RED METHOD have never been a band to shy away from the darker side of life, and As In Life might just be their most focused release yet. After a turbulent few years behind the scenes, this six-track EP feels like a reset button. It's heavy, emotional and unapologetically bleak, but underneath all the aggression is a band that sounds more confident in who they are than ever before. Things get underway with Counting Corpses, and it's one hell of an introduction. Built around crushing grooves and huge riffs, the track wastes no time making its intentions clear. Lyrically it's a savage look at greed, power and humanity's destructive nature, but it never comes across as preachy. Instead, it feels like controlled chaos, setting the tone perfectly for what's to come. That intensity doesn't let up with Dispose of Me. It's easily one of the most frantic moments on the EP, with pounding rhythms and vocals that sound genuinely unhinged. There's a rawness to it that makes the song hit harder, proving that RED METHOD don't need to rely on constant breakdowns to sound heavy. The atmosphere does just as much of the work. Fans will already know All for One, None for All, but it still earns its place here. Jayant Bhadula's guest appearance adds another dimension to the track, blending melody with sheer aggression in a way that never feels forced. It's one of the EP's biggest hooks without sacrificing any of the band's bite. If there's one song that really sums up where RED METHOD are heading, it's Becoming the Sickness. It feels like the perfect balance between the band's older material and this new chapter. The riffs are massive, the chorus sticks with you, and there's a maturity in the songwriting that stands out across the EP. It doesn't try to reinvent the wheel; it just does what RED METHOD do already, only better. Detonate keeps the energy high with another groove-heavy assault, refusing to give you much chance to catch your breath before the EP takes a different turn. Closing track The Revolting Self strips things back into something much darker and more cinematic. It's an unexpected ending, but one that works brilliantly, leaving an unsettling feeling that lingers long after the final note. What makes As In Life work so well is how genuine it feels. The themes of grief, isolation and mental struggle aren't there for shock value, they're woven into every riff, every lyric and every vocal performance. It's an intense listen, but never one that feels overdone or self-indulgent. At just six tracks, the EP doesn't overstay its welcome either. Every song has a purpose, and there's very little filler to be found. It also feels like a natural progression from For the Sick, showing that while RED METHOD's sound is evolving, they've never lost sight of what made people connect with them in the first place. As In Life isn't just another heavy EP; it's a reminder of why RED METHOD continue to build such a loyal following. Aggressive, emotionally honest and packed with some of the strongest material they've released to date, it's a confident return that leaves plenty to be excited about for whatever comes next. Score: 9/10 As In Life will be released on 17th July 2026 via Depraved Records. Words: Jack Norris Photos: Red Method

Serving up a portion of Denver metalcore comes UNDER AUBURN SKIES, the latest of a long line of Colorado-based core acts - with their upcoming EP, Diminisher Of Hope, all but upon us. Drawing heavily on the sounds of bands like POLARIS and MAKE THEM SUFFER, the EP treads the thin line between relatively straight-forward melodic metalcore and the more complex aggressive end of the genre, to forge an end project that manages to have fingers in both pies. Across five songs and a small intro, the act show off the breadth of their current ability - going from the slow and ominous introductory moments on First Blood, we’re first properly introduced on World-Eater with a technical riff underpinning a colossal set of vocals. With moments of calm interspersed by some deathcore-influenced heaviness, the band aren’t messing around here. The Pale King opens with a brief space of melody before we’re crushed by the weight of the guitars turning up to 11. With chugging guitars and pummelling drums, there’s no room for any relaxing by this point on the EP. Gravemind and Dathomir continue in the same vein, with technicality and heaviness going hand-in-hand with the occasional break to gasp for air amongst ominous breakdowns. Finally, bringing up the rear comes the longest track on the record, Final Sin, and with its eerie beginning running into a multi-guitar riff in the vein of proper mid-2000’s metalcore it makes for a very fitting finale. This EP is a great effort from a band who are dominating their local scene, and whilst its relative homogeny could be improved upon it is still a commanding release that showcases an incredibly technical act, with bags of potential. If UNDER AUBURN SKIES can go even better on the next release, there’s no telling where it could take them. Score: 6/10 Diminisher Of Hope will be released on July 17th 2026. Words: Jasmine Longhurst Photos: Gustavo Diaz

Emerging from the fertile underground of Bogotá, Colombia, comes the burgeoning crossover heavyweights POISON THE PREACHER with their latest EP Things I Want. The four track release is inspired by ambition, obsession, and unattainable dreams, and has the heaviness to discuss all of those topics with all the gravity necessary. The EP’s artwork mirrors those themes as it features a mutilated Daruma doll, a traditional Japanese symbol of perseverance and fulfilled goals, but with one eye torn out in a twisted version of the original. “The EP talks about broken dreams, toxic purposes, things that you would give your entire life to, but they may never become true,” vocalist/guitarist Juan Pablo Carrera explains. “It’s a testament to obsession and ambition, in both a good and a bad way. It’s okay to have a purpose, to have a dream that you want with all your heart, but you can’t let it consume you and destroy your life.” Opening on the title track, there’s no fat to trim as the hardcore crew blast into Things I Want with a vengeance. Combining their love of hardcore with their love of metal works perfectly, as this whole release shares elements of both without compromising any essential elements - the attitude and structure of hardcore pervades everything, but with the riffs and violence - and sometimes the vocals - of death metal.With a feature from Sydney’s hardcore heroes in SPEED, it makes for an immense start to the EP. Track two of the four, Last Time I’ve Seen the Sun, provides some influence from traditional Latin American music and instrumentation as it opens with an upbeat and sunny sample of the same, but then sharply detours into a hard and fast riff that truly kicks off the song. With a headbanging breakdown that’ll get anyone gurning, this is a blast and needs to be danced to. As we reach Ran Out of Options, the death metal influence creeps up higher on an icier opening that has the weight of glaciers crushing through it, and doesn’t let up until the shockingly speedy finale Chicken Out changes into sixth gear to race to the finish line. With breakdowns and squealing guitars galore, it’s a fantastic finish to a stellar EP. Being the first band from Colombia to be directly booked for both Wacken Open Air and Obscene Extreme is no mean feat, but someone needed to be first - and with an EP as strong as this, it’s clear to see why it was POISON THE PREACHER. Their hard-hitting hardcore is full of energy, well-written, and overflowing with groove. Score: 8/10 Things I Want will be released on July 17th 2026 via Seek and Strike Records. Words: Jasmine Longhurst Photos: Poison The Preacher

Everyone's fresh out of 2000 Trees festival this past weekend, with a lineup packed to the brim of every alternative genre under the sun. If bands haven't been busy playing to the sweltering masses, they've been busy putting out these banger singles. Here's what we've been listening to lately. Against The Current - Always You & I Always You & I sees AGAINST THE CURRENT embrace a cinematic, transcendental sound in a romantic rock ballad exploring themes of eternal devotion and fate across time. The band's third single from their forthcoming album follows Heavenly and Dead Man Walking, opening with a soft guitar that steadily propels the track forward before powerful drums carry it into a grand, almost orchestral chorus. Chrissy Costanza's vocals cut through like a knife, showcasing the emotional depth and power of her range while remaining perfectly balanced with the instrumentals throughout. Haunting, emotional and beautifully crafted, Always You & I continues the darker trajectory hinted at by its predecessors, setting expectations high for the long-awaited full record. Fans won't have to wait long to experience it live, as AGAINST THE CURRENT return to the UK and Europe with their Till Death and Back Tour this autumn. Words: Lorena Hurtado Amon Amarth - Upphaf AMON AMARTH's Upphaf brings a surprising twist, trading the band’s trademark crushing riffs for an acoustic ballad that immediately stands out. Embracing its Nordic roots with the poetic Edda in hand, it mixes ancient tradition with modern songwriting, creating a death metal ballad that feels both intimate and epic. A timely quest to reconnect with one another in a world shaped by technology, distraction, and dissociation. The song serves as a bridge between The Great Heathen Army and the band's upcoming thirteenth studio album, which has been teased as their most diverse release yet. The single also arrives ahead of their 2026 European headline tour with Orbit Culture and Soilwork, making it an exciting new chapter for longtime fans. Words: Lysandre Pons Boston Manor - Drowned In Gold (Acoustic) Taking a stripped backed approach to the energetic track, Drowned in Gold, BOSTON MANOR are celebrating their 10 year anniversary of Be Nothing. With more delicate instrumentals, the vulnerability within the lyrics are spotlighted. Henry Cox offers his clean vocals that embodies the darker themes of feeling lost and overwhelmed. The additional atmospheric instruments to the bridge elevated the sensitivity within the track. With this acoustic re-release, fans are looking forward to their 10 year anniversary tour of Be Nothing. Words: Theviya R Karunaharan Chalk - Get Fucked Thumping drums collide with blaring synths, Ross Cullen's vocals reaching a husky low in pitch as the instrumentals and message progressively build to a pulsating industrial rhythm, coarse yells of "Get fucked" echoing out forcefully. Irish industrial/EDM band CHALK are back with their signature sound and take on life's expectations, particularly the mundane. Get Fucked feels like a love story at first, before descending into an endless cycle of go to work, get a new home, get divorced, Cullen singing he "see[s] the light" in a way that suggests he already sees the anticlimactic end before the start, the instruments increasing in volume and reflective chaos of his defiant shouts, ending in screeching vocals and synths. Words: Julia Stark Chat Pile - PEN I S MALL Mirroring their previous album cycle, CHAT PILE have once again delivered in spades on the second single. The title alone should be enough to pique anyone’s curiosity, but once you look further, PEN I S MALL is one of their most brutal songs yet, and it’s hard to point to what the most intense aspect about it is. It could be Raygun’s demented vocal performance, which on paper seems par for the course for him, but in practice it’s like nothing he’s done before. Or maybe the section about halfway in, which features him coughing over a monstrous sludge breakdown. It’s hard to say really - some CHAT PILE songs are fun, some are arguably even catchy, but this stands in stark contrast, being the rawest they’ve sounded since 2022 track Slaughterhouse. An extremely exciting cut from the upcoming Who Loves The Sun. Words: Noise Leonard Citizen - I Can See You From Here As the release of CITIZEN’s sixth album Halcyon Blues creeps up, they’ve exploded this week with the release of their third single, I Can See You From Here. Providing a much more energetic feel than the two previous singles, starting softly and picking up around the 1 minute mark, holding energy in the vocals through the track until the melodic instrumental that creates a peaceful moment in the latter half of the song, pulling the listener back to the more subtle sounds of the previous single, Halcyon Blues. The Ohioans are heading out in October on an incredible UK/EU tour to celebrate the release of their upcoming album. Words: Kei Wells Diva Bleach - clean Releasing a new single only 3 weeks after your last is a brave move from DIVA BLEACH but if their recent form is anything to go off of, then it might be a genius move. The duo have released five singles since February 2025, but the bravery comes from single number five, electro pop-punk track clean, because it’s their only solo venture. Each single has been a collaboration (special shout out to their track One More Time with NOT MY WEEKEND, who have also recently dropped a single) but clean shows what DIVA BLEACH can do on their own. It’s fun, catchy and over just in time to make you yearn for it to start again. It will be on repeat for the foreseeable. Words: Jade du Preez Eva Under Fire - Villainous (feat. Maria Brink) A fierce dystopian call has been created with EVA UNDER FIRE's Villainous featuring MARIA BRINK. This fast-paced track blends crushing riffs, soaring melodies, and an empowering message of resilience. The singers’ chemistry creates a powerful dynamic that drives the song's emotional intensity, paired with aggressive instrumentation and a memorable chorus. Lyrically, Villainous is about embracing your strength, refusing to be defined by others, and turning adversity into confidence. The single also introduces the band's new album of the same name, released in July 2026, and they will spend the year touring extensively, bringing their high-energy live show to audiences across North America while continuing to expand their growing fanbase. Words: Lysandre Pons Gilla Band - Placeholder It’s been a while since we heard from GILLA BAND, hasn’t it? Most Normal released in 2022 now, a clear highlight of 2020s noise rock, with clean production that somehow never takes away from the intensity of the performances. Thankfully, the wait has been worth it, as both singles for the upcoming Pugnello have been astounding. Their most recent effort Placeholder’s mechanical, ebbing percussion permeates through the entire track, as Dara Kiely wails over the chorus. The polyrhythmic stabs of guitar and bass in the second half have a hypnotic quality that leave you totally entranced until the abrupt ending. As bass player Daniel Fox said in a recent interview with Pitchfork, “The trick is to be louder than everything else”. Right on. Words: Noise Leonard HANABIE. - Life Is Short, O Brave Girl HANABIE.'s Life Is Short, O Brave Girl is another exhilarating showcase of the band's signature "Harajuku-core" sound, seamlessly blending blistering metalcore, electronic flourishes, and infectious pop melodies. Packed with explosive breakdowns, rapid-fire vocal switches, and an uplifting chorus, the song captures the excitement and determination of chasing your passions without hesitation. Despite its chaotic energy, every element feels purposeful, highlighting the quartet's remarkable musicianship and creativity. Serving as the opening theme for the upcoming anime Young Ladies Don't Play Fighting Games, the track reflects the band's own experiences growing up in an all-girls school, adding a personal touch to its empowering message. Words: Lysandre Pons Initiate - Numb The Pain First came disbelief, then came anger and now the despair creeps into INITIATE’s discography, as they gear up to release their new EP With Love // With Rage this August. As with any cycle of grief, the most self-aware band in hardcore has taken the time to reflect on its rugged edges, polishing their new single Numb The Pain into a brilliant diamond of cathartic aggression. There’s a real intention with this new blackened sound, which adds a whole new dimension to their hardcore roots. In this, it feels like the South California collective has truly found its sparkle, and in its pain comes great pleasure. Words: Amber Brooks Kiss The Scientist - Life You Want Blending soaring melodies with post-hardcore intensity, Life You Want showcases KISS THE SCIENTIST at their most emotionally compelling. The track balances driving guitars, atmospheric textures, and passionate vocals to explore the tension between chasing expectations and staying true to yourself. Its dynamic arrangement shifts effortlessly between introspective verses and a powerful, anthemic chorus, creating a song that is both vulnerable and uplifting. Rather than relying on genre clichés, the band crafts a sound that feels fresh while maintaining the emotional depth that defines their music. Words: Lysandre Pons KNOSIS - Kushizashi Ryo’s gone rogue with Kushizashi. Named loosely after ‘the act of skewering,’ the KNOSIS frontman has created a metalcore kebab layered with plunging breakdowns and a total loss of control. There’s a real mean streak running through this track, the same kind that would get those damaging gutterals locked up in Arkham Asylum, referencing the Joker’s menacing rise to infamy. It’s definitely more ICE NINE KILLS than something truly sinister, but that does not mean that it loses its edge. The guts of this record are cut on some cold rap sections, exposed and experimental to the wicked innovation that the band push with each new release. Words: Amber Brooks Mayday Parade - Lying to Myself MAYDAY PARADE blends heartfelt lyricism with soaring pop-punk melodies with Lying to Myself. The song explores the struggle of denying painful truths and the emotional toll of self-deception, delivered through sincere and vulnerable vocals. Driving guitars and a catchy chorus provide the energy fans expect. The track feels both nostalgic and refreshingly modern, reminiscent of the band's early work. Its relatable themes of regret, acceptance, and personal growth make it instantly resonant, proving that the band stays true to the emotional honesty that has defined their music for nearly two decades. The track serves as the latest preview of Sugar, due July 24th, the final chapter in MAYDAY PARADE's ambitious Sweet, Sad, and Sugar trilogy released in celebration of their 20th anniversary. Words: Lysandre Pons No Cure - My World In Flames Relentless from its opening moments, My World In Flames is an uncompromising assault of metallic hardcore, delivering crushing riffs, punishing breakdowns, and unfiltered intensity from start to finish. NO CURE channels raw frustration into a track that feels both chaotic and meticulously crafted, with venomous vocals amplifying themes of anger, isolation, and personal struggle. Rather than relying solely on brute force, the song incorporates memorable grooves and dynamic shifts that keep the aggression engaging throughout. The single arrives ahead of the release of the band's highly anticipated debut full-length album, I Hope I Die Here, due August 21st, while preparing for a busy touring schedule that is rapidly expanding their reputation as one of hardcore's most exciting rising acts. Words: Lysandre Pons Not My Weekend - Over My Head When he’s not presenting the popular The Mean Time podcast, Patrick Gilchrist fronts LA based pop-punk group NOT MY WEEKEND, who in recent years have dropped bangers with the likes of Kellin Quinn and Brian Butcher of THE HOME TEAM fame. Going out on their own this time, NOT MY WEEKEND brought the quintessential pop-punk goodness they’re known for but with a more polished and assured sound that has been escalating with each new release since their last album in 2023. Clear storytelling, a chorus solid enough to tickle the TikTok algorithm and a nostalgic sound that ties this track together with a neat bow. If recent successes are anything to go off of, it might just be their weekend after all. Words: Jade du Preez Ómoia - The Quiet Place Still in their infancy as a band, Leeds based ÓMOIA are fast proving themselves as hardhitters in their niche emo/post-metal genre, their steadfast commitment to giving a voice to queer history and mental health awareness backed by a wall of sound. Their latest single The Quiet Place hits from the off with a sturdy guitar riff that invites in a robust drumbeat, the rhythms stepping back briefly to give space for singer Cerys Simmons to reach soaring heights with their melodies, the track racing forward into a fever-pitch breakdown of Simmons' primal screams and instruments folding into a darker, post-metal sound. Already hailed as their heaviest work to date, The Quiet Place feels like a promise that ÓMOIA have barely scratched the surface. Words: Julia Stark Stay Dead - Electric Mistress (ft. Matt Pike) Fueled by thick, sludgy riffs and a gritty attitude, Electric Mistress is a powerhouse collaboration that perfectly captures STAY DEAD's heavy sound while making the most of MATT PIKE's unmistakable presence. Blending stoner rock, doom, and classic heavy metal influences, the track delivers crushing grooves, gritty vocals, and a relentless energy that never lets up. The track comes as the latest single from STAY DEAD's upcoming debut album, Kicking & Screaming, due September 5th, as the band continues to establish itself in the heavy rock scene. Meanwhile, Matt Pike remains busy touring with HIGH ON FIRE in support of their Grammy-winning album Cometh the Storm. Words: Lysandre Pons The Filthy Souls - Friends Like These Walking away has never sounded so uplifting as it does on THE FILTHY SOULS' latest single, Friends Like These. Led by frontman Dave Green, the band turns the fallout of broken friendships into an infectious indie-rock anthem full of summer spirit. Bright guitars take centre stage, while Matthew Wiggers' bass and Logan Baudean's drums provide a solid foundation for Green's melodic vocals, creating an instant earworm. Evoking the feeling of a sunny drive with the windows down, Friends Like These pairs its warm, carefree atmosphere with just enough edge to stop it from ever feeling too sweet. One you'll want on repeat. Words: Lorena Hurtado The Linda Lindas - Closer (ft. Hayley Williams) With a previous Universal studios trip and joining THE LINDA LINDAS at their London show, the band are no strangers to HAYLEY WILLIAMS. Whilst growing up is inevitable, one of life's greatest challenges is staying present while feeling as though time is constantly racing by. The track Closer embraces the ever evolving sound of THE LINDA LINDAS. The opening of muted power chords and a steady drumbeat before erupting into a surge of driving guitars and energetic drums. The chorus, featuring HAYLEY WILLIAMS, is layered with hazy backing vocals that embody the nostalgic essence of early-2000s pop-punk. With their upcoming album, Got To Get Out, THE LINDA LINDAS have fans ecstatic to embrace the band's evolving sound. Words: Theviya R Karunaharan Westside Cowboy - Pin Up Boys Combining the attitudes and aesthetics of the modern UK scene with strong influence from classic American indie outfits like MODEST MOUSE, WESTSIDE COWBOY are really on the come-up as of recently. Kick Stones (The Boys), the first single for their upcoming debut album was one of their finest tunes yet. Second single Pin Up Boys, on the other hand, feels different. It’s a much shorter cut, more akin to the material on their first EP, and clearly much less ambitious. That being said, the band’s personality still comes through on here in the lyrics, and the way the vocals coalesce during the chorus. It’s plucky, straightforward, and well worth your attention. Words: Noise Leonard YAO - 777 (ft. Awich, CHICO CARLITO, ONE OK ROCK, Paledusk) If your favourite track from ONE OK ROCK’s most recent album Detox was C.U.R.I.O.S.I.T.Y and you found yourself yearning for more of that PALEDUSK sound with Taka’s powerhouse vocals then you’re in luck. YAO is here to scratch that itch for you. The Japanese supergroup, made up of AWICH, CHICO CARLITO, ONE OK ROCK and PALEDUSK, effortlessly fuses high energy J-metal with the hip-hop elements of two of Japan’s most exciting musicians. No one walks away from a PALEDUSK track feeling like something was missing, the reigning kings of maximalism metal are no strangers to throwing the kitchen sink at a song until it feels like there’s nothing more that could have been done, and that same energy shines through in this project. Between the killer rap, face melting breakdown (thank you DAIDAI), gang vocals and guttural screams, you will feel satisfied no matter what you needed to get out of this track. Words: Jade du Preez

In the Birmingham music scene, something has been brewing for a long while. In the birthplace of heavy metal, a new generation of musicians has been on the rise, with small independent venues popping up across the city at a steady rate since COVID and more artists stepping out onto the scene to fill them up. Blending hardcore with punk, pop, jazz and metal, FLESH CREEP are easily amongst the best and brightest out there at the minute, and their new EP Glimmer is not shy about demonstrating that to anyone within earshot. The EP starts with enough energy to power a small neighbourhood. Flake explodes into existence with a breakdown and chugging guitars that drag you straight into the chaos – they’re not wasting a second of the EP’s twelve minute runtime here. Written shortly after attending a Palestine benefit show in 2024, where artists SCOWL, PEST CONTROL and SPEED performed whilst boycotting Download festival, the track explores the band’s utter disdain for their political opposition. The "Elon suckers" and "dark knights of the comment section" are enemy number one, and the spoken-word, sarcastic delivery in the verses is as playful as it is demeaning to their enemies. FLESH CREEP don’t always play exclusively in a hardcore bubble, but everything about this track makes it clear that they could if they absolutely wanted to. But it’s a blessing that they don’t. Lead single Bubblegum trades their hardcore stylings for a straight-forward anthemic punk song, and It sounds like the bratty, hyperactive descendant of MAX RAPTOR and LOWER THAN ATLANTIS, but with a louder bark and a deeper bite. Even with less of a focus on hardcore elements though, don’t worry – if you’re so inclined, it’s definitely still possible to two-step to this one. What’s so impressive about Glimmer is just how good it sounds. Arriving two years after the release of their debut album We Need You To Bleed, the sound design has taken a noticeable step up, with each part feeling bigger, bolder and blended much more seamlessly, whilst still keeping the same chaotic and boisterous personality that has been winning them favour in their native Birmingham hometown and beyond. It’s in this glittery new production quality that the band are able to reach their potential – whilst they shone before, it’s incredible to finally hear them sounding just as explosive as they truly are. Of course, signing to Sony subsidiary Music For Nations this year has likely had a hand in helping the band achieve the sound they deserve, but their polish and development is a testament to their talent and their drive as artists. They really benefit from this improvement on tracks like closing track Optics, where the band are able to conjure up an atmosphere fit for an arena on a grungy, meaty guitar line and thundering drums. In the time since their debut album has released, the band has supported artists such as CHAT PILE and WITCH FEVER, headlined Dawn Fest and Spctrl Fest, and performed in charity shows to raise money for Palestine and trans healthcare. Their rise has been gradual so far, but with Glimmer in their back pocket, it’s not hard to daydream about their potential for more. Glimmer is a tantalising look into their future, and it’s a more developed and mature offering than their debut – but most of all, it’s just a damn good EP. We are ready for FLESH CREEP to take over. Are you? Score: 8/10 Glimmer will be released on 17th July 2026 via Music For Nations. Words: Ellen Lovell Photos: Flesh Creep

It takes patience to crush rough coal into diamonds sharp enough to break skin - almost a year from entering the studio to record, metalcore heavyweights BOUNDARIES have transformed their rage and pain into their eviscerating album Yearning: the unbeautiful after, the first album released under their new record label Sumerian Records. Having already teased tracks on their festival slots, listeners have been given an insight into the raw energy fuelling this album, the rampaging instruments giving heft to the decimating lyrics. Yearning: the unbeautiful after takes aim at the heavy music scene, the band inspired by the sense that, “As more time passes, heavy music continues to lose its teeth. This genre is supposed to be threatening; it should have an edge and make you feel something. We tried to create an album with urgency” [frontman Matthew McDougal]. Beyond this anger that sees them pushing the confines of metalcore, there’s a grief that seeps through following tragic losses within the music scene - rather than ignore it, BOUNDARIES embrace that grief and express it through their second released single Death will follow me, channelling the emotion borne from personal loss and the existential rage that life is violent and owes us nothing. With a core element of unforgiveness spiralling out to the turbulent emotions that spark from this, BOUNDARIES have reached a new pinnacle with this album. A running cassette tape sound explodes into opening track Malconscience, its melody rising and falling for a palindrome effect and making it undisputable from the off that this is an album of towering aims that cannot be underestimated. Skies cast amber black was the first track release and glimpse into the heavy approach BOUNDARIES took to this album, McDougal’s guttural screams of the track title ringing out over Cory Emond and Cody Delvecchio’s prominent riffs, the track melding into May this pain never leave’s hooks and Tim Sullivan’s pulsating drums and insistent cymbal work, as he performs with bassist Nathan Calcagno and both add unique vocals to the crushing rhythms and lead vocals. Torn wide open shifts gears from a muffled, slower intro to an absolute frenzied force of instrumentals that breaks momentarily for McDougal’s scream of “torn wide-fucking-open”, a look into the sentiment behind the song as well as a clear call for mosh pits at live shows, the track dropping to a haunting vocal piece from Alex Reade (MAKE THEM SUFFER) as a bass undercurrent turns into a pulsing laser synth before the close. Bitter ash, bitter love sees the entire band drop their pitches and McDougal reach down for a truly primal scream that comes from the pit of the stomach, the heavy feel of the track lightening slightly as it falls away into Unequal whole’s relentless guitar riffs and drum beats, brief guitar solos bringing a heavy metal aspect to the rhythm that takes no prisoners. Death will follow me reaches for an unrelenting velocity just within its grasp, the contrasting vocals embodying the back-and-forth turmoil of unspent grief as it asks “what if I can’t move on?” and the terrifying uncertainty of being chained to that grief forever. Dropping straight into The leper’s bell, the band continue the exploration of existential dread over crispy beats, soaring riffs, and dual wielding of backing vocals from Calcagno and Sullivan that add gravitas to the track and ultimately the album in its entirety, before it fades into another muffled intro on Crowned and crucified and the sudden eruption of unflinching drumbeat, the track reaching a fever pitch on Landon Tewer’s (THE PLOT IN YOU) breakdown in a furor, before it drops into an old-timey soundbite of calming voices. Wasted angel is one of the shorter tracks and perfectly demonstrates the urgency the band were aiming for on this album as they wait for no one and race along like there’s no time in the world to get across their raw emotional. Evidence of extinction falls back from the urgency incrementally as the band launch an assault on their instruments and on the existential dread that pervades everything on the album, McDougal’s screams of “you have forgotten” layering to the point of being pure noise. Nothing, gathered focuses on the guitar hooks prevalent throughout the track as a main facet and in the background as a “pay attention to appreciate fully” moment, the vocals giving all the yearning of the album title as the trio of singers verbalise their hollow feelings and their wish for something more. Only endless is potentially their biggest single release drawing huge crowds to sing-along to a song that was in its infancy when they performed on the Dogtooth stage, the hardcore element in contrast to the clean backing vocals and soaring, choral vocal runs as the instruments weave between paces and intensity, before we come to the finale in title track Yearning: the unbeautiful after, McDougal’s fear of having to prove their worth in the lyrics “what if this the closest that I ever get?” roaring across the pulverising beats and thunderous riffs as we gradually fade into the ether of nothing and everything. Score: 8/10 Yearning: the unbeautiful after will be released on 17th July 2026 via Sumerian Records. Words: Julia Stark Photos: Sarah Holick

From humble beginnings recording in bedrooms to cultivating a sound that shouts emphatically across genres, RILEY! have defied their red state belt origins to bring progression, vulnerability, and hardened edge in their debut EP To Live And Die In The American South. RILEY! channel their life experiences, the feelings of being left behind and the contradiction of wanting to be seen whilst hiding away from the world, into classically Midwest Emo melodies with explosive drums and a hardcore edge to the riffs. RILEY! demonstrate a tireless grit and galvanising sound that has seen them undertake headline tours and support slots with HOT MULLIGAN and SATURDAYS AT YOUR PLACE, their tenacity seeing them fast track from underground cult-favourites to the next wave of genre pioneers. There’s an unmistakable soul within To Live And Die In The American South that speaks to all young musicians aspiring to start a band with their best friends, the essence of yearning for something better complemented by their homegrown rhythms and impactful lyrics. Dealing a critical hit from the opening muffled notes and raw screams, Roll For Initiative delivers compact but hefty riffs from vocalist/guitarist Ryan Bluhm as their rending screams explore existential dread, while Kris Gallardo keeps a running bassline by their side and Cesar “Izzy” Izaguirre holds us grounded with their steely beats. Another Round Of ‘Ritas, Please seems to have a double entendre to its emotive lyrics, the core theme centred on feeling left out and left behind veiling the EP’s already established existential crisis in the opening lyrics “I was thinking I was gonna dip out soon”. Tades Sullivan (HOT MULLIGAN) lends forceful yells to the fervent track echoing Bluhm’s cynical acceptance “if I were you I’d hate me more”. Maintaining the reflective sentiments that ripple through the EP, Two Bucks centres a strong focus on its rhythms and guitar licks that give emphasis to the heavier lyrics, feeling slightly restrained for the intro before the chorus catapults in with Eric Egan (HEART ATTACK MAN) adding breadth to the gradual build of blended emo, punk, and indie aspects. Backseat Bartender leans back into the emo roots that inspire RILEY! whilst balancing the lyrical intensity against the pulsing beats and riffs, ensuring every facet of the track gets its moment in the sun, Gabe Wood (SATURDAYS AT YOUR PLACE) bringing a solid foundation to the vocals on the steadily rising breakdown of clashing instrumentals. 73 Summers closes out the EP with the rawest parts, stepping away from the frenzy of the other tracks into a simpler rhythm and beat that combines with Bluhm’s vulnerable words to give a gravity to the song’s themes of grief and life’s brevity. The instruments increase in power as if trying to make you see for yourself how fleeting everything is and how you must do something about it, or perhaps the rise in volume is an attempt to drown out the helplessness. To Live And Die In The American South is an EP built from RILEY!’s own experiences and observations, yet invites you to find an affinity within the words and melodies, to match your own feeling of loneliness to theirs and know you’re not alone in this landscape of turmoil. Score: 8/10 To Live And Die In The American South will be released on 17th July 2026 via Pure Noise Records. Words: Julia Stark Photos: Riley!

Twenty years into their career, MOTIONLESS IN WHITE could easily have settled into a victory lap. Instead, Decades finds the Scranton outfit doing the exact opposite. Their seventh studio album embraces everything that has made them one of modern metal’s most recognisable bands, while confidently pushing further into industrial, electronic, and gothic territory. Rather than just looking backwards, Decades celebrates the band’s past by proving they’re still evolving, refining the sound they’ve spent two decades building without losing the heart that got them here in the first place. That confidence is apparent from the opening seconds. Title track Decades explodes into life with the defiant declaration, “I’m still fucking here”, immediately framing the album as both a celebration of longevity and a refusal to become complacent. It’s an explosive opener, packed with towering riffs and an enormous closing breakdown that serves as a reminder that MOTIONLESS IN WHITE remain every bit as capable of delivering crushing heaviness as they have been for the past two decades. While industrial textures, electronic production, and synth-driven passages have always existed within MOTIONLESS IN WHITE’s sound, they take on a much more central role in this album without washing out the band’s heavy foundations. log_in//crash_out establishes this immediately, combining mechanical synths and pounding riffs with lyrics that explore society’s dependence on technology, painting a bleak but increasingly believable picture of a world where digital validation has replaced genuine human connection. It’s one of the album’s sharpest lyrical moments, balancing biting social commentary with memorable religious imagery and just enough tongue-in-cheek humour to stop it becoming preachy. The pace shifts dramatically with R.I.P., a duet with SKYLAR GREY that strips away much of the aggression in favour of vulnerability. It’s impossible not to draw comparisons to Disguise standout Another Life, but this feels like a more mature evolution rather than a retreat. SKYLAR GREY’s soaring vocals provide the perfect counterpoint to Chris Motionless’ understated performance. While his clean vocals have never relied on technical flashiness, that’s exactly what makes them effective here. They feel sincere and unpolished in the best possible way, allowing the heartbreak at the centre of the song to resonate naturally, instead of disappearing beneath layers of studio production. Fight Like Hell quickly reignites the album’s energy, briefly nodding to nu-metal in one of the verses, while also being a reference to the WWE theme Demon in Your Dreams, which the band wrote for Rhea Ripley. There’s an undeniable groove running through this song, and while it may not be the record’s heaviest or most immediately memorable moment, it’s an infectious reminder that the band have never been afraid to wear their influences on their sleeve. The album’s intensity reaches its peak on Playing God. Featuring SLIPKNOT’s Corey Taylor, it’s one of the most ferocious songs MOTIONLESS IN WHITE have ever recorded. Furious drumming, industrial-infused riffs, and an absolutely punishing breakdown make for a track that feels tailor-made for live shows, while its condemnation of toxic online culture gives the aggression genuine purpose. Corey Taylor’s guest appearance never overshadows the band either, instead elevating a song that already feels like it’s become a fan favourite. All That I’ve Ever Known dials things back again without sacrificing momentum. Electronic textures continue to play a major role here, but they’re woven into a melodic metalcore framework that ultimately gives way to an unexpected techno-inspired breakdown. It’s another example of the band’s willingness to experiment, and rather than feeling forced, it slots naturally into the band’s expansive sonic identity. The second half of the album leans even further into MOTIONLESS IN WHITE’s theatrical side. Blood Rave is among the record’s most entertaining moments, bouncing effortlessly between infectious electronic passages and crushing heaviness, before paying homage to Blade’s legendary nightclub sequence with a clever musical nod that’s sure to put a smile on fans’ faces. Love At First Bite follows with gleeful gothic camp, embracing vampire imagery, theatrical organs, and knowingly playful lyrics that recall the spirit of fan favourites like the Undead Ahead tracks. It’s ridiculous in all the right ways, demonstrating that even as the band matures, they haven’t lost their sense of fun. Count Back From Zero offers one of Chris Motionless’ strongest clean vocal performances on the album, delivering its apocalyptic themes with a raw sincerity that makes the chorus particularly memorable. It’s also a reminder that MOTIONLESS IN WHITE can make just as much impact through electronic flourishes and atmospheric builds as they can through overwhelming heaviness. Those textures remain ever-present, culminating in a breakdown that favours industrial atmosphere over just sheer brutality. That confidence carries into Blood Pact, which opens with trap and hip-hop inspired rhythms before evolving into one of the album’s most swaggering tracks. Its defiant lyricism and triumphant attitude make it feel like another statement of resilience, reinforcing the album’s recurring message that MOTIONLESS IN WHITE have survived every obstacle thrown their way and emerged stronger because of it. By the time Afraid of the Dark arrives, it feels like the emotional and thematic culmination of everything that came before. Balancing crushing heaviness with soaring melodies, industrial touches, and an uplifting message about perseverance, it captures the band’s past, present, and future in a single song. Chris Motionless’ seamless transitions between harsh and clean vocals are particularly striking, while its closing sentiment of finding strength through others resonates deeply with long time fans who have found comfort in the band’s music over the years. Sunglasses At Night is perhaps the album’s most unexpected inclusion, covering Corey Hart’s iconic 1980s synth-pop anthem as a straight-up cover rather than the heavier reimagining as some may have expected. Knowing it’s a cover makes its place on Decades feel far more natural, especially on an album that so confidently embraces electronic and synthy influences throughout. Listeners unfamiliar with the original may initially find it to be one of the record’s more unusual moments, but viewed in context it feels less like a stylistic detour and more like another reflection of the band’s wide-ranging influences. It’s a playful addition that reinforces MOTIONLESS IN WHITE’s willingness to follow their own creative instincts rather than adhere to expectations. The album rounds things out with two bonus tracks that feel far more substantial than afterthoughts. Hollywood trades much of the album’s aggression for sleek, neon-soaked hard rock, wrapping its seductive atmosphere around an unexpectedly sharp critique of the entertainment industry and its ruthless obsession with success. The alternate version of Fight Like Hell featuring OVTLIER further embraces the song’s nu-metal influences, with the guest appearance making that stylistic choice feel even more deliberate, while adding a fresh perspective to an already enjoyable track. What makes Decades such a rewarding listen isn’t simply that it’s heavier than some of MOTIONLESS IN WHITE’s previous work. It’s that every venture feels purposeful. The industrial electronics, gothic theatrics, emotional ballads, and moments of outright savagery all exist in service of a band that refuses to become predictable. Rather than abandoning their roots, MOTIONLESS IN WHITE have found new ways to strengthen them, building on everything they’ve learned over the past twenty years. For a band celebrating such a significant milestone, that may be Decades’ greatest achievement. It isn’t a nostalgic look backwards or an attempt to reinvent themselves completely. Instead, it’s the sound of MOTIONLESS IN WHITE taking everything they’ve always done well and refining it into one of the strongest, most cohesive, and confidently ambitious records of their career. Twenty years on, they’re still here and far from finished. Score: 9/10 Decades will be released on 17th July 2026 via Roadrunner Records. Words: Zuzanna Pazola Photos: Motionless In White

RADAR returns to Manchester’s O2 Victoria Warehouse from July 31st to August 2nd, and if you’ve never been, prepare to have your expectations reset. What started as a new festival in 2019 has grown into one of the UK’s most beloved alternative gatherings, built on a no-clash schedule and a knack for booking whoever’s about to blow up before anyone else catches on. This year’s line-up is stacked across three distinct days. Friday is the heaviest of the bunch, closing out with THY ART IS MURDER after a relentless run of acts building towards it. Saturday belongs to SKINDRED, bringing their trademark raucous energy to close out the night. Sunday shifts gears entirely, easing into technical wizardry courtesy of ANIMALS AS LEADERS. Beyond the music, RADAR’s Music and Gaming Market returns too, alongside masterclasses and tabletop gaming stalls to break up the moshing. Whether you’re there for the headliners or hunting down your new favourite band, this is a weekend built for both. Here’s your guide to ten essential acts to catch, wherever your RADAR exploration takes you. THY ART IS MURDER Australian deathcore heavyweights THY ART IS MURDER headline RADAR's Friday for a UK festival exclusive, and it’s hard to imagine a heavier way to open a weekend. Since 2006, the Sydney outfit have built a reputation as being one of extreme metal’s most punishing live acts, with vocalist Tyler Miller stepping into the fold following 2023's Godlike. Tracks like Reign of Darkness, Holy War and Slaves Beyond Death are all pit-igniting staples. If your idea of a Friday night out is throwing down to brutal (with two zeros) riffs, RADAR is the place to be. SKINDRED Saturday’s headline slot goes to a band who’ve never needed an excuse to start a party: SKINDRED. The Welsh ragga metal royalty blend chaos with pure joy, and Manchester’s about to get a masterclass in both. Led by the irrepressible Benji Webbe, the band arrives fresh off their chart-topping ninth album, You Got This. RADAR can expect an all-killer-no-filler set featuring Gimme That Boom, That’s My Jam and the all-time classic Nobody. Following their massive secret set at Download Festival, expect dancehall grooves combined with industrial-strength riffs and a Newport Helicopter to finish off the night. ANIMALS AS LEADERS ANIMALS AS LEADERS offer something no other headliner this weekend can: virtuosity with zero vocals needed. The Washington D.C. trio have spent nearly two decades redefining what heavy music can sound like, combining jazz fusion and progressive metal into something entirely their own. Tracks like CAFO, Tempting Time and The Woven Web remain live staples, and watching the band reconstruct that technicality on stage is genuinely jaw-dropping. A rare UK festival exclusive at RADAR only, this is a spectacular exhibition of musicianship to send you home on a high. There's no better way to end the weekend than watching three musicians make the impossible look effortless. VOLUMES Stepping in for a CHELSEA GRIN cancellation, LA progressive metalcore outfit VOLUMES return to RADAR after their triumphant 2023 set. Bringing their dual-vocal, bounce-heavy riffing to Friday’s line-up on the back of last year’s Mirror Touch, RADAR’s crowd in 2023 will tell you exactly why this is a win, not a consolation. The band blend djent precision with nu-metal groove and a genuine flair for melody, with tracks like Erased, Adrenaline and Edge of the Earth showcasing a band who know exactly what they’re doing on a festival stage. RADAR made the right call, and VOLUMES are about to prove it live. VIANOVA Berlin’s VIANOVA are RADAR’s tech-metal ones-to-watch, and it’s not hard to see why. Formed by brothers Felix and Paul Vogelgesang alongside vocalist Alexander Kerski, the quartet fuse groove-heavy riffing with rap-inflected hooks and unexpected touches of 80s synth and R&B, refusing to sit neatly in any one metalcore box. Singles like Wheel of Fortune, Whatever Alright and the explosive Uh Yaya have built them a rapidly growing fanbase and glowing reactor coverage online. Don’t be surprised if half the crowd shows up in fluffy hats and orange sunglasses – a nod to the Hit It! album artwork that’s become something of an unofficial uniform. LUNA KILLS LUNA KILLS are proof that nu-metal's future sounds like nothing else on this bill. Hailing from Finland and fronted by the ferociously charismatic Lotta Ruutiainen, the quartet blend jazz-trained cleans with vicious fry screams over riffs steeped in video-game soundtrack euphoria. Following 2025 debut album Deathmatch and its singles love u and slay ur enemies, plus this year's blistering LOWER, the band have quickly become one of the most talked-about names in modern metal. If you want proof that heavy music can still sound genuinely fresh, LUNA KILLS' set is the one to catch. GRAPHIC NATURE Few bands wear their heart as visibly on their sleeve as GRAPHIC NATURE. The Kent-formed nu-metalcore outfit fuse 90s-indebted riffs with electronic flourishes, all built around frontman Harvey Freeman’s unflinching lyrics on mental health and isolation. Having just signed to Century Media and dropped new single Faceless, the band are stepping into a bold new era. For anyone diving in, Killing Floor, Something I’m Not and White Noise are the perfect place to start. Devastatingly heavy and disarmingly honest in equal measure, this is a set that hits as hard emotionally as it does sonically. UNPEOPLE UNPEOPLE’s festival reputation has grown faster than almost anyone else’s on this bill. The London four-piece have torn through UK and European stages over the past couple of years, and there’s a reason they keep getting talked about after every set they play. Live, they lean hard into scale, with singalong hooks stacked on top of riffs that hit like a truck, all held together by a sense of togetherness that comes through as much in the crowd as it does on stage. With tracks like smother, the garden and latest single friends, UNPEOPLE channel raw emotion into something cathartic to witness live. CLT DRP Brighton electro-punk trio CLT DRP are exactly the kind of chaos RADAR was built for. The band fuse punk, electronica and heavy pop into something uncompromising and entirely their own, tackling gender and identity with a wry, DIY edge. Fresh off new single WHAT IS SHE FOR?, their first release since 2024, and a year spent touring with Bob Vylan and Lambrini Girls, the trio are gearing up for one of their biggest years yet. Expect to hear disorientating riffs and feral energy in tracks like Until You Showed Me, NEW BOY and I Put My Baby To Sleep. ROZEMARY The newest wave in the North-West heavy music scene, ROZEMARY blur the line between technical metalcore’s precision and hardcore’s raw brutality, with post-hardcore melodies threaded through for good measure. Dubbed RADAR’s resident ‘baddiecore’ act, tracks like bleed me dry, starlit ballroom and no flowers bloom show a band already comfortable letting tenderness and heaviness sit side by side. Their new EP it’s harder now to breathe is out now, and digs even further into the tension that made their debut so compelling. ROZEMARY are exactly the kind of rising name RADAR exists to champion. Words: Adrian Chapman Cover Photo: Heather Patterson for Out Of Rage

If you’re finding yourself wondering, “Who are LOATHE?” then let us give you the rundown of one of the most exciting modern bands of the moment. Fusing mainly metalcore and nu metal, whilst also sprinkling other genres into their repertoire, their sound makes a very present, volatile experience for their listeners. Their live shows are a sight to behold, as they whip between full-blown metalcore madness and soul-wrenching drawn-back magic that will have you headbanging one minute and uncontrollably sobbing the next. As the band stands today, the members consists of vocalist Kadeem France, guitarist and vocalist Erik Bikkerstaffe, bassist Feisal El Khazragi and drummer Sean Radcliffe. Raised from the underground scene in Liverpool, the band set out from the get-go to do something new and different. In 2015, their first EP, Prepare Consume Proceed, was self-released initially until the following year, when it was reissued after the band was picked up by SharpTone Records. Not only was the EP their first label release as a band, but it was also the first release for the label. Very early on in their career, the band donned masks to keep their identity and to create a ‘hive mind' entity and a bit of a buzz around what they were doing. The masks didn’t last long, though, as they felt too gimmicky and were criticised for being too close to the masks worn by the likes of SLIPKNOT. The masks also overshadowed the unique sound they were brewing, and losing them meant that their walls were down physically and artistically. The Cold Sun was released in 2017, their first full album. It was hard-hitting, raw metalcore, with the start of their exploratory toned back segments really starting to take shape. Babylon… in particular was a standout track; the sensitivity and vulnerability are powerful, even when it comes to that breakdown, you can feel the emotion emanating from it. In 2018, they released a split EP with HOLDING ABSENCE, who at the time were also under the SharpTone Records label. Knowing what we know now, this was a great collaboration of two of the fastest-rising bands of the past few years. Released just before the pandemic, LOATHE’s second album, I Let It In, and It Took Everything, really changed everything for the band. It was heavy, it was shoegaze, it was gut-punching, it was melancholic. Despite its comparison to Deftones, it was a very highly regarded album, with album of the year reviews coming left, right and centre. There was no publication that didn’t have this album in its top ten. LOATHE had so perfectly honed their sound. Tracks such as Screaming and Two-Way Mirror really solidified their place as one of the best new bands. Even with the rerecording of Is This Really You? with SLEEP TOKEN a while later brought a new audience to the band and allowed them to keep evolving. Following the success of I Let It In And It Took Everything, they released a twelve-track ambient album almost exactly a year later, The Things They Believe. The complete opposite of what you would expect for a band at their height. Described as a soundscape and reflection of the lockdown period that works as a companion of sorts to I Let It In, And It Took Everything, the album is dark in atmosphere, but the atmosphere it creates is what makes it worth listening to. It’s an important listen to truly understand LOATHE’s lore. Although it’s not what the fans expected, the band’s decision to release it put a new perspective on their most celebrated album (so far). The long-awaited fourth album, A Stranger To You, is currently set for release in July. It will feature their track Gifted Every Strength that came out last year, alongside the new single Revenant. At their core, LOATHE are a metalcore and nu metal band, but there’s much more to them than that. Their ability to defy genres and mash together things that many would rather be left alone, they do it anyway, and create a fresh, nuanced sound that sets them apart from other bands of their standing. Words: Danielle Henderson Photos: Izzy Sheldon

There’s a particular kind of gravity to FUNERAL FOR A FRIEND. It’s the kind that straight back to the first time Juneau blew the speakers off your bedroom wall, or when Casually Dressed & Deep in Conversation felt less like a debut and more like an invitation into a world where post‑hardcore could be serrated one second and soft‑spoken the next. They were the band you found on your friend’s headphones in the middle of maths class, or buried on a compilation CD you got with a magazine, or in the humid crush of a show where you felt every drum beat in your chest. Born in Bridgend in 2001, FUNERAL FOR A FRIEND climbed fast, burned and faded away, but then came back, and, in the latest twist, kept moving even after their original frontman stepped away. Watching them now, it’s not just the nostalgia that compels you, it’s the fact they are a band always in motion - evolving, rebuilding and choosing to live. Back at the start, they didn’t arrive on the scene quietly. They emerged from the remnants of past bands, building an undeniable early identity of melodic metal, emo, and post‑hardcore. Releasing their 2002 EP Between Order and Model cemented and sharpened their sound, before debut release Casually Dressed & Deep in Conversation became their statement. It went certified Gold in the UK, becoming a landmark record of the 2000’s, and is still climbing in the plays across streaming platforms today. It was the type of album that made young people feel understood, and adults feel something they’d forgotten how to name. The band's early years were defined by urgency, with three guitarists weaving tension, Ryan Richards’ screamed vocals ricocheting off Matt Davies‑Kreye’s melodic lines and lyrics that read like they had been ripped straight out of diary entries of any school notebook-turned-diary. With Casually Dressed & Deep in Conversation as the spark, the 2005 album Hours was the burn, as a record that fully leaned into melody, but still kept its signature bite. Follow-up album Tales Don’t Tell Themselves pushed the sound even further, with a more melodic, conceptual rock pivot, which ultimately split fans but showed how the band were evolving as they grew. A run of four independently released records followed with Memory and Humanity, Welcome Home Armageddon, Conduit and Chapter and Verse, following the release of which FUNERAL FOR A FRIEND parted ways. Throughout their time, across the records, FUNERAL FOR A FRIEND shapeshifted; it wasn’t always neat and tidy, or even unanimously liked, but it was always driven by intent and an allergy to stagnation. When they finally reunited in 2019, it wasn’t for a victory lap, it was for a series of benefit shows honouring their late friend Big Stu. That emotional catalyst reignited something within the band, though it simmered for a while, until leading anniversary tours, festival appearances, and a renewed connection with fans who’d grown up but never fully moved on. Heading out on tour to celebrate the 20th anniversary for Casually Dressed in 2023 proved the songs still hit with the same tenderness and energy, with fans waiting on baited breath for new music. However, what came next was a surprise. Davies‑Kreye made the amicable decision to step away from the mic for good. His departure was rooted in life changes rather than band drama, but left fans wondering what could realistically happen now? Remaining members — Kris Coombs‑Roberts, Darran Smith, Gavin Burrough, Ryan Richards, and Rich Boucher — announced they would continue writing new music and were soon joined by Lucas Woodland of HOLDING ABSENCE for the live shows. FUNERAL FOR A FRIEND are a band that always endures because they have always been more than the sum of their eras; a band that truly captured the ache many of us felt growing up, the unwavering sting of self-reflection and the catharsis of shouting lyrics that said what you were too afraid to speak in your own voice. Their discography is a map of emotional evolution; from the rawness of Juneau, to the widescreen ambition of Raise the Sails and to the emotional ferocity of History. And now, with a new chapter unfolding, and fans waiting patiently but excitedly for new music, FUNERAL FOR A FRIEND stands not as a relic; they’re a living part of so many people’s musical DNA. FUNERAL FOR A FRIEND headline 2000 Trees Festival on Friday, 10th of July. Words: Lou Viner-Flood

For anyone looking to explore the modern era of pop-punk, NECK DEEP is one of the first bands worth adding to your playlist. Hailing from the city of Wrexham in Wales, this five-piece group has become one of the iconic names in the genre over the past decade to become something of British Pop Punk royalty. The band’s iconic sound blends energetic guitar riffs, emotionally honest raw lyrics, and infectious melodies into tracks that appeal to both longtime pop-punk fans and a new generation of listeners. Formed in 2012, NECK DEEP vocalist Ben Barlow collaborated with guitarist Lloyd Roberts and began writing songs together, sharing them online. What started as a side project quickly evolved, gained momentum, and became something altogether bigger thanks to the folk on the internet jumping on their first track What Did You Expect. These early songs garnered attention from fans around the world and a fan base started building almost instantaneously and hasn’t stopped growing since. 2012 and 2013 quickly brought upon the EP’s Rain In July and A History Of Bad Decisions on the label We Are Triumphant. A whirlwind of support slots, trips to America, and releasing the latter album as a “pay what you can” scheme resulted in the band landing in the laps of Hopeless Records. What came from here is a trajectory that only pointed up. Their debut album, Wishful Thinking was released in 2014 and introduced listeners to a youthful, fast-paced sound inspired by classic pop-punk acts like KNUCKLE PUCK and STATE CHAMPS whilst showcasing the band's own core identity. Tracks such as Growing Pains and Losing Teeth highlighted their knack for writing unforgettable hooks alongside lyrics that explored themes of friendship, loss, and growing up in a small town. The band's true breakthrough came with their second album in 2015. Life's Not Out to Get You is widely regarded as one of the defining pop-punk records of the 2010s and an album that truly helped reignite the genre altogether. Packed with iconic fan favourites like Can't Kick Up the Roots, Gold Steps, and the fan dubbed “pop punk sad song” December, the album balanced hope with self reflection. The uplifting message woven throughout the album encouraged listeners to embrace challenges rather than be consumed by them, helping it resonate far beyond the stereotypical audience to hit mainstream charts. 2015 also brought change to the band with line up shifts to allow Sam Bowden to step into the role of lead guitarist following Roberts departure. Rather than doing a copy and paste album, NECK DEEP continued to evolve their sound. Their third album The Peace and the Panic hit the shelves in 2017 and tackled even more themes of grief, anxiety, and uncertainty whilst maintaining their energetic sound. Songs like In Bloom displayed a more mature approach to songwriting whilst Motion Sickness takes listeners right back to the core of their pop punk sound. 2020 took a curveball with the release of All Distortions Are Intentional, a concept album that marked another striking creative shift. An album that divided opinion among fans, many praised the band's creativity to experiment with storytelling and a more polished style. The project showed that NECK DEEP were not just content to stand still creatively, they wanted to push themselves to create something more. Lineup changes again left the drummer being replaced by Matt Powles and bassist Seb Barlow stepping into the band. Taking a drastic step into DIY, the band broke away from Hopeless Records to form their own label alongside their former one TB Records. Their self-titled album, Neck Deep was released in 2024 and saw the band reconnect with the fast, punchy style that first shot them to recognition. Combining high-energy anthems with thoughtful lyrics, the record showed audiences how the group has matured while remaining true to the spirit of pop-punk. Songs such as the otherworldly Take Me With You and anthemic Dumbstruck Dumbfuck allowed the band to showcase all the best things that had learnt over the years to channel them into a record that will stand the test of time. It served as both a celebration of their journey and a confident statement about where they are today. One of NECK DEEP’s greatest attributes is their ability to write songs that feel relatable and comforting. Whether they are discussing mental health, relationships, self-doubt, or finding a positive during difficult times, their lyrics often mirror experiences that listeners can resonate with. Combined with outstanding live performances and a true connection with their fanbase, the band has built a reputation as one of the bands keeping the pop punk genre alive. After more than a decade since forming, NECK DEEP continues to prove that pop-punk has never left; it just needed the right band to reignite it. By honouring the genre's roots while embracing growth, they have earned their place among its modern-day leaders. Whether you're discovering them for the first time or revisiting an old favourite, NECK DEEP offers a soundtrack of your youth, hopes, and futures, with the kind of songs that stay with you long after the final chorus. At 2000Trees, they headline the Saturday. Words: Laura Davies