SPRINTS - All that is over

Album Spotlight 2025 New Music 2025

SPRINTS – All that is over

The singles didn’t immediately click. Heard in isolation, they felt like a step away from the raw anger of “Letter to Self”, and that was confusing at first. Where was the band that grabbed you by the throat? But hearing them in the album’s full context changes everything. These songs aren’t meant to stand alone—they’re part of a larger arc that builds and releases tension across eleven tracks. What seemed subdued or unfocused as singles reveals itself as intentional pacing when you hear the whole thing.

Dublin’s Sprints return barely a year after their debut with a second album that finds the band leaning harder into atmosphere and noise. “All That Is Over” was written during a period of upheaval—guitarist Colm O’Reilly left the band, frontwoman Karla Chubb ended a long-term relationship, and the world kept being the world. New guitarist Zac Stephenson’s arrival opened up new sonic possibilities, and the band took advantage of them.

“Abandon” and “To The Bone” set an unexpectedly moody tone. Where you might expect the band to come out swinging, they build tension instead. “To The Bone” begins with acoustic guitar and spoken-word elements before the distorted guitars finally emerge. Chubb’s vocals move from whispers to full-throated screams as the song builds, creating an oppressive atmosphere that feels deliberate rather than accidental.

The album doesn’t stay quiet. “Descartes” brings the familiar Sprints sound—fuzzy guitars, driving rhythm section, Chubb spitting lyrics about vanity and culture. She quotes Rachel Cusk and questions how to heal in a burning world, offering art and love as partial answers. “Need” pushes the tempo higher with surf-punk energy and a blunt message about the need for space. “Beg” mixes goth melodies with stoner-rock riffs in an odd but compelling combination that keeps moving forward despite its contradictions.

“Rage” stands out with a groovy, hypnotic feel that recalls The Black Angels. Stephenson delivers a flashy solo, and the whole thing has a ’70s pulp fiction vibe that works as a breather before things get messier. “Something’s Gonna Happen” rebuilds tension, with Chubb singing about fighting against time and waiting for change. “Pieces” explodes into frantic noise-rock, guitars flying everywhere while Chubb screams for help over the mayhem.

The back half shifts gears. “Better” features a clever rewind effect on the guitars and brings in bassist Sam McCann for a duet, offering something closer to stadium rock with hopeful melodies. “Coming Alive” drives forward with declarations of survival and empowerment. Album closer “Desire” introduces Western guitar and tango rhythms, building slowly over six minutes before collapsing into passionate disorder. It’s fragile and demanding at once, showing a side of Sprints that wasn’t visible on the debut.

Production-wise, the album benefits from the band’s willingness to experiment. The fuzzy, industrial guitar tones dominate, but there’s room for synths, effects, and dynamic shifts that give the album texture. Chubb’s vocals remain the anchor—she can whisper, sing, recite, and scream, often within the same song, and it all feels connected to something tangible rather than performative.

“All That Is Over” works because Sprints don’t just repeat their debut formula. They’re still a post-punk band, still loud and aggressive when they want to be, but they’re not afraid to slow down or try different approaches. The album reflects a band dealing with internal and external turmoil while touring constantly, and that restless energy comes through.
I’ll catch them in Wiesbaden in 2026 because SPRINT make music that needs to be experienced in a crowded room.

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