Bands that can tell stories throughout their albums are always great to listen to, and Battlesnake are no exception within the genre. Becoming widely known across Europe and the UK last year, the band is not only bringing their new and highly anticipated album Dawn Of The Exultants And The Hunt For The Shepherd with them this summer, but are also playing numerous shows across the continent, including a headline show at the iconic Underworld in Camden, and sets at the Download and ArcTanGent festivals in June and August. Offering the best mixture of elements from bands like Queen, King Gizzard And The Lizard Wizard, Judas Priest and Black Sabbath, the listeners are in for a treat with Dawn Of The Exultants… and its eleven colourful tracks. The seven-piece Australian band uses various transitions and filler tracks throughout the album, such as 'Dawn Of The Exultants', 'Beelzebug’s Nativity', 'Fowl of the South' and 'The Borning of the G', to narrate their upcoming songs for the listeners. During the opening track of the release, 'Dawn Of The Exultants', the band use their time to build into a full intro on “The Fathers of Iron Flesh”, pulling the audience right into the storyline. With the usage of choral vocals in the background and a gradually peaking intensity, the band achieve a memorable first impression. The same impression is present in the second narrative 'Beelzebug’s Nativity' too, with the usage of similar melodic sounds. On the other hand, 'Fowl of the South' and 'The Borning of the G' surprise the listeners with different soundscapes. In 'Fowl of the South', the band decided to use bagpipes, a surprisingly simple yet staple choice, which gives the song more dimensions throughout. Paired up with the sounds of rain and thunderstorm in the background, the track gives the listeners a short glimpse into the diverse world of Battlesnake. Meanwhile 'The Borning of the G' serves a quick yet noble close-up accompanied by trumpets. Throughout the different songs on the album, the listeners are met with various usages of guitars, drums, bass and other instruments, as well as vocals. The first full-length track, 'The Fathers of Iron Flesh', is an energetic blend of sharp riffs and catchy lyrics, often referencing religious characters such as Jesus, bringing up head-banging breakdowns. In contrast to this, the track 'Beelzebug II', as well as 'Murder Machine', shows off sounds typical of legends Judas Priest and Black Sabbath, showing off the band’s angrier side that's more prominent across the album. Diving into the world of kooky synths and endless guitar possibilities, the band absolutely pays homage to some well-known bands, while taking their own approach. The absolute highlight of the whole project, however, is the final song 'Moto Exordium', which is not only beautifully composed but also lasts for impressive six minutes and fifty-four seconds, holding the title of the longest song on the album. The band bring back their religious motifs from the beginning of the album, paired up with slower, yet hauntingly powerful melodies, and simultaneously give a spotlight to the guitar work throughout the whole track - although this is most prevalent at the end, where the instruments blend into intimate harmonies. The album was meticulously planned from beginning to end, including the order of each of the tracks, and it is a perfect mix of full-length tracks and fillers, giving the listeners a chance to understand the story behind the release more. The only downside would be the ever-changing topics that can sometimes seem chaotic, however if the listener does not pay attention to the lyrics and just enjoys the music itself then this is not a big problem and wouldn't affect the listener’s experience. Dawn Of The Exultants… is absolutely one of the best pieces released this year thus far, and the wait for it was more than worth it! Score: 9/10 Dawn Of The Exultants And The Hunt For The Shepherd was released on June 6th 2025. Words: Katerina Stepanikova Photos: Battlesnake

Passive angst and layered riffs make up Diaz Brothers’ sophomore album The World is Yours. Their sound is that of a British Foo Fighters, with the technical ability present in the soundscape melting into a background rock sound whose tracks could melt perfectly into any radio rotation or pub playlist. The World is Yours opens with a classic “f*ck Diaz Brothers”, before the first of the sharp melodies that are part of this project’s signature. This opener features another classic convention in the form of metaphors of love as addictive substances, and sets the tone well for the rest of The World is Yours. The track that stands out in the first half of this project was fourth offering 'Ego'; beginning with picking up the pace from the beginning tracks with a building four bar guitar riff present as the second half of each verse melts into its bridge and chorus. 'Ego' is a punchy “that’s enough out of you” ballad. that is also the first instance of mile-a-minute punk drumming getting its time in the sun. It’s the perfect modern rock song, drawn back only by a too-fast fade out right at the end. The midpoint of this album is all about the intros - 'Anxiety Landslide' swells back in then hits a Metallica-charged riff, then 'Great British Fake Off' serves a little more punk in its introduction. Sandwiched between these two is second standout 'Who Am I': the drum solo in the beginning resolves into deep melodic rock. The fills are gorgeous throughout this track, while the swell back up into the final chorus and the warped shredding to accompany it makes for a satisfying listen from start to finish. The final third of this album is made up of the chilled out offering 'By My Side' - a track that sounds like a rewrite of Foo Fighter’s 'Monkey Wrench', which isn’t quite a compliment nor quite a criticism. Following this is single 'Departure Lounge', which is the track that conjured the phrase passive angst and features, but it is penultimate track 'Blink' that stands out in this last section of The World is Yours; a call to action and final send off, that fades out with a feature of a fading piano mixed with record static. The actual closer 'My World' is a cover long performed by the Diaz Brothers, and works well as an epilogue with its learned feeling within each part. To critique this project, it must be said that there is a sameness in the riffs and structures of many of the tracks throughout The World is Yours, that feels like it stems from the lack of face to face practicing time that Diaz Brothers enjoy. With one member hailing from the South and one the North, the ability to bounce from one another face to face proves difficult - and the quality of what they do produce considering is very high - but the lack of “I’ve been messing about with this lately” that comes with regular face time shows in the comfort of similar chord progressions and identical builds and resolves. The other thing that glares is how similar Diaz Brothers are to Foo Fighters in sound and energy; this is not a claim of copycatism though, rather of coincidence as the amount of times the thought crossed the brain was astounding. As a mackem, it is clear how well this sound goes down in Live Lounge or upstairs Independent sets (iykyk) and it’s hard not to have a soft spot for an album recorded so close to home. Overall, The World is Yours has a plethora of solid riffs, drumlines and enough mature angst to see a listener through the train home from a rough day at the office. Absolutely recommended to fans of the Foo Fighters, anyone who described themselves as indie in the 2010s iteration of the label, and those whose idea of a very nice day out is heading to the pub with your dad or child for a pint and a band that a distant relation or friend is playing in. Score: 8/10 The World Is Yours was released on June 6th 2025. Words: Julia Brunton Photos: Diaz Brothers

Volbeat have always known how to write catchy rock that's just on the cusp of metal, but they've just come out with one of their heaviest releases yet, capturing the live feel the band have become known for and extending their sound at the same time. The band have always crafted catchy songs, unusually on the softer end of hard rock, but they've turned up the influence of metal on this latest release. Many of the songs feel like they're finally free to turn the amps up to 11, with moments feeling reminiscent of Metallica and others feeling as arena-ready as the earlier releases from Ghost, while still keeping that doom metal inspiration. Volbeat also certainly know how to entertain, as their albums aren’t full of one style of rock - they take moments to have more balladic tracks like 'Acid Rain', which harken back to the bands more anthemic style. The overall pacing of the album helps to keep it feeling as fresh as their earlier releases. No, this album does not contain the bands heaviest work - that would be when they released a track with Barney of Napalm Death - but it is the bands most consistently heavy album. It wont put off any long time fans, as the band have often flirted with more extreme music, but it may open them up to more hardened metal heads who aren’t already converted. Within the context of the bands albums, God Of Angels Trust adds some material that will help create an even more dynamic live set. The tracks feel alive with riffs that drive the songs along, most notably perhaps on 'By A Monster's Hand'. The power the band still have, given they're onto their ninth album, is very impressive, and so is mixing up the formula of their signature sound. The band haven’t ever created the most experimental music, but they do know how to push their own sound forward. One of the downsides for those long time fans may be the lack of the traditional Volbeat sing along anthem, as the tracks seem to be focusing more on musicality than the lyrics. This does not, however, diminish from the overall quality of the album, as there is nothing to put long time fans off, but they might be surprised where the band have decided to go. The lyrics are great and contain many of the traditional elements - including many references to Satan, especially on the track 'In The Barn Of The Goat Giving Birth To Satan's Spawn In A Dying World Of Doom', which is also a very strong contender for one of the bands best song titles across their discography. The one thing that may put off non fans is the bands vocals, which can come across as a little cheesy at points, although by now the band does know how to write for them. They never seem out of place and always settle well into the mix. If anything, the band sound more cohesive than ever - every instrument is placed perfectly in the mix in order for it to feel as close to live as possible. The vocals specifically do feel live, rather than overprocessed studio recordings, adding an element of humanity to the album. The album is a well written, cohesive work; it doesn’t change who Volbeat are as a band, but instead it shines a new light on their inspirations. The album knows when to rock, when to roll, and when to take its moment of calm. Another fun release from a consistently fun band. Score: 8/10 God Of Angels Trust was released on June 6th 2025. Words: Will Freeman Photos: Volbeat

On their debut album, Dinosaur Death Pose (DDP) hit the ground running with the audacious No Sign of Life. Originating from Dundee, Scotland, DDP fuses punk's raw energy with thunderous hard rock riffs and true authenticity. With 11 tracks this polished you would swear they had a label behind them. No Sign of Life gives you the narrative spark similar to Muse’s Drones whilst offering a captivating unfiltered fury like Green Day and, in part, a sprinkle of The Magnus Archives. An album truly not to be missed. “If you are hearing this, you are not alone” Right out the gate, the album grounds us in a narrative that feels developed and genuine. A call log from Channel 29 opens proceedings, acting as a protagonist for this striking story. A small view into this world that then leads into a crashing start from the first song proper in 'Dancing At The End Of The World', a song full of the unmistakable fire that punk brings. The production is smooth and polished, allowing each member of the band to shine in their own light. The chorus of 'DATEOTW' really explodes with an infectious energy that had us singing along on a second listen. Going forward from a cracking opening, 'Hurricane' storms in next. The guitar work really steals the show, you can really tell there is true talent behind every chord. It really keeps you on your toes whilst feeling irresistibly danceable, a flawless showcase of talent and a perfect song to light up any gig. After 'Hurricane', the album slows down with 'Whispers'. This is certainly the stand out vocal track on the LP. It brings a mellow yet introspective pause, that is the perfect breather at the halfway point of the album. Upon the first listen, there was nothing to feel but admiration at the incredible vocals on 'Whispers'. This isn't to say that the vocals were anything less than great in previous tracks, but there is just something about this one that truly stands out above the rest. The line “and I hear silence but still it seems so loud” scratches a part of the brain in the best possible way. There is something about the way it hits that has made it very hard to forget - it's memorable, relatable and beautifully delivered. This is absolutely one we'll return to. “Sell your body, sell your soul...would you like to upgrade your smile today?” We arrive at the penultimate song, 'Sell Yourself', a sharp commentary on the influence of social media and digital self-monetization. It forces you to confront how we present ourselves, how we treat others, and, most painfully, how we treat ourselves. It's difficult to hold back from releasing a full-throttle scream during the line “you fucking wanted it this way”, even it feels like DDP were holding back when they could have gone all in on that raw, guttural release. Still, the backing vocals in this track are stellar, a notable layered presence that adds the perfect finishing touch to an already powerful and well-crafted song. Finally we reach 'Chasing Ghosts'. A fitting, powerful closer to an already stellar album. There is a raw desperation woven into the narrative, brought to life through beautifully crafted lyrics, emotionally charged vocals and top-tier production. Much like 'Whispers', the vocals are once again phenomenal. It is the kind of track where you can picture a packed crowd singing in unison, arms raised, voices cracking, a true moment of connection between the band and their audience. This is a moment we would dearly love to experience, and hopefully will do soon. It isn't just a closing track; it is a send-off that unites everyone listening. A perfect ending to a wild, emotionally loaded ride. “You are the best of us” With No Sign of Life, Dinosaur Death Punch has delivered a debut that doesn't just demand attention - it has earnt it. From its explosive opening to its gut punching finale, the album showcases a band that understands the power of narrating, emotion and raw sound. DDP masterfully blends punk grit with hard rock weight, all whilst carving out a sound that feels entirely their own. If this is their starting point, the future looks deafeningly bright. As the final echoes of 'Chasing Ghosts' fade out, one thing is clear: Dinosaur Death Pose didn't just arrive, they kicked down punk rock's door and stormed right in. Score: 8/10 No Sign Of Life was released on May 17th 2025. Words: Sid Tiddy Photos: Dinosaur Death Pose

It’s no secret that those of us at Out Of Rage Network are huge Turnstile fans. After all, our very name comes from their incredible 2016 release, 'Non-Stop Feeling'. Since then, we’ve watched the Baltimore five-piece evolve from one of modern hardcore’s most vital voices into a truly boundary-defying force. With 2021’s 'GLOW ON', Turnstile didn’t just cross over—they obliterated genre lines entirely, delivering a sound as euphoric as it was aggressive and opening doors for a new generation of open-minded heavy music fans in the process. Now, with 'NEVER ENOUGH', the band releases their most anticipated record to date. And if the lead-up to this album has proven anything, it’s that Turnstile’s success hasn’t distanced them from their roots—it’s deepened them. Earlier this year, they played their first show of 2025 in true Turnstile fashion: a free, all-ages benefit concert in their hometown of Baltimore. The show raised over $35,000 to support vital services for unhoused individuals—an act of generosity that reinforced their commitment to the community that shaped them. The band also enters this new chapter with a key lineup shift: Meg Mills, who fans will recognize from her time with Big Cheese and Chubby and the Gang, has officially joined as a full-time member. Having previously stepped in as a touring guitarist, her addition is both well-deserved and widely celebrated, bringing even more energy and punk lineage into the fold. Notably, this is the band’s first release without founding guitarist Brady Ebert, who departed in 2022 shortly after the release of 'GLOW ON'. Can Turnstile once again expand the scope of what hardcore can be without losing the pulse that’s always driven them? NEVER ENOUGH To put it bluntly, the answer is yes. ‘NEVER ENOUGH’ is a triumphant release that will no doubt become a firm favourite of fans both old and new. Whilst it’s true that Turnstile have shifted their sound significantly away from that of their roots, that core element is still there. The energy, the passion. Those who argue the band is now too mainstream or no longer a hardcore band are missing the point. The band are a driving force behind a new legacy of hardcore music. Turnstile, having spun out of Trapped Under Ice way back in 2010, wear their hardcore roots with pride. The naysayers will write this off as ‘GLOW ON 2’, which doesn’t give either record the credit it deserves. Whilst ‘GLOW ON’ has clearly laid the foundation for Turnstile’s ever-evolving sound, each record to date has been a distinctly separate era for the band, with a new sound and a new image. The band's passion has never been more evident either, with frontman Brendan Yates co-directing a 50-minute visual album that premiered at the Tribeca Film Festival. We knew from the start that this album would be stylistically eclectic. Pre-release singles 'NEVER ENOUGH', 'SEEIN’ STARS', 'BIRDS' and 'LOOK OUT FOR ME' each hinted at different directions. Yet somehow, with the guidance of iconic producer Will Yip, Turnstile have created something so magical—so cohesively brilliant—that it defies all expectations. Not just expectations for what a Turnstile record can be but for what hardcore can sound like in 2025. In many ways, 'NEVER ENOUGH' feels like the natural culmination of everything Turnstile have been building toward for the past decade. Fully embracing melody and experimentation in a way previous releases were always a little too hesitant to touch upon. The sequencing is meticulous, the pacing feels cinematic, and the emotional weight hits harder with each listen. Themes of loneliness and heartbreak are a common thread throughout. Whether you like hardcore or not, there's something here for everyone. The record is almost genre-agnostic, fusing elements of emo, synth-pop, and even a touch of R&B. There's even a flute solo (have SPEED started a new trend in hardcore? If so, we're here for it). The entire album flows so effectively that it feels almost effortless. Genres blend in ways we haven't really seen before, but it's executed so perfectly that it feels natural. 'MAGIC MAN' closes out the album with a somber, synth-driven ballad. It's an aptly melancholic bookend to this phenomenally well-crafted album. It's hauntingly beautiful and a sad reminder that we'll likely have to wait a couple of years for a follow-up to 'NEVER ENOUGH'. Gatekeepers be damned, Turnstile are still as grounded in their hardcore roots as they’ve always been. They have remained open-minded to external influences and have formulated a sound that's uniquely their own in every sense—and we can't wait to see how they continue to grow and evolve. If you're lucky enough to be catching them at Outbreak London or Glastonbury this year, you're almost certain to witness one of the most iconic performances of the decade. Charlie XCX was right. It truly is a Turnstile Summer. 10/10 Words: Andy Nile

Every once in a while there comes an act that hasn’t had the chance to come to the UK despite being around for a while, meaning that for both the artist and the fans alike, the show is incredibly special. This is exactly the show that I See Stars just played at The Underworld in London. The Michigan band were formed in 2006 and apart from a small opening slot in 2024 haven't played a London show since 2013. Fans in the crowd had been waiting over a decade to see them and all of the energy was unleashed in the duration of this set, with of course a few surprises just for these shows. First to warm up the stage, arriving with bass you could feel in your bones and rapid flashing lights, The Hara. This trio from Manchester have also been in the scene for some time, having released their first EP in 2018 and played many shows supporting the likes of Sum 41, Ice Nine Kills and Escape the Fate. As the band waltzed on and immediately rocked the entire venue, lead vocalist Josh took a moment to explain that they are using this show as a warm-up to ‘get the rust off’ for the year that they have lined up for themselves. Their music contained mainly alternative metal with elements from all different genres and an overall message of self-love and acceptance. Lead vocalists Josh’s fry screams were something to behold as well as impressive solo sections from Zach and Jack - Guitarist and drummer respectively. Although the crowd was tough to get moving, The Hara certainly achieved exactly that by getting the whole pit to participate in mosh pits, circle pits and even a wall of death which Josh joined himself. The floor of The Underworld slowly packed out, and then the balcony all the way to the corridor, every person shuffling to try and get a satisfactory view of the spectacle that was about to take place. I See Stars came parading onto the stage to an eruption of cheers, opening with ‘Running With Scissors’ from their latest album, Treehouse. The entire venue instantly detonated into moshing and jumping, every single fan screaming the lyrics so loud it was almost hard to hear the band themselves. Lead vocalist Devin Oliver, sporting his recent signature sparkly mesh shirt and bleach blonde hair. With each tune that started the crowd got louder and rowdier from a seemingly endless supply of power. The band made this show extra special by throwing in some deep cuts just for these long times fans that had waited so patiently. This included the song ‘Filth Friends Unite’ from their 2012 album ‘Digital Renegade’, which got an explicitly loud reception. There is no denying the bands star qualities as they rocked the stage, their experience serves them well and leaves every person infactuated in their performance. Each member of the band interacting with fans, with eachother whilst simultaneously maintaining their stable sound and welding their instruments flawlessly. Devin getting down on his knees multiple times to sing face to face with fans that were lucky enough to secure the front row. While those in the front sung with everything they had the fans in the back continued to mosh and jumping every starting circle pits, crowd surfing and stage diving, this show really had it all. The music bringing everyone in the room together with themes of feeling different, addiction, being in love and being young, each person finding a way to connect it to their own stories. The band promised to return to London as often as they can having seen how grateful the crowd was and the energy they were rewarded with. The Underworld was also lucky enough to receive the news that the band will be releasing a brand new record this summer! As the show came to a close and the band played one of their more recent singles ‘Anomaly’ Devin reached into the crowd as far as he could to connect and hold hands with every fan he could. It's abundantly clear how much love the fans have for the band and the band has for their fans, the type of connection that seems to be getting rarer in these recent times. I See Stars have an incredible 2025 lined up ahead of them with shows in festivals in Germany, a tour in Oceania and Asia and of course a brand new record on the horizon. Be sure to keep your eyes and ears peeled for the greatness these guys still have ahead of them! Words: Amy Smyth Photos: Emily Champion

TesseracT have always felt like more than a band. They’re musical architects, building worlds out of polyrhythms, atmosphere and pure emotion. From the layered, conceptual sprawl of Altered State to the crushing clarity of War of Being, every era has something to obsess over. So here it is, our lovingly curated top ten TesseracT tracks. Ahead of their monumental headline set at ArcTanGent Festival this summer, these are the songs that defined the band, cracked open our heads, and stayed there ever since. 10) Cages This version of ‘Cages’, reimagined for the Errai EP, is haunting in the best way. Softer and more ambient than the original, it’s all about space and restraint. Dan Tompkins’ vocals feel like a warm blanket, even when the lyrics ache. It’s proof that heaviness isn’t always about distortion. 9) Smile There’s something a little unhinged about ‘Smile’. It shifts and stutters like it’s fighting itself, loaded with glitchy textures and one of Tompkins’ most visceral vocal performances. It’s unpredictable, a little bit feral, and completely hypnotic. 8) Of Matter This track (and the whole Of Matter suite, really) feels like a slow dive into a dream you’re not sure you’ll come out of. ‘Retrospect’ is the point where everything clicks. Groovy, lush, and deeply emotive. It’s a masterclass in progression without pretension. The vocals are pure velvet. 7) Luminary ‘Luminary’ is deceptively straightforward for a Tesseract song, but that’s what makes it so sharp. Clocking in under four minutes, it punches hard with its tight riffing and soaring chorus. It’s the kind of track you play on repeat without realising you’ve done it four times in a row (guilty). 6) King Dark, brooding, and cinematic, ‘King’ is one of TesseracT’s most emotionally raw moments. From its slow-burn intro to the absolutely massive breakdown, it feels like a song on the edge of implosion. That closing scream? Straight-up goosebumps every time. 5) Legion ‘Legion’ is controlled chaos. It builds gradually, pulsing with tension before opening into one of the most expansive choruses in the band’s catalogue. It’s got the atmosphere of Altered State and the crushing weight of Polaris, wrapped up in War of Being’s cinematic polish. 4) Concealing Fate, Pt. 1: Acceptance This is the gateway song. The song that launched a thousand fan deep-dives. Whether you discovered it on YouTube, a forum, or from a mate who handed you their iPod in 2010, you remember where you were the first time you heard that riff. A cornerstone of the genre and for good reason. 3) Juno Equal parts gorgeous and devastating, ‘Juno’ feels like the band cracking open its chest and letting us see everything inside. That chorus is a gut-punch, and the dynamics between soft vocals and crushing weight hit harder live than you’d expect. A modern classic in the making. 2) Phoenix There’s something quietly powerful about ‘Phoenix’. It’s not showy, but it doesn’t need to be. The rhythm section is fluid, the melodies are warm, and Ashe O’Hara delivers one of the most subtly beautiful vocal performances in TesseracT history. It’s the calm at the centre of the storm. 1) Dystopia ‘Dystopia’ has everything: urgency, groove, soul, atmosphere, vibe. The transitions are seamless, the build-up is dramatic without being overblown, and it feels like it goes somewhere, not just technically, but emotionally. It’s TesseracT firing on all cylinders, and it never stops evolving across its runtime. Tesseract don’t just write songs, they write experiences. Whether you’re drawn to the mathy precision, the ambient passages, or just want to feel something a little deeper, they always deliver. Catch Tesseract at ArcTanGent Festival this summer! Words: Katie Edwards

Green Day and UK festivals have a lot in common - the most important of which, a shared taste for throwing mud. That being said, after 37 years on the scene it was about time Green Day headlined the UK’s leading rock and metal festival, after 14 albums and, soon, a star on the Hollywood Walk of Fame under their belt. 2025 will be Green Day’s first EVER appearance at Download Festival, and the band and their drunk bunny have skipped the queue straight to the top of the bill. They’ve had an illustrious career as truly respected rockers, fashion pioneers (we expect Primark to be out of black shirts, red ties, and black eyeliner by the first week of June) and naked protesters - Green Day have truly done it all. They managed to revive punk in the 90s in a landscape of MTV and grunge, constantly outdoing themselves and creating pop-culture era after era along the way. It’s sort of not fair to call any Green Day album bad - so, with that in mind, here’s a deep dive of Green Day records, slowly climbing up to our favourites. 12, 13 and 14) !UNO!, !DOS!, !TRE! These triplets went down like a lead balloon with Green Day fans. The band has since claimed that this succession of albums were directionless and all-over-the-place - but honestly, they’re a lot of fun! “Stray Heart” from !DOS! and “Nuclear Family” from !UNO! are particular standouts - but it’s true that they don’t fit the brand Green Day had, up until this point, so meticulously crafted. Possibly better suited for side projects, the trio just didn’t have the grit fans had come to expect from their favourite musical disrupters. 11) Father Of All... How do you write a punk album in the middle of COVID? Nobody wants to hear you bragging about your super-rockstar life, and everyone’s sick of hearing how much life sucks. There might have been no winning with FOAMF - and perhaps for me it’s tinged with those time-topical memories. There are plenty of hits here, plenty of misses, but it’s respectable that swings were taken at all in an era so full of uncertainty - an era where Green Day were sorely needed for their political commentary. We all tried out new things in 2020 - and here, Billie Joe tried his hand at falsetto vocals in this album’s titular track. 10) 39/Smooth Bright-eyed and bushy-tailed, Green Day catapulted straight out the gate with a banger here. 39/Smooth was a playground for three 17 year olds to show their stuff, yet sustains as standard curriculum for any young punk. It’s a great album with lots of energy and tracks that endure on the setlist - “Going to Pasalacqua” is still celebrated as one of their best to this day - yet 39/Smooth can serve as an aspirational model for any backyard DIY punk band wanting to sink their teeth into hellraising. 9) Kerplunk The early stages of “Dookie” can be heard throughout this record - sharp-eared fans might notice familiar riffs between “2000 Light Years Away” and “Having a Blast” - but this album also solidified Green Day’s sound. Tre Cool officially joined the lineup with this album, cementing a formidable partnership that would endure for over thirty years. Kerplunk is also where we first hear “Welcome to Paradise” in a crustier and rawer form, before being refined (well, refined in punk standards) on Dookie. Whilst somewhat overshadowed by its older sibling, it does still stand as its own album - it sold 10,000 copies upon release, impressive at the time for an independent release. 8) Warning A more muted-sounding but still abrasively-lyric-ed offering, Warning is the band’s swinging, jaunty folk-punk record to celebrate the turn of the millennium. It was an era characterised by grainy MTV music videos (who can forget the uncanny valley parade float in “Minority”?) and Billie Joe’s brand new blonde trim, where the band introduced a swarm of punk-rockers to the sweet sounds of the harmonica. “Castaway” is a real favourite, proving Green Day’s ability to write fun earworms, but “Minority” is the true star, an anthemic track that still finds home on the setlist to this day. 7) Saviors Green Day’s newest offering has some real bangers worthy of their arena-rock status, which they were more than happy to show off last summer (and hopefully at Download Fest!). It also features the band’s first undeniably bisexual track - in “Bobby Sox” Billie Joe asks “Do you wanna be my girlfriend/boyfriend?” to nobody in particular. It’s not the first time Billie Joe’s bisexuality is documented through the band’s work - it’s been a topic as far back as “Coming Clean” - but it’s wonderful to see this displayed in a romantic track so full of heart, rather than angst. At the time of writing there are more songs to be released from Saviors - and it’s definitely an album we want to hear more of. 6) Revolution Radio Somehow, some rockers were surprised when the band most famed for their anti-Bush disstrack returned in 2016 with a full album slating Trump. “Revolution Radio” sees Green Day return explicitly to politics with a more mature version of the band, but the same red-hot flame as ever, with a new face on their dartboard. “Bang Bang” is an honestly lyrically haunting track from inside the mind of a shooter, with “Say Goodbye” doubling down on this social fear of rising violence on the streets. There are some really fun moments - “Bouncing off the Walls” and “Youngblood” are happy-go-lucky rock tracks - as well as the really beautiful outro of “Ordinary World”. 5) 21st Century Breakdown After the smash-hit of American Idiot, all eyes were on Green Day to avoid sophomore-slump-syndrome. In response, they delivered a second rock opera, carrying many notes of American Idiot, but new commentaries of hard-done-by America. This album straddled punk sentiment and pop melodies, particularly with “!Viva la Gloria!” and “Last of the American Girls”, but classic Green Day shines through on tracks like “Horseshoes and Handgrenades”. At the time of recording, the American Idiot musical was in-production, and once its director got wind of “Know Your Enemy” and “21 Guns” he clamoured for them to be featured in the musical, already sniffing their success pre-release. 4) Insomniac It takes an alchemist to pull off punk that is sloppy and raw, yet so sharp and pointed - “Insomniac” is a direct response to the boys who cried sellout. It’s so much more than just “Brain Stew” - though this track is excellent to characterise this era - songs like “86” clap back to anyone who can’t see Green Day as more than commercial chart-toppers. Anger and energy was fuelled into this with the poise of a band that knows exactly what it’s doing - there are some cuts on here that reek of the garages and dingy clubs the band started off playing in. It’s truly a “Walking Contradiction” that this album is so excellent, yet so underrated. 3) Nimrod Affectionately referred to in my house as “No-Skips Nimrod”, this album offers listeners something new with each track. Fans of “Warning” will be thrilled to hear that the harmonica makes a return on “Walking Alone”, and there’s some proper full-throttle punk in “Platypus (I Hate You)”. There are some jaunty, and still punchy riffs that carry “Hitchin’ a Ride”, juxtaposing the more melodic leanings of “Redundant” and “Haushinka”. The two most standout tracks are even complete polar opposites, it’s hard to believe that the wild and unrestrained “King for a Day” is on the same album as “Good Riddance”. Somehow, this album completely works, and is a masterclass in shaking up your wheelhouse. 2) Dookie Although we’re sure local venues have never forgiven the band for the impact that “Basket Case” would have, “Dookie” has truly proven itself as one of the most enduring albums of the past 30 years. It set the bar and defined a subculture, bringing punk rock back after the Cobain-dominated airwaves of the early 90s. Green Day defined themselves here with memorable riffs - both guitar-based and also the iconic drum beats of “Longview” - but also their storytelling, decorated with surprising poignance and stupid potty humour in equal measures. It’s a true coming-of-age album, touching upon subjects of self-worth, first loves, and... well, all of “Longview”. It’s nicely wrapped up by Tre Cool’s “All by Myself”, a ditty still circulating their setlist today. 1) American Idiot Overrated..... or just a damn good album? Sometimes albums are classics for good reason, and American Idiot is the poster boy. It’s another no-skips album with cohesive theme and storytelling, without falling into the trap of sounding one-note. From opening with its killer titular track to full-on rock sagas like “Homecoming” and “Jesus of Suburbia” (for which the music video had irreversible impacts on trans men everywhere) American Idiot spins you the story of America as Green Day see it - downtrodden and hard-done-by. This album is an epic from start to finish and does not relent - even the slower and more thoughtful tracks on this album pack a punch. It’s a wonder the band didn’t give up on this album - after the master tapes to “Cigarettes and Valentines” were stolen, morale was understandably low. Instead, Green Day delivered arguably the most genre-defining album of 2000s pop punk. It’s personal and it’s universal, it’s heartfelt and it’s carefree, it’s a rallying cry to everyone, not just punks, to wake up and smell revolution. And it rocks hard. Catch Green Day headlining Download Festival this June alongside Sleep Token and Korn Words: Erin Strom

After almost two decades of carving their place in the alt-rock landscape, Mother Mother’s Nostalgia arrives as something rare and self-assured. It is a record that looks back without losing its footing in the present, an exploration of memory that avoids sentimentality in favour of something more honest, more tender, and ultimately more enduring. Releasing on June 6th, with singles like 'Finger' and the deeply affecting 'On And On (Song for Jasmin)' paving the way, Nostalgia is not just a nod to the band’s earlier sound. It is a full-circle moment that manages to feel both familiar and entirely fresh. Mother Mother have always had a flair for theatricality, for songs that swirl with emotion and eccentricity. What sets Nostalgia apart is its restraint. These tracks do not scream for attention, they pull you in. They build worlds in miniature, and then quietly ask you to stay a while. It is an album that rewards patience and close listening, where every layered harmony, every lyrical spiral, feels purposeful. Opening track 'Love to Death' sets the tone with a blend of taut energy and lyrical complexity. There is something deliciously twisted about the way love and destruction intertwine here. The harmonies are crisp and immediate, while the instrumentation hints at the band’s earlier, rawer days, without ever sounding dated. It is a confident opening that announces the record’s dual mission: to revisit the past, and to say something new. That duality continues with 'Make Believe', a dreamlike track that toys with nostalgia in the purest sense. There is a drifting quality to it, as if memory is being reshaped in real time. The band do not lean on production tricks here, instead letting the melody do the emotional heavy lifting. It is reflective without being vague, anchored by lyrics that feel plucked from an old journal, but reframed with the insight of experience. 'Station Wagon' is one of the album’s most evocative tracks. There is a cinematic quality to it, built around imagery that feels lived-in. You can practically hear the gravel under the tires, feel the sun through the windshield. It is a song about moments you didn’t realise were important until much later, and it lands with quiet precision. The focus track 'On And On (Song for Jasmin)' is the album’s emotional centrepiece. Written with delicate clarity, it distils love, grief, and longing into a single breath. It never tries to be larger than life. Instead, it stays grounded, offering its message with an almost devotional sincerity. The repetition in the chorus, the gentle unfolding of the arrangement, the intimacy of the performance - all of it works in service of a song that feels timeless. It is not just a standout on the album, it is one of Mother Mother’s most poignant songs to date. Midway through the record, 'Better of Me' and 'Namaste' offer two different takes on the same emotional terrain. The former is all jagged edges and self-awareness, while the latter veers into tongue-in-cheek territory, poking fun at self-improvement culture even as it nods to real attempts at peace. The humour never undercuts the sincerity. If anything, it makes it more human. Then comes 'Finger', the last single to drop ahead of the full release. It is sharp, chaotic, and undeniably catchy. Built around a jittery riff and a snarling vocal performance, it captures the kind of frustrated energy that simmers beneath the surface of the album. It is unhinged in the best way, the musical equivalent of ripping off a bandage and laughing through the sting. What follows is a string of more introspective tracks that deepen the album’s emotional impact. 'Me & You' strips things back to near-acoustic simplicity, a moment of softness and stillness. little mistake plays like a confession whispered into a pillow, while 'Mano a Mano' reintroduces drama with a stomp and a smirk. Each song feels deliberate, carefully sequenced to guide the listener through the emotional terrain of the record. The title track 'Nostalgia' arrives near the end and acts as a thesis statement. It does not lean on grand gestures. Instead, it threads together the album’s themes with a kind of quiet certainty. There is melancholy here, yes, but also acceptance. It is a song that understands the past for what it is; flawed, formative, unrepeatable. The closer, 'To Regret', leaves the final word lingering in uncertainty. It does not tie things up with a bow. It lingers in the complexity of feeling and lets that be enough. Sonically, Nostalgia is confident and cohesive. There is no bloat here, no filler. Every track earns its place. The production is clean but not sterile, allowing the band’s distinctive vocal layering and melodic instincts to shine. It is a record that feels thoughtfully made, both in its sound and in its structure. More than anything, Nostalgia is an album that trusts its listener. It does not pander or posture. It asks you to remember, to reflect, to sit with things that may not have easy resolutions. In doing so, it captures something genuinely rare; the feeling of time folding in on itself, of old versions of yourself resurfacing not to haunt you, but to remind you of how far you’ve come. Nostalgia is not just a return to form. It is a return with purpose, grace, and just the right amount of bite. Mother Mother have delivered a record that feels like home, even when it hurts. Score: 9/10 Nostalgia will be released on June 6th via Warner Music Group. Words: Kelly Gowe Photos: Mother Mother

For a band about as far away from Britain as possible, the Aussies in CIVIC have done a good job at serving Britpop on their third full-length project Chrome Dipped, swapping the punk grooves they have been known for to instead bring in some pensive melodies and light atmospheric touches. CIVIC are at their best on this album once they’re firmly into it, as their choruses and solos are their high point; title track and lead single 'Chrome Dipped' acts as a testament to that, with a generally unassuming intro turning into a matured-angst character anthem about human veneers. The vibe of the track is dark, with its whisper vocals and floor lead drumlines, while still maintaining a shoulder-shaking bounce to it that makes room for the “happy soundscape sad lyrics” energy that makes an instant hit. Further proof of their high points being midway through comes in the third track banger 'Gull’s Way'. It’s more of a ballad and keeps with the whisper-vocals of the single before it, this time incorporating sparkles into its soundscape; reminiscent of leapfrog books that adds to the journeying themes of the track with a thoughtful subtlety. It’s an easy track to get lost in thought into, and feels like the best of what indie rock can offer. The pace is picked up a little in second single 'The Hogg', which has a more punk feel and is somewhat a change of pace, but not enough to offer some variety at the almost-halfway point of the project. It is scooped up, however, by the midway track 'Starting All the Dogs Off', where we finally see the chaos that CIVIC was aiming for: from the beautifully-executed hidden snare drumline, to the utter waffle that frontman Jim McCullough is discussing in his lyrics. Some of this waffle is effective, though “I’ve got hair on the back of my neck that stands in [possibly] prints like a tiger” feels like a line used as a placeholder, until you finish writing the song that they forgot to change, and stands out in its absurdity. Nevertheless, McCullough’s cadence is addicting while the track itself builds into a male crashout anthem that fills a gap in the market. In side 2 of this project there is 'Amissus', which feels a somewhat new-wave inspired in its flat harmonies, gothic feeling melodies, and pining lyrics. Though the track’s meat and potatoes style sounds great ,the random slowdowns that don’t go to a changed bridge or elevated melody have become immersion-breaking, with the amount of times they happen on the project - tracks such as 'Trick Pony' or opener 'The Fool' suffer from 30 second elements of build with little pay off, the latter placing that build at the end to stop the track abruptly that feels unnatural even when expected. In follow up 'Poison', the energy does change back to a punk feel and manages a full guitar solo at the end of its long build, and the return to a more jumpy and impassioned track, rather than the passive melodies of the last few entries into Chrome Dipped, was refreshing. The last three tracks of this project are among its best. The gothic energy returns in the vocal style and mixing of 'Fragrant Rice', which when paired with the maintaining of the tempo and energetic instrumentals of 'Poison' makes for a favourite on the project as a whole. 'Kingdom Come' opens emo, with the W in stone that McCullough placed when recording this track’s vocals, but apart from that brings some more of that pensive and Britpop-feel soundscapes. These do sound lovely in isolation, but the use of this slow of a build up then light riffing makes a 2:34 track feel 4 minutes long. Album closer 'Swing of the Noose' was a saviour for the energy, getting to it straight away with cool riffs and open hats that make it perfect for bouncing. The storytelling is effective, as are the background vocals in its second bridge, though once again the finishing solo was somewhat lacklustre - but this didn’t take away from the quality of the track to finish the project. Overall, the main critique of this project is that the passion that the quartet may have had for it doesn’t come across. It feels like there was a lack of comfort in providing the passion they have cultivated on their touring runs in the studio, which has inhibited them from taking risks and sending their tracks to the level they could’ve reached. This has then culminated in these runs of never quite breaking down, and vocals that sound as if they feel too cool to be giving 100% in the booth. The elements of a strong sound are there, and CIVIC get some grace as a band trying to expand their sound, but effective expansion into new soundscapes requires a commitment to new elements, and a passion for the new elements a band has learned how to play, that fails to be realised on Chrome Dipped. There is something for the indie rockers and the britpop enjoyers on here, but overall it isn’t a standout project. Score: 6/10 Chrome Dipped was released on May 30th 2025. Words: Julia Brunton Photos: CIVIC

Eclectic Liverpool-based band Kusanagi have returned with their latest work, and it's one that pushes the boundaries of post-rock and math-rock to their absolute limits. Being exclusively instrumental, the band promises with each release to foster an unforgettable experience packed with prominent riffs, touching breakdowns and new soundscapes. Their new album, titled Paramnesia, is a blend of intricate melodies that are often expressed only by guitars, drums and bass. This is shown off across eight unique tracks, and it promises a new viewpoint of the band’s take on post-rock and math-rock, as there are no vocals in the way. From the opening track, 'Night Symmetry', the guitars are often the most prominent instruments, playing with intricate melodies and various harmonies, creating a unique storyline. The song starts in a very pompous tone and serves as a welcoming introduction to the world of Kusanagi. Transitioning right into a dreamlike melody full of intricate guitar riffs, only to go into a mesmerising bridge, and then continue with the dream-like sound again, the band was able to capture the essence of the song title with a precision, prompting the listener to not only listen to their tracks, but in some way to also feel them with their whole body. Another track from the album that is well worth mentioning is track four, 'Equilibria'. As the name of the song suggests, the track invokes a state of mental balance, which the band created cleverly by using irregular time signatures and complex rhythms. It is a well executed track with a simple yet addictive melody, that pushes the listener to listen to it repeatedly, as it always uncovers something new and surprising. Changing the pace of the album a little bit, 'Physics of Colour' aims for a quicker pace, simulating the ever changing colours. Heavily using cymbals throughout the length of the piece, the band creates a vision of the colours moving around with the beat, changing directions and shapes. It is a lively piece with a warm sound, and it is bound to grab the attention of listeners from the first notes. Although the album can seem repetitive, particularly in some specific guitar riffs, melodies and rhythms, it is still a solid piece that offers a unique perspective into the possibilities of math rock and post-rock. Showing the listener that the genre can be utilised even with no lyrics, and still being interesting and challenging, is Kusanagi's home turf by now, and with each release the band grips tighter on their rightful position as a revolutionary project that's not afraid to take matters into their own hands, and push the boundaries of well established culture. Paramnesia surely is a must-listen for anyone looking for new sounds to add to their daily playlist. Score: 7/10 Paramnesia was released on May 30th 2025. Words: Katerina Stepanikova Photos: Kusanagi

Bring Me the Horizon have spent nearly two decades evolving from heavy deathcore pioneers to genre-blending rock giants. With massive hits, emotional anthems, and unpredictable shifts in sound, they've created one of the most exciting catalogs in modern rock. As they gear up to headline Reading and Leeds Festival this summer, here are 10 essential tracks that define their journey. 10) Pray for Plagues Where it all began: pure deathcore mayhem. “Pray for Plagues” is messy, brutal, and utterly unhinged—exactly what BMTH fans craved in 2006. While it doesn’t represent where the band is now, it’s the chaotic DNA behind everything that followed. It’s raw, untamed, and essential history. 9) DiE4u “DiE4u” is BMTH at their genre-blending best. A mix of emo, pop, and cyberpunk fever dream, it’s glitchy, infectious, and darkly catchy. Lyrically, it’s a tale of toxic love and self-destruction, a sleek anthem that bridges Post Human and amo with confidence—personal enough for longtime fans but polished for a new generation. 8) Shadow Moses A fan favorite and a game-changer. “Shadow Moses” marked the moment BMTH stepped into the big leagues, merging raw intensity with electronic textures. That chant—“This is Sempiternal!”—is still a festival staple, and it’s one of the tracks that solidified their place in the modern rock pantheon. 7) Chelsea Smile “Chelsea Smile” is the epitome of the scene era. The riffs are massive, the vocals are manic, and the breakdowns are relentless. It’s violent, ridiculous, and has stood the test of time, still delivering an electrifying punch every time it’s played. 6) Drown With Drown, BMTH took a huge risk—and nailed it. Stripped of the typical screams, it’s raw, vulnerable, and anthemic. It’s the track you play when you’re falling apart but still want to scream your heart out. Stadium-sized in its emotional weight, it showed a different side of the band and became an instant classic. 5) Can You Feel My Heart From the first haunting note, Can You Feel My Heart grabs you. A perfect blend of synth-pop sadness and rock grit, it became a viral hit long after its release. It’s atmospheric, honest, and one of the band’s most defining tracks—a true fan favorite that’s both dark and deeply relatable. 4) Kool-Aid Heavy, gritty, and groovy, “Kool-Aid” brings back that darker edge fans had been craving. It's a throwback to their heavier roots but filtered through a modern, polished lens. With a hypnotic groove and anthemic energy, it’s BMTH flexing their creative muscles while staying true to the sharpness they’ve perfected over the years. 3) Mantra With a swaggering riff and biting lyrics, Mantra kicked off the amo era with a bang. Punchy, sarcastic, and undeniably catchy, it’s a middle finger to expectations, delivering a bold curveball for fans. It’s energetic, layered, and brilliantly unpredictable—just like the band itself. 2) Throne Everything about “Throne” is designed to make you feel invincible. It’s loud, polished, and full of defiance. From the arena-sized hooks to the empowering lyrics, it’s a song meant to be screamed at the top of your lungs in the car or in a massive festival crowd. It’s BMTH at their most anthemic and empowering. 1) Doomed More than just a song, “Doomed” is a moment. Quiet, dark, and experimental, it builds slowly into something massive and painfully human. It’s the perfect opener to That’s the Spirit and encapsulates the band’s evolution: bold, vulnerable, and unafraid to embrace the weirdness. A track that defines who BMTH had become—and what they still are. Bring Me the Horizon’s legacy is defined by their ability to risk, reinvent, and refuse to be boxed in. From deathcore outsiders to genre-blending headliners, they’ve constantly evolved without sacrificing the raw emotion that makes them so special. As they prepare to headline Reading and Leeds Festival this summer, they’ll prove once again why they’re one of the most important and unpredictable bands in modern rock. It’s not just about the songs they play—it’s about how they make every moment feel monumental Words: Mia Gailey