Dan Hillier
Inarguably one of the best bands to be found inhabiting the vale of all things gazingly metallic, Holy Fawn have once again returned from the shadows of the woods with their crushing new track ‘Dimensional Bleed’. The title track of their forthcoming second record – released September 9th via Wax Bodega – ‘Dimensional Bleed’ see’s the band distilling their vital components of savage beauty and ethereal rage into a sub-three minute blast of concussive force that still bares witness to their wide-angled approach to gorgeous post-rock fatalism. “‘Dimensional Bleed’ vaguely refers to a concept of multiple dimensions and timelines that could exist simultaneously,” states guitarist Evan Phelps. “A lot of different media has alluded to this ideology, and I find the possibility of multiple dimensions intersecting and bleeding into others to be fascinating.”- Dan Hillier
No Devotion return with their first new music release since their 2015 debut record Permanence. A dark, brooding atmosphere surrounds ‘Starlings’, our first taste of the bands upcoming album No Oblivion, and it’s clear that despite the band taking some time away, their knack for remarkably produced melancholic melody remains as polished as before. From the solemn tones of the synths to the humming resonation of the guitarwork, No Devotion are on the right path to release a record just as beautiful and tasteful as their first. – Elliot Grimmie
With less than three weeks until the full extent of their blazing trail through an era marked by the detachment from toxicity; the Mancurian Alternative Punks Hot Milk, settle a score that’s spent several years in the making with their latest “heartbreak anthem” ‘I Fell in Love With Someone I Shouldn’t Have’. Initially written when co-lead vocalist Han Mee was only 16 years old; this latest passion project sees the entire band ramp up it’s caustic charm into overdrive, with an immersive soundscape teetering on the borders between vitriolic vengefulness and uplifted brokenness. Such prickly potency residing within this track, seems to stick as a staple quality that radiates across all previous singles released in connection to their upcoming EP – The King and Queen of Gasoline; which is not only inspiring a considerable amount of esteem, but also shaping up to be one of their most impressive releases to date. – Bennie Osborne
A classic tale of young love lost and re-discovering yourself against the backdrop of deliberating heartbreak, ‘Memories’ is yet another blinder from Bristol’s premium emo-punk export Trashed. The third single to be taken from their debut record Happy In Hindsight, the track is both the gilded sound of the genre redeveloped for the modern age and a testament to how this young band have already become a staple of the South West scene. Here, gurt down-tuned riffs reminiscent of acts such as Milk Teeth and Basement provide a foundation for massive snaring melodies easily on par with the pioneering juggernauts of the sound that Trashed so easily perfect. Much akin to the other singles to be taken from their upcoming record, ‘Memories’ is a heartbreak anthem that will be stuck with you long after the scars of heartbreak have healed. – Dan Hillier
Hardcore mob KEN Mode occupy a similar niche; theirs is the sound of barely holding it together, and in latest single ‘But They Respect My Tactics; that’s more present than ever. Amidst its grinding, battering assault there’s moments of dissonance and noise rock flourishes that only further underscore the feeling of being on the edge, able to tip into chaos at a moment’s notice. Taken from their upcoming album NULL, the band describe the album as a whole as “a direct psychological reaction to the collective experience of the last two and a half years… a documentation of trying to not fall apart,” and also is their first to feature collaborator Kathryn Kerr as a full-fledged member of the band, contributing saxophones, synths, backing vocals and more. Nothing sums up the band’s energy and direction better than refrain of their last single ‘A Love Letter’, “Something is broken, something is fucked”. – Will Marshall
Everyone’s familiar with the classic folk song ‘House of the Rising Sun’. Since it came out of Appalachia sometime in the 1930s – and likely has roots far further back – it’s been covered by so many artists, from Dolly Parton to The Animals, all trying to put their own spin on it. Now it’s Oceans Of Slumber‘s turn, as the new single taken from upcoming album Starlight and Ash. Jettisoning the heavier side of their sound, instead Cammie Gilbert’s stunning voice is accompanied by strings and piano to create a haunting, gothic atmosphere. It’s an arresting cover and one that fits into their evolving sound with ease, darker themes and more soulful delivery. – Will Marshall
Continuing their seemingly effortless balancing act of Hardcore hysteria and Elysian enchanting tones; the Alabaman Progressive Metalcore connoisseurs ERRA, paste our collective minds with a tale of ongoing destructive tendencies with their latest passion project ‘Pull From The Ghost’. Stemming from deep seated fears and socially-conditioned hinderances, informed by past relations’ eagerness to dwell in toxicity; Pull From The Ghost is the epitome of chaotic energy, with a story arch demonstrating a captor/captive dynamic pressing for a stockholm-ish hold over the psyche, which we’re all well aware only produces the unhealthiest kind of relationship dynamics. Being the first single since the re-issue of their 5th self-titled studio album release earlier this year, the promise of ERRA’s prowess over the most brutal and unnerving elements, especially within this latest release is to be a much yearned audible excursion for any and all metalcore fanatics. – Bennie Osborne
Delving into extremely connective themes surrounding the struggle to maintain command over one’s life, while striving to pull themselves up by their bootstraps; the Blackpudlian Emo/Punk Rockers Boston Manor serve up their much yearned blend of Alternative and Post-Hardcore mastery with some sonically startling sensibilities of ‘Passenger’. Tipped as one of the bands most vulnerable releases due to its more stripped back and honest nature, especially when performed live; Passenger’s primary function seems to lie in its ability to facilitate a cathartic experience, which delves into the transference and projection of emotional vulnerability. Knowing that Passenger along with its predecessor ‘Foxglove’, have been officially named as the kick off singles for BM’s upcoming Extended Play Datura, which is scheduled for release in mid-October; we can’t help but keep spirits high as the current promise of these singles have left us needing to count the days till it’s eventual release. – Bennie Osborne
Heavy alt rockers Aniimalia hailing from Somerset, UK recently dropped their brand new single ‘Alien’. The band formed together in 2020 in the middle of the global pandemic yet have managed to achieve an impressive amount. The band won Kerrang’s ‘The Deal’ competition, which has seen them sign to Marshall Records for an EP deal. They also bagged a slot at Download 2022 and have played with some notable acts including the Kris Barras band and Area 11. The single will feature on Aniimalia’s upcoming EP and follows their single ‘Silver Linings’. It’s great to see a band brimming with talent given the platform needed to stretch their creative legs and Aniimalia are clearly not wasting the opportunity. Beautifully melodic vocals combine with ripping riffs and a powerful soundscape that fires off all barrels on ‘Alien’. It’s a high octane banger that dials up the energy and balances the calm and the chaos without seemingly breaking a sweat. – Jac Holloway
Baltimore pop-punk trio Pinkshift have dropped their new single ‘i’m not crying you’re crying’ this week. The band previously released “nothing (in my head)”, a supercharged full throttle anthem. As well as the new single the band have announced their new album ‘Love Me Forever’ which will feature both singles. The album was recorded with Will Yip and promises to deliver on Pinkshift’s fantastic blend of high energy and roaring tunes. ‘i’m not crying you’re crying’ is unfiltered and depicts an almost crazed version of denial. “…it kicks the record off with a panicked denial — an immediately attacking response to the question of “are you okay?” untrusting and doubtful of the intent and sincerity of that question.” says vocalist Ashrita Kumar. Kumar aids this depiction through her use of tone and melody and the song’s sense of urgency compliments this too. Subtle shifts from thrashier sections that use the punk blueprint and the end section that is heavier, where they dial up the riffage, makes for additional flare to the song. It’s a promising start and opens the album with character, ambition and energy that has a sense of raw truthfulness. – Jac Holloway
Melbourne-via-Auckland heavy unit Banks Arcade have released their new single ‘Used’ from their upcoming album ‘Future Lovers’. This will be the band’s debut album and single ‘Used’ ups the ante on the band’s energy and rage. “It’s a million questions about the future, it’s anxiety, it’s an angsty rant, and it screams at you ‘I don’t know if this shit is gonna get better but god I hope it does”. says Vocalist Joshua O’Donnell. “The song dances with the feelings of failure from the perspective of someone who believes they are on the brink of success but can’t stop doubting themselves.” Fusing together elements of hip hop, electronica and metal ‘Used’ is injected with bolshy bass-lines and some roaring riffs. The track is a high octane anthem that takes these feelings of failure disdain and executes them in a visceral and intellectual manner. The song gradually moves to feeling more and more unhinged and this is complimented by screaming vocals that creep into the song towards it’s conclusion. ‘Used’ is a brilliant infusion of styles musically, it’s punky, punchy, heavy and holds brilliant flow vocally. – Jac Holloway
Masked nu-metal outfit Blackgold have cooked up a tasty cover of classic Cypress Hill track ‘I Ain’t Going Out Like That’, even featuring Fever 333‘s Jason Aalon Butler for a bit of extra kick. While the overall structure remains unchanged, the band have breathed a new energy into the track, the titular chorus of “we ain’t going out like that, we ain’t going out like that” hitting harder than ever before due to the one-two punch combo of gang vocals and distorted guitars, transcending the impact of song to Godzilla like proportions. The band have really made their mark on the track, hitting that perfect balance between updating the song whilst remaining true to it’s original appeal. – Elliot Grimmie
Luxrem are a Progressive Metal band hailing from Miami, Florida. The band have released their brand new single ‘Aura’ this week, a song that is as ferocious as it is melodic. The band double down on technicality and pack in the riffs to create encapsulating visual lyrical themes supported by brilliant soundscapes. Luxrem dropped their debut album Dreamwalker in 2020, a record brimming with potential and giving a sense of what to expect from the talented metallers. A single in 2021 called ‘Mobius’ featuring Javier Amador of Vagrant Son and showed the band starting to ease into creative freedom. On new single ‘Aura’ Luxrem balance the chaos and the calm beautifully. Unwavering and soaring vocal melody overlays complex guitar sections that shift from one to the other providing moments of unrelenting heaviness followed by softer ambient ones. Sporadic growls are used in all the right places and the guitar solo that kicks in is a fantastic inclusion. There’s elements of early Architects, Born Of Osiris and The Contortionist present but Luxrem hold their own and have a certain finesse and quality that helps the song to stand strong in an already busy genre. – Jac Holloway
Architects are back with a whole heap of good news, the band’s new album the classic symptoms of a broken spirit has been announced and the second single off said record had also dropped last week. Following the release of previous single ‘When We Were Young’ fans and listeners alike may have been hoping for new music but may not have expected it this quickly. The band have been riding their wave of success following last year’s For Those That Wish To Exist that saw the band hit number one and allowed them to create a special live album and embark on one of the biggest headline tours to date. ‘Tear Gas’ take the successful formula used by the band on the previous album and nails the blend of an arena-ready chorus with a chugging and stomping riff. Sam Carter’s increasingly impressive vocal delivery allows the band to continue to push their own boundaries and are at their most melodic in the chorus without losing their tenacity and ferociousness. With the new album en route expect riffs and some big ass choruses. – Jac Holloway
De’Lour are an alternative rock/metal band from South Wales that fuse together big riffs, rich textures and vocals that are quite frankly out of this world. The band dropped their new single ‘Be Honest’ this week and it’s nothing short of magnificent. The song oozes a certain maturity and songwriting prowess that is wholly impressive with a soaring supercharged singalong chorus balanced with ambient verses that make the full throttle sections all the more impactful. There is a raw emotion that seeps out of the track too and makes for an immersive listening experience. De’Lour’s creative ability is complimented by their vocalist who is able to show diversity and range with a rasp and tone that is able to be as wholesome as it is raw and emotional. ‘Be Honest’ is seemingly a reflection on mistakes and experiences and being open & honest to understand how these influence decisions and future experiences, insinuating that often we find ourselves lacking the ability to be honest with ourselves. – Jac Holloway
Dealing in the kind of indie-punk that will no doubt go down a treat with any fans of Nervus, Brutalligators or any of the bands that make the UK DIY scene so brilliant, the latest single from Muttering is the perfect sonic companion to a summer of discontent. Aptly addressing the societal compliance towards climate change and how we’re governed by self-serving charlatans, ‘Tallest Buildings’ is a sound of grounded pessimism that’s delivered with impeccably tamed melodies, flawless songwriting and genuine human urgency. This is lucid and cerebral indie rock in the tune of the greats such as The Menzingers and The Gaslight Anthem that’s been tailored with the kind of intricacies that can only be found within the DIY underground. It’s earnest, honest – and above all else – authentically genuine. – Dan Hillier
It’s certainly a choice name, Landlords, with the potential to turn people off them before giving them a chance. That’d be a huge shame, because ‘Haunt’ is exactly that; a haunting foray into shoegaze with doomy undertones and a morose, lamenting feel to it. The New Zealand-based outfit are to release their new EP Codeine through tastemakers Church Road Records in August and it’s shaping up to be a stunning, emotionally fraught record. ‘Haunt’ is the sound of walking through an old, dilapidated building, ruminating on past regrets and finding peace in the bleakness. – Will Marshall
If you want your hardcore to sound like the end of the world, look no further than Gather & Mourn, the upcoming split between END and Cult Leader. They’ve released the first two songs from the EP, END‘s ‘Eden Will Drown’ and Cult Leader‘s ‘Ataraxis’, both of which channel nihilism in its purest form through five punishing minutes. Both tracks have Will Putney’s fingerprints all over them in that they’re apocalyptically heavy, while the Cult Leader side of the split boasts a mixing job from none other than Kurt Ballou. END are raw aggression and hatred, while Cult Leader channel a wall of sound that’s bleakly oppressive. The Converge influences are felt throughout, as is a constant feeling that this is the kind of split that’d beat you up for your lunch money just because. Essential listening. – Will Marshall
After releasing one of the best blackgaze EP’s in recent years with their 2018 self-titled release, Cork’s ever-eclectic God Alone are back with a new record, new label and entirely new sound. Taken from their upcoming debut long play ETC which is being released October 21st via their new home of Prosthetic Records, ‘Tsktsktsk see’s the Irish quintet once again reshuffling their sound to offer up a slice of absurdist and experimental math in the vein of acts such as AK/DK, Battles and Scalping. Yes, on the surface it’s entirely removed from the blackened fury of their previous sound, but inherently, it still bares the same crux and ethos of this unique act. ‘Tsktsktsk’ is the strange, idiosyncratic and simply exciting sound of a band who forgo all convention in the exercise of making music that’s odd, bizarre but yet irresistibly danceable. There’s really not any other act like God Alone, and as the band state, that’s the point. “This is exactly the album we have always wanted to make”, state the Irish act. “We chose TskTskTsk as the first single as we thinks it’s most representative of the direction we want to pursue. It’s the most contrasting to our prior releases and we think it’s very banging.” – Dan Hillier
Doing the rounds on and off since 2010, Bristolian groove metallers Cruelty Circuit have two central aims to their mission statement; to write silly riffs and have even a sillier time doing so. They’ve clearly ticked boxes with their latest release ‘Brutality’. The title track of their upcoming EP, the track is a frantically pogoing melee that’s composed of a central riff that verges being absurd, that characteristic groove metal obnoxiousness and that idiosyncratic lilt that seems to permeate experimental acts emerging from the South West. Those with a penchant for the once pioneering eccentricity of acts such as Mudvayne and System Of A Down will no doubt find a lot to love here, but for everywhere else, if you’re in need for a ludicrous bassline or groove metal that refuses to take itself too seriously then ‘Brutality’ is an assault worth experiencing. – Dan Hillier
Welsh legends Junior are back with their brand new single ‘Never Let You Down’, a 70’s/Guitar Hero inspired anthem complete with harmonies, a ludicrous guitar solo, hooks for days and a recurring riff that would make even The Who jealous. It’s the first taste of new music for the band since their incredibly ambitious and successful 2019 album Beautiful Life that boasted hits such as ‘Playing The Part’ and ‘Brick By Brick’ which was featured as the theme for the WWE NXT UK takeover at the time. Junior have built a cult following of local fans and their ambition shows no bounds as they continue in true form on ‘Never Let You Down’. Their Pop Punk roots and overall sound is laced with brilliant guitar inflections that tip their hat 70’s influences. The guitar tone juxtaposes and blends these two elements brilliantly. The song cleverly transitions through sections that build to an all out pop punk anthem particularly in the chorus, but there are also brilliant moments where harmonies soar and dual vocals compliment the overall sound. For those that didn’t see this subtle change to the band’s sound coming, it’s no wonder after they dropped a brilliant covers EP during lockdown featuring covers of the likes of Boston and Thin Lizzy. It’s a welcome and wholesome return and we can only hope for more songs of the sort. – Jac Holloway
The HU have announced their highly anticipated sophomore album ‘Rumble of Thunder’ this week and have dropped their brand new single ‘Black Thunder’. The Mongolian breakthrough band have successfully nailed a sound that blends traditional influences and heavy metal topped with their incredible Mongolian guttural singing that took the rock world by storm back in 2019. ‘Black Thunder’ is atmospheric, punchy and boasts a certain level of grandeur. The song incorporates Mongolian values, telling a powerful story of battle, faith, and death lyrically and visually. The song builds high tension through its opening 1 minute and 30 seconds before hitting full throttle. It’s an incredible feat that even in the moments where it is minimalistic, only featuring the guttural singing and a recurring riff on strings/guitar, that it is wholly captivating. It also makes the pay off when the whole band comes in far better. – Jac Holloway
Modern Metal outfit Venues have returned with their brand new single ‘Reflections’, a song that brings crushing moments of heaviness juxtaposed with incredible soaring melodies. The Post-Hardcore unit hailing from Southern Germany boast an incredible range with the combination of both Male and Female vocals interweaving and playing cat and mouse throughout the track. ‘Reflections’ is the first drop of new music from the band since their incredibly successful previous album ‘Solace’ out last year which was recorded with Christoph Wieczorek of Annisokay. ‘Reflections’ touches on the battle with ones self to find acceptance and surpass the things you feel hold you back, to find understanding and reasoning with yourself and to truly be able to help yourself. It’s a powerful message carried by the dichotomy of vocal technique and talent displayed by the band as well as its ferocious delivery. – Jac Holloway
Rock and Roll ringleaders Massive Wagons are back and have announced their new album Triggered but that’s not all, the band have also dropped their brand new single ‘Fuck The Haters’, a bold middle finger to bullies of all kinds. The band are carrying this message as a call-to-arms and intentionally want to make it clear that people can be who they are and should do so without fear of judgement or abuse. “Simple song, simple message: fuck the haters, fuck ’em all. Do what you want, wear what you want, be who you want to be and be proud about it.” says vocalist Barry ‘Baz’ Mills. ‘Fuck The Haters’ is a no-nonsense arena rocking anthem readymade to soar and roar. Lyrically it’s as on the nose as you could want it to be calling out bullies and celebrating individuality. It’s packaged as an upbeat and light-hearted take on a serious subject complete with a scratchy guitar solo, enough bounce and rhythm to fuel a disco and even a key change. The song will inevitably be an instant hit and one to bring unison and togetherness particularly at their live shows. – Jac Holloway
The latest, and final, single taken from their upcoming EP is this what i look like?, ‘Careless Kind’ is Yours Truly stretching in new directions again, embracing the “pop” side of pop punk far more wholeheartedly. Mikaila Delgado’s vocal melodies lean heavily into it, easily hummable with a bridge and chorus that’ll be stuck in your head for days. Describing the song as being “about wishing you could get rid of your anxieties and doubts and see the world a different way”, it’s as raw and honest lyrically as Yours Truly have ever been. The Aussie pop punkers have used the last two years to cast their songwriting net ever wider, incorporating pop, alt rock and more into their sound and ‘Careless Kind’ is a prime example of this without losing their core identity. – Will Marshall
Having shot to viral fame with her YouTube cover of Spiritbox‘s ‘Holy Roller’, then 9-year old Harper was suddenly cast into the limelight; what followed was her first live appearance on TV for America’s Got Talent and even onstage with Spiritbox themselves for that same song. Now a year on, Harper is releasing her first ever single ‘Falling’. The first foray into new music is always daunting, so to do it at 10 years old is no mean feat – and it’s even more impressive with how accomplished it sounds already. Taking that modern metalcore sound and showing not just improved screams but clean singing too, ‘Falling’ has crunching riffs, soaring vocals and a whole ton of promise. – Will Marshall
Providing us with a second helping of long awaited rumblings for an ongoing and ever shifting project, which has left fans on edge since the first parts release in late October of 2020. The Sheffielder Alternative-Metal titans Bring Me The Horizon, have burst back onto the scene with a reflective ode to the eradication of loneliness while stressing the importance of emotional recovery. Hitting out as the second single from the upcoming second instalment to their Post Human quadripartite extended plays; ‘sTraNgeRs’ feels like an especially poignant outpouring, with its inspiration stemming from Post-COVID anxiety and confusion reaping havoc over our ability to escape the experience of mental incarceration, which brilliantly established a connection between all who pay attention to its PSA to fellow survivors. – Bennie Osborne
A groove laden stomper of a track, Fire From The Gods unleash ‘Soul Revolution’ upon the world, vocalist AJ Channer once again flexing his ability to dance between gritty, angry barks and beautiful, soulful harmony with his voice. Backed by hefty metalcore riffs and ghostly production, ‘Soul Revolution’ marks an obvious evolution of the sound the band have pioneered since the band began, keeping in touch with their reflective, socially charged lyricism whilst still finding time for a big beatdown moment at the end of the song. – Elliot Grimmie
Jazzy, bassline driven, funked up jazz from on of Japan’s premiere upcoming mathy instrumental bands, Ichikoro‘s ‘Joke’ sounds like it was stolen right out of the Persona 5 soundtrack, chopped up into little pieces and stitched back together for a spooky sequel. The musicianship, the way each instrument intertwines with eachother, the way the song slowly escalates, adding in more and more variety in instrumentation and style in what is generally considered a fairly short runtime (just 3 minutes) for an instrumental track make this an essential listen for fans of experimental, mathy noise. – Elliot Grimmie