A-Tota-So – Form of Mass
It’s getting increasingly difficult to remain hopeful in times like this, isn’t it? Still, a desperate sense of optimism is the only thing we seem to have right now, and such is the theme of the new single from A-Tota-So. Bound by the band’s signature bendy riffs and propelled by a sense of hope that’s seemingly at odds with our increasingly hostile world, ‘Form of Mass’ darkly captures both the desperation and dark surrealism that is trying to remain grounded in a world that’s close to spinning off its proverbial axis. “Form of Mass is about how the world feels like it’s falling apart around us right now and we’re all constantly waiting for things to change for the better but they never do, so we’re stuck in a never ending cycle of anxiety and stress because we can’t really do anything to change the way things are”, says Marty Toner. “We tried to keep this song as upbeat as possible, even with its negative connotations. Maybe someday things will get better and we’ll look back on these dark days and just think WTF was that?” – Dan Hillier
The Menzingers – Chance Encounters
Ask yourself if you’ve ever met someone who dislikes The Menzingers; we wager you haven’t. Zingers are one of the bands that are impossible not to at least like, and ‘Chance Encounters’ only affirms this band’s ceaselessly endearing nature. The latest track from Philadelphia’s finest and taken from their freshly announced new record Everything I Ever Saw – released 17th July via Epitaph – whilst this single may not see the band altering their long-established heartland punk rock sound, it does continue to showcase The Menzingers’ ability to channel emotion via a sound that’s earnest, rugged and effortlessly lovable. Much like every Menzingers song ever, this is going to be a massive sing-along live. – Dan Hillier
Pupil Slicer x Tayne – W.N.
Honestly, this is one of those collaborations that should have happened way sooner. Not that we’re complaining though; this collaboration is lethal. Containing the kind of pulsating synth riffs we’ve come to expect from Tayne, the uncompromising fatalism of Pupil Slicer and bound by the grim industrialism synonymous with both bands, ‘W.N’ feels like an organic and fluid amalgamation of the best qualities of both bands. Both honkin’ and lacerating in equal measure. – Dan Hillier
Devin Townsend – Home At Night
‘Home At Night’ finds Devin Townsend at this serious contemplative best, rounded out by an orchestral accompaniment that Hans Zimmer would be proud of. This is a bit of a strange one, as it seems like a transition song so will probably make more sense in the album as a whole. It definitely has a vibe of not being a full song, more a bridge, despite the deep theatrical background music. Still Devin rarely misses, and this track is no different, delicate guitar overlays slip in and out of existence whilst those well known vocal chops carry the rest of the song. This is masterfully put together, and shows just why he might be one of the best composer/ songwriters on the planet at the moment. – Rob Bown
Big|Brave – in grief or in hope
Montréal’s Big|Brave have compiled quite the discography in their nearly fifteen years as a band; covering everything from film scores to neo-folk to harsh noise across an impressive nine full-length albums. Their upcoming tenth, in grief or in hope, is preceded by their latest single, of the same name. Leaning more into the sort of harsh noise heard on 2021’s collaboration with The Body, ‘in grief or in hope’ weaves sparse lyricism amidst droning electronics and a wall of distorted guitar feedback. Minimalist in form yet maximalist in execution, Big|Brave perhaps encompass the grand scope of all they’ve created before, with one eye still on the future. Ever the artisans, it’s an alluring offering from one of Canada’s most sublime bands. – Niall Creane
A.A. Williams – Poison
Goth rock songstress A.A Williams is back with the latest serving from her forthcoming third album, Solstice. ‘Poison’ is a mesmeric tincture of doomy cinematic rock and it is oozing with moody atmosphere. Soporific pianos and glacial guitars provide the darkened backdrop for Williams‘ soaring vocals and the arrangement feels sharpened and honed to a deadly point. Fear is the overarching theme but it feels like Williams is ready to take on the future, free from its chains. Having garnered widespread acclaim for both her musical output and her spellbinding live shows and drawn the admiration of Robert Smith and Billy Corgan, 2026 looks set to be a blockbuster year for A.A. Williams. – Niall Creane
unpeople – clouds
Last year’s Noizzefest headliners unpeople are back with their first single since 2024, but it’s safe to say that ‘clouds’ is another banger that’s perfect for uplifting summer evenings. The London quartet do a stellar job at blending their signature stomping riffs with effective multi-part harmonies and a surprisingly aggressive breakdown with beautifully executed blastbeats as a treat. With a summer jam-packed full of festival appearances including Slam Dunk, Download’s main stage, and Radar Festival (amongst others throughout Europe) the future is incredibly bright for unpeople, and watching them blossom has been a pleasure to see. – Ez Luscombe
Koyo – You Hate Me
It’s not long before Long Island melodic hardcore/pop punk outfit Koyo release their second album Barely Here on 8th May via Pure Noise, but they’ve given one final single in the form of ‘You Hate Me’. Highlighting a knack for stuffing songs full of more hooks than a butcher’s, ‘You Hate Me’ bottles the sound of the summer, hanging out with your mates and a blast of nostalgia for simpler times. With 3 singles, they’ve honed in further on their blend of melodic punk and hardcore to refine the strengths of their debut Would You Miss It? and all signs point to Barely Here being the feel-good album of the summer to beat. – Will Marshall
Parasite Tongue – Gutterberg
Parasite Tongue are a brand new project featuring ex-Zelliack members Zack Ordway and vocalist Eliot Coleman (Good Tiger) laying down some checks notes black metal vocals? Usually known for crooning and belting in a progressive post-hardcore setting, Coleman unleashes his inner demon with gnarly efficiency to our surprise and delight on debut single ‘Gutterberg’. A track which presents the musical flexibility that appears to be the guiding line behind this new musical endeavor as ‘Gutterberg’ navigates between blistering blast beats, vocals that beg for an exorcism, glimmering poppy choruses and a modern progressive metalcore feel when it comes to guitars and production. Mixed and mastered by Adam “Nolly” Getgood and with a debut EP in the works later this year, Parasite Tongue have our attention with this first glimpse into their eclectic approach to contemporary heavy music. – Avrian O’Brien
Invent Animate – Fall Like Rain
Invent Animate refuse to settle for autopilot heaviness on ‘Fall Like Rain’. Instead, the track lurches between suffocating pressure and sudden release, like a panic attack trying to pass as composure. Guitars scrape and swell rather than simply chug, while the rhythm section keeps everything just slightly off-centre in the best possible way. When the chorus arrives, it doesn’t explode so much as unravel, exposing the song’s bruised core. Marcus Vik delivers every line like someone trying to outrun his own mind. ‘Fall Like Rain’ feels less like a single and more like a nervous system laid bare. – Vee Richardson
Periphery – Everyone Dies Alone
Periphery continue building up for their upcoming album – releasing 15th May – in a typically powerful manner with their second single ‘Everyone Dies Alone’. This single makes wonderful use of the sound that Periphery have become famous for, blending Spencer Sotelo’s incredibly powerful vocals with the energetic and technical instrumental parts to great effect. While ‘Everyone Dies Alone’ isn’t much new in terms of Periphery‘s discography, they definitely deliver the beautifully atmospheric soundscapes that we have come to expect from this band after Periphery IV and V. This is one of those singles where if you like the music Periphery have been putting out to date, you wont complain – it’s very Periphery. It’s not going to be turning the bands community on its head, but when a band is as big as Periphery already are, sticking to what you know isn’t necessarily a bad idea. Fans of the band won’t be disappointed with this new track and from what we’ve heard thus far, this is sure to continue on into the album. – Ben Hacking
Jim Ghedi – The Hungry Child
What’s old is new, and no one understands that better than Jim Ghedi. Fresh off the back of the excellent Wasteland album from last year, the Sheffield folk musician has dialled up the atmosphere and sense of dread on ‘The Hungry Child’. Based around a German poem from the 1800s, this tale of a child pleading for food before ultimately dying of his hunger is as fitting today as it was when it was written. Ghedi services this story with a deft artistry, building suspense through an ominous introduction before shattering through with apocalyptic heaviness that crosses almost into a post-metal sensibility rather than out and out folk music. The obvious comparisons point to the likes of Lankum and the various side projects thereof, however, Jim Ghedi finds his own way to further push the boundaries of dark folk music. Harrowing, and utterly captivating by every definition. – Kevin Ashburn
Harm – Standing On Our Necks / Amber Wave (feat Wiltwither)
Queen City post-hardcore quartet Harm have announced their return and third album As Age Begins To Shape Us. The proudly-independent band are releasing the record on 1st August, but have announced they’ll be releasing it in stages; the first being double single ‘Standing On Our Necks’ and ‘Amber Wave’. The former feels more like an intro, or scene setting, with layered, processed vocals standing alone. ‘Amber Wave’, by contrast, wastes no time it delivering a hefty riff to sink your teeth into, and the Wiltwither feature adds an extra dimension to their expansive post-hardcore. It’s an interesting, anthemic return from Harm and one that’s got us excited for part 2 of the album to drop. – Will Marshall
Honey Revenge – Run Your Mouth
Pop punk duo Honey Revenge are – by all accounts – preparing for their second album, even if they’ve not fully announced it yet, with starting to drip-feed singles out to the world. Latest outing ‘Run Your Mouth’ takes their penchant for sugary hooks and barbed lyricism as they take aim at platonic friendships that are ended by gossiping and badmouthing. As singer Devin Papadol explains, “Friend breakups hurt more than romantic ones and I’ll die on that hill. There’s nothing worse than finding out someone you were once so close with is running their mouth about you. ‘Run Your Mouth’ expands on the age-old experience of the rumor mill, and how much it hurts to be the topic of gossip. Sometimes the only real solution to being badmouthed is to tell everyone to shut up!” – Will Marshall
Big Truck – Central Reservation Blues
Starting out with huge Stone Roses-esque chords and a summery sing along vibe to the vocals, ‘Central Reservation Blues’ is a great opening to the better weather that’s currently gracing us. There’s nods to Stereophonics in there, with the big open guitar work, and the speaky sing song vocals lap lazily against the music like a low tide on a Brighton beach. The low fuzzy hum of the guitars is like a comforting blanket laid over your legs whilst you sip a beer in a rapidly cooling beer garden. This song isn’t one for generating discomfort, but it is one that should be gracing people’s garden party playlist up and down the country. – Rob Bown
Sans Froid – Go On
The second single to be taken from the band’s upcoming record Back Into the Womb – released 26th June via Church Road Records – ‘Go On’ sees Sans Froid doing what they do best; distilling the inherent madness of modern living into a sound that’s surrealist and unbearably catchy. Bound by the arresting soulful vocals of Aisling Trafford and driven by art rock groove most proggy indeed, whist this track may be more digestible than some of the more labyrinthine works on their previous record, it certainly does not mean Sans Froid are reigning in the weirdness. Rather, this track continues to see Sans Froid streamlining their sound without comprising on the inherent surrealism that defines this wonderful band as a creative entity. – Dan Hillier
The Xcerts – Pretty Ugly
Returning to the UK scene with a supersonic boom ahead of their sixth studio album i think i want to go home now; (which is set to release July of this year) Scottish alt-rockers The Xcerts‘ latest single ‘pretty ugly’ is a distorted slice of garage rock perfection with dynamic riffs aplenty and a memorable chorus set to Tom Heron’s ferociously precise drumming. They may not be newcomers of the scene anymore, but The Xcerts prove time and time again that their sheer dedication to heavy music is paying off yet again. – Ez Luscombe
Lost In Kyiv – Eclipse
French post rock stalwarts Lost in Kyiv offer up the second single from their keenly anticipated new album We’re All Going To Be Fine, which is set to be released this June. Having switched up the spelling of their name to better reflect what makes them feel comfortable as a band, the Parisians have spoken of this being a new era and a shift in creative direction towards a heavier sound for their fifth full length. ‘Eclipse’ is an expertly-constructed slice of energised post-rock goodness replete with driving guitars, drum swells, and uplifting instrumentation. Hot on the heels of groove-heavy lead single ‘Burst’, things are looking very bright indeed for Lost in Kyiv. – Pete Wall
Quicksand – Get To It / Regenerate
You don’t get a lot more seminal than New York’s Quicksand when it comes to the post-hardcore scene at large. Now on their second reunion and set to reduce grown adults to tears of nostalgia-soaked joy at this summer’s Outbreak, there’s never been a better time to get on board if you missed the bus/weren’t yet born when Slip and Manic Compression blew a hole in the scene back in the mid 90s. Having signed to Equal Vision and announced their fifth album Bring on the Psychics for release in July, Quicksand offer a tantalising taste of what’s to come with singles ‘Get To It’ and ‘Regenerate’. The former is a pounding, groovy banger that whacks you in the face with its urgency and intent. The latter is slightly more measured but no less thrilling in its vitality and instantly recognisable style. The summer can’t come soon enough. – Pete Wall
100 Demons – Meat For the Beast
It’s been well over twenty years but it’s been worth the wait. Connecticut’s 100 Demons are one of the greatest metalcore bands of all time and with only two albums under their belt, you know that they dare not tarnish that legacy. Thankfully ‘Meat For the Beast’ is an absolute smash of a song for their comeback. Capturing the essence of their sound in just under three minutes, it’s a sledgehammer of riffs and roared vocals which sets up Embrace The Black Light to not only be a fantastic comeback album, but one of the best of the year. – Chris Earl
VMBRA – A Man Walks In
VMBRA open the door to their upcoming album in stunning fashion with ‘A Man Walks In’. Across a seven minute rollercoaster ride, the band explore themes of amnesia through shifting progressive passages, dark gothic atmosphere, and razor-sharp musicianship, creating a track that constantly evolves without losing focus. There’s plenty of technical flair on display, but it never comes at the expense of impact, with each section flowing naturally into the next and every twist feeling purposeful. Richly layered, confidently performed, and packed with ideas, the track feels both expansive and immediate. As a first glimpse of what’s to come, ‘A Man Walks In’ sets the bar remarkably high for the album ahead and leaves a lasting impression. – Vee Richardson
Infected Dead – Organic Monolith
The latest track from Infected Dead seems to straddle the line somewhere between The Zenith Passage and Decapitated, opening proceedings with a killer mid tempo triplet riff, reinforced with percussive mid tempo vocals that are tasteful and disgusting in equal parts. The song is a well constructed romp through time worn death metal tropes, that definitely scratches the itch for that swampy mid tempo stuff, with tinges of melodic technicality scattered throughout just to remind us that Infected Dead have that in their locker too. The drums are nicely mixed, the pounding double kick ever present throughout, and the solos sit well in the track. This album might not be the biggest hit of the year, but it’s sure to impress those who dare to go looking. – Rob Bown