Dan Hillier
British sludge band Urne returns with a new single and mesmerizing video for ‘Be Not Dismayed’, the opening track from their eagerly anticipated third album, Setting Fire to the Sky, scheduled to be released on 30th January 2026, via Spinefarm Records. What strikes you immediately about this song is the band’s bold choice of a new direction, venturing deeper into the realms of progressive and tech metal. This compelling evolution can be attributed to their collaboration with none other than Justin Hill from Sikth. Bassist and vocalist Joe Nally reflects on the inspiration behind ‘Be Not Dismayed’, stating that he penned the lyrics after “spending a few summers playing some of the best metal festivals around and seeing the buzz that fans would have by being there”, echoing very much his feelings as a music lover and avid concert goer himself. ‘Be Not Dismayed’ resonates as a powerful anthem made for tiny basement venues and big arenas, as you will be able to see it for yourselves as they will be part of Orange Goblin’s farewell tour in December. – Nessie Spencer
Everyone’s favourite ‘cum metal’ band are back. The first taste of the band’s upcoming record Conflict DLC – released December 11th via Loma Vista – ‘Ordinary Loss’ is pretty much an authentic mirroring of just how insufferably bleak the future we were once promised actually is. Mechanically penduluming between thumping industrialist and chugging beats, ‘Ordinary Loss’ is a fatally dark and diesel stained ode to humanity’s inherent need for destruction and the grief it leaves in it’s wake, especially the track’s whispered sweet nothings about the fact we are all destined to be nowt but dust in the future. Equally miserable and seductive, it’s HEALTH at their best. – Dan Hillier
Releasing earlier than originally announced, California based math rock icons Covet return with their first new material in two years on their new single ‘Denouement’. In collaboration with Japan’s Lite, the trio led by guitarist Yvette Young take their virtuosic instrumental style in a more laid back direction with bedroom pop production and lo-fi vocal samples, making their technical mastery feel effortless. Throwing in subtle electronics and subtle rhythmic changes to keep things fresh ‘Denouement’ shows off Covet at both their most experimental and accessible with a sound that’s bound to keep the math rock crowd transfixed without scaring off those new to the genre’s more outlandish tendencies. – Tom Bruce
Taking aim at ableist rhetoric and behaviour still perforating contemporary society; the Bristolian alternative metal rising stars and Noizzefest Alumni Mallavora, funnels their righteous anger for a cause that’s close to home with their latest furious single ‘Smile’. Taking inspiration from the 30th anniversary of the introduction of the Disability Discrimination Act, as well as lead singer Jessica Douek’s lived experience of Fibromyalgia and accessibility activism within the heavy music community. ‘Smile’ takes no prisoners as they fight for the needed change within a truly disabling world, that for a long time has resisted minorities calls for communal betterment that will benefit all citizens. Not only is this latest single unrelenting in its advocacy, its sound is also emotionally charged and ceaselessly vehement. It is a needed emphatic rallying cry for all who seek progressive development for true disability justice, support and inclusion. – Bennie Osborne
Born out of a tumultuous time for the band as they lose a number of people close to them, Aussie hardcore bruisers Speed’s upcoming EP All My Angels‘ first single ‘Peace’ is their tribute to those friends. Bursting out the gates immediately with their classic, frantic hardcore, the song barrels along with Jem Siow’s raucous bark and Speed’s irrepressible energy before a seismic groove takes over partway through. Of the song, Siow says, “Amidst this devastation I was overcome with a deep sense of clarity and peace. Because, despite the abyss of questions of why and how, my clearest sense of calm lay in the certainty that the time we shared and invested in one another was underpinned by unfiltered honesty and unconditional love.” – Will Marshall
The third single to be taken from their upcoming new record Reptilian Brain and dropping after their fantastic set at last month’s ArcTanGent Festival, ‘Probably Just Hungry’ see’s Alpha Male Tea Party channeling the tiring anxiety that’s become synonymous with modern living. Featuring the band’s usual hefty dexterity and once again vocally driven, the brilliance of this track lies within it’s contrast between hulking riffs and it’s delightful vocal harmonies, a factor that draws upon thoughts of the likes of Press To Meco, Blank Atlas and Unpeople. “’Probably Just Hungry is a lament about how the grind of the everyday constantly gets in the way of doing things you love”, states vocalist Tom Peters. “We all know that feeling of frustration that we’re somehow not fulfilling our potential because we have to divert our energy to make ends meet – this song is about that feeling but also about how we complacently shrug it off as being tired or hungry because it’s easier to do that/impossible to take a risk in your life and make the necessary changes that prioritise your happiness. And it’s a total bop.” – Dan Hillier
If there’s one thing to expect from God Alone it’s nothing but total and utter genre bending bedlam. Which in turn, is something that makes new single ‘Pink Himalayan’ just so brilliant; taken from their upcoming record The Beep Test, ‘Pink Himalayan’ is by far the most accessible thing ever offered up by the Irish noiseniks. Sounding more akin to a fusion of Talking Heads and black midi than anything resembling the madcap math-noise we’ve all come to expect from this band, this single is still a rowdy and inherently danceable slab of left-field noise, but one that forgoes the band’s signature sense of impulsive unpredictability in favour of massive grooves. Goodness knows what direction the Cork lads are going be taking after this with their next single. – Dan Hillier
Rising from Brighton’s thriving alternative music scene, duo Hell Hotel have been making waves since their debut last year with their sound which throws together modern post-hardcore production with radio-ready alt-rock swagger and early noughties emo angst. On their latest single ‘promises.’ the duo draw inspiration from modern contemporaries such as Dream State while also leaning on their Y2K alternative heroes like Paramore, with Demi Broadhead’s confident vocals taking the lead over a bedrock of distorted guitar chugs, tasteful, screamed backing vocals and stomping percussion. While countless acts pull from the same pool of influences, Hell Hotel use tracks like ‘promises.’ to stand tall with their blend of vintage aggression and clean, cutting edge production. – Tom Bruce
Written about “that moment you catch yourself realising, ‘Wow, I’ve totally lost who I am because I was so focused on saving someone else.’ It’s about that draining cycle of giving and giving in a toxic relationship until your own needs just don’t exist anymore,” as vocalist Azaria Nasiri explains, Seven Blood’s latest single is about walking away from a bad relationship and becoming your own person again. It’s a towering alt metal anthem that’s built on softer, 808 drums in its verses and hard-hitting melodies that recall better times in its choruses. Their debut album Life Is Just A Phase drops 21 November independently, and might be one to watch for fans of Future Palace, As Everything Unfolds or Conquer Divide. – Will Marshall
Remember Despised Icon? Early adopters and part-pioneers of what was once the burgeoning deathcore scene, they’ve at last unveiled their first album since 2019’s Purgatory in the form of Shadow Work, out 31 October on Nuclear Blast. The Quebecois quintet’s latest single, ‘Death Of An Artist’ is a frantic, blistering assault of blasts and duelling vocals as has been their hallmark for 20+ years now. It’s a no-nonsense callback to when deathcore bands didn’t overstuff their songs with MIDI orchestras, layered vocals impossible to reproduce by one person and instead focuses on what the genre did so well. Searing guitar leads, furious screams and gutturals, and being catchy as well as obscenely heavy. Welcome back, legends. – Will Marshall
Proving again that they are no strangers to experimentation, AFI release their second single ‘Holy Visions’ taken from long-awaited new album Silver Bleeds the Black Sun released next month. This track is significantly more fast-paced than previous single ‘Behind The Clock’ and is more akin to frontman Davey Havok and guitarist Jade Puget’s side project Blaqk Audio due to the more moodier gothic rock and post-punk feel to the track. The shimmering guitars and prominent bass provide an interesting soundscape to Havok’s lower register and the reverb and operatic style of backing vocals also provide Sing The Sorrow-style drama and is further proof that AFI can pull off multiple genres over the course of their thirty-plus years as a group. – Ez Luscombe
Emo metallers and progressive post-hardcore greats Coheed and Cambria return with another three minute banger that ironically has one of the longest titles out of their thirty-year discography. Never afraid to step out of the box and challenge what other other artists in the genre are doing, the New York quartet provide the listener with three minutes of catchy, power-pop and pop-punk with killer hooks aplenty, Claudio Sanchez’s clever yet heartfelt lyricism and intricate riffs, and a chorus that will get stuck in your head for days, it’s always interesting to see what musical direction Coheed and Cambria will head next. – Ez Luscombe
Arguably the kings of modern deathcore right now, Fit For An Autopsy have wasted no time releasing new music since their stunning The Nothing That Is last year. A standalone track, ‘It Comes For You’ is one of the most intense, staggeringly heavy tracks the band have made in years. A hundred miles an hour from the off, the lethal combination of guitarist Will Putney’s production, scathing drums and some of the best musicianship in the game has the band sounding bigger than ever. A track about remaining intolerant of the seemingly inevitable encroach of authoritarian rule, an air of rebellion runs throughout this call to arms, it ends on a squealing, thunderous breakdown that will have you making one of your stinkiest faces of the year so far. – Chris Earl
Terzij de Horde is just weeks away from releasing their brand-new album, Our Breath Is Not Ours Alone through Church Road Records. To build excitement, they have released a new single titled ‘The All-Consuming Work of the Soul’s Foreclosing’. This track showcases black metal at its finest, with elements of hardcore and lyrics that express reflection, catharsis, and unfiltered rage toward a society that feels increasingly inadequate. Vocalist Joost Vervoort explains that the song tackles “this gigantic outpouring of effort to close off the soul and instrumentalize life.” Both visceral and hopeful, this new gem from the Utrecht-based quintet brings everything we can expect from the current black metal scene: fast riffs, engaging lyrics, impeccable breakdowns, and thunderous blast beats. – Nessie Spencer
Once shunned by critics for perhaps taking themselves too seriously, Limp Bizkit have successfully rebranded themselves as a nostalgia act and in the process have continued to gain a loyal following across multiple generations. ‘Making Love to Morgan Wallen’ is another good example of the band not taking themselves too seriously and with Fred Durst’s tongue-in-cheek lyrical wordplay, the classic ‘hey ladies, hey fellas’ refrain, combined with DJ Lethal’s nostalgic and rhythmic turntable work; ‘’Making Love to Morgan Wallen’ is another stellar example of a legacy act still pumping out danceable yet humorous bangers. – Ez Luscombe
Direlands have released their brand new single ‘Iron God’, a song oozing with southern groove, blistering drums, rampaging riffs and grimacing vocals. Hailing from Houston, Texas, Direlands take the tropes of groove metal, doom and sludge and meld them together to create a truly distinctive and explosive sound. Formed by guitarist Troy Binegar and vocalist Jarett Dureell, and joined by bassist Austin Clark and drummer Tom Heyman, the quartet lean into a riff-driven heavy metal sound that has all the makings of nostalgic groove metal. The vocal range from Jarett Dureel is impressive from gritty growls to melodious bellows and boasts dexterity in how these styles are utilised throughout the song. Gang style vocals, a sleazy solo, changing time signatures and sections of rampaging and mauling riffs/drums. ‘Iron God’ has it all. The band will be releasing their new album ‘Altars’, sometime in the near future and describe it as the soundtrack to the end of days—and the fight to rise beyond it. – Jac Holloway
Captivating audiences with their latest musical accompaniment to the internal battles with the unhealed version of themselves; the Berlin native alt metal trio Future Palace, seek a divine intervention for their latest psychological warscape-esque single ‘Cyclone’. Acting as Future Palace’s most recent take on mental health, growing while healing and ridding themselves of toxic influences in the search for inner and outer peace; ‘Cyclone’ is the sonic embodiment of the work and dedication it takes to process existential trauma and keep up the distance between your current self and the part of you you’re in need of leaving behind. With the band currently working their way across North America for the final leg of their Distortion tour with Hawk and Half Me, hope for another UK spot on their gruelling tour regiment has begun to grow with this rumble of a new era only just beginning to take form. – Bennie Osborne
Dominating the heavy electro-rock sphere with a steady stream of inner monologues, poised to capture the generation of catharsis chasers; the Burnley native alternative Singer-Songwriter Cody Frost, details the complexity’s of dark optimism with their seething mask crutch single ‘SOMETIMESICAN’TFEELATHING’. Echoing fast paced Alice Glass, Enter Shikari with touches of The Prodigy, this latest single flourishes in its sonic discordance, as the lyrics flutter between substance reliance, insatiable empowerment and potent emptiness. Acting as the third single since the release of their second extended play ANATOMY, this latest eras worth of audible vignettes seek the unburdening of emotional turbulence, while perfectly balancing the pop and heavy soundscapes to satisfy any slam dancers who enthusiastically throw themselves into the pit. Speaking of the pit, fans would be wise to properly prepare for the possible pandemonium Frost has in store for their upcoming show at the Courtyard Theatre in London on October 18th. Tickets on sale this Tuesday at 10am. – Bennie Osborne
Delivering their first sonic powder keg since the release of their first extended play – Surrender, back in March; the City of Angels based American-Egyptian Gothic NuMetal confessionist Amira Elfeky, delves into the haunting toxicity of addictive romanticism for their latest single ‘Hold Onto Me’. Never one to claim genre loyalty, Elfeky’s latest addition to their discography marks a clear investment in experimental stylings, combining heavier metal and alternative rock influences with the likes of drum and bass touches elevating her poeticised lyrical devastations. Having been announced as joining the rosters of Bring Me The Horizon’s USA Ascension Program (Part 01) as well as Thornhill’s Bodies Australian Headline Tour early next year, all our hope is currently being funnelled into a potential stop off in the British isles sometime within the next year. – Bennie Osborne
The Devil Wears Prada are stalwarts of the American metalcore scene, their early albums and Zombie EP setting a blueprint many iterated on. Now, they’ve continued to shapeshift over the years and ‘So Low’, taken from upcoming album Flowers, delves into anthemic rock choruses from guitarist/co-vocalist Jeremy DePoyster and acerbic screams from vocalist Mike Hranica. It sits as a calmer antidote to some of the heavier singles so far, hinting at a nicely diverse upcoming album. About the song, Hranica explains, “To me, ‘So Low’ is almost fighting the mundane, when everything feels flat or meaningless. You just want to set it all on fire and blow it up to get a reaction. It’s about chasing that rush, even if it leaves you feeling worse in the end. The song comes from that place of frustration, when you’re desperate to feel alive no matter the cost.” – Will Marshall