Drain – Nights Like These
Drain have this knack of doing exactly what your brain requires at the right time. The new song ‘Nights Like These’ leans into big slamming thrash riffs interspersed with squealing pinch harmonic melodies and cutting technical sharp leads and it does so with the usual gusto that’s the bar for Drain releases now. It’s always mind boggling how hardcore bands manage to actually write a nice complete song and then compress the action into less than 2 minutes, but it’s no different here, there’s even a breakdown that’s slapped on to the end just to squeeze out that last bit of spin kicking, cart wheeling energy before the song finishes. – Rob Bown
La Dispute – Environmental Catastrophe Film
If it wasn’t already common knowledge, La Dispute further evidence that they are the true kings of story driven post punk on latest single ‘Environmental Catastrophe Film’. A 7 minute epic, it displays the classic trappings of the Michigan quintet, but pushes them further across its incredibly distinct three act structure. Jordan Dreyer is in the form of his life, creating that close almost whispered storytelling in the first act, before exploding into his inimitable pained howl while the band shape and evolve the melodies underneath. If this is anything to go by, La Dispute may be on to yet another modern classic. – Kevin Ashburn
The Armed – Kingbreaker
The last three The Armed records have, collectively, dissected what it means to be authentic as an artist in the modern age. Now, their recently-announced The Future Is Here And Everything Needs To Be Destroyed isn’t beholden to a pre-existing notion or conceptual arc. Tony Wolski explains, “It’s music for a statistically wealthy population that somehow can’t afford food or medicine—endlessly scrolling past vacation photos, gym selfies, and images of child amputees in the same feed. It reflects the dissociation required just to exist in that reality.” In other words, it’s another genre-obliterating thrill ride, and new single ‘Kingbreaker’ delivers just that. In a hair under two minutes, there’s vitriolic hardcore, laconic distorted singing, throat-tearing shrieks and a sense that they’re taking the “Everything Needs to Be Destroyed” very literally. Refract. – Will Marshall
Motion City Soundtrack – She Is Afraid
Crafting relatable power-pop and pop-punk bangers about the mundane aspects of modern life since 1997, Motion City Soundtrack return with the first single from long-awaited seventh album The Same Old Wasted Wonderful World and it’s a riffy, synth-laden slice of classic Motion City Soundtrack. Combined with frontman Justin Courtney Pierre’s trademark vocals, the mellow, texturally interesting middle-eight and the “i’m not trying to cause a scene, i’m just trying to understand” refrain, the instrumentals on this track create a believable background when considering the lyrical content of an obviously chaotic relationship that will surely hit a nerve with plenty of aging pop-punkers. – Ez Luscombe
Lakes – Trouble (Feat. Bennet Littlejohn)
The third and final track to be taken from their upcoming new record Slow Fade – releasing July 4th via Big Scary Monsters – ‘Trouble’ see’s Watford emo glockstars Lakes looking fondly back on the days of the early internet. Soothing and pacifying in thanks to it’s twinkly riffs, delectable glockenspiel and delightful Pedal Steel guitar curtsey of Hovvdy’s Bennet Littlejohn, the single wonderfully harkens those gilded days of youth where evenings were spent on MSN, chatting on message boards and ruining the family PC by downloading Linkin Park songs from Limewire. In true Lakes fashion, it’s irrefutably charming and endearing, and a wonderful reflection on the days before the internet was host to bots, algorithms and AI models that will one day make all of us ultimately redundant. – Dan Hillier
Gore. – Sepsis
The Texan trio have just made their first overseas appearances at Download and headlined Alyx Holcombe’s Mantra evening two days prior, also marking their first ever headline performance and first ever festival – not bad going for a band with a single EP to their name, plus the recently-released ‘Sepsis’. It speaks to just how good Gore. are, and ‘Sepsis’ takes them to a new level of heavy. Haley Roughton spits some of her most vitriolic, savage screams while the instruments bludgeon wantonly. Naturally, there’s a stunning chorus showing her range with vocal runs, shot through with vulnerability. It hits all the harder for the vitriol for the rest of the song. It’s sure to be an exciting 2025 for Gore. and you won’t want to miss out. – Will Marshall
Atlas – Anodyne
There have been, and continue to be many surface-level imitators of the “thall” style, eager to throw in their own little bendy riff and pitch-shifted chugs and call it a day. However, the Finnish “Northcore” outfit Atlas are part of those select few that distinguish themselves from the crowd of mere imitators. Of course, that is partly due to the fact that guitarist Tuomas Kurikka is a touring member for Humanity’s Last Breath and that Buster Odeholm is on production duties for them. But Atlas have truly carved out a niche for themselves with their brooding, ice cold mix of scandinavian-inspired accoustic folk and thall-infused metalcore. New single ‘Anodyne’ continues to perfect that unique formula in a slow-burn of a track that gnaws away like frostbite and takes over before you know it. The summer solstice may be upon us but Atlas will have you wishing you were bundled up in the warmest clothes you can get your hands on. – Avrian O’Brien
Dream Nails – This Is Water
A much needed respite from this suffocating heatwave, ‘This Is Water’ sees Dream Nails return with a playful look on the surrealism that’s inherent to modern living. Splashing in the kind of indie-punk inspired by The Pixies and the first track to feature bassist Mimi Jasson on vocal duties, ‘This Is Water’ is a mantric yet wholly spirited reflection on how each and every one of us are swimming along in the same sea yet totally immersed in our own personal bubble. It’s a wonderful little track, one that brilliantly uses the band’s established sense of playfulness to manage and address the surrealism that’s inherent to the message that floats the single along. – Dan Hillier
Revocation – Cronenberged (Feat. Jonny Davey)
Revocation, Job for a Cowboy and over the top body horror. You know it’s a good day when all these things coalesce into the latest offering from the madcap death thrashers. This new track has all the calling cards, thrash inspired high speed riffing, jazz riddled psychedelic leads, absolutely mental drumming and of course with the inclusion of Jonny Davey the vocals are delightfully demonic. There isn’t much new here, just the usual high quality death metal from Dave Davidson and the boys, but does it always need to be new? No, no it doesn’t this is more than enough to get you up off your feet breaking a sweat in the pit. – Rob Bown
Pig Pen – Venom Moon Rising
Looking at Pig Pen just from a glance, you’d shrug them off as an obscure country act. But hasn’t life taught us not to judge a book by its cover? If you get into the pen with the Canadian hardcore group, you’ll be treated to some of the most melodic and surprising noises that you’d never expect. Fronted by Matty Matheson, yes the restaurateur, and members of Alexisonfire & Dooms Children backing up the vocalist they’ve come together to show that they’re not to be taken lightly. Matheson’s vocals are throat gripping and with the razor-sharp guitars and pulsating drums, it’s a spin kick to the face you’re happy to take. – Liam True
Orbit Culture – Death Above Life
Following their stint at Download Festival and returning to the UK this October, Swedish melodic death metallers Orbit Culture have successfully brought their individual brand of death metal and groove metal to the masses due to extensive touring. With a haunting string and synth-led intro, second single ‘Death Above Life’ from their upcoming studio album of the same name is shaping up to be another cult classic within their discography. The metallic, almost industrial drumming has a certain ferocity to it, the guitars are used more as a rhythmic device which adds a more groove metal feel to the track, and Niklas Karlsson’s vocal delivery is relentless against a backdrop of arena-ready modern metal. – Ez Luscombe
The Hives – Paint A Picture
The Hives may not branch out much musically beyond their brand of fun, punchy, and punky garage rock but they have clearly found a formula that works for them after over thirty years since their formation in 1993. ‘Paint a Picture’ is another worthy addition to their extensive catalogue of fuzzy bangers with distorted riffs, biting and sarcastic lyrics, and even a time signature change all wrapped up in just under three minutes of memorable musicality and rock n roll showmanship. And as the second single from upcoming 2025 release The Hives Forever Forever The Hives, ‘Paint a Picture’ will surely be a welcome addition to their extensive live set lists. – Ez Luscombe
Nerves – Takes A Second
You know those few seconds where you can feel yourself slipping into the darkest rescissions of a mental crisis? Yeah, this what this sounds like. The second single to be lifted from Nerves’ forthcoming EP Iarmhaireacht, ‘Takes A Second’ is the musical equivalent of mental breakdown induced catatonia; it’s delirious, intense, anxiety-inducing and inconsolable. Shrieking electronics and wailing drone provide a backdrop that threatens to collapse anytime against the deranged vocal delivery of Kyle Thorton as they provide what feels to be a stream of consciousness fresh of a mind long damaged past the point of recovery. Needless to say, this is tense and uneasy listening in a way that’s genuine and intimate to an uncomfortable degree. – Dan Hillier
Paranoid Void – Expansion
Those who attended the And So I Watch You From Afar and Delta Sleep co-headliner late last year will no doubt be anticipating this. For those who missed that tour in which Paranoid Void supported, or still yet to be acquainted with this fantastic band, a brilliant discovery awaits. The latest single from the Japanese trio, ‘Expansion’ is a wonderfully airy and buoyant single that see’s the band, forgive the pun, expanding their math rock sound. Delicate and tightly controlled yet still dreamy, the track see’s Paranoid Void incorporating loops and elements of post-rock and electronic beats into their shimmering and once madcap sound to offer something truly refreshing and mentally nurturing. For those with even a passing interest in the band’s previous tour-mates aforementioned or lulling instrumentalism in general will find plenty to love here. – Dan Hillier
Faetooth – White Noise
If you’re looking for ethereal, tar-laden sludge then Faetooth have buckets of it for you on ‘White Noise’. The LA three-piece bely their origins by blocking out any sense of light with chugging riffs and spidery refrains that feel spun from the fabric of the universe, before nesting in your brain and completely taking over like an otherworldly parasite. The play off of vocal styles between Ari May and Jenna Garcia are at their peak of their powers, and the banshee wail will haunt the dreams of all who hear it. In a world where you feel like you know what you’re getting with a doom band, Faetooth come along and breathe a whole new life into the genre. – Kevin Ashburn
Castle Rat – Wizard
Castle Rat conjure fantastical realms by way of glorious, NWOBHM-inflected doom; the “fantasy doom” quintet left one hell of a mark with their UK shows earlier this year, and the follow up to their excellent debut album is on the way. Lead single ‘Wizard’ is taken from the upcoming The Bestiary and it illustrates precisely why the band have already become a staple of the international doom scene, with its galloping rhythms, duelling guitars and reverence for The Riff. Led by “The Rat Queen” (guitarist and vocalist Riley Pinkerton), she says of the new album, “The Bestiary is a conceptual book of beasts containing a collection of mystical creatures from a world forgotten. The last remaining souls of each have been gathered and preserved by ‘The Wizard.’ Cautionary tales of each beast and The Wizard himself are woven through the power of traditional heavy metal song and spell.” – Will Marshall
Between The Buried And Me – Things We Tell Ourselves in the Dark
Four years after the release of the sequel to 2007’s fan-favourite album Colors, North Carolina prog titans Between The Buried And Me announce their new upcoming album The Blue Nowhere, following changes in both line-up and label as the band have now moved from Sumerian Records to InsideOutMusic. Ever since 2016’s Coma Ecliptic, the band have been exploring the zanier and quirkier sides of their fusion style of prog metal more and more, but on single ‘Things We Tell Ourselves in the Dark’, BTBAM go all-out on the 80’s jazzy fusion funk as retro synths, percussive bass and tingly guitar licks take center stage. The track still offers more than enough bite to be categorized as metal although the merging of genres is done so smoothly, it’s easy to forget how things even started in the first place as the band invite listeners through the surreal liminal spaces of the new album’s conceptual space; a fictional motel where each door leads into different worlds and fragments of memories. The drums absolutely steal the show here while the bass is also much more noticeable in the mix compared to how it has been engineered on most previous releases, delighting listeners with irresistable groovy slapped bass lines and more acrobatic runs. The band have also shared that this is the first album they have recorded with a strings and horns ensemble, but for the time being, they are keeping this trick up their sleeves until the album comes out on September 12th. – Avrian O’Brien
Cryptopsy – Dead Eyes Replete
Flo Mounier is one of the most consistently earth shatteringly good drummers to walk this planet. The new track from his grimey band of death metallers is supported on this foundation of tight, fast and technical slapping of the skins. Although the guitar work has never really reached the heights of None So Vile, Cryptopsy’s latest incarnation does well to drag you kicking and screaming through four minutes of grinding, virtuoso metal that leaves you with the taste for more, hopefully the new album keeps this intensity up for it’s length. – Rob Bown
Martha – 1978, Smiling Politely
Now, technically, this isn’t a new single. But it rips so we’re including it anyway. The band’s first ever release remastered for their upcoming singles and B-sides compilation record Standing Where It All Began – released July 11th via Specialist Subject – this new version of ‘1978, Smiling Politely’ is either a wonderful trip down memory lane or a brilliant introduction to a wonderful band. Still resonating that endearingly rough and ready sound that made the 2012 version just so charming, this new version essentially feels like attestation of Martha’s unwavering standing and longevity within the UK indie punk scene. It may sound hyperbolic, but it would be genuinely be difficult to visualise the state of the current scene without this track or the songs that came following, and this will no doubt be a highlight of Martha’s set come their upcoming tour with Cheekface and Fresh this summer. – Dan Hillier
From Death – Vacant
If you’ve been keeping your ear close to the underground of UK metalcore, you’ll have found a new heavy hitter to the scene in From Death. The third single from the Newcastle based quintet, ‘Vacant’ shows they’re not just a flash in the pan. Keeping their momentum up from the previous two singles they’ve planted into our brains, the gritty vocals backed by the twirling melodies of the band create a violently cathartic offering that ends with an eye watering twelve second scream from vocalist Benjamin Smith. – Liam True
As Everything Unfolds – Set In Flow
It’s been a hot minute (albeit with extremely good reason) since we heard from post-hardcore/metalcore outfit As Everything Unfolds, but they’ve returned with a bang on brand-new single ‘Set In Flow’. It marks a huge milestone in their careers, as they also announced signing to legendary metal label Century Media for the next step in the band’s story. The song itself very much picks up where second album Ultraviolet left off, a drum line that wouldn’t be out of place in a Pendulum song driving relentlessly forward and Charlie Rolfe’s unmistakeable voice offering melodic lines as well as guttural roars. Visually and thematically there’s a clear Blade Runner influence too, Rolfe explaining “this song was written directly from the perspective of a replicant/non-human, starting off at the beginning of the song being told who/what they are: a carbon copy of another. Eventually we follow them wanting to distance themselves from what they were, slowly becoming confident and comfortable in their uniqueness learning how to be human, even reflecting on their previous existence in anger, being kept in the dark about their unique consciousness.” We’re extremely glad they’re back, and can’t wait for what comes next. – Will Marshall
Gnawing Hunger – Caligula
Birmingham born and bred, and formed in 2021, Gnawing Hunger have been on a slow but steady incline since their debut in 2022. But fast forward three years and they’ve got ‘Caligula’. Their second offering this year so far, but it’s not to be slept on. Fast paced drumming, rough guitar tones that could tear through a ship, symphonic elements and grisly vocals to boot show that Gnawing Hunger are here to stay and are getting stronger with each release. Keep your eyes and ears on them as they’re the West Midlands’ best kept secret. – Liam True
Mothica – Vices II
Celebrating five years since she released ‘Vices’, a track that dealt with how Mothica ultimately replaced one addiction with another while trying to get sober, she’s chronicled that time period into a reworking of the song. ‘Vices II’ retains much of the original including structure and melodies, but she works a new bridge that sums the time period up succinctly; another stint in rehab, but getting sober and playing shows again, rediscovering music and the release of performing and how that helps to connect with fans who’ve experienced similar. For those who saw her live recently, it also takes a heavier turn with the live band assembled alongside her that makes that message hit all the harder. – Will Marshall
Twenty One Pilots – The Contract
‘The Contract’ feels like a confident step forward for Twenty One Pilots while still nodding to everything that’s come before. It blends the rawness of their early work on Self Titled and Vessel with the polish of their newer sound from Scaled and Icy and Clancy, bringing together elements of hip-hop, rock, synth-pop, and even a bit of industrial edge. The production is tight but not overdone, and Tyler Joseph’s vocals shift in tone and intensity with purpose, leaning more into a rock style vocal than he has previously. It’s clear they’re pulling from every corner of their past without sounding recycled. If this is the direction they’re heading with Breach, it feels like a natural and exciting evolution. – Vee Richardson