A load more bands have been added to twenty one pilots’ All Points East show this summer.
Tyler Joseph and Josh Dun were already set to be joined by Wunderhorse, REN, BBNO$, PVRIS, Nova Twins, Dead Pony, Kid Kapichi and LEAP on the day, but now things are looking properly packed.
On top of all the music, twenty one pilots’ All Points East extravaganza will feature an exclusive Fan Premier Exhibit – according to a press release, that includes ‘new Breach items from the band’s personal collection, interactive photo opps and more.
‘Plus, step into the immersive Banditø Camp – a community space within the festival grounds fans can take photos, explore the camp’s artefacts and connect with fellow Banditøs. The band is also bringing their iconic headline Breach tour B‑stage experience to the festival.’
The show takes place on Sunday, August 30 at London’s Victoria Park.
One month prior the release of their fourth album …Beginning Of The End, Texas-based Portrayal Of Guilt are back with another new two-song release in advance – “Object Of Pain” and “Death From Above”. Craig Murray shot and edited both accompanying video clips. Read more…
Portrayal of Guilt have toured the world over, creating their own musical eco-system and released four seminal full-length albums that have seen the Austin trio consecutively reinvent themselves. They’ve done it in a manner that avoided compromise, welcomed free experimentation and avoided labels outside of “menacing”, “compelling” and “must hear”.
…Beginning of the End, their upcoming studio album on Run For Cover embraces both the groove and avant-garde, revisiting the raw, teeth-gnashing intensity of their previous work. It feels like a band that has traversed every shadowy corner of heavy music, distilling their decade of innovation and knowledge into a singular show of force.
Today, they’ve unleashed their second set of singles, “Object of Pain” and “Death From Above”, alongside two new videos to complete their …Beginning of the End video trilogy, which they collaborated on with director Craig Murray.
“Object of Pain” and “Death From Above” follow lead singles “Ecstasy” and “Human Terror” released earlier in the month and give a preview into the album’s experimentation with nu-metal, alternative rock, trip hop, dark ambient and other disparate influences.
Portrayal of Guilt made an immediate impact in underground circles with their debut, Let Pain Be Your Guide by mixing nihilistic hardcore, black metal, classic screamo, and imaginative textures. We Are Always AloneandCHRISTF*CKER LPs followed in 2021, the band’s breakout body blows that corroded the band’s commitment to genre, nodding at industrial music, post-metal, sludge and even post-hardcore, all while cementing the band’s tendencies toward experimentalism. Their fearless spirit reimagined their own sound as classical (Devil Music EP) and EBM / goth (CHRISTF*CKER II) on more recent efforts. And though the pacing of releases and the band’s evolution has remained steady, Portrayal of Guilt’s execution has kept their audiences hungry for the band’s ever-evolving sound.
…Beginning of the End was recorded and mixed by Phillip Odom between March and June 2025, with mastering handled by Will Yip. It’s Portrayal of Guilt’s fourth studio album in eight years, and third with Run For Cover.
Just after their performance at the world-renowned Roadburn Festival in April, Portrayal of Guilt set out on a full North American headlining tour, which kicks off with a hometown send-off on the 9th of May at Mohawk in Austin. The run crosses East Coast, Midwest and more withPg. 99, Taraneh, Halloween and The Infinity Ring supporting select dates. Tickets are on sale Friday, March 6 at 10AM Local Here. For a full list of dates and posters, see below.
Canadians Cancer Bats have recently confirmed ’20 Years Of Madness’ European headline tour, encompassing 26 shows in total that are scheduled to be executed from late May to early July. Read more…
Nashville, Tennessee-based technical death metal formation Inferi have released “Godless Sky” as another preview tune off their forthcoming studio record, Heaven Wept. Read more…
With a captivating presence and a warm, natural confidence brought to both lyrics and vocal performance, breakthrough indie-pop artist GYPSY LEE is setting herself up for a vibrant new arc with the debut of her latest track, ‘SNITCHES’.
As a preview of her forthcoming EP project, the new single from the Melbourne-based artist is an engaging stride forward. A beautiful blend of songwriting skill and charisma, GYPSYLEE leaves the listener with no choice but to be drawn in.
Written with collaborator and producer THRONES (Andrew Lowden), ‘Snitches’ was created following a breakup that GYPSY LEE describes as her “first heartbreak”. The song is produced without any instruments, it’s entirely GYPSY’s vocals and percussive elements such as hands claps and door slams.
“I was less upset by the loss of the person, more the actions that ended the relationship. There’s an anthemic quality to the song – not just for me, but perhaps for women everywhere – a call out of the bullshit some boys put them through. I’m not a blow up doll, a barbie or your property. I am completely myself and I’m not afraid to call you out – or snitch.” GYPSY LEE
Accompanying the release of ‘Snitches’, GYPSY LEE has released the song’s official visuals, directed by Glen Wilk the video captures the fun of ‘Snitches’, while also elevating the artist’s own unique vibe and approach to pop music that at all times, is led with heart.
“I wanted a video that captured everything I am, everything I’m not and what I could be. I can be fun, I can be messy, I can be ugly, I can be your dream girl. What I won’t be, however, is silent.”GYPSY LEE
Since making her debut in 2024 with the PRETTY IN THE DARK EP, audiences have been able to witness GYPSY LEE evolve from buzz artist, to becoming a dynamic breath of fresh air and certainly, one to watch. Having already enjoyed sold out shows at venues including The Espy in Melbourne and Sydney’s Oxford Art Factory, GYPSY LEE has been enjoying the challenge of stepping out of the studio and bringing her songs to the stage.
With the release of more new music in 2026, GYSPY LEE is a name Australian music fans will become more and more familiar with.
Friday 27 March Kew Court House MELBOURNE VIC – SOLD OUT
Friday 17 April Brunswick Artist Bar MELBOURNE VIC
Thursday 23 April Espy Basement MELBOURNE VIC
Thursday 9 July Big Red Bash SIMPSON DESERT QLD
Don Broco’s evolution has been fascinating to witness. But while some focus on their transformation from skinny-jeaned rock ladz to sonic eccentrics that sound unlike anyone else, what’s equally interesting is their change of lyrical focus, even from their last record to this one.
On their previous album, 2021’s excellent Amazing Things, they looked out at the world, commenting on such disparate topics as how superficial fixations blind us to real issues (Swimwear Season) and the anger associated with having someone’s bigotry thrust upon you (Uber), all serious topics tackled in far from the obvious ways.
On Nightmare Tripping, they’re similarly unpredictable in their approach, though this time turn their gaze inwards, with most of these 11 songs feeling like variations on a theme that none of us are as tough, or as beyond reproach, as we’d like to think we are. And that’s okay.
Darker examinations naturally result in darker music. And while Broco are no less loco – as Pacify Me confirms, gamely putting the bark in absolutely barking – their sound has been alloyed with more abrasive and suffocating textures.
Opener Cellophane was the perfect choice as first single, perfectly teeing up what’s to come, musically and thematically. With its references to The Matrix (thankfully the Keanu Reeves movie rather than the odious manosphere connotation), it’s a moment of awakening to the fact life can go from a picnic to a shit-sandwich buffet in the blink of an eye.
The first four tracks – completed by Disappear, Somersaults and the Nickelback-collaborating title-track – absolutely bombard the senses. Sometimes, it appears, it’s to scratch the itch of paying homage to formative influences like Korn and Limp Bizkit. Alternatively, as on Somersaults, it’s to provide context, namely recapturing the exuberance of youth and heady days when life was only frantic in a fun way. Nevertheless, you can’t help needing a bit of a breather when you’re drowning in ideas. It arrives via Ghost In The Night, its expansive melodies taking the foot off the gas and your windpipe for its four-plus minute duration.
That respite is short-lived, though, which is good news if you never wanted it to begin with, but less so if you like your Broco on the breezier side.
True Believers, featuring Architects’ Sam Carter, is a symphonic metalcore behemoth, undoubtedly inspired by Don Broco’s show at the Royal Albert Hall backed by an orchestra in 2022, and seemingly custom-made with spectacular live performances in mind. Quite how the hell they will recreate Euphoria Live Forever and Pacify Me onstage is anyone’s guess. Listening to both, the words ‘nu-metal nightclub’ spring to mind.
So, too, does a sense that more doesn’t always equal more. In piling on the downtuned riffs, vocals both crooning and cacophonous, an ’80s throwback vibe and the kitchen sink, they’ve successfully accumulated all the stages of Broco in one go. You can’t help feeling they’re getting in their own way at times, though, and that those two songs in particular might have been more impactful with a little more refinement.
Critiquing this band for being unrestrained is like berating water for being wet, though. Nightmare Tripping is something of a double pivot from its authors, busier and more brooding than what’s come before. This is the way they want to tell their story, though, right here and right now, and you’d have to be tripping to begrudge them that – especially when the results frequently dazzle.
