Dan Hillier
Originally commissioned for the 2020 edition of the renowned Roadburn festival, finally performed at 2022 and now seeing a studio release for all those not lucky enough to witness it in person, Final Light is the union of synthwave artist Perturbator along with post metal extraordinaire Johannes Persson (Cult Of Luna). A fascinating prospect, and one borne out in Final Light‘s lead single, ‘In The Void’. A nine-minute undertaking of epic proportions, it encompasses alien synths, eerie six-string melodies and thundering, all-consuming basslines all capped by Persson‘s iconic anguished bellow. With both artists known for creating atmospheric, often long-form compositions, ‘In The Void’ sees the best of both musicians brought to bear in one fascinating, genre-decimating once-in-a-lifetime piece. – Will Marshall
Recent Church Road signees Graywave have released the title track from their upcoming EP Rebirth. Jess Webberly’s solo project, she fuses dreampop and shoegaze into something that wavers between ethereal and heavier moments with ease. The title track, ‘Rebirth’, is raw and honest lyrically while Webberly’s voice floats between haunting and arresting command. Softer moments still carry weight with crashing drums though it’s still a more subdued affair than previous single ‘Build’, showing a different side to Graywave and their command of different atmosphere and textures. With such texturally rich music, a broad church of influences and the backing of one of the UK’s finest underground labels, Rebirth promises to give Graywave all that and more. – Will Marshall
Sheffield bruisers Malevolence have reigned as kings of the UK underground for some time, but their pairing with Nuclear Blast and their own MLVLTD label for latest album Malicious Intent shows a band on the verge of breaking through. Latest single ‘Still Waters Run Deep’ is the third from their upcoming album and continues the band’s run of form, with beefy, groove-laden guitars vying with authoritative screams and more melodic, but no less aggressive, distorted sludgy vocals. The accompanying video delves into the band’s history; vocalist Alex Taylor explains, “This video is a deep dive into the history of Malevolence. We dug through hours of old archive footage and picked out some highlights from over the years as the song is a tribute to the journey we have set upon together, and the bond it has formed between us.” – Will Marshall
Taken from their forthcoming debut Happy In Hindsight, ‘Decay’ is the latest single from Bristolian pop punkers Trashed. A mashup of the youthfully scrappy grunge of Basement, Gnarwolves and Milk Teeth mixed with the classic killer hooks of early Creeper, Dookie era Green Day and even Busted, the track showcases Trashed’s kinetic home-brewed approach to the genre in a way that’s nostalgic yet fresh. Even with references to both the pioneers and current flag bearers of the genre abundant, ‘Decay’ plays clear evidence to the fact that Trashed clearly know how to home in on the best aspects the pop punk sound to create something that’s ensnaring and potent, even in such a saturated scene. If this is anything to go by, Happy In Hindsight is set to make a massive impact in the pop punk scene upon it’s release later this year. – Dan Hillier
Equal parts sugar and melancholy, ‘Dramatics’ see’s Brighton alt-punk gang All Better strive for self-improvement in a way that’s endearing and dynamic. A classic tale of trying to positively root oneself in a world resembling a hurricane, the single – taken from their new record How To Be Alone, released May 6th via Sugar-Free Records – is a minor scale masterclass in modern pop punk songwriting that’s void of any of the cliches abundant in the modern scene. “’Dramatics’ is about the struggles of seeking to improve your life”, say the band on the track. “t’s one journey to identify the changes you want for yourself, but to actively try and become that change often invites even more struggle. As we observe our own failures and lapse into deeper self-loathing, it can feel futile, but sometimes just understanding that you hate where you are is ultimately the seed that will eventually take root, someday, somehow. The song is for anyone who is in that place now. Stay with yourself.” – Dan Hillier
Coinciding with the announcement of their debut LP Stargazer, Florida’s Moodring animate their namesake with their latest single ‘SYNC.Wav’. A track of contrast that blurs lashings of passionate crimson with abyssal navy, the single summons thoughts of Deftones at their most illusive and Sleep Token at their most alluring. As down-tuned riffs granulate and pulverise, the luscious vocals of Hunter Young sprawl over the grit, cloaking the band’s angular edges whilst simultaneously establishing them. Those with an admiration for acts such as Loathe, Static Dress and the aforementioned Deftones will have plenty to fawn over here, and as their previous singles ‘Constrict’ and ‘Disintegrate’ play evidence to, it’s clear Moodring are set to illustrate a range of musical colourings with the release of Stargazer upon it’s release on June 10th. – Dan Hillier
The second single to be taken from the indie-punk trio’s debut LP Even In Just, ‘Nail Biters’ is simply Cheerbleederz at their best. A full encapsulation of the eleation, energy, misery and rage that fuels their output, the single is a mercurial exploration of anxiety that highlights the shared love that binds this band; even as Cheerbleederz decant their musings on living with a malfunctioning brain damaged through modern living, the collective joy that this band animates is evident. With it’s hooking indie riff, belting breakdown and massive vocal melodies, this is an irresistible track courtesy of a band that forgo all the gimmicks in order to present alternative indie-punk in it’s most vital form. – Dan Hillier
Nobody expected, after ten years and the death of bassist Caleb Scofield, for there to be a new Cave In album; but amidst the chaos of 2020, they found the ingredients for one. Latest single ‘Blood Spiller’ may not sound it with its serpentine leads, sludgy riffs and bellowing vocals but it’s the sound of the band reflecting on pandemics, lockdowns, what was an election year in the US and the murder of George Floyd. The accompanying video features plenty of low-budget green screen effects and the band themselves fighting for their lives against demonic possession and more; apt metaphors, perhaps, for the past couple of years. Opening with a churning, bruising riff it soon gives way to a grungey verse, though the chorus features mammoth roars of “blood spiller” amidst its towering guitars. Heavy Pendulum may not have been expected, but it shows the band haven’t lost any of their fire. – Will Marshall
Fusing downtempo deathcore with slam, Distant have already made a name for themselves, solidifying their place with 2021’s Aeons of Oblivion. Their latest single ‘Cursed’, released through deathcore and slam specialists Unique Leader and as the band say, picks up where Aeons left off. Opening with the kind of chugging, downtempo riff tailor-made to cave in skulls, Alan Grnja’s bowel-rattling gutturals continue the aural battering. There’s juddering electronics that add further to the despairing, desolate atmosphere and ensure that the brutality doesn’t grow stale and instead offers glitching moments of respite. It may not be reinventing the wheel, but you’ll sure feel it when it runs over you. – Will Marshall
Modern alt-rock with a hard edge meets UK pop-punk upstarts in the latest collaboration track between Two Year Break and Royals; a bouncy, guitar laden bop, ‘Double Life’ pulls from the strengths of both bands, managing to balance both artists sounds in synergy, the electronic backing and breakdown’s of Two Year Break carry the upbeat temperament of Royals. There’s elements of Bring Me The Horizon‘s That’s The Spirit era echoing here, particularly towards the finale of the track, where the electronic production behind the song bursts into enveloping, ethereal tones that wrap themselves around the crunchy guitars and vocalist Brad’s harsher notes. The juxtaposition between Luke Smithson and Brad Howard‘s high and low notes fit together like peanut butter and jam (it’s a good combo, don’t argue), and the two bands familiarity with each other, having shared stages and announced an upcoming tour together made the track a natural, inevitable happening that fits beautifully in both of their discographies. – Elliot Grimmie