Dan Hillier
After capturing the hearts and minds of the subterranean indie-pop scene with their 2017 EP Are You Sure?, Peaness are back to herald the announcement of their new record with their new single ‘How I’m Feeling’. Coming in hot of the hells of previous standalone tracks released throughout the past several years, the single is an irresistibly charming dosage of sugar-coated melancholy that reinforces Peaness’ finesse when it comes to writing brilliantly gritty pop songs full of nuance. Going off this track alone, it’s easy to see why how the band have become the subject of an almost fanatical following recently, and with their debut World Fully Of Worry landing May 6th via the band’s own Totally Snick Records, it’s inevitable the fanbase ranks will be swelling dramatically this year. – Dan Hillier
Many thought it might never see the light of day, but after 12 long years, Ibaraki – the black metal side project of Trivium’s Matt Heafy – has been unveiled. After years of teasing fans, hinting at it being something he’s always wanted to do and the most concrete hint that something was happening of all when it was announced he’d been working with Emperor mastermind Ihsahn, who has stepped into a brand new role not only of friend, but collaborator and producer. Heafy has now launched the first single ‘Tamashii No Houkai’ in a flurry of blastbeats and… Super Mario chimes? Despite the incongruousness of them, they’re still folded in masterfully to the swirling maelstrom of melodic black metal he conjures forth. Heafy’s passion for gaming is well-known, and here he takes it a step further, finding a way to incorporate all of his influences and hobbies into one excoriating blast of black metal. Both named after a demon of Japanese folklore and drawing inspiration from these myths, Ibaraki is, according to Heafy, “everything from the past, present, and future of what I thought black metal was, is, and could be.” – Will Marshall
The first original material from the grinding hardcore trio in almost five years, ‘Wraiths Of Memory’ simply shows that the passing of time has not dulled Helpless’ sense of nihilism in the slightest. The first single to be taken from the South West group’s forthcoming second record Caged In Gold – released March 25th via Church Road – this is stands as the re-establishment of the ill-natured vitriol and unrhythmic ultraviolence that was initially ratified with their 2017 LP debut Debt, a record that thrusted the band into the eye of the UK grindcore scene. Those who experienced that record will surely know what blackened pursuits await, but for those new, this is a two and a half minute misanthropic ravaging that will play into the interests of anyone who enjoys the darkly furled stylings of acts such as Full Of Hell, Cult Leader and Knoll. – Dan Hillier
With the announcement of a new record comes ‘Robot Writes A Love Song’, a ballad with that signature PUP twist in the form of it being upbeat and singable yet with undertones of melancholy that they do so well. The emo-punk mix that PUP have managed to fine tune sets them apart as one Canada’s most standout bands right now, and their new album The Unraveling Of Puptheband set to be their boldest and best yet. The awkward conviction of the robot themed lyricism, how it strikes a chord by feeling familiar in its emotional output yet strange in its subject matter, this is a band who don’t need to follow in the footsteps of any that came before them, they’re walking their own path, unafraid and unashamed to wear their hearts on their sleeve and walk the line between relatability and obscurity. – Elliot Grimmie
Graphic Nature roared out of the Kent music scene, their blend of self-titled era Slipknot aggression, nu-metal stomp and electronics instantly marking them out as a force to be reckoned with. Though they take their name from a Deftones song, at first glance there’s little that links the bands. Screeching samples lead into breakneck drumming and demented roars during latest single ‘new skin’, taken from the newly-announced EP of the same name. The band describe ‘new skin’ as “learning to break away from the toxicity that’s holding you back. More often than not, the only thing stopping us from achieving what we want is ourselves. And only by shedding the layers of hate and low self esteem that we’ve created can we truly be happy with where we are and where we want to be.” – Will Marshall
It seems to have been an age since Zeal & Ardor’s self titled third album was announced, but the wait is finally drawing to a close. To commemorate just a few short weeks until its release, the band, led by Swiss-American visionary Manuel Gagneux, have unveiled the final single, ‘Church Burns’. It’s a strong statement, with Gagneux quipping “There’s a church. Guess what? It burns. Church Burns”. While doing very little to describe the song itself, fans can rest assured that it’s just as eclectic as Zeal & Ardor have been in the past. Gospel chants, black metal screeches and even country flourishes can all be heard across its snappy three minutes, its bluesy groove well and truly sinking its hooks in. Roll on February 11th. – Will Marshall
Fans of Deaf Havana will know by now that expecting the unexpected is part and parcel with being a fan of the band both in terms of their sound and in hoping that they’ll make it to the next release instead of calling it quits! Well you are in luck as they are well and truly back. After announcing that bassist Lee Wilson and drummer Tom Ogden have now left the group, brothers James and Matthew Veck-Gilodi informed fans they are gearing up for the next chapter of Deaf Havana. This week they announced their brand new single ‘Going Clear’ off their upcoming album. The biggest and most welcomed surprise to a lot of fans may be that sonically it sounds like a hark back to their sound on fourth album All These Countless Nights with more of a guitar led alt-banger rather than in their previous album where they had opted for an electronic, sleeker and more polished pop-centric sound. The raw fuzz on ‘Going Clear’ accompanies an emotionally charged James Veck-Gilodi doing what he does best with his usual vocal delivery that will hit you right in the feels. If this is a sign of the sound on the album then strap in because it’s going to be brilliant. Deaf Havana’s sixth album The Present Is A Foreign Land will be released on the 15th July. – Jac Holloway
Greek progressive/post-metal collective Playgrounded have released the title track from their upcoming new album The Death of Death, due March 18 via Pelagic Records, along with a visually striking black and white video to accompany it. The band are no strangers to boldness or experimentation; folding electronic elements you’d expect to hear more in trance or techno music into heavy, progressive music is something that many attempt but few make work, let alone master. Playgrounded have far too much of a musical pedigree to fail; multiple members have graduated from Conservatoires and work in composition, production or even the creation of musical instruments to have anything other than a deep insight into how to marry these elements together. Bringing the heaviness and progressive sensibilities of The Ocean, along with glitching, stuttering electronica together, along with delicate, fluid drumming and understated, melodious vocals, ‘The Death of Death’ is a masterclass in composition and challenged the definition of heavy music as solely downtuned guitars. – Will Marshall
Over the past few records, California’s Mom Jeans have become known for inter-splicing a single sweet, life affirming acoustic track into their typically snotty and brash alt-emo albums. Well, ‘Graduating Life’ is that track from their forthcoming new release Sweet Tooth. Amidst what is set to be an audacious record full of fuzzed out bounce, ‘Graduating Life’ stands as a sweetly disarming lull, one that urgently implores one to step a foot on the accelerator and to spend the little time we have in the arms we love and cherish. If anything, it’s a beautiful, almost tear jerking request for life to stop ceaselessly spinning and a track that kick starts a spiral of nostalgia where one desperately longs for the days when life wasn’t just so chaotic. This is only reinforced by the respective video, which is complied of both childhood memories, clips from their most recent sold-out tour and subconscious longing for the gilded halcyon days of youth. – Dan Hillier
Australian oddworld collective Ocean Grove are flexing their wide range of influences and by proxy their own musical versatility with Oasis style ballad ‘Silver Lining’. No strangers to honing in on a deeper connection to their emotions, the ‘Grove’s second single from upcoming album Up In The Air Forever seeks to further develop their repertoire of noise to new territories, from muddy post-grunge riffs on the previous release to gentle melody and harmonies here on ‘Silver Lining’. At this point your guess is as good as ours with what kind of style they’re going to tackle next, but what’s certain is that Ocean Grove could never be accused of treading the same ground over and over, they’re unafraid to experiment, to wear their influences on their sleeve and to strive towards fresh perspectives and new takes on otherwise throwback sounds from the 90’s and 00’s, Ocean Grove are making nostalgia feel fresh again. – Elliot Grimmie
Scottish folk-rockers Fatherson are back with another track to put you through the emotional wringer, ‘Dive’ doesn’t break new ground for the band so much as it plays to their well established strengths, the gentle strumming of guitar, the steady pulse of the bass, and Ross Leighton’s trance inducing vocals. A strong chorus, emotive lyrics, all the right elements are here to make this a live set staple for the band for many years to come, and with upcoming record Normal Fears release date fast approaching there’s no time like the present to release one of the strongest preluding singles from the album. ‘Dive’ is Fatherson doing what they do best, striking deep and direct to the heartstrings, and that’s exactly how they’ve found a place so deep in the hearts of their fans – Elliot Grimmie
Extreme metallers Implore recently announced their signing to Church Road Records (who by now surely need no introduction), and to celebrate, revealed the first glimpse of new music from them in the form of new single ‘The Burden of Existence’. Melding elements of punk, death metal and hardcore, it’s an intense blend of styles that careens from skull-rattling breakdowns to full-throttle blastbeats, all capped with vicious roars and freneticism. Of the new song, the band said “The Burden of Existence is the agonising tale of enduring life, with its different stages and consequences. At times the beauty of nature is enough to justify the principle of universal finality.” – Will Marshall
LA pop rock newcomers In The Mourning have been making waves since their debut EP At What Cost was released into the world last year. Now, latest single ‘If he wanted to, he would.’ examines one-sided relationships with characteristic bluntness and candour. Vocalist and creative driving force Amanda Tran takes emo lyricism and 2000s pop rock, updating and refreshing it for 2022. Bouncy guitars and shout-along choruses take the DNA of Avril Lavigne’s debut album but it’s never derivative. A short-but-sweet guitar solo before a final chorus plays out caps off the runtime and while short, ‘If he wanted to, he would.’ packs plenty of character and earworm hooks in. It’s a breezy, upbeat examination of timeless woes, and one that shows why bands like In The Mourning are at the forefront of the current wave of pop punk and pop rock revivalism. – Will Marshall
Bad Omens have dropped yet another single from their upcoming album The Death Of Peace Of Mind. ‘Like A Villain’ is the fourth taster for what the band will be releasing next month and is a little softer than what we have heard so far but no less an anthem. The band have always managed to pack a punch alongside impressive vocal melodies and arena rocking choruses. ‘Like A Villain’ feels slightly more subdued for the most part with the focus on its build up to the bridge and crescendo into a devilish riff laden breakdown before the final chorus. The song offers some respite from the general tenacity and ferocity of other songs whilst also showcasing the amazing vocal talent of Noah Sebastian. Sonically immense and a brooding monstrosity balanced with beautiful melody, fans and listeners alike will lap this up. The Death Of Peace Of Mind is out on the 25th February on Sumerian Records. – Jac Halloway