Having explored Greek mythology through experimental instrumental post-rock melodies, Swiss quartet HUBRIS. have turned their attention to the world of J.R.R. Tolkien’s unrivalled, visionary series The Lord of the Rings, a legendary story that has been the benchmark for creators and dreamers for over 70 years and has been a deep-rooted inspiration for HUBRIS.’ composer and founder Jonathan Hohl. Inspired by the epic series and the real life loss of his grandfather, Hohl translates his grief and the deeper understanding of death into new album White Shores, the stirring emotion evident without a word spoken. Whilst paying homage to the immense world of Middle-Earth and the quest of the Fellowship that shows even the smallest and unassuming of us can change the course of history, HUBRIS. narrow in on the underlying themes of morality and immortality that runs throughout the series and drives the narrative to its conclusion. The album and track titles are direct quotes from the eccentric yet wise Gandalf as he is in the thick of war and facing the end of everything at the siege of Minas Tirith, but rather than lament on the end of times he treats death as something to be accepted, an inevitability that shouldn’t be feared but instead embraced as the journey to the afterlife takes you to “white shores, a far green country under a swift sunrise”. HUBRIS. take inspiration from this gentle approach and from the immortal elves who covet death and paradoxically call it “the Gift of Men”, blending soaring instrumentals with post-rock riffs and spectacular beats that sonically elevate each track into a cinematic masterpiece that makes you reflect whilst also feeling like you’re the main character on your own quest, almost contradictory in how it makes you feel alive while its themes are centred around death. White Shores doesn’t act as a play-by-play soundtrack to the LotR, but there are certain elements that can be matched to the films’ scores and immerse you back into Tolkien’s world, from the opening of death and its dreamlike guitar that reverbs into shimmering cymbals, the melody building piece by piece, note by note, into a sound bordering triumph or acceptance and feeling like the beginning of something new, blasting drums and chords suddenly exploding back in to accompany a dramatic solo before it all fades into muffled synths and plinky notes. death has already taken us on that final journey with its ending representing the approaching shorelines and a final peace. Immediately fading into is, the rhythm continues its ethereal quality as if we were travelling through a modern Rivendell or to the final resting place of Valinor (the Undying Lands), rising and falling in pitch to a subtle beat that flows alongside the hopeful synths, heavy riffs and beats crashing in under wavering notes that layer together until it begins to sound like a heavenly choir. just’s intro of juddering drums and melancholy guitar initially sounds as if the track will take a more menacing approach, but as it climbs in power and range it treads the line between feeling like the pivotal moment in a quest where you have to make a difficult choice and leave the past behind, and sonically coming close to John Murphy’s In The House In A Heartbeat (from horror film 28 Days Later) in its theatrically astonishing combination of classic composition and modern rock, the final notes feeling like a nod to the beginning notes of Howard Shore’s The Breaking Of The Fellowship from The Fellowship of the Ring. another takes on a different look as it continues the journey through the ether, a repeated riff echoing throughout the track as it shifts into more industrial elements of sound and beats, stripping away the peaceful acceptance of death and becoming more of an internal outlet for the person grieving, its lonely strings open to interpretation of everything continuing as normal while the instruments build into an emotional crescendo that demands to be heard and felt, or the aching feeling of grief when it’s so overwhelming you can’t stay hopeful and have to go through this bout of sadness. path I begins with a downplayed snare beat and guitar that gradually rises into powerfully driving bass until it reaches a peak of layered post-rock and cinematic sounds, the beginning of a new day and the understanding that this too shall pass, that grief is love and memory enduring and to celebrate that we should even have those memories to cherish. Similar in style yet differing in sentiment, path II brings our journey to its end on the promised White Shores with a composition that reaches new heights with sweeping riffs and scales, a rising guitar in the background, bass rumbling through at the bedrock of the track, and a beat that progressively climbs to an abrupt drop, fading out to a simplified version of the riff as we embrace the closure that death is just a part of life but it doesn’t mean the end for us still living. “The journey doesn’t end here; death is just another path, one that we all must take.” Score: 8/10 White Stores will be released on 10th September 2026. Words: Julia Stark Photos: hubris.

SCENE QUEEN has never been particularly interested in playing by the rules. In a scene where heaviness can sometimes come wrapped in an unnecessarily serious package, Hannah Collins has spent the last few years kicking down the door in pink platforms, armed with pop hooks, Y2K nostalgia and enough attitude to make even the most committed gatekeeper uncomfortable. Now, with METALICIOUS, she’s turning the volume up - and, perhaps most importantly, making the heavy bits heavier. If the whole point of SCENE QUEEN’s self-proclaimed “bimbocore” has been proving that femininity, humour and unapologetically ridiculous fun have every right to exist alongside crushing guitars, METALICIOUS feels like the idea fully unshackled. Described by SCENE QUEEN as “chaotic recession pop, Y2K coded, metal madness”, the seven track EP is deliberately excessive, gleefully messy and completely unwilling to pick a single lane. Opening with Pink Flip Phone, METALICIOUS immediately establishes that this isn’t simply a continuation of Hot Singles In Your Area. There’s an increased sense of urgency running through the production, with the glossy, hyperactive pop elements smashing headfirst into heavier guitars and SCENE QUEEN’s increasingly ferocious vocal delivery. It’s nostalgic without becoming a costume piece, taking the trashy glamour of the early 2000s and dragging it directly into the pit. Then comes Manicure, where the contrast becomes even more delicious. The song is pure SCENE QUEEN: catchy enough to lodge itself in your brain, ridiculous enough to make you grin, but underpinned by a genuine sense of frustration. The joke is always part of the weaponry. SCENE QUEEN understands that you can say something angry without sounding miserable; sometimes the best revenge is dancing while you do it. Shopaholic and Drop Dead Gorgeous continue that balancing act, leaning into the hyper-feminine aesthetic while refusing to let it become superficial. There’s a knowing quality to everything SCENE QUEEN does. The pink, the makeup, the shopping references and the deliberately outrageous presentation aren’t disguising the heavier themes; they’re part of the point. Because beneath the glitter, METALICIOUS is still angry. There’s a reason the music feels so satisfying when the breakdowns hit. This isn’t simply pop music with metal riffs bolted onto it for novelty value. It’s a deliberate rejection of the idea that there’s a correct way to exist within alternative music. Tracksuit might be the clearest example. It takes something as gloriously mundane as Y2K sportswear and turns it into another vehicle for SCENE QUEEN’s particular brand of chaos. The song is enormous, aggressive and knowingly stupid in precisely the right way. Yet underneath the humour is an artist becoming increasingly comfortable with just how heavy she can make this project. And then METALICIOUS delivers its knockout punch. The title track, featuring LEFT TO SUFFER, is exactly what happens when SCENE QUEEN’s world collides with deathcore. SCENE QUEEN describes it as a “tumblr indie sleaze club song” written “in metal font”, and honestly, that might be the most accurate description possible. There’s something wonderfully absurd about the entire concept: a girls’ night at a metal show, drinks flowing, purses flying through the mosh pit and deathcore vocals lurking around the corner. But musically, it works far better than it has any right to. The contrast between SCENE QUEEN’s sugary delivery and LEFT TO SUFFER’s brutality creates exactly the kind of collision that has made SCENE QUEEN so compelling in the first place. It’s also significant because METALICIOUS doesn’t simply use heaviness as a gimmick. SCENE QUEEN has spoken about recording some of her lowest screams yet, alongside the deathcore features, while wanting the project to recapture the sense of freedom she felt when she first started making the Bimbocore releases. You can hear that freedom throughout the EP. There’s even room for the “trauma dumping” SCENE QUEEN jokingly warns about in the EP promo. And that matters. Behind the jokes and the neon-coloured aesthetic, there’s something considerably more vulnerable happening. SCENE QUEEN’s music has always been about reclaiming space - taking things that have been dismissed as too feminine, too silly or too poppy and putting them directly in front of the people who insist that heavy music needs to look a certain way. METALICIOUS doesn’t ask permission. It kicks the door open, throws a handbag into the pit and starts the breakdown. What makes the EP particularly successful is that SCENE QUEEN hasn’t sacrificed the immediacy that made her music so accessible in pursuit of being heavier. The hooks are still huge. The concepts are still ridiculous. The humour is still firmly intact. But the guitars hit harder, the screams are nastier and the whole thing feels less like an artist experimenting with metal and more like someone realising she can absolutely own this space. SCENE QUEEN has never been about restraint. Asking her to tone it down would be like asking a mosh pit to sit quietly. Ultimately, METALICIOUS is SCENE QUEEN at her most confident, chaotic and completely herself. It’s bubblegum pop smashed against deathcore, Y2K nostalgia drenched in distortion and a middle finger raised firmly at anyone still convinced that there’s only one way to be “heavy”. The scene has changed considerably since SCENE QUEEN first started calling her sound bimbocore. METALICIOUS feels like proof that she helped change it. Pink is the new black. And apparently, it also comes with breakdowns. Score: 9/10 METALICIOUS will be released on 11th September 2026 via Hopeless Records. Words: Angel Turley Photos: Maggie London

With Deathrace, RISING INSANE returned to their metalcore roots while opening up about grief, trauma and the power of community. When we speak, the album has been out for just a few days. The band still feels the excitement from it, and maybe some relief, “it’s finally released and we got it done!” says the band’s guitarist Sven Polizuk. For a long time, these songs have belonged to them. They have lived with the demos, the rewrites, the discussions over direction and the inevitable moments of wondering whether a song actually works. Now they are on Spotify. People are listening and they become part of our lives as well. “It’s definitely a very, very special feeling for each member of the band when you work for so long on an album and you get a feeling that this is it, this is a really good album, we’re onto something here.” he elaborates. “And when you finally release it and you see the songs on Spotify popping up, the playlists it got featured on, that's a very, very special day and we are still hyped from the release day last week. There's this energy going on and we're all very happy about it.” There is a moment in almost every band's career when progression stops meaning “more” and starts meaning “back.” For RISING INSANE, that moment happened somewhere between the road and the rehearsal room. After Wildfires, the German metalcore band had begun moving towards something more modern, “there were more synths, clean hooks, maybe a bridge or a breakdown with screams. We were on this path to make this kind of modern metal music stuff. And then we realised when we were touring that we were missing this old metalcore riffing. Just sit down with your guitar and write some riffs. I think that’s what got us hooked the most.” Sven explains. So they did something that is arguably harder than reinventing yourself: they stopped. “We decided to abandon all the old demos, all this modern stuff and go back to the roots like with Nation or Afterglow.” he confides. That guitar and drum focused approach, ultimately became the foundation of Deathrace, and the album hits with that intent and impact from the moment it starts. When listening to the record pre-release, it felt like an album designed for live shows - however the band mentions that it isn't something they set out to create. “It was not on purpose” they say. “It’s just something that came through the writing process itself.” And maybe that’s why it feels so unifying, because it is raw and genuine. RISING INSANE's creative process usually starts with a riff. The music comes first, with instrumental ideas passed between the members before Aaron begins working on vocals and lyrics. “Normally we are going to start with the music,” Sven explains. “It’s just picking up the guitar, trying to write some riffs and record them. It's kind of a back-and-forth process. ” It is a process of trial and error. Some ideas become songs, others don't. The band isn’t interested in forcing every demo into a finished track; they follow the material that gives them a genuine creative flow and that feels right to them. For vocalist Aaron Steineker, these notes can become a way to process pain. Following the loss of his sister in 2018, its weight has continued to echo through his songwriting, finding a place across their records: “It had a huge impact on me, my family and my whole life, you struggled for years with that. And I can put this struggle and pain into the songs since Porcelain, then Afterglow, Wildfires and now Deathrace.” On Deathrace, that process becomes particularly direct in TRAUMATIZED, a song about the lasting impact of that loss. “I write, sing, scream about this trauma that this loss has left me with.” he explains. But while going through this, he also still thinks of others who may struggle: “I try to give our fan base, the listener, a point they might refer to and take some strength out of the songs that we write.” RISING INSANE builds spaces where listeners can bring their own experiences, one song at a time. There is, however, a cost to that openness. “When you put out songs where you really open up to the audience, you kind of feel naked." Aaron admits. “You share some really intimate feelings with the whole world.” The band still wears it with bravery, showing that the response from their audience has made that vulnerability worth it. Aaron recounts how fans have approached them at shows and at the merch table to say that the songs helped them through difficult times. And that there are the moments when the band can see that connection happening in real time: "Even on stage when I sing specific parts, I can see the faces of the people screaming them back to us, and I know that they are feeling it.” He remembers especially playing Something Inside of Me a lot on the last tour and witnessing peoples’ struggles through the performance and its reception. “Then seeing these people at the merch table, giving them a hug. That’s pretty huge for me," he explains. It is not just singing along, it becomes a collective experience. A lyric that began with one person's grief can become a sentence that somebody else desperately needed to hear. A scream written in isolation can be returned by hundreds of voices. That is where the aggression of Deathrace takes on another meaning. It becomes a catharsis, a way of letting something out. They show us that vulnerability and aggression can co-exist because, sometimes, that is what pain feels like but that community can make it more bearable. That honesty also extends to the band's creative process. When asked whether there was a particularly difficult song to write, Aaron immediately has an example: DARK. Sven sent him the instrumental, and he remembers thinking “this is gonna be a banger.” Then he wrote his first version of the vocals and thought he had gone too far in the experimentation. So they took time to put it aside and rethink it. Eventually, they returned to it and rebuilt it almost completely, with Sven helping develop the ideas that became the final version. It is a revealing story because it shows that sometimes to make something great you need to overcome the fear of stopping and starting again. They also push limits on Deathrace with new collabs: “With each person it was kind of a no-brainer, like with Matt from CASKETS or Tino from ACCVSED.” Sven illustrates. They approach each collab as an additional force for impact, going through their songs with the lens of what could go harder with someone else joining in. When asked who they would like to collab with in the future both members agreed that “the flow of LANDMVRKS would be a really nice fit. These aggressive vocals would be a very fun feature!”. Their approach to vocals and music also comes from their influences, which they name as, for example: ARCHITECTS, LANDMVRKS, FIT FOR A KING or POLARIS. But while writing the album, they deliberately tried to listen to less metal. Sven explains that he wanted to avoid becoming too influenced by it, sometimes just listening to the radio during the writing process. Aaron, meanwhile, was thinking about voices that felt raw rather than perfectly polished. Kurt Cobain was one of those influences. “He had such a raspy voice and it was so raw, not overproduced” he says. “And also the way of switching from fry screams into false cores and into clean, singing shouts that Jamie Hails of POLARIS does really hooked me up for last years and I definitely wanted to give it a try. I think you might hear that in TRAUMATIZED”. When asked which track they would in turn suggest to someone discovering RISING INSANE for the first time, they reflect on a few for the different aspects they bring to the table. They mention that Narcissus would be an unexpectedly favourite for their bassist, Ulf Hedenkamp. That the song can give the feeling of what it’s like when they’re slower, add weighted textures and take their time. DIRT can give an almost waltz-like feeling, and Aaron also points towards GREY, particularly because of its post-chorus guitar riff and closing solo. They however agree that TRAUMATIZED naturally carries particular musical weight and emotional significance and they would gravitate towards recommending it because of what it represents. What's next for RISING INSANE? For now, the band are enjoying the direction they've found: “We will stay with the riffs.” They already have ideas for the future and some material in their pockets, but are firstly excited to take their new album to the stage. However, preparing to tour also means choosing the setlist. There is a lot more to it than simply picking the songs everyone likes. They want to showcase Deathrace without alienating people who have been following them for years but also consider listeners who discovered them specifically because of the new album. They need to build tension, decide when the crowd should jump, when a circle pit makes sense, when a wall of death might happen and somehow make the whole thing feel emotionally coherent. “It’s not as easy, you can’t be like, okay, this song didn’t work last night, so we take another one,” they explain. The solution is rehearsal, lots of it. “Sometimes you got songs that sound really, really great on a record and then you’re playing it and then think, oh, maybe we have to take another approach to it.” Some songs, they explain, have a kind of “symbiosis” with the tracks around them. Remove one and suddenly the next doesn't hit in quite the same way. They’re deep in the process of constructing this emotional rollercoaster and will be kicking off with a befitting start: Rocken Hilft Festival For Mental Health on October 24th. It will then be followed by a German tour starting in Munich on November 5th. While it is currently the main focus, the band expressed that they would love to play abroad. Sharing their music with people everywhere is after all what they look forward to beyond everything. The feeling of standing in a room and knowing that something you once wrote alone now belongs to everyone in it. Deathrace may have been born from a decision to go back to the roots, but RISING INSANE keeps growing and surprising. RISING INSANE released their latest album Deathrace on 21st August 2026 via Long Branch Records and are currently gearing up for their Deathrace Tour across Germany later this year. Words: Lysandre Pons Photos: Katharina Sterl With thanks to: Hold Tight and Rising Insane

Barcelona-based death/doom trio BOCC returns with Demolarium, releasing on September 11th via Night Terrors Records. The record wastes no time establishing its intentions: Heavy, murky and deeply rooted in the uglier corners of extreme metal, it drags death metal, doom, sludge and crust through the mud and comes out sounding appropriately filthy. Rather than relying solely on speed, BOCC understands the power of weight with riffs lumbering forward, guitars remaining saturated and oppressive, while the drums frequently provide the momentum that keeps the record from becoming static. The title track, Demolarium, is a suitably crushing introduction. It is deep and heavy from the very beginning, pairing guttural vocals with murky guitars and a doom-laden pace that feels almost physically difficult to move through. The contrast comes from the drums, which seem to pull everything forward and give the song a sense of acceleration despite its otherwise sluggish character. A heavy guitar solo arrives almost unexpectedly, breaking through the density and pushing the track into a faster second half before dissonant guitars bring it to a suitably uncomfortable close. Estigma takes a more atmospheric approach. Its intro is built around a gritty, dissonant and echoing guitar which remains the red string through the song. The drums and vocals gradually add weight, but taking a surprisingly supportive role rather than dominating. The vocals truly only really arrive around the two minute mark, allowing the instruments to establish the mood first. As with the opening track, BOCC eventually shifts gears, with the final stretch becoming noticeably faster. Bass takes centre stage on Escorxador, where its prominent solo and constant low-end presence give the track an impressive sense of depth. The drums also become one of the song's defining elements, maintaining their force right through the ending. It is a good example of how BOCC can make relatively straightforward ingredients feel imposing simply through the way they are layered and performed. With 4227, the band becomes considerably more progressive and experimental. The drums have a distinctly studio-like feel, while the guitar feels like it’s being tuned or assembled in real time. An inserted piece of audio resembling a news broadcast adds another layer of unease, reinforcing the feeling that Demolarium is interested in more than simply delivering riffs. Calvari (Dels Condemnats) is perhaps the album's most immediate assault. Loud, saturated and brutally direct, it lands like a sucker punch. There is little need for embellishment, the band simply turns up the pressure and lets the sheer density of the sound do the work. Closing track Ànima D’Acer brings back the strong bass and drums that have characterised much of the record. It is a good song, but it feels a bit too familiar by this stage. It is a good song that however feels more like something that might have appeared in the middle of the album than at the end. BOCC has created a record that feels deliberately unpolished and physical, where the grime, distortion and heaviness are part of its identity rather than imperfections to be cleaned up. The band's Catalan lyrics and connection to Catalan history and folklore further strengthen a sense of unique identity, while the combination of death metal brutality, doom's oppressive weight and crust's confrontational energy gives the album a character of its own. Demolarium is not an album concerned with comfort or easy listening. It is dense, filthy and frequently claustrophobic, but also brings enough movement within that heaviness, to keep it engaging. BOCC's strength lies in knowing when to crawl and when to charge, and in making both approaches feel equally threatening. Score: 7/10 Demolarium will be released on 11th September 2026 via Night Terrors Records. Words: Lysandre Pons Photos: BOCC

The French four-piece pop-punk group MIRABELLE. are back with their latest EP, Losers. This follows their debut album, Welcome To My Funeral, released in 2024, which earned the band a place on Amazon’s “Ones to Watch 2025” list. MIRABELLE. fuse their fun attitude and uplifting melodies while completely flipping the script, addressing life’s grittier and darker aspects. While their debut explored themes such as death in all its forms, Losers focuses on anxiety and the struggles faced by anyone who has never felt good enough or believed they fit into any kind of social circle. The opening and self-titled track, Losers begins with cheerleading chants spelling out the letters of the band’s name and the song title, giving it a real American Pie feel. It immediately evokes the era in which pop-punk exploded into mainstream popularity. The track then introduces scratches from DJ Box, while Dory-Loup Venta’s vocals resonate throughout the song. His production gives the track a deliberately raw and gritty feeling. There is also an element of modern metal and funk, with several breakdowns and an interesting, gnarly bass solo. The heavier elements eventually combine to give the track a unique twist on the pop-punk formula. Back On Your Feet is the next track, with NEW FOUND GLORY immediately evident throughout the opening sequence. It soon hits the breakdowns that MIRABELLE. are incorporating into their own sound. It has a heavier touch than the previous track, while still retaining its pop-punk identity. Gianni Messia’s drumming flourishes here. The rapid changes in rhythm and tempo are as erratic as they come, yet remain controlled through excellent switch-ups and precise drum work. It is a particularly gritty and darkly produced track, especially during the distorted, alien-esque audio that brings the song to a close. Fuck No showcases the band’s screamo influences and their angsty attitude. It begins with a distinctly early-2000s introduction, immediately giving off LIMP BIZKIT vibes before moving into the band’s combined screams. The song continually shifts between its heavier sections and a surprisingly jolly atmosphere. On paper, the two elements almost feel misplaced, but MIRABELLE. incorporate them so effectively that they work as a break between the screams - almost like a smile before an outburst when someone finally loses control. Mathieu Rouland and Pierre Flew’s guitars have a much greater presence on this track, and it is very much appreciated. Both deliver solid riffs, often playing in unison and giving the song an additional layer of heaviness. The final track, and arguably the highlight of the EP, is Daydreamer where MIRABELLE. combine almost every aspect and influence heard throughout Losers. Dory-Loup Venta has done a brilliant job producing these tracks, particularly through the use of a style that can often be hit or miss: chaotic cohesion. The entire band thrashes through a pandemonium of noise before suddenly falling silent, with one instrument carrying the track into its next explosion of metal. In many cases, this approach can fall flat. Here, however, it works. The track never becomes overkill, with each instrument remaining distinguishable, while it is also long enough to avoid feeling as though it is merely teasing those ready to mosh. The band eventually join together in a harmonious chorus of sound, creating an unexpected sense of dystopia and peace. The track perhaps did not need this moment, but it provides a welcome space of calm within the chaos. Losers is a very solid brick in the foundation that is MIRABELLE. It demonstrates how the band are building on their existing success while continuing to develop towards the future they aim to achieve. Following a Japanese and South Korean tour, as well as two weeks of charity shows in their home country, Losers continues to demonstrate why MIRABELLE. are a band worth watching. Score: 7/10 Losers will be released on 11th September 2026 via Banshies Records. Words: David Waites Photos: Tiny Gigie

With festival season and summer drawing to a close, many music lovers are currently left waiting for their next music fix. Thankfully, fans were saved from their post-festival blues by recent All Points East performers HEADSEND, as they took to the stage in Camden for a night of raw, unfiltered talent. Australian-based alt-rock grunge trio HEADSEND started out in 2024, and have supported the likes of WUNDERHORSE, TOOL and AC/DC. With fans queuing en masse in hopes of getting into their London gig, it was clear that HEADSEND were more than ready to headline in the UK. A crowd gathered in the bar downstairs, eagerly waiting for the venue doors to open. Those that got there early were treated to the sounds of support act BLOOM soundchecking in the space above, the bass reverberating through the whole building as anticipation for the night grew. After navigating a few technical difficulties, the night was underway. Under cool, blue lights, BLOOM launched into their first song of the night. Unusually, there was no setlist or introduction from the band about what was to unfold. The band have yet to release their music on any streaming platforms, but have been teasing snippets of original songs along with acoustic covers to their tens of thousands of TikTok followers. Like any true alt-rock band, the four-piece Bristolians kicked off their first song showcasing their technical skills with a guitar shred solo before launching into the main melody and sustained vibratos. Keeping the energy high, they intensified the grunginess of their set with a heavy riff from lead guitarist Toby Coup. The band built up the tune nicely, Reuben Griffiths adding a steady cymbal and drum beat with bassist Finley Cornwall and lead singer/guitarist Charlie Port joining in as the beat dropped as the crowd moved to the rhythm. As the band moved through their set with ease, Charlie put down his guitar, trading it for a pint glass. It was at this moment the crowd got to see a new side to BLOOM. Short, catchy guitar riffs and a steady, slow drumbeat complemented Charlie’s raspy vocals. He stood sipping beer in between vocals like a Gallagher brother on stage, with the talent and edge of an alt rockstar. Anticipation built as the crowd, already buzzing from the support act, were ready for the main event. Having made their All Points East debut just a day prior, there was a mixture of nostalgia from fans who were able to witness their performance with excitement from those who were seeing the trio for the first time. HEADSEND wasted no time demonstrating their talent, opening with Stove. Drummer Bon Soric led the charge on this track with his steady but equally energetic beats. Facing each other, the band fed off this energy, bassist Kyuss King following suit, with lead singer Rasmus King launching into raw, gritty vocals. Stove created an electrical current in the room, with the crowd instantly thrashing their heads. Moving through the set, fans were treated to upbeat rhythms of And Angel and Doo doo, both tunes reminiscent of the 90s grunge scene. Before continuing the show, frontman Rasmus took a brief moment to introduce the band and express thanks to the crowd for their support, of which the room erupted into thunderous cheers. The audience was treated next with Biopsy of an Unknown Growth, HEADSEND’s latest single. The haunting vocals and the guitar melody reverberated throughout the room, building up momentum to a crescendo where drummer Bon really let loose. The room exploded as a powerful tidal wave of pure emotion flooded into the crowd before drawing back again to the grungy melody of the next verse. Chugg kept the momentum high, with the themes of anger and confusion reflected in the short, sharp riffs. Slowing down as the lyrics of ‘“I’m asking for a friend/You’re free until the end” echoed around the room before picking up the pace as the band went into the next verse. With epic changes in tempo, Chugg cemented HEADSEND’s power within the grunge scene. Finishing off the night, the band went straight into their unreleased track Slayerish. The low vocals and simple, clean repetition of guitar riffs immediately sent the crowd into a hypnotic sway. Bursting into raw screams, the song took on a new life as the band did what it does best - jam out at full force. The sound was literally bouncing off the walls as Rasmus crashed into the side of the stage as the trio went all out for their final song. The way that HEADSEND effortlessly commanded the energy of the night was magnetising. There is no doubt that HEADSEND possess an authentic talent, and are certainly ones to watch in the alt-grunge scene. Words: Mary Horner Photos: Simon Whytock

As lightning lit up the sky over the iconic Digbeth area of Birmingham, five bands descended upon the Subside bar, intent on rivalling the roar of the thunder with their own might, led by UK based pop-punk four-piece DOWNCAST on their UK summer tour. This free gig was a must-see endeavour for pop-punk enthusiasts, which is why it was a shame to see the floor of the dim, warmly lit pub somewhat quiet for the first act, alt artist LENNOX, who were certainly a promising sound to start the night. Full credit is owed, as one might walk past outside and imagine a room full of sweaty bodies rocking out with such energy radiating from the trio, clearly dead set on delivering 100% for those early goers. Paul Lennox’s vocals were delivered without nerve, having a naturally enticing voice for rock that he demonstrated clear capability to control, while Adam on bass and Nathan on drums performed with their own technical abilities evident. With a strong stage presence and equally solid sound, this felt like the ideal opener for a powerhouse like DOWNCAST. West Midlands based alt-rock band NOTHING IN RETURN were next in line, another up and coming group keen on making themselves known in the scene, wasting no time getting into gear and letting loose. Their set was not without tribulation however, as their guitarist was temporarily out of action due to a technical issue, but luckily, he was in good hands, as the rest of the band held their nerve and nailed the song despite the setback. With a sound drawing inspiration from many contemporary indie rock artists, their set offered a less intense, but still catchy pace to an otherwise rather full-on selection of artists. Finding themselves caught short of time, the band tore into their final track, which was arguably the grandest, most infectious piece of work they had in their arsenal, including a sweet guitar solo, which worked well to make an impact before concluding their appearance. The remaining openers accompanied DOWNCAST throughout their tour, truly elevating the evening as by now the ever-dimmer bar had started to collect fans and intrigued patrons alike. The first of said openers was STAY SAFE, a Manchester based four-piece that immediately burst into action with frightening enthusiasm, demanding complete attention from the crowd. The word to sum up this set would be ‘relentless’, with the energy and presence that could be reserved for much bigger crowds, but these lads clearly aren’t fussed, they just want to be on a stage together kicking ass, and that’s exactly what they did. The most notable aspect of their set other than their immense power was their chemistry, both as a band and with the crowd, smiling throughout their entire set, interacting with one another, and guitarist Chris planting himself amongst the crowd on multiple occasions. The brother of bassist Jack even had a moment to shine, trading spots with Chris for a song. This truly felt like a headline performance, brilliant pop punk set from all members (and Jack’s brother). Somehow after that there was still one more act before the actual headline, a band that made the impressive journey all the way from Poland to be a part of this tour, this being CF98, a pop-punk band raised by the likes of GREEN DAY and PARAMORE, who spend a lot of time wreaking havoc across Europe. Vocalist Karolina was highly animated, bringing an infectiously joyful energy to their aggressive sound that the audience easily latched onto. If you’ve ever been in a small crowd in a charming pub and thought “this place could really use a wall of death right now”, Karolina has got you covered. A tight, unfaltering performance of blazing drum work, riffing guitars and powerful vocals, including a few covers from the likes of BLINK 182, much to the delight of those attending. Finally, after hours of commendable dedication to giving the best performance possible, we are left only with DOWNCAST, and with lightning continuing to flash over the Birmingham skyline, it only made sense for the opening song to be raincheck, the opening track from their 2024 EP ‘WTF HAPPENED???’. As guitars swung, cymbals crashed and screams tore through the air, the band established that they meant business, and all around the dancefloor heads were rolling, with it being almost impossible not to rock along. Maintaining such power, especially for vocalist Liam, must be a brutal task, but he nor any other member showed this during their set, which extinguished any feeling of fatigue beforehand as an audience member. Deep into the set bassist Jeff lifted himself upon a speaker, motioning towards the crowd to lend a few hands, and despite being a handful of people, they enthusiastically carried him around while he played, which was quite the spectacle for onlookers. The set ultimately closed with catharsis, the band’s 2020 track that grew to become their most beloved, an undeniable banger that easily blows the roof off any venue, and an epic climax to a thrilling evening. Words & Photos: Paul Cutts

Crawling out from beneath the crypts of London, GREEN LUNG return with their fourth studio album, Necropolitan. After the enormous reception they received when they were announced for Bloodstock 2027, it’s clear there’s still a serious appetite for the band’s particular brand of occult-flavoured heavy metal. And if Necropolitan is anything to go by, both the old guard and any newcomers are in for one hell of a ride. GREEN LUNG have never been shy about wearing their influences on their sleeves and throughout Necropolitan there are plenty of nods towards the likes of OZZY OSBOURNE, BLACK SABBATH and JUDAS PRIEST. Yet, despite those obvious influences, the album never feels like a simple exercise in nostalgia. It’s unmistakably GREEN LUNG, but the band have expanded their sound with enough atmosphere, theatrics and groove to make this arguably one of their strongest records yet. The album opens with the doom-laden transition Open the Hellmouth into Dance to the Grave, immediately dragging you into GREEN LUNG’s dark and theatrical world. Haunting vocals and ominous organ give the track plenty of momentum before the doomy guitar work crashes in. From there, the band lean heavily into everything that makes them so enjoyable. Black Magick Radio fully embraces the theatrical side of the band, blending vintage keyboards with a hazy occult-rock atmosphere that feels ripped straight from the late ’60s and early ’70s. Close your eyes and you could almost convince yourself that the great OZZY OSBOURNE has returned to summon us back to the hallowed grounds of Villa Park. It’s gloriously retro, wonderfully strange and exactly the sort of track GREEN LUNG does best. That leads into the epic Necropolitan Line, which feels like stepping aboard a supernatural soul train. Taking inspiration from London’s infamous Necropolis Railway, the specialised Victorian railway service that transported the dead and their mourners beneath the city. There’s a funky groove running through it which, given the subject matter, is probably what you can imagine the smell would have been like as well and makes you want to climb aboard, although perhaps not for obvious reasons. Together In Death pulls the album into darker, more melancholic territory, with a noticeable nod towards the theatrical gloom of ALICE COOPER. The slower pace allows the gothic atmosphere to breathe, creating one of those moments where you can simply sit back and let the song come over you. Then comes Ozymandias, which takes a completely different approach, bursting into life with funky riffs and chunky grooves. Inspired by Percy Bysshe Shelley’s famous 1818 poem about the temporary nature of political power and the inevitable decay of empires, GREEN LUNG turn the story into a wonderfully theatrical piece of heavy metal storytelling. It feels as though the band are standing on a podium, delivering the warning for everyone to take heed. Alostrael (Be My Babalon) keeps the theatrical momentum going, with Riley Pinkerton of CASTLE RAT adding her distinctive vocals and making an already eccentric track feel even more elaborate. It’s another example of GREEN LUNG understanding exactly how much theatricality they can throw into a song without losing the riffs underneath it. The album closes with To The Gallows Born, a suitably dark finale inspired by the infamous Tyburn gallows in London. There’s a genuine sense of impending doom running through the track, but GREEN LUNG never allow things to become completely bleak, injecting their trademark groove into the darkness. It feels like the perfect final chapter to an album that has taken you through Victorian London, occult rituals, graveyards and supernatural railways. Necropolitan is an album that demands to be experienced rather than simply listened to. GREEN LUNG have packed it with huge riffs, infectious grooves and haunting organs to make every track feel like another chapter in the story. Whether you’re here for the doom, the psychedelic weirdness or simply some bloody good riffs, there’s something to sink your teeth into. It’s dark without becoming miserable, theatrical without taking itself too seriously, and most importantly, incredibly fun. If you’ve never ventured into GREEN LUNG’s world before, Necropolitan is one hell of a place to start. Score: 9/10 Necropolitan will be released on 11th September 2026 via Nuclear Blast Records. Words: Ciara Hicks-Evans Photos: Andy Ford

RØRY has built a career on saying the things many people struggle to admit. Across her music, she has turned trauma, recovery, anger and the messiness of simply trying to survive into songs that feel painfully honest. That honesty has earned her a fiercely loyal audience, and with BLOODLETTING, set for release on 11th September, she appears ready to take that relationship with her listeners somewhere darker. The hype surrounding the album has already been building at a serious pace. RØRY has introduced DEGRADATION, SWALLOW, KIDS THESE DAYS, and DEAD GIRL WALKING to Spotify, while strange having its live debut at Download festival. Those tracks have quickly become favourites among fans, making bloodletting one of her most anticipated releases yet. And based on the album as a whole, the excitement is completely justified. [welcome to the bloodletting] opens the record like a warning. It does not feel like a gentle introduction, but more like the moment before you willingly step into something you already know is going to hurt. The tone is set immediately: whatever RØRY is about to put herself through, she is taking us with her. Then comes DEGRADATION. The opening beat is absolutely insane and immediately makes you wonder just how far RØRY is willing to push herself vocally. The screams are something that fans will be waiting to hear more of as the album continues, and this song delivers some of the heaviest material we have ever heard from her. It is a massive step into a darker and heavier sound, but somehow it still fits her perfectly. SWALLOW immediately shows another side of RØRY’s versatility. The difference between this and the previous track is huge, proving just how much ground she covers throughout the album. Lyrically, it is another standout, while the rap section in the middle is beautiful, especially as it builds around the repeated "swallow, swallow, swallow me". It is one of those moments that sticks with you long after the song ends. a cure for cancer is arguably the most emotionally difficult track on the record. You can hear that this is a tough one. There is a real weight to the performance that makes it feel almost uncomfortable to listen to at times, but that is exactly what makes it so powerful. MORTAL brings in hints of Bring Me The Horizon, while still remaining unmistakably RØRY. The combination works incredibly well. It is a direction that feels natural rather than forced, and honestly, after hearing this, we definitely need more of it. The broadcast-style message of [the death of a people pleaser] brings an eerie atmosphere to the album before KIDS THESE DAYS kicks in. Already a fan favourite, it is an amazing song with a strong meaning behind it, while its music video only added another layer to the experience. Unique and memorable, it is no surprise this track has already found its way onto plenty of on-repeat playlists. DEAD GIRL WALKING is a definite standout song from the album. It is ridiculously catchy, but the heavier beats still hit perfectly. The balance between accessibility and aggression is what makes it work so well, and it feels like one of the clearest examples of RØRY pushing her sound forward without losing what made people connect with her in the first place. GREY brings another shift in mood before [oh when the saints] acts as a fitting introduction to hometown. The interlude gives a small insight into RØRY’s return to Southampton, her hometown, before the song itself explores her complicated relationship with the place and the struggles within it. hometown feels deeply personal, especially knowing the struggles she faced going back there on the blossom tour. The acoustic elements bring out both the emotion and meaning behind the track, giving it a sense of vulnerability that cuts through the album’s heavier moments. STRANGE is one of the slower and more meaningful songs on the album, but somehow that makes it one of the most impactful. Having already been played at Download, the song has given fans a glimpse of just how powerful it can be in a live setting, and in the context of the album, it hits even harder. Finally, [do you want to live] brings BLOODLETTING back to the question at its heart. Featuring messages around why people choose to keep living, it is an incredibly emotional moment and creates a powerful connection between RØRY and her #37club. BLOODLETTING is not an easy album, and it is not supposed to be. It is heavier, darker and more emotionally confrontational than anything RØRY has done before. From rage and grief to mortality and survival, every part of the record feels like an attempt to dig something out that has been buried for too long. And maybe that is what makes BLOODLETTING so powerful. This is RØRY refusing to be nice about her pain. Refusing to soften the edges. Refusing to hide the ugly emotions that so many people are taught to bury. The result is her heaviest and most ambitious album yet. Score: 10/10 BLOODLETTING will be released on 11th September 2026 via SADCØRE Records. Words: Jack Norris Photos: Derek Bremner

Manchester has long been one of Britain’s most prolific breeding grounds for elite music. OASIS and THE STONE ROSES may be two of the city’s most influential exports, but Manchester’s musical identity stretches far beyond them. Within its metalcore and alternative scene, MIDNIGHT SWIM are beginning to make their presence known, and their self-titled debut is an impressive introduction. Formed in 2023 after lead vocalist Jack Valentine and guitarist Danny Heaton’s previous project reached the end of the road, the pair chose not to put their instruments down. Instead, they recruited Matt Lunn on guitar, Matty Ashton on bass and Liam Clough on drums, creating the five-piece that would become MIDNIGHT SWIM. There is an immediately nostalgic quality to the band’s sound, but it never feels as though they are simply attempting to recreate the past. They combine elements of alternative rock, pop and metalcore, taking familiar influences from the 2000s and 2010s and giving them a distinctly modern edge. The album opens with Tease, and it wastes little time making an impression. Valentine’s gritty, abrasive vocals sit alongside a rich electric-guitar riff that runs throughout the track, acting almost as a rhythmic anchor rather than simply waiting for the opportunity to become a traditional guitar part. When the solo eventually arrives, however, restraint goes out of the window. It is explosive, technically impressive and immediately establishes the band’s ability to balance melody with heavier instrumentation. Play It Cool (Wanting More) takes the album in a more accessible direction. Its infectious vocal phrasing and harmonious instrumentation give it an upbeat quality, with a strong 2000s/2010s alternative-pop-rock influence. Crucially, though, it does not sound like a band attempting to recreate a particular era. The nostalgia is there, but it is filtered through a contemporary production and songwriting style. One of the album’s strongest moments arrives with Shaking You From My Feelings Would Be Easier If You Were Dead. The title may be a mouthful, but the song itself is anything but complicated. This feels like MIDNIGHT SWIM at their most natural: energetic, catchy and built around the kind of moments that should translate exceptionally well to a live audience. It has the characteristics of a future crowd favourite, with enough hooks to encourage an entire room to sing back at the band. Don’t Wanna Talk About It introduces a heavier side of the record. One of its most distinctive features is Valentine’s strong Mancunian accent, which gives the track an identity that cannot simply be replicated by another vocalist. The band wear their roots proudly, and there is a clear nod towards their punk influences. It feels rawer than some of the preceding material and provides an important change of pace. Then comes In The Rain, By The Car, featuring additional vocals from Shannon Gillespie. Her voice adds another dimension to what is perhaps one of the album’s most emotionally driven tracks. Rather than relying on wall-to-wall guitar riffs, the instrumentation is used to create atmosphere. The guitar provides texture and space, while the drums prevent the song from becoming static. The real strength lies in the relationship between the two vocal performances. Valentine and Gillespie do not compete for attention; they lean into one another, allowing the emotional weight of the song to build naturally. It is a heartfelt track centred around pain and vulnerability, and its restraint makes the emotion more effective. Sinners turns the amplifier back up. The guitars become more aggressive, while the drums - particularly the bass drum - become a dominant force within the arrangement. The track has an infectious rhythmic quality and feels deliberately constructed for audience participation. Melodically, it is one of the album’s most satisfying moments and another song that feels destined for a loud live reception. Bend & Break takes a more intimate approach. There are shades of SHINEDOWN in its atmosphere, particularly in the way the instrumentation creates space around the vocal. Clough’s drums resonate throughout the track, almost marching beneath Valentine’s softer delivery before his vocals develop into something closer to a desperate cry. It is one of the album’s most emotionally raw performances, and much of its impact comes from the restraint of the arrangement. Clough and Valentine deserve particular credit here; neither attempts to overpower the other, allowing the song to breathe. Then comes Push Back, perhaps the album’s biggest stylistic departure. The track introduces a funkier character without abandoning the band’s heavier guitar sound. The bass is the star of the arrangement, with Ashton moving up and down the fretboard to create a groove that becomes almost impossible to ignore. Valentine’s vocal approach also changes, at times carrying echoes of Patrick Stump, and surprisingly, the comparison works. The combination of funk, rock and pop sensibilities makes Push Back one of the album’s hidden gems and demonstrates that MIDNIGHT SWIM are not afraid to experiment with their identity. Do You Want To Get Away brings the record back towards more conventional rock territory. It is by no means a bad song, but its position on the album works against it. Following the heights of Push Back, it inevitably feels less distinctive. That is perhaps less a criticism of the song itself than a consequence of the standard set by what comes before it. The Last Song I’ll Write About You is arguably the album’s most intriguing collaboration. James Veck-Gilodi, frontman of DEAF HAVANA, contributes creatively to the production and vocals, having previously worked with Lunn and Ashton on an earlier project. His involvement elevates the track without making it feel disconnected from the rest of the album. It is considerably more pop-oriented and modern, with the electric guitar dialled back to create a smoother atmosphere. There are hints of THE 1975 in its approach, but the song never feels like an attempt to imitate them. It moves outside the conventional boundaries of a rock track and, as a result, feels like one of the album’s most commercially accessible moments. Fade, the penultimate track, returns to a heavier sound. The opening guitar immediately establishes a darker tone, with echoes of classic alternative rock and CREED in its construction. When Valentine’s raspy Mancunian vocals enter, the track takes on an almost sonnet-like quality. Once again, vulnerability becomes one of the band’s greatest strengths. There is nothing particularly polished or artificial about Valentine’s delivery; the imperfections are part of what make it convincing. The song feels exposed, and that authenticity runs through much of the album. The record closes with Like You Love To, its longest track, and perhaps its most appropriate conclusion. After the stylistic shifts throughout the album, the placement feels deliberate. The electric guitars are a particular highlight, moving between controlled passages and full-on shredding before eventually giving the impression that the band have emptied the tank. MIDNIGHT SWIM have created a debut that is energetic, varied and emotionally honest. The album moves comfortably between rock, metalcore, pop and funk without becoming completely defined by any one of them. There are songs designed for reflection, songs designed for a festival crowd and melodies that are likely to remain lodged in the listener’s head long after the album has finished. The influences are clear, but MIDNIGHT SWIM do not appear interested in simply replicating the bands that came before them. For a debut, that is perhaps the album’s greatest achievement. It does not sound like a band who have already decided exactly what they are. It sounds like a band discovering how far they can push their sound - and enjoying the process. Score: 9/10 Midnight Swim will be released on 11th September 2026. Words: David Waites Photos: Clayton Visuals

SHOWING TEETH have already taken the hardcore scene by storm, bringing a breath of fresh and vicious air from singer Addison that's received admiration all the way across the pond, with a coveted support slot for BRING ME THE HORIZON’s Count Your Blessings show at Outbreak Fest and a headline show in the heart of Camden. Garnering a rapidly growing fanbase and critical acclaim on just two released tracks, SHOWING TEETH unleash their full assault with ear-shredding EP A Fate Worse Than Loneliness. While some may be amazed at the band’s immediate notoriety with only two tracks, it's a testament to Tennessee-based Addison who started out by posting memes and snippets of her vocals and built the base of their following, exploring and refining her sound until people rightfully noticed her work. She may self-doubt at how quickly her “small project” SHOWING TEETH has taken off, but when you consider A Fate Worse Than Loneliness was partly recorded in her car and still sounds studio-grade level, it's easy to see why. A Fate Worse Than Loneliness leaves an immediate mark with Bad Exchanges’ threatening riffs steadily drowned out by Addison’s distorted vocals building to a thrashing of drums and bone-rattling bass, her screams morphing from guttural, to fry, to pitched shrieks in an impressive display of self-taught vocal power, the opening track a searing brand that says SHOWING TEETH aren't here to fuck around. Labyrinth became an understandably immediate fan favourite, rabid screams pulling us into a tearing rhythm that bends and flexes around the softer chorus of clean, soulful vocals that centre around giving your all to someone to the point of fusing skeletons together, bass riffs swooping upward as guitar shrieks pierce through against raging drum beats. Make It Out steps away from being pure hardcore and blends with alt-metal beats and dual riffs, Addison delivering clean, soaring vocals that descend into guttural growls that show her prowess and expressive experimentation, before the track builds into classically metal guitar solo of epic levels. Rip does exactly as its title suggest and shreds through with thundering drum solos and double pedals that go hard, bass thudding steadily throughout as the guitars shift from menacing riffs to juicy squeals, vocal screams rising and falling in octaves but dominating without question. Shallow Grave combines the exploration and excellence of the band's musical talents to bring together a track that highlights the best parts already displayed on the record, from Addison's alchemising vocal abilities that range sonically and emotionally, to the agility and force at which the riffs are plucked, the unrelenting force of the drum beats bringing the track and the dream of SHOWING TEETH together. A&Ox1 takes us out for a surreal minute and a half of muted synths and dreamlike, fading vocals over a spoken monologue of therapeutic advice of “if you are looking for a better life than you have now, then there are some things you're gonna have to accept”, spoken with a Southern drawl that feels like a no-nonsense relative giving you a pep talk. This moment of calm folds into the closer Paradigm, introducing gentle piano and climbing synths over soft but hopeful vocals “I feel fine when I close both my eyes and rewrite both the lives”, Addison giving us a vulnerable look into her inner feelings as the drums and guitar begin to crash in, before descending into raw screams on the breakdown as she unleashes everything to a heartfelt melody that should feel out of sorts compared to its track siblings, but instead gives peaceful closure to A Fate Worse Than Loneliness. Score: 9/10 A Fate Worse Than Loneliness was released on 4th September 2026 via Republic Records and Spinefarm. Words: Julia Stark Photos: Showing Teeth

AS IT IS is a band that never fails to make you feel something. They have the ability to snap you straight back to the first time Dial Tones made your chest tighten, or when Okay. felt like a mirror held up to every messy, unspoken feeling you’d been carrying around. They were the band you found through Tumblr posts, YouTube rabbit holes, or in the sweat‑heavy crush of a tiny venue where every lyric felt like it was being shouted directly at your ribs. Brighton might be where they formed, but their reach sprawled far beyond the coastline. The earliest era of AS IT IS was defined by urgency. EPs like Blame It On The Weather and This Mind Of Mine were scrappy, melodic sketches of a band figuring out how to articulate the chaos inside. These releases weren’t polished, but they were honest. They carried the DNA of what would soon become their signature: vulnerability delivered with pop‑punk bite. You can hear the foundations being laid, the emotional candour sharpening, the sense that something bigger was nearing. That “something” arrived with Never Happy, Ever After. Their debut album detonated them into the scene. Tracks like Dial Tones, Concrete, and Speak Soft captured the panic of early adulthood with hooks sharp enough to leave marks. It was a record built on confession, anxiety, and the quiet terror of growing up. Fans connected because the band didn’t pretend to know how people were feeling, they told the truth, even when it hurt, and that integrity became a source of hope to listeners who were tired of pretending they were fine. But AS IT IS never stayed still. Their second album, Okay., arrived with brighter colours but heavier truths. It leaned fully into mental health, self‑worth, and the pressure to perform happiness. The title track’s refrain became a rallying cry for fans who needed permission to not be okay. Sonically cleaner, emotionally deeper, Okay. marked the band’s first major evolution. It proved they could grow without losing the heart that made them matter. Follow up record The Great Depression was darker, theatrical, and concept‑driven, a bold step into territory that split opinion but showcased their ambition. It interrogated societal numbness, emotional burnout, and the commodification of sadness. Songs like The Wounded World and The Fire, The Dark pushed their sound into heavier, more confrontational spaces. This era wasn’t neat, but it was intentional. It showed a band willing to tear down their own foundations to rebuild something braver. By the time I WENT TO HELL AND BACK arrived, AS IT IS had shapeshifted again, including a change in line up. This album was chaotic, genre‑blurring, and emotionally raw, pulling from pop‑punk, emo‑rap, hyperpop, and alt‑rock. It reflected survival in its least glamorous form. Tracks like IDGAF and I Lie To Me captured the fragmentation of navigating personal upheaval while trying to stay afloat creatively. It was messy in a way that felt purposeful, mirroring the instability of the world it was born into. Then came the hiatus - announced in January 2024 via a rare Instagram post from Patty Walters, stating, "Here's to another new chapter. It's never goodbye. It's just 'see you around'". Fans weren’t necessarily shocked by this, but it was definitely not a welcome departure. Times changed, people changed, and by August of 2024, the band's social media accounts were wiped and began to hint at a reunion. What came next was more than fans could ask for - Never Happy Ever After X, a re-recording of their debut album Never Happy Ever After, was released, featuring other artists from the UK music scene like HOLDING ABSENCE, ARTIO and NOAHFINNCE. Lead vocalist and guitarist Patty Walters is now joined by Ben Biss on guitar and vocals, Patrick Foley on drums and Alistair Testo on bass, in a new line-up. Having just released their new self‑titled album, AS IT IS are stepping into a new era. A self‑titled record is always a statement, but for a band who’ve rebuilt themselves more than once, this time it’s a declaration of identity. With anticipation rising and a new chapter unfolding, the band are gearing up for their appearance at BURN IT DOWN FESTIVAL, ahead of a headline tour later this year. For a band like AS IT IS, who’ve rebuilt themselves more than once, stepping onto a stage built for catharsis feels exactly right. It’s not just a performance; it’s a reminder that evolution is survival, and survival is something worth shouting about. Words: Lou Viner-Flood Cover Photo: Artemi Falzon