Maybeshewill – October
UK post rock’s finest returns. Releasing before their run with Bossk next month is ‘October’, another deeply textured shawl of musical beauty that encapsulates the band’s penchant for creating emotional work beyond the limited nature of language. Originally written when the band first explored making new music together following their hiatus and intended for their 2021 record No Feeling Is Final, ‘October’ is the sound of a band regaining their spark and a track that bares witness to the chemistry that binds Maybeshewill as a collective. “One of the first songs written when the band tentatively began exploring the idea of creating together again, ‘October’ has its roots in a voice memo jotted down in vain hope during the band’s rehearsals for our final tour before we disbanded in 2016”, states bassist Jamie Ward. “’October’ is a song about the creative spark, about rekindling friendships and an ode to keeping trying to explore your artistic passions even when that might seem futile. A rare piece of Maybeshewill history that has its significance despite ultimately not ending up being included as part of a larger body of work.” – Dan Hillier
Julie Christmas – Supernatural
It’s been fourteen years since Julie Christmas last released a solo album, though in the meantime she’s collaborated with several bands, most notably Cult Of Luna with 2016’s phenomenal Mariner. 2024 brings her second solo album, Ridiculous and Full of Blood (a title Christmas feels is very apt for herself), and lead single ‘Supernatural’ finds the cult icon in fine form. The Cult Of Luna connection continues, as Johannes Persson plays guitar in this album’s band, and his riffs are all over it, alongside her idiosyncratic voice that conjures huge swathes of emotion with ease. A mid-paced, roving exploration of human nature and how even the kindest people can commit acts of atrocity, ‘Supernatural’ is a riveting return. Ridiculous and Full of Blood is out June 14 via Red Crk. – Will Marshall
Crossfaith – L.A.M.N. (Feat. Bobby Wolfgang)
Japanese electro-metalcore mob Crossfaith have finally unveiled their new album AЯK and with it, a new single in the form of ‘L.A.M.N.,’ recruiting Bobby Wolfgang to add his own signature sound to their frantic mix. With, as ever, more than a sprinkling of The Prodigy‘s hard-hitting rave, record scratches and percussive dance rhythms, it’s every bit the Crossfaith fans know and adore. The cornerstone of the song is a firm refusal to be bound by their past or modern convention; of ‘L.A.M.N.’, the band say they wanted to convey “that it is alright to break down in this corrupted society. It is completely natural that everyone is different.” That firm middle finger to conformity is, as ever, loud, brash and extremely danceable. – Will Marshall
Iress – Falling
The latest addition to the Church Road Records stable, Iress‘ new single ‘Falling’ heralds an incoming new album Sleep Now, In Reverse. due July 26. ‘Falling’ continues to evolve their dreamy take on heavy shoegaze, vocalist Michelle Malley as riveting a presence as ever. There’s palpable anguish despite the languid pace of the song; they’ve been compared to standing on the beach watching an incoming tidal wave, and that’s a particularly apt descriptor for how ‘Falling’ washes over and subsumes all in its path. It feels gentle, but there’s power to the guitars and crashing cymbals that propel it. An intense listen, awash with sorrow, it marks Iress‘ latest out as their strongest work yet. – Will Marshall
Into It. Over It. – Bandelier
Coming hot on the heels of their last single ‘A Trip Around The Sun’ and taken from their freshly announced compilation record Interesting Decisions: Into It. Over It. Songs (2020 – 2023) – released May 3rd via Storm Chasers Ltd and Big Scary Monsters – ‘Bandelier’ see’s Into It. Over It. drawing upon the likes of Manchester Orchestra and Foxing as they reflect upon the past and future and our lack of presence in either places. Inspired by the ancient inhabitants of Evan Thomas Weiss’ local Bandelier National State Park and ruminating on how future humans will perceive our remains and legacies, the single is an existentialist exploration of one’s place that carries none of the anxiety one would associate with a theme such as this. In fact, with it’s warm emo intricacies, the track is easily agreeable and somewhat comforting as it addresses tour inability to alter the passage of time. – Dan Hillier
Smo – Crooked Teeth
Sammy Urwin is synonymous with the British music scene. Whether that’s from his time in Employed To Serve or Renounced or his involvement in Church Road Records, the man never stops working. His new project, Smo, is an interesting one Blending elements of punk, industrial and metal music, his latest release (Sammy plays all of the instruments on this project, the talented devil) ‘Crooked Teeth’ is a rousing affair. Starting with a stomping, menacing groove, it soon shifts gears into a thundering, antagonistic banger. A track that’s dedicated to those who don’t feel comfortable in their own skin, Sammy’s vocals make you feel ten feet tall, particularly during the squealing breakdown of the track name being repeated fiercely. It’s still the early days of Smo but the project already has its own identity and sound, with nothing else out there sounding as deliciously warped. – Chris Earl
Bossk – The Reverie II (Feat. Crown Lands)
Perhaps the most legendary British post metal band of all time, Bossk are just a year away from celebrating their 20th anniversary as a band. In their near two decades of life, they’ve released occasional numbered records, which aren’t to be treat as regular full lengths, but more as the band experimenting by reworking and experimenting with older tracks. This latest release from the upcoming .4 is ‘The Reverie II’ and takes a track from their 2016 album Audio Noir and adds psychedelic Canadian duo Crown Lands to the mix. They take the track to bold, progressive new places, via the introduction of Moog synths and it somehow makes the original become even more of an expansive journey, with more devastating dynamics and a sense of wonder. There aren’t many bands who treat their older work the way Bossk do, revisiting and looking at ways a fresh pair of ears can elevate their pieces. This is more than enough to sate fans before their upcoming tour with Maybeshewill and a 2026 new full length. – Chris Earl
downcast – bittersweet
A tribute to a departed friend and passed youth thematically themed around the sights of their local Bristol, as the name suggests, the new single from pop-punk / emo quartet downcast is a pained reflection on times and loved ones now lost. The band’s first release in almost two years, ‘bittersweet’ is just one those tracks that’s both impossibly moving in thanks to it’s heart-on-hand sentimentalism and it’s authentic urgency. Simply, it’s a brilliant track, one that strikes the perfect balance between genuine emotion, gritty pop-punk haste and just being one of those striking tracks perfectly designed to be shouted along to. “’bittersweet’ was written to commemorate a close friend who we lost just under two years ago”, states frontman Liam Edwards on the track. “It describes the conflicting feelings of fondness and grief that come with revisiting a place associated with someone who is no longer with us. The accompanying music video will make all ’90s kids feel nostalgic. It feels great to be back, more confident than ever and ready to burst back onto the scene with our best material to date.” – Dan Hillier
Agriculture – In the House of Angel Flesh
Los Angeles self described “ecstatic” black metal four piece Agriculture are on a firm path right now. Their self-titled debut album last year sent shockwaves through the scene as something truly unique. With a new EP Living Is Easy just weeks away, ‘In The House Of Angel Flesh’ arrived just prior to their debut EU shows at Roadburn. The five and a half minute cut wastes little time, breaking into Agriculture’s joyous take on melodic black metal, high strung major melodies, ferocious blast beats and emotive vocal cries. It’s hard to describe the live undercurrent of undiluted emotion running throughout the bands work, just as prominent here as their debut album. After a climactic guitar solo the track drops into a dirty bass groove and launches into a ferocious extreme metal drive and dissonant melodies. Agriculture are already truly coming into their own so soon after arriving on the scene, incredibly unique in their artistic perspectives and presentation, this is mandatory listening for fans of the blackgaze movement or experimental extreme metal outfits. – Harry Shiels
Split Chain – Descend
The Bristol-based quintet have been extremely present within the alternative music scene from their debut show in May of 2023 to now their most recent release ‘Descend’. In a mere year of Split Chain, they have managed to release six heavy-hitting songs featuring their quintessential 00s nostalgia sound. Their most recent single ‘Descend’ incorporates the band’s signature sound but with a softer approach. The vocal style is rather breathy and whisper-like, creating a strong contrast to the powerful, rough vocals of the chorus. Each instrument shines within this song without one overpowering another but the drums in ‘Descend’ feel like the star of the show. Split Chain successfully continues to make their audiences excited with their somewhat limited discography so far. With each single, the band has proved their worth within the scene and why their popularity has grown so fast. – G Garland
Gatecreeper – Masterpiece of Chaos
With Dark Superstition just around the corner, fans of Gatecreeper are in full hype mode as they share another taste of the new album. Leaning closer to the old school death metal ripper energy than the goth aura of previous single ‘The Black Curtain’, it’s immediately noticeable with chainsaw guitar tones to introduce the neck-churning mid-tempo punch of ‘Masterpiece Of Chaos’. Plenty of pinch harmonics, wailing guitar licks, pummelling double kick and vocal “oughs”, this is Gatecreeper at their pure death metal finest showcasing more of what made fans fall in love with them to begin with. The primal palm muted chugs and eclectic drum fills that lead into the track proper are sure to inspire a multitude of vicious pits and defiant fist pumping in its wake. Gatecreeper are on top form right now and Dark Superstition can’t arrive soon enough. – Harry Shiels
The Pleasure Dome – Your Fucking Smile
Following on from their despondent and somewhat dreary last single, ‘Your Fucking Smile’ sees Bristolian trio The Pleasure Dome addressing a self-destructive relationship through raucous and rightfully pissed off post-punk. Clocking in 210bpm and using tritones to sound intentionally off putting, whilst the track is absolutely breakneck in speed, Bobby Spender’s vocal delivery sounds throughly sardonic and exhausted, mirroring the sensation of having one’s self confidence drained across the span of a toxic relationship. It’s not easy listening, but those who have endured horrible relationships in the past will find plenty to resonate with here. – Dan Hillier
MONO – Oath
Japan’s post rock finest also returns. The title track of their new upcoming record – released June 14th via Pelagic Records – ‘Oath’ pretty much presents itself as the quintessential MONO experience. Opening not entirely unlike a gorgeous and therapeutic springtime sunrise after a harsh winter in thanks to it’s unhurried orchestral movements and swelling brass arrays, the track is the full encapsulation of the unbridled elegance that MONO have spent decades honing. Simply put, this is absolutely spellbinding. – Dan Hillier
Oceans Of Slumber – Where Gods Fear to Speak
Despite the band’s foray into milder pastures of late, Opeth‘s legacy as one of the greatest progressive metal bands of all time in the heavier end of things remains untouchable. Oceans Of Slumber are a band who aim to carry on the Swedes’ legacy of making emotional, resonant music that at times touches on the epic. Driven by the generational voice of Cammie Gilbert-Beverly, ‘Where Gods Fear to Speak’ is a sombre, doom tinged track with moments that’ll make you bang your head as much as you’ll want to hold back tears. Adorned with classical tinges and arrangements no doubt inspired by drummer Dobber Beverly’s past as a classically trained pianist, it reaches a spine tingling crescendo during a fierce chanting section that marks itself as one of the most intense sections of the bands output to date. The music may be dark, but the future is bright for Oceans Of Slumber. – Chris Earl
Void Of Vision – Empty
Last year, Void Of Vision frontman Jack Bergin suffered a brain haemorrhage. Thankfully, he managed to pull through and amazingly, having been taken ill in April he was performing in the band’s biggest ever shows in October of that year. That brought a litany of conflicting emotions and feelings, balancing the euphoria of performing with the fear of the incident occurring again. Those feelings lead to the band writing and recording ‘Empty’, as Jack struggled with not only mental, but physical health issues. As a result, it’s one of the most personal tracks that the Australians have put out to day. Indeed, the line “I’ll never understand how the fuck you could ever love a mess like me” is one wrenched from the pit of despair and self loathing, feelings that many will relate to. The song itself is a mix of those nu-metal inspired riffs and massive metalcore choruses that the band are masters of at this point, with the new levels of lyrical catharsis making this one of their most impactful tracks yet. – Chris Earl
Alcest – Flamme Jummelle
Continuing to build excitement towards their seventh album Les Chants de l’aurore (The Songs of Dawn), French post-metal duo Alcest share second single ‘Flamme Jummelle’ (Twin Flame). Immediately the track feels like it’s touching back to their 2014 album Shelter, with its overwhelming shoegaze pop melodies and saccharine shine to the instrumental, which is a welcome surprise. First single ‘L’Envol’ gave the impression the band may be sticking with the post-rock/metal leaning blackgaze sound they’re celebrated for. The five minute or so journey through luscious shimmering soundscapes is a pleasant one as always when it comes to Alcest. The vocals are a particular standout with complex layered harmonies between the two members building thick emotive walls of sound bolstered by the uplifting instrumental. Les Chants de l’Aurore is already looking like another strong release in the band’s catalogue with ‘Flamme Jummelle’ its luminous centrepiece. – Harry Shiels
Waste – Worthless
Minneapolis deathcore merchants Waste are teasing another track from their upcoming EP In Bloom. Filtered guitar chugs, pendulous cymbal hits and drum fills bring the track in before exploding into ferocious, violent modern deathcore. The vocals sound possessed from the get go, spitting violently in time with the ever shifting rhythmic cuts. Double kick reigns supreme to bring the crowd in and is set to ignite every venue the band set foot in. The amount of switch ups is absolutely disgusting, constantly bouncing from choppy breakdown to breakdown, shifting rhythmic gears and playing with speeds and energy in the undiluted sonic punishment Waste have become known for. Chirpy guitar effects over pounding breaks, percussive samples and some literal vocal barking for good measure. If you’re a fan of deathcore, ‘Worthless’ will have you locked into a perpetual stink riff face and staring in a distant haze are the future of a thousand slam pits taking place before your very eyes. – Harry Shiels
Frozen Soul – Creature of the Wheel (White Zombie cover)
Texan death metal quintet Frozen Soul love a good cover. The band regularly grace live audiences with a brutal rendition of Mortician’s ‘Witches Coven’, the reissue of their debut EP came packed with their takes on ‘Mandatory Suicide’ (Slayer) and ‘Morbid Devourment’ (Entombed) as bonus tracks as well. This time around Frozen Soul step out of the extreme metal wheelhouse to throw together a nasty, sludgy cover of White Zombie’s ‘Creature of the Wheel’, an under-appreciated album cut from lauded final release Astrocreep 2000. Taking the song’s choppy 90s grooves, pummelling them to dust then reshaping the corpse into a low-bpm death metal stomper, revelling in its own primitive knuckle dragging fury. Frozen Soul give the song a completely different energy and truly bring out the necrotic zombie of White Zombie. – Harry Shiels
October Drift – Blame the Young
As old as time itself, even quotes attributed dating back to Greek philosopher Plato bemoan the issues of young folk. As with every generation at some point the scale tips and once again the youth are the problem. Taunton four-piece October Drift are painfully aware of this fact, describing ‘Blame The Young’ as “a song about denial and blaming everyone but yourself”. Their melancholic blend of jangly indie rock, indie punk and emo is incredibly fitting for the subject matter, with soft sung sadness and minor affectation permeating it; being caught in a cycle of blame for things that aren’t your fault or that you couldn’t possibly begin to change. That sense of defeatism lends itself into this dreamy alt-rock banger so well that you just want to close your eyes to escape the world and sway softly along in a moment of pensive isolation. – Harry Shiels
Contention – Ousted from Eden
‘Ousted from Eden’ is the second single from Artillery From Heaven, Contention‘s upcoming debut album, and it’s every bit as ferocious and pummelling as predecessor ‘In the Land of Nod’. There’s a sense of claustrophobia to its incessant barrage, which makes sense as vocalist Cosmo wrote it about living in big cities, as he explains; “I was horrified by the way city people lived. As a young redneck, I couldn’t comprehend the lack of quiet woods or the inescapable smell of piss even in the richest parts of town. No hate for city dwellers…but that life is just foreign to me.” There’s a palpable horror at the city and its disregard for the natural world and even its own citizens that sticks long after the breakdowns end. – Will Marshall
Full Of Hell – Coagulated Bliss
Name a band who have an output as impressive as Full Of Hell over the last few years. Tough, isn’t it? The Maryland grindcore/extreme metal crew have barely stopped as of late, not only content with releasing their own work but collaborating with bands such as nothing and Primitive Man. The third track to come off their upcoming record is the title track, ‘Coagulated Bliss’. The song is 81 seconds of scattered, jazz inspired punky grind, over before you know it but intent on leaving a lasting mark. Accompanied by a music video that hits like a found footage fever dream, combined with the music it feels like the grindcore version of an opening to a season of True Detective. Few bands are pushing the boundaries of grind as much as Full Of Hell, so be prepared for them to reinvent how you see the genre once again when the album drops April 26th. – Chris Earl
i Häxa – Eight Eyes
For those uninitiated with i Häxa, this is the ideal introduction to something truly special. The electronic project of songwriter and visual artist Rebecca Need-Menear (Anavae) and producer Peter Miles (Dodie, Petrol Girls, Sylosis) i Häxa is an artist in every sense of the word, with ‘Eight Eyes’ just being the latest segment of a year-long multimedia project. Taken from the release Part Two which releases in conjunction with the Iron Age festival of fire that is Beltane, ‘Eight Eyes’ is a brooding movement that transmutes from sultry strings to an undefinable soundscape dominated by dronings that calls upon both worship of old gods and the modern deification of the data and algorithms that dictate modern living. It’s a strange albeit brilliant soundscape, one that both allures in it’s own musical right and one that highlights humanity’s timeless penchant for blindly worshipping deities and systems that are inherently beyond our comprehension. – Dan Hillier
Pound of Flesh – Purge (Feat. Blake Prince)
Another great week in Ontario; full of great new releases including the newest single from Pound of Flesh. Titled “Purge” and features the amazing talents of Blake Prince from Ontario’s own TEETH, this track is a full on assault filled with tons of hardcore influence and a dash of beatdown sprinkled in. Sitting just under three minutes, the track slams through every second with ease before our talented vocalist Shane Morrison passes the mic to Blake Prince for probably the hardest guest feature of the year. Closing the track on a boom, the group deliver on all fronts. Pound of Flesh definitely did not disappoint with this new track. – Nathaniel Maure
Rust – Hard Truth (Feat. Kyle Paterson)
The Ontario Hardcore scene wouldn’t be what it is post Covid-19 without bands like Rust and Gavel putting in the ground work. With that being said, the Ontario hardcore legends don’t seem to be slowing down yet with the release of “Hard Truth”. The second single off their debut EP True Decline through New Age Records and features the amazing Kyle Paterson (Bad Bet/Gavel), this single brings the heat and is sure to be a fan favourite across Canada and more. The duo of Rick & Rob Beaulieu on the strings are as impressive as ever, Dillon Forret remains the provinces hardest drummer to date, and Tommy Wood continues to spit absolute fire while bringing in the provinces best talents along for the ride. ‘Hard Truth’ is going to be hard to top but we’re sure Rust will do it yet again. – Nathaniel Maure