Dan Hillier
Long Island’s hardcore heavyweights Stray From The Path have announced their hotly-anticipated new album, Euthanasia, with a brand new single ‘III’. As its name suggests, it’s the third in their Badge and a Bullet series that takes aim at policing in the US with a critical eye. That Stray are politically-charged will be no surprise to fans; calls of “Part 3, ’cause fuck 1 2” and “a badge and a bullet are a deadly weapon” leave no room for doubt as to where their allegiances lie. Backing up the blunt lyricism are the trademark groove-laden guitars, technically proficient but no less pummelling drumming, even featuring blastbeats, and hip-hop meets hardcore vocals that reminiscent of Rage Against The Machine. It all leads off from an ominous radio sample into an uproarious track that’s sure to decimate live as much as, if not more, than it does on record. – Will Marshall
Much-loved hardcore outfit Bastions originally called it time just after their acclaimed debut, Hospital Corners but now they’re back with their upcoming second album Majestic Desolation due July 29 through Church Road Records and have released their second single, ‘Acres Of Love’. It melds sludge, alt-rock, hardcore and post-metal seamlessly, feedback loops and a rumbling bass ushering in a slow-burner of a song that’s more glacial inexorability than hardcore battering ram. Along with first single ‘A Broken Crown’, this isn’t so much a comeback as it is picking up where they left off and learning the hard lessons of the intervening years. Shot through with desolation, desperation and grief, ‘Acres Of Love’ exacts an emotional toll on listeners in the way that only Bastions could. – Will Marshall
Gunning for sinister reimaginings of their already established take on contemporary alt soundscapes; the Big Smoke alt rockers Anavae, never cease to keep listeners on their toes as they venture into the realms of overwhelming emotional destitution, with their latest single ‘Sacrifice’. With the band celebrating over a decade long reign within the alternative music sphere, their latest track’s ability to harness the essence of assumed capriciousness is profoundly arresting when compared to previous releases; avid fans and casual listeners alike, rejoiced when first experiencing the high concept production value, which lead to fascination online after presumed screamo elements were revealed to be expert voice manipulation. Although such toying with the minds of public has created quite the buzz, it’s not the only source of fascination readying our emotional landscape for complete overload; the main chunk of lyrical content plus the accompanying music video, truly captures a sense of degradation on all facets of existence, when allowing yourself to be swept up in the malaise riddled descent into mental decomposition. Truly a must listen, but be warned its music video has been flagged as a possible photosensitive epilepsy trigger due to its intense usage of flashing imagery. – Bennie Osborne
It would be absurd to even attempt pigeonholing Natalie Evans into a singular genre. In fact, the only to even remotely describe Evans accurately would be dub her as a multi-instrumentalist virtuoso bringing modern classical to the math rock scene. ‘Driving Home Late’, Evans’ latest single, further solidifies that narrative. Taken from her forthcoming record Movements and a tender and more subtly commercial affair in comparison to her previous works, the track is a delicate and beguiling song that see’s her reflecting on the high and sense of accomplishment that comes following a successful show. It’s an airy and spellbinding offering, one led by a warming piano riff and one that showcases how she has already secured tours with the likes of Tricot, Tera Melos, Delta Sleep and many other scene staples so early into her career. – Dan Hillier
Known by many as Trail Of Dead or simply T.oD – which handily reads as ‘death’ in German – ‘No Confidence’ is firstly the latest single from the progressive art rock entangle, secondly the first single to be taken from their freshly announced record XI: Bleed Here Now and thirdly a full encapsulation of an act that defines genre regulations. Harkening thoughts of legends such as Rush, Black Sabbath and even Fugazi, the track see’s the sextet channeling the so-called golden age of rock through modern means, with their aforementioned new record having been created with plugins that allow quadraphonic sound. Whilst those with an interest in such things will be no doubt be salivating over the technical intricacies, what this means in layman terms is that the album sounds colossal, with the many textures of ‘No Confidence’ intertwining in a way that’s reminiscent of the days reigned over by rock and roll goliathi all whilst sounding equivalently modern.
Wiltshire pop rockers All Ears Avow have dropped their incredibly catchy new single “Technophobia”, a riff laden, hook filled track that sees the band discussing society’s addiction to technology, and technology’s control on us. The accompanying video for the song depicts the hold technology can have on us in a simplistic way. The song is riddled with energy and has a prominent and recurring guitar line that gives “Technophobia” a bouncy feel, it’s easy to hear that this would be a fan favourite for a live show. There’s a maturity and sense of accomplishment in songwriting and production with the song sounding crisp and well mixed. With this being the band’s first release of 2022 we are stoked to see what the remainder of the year holds and what may come next. – Jac Holloway
With a song title like, it’s likely one’s imagination would run wild. However, the latest single from Melbourne’s Press Club bares little reference to the aftermath of Covid nor cancel culture as a whole. Instead, the track see’s the punk quartet take a painfully honest stocktake of their own former self and previous endeavours. It’s an unflinching examination of personal misadventures, one delivered with lyrical transparency and musical grit that see’s the band embracing the abrasive crudeness of their punk sound whilst never sacrificing their snaring melodicism. However, ‘Cancelled’ is more than just a brilliant song. It’s the first in line of a series of self-produced works from the band, a catalogue of material that’s set to see the band further embellishing their work and further pushing the fact that Press Club are one of the best in the modern punk rock game. – Dan Hillier
Since their latest EP Don’t Hold Your Breath, Pittsburgh metalcore mob 156/Silence have gone from strength to strength, and have just released their bold new single ‘A Past Embrace’. Examining loss with crushing guitars, harsh screams and feedback-laden breakdown, 156/Silence delve into what it’s like for things to end; as vocalist Jack Murray describes it, “Everything expires. Things that once brought us feelings of grandeur and strength won’t always hold that power they once did. ‘This isn’t what I always loved. This isn’t fun. This is a past embrace’.” ‘A Past Embrace’ sits alongside their earlier works as in the same sonic vein as Poison The Well or Norma Jean, expressing scathing, negative emotion. While it’s present on other songs, there’s no soaring melodies to be found here; this is what it feels like to lose touch with that which we loved, that which we held dear, and realise its absence from our lives. – Will Marshall
Joe Appleford has released his brand new single “Green” this week and it’s arrived with a huge announcement too. Appleford has also announced his debut album ‘Dystopian Dreams, Utopian Nightmares’, a concept album about the juxtapositions in modern life. Across the record, Appleford takes on different roles to give this record a kaleidoscopic point of view with the design of the album intent on taking the listener on a journey of self-discovery, of worth, value and identity. “Green” is a supercharged hard rock anthem with Appleford’s gravelly croon soaring over a backdrop of hard-hitting drums, fast snaking riffs and driven groove that makes for a balls-to-the-wall experience start to finish. It’s bold, it’s brash and it packs a hell of a punch which, given the lyrical nature of a toxic relationship and self-worth makes a while lot of sense. – Jac Holloway
San Diego post-hardcore rockers Thousand Below have released “Venenosa” this week, a rip-roaring single that is as melodic as it is heavy. With a chorus section that soars and lifts the entire song, fantastic guitar tone and a mix that juxtaposes the two sides of their sound, the bands winning formula off the back of two previously successful albums is continuing to pay off. Thousand Below aren’t afraid to get heavy either with the bridge section being a snarling whirlwind of harsh vocals, deep growls and a bass-laden breakdown that reverberates the speakers with ease. “Venenosa” is the first single of 2022 and sees the band return with the energy, vigour and tenacity of their first record with the polished refined sound they honed on their second record. With the single seemingly being the start of a new era, fans can sit back and rest assured that more music is likely to follow soon. – Jac Holloway