Hot Mulligan have always thrived in contradictions. They’re loud yet tender, sardonic yet devastatingly sincere, the kind of band who’ll name a track 'I Fell in Love With Princess Peach' while singing like their lives depend on it. Their fourth full-length, The Sound a Body Makes When It’s Still, sharpens those contradictions into something deeply affecting. It’s an album that dresses grief in absurdity, uses humour as armour, and turns chaos into catharsis. Where their earlier work leaned heavily into scrappy emo-pop-punk energy, this record feels like a band simultaneously growing up and refusing to stop clowning around. The titles are still ridiculous, but the emotions underneath them are sharper than ever. What results is a track list that’s equal parts reckless noise, heavy introspection, and an odd kind of comfort in the mess. The opener, 'Moving to Bed Bug Island', doesn’t explode out of the gate - rather, it simmers with unease, like the silence before an argument. It’s a slow-burn introduction that proves the band can do restraint without losing tension, foreshadowing the turbulence ahead. Any restraint vanishes with 'And A Big Load', where guitars screech, drums slam, and Tades belts like he’s coughing up frustration. Beneath the absurd title is exhaustion dressed as mania - the feeling of barely holding yourself together but still screaming through it. Perhaps the emotional centrepiece arrives with 'Monica Lewinskibidi'. The jokey name disarms you, then the lyrics gut you. Written in the wake of Tades’ grandmother’s passing while the band were touring Japan, grief bleeds through every shouted word. “It’s 5 am in Tokyo…” isn’t just a line - it’s a portrait of distance, guilt, and mourning on the road. Then comes 'Monster Burger and a $5 Dollar Beer', Hot Mulligan at their most gleefully reckless. A jagged riff keeps threatening to collapse under its own weight, but somehow stays afloat. Messy, loud, and tailor-made for sweaty basement shows, it has already earned praise from fans for its twinkly guitar lines. The collaboration on 'Island in the Sun' brings Cory Castro of Free Throw into the fold, and it doesn’t feel like a gimmick. His voice blends in seamlessly with the vocals from Tades and Chris, forming a three-way lyrical storm that turns desperation into harmony. It’s frantic, heartfelt, and one of the record’s biggest emotional payoffs. The momentum continues with 'Slumdog Scungillionaire', a shapeshifter that begins deceptively soft and almost tender before exploding into distortion and fury. It stitches three moods together in a way that shouldn’t work but somehow does, embodying the album’s unpredictability. A quick breather arrives with 'Shhh! Golf Time', more interlude than full song, but proof the band understand pacing. After the density of the first half, this cheeky moment keeps the record from drowning in intensity. Things sharpen again with 'Big Knife, Little Knife', where angular riffs and pointed pacing give the song its bite. The lyrics spiral between irritation and comedy, as if Tades can’t decide whether to laugh or scream - so he does both. 'Japanese Parking Lot' feels like it could slot onto almost any Hot Mulligan release, showcasing what they do best: mathy, jittery guitars underscoring desperate shouts and a chorus built for cathartic singalongs. Lyrically bleak but sonically euphoric, it’s the contradiction fans have come to love. The left-field moment comes with 'Death at the Dentist', a slower, heavier cut drenched in reverb. It feels suffocating in the best way, the sonic equivalent of a panic attack. Not an easy listen, but it widens the band’s palette and deepens the album’s arc. The title track, 'The Sound a Body Makes When It’s Still', closes things not with fireworks but with a bruise. Eerie, unsettling, and quietly devastating, it leaves the listener to sit with stillness, stasis, and the inevitability of endings. The lingering echo makes the record feel complete, refusing the catharsis of a big finale and instead offering something haunting. The Sound a Body Makes When It’s Still is Hot Mulligan at their sharpest and strangest. They’ve taken the chaotic energy that made them emo darlings and layered it with grief, reflection, and experimentation. The silly titles remain, but they’re camouflage for some of the rawest writing of the band’s career. What makes the record work is its balance: the manic highs, the gut-wrenching lows, and the humour in between. It doesn’t always feel polished - at times it’s jittery, messy, overwhelming - but that’s exactly what makes it powerful. It captures the contradictions of being alive: laughing at yourself one second, breaking down the next. Hot Mulligan certainly aren’t reinventing themselves here, but they’re refining the beautiful chaos they’ve always embodied. The result is an album that feels equally cathartic for the band and for anyone listening. It’s loud, it’s devastating, it’s ridiculous - and it just might be their best work yet. Score: 8/10 The Sound a Body Makes When It’s Still was released on August 22nd 2025 via Wax Bodega. Words: Mia Gailey Photos: Hot Mulligan

DE’WAYNE’s latest release, june, arrives as his most ambitious and fully realised project to date. Described by the artist as his “epic rock love album”, it blends equal parts swagger, style, and vulnerability with a sound that refuses to stay within one genre. Rock, funk, soul, and pop all appear across the record, but what stands out the most is the consistency: every song feels purposeful and packed with emotion. The album opens with ‘lady lady’, an introduction that wastes no time setting the tone. A sleazy, swaggering riff lays the foundations, quickly joined by a pulsing 80s-inspired synth bass and tight electronic drums. The first lyric, “now that you’re here”, is both an invitation and a statement of intent, making it feel like DE’WAYNE is speaking directly to you. The song struts with confidence, and by the time the outro fades into him humming the chorus of the next track, you’re already hooked. The “ready?” that bridges into the title track’s “one, two, three, four” intro is such a smooth touch, making the whole thing feel cinematic. ‘june’, the title track and centrepiece of the album, absolutely delivers on its placement. It’s bright, breezy, and effortlessly catchy, capturing the carefree energy of the summer months with a chorus that feels destined for singalongs. DE’WAYNE has described this track as the guiding light of the record, explaining that he “wanted to reframe vulnerability as a superpower, not a weakness”. That mission statement is fully realised here, with a track that radiates optimism while still remaining grounded in sincerity. ‘highway robbery’ keeps the energy going, and is easily one of the record’s most infectious songs. Snappy instrumentals and smooth vocals create a playful groove, built around the idea of being so enamoured with someone it feels criminal. The mix of funk slickness and pop catchiness highlights DE’WAYNE’s versatility, showing his ability to craft music that is both stylish and universal. The tone shifts with ‘sundays’, a heartfelt highlight that serves as the emotional core of june. Soaring vocals and lyrics such as “if it wasn’t for you, I don’t know who I’d be” strike immediately, and this weight deepens with DE’WAYNE’s explanation of its meaning. He explains that it’s meant to be an exploration of the complicated and often difficult relationship of a father and son, “where love and pain, admiration and resentment all live side by side”. That unfiltered honesty turns the track into the album’s most powerful and affecting moments. Later in the tracklist, ‘forever’, offers a lighter change of pace. Featuring I DON’T KNOW HOW BUT THEY FOUND ME, the collaboration leans into disco influences with an easy, party-ready energy. Rather than feeling like a detour, it blends naturally with the record’s wider palette, all while adding a playful sparkle. Closing out the album is ‘love raider’, a fitting finale that ties the record together beautifully. Revisiting the themes of love and infatuation that run throughout june, it packages them into a danceable, high-energy send-off. We get that cinematic feeling again, like the credits are rolling after the story has been told, and the track’s pulsing beat makes it easy to imagine as a euphoric live closer. The production across june is consistently impressive, achieving a sharp, colourful sound that is polished without being sterile. Guitars snarl, synths shimmer, and every element is placed with impeccable precision. Yet despite this intensity, the record retains an effortless, almost nonchalant flow that quickly becomes addicting. DE’WAYNE’s ability to cover a wide range of moods and genres while remaining cohesive is remarkable. Each song has its own identity, yet all of them connect to a larger vision; his voice, both literally and artistically, serves as the throughline, carrying immense amounts of personality, emotion, and conviction. june is bold, soulful, and not afraid to take risks, proving DE’WAYNE to be a fearless voice in modern rock and beyond. Score: 9/10 june was released on July 30th 2025 via Fearless Records. Words: Zuzanna Pazola Photos: DE'WAYNE

Core Festival returns this year with an offering of some of the best bands in alternative music, from Stoner Metal, to Melodic Hardcore, all the way through Post-Rock we have something for everyone at this esteemed Glaswegian festival. Below we have collated together our must see acts throughout the weekend for you to maximise your experience! Death Goals This Queercore two-piece from London are one of the finest heavy acts in the country, and show no signs of slowing down, with new EP Survival Is An Act Of Defiance to release August 29th featuring fellow Core Fest alumni The Hirs Collective this will be a set to remember for time to come The Hirs Collective Another Queercore heavy hitter here, another two-piece this time from across the pond. Their 2023 album We’re Still Here featured an array of esteemed artists from all across the alternative music landscape lending their talents to Hirs’ abrasive and harsh music. This is a guaranteed blow out of a set and should be attended en masse. Frontierer Frontierer are one of the most aptly named bands we can think of, standing on the frontier of extreme metal, Frontierer sound like mathcore from the turn of the next century. With members stretching from Edinburgh to St. Louis their live shows are frantic light shows, a cacophony of self proclaimed noise terror. Cave In In a special set celebrating 25 years of their incredible album Jupiter, an experimental standout at the time for the band it journeys into space rock, progressive sounds and amazing instrumentation. This headline set will be too special to miss for any long time fans and newcomers. Defeater Saturday’s headliner comes to us in the form of melodic hardcore legends. Defeater’s eclectic range of concept albums, melodies and emotively striking lyrics are a body of work that every fan of emotional music should pore through at least once. The story these albums lead you through is art in it’s hardest form and Defeater carry that solidity into their live performances. Torche Back in 2022, we weren’t sure we’d ever see Torche on the scene again. Following a decision from frontman Steven Brooks to leave the band, it was subsequently learned the band was planning on calling it quits altogether. After a landmark show in May supporting Cave In on their initial UK Jupiter show it seems we may have Torche back, at least for a little bit, and this stoner metal band with killer riffs and even better melodies is not a band you wanna be telling people you didn’t see! And So I Watched You From Afar What else can be said about ASIWYFA except they’re math rock giants. Hailing from Belfast their noisy, mathy, post-rock is some of the most danceable music of it’s kind. Bouncing riffs, mathy melodies, and beautiful tone all mixed up to manufacture music that makes memories appear in your conscious. We understand with this listing and the last we are giving you a clash from HELL! But both bands deserve their spot in the must-see menagerie that Core has to offer. Oversize Fresh on the heels of their debut album Vital Signs, Oversize bring Alt-Rock volatility through their fuzzy, distorted riffs and brutally honest lyricism. Oversize bring so much to the table in their debut, and in the EP that came before it and are a must-see for anyone who loves vulnerability, striking musicality and flannel shirts. Gout Moody, groovy and furious, Gout are everything that the future of heavy music is and will be. Sludgey riffs like slogging through a swamp, accompanied by furious vocals that pierce through the heart, start your Saturday out the right way with Gout. BLDSPRT EHHC. This is one for the moshers and the movers. BLDSPRT are heavy as sin and completely unrelenting. Alike Gout they only have a few songs out right now but what they do have is intrinsic violence, Trainspotting samples and vocals that will make your hairs stand to attention. Words: Spencer Cunningham

After 15 long years, Pendulum are back with a monster 16-track album, packed with features from a huge array of artists from all across the alternative scene. This long-awaited project is steeped in some of the best that alternative has to offer - but even with all the positives, Inertia has not come without its issues. Opener ‘Driver’ and first full track ‘Come Alive’ feel somewhat underwhelming - the kick in ‘Driver’ is definitely satisfying, but by no means is it mind-blowing, while ‘Come Alive’ has an 80's feel at its beginning, before turning into what someone would imagine Sleep Token sounded like if they had not listened to them - whether that is a compliment or not is up in the air and can be left up to the listener. 'Save the Cat' is first single to appear on Inertia - the first real taste of the rave/rock fusion that Pendulum is known for, and the first inkling of there being a wheat versus chaff issue across this monster of an album. Nevertheless, ‘Save the Cat’ is addictive in how smoothly it transitions between its parts, and repeat listens warm the ears up to the "Meow". This point of the album sees more of the vocal-based tracks come to the fore, and establishes the main critique with this project, that being the inconsistency across it. ‘Archangel’ never quite builds its tension or releases it in a way that’s satisfying, contrary to how the band might've played this track during their more formative years. ‘Nothing for Free’ suffers with a similar issue, as whilst it does have a drop that scratches a dubstep itch, that itch may not be shared by many. However, Inertia is at is best with its featuring artists, and the songs on which they join in are a joy. Wargasm come to play on 'Cannibal', where the dubstep is replaced with the currently dominant drum and bass, creating a distinctly energetic electro punk sound. Milkie’s vocals swap between sickly sweet and sinister, and complement the soundscape perfectly. Bullet For My Valentine take ‘Halo’, serving the screamed vocals from jump while combining their riffy metalcore with bloopy deep drums. The opening line of “Are you insane or are you f*cking deluded?” was delightful in its bluntness, and the synergy of their two sounds is what someone who’d never listened to Pendulum would imagine in their mind’s ear. Hybrid Minds’ ‘Louder than Words’ is the weakest of the collaborations, with it sounding more like a solo Hybrid Minds song than a collaborative track; while that might be a subjective evaluation, it would’ve been interesting to see what that duo would’ve done with the heavier side of Pendulum’s sound. Luckily, next up was the collaboration with Joey Valence & Bray for 'Napalm', which is one of the stand-out tracks of the project. The hectic, Beastie Boys-style sound of JVB melts perfectly into the deep chaos that makes Pendulum’s best songs work, and the dubstep sound that dates other songs on the project gives 'Napalm' a nostalgic tinge that works perfectly when mixed with the live drums at the tracks end, complete with dirty crashes to top it all off. The final two collaborations are the refreshing 'Guiding Lights' with AWOLNATION, which commits to being metalcore with and doesn't do too much more than just sound perfectly solid, before 'Mercy Killing' with Scarlxrd, which synergies the emo rock beginning with the rave middle and end nicely, and doesn't have anything bad to be said about it. This is not to say that the only good tracks on Inertia are those which had other people hopping on them though - ‘Silent Spinner’ is one of the strongest on the album, providing a burst of energy with its trumpets and flares on the crash symbol. The track itself is about Pendulum returning to the scene after their time away, and feels like the fresh start that the band were looking for, mixing scratchy live instruments with jumpy synth melodies to craft a moody synth rock song. As Inertia stands, the issue of not having separated the wheat from the chaff is very prominent, and here this means the difference between the collaborations and the singles is stark. The logic behind releasing the higher energy tracks pre-album and saving the slower paced entries for fans who want to see that range is sound, but it feels disingenuous when the singles have the high energy and synergy that have made Pendulum’s name, but when diving into their latest work it doesn’t have that same kick. The feeling is that after 10 years of crafting this project, some tracks have been hard to let go, or maybe some sounds not quite fully padded out yet. Inertia is, all in all, for the fans. The feeling from these collaborations is that they are all people who love and have loved Pendulum, and that the songs that come across as filler to more casual ears may be just the breadth of sound that someone who has been craving new Pendulum has been waiting for. If you're a newcomer to Pendulum, dive right in on the collaborative tracks to find something special, but for the old fans, there might just be a diamond in the rough for you within this LP. Score: 6/10 Inertia will be released on August 22nd 2025 via Mushroom Music. Words: Julia Brunton Photos: Pendulum

If really big really clever are scared of falling victim to the sophomore slump, they do well not to show it. Two years after their self-titled debut album, the Brighton four-piece are back to deliver ...huh, a more mature and developed set of tracks that seek to set them apart from the noise of the British alt-rock scene. It’s a scene that they have made themselves well acquainted with since the band’s inception in 2023. In between their own headline shows, they have found themselves supporting American emo stars Sweet Pill on their UK tour, as well as fellow Brighton-based band Gaffa Tape Sandy, quickly becoming known for their electric live performances. That energy is very much present throughout ...huh. There isn’t a minute that passes without a killer riff, or a drum fill that makes you wish you were in a hot room dancing with strangers. Lead single ‘floss is boss’ is the perfect example, pairing beefy power chords with a sing-along hook. ‘pitiful’ copies that recipe, whilst still managing to squeeze in a breakdown that would be enough to send a willing audience into overdrive. Whilst the more frantic offerings on ...huh glimmer with promise, the real gems can be found elsewhere on the album. ‘the middle’ is easily the star of the show, trading the band’s grungier sound for something a bit more streamlined and straight-forward. The riff promises to make a home in your brain, and once you start singing along to the chorus there’s no turning back. It’s cut-and-dried pop punk perfection. On the polar opposite side of the scale is ‘i was an idiot’, a weird little track that shimmers and bursts in under 90 seconds, packed full of grungy riffs and trippy guitar tones that will make you triple check that you haven’t been abducted by aliens. There’s no polish to be found here, and it’s glorious. Whilst this approach works on ‘i was an idiot’, the same cannot be said for every track. ‘dread’ is the most frustrating example of this. It’s almost perfect; the alternating spotlight on the guitar riff and the bass line in the first verse is magical, bouncing between the two like a tennis ball, however this disappears by the second verse. The vocals near the end of the track are the harshest we see on the album, and it offsets the grooves in the rest of the track masterfully. But this feels like a half-baked idea nestled at the end of a track, whilst the vocals for the rest of the track struggle to be heard in the mix. With a bit more polish, this could have been a standout on the album. The disappointment is short-lived, though. Album closer ‘back and forth’ showcases another side to the band; a five-minute wall of sound that switches pop-punk for a mixture of time signatures in a metallic, shoegaze-y haze. It’s heavy and hard, but it wouldn’t be a really big really clever track without melody after melody, and a stellar performance on the drums. It’s the type of track that underlines the band’s talent, and forces you to hit repeat on the whole album to make sure you didn’t imagine the whole thing. All in all, ...huh is living, breathing, flailing proof that rock and roll isn’t dead. It’s an amalgamation of influences from seemingly every corner of the broad and beautiful alternative music landscape, and it hits it out of the park many more times than it misses. It’s loud, and brash, and as pristine as it is messy. And a whole, giant heap of fun. Score: 8/10 ...huh will be released on August 22nd via Sugar-Free Records. Words: Ellen Lovell Photos: really big really clever

Feuerschwanz are back, and swooping in with their new album Knightclub. All the way from Germany, they are a medieval rock and folk metal band known for blending heavy guitar riffs with traditional folk instruments like bagpipes, hurdy-gurdy, and violins. Founded in 2004 in Erlangen, the group started with a humorous, satirical approach to medieval-inspired music, but over time have evolved into one of Germany’s most prominent folk metal acts. Kicking things off with the opening song, the title track ‘Knightclub’ - a song that first drew wide attention during the Eurovision preliminaries. Brimming with playful nods to medieval legends and film references, it’s a high-energy piece with infectious choruses that set the pace for what follows. Swiftly moving onto ‘Valhalla’ bringing a powerful guest appearance from the legendary Doro from the band Warlock, heavy on the Viking-inspired violin melodies. The interplay of vocals adds extra weight, resulting in a rhythm-driven anthem. Sticking to the true Feuerschwanz tradition, the band once again delivers a cracking pop culture cover, this time taking on the global phenomenon ‘Gangnam Style’ - Metzner’s trademark screams electrify the verses, as Hauptmann’s commanding growls anchor the choruses, making the track both unexpected and irresistible. We love their commitment to extended to mastering another language for the performance, a testament to their dedication. Charging through to channels the band’s signature medieval-rock essence, with thunderous drums at the forefront, vivid storytelling at its heart, and a searing guitar solo that ties the piece together. ’Testament’ delivers a textbook power metal punch, with thunderous double-kick drums laying down a relentless foundation that drives the song forward. The interplay between galloping rhythms and muscular chugging riffs creates a dynamic ebb and flow, ultimately culminating in a soaring, ascending guitar solo that feels like a triumphant finale. ‘The Tale of Sam’ unfolds like a narrated epic, channelling the feel of an audiobook as it recounts key moments from Tolkien’s legendarium. Without missing a beat, it transitions into ‘Sam the Brave’, a high-energy tribute that sweeps the listener into Middle-Earth itself. Driven by a fast tempo and layered with both traditional medieval instrumentation and razor-sharp metal riffage, it feels like a soundtrack to an adventure across rolling hills and battlefields. In contrast, ‘Drunken Dragon’ embraces light-hearted revelry, the kind of raucous drinking song for a festival crowd. Its catchy, upbeat rhythms practically beg for audience singalongs, making it one of the most interactive and playful moments on the album. Back to their original sound ‘Eisenfaust’ sounding familiar for long-time fans, yet slightly different to keep new ideas. ‘Avalon’ shifts into heavier territory, carried by darker, grittier instrumentation that evokes the feel of a battle hymn. ‘Tanz der Teufel’ follows with a folkloric twist; its lyrics steeped in myth and devilish imagery. The track embraces the playful tension between folk storytelling and metal’s darker edge, resulting in an intense, cinematic soundscape. The album closes with ‘Lords of Fyre’, a fiery collaboration with Lord Of The Lost, this was a great choice of bands to collaborate with, it’s a grand finale designed for crowd participation - an anthem you can’t help but sing along to. With Knightclub, Feuerschwanz once again prove why they stand at the forefront of modern folk metal. Blending their trademark mix of heavy riffs, medieval instrumentation, and playful storytelling, the album strikes a balance between humour, epic fantasy, and sheer musical power. An album that invites fans old and new to raise their voices and join the revelry. Score: 8/10 Knightclub will be released on August 22nd via Napalm Records. Words: Ciara Hicks-Evans Photos: Feuerschwanz

Hidden within the hills of the South Downs National Park, Boomtown returned for it’s annual five-day get-together – a festival that can only be described as an immersive world of music, art, and theatrical storytelling. Unlike the typical music event, Boomtown takes place in a diverse ‘city’, complete with streets, characters and a narrative that evolves as the weekend goes on. From the industrial chaos of Area 404, to the tranquillity of Thrutopia, each district and stage held a unique perspective to the festival that ensured every citizen of Boomtown could find something that they enjoyed. Across the five intense days of music, the festival was overflowing with a wide range of genres which catered to each taste. From punk legends like the Sex Pistols, to the iconic club hit king Sean Paul – Boomtown truly provided something for everyone. Gladde Paling To kick off the beginning of the weekend, many were lucky enough to catch the much-loved Dutch artist Gladde Paling at a very busy Spectrum 360. With the stage placed in the middle of the crowd, the high energy set perfectly captured the excitement of the festival’s opening day, and it didn’t take long before the audience were hooked. His genre-defying chaos had the crowd dancing and singing as techno beats were mixed with classics such as “Pretty Rave Girl” and even some Nickelback anthems. It was a most definitely a set that raised the bar for the entire weekend – and one that might be impossible to top. Friday Opening Ceremony To mark the official beginning of the festival, Boomtown held an opening ceremony to introduce the citizens to the weekend and speak about the importance of the festival beliefs and what it all means. Symbolic dancers and performers graced the stage as coloured smoke lit the air. Audience members stood in awe as a speech was displayed on screen, promoting unity and togetherness – and the importance of these at Boomtown itself. Joining the dancers for their own unique sections were vocalists Eva Lazarus, Namesbliss and Grove, each bringing their personal talent to deliver a surprisingly emotional show to the Grand Central stage. The ceremony closed with a display of fireworks and confetti cannons – preparing the audience for the weekend to come. Joey Valence & Brae Providing a wave of old-school skater energy to the Grand Central Stage, Joey Valence & Brae delivered one of the most energetic sets of the entire weekend. With mosh pits forming in every direction, the two-piece made their presence known as they jumped around the stage, conducting the crowd. It was clear to see the duo loved their performance just as much as the audience did, and the chaos only got more and more intense as the set went on. “PUNK TACTICS” was the highlight of their show, with not one body remaining still. Souls of Mischief As the sun started to cool down on Friday afternoon, the Grand Central stage filled up with those awaiting the hip-hop legends that are Souls of Mischief. Largely inspired by A Tribe Called Quest, the four-piece perfectly balanced the chill energy alongside getting the audience moving. Their set blended a mix of fresh tracks with older classics, but it was noticeable that most were there to celebrate the iconic 1993 album 93 ‘til Infinity. During their set, the band conducted a ‘colour war’, handing out bags of vibrant dye to throw into the air – leaving those who saw their set marked for the rest of the day and creating a fun interactive experience which stood out as one of the weekend’s most unique moments. Lady Leshurr As a childhood favourite for many, Lady Leshurr packed out the Nexus stage with an overwhelming crowd – full of those excited to hear any version of the iconic “Queen’s Speech” series. Known for her freestyling talent, Lady Leshurr began her set by rapping over a number of well-known classics such as “The Fresh Prince Of Bel-Air”, warming up the people for what was about to come. Just as the set was seemingly coming to an end, she surprised everyone by announcing she would perform all ten “Queen’s Speech” tracks live for the very first time, as a preview for her upcoming tour later this year. The energy arose almost instantly as the crowd sang along word-for-word, leaving a wave of nostalgia. It was clear she left a huge legacy on this generation, proving she was a great addition to the Boomtown lineup. Kurupt FM Taking over the Grand Central Stage and closing the Friday night main performances, Kurupt FM performed their widely adored hits and had the crowd enjoying it from the first beat. Known for their humorous tunes and iconic grime style, the place was packed shoulder-to-shoulder – which was no surprise, seeing the reception they received for “Your Mum Loves Garage” and “Heart Monitor Riddem”. The group knew how to get the audience going with their feel-good energy that left the people wanting more. Saturday The Wurzels Bringing their unforgettable blend of humour and timeless tunes, The Wurzels performed to a busy crowd at the Engine House. Known for their classics like “Combine Harvester” and “I’m a Cider Drinker”, the five-piece created a fun atmosphere, turning the performance into a sing-along that had festival-goers laughing and dancing alongside each other. The band delivered a refreshing show that wasn’t quite what was expected when thinking of Boomtown, but nevertheless a very memorable experience. Fat Dog At the Grand Central stage, Fat Dog dove headfirst into their set with “Vigilante”, building the atmosphere from ground up as the crowd waited to go wild. Their blend of electronic rhythms and grainy vocals drew in a bigger crowd than expected, delivering an overwhelming amount of energy that had the audience moving. Frontman Joe Love knew exactly how to co-ordinate such a large number of people, and at one point throwing himself into the crowd. They’re not one to miss! Nova Twins Next to hit the stage were the genre-bending duo Nova Twins, consisting of childhood friends Amy Love and Georgia South. They powered through a hour-long set on the Grand Central stage, providing a high energy performance to a crowd of chaos. Ending their set with “Monsters”, the duo brought the energy into the crowd – guitars in hand – dancing and connecting with the fans beside them. This two-piece consistently prove why they are a essential addition to any line-up, and Boomtown’s vibrant atmosphere was the perfect stage for their intensity. Sex Pistols Making their grand debut at Boomtown, the Sex Pistols lit up the Grand Central stage on Saturday – uniting all of the rock-lovers of the festival together in one place. Whilst now fronted by Frank Carter, the raw punk energy still remains electrifying and the stage presence immense. Iconic anthems like “Anarchy in the UK” and “God Save The Queen” sparked mosh pits and movement throughout the crowd, which only became rowdier when Frank entered and joined them himself – fuelling the atmosphere even further. Carsick Later into the night in Fogger’s Mill, the upcoming band took to the stage to what begin a small audience, but the bands wild energy, catchy tunes and vibe only ever drew in a bigger crowd, with some devout fans bringing the mosh pits. These boys certainly showed they’re here to have fun, playing all of the hits and making sure they gave it their all, with the bassist even jumping in to mosh with the crowd for the last song, closing off Saturday in Fogger’s Mill with a bang. Sunday Sean Paul At the peak of the Sunday heat, a huge crowd gathered at the Grand Central stage in anticipation of the dancehall legend that is Sean Paul. From the moment he appeared on stage, the atmosphere instantly lit up. Joined on stage by a DJ and two dynamic dancers, the king of club anthems powered through all of his best hits back-to-back, with tracks such as “Get Busy” and “She Doesn’t Mind” sparking an instant party. Sean’s stage presence was impressive and left everybody smiling as he commanded festival-goers to wave their arms as well as handheld fans into the air. Halfway through the set, Sean was joined on stage by up-and-coming jungle artist Brodie to perform their newest song “Darlin’” and despite her recent broken ankle, the energy was at it’s highest. Closing with an extended rendition of “Temperature”, Sean left the audience eager for more – undoubtedly one of the weekend’s standout moments. Boney M Another memorable moment from the weekend was the timeless disco magic of Boney M. The group brought their infectious groove to the Matterly Bowl as the sun shone at it’s brightest, captivating the crowd with their globally-known songs like “Daddy Cool” and “Rivers of Babylon”. It can only be described as an honour getting to witness the original member Maizie Williams performing on the Grand Central stage. The band closed their set with an unforgettable performance of “Rasputin”, as the audience gave their best shot at attempting the iconic dance routine – leaving wholesome vibes all round for the last day. Dimension For the final set at the main stage of Boomtown, Lion’s Den, Dimension took to the stage, accompanied by flames and possibly the best lights show of the whole weekend, this DJ utilised every inch of the humongous stage. Many could sense Dimension’s effort to play a proper finale set, mixing a lot of ethereal motifs to the DnB that would make every punter ascend to the heavens, he took everyone on a journey for those final ten minutes of the closing ceremony. Closing Ceremony As Dimension finished up and said good night to Boomtown, the stage erupted with sound and lights as the Collector, a prominent character in the Boomtown storyline, revealed he had been deepfaked and was in hiding, leading to a speech that promoted waking up, seeing the truth and fighting for what’s right, exercising the idea that only us as people can control the people, the music arose into a brilliant cacophony as the words of The Collector rung through the head of every punter there; the stage ignited all its fireworks, flames and brought the music to an epic conclusion. Words: Rianna Ram Photos: Ben Blissett

Dinosaur Pile-Up’s newest album I’ve Felt Better is a candid look into Matt Bigland's journey through his ulcerative colitis diagnosis, weaved with the highs of finding his wife to the lows of the loneliness that taking immunosuppressants during COVID and the years afterwards had. I’ve Felt Better has simple-yet-raw lyricism which meets a pseudo-chipper 90s rock soundscape to create what sounds like The Front Bottoms meets Take Off your Pants and Jacket-era Blink-182. The main hook of I’ve Felt Better is the journey of Bigland’s struggles with ulcerative colitis, a condition that began to surface during the tour run of their last album but was ignored until the pandemic, when the symptoms became unignorable, and the immunosuppressants Bigland was put on as a result added absolute isolation to the lockdowns that turned many into islands. This health journey is the foundation of I’ve Felt Better; the title (and title track) being named after the default dismissive response when asked about his quality of life; or the simply-put lyrics of tracks including ‘Unfamiliar’ - “Oh lord/sometimes I wish I could change/feel self assured” - and the list of insults towards himself in closing track ‘I Don't Love Nothing and Nothing Loves Me’. In particular, this can be seen on track four, ‘Sick of Being Down.’ “I’m sick of the pressure/I’m sick of not being better” embodies the feeling of stopping when the momentum is building and not being able to start again, while later on in the track the double entendre of being high yet down due to the high doses of morphine and steroids while managing the symptoms medically - such as the hook “Well I’m high/because I’m high/but I’m sick of being down”. This style of lyricism adds rawness to the project because of its conversational tone; it feels as if Bigland is on the phone finally letting his friends know how he’s really doing. On the topic of rawness, the theme of isolation runs deep throughout ‘I’ve Felt Better’, fuelled by the strict quarantine imposed on Bigland as a result of the immunosuppressant medication. This is embodied particularly in final two tracks ‘Unfamiliar’ and ‘I Don’t Love Nothing and Nothing Loves Me’; the former has Bigland discussing wanting to get away and compounded boredom on the backdrop of not being able to recognise his body anymore, while the latter on how the isolation created persistent loneliness and feelings of nothingness. The choice to close on this track, which is slower-paced and more traditionally sad in its soundscape, feels like a reminder that this is still an active issue in Bigland’s life; despite coming out the other side of the hospital stays and finding remedies that work for him, the spectre of flare ups and the emotional consequences persist. Nevertheless, there is a string of optimism threaded through the project in the form of the songs about Bigland’s wife. These tell the story of their long distance love story; ‘Punk Kiss’ about the yearning after they had been able to see each other over the pandemic; big you and me covering the daydreams of their being back together; and ‘Quasimodo Lemonheart’ being a wife-worshipping anthem about feeling your other half is the better one. The smattering of these songs throughout the project offers a light at the end of the tunnel for the project, are sweet in their delivery and have that nostalgic 00s rock feel in their pining. Sonically, I’ve Felt Better is 00s Kerrang distilled into an album. From the structure of swinging power chords into picked guitar melodies that make up the majority of the song structures, to the moods of each track running from the pining love songs covered in the last paragraph to the toxically charged ‘Love’s the Worst’ - an angst-filled breakup anthem about throwing your exes stuff out, before they see you in the night while dating someone else - to emotive introspection about the mental consequences of Bigland’s health journey. Each track is comforting in this nostalgia and all are well executed, though the power-chord-to-plucked-melody structure does become samey by the closing tracks of I’ve Felt Better, which makes them hard to appreciate on a first listen and may impact the overall album’s relistenability. I’ve Felt Better is an impactful project, balancing its raw delivery and high energy soundscapes to craft an incomplete journey of physical healing and introspective revelations. These tracks are a warm hug to those mourning the death of Kerrang! Radio, and though the repetitive structure may cause the album to lessen its impact somewhat on repeat listens, there’s a ‘made to perform’ edge to some of these tracks that excites us for Dinosaur Pile-Up’s tour next month. Score: 8/10 I’ve Felt Better will be released on August 22nd 2025 via Mascot Records. Words: Julia Brunton Photos: Dinosaur Pile-Up

Pittsburgh deathcore giants Signs Of The Swarm are quickly approaching the release of their next album, To Rid Myself Of Truth, which comes two years after their last, Amongst The Low & Empty. With a plethora of features from some of the genre’s vocal powerhouses: Will Ramos of Lorna Shore, Phil Bozeman of Whitechapel, Jack Murray of 156/Silence AND Johnny Crowder of Prison, it promises nothing short of stank-face inducing wonder. Not realising how loud the headphones were when pressing play, this writer naturally threw half of a cuppa all over the desk with the savage sonic assault of the albums namesake and first track ‘To Rid Myself Of Truth’. The instant impact of David Simonich’s corrosive vocals sets the tone for the whole album, with blackened chords throughout and a lip-curling breakdown to send the sparks of rage flying. After a sudden finish, ‘HELLMUSTFEARME’ ignites the flame with another violent opening, cementing its place as the lead single for the album. As we reach the midway point, the pace slows with a jaw shattering guttural that leads us into a ruthless blast beat section alongside a beautifully sludgy riff. We move on to ‘Scars Upon Scars’, which has all the makings of an excellent song to experience live, with the words “Cursed” and “Thirst” animalistically barked. It almost guarantees a tidal wave of sweaty deathcore fans echoing them back, surely something to look forward to on their upcoming North American headline and EU festival run featuring the likes of Mental Cruelty and ten56. Leading into ‘Clouded Retinas’; featuring the signature goblin-mode vocals from Will Ramos, the recurring sinister swell into a more melodic riff, then slamming into a heaving breakdown proves Signs Of The Swarm are capable of writing songs with a sense of maturity, knowing when to lean into a groove and when to unleash out-right fury. This approach is echoed in ‘Fear & Judgement’; featuring Jack Murray and Johnny Crowder. This song hints to the world's current social climate with lyrics such as “it’s them versus us”, “stones thrown and prejudice shown” and “in your fear of the great unknown, ignorance”. The oppressive and downright filthy riffs with impressive vocals from all, again emphasise their balanced approach to song writing. ‘Creator’ brings the album to a close with a crescendo of rage and a deliciously placed solo. For seasoned deathcore listeners, the mix on To Rid Myself of Truth will feel instantly familiar as Josh Schroeder, the producer behind heavyweights like Lorna Shore, and previous Signs Of The Swarm records is once again steering this sonic vessel straight into the gaping maw of hell. This isn't, however, deja vu as the mix provides fresh carnage to mainline directly into the listeners' veins. All the familiar deathcore production tropes are here, with a mid-heavy guitar tone that provides brutal down tuned heaviness and crystal clarity that will turn any smile into a pestilent scowl. While the songs are intricately layered with technical riffs and fills to melt your face off, there is plenty of space between the instruments to allow for various vocal techniques to plow into your ears like an oncoming freight train loaded with bulldozers. There is however, one exception. While the title track offers a near perfect blend of aggression and punchiness, it is at times suffocated when combined with lighting speed double kicks during blast-beat passage, drowning out other elements that would really bring these passages to another level. To Rid Myself of Truth offers an all-gas, no breaks vibe that definitely smashes their “Be. More. Pissed.” goal out of the park. Throughout, it’s proven that Signs Of The Swarm can deliver deathcore magic without relying on parlour tricks to stand out, offering a refresher in the current scene. With influences from the likes of Veil of Maya and After the Burial, there is a diverse mix of deathcore classic blast beats, sprinkled with tasty djenty bops, while tackling topics of Simonich’s own mental health in ‘HELLMUSTFEARME’ and recovery from addiction in ‘Scars Upon Scars’ - be prepared for a cathartic rollercoaster of unbridled rage and introspective honesty. Be prepared to rid yourself of truth. Score: 9/10 To Rid Myself of Truth will be released on August 22nd via Century Media Records. Words: Alice Kenwright Photos: Signs Of The Swarm

The night is frigid, and thick with spectral mist. You're lost in an endless forest, the overgrowth forming a labyrinthian maze of thorns and branches. Before long, your foot unwittingly slips into a ring of mushrooms and you soon find yourself leaving behind the world you know. As you take your first steps through the fairy circle and into this eerily familiar place, you realise, with awe and macabre fascination – you've now entered the haunting storybook land of Blackbriar. Since their first release in 2014, the Dutch symphonic metal six-piece have twisted fairy tales and mythological stories into songs, channelling mystique and magic through their sweeping gothic epics. At their beating heart, they're not just a band; they're storytellers, poets, theatrical folklorists. They’ve added consistently to their repertoire of stories, and show no signs of letting up as a third full-length collection joins their growing library: A Thousand Little Deaths. Opener 'Bluebeard's Chamber' lures us in with an ominous keyboard overture, before thrashing drums and rhythmic guitars come crashing through the stained glass windows. Soon, we're being serenaded by the melodic vocals of Zora Cock as she recites the ancient French folktale of Bluebeard. She puts herself in the place of the tale's heroine, the soon-to-be wife of a noble whose previous wives have all mysteriously vanished. She finds herself overcome with morbid curiosity when she finds one chamber in his home locked tight – within, she finds the murdered bodies of Bluebeard's lovers. Through Blackbriar's interpretation, the story is recontextualised; it's the story of overcoming your denial of a hideous truth, but blaming yourself for ruining the perfect life that existed on the surface. Second entry 'The Hermit and the Lover' turns the next page of the story with little introduction. René Boxem's drum work stands out especially on this track, the thunderous beat the perfect backing to the dramatic story unfolding before our ears. The vocals are haunting with their highs and lows, and guitars match it with their soaring tunes. This is immediately followed up by 'The Fossilized Widow', a tale that is ultimately about a woman frozen in time, who can't bring herself to let go of the past. Here is where the band's talent lies – despite their classical folk tale context, their songs carry timeless messages applicable to anyone. The next story in this release is 'My Lonely Crusade', a track carrying slightly darker tones than the preceding ones. The guitars are especially grimy, and soul-stirring screams fill the air at one point to accompany them. The works of Bart Winters and Robin Koezen, dual guitarists, stand out particularly here with their symphonic riffs. After that comes a standout and favourite, 'Floriography'. It opens with quiet chimes and a soft vocal recitation before cutting into the atmospheric, eerie basslines that permeate this album. Despite the band's fittingly flowery language, there's no need to decipher through petals what they're communicating here. The message is clear – it's a voice begging to be spoken to, desperate for a message that will never arrive. 'The Catastrophe That Is Us' is especially operatic, a gothic soundtrack laced with tragedy and sinister riffs. There's a macabre sense of dread and lurking peril written between the lines of this track, rising to the surface when the eponymous lines are sung. Capitalising on the atmosphere set by this track is the follow-up in 'A Last Sigh of Bliss'. Immediately we're hit with an intense, orchestral wall of sound carried by imposing guitar riffs, and operatic, dramatic keys from Ruben Wijga, before Zora's familiar siren-song vocals make an alluring appearance. 'Green Light Across the Bay' comes in after, a song packed with references to F. Scott Fitzgerald's The Great Gatsby. Zora compares herself to the titular figure multiple times – she's standing on the dock, gazing longingly out at the emerald light in the distance; she's throwing parties in the hope that her love might show their face; she's longing to recapture a love long lost. While the literary references in this track are obvious, they're not as up-front in the following track, 'I Buried Us'. Instead in this lament for a doomed love, we're met with obscure mentions of Taxus - the Latin for yew, a pagan symbol of rebirth. She poses a question: if this couple bury themselves beneath this tree, will their love be everlasting in the afterlife? Finisher 'Harpy' is where the album finds its namesake in one of its lyrics: "I have died a thousand little deaths." In this grand, orchestral epic, Zora calls upon the mythological harpy to take her away so that she might finally break free from the curse of eternally rotting and meet one more, final death. Interlaced between the vocals are the occasional screeches from the birdlike creature, driving home the inspiration behind the track. This one is painted in shades of Celtic rock, the chord progression offering a powerful, resplendent take on an often-overlooked myth and a strong closer to the album. A Thousand Little Deaths is an eerie, macabre library of stories that is Blackbriar's best work yet, and hopefully indicative of what lies in store for their future. Like many classic fables, each song carries a moral behind it, a message behind the folk stories they tell. Some are teeming with literature and folklore references, while others are original pieces, but no matter what approach the band take, they have us fully spellbound. Only time will tell what the next page in the book of Blackbriar will contain, but much like the infamous harpy they sing of, we can expect them to soar even higher than before. Score: 9/10 A Thousand Little Deaths will be released on August 22nd 2025 via Nuclear Blast Records. Words: Naomi Colliar Duff Photos: Blackbriar

It’s not often you come across an album that feels truly refreshing, but Pool Kids’ third release, Easier Said Than Done, is exactly that. The four-piece from Tallahassee have been steadily building their presence in the emo/pop-punk scene for the past eight years, and this record is proof of their growth and ambition. Confident yet experimental, it’s another string to their bow - a full dive into the dynamic, intricate sound that has made Pool Kids one of the most exciting bands in the genre. The record is emotionally versatile. You can slip into it whether you’re pining for lost love, reflecting on life’s difficulties, manifesting something new, or simply seeking a moment of peace courtesy of Christine Goodwyne’s gorgeous voice and understated guitar. Florida, their home state, is a recurring thread - not just a backdrop, but a living part of the record’s emotional landscape. Relationships built and broken, cherished and scarred memories - all are tied to that sense of place. Even if you’ve never set foot in Tallahassee, the themes are deeply relatable, evoking your own version of 'home'. Another key theme is emotional vulnerability. These songs are not afraid to explore heartbreak, anxiety, and uncertainty - feelings that are regularly mishandled or misrepresented in music, but here are delivered with honesty and precision. Opening the record, the title track immediately showcases the band’s willingness to experiment. Kicking off with Goodwyne’s solo vocals, a synthetic background hum seeps in before Andy Anaya’s sharp guitar riffs, Nicolette Alvarez’s steady bass and Caden Clinton’s rim-tapped drums build momentum. The result is an intense, emotional opener about unrequited love: “If only I could let go, it’s easier said than done.” A perfect curtain-raiser for the album’s emotional scope. 'Tinted Windows' was a track that may take a few listens to fully absorb. At first, the pop-punk guitar work stood out - the kind that would sit comfortably alongside early Fall Out Boy - but once the lyrics sank in, the song revealed itself as a bittersweet reflection on love fading. Lines spoken in the heat of romance feel hollow when the relationship ends. It closes with “The end, it’s clearer” against the sound of an oncoming storm - a poetic touch. Next up was 'Bad Bruise', and here, the band’s 2000s emo-rock influence shines. The reversed-vocal intro leads into a breakup anthem full of righteous anger and catharsis. It’s the soundtrack to that moment in a split when you finally speak the words you’ve been holding back, best experienced blasting from a car stereo at full volume. 'Leona Street' comes afterwards, and it's an absolute standout that channels Alanis Morissette in its bridge, pairing tender vocal delivery with an infectious bassline. It tells of moving forward while occasionally looking back, wondering if someone from your past still thinks of you. The chorus is defiant yet vulnerable, and it’s easy to imagine this one becoming a fan-favourite live. Driven by crisp hi-hat percussion in the first verse, the next track, 'Last Word', builds into a crashing chorus before dipping into a dreamy, synthetic haze. The Paramore influence is unmistakable - unsurprising, given Hayley Williams herself once praised Pool Kids publicly. Slowing the pace for 'Sorry Not Sorry', this highlight track is an intimate portrayal of one-sided desire. The lyrics wrestle with the pain of being wanted only in fleeting, inebriated moments, contrasted with the yearning for something deeper: “Better lover, better friend - you can take it from me.” The keys and synthetic guitar create a meditative calm before the song swells again with raw, drunken heartbreak, before we reach 'Not Too Late'. Mirroring 'Bad Bruise', this song also begins with reversed vocals before bass and drums lock into an irresistible groove. The chorus is light and catchy, but the emotion in Goodwyne’s delivery adds weight to the track. Cutting through the air comes 'Which Is Worse', a raw, high-energy cut that immediately feels like a future set-opener. Distorted voices, synth arpeggios, and static fade in and out, giving it a restless edge. Perhaps the most personal track on the record, 'Dani' opens softly before drums and guitar crash in. The guitar solo is a highlight, as is the use of distortion throughout - here representing cloudy, unsettled thoughts. In the final chorus, the band play with the amp settings, creating an unexpected texture that works beautifully. The penultimate track 'Perfect View' is also the record’s only acoustic-leaning track. Warm, intimate, and lyrically focused on the unglamorous but meaningful moments of love: petty arguments, damaged furniture, small domestic rituals. It’s a song that makes you feel the comfort and humour of a lived-in relationship. Finally, the finale comes in the shape of 'Exit Plan'. A fitting closer that addresses the emotional aftermath of a breakup. It’s about moving from uncertainty to acceptance: recognising what’s broken, letting go, and ending on the line “I’m okay.” One of Pool Kids’ strongest qualities is their ability to blend a sense of nostalgia with a unique sonic identity. Their music incorporates pop-punk punch, indie sensitivity, elements of rock, and soft synthetic textures. This combination means every listener can find something that resonates. With Easier Said Than Done, the band have clearly embraced exploration - stretching their song-writing, trying new sounds, and refining the one that will carry them forward. While Easier Said Than Done inevitably invites comparisons to pop-punk and emo greats, Pool Kids are carving out their own path. The record is packed with energy, emotion, and small experimental touches that reward repeat listens. Every track offers something distinct - a riff that sticks, a lyric that cuts deep, a sonic texture you didn’t notice before. It’s the kind of album you can return to for different moods and find new reasons to love it each time. Whether you want a heartfelt lyrical journey, a rush of adrenaline, or just a solid set of pop-punk bangers, Easier Said Than Done belongs in your collection this year as one of the must-hear releases of 2025. Score: 9/10 Easier Said Than Done was released on August 15th 2025 via Epitaph Records. Words: David Waites Photos: Pool Kids

County Mayo’s Nerves have only just released their first EP as a four piece, and their second EP at all, but are already unnerving plenty of listeners who are willing to try out the harrowing post-punk experience that is their debut record Iarmhaireacht. Translated from Gaelic, the title means “that uncanny loneliness you feel at first light”, which is as apt a title as could be - the record takes you through such themes as the Irish housing crisis, emigration, mental health problems, Catholic guilt, substance issues, and the loss of love, to an eerie soundtrack of droning synths and guitars, incessant yet ghostly drums, and ragged vocals. The record only truly comprises five songs, with three additional interludes all titled in Irish - one of many small details that make this record feel birthed out of the mourning Irish hillsides. The songs themselves are more intimately personal, acting like diary entries talking through the slipping sanity of the protagonist, whilst the interludes show the wider issues that may well be causing that deeply personal fall. It’s not always worth looking at, or even considering, a record’s front cover; here though, it’s most definitely worth taking the time to observe things a little closer. In a neutral mix of greys, a mournful procession of ghostly figures - anyone versed in Irish tradition will recognise them as Wren Boys, men and boys in a traditional garb of straw hats and white outfits for a procession with a captured wren, making their slow and steady way to the top of a not-quite-right hill by way of a few sharply turning paths, leading to a devilish or demonic figure. The title of the record is scratched out in Ogham script, another nod to the heritage of their country that’s been slowly pushed out of existence by various governments and ruling parties. All this combined with the lyrical content paints a haunting picture of modern Ireland’s loss of its own culture and historical legacy; a country mourning the loss of itself and its own ways. Making our way into the album proper, we first arrive at a daunting interlude by the name of ‘iarthar’. It takes just 46 seconds to go from that into the first full song proper, ‘Takes a Second’, which is possibly the most difficult of the five to wrench from within your head once it’s nestled there. Full of abrasion, discordance, droning and repetition, the track aches and insists upon making the listener feel something, whether that’s to make them uncomfortable, make them feel the horrible weight of guilt, or even make them feel seen and understood. ‘Dirty Fingers’ takes the stage next, and is the shortest of the full tracks, just shy of three minutes long. Keeping up with the efforts at making every agonising second an eternity, the quartet deal with substance abuse, self esteem issues and mental health problems in a manner that will, sadly, resonate with many who’ve been left by their partner. ‘Through My Chest’ rumbles into life afterwards, building and growing and evolving into a grotesquely alarming piece about hope, lies, betrayal, love and the lack of it. The guitars ring in a klaxon tone as screams of “I see ya!” ring out, vocalist Kyle Thornton almost condemning the listener as the one being observed and found guilty, before the second interlude ‘iarmhar’ gives us a brief moment to breathe, and take in the vast bleakness all around. ‘Act of Contrition’ doesn’t give much time to rest though, delving into the funeral and wake of the protagonist’s former partner, and the agonising experience it can bring. With moments of vast sonic power amidst a sea of floating guitars and soft drums, the music perfectly encapsulates the helplessness felt. A final interlude meets us before the last track proper - ‘néifinn’ takes less than 40 seconds to talk about Ireland’s forgotten lands before ‘Don’t Let Go’ tiptoes into life. A slow beginning to the six minute track that feels like the gap between sleep and worse, Nerves build their way into the finale of their devastatingly powerful EP that hangs in the air like a clogging mist, but is never quite close enough to touch. Industrial drums and droning guitars finally break through the tension, to release any pent up emotion into a pained final howl of love and loss and anguished sorrow. The final lyrics heard, again repeated in that helpless manner that can’t be stopped after a tragedy, are “I don’t wanna let go”, which wraps up Iarmhaireacht with a door slam that reeks of finality. Iarmhaireacht is a Pandora’s Box of emotional pain and sorrow - with discussions of both country-wide and deeply intimate pains and issues, Nerves have concocted a brew that won’t easily be forgotten or topped. Their haunting noise punk cum industrial drone via haunting atmospheric post rock is a trip that takes the listener down the very dark hallway of a life undone by a multitude of societal and personal problems, all to a soundtrack that empowers those most wretched of emotions to wrack you with guilt unheard. Score: 9/10 Iarmhaireacht was released on August 15th 2025. Words: Jasmine Longhurst Photos: Nerves