From the very first blast of opener Glory, Parasites & Butterflies makes it clear that Nova Twins are aiming higher than ever before. Delivered with the kind of galactic ambition you’d expect from Muse, they’ve sculpted a maximalist, futuristic sound that fits stadium rock, nu-metal bravado, and club-destroying bass drops into one.

Georgia South’s bass alone is a universe, wobbling like peak Rusko and threatening to flatten everything in its path. Piranhas slows the tempo into a fuzzed-out grooving monster, while Monsters swells into what could be a Rihanna chorus paired with half-time nu-metal. On Soprano Amy Love channels Missy Elliott with swagger and wit, weaving between ferocious bars and a bizarre lullaby bridge that somehow makes the drop hit harder. Drip unleashes Prodigy-style breakbeats and revving basslines that sound like monster trucks in pure, gleeful chaos, all tied together by Amy’s astonishingly versatile voice.

Operatic on Glory, tender on Hummingbird, venomous on Soprano, Amy Love is able to move between guises without ever losing her centre of gravity. She can sound sweet, gruff, floaty or full-throated, with hooks that stick in your head for days. Parasites & Butterflies is direct and anthemic, played with buckets of talent and no shame in going big, and the highlights just keep on stacking. N.O.V.A. is a chant-driven, walk-out anthem that demands the crowd scream it back, whilst Hummingbird blends dubstep bass with a vocal line that floats like a feather. The record ends as it began, with scale, swagger, and a sense that Nova Twins have created a soundtrack to the most exhilarating party imaginable.

Parasites & Butterflies sounds like a convergence of very specific threads. Nu-metal’s bravado meets dubstep’s pulverizing bass with cosmic ambition. It’s loud, genre-smashing, hooky, and fun, all built for the sheer, physical impact. Nu-metal, dubstep, and cosmic arena rock fused in high-octane maximalism designed for smashing cars off the road at 300mph in some gleefully destructive video game. Every element is cranked to the max with big bass, big drums, big outfits, and oversized stadium choruses.

Georgia South’s bass hardly sounds like a bass at all, twisting it into the chest-rattling shapes of drum & bass. The Skrillex-era drops that once shook clubs and festivals are reborn here as part of a new hybrid language as Amy Love’s voice leaps from rap cadences to operatic hooks and feral screams. Most bands aiming this big usually front-load their records and let the filler creep in, but Nova Twins give you pure adrenaline throughout. It’s breathless, relentless, and wildly entertaining.

The bass mutates from track to track, always hitting unpredictably, whilst the choruses carry the spirit of Linkin Park and Limp Bizkit, but where their predecessors often found a lane and stayed in it, Nova Twins treat every song like a new playground with a sense of freedom that makes the record feel alive. All of this energy would surely collapse under its own weight if it weren’t for the chemistry between the two of them, not just complementing each other, but daring one another to go bigger. Each is fiercely talented in their own right, and together they’re explosive and utterly infectious.