Pupil Slicer – Fleshwork
UK mathcore crushers Pupil Slicer are back and their brand new track, ‘Fleshwork’ is the sound that longtime fans have been waiting for. Blending the chaos of their debut Mirrors with the experimentation and stomp of second album Blossom, ‘Fleshwork’ is an earth shaking piece of music. Showcasing guitarist and vocalist Kate Davies growing vocal range and introducing new member Luke Booth’s backing vocals into the mix, it’s the perfect statement for the bands new era. That era is set to launch officially on the 7th of November when Fleshwork drops, and looks to help the band regain their position as one of the most exciting alternative acts in the UK. – Chris Earl
Saint Agnes – The Father, The Son and The Holy Beast
The London based Trash-Rock outfit Saint Agnes shake our collective consciousness into an overwhelming frenzy with the announcement of their upcoming third studio album – Your God Fearing Days Are About To Begin, alongside their latest dominating single ‘The Father, The Son and The Holy Beast’. Delivering a newly invigorated genre cataclysm, combining epic theatrics, pounding industrialism, anti-devotional sentiment with a distinct sonic mysticism, as front woman Kitty Austen occupies the guiding voice of reason, rebellion and salvation; TFTSATHB is the first twist away from the emotional powder keg-like odes that made their previous era – Bloodsuckers, so devastatingly addictive. In seeking to enrapture their curious flock into an obsession with duality between the heavenly and devilish, their latest audible overload is an encouraging sign of mounting promise as we inch closer and closer to the climactic reveal of their latest eras sonic mastery on All Hallows Eve. – Bennie Osborne
Scaler – Evolve (Feat. Tyla X An)
The final single to be taken from their second record Endlessly – released September 26th via Black Acre – ‘Evolve’ see’s Scaler collaborating with fellow Bristolian Tlya X An in what may be their most accessible and melodic work to date. Whilst still a product of Scaler’s unceasing drive to push electronic music into more abrasive pastures, here, the vocals of Tyla X An pacify Scaler’s warped dyanaism in order to create a soundscape that’s consoled yet still in a constant state of flux. “Throughout the creation of this song we were trying to keep the arrangement relatively simple and stripped back”, states James Rushforth on the track. “I was trying to encourage everyone to sit back a little and rely on songwriting more than sonic warfare, a practice we’re not particularly well versed in. We had worked up the lyrics in the verse, evoking confusion and searching for stasis – we had visualised an expansive abandoned cityscape being flooded, a sense of no future or past. It felt like a mental state. – Dan Hillier
Dying Wish – Revenge In Carnage
The second single from upcoming third album Flesh Stays Together, ‘Revenge In Carnage’ lives up to its name with vocalist Emma Boster screaming its title before churning riffs hit like sledgehammers. It’s barely even two and a half minutes long, but the band pack it with savagery and a snare that cracks like a whip demanding more violence. Boster explains, “‘Revenge in Carnage’ is an anthemic moment of man-made apocalyptic violence. Imagine when you hear the isolated vocal starting the song that you have entered your final moment. Our final moments on this earth will not be peaceful. There’s no time for reflection, only survival.” That survival will be hard-won with a breakdown as violence-inducing as the one they’ve penned with this ode to humanity’s limitless thirst for violence. – Will Marshall
Believe In Nothing – Gut
It’s easy to revert to blissful ignorance in times of dystopian sociopolitical turmoil such as these. To draw the blinds, hide from the world and seek comfort in materialistic pleasures. As proven with ‘Gut’, Believe In Nothing do no such thing. The fourth single from the band’s upcoming debut LP Rot – released Halloween via Church Road Records – ‘Gut’ is a continuation of Believe In Nothing’s visceral, vivid and just disturbing noise that mirrors the increasingly tense state of the world. This is authentically chilling music for times that demand that. “This song is about cutting your guts out and giving them to your work coach after another heartless and mechanical sanction by the state”, states vocalist Caine Hemmingway on the track. “What the extremes of desperation and humiliation can do to people.” – Dan Hillier
Civil Service – URBNDCY
Taken from the band’s upcoming record DARK /// – released November 21st via A Cheery Wave Records and Ripcord Records – ‘URBNDCY’ is a product of the despair collectively felt by all of us who are deeply concerned about the way humanity is heading. However, that’s not to say that this is a song void of light. Born from despair but a song that’s searching for solace, ‘URBNDCY’ see’s Mancunian post-rockers Civil Service finding motivation from our urgent pediment as a species in order to present a soundscape that’s dense with riffs as it is with urgency and atmosphere. A fantastic song that pays credence to the health of the national post rock scene. – Dan Hillier
Chat Pile x Hayden Pedigo – Radioactive Dreams
While odd collaborations are common in alternative circles nobody could’ve predicted noise rock darlings Chat Pile and psychedelic country picker Hayden Pedigo working together. On ‘Radioactive Dreams’ the first single released for their upcoming collaborative album In The Earth Again, the two creative forces work hard to meet in the middle with Pedigo focusing on creating layers of ringing harmonics while Chat Pile tone down their typically brutal noise rock to more melancholy desert rock sound with frontman Raygun Busch’s usually demented vocals shifting to a bleak croon. Despite coming from completely different worlds, Chat Pile and Hayden Pedigo manage to meet in the middle for a sound that keeps the former’s dense, bleak tone and the latter’s extensive sonic exploration intact. – Tom Bruce
Going Off – Mourning
Going Off have long held a bludgeoning sound, albeit one complete with swaggering bravado, tongue-in-cheek samples and a subtle good natured wit. ‘Mourning’ see’s such surplus cut. The first track be to taken from the hardcore quintet’s upcoming EP Kill List II – dropping independently on October 31st – ‘Mourning’ is 93 seconds of pure savagery that’s as violent as it’s lyrical narrative, one centred the story of a mother losing their son to extreme violence. There’s no relief here, just regret, pain, fury and desperation in the key of relentless bloodshed. – Dan Hillier
Peeling Flesh – Autistimus Prime (Feat. Kiriakos Destounis)
Alongside Sanguisugabogg, Peeling Flesh are making a claim to be one of the most exciting and popular extreme metal bands around. An utterly ridiculous blend of slam and death metal with hip-hop influences, they’re on the path to release their second record, PF Radio 2. Due for release September 26th, the newest track to be released from it is ‘Autistimus Prime’ and you know what to expect. A snare that sounds like a bloodstained metal pipe hitting the floor and plenty of wild noises. Slam enthusiasts will also be delighted to see a feature from Kiriakos Destounis of Embryectomy on this track. It ain’t clever and it ain’t going to turn anyone onto the band who isn’t a fan already but there’s nobody else like Peeling Flesh out there today. – Chris Earl
Abraham – I Am the Vessel and the Vessel Is Me
It’s somewhat hard to encapsulate this single. But if one where to imagine the duress threatened by Amenra combined with the lightless misery of A Swarm Of The Sun and the detached surrealism of Briqueville, then they might be somewhat close. The latest single from Swiss post-metal four-piece Abraham, ‘I Am the Vessel and the Vessel Is Me’ is a disorientating and ever-shifting kaleidoscope of shadow and sickness, one sounding akin to the final disjointed thoughts of fellow Europeans The Ocean drowning and suffocating in the metallic mire of their own creation. It’s a bizarre and disorientating track, but one brilliantly immersive and one that tries to pull you into the madness it binds it. – Dan Hillier