THE WARNING – Everything’s Falling (Album Review)

Release date:August 28, 2026

Label: Republic Records

The Riff Doctor’s Score:

RRRR

Everything’s falling? Not quite, The Warning seem incapable of doing anything other than rising.

It is sometimes easy to forget just how young Daniela “Dany”, Paulina “Pau” and Alejandra “Ale” Villarreal still are. Perhaps that is because the three sisters from Monterrey have already accumulated the sort of career most bands would happily call a lifetime: hundreds of millions of streams, enormous shows, tours across the globe and stages shared with some of the biggest names in rock.

And yet, somehow, they still feel like a band whose ceiling is nowhere in sight.

Their fifth studio album, Everything’s Falling, arrives on August 28 via LAVA/Republic Records, following the huge momentum generated by 2024’s Keep Me Fed. Twelve songs later, the overriding impression is that The Warning have not tried to recreate that record. Instead, they have taken everything that made it work — enormous choruses, muscular riffs and an instinctive understanding of melody — and allowed themselves considerably more room to move.

There is also something wonderfully old-school about the basic mechanics of The Warning. They are a power trio, a format deeply embedded in rock’s DNA and one that feels increasingly rare in modern music. Guitar. Bass. Drums. That’s it.

There is nowhere to hide in a three-piece. Every instrument matters, every gap matters and every musician has to carry their share of the weight. Dany’s guitar, Ale’s bass and Pau’s drums do exactly that here, frequently making three people sound considerably bigger than bands with twice the personnel.

Enter the Ritual

Everything’s Falling begins with one of the three songs we already knew, and “Ritual” is an excellent doorway into the record.

There is an almost industrial pulse underneath it, but what makes the song particularly effective is the contrast between Dany’s clean, beautifully controlled vocal delivery and the weight surrounding her. At times she almost approaches the phrasing like a pop singer — and that is absolutely meant as a compliment — before the chorus arrives and the entire thing bursts open.

It is commercial without being lightweight, melodic without sacrificing its teeth.

https://youtu.be/juwlhYHWHTM?is=DSHN8c5h26Mw7pd-

Lyrically, “Ritual” deals with a surprisingly familiar form of anxiety: that strange inability to enjoy something good because part of your brain is already waiting for it to disappear. The band themselves have described it as being trapped by the expectation that disaster must surely be around the corner. Perhaps Everything’s Falling was always an appropriate title for the album.

“Perfect Daughter” immediately begins digging further into identity and expectation. Opening with the question of whether she was preferable at sixteen, the song carries the uncomfortable weight of growing up while other people retain an image of who they think you should be. Musically, there is plenty of fuzz and grit underneath some wonderfully melodic vocals, another example of the balance The Warning have become exceptionally good at finding.

Then comes the title track.

“Everything’s Falling” pulls back the pace and lets vulnerability occupy more space. The guitars remain huge when required, as do Pau’s drums, but this feels like one of the emotional centres of the record rather than simply another opportunity to hit hard.

And this is where the title begins to make considerably more sense.

Dany has spoken about those moments when you feel lost or as though everything is collapsing, and the subsequent journey back upwards — discovering along the way whether everything is genuinely falling apart or perhaps simply falling into place.

Three Musicians, Plenty of Noise

The middle section is where Everything’s Falling becomes particularly restless.

“Why Do You Like It When I Cry?” brings a dirtier groove into proceedings, while “Bite My Tongue” toys with rhythm and vocal delivery in ways that push The Warning slightly outside their most familiar territory. The latter has an almost hip-hop-like bounce in places before those drums come crashing through again.

“Kill Or Be Killed” even finds room for a cowbell — and rock music has rarely been made worse by the strategic deployment of a cowbell. The song has swagger, grit and one of those rhythms that seems designed to make heads start moving before their owners have consciously agreed to participate.

Then The Warning switch languages.

“Ego” is the album’s only song performed in Spanish, and there is something particularly satisfying about hearing the three Mexican sisters tearing into a song in their native tongue.

It isn't necessarily my favourite moment on Everything’s Falling, but it is unquestionably one of its most distinctive. There is venom behind the delivery and an almost confrontational confidence to the entire thing. “No es mi culpa que siempre gano” — it's not my fault I always win — tells you pretty much everything you need to know about its attitude.

“Bloodsport” continues that confrontation, but it is Ale who deserves particular attention here. Her bass is not merely filling the space beneath the guitar; it drives the song forward. That is another of the pleasures of listening to a genuinely great power trio — the bass guitar gets to be a bass guitar rather than something buried somewhere underneath seventeen guitar tracks.

Later, “Break” provides exactly what its title promises.

The record takes a little air. There is more space around the vocal, less immediate aggression and an emotional fragility that makes the heavier moments surrounding it hit harder. It is one of the album's quieter successes and proof that The Warning don't always need to floor the accelerator to command attention.

“Bruises” and “Waste Your Time On Me” then begin winding the tension back up, the latter delivering another particularly effective collision between pop instinct and crunchy modern rock.

And then somebody finds the matches.

Pour the Kerosene

If there is one song on Everything’s Falling that sounds unmistakably like The Warning having an absolute blast, it is “Kerosene.”

Pau launches it forward with a hyperactive, almost galloping rhythm while Dany locks into a fast, gritty riff carrying just a little of that urgent, slightly futuristic Muse-like energy. Ale then gives the whole thing its swagger underneath. And, naturally, there is another massive chorus waiting around the corner.

But lyrically, “Kerosene” might be even more fun. Someone, somewhere, appears to have been paying rather too much attention to The Warning. Hair. Style. Jeans. Even songwriting enters the equation. The target is never identified, and there is little point trying to invent one, but the copycat message itself is hardly subtle. The song strips away the imitation with a grin before pouring fuel over what remains.

It is confrontational, playful, ridiculously catchy and exactly the kind of song that should become an absolute monster live.

There is something fitting about ending Everything’s Falling here.

The album begins with anxiety about losing what you have, spends much of its running time wrestling with identity, expectation, self-worth and confrontation, and finishes with three sisters sounding completely certain about who they are.

Everything Falls Into Place

Perhaps that is ultimately what makes Everything’s Falling work.

This is recognisably The Warning, but it does not feel like Keep Me Fed: Part II. The riffs are still there. The choruses remain enormous. Pau continues to hit the drums as though they have personally offended her, Ale remains one of the band's great not-so-secret weapons, and Dany has developed into an exceptionally versatile rock vocalist as well as the guitarist responsible for giving these songs their bite.

But there are new textures here too.

Pop melodies sit comfortably alongside dirty guitars. Vulnerability rubs shoulders with arrogance. English gives way to Spanish. Some songs explode immediately while others need a little room before revealing themselves.

And through all of it, three musicians continue to make a frankly unreasonable amount of noise.

The Warning have already moved far beyond being the talented young sisters people discovered playing rock songs on YouTube. They are now one of the most exciting rock bands of their generation, full stop.

If anything, Daniela, Paulina and Alejandra Villarreal sound like three musicians still discovering just how high they can climb.

Jose Crespo for The Riff Collective