No creature is more tied to the idea of metamorphosis than the butterfly: they take the time to develop themselves and grow, and emerge into the world as symbols of beauty. Aussie indie rockers SESAME GIRL have done the same with this record. This is the band's third EP release, but it’s here they really find themselves. Stripped down to organics, with instrumental additions of banjo and acoustic guitar, they trade out their usual fuzzy sound for sentiment and soul, putting emotion at the forefront and wearing their hearts on their sleeves. Wings of a Butterfly leads us in with a country-esque guitar strum, a simple rhythm, but one memorable and distinct. Heather Duncan serenades us with dreamy vocals and intensely-relatable lyrics; the band use the idea of a butterfly as a symbol for love: it can be beautiful, but also fragile and fleeting. Just as fast as love can arrive, so too can it leave as quickly. We need reassurance it won't fly away - you can't just say you'll be there forever, you need to prove it. It's a nostalgic track, and that might be down to the indie-film-soundtrack feel, or it might be that timeless message. Either way, it's a really strong track deserving of the opening slot. Following up on that vulnerability is Kick in the Teeth, a track about those moments that make you feel unlovable, the times you feel like a secret to be kept because the person you love is ashamed to be seen with you. It's a tearjerker, Duncan leading into a chorus steeped in loneliness; “Picturing a kick in the teeth / Does it really hurt that much to love me?” There's a lot of this emotion poured into the EP, and it really feels like a cathartic outlet not just for the band but for the listeners. Thankfully it's not all sadness: following track Superstar is an ode to friendship, and supporting the people you love in all their endeavours. It has an incredible chorus, with some real shoegazey guitars and a groove-laden bassline from Josh Fogarty and Avril Ferguson respectively, while Blake Bashfield's rhythmic drumbeat keeps things going steady. It's very much a standout, and a defining track for the band. Rubberband is more rock-infused; Bashfield's drums gain more prominence here, and serve to drive power into the textured instrumental. It's less chill indie, and almost grunge in nature - a welcome change that keeps the record feeling fresh. Despite the genre-fluidity of the EP, there's a cohesiveness in both sound and message that ties everything together neatly. This one is about friendship too; despite having those inevitable moments where the relationship hits rough patches, you can always bounce back (like a rubberband). Back to Texas trades out the coastal views of Wollongong for sprawling deserts, banjo twangs taking centre-stage as the track takes an alt-country approach. The slide guitar use adds some welcome dynamism to the mix, keeping a soulful energy surging through the track until its final strums and whispery vocals fade out. Closer Prettiest Girl in the World is another emotional track. Deeply personal and relatable, this is one for those of us with low self-esteem. Those who only feel pretty in the dark, away from reflections. In her soft-sung way, Duncan admits there's a problem, but recognises there's no immediate solution but to close your eyes and banish the thought. There's a wistfulness to it, but as the track progresses to a dreamy nature, the vocalist sings “I can let you love me” and maybe that's enough for now. Just baby steps in the healing journey, but butterflies don't emerge from their cocoons after a single day. Butterfly Wing In A Silver Locket is SESAME GIRL at their best so far. Steeped in incredibly-relatable sentiments, laced with nostalgic and memorable melodies, this is an EP that doesn't hide behind layers of instrumentation, and bares it all emotionally. If there was a record to keep close by, framed inside a locket around your neck for when you need cathartic listening, this would be it. Score: 9/10 Butterfly Wing In A Silver Locket will be released on 7th July 2026 via Cohort Records. Words: Naomi Colliar Duff Photos: Liam Jordan

When Republican presidential candidate and TV personality Donald Trump was elected as president of the USA in 2016, a lot of the world looked on in disbelief. When he was elected again in 2024, for many that disbelief turned into utter despair. Children is a direct and pointed product of the first hellish year of this second term of presidency - and a president that has overseen and engaged in war, genocide and a roster of violent anti-immigration policies. On their debut album, San Francisco-based trio WEALTHY WOMEN explore the grief, rage and despair of living in a country governed by people who want to watch the world burn. Employing grimy sludge guitars, bleak lyrics and vocals that go from purposefully apathetic to gravelly and intense, this is a debut that isn’t afraid to be outspoken. Opening track 37 Days sets the political tone perfectly for the rest of the record. Grimy guitars chug behind a retelling of the story of Asaad al-Nasasra, a Palestinian paramedic who was detained by Israeli forces in March of 2025 and held for 37 days without legal counsel. The anger is palpable in Sisk’s gravelly vocal delivery, but the rage radiates through every element of the track just as viscerally. This rage is truly the lifeblood of Children. Later, on Take It Back, the band takes direct aim at right-wing America, parroting commonly held beliefs by those who support Trump and flipping them on their head. The guitars are beefy and loud, sludgy and thick against a droning bassline and explosive drums, from Kansas-born Andrew Harms. Lines about immigration policies hit harder when considering that bassist Don Doblados is the son of Filipino-born immigrants, and vocalist Peter Sisk immigrated to the country from Ireland shortly after Trump first came into office. For this band, it’s personal. On Siege, lyrically this frustration and anger comes to a boil. ‘You don't look like us, don't live here no more’ is growled out in the chorus, in amongst lyrics about troops on the streets and children in chains. It’s in the darkness where WEALTHY WOMEN hit their stride, but there’s another side to the tracklist. Worst Date sees the band sarcastically taking aim at toxic masculinity, in a tongue-in-cheek retelling of a date with a testosterone-taking finance bro. The lyricism here isn’t the strongest, and it feels too straightforward to get the message across without feeling ham-fisted. Paired with a bare and repetitive droning instrumental for much of the song, it’s hard not to wish that some more editing and refinement would have taken place here for this idea to really hit home. Atheist Wife has some similar issues in regards to the lyricism. The light-hearted approach feels out of place here, and although the frantic and blistering instrumentation does a lot more to draw the listener in, the heaviness of the rest of the album makes songs like this feel awkward and out of place. In contrast, Shit Breaks is a standout on the record. Whilst the verses are fairly instrumentally bare, the sludgy bass and guitar in the verses do a lot to build up suspense, whilst also highlighting the more refined and thoughtful approach to lyric writing – here, things are shown a lot more often than they are outright told to the listener. The chorus is one of the only standout hooks of the album, and one that will get wedged in your head all day once you hear it. It’s gritty and immense, and wouldn’t be amiss on a CHAT PILE album at all. Closing out the album is the title track Children, which also serves as a tribute to the children of Gaza and Ukraine, lost in conflicts that they had no say in. It’s a bleak and impactful send-off for an album with a lot to say, and comes off as a track with a quiet rage set against a steady drum beat; it feels inescapable and oppressive, but there’s no brashness here. Just sorrow. Children succeeds in being a political critique at a time where for many, it’s hard to see a way forward through the right-wing noise. With some more lyrical development, this could have been a home run, but as it stands, the songwriting does leave a lot to be desired on an album that is sonically sludgy and bleak enough to handle some darker, more introspective material. With more time, it wouldn’t be surprising to see this trio amongst the Flenser roster - but for now, they can feel safe in the knowledge that they are on the right side of history. Score: 6/10 Children will be released on 7th August 2026. Words: Ellen Lovell Photos: Nate King

Leeds’ most emotionally devastating musical export, DIN OF CELESTIAL BIRDS, are back and ready to rip your stitched-up heart wide open. The instrumental post-rockers have put together a collection of music that soars and dives to mimic the to’s and fro’s of life’s journey - whether that be in more metaphorical sensibilities, or the more literal, as shown off by the record’s title - Takeoffs & Landings. With gargantuan gulfs between the delicate and crushing, the brooding and the uplifting, the light and the heavy, this feels like a record written to bring out superlatives. Fans of extremes and duality are going to adore every bit of this LP - the dizzying Migratory Patterns (the song, not the amazing natural occurrence that’s particularly dazzling with murmurations of thousands of starlings) may be a standout, but the base level is incredibly high across the board. The ability on display is, quite simply, phenomenal. The sheer effort that’s been put into this record is instantly apparent, and so is the passion. Whilst their live show is majestic, and shows off every facet of their brilliant 2023 debut album The Night Is For Dreamers, this record has been put together with an obvious intention - to provide a deeper, more layered and woven piece of music that won’t be replicated live in quite the same fashion. In short, this album needs to be sat back and listened to in the same way a complex whiskey, expensive cigar, or good book should be enjoyed. Every song has something to love. The opener and title track is a breathtaking way to open the record, with its beautiful intro and some searingly heavy moments to balance out the calm. The semi-cyclic nature of From This Summit We Can See The Heavens & Stars will surely lead to it becoming a firm fan favourite both recorded and live, whilst final track Second Star To The Right, and Straight On Til’ Morning - of course named for the iconic directions to Neverland in J. M. Barrie’s Peter Pan - features gorgeous melodic picking and atmospheric tones that go on and on and on, before a great crescendo of cymbals and guitars and a vast wave of emotion threaten to overcome the listener. Instrumental acts rarely, if ever, get better than this. DIN OF CELESTIAL BIRDS have shot for the moon and landed even higher here, no doubt propelling them into the very highest echelons of post-rock for many of their listeners. For those who do know the band, this won’t come as much of a surprise. For those that don’t - catch up on what you’re missing right now, or regret it when they’re headlining the big venues. Score: 9/10 Takeoffs & Landings will be released on 7th August 2026 via Big Scary Monsters. Words: Jasmine Longhurst Photos: Alex Dixon

REALLY GOOD TIME isn’t just a band name, it’s a promise from the Dublin-based trio. Half-jokingly proclaiming they started out as an excuse to “get drunk and play late shows”, it wasn’t long before they realised they’d struck musical gold and have seen their efforts rewarded with accolades from media, coveted spots at festivals, and fellow bands shouting their praises. Having established themselves firmly in the scene on both sides of the Irish sea, they’re ready to unleash their debut album Affirmations in all its raucous glory. Affirmations isn’t just their most audacious project to date, it’s a career marker for them as a band that set out to play at piss-ups and now sees them packing out rooms on headline tours. The debut album has them bringing their evolved garage punk meets prog-rock sound and satirical lyrical genius about the absurd human and Dublin-specific experience of doing what you’re told and still finding yourself 10 steps behind, stacking up a collection of tracks that stretch from less than 60 seconds interludes to huge 8-minute ensembles as REALLY GOOD TIME load in as many powerhouse rhythms as they can. On Dublin Bus captures the universal feeling of escaping into your own head and playing out fantasies of grandeur while riding a crammed bus, the lyrics declaring “my ego is manifesting greatness” over Jacque le Coque’s pounding bass riff, the melody climbing to a fever-pitch finish. Their latest single Do It features Ado Tornado’s drumbeats as a callback to alt-rock beats from the 00s, guitar riffs from Wastefellow so juicy you could plate them and serve them up as a meal, as he brings a patronising sing-song tone to the theme of continuously trying to line up with life’s moving goalposts in a Sisyphean feat. Shit One is a sound that echoes classic QUEENS OF THE STONE AGE in its rhythms and technical layering, Wastefellow delivering a near-sultry level to the words before he bursts into a shriek over a chorus of backing vocals. Jarring alarms blare out on The Love Song before the drums and strings thrash together, Coque’s bass keeping a relentless grip on the melody and only briefly falling away for the dreamy, shoegaze choruses begging an unseen entity “don’t think, don’t look away”, the track slowing dramatically and then galloping forward into a cacophony of frantic instruments. Bob Dylan Was On Pawnstars in 2010 is an odd bit of trivia to know but it appears to be a fact that haunts Wastefellow, the surrealness of music’s biggest heroes becoming cameos to stay known and how unforgiving fame truly is in the modern era. Best Medicine starts softly before a sudden onslaught of distorted riffs and beats cuts through, Tornado rupturing through the false calm of the verses with a jump-inducing beat alongside Wastefellow’s incredulous laughter, a.k.a. “the best medicine”. Seven Slugs serves as a 40 second interlude as the calm, low-pitched lyrics tell you to take a breather and “let it all return to dust”, before letting it all come back up. The second part of Affirmations doesn’t just come back up, it brings a theatrical element to the remaining tracks, Dig Up, Stupid attacking with demands to “grab a shovel, just dig up” accompanied with foreboding riffs, a callback to a scene from The Simpsons but also taking a stab at people who do stupid things believing they’re entirely right and instead digging themselves further into ignorance. Where tracks may focus on certain technical elements over another, Toadman approaches the entire process to highlight its contrasting, note-precise melodies and searing guitar hooks against lyrics that examine how everyone is focused on whatever is going on in their insular world, Wastefellow wishing to know what everyone is truly thinking and whether there’s any originality left. Life, Life enters with a heartbeat riff as Wastefellow sings of a dreamt terrible omen telling him “it’s time for you to fix your life, or I’m gonna put my beak through your eye”, dark and ominous sounding riffs colliding together for a sound that’s almost folklore before it shifts back into racing prog-rock and despairing vocals. Secret track Peter Hayes Isn’t Who He Says He Is feels like a last madcap instrumental dash for REALLY GOOD TIME as they release their pent-up energy, a final cathartic rush after an album that embodies the feeling of “lurching from one panic attack to the next”, but refusing to surrender to nihilism and instead laughing at the absurdity of life. Score: 8/10 Affirmations will be released on 7th August 2026. Words: Julia Stark Photos: Jasmin Grace

With their fourth release, aptly named Four, the whirlwind that is CRUMBLING GHOST present a haunting series of narratives under the fuzz of heavy stoner rock. Over the course of their musical endeavours they had stayed true to the folk-esque sound, but have experimented with other subtle elements. It has been ten years now since the band had their third release, titled Five Songs, which is exactly that. In that time they have accrued a dedicated following and have made appearances at the likes of heavy music festival Roadburn and shared the stage with the legendary HAWKWIND and the late DAMO SUZUKI, known for being the vocalist of CAN in the 70s. Alongside this they have been mentioned by Radio 6 Music’s Stuart Maconie and Tom Ravenscroft, and also featured on Stewart Lee’s blog back in 2011. Nowadays there are quite a few folk and heavy sounding groups about, but none do it quite like CRUMBLING GHOST do. Their arrangements are bursting with charm and despair in equal measures. Vocalist Katie Harnett has a bright voice, and the contrast with the subject matter of the lyrics adds a bit of an edge which is unmissable. Four is structured much like their other projects, a collection of reimagined traditional folk songs, and newly written tunes by the band. The construction of their sound melds so well, unless you were familiar with the traditional songs, you wouldn’t even notice their origin by sound alone. Their tone, however, are very as you’d expect of the time they were written; stories of murder, betrayal, and grief. Beginning with Bows of London, the eerie tale of two sisters, one pushes the other into the water and watches as she drowns. From the get go there’s a low drone giving a sense of foreboding as the tale unfolds. As the guitars crash in, you know you’re in for a treat. The story continues under layers of fuzziness until it doesn’t and you’re left to wallow in the instrumentals. The progression of the chords and the atmosphere it builds is incredibly satisfying to listen to. Bill Norrie is deceptive with its jaunty melody, whilst it tells the story of Bill Norrie, who sends a token to a married woman, and upon finding out, her husband beheads poor Bill Norrie, only to find out he was actually the son of his wife from a previous affair. The imagery conjured of a woman cradling her son’s head as she says “I love this head more than all my kith and kin,” after her husband has just thrown it to her saying “Catch this ball!” is not one you’d soon forget about. Between the verses there’s a surge of doom-charged guitars that sounds great and suits the intention of the song perfectly. For a little breather, the next track is an instrumental. Valtz Efter Tor Lohne is originally a Norwegian tune which roughly translates to “The boy that wouldn’t hoe corn.” The concept of a melody that sounds like it was made for an orchestra, being played by modern guitars in a rock style is fascinating. Obviously the group as a whole, but particularly the guitarists John Mosley and Donny Hopkins, deserve all of the praise for sharing this with us. More stories unravel as we move onto Lovely Joan, about a woman who avoids an altercation using her quick wit against a nobleman and comes out of it with his ring and horse. Gower Wassail is clever in the way the guitars seem to punctuate Harnett’s words in this Welsh originating track with roots in other bands such as THE WATERSONS, a folk group from Hull. CRUMBLING GHOST aren’t new to this particular song either, they performed Gower Wassail in 2017 in a stunning interpretation that makes a studio recording all the more special and immortalised. There’s no part of this that isn’t worth talking about. From the fuzzy bass by Ruth O’Loughlin and precision on the percussion by Matthew Atkins it is worth every second from your ears. Last Of All Sleep has a grunge-y feel to it, almost laid back in tone compared to the others on the album. It is a welcome addition though, the hazy effect it has, the softness and fuzziness as you listen allows you to step back and take it all in. To close we have The Unquiet Grave, the longest of the album, but that can only be a positive. The mesmerising scratchy repetitive riffs dance around for over half of the playtime, then Harnett’s voice rings in to share a grim tale of a man so overcome with the grief of his dead wife that he interrupts her sleep and tries to join her. Doomy guitars and wails grow evermore sinister to match the song’s contents, bringing a gristly ending to Four. Four is a collection of songs that will surprise you. You’ll think you have heard it all with the amount of stoner folk bands emerging over the years, but CRUMBLING GHOST offer an authentic alternative with a rich voice and multi-faceted accompaniments rooted in the lesser known traditional folk sounds, bringing them a new life and audience. Score: 8/10 Four will be released on 7th August 2026 via New Heavy Sounds Words: Danielle Henderson Photos: Ryan McClelland and Hannah Cheesbrough

There is a list of fundamental qualities that every truly innovative band must possess: consistency, creative independence, and a defining, unmistakable sound. Everything about DMA’S self-titled latest album embodies those characteristics. The Australian trio are renowned for the gritty, emotionally charged vocals of frontman Tommy O'Dell, the creative guitar work of Matt Mason, whose inventive riffs and melodies have become a key part of the band’s identity, and the song writing talents of Johnny Took, the acoustic and rhythm guitarist responsible for much of DMA’S musical foundation. Combining melody-driven indie rock with classic Britpop influences and modern production, DMA’S continue to honour the sound that established them while subtly evolving their approach to song writing. Opening the album is El Alamein, a track that immediately feels unmistakably DMA’S. Tommy O'Dell’s instantly recognisable voice soars over shimmering Britpop-inspired guitars, delivering the band’s signature sound from the very first note. The chorus is upbeat, melodic and instantly addictive, creating an infectious indie anthem that captures the euphoric atmosphere DMA’S have become known for. My Baby’s Place follows with a warm sense of nostalgia. Rather than relying on standout instrumentation or lyrical brilliance, the song succeeds through the atmosphere it creates. While the lyrics lack the iconic quality of classics such as Silver or Tape Deck Sick, O'Dell’s softer vocal performance provides a comforting sense of clarity and peace, allowing the song to reveal more of its charm with every listen. With Hurricane, everything clicks into place. The melody, heartfelt lyrics, polished production and O'Dell’s passionate vocal performance combine effortlessly. DMA’S have built a reputation for writing unforgettable choruses that audiences immediately connect with, and Hurricane is another perfect example. Its gradual build may test the patience of some listeners, but the restraint ultimately makes the payoff even more rewarding, resulting in one of the strongest songs on the album. Next comes Killing Time, one of the album’s more understated highlights. It may never become the crowd’s biggest singalong moment, but its irresistible groove makes it difficult to ignore. The bouncing rhythm, layered guitars and crisp production create an indie disco atmosphere that feels effortlessly infectious. Heatin Park injects fresh energy into the record. Britpop-inspired guitars evoke echoes of OASIS, yet the track remains unmistakably DMA’S. From the opening chord, it bursts with confidence, combining swagger, groove and raw emotion into one of the band’s most exciting songs to date. It may not define DMA’S as a band, but it deserves to become one of the standout tracks within their catalogue. Emailz introduces a subtle psychedelic edge. Its gentle sway allows the guitars and drums to perfectly complement O'Dell’s reflective vocal delivery. The repeated guitar motif is deceptively simple yet highly effective, giving the song an emotionally satisfying quality as the lyrics unfold naturally. One & Only showcases the band’s continued maturity as songwriters and their willingness to experiment without abandoning their identity. The nostalgic melodies and expressive guitar work form the emotional core of the track. Although it may not become one of the album’s defining moments, it stands comfortably above the level of simple album filler. The pace slows for Dancing Luck, returning to the acoustic sound many fans consider DMA’S greatest strength. O’Dell’s weathered, strained vocal performance possesses a remarkable beauty, giving the song a deeply personal quality. The drums act more as a metronome than a driving force, allowing the emotion to take centre stage. While the lyrical depth may require several listens to fully appreciate, the reward is well worth the patience. Maintaining the reflective mood is Concrete. O’Dell once again delivers a compelling vocal performance, but the song feels relatively safe compared to the surrounding material. While it will undoubtedly resonate with many listeners, it lacks the ambition needed to become one of the album’s defining tracks. The penultimate track, Windows, represents DMA’S at their emotional peak. The acoustic arrangement strips everything back, allowing both the song writing and O’Dell's vulnerable vocal performance to shine. His delivery feels deeply authentic, while the lyrics rank among the strongest on the album. Arguably one of the finest acoustic songs the band have ever written, Windows demonstrates just how powerful simplicity can be. Closing the album is Distance, which reintroduces electric guitars with exhilarating effect. The riffs burst back into life, the guitar solos weave seamlessly throughout the track, and O’Dell's vocals remain the emotional focal point. Overflowing with energy and summer festival atmosphere, it provides the perfect finale and leaves listeners wishing the album had just one more song. DMA’S have never aimed to reinvent indie music. Instead, they have embraced a different responsibility: preserving and revitalising the genre while remaining authentic to themselves. At times, that commitment means they can appear reluctant to push their sound further, occasionally favouring familiarity over experimentation. Even so, their self-titled album never chases trends or abandons the identity that earned them such a devoted following. Instead, it refines that signature sound with confidence, proving once again that few modern bands understand melody, atmosphere and emotional honesty quite like DMA’S. Score: 8/10 DMA’S will be released on 7th August 2026 via RCA UK. Words: David Waites Photos: Roman Jody

There are three things about CEREMONY we can say for certain: they like to keep everyone guessing as they adapt their sound between releases; no matter the changes, they know how to play punk that makes you want to tear a room apart; and finally, after seven long years they’ve returned with blistering new album Tell Me Your Dream, a ten track labour of love and rage that’s full to the brim with solid beats, hulking riffs, and a twenty one year evolution of their political morals and beliefs that continues to point the finger at those in charge whilst giving a rallying cry and demanding more bands use their voice for change. Reuniting with producer John Reis, eleven years on from their album The L-Shaped Man, CEREMONY’s collective approach to their sound and production has altered slightly over the years, but their unshakable, headfirst assault on the world order around them is how they’ve maintained their reputation as an unflinching punk band and a respected name in their original underground hardcore scene in California. Prograde makes a grand entrance to the album with Jake Casarotti’s steady drumbeat and Justin Davis pounding bass line teasing us, Andy Nelson and Anthony Anzaldo gradually building the anticipation with their guitars until it hits its peak with vocalist Ross Farrar delivering a vocal uppercut. Other Hells descends into a frantic punk rhythm you can happily lose all sense to, Farrar’s scorching shouts consuming the track as Anzaldo’s synths cut though and give it an elevated feel. Madness doesn’t hold back on its assault against other artists not using their platform more, yells about the Palestine genocide, class wars, and the lure of fame and celebrity met with a cynical response of “you couldn’t care less”. Dark Summer has an early FOO FIGHTERS quality to its riff and tempo, a mournful air permeating Farrar’s vocals to match the title theme, as synths accentuate Davis and Nelson’s unrushed riffs and backing vocals and make you homesick for a place you’re not even sure exists. Deep Down Where I Belong spins a 180 and comes in hot with a punk core that throws out a medley of other genres, hardcore and indie elements making their mark unexpectedly under shouts of “I believe in all your gods, now are you gonna believe in me?”. Antenna beats its way in with a synth and bass accompanied intro and a singalong of “la-di-dah-dah-dah”, a head-in-the-sand response to everything going wrong in another cutting finger point at everyone choosing their comfort over speaking up. Justify goes heavy on the bass throughout as it takes on a cinematically dramatic feel, some elements feeling vaguely similar to THE BLACK KEYS in its tone and rhythm as the guitars and vocals pitch up, demonstrating the fluidity of the band’s sound in one album. Death Destruction Mayhem has a filthy punk sound full of Casarotti’s searing drumrolls joined by meaty riffs and bass, Farrar delivering more eviscerating lyrics at the world around them, the sneer on “fighting makes you feel strong, killing really turns you on” practically audible through the recording. 10 Planets again swerves from the unexpected in sound and calls to mind SOFTPLAY, the vocals still bringing hard punk vibes against contrasting stripped back instrumentals that build to a softer breakdown. Paradise takes an initially laid-back approach as it closes out the album, a dreamlike quality to its instrumentals as Farrar laments he has “so much to tell you, but it’ll have to wait until the next life”, a brief pause in the middle a red herring to its ending before it continues with the plead of “take me to paradise” growing in volume and earnestness before the album abruptly stops to a running tape sound and leaves us wanting more. Tell Me Your Dream isn’t an album hastily written and rolled out before the red-mist clears, it’s a project that’s taken real thought and feeling over nearly a decade of societal uncertainty, a way for CEREMONY to declare they didn’t disappear but were waiting for the moment to strike the political and industry jugulars. Score: 8/10 Tell Me Your Dream will be released on 7th August 2026 via Relapse Records. Words: Julia Stark Photos: Martin Sorrondeguy

If GREEN DAY and THE HIVES had a lovechild, that would be a bit weird. But it would likely sound like rock-and-roll anthem highfliers PUBLIC OPINION, originating from the Colorado hardcore scene before reshaping their sound and their passion for music into the type of alt-punk-rock that leaves your voice hoarse and your feet knackered, but feels entirely worth the pains. With 1 album, multiple EPs and a handful of singles under their belt already, PUBLIC OPINION are ready to deliver their biggest project to date with new album The Curse Of Public Opinion, a 10-track listing of fiery revelry, explosive instrumentals, and potent lyrics that give “quiet guy” vocalist Kevin Hart (no affiliation to the actor) an outlet for his implosive feelings. The Curse Of Public Opinion is more than the band’s sophomore album, it’s an admittedly pointed step away from the scene’s current music designed for self-catharsis and internal emotion, instead taking aim at everything wrong with the world and saying “fuck it, let’s stay angry”. Rather than a one-and-done album, this is to be experienced, absorbed, and then unleashed every time you feel pissed off, a deafening, mighty backdrop that adds volume to your pent-up feelings. Balloon Man Running immediately kicks off with a power-driven anthem of epic rock riffs and an earworm chorus that sets the frenetic tone for the rest of the album, the lyrics lamenting a happiness that constantly feels out of reach yet you keep reaching, over muscly bass and a solid guitar solo. In less than 90 seconds Flowers By Irene leaves its mark with a quick-fire sound reminiscent of THE WHITE STRIPES, the layered screams on the bridge adding to the racing speed of guitarist Kevin Johnson’s riffs. I Pay Everyone I Still Talk To shifts the focus onto their instrumental flair in a pop-punk track that melds from alt verses into a boppy chorus, Sebastian Stanley ripping through with a deliciously distorted bass riff that complements and contradicts the woefulness of the lyrics. Lucky Me is unquestionably Hart taking aim at himself, his lowered pitch and echoing bass tones of “it’s all my fault” from the opening bars spelling the theme for this punk-rock melody, abruptly switching gears into a revved up yell that feels all too relatable over a pummelling drum roll, gradually falling away to an acceptance that “fortune never comes in twos” and a lone bass line. Kicking back into anthemic rock with Johnson and Stanley bringing riffs that just won’t quit, Closed Captioning sees Hart lambasting himself and his day-in-day-out never changing routines, an alarm clock puncturing through in a jarring fashion before the ferocious beats collide with self-aware lyrics that scream for change. When Kevin Gets Free goes all in on the garage rock, a veritable feast of merciless drums and volcanic riffs adding to Hart’s vocals that soar and plummet like a rollercoaster. Enhancement Talent opens with Johnson’s stunning guitar hooks gradually layered with an additional riff and Stanley’s punchy bass, the track’s feeling a difficult one to put a name with its cocktail of emotional notes and yearning lyrics as Hart pleads his case to someone seemingly indifferent to him, his promise of “I’ll stick around just in case” a juxtapose to his self-aware “I know it’s not okay”. Epitaph strips back on the anthemic rock yet it holds just as much power as the rest of the album in a way that compels you to listen to the heart-rending lyrics, the three-piece coming together for a melody that doesn’t rely on intricacies but is heavily muffled as if they’re trying to reach the listener from beyond a veil of feeling. Modern Convenience shatters the spell Epitaph had us under with a furious punk-rock rhythm, frenetic riffs and solos, and catchy vocals that immediately attack with “I hate the way that you are”, I AM THE AVALANCHE’s Vinnie Caruana adding a gritty level to the track that demands to be screamed along to. Title track The Curse Of Public Opinion draws this experience to a close by taking us on a tour of all the genres that inspire the band, a hardcore element dragging us in before giving way to anthemic garage and punk rock rhythms underlying the passionate and defiant lyrics that feels like the 00s rock scene has been revived. Score: 9/10 The Curse of Public Opinion will be released on 7th August 2026 via SideOneDummy Records. Words: Julia Stark Photos: Michael Dubin

After nearly two decades of refusing to be put in a box, CITIZEN brings forth a new chapter with Halcyon Blues. Announced alongside the towering lead single Highs and Lows, the album drops on August 7th via Run For Cover Records. Reflecting its spirit, the promotion rollout has so far been an intimate reachout from the band to their audience with surprise shows and a newly announced world tour. Rather than presenting a dramatic stylistic pivot, Halcyon Blues feels like a collection of experiences that the band has sown together since emerging from Toledo's emo and post-hardcore scene. The record opens with Good Fortune which does not waste a single second in introductions. The audience is immediately thrown into motion as if chasing after a running train. The driving drums and urgent momentum carry the promise of a live show opening with a Britpop-rock shimmer. CITIZEN doesn’t build new foundations, they run on tracks, establishing the restless energy that carries through the album. I Can See You From Here shifts gears almost instantly. Wrapped in a dreamlike haze, the instrumentation feels as though it's drifting through fog while Mat Kerekes' voice cuts through with remarkable clarity. That contrast between obscured surroundings and direct emotion becomes one of the album's defining qualities. The title track Halcyon Blues slows the pace some more without sacrificing intensity. It opens as a beautiful ballad, carrying feelings of longing and nostalgia while being unafraid to reinvent itself as it goes through a modern electronic bridge. Released as the album's third preview, the track explores the quiet dissolution of a relationship, reinforcing the recurring themes of change, distance, and acceptance. That experimentation continues on Is It In My Brain?, which starts with dissonant electronics that almost feel like an echo of the previous song. Its cinematic atmosphere reinforces the film soundtrack quality of the album while delivering a constant push between uncertainty and progression. We reach an emotional peak with Always the Last One to Leave. The layered vocal harmonies create a new depth, blurring the line between our own echo and other people’s voices. The effect is beautifully disorienting, evoking those endless nights where time feels suspended and nothing is certain. As the harmonies gradually dissolve into distortion, the song seems to drift the listener into sleep. Either Way stands apart through its production. Rather than placing the strings in a supporting role, every instrument has an equal space within the mix. The result is one of the album's richest arrangements, where no single element dominates and every texture contributes equally to the emotional weight. The album regains its edge with Matador. A pounding rhythm section launches the track before an unexpected scream completely changes its trajectory. It carries flashes of a NEW ORDER post-punk precision before the chorus erupts into garage rock and punk energy. It's one of the record's most unpredictable moments and a reminder that CITIZEN remains unwilling to stay in one stylistic lane. Ether and Smooth Talker are perhaps the album's least distinctive moments, sharing similar sonic territory. Both rely heavily on electronic textures and create atmospheres that occasionally seem to blend together within the larger scope. They match the overall feel while leaving the impression of being supporting pieces, not having the same lasting impression as the surrounding tracks. Highs and Lows, the album's lead single, delivers another standout. Massive electronic production collides with a sharp and early 2000s garage rock guitar work, resulting in one of the album's biggest, most anthemic choruses. It perfectly encapsulates Halcyon Blues' wish to merge organic and synthetic sounds into something uniquely CITIZEN. The closing track, Anne, feels like watching the credits roll after a long journey. At times almost acoustic, it strips away much of the album's grandiosity while preserving its emotional resonance. Rather than ending with a dramatic climax, the band chooses reflection, allowing the record to quietly settle after its many emotional highs. Throughout Halcyon Blues, CITIZEN embraces movement in every sense. The album unfolds like a summer road trip, constantly changing scenery while maintaining a clear destination. Every song offers a different perspective through post-punk grooves, shimmering electronics, garage rock aggression, or soaring ballades. Yet, none of these stylistic turns feel forced. Instead, they reinforce the album's central message: growth comes from exploration rather than conformity. The band proves that refusing to stand still can be the surest path toward finding your own voice. Score: 7/10 Halcyon Blues will be released on 7th August 2026 via Run For Cover Records. Words: Lysandre Pons Photos: Atiba Jefferson

Over recent years, CINEMA STARE have built a reputation for writing heartfelt pop-punk anthems that are as infectious as they are emotional. Blending shimmering synth melodies, catchy early-2000s pop-punk hooks, heartfelt lyricism and occasional indie rock textures, the Connecticut outfit wear their influences proudly, drawing inspiration from bands such as PARAMORE while carving out an identity of their own. Their latest release, Stink E.P. is a six-track record produced, engineered and mixed by Chris Teti at Silver Bullet Studios, with mastering by Will Putney. Every song carries a genuine sense of passion, making this a release that feels right at home within the modern pop-punk scene. Opening track Plus Ultra! wastes no time setting the tone. Rapid percussion and punchy guitars immediately deliver the energy fans of the genre crave before Quinn Miller’s vocals crash into the mix. One of CINEMA STARE’s biggest strengths is how seamlessly every element works together - nothing overpowers anything else. The song captures the feeling of an overstimulated mind through both its frantic instrumentation and sharply written lyrics, something the band have become increasingly skilled at portraying. Few Things follows with Miller’s softer vocal delivery easing listeners in before the full band bursts into life. Quirky synths and irresistible hooks make it one of the EP’s catchiest moments. Rather than overwhelming the song, Sean Maclure’s drumming remains measured and precise, allowing his technical ability to shine without ever stealing the spotlight. The EP reaches its most explosive point with FML, and the title couldn’t be more fitting. Fuelled by frustration and anxiety, the opening lyric, “Wish I could cry on my own damn shoulder and fuck off forever,” immediately sets the emotional tone. The intensity never lets up until the closing moments, where the instrumentation gradually falls away, leaving Miller’s voice to carry the chorus alone. It’s a simple but incredibly effective ending that highlights both the songwriting and production. James Pack is the complete opposite. Where FML thrives on chaos, this is a straight-up pop-punk love song. The drums take more of a supporting role, giving Joe Pelegarno’s bass lines room to drive the song forward. His playing provides a constant groove beneath the guitars, adding warmth and character throughout. Every great pop-punk release seems to have its acoustic moment, and Skipping initially appears to fill that role. It opens with distorted conversation before gentle chords and MILLER’s delicate vocals create a reflective atmosphere. Then CINEMA STARE completely tear up the script. The guitars roar back in, the drums explode and the song transforms into one of the EP’s defining moments. Miller delivers one of her strongest vocal performances, backed by addictive guitar riffs, dynamic drumming, rich harmonies and snarling bass work. Even the xylophone outro melting into a synth feels like the perfect finishing touch. It’s easily one of the standout tracks on the record. Closing song Scissors rounds the EP off perfectly. One thing Cinema Stare achieve throughout Stink E.P. is giving every member the opportunity to showcase their individual talents while never losing sight of the collective sound. Austin Hainey and Quinn Miller’s guitar work is consistently impressive, weaving effortlessly around the vocals while locking in with the rhythm section. The shifting melodies create an uplifting finish, leaving the EP on a genuine high. Hailed by many as one of modern pop-punk’s most overlooked bands, Stink E.P. only strengthens that reputation. CINEMA STARE feel ready to step beyond the underground scene, and with another tour or two behind them, they have every chance of breaking through. The talent is already there; now they simply need the opportunity to introduce themselves to a wider audience while staying true to their Connecticut roots. Score: 8/10 Stink E.P. will be released on 7th August 2026 via Static Era Records. Words: David Waites Photos: Logan Grosclaude

I'd like to set the record straight - at the forefront of everything we do, we make journalism accessible. We've designed a platform that's future-focussed, built around our community. We uplift and centre our conversation around young people, making sure we put LGBTQIA+ matters first. In the last three years, we have built and curated a platform that continuously strives to offer opportunities regardless of ability or background. That is Out Of Rage to its core. Yes, we provide pathways for entry-level talent. By joining our platform, we can inspire professional work practices and industry-level standards right from the start. Outside of our usual coverage, photographers can workshop their editing skills through our weekly editing challenges. We also make our single reviews the entry point for writers who want to build their confidence. I make it clear that by joining Out Of Rage, it’s never an easy ride to the top. Whilst it's never been the end goal, we've been delighted to work with arena-level acts and cover some of the UK’s leading festivals. Our community is taught from the beginning that anything is achievable if you put the work in, and even though we operate shows on a lottery-style system, this is to put the best person on the job, taking into account external factors like location and camera equipment. It also means we can give opportunities to as many people as needed, and the system is as fair as possible. We can support a wide range of abilities and also communicate clearly about accessibility. It’s no secret that we do things unconventionally, but ultimately, it’s a direct reaction to providing a community-focused environment driven by our contributing team. We know that it’s not going to be the best fit for everyone, but for those who have worked with Out Of Rage, it’s given lifelong connections and those much-needed ‘firsts’ to inspire and a safe space to make mistakes. As editor, my favourite bits of the job are celebrating individual wins - those moments when our contributors really push themselves to create their best work. In these situations, we celebrate loudly and publicly. I do not do my management team justice here. I represent and support a selfless roster of individuals who go above and beyond to make Rage what it is. Their editorial voice is crucial to our operation, and where we can, we try to reflect our community as much as possible. Our monthly online covers, at the centre of this, are artists we champion who represent the future of alternative music, or at the very least would be of interest to our network and readership. Our coverage, driven by community interest, is shaped by what is accessible and important to young people. Over the years, we’ve developed a heavy music-centric voice that is open to all and champions acts on the fringes of the genre. We like to be inclusive and adopt an Outbreak-style approach of creating an ecosystem fronted by the outcasts and the relevant voices of today. Here, we’ve adopted hardcore values into our publication, offering authenticity, a strong sense of identity, and a desire to support live music spaces, and we are continuously building connections with local promoters. Even though we are a queer publication, we open our doors to anyone who shares our message. As a non-binary person, Out Of Rage has been the space I’ve needed to find community. We are the first heavy music magazine of its kind to champion LGBTQIA+ voices, something I find baffling given the long history of the culture and punk roots. By supporting Out Of Rage, you are supporting the future of music journalism. We’ve grown a lot since the network’s inception, but we always offer support to student media. As we grow, we will continue to adapt and tailor our platform to our community wherever we can. I want Out Of Rage to inspire real change in the music industry, and the change I needed to see when the platform was first created. I want to make sure we’re not the only young people in the pit, and we can work together to make an inclusive space that gives people hope. Love and Rage, Amber Brooks Co-founder and Editor-in-Chief If you'd like to reach out to us, please contact the magazine at info@outofrage.net Find our Instagram at @out.of.rage.network Cover Photo by Ben Blissett for Out Of Rage Article Photos by Libby Percival for Out Of Rage

If you've been to a festival at any point in the last couple years, chances are you’ve come across UNPEOPLE. Having recently played the main stage at Download Festival this year alongside LINKIN PARK, THE PRETTY RECKLESS and RORY on Sunday, they feel like a rising band to look out for. Featuring guitarists Jake Crawford and Luke Caley, joined by Emily “Em” Lodge on bass and Richard Rayner on drums, this alternative rock band from the heart of London brings raw energy, brimming with heavy riffs and throat-shredding, melodic, infectious songs that make them impossible to ignore. The band brings a community spirit for those who feel they don’t belong, with the meaning behind their name UNPEOPLE being those who are considered politically unimportant. A feeling shared by the band members themselves that, in turn, creates a deep connection to their fans, with anyone who relates to their philosophy and ethos. Their rallying cry at live shows is: "We are UNPEOPLE, you are UNPEOPLE, we are all UNPEOPLE!" You may also recognise a few of the members from another iconic band on the festival scene. Exactly three years back, in July 2023, PRESS TO MECO, after eleven years and three critically acclaimed albums, played their final show to a crowd of 15,000 at 2000trees festival. The band came to a natural end, after announcing their break-up back in December the previous year. Reborn from the ashes of PRESS TO MECO, Crawford and Caley debuted their new project UNPEOPLE the very next day at the same festival. The first track on the set list being waste, giving the crowd their first taste with the lyrics “Give the people what they want, no questions!”, the start of something unique and fresh. While UNPEOPLE haven’t released much music yet, what they have put out has been unbelievable and fresh to the alt-rock scene. There’s a reason they are making waves, the way they are able to blend catchy, approachable pop rock that hooks you in, with the twists and turns of overwhelming emotional explosion that whiplashes you. By completely flipping the script and pulling the rug from under your feet to bring in the heaviness and screaming breakdowns before whipping back to the melodic tone. Their latest singles, Friends and Clouds, showcase this perfectly. While most bands have backing vocalists alongside the lead, UNPEOPLE take things in a different direction with a four-vocalist dynamic, each bringing something unique to the music. The way they blend and mix together in interesting ways, but also each has moments to shine on their own. We have Crawford with the gritty delivery, Caley bringing in the punk vibes, Lodge with her melodic vocals, and finally Rayner behind the drums with his chaotic driving energy. This is best shown in their music videos and live shows with their intense stage presence. The way the quartet just always seems to be having the best time jumping around and jamming with each other. UNPEOPLE have a visual language that matches their tone, a dreamlike quality that gives off a trippy, surreal nature. Caley’s partner, Bethany being the band’s key visual creative working behind the scenes to create something that showcases the psychological weight of their music. When UNPEOPLE first arrived back in 2023, the band originally had bassist and vocalist Meg Mash in the group. She brought a Pixies-like sound with her ethereal melodic vocal style mixed with the heaviness that UNPEOPLE is known for. You can hear Mash on the band's self-titled EP released in 2024, and whilst being in love with playing heavy music, her visceral bass on tracks like Smother and Going Numb harmoniously show this. Unfortunately, a chronic illness diagnosis after a severe case of COVID-19 caused Mash to make the hard decision to leave UNPEOPLE. Enter new bassist Em Lodge, bringing the raw energy that defined her previous band DELAIRE THE LIAR, one of her standout tracks from that era being the haunting ballad Angel Number, which saw her take on lead vocals for the band. While also on other tracks, being able to harmonise her vocals to bring texture and a punk vibe, not to forget her iconic melodic basslines. This made her a key piece to safeguard UNPEOPLE’s four part harmonies going forward into the next festival season. Lodge matched the vibes of Crawford, Caley and Rayner with frantic on-stage energy and made 2025 a breakout year. Live shows like supporting VUKOVI on tour, Download for the first time, returning to 2000trees where they first made their debut, all these set up their current explosion. Leading into 2026 UNPEOPLE kicked off the year by headlining Underground Festival in Gloucester, dominating Slam Dunk and moving to the historic main stage at Download. If this year wasn’t big enough for the band already they are set to release their highly anticipated debut full-length album, WE ARE UNPEOPLE on 9th October 2026. This is bound to be something special if the singles are anything to go by. Catch UNPEOPLE when they play Radar Festival on 1st August 2026. Words: Amy Lynch Cover Photo: Simon Arinze and Libby Percival