Everything hits from the opening moments. Kenzie’s guitar and brilliantly snotty vocal immediately lock in with Laila’s pounding drums, creating a sound far bigger than you’d expect from just two people. The verses sit firmly in straight-up rock territory before a building bridge winds the tension tighter, but it’s the chorus that really bulldozes you into submission. Guitars disappear beneath layers of glorious distortion, Kenzie’s vocal gains even more bite and the whole thing erupts into heavy, grungy goodness. It’s loud, unapologetic and ridiculously satisfying, with production that amplifies the duo’s raw power without polishing away any of their attitude.

That attitude spills straight into the accompanying video, filmed inside the wonderfully weird setting of a wig shop and switching between crisp modern footage and a grainy 90s VHS aesthetic. There’s a clever connection to the song’s exploration of appearance and the identities people construct to gain acceptance, but it’s also simply a brilliantly playful visual world for the duo to inhabit. “It’s heavy, and it puts a stamp on things,” says Kenzie. “Listen, we’re not here to play.” After a chorus like this, nobody is likely to doubt her.

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While flashes of post-punk emerge through the sharp, angular guitars, Downtown leans more heavily into gritty rock ‘n’ roll. Driving rhythms, punchy riffs and an undeniable sense of swagger propel the track forward, while Vilte’s effortlessly cool vocal performance commands every moment. Equal parts confident and charismatic, she proves herself to be the kind of frontwoman who is impossible to ignore.

That same energy carries into the accompanying video, where the band perform inside what appears to be an abandoned warehouse. Psychedelic visual effects and the sight of a couple dancing wildly to the music perfectly complement the song’s dirty, cinematic atmosphere. It’s the sort of performance that leaves you with one thought by the end: Void Queen would be an absolute blast to see live.

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From its punchy guitar riffs to its no-nonsense energy, ‘Down In The Bunker’ wears its classic punk influences proudly, recalling the infectious spirit of bands like The Ramones and The Damned. The story takes centre stage, unfolding with a tongue-in-cheek sense of humour that perfectly complements the band’s straight-ahead approach, while the accompanying DIY video only amplifies its playful personality.

With its blend of campy horror and infectious punk attitude, ‘Down In The Bunker’ feels like the soundtrack to a brilliantly chaotic teen horror-comedy. Equal parts imaginative and irresistibly fun, it’s another reminder that punk doesn’t always have to take itself too seriously to leave a lasting impression.

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‘Future Babies’ is a song shaped by the moments when life cracks open—those sharp collisions with the unknown that leave us wounded yet quietly transformed. Framed by the imagery of a blazing blue sky, dreamlike memories, and a surreal floating bathtub, the track lingers in the space between who we were and who we’re becoming. Its refrains of being “new and wounded” capture the truth that every rebirth carries its scars, and that these marks are not signs of breaking, but of becoming.

In its plea like “Wish me a happy birthday” – the song hints at the fragile celebrations within each small awakening, even when they arrive through pain. By the closing lines, the repeated “Now I understand something” feels like a soft revelation rising from the debris of change. ‘Future Babies’ ultimately stands as a testament to moving forward with an open heart: embracing the ache of transformation, honoring the beauty in our wounds, and stepping into the next version of ourselves, fragile and luminous all at once.

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A staple of the 1980s Minneapolis punk scene, Lawson shared stages—and dive bars—with local legends like The Replacements and Soul Asylum. But after a traumatic betrayal within the music industry, she walked away from it all. Writing, recording, performing—any connection to the stage felt too painful, and she left that part of herself behind. “That part of me had been killed,” Lawson says. “I didn’t want anything to do with being on stage.”

Now, years later, she’s taken that power back. With ‘The Reckoning,’ Lawson returns stronger than ever—armed with a guitar, a voice like fire, and a new fury. Fans of Patti Smith, Chrissie Hynde, or Sleater-Kinney will hear echoes of raw rock defiance and unapologetic truth. Her band—handpicked and highly recommended—drives the track with grit and muscle, giving Lawson’s words the fierce energy they demand.

“This song is for anyone who’s been burned, betrayed, and silenced,” says Lawson. “It’s that universal satisfaction when someone evil finally gets taken down. And for me, it’s not just about them—it’s about reclaiming the part of myself they tried to destroy.”

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“This upbeat, heartfelt track captures the joy of reminiscing about unforgettable times shared with friends who are no longer nearby. It’s a fun and feel-good ode to lasting memories and the special bonds that distance can’t break,” says Daniel Marchelewski, Guitar and Vocals.

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Since their last album in 2017, not only did they weather a global pandemic along with the rest of us, frontwoman Megan March also had a child. While becoming a mother was, as she puts it, “an incredible joy and opportunity to rewire emotional pathways and deep wounds,” childbirth was both a traumatizing and transformational experience. Ironically born on the Fourth of July, her baby immediately entered a world steeped in bureaucracy, as the hospital was so understaffed that Megan was neglected until the last moment, forced to endure an emergency C-section.

New single ‘No Excuse’ clatters in next like a rusty tank — eerily appropriate for these times. “It’s about seeing all of these near-apocalyptic military situations that we keep careening toward over and over and over again,” No says. “The toxic idea of war where you don’t even realize that you could blow up the whole world just for these political distractions that result in genocide,” March adds.

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Following their acclaimed sophomore album Doom Loop, Dream Nails are back, revitalised and recalibrated, evolving their politically charged sound to encompass introspection and spiritual curiosity in their most experimental work to date. Written over the past year, the new record responds to a period of intense global change.

Throwing themselves into the creative process—In collaboration with the acclaimed producer and engineer Ali Chant (Dry Cleaning, Katy J Pearson, Sorry, Yard Act)—You Wish marks a sonic departure from previous works, and, for the first time, the band broke down their traditional roles and collaborated across lyrics, melody, and production. The band “got weird” to create something intimate and primal, resulting in some of their most creatively vulnerable work to date, while remaining rooted in the myriad shades of punk that colour their signature sound.

Building on their punk beginnings, the new record retains Dream Nails’ witty and sharp lyrical observations while drawing from heavier, more melodic influences, such as the Breeders, Wolf Alice, and Mannequin Pussy.  “This is a punk album about resilience”, shares guitarist Anya Pearson, “each song a story of strength. It’s called You Wish because it perfectly captures our punk swagger counterpointed with our cosmic optimism. With Doom Loop, we were curious observers of the world’s repeated cycles. With You Wish, we’re finding the strength to fight. We’re asking the universe for guidance. We’re making friends with animals. We’re surrendering to the elements, to a cosmic knowing that we’re all born with, to find the answers.”

The trio’s latest single, ‘Organoid’, is a paranoid punk explosion, an expression of tech-anxiety fuelled by Black-Mirror-esque developments in technology. What if our computers end up with souls? “It’s about the fight to stay human in the outright insanity of the digital age,” shares drummer Lucy Katz. “It’s a response to feeling silenced by the tech overlords and the toxic social environment they have created, which corrupts how we all relate to each other and ourselves.” Organoids are tiny human brains with eyes that are being used to run supercomputers”, explains singer/bassist Mimi Jasson. “Do they have a conscience? Do they have souls? Should we resist these dystopian systems, or should we not say anything at all?”

“Will we wake up one day as organoids?” Anya questions. “Tech feudalists are monetising our deepest social bonds. How do we stay truly connected? With a tidal wave of AI content flooding music, art, social interactions, and even threatening our jobs, how do we find the words to fight back?”

You Wish:

1. The Only Way Out is Through
2. This Is Water
3. Organoid
4. The Spirit Does Not Burn
5. Pack My Wax
6. This Message Is A Dream
7. House of Bones
8. The Information
9. Can’t Lose
10. Move Like An Animal
11. Zeros
12. A Sign

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‘Take Me Alive’ is the band’s first original release since their debut 2023 album Runaway (Double Helix Records), kicking off an exciting new chapter. To accompany the track, the band is also dropping a high-energy, performance-based music video, shot by Like Roses guitarist Devin Zamora and edited by lead singer/guitarist Tess Stevens.

‘Take Me Alive’ marks new territory for the band, channeling a more stadium-rock sound. It’s the first of three singles recorded in the Bay Area by Scott Goodrich (The Story So Far, Broadway Calls, Decent Criminal) and mastered by John Naclerio (My Chemical Romance, Bayside, Brand New).

Stevens hopes the lyrics inspire people to question what’s happening in the world. “The song is about rejecting the stupidity we see online, unplugging ourselves from the things that cause us self doubt,” she says. “It’s about telling the world to ‘take you alive’ as you truly are.”

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‘Haunt Me’ is an intimate, heartfelt ode born from the depths of grief − a raw expression of longing so intense that the narrator wishes to be haunted, if only to feel close to the one they’ve lost. It’s a powerful, vulnerable moment for Grandmas House, proving their ability to blend punk intensity with poignant, unfiltered emotion.

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