Sinker EP Launch at Dubrek Studios: A Packed Night of Skramz and Shared Chaos

There were people moshing before Sinker had even started their first song. Noise filled the room, anticipation tipped into movement, and the space between band and audience had already disappeared. For an EP launch, you could hardly ask for a better welcome.

Presented by OneCab at Dubrek Studios in Derby on Saturday 29 August 2026, Sinker’s launch party for Kill Them All And Come Back Alone drew a packed crowd. With Misting, Featherfall and Manic State appearing in that order before the headliners, the whole bill delivered a night of punk urgency, post-hardcore intensity and properly heavy moments.

The turnout was excellent. So was the sense that everyone involved wanted every band to have a good night.

Misting: Atmospheric Openings and Punk Explosions

Misting opened proceedings with a set that moved between hardcore punk bite and more spacious, emo-driven passages. They knew when to let a song breathe — and when to bring the weight crashing down.

Latest single ‘Elder Flower’ began gently, its chilled opening developing into a heavy crescendo. The slower pace gave that build room to work, making the eventual release feel earned.

Between songs, their bassist encouraged people to buy merch, adding that anyone who did not fancy Misting’s should pick something up from another band because everyone on the bill was sick. It was a small moment, but it captured the spirit of the evening: support the whole line-up.

‘Chemicals’ brought one of the set’s most interesting touches. An old telephone was used for the opening vocals, creating a distant, filtered sound before the song built towards heaviness. It was an effective piece of performance, giving the introduction a distinctive character.

Then came ‘Lydia’. A brief atmospheric opening gave way to a fast, punky little fucker of a track, and the mosh pit erupted. Misting had given the night both texture and its first proper burst of chaos.

Featherfall: Immediate Movement and Three Familiar Claps

Featherfall pushed the energy straight back up. Their mix of hardcore force and pop-punk immediacy had mosh pits going from the start, with little opportunity for the room to settle.

‘Paranormal’ featured in a set that also made room for some considerably darker weight. ‘Knife’ verged on sludgy doom metal, bringing a thick, dragging heaviness into the proceedings.

Their cover of Enter Shikari’s ‘Sorry You’re Not a Winner’ prompted the inevitable crowd participation: three claps, right on cue. It was a familiar moment delivered to an audience more than happy to join in.

Newest song ‘Remedy’ also made an appearance, giving Featherfall’s own material a place alongside that crowd-pleasing cover. Their set kept the floor moving and the evening’s momentum firmly intact.

Manic State: Loud, Busy and Fiercely Charged

Manic State followed with a post-hardcore and skramz sound carrying a punk-metal edge. Vocals from the singing guitarist and a second vocalist brought contrasting textures, with an expressive emo quality cutting through the heavier passages.

There was a touch of nu metal in the mix too, adding another dimension to a performance with plenty happening on stage.

And they were fucking loud.

That volume suited the restless nature of the set. With competing vocal textures and a forceful instrumental attack, Manic State kept the room charged ahead of Sinker’s arrival.

Sinker: An EP Launch Played Inside the Crowd

By the time Sinker took over, Dubrek was ready. This was their launch party, and the crowd had turned out to celebrate Kill Them All And Come Back Alone with them.

Nate spent the set off the stage and among the audience, right in with the mosh-pit crew. The movement began before the first track, while there was still only noise and raw energy. When the band exploded into ‘Track 7’, that anticipation became a full-room reaction.

Fast punk drums, emo riffs and Nate’s screams drove the opener, with Alex’s singing on the choruses adding a melodic counterpoint. The crowd went nuts immediately. Sinker had barely begun, and already the set felt completely shared.

After a few thank-yous, they moved into ‘Albany Cranks’. Its slower, more ambient opening left space for Nate’s screams, joined by Sam from Porcelain Girls, before the guitars and drums properly kicked in.

The quieter moments let those vocals ring through the venue. Changing drum patterns kept the song shifting underneath them, before the guitars became a wall of sound. Brief and volatile, it ended in an explosion.

‘Wicked Girl’ remains my personal favourite Sinker track, and this performance reinforced exactly why. Its distorted, finger-picked opening brought to mind the darker corners of nu metal — something about it takes me back to Coal Chamber — before the song kicked into a full emo assault.

Dark, crunchy guitars sat beneath melodic singing and fierce screams. The dual vocals complemented each other beautifully, giving the song both contrast and emotional force. There were low, dirty passages, then bursts of power and guttural intensity.

Its steadier pace did nothing to soften the impact. Headbanging, shoving and moshing continued throughout. Loud, unapologetic and full of feeling, ‘Wicked Girl’ punched hard.

Following shout-outs to the other bands, Sinker introduced ‘Bloodloss’, a new track outside the EP. A soft, slow opening built gradually, with restrained emotional vocals developing into guttural screams, heavy guitars and crashing drums.

Then came their first single, ‘Winter Ends (Spring Comes)’. Light, melancholy guitars and Alex’s spoken-word introduction offered a moment of relative calm before the band launched into a full skramz assault.

Super-fast drums, heavy-as-fuck bass and guitars, and Nate delivering the opening screams mid-air sent another burst of energy through the room. The crowd jumped straight in. Even as the track became more melodic, it stayed hard and heavy, with two-stepping, moshing and shoving carrying it forward. An absolute banger.

Another new song, ‘Catalyst’, brought hard, crunchy weight and emotional screams, with melodic guitar riffs cutting across the heaviness. Alongside ‘Bloodloss’, it gave the launch set a glimpse beyond the release being celebrated.

‘Robert Spankton’ closed the EP showcase. Tino’s catchy opening guitar lick erupted into an emo wall of sound, while Nate screamed into the crowd and the crowd screamed with him. He was thoroughly inside the pit by this point, caught up in the same movement as everyone around him.

Power, volume and energy: all three were still there in abundance.

A Title Fight Finale to Bring Everyone Together

The calls for one more song were answered with a final change of roles. Tino put down the guitar and took the microphone, while Nate entered the crowd and was lifted above it.

Rin began strumming, Lorcan and Alex joined in, and Sinker launched into Title Fight’s ‘Head in the Ceiling Fan’.

What followed was a mass singalong: slow two-stepping, headbanging, Alex screaming, Nate moshing and then Tino screaming too. The night ended in a huge, chaotic chorus, with band and audience carrying the song together.

Sinker’s EP launch at Dubrek Studios had the turnout, the songs and the response to make it feel like a proper occasion. Misting, Featherfall and Manic State each contributed something distinct, while the headliners turned their release celebration into an intensely physical, communal experience.

The image that stays with me is Nate in the crowd, surrounded by people moving and screaming along. For all the heaviness on stage, it was that connection which made the night hit hardest.

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