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It’s been noted all too often over the past several months that 2026 is very much the year of the “comeback album”. A band releasing their first great project in years (decades, in one or two cases) is one thing, but a band releasing their first new project in a long time is a different thing entirely. Enter WARNING, whose previous album, 2006’s Watching From A Distance is hailed as one of the greatest records in the doom metal subgenre. It’s easy to see why it’s endured too, with a 12-minute behemoth of an opening track setting the scene for an album that escapes descriptors like “moody” and skips straight to “depressive”. All the while featuring some of the filthiest guitar tone in the genre and Patrick Walker’s absolutely wonderful Ozzy-esque vocals with something of an extra expressive and emotional flair to them. The only other WARNING material we’ve had since then is a live album of them performing Watching From A Distance in full at Roadburn 2021 - an incredible listen, no doubt, but the sole purpose of Walker bringing WARNING back in 2017 was to perform that album. It seemed as though the group had served its purpose, and it only felt right to focus on slowcore group 40 WATT SUN instead. So it came as a huge surprise when the nine-minute Stations released some months ago. Fans everywhere were in utter disbelief. The possibility of original WARNING material was never completely off the table, but shocking nonetheless. A new album in 2026? The excitement was only amplified when fans listened to the song and discovered that it's yet another masterpiece from the group. A sonic manifestation of loneliness that only Walker and co. could achieve, from the desolate atmosphere created by guitars that ooze like molasses, moving at the tempo of a snail with the weight and punch of a thousand tonnes behind it, as well as the poetry. “Tonight, there’s nothing that can reach me in the world outside. It’s just another vast, aching hunger; an emptiness of another kind”, Walker wails in his signature pained tone, over an increasingly intense wall of guitars. The slowcore sensibilities from 40 WATT SUN are evident here, it feels as effortless as a song like Stages. It easily goes toe-to-toe with the best from Watching From A Distance. So, does the rest of the album live up to the hype? If the 13-minute opener and title track Rituals Of Shame is anything to go by, we’re off to a great start. You press play on the album, and you’re met with an instantly iconic riff that makes you feel as though they never left. Walker’s lyrics throughout this track are arguably even more mature than on WARNING’s previous album - which might be a deal-breaker for some. The appeal of that album’s lyrics is how his emotions are laid bare, simple yet crushing under the sheer openness of them. But it’s still present here to some extent, and it’s hard not to be in awe of passages such as “It's not in the darkness of certainty that I need you most, but in an ever-living, self-defeating horror that follows me wherever I fall.” The second single and third track Night Comes Down is likely to be seen as the weakest cut here. The album’s comparatively cleaner production was noticeable on the first two tracks, but it didn’t hold them back particularly. The guitars on this song just don’t pack the same punch, at least not until the chord progression switches up in the fourth minute. That’s not to say there’s nothing to like about the first half, the riff is yet another highlight - at this point in the album it’s fair to say that they do doom riffs like no other. But that second half is excellent. The vocals and guitars work together to create one of the most emotionally poignant moments yet. It’s still an eventful listen, the problem is that it’s a great song on an album filled with phenomenal tracks. Landing Lights is quite the hearty track, some of the instrumental sections here feel immense, due in no small part to the drumming from Andrew Prestidge. It’s a fitting precursor to the final track, Teacher, which opens with agonised guitars, a passionate vocal performance and some of the most hard-hitting poetry yet. The repeating lyrical motif of “time will turn to me”, sung in Walker’s forlorn tone almost makes it feel like an anthem of defeat. The dynamic build of the quiet section towards the end sets it apart from everything else on the album thus far, before roaring back into gear again to deliver a gut-punch of a conclusion. As Walker sings “I can’t count to the ways I love you”, the song dissolves, left with nothing but the last bit of lingering sustain from the guitars. After 20 years, WARNING have produced an album bound to leave casual fans and doom metal vanguards alike saying “they’ve done it again”. To compare it to the quality of a record like Watching From A Distance feels wrong in some way, but Rituals Of Shame is indeed another masterpiece of the same calibre - and in the same way, if this ends up being their final studio album under the moniker, it’s a worthy one. Score: 9/10 Rituals of Shame will be released on 19th June 2026 via Relapse Records. Words: Noise Leonard Photos: Warning

A few months after the release of their album FADED INTENTIONS in November 2025, FALSE REALITY, a mosh pit ready, hardcore piece from London provides fans with extra goodies. Comprised of vocalist Rachel Rigby, guitarist Dave Connolly, bassist Joe Cornwell, and drummer Louis Dale, the band although fresh is already gaining traction with household names such as SPEED featuring on their first album. FADED FEATURES takes a select few from FADED INTENTIONS and baptizes them into a fresh set of songs for listeners to two step to. As hinted by the title, the EP focuses on features with artists such as DEFIANCE HC, DENIAL OF LIFE, SHOOTING DAGGERS, and ZAND (with ZAND featuring twice in a remix). All titles utilize UPPERCASE which gives you a feel for the resounding drums and intense vocals about to come. Opening track OUT OF TIME (ft. DEFIANCE HC) begins with what feels like a call to action. A sample akin to an emergency broadcast, coupled with Connolly's guitar, screams out to anyone not ready to get up and dance yet. Time is running out and the lyrics remind listeners of that. A quasi-breakdown starts before we are called to action by Rigby’s compelling vocals. MIRROR (ft. DENIAL OF LIFE), second on the EP, blends thrash backing with hardcore vocals. Dale’s drums are the star of the show in the beginning of this track as they act as a suitable cohesive agent between the hardcore and thrash elements of the song. It is punchy and quick at the beginning, however, it contains elements of reflection as it slows down at periods. With vocals full of rage and lyrics complimenting them, this song is a great listen for anyone facing betrayal. DENIAL OF LIFE coming in towards the end is almost soothing, and needed as it preps for a softer song to come. Next up is SONDER (ft. ZAND) which provides a complete change in pace to the rest of the EP. It begins with an acoustic sound and is more reminiscent of post punk or shoegaze with Cornwell's bass shining through more on this track. SONDER almost feels as though from a different band at first as it is much slower paced to begin. This makes the breakdown much more powerful as it feels like achieving a much needed breakthrough. Greeting us in the penultimate song, EVERY GAZE (ft. SHOOTING DAGGERS), begins with an intense roar. The intro, screaming instrumentals, breakdown, and spitting vocals makes this the most melodic song on the EP. The fast paced guitar coupled with drums and bass calls for dancing, running around and entering the pit. The tempo also creates a desire to replay the song as it feels shorter than it is. This is positive however, as it is due to the energy of the song that creates a desire to replay. SONDER is repurposed as the ending track through the form of a remix by GHOSTCHANT. It is completely different to the original (on this EP), as it focuses more on the mellow elements of the song. Consequently, this remix eliminates the breakdown in the original. It is more echoing in vocals and contains less variation in sound. As such, we prefer the original version of SONDER but would not rule it out for those in a reflective mood. FADED FEATURES is a refreshing take on FADED INTENTIONS especially if listeners are looking for a feel of an extended version of their favourite songs on the 2025 album. However, we would end with EVERY GAZE. This EP is definitely worth a listen and we're excited to see what’s next for the band! Score: 7/10 FADED FEATURES was released on the 12th June 2026 via Hassle Records. Words: Renée Bennett Photos: False Reality

Bringing energy, fun and addictive anthems, the debut album from pop-punk rising stars DOUBLE XP, All A Game is packed with nostalgic moments that feel like finding an old iPod Nano loaded with all the songs that defined a generation. Hailing from New York, DOUBLE XP are a four-piece band that have clearly found their sound and committed to it. Head-nodding and toe-tapping tunes make up the backbone of this album, utilising everything that pop-punk is renowned for. Fast-paced guitars, huge choruses, background distortion and heartfelt lyrics combine to create a record that feels familiar while still allowing DOUBLE XP to carve out their own identity. 1 HP opens with exactly those elements. It’s energetic, refuses to stand still and immediately sets the tone for the rest of the album. There is a huge pop influence throughout, perhaps more so than rock at times, but songs like this are exactly why fans fall in love with the genre. The chorus acts as a welcome breather between the frantic riffs and relentless drums, creating a catchy contrast that sticks in the mind long after the track ends. Hangman follows with a stronger punk edge. Built around a fast tempo and groove-laden guitar work, it captures the spirit of classic 2000s pop-punk. The vocal delivery from Marc Leveroni flows effortlessly, making the lyrics instantly memorable and easy to sing along to. The title track, All A Game, is the album’s only collaboration and features WSTR. Celebrating over a decade in the scene, WSTR leave a significant imprint on the track. While their contribution adds credibility and exposure for DOUBLE XP, it occasionally feels as though the guest appearance overshadows the band’s own identity. The song would not feel out of place on a WSTR record, though the collaboration could prove valuable in introducing DOUBLE XP to a wider audience. It would have been nice, however, to hear a little more of DOUBLE XP’s own identity pushed to the forefront. Pop-punk has always had a habit of weaving pop culture into its lyrics and song titles, and Anakin On Mustafar continues that tradition. More importantly, it restores any momentum lost on the previous track. There is a real sense of unity throughout the song, with Rossi’s commanding lead vocals complemented perfectly by the rest of the band’s harmonies. The call-and-response style works brilliantly and gives the track a charm that is difficult not to enjoy. God Mode continues the album’s relentless pace. Shouted vocals blend seamlessly with melodic passages, while the guitar solos and ever-consistent drumming combine to create a track that feels tailor-made for live performances. It has all the ingredients of a future set opener. No pop-punk album feels complete without an emotional acoustic moment, and DOUBLE XP deliver theirs with Save & Quit. Echoing the style of NECK DEEP, the song strips things back with acoustic guitar, raw vocals and reflective lyrics exploring love, hardship and personal growth. The delicate instrumentation and soaring harmonies elevate the track, making it one of the album’s most heartfelt moments. The tears have barely been wiped away before Looney Tunes completely flips the mood. The energy is instantly restored and the band come flying back out of the gates. Some excellent guitar work steals the spotlight here, with the solos standing among the album’s strongest moments. It is a track that showcases the band’s musical talent just as much as their songwriting ability. Continuing the pop culture-inspired naming convention with a subtle nod to The Lord of the Rings franchise, Fly You Fool adopts a heavier and slightly slower approach. Driven largely by its bassline, the song channels frustration and anger effectively. Its brief runtime works in its favour, allowing the emotional intensity to hit without overstaying its welcome. The penultimate track, Sever The Bad Ties, initially feels like a continuation of the previous song before taking an unexpected turn. Out of nowhere, a Mediterranean-Latin inspired guitar passage arrives and completely changes the atmosphere. On paper it sounds like something that should not work, but in reality it becomes one of the track’s most memorable moments. There are clear influences from bands such as SIMPLE PLAN throughout, yet the song still manages to maintain its own identity. Closing track Highrise offers one final surprise. Rather than just Rossi, fellow lead guitarist Marc Leveroni steps into the spotlight. Having previously provided backing vocals throughout the album, it is a welcome change that works remarkably well. It’s difficult enough for a band to find one distinctive vocalist, never mind two who complement each other so naturally. While still retaining the energy and character that define DOUBLE XP, the track introduces subtle synth elements and moments of a cappella that help it stand apart from the rest of the album. It provides a strong and memorable finish to an impressive debut. As far as debut albums go, All A Game is an impressive introduction and a solid foundation for DOUBLE XP to build upon. The album flows well, embraces the core elements of pop-punk and delivers a collection of feel-good tracks packed with personality. If this record is any indication of the band’s future trajectory, festival appearances and greater recognition seem inevitable. If this is the standard being set by the next wave of bands breaking through, then the future of pop-punk looks very bright indeed. Score: 9/10 All A Game will be self released on 12th June 2026. Words: David Waites Photos: Blake Walters

A common sentiment in some music circles over the past several years is a yearning for the days where artists could simply release an album every year. Of course, the current streaming-based music landscape makes this extremely difficult for many. But it hasn’t stopped the Canadian avant-garde and drone metal group, BIG|BRAVE, from dropping an album every year since 2023. Granted, last year’s OST was entirely drone and electroacoustic, inspired in no small part by guitarist Mathieu Ball’s solo endeavours in the genre. It would, however, be unwise to consider OST a mere interlude in the band’s now ten-album discography. The comparatively softer textures and attention to detail have been carried over to the upcoming In Grief Or In Hope, just with the extra emphasis on distortion and noise. We hear this on opener what may be the kindest way to leave, with a backdrop of a static-y guitar as Robin Wattie sings these elaborate vocal melodies over Liam Andrews’ slow, chugging bass. It’s the first time BIG|BRAVE have welcomed a dedicated bass player onto a full studio album, and over the runtime of this piece, he adds some much needed rhythm in lieu of percussion. All the while, the sustained crunch of controlled feedback from the guitars, bouncing around the song with a cavernous echo. Wattie, when speaking on this album, has written that she wanted to “explore catchy, melodic phrasing” in her vocals as a contrast to the sheer overwhelming feel of the instrumentation. This is clear on the second track, a shape of shame, as she sings with an almost uncertain tone, holding back until what might even resemble a chorus, where she finally projects her voice over strummed guitars, her vocal becoming gradually more bitcrushed as it reaches higher. If the idea of a pop song structure turning itself on its head was what they were going for, they achieve it here with an effect not too dissimilar to BJÖRK’s Pluto in its effect and execution, as her visceral yell is complimented by a never ending wall of buzzing, droning guitars. Elsewhere on this album, we get verdure, the feedback you get when trying to plug your guitar into your aux given physical form, serving as the rhythmic and textural basis for the song. It immediately provokes the aesthetics of industrial music, the reverberating yet muted drums being integral to the most atmospherically rich take on the record so far. Occasionally, it shifts into a glimpse of a much more nightmarish world, before fully committing to it with noise that feels like the instrumentation screaming in agony. The rhythmic feedback continues to loop, the now wailing guitar noise trapped within it, unable to escape. It’s an absolutely harrowing effect to listen to. Ending this record off is title track in grief or in hope, another monolithic sonic landscape that we’ve come to expect at this point. There’s something to be said for a group not surprising us in the slightest, but the music they’re producing is so good that it doesn’t matter regardless. The hazy mess of sound in this track is just so easy to get lost in that you can’t help but fall in love with it. It builds itself up over around four minutes, introducing what sounds like phaser and hitting you over head with waves of noise that start as immediately as they stop. Little explosions of sound appear in the background occasionally, almost volcanic in nature, before fizzling out. On this album BIG|BRAVE do what they do best, with influences from genres like electroacoustic adding to their broad sonic palette, giving it a new kind of sonic complexity compared to their previous albums. The choice for melody to be mostly reserved to Wattie’s vocals is a welcome one, providing contrast on an album whose main appeal in terms of the instrumentation is the layered textures and soundscapes. The rhythmic edge given by the percussion and newly-introduced bass only helps to round it out, providing more means for each individual performer and the songwriting to stand out. Wherever BIG|BRAVE go from here, we’re excited to see. Score: 8/10 In Grief Or In Hope will be released on 12th June 2026 via Thrill Jockey. Words: Noise Leonard Photos: BIG|BRAVE

There’s a particular kind of spirit that comes from starting in the places most bands only romanticise in hindsight, like the house shows, the backyards, the strangers’ floors that blur together by week three on the road. Formed in Tallahassee, Florida, and best known for their candid songwriting, intricate guitar work, and a rise shaped by the DIY scene, POOL KIDS didn’t just dip their toes into that world; they built themselves from it. When they talk about the years gone by, it’s with the clarity of people who understand exactly how much those times shaped the band they’ve become. With vocals and guitar from Christine Goodwyne (who is also the primary songwriter for the band), guitar from Andy Anaya, bass from Nicolette Alvarez and drums from Caden Clinton, POOL KIDS are a band on a journey. We caught up with Christine and Nicolette to see what the band is really about. Christine remembers those early years as a kind of crash course in everything the industry doesn’t teach you. “Roughing it for so many years taught us everything that's important to being in a band - proper show etiquette, how to be a good opener, how to behave when you’re the local band on a bill,” she says. “It gave us a deeper appreciation for the whole thing.” Nicolette agrees, adding her own version of the same truth, “We used to sleep on strangers’ floors for weeks. We don’t have to drive around in my minivan anymore. It’s added to this belief in the project, like, we started there, and now we’re here, so let’s keep going.” That sense of slow but earned momentum is woven through Easier Said Than Done. The band recorded over five intense weeks in Seattle, and the album was entirely self‑funded. It would be easy to spin the romantic version of that story: a band holed up in a studio, chasing inspiration. However, the reality was far less glamorous, admits Christine. “It added a very tangible level of stress and discomfort. We didn’t have a home base, and it took a toll on our mental health. But it shows how much we prioritise this, maybe to an unhealthy degree.” And yet, even in the exhaustion, there was freedom. “We’ve never had someone telling us what kind of record to make,” Nicolette says. “It’s always been self‑led. DIY taught us that you can do it. We went in feeling empowered. Exhausted, but empowered.” Control, it turns out, is the one thing they’ve never been willing to hand over. Even signing to Epitaph, a milestone that could have easily shifted the balance, happened on their terms. “The patience was huge,” Christine says. “They came to shows, even in Japan, and some of them were in the pit. They passed the vibe check.” Nicolette puts it more bluntly. “Other labels made it feel like we should be grateful they looked at us for five minutes. We were always being told what they thought we wanted to hear. Epitaph showed they were excited and felt lucky to work with us; they checked off the boxes on the list of what we were looking for, too.” POOL KIDS have clearly found the right label for them, a team that’s both dedicated and genuinely invested. If there was a moment that cracked open the sense of what was possible, though, it came from outside the label pipeline entirely. It came from someone who hardly needs an introduction: Hayley Williams. “It was the best thing that could’ve happened,” Christine says, still sounding a little stunned. “And it wasn’t just ‘check out this band.’ It was ‘PARAMORE wished we sounded like this.’ Absolutely mind‑blowing.” The impact was immediate and surreal. “Our Spotify listeners flipped overnight — it was 60% male listeners, 40% female, but then inverted. We woke up, and it was like 60% female, 40% male - which was great!” That shift toward a more visibly queer, more visibly femme audience mirrors the band’s own relationship to representation. Their Vanity Fair profile touched on it, but Christine expands on the idea with a kind of quiet conviction. “You know on paper that it’s not just white men who can do rock,” she says. “But then why didn’t I start a band until college? Because that’s when I first saw women in smaller bands touring. It’s important to see people other than white men doing the things you want to do.” That visibility threads into the songwriting, too. Not Too Late, one of the album’s most emotionally raw tracks, dives into OCD and reassurance‑seeking with a level of candour that borders on uncomfortable — until Christine explains how it happened. “I don’t think I had a choice,” she says. “The lyric ideas came, so that’s the song I wrote. It felt weird releasing it, but our lyrics have always been personal. DIY helped with that; my first time playing a song in a house, everyone was just like, ‘Yeah, sounds great.’ From the beginning, it felt comfortable.” Comfort, though, is not the point of the year ahead. POOL KIDS are stepping onto stages that demand something different — Outbreak Fest, 2000 Trees — festivals known for passionate crowds, eclectic lineups, and the kind of energy that can either swallow a band whole or launch them into a new orbit. Christine admits she was nervous at first. “I thought I’d hate feeling far from the crowd, but it’s amazing. You can see everyone so clearly. And festivals make me think more about designing our sets, like walk‑ons, transitions, all of it. Outdoor daytime shows are actually very fun.” Nicolette sees festivals as a challenge in the most affectionate way. “Most people watching probably don’t know who we are. Can we win over a cold crowd? I love that. It feels like a test.” Outbreak, in particular, feels like a homecoming of sorts, perhaps not geographically, but certainly spiritually. “We can’t really justify playing house shows anymore,” Christine says. “So it’s hard to keep that ethos alive. Festivals like Outbreak feel like a way to still tap into it.” Nicolette lights up at the mention of it. “Every year we watch the sets online, from TURNSTILE to SCOWL. It’s cool to see a festival focused on showcasing these overlapping niches and doing it so well.” They’re hoping to catch PUP, THE FRONT BOTTOMS, SNAIL MAIL and GREET DEATH, who POOL KIDS played house shows with to ten people in Michigan back in the early days. It’s a lineup that mirrors their own trajectory - bands who built something slowly, stubbornly, and with a sense of community that never really leaves you. As for what comes next, Christine is letting instinct lead. “I kind of feel like I don’t have a choice in what ideas come to me,” she says. “I might try to be slightly less verbose as a fun challenge, find more succinct ways of explaining feelings instead of over-explaining. But if it doesn’t work out, whatever. That’s kind of our thing at this point.” And maybe that’s the real through‑line of POOL KIDS: the refusal to force anything. The willingness to sleep on floors if that’s what the art requires. The freedom to follow the song wherever it goes. The belief, earned, not assumed, that they can keep climbing because they’ve already survived the hardest parts. They may have started in basements, but their ascent hasn’t stalled for a moment and shows no sign of doing so anytime soon. Words: Lou Viner-Flood Photos (Live and Posed): Lizzie Jones for Out Of Rage Cover Design: Robert Halls Art Assistance: Spencer Cunningham Editorial Lead: Amber Brooks With Thanks To: Mitch Stevens and Revenant Earth

Walking into Deaf Institute, the first thing that stood out was how little space there was on stage. With two drum kits already set up and equipment squeezed into every available corner, it felt like all three bands would have a challenge on their hands before a note had even been played. As the venue slowly filled, a selection of DAVID BOWIE tracks played over the speakers before ROBBIE WILLIAMS' Let Me Entertain You welcomed the first support act to the stage. Opening the night were HELL HOTEL, who wasted little time making an impression. Despite the cramped conditions, the band used the stage well, constantly finding ways to move and engage with the crowd without getting in each other's way. Their opening track, Turn Me To Grey, immediately showcased the strengths of the band. The lead vocalist's voice was clear and powerful throughout, effortlessly switching between melodic passages and huge screams that quickly became a highlight of the set. While the backing vocals occasionally struggled to cut through the mix, the supporting screams landed far more effectively. There was a slight disconnect between the band's introduction and the opening moments of the set, but once they settled into songs such as Shadow Of The Dance, that uncertainty quickly disappeared. Smooth transitions kept the momentum moving, and by the time they reached their third song, the crowd had noticeably warmed to them. One of the strongest moments came during a slower track midway through the set. It allowed the lead vocalist's versatility to shine before the band immediately switched gears with a much faster and heavier follow-up. The contrast worked brilliantly and showed the range HELL HOTEL possesses. The band's staging also deserves credit, small lamps and decorative lighting gave the performance a cosy, almost homely atmosphere that stood out from the usual support band setup. Combined with the challenge of fitting two complete drum kits onto the stage, it was an impressive effort. Closing with Promises, HELL HOTEL left a strong final impression. The bassist spent much of the final song playing directly to photographers at the front of the stage, adding an extra level of personality to an already engaging performance. While they occasionally struggled to fully win over the audience, there is plenty of potential here, and the drummer in particular was outstanding throughout. Next up were THE HOWLING, who somehow managed to win over the room before they had even played a song. The band interacted with the crowd while setting up, creating an immediate connection that carried through the rest of the set. Their decision to walk out to the Scooby-Doo theme tune was certainly unexpected. It probably went on a little too long and felt completely disconnected from their image, but it got people talking. Half of the band appeared in face paint, which suited the theatrical side of their aesthetic, although it felt slightly odd that the look was not carried across the full lineup. Whatever questions existed before the set quickly disappeared once the music started. The crowd reaction after the opening song was enormous. Leaning into the audience, climbing onto monitors and constantly engaging with those at the barrier, the band displayed a level of stage presence that felt far bigger than a venue of this size. There is a star quality about THE HOWLING that is difficult to teach. While some of the vocals occasionally disappeared into the mix, it almost added to their chaotic charm rather than taking away from it. Linger was an early highlight, while Mirror Legend gave the vocalist a chance to show a more melodic side. During slower moments, they frequently stepped right to the front of the stage and sang directly to audience members, creating some genuinely memorable interactions. There were obvious influences from artists like YUNGBLUD and MY CHEMICAL ROMANCE, particularly in the vocalist's performance style and the band's theatrical energy. Importantly, though, they never felt like a copy of either. A cover of Like A Prayer could have completely killed the momentum. Instead, it became one of the most entertaining moments of the night. The band played it relatively straight before eventually descending into screamed vocals, much to the crowd's delight. Throughout the set, the vocalist regularly stepped aside to give the guitarists room to shine during solos, while the lighting design was easily some of the strongest of the evening. By the time A MURDER CAPITAL and UNHOLY arrived towards the end of the set, the crowd were fully invested. The band's charisma was undeniable and if anything, they left the difficult task of following them to the night's headliners. That task fell to STARBENDERS. As CARMINA BURANA’s O Fortuna echoed through the venue, the crowd erupted. The anticipation that had been building all evening finally spilled over, with screams breaking out before the band had even fully taken their positions. The opening notes of Blood Moon were met with an enormous reaction. From the outset, it was clear that STARBENDERS had carefully planned how to use the limited stage space available to them. Their movements felt synchronised and deliberate, allowing the stage to feel much larger than it actually was. Unfortunately, the opening part of the set was plagued by technical difficulties. Multiple microphone issues and bursts of feedback interrupted proceedings, while the mix occasionally buried the lead vocals beneath the instruments. It was frustrating at times, particularly because the performance itself was often strong. The drummer once again proved to be one of the standout performers on stage, while the vocalist's ability to loop parts live whilst continuing to sing was genuinely impressive. As the set progressed, the crowd's enthusiasm never faded. Audience members bounced, headbanged and screamed responses between songs, with guttural cries of "Oh my God!" and "Yes!" ringing out across the room. One of the biggest reactions of the night came later in the set during Seven White Horses. Introduced by atmospheric organ sounds and carrying religious imagery throughout, it provided one of the evening's most memorable moments and showcased the band's flair for drama. Interestingly, there was a slight disconnect between the band and audience during the early stages of the set. Compared to THE HOWLING, who had constantly interacted with the crowd, STARBENDERS initially carried themselves with a certain rockstar aloofness. They rarely addressed the audience directly, despite the obvious excitement coming from below the stage. That changed noticeably once the vocalist put the guitar down. Freed from standing behind the instrument, their confidence seemed to grow with every song. Dancing across the stage, interacting directly with audience members and playing guitar parts inches from fans at the barrier, the performance suddenly came alive in a completely different way. Later, We’re Not Ok offered a slower moment amongst the chaos. It allowed the vocalist's performance to take centre stage and gave the crowd a chance to catch their breath before the band pushed towards the finish. While THE HOWLING arguably delivered the most charismatic performance of the evening, STARBENDERS still closed the night to a rapturous reception. In a busy Deaf Institute with fans singing along and hanging onto every moment, it was clear that the band's following continues to grow. Technical issues aside, the excitement in the room never disappeared, and by the end of the night, neither had the smiles on the faces of those leaving the venue. Words: Lauren Wenham Photos: Owain Morris

There’s a rooftop somewhere in the UK where four Australians are opening presents. HEADWRECK, consisting of Connor Hickman, Jamo Benadie, Dayne Paix, and Colby Horton, have apparently become the kind of band that interviewers bring gifts to. When the question of arriving empty-handed comes up, Colby barely misses a beat. “Yeah, actually, for the privilege of interviewing HEADWRECK, you must present us with one offering each.” It sets the tone for everything that follows. It’s a big moment to catch them in. Fresh off a sold-out debut Australian headline tour and an ARIA chart debut with last year’s Attitude Adjustment, the band have just signed to EMPIRE, becoming the first nu-metal act on a predominantly hip-hop roster. They’re midway through their first-ever UK and European run, having come off the back of supporting PALEDUSK before a string of dates leading into Download Festival. The world is, rather rapidly, catching on. They seem completely unbothered by all of it. Ask Headwreck about the nu-metal revival tag, and you won’t get a band scrambling to distance themselves from it. Colby is relaxed about the whole label, “HEADWRECK definitely fits into the nu-metal revival thing,” he says, “But I feel like there’s so much more going on. There are multiple different avenues of the HEADWRECK sound – there is a nu-metal one, but there’s also at least three other flavours of whatever the hell is going on.” The conversation turns to why nu-metal specifically has struck such a chord with a younger generation right now. Dayne’s theory is that it’s a reaction, a pushback against the hyper-polished sound that modern metalcore has drifted toward. “Everyone was just like, ‘Oh no, I missed when it was sick, like in the 2000s before they did it properly,’” he laughs. Their new single, Raindrops feels like the clearest statement of that yet. The writing process, Jamo explains, was familiar in some ways. Starting from an instrumental demo, building out from a main riff, everyone cooking on the vocals together, but there was something different about the sessions that produced it. “Everything was a lot more intentional,” he says, “We had fire in the pan. Everything that happened in that week was feeling really good.” The band have been back writing since, and the energy from those sessions hasn’t left them. “We’re just excited to re-harness the Raindrops writing energy as soon as possible.” The EMPIRE question is apparently a welcome one. “No one’s asked us that yet. People just ask us, how did we meet?” Colby laughs. Connor joins in, mumbling and trailing off in a very deliberate impression of being asked, for the hundredth time, how the band started. “It was basically just an Instagram DM,” Connor says, “Like any good rap artist probably gets... which is most of their catalogue.” From there, it moved to a call, and somewhere along the way, it became obvious that HEADWRECK had found something genuinely different. They were talking to a few labels at the time, but EMPIRE stood out. “It was more of a ‘Let’s see what we can do together’ instead of ‘Here’s the ecosystem you’re joining and we’re going to get you doing this,’” he says, “That was the biggest green flag you could have when it comes to joining a label.” For Colby, the appeal went beyond just the attitude. Being the first heavy band on a label known primarily for rap and country felt like an opportunity rather than a risk. “Being a smaller band, you don’t really get given many opportunities to try and do something different,” he says, “This felt just right in terms of collaborating with different people, trying new methods of getting music out there.” The room for features especially has them excited, which raises the obvious follow-up question. Who would they want to collaborate with, ideally? Connor doesn’t hesitate. “SHABOOZEY.” Colby immediately echoes it back – “SHABOOZEY! Yeah! TYGA! HAARPER!”, before landing on the real vision. They want to cross the hip-hop world with the heavy world properly, not just get a rapper to float over a hip-hop beat. Colby has a backup plan, though. “Or we could just spend all of our money on one word from SNOOP DOG. Like, him saying ‘Yeah!’. That’s our dream feature.” After chatting about their outside musical influences, Colby frames the philosophy plainly: “If you only ever listen to heavy music, everything you write is going to sound exactly like that.” Step outside it and suddenly you’re hearing flows, syncopation, patterns and groupings that can translate back into a heavier context in ways you would never arrive at otherwise. “You can only reinvent the wheel so much by listening to the same thing. You really need to start applying from elsewhere, it gives you a whole new way of seeing music.” At this point, the interview is interrupted by a construction crane. Dayne, without missing a beat, chimes in – “Excuse me, I’m just moving my crane.” The four of them fill the gap by yelling and swearing at the crane in the most committed (and most terrible) British accents you’ve ever heard from four Australians. Which is exactly when the next question lands: Has heavy music gotten too serious? “The thing you’ll see at the moment is just everyone chasing a bit more authenticity,” Colby says, once we’ve all recovered, “No one’s really impressed by the cool, tough guy act anymore.” Bands are dropping their guard, showing themselves a bit more, and that’s what people want. “When you have bands that are a bit more accessible, people are enjoying a bit less of that serious metal,” he says, “At the end of the day, people just like music for music, right?” For HEADWRECK, that accessibility isn’t accidental, it’s the whole point. Visually, sonically, in every direction, it’s just more fun. And it pays off in the way people actually engage with them. “When people meet us, they don’t talk to us about HEADWRECK music; they talk to us about what we like. I think that’s really cool, it’s really special.” “I think you’re a special boy,” Connor interjects, “You’re my special boy.” It’s at this point that the interview goes off the rails. When asked about the UK and the impending Download Festival slot, Connor squints at the skyline. “Why does the UK have negative saturation? Why is it like negative twenty saturation? Look at the crane! It’s not even a bright red; it’s just a dull red. The building’s a dull yellow.” What follows is a rapid-fire appreciation of British cuisine, shout-outs to One Pound Burger, the full English breakfast, and Nando’s, before things spiral further into a celebration of nicotine vapes, a heartfelt tribute to Queen Elizabeth, and another round of the truly awful British accents. Jamo eventually surfaces above the chaos, “...Anyway, yes, we’re excited for Download.” “Shout out negative saturation,” interjects Connor. Download Festival never gets discussed. The band pivots instead to interrogating their interviewer about British cartoon characters, particularly Brum, with the enthusiasm of four people who have completely forgotten they’re supposed to be talking about their music career. Eventually, Jamo resurfaces, “I’m so sorry, did you have any more questions? What was the last question again?” “Did you wanna talk about music?” Colby adds, dryly. One last question, then. The one thing about HEADWRECK right now that the band hopes never changes – “Having fun, please,” Colby says, without hesitation. “If I’m not having fun, I don’t want to do it.” Connor nods. “Yeah. And less cranes in 2027.” Download, presumably, will have to wait. The only way to find out what actually happens there is to catch the set yourself, if you can get a word in edgeways about it first. Words: Adrian Chapman Press Photo: Headwreck Live Photos: Izzy Sheldon for Out Of Rage

The passing of Steve Albini in 2024 was a shock for the entirety of the music world, no less Japanese post-rock group MONO, who he had worked closely alongside for the best part of twenty years - ever since 2004’s Walking Cloud and Deep Red Sky, Flag Fluttered and the Sun Shined. Going into the upcoming Snowdrop, with a key player missing, it almost feels like a necessity to pay tribute to this long-time partnership with the man who helped bring their most iconic albums to life. So, when creating this album, MONO chose Brad Wood to produce the album, and specifically chose to record it in Albini’s Electrical Audio. Wood has most recently worked on the new SUNN O))) record, and has previously worked with groups like MEWITHOUTYOU. So it’s a great choice; he’s clearly somebody very familiar with what could be described as sonic monoliths, and the push-and-pull feel of post-rock as a genre. This is immediately clear from the opening moments of title track Snowdrop, as the hum of a sustained note played on a synth accents the softly-picked guitars in the background, gradually building up to a cacophonous, cinematic crescendo in the second half of the song. Soaring, tremolo-picked guitars and a massive string section elegantly wrap themselves around each other until finally giving out, returning to the calm familiarity of the opening seconds of the song. All the while, the feedback from the distorted guitars still lingers. It’s almost like a feeling that never goes away, and the quiet acceptance of said feeling. It’s a beautiful metaphor for grief from the very start. The second and third tracks were both released prior to the album. The first of the two on the tracklist, Winter Daphne, wastes no time and opens on a blazing barrage of distorted guitars, pounding drums, reminiscent of something in between post-rock and post-hardcore. This is all before the strings come in and introduce the main motif that will appear in a much more muted, melancholy form in the second half. The almost enraged feel of the first half fizzles out as fast as it appeared, with the final crescendo being a more meditative feeling version of the start. Gerbera is the complete opposite, breaking out of the icy feel of the opening two tracks, and instead opting to replace it with an uplifting piece. The string section is placed right at the front of the mix for much of the almost eight-minute runtime, accented by backing vocals performed by an eight-piece choir. It all comes to a head in the SIGUR RÓS-esque climax, just utterly filled with hope and optimism. You may have noticed that each track, even the album itself, are all named after various flowers. This is an intentional decision from the band - “we incorporated the messages imbued in flowers given to those who have passed into the titles of our songs”, they say on their website. It is an album explicitly about grief for those who have passed. We hear it on the gorgeously bittersweet and emotive guitars on Statice, as well as the despondent melodies at the start of Hedera, which is followed by an elongated crescendo which can only be described as like a phoenix rising from the ashes. It’s there on the noisy, distortion-heavy Shion, with its percussive backdrop having the most depth on the record by far, and Bells of Ireland is the most outwardly sad song on the album, opening on church bells and consisting mostly of the string section we’ve grown to love at this point and a piano with a sort of twinkle to it. It feels like a funeral march. All this sets up the final track on the album, Farewell to Spring. Beginning on this slightly disorientating, chilly synthwork, the song finds its footing again about a minute in, as the drums slowly become clearer, and the guitar comes in, slowly gaining in ferocity, and becoming tremolo-picked as we reach the first peak of the piece. It doesn’t last long, but the brief moment where the string section and choir comes in is utterly transcendent. It pulls away again for a moment, before bringing all of the instrumentation together and more. Just when you think it’s done pulling punches, ascends further, the choir sings these gorgeous high notes, a distorted guitar is introduced, and it reaches a height not yet seen in this album. As it slowly recedes over the final two minutes, we’re left to consider what we’ve just heard. After so long, it’s safe to say that MONO are extremely reliable post-rockers. Even just MONO by-the-numbers is bound to be worth a listen. This album does more than that - it sticks to an emotion as raw and universal as grief, and manages to describe many of its facets wordlessly. You can tell while listening that the band cared deeply about conveying this feeling, and hopefully, you’ll agree that they succeeded. Score: 8/10 Snowdrop will be released on 12th June 2026 via Temporary Residence. Words: Noise Leonard Photos: Carlos Cruz

As music continues to revive beloved genres from decades past, the return of a full-blooded rock ’n’ roll record felt inevitable. DES ROCS has always embraced the grit and fearlessness that comes with owning rock. When all hope has dissipated and you are longing for resilience, To Hell and Back invites a play-through. Launching the third album, containing 11 tracks, listeners are guided through a journey of self discovery and Danny Rocco's artistic expression. Each song takes another step into the darkness. Each track guides the listener into healing and self discovery, to break free with the concluding track. This is the literal journey of going to hell and back. From the moment the album opens, DES ROCS creates certainty that the listeners are in for a ride. Beginning with a theatrical prologue that transports listeners to the electric atmosphere of a sold out arena. An invitation to be immersed in the glitz of 70s rock and roll. "When The Love Is Gone invades the mind with the catchy chorus intertwined with the pounding drums and electrifying guitar solo. Raw emotions lace through the track as DES ROCS' commanding vocals prevent any sort of detachment. As sorrow follows the album, Fall Together leans into bluesier territory without abandoning that classic rock backbone. The second verse is elevated by the violins, an instrumental that appears throughout the album. Sing Me To Sleep continues to carry these hard feelings. A mellower track that craves emotional safety. With a catchy bridge, this is one for fans to hold their phone lights above to. DES ROCS' clean vocal range is showcased in The More She Wants with occasional emotional tremors adding depth and vulnerability to the performance. There is a more theatrical approach as the track is layered with violins and angelic backing vocals. A sense of hope arises, a pivotal moment within the album. Legends never die; a mantra that surges energy throughout The Riders of Red Hook (Legends Never Die). Taking centre stage, vibrant drums and electrifying guitar solos build up steady momentum. The focus on the bridge is drawn through layered voices, a reminder of hope. As the track closes, a controlled fizzle transitions effortlessly into the next track. No time is wasted as The King teases the guitar rhythm, establishing a regal atmosphere before the first verse unfolds. Track seven has already earned praise from longtime fans and new fans. This Land encapsulates a rebellious grit that continues to amplify the sense of empowerment that comes with speaking up. The wild spirited song serves as the official opening theme song to the video game, Borderlands 4. Despite being a heavily appraised single, its placement within the album still generates a palpable sense of excitement, rewarding listeners with the satisfaction of ownership and context. “There’s one way in and no way out” forces listeners to break through the journey of hell. Whilst healing isn’t linear, there is a found rage from self reflection in War. The controlled drums emphasise the personal growth and ability to tackle inner demons. The playful and motivational motifs continue throughout this album. Stomping drums, clapping and playful guitar riffs opens The Juice. It’s vibrant, punchy, and instantly memorable. The song of the summer has made itself evident closer to the end of the album. Supernaturalize is a track enjoyed within the sun and a beer in hand. Self-discovery is evident as DES ROCS is no longer held back by previous emotions. We have exited the realm of hell. The album closes on a similarly playful note in The Way but there’s purpose beneath the joy. The immersive female backing vocals create a joyful atmosphere while the guitar solos keep things dynamic. For a song about breaking free, it feels satisfying and earned. A triumphant exhale over the emotionally transformed into empowerment. To Hell And Back delivers as an ode to classic rock and highlights DES ROCS' New York grit. With boldly theatrical elements, this album is designed for the stage with unapologetically raw emotions that are bigger than the songs themselves. Navigating your way through the heavy emotions of hell into self empowerment. This is the journey to hell and back. Score: 7/10 To Hell and Back will be released on 12th June 2026 via Sumerian Records. Words: Theviya R Karunaharan Photos: Jimmy Fontaine

Few bands in modern alternative music have built a connection with their audience quite like TWENTY ONE PILOTS. Formed in Columbus, Ohio by Tyler Joseph and Josh Dun, the duo have spent over a decade blending hip hop, alternative rock, indie and electronic music into something uniquely their own. Their songs are deeply introspective yet often delivered on some of the biggest stages in the world. Across albums such as Vessel, Blurryface, Trench and Clancy, the band have balanced huge streaming numbers with an unusually personal relationship with their fans. Their newest era with Breach has continued that momentum. The album charted strongly when released and has since returned to the charts thanks to continued streaming success. Newer songs such as Drag Path have already climbed into the band’s most-streamed tracks despite only recently being released. For TWENTY ONE PILOTS, the songs rarely end with the recording. Their concerts turn these tracks into shared emotional experiences where thousands of fans sing every word back to the stage. Here is a countdown of ten songs that show why TWENTY ONE PILOTS continue to resonate with listeners around the world. 10) THE CONTRACT The Contract highlights the band’s ability to combine introspective lyrics with expansive production. Electronic textures blend with rhythmic vocal delivery to create a song that feels reflective and immersive. As the instrumentation grows throughout the track, it mirrors the emotional intensity of the lyrics, a songwriting approach that has become a defining feature of the band’s sound. 9) HEAVYDIRTYSOUL Opening Blurryface with immediate intensity, Heavydirtysoul throws listeners straight into the darker sonic world that defined the era. Driven by pounding drums and distorted bass, the track pairs industrial influenced production with Tyler Joseph’s rapid fire rap delivery. The lyrics introduce the internal battle with the character of Blurryface and the self doubt that runs throughout the album. Live, the song often becomes one of the most explosive moments of the set. Josh Dun’s powerful drumming pushes the energy of the track even further while Tyler Joseph’s breathless verses build tension across the crowd. It is a reminder of how effectively TWENTY ONE PILOTS combine heavy instrumentation with deeply personal storytelling. 8) NEXT SEMESTER A standout from the Clancy era, Next Semester captures the emotional honesty that defines TWENTY ONE PILOTS. Driven by energetic guitars and punchy drums, the track leans further into alternative rock while maintaining the introspective lyricism that fans connect with. The lyrics reflect on youth, anxiety and the pressure of navigating life transitions. With strong streaming numbers and an immediate connection with listeners, Next Semester stands as a perfect representation of the band’s ability to turn deeply personal stories into songs that resonate with thousands. 7) THE LINE Originally written for the animated series Arcane, The Line quickly grew beyond its soundtrack origins. The studio version balances delicate verses with cinematic production that gradually expands into a powerful chorus. Live performances add an entirely new dimension. Tyler Joseph often pushes his voice into intense screams during the climax of the song which amplifies the emotion of the lyrics. The contrast between the quiet verses and the explosive live vocals makes The Line one of the band’s most striking performances. 6) DRAG PATH Drag Path has quickly become one of the standout songs from the Breach era. Despite being one of the band’s newest releases it has already climbed high in their streaming catalogue, proving how strongly listeners continue to engage with new material. The song builds slowly through atmospheric synths before reaching a dramatic and emotional climax. That gradual build makes it particularly effective in a live setting where the tension grows across the entire crowd before the final section explodes. 5) HOLDING ON TO YOU Holding On To You helped introduce a wider audience to the band’s distinctive style. Rapid verses collide with explosive instrumentation to create a restless and energetic anthem. The song’s message about perseverance and self belief resonated strongly with listeners and helped establish the emotional bond between the band and their fans. All while creating a memorable live performance with Josh Dun backflipping off the piano. 4) RIDE Released during the Blurryface era, Ride became one of the band’s biggest global successes. The relaxed rhythm and reggae influenced groove make it one of their most accessible songs. Despite the upbeat sound the lyrics reflect on uncertainty and the pressure of navigating life decisions. During live shows the band sometimes invite a child from the audience onto the stage during the song which creates one of the most heartwarming moments in their set. 3) GUNS FOR HANDS Originally appearing on Vessel, Guns for Hands captures the early energy of Twenty One Pilots perfectly. Rapid rap verses meet energetic instrumentation to create a track that feels urgent yet uplifting. The lyrics address mental health struggles while encouraging listeners to keep going. That contrast between heavy subject matter and energetic music has become one of the band’s defining characteristics. 2) CAR RADIO Car Radio remains one of the band’s most emotionally powerful songs. Beginning with sparse piano and spoken vocals, the track slowly builds towards an explosive and cathartic ending. The song explores the unsettling experience of sitting alone with your thoughts once distractions disappear. In a live environment the gradual build becomes even more intense as the entire crowd joins in for the final section. Complete with Tyler Joseph's disappearing trick, or climbing scaffolding when performing the trick isn't possible. 1) TREES Few songs are as closely tied to a band’s live show as Trees. The track begins with atmospheric synths and slowly builds tension before reaching a powerful and explosive finale. Over time the song has become the traditional closing moment of a TWENTY ONE PILOTS concert. Tyler Joseph and Josh Dun often perform the final section surrounded by fans in the crowd, turning the ending of the show into a shared celebration. From the vulnerability of Next Semester to the communal finale of Trees, TWENTY ONE PILOTS have built a catalogue that thrives both on streaming platforms and on stage. Their music continues to evolve, but the connection between the band and their audience remains the heart of everything they create. Catch Twenty One Pilots headlining All Points East this summer. Words: Con Macadam

Two years in the making but with an incredible 30 years of seasoned talent behind it, Sacramento band FOREIGN FILM have cultivated their debut record A Love Letter, incorporating hints of their hardcore roots with their more prevalent shoegaze influences, all melded together into a sound individual from anything they’ve tried before. The original creation of WILL HAVEN’s Jeff Irwin, through his early stages of exploring sound he gradually brought over other members of WILL HAVEN and recruited other renowned musicians from varying genres, forming a supergroup from different musical backdrops but all united in their efforts to create something stirring and innovative, 10 tracks of cinematic, moving rhythms and weighted vocals that harmonise throughout. A Love Letter is an album that will leave you unsure how to feel, with the urge to put a name to the emotion by repeatedly listening to it. Starting track Aprile almost feels like the dawn of a new day, apt for the formation of FOREIGN FILM, building from languid guitar plucks, steady drums, and Irwin’s voice floating in the ether to a collide of instruments in a cinematic melody, the triple team of guitarists - Irwin, Sean Bivins, and Rylan Kerr - weaving between each others tones to harmonise. Kwen leads in with thunderously low bass from Adrien Contreras, building up in atmosphere and instrumental power as Irwin sings “my heart it bleeds tonight”, backing vocalist Tami Taracena’s ethereal chants adding gravitas to the track. Wish takes a darker turn into a blend of more gothic and grunge rock, the instruments contradicting each other on the final chorus as hopeful notes war against the downcast guitars. Santa Carla builds in with synths and guitar riffs as Irwin sings sorrowfully “is this the end?”, the instruments crashing in together over Mitch Wheeler’s steady drums, the energy rising as Taracena’s vocal runs hover over them all, until it falls away to Robin Florkin’s sombre piano accompaniment. Sol keeps us on the solemn track with a rock-infused melody and hopelessly hopeful synths breaking through to echo the emotional lyrics that break for a piano riff, before distorted guitar riffs play across the space and warn of an impending breakdown. Somnolence launches straight in with Wheeler’s booming kick-drum beats and bleak guitar and riffs brewing in the back, Irwin and Taracena harmonise with clear vocals, the rhythm suddenly falling to crunchy synths and driving back in with dramatic rock. Crunchy amp feedback that’s reminiscent of fireworks leads us into Terrace’s slowed and grunge heavy rhythms, pausing for a melancholy piano and synth segment as Irwin sings at such a low octave it’s a near-whisper, an abrupt blare of metal-inspired rhythms shattering the brief quiet. Black Sky maintains the reverberating rock elements, but feels different to the rest of the tracks with a more promising tone and major chords, in contrast with the lyrics “it’s time to say goodbye” that fade from clear vocals to a faint backdrop before the triple guitars dance around each other again as the message changes to “until we meet again”. The title track Love Letter combines minor and major notes into a haunting melody as Irwin sings of his “devotion” in an earnest way over unhurried drums and reverbed guitar, toeing the line between a true love letter or a missive of obsession depending how the melody makes you feel. Fading in gradually with spectral synths, we come to the end of this letter with Essen, a mournful piano piece joined by Taracena’s faint vocals over an undercurrent of jarring synths and beats that feel like distant thunderclaps, the piano rising slightly in emotional depth but never breaking out into a final crescendo, drawing this cinematic experience to a humble close. Score: 7/10 A Love Letter will be released on 12th June 2026. Words: Julia Stark Photos: Eric Rivera

GUILT TRIP have carved their name into the steely genre of hardcore metal and it’s not hard to see how they’ve built their fanbase and success, through tirelessly developing and polishing their sound to an endless string of tours and festival slots, as well as lifting up the local Manchester metal scene and supporting worthwhile causes. Formed from the Manchester, Northern, and Midlands scenes, GUILT TRIP have solidified their place at the top of an ever-expanding scene with the release of their tearing album Armour Of Angels, an explosive and euphoric sound that will captivate fans of ALPHA WOLF, BULLET FOR MY VALENTINE and DOOM soundtrack appreciators. From white-hot, searing guitar riffs and solos, to the relentless bass and battering drums, while the lyrics demand you get the fuck up now, Armour Of Angels is a culmination of their decade-long career to date, “We believe these songs embody our journey from the very beginning to now, everything we have experienced over the past decade translated into twelve tracks.” From a personal level, it symbolises their coming together as a complete unit and sculpting the sound they’re now synonymous with, the journey they’ve taken together as a band that can be shared with the fans who have seen them earn their achievements. From a musical appreciation view, it’s an album that scratches the hardcore itch in the brain, the instrumentals piercing through while the guttural screams speak to a cathartic fury caged within. From a gradual build of menacing bass and guitar and subtle cymbals that descends into a shouted “GO!”, One By One drives us headfirst into Armour Of Angels with slick guitar solos and ferocious rhythms and sets the sky-high expectations for the rest of the album - spoiler, it doesn’t just meet those expectations, it shatters them. Blood Atonement rips through, only slowing for the weighty breakdown before dropping into splintering guitar whammies, straying along the edge of intricacy without becoming too overwhelming. The track fades into Cut From God and its staccato intro before hitting the gas and reaching new speeds of harmonised guitar while singer Jay Valentine screams “come on, come on”, demanding your attention. Dirt’s muffled start of screams and instrumentals descends into scalding metalcore of sick guitar riffs and licks from Jak Maden and Lily Kilcoyne as Valentine’s layered screams and clean vocals echo “breaking your silence in two”, guttural ‘bleurghs’ landing throughout. Angel Eyes has guitar plucks that almost echo a warning siren over Liam McCarry’s unflinching double pedal, a prolonged roar overlaying the thunderous drums and bass. Veins starts deceptively slower with muffled clean vocals before the band attack the melody and your ears mercilessly, feeling like a battle cry in song-form. No Love Lost soft-launches with faded guitar and cymbals before crashing in full force with Valentine’s primal screams keeping pace over the instruments, Bradley Hall’s resounding bass slamming in tandem with McCarry’s purposefully discordant drum solo. Hall’s bass shapes Intermission, hitting ominous levels in contrast to the near melancholy guitar strings, a brief lull on the album but still powerfully resonant. Burn is as fired up as it sounds, with molten screams and drum pedal work that suddenly plunge into an unnerving quiet of instruments and Valentine’s growing whisper “burn inside the fire”. Suffer Me fades in with drum rolls and skin-tearing riffs , screams of “breathe in, breathe out, suffer me, you already know” undercut by guttural roars as the pace changes from a dramatic build-up to a rage-fuelled frenzy. Resurrected sees GUILT TRIP share the mic with seasoned vocalist Sonny Sandoval (P.O.D.) in a rapid-fire rhythm that has the tempered speed of a gatling gun, Valentine and Sandoval’s combined vocals delivering a renewed ferocity. We come to the end of this ‘battle at the gates of hell’ album with closer The Banner Of Heaven, the band’s final stand in this epic compilation, keeping the brutal energy and metalcore sounds to an all-time-high as they end triumphant. Score: 10/10 Armour Of Angels was released on 5th June 2026 via Roadrunner Records. Words: Julia Stark Photos: Guilt Trip