A.A. Williams – Wolves
A.A.Williams captures gut-wrenching, unattainable yearning in forlorn new single ‘Wolves’. Perfectly suited for winter’s coldest days and darker nights, Williams‘ lamenting voice and brooding post-rock guitar arrangements act as the last remaining embers providing meager warmth in the midst of a barren snowy landscape, keeping the circling wolves at bay. But the fire is fading and the inability to let go bares its teeth and promises naught but cold, desperate isolation. A.A.Williams is currently on tour throughout the UK and Europe, warming or crushing hearts along the way with her sorrowful doom-tinged post-rock. – Avrian O’Brien
Chat Pile – Masks / Sifting (Nirvana cover)
“When Oklahoma meets Sub Pop Rock City”, is the best way to describe the brand new singles from Chat Pile – the protest song ‘Masks’ and their rendition of ‘Sifting’, a criminally underrated Nirvana song off their debut album, Bleach. This double-whammy of a release couldn’t have come at a better time, especially if you have a soft spot for the golden age of grunge music. Chat Pile‘s version of ‘Sifting’ is simply exceptional, not only because they managed to capture the raw essence of the original, but also because they make it sound very much like Chat Pile. As for ‘Masks’, it has the urgency, the anger, and the sardonicism we all feel right now when we look at the news coming from the other side of the pond. Gritty riffs, cohesive rhythms and goofball attitude on stage, as anyone who’s ever seen them live or listened to God’s Country and Cool World can attest, these two singles are not only necessary but also galvanising. – Nessie Spencer
Delilah Bon – Illegal Aliens
2026 feels like it could be a stand up and shout moment for Delilah Bon, an artist known for fighting for causes they believe in. In the wake of their cancelled US tour, the timely release of ‘Illegal Aliens’ takes the opportunity to protest against injustices and provide a voice for those struggling to find their own. It bristles with anger and passion throughout, the rapid pace and resonance of the song leaving little time to breathe, but plenty of time to stop and think. As a track it feels both empathic and anthemic, it presents a power in Bon‘s lyrics amplifying over a subdued instrumental that has her words ringing in your ears long after the song is over. For Bon fans, this is a song that marches to the beat of its own drum, for newcomers it provides an outlet for change. – Sean Jolly
mclusky – i know computer
There was some concern that after the release of last year’s the world is still here and so are we it would take another decade or two for us to hear another record from mclusky. Thankfully, this isn’t the case. Taken from the band’s freshly announced mini-album i sure am getting sick of this bowling alley – released May 1st via Ipecac Recordings – ‘i know computer’ feels like mclusky making up for lost time in the most mclusky way possible. Bound by the most punchy of basslines and the most sardonic of lyrics, ‘i know computer’ is once again two minutes of sarcastic noise rock that refuses to comply with popular music convention. It’s utterly brilliant, and the sound of a band releasing another music not just to appease fans worried about waiting years for new music, but purely for the love of the genre. – Dan Hillier
Mutant-Thoughts – Inner Prison
Returning with a fresh lineup and their first new material in over 3 years, Bristol based electro-prog duo Mutant-Thoughts deliver a memorable blast of eclectic synth-led pop on their latest single ‘Inner Prison’. Fans of the more accessible work of The Mars Volta or the weirder end of Radiohead’s catalogue will feel right at home on ‘Inner Prison’ with its pulsating electronics and frontman Han Luis Cera’s restrained yet enticing vocal style. Ready to make their mark on the UK’s experimental music scene once again with their upcoming album MAKESHIFT_DNA, ‘Inner Prison’ is a reminder of Mutant-Thoughts’ ability to craft a single that’s equally bizarre and catchy. – Tom Bruce
Koyo – Irreversible
Koyo‘s debut Would You Miss It? made waves for all the right reasons, its unashamed heart-on-sleeve melodic hardcore packed full of emotion and earworm hooks. ‘Irreversible’ is the first taste of their second album, Barely Here, set for release 8th May via Pure Noise and it’s exactly what fans will love about the band. That blend of heavier pop punk/easycore and their hardcore roots shines, the band themselves explaining that rather than their second album being a chance to explore new pastures, they opted to make it “a snapshot of what our band is in its most no-frills, perfected form”, as vocalist Joey Chiaramonte puts it. – Will Marshall
Armed For Apocalypse – Fists Like Feathers
For their debut on Church Road Records, cult post metallers Armed For Apocalypse have truly brought out the big guns. Lead single ‘Fists Like Feathers’ is a delirious, pummelling affair with enough heft to crack continents. Not that that’s what they’d want – the title of their fourth album, The Earth Is Breathing Beneath Me, is an acknowledgement of our living world that we’re just passengers on. You’d be forgiven for thinking there’s no sense of wonder, though; ‘Fists Like Feathers’ roils and heaves throughout its four minutes, but the band promise that the album itself will have at least a little optimism to go with the bleak catharsis they’ve more than hinted at here. – Will Marshall
Matador – Glitter Skin
Matador‘s second single ‘Glitter Skin’ is pure fuzz-galore, doomgazers and post-metallers akin rejoice. Straddling the line between post-metal, doom, post-rock and prog, Matador have plenty to offer to fans of sprawling epic metal compositions of the “post” variety where the riff is king and textured atmosphere is key. According to the band, ‘Glitter Skin’ is one of the more vocal-forwards tracks on their upcoming album Above, Below and So, out 27th February via Church Road Records. Psychonaut and The Ocean fans in particular are sure to enjoy the way in which the vocals act as highlights of key compositional moments written for maximum impact and the dynamic shifts between introspective cleans and powerhouse belted shrieks when the roof comes off. Certain to get the crowd moving and talking later this summer at Arctangent festival, don’t miss out on Matador. – Avrian O’Brien
Exploring Birdsong – 42
Ever had the feeling the universe is sending you message? Like you’re seeing seen certain symbols, numbers or phrases repeating everywhere you go? Then the new single from Exploring Birdsong might be for you. A song on the nature of confirmation basis and paranoia, ‘42’ see’s the alt-pop trio documenting just how chance encounters can trigger a mental health crisis and thoughts of conspiracy. However, despite the hefty subject matter, ‘42’ is a punchy and fun song that mares the band’s delicate approach to piano-led alt-rock with a newfound focus on immediateness. – Dan Hillier
fakeyourdeath – Shapeshifter
Lifted from the band’s upcoming EP (NON)ENTITY – released March 13th – ‘Shapeshifter’ see’s fakeyourdeath doing what they do best; making music to shake one’s rump to and for whilst delivering an elbow to the person stood next to them. In true fakeyourdeath fashion, this is dirty electronica and industrial laced post-hardcore from a band that clearly has a genuine need to create music that’s both personal and provocative. In an age where a lot of music of this genre is satanised and sterile, this is both genuine and needed. – Dan Hillier
Good Tiger – When Death First Appeared
Good Tiger‘s second single ‘When Death First Appeared’ makes full use of vocalist Eliott Coleman’s higher register in a subtle and subdued context rather than being a bombastic show of vocal theatrics, also displaying great harmonic arrangements. Driven by Matt Halpern’s dextrous and steady mastery of the kit and embellished by guitarist Derya Nagle’s glistening chord progressions, Good Tiger deliver another earworm when the chorus hits, made all the more effective with Adam “Nolly” Getgood’s engineering. ‘When Death First Appeared’ continues the pre-established theme of retrospective reflection and underlines musicianship as being the only solid anchor in the tumultuous sea of passing time. The Most Negative Day Of The Year releases 20th February via 3dot Recordings. – Avrian O’Brien
Sylosis – Lacerations
Sylosis’ Lacerations doesn’t kick the door down so much as step inside with total confidence, comfortable in the space they’ve already earned. That sense of assurance runs through the entire track, from the tight, muscular riffing to the way the song never feels the need to overextend itself. Josh Middleton sounds controlled and commanding, delivering vocals with a restraint that makes the heavier moments hit harder. Everything here feels purposeful rather than flashy, heavy music written by a band who trust their instincts. Lacerations rewards the listeners that have been there since the beginning, with a sound that calls back to Edge of the Earth. It’s not a song built for reinvention, and it doesn’t need to be. It’s about Sylosis sounding sharp, focused, and completely at ease in the space they’ve carved out for themselves. – Vee Richardson
Atlas Theory – Hollywood
Post hardcore band Atlas Theory are back with their new single ‘Hollywood’. The band have been working behind the scenes to craft and hone their sound and it shows. Crunching guitars, beautiful lead melodies and a soaring chorus all pave the way for vocalist Eve Jones to flex and explore their range with confidence. Whilst Atlas Theory have always dished out bangers, there is something about ‘Hollywood’ that feels more refined and polished. There is brilliance in its smaller details too with the use of acoustic guitar, variance on vocal melodies and a fun bridge section that shows the band are taking leaps forward in their production too. If Underoath and Static Dress had a lovechild it would probably something a little something like this. – Jac Holloway