Cloud Nothings – Death Keeps Me Alive

With Cloud Nothings‘ tenth studio album What Kind of Hell Did You Survive? set to release in January next year, the lead single ‘Death Keeps Me Alive’ is a thundering cacophony of despair and nihilism. Priding themselves on crafting a sound influenced by indie, grunge and classic punk, their latest single takes a lot more of a darker tone with lo-fi production, doomy downtuned riffs, and harsh vocals that are more synonymous with post-hardcore or even crust punk. With lyrics described by the band as being from the point of view of an evil power that can’t be defeated, perhaps it’s only a matter of time before we get a black metal album from the trio; only time will tell. – Ez Luscombe

Blank Atlas – Same Mistake

While usually Bristol’s most energetic and riff-heavy alternative rock trio, Blank Atlas tone things down on their latest single ‘Same Mistake’, showing off their more tender side. Swapping out their usual alt-metal inspired riffs and punchy percussion for shoegazey, reverb drenched guitars and stomping rhythms backing their tried and tested multi-part vocal harmonies. Over the years the Blank Atlas boys have more than proven that their unique blend of distorted progressive riffs and boyband choruses work to make them one of the scene’s most interesting acts but ‘Same Mistake’ gives them the opportunity to show off their songwriting ability without some of their flashier tricks. – Rowan Bruce

False Hope For The Savage – Cities

Where many post-rock bands are willing to simply wallow in layers of reverb, letting single notes become waves of atmosphere without putting in too much effort, Cardiff based band False Hope For The Savage manage to approach the genre in a more intelligent and listenable way. On their latest single ‘Cities’, dedicated to Chris James of the band CITIES who contributed to the track, FHFTS build up layers of dense guitar riffs without ever losing their sense of melody or momentum while punchy percussion drives the song forwards into a gloriously cinematic and immersive climax. Remembering that post-rock is supposed to have roots in rock music, False Hope For The Savage elegantly balance intricate, swirling atmosphere with driving instrumental rock songwriting. – Rowan Bruce

One Step Closer – Blue Hour / Was It Ever Enough

As if knowing that their music hits harder as darker skies close in and your mood begins to dip, melodic hardcore crew One Step Closer are back with a double single to lead up to their third album. Zero is due out on 19 February (perfect for that post Valentines day malaise) and looks to continue the Wilkes-Barre band’s rise into one of the best young bands about. The first of the first two tracks dropped is ‘Blue Hour’ and it’s definitely not something to put on if you’re already feeling down. With an almost monotonous beat behind it, there’s an air of hopelessness throughout the whole thing, perhaps best summed up in the “carry me and all my fear” line. ‘Was It Ever Enough’ kicks up the pace and sounds more like their earlier, more aggressive work, like a Tony Hawk’s soundtrack song for people now reliant on SSRIs. A bouncy, chunky track, yet one that still has the air of doom around it, this a band on a hot streak right now and you’d expect their next time in the UK to be right at the top of bills. – Chris Earl

Ando San – March For Me

The combination of hip-hop beats and djent guitars have been at the forefront of instrumental music since bands like Polyphia first realised they could throw a trap beat under some guitar noodling and become superstars. LA based musician Ando San approaches his sound in a totally unique way, incorporating his intensely technical guitar work into aggressive hip-hop tracks like his new single ‘March For Me’ which builds upon a bedrock of both inventive sampling and ferocious metal guitar. While the sheer virtuosity of spitting hard-hitting rap bars while thumping on an eight string guitar stays impressive throughout the track, what’s more impressive is the ability to pull together hip-hop and progressive metal in a way that sounds fresh and catchy rather than forced and cringey. – Rowan Bruce

Piss – Rote Zora. “Resistance Is Possible.” Emma, No. 6, June 1984, pp. 39-41

While not a song title you’re likely to see on a billboard anytime soon, Vancouver noise-punks Piss make an intense impact in the build-up to their debut album You Made Me/Skin On Linen with their latest single ‘Rote Zora. “Resistance Is Possible.” Emma, No. 6, June 1984, pp. 39-41’. The track, which references a radical feminist group from West Germany, presents a three minute manifesto in favour of armed retribution against those who perpetrate violence against women with frontwoman Taylor Zantingh ripping her throat with screams of “resistance is possible!” over a backdrop of feedback-fuelled distorted guitars. With Piss gaining the attention of the wider alternative rock underground, this single cements them as a radical force ready to keep their politics at the forefront even as they begin the climb to the top of the punk ladder. – Rowan Bruce

Reliqa – Serum

Australia’s music scene has been a hotbed of talent for years, and Reliqa are one of its best kept secrets – though with the release of new single ‘Serum’ and announcement of their second album, High Risk Thoughts, that’s hopefully about to change. It follows last year’s ‘Your Touch’ that also features on the album but goes in a variety of totally different directions. Progressive, serpentine riffs entwine through the song, cascading tom fills emphasise the stellar drum work and its vocal work embraces soaring choruses to quick rap flows. There’s an industrial, mechanical edge that’s brand new, only enhancing the lush melodies they excel at too. High risk? Sure, but the payoff when Reliqa get the attention they deserve will be worth it. – Will Marshall

Employed To Serve – Absolute Onslaught feat. Cabal

Sometimes, you just need to write a total rager. That’s the guiding principle behind Employed To Serve‘s latest single ‘Absolute Onslaught’ and it easily lives up to its name. Immediately bursting forth with frantic thrash riffs and battering drums, this is ETS with zero frills and zero patience for anyone that isn’t moshing. Released ahead of their coheadline run with Danish deathcore brutes Cabal, it features an impressive, guttural performance from the soon-to-be tour mates’ vocalist Andreas Bjulver that only enhances the pummelling on display. After forays into arenas and modern metal, ETS bring it all back around to their metallic hardcore roots in devastating fashion with ‘Absolute Onslaught’ and it’s sure to obliterate the pit sooner rather than later. – Will Marshall

God Alone x Tayne – I End

Two of Ireland’s most exciting alternative acts ram into each other at terminal velocity on God Alone and Tayne’s new collaborative single ‘I End’. Leaning closer to Tayne’s punchy industrial sound with sprinklings of God Alone’s eccentric math rock grooves and intense black metal screeches, ‘I End’ manages to twist and mangle the two bands into one danceable, chaotic supergroup for a noisy, pulsing single that would feel right at home in the most dangerous and perverse corners of Berlin’s club scene. While both already accomplished bands in their own right, God Alone and Tayne’s powers combined lead to a hard-hitting and fascinating collaboration. – Rowan Bruce

Calva Louise – La Promesa

The last two years have been extremely good for London alt-metal act Calva Louise. Between their fourth album Edge Of The Abyss drawing plenty of attention, tours supporting Stray From The Path, Chiodos, Bloodywood and Creeper and even a headline slot at Noizzefest, the stage has been set for their eclectic new single ‘La Promesa’. Taking as much inspiration from Johann Sebastian Bach as Alpha Wolf, frontwoman Jess Allanic erratically jumps from intricate baroque harpsichord lines to distorted guitar shredding while delivering powerful cleans and terrifying screams. As brilliantly unhinged as they are immensely talented, Calva Louise show off both their virtuosity and raw metal power on their new single ‘La Promesa’. – Rowan Bruce