Remember, remember, the 10th of November - that isn't quite right, is it? Some things are hard to commit to memory, but these recent singles, with their catchy choruses and punchy instrumentals, certainly aren't. It's been an exciting month so far, and it's barely the second week. Who knows what else November will have in store for us? As Everything Unfolds - WHAT YOU WANTED (ft. Dani Winter-Bates) AS EVERYTHING UNFOLDS are on a roll as of late - they’ve released three singles since summer, and each one hits harder than the last. WHAT YOU WANTED carries their familiar clashing of melodic vocals and striking metalcore intensity, featuring BURY TOMORROW’s DANI WINTER-BATES in another great contrast; his vocals are guttural, and take centre-stage for a section before CHARLIE ROLFE’s haunting style becomes the prime focus again. This track is a good sign for AS EVERYTHING UNFOLD’s trajectory - when the eventual, as of yet untitled, third album graces our ears, we will know exactly what to expect; euphonious, beautiful vocals and relentless progressive metal beats as their eternal companion. Words: Naomi Colliar Duff Blackbriar - The Fossilized Widow (Parlor Piano Version) If there is anyone who can reimagine their own songs in a way it brings a whole new perspective to it, it is no doubt the Dutch powerhouse BLACKBRIAR. Rewriting one of its most successful songs from its latest album A Thousand Little Deaths, Fossilized Widow, into a Parlor Piano Version, the focus shifts only on ZORA COCK’s captivating vocals and piano skills, bringing out the beauty and melancholy of the lyrics. Accompanied by an original music video upon release, the song is set to pick the attention of everyone who listens to it. Words: Katerina Stepanikova Black Coast - Overflow Gutbusting is the business of Stoke-On-Trent’s BLACK COAST, and from the opening note of Overflow, it hits you right where it needs to. A new era, and with it, a stripped-back and intentional addition to the narrative continued from 2021’s Outworld. Whilst starting slowly and menacingly, it soon picks up with intense ferocity. Opting for loud and clear choruses, jabbed with their iconic, intense screams, the hero of the moment is their capacity to produce excellent guitar riffs, which soar brilliantly in the mix. An underrated torchbearer for the UK underground, making their moment with yet another searing statement. Words: Amber Brooks Bratakus - Turnstile (ft. Chris Dangerous) BRATAKUS are formed of a pair of sisters - one on guitar, the other on bass; they’ve never had a drummer, instead relying on programmed beats for their tracks. Turnstile changes this with the feature of THE HIVES drummer CHRIS DANGEROUS, and injects a new shot of energy into their frenetic, riot grrrl formula. The dual vocals are relentless, grimy, and create a strong, hard-hitting chorus that sticks with us despite the track’s short runtime. BRÈAGHA and ONNAGH CUINN are a great example of DIY punk ethos - a theme likely to persist through their upcoming debut album Hagridden, to be released in February next year. Words: Naomi Colliar Duff Four Year Strong - Whiplash FOUR YEAR STRONG are back with their new single Whiplash. And what a change of pace it is, the new sound is heavy but still with that Four Year Strong energy that we all know and love. And that breakdown outro... just damn! Unexpectedly hits you in the face. The video is a lot of fun. A completely unexpected sound with this one but it really did hit. It will definitely have the fans in the pit whilst they’re on tour next year. Words: Kayleigh Hadley Hayley Williams - Showbiz As the saga comes to a close - but the war is very much ongoing - final track Showbiz is HAYLEY WILLIAMS’ attempt at reparation. Not for the narrative that has unfolded within the course of her latest release, Ego Death At A Bachelorette Party, but as something pure and anthemic to make the most of this heartwrenching chapter. Tender as always, but with the same comfort as warming your palms as you come in from the cold, there is a numbness - pleasant, tactile and unapproachable - that is superglued together with nostalgic OWL CITY electronics. With the physical release of her record, Showbiz finalises an entire experience that, without compromise, reminisces about the time she took on the entire world and won. Words: Amber Brooks Heriot - Commander Of Pain Gross, grimy and overcast - the heavens spew open with drawn-out guitar riffs, and a slow, ghastly introduction to the new era of HERIOT. This is the first single since the phenomenal Devoured By The Mouth Of Hell album, and it is a bloodbath. Released in the wake of their upcoming US tour with TRIVIUM, this SLAYER-soaked track is pure evil. Aiming to seek and destroy with a menagerie of snarling guitars, it gains momentum with the arrival of the Swindon metaller’s signature piercing screams. Fast and commanding, the track finishes with a menacing call to action with a damaging breakdown. America is not yet ready for the rapture, but it is coming sooner than they think. Words: Amber Brooks Idiocy - You Mean Nothing To Me Coming out of the verdant pastures of the Notts DIY scene is IDIOCY. Their latest single release is a nihilistic angry ode, to you, or is it me? You Mean Nothing To Me was released on 7th Nov and is full of their characteristic raw and scratchy guitars, distorted and powerful drums and dystopian lyrics. Through the centre of this track is a guitar sound akin to a liquid ripple, introducing an echo of dark shrieking, behind the raspy vocals. A contrivance of morbidity with a gentle throbbing of despair - the essential autumnal backdrop. An enticingly trashy, noise rock band, IDIOCY have decisively chosen not to put this latest single out on the controversial monolith of music depreciation, Spotify. A brave choice for an independent band in the 2020’s, where most only pay lip service to anti- war/corporate ethics. The band are putting their money where their mouth is, bravo! The song is available on other streaming platforms, and on Bandcamp. Words: Alana Madden Lø Spirit - Aløne LØ SPIRIT has released Aløne, the first single of the long awaited album to be released next year. You may know his music from a massively successful song by DABIN named Hollow. If you're in search of a chorus that will be stuck in your head for days, look no further. The track follows a raw yet relatable story of a relationship not going as well as you hoped and slowly watching it fall apart. Of course, this also wouldn't be a LØ SPIRIT song without a hard hitting bridge, and this one has a groovy melodic solo. Words: Lucas Grayson Mallavora - Waste This is MALLAVORA’s world, and we are living in it. Signed to Church Road Records and with their debut album, What If It Never Comes, on the way, second single Waste is a face-melting example of a band who should not be fucked with. Thrown into their murky depths with an all-encompassing scream, vocalist JESSICA DOUEK stuns, pulled into the alluring undertow of siren vocals and anthemic growls. The band have produced their most damaging track yet, and as a commentary on the impossible expectations placed on women, it is a statement piece that the band are far from reaching their heights. Words: Amber Brooks Milange - Front Row MILANGE are experimental to their core - they ask the question ‘What if you poured flavours of punk, jazz, alt-rock, and more into a blender and watched it spin?’ It’s a wholly unique smoothie that sticks out from the crowd in Glasgow’s impressive music scene. They have a reputation for their live shows, with tracks like Front Row existing only in the setlists of their gigs - until now. An electric riff leads us into a rolling drumbeat, and HONEY’s enticing vocals bring us to a killer chorus; “Take it from the top, and dance until you drop!”, a line that commands us to groove along with it, following every instruction the singer gives. This is a ridiculously catchy tune, and with their upcoming EP Till You Drop (titled from this very track!) on November 29th, we can expect much more of this unorthodox yet ferocious energy. Words: Naomi Colliar Duff New Found Glory - Treat Yourself NEW FOUND GLORY are back with another offering from their upcoming album Listen Up, with Treat Yourself. The track is one to remind us to stop being so hard on ourselves, especially when things are tough. It’s got quite a fast pace with some killer riffs which we’ve come to know New Found Glory for. For the third track, it’s a great serving of a message a lot of us need. It's great to have them back after a six year break with a fresh new full length. Words: Kayleigh Hadley Pale Waves - Zombie After a long time playing this track at live shows and receiving overwhelming support, PALE WAVES have officially released a cover of Zombie by THE CRANBERRIES. HEATHER perfectly encapsulates the raw passion and emotion of the original track, her vocals flips flawless and her tone gentle yet angry. They released the cover as an homage to DOLORES O'RIODAN as they state THE CRANBERRIES had a heavy influence on their approach to their own song writing. After performing their cover at Reading Festival it was televised by the BBC and racked up thousands of views so it's clear to see why the band pushed for an official release. The cover is captivating and a beautiful gift, speaking to the times of the current political climate along the way. Words: Amy Smyth Sunday Best - Margins London post-hardcore darlings, SUNDAY BEST dazzle with the new track Margins. Trilling with cascading riffs and no room for compromise, this new addition to their debut Death & Divinity Mixtape gives space to the queer and POC voices who feel underrepresented in the alternative music scene. Opting for a slower emo-infused sound that spills into an almost LOATHE-esque pre-chorus, the defining moment of the song comes with the fatal lines: “I exist in the margins / until you cross me out.” In their own words: “This is more than just another song for us. It’s a call from SUNDAY BEST to all the members of marginalised communities to be proud of who they are in the face of overwhelming opposition.” Words: Amber Brooks Shadowvale - Bloodbound Bloodbound is the first release from SHADOWVALE’S upcoming album due in early 2026. Opening with their signature heavy, sludginess and dark riffs, this new single however, has a much rawer feel than previous releases like Midas. Managing to push back and forth through the varied tempo changes seamlessly, the band's sounding super tight! The far ranging vocal talent of LARA KELLY runs through the track, veining it with her hostile and threatening gravel, scuffing up our ears, just how we like it. The band have promised some surprises on the new album, alongside their more familiar sounds, heard on Bloodbound, blending high energy, aggressiveness with their dark sludgey grooves. SHADOWVALE have been bestowed many a genre label from across the metal spectrum, which leaves us intrigued on what else they might have inline for us! Words: Alana Madden Editor: Naomi Colliar Duff Photos: Various Artists

Newcastle hardcore showed out for Higher Power in an evening filled with punchy performances and controlled chaos. From the inaugural set of geordie quintet Dissent to the learned stage presence of Higher Power the energy seeped through the walls of The Grove. The evening opened with Dissent, a by-the-book hardcore outfit native to Newcastle who had no trouble inspiring violence in The Grove; the spin kicks had pints spilled within minutes while the windmills and cartwheels were so large most of the room's capacity made room for them. Surprise to The Grove when their frontman admitted that this was their first ever live set - armed with 4 songs and a commanding stage presence they warmed the room up with ease and reeked of potential. The follow up was Test of Patience, a Glaswegian outfit happy to use the 4 hour drive across the border to convince The Grove to get closer to the stage. Their brand of hardcore was deep and swinging groves with some hard rock melodies mixed in that lended itself to a dance two step as well as a kicking one. Most captivating though was their frontwoman: her vocals were a cut above with a gravelly undertone to her deep scream, while her presence was cheeky and active be it crouching on the stage or the touch of doing a cover and letting The Grove grab the mic and join in. Test of Patience stood out from the Higher Power supports, proving their frontwoman’s points of starting a band with your friends and the fruits of it. Set number three belonged to Existence, coming all the way from Sweden to the now full Grove and hitting some more military feeling metal; not personally a favourite but definitely a fan favourite as the windmills started turning. A sweet quirk of Existence was one of their guitarists playing like he was in a pop punk band, spinning with his guitar and jumping on beat as if he was desperate to leave his town. Despite this, their presence was minimal, sticking to the music apart from thanking the other bands performing and, of course, free Palestine. Higher Power’s forty minute set was balanced between the pensive hardcore of their earlier projects and the hardcore emo that makes up their newest album There’s Love In This World If You Want It. The newer tracks came more in the beginning - with the caveat from frontman Jimmy Wizard that they appreciate that everyone loves the oldies - but the pensive melodies carried through the room to gentle headbangs and dancing couples as the notes of ‘All the Range’ lifted through the walls. The majority of the evening was spent in the pensive hardcore mentioned before; the 6 calls to “fill this space” halfway met by the filling of the pit when ‘Shedding Skin’ and ‘Young Escapade’, but mainly not adhered to to make sure there was space for them. As for Higher Power they brought their own energy with ‘Shedding Skin’ having bassist Ethan Wilkinson shaking what mother gave him to the line of gig goes before him while ‘Low Season’ saw the crowd pool in front of Wizard to sing along into the microphone. Their crowd work was silly, including an odd bit about intentionally putting your shirt in your jeans pocket and asking the crowd to get silly before explaining that the next track (‘Better’) was about struggling with addiction. For his final yap Wizard mused about being a band for 10 years, asking the crowd if anyone happened to be under 10 (they weren’t) before closing with Absolute Bloom; a breath out for The Grove before heading home at a reasonable 10:15 for a weekday. Higher Power Newcastle was a love letter to the North East hardcore scene and a beautiful example of the scene when it works: local independent venues hosting independent promotion giving local talent the opportunity to play among the seasoned who have turned the genre into their careers. The crowd was energised and welcoming, moshers who fell were picked up, and the warmth felt once the show was over was enough to ignore the sticky cider that stretched up to the armpit. Words: Julia Brunton

BEN QUAD’s music can be defined as a warm embrace of nostalgia. Their upcoming album evokes the joy of cycling through hit music stations and finding that special band that really resonates with you. Wisher, BEN QUAD’s upcoming album, pushes their midwest emo boundaries by introducing elements of pop, driving the band out of their typical sound, and perhaps expanding the comfort zone of their fans. Wisher is the band's second full-length release after their debut album I’m Scared That’s All in 2022, and they'll be embarking on a double set of tours with first KOYO and then ARM'S LENGTH in support of the release. The album reveals itself as if it was written as a complex heartfelt love letter to someone of deep importance. The opening track What Fer? sets the tone for the album. It opens with gentle acoustic guitar and finishes with a flawlessly executed guitar solo, which can be interpreted as the growth of desperation to understand a relationship, matching the lyrical pleas for communication. Did You Decide to Skip Arts and Crafts? is, at its core, pure warped tour sentimentality. It channels the emo energy of the greats of the genre, (A DAY TO REMEMBER, TAKING BACK SUNDAY, AMERICAN FOOTBALL, to list a few) taking listeners straight back to the early 2000s, but with a modern, refined twist. Within can be found a version of this older emo guitar playing and drumming, but under the new influences of modern technology and high standards of production, in order to construct a carefully thought out piece of music to cater to both new and old generations of emo fans. Released on November third, the single Very Big In Sheboygan reveals personal perceptions of intense yearning and desire. The lyrics read as a beautiful ode to struggles of distance with truthful statements like “now I'm finally coming home” and “When you’re not around I feel like someone else”. The instruments perfectly complement the meaningful optimism of the lyrics, setting a hopeful tone with intricate guitar riffs and uplifting drumming. Following Very Big In Sheboygan, the track All Your Luck continues this romantic journey of the band indulging in more mellow melodies. In contrast to the previous song, it displays the thrill of a long awaited reunion, demonstrating this commitment to a partner. Delving deeper tells us about the feeling of having someone you consider to be a perfect partner, and the desperation of allowing your partner to see their worth, despite the listener knowing it all along. Hopefully, it inspires listeners to understand that they “deserve better” and that they are adored by someone, if not by themselves. Wisher’s tracks flow seamlessly into one another, subconsciously weaving a story of needing someone, being with them, and later getting over them. The final track I Hate Cursive and I Hate All Of You is overflowing with the heartache of losing someone. Instrumentally, this is represented quite overtly by the song being one of the more aggressive tracks on the release, showing the anger felt in the moment. The song feels raw, authentic, and abrasive, making the song connect very powerfully. It's laced with emotion, and showcases the band's ability to engage in a variety of techniques, which make this song an absolute standout. The band has a clear direction on this album and are consistently evolving their sound. It's refreshing to see an emo band provide positive songs on love and loss in a genre that is oversaturated with sad, cautionary tales, although that isn’t to say fans wouldn’t appreciate hearing more vulnerable mournful music (like their past album) in the future. Make sure to follow BEN QUAD’s musical journey to see their expansion in talent and sound as it is clear they have a promising future. Score: 8/10 Wisher will be released on November 14th via Pure Noise Records. Words: Alix England Photos: Ben Quad

With eight albums already under their belt, the Southern California quartet OF MICE & MEN show no sign of slowing down, with album nine Another Miracle out this week. These guys have a legacy to uphold, with their self-titled debut reaching the grand old age of 15 years old and still being hailed as one of the great albums of the metalcore generation. Their career has been pretty steady since then - the soon-to-be nine full length albums as a band speaks for itself - alongside multiple tours with iconic bands such as SLIPKNOT and LINKIN PARK. Another Miracle is completely self-made, with the album being mixed and mastered by the band’s own AARON PAULEY. For a lot of artists, being entirely in control of every step of the journey is the dream, and we can see here that the band have chosen their own vision and artistry over asking some sought-after producer to come in and take the reins. Lyrically, Another Miracle is an exploration of loneliness, of depression and anxiety that a lot of listeners will relate to in some capacity, and feels like a development of plenty of their previous work. To likely no one’s surprise, the first track of Another Miracle - titled Waltz - is, in fact, a waltz. Not many metalcore songs are written like this, but with punchy drums, a euphoric sound and in parts a musical theatre-esque drama and expressiveness, it is certainly memorable. The repeated lyrics of “A waltz for the withering, A dance for the damned, A psalm for the suffering, A jubilee of despair.” give an element of foreshadowing as the album begins. The second track Troubled Water is not the cover you may have expected from the title, but does include lyrics that refer back to the iconic SIMON AND GARFUNKEL hit, with “Over troubled water, I won't lay me down“ harking back to a true heavyweight of popular music. Lyrically, this is one of the more personal tracks, with impressive vocals to match. Safe Water contrasts this and is more hopeful, possessing a nostalgic early 2010s feel to it, while Hourglass feels like nothing more or less than a textbook track for both the band and the genre. Wake Up is slower and less exciting than the songs that precede it - whilst it does feel reminiscent of Deftones, it doesn’t have enough power behind it to hit as hard as its potential inspiration. Despite this, the lyrics are very encouraging and offer an optimistic outlook for the future. What follows it is Flowers, and although the electronic part is an interesting and welcome addition, it’s not enough. Something feels missing, although it does pick up partway through. However, title track Another Miracle is heavy, anthemic, and compelling. Losing the sluggishness of the songs before, it sounds like it was born to play live, and it almost begs for an audience. Now that we're beyond the slower songs, things start to gain more momentum again with tracks such as Contact, Parable, and Somewhere In Between, which are all both catchy and commanding. Parable is the strongest of the three, whilst the latter has a real old school metalcore charm to it. Penultimate track Swallow’s breakdown is a highlight, showcasing ascendent vocals and crashing drums by VALENTINO ARTEAGA. The supposed big finale Infinite is more of the same - it has some standout moments, but nothing too daring that would otherwise push it above the parapet. All in all, these tracks will resonate and bring comfort to longtime listeners and those invested in their career. There’s a solid body of work here that puts the band in a vulnerable state, and demonstrates a great sense of artistry and drive to produce the album themselves. Whilst there are some notable segments, there’s nothing too flashy and musically this LP does feel very safe. The main take away from this experience - rather than considering the lack of evolution the band have taken - should be to take on the lyrics and keep going, power on, and use art as a creative outlet when things get tough. Score: 7/10 Another Miracle will be released on the 14th November 2025 via Century Media Records. Words: Danielle Henderson Photos: Of Mice & Men

London’s FALSE REALITY are not a band interested in half-measures. Since their formation in 2023, they’ve become one of the city’s most explosive live forces. Their upcoming debut album, Faded Intentions, is a record that finds clarity through chaos, shaped by years of immersion in the scene and unafraid to rip up its rulebook. Pulling together threads of every corner of the alternative ecosystem, from beatdown and thrash, to grunge and even shoegaze, hardcore rarely feels this cinematic. Speaking of cinema, the album opens not with intense vocals or instrumentals, but with a century-old voice. Taylor Holmes’ 1915 reading of Rudyard Kipling’s ‘Boots’, the same version used in trailers for ‘28 Years Later’, rattles through distortion like a ghostly transmission. It’s a clever move: part homage, part horror, part warning. Then, before you’ve quite adjusted, a scream tears through - “FALSE REALITY’s back!” - and the record detonates. From there, Frozen sets the tone for the record’s balance between precision and atmosphere. Its serrated riffs hit with the speed and tightness of early thrash, but underneath sits a hazy melodic pull that hints at those shoegaze and grunge influences the band weave through the chaos. Vocalist RACHEL RIGBY’s performance is commanding and venomous, yet somehow measured, her delivery twisting from barked syllables to full-bodied roars that never lose clarity. The record’s midsection digs into its darker, more disorienting terrain. Reality Slips, arriving as the fifth track, plays like a turning point. Its driving rhythm and dissociative chorus capture that push and pull between control and collapse. RIGBY’s voice cuts through the mix with both power and precision, her phrasing slipping between exhaustion, accusation, and something close to despair. The track is heavy but hypnotic, as if the ground is giving way beneath it. Then, Sonder changes the temperature completely. Drenched in distortion and reverb, it turns shoegaze textures into something meditative and eerie - proof that FALSE REALITY can stretch their sound without losing focus. When Out Of Time hits, the band reassert their aggression. Guitarist DAVE CONNOLLY channels the ferocity of early METALLICA and SLAYER, but keeps it contemporary with clean, dynamic transitions. The rhythm section, delivered by JOE CORNWELL and LOUIS DALE, gives the record its propulsion; they know exactly when to leave space and when to pile on, and this track showcases that beautifully. By Worth It, RIGBY is at her most emotionally exposed. “I’ve watched you burn a thousand times in my head, I’ve prayed for your downfall, prayed for the end,” she screams, the line sounding both like a confession and exorcism. Faded Intentions closes its final act with two of its most potent statements. Cost Of Spite hits near the end of the tracklist, and it’s one of the album’s fiercest moments. The crushing breakdown and spat lyrics aren’t just aggression, they’re defiance written from frustration with how effort and identity are still too often judged through gender, race, or sexuality. Then, the last track, Every Gaze, pushes that rage inwards again, landing somewhere closer to revelation than release. By these closing moments, Faded Intentions has revealed itself as more than just a debut. It’s a statement of identity from a band that knows exactly where they come from and where they plan to go, with each track feeling like a different response to disillusionment. Taking us through anger, grief, defiance, and numbness, we see an undeniable emotional intelligence beneath the noise, and the recognition that catharsis doesn’t mean closure. RIGBY’s vocals are the album’s beating heart. She doesn’t just front the songs, she inhabits them. Her delivery swings from snarled lines that border on spoken word to guttural howls that sound physically ripped from her throat. There’s real technique in her control, but what makes her performance so powerful is how unfiltered it feels. In a scene that’s still largely male-dominated, her presence hits with extra weight. Hardcore has always been about community yet it still struggles with inclusivity, and RIGBY’s voice cuts straight through that contradiction, reshaping what strength sounds like. There’s a sharp self-awareness to everything FALSE REALITY do. The lyrics circle around betrayal, disillusionment, and transformation, but the record’s real subject is perception itself: what’s real, what’s constructed, what happens when the line between the two disappears. The band’s imagery plays with those same ideas: the blue screen album art, the layered textures, even the name FALSE REALITY. It all works toward a single point of tension - how do you hold onto authenticity when the world keeps distorting the picture? It’s tempting to call this record a reinvention of hardcore, but in all honesty that undersells what it achieves. Faded Intentions feels more like an expansion of sound, of perspective, of who gets to hold the microphone. FALSE REALITY have delivered a record that doesn’t just speak to the present moment but redefines it, transforming personal fury into something collective and unmistakably alive. Score: 9/10 Faded Intentions will be released on November 14th 2025 via Hassle Records. Words: Zuzanna Pazola Photos: Rachell Smith

THE DEVIL WEARS PRADA stares themes like existentialism directly in the face with brutal and harrowing melodies. It is evident that fans commend their willingness to tackle heavy topics from the success of their prior album Color Decay released three years ago. Over the years THE DEVIL WEARS PRADA have gained substantial followers and received nearly half a billion streams across platforms - a massive achievement in the metal industry! Since establishing, they have sold out many headline shows worldwide and are shortly due to go on a European tour with the incredible ICE NINE KILLS and CREEPER starting the 19th November. Flowers is a self reflection crafted into intricate soulful songs in an effort to connect with individuals battling with the same thoughts. From loneliness to grief the album articulates raw emotions into eloquent lyrics and carefully crafted instrumentals. JEREMY DEPOYSTER (guitarist and clean vocals) stated “‘Where The Flowers Never Grow' is a song about the realization that no matter how good things get from the outside, there is still a place of darkness in our minds… the place where flowers never grow” proving the band's commitment to relay honest experiences throughout tracks. Everybody Knows is themed around bubbling anxiety that cannot be contained, forcing everyone to witness vulnerability which desperately tries to be concealed. Their lyrics shine a light on the reality of trying to avoid harsh truths in order to hide worries from others. The track is catchy and has a tense increase in instrumental intensity leading into powerful choruses. A standout track to showcase the band’s savage ferocity is All Out. Throughout the track, the guitars show consistent drama and aggression through palm muted galloping, hammer ons, pull offs and resonant chugs, all at face pace. In their use of syncopation with the drums and rhythm guitars, it builds pressure towards the climax of the song, a grand open chorus with DEPOYSTER's ethereal vocal belts. MIKE HRANICA shows his prowess as a harsh vocalist, inducing rage in his full-bodied mid screams and shouts through gritted teeth about the tragedies of negative cycles of human relationships. It radiates the same feelings of anger and dread the album was intended to portray. My Paradise is a melancholy song of acceptance of allowing yourself to feel mediocre and the concept of letting life pass due to pessimism of self worth. Stated plainly “waiting is my paradise” is a lyric that takes the spotlight as a defeatist form of mantra to DEPOYSTER on this track. The song has an overarching contemplation of internal struggles we face as people and brings solace to those in a similar scenario - that they are in fact not alone in self depreciation. Despite being negative in nature, the song feels like a reconciliation to anyone feeling the same way, making it become combative to loneliness in doubt creating almost a positive experience from a negative message. It is commendable that THE DEVIL WEARS PRADA can orchestrate unity amongst those navigating troubling times in their lives. Their bravery to share their experiences through otherworldly melodies continues to show their excellence as musicians. Flowers is a clear heartfelt message to be interpreted by fans and is sure to invoke an emotional response when performed live later this year. Score: 9/10 Flowers will be released on November 14th 2025 via Solid State Records. Words: Alix England Photos: The Devil Wears Prada

HOME FRONT’s Watch It Die turns grief and disillusionment into something vital. The Edmonton duo GRAEME MACKINNON and CLINT FRAZIER have always worked at the crossroads of punk grit and synth-pop shimmer, but this record feels like a leap forward. It’s sharper, bolder, and more alive, shaped by the experience of becoming a fully-fledged live band after their earlier albums, Think of the Lie and Games of Power. Where Games of Power felt cold and intentionally claustrophobic, Watch It Die carries a sense of motion and light. Touring between releases gave the band a renewed perspective on what their songs could be. The live shows, in their chaos and catharsis, pushed them towards something fuller and more physical. That energy bleeds into this album, even though the stage and studio versions of HOME FRONT now feel like distinct entities. The result is a record that bridges intensity and melody, loss and resilience, without smoothing the edges of either. The title track sets the tone with a widescreen sound that feels almost cinematic, evoking the sweep of a coming-of-age film score. In a recent interview with Treble, MACKINNON explained that, as a track, Watch It Die began as a nod to THE JAM’s Setting Sons - a starting point that shaped the album’s mix of punk defiance and introspection. That influence definitely lingers in the songwriting, with the entire album examining grief and change with the same unguarded sincerity that once powered PAUL WELLER’s sharpest lyrics. A few tracks later, Light Sleeper stands out with its chant-like delivery of “we’re born alone, we die alone”. It’s an idea that could read as hopeless, but instead lands as communal acceptance when shouted over surging synths. The record’s emotional center lies in its ability to turn bleak ideas into shared catharsis. Eulogy reflects on mortality, but does so through the language of an anthem, while Dancing With Anxiety opens with warped, twitching rhythms that gradually unfolds into one of the album’s most danceable moments - a fitting contradiction for a band fascinated by tension and release. Young Offender is another key track, pairing some of the album’s heavier vocals with a bright, synth-driven pulse. The grit in MACKINNON’s voice cuts through the gleaming production, and when the guitars snarl in behind him, the contrast gives the song its bite. It’s a reminder of how comfortably HOME FRONT blends rawness with precision. Even at their most melodic, they never lose touch with punk’s physicality. By this third release, HOME FRONT sounds like they’ve found the sweet spot between technology and instinct. Earlier records were built remotely, with the duo still learning the machinery of their sound. Here, though, everything finally clicks. The synths feel purposeful rather than ornamental, the drums hit harder, and the production balances digital polish with the grit of guitars recorded in small rooms in their hometown. Despite its polish, Watch It Die is an album rooted in vulnerability. The lyrics circle around loss, exhaustion, and the daily work of surviving in a collapsing world. Yet rather than sink into cynicism, the record insists on momentum. The band’s message, about community and resistance, feels less like a manifesto and more like an act of care. Their outspoken support for Palestine and Indigenous rights in Canada runs parallel to the album’s themes of connection and survival, but neither overshadows the other. The politics are personal, embedded in the sense that endurance itself is a form of defiance. However, it’s also fair to say that Watch It Die won’t resonate with everyone. The hybrid of synth-pop brightness and punk abrasion is striking, but it’s not always an easy listen. Some may find its mix of nostalgia and experimentation jarring, or too specific to certain underground sensibilities. Yet that’s also what makes it compelling: HOME FRONT sounds refreshingly unbothered by convention, crafting something that feels true to their scene rather than engineered for mass appeal. For those open to it, the payoff is huge, rewarding repeat listens with new emotional detail each time. In the end, Watch It Die finds hope in persistence, refusing to stand still, accepting how devastating and messy life often is. It’s proof that survival can sound ecstatic, even when the world feels like it’s burning down around you. Score: 8/10 Watch It Die will be released on November 14th 2025 via La Vida Es Un Mus Discos. Words: Zuzanna Pazola Photos: Lyle Bell

Have you ever seen a war documentary? There always seems to be a mix of archival footage and sounds, with modern day documentarians and interviewees. This kind of approach is rarely seen in music. That is because most artists are not 1914. This Ukrainian blackened death metal outfit have a history of creating conceptual albums that revolve around the great war, and on their fourth album, Viribus Unitis, the band have crafted something truly spectacular. An album that is part documentary and part music, and one which captures the vibes of war unlike anything we have heard in recent times. Viribus Unitis kicks off with an intro - War In (The Beginning of the Fall) - that feels as if it was taken from an ancient documentary, with a really old-fashioned sounding song, which sounds as if it came out of a TV broadcast about the first world war. This is followed up by 1914 (The Siege of Przemyśl). This track kicks off immediately with blast beats and a very atmospheric yet fast-paced riff before the vocals kick in. The pace is consistent for the most part, but just before the two-minute mark, there is a small section where another of those old-timey songs play before the band returns with a slower section. This section is much more melancholic, and there are some really subtle vocal layers which really elevate this opening track. The song ends with a final verse and chorus which once again include blast beats galore which is what is to be expected from a black metal song. The following track is the longest by far and is a nine-minute-long black metal masterpiece. 1915 (Easter Battle for the Zwinin Ridge) perfectly captures different elements of what blackened death metal is. It is heavy at times, atmospheric at times - this song is an extremely haunting listen, especially as it progresses. The first half is just as rapid as the album opener, but it is the second half of this track that truly makes it sensational. After a relaxing guitar and bass duel, the blast beats return with the vocals, but this time they are layered to sound like a medieval choir, and to say that this sounds haunting is an understatement. Another relaxing section follows which gives us a breather as with the nature of this song, but we know something is just around the corner. The next section is a slower, much more sombre one, with the drums being slowed down, and the vocals being more melodic albeit still with the choir layering. This is how the song ends, with this eerie yet beautifully melodic section which is executed fantastically. What comes after the halfway point of this album is where the conceptual element comes into play. Here, 1914 opted to have a trilogy of songs which tells the story of a soldier, who fought in the first world war, and who struggled to come to terms of how brutal it was, and the PTSD that comes with war. The highlights here are the first and last songs in this trilogy. 1918 PT 1: WIA (Wounded In Action) is self-explanatory. It is a track about getting injured in war. This one once again opens with another documentary-esque intro before the band comes in. The mood here is vastly more serious as the instrumental parts are much simpler, and no typical blast beats are heard anywhere once this track begins. The chorus here is the easiest to distinguish on this record in terms of how obvious it is compared to the other tracks. The final song of this trilogy is entitled 1918 PT 3: (A duty to escape) and it is extremely moody and depressing. The guitar riffs are played in much lower registers which furthers the moody ambience this song emits. The vocals here are a mix of harsh and clean. Both are complimented with different drum beats and riffs which is a special touch the band gives to this track, which easily helps it stand out. The bridge on this track has a melancholic prog metal feel to it, before the final chorus kicks in which includes both the harsh and clean vocals on top of each other which is another outstanding example of how well this album has been recorded. The song that follows is the final proper song on Viribus Unitis, and it is also the second longest, clocking in at just over seven minutes long. 1919 (The Home Where I Died) is a very creepy yet beautiful ballad. Here, the clean vocals dominate, and every lyric sung is easily felt which helps remind us just how horrific war is. The drumming on this song is effective as the beats were clearly written to accompany the vocals, as opposed to being their own thing. Another notable aspect of this track is how the guitars are barely noticeable. This adds an element of eeriness to the song and helps give it a more effective minimalistic sound which at the same time, makes this a standout song which portrays the horrors of wars in the simplest of ways. Both musically and thematically, this is an outstanding album. The tracks throughout this record are mostly consistent with only a couple that are not on the same level as most of the songs here. What is consistent however, is the war theme. The vibes are consistently depressing and showcases how 1914 believe the battlefield should be represented, and the result is a record that constantly sounds haunting and extremely emotional. Bands like 1914 are here to remind us all that war is the ultimate evil humanity can pull off, and Viribus Unitis is an example of what war and at times, being a soldier may feel like as this album tackles a wide array of topics, such as battles and PTSD. The main point of this album, however, is to showcase how bad war may feel, and we believe that this is executed to near perfection. War is one of those things that may never disappear, unfortunately, but if bands such as 1914 continue to show just how devastating it can be, the world may just be a tiny bit better. Score: 9/10 Viribus United will be released on November 14th 2025, via Napalm Records. Words: Itay Gilad Photos: Sofiia Ruda

On the fourth night after Halloween, American WEDNESDAY 13 came back to London. Featuring the founder JOSEPH MICHAEL POOL (vocals, guitars), ROMAN SURMAN (guitars, backing vocals), TROY DOEBBLER (bass, backing vocals), JACK TANKERSLEY (guitars, backing vocals) and MIKE DUPKE (drums), the horror heavy metal five-piece is currently promoting their latest release Mid Death Crisis across the world, and the London stop was their first one of the UK leg. Supported by SOAP GIRLS and THE NOCTURNAL AFFAIR, all three bands took over the Islington Assembly Hall. Opening the night was the Las Vegas-based THE NOCTURNAL AFFAIR. Founded by the band’s singer BRENDAN SHANE, followed by the guitarists ANDY INGRAHAM and DRU LAPPIN, bassist MICHAEL JAMES and drummer RAISTLIN “RJ” HAMMAN, the band is putting big emphasis on emotional, crushing and melancholic music, being heavily influenced by the likes of TYPE O NEGATIVE, HIM and NINE INCH NAILS. The start of the evening was challenging, as the set started fifteen minutes later than expected and the singer had issues with his microphone that carried throughout multiple songs, but they were resolved as quickly as possible, while he also used other members' microphones. Interacting a lot with the crowd, which was not very big, the whole band carried the performance with undying enthusiasm and energy and received the same energy from the audience, who loved them. As the set quickly came to its end, the band, with big applause, cheers and few shouts for an encore, left the stage with lots of gratitude for the London crowd. The next band was the French, South African-raised female punk duo, SOAP GIRLS. Officially featuring only the two founders, sisters NOEMIE DEBRAY and CAMILLE DEBRAY, the band is using various drummers while recording and touring. The Australian duo is actively advocating for the LGBTQ+ community, inclusion and fights for the freedom of expression, in their songs and on stage, and it was evident from the beginning of their set, as they made multiple moving speeches in between their songs. Bringing in the wilderness and raw energy of punk, the sisters managed to make everyone from the barrier to the back of the floor dance, jump and sing, while performing their energetic, unapologetic and sometimes aggressive songs. They emphasised the urgency of the current political situation in the US and openly spoke about their opinions about it, as well as the support of everyone who opposes the government. The crowd actively engaged with the sisters during their performance and showed their support at the end, when it was time for them to leave the stage. After two spectacular support bands, it was finally time for the headliner to take over the venue. WEDNESDAY 13 was still loudly welcomed on the stage, while the introduction track Blood Fases To Black played. From there, the band transitioned into playing the first song of the set, Look What The Bats Dragged In, and continued without a break for a multitude of songs. With every new song, the audience, started getting more enthusiastic and excited. In the middle of the crowd formed a moshpit that grew bigger as the performance progressed, and at some point, even crowdsurfers made their way above the ground. The band played their songs like Rotting Away, Good Day To Be A Bad Guy, I Walked With A Zombie, The Ghost Of Vincent Price and Bad Things, as well as few covers of POOL’s previous bands MURDERDOLLS and FRANKENSTEIN DRAG QUEENS FROM PLANET 13, namely Summertime Suicide, 197666 and Nowhere and I Love To Say Fuck, that was the closing song of the two-song encore. Fans were interacting with WEDNESDAY 13 throughout the whole evening and were pleased when the band mentioned they are playing at Bloodstock next year. The evening went by fast, but both the crowd and the performers enjoyed every minute of it. WEDNESDAY 13, as well as SOAP GIRLS and THE NOCTURNAL AFFAIR opened their UK leg of the tour successfully at the Islington Assembly Hall and brought a unique experience to the capital. Words: Katerina Stepanikova Photos: Claire Cabanac

If you’re an appreciator of dark, melancholic, and atmospheric guitar-driven music, then you may have already heard of SOFTSUN. If you’re unfamiliar, this duo, made up of guitarist GARY ACRE and bassist/vocalist PIA ISAKSEN, is difficult to pin down to a genre, and in some ways, that works to their benefit. In their latest album, Eternal Sunrise, this fluidity allows them to explore elements of atmospheric post-rock, dark doom/sludge, and ambient trip-hop. Kicking off with Sacred Heart, this track bears all with its melancholic, distorted guitars, and heavily reverbed drums that are all washed over by Pia Isaksen’s ethereal and dreamy vocals. It’s almost Celtic in its execution, reminiscent of the legendary DEAD CAN DANCE, though not quite as experimental. This vibe continues with A Hundred and Sixteen, an eight-minute baptism of aural proportions. Throughout the album, you can expect to be consistently awash with walls of sound, which, for the first two to three tracks, could almost put you in a trance. However, as the album continues, you may feel a little exhausted. Often with dark, atmospheric music, you’ll find yourself riding all of the peaks and troughs of the music as slow build-ups end in huge, crushing crescendos, only to bring you back down, floating on a cloud of satisfaction. With Eternal Sunrise, you just don’t quite get that feeling as often as not; tracks on the album hit their peaks early on and remain almost consistent throughout. Tracks such as Abandon Lands reach their summit at around 1:30 and remain consistent until they conclude. What you’ll find with Eternal Sunrise is a lot of similarities from track to track, which isn’t necessarily a bad thing, especially if you’re passively listening to the album while doing other tasks. There’s a lot of substance here to soak in, but as some tracks hit the eight-minute mark, you may begin to get a little audio fatigued by the end of it. With the whole album clocking in at around 40 minutes, it may feel a little long in the tooth, and you’ll be left yearning for a climax that never quite arrives. SOFTSUN do manage to do many things great with Eternal Sunrise, like being able to create such huge songs with minimal instrumentation. It can be easy to layer too many instruments and lose elements within the whole composition. SOFTSUN manage to add just the right amount of each, with rhythm guitars gently twinkling alongside crunchy distorted guitar leads and thick, warm bass, all while atmospheric vocals swirl like smoke drifting throughout a dark Scandinavian forest. Overall, much like SOFTSUN themselves, Eternal Sunrise is a tough one to place. While on one hand, you’ll be treated to an absorbent, doomy, post-rock, shoegaze album, on the other hand, if you’re a fan of having climactic progression in your dark, atmospheric guitar-driven music, you may be left wanting more. It’s not a bad album by any stretch. The two perform incredibly well on the album; their influences are presented with clarity, and with the addition of ROBERT GARSON on drums, they don’t overpower songs with unnecessary fills and flares. It just suffers from overall compositions being a little too similar from track to track, and while you may appreciate the familiarity, it can give a feeling of being a little too drawn out. Score: 5/10 Eternal Sunrise will be released on November 7th 2025 via Heavy Psych Sounds. Words: Aaron Richardson Photos: SoftSun

For most artists and bands, albums three and four in their discography are the ones that define them and their sound. This is exactly what happened with BEARINGS. This Canadian four-piece have been developing lyrical ideas which scream maturity, and on their fourth record, Comfort Company, not only do these lyrics deliver, but musically, some of the drum fills and riffs are rapid and extremely technical, and as a result, the fourth record in the BEARINGS discography is not only executed fantastically, it is fun and fast paced, making this one of the ultimate pop rock albums to have come out this year. Comfort Company opens with the title track. There are no musical interludes or anything of that time wasting sort, we get straight into the full tracks. The title song is short, yet super catchy and fast-paced. Exactly what a song within this subgenre of music should be. The chorus is way too contagious, and the guitar riffs are able to cut through the vocal melodies giving this one a pop punk feel. Float Away continues where the opener ended with a raucous heavy riff. The verses here are a little more laid back in terms of the instrumentation, and the chorus sounds so much more impactful and loud because of it. The hook here is one of the catchiest on the record, and the band knows it as for the final chorus of the track it gets repeated to further drill the melodies into your head. Freaking Me Out marks the halfway point of Comfort Company and it kicks off with acoustic guitars accompanying the vocal melody of the chorus before the rest of the band kicks in. The highlight in this song is how vocalist DOUG COUSINS manages to use different vocal styles throughout this song, most notably the distorted vocals in the verses. This song has yet another overly catchy chorus which once again gets repeated towards the end of the song, just like with Float Away. Water Your Flowers follows and is the catchiest of this entire record. The verses are a highlight here as when the first one comes in, the vocals are accompanied by the drums and the bass as the guitars build up in the background before properly exploding in the chorus. The hook here is not only catchy because of the vocals, but also because the drums have the typical basic beat which is included in most pop songs. Another reason why this song is a highlight is because it has the only guitar solo on the album, and the lead up to it is brutal, with guitar sliding effects and riffs all over the place. Ease The Pressure is another pop punk like track. The verses are extremely fast paced as the chorus is slowed down to make it feel more atmospheric, memorable and impactful. The bridge once again highlights the drums, as even though the fills here are not overly that impressive, it is the velocity in which they are performed which makes them sound so badass. This bridge leads to the final chorus which is used to wrap the song up. Through Those Eyes is the final banger on Comfort Company. It kicks off with an insane drum fill which leads to the first verse, which is equally as rapid. The chorus is once again slowed down to give it more of an impactful feel, and it works perfectly here once again. Which is proven as it ends the song once again with repetition on top of repetition. Overall, Comfort Company is a confident yet bold take on pop rock. The drum fills and guitar work throughout the record are totally innovative, and some of the choruses here sound huge as well as catchy. All the songs are short too with not one being over three minutes long, which is refreshing as it makes for a very quick listen, and the fact that there are no silly interludes deserves to be credited. If there is anything to critique about this record is that some of the tracks here are a tad bit similar to each other, and some are not as consistently good as others are, but that is something to be expected on any album. With their fourth album, BEARINGS have created what is the album that defines their sound. It oozes creativity and passion, and the band clearly has immense amounts of talent which is showcased throughout this record. Sometimes, experimenting can lead you nowhere, but for this outfit, it ultimately led them to the result of this album, one which they hoped would showcase their passion for music, and it is that passion which will only elevate them further. If they continue making music at this level, the future of pop rock will be in amazing hands. Score: 8/10 Comfort Company will be released on 7th November 2025 via Pure Noise Records. Words: Itay Gilad Photos: Wyatt Clough

A rainy Sunday evening in Nottingham seems like the perfect backdrop, for not only a live show from Belgian shoegaze stalwarts SLOW CRUSH, but for a chance to sit down and talk with vocalist ISA HOLLIDAY to talk about their latest album Thirst, the unexpected but welcome addition of a saxophone, and the emotional weight of touring across continents. What unfolded was a candid conversation about creativity, exhaustion, and the ever-evolving sound of one of shoegaze’s most compelling bands. We met with ISA, who opened up about the making of their latest album, Thirst, a record that doesn’t just mark a new chapter, but encapsulates everything SLOW CRUSH has ever done. For the band, the creative process wasn’t driven by a single influence. Instead, it was shaped by years of lived experience. “I think it's just like all of the experiences we've built up throughout the years,” she reflects. “As with everything that we do, a lot of emotions and just experience lead to our music, whether it's in the sound or the themes behind the albums. And I think this one is really an album that covers everything that SLOW CRUSH has ever done, but also brings new aspects to it. So, yeah, it's not really like there's one main influence, it’s just the influence of life itself.” The writing process for Thirst began almost immediately after Hush was released. Some ideas were already forming while that album was still being finalised. But with nonstop touring, the band had little time to sit down and shape those ideas. “We just kind of gathered everything together and had to chew the fat at some point,” ISA explains. “We got the songs that really meshed together and felt right at the time.” Eventually, they carved out time to step back from live shows and focus on the album. “We knew we had something special, but it was just needing some finishing touches and just perfection to make it all studio ready,” ISA says. “We needed the time to polish off the songs and then learn all the songs so that they're all muscle memory for when we go in the studio.” That moment came in the Autumn, when the band hit The Ranch with producer Lewis Johns and brought Thirst to life. One of the album’s most surprising elements came from Lewis himself. “We had the track, all of the guitar parts and vocals were down,” ISA recalls. “And then he was like, ‘You know what? I've just got this idea in my head... a saxophone.’ We were like, oh, that sounds very odd. He said, ‘I'll just put it on a keyboard and then play it back to you and see what you think.’” ISA and guitarist JELLE RONSMANS were the only ones in the studio at the time, but they were intrigued. “We really dug it,” Isa says. “But thought maybe we should send a video to the rest of the guys and see if they agree. Everyone loved it. It was a very out-of-the-box idea that you wouldn't think would fit. But then again, there are other great bands with saxophone and a lot of effects. So if they can do it, so can SLOW CRUSH.” When it comes to favourite tracks on the album, ISA finds it hard to choose. “Covet is a great one, the saxophone brings an extra level to it. It was unexpected, but it fits so well. While You Dream Vividly is just laden with a lot of feelings. Haven is great because it exposes a different timbre in my voice that I don't usually touch upon. And yeah, Thirst is also really great.” Touring for SLOW CRUSH has been intense. “It's kind of crazy to think about it,” ISA says. “We look at it like, we've only got three more shows in the UK. And then we remember,, we're only back home for one night then we're off again for Europe.” The band has been on the road for two and a half months, and while it’s energising, it’s also exhausting. “We love seeing the people at the shows and feeling the energy that comes back to us. So it's great. It's been really, really good.” Some shows have stood out more than others. “California is always really good for us, so the show in LA was special,” ISA says. “In the UK, it's always good to catch up with old friends and family. The Ireland shows were also great. That was our second time in Northern Ireland and Ireland. And with this package, it's awesome because we're touring with friends, SOM and Blanket. We've played with them before and they're great guys.” Touring the US came with its own set of challenges. “There was already chaos, but the extreme chaos probably happened while we were already out there,” ISA explains. “When you're on tour, you're just in a bubble. You don't have time to turn on the TV, so you don't see what's going on in the world. We were just hearing bits and bobs, but not really seeing the entire story.” Despite the chaos, the venues offered a sense of unity. “Everyone's there to enjoy music and have fun. And generally, the people there look after each other, which is something you can't always see when you're outside.” But the visa process was gruelling. “It's always a struggle to get a Visa,” ISA says. “The process seems to be longer and more expensive. It cost us an arm and a leg, which is extremely unfair, seeing as the other way around, not a penny needs to be spent. For us, it was like 10 grand just to get a one-year visa. And next year we've got to do it all over again. It’ll still take nine to 12 months to get approval. It's ridiculous. But what can you do?” As for what’s been playing in the van, when driving between cities, ISA admits it’s been quiet. “I can't say I'm listening to anything extremely new or anything at all in the van. But the new GREET DEATH album is amazing. We've been talking to them for a long time about doing something together. The stars haven’t aligned yet, but hopefully soon.” Influences shift, but some artists keep returning, ISA tells us of her inspirations “Something unexpected maybe, you probably hear a little bit of influence on the vocals but THE JAPANESE HOUSE. We've used some of those effects in Hush and also on Thirst. ART SCHOOL GIRLFRIEND as well. Totally different vibes.” When asked to describe their music in three words, ISA pauses. “Dreamy. Heavy. Balanced? Maybe balanced. We're trying to sort of create that yin-yang effect. I think that's the most important thing. Our music is sort of a 4D experience. It embraces you. To do that, it has to be balanced. It has to give you both the ups and the downs, to have that full 360 effect.” We don’t think you could find a more perfect description of the music SLOW CRUSH creates if you tried. As the rain continued to fall outside the venue, casting a poetic soft blur over Nottingham’s streets, SLOW CRUSH’s music found its perfect setting. Thirst is shining proof of the band’s fearless creativity and their skill at crafting soundscapes that envelop and resonate. Whether it’s the unexpected saxophone or the emotional weight of touring, ISA HOLLIDAY and her bandmates have proven that growth doesn’t mean abandoning your roots, it means deepening them. As they head out for the final leg of the album release tour in Europe, there is without a doubt SLOW CRUSH will keep pushing the boundaries of music, one reverb-soaked note at a time. Thirst was released on August 29th 2025 via Pure Noise Records. Words: Lou Viner-Flood Photos: Slow Crush / Good as Gold PR