Sleemo – Bleeding
Noizzefest alumni Sleemo successfully find a sweet spot in dynamics between sludge metal and post-hardcore on their newest single ‘Bleeding’. A track whose beefy tones and hefty breakdowns shelter a call for help, shedding light on the self-destructive tendencies of isolating oneself instead of reaching out in times of need, purely out of ego. While ‘Bleeding’ aptly manages to be in equal parts crushingly heavy and easily accessible with the alt-rock and post-hardcore sensibilities brought on by the cleaner vocals and guitar work, it does hint at the band veering into even heavier territory than before, putting emphasis on the gnarlier elements of their sound; be it via the harsh vocals, bludgeoning tones or the songwriting itself. If ‘Bleeding’ announces the start of Sleemo getting more comfortable and confident with their sound and where they want to take it next, then there is much to look forwards to. – Avrian O’Brien
Gideon – Wrong One
The cowboy hat-wielding metalcore chuggers Gideon have dropped their second track since signing to Sumerian Records. ‘Wrong One’ contains all of the hallmarks of Gideon‘s career so far, hefty grooves, powerful vocals and almighty breakdowns that serve to make you yeehaw in delight as you punch your drywall. With the fantastic reception to the last album clearly still in their mind, they’ve not changed things up too much but if their next record is refining their formula, then it spells good news for the band’s fans. Get your two stepping boots on for this new era of Gideon. – Chris Earl
The Format – Holy Roller
With the announcement for their upcoming January album Boycott Heaven, Arizona indie, emo, and power pop duo The Format return with their long-awaited first project since 2007 after the success of frontman Nate Ruess’s last project Fun and guitarist/multi instrumentalist Sam Means’ shift to music for film. First single ‘Holy Roller’ is three and a half minutes of catchy pop-punk that showcases Ruess’ impressive and varied vocal range with soaring highs and emotive lows, and Means’ poppy, yet endearingly fuzzy guitar work that darkens in tone during the bridge makes ‘Holy Roller’ another standout from The Format’s interesting choices in lead singles. – Ez Luscombe
Joyce Manor – Well, Whatever It Was
A lot of mid 2010s emo and pop-punk have stayed loyal to one particular genre and sound throughout their careers, but certainly not Joyce Manor. Starting their career as an emo band and flirting with a more indie and jangle-pop sound on August single ‘All My Friends Are So Depressed’, Joyce Manor take inspiration from the arguably golden era of pop-punk of the 90s and 2000s on latest single ‘Well, Whatever It Was’ with matter-of-fact lyrics expressing the mundane day-to-day reality of modern life and the ability to see the positive in stressful situations. The bright, poppy guitar chords alongside cheerful backing vocals and Weezer-esque harmonies will surely put a smile on your face when walking to work, or as the lyrics state; getting run over by your dream car. – Ez Luscombe
Oso Oso – Bad News
Starting as the one-man project of Long Beach native Jade Lilitri, midwest emo and indie rock project Oso Oso takes his eclectic blend of alternative genres in a more lo-fi and shoegaze inspired direction on latest single ‘Bad News’. As a contribution to the Cosmic Debris Vol 2 compilation alongside Origami Angel and Prince Daddy & The Hyena among others, the mellow guitars and laid back vocals paint a stark picture of a narrator second guessing themselves in a relationship. With upcoming shows in London and Bristol alongside 2010s emo icons such as The Hotelier, Tigers Jaw, and Joyce Manor, ‘Bad News’ will surely be a crowd favourite due to the mellow tone of the track, alongside the sheer variety of Oso Oso’s multiple EPs and albums. – Ez Luscombe
Spanish Love Songs – Cocaine & Lexapro (feat. Kevin Devine) / Berlin (feat. Tigers Jaw)
The world’s most emotionally depressing yet spiritually uplifting band are back with a double single each featuring good friends and emo scene staples. One half of their upcoming EP A Brief Intermission in the Flattening of Time – released November 21st via Pure Noise, these two tracks serve as a continuation of the synth-speckled manoeuvrers that defined their wonderful 2023 record No Joy. Whilst ‘Cocaine & Lexapro’ stands as somewhat of an age weathered sequel to the adolescent energy of 2018’s ‘Beer & Nyquil’ that addresses how the fears and frustrations of our youth only trail us into adulthood, ‘Berlin’ is a still, ponderous track that harkens thoughts of the quietness that defined the band’s acoustic No Joy Sessions. Regardless, both tracks are wonderfully heart wrenching, with Kevin Devine and Tigers Jaw only further lifting the songs they respectfully appear on. – Dan Hillier
Thou – Suck (Nine Inch Nails cover)
Thou hath doneth it again with a new, fantastic cover of Nine Inch Nails’ underrated gem, ‘Suck’, from their 1992 EP Broken. While this version leans closer to Pigface’s raw original from the previous year, it’s hard to say that it really matters at this point, because you know Thou will always deliver quality covers. And this new rendition of ‘Suck’ is no exception, as it is just as gritty, gnarly, and abrasive as the Pigface or Nine Inch Nails versions. Thou have managed to capture perfectly the essence of the song with distorted guitars, obnoxious bass, and heavy drums. The Baton Rouge quintet is one of the dozen bands invited to participate in a double-LP redux series dedicated to Nine Inch Nails, which includes a best-of compilation and a Downward Spiral tribute album, available on all platforms on 28th November via Magnetic Eye Records. – Nessie Spencer
Lake Malice – Nobody Wants To Be You
Brighton alt metal/hyperpop metalcore outfit Lake Malice are on a tear at the moment; a riotous summer festival run, tours with Enter Shikari ongoing and one with Hanabie. coming up. It made sense to drop a new banger – one fans who’ve been to shows will already be familiar with, and it’s a welcome addition to their recorded catalogue. ‘Nobody Wants To Be You’ takes some visual cues from Charli xcx in its video, while the song itself is a vicious takedown of nepotism, mostly in the music industry but applicable to many walks of life. Produced by guitarist Blake Cornwall alongside As Everything Unfolds‘ Jon Cass with mixing by Carl Bown, you already know it sounds huge, the electronic elements a raucous, in-your-face backdrop to Alice Guala’s voice swapping effortlessly between guttural fury and anthemic melody. Triumphant, excoriating stuff from one of the UK’s best upcoming bands. – Will Marshall
False Reality – Mirror
The final single ahead of their debut album Faded Intentions landing 14 November via Hassle Records, ‘Mirror’ sees False Reality once more imbuing their ferocious crossover hardcore with grunge to hypnotic effect. Taking aim at duplicitousness and fakery, it’s a furious assault that doesn’t forget to breathe. Those grungier elements add a welcome spaciousness to the track before it slams back in, making the two-step riffs and bark from vocalist Rachel Rigby all the more powerful. From one of the most explosive live acts in London hardcore, the recent singles have shown False Reality to be far more ambitious in their sonic scope, which makes Faded Intentions a tantalising prospect indeed. – Will Marshall
MØL – Garland
Danish blackgazers MØL showed how well they could marry melody and acerbic heaviness with 2021’s Diorama, and they’ve expanded their palette even further with ‘Garland’, the first taste of their impending third album Dreamcrush out 30 January 2026 via Nuclear Blast. Vocalist Kim Song Sternkopf embraces and explores his baritone croon like never before, a sorrowful melody winding through its verses before the choruses crash in. Those choruses are stunning, high screams not so much tugging as tearing at heartstrings as gorgeous guitar melodies suffuse the song. It’s still heavy, of course; blast beats make an appearance, the band showing that they can get softer and embrace even more shoegaze and alt rock sounds without losing an iota of their transcendent, beauty and crushing heaviness. If ‘Garland’ is anything to go by, Dreamcrush might just be their finest hour. – Will Marshall
South Arcade – Drive Myself Home
Miss the era of 2000s pop rock? South Arcade have got you covered. Alongside announcing their new EP Play! they’ve unveiled its lead single ‘Drive Myself Home’, and it delivers on those promises as well as embracing various effects including vocal distortion and pitch-shifting. It keeps the song nostalgic, while still ensuring it’s modern sounding with its production choices alongside the Y2K aesthetic the band have cultivated. There’s catchy riffs, ear worm choruses and suffused with an irrepressible energy that’s catapulted the band to viral social media and live success. If you loved Avril Lavigne and that era, you’ll love South Arcade. – Will Marshall
Adults – Flag
It’s spooky season, and what’s more terrifying than our ever-worsening nationwide housing crisis? Taken from their upcoming record The Seeds We Sow Are Sprouting Buds Nonetheless (releasing October 31st via Fika Recordings) and harkening thoughts of the likes of Martha and Me Rex, ‘flag’ sees noise indie punks adults poetically documenting just how broken the housing market has become in this era of late stage capitalism. Much akin to the two acts aforementioned,’flag’ is one of those tracks that wondrously channels fury though a sound that’s pacifying and serves as crucial listening to those disenfranchised with the sorry state of this country as of late. – Dan Hillier
Spite – Looking Glass
The bug eyed, bulging neck vein deathcore of Spite has been a highlight of the genre over the last few years. Joining forces with past tour buddies and likeminded aggressors in Boundaries, the third single from their upcoming New World Killer record, ‘Looking Glass’ sees vocalist Darius Tehrani dealing with the anger and grief he holds over the passing of his father. The combined might of Darius and Matt McDougal bring a level of fierce, emotional heft to the track, both possessing distinct, mighty voices that stop the track becoming another deathcore collaboration. It may not be as intense in a “grab your throat and twist” way that Spite fans might be accustomed too, but it’s definitely a smack in the face on an emotional level. – Chris Earl