CLT DRP – What Is She For?
Brighton’s danciest three-piece CLT DRP take aim at those who hold women and femme-presenting artists to unrealistic expectations on the spectacular new single ‘What Is She For?’. Despite being one of their simpler arrangements, ‘What Is She For?’ still has that signature CLT DRP bounce centred around Daphne Koskeridou’s disco punk hybrid drumming and Scott Reynolds continuing to make a guitar sound like literally any other instrument. Annie Dorrit continues to show why she is one of the most exciting talents in music with her inimitable, powerful vocal that turns chorus to rallying cry with effortless transition. Sure to be a new crowd favourite in the live environment, ‘What Is She For?’ is just the latest pure banger from a band that know how to do nothing else. – Kevin Ashburn
Sans Froid – The Exploiter of Art
Our favourite Bristolian oddities are back. Taken from their second LP Back Into The Womb – released 26th June via Church Road – ‘The Exploiter of Art’ is a rallying call against streaming services and the soulless bastards that profit off them. In true Sans Froid fashion, this is a boundless track that draws inspiration from the realms of jazz, prog and even soul in order present something truly bohemian. In an age where the music industry overculture seems to demand conformity, Sans Froid continue to be a crucial band. “The Exploiter of Art is mainly about how streaming has killed off any remaining respect that artists had for themselves, crowds and big bald idiots are reaping bare P instead”, say the band on the track. “Also, musicians have to sell their souls and market themselves as “content” for very little payoff, like droplets of dopamine here and there but if you stop doing it you’d probably die or something.” – Dan Hillier
Kulk – Ache
The new Kulk track runs at a not so lean 5-minutes long, but after listening to it, you might think otherwise. It’s so well put together that it blends into something that feels shorter and punchier than it actually is. Grinding guitars and feedback lead the track off, backed up with delicately placed orchestral strings, and towering slab like drums. This here is a track of anger and rage, but also catharsis, and sets up the upcoming release nicely, Kulk clearly have a well developed idea of what they want to do, and by gosh do they nail it. The darkness will loom large on the album, and we can’t wait for the night. – Rob Bown
Love Rarely – Severed
Leeds emo/math rock outfit Love Rarely are on the cusp of releasing their debut album Pain Travels via Big Scary Monsters on 10th April and they’ve now released ‘Severed’, what is presumably the final single from it. As has become their stock-in-trade, there’s technical, jangly guitar lines that entwine around vocalist CJ’s powerhouse voice that takes in vicious shrieks to emotionally fraught melody. Every track on the album charts their lives and is deeply personal; as the band explain, “Severed is an exploration of the emotions you feel when having to cut out an alcoholic and hostile family member. Even though they brought so much pain, the relief is also tied in with a dash of guilt that you couldn’t help them change. It ruminates on the positives that draw you in and the negatives that pushed you away.” – Will Marshall
Blood Command – Wet Death
Oh. Oh. OH. ‘Wet Death’. That’s the new single from Norwegian deathpop outfit Blood Command, and it’s as disturbingly fun as it sounds. With their fusion of pounding punk rhythms and tinkling synths, the deathpoppers force you down a rabbit hole into a pile of spit-roasting two steppers and launch you back out only once you’re sufficiently drenched in screaming whimsy. The layering of Nikki Brumen’s roars take on a paralysing, possessed quality – think Galadriel’s green-faced coming undone in The Fellowship of the Ring, but if she was wearing a two-piece tracksuit and backed by a grizzly set of bass lines. They’ve torn away the pop party and replaced it with a spiralling rage that wakes up the need to bounce. – Lucy Dunnet
False Reality – Sonder (Feat. Zand)
Now, is this really a brand new track? Not exactly; the original version of ‘Sonder’ was released last year. But there’s certainly new life breathed into this updated rendition. Originally a highlight of False Realty’s 2025 LP Faded Intentions, this new version of ‘Sonder’ sees the slow burning and caustic emotion of the track only being heightened by the crooning vocals of Zand. Whilst this may not be a total overhaul of the original track, there’s a genuine sense of chemistry between everyone’s favourite sewerstar and False Reality vocalist Rachel Rigby that lifts this track from its original foundations. – Dan Hillier
Fit For An Autopsy – The Wretch
We all know what’s coming when Fit for An Autopsy releases a new track. It’s going to be crushing, well produced, riff driven metal of the highest standard. ‘The Wretch’ doesn’t veer from this path, as the eerie leads fade into a slamming bass drop ridden riff, that disgustingly well produced sound is pushed to the forefront to pummel your frontal lobe into oblivion. Further choral hits add to the ghost like atmosphere, and it’s not long before you are sucked into the abyss with a big dirty breakdown, punctuated by the effervescent vocals of Joe Badolato. The song teeters back and forth juxtaposing the death metal leanings and the softer atmospheric sections creating a perfectly balanced piece. Hopefully the rest of what we assume is an upcoming album sounds like this, because it straight up slaps. – Rob Bown
Every Hell – Let Me Go
We love a bit of Every Hell. ‘Let Me Go’ just makes us love them even more. The group’s first output since becoming a five-piece, this new single sees the newly expanded outfit furthering their sound and tightening the bolts without losing their loose sound. It’s a total melee, one only made more ferocious with its prog and thrash lashings and flourishes of sax and synth. “Let Me Go was written in the summer of 2025, an initial idea brought to the rehearsal room that was a bit too proggy”, states Will Gardner. “We slowly tore it apart over a few weeks to make it more gnarly and dissonant, more aligned with the Every Hell vibe. Lyrically, Let Me Go is about being stuck in a loop of guilt and self-loathing until eventually giving in to depression and anxiety instead of fighting it. I think a lot of the time we fight really hard against deep and dark emotions instead of embracing them as part of being human and imperfect.” – Dan Hillier
Boundaries – Skies Cast Amber Black
Boundaries make their Sumerian Records debut on new single ‘Skies Cast Amber Black’. After their latest album Death Is Little More made significant waves in the scene on its 2024 release and was praised for its bruising levels of raw, visceral emotion and fearsome riffage, ‘Skies Cast Amber Black’ keeps the intensity levels up high with a focus on clobbering brutality and a healthy dose of panic chords for healthy balance. 2026 is proving to be a great year thus far for this specific niche of metallic hardcore that puts punishing heaviness and venom-filled emotional unravellings at its forefront, between the recent Varials release, Chamber right around the corner and now a new Boundaries LP potentially on the horizon. Get your mosh shoes on and start flailing. – Avrian O’Brien
Enrose – Take Care
The project of Bilmuri saxophonist Gabi Rose, Enrose are about to embark on a brand new headlining tour in the US, and have dropped new single ‘Take Care’ ahead of it. Where previous singles like ‘Barbie’ or ‘Glad It Happened’ are faster-paced affairs, ‘Take Care’ slows things down and immerses itself in the soft sway of synths and Gabi Rose’s crooning voice. As you’d expect, there’s sax parts here too, but they’re sat further back in the mix, an embellishment rather than key feature of the song. It’s a downtempo, moody piece that expands the range of her catalogue nicely. – Will Marshall
High Regard – Buried Alive
Released as the closing track on their new EP Warning Signs, ‘Buried Alive’ sees alt rock/emo trio High Regard in peak form. Vocals from Georgia Casey cut through the noise with raw intensity, pairing perfectly with lyrics “six feet deep and trying to breathe”, painting the picture of an internal struggle. Guitarists Thomas Townsend and Matt Smith drive the track even further forward with crisp, melodic riffs, showcasing how the band continues to carve out a distinct sound. Polished production and a final, softly screamed refrain of the title make ‘Buried Alive’ one of those tracks that gets inside your head and your heart, and demands to be replayed until you’re practically performing it yourself. – Lou V-F
Haste The Day – Oblivion
Well, this is one metalcore track to get you right in the feels. You get what you come for, snarly screamed verses, melodic choruses and rhythmic riffs, but you also get drama, and it is this which sets this track apart. Unfolding with intention, a charming instrumental intro draws you into the chaos. In between mosh worthy passages, you catch the undertone of tragedy and if you are too busy thrashing around, the pleading screams of Stephen Keech to “stay with me until the end” will let you know. Fear not however, the American metalcore mob have struck the balance of hype and connection, so you can take it for what you want it to be. A track to keep you circling the pit or to nod your head along to as you resonate with the rawness that comes through, ‘Oblivion’ is the one to play. – Mignonette Ellis