The group formed in Castrop-Rauxel, Germany, in 2010, but their big break didn’t come until clean vocalist Nico Sallach joined in 2020. The music they make is a riotous combination of various electronic dance music styles and metalcore, made all the more fun by the band’s wicked comedic themes and humorous co-ordinated outfits. The sound was fully unlocked by Sallach’s voice, which would sound at home in any pop or EDM track, and when his first single with the band, 2020’s ‘Hypa Hypa’ released, it instantly became their most-popular song and opened them to a far-wider audience.

Since sixth studio album ‘Tekkno’ released in 2022, Electric Callboy’s ascent has been unstoppable. Backed by high-energy singles and their brilliant music videos like the 80’s-inspired ‘Hypa Hypa’, ‘We’ve Got The Moves’ with its bonkers hardstyle drop, and the outrageous ‘Tekkno Train’, they have over 600 million views on Youtube and nearly 3 million monthly listeners on Spotify. Their live show full of lights, pyrotechnics and costume changes has also become one of the wildest around, balancing all the features of both a heavy metal show and a rave into one exciting package. Since career highlights including a co-headline set at the UK’s Slam Dunk festival and a sold-out show at London’s Alexandra Palace last year, Download Festival have taken notice and given them a prime main stage slot this year.

In the current climate for recorded music, Electric Callboy adopted the now-common approach of releasing multiple singles over a stretch of time in favour of building to an album, having put out 4 singles and two covers since 2024. After releasing the single ‘Tanzneid’ last October and wrapping up their last world tour, the band took to social media to build suspense for a prospective announcement this week. Behind-the scenes clips showed them tracking vocals in the studio, as well as unboxing clothes to be used in their music videos.

New album ‘Tanzneid’ was unveiled on Tuesday the 14th of April, with a tracklist including the past singles ‘Tanzneid’, ‘Revery’, ‘Elevator Operator’, ‘RATATATA’ featuring Babymetal, and their cover of Sum 41’s hit ‘Still Waiting’. Further information came on the 15th about their new single ‘Hypercharged’ releasing on the 16th as a promotional crossover with mobile game Brawl Stars, advertising a new character for the game with the accompanying music video.

‘Hypercharged’ released today, and is every bit an Electric Callboy single, from its eurobeat intro that builds to its heavy, screamed pre-chorus, and its saccharine pop-metal chorus. The band’s fearless approach to smashing genres together works so well with the mix of both metal drumming and EDM drum machine tracks here. The music video is one of their less playful, shifting between footage of the band members and footage from the game Brawl Stars. In the 10 hours since it was uploaded to Youtube, it has already been viewed over 5 million times, a popularity unseen for most heavier acts.

In a statement the band spoke about the album, describing how after ‘Tekkno’’s extensive campaign, they refocused themselves for the new material: “With TANZNEID, we wanted to create something special, for our fans and for ourselves. Every track surges with energy. We took what we loved about TEKKNO and pushed it further, adding new elements, new sounds, and new extremes. Heavy beats, explosive drops and moments that hit you right in the chest. The last singles RATATATA and Hypercharged were just the beginning. Now it’s raw, loud and alive, in every pulse, every scream, every melody. We wanted to match our music with your adrenaline, to create a record that pulls you onto the floor, makes your heart race and doesn’t let go.”

‘Tanzneid’ is scheduled to release on the 7th of August 2026, and Electric Callboy say it’s “built for the stage. So turn it up, lose yourself and dance like no-one’s watching.” Physical and digital pre-orders are live now on the band’s website, and new single ‘Hypercharged’ is up on streaming platforms. On the concert front, they’re bringing their one-of-a-kind show to the US through April and May, before a summer festival tour of Europe, finishing with a run of dates in Japan and Australia. UK fans can catch them at Download Festival on Friday the 12th of June. Their final announcement is an album release show at Berlin’s Escalation Fest this August, where fans can book a ride on the ‘Tekkno Train’ to the festival and hear all of the new tracks live.

Burn It Down is an annual three-day event in the South West, transforming the harbour of Devon seaside resort Torquay into a hub for alternative music fans. The west of England has suffered the loss of many of its live music venues and typically struggles to draw talent to the region, but through initiatives like Burn It Down more international acts than ever visit the so-called “English Riviera” of Torbay. The shows take place across The Foundry, The Attic, and The Apple and Parrot, three of the most important independent bars in Torquay’s nightlife centre. Previous iterations of the fest have welcomed prolific artists ranging from UK hardcore juggernauts Malevolence to breakthrough metalcore starlets Static Dress.

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  The initial lineup was announced in January, featuring the upbeat pop punk of As It Is, the weighty hardcore of TRC, and the rebellious punk of The Meffs. A second wave of bands came at the start of March, revealing the Friday night headliner as US post-hardcore outfit Drug Church, alongside St Albans’ Your Demise, who were trendsetters for British alternative music in the 2000s and 2010s. The organisers also broke the news that the entire set of Friday performances would have no barrier in front of the stage, a key feature in energetic hardcore punk shows that allows fans to be part of the action and stage dive to their heart’s content. Today’s update only brought one band, but that band’s presence has drawn significant attention from beyond the Westcountry. Australia’s Speed have grown to be one of the most talked-about hardcore collectives in the world – their aggressive beatdowns and the unique addition of frontman Jem Siow’s flute trills has forged an identity that sets them apart from the pack. Official debut EP ‘Gang Called Speed’ hit number 5 on the Australian Recording Industry Association (ARIA)’s Australian Album Chart, and debut LP ‘Only One Mode’ earned Speed the ARIA Award for Best Hard Rock or Heavy Metal Album in 2024.  

 

 

 

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After supporting Baltimore icons Turnstile on their 2024 European tour, the group last brought their frenetic live show to the UK in June last year, playing at Outbreak Festival in both Manchester and London, as well as shows in Dublin and Belfast. With their Saturday headline slot at Burn It Down also announced to be a no-barrier set, attendees can expect a ton of unbridled mayhem and a busy night for the venue’s security team.

Burn It Down 2026 takes place across Torquay from Friday the 3rd of September to Sunday the 5th, with day and weekend tickets available from promoter BYP’s store. Speed will also be on tour across the UK this April, with tickets available for select shows. The full list of dates for their tour with Whispers, Bodyweb and additional support looks like this:

• April 15 – Chalk, Brighton w/ No Relief
• April 16 – XOYO Birmingham w/ Killing Me Softly
• April 17 – Electric Bristol w/ Dambuster
• April 18 – Digital, Newcastle w/ Hellbound
• April 19 – Project House, Leeds w/ Hellbound
• April 20 – Slay, Glasgow w/ Nothin’ But Enemies & Hellbound
• April 22 – Electric Ballroom, London w/ Impunity & SOV

After forming in 2010 in Ocala, Florida, the band released debut album ‘Blueprints’ in 2015, breaking through off the back of singles ‘The River’ and ‘Twenty One’. The LP was an explosive hit of raw, unrelenting metalcore, shedding all nuance in favour of a direct assault. Their trademark sound was one of monstrously heavy verses leading to huge anthemic choruses. In 2016 the attention it garnered brought them on tour to the UK and Europe supporting heavyweights The Amity Affliction, Northlane and Stray From The Path.

On each album since 2017’s ‘Deadweight’ their sound mellowed gradually, with electronic elements seeping in, clean vocals becoming more frequent, and the overall polish of the mix becoming so sterile that most of the character was washed away. Following the launch of their fifth and so far last album ‘Stigma’ in 2024, fans were starting to label the band as “Octane-core” – a demeaning label associating them with the more radio-friendly metal music played on US digital station SiriusXM Octane.

With the release of ‘Song Of The Swamp’, they’ve shaken all the taunts away and unleashed something far darker than anything else in their catalogue. The track is ferocious in all the right ways – harsh vocalist Briton Bond sounds utterly demonic, the bass is earth-shattering, and the pounding drums do not let up. Wage War describe the song as “the tone-setter” for the full EP, saying “’Song Of The Swamp’ is rooted in where we’re from. Driven by Florida and the raw aggression of nature, it’s a heavy track built on tension and hostility.”

If this sets the benchmark for what’s to come, the full 5-song feature is sure to be a serious display of force. The band say “’It Calls Me By Name’ is about being drawn to your roots. This isn’t a concept EP but is meant to live in its own world. Five tracks shaped by Florida, the swamp and the relentless aggression of nature. Built heavy, but still driven by the hooks that have defined us. It’s our signature sound amplified and pushed further into metal than we’ve ever taken it.” The EP releases on the 17th of April, with this track listing:

1. Song Of The Swamp
2. 4X4
3. Blindfold
4. Karma
5. Purify

The band hit the UK last Autumn on Architect’s headline European run, wrapping up their ‘Stigma’ touring cycle. A further announcement this afternoon revealed US tour dates in support of the EP, running through April and May, with tickets on their web store. ‘Song Of The Swamp’ is available now on streaming platforms, and ‘It Calls Me By Name’ is available for pre-order through the bands official channels here.

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Formed in Sheffield in 2010, Malevolence’s music has been best described as “beatdown hardcore”, a variant of hardcore punk that puts emphasis on sludgy breakdowns and aggressive vocals, as well as using thrash metal riffs and drum beats. Their sound is incredibly potent, switching from high-tempo headbanging sections to pounding grooves in an instant. Naturally this has led to their live atmosphere becoming one of overwhelming intensity, captivating fans around the world.

A big part of their charm is in their image and how they present life in the North of England through their music videos. Malevolence have always avoided clichés from either hardcore punk or heavy metal culture, and to the naked eye they do not exude any typical rock-star swagger. Music videos like that of title track ‘Self Supremacy’ from their 2017 second album has all the façade of a drill rap video, with the band donning trendy sportswear instead of dressing like stereotypical metalheads. Many of their other promos show them doing what they do best – starting moshpits and raising the roof. There is a deep humility to the members, implying that no matter how far their careers have taken them, they’re still just five friends from South Yorkshire.

In the past they have dabbled with lighter songwriting styles, like with ‘Higher Place’ on 2022’s ‘Malicious Intent’ or last year’s ‘Salt The Wound’ taken from ‘Where Only The Truth Is Spoken’. In general, their experiments with their softer side have always still tended towards their usual sound eventually. Not so with ‘Silhouette’, which made its debut today, the band issuing it with the message “FOR VALENTINE’S DAY, ‘SILHOUETTE’ OUT NOW.”

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While it is still crushingly heavy and features harsh vocals, chunky riffs and a guitar solo, there is a mature, mournful sound to the ballad which the band has never fully tapped into before. Guitarist and vocalist Konan Hall’s trademark low roar is transformed into a beautifully melancholic singing voice, bellowing lyrics that grapple with raw emotions and a sense of a love lost.

In a post on his personal Instagram account, drummer Charlie Thorpe writes “We sat on this one two albums ago just unsure what to do with it so here you go – another diverse extension of what Malevo is capable of. Gone full soft and mega proud of it.” Further in the piece he jokes about it dissuading fans of their standard style, saying “it’s ok to just enjoy some broken hearted dad metal for a bit.”

While this is unlikely to become a new template for their fierce brand of crossover music, the “broken hearted dad metal” is certainly enjoyable while it lasts. ‘Silhouette’ released this morning through the band’s own record label MLVLTD Music, and is now available on streaming platforms. Next up for Malevolence is a blockbuster North America tour with fellow British hardcore trendsetters Guilt Trip kicking off this March and running through April. Following that they’ll be making appearances on home soil in Hatfield and Leeds for Slam Dunk Festival 2026 this May.

The video titled ‘the paradox of progress’ details their beginnings as school friends growing up just outside Sheffield together, before forming the band in 2006. This was the same year that Sheffield’s music scene had been placed on the map in dramatic fashion by Arctic Monkey’s debut ‘Whatever People Say I Am, That’s What I’m Not’, as well as Bring Me The Horizon’s first deathcore full-length ‘Count Your Blessings’.

After showman vocalist Lawrence Taylor joined in 2009, they set about independently recording their breakout EP ‘The North Stands For Nothing’ in a converted barn owned by guitarist Mat Welsh’s father. Having tracked and mixed it all themselves, it released originally in 2010, before being distributed for free with Metal Hammer magazine in 2011. Their early sound was a feverish frenzy of modern metalcore enhanced by the DIY production quality, pairing metal guitar riffs with the impassioned screaming found in hardcore punk. The buzz generated led them on frantic tours of small venues around the UK and Europe, where their energetic live shows drew ever larger audiences.

In the video they then give an impression of how fast things moved after their initial success. The members say “From there, life just sped up so quickly. We get signed to Sony, and we sign that f*****g contract in the toilet. Then we go into the studio to record ‘This Is The Six’. The tours were getting bigger, the crowds were getting bigger, we start winning awards.” After winning the Kerrang Award for Best British Newcomer, debut studio album ‘This Is The Six’ released in 2012, peaking at 27th on the UK Official Album Chart, and 2nd on the Rock and Metal Chart. BBC Radio 1 received numerous complaints regarding the first single ‘Dead Behind The Eyes’ being played on daytime shows, with listeners considering it too harsh for the general public.

Then problems began to arise. Singer Lawrence Taylor had to have throat surgery to treat his vocal cords in 2013, leading the band to cancel prospective tours for 2014. Excessive partying on Warped Tour in the US while also writing second album ‘Brainwashed’ was starting to cause some fatigue in the members. One member says the quote “we put a plaster on a wound, and we’d take it all around the world.” At this point they’d also become disillusioned with much of the music industry, and they’d started proceedings to become independent once more. They built their own studio that they named “Sleeps Warehouse”, and with it decided to cut loose from labels and release third album ‘You Are We’ on their own through crowdfunding measures. This 2017 LP released through their own label Sleeps Brothers, topping the Rock and Metal chart and finishing 8th on the Official Albums Chart.

Now the members were really suffering from their success, with Taylor needing a further surgery on his throat, and the scale of their tours and shows becoming far more demanding. Just like that, the global COVID-19 pandemic stopped the world of music in its tracks. While She Sleeps took the time to develop a subscription service to connect with fans and release music directly to their audience. After the pandemic ended, they achieved a dream of selling out the Alexandra Palace in 2023, on their biggest headlining show in front of over 10,000.

The video begins to close out by explaining the pressure the band was under, feeling compelled to consistently release songs to stay ahead in the rat race, at great detriment to their physical and mental health. Mat Welsh says “I want this band to live forever. If we want it to live forever, we have to stop something.” They reveal that for the foreseeable future, they will be withdrawing from touring in order to dedicate all their attention to writing music. Citing issues with the way the industry demands efficiency at the expense of quality, they aim to continue to do things on their terms and release their perfect album when the time is right. The video ends with a caption – “Bye, for now.”

While they won’t be touring, While She Sleeps’ extensive back catalogue including 2024’s ‘Self Hell’ is available on streaming platforms and their website. Updates can be expected through their Sleeps Society news subscription service.

After celebrating 20 years of their sensational debut album ‘The Poison’ last year with an international arena tour, welsh metalcore giants Bullet For My Valentine are revisiting the EP that first got their name out there to the world. In a post on their official Instagram account, they revealed they had been in the studio recording new music, as well as announcing the reissue of 2005 extended play ‘Hand Of Blood’.

Their first EP in the UK, 2004’s ‘Bullet For My Valentine’ featured 5 tracks including title track ‘Hand Of Blood’ and ‘Cries In Vain’, which went on to be used on ‘The Poison’. However they then mixed the track order around and bolted on the hugely popular single ‘4 Words (To Choke Upon)’ when repackaging it as ‘Hand Of Blood’ to the US market.

‘Hand Of Blood’ was met with mixed reviews by journalists overseas in 2005, but Bullet For My Valentine (BFMV) took the metal industry by storm when ‘The Poison’ came out in October of that year. While they had been criticised in the past for copying American bands like Avenged Sevenfold or Atreyu, this album became an instant classic and a defining moment for the metalcore subgenre, a fusion of heavy metal and hardcore punk. What they lacked in originality, they made up for in songwriting and raw quality, with the album still being regarded as one of the best metal releases of all time.

All four singles from the album broke into the UK Official Top 40 Chart, an incredible feat for a heavy metal band, let alone on their first try. ‘All These Things I Hate (Revolve Around Me)’ peaked at 29 on the main chart, second on the UK Rock list, and 13 on the US Mainstream Rock standings.

The impact of the three releases were immediate for the band. In 2005 they were bumped up in priority at Download Festival, before being moved to a prime main stage set for the 2006 edition. The year also saw them support Guns ‘N’ Roses and Metallica on tours, as well as being invited on the US’s prestigious Warped Tour.

For the 20th anniversary of their rise to prominence, they embarked on a 2025 world tour with scene-compatriots Trivium, who also released their breakthrough album ‘Ascendancy’ in 2005, which the two bands named the ‘Poisoned Ascendancy’ tour. Initially planned to travel to the UK, Europe, North America, Australia and South America, BFMV resigned from the tour upon completing the North American leg. In a statement frontman Matt Tuck, who is recognised as the band’s leader, announced that they were withdrawing to return to the studio, with further touring to be unveiled for 2026 and 2027. They made amends with fans in South America and Australia with solo headlining shows before the end of last year, but since finishing these dates there has been no news on their social media channels.

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The drought for information ended this morning, with the Instagram post starting with “HAND OF BLOOD”, going on to reveal the relaunch. The collection releases on CD and in various vinyl designs, using the artwork from their debut EP ‘Bullet For My Valentine’. Their announcement says “we realised that we never really got to take you back to where it all started. So with that in mind, we’re incredibly happy to be able to share our reissue of the Hand Of Blood EP, releasing March 13th.”

Also in the post, they comment on progress on their latest project, a follow up to their seventh album conveniently also named ‘Bullet For My Valentine’, which released in 2021. They simply state “We’ve started 2026 incredibly strong, working away in the studio. We can’t wait to share with you all that we’ve been working on.” After a 5 year wait, there’s no telling what this will lead to or when we’ll hear it. For now at least, the ‘Hand Of Blood’ reissue can be pre-ordered through this link or enjoyed again on streaming platforms.

Bring Me The Horizon have announced a new concert film with a worldwide cinema release. Titled ‘L.I.V.E. In São Paolo (Live Immersive Visual Experiment)’, it is a recording of their biggest headline show to date, performed in 2024 in front of 50,000 people at the Allianz Parque Stadium in São Paolo, Brazil.

Bring Me The Horizon (BMTH) formed in Sheffield in 2004, when their members were all teenagers. Now 22 years into their existence as a band, vocalist Oli Sykes, guitarist Lee Malia, bassist Matt Kean, and drummer Matt Nicholls are at the peaks of their careers. They began as a deathcore band, an extremely harsh offshoot of heavy metal, before changing trajectory with their fourth album ‘Sempiternal’ in 2013, which led them into more mainstream, and yet more experimental territory. In 2024 they had become so well regarded that they won that year’s BRIT Award for Best Rock/Alternative Act.

By 2020, they had become invested in a world of science-fiction and horror storytelling, crafting the lore for their “Post Human” campaign. The first part was sizeable EP ‘Post Human: Surival Horror’ in 2020, followed by LP ‘Post Human: Nex Gen’ in 2024. Both albums used alternate reality games and interactive elements in their social media promotions, which evolved into the conceptual live experience of their current tours.

A band always renowned for their pedigree as a live act, BMTH have made their shows into a truly unique experience. Frontman Oli Sykes’ playful interactions with the crowd, paired with their robotic companion “EVE” building a narrative on the screens throughout the show, has turned their appearances into something akin to a pantomime. It goes without saying that the music backs this up, with album-quality sound at every show, acoustic interludes and track lists spanning most of their catalogue.

Their Post Human touring cycles have brought them to many of the world’s biggest arenas and festival stages. For a band of their youth, it was a big surprise when they headlined Download Festival’s 20th anniversary in 2023, and they have so far headlined Reading and Leeds in 2022 and 2025.

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Of all their performances, the sold-out São Paolo one must be the most significant. Brazil is well-known for an incredibly enthusiastic fan culture and warm welcomes to travelling acts. The blurb on Bring Me The Horizon’s website says “Hailed by the band as their best show yet, the film expands the visual universe of Post Human, blending cinematic production, fan perspectives, and character cameos” (referring to their animated narrators).

‘L.I.V.E. In São Paolo’ is described as featuring footage from multiple cameras, drones, and fans in the crowd, designed to give the true experience of being there on the night. The setlist, which can be found here, spans their albums from ‘Sempiternal’ to ‘Post Human: Nex Gen’, with live favourites such as ‘Can You Feel My Heart’ and ‘Kingslayer’ included.

The release for the film begins with the international cinema run, falling on the 25th and 28th of March. It will then launch for home audiences on the 10th of April, and is currently available for preorder as a DVD or CD on Bring Me The Horizon’s merchandise website.

The two bands were set to close out the North American leg of the tour, before moving on to play shows in Australia and South America, but BFMV confirmed they’d be cutting loose from the tour once the North American shows were finished. Now, both bands have played their final shows of the tour, calling it quits after their stop at the Red Hat Amphitheatre in Raleigh, North Carolina yesterday (Sunday May 18).

Upon announcing the early end to the tour, BFMV released a statement explaining their shift in focus away from the live shows: “the four of us collectively feel that the time is right for us to divert our full attention towards the next chapter of Bullet For My Valentine.

“We can’t wait to get back in the studio later this summer and finish what we promise you is our best album to date,” they wrote. “To go along with this, we are already starting to make plans for the 2026 and 2027 touring cycles, hitting every corner. We are super excited to drop new music for you all. We value our fans above all else and are forever grateful for your support. We’ll be back with all of you very soon.”

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Upon the collapse of the tour, Trivium’s bassist, Paolo Gregoletto, took to social media to discuss its premature ending, placing the blame on BFMV frontman, Matt Tuck. “Matt Tuck didn’t want to do it, after we had planned it, after stuff was already in the works – don’t know why,” he said, in a livestream. “I think it would have been amazing. I think The Poison is a great album. I think the two records pair very well together. And I think it would have been nice to give everyone around the world a chance to see the two together.”

But more recently, Trivium frontman Matt Heafy shared his thoughts on the matter in a social media video, offering a more diplomatic take on the tour closing: “There was an initial plan, and the plan’s changed. You know us – we wanna be everywhere non-stop and go-go-go, and we’ll happily play anytime, any place. They’ve got other plans to go do a record, so I respect that. I respect the fact things change. I think we definitely need – all of us – let’s pull back on the negative stuff. Let’s go back to remembering what we all love and that’s loving bands and loving music.”

“Sometimes plans change. Sometimes that causes headaches and disagreements. It’s like anything in life – like a relationship, like with your family, like with your co-workers… like any of that stuff. So let’s pull back on all that stuff, let’s keep it classy, keep it friendly.”

While the news may have left speculation to some bad blood brewing between the metal groups, they may have ended their tour on a lighter note. Trivium have shared a video of both BFMV and their own band and crew members saving abandoned kittens from a diesel generator while in Atlanta on May 14 for their show at the Coca-Cola Roxy. You can see the video below.

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The front man, Noah Sebastian, announced on social media that he is suffering from “what can only be described as extreme burnout”, resulting in the need to take a break mentally from producing and touring. Unfortunately, this means cancelling their overseas shows, including one huge show that was due to take place with BABYMETAL in Toulouse, France and a performance at Download festival. Download festival have shown their support on social media, saying “All the love from the Download family”, however fans have quickly taken to their comment section asking who will be the replacement.

Whilst this may seem to be a disappointment for fans, Sebastian has ensured that there has been “heavy consideration” and that this decision is in the “best interest of my health and wellbeing, and of the long term sustainability for Bad Omens”, reassuring fans that the band will soon be back and better than before. He explained that whilst “the album cycle the last several years has been gratifying and rewarding”, it has also pushed him to “the limits” of his “mental bandwidth”, creating the need for this moratorium.

The alternative rock band are committing to their performances in the US later this summer at Inkcarceration festival, and are still exciting fans with the release of their newest album ‘CONCRETE JUNGLE (THE OST)’, that is being released May 31st, ensuring fans can still celebrate the band in some way.

Since 2011, Pool has taken a significant shift right, choosing to focus his work on American culture-war issues like LGBTQ rights. Tim Pool hosts a daily podcast on YouTube and is well known online for his inflammatory and discriminatory comments surrounding the LGBTQ community. One of Pool’s largest talking points surrounds a conspiracy theory that suggests that LGBTQ community deliberately recruits children into their movement for political purposes. This conspiracy also implies that there is a sexual element to this recruitment process. In the wake of a 2022 shooting at Club Q, an LGBTQ club in Colorado, Pool attempted to justify the attack by saying “Club Q had a grooming event”.

We shouldnt tolerate pedophiles grooming kids

Club Q had a grooming event

How do prevent the violence and stop the grooming? https://t.co/loVoG3A3ot

— Tim Pool (@Timcast) November 22, 2022

As reported by Loudwire, the post shared by Christianson was a quote tweet by Pool regarding an interview with mixed martial arts fighter, Sean Strickland. When asked whether he would accept having a gay son, Strickland returned the question to his interviewer who said that he would have “no problem with it”. In response to his interviewer, Strickland said: “You’re a weak f*****g man”. The fighter then went on to say that: “ten years ago, to be trans was a mental f****n’ illness and now all of a sudden, people like you have f****n’ weaselled your way into the world… you [Strickland’s interviewer] are an infection”. On January 17th, Tim Pool replied to Strickland’s interview, saying “F*****g A+ guy right here”. Evoking far-right sentiments of social disease with regards to LGBTQ people, both Pool’s and Strickland’s comments are intensely derogatory.

HOLY FUCK Fucking A+ guy right here Thanks bud light for bringing us this message on the infection that is the woke left https://t.co/G17Drog39b — Tim Pool (@Timcast) January 17, 2024

This thread was reposted by Architects’ Adam Christianson for a brief period, before being promptly removed. On January 19th, Christianson apologised for his actions, saying: “that retweet was a total accident!”. However, some online are sceptical of Christianson’s backpedalling, citing his history of reposting and liking tweets that share similar sentiments to those of Pool. Christianson has previously liked and retweeted content from other commentators like Zuby Music who has previously evoked conspiracies reminiscent of those pedalled by the likes of Tim Pool.

Shit! That retweet was a total accident!! I don’t endorse anything that guy says other than fuck Trudeau. Sorry for the panic everyone! Complete all-thumbs moment.

— Adam Christianson (@adamarchitects) January 19, 2024

Speaking at a gig in Paris yesterday the band’s frontman, Sam Carter, said: “nobody on this stage judges anybody for their gender, their race, and whoever they are in love with. We never have, we never will”. Although the video does not explicitly mention Christianson’s online activity, many online have drawn a connection between the two events.

Sam Carter has spoken on stage about Architects views in lieu of a recent post shared by guitarist Adam Christianson. “No one on this stage judges anyone for their gender…” @therottendoll_pic.twitter.com/5B1xcD7P1Z — State of the Scene (@SOTSPodcast) January 24, 2024

After announcing a US tour, starting in May of this year, Architects are currently on their European tour that will run until February.