That’s the idea behind Punktastic Picks – bringing ten shining new stars from across our scene together in one playlist, shouting from the rooftops about how much we adore them, and hoping you love them just as much (it’s a tall order, ’cause we’ve got a lot of love to give, but we’re confident you’re up to the challenge).

So without further ado, we present Volume 4 of Punktastic Picks! Get started on the playlist, read a bit more about this month’s bands below, and let us know what you think.

Pressing play on the debut album by emo pop newcomers Loveless is essentially a lesson in just how quickly you can go from zero to completely obsessed (for what it’s worth, it didn’t even take us until the end of opener ‘Haunting Me’…). Boasting dramatic choruses, silky smooth production, and vocals as comforting and wonderous as fresh warm honey, we’re never happier than when we’re blasting ‘Loveless I’ at full volume whilst driving through the countryside in blazing sunshine – and it’s the kind of album that always evokes that exact euphoric feeling, even when you’re stuck at home and rain is hammering against the windows. This is an obsession that won’t be fading anytime soon, and if colossal pop melodies drenched in emo vibes are your thing, we guarantee you’ll feel the same way.

Find Loveless: Facebook / Instagram / Twitter

In a competitive field, standing out as a new pop punk band can be tricky – but Michigan newcomers UNWELL have more than got what it takes. Finding the perfect balance between the grittier end of the genre and its glossy pop side, the quintet load up slick melodies with stacks of crunchy bite that we simply cannot get enough of. Whether it’s the moments they bust out a little easycore flavour (see ‘Equinox’), dig deep into our emotions with uplifting jams (‘Tightrope’), or allow the soulful tones of Matt Copley’s voice to take the lead (‘Bouquet Of Withered Flowers’), UNWELL are the kind of band that are blissfully easy to fall in love with – it’s safe to say our pop punk hearts have found a new home. We’ll save you a spot on the sofa.

Find UNWELL: Facebook / Instagram / Twitter

After staring at a blank page for half an hour trying to work out how best to describe duo Jhariah – fronted by Bronx musician Jhariah Clare – hundreds of words come to mind, but honestly, where the hell do we start? When you spend long enough hunting for new music, it can sometimes all begin to blur together – but then, you come to ‘A BEGINNER’S GUIDE TO FAKING YOUR OWN DEATH’, and everything suddenly explodes with enough vibrant, ecstatic clarity to rival a double rainbow on a rainy Californian day. If deliciously outrageous, ‘The Greatest Showman’-esque musical theatre extravagance combined with the fire of punk, earworm hooks of pop, and just a dash of sheer chaos sound like your idea of a good time, Jhariah deliver all that and more with a flourish that has to be heard to be fully believed. You owe it to yourself to brighten your days with a little (or a lot of) Jhariah – and the best time to get started is now.

Find Jhariah: Facebook / Instagram / Twitter

If, like us, your formative years as a music fan were dominated by the music of Hundred Reasons, then the emergence of duo They Fell From The Sky is more than a little bit of a reason to celebrate – bringing together the inimitable talent of Colin Doran and Bullet For My Valentine’s Jason Bowld, singles ‘Dry’ and ‘Crush This World’ are, without question, the stuff our dreams are made of. Doran’s voice is as distinctive and powerful as ever, providing the driving force for these mega anthems that we are, quite frankly, a bit obsessed with. Combining the power of familiarity with shiny newness and timeless rock sounds, They Fell From The Sky are one of our very favourite things to come out of 2021, and we can’t wait to hear more.

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Let’s make one thing immediately clear – we love Death Blooms. We love their filthy, groove stacked nu-metal sound, we love how we run out of synonyms for anger every time we try to talk about them, we love how much we desperately want to punch a hole in every wall in the vicinity the second we press play on this year’s ‘Fuck Everything’ EP. They’re just a really, really fucking good band, and there is nothing we desire more than to smash our bodies to bits in a Death Blooms mosh pit – so if you also like music that makes you feel this way, we suggest you get listening ASAP. With album ‘Life Is Pain’ due to hit our eardrums (probably literally) on October 22, there’s never been a more exciting time to start being a Death Blooms fan. God, we love Death Blooms.

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Ready to get right up in your feelings, courtesy of some crushingly emotive post-hardcore? Allow Oxford’s LASTELLE to help you out; the title of their latest EP ‘Delicate’ is, at least, a pretty damn accurate description of how you’ll feel on the inside by the time they’re finished with you. Think Holding Absence cranked up ten notches on the heaviness scale and you’re on the right track, with beautifully layered sounds guiding listeners through a rollercoaster of emotion where every riff, melody and scream hits at exactly the right moment. ‘Delicate’ is a fantastically accomplished release, opening up a whole world of possibilities for this talented band – and it’s safe to say we can’t wait to experience this live.

Find LASTELLE: Facebook / Instagram / Twitter

We make no secret of being big fans of emo pop here at Punktastic, so you can imagine our joy when we stumbled upon Virginia group Frames recently. Recent single ‘This Year’ welcomes listeners with open arms to an expansive, atmospheric soundscape, pairing musical beauty and introspection to dazzling effect – and it’s merely the cherry on top of a string of superb singles leading up to the release of debut album ‘Every Room’ on September 24. Founder and vocalist Sarah Phung captures the kind of lyrics that feel like they’re part of a conversation with your closest friends, revealing and relatable all at once (“I’m not ready to feel inside what I fake on the outside”), all delivered via soft and delicate melodies that sink deep into your soul. Frames could well be the band to heal our hearts this year, and we’re more than willing to let them do it.

Find Frames: Facebook / Twitter

Alright, confession time. Turns out we’ve been sleeping on The Home Team, so now we’re here not only to put that right, but also make sure you don’t make the same mistake. A bit pop punk-ish but also really not pop punk at all (it’ll make sense when you listen, honest), the Seattle group released debut album ‘Better Off’ in 2018, but it’s their new releases and upcoming album that have really grabbed our attention – eclectic, chaotic, and a little bit mad in all the best ways, The Home Team have an infectious energy and attitude that makes them stand out a million miles from the crowd. It’s fast and fun, with just the right amount of heaviness mixed in with electronic, dancy tones and some of the best vocals the 2021 scene has seen; The Home Team are on the rise, and it’s going to be meteoric. Don’t miss out.

Find The Home Team: Facebook / Instagram / Twitter

The name Michael McGough will be familiar to any Being As An Ocean fan – and though new solo project Heart Of Gold may bear little musical similarity to the powerful post-hardcore group, there’s no question that these 80s pop-influenced tunes are of the same immaculate quality. These are the most summery of songs designed to put your finest dancing shoes to good use, and resistance is futile; 2020 debut EP ‘Gold’ puts a fresh face on delectable retro vibes with a whole lot of heart, and recent single ‘Headache’ continues the trend in fine synth-drenched style. If you want some music to make your day feel at least 110% better, look no further than Heart Of Gold.

Find Heart Of Gold: Facebook / Instagram / Twitter

What better way to finish up this edition of Punktastic Picks than with some bone-rattling heavy metal? Hailing from the home of metal itself, Birmingham’s Insurgent made one hell of a statement with debut EP ‘Sentient’ earlier this year; awash with chuggy riffs and fearsome melodic vocals, it’s an incredibly ambitious debut, but their confidence is in no way misplaced as they skillfully fly through six exhilarating tracks in just over 20 minutes. When a debut EP sounds this special, you can be assured that even greater things are on the way, and we have no doubt that Insurgent will deliver.

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Savage Garden – ‘To The Moon And Back’

When I was around 9 or 10 in 1998 I discovered Savage Garden for the first time. I remember like it was yesterday, I went through my father’s CDs in the living room and the first few seconds of the intro for ‘To The Moon And Back’ I was TOTALLY hooked! I just loved the sound, production and vibe instantly. On our two latest albums, ‘Arcadia’ and [forthcoming album] ‘A New Horizon’ I thought; “OK, so who is Chris Adam? What does my heart and soul wanna do? What is MY voice?” To be honest, I didn’t even realise when I recorded these songs on these two albums what a huge impact Darren Hayes and his voice had on me at a very young age – go listen and you understand what I mean, especially the song ‘Broken Parts’. The thing I really like with Savage Garden is how they managed to blend in some rock elements into the really poppy things. Love it! This song made me realise that I had a singing voice as well which is huge in and of itself.

Alter Bridge – ‘Broken Wings’

Alter Bridge and Myles Kennedy are the whole reason I’m singing professionally today. I was around 15 when I really started to explore my voice. At the time I had problems with me being a tenor and didn’t really enjoy my voice a lot because of it, but when I heard Myles Kennedy in ‘Broken Wings’ on their first album I thought, “If he can sound that good with that kind of voice that I have, I can too!” So I started to practice to this album every day for months. In 2013 we had the big honour of sharing the stage with Alter Bridge in Stockholm, Sweden on their co-headline tour with Halestorm. Before the show Mark Tremonti (Alter Bridge and Creed) came to me backstage after our soundcheck and said; “If Myles quits, I’ll give you a call”. Kinda surreal, haha… That is what we call Law Of Attraction!

After exploding in popularity in 2020 with single ‘Garden’ and signing to renowned label Fueled By Ramen, calling MMATA ‘the next big thing’ seems like somewhat of an understatement, and they’re only too happy to prove that with debut label EP ‘Model Citizen’. If impossibly infectious, technically accomplished, and (most importantly) joy-infused pop punk is what you’ve been hunting for, it’s time to call off the search – it’s right here, and you’re going to adore it.

Getting started with the retro vibes of ‘Feel A Thing’, MMATA instantly transport us back to a time when pop punk felt like it ruled the world, the kind of song that fuels an excitement deep down in your stomach; their easycore leanings give the track an extra kick, filling every moment with new sounds and hooks that continue into the deliciously chuggy ‘Mapped Out’.

In among the plentiful riffs designed to wear out your finest dancing shoes, there’s an irrefutable current of positivity, optimism, and love, carried by the blissfully melodic vocals of Edith Johnson. There’s a sense that Johnson could sing just about anything you throw at her and make it sound like magic, so when unleashed on songs of this quality, the end result is magnificent – no matter what kind of week you’re having, it’ll undoubtedly be better after listening to the likes of the boldly reassuring ‘Brighter Days (Are Before Us)’, the electric ‘Now Or Never’, or furiously riffy closer ‘Wake Up’.

Even the biggest fans of pop punk couldn’t deny that, in trying to stick to the tried-and-tested formulas of the genre, many bands fall into the trap of becoming tired, identikit clones with nothing new to say, but that couldn’t be further from the truth here. MMATA have provided a sound that is wonderfully familiar without tripping into a generic rut, with a fresh take that not only entices new fans but also reminds older listeners why they fell in love with pop punk in the first place. Though the pace remains much the same through the EP, there’s no evidence that the trio would struggle to deliver more on a full length release – and it surely won’t be too long before they provide us with the proof.

With so much hype surrounding Meet Me @ The Altar, the pressure could well have proved too intense for such a young band – instead, they have simply used it to help craft this glittering diamond of an EP. As a debut major label outing, ‘Model Citizen’ is blisteringly confident, and it deserves to be so; pop punk just got the bright new beginning it has long needed, and with bands like MMATA at the helm, the future is looking very exciting indeed.

GEM ROGERS

All this leads us to what is now a very long-awaited release in the form of debut album ‘Lost Souls’, a collection of 11 songs that feel like a reintroduction to the band we came to know through 2019’s ‘Ghost Like You’. That said, the distinctive sound they honed on their debut release is still on show here, and we’re brought into the world of ‘Lost Souls’ by singles ‘The Only Ones’ and ‘Glass Heart’, both of which bear a comforting familiarity in their post-hardcore/metalcore crossover approach. They act as a smooth transition, but even so, it’s still clear how much this band have grown. To say there is more depth to this sound feels like a bit of an understatement, and by the time third track ‘Hold Me Now’ comes along, it’s easy to find yourself utterly immersed in this rich soundscape.

At least some of that new depth comes from the addition of more synth and electronic sounds, and though by no means a unique approach in alternative music right now, Caskets manage to carefully weave these new elements into their music without overwhelming their unique identity. It contributes to a beautifully layered sound that builds the atmosphere they were clearly striving for in their debut – single and fourth track ‘Lost In Echoes’ is a perfect example, with an almost 80s feel on the intro that leads into a haunting backdrop of tones, while later ‘One More Time’ balances traditional sounds with modern for a suspenseful few minutes that beg to be blasted at full volume.

It’s around the middle of the album that you can sense Caskets starting to relish taking the listener by surprise, and they begin to truly stretch their wings – from divine strings on the outro of introspective heavy hitter ‘Clarity’  to the swirling frustration and chaotic pace of ‘Lose Myself’, this full length album is exactly the opportunity they needed to show the full scope of their abilities, and they’re not wasting it.

It’s also right in the centre that we find an unexpected gem in the form of mellower track ‘Hopes & Dreams’ – and though it takes a few moments to get going, when it does, it reveals itself in resplendent, cinematic colours, soaring and swirling with heartrending ease. The final few moments also set the stage perfectly for ‘Drowned In Emotion’, picking the pace back up in a track that contains one of their most anthemic choruses to date and makes phenomenal use of front man Matt Flood’s diverse vocal abilities. On top of considerable melodic heft, this is a tune that will also thoroughly satisfy anyone with a taste for more metal – aside from the obvious (and, frankly, absolutely delicious) breakdowns, guitarists Benji Wilson and Craig Robinson fill every moment with magic throughout, and this is one that’s sure to ignite the room when Caskets can finally return to the stage.

Amongst all these musical treats, there’s another side to ‘Lost Souls’ – and when it comes to the lyrics, it truly would be difficult to overstate the emotional weight of this record. This isn’t unfamiliar territory for Caskets; their previous releases have touched on mental health issues, deftly revealing both vulnerabilities and inner strength, but their growth allows them to pack an even more significant punch in this full length. Nowhere is this more true than on the deeply personal ‘The Final Say’, and although laced with defiance, there are moments when this anger is stripped away to reveal soft piano that delicately symbolises the heartache and pain hidden beneath a hardened, battle-worn exterior. This thoughtful approach to songwriting is another demonstration of how much Caskets are continuing to flourish, and as the album closes with the emphatic ‘Nothing To Hide’ (stay closely tuned for that breakdown, and prepare for your jaw to drop), there can be no doubt that this is the beginning of something wonderful.

Caskets set themselves a high bar with debut EP ‘Ghost Like You’, but in ‘Lost Souls’, they have far exceeded all expectations – their ability to seamlessly meld metal sensibilities and riffs with high octane melodies is thoroughly addictive, and there’s not a single moment on this record that feels wasted. If you’re looking for the next big thing in British alternative music, there’s really no need to look any further than this; powerful, dynamic, and full of passion, ‘Lost Souls’ is a debut album to get seriously excited about.

GEM ROGERS

Those emotions kick in almost immediately in title track and opener ‘Godspeed’, where wistful nostalgia takes centre stage; that idealised kind of nostalgia, full of bright sunshine and even brighter flowers, convertibles with the roof down, and the giddy excitement of young love. It doesn’t matter one bit whether you’ve actually experienced any of these things, the feeling is still there, transporting you to a place where real life worries are a world away. It’s this kind of pop that Young Culture are proving their excellence in, and even when it’s a little overly romanticised, there’s still an innocence and joy that feels like a warm blanket in which to wrap yourself.

While ‘Hum’ follows a similar formula (albeit with a thoroughly enjoyable Britney Spears reference and a hyper-anthemic chorus), ‘Shiver’ takes a pacier approach that injects some additional (and very welcome) life and energy into the EP. Latest single ‘simplemindedteens’, on the other hand, sees the band not only picking back up on the nostalgia, but leaning into it like their limbs have given out, with nods to their own earlier song ‘Hailey Beverly 2016’ and lyrics that gently reminisce about “flipping pages through a photo book” and “holding onto a dream”. Though draped in softness, it’s a track that still manages to remain infectiously upbeat, even if it doesn’t feel like it really goes anywhere with the energy it’s trying to generate.

The EP is brought to a close by the unexpectedly moving ‘Head High (Swim)’, a heartfelt track that encourages the listener to find hope, strength, and self-belief, and though not lyrically revolutionary, its message still hits home; given time and maturity, Young Culture are clearly a band with their own strength that can be crafted into something truly special. One of the greatest disappointments in the EP is also, unfortunately, found here – fading out on the final track rather than bring it to a decisive finish is a choice that’s less than both the song and EP deserve.

Although ‘Godspeed’ is thoroughly enjoyable as a standalone release, Young Culture would do well to reintroduce and further explore some of the more diverse sounds heard on their debut in future – there’s a sense from this EP that, pushed any further, this particular style will rapidly wear thin, and it would be a shame for a band with so much promise to pigeonhole themselves so early on. That said, for now, this is a release that existing fans of Young Culture will relish, and an excellent introduction for new listeners; packed with poppy hooks and summery nostalgia, ‘Godspeed’ is a warm hug of an EP that’s sure to find a place in the heart of any pop punk fan.

GEM ROGERS

For those who missed our previous editions, (Volume One and Volume Two are still available for your reading and listening pleasure, should you desire), Punktastic Picks is the space we use to shout about ten of our favourite new and upcoming artists from across the wonderful world of alternative music. These are the bands we reckon you’ll fall in love with just as much as we have, the ones who’ll be taking over playlists, line-ups and hearts in the very near future.

Ready to get listening? Hit that play button, and read more about the artists featured in this volume below. Enjoy!

Is it possible to fall in love with an artist after just one single? Well, when it sounds like ‘At What Cost’, the answer is yes… Very yes. This one is for the emo pop kids, and Los Angeles based artist Amanda Tran has made the most promising of starts on this new venture;  ‘At What Cost’ is sprinkled with irresistible effervescence and glitter that keeps us coming back for more (and singing along at the tops of our lungs – sorry not sorry, neighbours). It may be early days, but we’re pretty damn confident this is the start of a bright and beautiful journey for In The Mourning – and we’re also really, really impatient for more. Soon, please?!

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Imagine, if you will, grabbing all your favourite Motion City Soundtrack albums, and smashing them at high speed into some ‘After Laughter’-era Paramore. Now imagine that, instead of just making a horrific mess of splintered CDs (who are we kidding, as if anyone uses CDs anymore), you instead generated an all new band, full of the self-deprecating, snappy wit of MCS, and all the addictive, synth-pop hooks of Paramore… Welcome to City Mouth. If you’ve ever spent fair chunks of your life feeling like a worthless failure, the Chicago group have a new home for you in the form of debut album ‘Coping Machine’ – but far from feeling depressing, this is a place to feel comforted, understood, and to dance your troubles away. City Mouth aren’t just the band we want right now – they’re the band we need.

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Ready to immerse yourself in a world where darkness and pop collide with spectacular and enticing effect? Leeds trio Artio are more than happy to take you there, and to be honest, after listening to latest EP ‘Shapeshifter: As Above’, we’d probably follow them just about anywhere. Addictive and insistent beats pair with glistening, polished melodies that are bursting with confidence; Artio have a level of accomplished skill that belies their young age, and some seriously phenomenal vocals from Hol Brazill. When it comes to exciting new homegrown talent, put Artio at the top of your ‘must listen’ lists, and we promise you won’t regret it.

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If you think you know what you’re getting in for when you hit play on Colour & Shade’s latest EP, ‘Hostile Grounds’, give it a minute – it’s almost certainly going to take you by surprise. Taking a lot of cues from metalcore in their blend of melody and heaviness, the Aussie band don’t stop there; there are chuggy breakdowns, planet-sized guitar solos, choirs, and brilliantly executed pop sounds all on offer across the five tracks. Luckily, if that sounds like just your thing, the band also have a full length, self-titled album under their belts, and the 2018 release is a great place to start your Colour & Shade journey. It’s a sound they’ve tightly refined and paired with a serious emotional punch on ‘Hostile Grounds’, putting them firmly on our ‘Ones To Watch’ radar – and trust us, they should definitely be on yours too.

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Did someone say mid-2000s emo revival? Count. Us. In. Arizona’s First And Forever are utterly and unashamedly influenced by just about all of your favourite emo legends and it shows, but best of all, they manage to do it without sounding derivative or falling into tribute act territory – this music is a love letter to all your most angsty, emo-fringed emotions, and bloody hell do we adore every moment… BRB, just fetching our studded belts and hair dye… But seriously, if you can manage to listen to recent EP ‘Let This Love Lie Dead’ (yeah, told you it was emo) without doing a wailing singalong, staring out of a rainy window pretending to be in a music video, or breaking out into a big solo mosh around the room, we can’t help you. Give First and Forever some love, and they might just mend the gaping hole in your sad, sad heart – at the very least, their hyperactive Instagram feed should keep you entertained until you forget about your woes. Really. It’s a trip.

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When it comes to fusing multiple influences and styles into alternative music, many artists still play it safe – but not DE’WAYNE. Each slice of debut album ‘Stains’, released on Hopeless Records, feels like an adventure as he explores a vast playground of rap, punk, pop and rock, and does it better than just about anyone who’s tried it before; every song is just effortlessly bloody brilliant, and whether you need tracks to hype yourself up for a long day ahead, or something to blast out of your car on cross-country road trips, you’ll struggle to find anything that fits the bill better than this. Self-assured in its experimental feel with plenty of biting hooks, ‘Stains’ is exactly the kind of sound we need to shake up the alternative scene, and DE’WAYNE is doing it in damn fine style.

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It’s been a few years since Louisiana’s Hey Thanks! put any new music out, but new single ‘From Me 2 U’ has put a glossy new coat of paint on their earlier pop punk sound that has us all kinds of excited for their new era – although there’s still plenty to love in their earlier releases, including single ‘Missouri Business’ (yeah, we’re obsessed with this too) and EP ‘Nothing It Would Change, Nothing I Could Say’, which has heart and love bursting from its scrappy pop punk sides. We might not have any dates for more new music yet, but we’ll be keeping a close eye (ear?) out, and if energetic, glossy, fun-filled pop punk is your bag, we wholeheartedly recommend you do the same.

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Listening to the debut release from Norwegian newcomers Fixation, it’s hard to imagine a band fitting this much variety into a full length album, never mind a four track EP. ‘Global Suicide’ sees massive, futuristic rock soundscapes that bring the same kind of ambitious ideas as bands like Muse into intensely memorable five minute chunks. In contrast to Muse, though, Fixation feel much more grounded, not allowing the grandiose to overtake their songs entirely – it’s an incredibly impressive, mature debut for anyone who loves heaviness and melody in equal measure, and with more new music on the horizon, we’re looking forward to seeing where they go from here.

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‘Mega anthems with beats and melodies that will make you want to dance until the soles fall off your beloved Vans, and for another few hours after that’. Sound appealing? Hi, Never Loved would like to make your acquaintance! With music as sunny as their native Florida and as snappy as the resident gators, taking Never Loved’s debut album ‘Over It’ for a spin is, quite simply, the right thing to do if you want to brighten your day. Hitting pop punk at the poppier end of the scale, their ability to create melancholic yet upbeat earworms like ‘On & On It Goes’, riffy-electro-monsters like ‘Sunshine’, and fuzzy punk in the form of ‘Gasoline’ – and cram it all into one debut album – is more than enough to mark Never Loved out as a band for the future.

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‘TDH2S’ has barely left our minds for more than a few minutes since we first heard it earlier this year, so it seems only right for the new kings of pop punk, Magnolia Park, to round out this edition of Punktastic Picks. The minutes we aren’t spinning debut EP ‘Dream Eater’ on repeat are spent on, well, all their other songs, including latest single ‘Tonight’ (this band DO NOT REST, apparently); classic, bright, varied pop punk at its absolute best, Magnolia Park have really come into their own this year, and we can already picture the endless dancing and crowdsurfing sessions we’ll have at gigs-yet-to-come. Join us for a singalong at the barrier?

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Dialling back into those haunting notes once more for the start of third track ‘Fake’, it’s not long before the anger bursts again into a visceral attack on a “spineless, controlling piece of shit”. There’s no going easy on the person this song is aimed at, and unapologetic ire becomes a clear theme across this and songs like ‘Narcissist’ and ‘Weaponize’ – but there’s also a battle against internal demons in other tracks, with the likes of ‘Misery’ and ‘Purity’ peeling back to reveal a more vulnerable layer. It’s a delicately executed balance – though that’s about the only time ‘delicate’ could be used to describe any element of this album – that finds the sweet spot between introspection and, well, “I’d like to murder you”-vibes, all delivered like a solid fist to the face.

One of the key things that make VEXED stand out from the crowd are undoubtedly the vocals, and the realisation that the broad range of styles on ‘Culling Culture’ all come from the same person is pretty staggering – from hell-sent screams and growls through to symphonic metal-esque cleans, Megan Targett is nothing short of a phenomenal force. Whether it’s on the gloriously theatrical stylings of ‘Epiphany’ or the high octane, spat lyrics of ‘Narcissist’, Targett’s voice elevates VEXED to a whole new level, taking the thundering instrumentation and spinning it into tornadoes that take out everything in their path.

After a brief respite in instrumental interlude ‘Drift’, the more melodically focused ‘Aurora’ sweeps in towards the end of the album with an uplifting feel and gorgeous layered tones, though it still doesn’t lack the brutality honed across the nine tracks that precede it. Instead, the heaviness is focused into smaller chunks, offset with a delectable guitar solo and hugely atmospheric moments – and it’s in this fusion that we hear the very best of what VEXED have to offer. Yes, it’s incandescent and crushingly heavy, but it’s also set in an expansive and echoing soundscape that feels far bigger than the sum of its parts, engulfing everyone that enters its orbit and setting the quartet far apart from their peers.

Finishing up with one final snarling bite in the form of ‘Lazarus’, VEXED go all out on their prog side and make these jarring rhythms seem effortless, a fitting soundtrack to lyrics that dart back and forth between positivity and pessimism (“back from the dead, is it a miracle or just another fucking waste of my time?”). In VEXED, we have a band who could likely go in any direction they choose and still make it sound like magic, and this is a finale that truly leaves us wanting more. ‘Culling Culture’ is easily one of the most accomplished debut metal albums of recent years; bringing fire and fury with precision, heart, and monstrous riffs, this is music to get seriously excited about.

GEM ROGERS

As with their debut, there’s a gentle softness and vulnerability at the core of ‘Worlds Apart’ that’s immediately evident on opening track and lead single ‘No Good At Goodbyes’, at first allowing vocalist Maggie Schneider to take centre stage over soothing acoustic guitar before building pace with the chorus and guest vocals from Nick Pena (lostbody). It’s followed by the sepia-toned ‘Fallin’’, where the band’s light, pop-focused melodic approach complements daydreamy lyrics about a reluctantly lost relationship. These first tracks feel very much like two parts of the same story, and that continues into the more upbeat, Taylor Swift-esque ‘Purple Tux’, where regret and longing juxtaposes with a sparkling beat drenched in nostalgia.

If there’s a downside to this EP, it’s that the sugary sweetness can at times feel a little cloying; the early Mayday Parade stylings of ‘By The Lips’ adds just enough weight to bring it back from the edge, and there’s a youthful innocence about the songs that matches the polish of the sound without feeling forced. Similarly, the EP being tied together by one overarching story about the stages of a relationship – or more specifically, a previous relationship – means it feels cohesive, but only offers a fairly specific set of emotions that may not appeal to a broader audience.

‘Worlds Apart’ finishes with an acoustic rendition of opening track ‘No Good At Goodbyes’, bringing listeners around full circle, but it’s penultimate track ‘Stay’ that grabs the most attention and could easily have offered a solid conclusion to this tale on its own. A sweeping orchestral element elevates the song, adding a depth and sorrow that feels more mature than the tracks that preceded it, as well as providing much needed variety.

Though ‘Worlds Apart’ isn’t perfect, for fans of acoustic-influenced, pop-focused alternative music, glimmers have a huge amount to offer; delicate, sweet, and incredibly easy to listen to, it’s the kind of EP that the right audience will fall head over heels in love with. It will be interesting to see what more the band can offer in terms of a full-length release, and whether they can balance their sound over a longer runtime – for now, though, we can be content with knowing that this isn’t the last we’ve heard from this promising young band.

GEM ROGERS

In just two and a half minutes, opening track and lead single ‘Bad Decisions’ lets you know exactly what you’re getting into with this EP. Imagine all the joy that we’re experiencing as we’re able to reclaim bits and pieces of our normal, post-lockdown lives, compressed into the rowdiest, most chaotic song possible, and you’re halfway there. Awash with gang vocals (featuring the likes of fellow Aussie bands Yours Truly, FANGZ, and The Dead Love), furious riffs and drums, and hooks big enough to take on a Great White, this is an anthem for the fucked up, and it’s the perfect introduction to fall in love with.

It quickly becomes clear, as ‘Bad Decisions’ gives way to the cutting ‘Cure 4 Psycho’ and the perilously addictive whirling madness of ‘Kamikaze’, that RedHook aren’t a band interested in anything other than full throttle chaos, nor are they keen on sticking to tried and tested formulas. Calling on anything from punk and rap to metalcore and pop, every song on this EP is filled with unexpected twists and turns delivered with effervescent energy; ‘I Don’t Keep Up’ manages to segue casually from a chunky, growling tone into a saxophone solo with impeccable confidence and style, and hell, why not? Whether it’s biting, rapid fire aggression or big melodic hooks, there’s plenty to sink your teeth into here, and it all feels naturally effortless.

If RedHook seem a bit like misfits at this stage (in the best possible way), it’s a feeling backed up not only by the music, but lyrically too. Just as ‘Bad Decisions’ is for any former ‘good kid’ who wonders where they went wrong, songs like ‘Alien’ and ‘Your Heroes Are Bullshit’ expose a vulnerability and sense of not belonging verbalised in a way that feels not only relatable, but hugely cathartic. ‘Bad Decisions’ is full of songs with lyrics that, regardless of their original meaning to the band, are the kind that will form their own personal meaning to listeners, taking on new life and providing an outlet for a whole host of emotions and situations.

For anyone looking for a new band who can put their own spin on alternative music, one that’s full of unique identity and bursting with infectious energy, there’s really no need to look any further than RedHook. With an utterly unapologetic outlook and more memorable moments in just six songs than some can manage in a full album, ‘Bad Decisions’ is easily one of the most exciting releases of the year – this is one to miss at your peril.

GEM ROGERS

Despite a fairly sombre premise, as ‘Swim’ opens the EP, there’s a liveliness that cuts through the despair and brings to mind the music of bands like Hundred Reasons and Fatherson. It’s a strong introduction to the world of Muttering, enticing listeners in to a fifteen minute ride that, despite its short play time, is still crammed with expression and variety.

‘Beyond Belief’ and brooding instrumental track ‘Disquiet’ slow the pace down, while retaining a feeling of urgency that bubbles under the surface; at any moment, it feels as though Muttering could explode into chaos. It’s a feeling complimented by Chaz Bush’s vocal style, his soothing and restrained tones occasionally bursting like fireworks with a captivating ease atop warm and rough-edged instrumentation.

It’s not long before ‘Disquiet’ turns into the more experimental, frantic sound of ‘Good Luck’ as it asks, “Who would you follow to the end of the earth, and would they be worth your time?” There’s a pessimism to this EP that’s delivered with a shrug and a wry smile, like sharing dark humour with a friend rather than forming an oppressive gloom. Closing with ‘Rattle Your Cage’, it’s clear how much promise there is here, with a rawness and energy that sounds how live music feels. ‘Don’t Think About It’ is a treasure of a release, the kind of debut EP that instantly makes you realise you’ve found something special – and if this really is the end of the world, then we’re happy to have this as the soundtrack.

GEM ROGERS