning call beneath. New Jesus bursts back in with a powerfully driven drumbeat and rattling bassline, vengeful guitar riffs adding to the ferocity of the screams as it delivers a subtle yet scathing message against the rise of fascism and its orange leader and his self-belief of being the second coming of Jesus. A snappy drum solo and low bass notes kick off Your name, it’s walking, bringing a hardcore punk sound that slows to a trudging pace for the breakdown and forces you to sit in the emotional screams before the riffs and beats race back in at an alarming speed, dropping abruptly into a slowed banjo and guitar medley that builds to turbulent screams of “I’m just trying to remember it, my own face”. Stomach as a tower and the globules descending starts out as a slower entity with weighted bass riffs, the guitar and drums momentarily restrained before they all crash together in an abrasive crescendo, falling away to a slowed breakdown of Henderson rising in pitch and power as he goes from speaking to bellowing “they are not blemishes”. Folk sounds take the wheel for Gerard, be quiet with an emphasis on the banjo and guitar riffs that weave around each other in a melodic dance, melancholy hooks and bass ringing out in the background of their shortest yet most moving track on the album. “Wash yourself clean, clean of everything” is repeated throughout Kindly, wash yourself as the instruments fall into line with each other, the lyrics taking on new metaphorical meaning the longer you listen, the lyrics and rhythms gradually erupting into fast-paced medleys and molding into a cathartic end to a charged album. Score: 7/10 The weathervane is my body will be released on 26th June 2026 via The Flenser/Mothland. Words: Julia Stark Photos: Truck Violence

DELILAH BON is the type of artist who doesn’t just perform, she confronts. Her music doesn’t arrive quietly and politely; it kicks the door down, wearing platform boots and pink, demanding that you listen and feel something. Emerging from the ashes of her previous band HANDS OFF GRETEL, with a new persona built from a feeling of feminist rage and exhaustion by the misogyny and gatekeeping within the scene, DELILAH BON dropped her first single Devil back in 2020. It was a warning shot that quickly became a manifesto and a call to arms. By the time her debut self-titled album landed in 2021, she had already carved out her own lane as an artist, with her genre‑defying fusion of hip‑hop, nu‑metal, and ‘Brat punk’. She alternates between rapping, screaming, and singing, often within a single verse, where she creates a vocal landscape that feels volatile in the best way. The most compelling part about her music is not just the sound, it’s the intention and meaning behind her lyrics. She is building a world where anger is allowed to be loud, where people can weaponise their own femininity and where the girls, the gays, and the theys get to scream back in a release of power and determination. Early singles like Chop Dicks and I Wish A Bitch Would weren’t only songs, they were declarations of power and a refusal to be anything other than the loudest, most unapologetic version of herself. Touring the UK and Europe in 2022, she started building a fanbase that did more than just listen to her music; they absorbed it, recognising her fury, her humour and her vulnerability as a vocalist who wasn’t performing empowerment, she was living and breathing it. Her big moment came in 2023 when she performed her track War on Women on French TV programme Taratata, with SHAKA PONK. Second album Evil, Hate Filled Female, titled after the name an internet troll christened her with, showed how BONN had sharpened her sound and expanded her audience, but still had the fury at heart. She sold out UK and European tours, before playing Shredder, Glastonbury and Download festivals, pushing her reach even further, as well as playing as support for SCENE QUEEN. She went on to release her Princeless Princess EP, with tracks like Cinderella and Bush tearing up the fairy tale story, replacing tiaras with teeth and happily‑ever‑afters with self‑worth and rebellion. BON’s sonic palette is a beautiful collision of contradictions - she’s got sugary hooks over industrial beats, punk riffs alongside snarled rap verses and with heavy-hitting tracks like Dead Men Don’t Rape, she’s got screams that melt into your ears. Every song is built for both individual and collective catharsis; for dancing around your bedroom alone or at a show surrounded by people that look and feel just like you, exorcising your demons and your rage. She is not simply an artist; she is a cultural pressure point, with songs that speak directly to the marginalised, in a way that isn’t just performative, it’s actual support and solidarity. Her work is a safe haven, disguised as a riot with rallying cries. After having to cancel her recent US tour due to safety concerns, as well as general disgust at the way the country is currently being run, she put on a charity show in Leeds, raising over £7,500 for charities aiding those affected by ICE raids and family separation in the US. Along with this, she is constantly lifting up marginalised communities, sharing stories and calls for action. She’s not just talk, she is a real bona fide activist. DELILAH BON is filling a void in music; she’s saying the quiet parts loud, giving rage a rhythm and a reason in a landscape where women in alternative music are often still expected to be palatable and polished. She’s choosing power, she’s choosing noise and most importantly, she’s choosing herself. DELILAH BON will play 2000 Trees Festival on Thursday 9th July. Words: Lou Viner-Flood Photos: Anna Goley for Out Of Rage

“We write a song, a year later it's more relevant than the day we wrote it. That keeps happening, and to be honest, it fills me with dismay.” This is the emotional devastation prevalent in DEAD PIONEERS’ third album Wagon Burner, an incredibly moving, politically charged, and rage-inducing album made up of defiant punk-rock carnage and evocative spoken word from vocalist Gregg Deal. Its core message is unshakable in its fierce sound and lyrics “No kings, no masters / Kick against fascist bastards”. The swift follow-up to 2025’s album PO$T AMERICAN, many bad things can happen in the short span of a year. Inspired by the real-time rise of fascism as well as bringing a voice to the experience of minorities, particularly of Native Americans, Wagon Burner is an absolute sucker-punch of an album that rightfully calls everyone to arms, whether by screaming the album’s lyrics at the top of their lungs or marching in protests. It’s a necessary weapon in its ethos braced behind a shield of furiously cathartic punk. Opening with a disconcerting, reverb sound that gradually builds, Deal begins the album with spoken word in Dead Presidents, saying he gives “no thought” to American presidents, instead paying homage to Indigenous people and the power of “presence and existence” they gave to their descendants. From here, Nazi Teeth brings the ruthless heat of Josh Rivera and Abe Brennan’s guitar riffs and menacing fret slides over Shane Zweygardt’s bold drumbeats that build into rampaging cymbals and rolls, while feminist punk band CHEAP PERFUME’s lead vocalist Stephanie Byrne yells harmoniously of punching out Nazi teeth. Brief at 18-seconds yet carrying a hefty weight to its spoken word is A Message From Mr Bell, delivering a scathing account of how the system is built on Indigenous genocide and American slave trade and maintained by “oligarchs…greedy white pedophiles”, declaring that “none of us are free until all of us are free”. No Kings jumps straight into a galloping drumbeat and fuzzed riffs, Lee Tesche’s bass rumbling under the instruments and keeping us grounded throughout the heavy post-punk rhythms, Deal singing matter-of-factly until the bridge where his rage spills over into powerful shouts of how the systems are designed to benefit fascists, subtly ending on “fuck you and your golden toilet”. Animals That Roam The Planet begins with a voice speaking in English “have you spoken your language today” over a Native American translation (we’re unable to confirm which Indigenous dialect is used and may potentially be Paiute, given Deal’s heritage), before the band launch into cutting rhythms with alt-rock elements and a deliciously slick guitar solo. Guaranteed as the sing-along anthem, Never Alone ramps up the pace and combines alt-rock with punk-rock features in its riotous riffs, featured vocalist Aimee Interrupter of THE INTERRUPTERS taking the lead on the chorus over harmonised backing vocals, her husky voice strong and resolute as she sings “you’ll never (never) stand alone”. The Worst Among Us starts with an alarm-esque sound before breaking into a rock melody with hazy guitar notes reverberating under Deal’s spoken song based on his real-life experience, vocalist Jason Williamson from post-punk SLEAFORD MODS giving an edge to the lyrics as he builds to an ending yell of “colonise!”. Seeing Red begins with Deal’s spoken word surrounded by an imposing silence, before Rivera and Brennan’s riffs flank him, Zweygardt bringing a marching beat and Tesche gradually joining the ranks with a shuddering bass line, the entire band building in speed, volume, and righteous anger as Deal yells “am I angry?” for the simple sin of being “Indigenous in the 21st century”. Circle Jerk The Wagons brings more post-punk with an undercurrent of post-hardcore, a lightning fast rhythm and beat that refuses to let up and will incite frenzied mosh and circle pits to the acidic breakdown of all the types of fascists in charge. Fascists aren’t the only ones ripped to shreds on Wagon Burner, as Zealots takes aim at the virtue-signallers, the bootlickers, and the devil’s advocates, over steadily rising punk riffs and an unwavering beat - you can’t be punk and agree with oppression. Nobody has a dangerously dark feel to it, Tesche prevalent in his relentless and consistent bass line, Rivera and Brennan piercing through jarringly with distorted notes, Zweygardt also beginning in a stop-start fashion before becoming a consistent presence, Deal giving an almost philosophical spoken narrative about the generalisation of “Indians” and how they’re reduced to nobody individuals. DEAD PIONEERS closes out their explosive album with LFG, weaving from punk to alt-rock that races along like a freight train on the choruses and gives a spark in the current darkness of there still being hope, if we can only stand up as a community - we’ll follow Deal’s “let’s fucking go!” into battle. Score: 9/10 Wagon Burner will be released on 26th June 2026 via Hassle Records. Words: Julia Stark Photos: Derek Bremner

Please stand for your Republic’s national anthems. A roaring proclamation with a blazing hot sound, EVERY HELL return to pierce your ears and black hearts with new EP The People's Republic of Hell. While the Brighton/Bristol unit may be leading us joyfully into hell, it's been a heavenly month for the band, with new management, international touring teams, and fresh from their support slot for HAGGARD CAT. What better way to celebrate their hattrick wins and hard graft than the announcement of their new EP, a line of release shows, and the unleashing of second rampaging single Bane Of The Bear, adding more firepower to an already scorching month? EVERY HELL, you spoil us so. The People’s Republic of Hell wastes no time ripping immediately into frenzied Let Me Go (their first single and music video from the EP), Mark Roberts thumping out a rapid battle beat as guitarists Toby Stewart and Jules Maas-Palmer face off with intensive riffs and hooks while bassist Andrew Gosden keeps up a palpitating line that cuts through at times at shudderingly low notes. Stewart and Gosden’s vocals echo under frontman Will Gardner’s fluctuating chants, his voice shifting from soulful lilts to frantic shouts through the choruses before descending into guttural screams on the closing bars. Catching Thunder keeps the rampant pace through the opening riffs and beats before Gardner’s voice breaks through at ethereally high notes, dropping into hoarse, bruising shouts of “now we’ll never get these words” over a haunting guitar melody, Roberts changing drum pace and Gosden’s electrifying bass riffs, Gardner building in momentum with a scream that reaches sky-high levels in intensity and fury. Rushing in at a fever-pitch, Bane of the Bear’s opening disconcerting guitar riffs keep tempo with the quick-fire drums, slowing momentarily for the verses before ramping back up in speed and fire until the track launches into a menacing breakdown of drums and bass accompanying Gardner’s rasping screams of “stop. Stamp it out. Sick. Psychopath”, Stewart and Maas-Palmer joining the cacophony with dually wielded riffs. On Slaughter hits out of nowhere with its gradual build of fuzzed distortion and static interweaving with dramatic, languid guitar before it all fades into a jarring burst of white noise. No words are spoken, no other instruments heard, yet it feels like the calm before the storm and prepares you for one final onslaught. Closing track Ironclad brings back the unbridled speed and driving power of The People’s Republic of Hell, opening with a breakneck saxophone riff from Gardner as the other instruments keep up with the heated rhythm, the guitars lessening slightly to give space to the emotionally charged lyrics while still maintaining a high-intensity power. Synths subtly sound in the verses before echoing more forcefully over harmonised backing vocals on the breakdown as Gardner easily shifts from coarse screams to clean sounds, prolonging a scream as the pace slows and the volume becomes more dense and unyielding. Fusing an array of alt and metal genres in unexpected ways while delivering an abundance of striking hooks and rabid beats, EVERY HELL has just one law in its glorious republic - go fucking nuts. Score: 7/10 The People's Republic of Hell will be released on 26th June. Words: Julia Stark Photos: Every Hell

Vancouver gloomwavers DOUR wrote and recorded their debut album AGORA with an earlier lineup: a trio consisting of Zak Salehian (guitar/vocals), Patrick Hamil (drums), and Gabe Jacob Ferman (bass). After a lengthy battle against substance abuse and depression, Ferman tragically passed away in January this year. He never had the chance to see the album released into the world. Months later, the record is being put out unchanged, exactly as recorded; a document that preserves his creative talents. Gabe’s fingerprints are all over the record and AGORA stands as much a preservation of memory as it is an incredibly strong debut for the band. The album plays into neo-dystopian themes: technological rises, the shaping of our social downfall as a result, and the gradual loss of identity. These themes sit intertwined with tight defining basslines, drums that roll into each other like crashing waves, and melancholic vocals with a classic post-punk dramatic timbre. Neophiliac begins with rhythmic vocal patterns, a subtle bassline building up in the shadows alongside a clashing of drums. Zak Salehian’s vocals arrive melodic, echoing his gloomy ruminations on living screen-to-screen. Towers follows, trading in the deliberate, darker tones of the opener for speed; fast-paced guitar strums carry us out to a stormy sea. The track is one that defines the record’s themes: rising costs of living and the allure of online presence where that doesn’t matter leads us inwards, into a self-imposed social isolation, which steadily erodes our senses of identity. The only solutions are to return to nature, give ourselves to open air instead. But it’s not that easy, as Salehian sings "I’m left to lean / left to lean / into your tower." We will always be drawn back to that tower. Laugh is steeped in BAUHAUS-esque guitar rhythms and deep basslines that serve to ensure that track has a spot in any Halloween playlist, while also carrying something of a lighter feel lyrically. It’s not all doom and gloom here - "Laugh when you’re happy," Salehian suggests over a throughline of angular guitar. Mundies feels like a deliberate contrast to its predecessor, a more contemplative track that ties back to the album’s central themes. The people are tired; of barely staying afloat on a poverty line that rises with each passing year, of having to constantly fight an uphill battle for survival, of the steady loss of self that feels inherent to this modern existence. Musically, the track centres its identity around reverberating bass - this one makes Ferman’s talents really stand out. In Numbers, we’re met by a crashing, sonorous tsunami of guitar, and the constant cliffside rockfall of snare-heavy drum hits. It fades to an end by pitting Salehian’s repeating vocals against the simple backdrop of Hamil’s drums, stripping the track bare so the emotion can seep through. Call is another morose track; Salehian spends the runtime waiting for a call that never comes. Musically, it’s especially cavernous, reverb-heavy with all the classic post-punk stylings. Closer Just Enough Rice is reflective and light on lyrics at points to really let the instrumental breathe. An echo of drums, the haunting of reverbic guitars, and a subtle, yet important, bassline all intertwine into something memorable to cap off this record. AGORA is not without its faults: at times, the record struggles to find its identity, and some tracks aren’t exactly flashlights in the darkness. If listened to in a oner, there is a tendency for these tracks to blend together. As a whole, however, AGORA is a really strong debut for DOUR; it’s claustrophobic post-punk that drags us out to sea in tempestuous weather, leaving us adrift on the frigid waters of a raging ocean, but occasionally washes us ashore into the inky black of a beachside cave, where melodies echo from cavernous walls and reverberate through the air, leaving no space untouched. There’s a duality to this record, it’s both an opening chapter for DOUR that establishes the gloomy post-punkers as a band that will stand the test of time, and also a closing chapter for Gabe Jacob Ferman, whose legacy is well-and-truly captured in this album. Every time this record gets a spin, he will be there, remembered in the very grooves of his eternal bass. Score: 8/10 AGORA will be released on 26th June 2026 via Tuna Records. Words: Naomi Colliar Duff Photos: DOUR

2000Trees has long been one of the UK’s most exciting festivals for fans of alternative music, bringing together the best of rock, punk, hardcore, metal, emo, and everything sitting somewhere in between. Its reputation has always been built on more than just big names, with the festival consistently giving space to the bands pushing heavy and alternative music forward. Taking place from Wednesday 8th to Saturday 11th July at Upcote Farm in Cheltenham, this year’s lineup is stacked with scene favourites, rising stars, and artists who refuse to fit neatly into one genre. With so many brilliant acts across the weekend, planning your schedule is never easy. Here are ten bands that should absolutely be on your radar at 2000Trees this year. BLACKGOLD Mysterious masked outfit BLACKGOLD have been carving out their own place in the UK alternative scene since breaking through in 2022. Sitting at the heart of a nu-metal revival that feels bigger and more exciting by the year, the band brings together huge riffs, bounce-heavy grooves, hip-hop influence, and a live DJ scratching and mixing straight through the set. After supporting the likes of LIMP BIZKIT and SKINDRED, BLACKGOLD have already proved they can hold their own alongside some seriously energetic live acts. What makes them such an easy festival recommendation is how instantly fun their sound is. Even if nu-metal is not usually your thing, this is the kind of set that will have the crowd moving within minutes. Expect big vibes, big energy, and a ridiculous amount of bounce. HAPPYDAZE Edinburgh’s HAPPYDAZE are one of the clearest signs that the UK pop-punk scene still has plenty of new ground to cover. Blending pop-punk foundations with alt-rock edges and slick modern production, they have built a sound that feels polished without losing the emotional pull that makes the genre hit so hard. Live, they are the kind of band that immediately hooks you in. Having shared stages with BROADSIDE, HOT MULLIGAN, and TRASH BOAT, as well as their own headline shows across the UK, HAPPYDAZE have developed a presence that feels far beyond “up-and-coming band” territory. There is a confidence and sharpness to their performances that makes them feel like they are right on the edge of something much bigger. Their 2000Trees set could easily be one of those moments people look back on later and say they were lucky to catch early. BAD NERVES BAD NERVES make rock and roll sound like it is travelling at 200 miles per hour. Their music is frantic, infectious, and completely in your face, pulling from punk, garage rock, and power-pop with the kind of speed and urgency that makes standing still feel impossible. Often compared to acts such as THE HIVES, SUPERGRASS, and JAY REATARD, the band have built a reputation for turning every live show into a massive party. Their stamina on stage is ridiculous, and their songs are so immediate that even first-time listeners can get swept up in the chaos. After a whirlwind few years that saw them move from small, sweaty rooms to joining SEX PISTOLS FEATURING FRANK CARTER on their upcoming USA tour, BAD NERVES arrive at 2000Trees with serious momentum behind them. NATIVE JAMES NATIVE JAMES is building something that feels genuinely separate from the usual UK alternative pipeline. Refusing to sit inside any one genre, his sound pulls grime, hip-hop, punk, and metal into something fierce, fearless, and completely his own. It is not just genre-blending for the sake of it either; every part of his music feels intentional, confrontational, and full of personality. Backed by a seriously skilled live band, the heavier parts of NATIVE JAMES’ music hits even harder on stage. Recent milestones, including a MOBO nomination for Best Alternative Music Act and support slots with DON BROCO, ENTER SHIKARI, and UNPEOPLE, have only made his rise feel more exciting. He is not just redefining what alternative music can sound like, he is carving out his own space in it completely unapologetically. At 2000Trees, expect a set packed with intensity and charisma. DELILAH BON Built on brat punk, riot grrl rap, and feminist rage, DELILAH BON’s music feels both furious and deeply necessary, especially for anyone who has ever felt pushed to the edges of it. Her sound is loud, confrontational, and impossible to ignore. Through heavy beats and unapologetic lyricism, she channels the anger and frustration felt by so many people who have been pushed aside in spaces that often claim to be inclusive, while still having so much work to do. That sense of catharsis is exactly what makes her live shows so powerful. DELILAH BON does not offer a passive festival set; she creates a space for release and collective rage. With a huge run of festivals across the UK and Europe in 2026, as well as Australian and Canadian tours later in the year, her momentum is only growing. For anyone looking for one of the weekend’s most freeing performances, this is the set to be at. HO99O9 HO99O9 are not a band you casually stumble across and forget about. From the moment they step on stage, they demand full attention, dragging together hip-hop, hardcore, punk, metal, industrial noise, and flashes of electronica into something that feels genuinely unhinged in the best possible way. Their live shows are pure chaos, but there is a sharpness underneath all that noise. It is hellish, intense, and strangely beautiful, with every song feeling like it could collapse at any moment while somehow staying completely in control. Following the release of their third full-length album in 2025, HO99O9 have continued to pull in new listeners while keeping the edge that made them so thrilling in the first place. At a festival like 2000Trees, where genre boundaries are already being pushed in every direction, they feel like a perfect fit. CAROLESDAUGHTER Behind the darkly glamorous visuals and mysterious online presence, CAROLESDAUGHTER has built a sound that reaches far beyond one viral moment. The American singer, songwriter, and multi-instrumentalist first gained wider attention with her Platinum-certified 2020 single Violent, but her world has always stretched further than that; blending alternative pop, pop-punk, and darker emotional textures into songs that feel raw and intimate. Her 2022 EP Please Put Me In An Induced Coma helped build on that identity, pairing vulnerable lyricism with a sound that refuses to stay completely polished. With just a handful of UK and European shows around her 2000Trees appearance, this feels like a rare chance to catch an artist whose following has been growing steadily for years. SPLIT CHAIN Shoesgaze and hardcore might seem like strange starting points, but SPLIT CHAIN makes that collision feel completely natural. Blending hazy textures with hardcore, alt-rock, grunge, nu-metal, and even black metal influences, the band have helped push the “nu-gaze” sound into wider attention, while still keeping a raw DIY feel at the heart of what they do. Their live shows have become a huge part of their reputation, explosive without losing the atmosphere that makes their music so distinctive. It is easy to see why they fit so well across different corners of the alternative scene, with enough heaviness for hardcore fans, enough melody for alt-rock crowds, and enough texture for anyone drawn to the more immersive side of heavy music. Fresh from a major USA tour supporting SOUL BLIND and with a UK headline tour later in the year already close to selling out in places, SPLIT CHAIN’s 2000Trees set feels like one to prioritise. LAKE MALICE LAKE MALICE are one of the UK heavy scene’s most distinctive bands. Heavily influenced by Japanese anime in both sound and style, they splice hyperpop energy with metal heaviness to create something bright, chaotic, and completely their own. Their music is sharp and futuristic, but also grounded in lyrics that deal with trauma and lived experiences, channelling an immense amount of emotional honesty. That balance between high-energy production and genuine vulnerability is a huge part of why fans connect with them so deeply. Their rise has already seen them nominated at the Heavy Music Awards for Best UK Breakthrough Artist and Best Breakthrough Live Artist, alongside support slots with ENTER SHIKARI, SKINDRED, and BLOODYWOOD. On a festival lineup packed with heavy music in all its forms, LAKE MALICE stands out as a band pushing things somewhere new. STATIC DRESS STATIC DRESS have spent the last few years building a reputation as one of the most compelling live bands in the UK scene. While their sound draws from post-hardcore, screamo, and metalcore, what sets them apart is the way they package everything into a fully realised creative world, where the visuals and music interconnect to do the storytelling. That attention to detail has helped them stand out on increasingly bigger stages, from appearances at Download Festival and Slam Dunk Festival, to touring with BRING ME THE HORIZON. Yet even as their profile has grown, there is still an unpredictability and raw energy to their performances that makes every show feel special. For anyone heading to 2000Trees looking for a set that balances atmosphere, intensity, and genuine artistic ambition, STATIC DRESS should be high on the list. Whether you are looking for chaos, catharsis, massive hooks, or a new favourite band, these ten acts should be firmly pencilled into your 2000Trees schedule. With a lineup this strong, there will be clashes everywhere, but missing these sets might be the thing you regret the most. Words: Zuzanna Pazola Photos: James Smith for Out Of Rage Tickets and further information can be found through the official 2000Trees website.

While visiting the UK for the Download Festival, MAGNOLIA PARK decided to add a London date to their trip, playing O2 Academy Islington with THE PRETTY WILD supporting them. Coming all the way from Florida, they made their trip across the ocean worth it with festival dates across Europe such as Rock Am Ring, Nova Rock, Rock For People and many more! Their packed out 2026 is just beginning, with the later half of the year taking them around the US supporting BEARTOOTH along with Britain's own DON BROCO. Before the opener had even made it to the stage, the room was packed out with so many fans it was difficult to move around. Singing along to the pre-show playlist and chatting with each other with many of them also having been at Download Festival at the weekend. Just from the room, you could visualise the band's wide spread demographic with a range of genders, ages and styles all coming together for the band. Opening the night and warming up the crowd were THE PRETTY WILD, who stormed onto the stage to a huge cheer. The duo sister act - Jyl and Jules - from Las Vegas were bursting with energy and vigor, bringing the rooms energy up with them. The sisters are polarizing with each other, yet matching and looking cohesive. Musically the band are best described as nu-metal and metalcore, but their sound bends the boundaries set by the labels. Both of them shared the load of a frontwoman, side by side sharing the limelight and both taking their turns to sing and scream, as well as coming together to harmonise at times. Their setlist compiled all their best songs like Sleepwalker, Button Eyes and Paradox, each song giving a unique look into their talents. The duo also gave a moment to cheer on their drummer and guitarist, as well as each encouraging cheers for their sister. Despite only opening the show, the fans were loud with many knowing words and singing along, starting mosh pits and even having a crowd surfer! They did their job perfectly, warming up the room and getting everyone on their feet, and the fans showed up for them and let them know how loved they are across the pond. The lights dimmed for the second time, shocking the crowd and causing a ruckus, somehow the room was even more packed than before with late comers having to stand right at the exit to the venue. MAGNOLIA PARK paraded onto the stage and kicked straight into their opening song Animal, and right from the start every fan in the crowd knew every word. Each member of the band was moving in synchronized chaos, not leaving one spot along the stage empty and singing, dancing and jumping along with the fans and each other. The band play a range of metalcore, pop-rock and punk songs, each bringing a certain flavour to the venue. They had their logo hanging as a backdrop over the stage as well as on their mic in a metal decal, a great attention to detail that just enhanced the performance overall. Lead vocalist Joshua Roberts flaunted his skills throughout the show, flipping between a deep growling scream and impressive drawn out high notes. The energy in the room coming from the band was reflected ten fold by the floor and despite the lack of space, the moshers found a way and kept the mosh going the whole show. One part of the show even saw the band's guitarist jumping into the middle of a circle pit to then crowd surf out to make it back to the stage. The connection between the fans and the band was so present throughout the night, the gap from the barricade to the stage being bridged through the music. Joshua took a moment to let London know that they were “one of the loudest crowds we've ever performed to” before they even performed their biggest hits. They played hits like Omen, Worship and Crave before ending the main part of their set on their biggest hit Shallow. Having found a huge platform across social media, everyone in the room knew it word for word, fans from upstairs on the balcony ran downstairs just to join the mosh pits. The venue also saw numerous crowd surfers, proudly passing by the signs instructing them not to do so. After Shallow the band left the stage, but of course were instantly cheered back on for an encore. “You want one more song? You gotta dance with us then”, Joshua shouted before starting their song I2I. Every person in the room danced along from the front to back, the balcony and even the staff in the bar, although it's hard to measure with how loud the venue was, it was certainly loudest during their encore. They then finally brought the show to a close with their track Misfits, another that every person in the crowd loved. Ending the show on an ultimate high with as many people as there could be crowd surfing and everyone off their feet. When the music finally ended, the band took a moment to wave to everyone they could and give out all the setlists, picks and drumsticks they possibly could. The appreciation between the fans and the band was so mutual, you could feel the love all across the room. We hope that this showed the band how loved they are over here and convinced them to return soon, with such a huge year ahead of them still they can only go up! Words and photos: Amy Smyth