Officially releasing May 30th via Church Road Records, Speculative Fiction is a record that fully bucks the trend of what has come to be expected from the post hardcore genre. Whereas the foundations of the genre’s sound lie in the near bottomless ocean that is the human experience, a lot of records stemming from this genre in recent times barely skim the surface of this emotional sea. Nor do they truly embrace the crashing tides that are inherent to human emotion, or revel in the depths of dynamism that this genre offers. Basically, it feels a lot of the ‘big’ names of the genre have been lacking and lazy as of late. Cookie-cutter bands displaying faux-emotion and never truly demonstrating creativity or innovation. Indifferent Engine are the polar opposite of such bands.
Formed of members Adam Paul (guitars, vocals), Ellis Hale (guitars), Alex Wheatley (bass, synthesisers) Alister Gibbons (drums) and Tom Wilson (guitars, vocals), the Cambridge-based quintet animate the spectrum of the human existence with the vibrancy synonymous with it, a fact that irrefutable with Speculative Fiction. Shivering, shaking and thrashing with genuine emotion, here, Indifferent Engine in are thrall to the passion that comes with existence. Across the 11 tracks that compose this record, the band articulate this via a sound that feels far more progressive than their aforementioned peers.
Ithaca calling it quits sucks. Thankfully, the quintet have blessed us with one final song before their curtain call at ArcTanGent this August. The self-titled track sums up everything brilliant about them, with acerbic screams and gorgeous melodies from vocalist Djamila Azzouz, complemented by as-ever top notch riff work and segues into calmer atmospheric passages too. It looks back on their storied career and the passion that drove them, lines like “Don’t cry because it’s over / We’ll smile because we had it” particularly poignant. The band explain, “‘Ithaca’ means home, the place you return to when the journey is complete. In this final song, we put this band to rest. Every memory, every tear, every laugh is in here. Thank you for everything. Om namo naryanaya.” – Will Marshall
Reversing their last album’s expansive, hook forward approach, the formerly anonymous, still eccentric hardcore collective The Armed are back with their new single ‘Well Made Play’, the first glimpse of their upcoming album THE FUTURE IS HERE AND EVERYTHING NEEDS TO BE DESTROYED. Following a playbook that may be more familiar to old school fans than those who joined for 2023’s Perfect Saviors, ‘Well Made Play’ launches into a vicious two minute blast of energy with plenty of fuzzy synths, blast beats and screeching vocals that doesn’t forget the lessons learned in the band’s more recent work, throwing in a wild sax solo before building up to a violent and satisfying closing crescendo. With the force and speed of a brick to the teeth, ‘Well Made Play’ blends the multiple faces of The Armed into an eruption of hardcore energy with enough experimental fervour to keep the listener coming back. – Tom Bruce
Anyone with ears and a working brain got excited when members of Black Peaks, Toska, and Palm Reader decided to join forces to create a true UK underground supergroup. Infectious riffs? Check. High quality songwriting from some of the UK’s finest craftsmen? Check. Vower had the lot in spades, but had they really put it into something unique yet? That was the question .’Deadweight’ is Vower finding their sound, away from the comparisons of old glories and stepping into a bright, exciting new future. Focused, energised, and furious, ‘Deadweight’ sheds any criticism of the band being less than the sum of their parts and shows that they are about to become oh so much more. – Kevin Ashburn
The second single taken from Malevolence‘s upcoming album Where Only The Truth Is Spoken, ‘Salt the Wound’ sees Sheffield’s finest with the now-requisite metal ballad of the album. Unlike say, ‘Higher Place’ though, this time ‘Salt the Wound’ reaches across both sides of Malevolence‘s sound, from the gruff, tender melodicism in Konan Hall’s voice to the bruising metallic hardcore bark of Alex Taylor. The track itself moves between both these softer moments and grooving heft until the halfway mark when it bursts into a hellacious gallop with a bellow of “sink it” and a return to the chorus. By now, you know what to expect from the Sheffield bruisers, and its top shelf groove metal with that hardcore underbelly. Where Only The Truth Is Spoken will no doubt continue that. – Will Marshall
Even before going into this, you might already have pre-convinced expectations of this track. But void all thoughts of something horrid to be had. The third single to be taken from Greet Death’s upcoming record Die In Love – released June 27th via Deathwish – ‘Motherfucker’ feel’s like a harmony of loss sung with love. Drawing upon thoughts of shoegaze, doomgaze and generally gazing into the yawning void that will one day swallow us all, ‘Motherfucker’ is a disjointed yet somber reminder to live in the moment, for our moments are not infinite. Fans of acts such as Slow Crush, Have A Nice Life and Deathcrash will find a lot to enjoy here. – Dan Hillier
Ahead of playing both halves of Outbreak, alongside the rest of their first dates outside of North America, US shoegaze band They Are Gutting A Body of Water (or TAGABOW for short) have put out new song ‘American Food’. Although it is closer to lofi indie compared to some of the more full on parts of their discography, it still has the electronic manipulation that’s a constant through their sound, similar to sometimes label mates and fellow Outbreak bookings Feeble Little Horse. The dark acoustic guitar also gives hints of Slaughter Beach, Dog. Despite the aesthetic differences, this still feels like TAGABOW, with ethereal melodies to get lost in alongside the darker undercurrent of both production and lyrics – especially with the repeated “I’ll go get my gun” refrain. A band to catch if you have Outbreak tickets, and a one to watch regardless. – Mia Thunderska
Hailing from Bristol, this 5 piece beautifully blend shoegaze and grunge, transporting the listener to the early 2000s when Nu Metal reigned supreme and the trousers were baggy. First founded as a Deftones cover band, Split Chain have come a long way from paying tribute to metal gods and forged a path of their own. Cutting their teeth and honing their craft on the independent circuit for a few years, they also have proved they can step up, playing festivals such as Download and touring the US many times. Dream-like hits such as ‘Future’ and ‘Chalk’ beg to be witnessed live, in a sunshine drenched field. Where, When? – The Key Club stage at 5:45pm North and 7:25pm South (CL)
Metalcore is not dead, and Imminence are here to remind you of that. Formed in Sweden in 2010 they blend heavy riffs with a melodic violin section, and they are no strangers to taking their listener on a journey. Imminence can be described as great for fans of Sleep Token who want something a little meatier, or a gateway for new metal heads into the genre. A perfect midday watch for those wanting something a little cerebral during the festival. Where, When? – Main Stage East at 1:45pm (both sites) (CL)
California based Post-Hardcore mammoths Movements are bringing their emotive sound once again to Slam Dunk. Formed in 2015, they are veritable stalwarts of live performance, taking their craft around the world year after year. Energetic and charismatic, this four piece is to be seen to be believed. Despite creating music that can take you on a deep emotional journey, they deliver their sound upbeat and exciting on stage. New and old fans can expect deep cuts and recent releases on their set lists, so no one is disappointed. Do not miss! Where, When? – Main Stage West at 2:30pm (both sites) (CL)
The title track of Slow Crush’s forthcoming third record, ‘Thirst’ is undoubtedly going to quench one’s need for some proper good shoegaze. Once again demonstrating their fantastic ability to present a cohesively shimmering sound that’s full both both substance and juxtaposition, ‘Thirst’ is a wonderful sonic elixir of both drear and dreams; an intoxicating solution that’s potent with the potential romance but slightly bitter with the taste of previous and future regrets. The global shoegaze scene may have become suddenly saturated since the release of Slow Crush’s last record, but here, it’s undisputable that the Belgian band reign supreme amidst a community they helped revive. – Dan Hillier
Mysterious masked band President’s debut single ‘In the Name of the Father’ has everything you could want from a modern metalcore track, with chugging riffs, atmospheric synths, distorted vocals and electronic breakdowns aplenty. President are making significant waves within the rock and metal community and with fans speculating that lead singer of President could be Busted and Fightstar frontman Charlie Simpson or a member of Sleep Token, there is a air of mystery around these exciting newcomers that some may argue is missing in today’s rock and metal scene. – Ez Luscombe
The second track to be taken from their upcoming record The Lash – released July 25th via Dine Alone Records – ‘Spider Dream’ is a far cry from the high flying riffs and cartwheeling energy one would typically associate with The Dirty Nil. But that’s not say this is far removed from character of this band. With the track’s inspiration stemming from those kind of nightmares that jolt you awake sweat-soaked and weirdly enough Peter Jackson’s 2021 documentary on The Beatles, ‘Spider Dream’ is a breezy yet oh-so uneasy tune in the key of jangly silken stings and a creeping sense of ennui. It’s a wonderful little track, and despite it’s contrasting nature against what one would expect from The Dirty Nil, it’s a song that still carries The Dirty Nil’s raging heart. – Dan Hillier
‘The perfect breakup doesn’t exist’ was what As December Falls wrote on Instagram a few days ago. ‘Bathroom Floor’ is the result of it, all about the anger and rage you get after a breakup, finally understanding that you deserved better. It has that vibrant pop vibe and the type of catchy chorus that gets stuck in your head. The music is almost as exhilarating as it is powerful, through its captivating instrumental and the energetic vibe. Bethany Curtis’ voice leads you on an electric journey, singing ‘I should have known better, I should have known more’ with a heavy emo influence. The repeating style of the chorus has this magic trick to keep you on track, and will probably make you want to sing along with it. The quartet proves here, that, the simpler, the better. Songs don’t always need to be that deep to be good but being relatable to everyone’s lives is a good way to get you on board. – Emma Forni
While UK mathcore outfit Pupil Slicer have been rather quiet on the live front of late, they were open that it was due to work on their as-yet untitled and unannounced third LP. The first taste of that record, double singles ‘Heather’ and ‘Black Scrawl’ are a callback to debut album Mirrors in their cutting, abrasive edges, rather than the more progressive and melodic approach that second LP Blossom branched out into. ‘Heather’ especially pulls from hardcore and crust, locking in an almost black’n’roll groove, while ‘Black Scrawl’ careens wildly between blast beats and off-kilter, odd time signatures. At once hearkening back to their debut while still offering something new, it’s an interesting glimpse of where Pupil Slicer might be heading in 2025. – Will Marshall
Given both artist’s penchant for gothic fatalism and collaboration, it’s honestly surprising this joint endeavour has taken this long to come to fruition. ‘Mean’ is certainly worth such a wait though. A rare type of song that would be perfectly at home both amongst still moors lying under pale moons and in dry-ice scented rooms illuminated by strobe, this collaborative effort see’s Chelsea Wolfe and HEALTH perfectly complimenting not only their aesthetic similarities but also their unique and characteristic approaches to all things ashen in design. If you long for something gloomy and most moody during these pleasant spring days, then this will certainly do the trick. – Dan Hillier
The first taste of new music since 2023’s excellent Common Suffering, double single ‘Other World’ and ‘V.B.Y.S.S.’ shows Harms Way at both ends of their sound. ‘Other World’ is crushing metallic hardcore, double bass drums underscoring James Pligge’s unrelenting bark. Its breakdown is as hefty as they come, thundering and churning like a storm at sea before the song ends as abruptly as it begins. At the other end of the scale, ‘V.B.Y.S.S.’ reimagines ‘Wanderer’ from Common Suffering as a Godflesh-esque, menacing industrial atmospheric piece. Though it’s a rework and sort-of remix, it’s still a vastly different proposition to its original, particularly in the menacing atmosphere that builds dread rather than the typical straight for the jugular aggression. It’d be interesting to see this explored even further in future Harms Way material, certainly. – Will Marshall
Stargazers FOXCULT have at last unveiled their debut album WATERCOLORS: THE EMERALD GROVE (and yes, the all-caps is seemingly required) for September this year, along with its second single ‘CITY OF RUST’. Leaning far more into metalcore than the shoegazey ambient textures of previous EPs, it’s a far more abrasive side of the band than we’ve seen before, but one that hints at the wider album being an exciting prospect. It’s also got a feature from Abel Abarca of the excellently-named Big Ass Truck who typically make far more meat-headed music, but it’s a natural fit with the heavier direction of ‘CITY OF RUST’. – Will Marshall
After what has felt like an eternity, the Liverpudlian Deftones worshippers Loathe are back with ‘Gifted Every Strength’ the band’s first new music in four years. Rumours had flown about new music for months and when the confirmation came through about this track, a mix of excitement and nerves spread through the scene, mainly if regarding if the band could produce something that would live up to the hype surrounding the band. Thankfully, the answer is a resounding yes. Despite being over six minutes long, the track feels balanced, taking you on a journey in the way that only Loathe can. There’s heaviness, some ambient beauty and some oddly melodic, hypnotic.moments mixed in throughout. It isn’t an immediate crowd pleaser but rather a song that rewards multiple listens and lures you into its world. If this is the only crumb we get from Loathe for a while, then it’s a pretty delicious one. – Chris Earl
Taken from their freshly announced self-titled debut – released July 18th via Brace Yourself Records – ‘Girl Band Starter Pack’ see’s Panic Shack sitting on the launch pad before they shoot to supernova status in the same way that Lambrini Girls and Amyl And The Sniffers did. A snotty and raw introduction to the unfiltered hedonistic nature that permeates all that Panic Shack do, ‘Girl Band Starter Pack’ is a rambunctious ode to simply having a good time with your ride or dies. This may not sound like necessarily a lot, but it’s impossible not to feel that excitement, energy and adventure that comes with heading into town with your mates and a coffee or something even stronger in hand. From this track alone it’s easy to see how Panic Shack are about to become one of the biggest names in UK punk – Dan Hillier
It’s hard to define Scaler without beginning to ramble or resort to hyperbole. ‘Broken Entry’ makes this no easier. Releasing following their recent signing to Black Acre, this new single one again pays credence to Scaler’s refusal to comply with genre conformity in favour of taking inspiration from their surroundings. Once again straddling that rarely crossed line between intelligent dance and heavy instrumentalism, ‘Broken Entry’ essentially sounds like the coalescence of the ever bustling scene that lies beneath the streets of Bristol and the South West. It’s the sound of sticky, windowless rooms where creativity thrives collectively, unhindered by convention or other self-imposed reconstructions. It’s music for those with either swinging jaws or laser focused attention and simply, it’s the sound of one the most exciting bands in the UK. – Dan Hillier
With both of their names still ringing in the ears of the UK’s underground scenes off the back of their debut albums, Sheffield based blackened post-hardcore quartet Hidden Mothers and London industrial pop trio Tayne join forces on their explosive new collaborative single ‘Bitter Life’. Building on Tayne’s ghostly vocals, subtle synths and punchy electronic percussion with layers of Hidden Mothers’ harsh screams and ferocious distorted riffs, ‘Bitter Life’ takes everything that makes each band a name to watch in the thriving British underground and smashes their contrasting styles together for an explosive result. While they may not have much in common sonically, both Hidden Mothers and Tayne clearly share the same love of dense textures and intricate yet memorable songwriting which makes ‘Bitter Life’ a standout in both of their discographies. – Tom Bruce
Truthfully, the only way to properly describe these two tracks via the means of written word would be to throw a laptop against a wall, do the silliest of walks over the broken keyboard and publish whatever the result. Forming Perp Walk’s new two-track EP The Freeze, ‘Kingmaker’ and ‘Blood Witness’ are two slabs of proper cold chain punk that will make one want to the most arrogant of side-to-sides or simply recreate that daft and infamous John Lennon spinkick video at the earliest convenience. UKHC might be a vastly populated scene at the current time, but here, Perp Walk are welcoming all to feel the freeze. – Dan Hillier
In a three year period from 1994 to 1997, Deadguy existed in their initial incarnation and released Fixation On A Coworker, a record that would grow to become a landmark release for the burgeoning metallic hardcore and eventually, metalcore scenes. Chaotic, bug eyed fury was the order of the day and for a long time, it seemed the band would be a relic, until they reformed for some shows in 2021. Those have lead to the release of ‘Kill Fee’, the first new music from the band in thirty years. The first track from an upcoming album titled Near-Death Travel Services. It sounds exactly like Deadguy, which is a testament to how their sound still has its own identity after just one release. The production makes it feel like it could fall apart at any second and it retains their sinister edge, with Tim Singer oozing menace. Nobody could have forseen this but leave it to Deadguy to give metallic hardcore a shot in the arm that it sorely needs in 2025. – Chris Earl
If you loved the vibey elements of Turnstile’s Glow On, we’ve got good news for you. If you preferred the more hardcore-leaning Time & Space, we’ve got similarly great news for you. ‘Seein’ Stars’ picks up where ‘Never Enough’ left off as reverb-drenched guitars and synths swell under its laconic vocal hook that features a surprise backing singer in Hayley Williams. ‘Birds’ is a natural follow-on from that, after a short ambient intro, ratchets up the summery melodic hardcore with glee. It’s very reminiscent of Glow On’s ‘Don’t Play’, and it’s a raucous feel-good banger that’ll get hips shaking and bodies flying off stages when they take to Outbreak Festival this year. – Will Marshall
