SPRINTS: All That Is Over [Album Review]

SPRINTS
All That Is Over
City Slang/Sub Pop Records [2025]

“A gripping second act that trades raw urgency for mood and muscle without losing the fire.”

Album Overview: Formed in Dublin, SPRINTS quickly grew from local gigs to one of Ireland’s most talked-about rock outfits. Singer/guitarist Karla Chubb, bassist Sam McCann, and drummer Jack Callan first made noise with the raw power of Letter To Self (2024). After relentless touring across Europe and the U.S., guitarist Colm O’Reilly bowed out and Zac Stephenson stepped in, locking in the current lineup. The road-hardened band funneled a year of chaos—personal breakups, a major lineup change, and a planet teetering on climate and political crises—into their bolder second album, All That Is Over. Recorded with producer Daniel Fox at La Frette outside Paris, it’s the sound of a group that’s grown tougher and more nuanced without losing their bite.

Musical Style: All That Is Over balances jagged punk fire with a widescreen sense of atmosphere. You’ll catch flashes of shoegaze haze, a touch of “cowboy-gothic” twang, and even a hint of psych-rock swagger. Fierce guitar interplay and pounding rhythms back Chubb’s voice as it moves from tense shouts to reflective murmurs, creating a sound that’s both confrontational and richly layered.

Evolution of Sound: Compared to the debut, SPRINTS stretch their boundaries. Stephenson’s guitar work adds fresh color, while the rhythm section stays tight and muscular. The band leans into moodier passages, builds cinematic climaxes, and isn’t afraid of the occasional curveball. It’s not just louder riffs—it’s a bigger, bolder range.

Artists with Similar Fire: If you thrive on the tension-and-release of Savages, Gilla Band, Idles, early Yeah Yeah Yeahs, or the ragged punk snarl of Amyl and the Sniffers, this record will hit the spot. Listeners drawn to the emotional punch of Porridge Radio, the grit and muscular guitar attack of L7, and the bracing intensity of Sleater-Kinney will feel this record all the way through.

Pivotal Tracks: “Descartes” flips the philosopher’s famous phrase into a rallying cry for expression and understanding. “Abandon” opens with a slow, searing build that sets the record’s tone of dislocation and resilience. “Beg” is pure punk adrenaline, while “Rage” rides a shadowy, western-tinged groove. The see-sawing guitar riff in “Pieces” is instantly memorable, and “Better,” with Sam and Karla sharing vocals, swells into a cathartic shoegaze finale. Closer “Desire” merges Radiohead-like dynamics with a windswept, cinematic finish.

Lyrical Strength: Chubb captures both inner turmoil and the fractures of a world in flux. Her words balance personal heartbreak with global unease, questioning vanity and ego while confronting public scrutiny. These lyrics land like personal testimony and social reflection at once, giving All That Is Over a sting that lingers past the final chord.

Final Groove: All That Is Over doesn’t reinvent any new listens here, but it does prove SPRINTS are sharpening their edge and widening their scope. The album trades a bit of the debut’s raw immediacy for moodier textures and a more cinematic punch—an evolution that suits them. The album is a solid next chapter that shows a band willing to stretch without losing their fire. If this is how they handle chaos, their next move should be even more exciting.

SPRINTS REVIEW HISTORY
Letter To Self (2024)

SPRINTS LINKS
Website | Instagram | Bandcamp | City Slang | Sub Pop Records