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

In the midst of their grand festival summer, in between major stops like Lollapalooza in the US and various European appearances, CHALK have blessed London with a one-off, but no less thought-through, headline show. The band brought along a well-curated line-up, including the Welsh post-punk collective SLATE and Brighton’s blistering four-piece LEMONSUCKR. Altogether, they lit up and packed out Electric Ballroom, leaving the audience with no room to stand still, but only to sway to the electronic beats and dance the night away. Photo by Mariia Bulkina Hailing from the heart of Cardiff, SLATE are not just your regular post-punk band, as their unique identity can be felt from the first glimpse of their performance. Jumping between throbbing rhythms of Tabernacl and St Agatha, the vocalist Jack rips his heart out, belting the never-ending choruses. Next thing we hear is a slow and quiet but incredibly soul-punching lament, with the voices of both Jack and the bassist Lauren intertwining into a beautiful song, possibly inspired by their Celtic roots. SLATE alternate between a couple of these brief interruptions that serve almost as a grounding mechanism, and their usual gritty upbeat tracks, that still have their time to shine and warm up the room for what’s next. And what’s next is nothing if not a shock to the system, as LEMONSUCKR captivate our full attention from the mere moment they appear onstage. With only one EP out, they play as if they’re headlining a festival stage, firing out bangers after bangers like a pub kitchen. Having played Sedated and Instant Kinks, the singer goes into the middle of crowd on their third song, and pretty much stays among the audience for most of the set. The rest of the band follow suit, as the guitarists also take turns jumping in onto the dancefloor, or simply leaning over on the edge of the stage, as if they want to be as close to the action as physically possible. LEMONSUCKR continue to bring on the H.E.A.T., finishing off on the dark and spine-chilling Rugrat. Photo by Mariia Bulkina CHALK goes in with immense force right away, starting off with their album’s opening tracks Tongue, Pain and Can’t Feel It. The energy in the room rises rapidly, as the huge pit begins to open up in its centre, at times reaching almost the size of the venue itself. In the true fashion of 'crystalpunk', the duo plays on juxtapositions, with the singer Ross Cullen stood in front of us in bare flesh, bringing all of the attention on his spiky gloves as the centre piece. Meanwhile, his bandmate Benedict Hardie-Goddard is constantly switching gears between the heavy industrial synths and the electric guitar, which he of course also takes on a little walk with him into the centre of the crowd. CHALK pay equal attention both to their debut LP release Crystalpunk, and to the EP trilogy: Conditions I, II, and III. Tracks like Them and Pool Scene immerse us fully in a sort of trance, with the brilliant lighting work supporting the illusion. The Belfast legends clearly learn a lot from their Irish cousins like FONTAINES D.C., and they too start to conquer the hearts of Londoners one by one. CHALK pay homage to their hometown with the 8-minute-long Béal Feirste before vanishing offstage. Returning with an awaited encore, the duo play their last bits Get Fucked and Conditions. It is clear from the audience’s reaction that most of the visitors have had an absolutely spectacular night, coming out the venue even bigger fans of the band than before.

These past two weeks, we've heard everything from the haunting dark-folk vocals of CHELSEA WOLFE, to IMMINENCE's melodic metalcore mayhem, to the sweeping Viking metal sagas of AMON AMARTH. Here's what we've been listening to lately: Track of the Week: Chelsea Wolfe - Cold The queen of darkwave is back - CHELSEA WOLFE’s third single for the upcoming album The Dark hints at what might be her most accessible release yet. Cold is a fairly straightforward gothic folk track - and while it lacks the grandiosity of something like Death Is Not The End, it’s a gorgeous tune, with soft pianos, and what even sounds like a pop chorus. The final chorus is quite sinister, with whispery backing vocals that offset the strangely familiar feel of the rest of the song. It’s set to be the opener to the album - and hopefully works just as well on context as it does on its own. Words: Noise Leonard Amon Amarth - Gjallarhorn In a triumphant return to full-scale Viking metal with Gjallarhorn (Heimdallr's horn signaling that Ragnarök has arrived), AMON AMARTH hits with crushing riffs, thunderous drumming, and JOHAN HEGG's commanding growls. Once again, it carries the flair of sagas, a soaring chorus, verses roping the listener in, and a cinematic atmosphere that represents everything that made the band one of the defining acts of melodic death metal. In its chants, we can, however, find connecting pieces to the surprisingly folk release Upphaf, creating a thread leading us to AMON AMARTH’s upcoming album The Allfather Awakens, recently announced for October 2026. A release to watch out for, where the band seems to be merging musical diversity and its classic sound without sacrificing intensity or epic storytelling. Words: Lysandre Pons Beartooth - Eyes Closed BEARTOOTH's Eyes Closed is a hard-hitting anthem that combines raw emotion with infectious energy. Blending metalcore, hard rock, and alternative metal influences, the song delivers punchy rhythms and a powerful chorus that feels made for fans to join in during shows. That also comes with strong guitar work, balancing thick, down-tuned rhythm sections with melodic lead lines in a masterful way that adds both texture and emotion. The instrumental intensity stands side by side with the flight of lyricism laced with aggression that Caleb Shomo delivers. Packing a punch, Eyes Closed is an alert for all to keep an eye out for the band’s upcoming sixth studio album, Pure Ecstasy which is coming out on August 28th via Fearless Records. Words: Lysandre Pons Burner - What Will You Give? (ft. Josh Middleton) Since forming in 2021, BURNER have been a constant fixture on UK metal lineups. In the wake of their second album No One Is Coming to Save Us, they’ve hit us with an intense new single What Will You Give? featuring Josh Middleton of UK metal royalty, SYLOSIS. The track starts ferociously, no build up or slow burn, matching perfectly with the lyrics and meaning of the song. It stays intense throughout, with a short instrumental before Middleton’s vocals come in, bringing in hardcore elements, it begins to feel personal, “What will you give to save this world?” feels like a direct question. BURNER’s music has always been politically charged, but it feels more evident in What Will You Give? BURNER are heading out on a full UK run this October to celebrate the release of their sophomore album. Words: Kei Wells downcast - falling to pieces (ft. Youth Fountain) Their first step into music for 2026 since last year's earworm home, emo-rock quartet DOWNCAST have returned with falling to pieces, their most personal and rawest sound to date that cuts apart the inescapable grief of losing someone. From the opening reverbed riffs and Liam Edwards' heart-rending lyrics, there's an unmistakable melancholy that builds to pure rage, the melody surging between the two emotions as if this is all that's been left for us to feel. YOUTH FOUNTAIN's Tyler Zanon adds a sorrowfulness over the angry hooks before launching into screams in tandem to Edwards, as if shouldering some of the pain as the instruments rise to a crest of powerful emotion. falling to pieces doesn't welcome grief in, but instead grips it back and refuses to be shattered by it. Words: Julia Stark Her Last Sight - My Mirage With an early 2000 flair, My Mirage is a catchy metalcore track that explores themes of illusion, longing, and the struggle to distinguish reality from false hope. Bullet-like verses with raw screams are balanced by a memorable, melodic chorus that adds depth without sacrificing heaviness. HER LAST SIGHT's strong instrumentals are brought forward by a polished production that enhances every element, creating a dynamic and immersive piece that pulls in the listener. My Mirage captures both vulnerability and strength while visually keeping the goofy visuals that make the band popular. Words: Lysandre Pons Imminence - False Light / Crestfallen They say all good things come in threes, which was certainly the case for listeners of IMMINENCE. The band released the second single of their new album run, False Light, followed closely by the album announcement, Axis Mundi which will be released early October. Very quietly they also released a third single at the same time, Crestfallen. False Light must be up there with one of IMMINENCE’s most brutal songs to date, the energy is unmatched throughout with a myriad of drum patterns and breakdowns all with strings soaring into the gaps. The track is hostile as singer Eddie Berg switches out of his favoured clean vocals to the extreme, with the peak of the screams breaking into a raw, gut-wrenching cry of “Fear!”. As with the previous single The Sword That Never Bends, False Light is accompanied by a music video that reveals more of the lore surrounding the album, and really gives a deeper rooted understanding of the lyrics. Crestfallen in comparison is haunting and plays more on the melodic side of things. The collective of instruments tell a story and almost feels cosy with soft clean vocals. A highlight would be a short section where the deeper guitar and bass riffs combine with vocal harmonies that scratch the right part of your brain. If we’re learning anything from these tracks it’s that IMMINENCE are able to build these vast rich worlds with versatile soundscapes without losing momentum. Words: Danielle Henderson In This Moment - Crawl Bringing forward unexpected dark electronics blended with a heavy industrial and haunting sound, IN THIS MOMENT's Crawl is a hypnotic piece. In this fierce statement of resilience, MARIA BRINK's captivating vocal performance signals that the band is back with a bang. Layered with an artistic video packed with symbolism, the track is an awe-inspiring, relentless fight building towards an anthemic chorus that lingers long after it ends. Crawl builds up from its own darkness to hand a mirror to the listener as a weapon, empowering them to confront abuse, reclaim power, and emerge stronger in the face of adversity. The release also marks the official announcement of the band's ninth studio album, WITCH, due in August 2026. Words: Lysandre Pons Kim Dracula - Molecular Conversion Much as the name would suggest, KIM DRACULA is going through an evolution that sheds the past and welcomes in a new era with new record label Rise Records. Molecular Conversion is the first single through the label, a genre defying track that DRACULA defines as a "new song, new label, new story". Molecular Conversion alters between genres, Gothic metal riffs and beats taking centre stage with mournful vocals, before it shifts to a startling Blues Gossip segment with haunting pitches, harmonising choirs and hopeful piano, finally descending into guttural heavy metal roars that transform the song from a story of defeat to furious resoluteness, a story immortalized in the accompanying music video that hints at fresh purity ripped apart in nature. This is just the beginning of DRACULA's legend. Words: Julia Stark Olive Vox - Hear Me Out OLIVE VOX hit the ball out the park once again with latest single Hear Me Out, combining their alt-rock origins with classic pop-punk for a boisterous rhythm and bouncy riffs. Having already teased Hear Me Out on their live setlists earlier this year, this is the track to listen out for on their upcoming support slot for TOADIES US tour, kicking their set into immediate high gear with a steady beat and bass combo as catchy riffs and pleas of "hear me out, I believe that one can change" rush in. Its core theme of being unable to move on and heal from internal guilt in a continuous vicious cycle of self-punishment is at war with the upbeat melodies, enjoyable solos and synths contrasting to the desperate screams "hear me out" as they try to break from the cycle, a feeling that will resonate with many as they dance through the struggle. Words: Julia Stark Scene Queen - METALICIOUS (ft. Left To Suffer) Still riding the high of opening the Friday Apex stage at Download (a reminder we rightly had female headliners and fest openers), SCENE QUEEN unleashes another "bimbocore" track in METALICIOUS that sounds like KESHA or FERGIE if they had a metal makeover. SCENE QUEEN straight up ignores the music pipeline and boldly brings dance-pop and heavy metal together, creating trap beats that merge into heavy riffs to assault your ears, the lyrics sounding like a pisstake of pop songs getting ready for club night, except the Queen is "here for the mosh", her call of "all the fellas say?" met by LEFT TO SUFFER's throat-tearing growls. SCENE QUEEN continues to be unapologetically herself and embrace everything that brings her joy. Words: Julia Stark SNAYX - Nice Day 4 It Self-labelled as their summer anthem, punk band SNAYX release new track Nice Day 4 It through their new record label Nettwerk Music Group, containing their signature flavour of memorable punk hooks with an essence of near-Nihilism in the lyrics. Quick-fire rhythms refuse to let up throughout as an ominous guitar note rises in the intro and intermittently in the background, a promise of more to come, the instruments crashing together into a riotous sound. Nice Day 4 It pulls you in with its undeniably catchy chorus, the lyrics portraying the feeling of being in a never ending spiral of despair as the world burns around you, and having to say "fuck it, let's have some fun anyway". It's not a song about ignoring what's happening, but coping with life through taking advantage of "a nice day". Words: Julia Stark Stand Atlantic - LUCID STAND ATLANTIC’s new single LUCID blends the band’s signature pop-punk energy with a darker, more atmospheric edge. Singer Bonnie Fraser’s vocals are both vulnerable and engaging, delivering emotionally charged lyrics with insistence with ease. Catchy hooks, driving guitars, and punchy rhythms create an infectious sound that lingers long after the song ends. In anticipation for their new album, GODBREATH, Lucid feels fresh while staying true to STAND ATLANTIC’s identity. The song feels like a showcase of their continued growth and development as musicians and feels like a nod to the past alongside a spotlight for the future. It’s an addictive, emotionally charged track that deserves to be added to every playlist immediately. Words: Laura Davies Tanzana - Without A Sound Luck has befallen those who can’t get enough of Glasgow trip-hop, alt-rock quintet TANZANA; not only are we being treated to their latest single Without A Sound, it also drops with the announcement of their debut EP Etched In. The track eases us in with the tranquillity of guitar strums, before Freya Talbot makes her entrance with a deep, dark-folk timbre that leads into a true showcase of her vocal prowess. A tsunami of sound washes over us, the clashing of drums sounding off in the midst of waves of guitar and bass; all the while, the vocals escalate to a chant-like chorus, the singer making herself an imposing presence against the storm. This is just a taste of what TANZANA have to offer: the esoteric rhythms of their EP will grace our speakers in October, and we have much to look forward to. Words: Naomi Colliar Duff Editor: Naomi Colliar Duff Photos: Various Artists

Is it finally time to ditch the “Windmill Scene” moniker? Because what makes a band or artist sound “windmill-y” is a little unclear at this point. Sure, in the late 2010s you could easily point to groups like FAT WHITE FAMILY, SHAME and the wave of seven-inch singles released on Speedy Wunderground as having something of a similar sound. But since then, there’s been much more variation in genre within the walls of the Brixton Windmill, with electronic acts like PVA and FAT DOG, as well as the slow, methodical DEATHCRASH, which couldn’t sound any less alike. But in the centre of all this, there’s always been groups combining post-punk with saxophones - and the best part is they all sound nothing alike. OPUS KINK have almost been impossible to pin down with their past two EPs. 2022’s Til The Stream Runs Dry was a great introduction, with an absolute powerhouse of a title track to close off their debut, then in 2023 they seemingly caught lightning in a bottle with My Eyes, Brother, one of the most eclectic 25 minutes you’ll ever hear. So a full LP was always on the table, and living up to the hype of those first two EPs is no small feat - so it only makes sense that they took a few years before releasing The Sweet Goodbye. We open with Come Over, Do Me Wrong, featuring everything that makes the group likeable. An almost spoken-word delivery, a klezmer-y saxophone melody, and a strange breakdown in the middle that borders on chaos, but rides that line with a tight rhythm to bind it together. The repeating motif of “half of any good thing” followed by “is its proximity to its end” or “is the reason it cannot be yours” is an apt thesis statement for the song. Frontman Angus Rogers describes it as “the mad philosophical leap of ‘I don’t care what you do as long as you do it to me’”. That much might be clear from the title alone, but there’s a certain wit about it - some of those lines make it a worthwhile album opener on its own. There’s more where that came from as well, second track Will It Come For You? is built around foreboding, whispery background vocals and a melodically minimalist bassline. Notably, the song takes a much more quiet turn in a bridge before the final chorus, as Rogers ponders on this disaffected feeling of purpose in the face of the enormity of the world. Meanwhile, the title track is a similarly playful affair as the opening track, the band’s inherent strangeness worming its way in during a chorus of baritone voices towards the end. The Tom Waits-esque feel of this moment is carried into the following track, Peckham Nocturne, whose sleazy saxophones and shuffly rhythm wouldn’t feel out of place on an album like Rain Dogs. There’s an almost noir-ish feel to it that makes “The Long Goodbye” feel like a more appropriate title, feeling out of time similarly to Marlowe in that film, like walking into a sketchy bar that stinks of whisky. It’s a shame that it’s the shortest track on here, because it’s likely the standout in terms of personality. Crucify! dwarfs the rest of the track lengths here, at just over six minutes, and split into two sections that both stand on their own yet compliment each other. The first is more of what we’ve heard over the past half hour or so, angular melodies, quirky and poetic lyricism, and some genuinely lovely harmonies during the chorus. The second half on the other hand is a slow buildup, with the repeated phrase of “crucify me now” underpinning the whole thing. Meanwhile, a cacophony of saxophones slowly become more and more berserk until the song unceremoniously fades out. You’d expect this to be the closer, but OPUS KINK still have one more surprise up their sleeve. Oh, Irony is almost like their take on DAVID BOWIE’s Rock ‘n’ Roll Suicide, which feels like a strange comparison to make. Maybe it’s the chord progression, the horns, or the feeling of melancholy surrounding it. Either way, the song tricks you into thinking it’s going to end on some similarly explosive and grand outro, but it never really does. It feels bittersweet, with the percussion, a synth, and a brass section to send us out. Somehow it still feels satisfying - a “sweet goodbye”, some may say. To loop back to where we started, is it possible for OPUS KINK to escape the endless comparisons to the “Windmill scene”? Well, that’s a trick question, really. If BLACK COUNTRY, NEW ROAD and the former members of BLACK MIDI couldn’t do it with their new and vastly different styles, it’s hard to believe anyone can. That being said, with this album, OPUS KINK also firmly cement their own sound. At points, maybe it lacks the same exciting variety as their prior EPs, but it’s a good start. They’re the kind of band who can clearly branch out even further and it would be a fantastic thing to see where they go next. Score: 7/10 The Sweet Goodbye will be released on 31st July 2026 via SO Recordings. Words: Noise Leonard Photos: Jacob Ray

Manchester's MALAMUTANT arrive with a party cannon firmly in hand, bringing together former members of underground favourites FOOTPRINTS IN THE CUSTARD and GODHAND to create something that refuses to take itself too seriously. The result is an album packed with infectious grooves, humour and hardcore energy; it packs just enough chaos to keep you grinning from start to finish. From the outset, it's clear that MALAMUTANT have no interest in writing typical hardcore songs. Instead, they turn everyday frustrations and absurd observations into riotous anthems that are just as likely to make you laugh as they are to start a pit. As Per My Last Email is instantly relatable to anyone who's ever worked in an office, venting the frustration of having to repeat yourself over and over again. It's a sarcastic middle finger to corporate life of the usual colleagues who don’t read the first email you sent originally, wrapped in punchy riffs and plenty of attitude. My Diet Starts Monday is a reality check, taking aim at the all too familiar excuse we tell ourselves after one too many sweet treats. Musically, the song throws in a slight jazz tempo in the middle section which will get you down low for it to then kick back in to then jump up to continue going crazy in the pit; this could be a good one for the live shows. Post-Pandemic captures the strange reality of life after COVID, blending upbeat and danceable grooves with lyrics reflecting on lockdown, anxiety, and the unexpected realisation that maybe staying at home wasn't so bad after all however now you don’t want to go out and socialise. The infused riffs give the track an infectious energy despite its surprisingly reflective subject matter. No Party pokes fun at the realities of getting older in a band. Rather than endless nights of debauchery, it's about finishing work, playing a show, and dreaming of getting into bed. Of course, whether the band actually skips the after party is another matter entirely, but the self-awareness makes it all the more enjoyable. Perhaps the most ridiculous song on the record, Monster Truck celebrates exactly what its title promises. Built around a funky bass groove, laid-back guitar work, and comically low vocal delivery, it's impossible not to smile as the band enthusiastically explains just how cool monster trucks really are. And honestly, they're not wrong. The Great British Nonce Off delivers some of the album's darkest humour, taking aim at the depressing regularity with which beloved celebrities are exposed for horrific crimes. Rather than glorifying them, the song satirises the media circus surrounding these revelations by imagining them battling to become the "greatest" offender, making it abundantly clear that none deserve any praise. Closing things out is AI Could Become Sentient in the Next Few Years, opening with a thick, meaty riff before diving headfirst into fears of artificial intelligence taking over our jobs and lives. A huge gang vocal section chanting "ROBOTS!" feels destined to become a live favourite, providing the perfect send-off to an album that's impossible to take too seriously. MALAMUTANT have crafted an album that embraces everything fun about metal and hardcore. While many bands focus on bleak subject matter, they instead find humour in the everyday, transforming mundane situations into energetic, comedy anthems without sacrificing the crushing riffs or memorable songwriting. It's an album that's just as enjoyable blasting through your speakers as it will undoubtedly be in a sweaty venue surrounded by smiling faces. If this album is anything to go by, MALAMUTANT's live shows are going to be absolute chaos and that's exactly how it should be. For fans of RAISED BY OWLS, EVIL SCARECROW, PARTY CANNON. Score: 9/10 This Time It's Personal will be released on 31st July 2026. Words: Ciara Hicks-Evans Photos: Malamutant

Sweden has gifted many wonderful artists to heavy music over the years including MESHUGGAH, VILDHJARTA, THROWN and other renowned acts. ALLT had been a rising star from this scene, taking some of the technical and progressive stylings of VILDHJARTA and applying it to a more palatable metalcore sound. However, with their sophomore album Ataraxia, they have elected to move away from these elements that once provided great intrigue, now in favour of a much safer and sanitised alt-metal sound. ALLT being the Swedish word for everything means they have truly lived up to their namesake on this release. The opening track New Day begins with the unrivalled low-tuned barrage of chugs and harmonics against a backdrop of shimmering clean guitars that are the staple of the Thall sound this band has come from. Immediately however, the song takes a sharp turn into auto-tuned hip-hop style vocals, reminiscent almost of the stylings we have come to see from BAD OMENS or SLEEP TOKEN. Seemingly this sets the tone of the album to come, a collection of contrasts and contradictions cemented in the modern metalcore context we have all become quite familiar with. In similar fashion, the following track Omerta hits a number of stylistic features we would have heard from Nu-metalcore artists such as DARKE COMPLEX, leaning more into the hip-hop sounds of the 2010s, which is another surprising moment for ALLT. Not an unwelcome choice stylistically however, as few other artists of note have attempted to pursue this specific blend of sub-genres. As we delve further through the tracklist, we're shown more and more of Robin Malmgren's sheer vocal range, particularly in tracks such as Nevermind, Enemy, and Ultraviolence that seem to heavily focus on the softness of his singing amidst the tight and practiced technique of his screamed vocals featuring across the rest of each track. It’s clear that the intention for this album was to be more measured, composed and a reflection of personal experience, which can be appreciated in that regard, but it seems we now stand at a turning point in heavy music. We can continue down this path of safety, of countless layers of synth tracks and over-produced vocals, or we can take risks. Other artists that have released this month have shown it is possible to find success in the chaos and abrasiveness that comes with entrenching oneself in life and truly experiencing the sub-culture that metal comes from. All in all, ALLT has missed the mark on this one. A truly astounding group of insanely talented musicians who seem to have succumbed to trends and the need to stay favourable to the algorithm. That’s not to say that this album won't do well though. It’s very likely some of these songs will end up on notable Spotify editorial playlists and alternative radio stations, achieving this commercial success on the surface. However, there is a likelihood that these songs will fade into the ether, neither memorable or infectious enough to leave their mark. Score: 5/10 Ataraxia will be released on 31st July 2026 via Century Media Records. Words: Alex Boyd Photos: Allt

For the past 7 years, German based post-hardcore band FUTURE PALACE have consistently unleashed devastating, emotionally fuelled projects that have now connected with millions around the world, and they are yet to slow down with their upcoming LP Resurgence. The trio, consisting of vocal powerhouse Maria Lessing, guitarist Manuel Kohlert and drummer Johannes Früchtenicht, formed the idea of a band in 2018, wasting no time bringing this idea to life with their first single Maybe releasing in March 2019. The project burst into life, and, starting with 2020, every other year has seen a fresh full-length album from the three-piece, most recently the 2024 release Distortion, which garnered positive reception for its potent soundscapes. With the band having established a history of raw, melancholic themes and crushing breakdowns, existing fans will be prepared to experience visceral emotion throughout the listen, and FUTURE PALACE know precisely how to deliver. Resurgence can be described as a brutal conflict between hope and despair, conveyed through bursts of tranquillity and fury, timed expertly within the progression of the album to deliver a cohesive, satisfying listening experience, unfolding with opening track Deep Blue. This track skips the appetiser and pulls you immediately into a feast of vocal prowess, epic guitarwork and striking drum work, complete with a menacing production that helps materialise the track’s narrative of drowning in your own anxiety. The technical ability of each member is immediately on display, and the record’s exploration of depression and insecurities emerge with frightening honesty. The title track cranks the volume to the max, gifting Maria the opportunity to demonstrate what a phenomenal vocalist she is, control on top form and a voice rich in dynamic ability that is undeniably destined for metal. This is combined perfectly with harsh guitars and violent drumming in the choruses, which encapsulates the fierce might of FUTURE PALACE. Lyrically this song is a searing contemplation of sacrificing all that you have if you could restart your life, brutally validating such an aggressive execution sonically. Supernova, the next track, is a stunning exhibition of the trio’s collective talent, a seriously flavourful song with an infectious chorus, filled with endearing, glitchy production, vigorous instrumentals and topped off with enchanting, layered vocals. This track delves into much of humanity’s lack of empathy, with the voice desperately trying to understand how a person can be so fraught with anger that they abandon their own humanity. The subsequent tracks continue the immense energy and highly catchy choruses, but also introduce surprising moments of hip-hop influence, where Maria and the beat take more of a rap approach, which do feel a little awkward in the flow of the songs at first, but at the same time serve to build the atmosphere and effectively delivers the lyrics in a more subdued, yet volatile manner, spitting venom at the recipient on Disintegrate. The Shades possesses higher calibre drums and furious guitars that soar through your speakers and includes multiple rap verses that extinguish any doubts about Maria’s flow, with the delivery being cleaner here. Following this, Nixy quickens the pace, with a more relentless beat and rushes you into a vicious display of expert screams and standout drumming from Johannes, who hardly shies away from proving his ability to thrash with unstoppable energy. Thorns offers a moment of respite and chance to breathe before the intensity returns, a guttural cry for help, each performance oozing with love and passion for their art reflecting on the quality of the music. We continue to hear the strengths of the band seep through as we push into the later stages of the album. Ebb and Flow is a strong example of the captivating lyricism that keeps the listener in the feels, Nightfall is another track where Maria’s impressive vocal range is tested and aced alongside Manuel’s crunchy guitarwork, and Symphony of the Clouds incorporates gorgeous orchestral elements to illustrate the wordplay present, such as violins and piano, which seems to always elevate a heavy track when utilised well. Tidal Waves and Cyclone are the perfect tracks to close such an album thematically, the former being a highly sombre, tender track that offers a more hopeful, optimistic tone, with a stunning breakdown, ideal after almost constant forcefulness. Cyclone wraps up the album by restoring the heaviness, but rather than screaming in rage, the voice yells defiantly, determined to reject the pain, represented by the cyclone, and instead break free, leaving the listener with a sendoff that inspires and encourages the listener, while also being a kickass anthem. Resurgence feels like a true test of willpower, you will be rocked hard physically and emotionally through the mighty soundscapes and desolating lyricism, yet the payoff is incredibly gratifying, and by allowing yourself to truly connect with FUTURE PALACE you will understand that album is aiming to do far more than entertain, and we think they are on top form right now. You can catch FUTURE PALACE on tour at festivals across Europe and North America this summer, and on the Deep Blue Tour across Europe from late September through to November. Score: 8/10 Resurgence will be released on 31st July 2026 via Century Media Records. Words: Paul Cutts Photos: Future Palace

RADAR Festival is just around the corner, bringing an absolutely stacked lineup with it. GRAPHIC NATURE are among that list, one of our favourites in the metal scene right now, and they should be yours too! The band are playing on the Friday of the festival on the 31st of July, so here's some history behind the band and why you should definitely put them on your list. GRAPHIC NATURE are a nu-metal and metalcore fusion band hailing from Kent. Their music spans horizons in its exploration through the world of metal as they create their own distinct, unique sound within the ever-expanding world of metal. The band uses a range of electronic samples and computer-based beats merged with their own acoustics, creating tracks your body cannot resist. The band were formed in 2018, with their name influenced by a DEFTONES song of the same name. In their early career, the band shifted between genres and leaned more towards grind before landing on nu-metal, a genre the members all enjoyed and felt was right. Eventually, the band released their first single, Grit, landing themselves a range of opening slots for bigger bands very early on. Lead Vocalist Harvey Freeman described their music as “a mix of nu-metal and hardcore with some garage and drum and bass influences". The key to their sound is intense screaming vocals with a unique melancholic tone provided by Freeman. The distorted guitars and bass collide with a plethora of electronic samples and synths, creating ungodly noise - in the best way. To its core, GRAPHIC NATURE are a band that heavily advocate for mental health, not just in their lyrics that discuss their own struggles but also through speeches and statements during their live sets. It doesn't matter who you are, what's on your mind or how you identify; a GRAPHIC NATURE set is a way to escape it all. Their sets frequently gain a lot of attention and movement from the crowd with moshpits, stage divers and two steppers throughout. As everyone felt the shock of the pandemic, the band channelled this into new music, releasing it in 2022 in the form of their debut EP New Skin. Then, in 2023, the band released their first album A Mind Waiting To Die, which landed on both Kerrang! and Rocksound's best albums of 2023 as well as receiving the award for Best Breakthrough Album from the HMA’s. Rolling out records so close together is no easy feat; however, the band found themselves so railed up after returning post-pandemic they just had to keep writing. They've described their creative process by starting with the guitarist Pete Woolven writing riffs over a rough drum track, then merging them with previously written vocal demos from Freeman. The process is spontaneous and unscheduled, which they believe is their key to keeping their music realistic and raw. Since these releases, the band have had huge opportunities coming their way, having played shows with CANCER BATS, VEXED, THROWN and even opening for STRAY FROM THE PATH on their final tour in Europe. Bringing it up to the present day in 2026, the band released their new single Faceless as well as an announcement that they've signed with Century Media Records. It seems to be the start of a new chapter for the band and hopefully will come along with lots of new bangers. If you're looking for tracks to add to your RADAR Festival playlist, their latest track Faceless is a must-have, as well as their biggest tracks Killing Floor and Something I’m Not. Some deeper dive tracks that are in their regular setlist rotation are Locked In and Sour, tracks that also bring immense devastation live. Taking place in Manchester, RADAR Festival will be a hectic weekend, but GRAPHIC NATURE’s set is bound to be one of the best of the weekend; whether you’re a fan of the music or someone who just wants to move, it’s the place to be. Words: Amy Smyth Photo: Kieran Atkinson

Coming from the roots of London with a passion for finding his own way through the music industry HONGZA has finally released his deluxe version of his EP Coming of Age. The original EP was released in 2024 with five tracks but the deluxe version has an additional three versions of songs the fans already know and love. This deluxe version includes two new versions of his single Lovesick, with a new alternative version as well as an acoustic version you can hear the song completely reimagined with a brand new space surrounding it. The track Lovesick is a transcript on the euphoria of reuniting with a long distance partner and reigniting the feeling of falling in love all over again. It’s new version is much more spacious with its lyrics whispered and soft, it's more stripped back than the original. The track opts for soft electronic beats rather than the original upbeat acoustic drums in the first rendition. The vocals and synths now find themselves saturated and reverberated, echoing through the brain of the listener, it almost changes the context of the lyrics with the emotions the instrumental brews. She Changes The Weather is the other added track, also being reimagined with a new alternative version. Once again the upbeat drums and guitar are dropped to introduce a new synth filled experience. The genre of the song bends towards the lofi-pop end of the shoegaze spectrum, still keeping its roots but showing the track in a fresh light. The EP ends on the acoustic version of Lovesick, stripped back to just the soft lyrics and the strumming of an acoustic guitar along with decoration from another dancing alongside it. Each version of this song on the EP brings a completely different light to the track, this one very much highlighting the vocals and really giving a moment to hear the delicacy in HONGZA’s voice. HONGZA himself took on the producing and mixing role on these tracks to sharpen his skills and perhaps even produce for other artists in future “I threw myself into the deep end to produce and mix these songs myself,” he added “I’ve now started feeling confident enough to start producing for other bands, so watch this space.” The overall journey of the EP with all the songs together portrays HONGZA’s progression through these past two years, showing his new skills and his growth within the music industry. We hope to hear more from him soon! Score: 7/10 Coming Of Age will be released on 29th July 2026 via Killabop. Words: Amy Smyth Photos: Hongza

Darkwave act BLEACHED CROSS have found their way out of the murky underbelly of Chicago, and are ready to bring their brand of mournful, industrial sonic sadness to the masses with new LP Wrath. Originating as a file-sharing collaboration between Chicago and San Diego, the band became a fully fledged live act in 2020 and has not stopped to look back since. Now they’re on the cusp of releasing the heaviest work so far in their career, blending post punk, noise rock, industrial, dark wave, goth rock, and more into an enticingly melancholic mixture. Across ten tracks and more than half an hour, Wrath acts as an exploration of the process of grief as both psychological horror and spiritual transformation. The album’s narrative takes us through loss and guilt, death and love, and the struggles that come with all this emotion in the aftermath of tragedy. Ultimately, it describes the attempt to survive unbearable loss without being hollowed out completely. The band have explained the themes of the album: “Downfall and redemption of the self are themes explored over the course of ten tracks, while love’s ability to reverberate beyond this mortal coil is central to the album’s core, and the inflection point at which Bleached Cross offer us to consider how one can both come to terms with death, and heal in the shadow of loss.” Addressing the album as a set of individual tracks would feel like reducing them all to less than the sum of their parts. Wrath should be listened to as a whole, as a full experience that considers immensely heavy emotions and their outcomes. From the opening notes of track one, Thorn Crown, you can feel the intensity behind the music, and that never stops - whether it’s accompanied by seemingly relentless blasts of drumming, aching synth melodies, viscerally vulnerable lyricism, and everything else that you can find across the 35 minute experience of the album.Whether Torment’s more abrasive blackened sound is for you or the pure goth worship of Blood Moon is more to your taste, maybe the industrial tinge on Requiem might be the bit you love most or it’s the dusk-drenched sound of The Dark, the album will draw you in and you won’t regret it. Inside of 40 minutes, BLEACHED CROSS have made an argument to be one of the most interesting goth and goth-adjacent bands in the current soundscape of alternative music. Able to jump all over the place sonically and never lose a very recognisable sound, every new moment of anguish brings that bittersweet thrill you’ll be aching for all over again as soon as it’s over. Score: 8/10 Wrath will be released on 24th July 2026 via New Morality Zine. Words: Jasmine Longhurst Photos: Matty Gagui

After their big cover in April, PINKSHIFT were back in the UK! And together with HEART ATTACK MAN were ecstatic for their final show at the Signature Brew in London. Both American bands are quite familiar with UK crowds and have built a devoted fanbase eager for more shows. Since forming in 2013, pop-punk band HEART ATTACK MAN has made consistent efforts to perform in the UK, particularly from 2023 onward. PINKSHIFT has been performing pop punk and post hardcore music since 2019 and made their first trip to the UK in 2022. Supporting this co-headliner was SUNDAY BEST, an upcoming DIY emo punk band from London. From the moment SUNDAY BEST strode onto the stage in coordinated black and yellow outfits, it was clear that this performance would find new fans within the crowd. Their commanding stage presence immediately draws the audience closer to the barricades. Rather than simply performing to the crowd, the audience participation was a crucial part of the show. Alex Ekong had taught five words from their song Margin “till you cross me out". The call and response echoed throughout the room, creating one of the night's most memorable moments and reinforcing the sense of unity between the band and their fans. As the set gathered momentum, the crowd understood their mission. The floor erupted into a series of different pits, each matching the pace of the setlist. Chaos had gushed with hardcore style, circle and push pits. The highlight of this set came from the lead vocalist entering the pit alongside their guitarist. Surrounded by fans, he instructed everyone to crouch down before erupting together into a mass jump, instantly transforming the centre of the venue into one enormous pit. The set cemented a connection between the audience and SUNDAY BEST. Launching straight into Burn the Witch, PINKSHIFT wasted no time establishing their commanding presence. Their energy was infectious and immediately compels the audience to dance and collide. Fans responded with awe to every track; clapping in time, throwing themselves into energetic pits, and matching the band's intensity song after song. At the centre of it all was vocalist Ashrita, whose performance felt deeply personal. Every lyric was delivered with passion and it was impossible to ignore the raw emotion poured into each song. Their stage presence was magnetic, balancing aggression with vulnerability in a way that made every moment feel genuine. Softer tracks pulling heartstrings within the crowd and angrier tracks cutting through the venue with controlled screams. Every member of PINKSHIFT looked completely at home on stage. Their playful chemistry with one another fuelled the band's infectious sense of purpose. Following the chaos, the music settled into a more atmospheric moment with the audience swaying in unison. The emotional depth of the performance became crystal clear, creating a powerful contrast that lingered throughout the venue. Closing the set with Something More, PINKSHIFT closed their set with an emotional experience that left a lasting impression on everyone in the room. To close their final date on the co-headliner summer tour, HEART ATTACK MAN took to the stage with an eager crowd ready to make memories. Paul from PINKSHIFT was on double duty as he went on to perform with HEART ATTACK MAN in the same evening. There was no sign of fatigue as he delivered each track with the same precision. With a devoted fanbase, each song was cherished. Every movement felt purposeful with chaotic pits and a steady stream of crowd surfers making their way to the barrier. With mesmerising stage presence, Eric Egan catapults the energy within the room calling for more pits and singing alongs. Between songs, HEART ATTACK MAN shared their appreciation for UK crowds, commenting on how fans don't just sing the lyrics but the guitar riffs too. The crowd responded back accordingly as the memorable melody from The Gallows rippled back onto the stage. Their show is exhilarating and forces the audience to move freely. As the crowd poured out of the venue, excitement lingered in the air with anticipation already building for the return of both HEART ATTACK MAN and PINKSHIFT. SUNDAY BEST left a lasting impression, establishing themselves as a band well worth keeping an eye on. Words: Theviya R Karunaharan Photos: Libby Percival

Pulling up to the O2 Academy Brixton, you would be forgiven for shuddering at the extremely long snake protruding out of the entrance. But slithery bastard it is not, those are the attendees. The sheer number of people lining up outside the venue is actually staggering (in fact we measured it, by the time we got to the back of the line we were half a mile from the entrance). There’s a very, very good reason for the volume of attendees tonight; the ever-elusive BREAKING BENJAMIN have made a rare appearance on the other side of the pond, their first in ten years actually. This is all courtesy of the titular frontman, Benjamin Burnley’s fear of flying, something represented by the cover of their 2006 album Phobia (which is also a stock image funnily enough) of a man with angel wings hovering over a runway. This means that he’ll have to leave a week before the rest of the band, a testament to how much they’ve missed touring in Europe. RETURN TO DUST are the soundtrack to a lot of people just arriving into the venue, who are also instantly hit by the suffocating humidity that turns the whole place into the worst sauna you’ve ever been in. The band are way ahead of the curve too – they’ve all got their shirts off already. The first song we see them do is a strange cover of OutKast’s Hey Ya! which… really needs to be left alone by rock artists. It just doesn’t really work, they choose not to include the “y’all don’t wanna hear me you just wanna dance” part which perfectly illustrates the point of the song… so why bother doing the cover? A certain currently popular masked band are clearly spreading their influence. Once that’s done, they break into a quite grungy number before leaving the stage in all their naked glory. Shame that a few people missed it due to the sheer length of that queue. Tour staples CHEVELLE are the next to go on, contemporaries of Breaking Benjamin, having toured with them a number of times since the early 2000s. The three-piece have seen their fair share of success in recent years, being given more exposure now than ever before thanks to the TikTok algorithm. It is refreshing to see, as they were always something of an underdog champion in the golden days of nu/post metal. And it’s clearly made quite an impression as they emerge onstage to a rapturous fanfare. Their energy is absolutely explosive and their sound is loud enough to rattle all of the fake shrubbery inside the academy. In a perfect world, these guys would have their own headline show as well, as they are clearly more than capable of blowing the house down. They break into classics which get a real great crowd reaction like Send the pain below and The Red (shame they didn’t play Jars, though) and make light of the ungodly humid conditions saying that we “like it hot and heavy just like back in the US” – much like suffocating indeed. Their strength carries the day, and it is increasingly abundant as the set goes on that fourty minutes is nowhere near enough time to fully appreciate this band, and by the time they go you’re already wanting them to come back onstage and play a few more. After the sound desk lob a few nu-metal classics at the crowd to loudly sing along to, to a massive screech BREAKING BENJAMIN almost glide onto the stage. Last of all is Ben himself who is joined by his son, also called Ben. How many Benjamins are going to be breaking tonight, exactly? Little Ben is quite the young man, standing beside his father mimicking his every action and singing into a mic that is very clearly not actually being mixed into the overall sound (if you’re reading this Little Ben, we’re sorry), but seems to be hopefully training for taking over the tenure of the group when Ben senior decides to hang up the mic. We shall see. The first song is I Will Not Bow, and by god in heaven does the crowd know every single fuckin’ word to this song. At this point the movement in the crowd picks up, and the venue starts to veer towards unbearably hot. With the world warming up due to the general disregard for anything living and breathing by the large corporations of the world, it seems now imperative that venues prioritise air conditioning. Throughout the show people can be seen walking out, or even limping out, due to the inexplicable heat. Whilst everyone seems to take their shirts off in the pit, the stage turns red and they veer into Until The End, and once again everyone knows all the words. In fact, at times its damn hard to hear Ben (senior), as everyone screams their heart out so endearingly. Throughout the show, the band is tight, Ben is also on point, and the band seems to be playing as tightly to the schedule as they possibly can. The tone is all there, and every song is performed so majestically it’s as if they recorded all of their classic albums yesterday. Through Evil Angel, Dear Agony, and Crawl, they play as if they are at their zenith. The only qualm would be with the mixing, which seems to corrugate everything into an aural mud. Seeing A Perfect Circle play at the very same venue only a month ago, their sound was magnificent in comparison. The guitars could be punchier, Ben’s voice could be higher in the mix, and overall the whole thing could be louder. There were even times when taking out ear protection was the preferable choice. Everyone wearing a Halo shirt is practically exploding when Blow Me Away starts playing. As if by magic, we are brought back to one of the penultimate levels of Halo 2 where Masterchief is happily blasting away at both Elites and Brutes to this very song, a cultural moment so powerful no shooter has managed to capture its magnificence since. People recklessly throw their shirtless selves around the moshpitswith abandon, lost in the hype moments and aura displayed before them. While it would be nice to have a screen playing the Halo mission (or modified Doom map… for some reason), all we get here in London is a flag. Bit of a shame really. But it definitely gets one of the largest fan pops of the night. We then get some emotional numbers, Follow, Angels Fall, and You make the tears well up, or is it sweat? But when they shift into So Cold, the song that took them from big to massive, the ante goes way up. This song had the whole year 2007 in a chokehold, some of you were babies in your nappies then, but trust me, people on the internet were putting this song into everything. The staying power of this song is evident by the reaction once more, not deterred by losing a good 70% of their body’s water supply to sweat, the crowd continues to scream the words right back to Ben, who even begins to crack at the end. Hard to blame him, there is a deep and vicious pain behind this song that only Ben seems to fully appreciate. They quickly follow it up with another one of their bangers, Polyamorous, by this time a good chunk of the crowd was shirtless and waving their clothes around wildly. It’s almost enough to convince you that it was the peak of the 2000s outside of these walls. After Dear Agony serves up a similar brand of angsty majesty, Big Ben and Little Ben do some talking. It sounds like Big Ben is planning on coming across the sea every TWO YEARS now! Yay! And Little Ben also gets his chance to banter. He states “you know that whispering in the next song before it gets real heavy, that’s my voice” with great pride, to which the crowd begins to chant his name. Must have been one heck of a moment for the little fella, really wholesome stuff. It segues into one of their newer songs; Something Wicked, to which Little Ben really wasn’t kidding about that breakdown, seriously heavy stuff. It goes down a storm like all the other songs, and it hits you just how consistent this band has been through the years. They drive through “Breath”, other new song Awaken, Failure and Dance with the Devil with a very economical speed, and even through the intense heat the crowd never lets up. After some words from Big Ben who is very complimentary to the city of London as the last stop of their European tour, he very earnestly states that he cannot wait to see us again before “that” riff begins… That’s right, it’s time for The Diary Of Jane, which is pure and utter nostalgic joy from start to finish, which ends all too quickly at a blistering three minutes. They really should have gone prog and extended the length to seven minutes because nobody in the O2 can get enough of it. And just like that, the show is very obviously over – there is no following that up. They don’t do the “peek-a-boo” type encores either, which is a very welcome change. They came, they saw, they conquered. And as we all breathe in the fresh and cool air soaked in our own sweat, we hope that the wait is not as brutal as before, as this band is still on the tippy top of their game to this very day. Words: Kiarash Golshani Photo: Breaking Benjamin