Cryptic Shift – Hexagonal Eyes (Diverity Trepaphymphaszym)
Cryptic Shift return with another seething psychedelic Astrodeath track to wet our whistles on these cold January days. It’s been a few years since the monolithic Visitations of Enceladus was released, and it seems the death thrashers haven’t rested on laurels in the mean time. If you thought that their musicality peaked then be prepared to be washed away in a tide of even more mind bending technicality. Of course the track is 10 minutes long, and the accompanying video is artfully retro in it’s vibe and execution, you’d be easily lead to believe this was some sort of pioneering metal from the early 90’s. This release is going to hotly anticipated as it should be, is it too early to start talking about a potential album of the year? – Rob Bown
Uncultivates – Every Day I Wake Up On the Bonnet of a Different Car
Irish cowboy metalcore? Tick that off your 2026 bingo card. Uncultivates have got this thing going on with mad riffs, huge vocals and a general vibe of fun whilst smashing your face in. They keep this trend going with their latest single ‘Every Day I Wake Up On The Bonnet Of A Different Car’. Title case aside, this is square dancing, Joe Rogan-hating, mathcore hootenanny in the vein of Converge and Every Time I Die. They’ve already got quite the touring record under their belts, but fully expect these whiskey swillers to be all over the map in the coming times, heck they kinda deserve it already with the quality of the music they’re putting out. – Rob Bown
Møl – CRUSH
‘CRUSH’ is definitely the operative word with this simmering slab of alt-metal. Møl seesaw between soaring Deftones esque melodies and seething slabs of all out obliteration, that are, as usual, perfectly poised and balanced to create a well rounded track that tickles all the neurons. “CRUSH” inhabits the liminal space between the mundane and chaos where beauty can often be found when you least expect it, and Møl use this to their advantage when they manage to bend blistering black metal lines into beautiful sweeping soundscapes, punctuated by the outright demonic vocals of Kim Song Sternkopf. The release is only a couple of weeks away so make sure to do your homework and prepare to be obliterated and cuddled in equal proportions. – Rob Bown
Converge – We Were Never the Same
Is it just us or do Converge just keep getting better over time? From the thrumming tension building bass line of the intro, to the stacked operatic string hits that sit comfortably under the guitar, and the blistering lead lines of the chorus, ‘We Were Never the Same’ sits easily in the higher echelons of metalcore produced in the last 10 or so years. Jacob Bannon’s vocals don’t seem to age, strained and visceral as ever, and Kurt Ballou’s gut smashing guitar work hits as if it’s 1999. To say the new record is anticipated is a grave understatement, and it should be if the two lead singles are anything to go by. Please tour the UK, please tour the UK, please tour the UK. – Rob Bown
Sylosis – Erased
Sylosis release their second single ‘Erased’ from their upcoming album, The New Flesh. Sylosis have cemented themselves as a dependable metal band, consistently releasing high quality, crowd pleasing music and this latest offering is not bucking that trend. Mixing clean vocals with low growls, they bring symphonic elements to this track, making it an easy listen. Sylosis stay a gateway band for anyone looking to be introduced to heavier music and are keeping their dedicated fans happy, simultaneously. – Cece Lawless
Bleeding Through – We Want the Truth (Sick Of It All cover)
A legendary metalcore band covering a legendary hardcore band? Sounds like a fun time doesn’t it? Orange County veterans Bleeding Through have put their own spin on one of NYC’s Sick of It All‘s best songs, ‘We Want The Truth’. Not a new recording by any means, this track has existed for nearly 20 years and was originally made for a Sick Of It All tribute record in 2007 (alongside a vinyl only release for The Truth) so its drop onto streaming services is a long time coming. Production wise, it harks back to the style from Bleeding Through‘s The Truth, sounding delightfully 00s and it’s done with enough love to be more than a curio, hopefully we’ll see the rest of the compilation surface soon. – Chris Earl
Filth Is Eternal – Stay Melted
Politically minded Seattle hardcore crew Filth Is Eternal have announced their third full length, coming hot on the heels of the scathing Find Out. Impossible World is out on the 17th of March and the band’s first statement of intent from the record is ‘Stay Melted’. A track aimed at the hypocrisy of the sadly rising christofascist movement in the US, sonically it’s a pissed off track driven by Lis DiAngelo’s vocals and side-to-side inducing drums. Not ones for shying away from political and hard hitting tracks, Filth Is Eternal show that you can create catchy, angry punk songs without resorting to veering into over reliance on breakdowns and indecipherable vocals. – Chris Earl
Poison The Well – Thoroughbreds
It was 17 years ago that metalcore pioneers Poison The Well released their last record. Since then, their influence and legend has seeped into the scene, causing clamour for a comeback for years. After some successful tours and live performances (Outbreak 2024 being a particularly memorable show) and a standalone single, they’ve finally announced their new record. Due out March 20th, Peace In Place looks set to continue the band’s trajectory from The Tropic Rot. The first single, ‘Thoroughbreds’ is a slab of, at its heart, metalcore but not as you know it. Odd melodies, a sense of dread and chaos lie in wait and an almost esoteric take on the genre show a band not willing to position their comeback on past glories, but to progress their sound in the way that they want to – Chris Earl
As Everything Unfolds – Gasoline
What a way to kick off 2026 for As Everything Unfolds. ‘Gasoline’ is the fourth single from newly-announced third album Did You Ask To Be Set Free? and it’s a high energy stomper. Barrelling out the gates, ‘Gasoline’ has all the hallmarks of a festival rager with glittering synth lines and driving drum work, not to mention a sky-scraping chorus that they make look effortless. Despite its bright sound, there’s a darkness at the core of DYATBSF? as it comes out of one of the most harrowing times of their lives as well as some of their biggest successes. One thing’s for sure; As Everything Unfolds are really cooking with gas(oline) on this one. – Will Marshall
Nessa Barrett – High On Heaven
Opening the emotional floodgates with a decidedly darker tone than the more sensual, experimental sophomore album AFTERCARE, Nessa Barrett is spoiling their dedicated fanbase early on in the year, with news of a newly released track, which seems to derive inspirations from their early darker indie pop adjacent sound, filled with toxic devotion, comparing romantic endeavours to the use of heroin. With a mix of soft rock era Lana Del Rey, the lull effect of Ethel Cain and Nessa’s much loved sugary sweet overtones swirling the electro pop drain, ‘High On Heaven’ is Nessa’s quintessential sonic novocain-like ode to an everlasting obsession with the fires of desire. – Bennie Osborne
Saint Agnes – Song For Mia
Kicking off 2026 with the second coming of infectious industrial scuzz is Saint Agnes’ latest single off of their upcoming third album Your God Fearing Days Are About To Begin. The band delayed the album from late October 2025 to the end of May this year, to allow breathing room for a potential string of unforgettable singles to flourish. Saint Agnes returns to the airwaves with a love letter to the nostalgia of a much loved teenage friendship on ‘Song For Mia’. In fusing their beloved dark elegance with a potent rawness, this latest passion project pommels the senses into a retrospective deluge, allowing fans the chance to reminisce their inner child’s experience of connection, all the while providing a safe space to break away from the troubles and toils of their everyday grind. – Bennie Osborne
Joyce Manor – I Know Where Mark Chen Lives
The third single from Californian emo and pop punk icons Joyce Manor’s upcoming January release I Used To Go To This Bar is another catchy, two minute track with a chorus that’s a hell of an earworm. ‘I Know Where Mark Chen Lives’ is also a deeply personal effort from Joyce Manor, with Mark Chen being a member of the bands Summer Vacation and Winter Break, who Joyce Manor released a split EP with in 2010 and the lyrics are a celebration of being young, reckless, and witnessing robberies at a weed dispensary as if it’s a wild west movie. Never change, Joyce Manor. – Ez Luscombe
Static Dress – human props
Static Dress have been combining the riffs and aesthetic values of mid 2000s alternative with modern glitchy goodness since 2019, and they return on American label Sumerian Records (Bad Omens, Poppy, Animals As Leaders) with an admirable cacophony of musical ideas and sounds on latest single ‘human props’. Combining a scream-along chorus made up of dual vocals with electronic drums, and frantic guitar riffs akin to At The Drive-In’s Relationship of Command, ‘human props’ is definitely worth three minutes of your time. Catch these guys on their current European tour with Paleface Swiss, you’ll have a great time. – Ez Luscombe
Me Rex – Angel Hammer
Returning with their first project since 2024’s Smilodon EP ahead of their tour in March alongside Happy Accidents, London and Brighton trio Me Rex return with introspective lyricism courtesy of lead singer Myles McCabe, swirling synth lines, and dynamic production choices on long-awaited comeback single ‘Angel Hammer’ whilst still not running away from their roots in indie rock and being forever loyal to their craft through the medium of musical experimentation. ‘Angel Hammer’ takes you through a journey in a series of short movements in four minutes, from the abnormal time signatures in the intro, to the minimalism of the bridge to the uplifting end, Me Rex’s commitment to experimentation is always admirable. – Ez Luscombe
Ronker – Snuff
Compared to other singles in ‘No Sweat’ and ‘Limelighter’ which are more akin to their “speed-noise” label, ‘Snuff’ is a somewhat darker, bleaker and slower burning piece. Written in a sober time of the creation of their incoming record Respect The Hustle, I Won’t Be Your Dog Forever, it tackles the challenge of substance abuse. The real pain purveyed through the song is amplified with an emotional build, spoken word becomes shrieked screams, brass and a post-rock guitar style backed by thunderous drumming adds and breaks tension and showing the true suffering around the topic. – Adam Vallely
Mariachi El Bronx – Bandoleros
“Mariachi music was recognized by UNESCO as Intangible Cultural Heritage of Humanity in 2011” states the accompanying video for the alter ego of Californian punks The Bronx. With it, Matt Caughthran and crew return to pay tribute to the genre with their fourth LP and after an absence of ten years in this form. ‘Bandoleros’ once again shows that music of the working classes, no matter what corner of the world they originate, can intertwine and be delivered with absolute class. The video, directed by Estevan Oriol, visualises the dedication to the craft with the band being fit for charro suits and an intimate performance. A beautifully shot piece well worth watching. – Adam Vallely
Matador – The House Always Wins
Taken from the band’s forthcoming record Above, Below and So – released February 27th via Church Road Records – ‘The House Always Wins’ is a brilliant slab of pure amplifier worship. An utter beast of a track that marries post metal, sludge, doom and just the slightest bit of prog in a way that feels effortless. Here, Matador weave hulking riffs and psych-tinged atmosphere to wonderful effect. Crucial listening for fans of Sumac, Bossk, The Ocean and others of their ilk. – Dan Hillier
Shelf Lives – frissioN
The sound of a youth spent smoking cheap illicit cigarettes behind the school’s bike sheds with a Motorola Razr in hand while your parents grapple with the 2008 financial crash, the new single from electro-bass punk duo Shelf Lives is a carefree and filthy track from a band that has been raised in an era characterised by ceaseless permacrisis. Sassy, sardonic and self-aware in equal measure, ‘frissioN’ is essentially a dance track tempered by hypernormality, a song that implores one to shake their ass in the face of the inevitable collapse. – Dan Hillier
Sweet Pill – Glow
The title track of Sweet Pill’s new record There’s Still A Glow – released March 13th on Hopeless Records – ‘Glow’ sees the Philly emo quartet documenting the nature of sleepwalking through life, and more importantly, how to regain control. With this track and related record as a whole written as a collective for the first time, ‘Glow’ feels like more than just a continuation of the band’s sound. Rather, Sweet Pill sound more focused, driven and vulnerable than ever before. Yes, it’s only January, but expect to see There’s Still A Glow in plenty of end of year lists come December should this song reflect the contents of the body of work it’s been taken from. – Dan Hillier
Gong – The Wonderment
With the world ever teetering on the cusp of total oblivion, the temptation to escape to more pleasant pastures cannot be denied. Thankfully, Gong are to here to whisk us away to a world of celestial dreamscapes with their latest single ‘The Wonderment’. Gently lifted from the band’s forthcoming record Bright Spirit – released March 13th via Kscope – ‘The Wonderment’ is a spiritually soothing whirl of analogue synths, psychedelic progression and brilliant interplay that just instils a much required air of peace. A song that perfectly suits its given namesake. – Dan Hillier
Dune Rats – Sharks
Dune Rats – like their name less than subtly implies – have long been the scrappy, rambunctious types. After all, their career is pretty much defined by songs about getting right ‘on it’. ‘Sharks’ is a bit different though. Releasing at the height of Aussie summer, ‘Sharks’ is a sun-kissed and deeply earnest song that sees Dune Rats imploring listeners to go against the current of the norm in order to achieve their dreams. Like all songs from the trio, it’s instantly catchy, but one that sees the Aussie gang not just vulnerable, but surprisingly sober. – Dan Hillier
Humanity’s Last Breath – Godhood
What better time than the coldest, darkest days of the winter season for Sweden’s Humanity’s Last Breath to re-emerge with a brand new offering of abyssal chaos in the form of their latest single ‘Godhood’. Morphing, distended guitars blending with intricate, pulsating electronic sound design sonically exemplify the narrator’s metamorphosis into something beyond human. A process more painful than it is euphoric as showcased not only lyrically but by the piercing, pitched shrieks of guitars and the overwhelming yet afflicted demonic vocal delivery. Where a decent chunk of industrial or darkwave infused metalcore has already become predictable and redundant, Humanity’s Last Breath provide a brutally refreshing meeting point between dark electronica and extreme music as they continue to toy with the limits of their unmistakable dystopian sound. – Avrian O’Brien
Good Tiger – Decades On My Feet
2026 is already starting off with some surprise returns of bands believed inactive. Indeed, after having put out three records in rather quick succession, it was easy to believe Good Tiger had closed up shop after 2020’s Raised in a Doomsday Cult. However, new single ‘Decades on My Feet’ dusts away the cobwebs, greeting listeners with an enticing groove, an absolute earworm of a main riff motif and lush production. Vocalist Eliott Coleman (ex-Tesseract) is in top shape here and is quick to prove the last few years have taken away none of his signature suave and dramatic style as he croons and harmonises about standing firm in spite of the grievances of the passing of time. Good Tiger‘s fourth studio album The Most Negative Day Of The Year is set to be released on February 20th via 3Dot Recordings and also features Periphery‘s Matt Halpern on drumming duties. – Avrian O’Brien
Monosphere – Limbic
Germany’s underground and independent Monosphere continue the lead-up to the 13th March self-release of their third album Amnesia with latest single ‘Limbic’. Three minutes aren’t enough to showcase Monosphere‘s stylistical variety and ambitious vision and yet it is already enough for listeners to grasp why they can’t be so easily pigeonholed into either post metal or progressive metalcore. On ‘Limbic’ alone, one moment they could sound like old-school Silent Planet and the other like a blackened deathcore band before going full-on tech, nerdy prog on your ears. Having shared stages with legendary heavyweights in their respective genres, be it Between The Buried And Me, Rolo Tomassi or even Cradle Of Filth, it’s about time Monosphere got the level of recognition their work deserves. – Avrian O’Brien