THE HARA are pushing boundaries, genre-bending with no fear, sticking to their integral sound and authenticity on this album, and it’s certainly paid off for them.
Words by Tanita Hingerty | Jan 21, 2026
The Hara are back with their brand new album “The Fallout”, set for release on the 23rd of January with Mascot Records.
This offering from them is their most raw and authentic yet. THE HARA didn’t write this album for the industry; they wrote it for their own self-expression.
The album starts off strong with the song Trophy, which begins with emotively layered echoing vocals that become prominent while leading into frenetic screaming and intense guitar riffs through dynamically melodic synthesised sounds with many layers of depth. Heartfelt singing ensues, while guitar chords sharpen and sound out, leading into choruses that are catchy yet deeply poetic. Sounds fluctuate, as the music leads listeners into graduated vocals which become isolated while sounding haunting and ever meaningful, with beautiful opposing sounds throughout.
Easier To Die was recently released alongside a music video; it’s raw, edgy and authentic; guitar riffs draw you in, faded siren sounds can be heard while the drumming intensifies. Lyrics are delivered expressively and are relatable. Intensified screaming gives new sounds to the song and is delivered with integrity, while interesting scales and chords can be heard played out unapologetically. Riffs become high-pitched and fluctuate from drawn out to staccato…
Leading us into ominous-sounding chords being played for the next song, Monsters and Demons. Creepy lyrics are cleverly themed while electronic sounds and backing voice-overs lead to abruptly delivered vocals which emphasise all layers of the melody, opposing but creating a layered, unique overall sound. Emotive and inspirational lyrics are given consistently. They become repetitive and accentuated while leading us out into…
Twist The Arrows, which starts off with static and piano chords playing out while deep lyrics are sung beautifully, with attention to melodic details and genre-bending abilities. The song stays consistently alluring, with suspenseful sounds leading to breakdowns in synthesised sounds, which are hugely creative, distinct and unique. Drawn-out vocals give emphasis to the emotive lyrics. Intricate guitar riffs are plucked to perfection and elongated while vocals are low and guttural, creating a great harshness of complexities within the song.
Stay starts off mellow with lots of vocal emphasis, while melodically acoustic-sounding instrumentals can be heard. Synthesised vocals become screamy and eccentric, then gravelly yet poised and dedicated to the overall sound. Combinations of instrumentals create underlayers of sound with multiple melodies playing out throughout. The screamiest breakdown is hugely impressive.
The System starts off synthesised, with harsh staccato lyrics, warped sounds, and an intense and steady drum beat, while intricately unique sounds are playing out behind the main melody and become more prominent as the song goes on. It’s clever and contagious. Beautifully sung lyrics draw us into eccentrically played faster melodies, which fluctuate into longer drawn-out chords being played while vocals become more powerful-sounding. The guitar riffs are ever impressive, and breakdowns commence with intensity and thrashing drums. A robotic high-pitched voice-over leads us out into…
Psycho killer, which begins with intensified inhuman sounds and high-pitched vibrato, while warped lyrics are adlibbed by gutturally delivered vocals. Melodic chords and fast-paced rhythms lead us to drawn-out. Isolated singing braces us before we’re back into the chaos of more warped melodies. The song fluctuates effortlessly between paces. We hear evil laughing and voice-overs of lyrical repetition for emphasis for the bridge, right before we’re into manic and unstructured screaming.
Kings starts off heartfelt and melodic, softer sounds and emotive lyrics lead to catchy riff-heavy choruses. Interesting melodies highlight choruses that are delivered with meaning behind them, and while there’s a self-assured certainty behind the lyrics delivered, it is more mellow sounding then the rest of the songs. Clever rhythms become more intricate and complicated towards the end, and then we get the familiar screaming and intensity.
Bury Me begins to play as we hear faded ringing and amp reverb. The lyrics start off soft and are the most heartfelt we’ve heard yet. Choruses are heavily structured in their prominence, sounds become frayed and warped, they intensify and change pace and mood gradually as the song goes on, with lyrics remaining close to the bone, delivered more ferociously and in depth. Isolated vocals sing alongside piano playing, which leads into heavier instrumentals and intense screaming. Unexpected sounds are heard vocally and instrumentally, and sound unhinged- in the best way.
Violence ft. As December Falls starts off with tinkling electronic sounds, it becomes instrumentally intense and heavily complex, with matching vocals. It changes paces throughout with interchanging rhythms delivered, while melodies fluctuate and become uniquely catchy in each section. Bethany Curtis delivers so much attitude within her vocals to the song; she really stands out and makes the song sound incredible. Their blended vocals are strong and emphasise lyrics well, making this an ideal collaboration for the album. Whisper vocals go straight to screams when we least expect them.
Intergalactic Sabotage starts off with clapping, riffs and chanting, which sounds anthem-like. So much attitude is given within this fresh new sound. Double-timed lyrics are delivered alongside insanely catchy chants, intense drum beats lead to warped voices delivering lyrical speeches, while downward sliding guitar scales lead us into more hardcore sounds, drumming intensifies and changes the beat, unexpected vocals come in, and give a sense of freedom and power to the song. Downward chords lead us into…..
The last track on the album- Enemy, which starts with intense staccato vocals delivered, thrashing off-beat chords, opposing on purpose for clever emphasis of lyrical sentences, and becomes manic sounding. Unexpected chaotic musical delivery is given throughout, while scales slide up and down with no warning, in huge fluctuations, experimentally. All intensive, full-throttle instrumentals are sounding consistent in strength, a nice way to finish and remember the album in all of its glorified chaos.
THE HARA are pushing boundaries, genre-bending with no fear, sticking to their integral sound and authenticity on this album, and it’s certainly paid off for them.
The Fallout is set for release on the 23rd of January via Mascot Records.
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