Takedown Festival is the high-octane kick start to the festival season. Taking place at the Guildhall in Portsmouth across the 3rd and 4th April, the festival takes over the whole venue to give you three stages of non-stop music. Takedown is a festival that loves to showcase new talent alongside big-hitting names. With such a varied roster of artists, there is something for everyone, young and old, to enjoy alongside new names to discover and add to their playlists. It’s a festival that has always thrived on its community feel and aims to showcase heavy music from the old school to the contemporary. Here are some of the top 10 bands that we think should be on your watch list: ARTIO ARTIO are a Leeds-based queer alt band that is on everyone’s must-watch list. Since releasing their EP back in 2024, they have been firmly planted in support bills across the country. With enigmatic vocalist Rae Brazill commanding the attention of audiences, the lyrics touch on themes such as self acceptance and identity. With a musical style incorporating heavy breakdowns juxtaposed with melodic songwriting, if they aren’t on your playlist now, they will most certainly be soon. INME INME are a band that has been around for 30 years and counting. After 7 albums and countless singles, INME are a veteran British rock band that have stayed steady on the playlists on many for longer than some other bands on the bill have been alive. Fronted by guitarist Dave McPherson, this five-piece band knows how to make an impact on stage with classic hits such as 7 Weeks and Firefly. Headlining the Metal for Good stage on Friday, they will be celebrating 20 years of their hit album White Butterfly, so expect to hear classic anthems with as much energy as when they first played. SOUTH OF SALEM SOUTH OF SALEM hail from the south coast and are everything you would expect from a heavy rock band. With a nostalgic blend of 80’s sleaze and 90’s goth rock that combined with modern metal makes for a sound that hits just right. Frontman Joey Draper provides deep, powerful vocals whilst the band gives us glam rock riffs and relentless energy. A steady staple on the rock festival circuits and one not to be missed! GRAPHIC NATURE Headlining the Metal for Good stage on Saturday are British nu metalcore band GRAPHIC NATURE. They are on an undeniable rise to success since releasing two albums that have solidified their name in the metal world. They are never ones to shy away from emotional lyrics that tend to delve into the topic of mental health. Whilst these lyrics may seem touching, they are fuelled with guttural screams and a fusion of electronic notes and heavy guitar lines. You can tell that their influences lie in bands such as KORN, DEFTONES, and LIMP BIZKIT with their early noughties style. Every gig seems to be full of energy from start to finish, so if you want to know where the moshpit is? I think you’ll find it with this Kent-based band. THE BOTTOM LINE Bringing the pop punk flair to the festival are THE BOTTOM LINE. Bringing classic pop punk that fits in playlists alongside the greats, they are ready to get the festival jumping. Having been on last year's lineup, they are a festival staple and the perfect band that doesn’t take themselves seriously and makes songs to bring a smile to your face. They are a band that makes you remember that while you might be growing up, your music choice was never a phase. MOUTH CULTURE Bouncing onto the scene and finding notoriety through their viral TikTok videos and supporting pals, YOU ME AT SIX, MOUTH CULTURE seem to be everywhere and don’t seem to be stopping anytime soon. Aiming to make big noise songs with confessional lyrics and with a classic rock and pop punk feel, MOUTH CULTURE are a band like no other, and each song feels like banger after banger laced with big vocals, catchy choruses, and guitars to match. A live MOUTH CULTURE show is said to be nothing like you would expect, with frontman Jack Voss acting like he was born for the stage. Whether it’s a small stage or the mainstage at Takedown, MOUTH CULTURE is there to bring the vibes. WATERLINES WATERLINES describe themselves as ‘Northern Dirtbags' and wear this badge with pride. Blending nu-metal with EDM and metalcore, this genre-bending band are unapologetically ready to fill your ears with loud, fun music. Opening the festival on the Metal for Good stage on Saturday, be prepared for nostalgia-infused music that wouldn’t be amiss amongst the greats of KORN and SLIPKNOT, whilst also feeling like they are creating a sound of their very own. LASTELLE Having taken to the Takedown stage in 2025 and absolutely rocked the Metal for Good stage, they have now been promoted to the main stage. This atmospheric post-harcore band have 3 EP’s to their name and bring a blend of sublime vocals from three vocalists with crashing melodic guitars and drums to bring it together. Honing their craft into a performance that is slick and precise, LASTELLE are a band that feels like they are on the cusp of blowing up into something huge. CARSICK CARSICK are a band that stands out on this lineup for being uniquely different to the others. Whilst other bands seem to pay homage to metalcore or nu-metal, CARSICK wouldn’t be seen out of place on the lineup for THE STREETS. Blending indie with pop punk and a touch of britpop, they are high energy, gang vocals, and non-stop dancing. Whilst they don’t seem to take themselves seriously in their style, their lyrics touch on subjects such as drinking culture in young people and growing up in a modern age. Want a touch of fun alongside nu metal? CARSICK are the band for you. PRESIDENT After SLEEP TOKEN headlined the festival back in 2023, just before their meteoric rise to fame, it’s time for another masked collective to take to the headline spot. PRESIDENT are a masked alternative metal band who are taking the headline spot less than a year after their formation. Having only formed in 2025, this band is not only shrouded in mystery but is also making waves with a growing fanbase and songs that have already become iconic hits. Since releasing their EP King of Terrors in late 2025, their streams have already surpassed 50 million on Spotify and are growing by the day. After their packed-out performance at Download Festival and a collection of ‘Headline Rallies’ (aka gigs) under their belt, there is more than a murmur of excitement about them taking this slot; it seems to be all people are talking about and it’s a definite reason to get a ticket and be in the audience before they explode on the scene. Want to join the fun? The next presidential rally at Takedown 2026 will take place on the 3rd-4th of April. Tickets can be found here. Words: Laura Davies Cover Photo: Lastelle by James Smith

Hailing from the West Midlands comes a new British hardcore punk band with something to prove: GRAIL GUARD are steaming out of Coventry with spittle-flecked lyricism, shouting down the ridiculous yet sadly deep-rooted racism found among Britain’s streets, crying out for a change, and hoping for better for everyone who needs it. Debut album Still No Future takes its name from the infamous track No Future - released by the SEX PISTOLS in 1977 and yet still ringing true, it’s a fitting name for an album that is coming out 50 years from the start of British punk. Whilst it usually feels mundane and unnecessary to comment on the heritage of a band and its members for a multitude of reasons, in this case it does seem not only necessary but in fact specifically important. Lead vocalist RIAZ RAWAT grew up as a British Indian muslim, and listening to second single Our Streets takes you right through his and his family’s story, and why it’s as important as ever to combat facism, racism, and discrimination of any kind wherever it may be found. With a furiously frenetic approach to their music, the band play with the kind of frantic energy that can only come from the punk scene. Front foot forward bass lines run rampant underneath four-to-the-floor drums that pin the crunching guitars into place, whilst RIAZ’s yelled vocals hit like a truck and carry the potency of their message with both passion and a singularly commanding presence at once. Third and final single Anxieties is a clear highlight on the album, with the chant of “Fuck you, you fascist scum” being ever so enjoyable to yell along to, and for this writer Alan also found itself high on the list with its similarities to GALLOWS’ guitar style and tone feeling ever so nostalgic and intensely enjoyable. The Rotten takes plenty of satisfaction from rightfully putting down the hollow elite class, from the lack of emotion and compassion to their penchant for warmongering, whereas those looking for something a bit more abrasive and guttural will benefit from finale Rats.wav, where the harshness of more modern metallic hardcore bleeds through that bit further into an intensely aggressive finish to the record. The LP is built on foundations that were set five decades ago, and whilst to some that might sound like it’s being set up to sound old or nostalgic, the record feels as vital as anything else being released today. Whilst it certainly takes less influence from the current crop of hardcore heroes, and does hark back to an earlier sound, it’s written in a way that manages to be fresh and in-your-face, even without the pure assault on the senses of some of their peers. All this goes to say that GRAIL GUARD have not only come out of the gates swinging, but they’ve done so entirely on their own terms by embracing their own style. Proudly, defiantly standing up to so many of the issues that plague the world today, the group are on for a winner with Still No Future - ironically, it may well be cementing their own future. Score: 8/10 Still No Future will be released on March 6th 2026 via TNS Records. Words: Jasmine Longhurst Photos: Grail Guard

The term 'infernua' alludes to imagery of the underworld, where darkness takes over and decay sets in. AZKEN AUZI have embarked on an adventure of discovery following their last release three years ago. The group formed in 2021, with members of MANIAC and TOM IS FAT joining forces to explore something darker than anything they had done before. Infernua is a six track EP, showcasing their refined sound and hypnotic rhythms. Deep Hell is the longest track on the EP and thematically one of the darker tracks in tone, the repetitive riff encompasses the harsh vocals that talk of dark thoughts. There’s an excerpt of spoken word in the middle of the track, which is from the 1992 film Scent of a Woman, the famous quote of “Let him continue on his journey. You hold this boy's future in your hands, committee.” by the legendary Al Pacino. From here there’s a mellow section that falls into another similar riff that continues for the remainder of the song, with the film quote repeated again as the track ends. The intro to SK is inviting as the vocals roar into place, though the melody throughout is less typical sludge and more of a grunge sound. Mid song there’s a great bassline buzzing amongst the guitar, encroaching on old school nu-metal and post hardcore elements, before flowing back into the blurry fuzz of the track. Following the suit of its name, Black Mass is a six minute long (mostly) instrumental and ritualistic piece, featuring part of a monologue from the 1979 film Apocalypse Now. Spoken by character Colonel Kurtz the speech effectively states that they (in war) were able to achieve victory due to the fact that their men were able to put their morals aside and kill the enemy without feeling or judgement. Brought back into the heart of the track the true occult doom sound embraces the listener until another part of the speech is revealed. “And I thought: My God, the genius of that. The genius. The will to do that. Perfect, genuine, complete, crystalline, pure. And then I realised they were stronger than we. Because they could stand that these were not monsters. These were men.” The guitar that accompanies this is fascinating and haunting, launching fully into an unvarying pattern before gradually fading out. Tracks See You Next Tuesday and Reptilian (Featuring fellow doom/sludge artist Nico Zoidozer) follow classic doom tactics that produce familiar and safe sounds. See You Next Tuesday obviously has more hostile implications, although Reptilian is overall more intriguing. The interim guitar melody, the drum lead later on in the track, and the section that follows it make some of the most interesting elements of the EP. The final piece is From Hell, which takes you on an entrancing loop of gloom and occult doom. Towards the end we have another iconic quote from another film. This time from the 2001 classic From Hell, with an excerpt from Ian Holm’s Character Sir William Gull, “Below the skin of history are London's veins. These symbols, the mitre, the pentacle star, even someone as ignorant and degenerate as you can sense that they course with energy and meaning. I am that meaning. I am that energy.” As these words are spoken, they echo and whisper, inciting the conclusion of Infernua. Infernua is a captivating and ambitious listen, the merging of crossover genres with prominent parts of film culture make this an interesting mix. Although the melodies themselves are pulled off well and the EP flows, aside from parts of Reptilian there is nothing completely out of the box. Despite this, there are some worthy emotions and overall encompassing feeling that the EP emits that make it worth a listen. Score: 7/10 Infernua will be released on the 6th March 2026 via Argonauta Records. Words: Danielle Henderson Photos: Grand Sounds PR

GUILT TRIP’s surprise-drop EP, God Forgives, marks another triumph for the Manchester-based five-piece in the heavy music scene. Released on February 11th, the three-song EP showcases their evolving sound and artistic identity, offering fans a tantalising glimpse into their future. The EP opens with Dirt, a track that premiered on Daniel P Carter’s Radio 1 Rock show on February 9. It's gritty, groove-laden metallic hardcore style is a hallmark of GUILT TRIP’s sound, with JAY VALENTINE's raw and powerful vocals perfectly complementing the intense instrumentation. Dirt is a relentless assault on the senses, blending aggression with melody in a captivating and accessible way. Next up is Angel Eyes which premiered on SiriusXM Liquid Metal on February 10th. This track offers a different vibe with its dynamic structure and hauntingly beautiful melody weaving through the heavy riffs. The interplay between the guitars and rhythm section is particularly noteworthy, creating a soundscape that’s both intricate and powerful. GUILT TRIP’s versatility as songwriters shines through as they seamlessly transition from heavy driving sections to atmospheric passages. Rounding out the EP is a new mix of the previously released Burn. This reimagined track boasts fresh production techniques, giving it a new lease on life. While the original energy and intensity remain, the updated mix adds depth and clarity. Burn serves as a reminder of GUILT TRIP’s roots while also highlighting their growth as musicians. Accompanying the EP is a two-part music video event featuring Dirt and Angel Eyes. This visual treat offers fans a unique perspective on the songs. VALENTINE explains that the video translates lyrical themes into visuals and incorporates original metaphors to represent the subject matter. The result is an entertaining story that resonates with the music, allowing viewers to interpret it in their own way. It’s a testament to GUILT TRIP’s creativity and their desire to connect with their audience on a deeper level. VALENTINE describes God Forgives as a culmination of progress and a reflection of GUILT TRIP’s identity. The band consciously built on the style and song writing of their previous album Severance while embracing and evolving the sound they achieved. The songs were written with the aim of improvement, and Valentine hopes they’ve hit the mark for every GUILT TRIP fan. God Forgives is a powerful statement from a band clearly on the rise. It showcases their gritty, groove-laden metallic hardcore style and tantalises listeners with a taste of what’s to come in their forthcoming full-length album. With this release, GUILT TRIP has solidified their place in the heavy music scene, leaving fans eagerly anticipating their next move. As they continue to evolve and push the boundaries of their sound, it’s clear that GUILT TRIP is a band to watch in the years to come. Score: 9/10 God Forgives was released on 11th February 2026 via Roadrunner Records. Words: Lisa York Photos: Guilt Trip

Book of Churches, the debut solo album by FELIX MACKENZIE-BARROWS, is a minimalist and beautiful collection of songs that gently grip the heart and soul, leaving a lingering sense of peace and tranquillity. It’s an intimate journey through vast emotions - from love to grief, from dread to anger. Coming off the back of a very successful year with his band DIVORCE, this solo project moves in a completely different direction from the band’s trajectory, yet it works remarkably well. Even more astonishing is that the album was written and recorded in just two days. For a record of this quality to be produced in such a short time is mind-blowing. Using only two microphones, a guitar, and a phone full of notes written during some of the hardest moments of his life, MACKENZIE-BARROW created the ultimate DIY album in an untreated room - a raw and strikingly beautiful piece of production. Song By A Stranger, the first track he wrote, poetically opens the album and acts as a blueprint for the rest of the record. It captures the aftermath of a relationship ending - the gaps that suddenly appear and the pain that slowly begins to shift as the world’s quiet beauty returns. All The Good Things lifts the tempo with simple guitar riffs and a subtle banjo in the background. Its lyrics unfold the familiar experience of memories resurfacing after a breakup, and the effect is deeply moving. There You Go I Love You nods to artists such as LEONARD COHEN, whose influence can be felt throughout the album. The composition, particularly on this track, encourages reflection on love once held, desired, or lost. North Atlantic Ocean explores the disorienting feeling of being lost on life’s journey. Subtle triangle accents alongside the guitar create a drifting atmosphere, as though thoughts are slowly floating away. The track draws inspiration from the writings of BARRY LOPEZ, examining boundaries between time and dimension. Each song is crafted to evoke a distinct emotional response. The Quiet Was A Heron, channels anger - specifically at humanity’s treatment of the other species that share the Earth. It demonstrates how powerful lyrics alone can be, without the need for aggressive instrumentation. I Lean introduces electric guitar for the first time on the album, documenting loss through memory. The song drifts toward a melodic, amplified conclusion that leaves a lingering sense of reflection. In sharp contrast, Big Love opens with a high-pitched guitar intro and fuses a variety of sounds. Produced by RICHIE KENNEDY, it features distorted voice recordings that dissolve into an a cappella chorus. The result is a joyous and layered track that stands among the album’s highlights. Hard Ride captures the early days of a relationship - the excitement, uncertainty, and underlying fear of what lies ahead. Recorded sounds, including an accordion mirroring the guitar notes, create a dreamlike shift that transports the listener somewhere distant and tranquil. Catalpa In The Sky, initially inspired by a fear of flying, becomes a meditation on humanity’s instinct to look upward and wonder what lies beyond. The song itself feels dreamlike, with a slightly distorted piano that brings a sense of calm through headphones. The closing track, Stones In Your Bag, brings the album to a poignant conclusion. A harmonica weaves through dual vocals treated with a distorted, conversational effect, creating the feeling of both a farewell and a new beginning. As the song fades, there is a palpable sense of emotional release. BOOK OF CHURCHES is not intended to be perfect; it is meant to be raw, unfiltered, and emotionally honest. It invites listeners to relate, empathise, and feel something genuine and it succeeds. The album reveals a deeply vulnerable side of MACKENZIE-BARROW, with gentle guitar work and soft tones blending seamlessly with heartfelt lyrics. It stands as a reflection on life and the world: flawed and difficult, yet capable of profound beauty when stripped back to its essence. Score: 10/10 Book of Churches will be released on 6th March 2026 via Gravity / Capitol Records. Words: David Waites Photos: Book of Churches

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

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

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

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

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

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

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