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2000Trees is the hottest weekend of the year. No, seriously - it scorches any other competition as one of the flaming flagbearers of the UK underground. Vying for your attention, amongst the chaos of BRING ME THE HORIZON's northern exposure and MY CHEMICAL ROMANCE's London residency, is a stellar roster of future talent gleaming with the promise of a loud and urgent tomorrow. Matched only by PITBULL's immense can-do party attitude (and we haven't even included the infamous silent disco in this conversation), this weekend of wham acts dazzles year after year as one of this country's music community's best-kept secrets. Only a week ago, we were beginning to think it's coming home, but at Upcote Farm in Gloucestershire, we were already there. Here's everyone we caught at 2000Trees 2026. Words: Adrian Chapman (AC) and Libby Percival (LP) VENUS GRRRLS For those who arrived at the festival on Wednesday, there was an array of different bands spanning various genres to get stuck into upon arrival. Ahead of their UK tour this autumn, one band not to be missed was VENUS GRRRLS on the Word stage, no strangers to the festival, having played last year too. The band welcomed us to their coven as they blend their own signature sound of riot grrrl-influenced goth-grunge. Whilst their witchy ethereal aesthetic drew in the crowds, GK’s hypnotic vocals led the charge, backed by powerful riffs from Eliza Lee, keeping the audience engaged from start to finish. - LP LAKE MALICE LAKE MALICE brings an unstoppable force with each show, and festival slots are no exception. With the recent announcement of their debut album I wanna know if it’s real and their biggest headline tour to date on the horizon, their performance at 2000 Trees was a treat for existing fans and a chance to entice new listeners to the party. The duo made sure to bring the full Malice experience, complete with matching white outfits symbolic of their new musical era, Blake Cornwall’s signature split jumps, both members getting involved in the crowd and of course, plenty of catchy genre-bending songs, including Ghost In A Hell, Scatterbrain and a metal cover of BEBE REXHA’s New Religion to top off the set. - LP BUDS BUDS immediately turned an unforgiving early slot into a party, opening up the Main Stage. Anyone lucky enough to be down the front early was handed goodie bags stuffed with bubble wands, balloons and party hats, the Southampton quartet leaning fully into that summer-camp energy from the off. New single Time Well Spent set the tone perfectly, all driving guitars and singalong hooks built for a scorching afternoon. There’s something refreshingly communal about a BUDS set, strangers becoming mates within minutes. Closing with 2019 favourite Building Blocks felt like the final scene of a coming-of-age film, the whole field grinning through the heat haze together. - AC SAINT AGNES A gothic industrial pop fever dream crashed the Main Stage courtesy of SAINT AGNES. The barrier filled fast with a wave of goths draped in chains and fishnets, the earlier indie-punk crowd melting away as darker devotees swarmed in. Frontwoman Kitty A. Austen was mesmerising throughout, less performing than hypnotising, turning the whole performance into something closer to theatre than a festival set. She had the entire crowd screaming ‘Who the f*** are you?’ back at her during Bloodsuckers, before delivering a sincerely moving speech on grief right before The Beast. Not a bad way to convert a field full of strangers into disciples. - AC PUP Coming off a full acoustic run-through of The Dream Is Over the night before, PUP arrived on the Main Stage with something to prove. Their live set is a dry-witted, big-hearted punk showcase built on the tension between cynicism and hopefulness, capturing the messiness of being young and reckless. Opening with Morbid Stuff and Kids back to back was a statement of intent, huge favourites that had crowdsurfers arriving in surges. Stefan Babcock wasn’t content to just watch, launching himself into the crowd to surf alongside everyone else. A pointed mid-set speech on bigots not being welcome landed with weight, never dampening the joy of a band that adores their fanbase. - AC LONG GOODBYE Say hello to LONG GOODBYE, the underground band from the North East you need on your radar if you’re a fan of metalcore and hardcore. Fresh from their June tour supporting I KILLED THE PROM QUEEN, LONG GOODBYE took on 2000 Trees with a mid-day Thursday set, which could have indicated a slow starter, but festival goers didn’t hold back as the pits were brutal from start to finish. If you missed these because of their early set times, you won’t have to wait long to get the chance to see them again as they are soon to be joining MERAUDER on the lineup for From The Inside, a hardcore festival in North Wales, before touring the UK alongside GUILT TRIP. - LP STATIC DRESS Headlining a packed-out Cave stage, we witnessed STATIC DRESS with an unrelenting set. Vocalist Olli Appleyard runs around the stage commanding the audience with enough energy to encourage the crowd to follow suit and keep the pace, even after a long day of back-to-back bands. Pits quickly formed, and crowd surfers made their way over the barrier one after another, with fans at the front screaming every lyric back throughout. Overall, their stage presence was exceptional, and it was entirely evident how this band is continually building a cult following with each new release and each performance. - LP HOUSE OF PROTECTION Watching HOUSE OF PROTECTION go from a debut UK show at Camden’s Underworld to commanding the Main Stage at 2000trees says everything about how fast this duo has clicked with British audiences. Stephen Harrison and Aric Improta could’ve coasted on pedigree, but instead built something spectacular, hardcore’s brutality fused with an electronic sheen. Opening with Pulling Teeth, with the crowd screaming the bridge back before detonating into the pit, is the kind of moment most bands spend years chasing. Jordan Fish’s cameo for Learn to Forget cranked the chaos further, the circle pit for the chorus now an iconic live staple. Even the flare gun in the crowd felt like it belonged. - AC FREE THROW FREE THROW’s Axiom Stage set proved a hot ticket, the tent hitting capacity well before they even walked on. The Nashville outfit brought in classic Midwest emo, twinkling, off-kilter guitar lines paired with Cory Castro’s raw, cracked-open vocal delivery, built for shouting your feelings back at a stranger stood next to you. That’s exactly what happened as the set built towards a rapturous mass singalong for closer Two Beers In, a decade-old fan favourite about watching an ex move on while quietly falling apart at the same party. Every single word came back at the band like a confession nobody had the guts to say sober. - AC MILITARIE GUN MILITARIE GUN have made a career out of confusing hardcore purists, and their main stage set was a perfect case study in why. Their roots lie firmly in the hardcore scene, but the songs themselves are stuffed with pop-punk hooks and choruses big enough to make even the toughest crossed-arm veterans sing along, a hilarious sight given the crowd. Do It Faster and Very High hit hard, but it was Thought You Were Waving that stole the show, Anthony Green of CIRCA SURVIVE, L.S DUNES and formerly SAOSIN joining Ian Shelton for a goosebump-inducing moment. Turns out even the hardcore kids will let themselves go soft for choruses this good. - AC FUNERAL FOR A FRIEND Lucas Woodland’s ascension to full-time FUNERAL FOR A FRIEND frontman has been one of the scene’s more heart-warming stories, anyone still on the fence about the HOLDING ABSENCE singer filling such large shoes clearly hasn’t been paying attention. He remains one of the most powerful vocalists working today, with the Friday headline slot only cementing that further. Opening with All The Rage set an immediately ferocious tone, while Roses For The Dead sent crowdsurfers over in waves. Woodland thanked the crowd in Welsh, delighted that two-thirds of the weekend’s headliners were Welsh acts, and moments later NECK DEEP’s Ben Barlow walked out for a joint rendition of Juneau. History brought one of the weekend’s most moving moments, the entire field hoisted onto shoulders holding two fingers aloft in unison. Closing on throwback Escape Artists Never Die capped a triumphant set from a band clearly firing on all cylinders again. Whether you were losing it in the pit or watching from the hill with a pint in hand, this was a set built for absolutely everyone. - AC PINKSHIFT PINKSHIFT arrived at 2000trees for the first time, living up to their reputation for chaos within their live sets. The Baltimore trio graced the Main Stage with their 90s grunge grit, riot grrrl fury and pop-punk infectiousness, filtered through Ashrita Kumar’s ferocious, genre-defying vocal range. New single When We Were Friends hit even harder live, the whole crowd throwing themselves into the pit like they’d all lived through the same heartbreak. PINKSHIFT have never been interested in playing it safe, and this crowd ate up every second of it. - AC HO99O9 HO99O9 turned their slot at the Axiom Stage into pure sensory assault, it’s safe to say that there’s genuinely nothing else on the bill like them. TheOGM and Eaddy blend thrashcore riffs with horrorcore rap and industrial noise, arriving in avant-garde costumes that match the delightfully unsettling energy of the music itself. Tearing through The Dope Dealerz was a highlight, all snarling menace and pure adrenaline. It’s chaos by design, unpredictable and confrontational in the best way, closer to a horror film crossed with a hardcore show than anything resembling a typical festival set. Not for the faint-hearted, but for anyone chasing genuine anarchy at 2000trees, this was the set to find it. - AC CODY FROST CODY FROST is truly paving their own unique path in music, combining influences ranging from punk, rock, to pop and even donk. After featuring on tracks from the likes of BURY TOMORROW and ENTER SHIKARI, along with the release of their latest EP Mechaevil they’re cementing themselves as ones to watch in the alternative music space. Despite the singer camping for the full weekend and their set being right before the headliners of the final night, CODY FROST's set was still as high-energy and unrelenting as you would come to expect from their performances. The singer also sympathised with the crowd, politely requesting a pit, to which the crowd promptly complied. -LP NECK DEEP NECK DEEP have long lived with the running joke of being dismissed as ‘generic pop-punk’, yet their headline set made a mockery of that label entirely. Opening with Can’t Kick Up The Roots sent every finger in the field shooting skyward instantly, the genre’s most reliable crowd gesture in full effect. Ben Barlow called for an all-girl pit during She’s A God, the response was a triumph in itself. His between-song banter kept things light too, joking about the main stage screen being football-ready and imagining the goths in the crowd fuming while the lads stood ready, “Two pints in hand, one for drinking and one for chucking,” before an earnest speech about the band’s long-standing political streak ahead of We Need More Bricks. Those who had lost phones and shoes in the pit didn’t care anymore about their belongings by the time A Part Of Me was played, the whole crowd screaming Laura Whiteside’s verse note for note. Closing with December and In Bloom turned the field into one enormous party, no trace of stoicism left in sight. Whatever anyone still thinks NECK DEEP are, watching thousands of people lose their minds to songs this well-loved says otherwise. - AC

Outbreak has gone all out for their 15th anniversary, taking over the nation with festivals, pop-ups, and re-release showcases celebrating some of hardcore’s most prominent bands and their humble beginnings. The cycle begins anew as Outbreak gave the stage to up-and-coming SHOWING TEETH on their history-making debut headline show at The Barfly, Camden, having flown across an entire ocean to prove without a doubt they can command any stage anywhere. EXIT DREAM are no strangers to the stage, a supergroup that originated from Bristol and now boasts members from NAPOLEON and HOLDING ABSENCE. They brought shoegaze-metal-post-hardcore to their support slot, refusing to let the heat of the compact venue deter them from giving an unforgettable performance. Inviting the crowd to get closer during the sound effect intro, vocalist Wes Thompson launched into a melodic kaleidoscope, Murray Deaves guitar hooks adding a dream-like quality to the track as the crowd began to loosen up and sway to the hypnotic rhythms. Released a mere month ago, By Design surges in with Deaves rising strings, Luke Shadrick’s sturdy basslines that keep the track grounded, and Ashley Green’s ironclad drumbeats. Thompson took a moment to acknowledge their genre was “different to Showing Teeth’s, thanks for being so patient”, the band’s modesty garnering respect from those who certainly came for a hardcore show. Regardless of the contrast in sound (EXIT DREAM truly aren’t so far removed from the scene to not be enjoyed, suited for fans of THORNHILL), their musical skill and crowd engagement mark them as a band to watch, at the least limbering up the crowd for the hardcore main act as Thompson’s screams breaking the shoegaze elements and also the sound barrier as the mic struggled momentarily to keep up with the sound level before blasting the screams on spiralling. Inviting the crowd to “open it up if you want, go for it”, they watched appreciatively as goers leapt about to set the closer last cadence. For a band that confesses they’ve only just started, SHOWING TEETH has filled the floor with eager fans hungry for hardcore sounds. Mosh pits split the room when vocalist Showing Teeth had barely taken to the stage for Bad Exchanges. “We expected maybe 20 people, this is so cool,” she said with a look of pure awe on her face at the cheering crowd. With only two songs released so far, everyone in attendance was treated to tracks only heard by the lucky few who saw SHOWING TEETH at Outbreak Fest the previous week, performing their splintering track Disfigured By Fear before they promised everyone would hear the two releases and “get what you paid for”. Headbanging and wheeling about, the band put in as much energy as they got back on Shallow Grave with its chaotic mosh pit, taking a hydration break to apologise for bringing the Nashville heat to the UK, followed swiftly by an apology for their impersonation of a British accent (it’s a work in progress). Shifting between clean, lifting vocals and gritty screams, Make It Out gets its first stage-diver of the night, the palpable energy of Outbreak still going strong tonight. The band built dense anticipation with the rising instrumentals until it came bursting out in a wall of sound and visceral screams on Paradigm. Teeth takes a moment to give the audience an anecdote about heavy metal musician and radio presenter Dan Carter (present in the crowd) accidentally confusing her with musician Addison Rae. Their answer to this mix-up? A dedicated metal cover of Rae’s Fame Is A Gun, received with laughs that quickly changed to delighted headbanging. Sufficiently heated up and having proved to themselves they can sell out on their debut headline from across an ocean, the band end with their relentless Labyrinth with Teeth, hesitating for a moment to measure the crowd, saying, “I don’t know if I’m going to be able to crowdsurf this bitch.” Trusting in the crowd and a steely glint in her eye, Teeth leapt out and crowdsurfed to the final crashing moments of their set before returning to the stage to profusely thank everyone for being there. It’s this personability combined with raw talent that makes SHOWING TEETH a band worth being on the radar, with sensational hardcore sounds, real crowd engagement, and a humour that shifts from calculated to quick-wit. This is just a taste of a career of sold-out headline shows in their future. Words and photos: Julia Stark

2278 days between releases, and LOATHE still have time on their side. Six years' worth of work has culminated in the fabled return of one of the UK’s most urgent heavy acts, and much like their earlier discography, when the band deliver, they provide their best. A Stranger To You was never late; instead, it arrived right on schedule - ahead of the curve and still at the top of their game. In the grand scheme of things, it’s nowhere near as long as the two thousand-plus years of history detailed in Christopher Nolan’s The Odyssey, but if the fates have anything to do with it, these two mythic bodies of work released on the same night in the UK seem almost poetic. After all, Odysseus was described as ‘Polytropos’, translated as a man of many twists and turns, and LOATHE’s sonic labyrinth of experimentation provides one hell of a breathtaking epic, a Trojan horse of sonic fury that confronts metalcore head-on. As an album shifting over the years between various states of completion, A Stranger To You seemed to loom over the alternative scene almost mythically, with fans foaming at the mouth for its grand debut. After a cancelled tour in 2022 (to complete the album), the record seemed to be pushed further and further away, until the release of Gifted Every Strength in May 2025, signalling that something unprecedented was on the way. The singles have been telling a story of hard-line aggression, the cut-and-thrust brutality of Revenant (featuring ex-CODE ORANGE co-conspirators Jami Morgan and Shade Balderose) and the unwavering gloom of recently-released Fangs. However, this album flips the narrative entirely. A Stranger To You is a wicked experiment of letting the references speak for themselves. Amongst the grit of the DEFTONES-inspired shoegaze and the bombastic heaviness, there is some inspired use of personal influence, such as jazz, hip-hop and electronic, that can give so much necessary contrast to this album. The record becomes unlike anything else entirely, moved into its own space that’s so unique and personal. Real sensitive care has been taken from the moment the album begins, with a spoken word segment from Bucki Sugar, who, according to an interview with Kerrang!, serves as the album’s narrator, adding perspective against the darkness of the sludgy base segments. From here, the record falls into a brutalist landscape bombarded with a vocal feature from STATIC DRESS frontman Olli Appleyard. From the etherealism of 2020’s I Let It In, And It Took Everything, released a month before the pandemic, there’s an underlying grit that comes through in the bass tone that wasn’t there before. In some ways, this makes the album feel loose, with plenty to dissect after the first listen. In tracks like Harder To Pretend, there are some tangy moments of dance, encircled by electronic synths and cascading vocals. The tone shifts again in The Way It Breaks to go full pelt on a face-melting guitar solo. Meet My Maker adds this real pop-centric drive running through the centre of the record, melting garage-style beats and BOSTON MANOR-esque harmonised choruses into a gloriously groovy ooze. The Ladder really challenges the LOATHE sound with acoustic guitar and wandering lyrics that make this track a standout. Little inflexions and added musical parts give this record real definition, one that just could not be made in quick succession. Trilling guitar notes that aim themselves towards real moments of catharsis, a dazzling display of Erik’s synths and style. Kadeem ties it all together with outstretched lyrics that are the band’s most heartfelt. And it does not feel pretentious at all; it feels honest and, at times, raw. During the course of this project, the band really found themselves, and it’s that imperfect nature that drives this record home. LOATHE are a tastemaker, and this record proves that as much as you can build the foundations of a genre, it’s just as easy to tear them down. Rating: 10/10 Words: Amber Brooks Photo: Steve Gullick

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

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

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

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

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

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

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

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

After almost ten years as a band, half of which involved intensive construction work, EXPLORING BIRDSONG are finally ready to let us step into the world of their debut album, Every House We Built. This material might be the strongest they’ve had on show yet, as it keeps the core BIRDSONG sound, but exploring and developing its depths and corners - a sentiment that is also fully shared by all of the band members. Lynsey, Jonny and Matt take us through their own journey, talking about their creation process, the breadth of inspirations, what music means to them, and how deep their newly born storyline truly goes. Every House We Built circles around relationships, whether it is within a family, between friends, or with romantic lovers. Lynsey Ward admits that prior to this moment, the band would find it simpler to write about stories that are more impersonal to them, placing themselves into distant narratives. Years and years down the line, EXPLORING BIRDSONG are now ready to dig up deeper wounds, something that they simply were not equipped to talk about before. In Lynsey’s words: “we’ve gone through everything together for a very long time now, including the subject matter that made it onto the record”. Even more, the band members feel so interconnected that they call themselves a ‘hivemind’, now being able to create anything separately as well as together. The first melodies from the album can be traced as far back as 2022, so best believe its brick-by-brick creation process was full of both great highs and great lows. When asked how they’re able to stay on track and not get tired of their own songs, EXPLORING BIRDSONG mentally bring us into the mixing and mastering studio. Here, the band give a lot of praise to Connor Sweeney (THEBOYSHADOW, ex-LOATHE) for helping bring these songs to life again. Although they were written with a certain framing in mind, he “reimagined them in his own way that felt intuitive and instinctual to him”, almost as if putting the cherry on top. Lynsey continues: “and they do have a sparkle to them, they do have quite a significant depth to them, and I would hope that the people listening can agree”. It is always hard to put BIRDSONG into a neat, tidy genre-box, and this becomes even more apparent when we look at the breadth of their musical inspirations. From the legends of vocal technique like Amy Lee of EVANESCENCE to their male peers Mark Tremonti (CREED, ALTER BRIDGE) and Claudio Sanchez of COHEED AND CAMBRIA, the band does not limit themselves only to the rock and metal scene. For instance, Lynsey also gets a lot of influence from RnB, citing some of “the best singers of the world” WHITNEY HOUSTON and MARIAH CAREY. And of course, almost no conversation with her avoids a mention of KATE BUSH: “I do think she is a genius. It’s like she can see around corners; she can feel where things are headed and she has that intuition to take it there and to experiment with it, and to pioneer”. For the not so fortunate of us who are not yet so familiar with the EXPLORING BIRDSONG catalogue, there’s still a chance to experience Every House We Built in full for the first time. When asked how they would approach the task, Lynsey shares that she prefers to immerse herself into a new album in the dark, dulling all the other senses. Matt, on the other hand, would rather be on the go, with headphones in, the music lightening his routine. Jonny lies somewhere in between, where all the greatest albums chase him around train and car journeys, being the ultimate “soundtrack to a moment”. In his opinion, “one of the great things about music is that people interpret and enjoy it in their own way. So if people can have that for us as well, it’s amazing”. The music is actually not the only interesting part of this chapter, as the band have launched their very own Birdsong Property Development. “What’s cooler than 90’s estate agents?” - says Matt, as all three parts of the hivemind follow, in the same breath: “Nothing!” A string of accidents, the band never originally set out to write an album with the story planned out; all the houses, rooms, windows and doors just followed them around and kept creeping up in their metaphors. Now we’re at EXPLORING BIRDSONG’s first open house viewing; in other words, a special one-night album listening party. “It’s a passion project. We love property” - who doesn’t? Rocking their brand suits everywhere they go now, the band has to keep it to the theme even in the scorching UK heatwave. Despite that, EXPLORING BIRDSONG are willing to pay the price if it means building something unique and special. “You know, we’ve done the whole thing with just standing in the warehouse. We rocked, we’ve done that,” - Matt explains - “and we wanted a bit more, because when we consume music, we want more”. The band also view their worldbuilding as a way to not only entertain the listener, but share elements of their own personalities. Both funny and serious at the same time, the inspiration here, for example, can be traced back to The Office and other sitcoms; and only by reworking their unique mosaic of influences were BIRDSONG able to present us with the album the way it stands today. Lynsey adds that when there is more to the lore than appears on the surface, “you feel part of the gang, you feel like you are in on it with them, and it feels deliberate that you’re meant to find it”. Even though the band, admittedly, do not have every detail planned out decades in advance. Sometimes, it is the opposite - were it not for the lucky chain of events and the actress from the first music video being free on the day they were shooting the other one, the lore could have turned out entirely different. Either way, from now on, EXPLORING BIRDSONG let us take the story and run with it: “the tale is wherever you want to take it next”. Exploring Birdsong released their debut album Every House We Built on 26th June 2026. In September, they'll be embarking on a UK tour to celebrate its release. Words: Mariia Bulkina Photos: Luke Tatlock With thanks to: Turn The Page and Exploring Birdsong