SPRINTS - 'ALL THAT IS OVER'
There’s a lyric that burns through ‘Abandon’, the opening track of SPRINTS’ second album All That Is Over: “I don’t grow old / I grow unrecognisable.” It’s a line that captures both the record’s emotional core and the band’s rapid evolution. Following their acclaimed 2024 debut Letter To Self, Karla Chubb, Sam McCann, Jack Callan and new guitarist Zac Stephenson return sharper, heavier and more self-assured than ever.
“I think we came out of 2024 as completely different people,” says Karla. “There was so much growth—personally and as a band. The first album was driven by self-consciousness. This one isn’t. I don’t care anymore.”
After a breakthrough year of relentless touring, sold-out shows and critical acclaim, SPRINTS were forced to quickly adapt when original guitarist Colm O’Reilly departed. With Zac stepping in just weeks before a packed festival run, the band found unexpected chemistry through what they describe as a “baptism of fire”—an energy that defines All That Is Over.
Written in motion—on tour buses, in soundchecks, and amid personal upheaval—the album reflects a world in chaos. Against a backdrop of global crises and personal change, Karla wrote prolifically, processing everything from heartbreak to political unrest. The result is a record that balances anger, vulnerability and defiance.
First single ‘Descartes’ distills this urgency into a blistering statement on expression and identity, reframing “I think therefore I am” into something more immediate: “I speak so therefore I understand.” Elsewhere, ‘Abandon’ explores displacement and disconnection, while tracks like ‘Rage’ and ‘Desire’ push into new sonic territory, blending psych textures and cinematic intensity.
From the shoegaze swell of ‘Better’ to the visceral punch of ‘To The Bone’, the album expands SPRINTS’ sound while retaining their raw immediacy. Produced again by Daniel Fox, the record captures a band unafraid to experiment, but newly confident in their identity.
At its heart, All That Is Over is about resilience—drowning out external noise and embracing artistic honesty. “People will always have something to say,” Karla reflects. “So you might as well give them something worth talking about.”
Uncompromising and cathartic, All That Is Over marks SPRINTS’ second chapter: louder, bolder, and with nothing left to prove.
