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

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

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

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

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

VARIALS have turned aggression and chaos into unfiltered yet hypnotic audible rage. From brutal bass to savagely harsh vocals, this album is sure to leave hardcore fans in awe. From Philadelphia, VARIALS harnesses their unrelenting ferocity to bring us Where The Light Leaves. Known for their explosive sounds, the band have toured with the hardcore giants such as KNOCKED LOOSE and THROWN. The band is considered accomplished at intertwining nu-metal, beatdown, hardcore, and metalcore to create albums with musical variety. The title track, Where The Light Leaves, sets the tone for the whole album with its relentlessness, smothering the listener with unyielding bass and ferocious vocals. Opening with an eerie atmosphere of guitar feedback and industrial tones, it shatters the expectation with explosive drumming, leaving listeners stunned and ready for the raw mayhem that’s about to transpire. Lyrically and instrumentally the song feels like a nightmare encasing you into its pure viciousness. The song bursts through the speakers into the listeners chest, invoking what feels like unfiltered hostility. In what can only be described as a punch to the gut, SKYLER CONDER’s unapologetic vocals blare outwards, preparing you for the rage to come in I’ll Find The Dark. The song contains a surprising, yet captivating guitar solo, allowing SHANE LYONS to demonstrate his prowess as a guitarist. Erupting into a colossal breakdown, the track effortlessly leaves the listener yearning for the mosh pit to harness this beast of a track. Throughout the album VARIALS harnesses the true potential of its bassist, SEAN RAUCHUT, creating bursting bass lines with a remarkably forceful bass tone, this song is the ultimate example of that viciousness. For the final song of the album, it leaves the desire to go back and listen to the album again and again. Showing the band's natural duplicity as musicians, Hurt Chamber combines alluring clean vocals with heavy instrumentation, evolving into a crescendo of unbridled brutality. The contrast between the harsh and clean vocals demonstrates a standout track, showing the band’s incredible range as they diversify the feelings of the album. The track’s shoegaze-ified vocals are reminiscent of sounds from artists such as DEFTONES, THORNHILL and MOODRING, and add to the songs overarching ambience. Romance II shows VARIALS’ progression in sound with the song starting with a reflection of its predecessor Romance. As the track unfolds it transforms into a bundle of forceful ruthlessness unlike the original, which maintains its clean sultry sound. It shows the band's confidence in both their ability to harness monstrous fierceness and settle into enticing seductive cleans. Romance II manages to keep its authenticity to the original while creating something unique and impactful as an expansion to the original while conjuring the same emotions. Where The Light Leaves is a metal fan's dream. VARIALS have generated a memorable masterpiece filled with rage and unapologetic lyricism. The album achieves the atmosphere it sets out to induce through divisive choices in instrumentation, creating an inescapable wall of uncomfortable aggressive sounds. The band takes an unconventional approach to writing, playing on their unique choices such as the use of dominating bass tones to create an unforgettable performance. Where The Light Leaves sets the precedent for the standard of modern metal going forward in 2026, with high production value, unique mixing, and a large diversity of track content. Score: 10/10 Where The Light Leaves will be released on February 27th 2026 via Fearless Records. Words: Alix England Photos: Varials

Driven by revolution, industrial metal and electronic beats KMFDM is a global phenomenon founded in 1984. The band have accumulated an astonishing 1.7 million monthly listeners on Spotify alone. KMFDM are widely considered trailblazers on the industrial scene and have continued to write profoundly bold lyricism directed at oppression, political integrity and violence. Their music is a warm embrace from the dance floor enticing you to join in with their revolutionary ideology. Their live performances are no exception with stunning, striking visuals and a shot of unadulterated adrenaline. SASCHA KONIETZKO - or more commonly known as Käpt'n K - is KMFDM’s frontman and co-founder providing listeners with powerful vocals and dynamic performances. So, how does the iconic band operate and what drives the band to write such memorable rhythms? ENEMY is the band’s twenty third album, continuing the band’s influentially powerful sound with formidable riffs, rapid drumming and groovy electronic elements. SASCHA stated the writing process for ENEMY followed the same process as any other album for KMFDM, with “little ideas” from travelling or simply relaxing which are passed on to the other members of the band. They then began the process of “constantly building up and adding stuff and then taking stuff away, and then changing the arrangement” to build the perfect composition. He also gave an insight into the changing environment of music writing and producing. He declared that you used to have all the work on a mixing console, and you had to finish the mix before you could “strike the board” and start something new. It seems he enjoys the modernisation of technologies, saying “you can work a little bit on this song, a little bit on that song and just really you know take your time and get some distance from it too in the meantime”. SASCHA comedically remarked inspiration came from the “fire inside” and that KMFDM will never be short of ideas finding creativity from everyday life. GUN QUARTER SUE is the bands first fully instrumental track allowing each musician to show their prowess. It combines aggressive chaotic instruments with groovy beats to make a beautiful balance between their industrial and electronic roots. What drove the band to diversify and make a lyricless masterpiece? SASCHA announced that it is “the soundtrack to a movie that has not yet been made.”. He also released “the movie's already in my hand and the soundtrack is done, so let's go! Start shooting, right?”. The concept of a movie made by the great minds of KMFDM is surely something for fans to look forward to. KMFDM has a rare band dynamic with two members of the band, SASCHA KONIETZKO, , LUCIA CIFARELLI and the potential addition of ANNABELLA KONIETZKO, being family. ANNABELLA made her songwriting debut on the track YOÜ - surely a proud moment for her parents and a foretelling into the legacy and future of KMFDM. SASCHA proclaimed that working with his daughter was a delightful experience. He explained “She walked into the studio one day and she liked what she heard and she said she, whilst being downstairs, wrote lyrics for it and a melody, then I said alright, let’s record it.”. He reported she was certain on the changes she would like made to the track and helped with the track's alterations until it was finished within two to three days. He confessed it was unusual as when he is writing for the band he likes to spend a long time tweaking the songs whereas hers was “boom, out of the box”. SASCHA admitted he often ponders on the future of KMFDM. He believes they’ve started the next step into the band's evolution with ANNABELLA being the forefront of that future. He foresees the band becoming a generational band with her already taking the steps from “studying to become a sound engineer” and proudly declaring that she “has a great voice”. He seems to hold high expectations for his daughter stating “The future does not necessarily belong to the mediocre. So, you know, go for it, girl.”. The band operates internationally with drums in Florida, USA, guitars in England and the rest of the band in Hamburg, Germany. The band doesn’t operate in the conventional sense of writing and rehearsing together in person, the band sends ideas overnight to receive something to be added at a later date. SASCHA claims writing is not "necessarily a democratic type of thing where you know somebody says ‘oh, the drums need to be louder’ I am the producer, and I decide how loud the drums are going to be. So, sorry that’s the way it is”. He explains somebody in a band must be responsible and that always falls to him. He also noted that the responsibility comes very naturally to him. The band has been a strong predominant figure on the industrial scene and has sure influenced young bands looking for that breakthrough. What advice would a legendary legacy band bestow onto those looking to join them? “If you believe you have it, then keep at it. It doesn’t only need talent but it needs tenacity. It needs a certain amount of stoicism. And a ton of luck!”. He proclaimed bands simply need to be in the right place at the right time and that’s what likely aided KMFDM's journey. With so many incredible voices out there it seems imperative to do your “own thing” and keep at it. He raised a good point by asking “what is it to make it, I mean in nowadays world you know?”. Suggesting bands should almost make their own goals to achieve in order to feel accomplishment. From a ferocious hyena, to beautiful warrior women, KMFDM’s albums maintain intricate cover art ripped straight from a comic book. The art is made by none other than AIDAN HUGHES or otherwise known as BRUTE!. In a conversation between the two about ENEMY, SASCHA pitched “a fight between a beautiful creature and another beautiful creature [an octopus]”. He stated that in recent years the art was a long discussion over concepts for albums but for ENEMY the original sketch was “spot on”. It is nice to see a band commit to an artist and see continuity between albums to make an instantly recognisable cover. UK fans are patiently awaiting the bands return, and it seems that it is the cards but not without its trials. He stated that he would love to return to the UK and that he is missing playing here, however it’s not as easy as it was. Bands now must apply for visas, bring assistance and hope someone is manning border stations so that you can arrive at a show on time - which all come at a cost. He shares how easy it is to travel in other European countries as bringing equipment is much simpler and sometimes you don’t even require a passport. However he left with a reassuring statement of “we’re working on it, for sure”. SASCHA provided an honest insight into what being a band was like and proved KMFDM is going nowhere with new music always on their horizon. It seems ENEMY is just the tip of the iceberg for the band’s future endeavours and fans should be ready for what’s next. Finally, SASCHA left some wisdom to global KMFDM listeners “you know, wake up, don't believe the bullshit, think for yourself and choose the right side”. KMFDM released their 23rd studio album ENEMY on the 6th of February 2026 and will embark on their rescheduled Europe tour in August to celebrate it, with further dates in March 2027. Words: Alix England Photos: KMFDM, Aidan "Brute!" Hughes With thanks to: Red Sand PR and KMFDM

Five years on from their previous release, WEEDPECKER return with their highly anticipated fifth studio album V. PIOTR wrote that this album is deeply personal to him and is used to process his emotions, and this shines all throughout the LP. This is him opening up and that feels truly special to witness. The Polish psychedelic, progressive rock outfit open with a calm and atmospheric tone, much different to the opener for IV. Where that is much more in your face and straight to the point, the first track on V really builds tension and eases you into the energy that we’ve come to know and love from WEEDPECKER. With significantly more synths than their previous work, an ethereal atmosphere is created that draws you into a trance-like state and keeps the listener engaged. The intro is short, simple and leaves you aching for more, waiting to see what they deliver. And deliver they do with the second track Fading Whispers which boasts mellow drums and spacey guitar riffs to begin with. PIOTR DOBY's angelic clean vocals break through the mix blending beautifully with the instrumentals which can only be described as sensational. The sound is very akin to their earlier work on II and III. However, early on it breaks away from this formula and takes on a much heavier sensibility with distorted guitars and rippling synths which raises the energy in a major fashion. The band rides out this high for much of the track, risking repetition, however due to ZBIGNIEW PROMIŃSKI's talent on the drums, allows it to feel unique from start to finish, leaving a real impression on the listener. Ash comes in with a wavy guitar and gentle hits on the ride, a stark contrast to the previous track as once again the energy slowly builds up. The dream-like and gentle atmosphere only lingers for a short while until a heavy chugging guitar enters the mix alongside PIOTR showing a different approach with his vocals with much more volume and energy to the previous tracks while still blending in his clean, signature style. The drums also impress with this one heavily giving the more prog-rock characteristics with unique time signatures and intricate work on the cymbals. Third on the track list we have In The Dark We Shine which kicks off with some more angelic vocals from PIOTR, in perfect combination with mellow guitar and drums mixed well as to not overpower the smooth vocals. The synths make occasional appearances adding a lovely accent to an already gentle mix. As far as the track list goes, this song blends seamlessly, even with the more relaxed approach. You’re immediately jolted with energy from the beginning of Mirrors which throws some much heavier guitar at you with some higher tempo drums, courtesy of PROMIŃSKI who consistently demonstrates his technical ability throughout this LP, especially in this track. PIOTR’s vocals are mixed further into the background with this one, allowing the instruments to take charge, showcasing the bands talent. The final track The Last Summer Of Youth mellows things back out again returning to the calm demeanour of In The Dark We Shine with an acoustic guitar and more technical yet relaxed drumming from PROMIŃSKI. PIOTR delivers yet again with more superb clean vocals as he has provided throughout the LP. Overall, V feels much more polished and flows much better than IV and maintains a grip on the listener throughout the entire LP. By no means is it a redefining album, yet it does feel as though they have refined their sound significantly. It will most certainly be interesting to see how they implement these tracks into their live performances, yet it is likely be a great show, nonetheless. But with the addition of these new tracks, it feels as though WEEDPECKER have reached a new level in their work, with the vibe being very polished, yet you never know what’s next. The whole LP is immersive and transcending and overall, a solid piece of work, with the personal meaning to PIOTR making it all the more special. Score: 9/10 V will be released on 27th February 2026 via Heavy Psych Sounds Words: Theo Hogan Photos: Aleksandra Burska

The sky shines no bewitching television static glare. There is no dead channel. There is only red, alive; a bloodstain on the heavens, the red-hot ichor of leather-clad angels screaming its shadows into every nook, every recess, every misbegotten alley of this city. CARPENTER BRUT, the industry-defining seminal synth suzerain brings forth the new Leather Temple, the orchestrally bombastic finale to his leather series of long-plays that brings a cinematic climax to his most recent releases from beyond cyberspace. Jack in, gaze into the deliciously dark abyss of the synth city, and steel yourself for an album experience you truly need popcorn for. With little known of the carpenter himself – far more at home skulking in the darkest memories of every neo-tyrant, scavenger and corporate micro-lord and letting his mastered craft speak for itself – one can only speculate on his true nature. Scion of some oligarch, street deck jockey- most likely a console cowboy of some strain, running the net with the same ease he breaks beats into splintering shards of perfectly pure audio horror- but if so, it is certain anyone who dares pry will find themselves flatlined, fast. We know not his face nor name, but we do know CARPENTER BRUT’s language: ultra-violence. Eye-bulging electro crashes – more localised nuclear catastrophes than samples – truly despicable and brooding riffs, and the darkest, most vile, yet ice-cold synths’ this side of the Blackwall. This alone would bring fame and fortune; but the carpenters’ joining of these industrial echoes with a true passion for an orchestral turn leaves each song feeling like a personally curated, immersive, cinematic experience. And let it be said, this is but his reputation: one Leather Temple not only lives up to, but pushes to new heights. To briefly drop the crimson-tinted glasses, the leather set of albums have seen a growing influence of more metal influences throughout CARPENTER BRUT’s work, disturbing synth cascades slowly usurped by bombastic and ultra-harsh hammers of horror, shifting in similarity from PERTURBATOR to KEYGEN CHURCH. And while, certainly, Leather Temple does continue this trend, fans of both the crippling drums and spine-chilling synths will find more than their fair share to love throughout the ten tracks of this long play. Beautifully blending the industrial, gritty-yet-cocktail-smooth synthetic sound he is known for with not only metal, but black-clad orchestra and even the occasional jazzy groove of saxophone to create a truly brilliant experience. Certain tracks seem as if ripped directly from an alternate reality Trilogy: Neon Requiem being the perfect ballad to sail down endless stretches of red-soaked digital highway, and She Rules The Ruins casting it’s very own shadow to cover you while stalking through the endless alleys of the city – before itself going loud, marrying the two influences in a baptism of fire, carnage, and smoothness. Start Your Engines commands such a destructively anxious, nervous yet confident through sheer force of adrenaline sound as befitting such a title, as to turn any if not all listeners into a rally racing legend for all the net to enjoy. It is, scientifically, impossible to not move to. Escalation, escalation, escalation: the abrasive audio of the entire album is the perfect stress accelerator, sure to rise heart rates to match the bpm. Those seeking no more escalation, but simple carnage are too spoilt for choice. The Misfits The Rebels cracks your skull in twain with a blood-curdling shriek of distortion. You earn perhaps a second, a brief moment to realise there is now a stake-raising amen break rapidly counting down to the beginning of the track; before you are simply melted away. A neurotic screech of panicked obliteration, it is followed only by Speed Or Perish: where panic is simply vaporised into raw horror. God is dead, synths are fuel: and the leather temple is full. And yet, this is not all. Leather Temple is orchestrated as if a movie not only for the cyberpunk cinema it conjures in any listeners heads, but in its’ format. The opening Ouverture (Dues Ex Machina) brings not a screech, but a foreboding, monumental introduction to the viewing pleasure that is the album: ghostly organ and heavenly synth instantly casting aside any potential doubts about this latest release. Similarly, the concluding The End Complete is a credit-roll ballad, the victorious answer to the mysteries of the Ouverture- perhaps one of the few CARPENTER BRUT pieces to be associated with any form of joy over complete and utter brooding. Each track has its charms, of course; but listened so, as part of the continual audio experience paints a hero’s story in sound- and is a work of art that must be experienced. CARPENTER BRUT holds a reputation for defining the dark electro-synth genre as its’ bard. Leather Temple does not just maintain this reputation: it crowns him as its director. Score: 9/10 Leather Temple will be released on the 27th of February 2026, via No Quarter Prod Words: Jakub Tomasz Czaicki Photos: Stefan Brending

Picture a cityscape in the throes of winter. You stand, leaning against the cold concrete walls of a dark alleyway, cigarette to your lips as you gaze out onto the night’s lonely streets. The wind whistles through the gaps between buildings, and sirens sound far off in the distance, as if just to fill the quiet. Maybe it’s a sign; you’re not alone. Sometimes, though, you can be in a city of people and still feel deeply isolated. These are the scenes that DEEPER GRAVES has us envisioning. The solo project of JEFF WILSON (CHROME WAVES, CONTRITION) had its last full-length release in 2022, and is back after four years with Pull Me Toward The Dark. This is an album steeped in melancholy, a post-punk piece dripping with unease that captures us in its atmosphere as soon as the first note seeps through the speakers. The album starts off slow with Misunderstood, carrying a soaring, sombre melody that builds up slowly, reverberating sounds overlaid. It’s a short piece that contrasts the rest of the album not just in its length - around a minute, compared to the five or six minutes of the others - but also in sound; this track is wholly instrumental, existing purely to set up an atmosphere for us to immerse ourselves deep into. At that, it succeeds. No Time For Love comes in with no introduction, synth sounds battling against a heart-thumping drumbeat before killer guitar riffs are brought into the fray. The vocals echo around the room as WILSON serenades us from the speakers; the lyrics aren’t complicated, essentially one chorus on loop, but there’s a beauty in simplicity. Over My Shoulder turns the reverb up to eleven with its introductory riff, giving way to a trilling guitar backed by a drumbeat that feels very deliberate, each hit with a focused intention behind it. The warbling guitar is the centrepiece of this track, giving it shades of shoegaze that fit perfectly with the meditative vocals that are content to sit in the backseat. This is soon followed by All These Years, where a hint of experimentation reveals itself. It borders on industrial at points, though never quite crosses that line. Soaring guitars ring in our ears, and as the cavernous vocals rise up, there’s an electronic edge in a secondary, overlaid vocal track that ties in with the industrial instrumental. With Where Do We Go From Here, it becomes obvious the teaser of experimentation in the previous track does not carry any false promises. There’s a very clear contrast in the instrumental; the track begins with a darkness-tinged riff, but soon a hypnotic synth tune adds a splash of colour to the monochrome world this album has created so far. There are many different elements at play here - rhythmic synthesisers, pounding drumbeats, ominous, massive-sounding vocals, and some incredibly memorable riffs. This is by far the standout on this album, not just a song but an entire soundscape for us to immerse ourselves in. The Truth brings us to our penultimate track. Immediately, we’re on edge with the ominous instrumental; this is much further in the camp of industrial than before, and it’s steeped in an esoteric atmosphere that sends waves of unease running through us. The first two minutes are occupied by that soundscape, and it’s only after that we embrace the familiarity of the gothic riffs; they come in with an intense wall of sound, dominating the track entirely. The industrial elements complement them greatly, a unique contrast that keeps the track fresh in our minds. Title track and closer Pull Me Toward The Dark has an eerie beginning, rippling sounds of darkwave underneath a slow, deliberate drumbeat; deeper still is a subtle, whispered guitar strum that soon rises up to become the track’s main focus. The guitar wails and warbles, and the grandiose vocals echo the title as a chorus, encapsulating the melancholy meditativeness of this release in a few simple words. The track takes its time to fade out, leaving a trace of solemnity lingering with us. Pull Me Toward The Dark is an album with clear themes; it’s a melancholic reflection on the passage of time that invites us not to listen along, but to fully immerse ourselves in its darkwave, gothic rock soundscapes and get lost in the cultivated atmosphere. There’s a simplicity to it - the vocals are secondary to these tracks, and when WILSON’s echoing serenades do grace our ears, the lyrics often consist of one or two repeated lines. That’s not a bad thing - with this album, the instrumentals speak for themselves and the words exist to complement them, instead of the other way around. This is a heavily immersive album; best listened to not on-the-go but in the darkness of the night, rain lashing at the windows. Score: 8/10 Pull Me Toward The Dark will be released on February 27th 2026 via Disorder Recordings. Words: Naomi Colliar Duff Photos: Jeff Wilson

The nostalgia runs deep for French post-hardcore outfit RANDOM HEARTS as they craft their debut album Love PTSD, taking 90s post hardcore conventions and sprinkling in 00s emo rock to make a soundscape that matches the angst and yearning of the album’s lyrics. A solid debut for RANDOM HEARTS, Love PTSD feels like a solid foundation to build their sound from. Lyrically, there are pieces of beautiful imagery woven into Love PTSD that paint the picture of yearning and regret RANDOM HEARTS envisioned for their debut. Before We Met is among the best of the songwriting, where PUTAND tries to remember a life before meeting the muse of Love PTSD, admitting to overimagining what a relationship could be in the beginning then overpromising with them as a result. The final question “where was my heart before we met/and where was it seen last” is the final question in a motif that is strung through Before We Met, offering the sonic equivalent of a sigh on a park bench in the middle of a mental health walk that post-hardcore is often turned to for. A couple tracks later is Manikin, which details sneaking around with a paramour, discussing the guilt and pain of being secretly intertwined with someone else. The yearning for the subject is balanced well with the guilt for the other parties involved, with the first lines “when will we finally pay for the love we stole/shifting blame and broken ties/all the way down” capturing this feeling perfectly. Elsewhere in Love PTSD there are some standout lines, Fences “let’s go straight to the end/like a moth drawn to a flame” may be the most resonant line in the album for its subject, encapsulating the feeling of moving between continuous troubled relationships and knowing their end yet still being drawn towards them primally. The title track has “who can tell the sad from the sick” as the last line of Love PTSD, which is delivered at strain before the closing drum solo and works well as the final thought on getting past turbulent romance. However, the lyrics on Love PTSD are generally sporadic, with short verses and a lack of full sentences giving an unrefined feeling to the whole project. While thematically clear as a whole album, in individual songs the writing can be confusing such as in opener and single Crosswalk; “crosswalk paints/on a quicksand’s road/I’m not so sure/I’m on my own” has a clear inference of running out of time and a lack of confidence in one’s decisions, but the imagery is not quite realised so leaves little impression. Further on, Recede Into the Shadows has potential in lyrics such as “no whys, no how's, just fate’s design/fate provides, fate deprives in time”, but the reference to a “dying cat parade” and the recurrent motif of a “Vending Machine of Broken Dreams” offsets the depth of introspection that RANDOM HEARTS are venturing for. On the note of the latter motif, it is confusing as to whether the vending machine is subject to their dreams being broken or whether it is supplying them. This may be put down to first album growing pains, and there is plenty of potential as RANDOM HEARTS to flesh out the songwriting ability. Love PTSD doesn’t reinvent the wheel when it comes to its sound. It is clearly situated in post hardcore, with some intricate melodies and live vocals integrated into the mix rather than placed over the top of it. The emo rock influence compliments the 90s post hardcore well by adding angsty power chord progressions and more layering in the guitar work that compounds the comforting nostalgia that RANDOM HEARTS are pulling from; the nostalgic feel works thematically as each track reminisces on a different aspect of a love affair. The best example of this is in Rehearsed Goodbyes: starting with a strong drum roll intro before settling into the verses to craft a track that could’ve featured on new song of the week on Kerrang! In 2003. The solo is a swinging and distorted breakdown, hitting the moody melodies of post-hardcore over the top of a full emo rock backdrop that picks up enough to build good tension for the next half of Love PTSD. Sonically, Love PTSD’s tracks are well paced and well performed, but don’t feel to have a sound that feels unique to RANDOM HEARTS. Again, this may come down to this being their first full length project - they have the post hardcore/emo rock fusion locked down, so it will be fruitful to see how their personal signature develops as they grow. Love PTSD is a good starting point for RANDOM HEARTS, working as a proof of concept for the quartet and offering quintessential post harcore conventions that feel refined. This said, it will be exciting to see where RANDOM HEARTS take this sound as they develop it within themselves and find consistency within their lyricism. Score: 5/10 Love PTSD was released on 20th February 2026 via Vous Connaissez Words: Julia Brunton Photos: Thomas Dubois

YUNGBLUD is back with Idols II. Announced just two days before its release, it marks the completion of what has become the most significant chapter of his career. Idols part one, released in June 2025, was YUNGBLUD's third consecutive UK number one album. A significant pivot from his original sound that won some new fans, unsettled some old ones, and earned him the acclaim from rock and roll's cult musicians recognising their own. In between came the world tour, the EP One More Time with AEROSMITH, and three Grammy nominations, including a win for Best Rock Performance for his rendition of OZZY OSBOURNE's Changes at the Black Sabbath Back to the Beginning show in Birmingham. And now, it is time for Idols II. The completion. Idols part one was about reclaiming identity: breaking down and piecing yourself back together to escape a dark place. DOM HARRISON put it plainly in the album's lyrics: "All you are is a self-fulfilling prophecy / Product of your own temptation." About part two, HARRISON says: "It’s about realising I am alive, I am real, and this journey didn't break me. It's about feeling invincible when you finally feel yourself." That's what Idols II is built on. The realisation that you made it, that you're still here. A celebration of life. Produced again alongside MATT SCHWARTZ, Idols II picks up exactly where part one left off, musically and emotionally. The six new tracks, plus a reworked Zombie alongside legends THE SMASHING PUMPKINS, flow from the end of part one as naturally as exhaling. I Need You (To Make the World Seem Fine) opens the record and it's breathtakingly beautiful. Acoustic guitar leads, the sound moving between ears in a way that places you right inside the room with him. A rock orchestra builds around it, grandiose and unhurried, while DOM's voice stays melodic without losing that characteristic rasp. It closes with the same delicacy it opened with, a perfect complement to Supermoon, the track that ended part one. The Postman follows and hits back in true YUNGBLUD fashion. A fun, irreverent track that makes you want to get up and dance, with that familiar edge and the chaos from his older albums. It carries the Britpop influences that gave part one its particular flavour, and it would be an absolute highlight live. Then comes Zombie, a reimagined version with THE SMASHING PUMPKINS, and it's a hell of a collaboration. Heavier, more metallic, a full rock band version bringing its own weight to the track. Time strips everything back and brings you closer. Just DOM and his acoustic guitar, up close and personal. His voice feels exposed here in the most disarming way, the raspiness and sweetness sitting side by side. The work he put in with vocal coach MARY HAMMOND finds its fullest expression in a moment like this, where there's nowhere to hide. Short, sweet, and quietly one of the best things on the album. A blessing for the fans of War, War Pt. II picks it back up, finding itself a new perspective. The tempo shifts and brings a touch of pop-punk into the fabric without losing the thread of the original. Where War had DOM saying "I wanna feel inspired", here the lyric shifts to "Are you feeling inspired? Are you having the best time of your life?" An open question that makes you stop and sit with the answer. Followed by Blueberry Hill, a standout that knows it. A rock and roll orchestra of keys, guitars, horns, the whole expanse of it. Theatrical in the same spirit as Change from part one, bringing a piece of it into the fold. The final minute opens up in a way that echoes Hello Heaven, Hello, a room with no ceiling. Suburban Requiem closes the record and lands like an alternative world version of Supermoon. Where that track turned inward, this one opens outward, settling into something quieter and more considered. The Idols universe, across both records and everything between them, ends here. And it ends well. "Anyone out there who is going through hard times right now," YUNGBLUD said, "I hope this second part of the album helps to ground you, helps to focus you, helps you to feel alive as much as it has done for me." With Idols complete, DOM HARRISON has done something that most artists spend entire careers chasing. He's made a body of work that is entirely, unmistakably his own. The Doncaster kid who started out making noise in his bedroom has grown into an artist with real range, real vision, and the confidence to follow both wherever they lead. Idols II is proof that he's not just arrived. He's been here a while, and he's only getting started. Score: 9/10 Idols II was released on 20th February 2026 via Island Records/Locomotion. Words: Lorena H Photos: The Outside Organisation