Premier Jester aren’t afraid to mix genres. On their previous single ‘All I Ever Wanted’, the UK band managed to fuse metalcore riffs with R&B vocal melodies, programmed drum loops and blasts of synth drawing from a dance-oriented sound, and – latterly – some fierce hardcore breakdowns to create a truly intense experience.
Northern Ireland’s Hard To Explain emerged in a post-lockdown world, and before long, began what was to become a run of impressive single releases. ‘Hell To Pay’, the band’s debut album (released at the tail end of 2025) makes good on all of the band’s early promise, sharing a collection of varied and hard edged tracks that showcase strong vocals, thoughful lyrical themes, and – above all – a succession of massive riffs.
The debut album from desert rock duo SoftSun was one of the greatest releases of 2024. Guitarist Gary Arce had already put his name to some really enjoyable work with improvisational collective Yawning Balch over the course of the year leading up to SoftSun’s unveiling but, as part of that duo, there was something truly special about the way he was able to weave deep psych and desert rock sounds against Pia Isaaksen’s vocals. It was a release that set a high bar, but also one that suggested a “lightning in a bottle” moment; that a follow up might not follow especially quickly…or even at all.
Between 2020 and 2025, Boston band Duck & Cover released a succession of digital singles and EPs that showcased their sometimes ragged, sometimes retro, often enjoyable rock sounds very effectively. The material didn’t necessarily reach beyond a cult audience, but the band’s various college rock and noisy power pop influences often struck a chord with those who stumbled across the band’s work.
2025’s semi-punky ‘Bored of The City’ was actually one of Duck & Cover’s finest numbers to date, and this didn’t escape the notice of Rum Bar Records. Taking the digital wares from that six year stretch and adding a previously unreleased nugget, they gave the material its first physical send off at the end of that year with the fourteen track ‘No Hounds In The Cluster’ – a collection that plays brilliantly as an album in its own right.
In the middle of the first pandemic lockdown of 2020, Japanese thrashers Straenge released their second demo, the ‘Thrash Medicine’ EP. Its five tracks demonstrated a brilliant, very technical approach to heaviness, often combining the speed of ‘Seasons In The Abyss’ era Slayer with the anger of early Kreator. On a musical level, the band sounded great. Vocally, things were a different matter: the material featured an ugly growl that fused the guttural edge of death metal with the power of hardcore, which, coupled with an obvious Japanese accent, made all of the lyrics inaudible. Assuming you could approach the material purely on its instrumentalists’ merits, of course, this underground band often sounded very cool.