New week, fresh wave of noise bubbling up from the underground. Hardcore, screamo, punk, metal, and every strange mutation they spawn—there’s no shortage of chaos to dive into. Scroll down, hit the jump links, and lock onto whatever matches your headspace right now.
⤵ Hardcore / Metalcore, ⤵ Screamo / Post Hardcore, ⤵ Post Rock / Post Metal / Experimental, ⤵ Punk Rock, ⤵ Rock, and ⤵ Metal.
⤵ Hardcore / Metalcore
Hardcore institution CONVERGE have confirmed album number eleven, Love Is Not Enough, due February 13 and introduced it with a brutal title track that they say “explores what it means to remain empathetic and compassionate in the modern world.”
Thirty-five years in, Jacob Bannon and crew are framing the record as raw, no-guests, no “studio trickery,” just the band tracked and mixed at Kurt Ballou’s God City with all the mess and momentum left in. Check out “Love Is Not Enough” below.
The new single lands ahead of a Boston set in December and a run of 2026 festival dates at Jera On Air, Outbreak, Obscene Extreme, and Resurrection Fest.
Boston heavy outfit NAILED SHUT MA have released the video for their new single “Broken & Curled,” a harsh, noise-streaked track exploring internal collapse and post-death imagery, accompanied by an Ian Urquhart–directed visual that mirrors its theme of psychological unraveling; produced by Charlie Burket, the song follows this year’s “Devoured” as the band continue building momentum after their 2023 EP Lust in the End and a run of Northeast shows and festival appearances.
Hamburg’s spinkick nu-metal bruisers DAGGER THREAT drop “leech,” a new single that ropes in Distant and Nasty and leans hard into the band’s cut-to-the-bone aggression.
The track arrives with a video, a record pre-order, and a release-tour push, all wrapped in that same blunt, red-lined energy their fans keep showing up for. It’s a simple message from the band — get the leech, cut it out.
xSERAPHx drop a two-song promo on DAZE and Ephyra that shows exactly why a bunch of Minneapolis straight-edge kids are suddenly on everyone’s radar: sharp, early-2000s metalcore energy, frantic vocals, big melodic swings, and a sense of community that cuts through the heaviness, all produced by Max Myrvik and setting the stage for a full 2026 run.
Vicious garage-punk troublemaker BAD NERVES just pushed out a 59-second dart called Loner, tracked at Stone Gossard’s Studio Litho in Seattle and finished on the road after Bobby Nerves stopped by the JFK assassination site in Texas. The whole thing burns on paranoia and media fog, basically that feeling when the truth keeps slipping sideways.
Billie Joe Armstrong’s already been calling them “the best band in England right now,” and the band is rolling straight into their UK run with stops in Birmingham, Newcastle, Glasgow, Leeds, Liverpool and a final swing through London.
Swedish hardcore outfit HARD PASS return with Distorted Eyes, a ten-track blast of fast, caustic punk released through Quarantined Fanzine & Records and De-Nihil Records.
Formed by longtime players from Pyramido, Manic Ride, Satanic Surfers, Intensity, Burst, Anchor, Snifter, and Iron, the Malmö band follow their 2024 EP with a debut LP recorded at Ron Fury Studios and mixed/mastered by Mattias Persson.
The record leans into the same raw speed, political contempt, and tight production that defined their early work, sharpened by a year of shows across Sweden and a split appearance on Greetings From Sweden.
Cagliari hardcore unit LASTBREATH have dropped the video for their new track “Zero Seven Zero,” premiering November 16 on YouTube and pushing the band’s raw, Southside-driven energy into a colder, heavier direction. Shot and produced by Gallo Films and powered by ACME Conspiracy, the clip matches the song’s grit — a mix of street-level storytelling, no-mercy hooks, and the band’s trademark underdog stance — with audio recorded and mixed at Overcome Studio by Lorenzo Mariani.
METHOD OF DOUBT return with a new 7-inch titled Total Soul Ignition, out now via Scheme. The release marks their first new material in four years, packing four tracks in just over eight minutes—lean, direct hardcore built on sharp pacing and a refusal to dress anything up.
Recorded by Liam at Disorder Vinyl and Earthshaker Studios, and mixed/mastered by Will Hirst in Western Massachusetts, the EP carries the band’s usual tension between reflection and abrasion. Layout and design come from Scheme’s Kyle Niland. The full EP is streaming on Bandcamp.
MY OWN VOICE have released their new EP The Last Dance, out now on Bandcamp. The Milan hardcore unit drop seven tracks in just over 17 minutes, moving between fast-paced punk, melodic breaks, and guest-driven cuts featuring Krav Boca, Don Gatto, and Tenia.
Recorded and released independently, the EP arrives with 24-bit downloads and a limited run of digipaks expected at upcoming shows. The band notes the release carries personal weight for them, though they frame it with typical bluntness: whether the title hints at a pause or a shift, listeners can expect a tight burst of raw hardcore.
Belgian noise-punk unit BEZETTE STAD return with F.A.N.O.N., a raw one-day Majestic Studios recording that sticks to their usual stance: people aren’t broken by default, and collective action still matters. They spell it out themselves, calling humans “inherently good and social,” pushing back on the bleakness that runs through plenty of d-beat. The title nods to Frantz Fanon, left open as “Free All Nations Of N…,” and the sound pulls loosely from Conflict, Catharsis, Bad Breeding, and Ceremony without chasing imitation.
California’s hardcore unit LIONHEART have announced their new album “Valley of Death II,” out January 9, 2026 via Arising Empire, and shared the lead single “Bulletproof,” a groove-heavy opener marking their return with renewed force; the band will support the release with a major January European headline tour featuring Madball, Gideon, and Slope, including stops in Münster, Berlin, Prague, Vienna, Paris, Cologne, Antwerp, and more.
Bridge Nine is opening THIRTY YEARS, a new exhibition spotlighting three decades of live photography from Todd Pollock — a fixture in New England hardcore since 1995. Running November 28 through December 7 at the label’s Beverly, MA storefront, the show features shots of TEN YARD FIGHT, AMERICAN NIGHTMARE, H2O, DEATH BEFORE DISHONOR, HAVE HEART, and more. An opening-night reception with Pollock is set for November 28 from 6–8 pm.
Bridge Nine is also carrying the newly released HAVE HEART book 2024, a limited one-press run available in blue and white hardcover editions.
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HIGH VIS stopped by KEXP for a full live session recorded on September 25, 2025, now available to watch. The set runs through “Guided Tour,” “Drop Me Out,” “Out Cold,” “Mind’s A Lie,” and “Trauma Bonds,” delivered with the band’s usual mix of grit and clarity.
Queer London hardcore outfit NEVERSAID drop their new single The Sound Of Skin Breaking on November 20, a cathartic trans anthem built on Lila Samuel’s most exposed songwriting yet, arriving ahead of a short UK run that hits Sheffield, Birmingham, and London as the band push their sharpened, emotionally volatile sound further into the frontline of the city’s underground.
KNOCKED LOOSE appear to be working on new material after Bryan Garris shared a live photo captioned simply “Writing,” as reported by MetalSucks. The post suggests the band have entered an early creative phase while preparing for an extensive 2026 schedule that includes touring with Metallica and Gojira, plus headline and festival dates across Australia, Europe, the U.K., the U.S., and the ShipRocked Cruise.
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CATHARSIS announce a return to Europe in March 2026, marking their first run through several regions they missed this fall. The tour spans the Netherlands, Belgium, France, Germany, and Greece, with select dates featuring Bleakness.
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CELESTE are marking 20 years in the game the only way they know how — by dragging one of their darkest records back into the fire. Morte(s) Née(s), their 2010 milestone, is getting a full remix and remaster on December 5th, handled by Chris Edrich and Pierrick Noël. It’s not a nostalgia move; it’s more like sharpening an old blade they never really put down.
They’ve released the updated version of Ces belles de rêve aux verres embués with a new video, and it still hits like it always did — fast, airless, ugly-beautiful. Johan Girardeau calls it the song they’ve probably played the most, the moment where CELESTE leaned harder into black-metal tension while keeping that strange melodic pull underneath. He’s right — it sounds like the whole band committing to a direction that still defines them now.
VILE LIFE drop My Enemy, a sub-two-minute blast of SGV hardcore punk that folds their basement-show volatility into a sharp, hostile sprint, pairing buzzsaw riffs with vocals that feel ripped straight out of a backyard generator gig; released just ahead of their slot at this weekend’s Fuck Donald Trump Fest in Los Angeles, the track captures the band’s raw, unfiltered edge and reinforces why they’ve quietly become one of the most exciting new names in the city’s fast-and-filthy underground.
This Saturday’s final THE PATH show at Higher Ground doubles as a small resurrection: Nick Grandchamp is bringing GET A GRIP back for a reunion set and dropping three unreleased tracks the band recorded in 2017. Listen and go here for a full deep dive.
HEADSHRINKER’s self-titled debut LP arrived November 10 via Shield Recordings, Loner Cult Records, and Helheim Records — an 11-track, 23-minute blast built from recent studio sessions and remastered early material that captures the northern Belgian hardcore band’s straight-ahead formula of “mean vocals, chunky riffs, crunchy bass and punchy drums,” shaped by their local circuit of venues, DIY staples, and long-standing community ties as they gear up for a January 17 release show at JH Bouckenborgh in Merksem.
Check out our full band presentation here.
Hardcore veterans BITTER BRANCHES drop a jagged new cut with “Basic Karate,” a terse, twitchy piece of post-punk grit where their Philly bruiser sound leans into that familiar mix of AmRep scuff and DISCHORD-leaning tension; it’s a minute-and-change mantra about violence, impulse and self-talk looping back on itself, delivered with the worn menace of a band built from decades of Deadguy/Lifetime lineage.
The track circles around the temptation to give in, to slip into pettiness or violence, delivered with the same wiry tension and sandpaper honesty that has defined their recent work. Instead of polishing old myths, they dig into the reality of aging inside a world that rarely improves, turning experience into something jagged, rhythmic, and uncomfortably relatable.
CASTET drop Promo 2025, a four-track burst of Silesian hardcore wild ride \ pulled straight from the upcoming early-2026 LP/CD on Pasażer Records, sticking to the same lineup they’ve had since 2003 and the same no-frills formula: fast songs, scene jokes, life shots, and guest vocals from friends, all recorded and mixed by Maciej “Maruda” Dzikiewicz at Waiting Room Studio, setting the tone for a band that’s still old, still loud, and still swinging.
Melodic hardcore pack BICYCLE INN release Long in the Tooth, a record shaped by two years of silence, two studio sessions with Gary Cioni, and a thematic shift toward dismantling hero worship, religious trauma, and the crash landing that comes when the idealized world in your head finally gives out. The Boston emo group leans into sharper songwriting and a broadened emotional range, bringing in Ryan O’Rourke, Kyle Kinney, and Maggie Ciora to stretch their sound while keeping the core mix of warm melancholy, alt-leaning guitars, and dual-vocal urgency intact.
Hardcore outfit HOMESICK have dropped their new EP This Is A War, a three-track blast written across late 2024 into early 2025 and recorded in four furious days at Chameleon Studios on unceded Gadigal Country. The band frame it as a cathartic return after nearly three years away — darker, more aggressive, and more chaotic by design — a sharp reset that feels like them pushing the intensity back to the front. They hint that this is just the opening shot, with much more lined up for 2026.
GASKET drop their self-titled debut album, tearing straight out of Baltimore with a volatile blend of punk, metal, and hardcore that hits with zero hesitation. Following the buzz around Dull the Needle and Babylon, the full-length lands via Blue Grape Music and doubles down on everything that made their early work erupt—raw urgency, metallic bite, and a full-on bulldozer attitude.
BAÏONNETTE emerge with their first live-session release, presenting a stripped-to-the-bone take on chaotic hardcore built on instinct rather than production polish.
Formed by Alex Diaz (The Prestige, New Favourite) and Florian Urbaniak (Junon/General Lee, Ipkiss), the duo reject studio comfort entirely, opting for raw, unedited performances filmed in unpredictable locations and left intentionally rough. Their sound channels the volatility of Heriot and The Chariot with the abrasive surge of Trap Them, framed by a philosophy of embracing imperfection and capturing the moment as it happens. The full session is now available through Score A/V, marking the project’s official introduction.
KNIVES drop REGLITTER I, a short, feral reimagining of their debut era that sharpens everything unruly about the London collective into four volatile snapshots, pulling their thick bass driven hardcore, post-punk tension, and genre-bent experimentation through the voices of friends like Carson Pace, DEATH GOALS, and chest, turning GLITTER inside out and proving again that KNIVES operate best where boundaries collapse and instinct takes over.
IGNITE roll through Europe this fall with an extended run of November and December dates, adding extra shows as several stops hit capacity. The tour includes appearances with Donots and Emil Bulls on select nights, covering Germany, Czech Republic, Slovakia, Poland, Switzerland, Italy, and the Netherlands.
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New live sessions from videographer HATE5SIX have gone live on YouTube, featuring recent sets from Portrayal of Guilt (October 3, 2025), Cognitive (September 13, 2025), Vile Form (August 29, 2025), Compulsed (August 29, 2025), Sentient Horror (August 29, 2025), Ghostlike (June 6, 2025), and Death Before Dishonor’s TIHC 2025 performance from August 9.
British metalcore unit SHIELDS drop their new single “Parasites,” a bleak, industrial-streaked cut from Death & Connection, out January 30 via Long Branch Records, reworking an older rock track into a harsher, depressive descent and marking the band’s fully rebuilt return after years of silence.
Brighton’s melodic punks HARKER drop their new video Redacted, a sharp, urgent slice of punk rock that digs into the ghosts of past mistakes and the people you’d rather erase, pairing their gritty hooks with the same emotional candor that powered their earlier single I Ruin Everything and setting the tone for a raw, reflective 2026 album cycle.
BURLERS drop Gives Me A Fucking Headache, a whiplash-quick blast of Dutch punk that folds six cuts into eight feral minutes, leaning harder into their scrappy, blown-out aesthetic while sharpening the hooks just enough to make every scream land like a bottle smashing on tile; recorded with the same unruly spirit that defines their live sets and pushed out via Duvel Inferno, the EP channels everything from basement-show nastiness to classic Euro-hardcore abrasion, with the re-cut “Exhaust Fan” tying their early noise to the new material’s nastier edge.
THREE ONE G pulls its whole orbit into one place with Cult And Culture – A Planet B Podcast Compilation LP, a messy, charming cross-section of the voices that have passed through Justin Pearson and Luke Henshaw’s world, stitching THE LOCUST, ADULT., YEAR FUTURE, THE EXPLOITED, MARTIN ATKINS and more into a collage of jagged punk snapshots and podcast fragments that feel like the label in microcosm — frenetic, curious, deeply DIY, and forever pushing its own mythology forward.
The digital-hardcore chaos unit E3L drops Bitch in a well with an eel via Solium, an eight-track burst of distorted phone recordings, internet scraps, voice notes, and breakcore eruptions that lean fully into the project’s ethos of rawness and self-erasure. Built from glitchy berserk rhythms, dariacore-leaning swings, and deliberately hostile arrangements, the release turns lo-fi digital grit into a kind of emotional overload, dragging the listener through boredom, rage, apathy, and noise-driven catharsis. Out now, available as a 24-bit download and an extremely limited cassette run of just 20 copies.
Hardcore heavyweights COUNTERPARTS are hitting Europe and the UK in early 2026, bringing SUNAMI, ONE STEP CLOSER, and GOD COMPLEX for a run that’s going to feel more like a controlled detonation than a tour.
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⤵ Screamo / Post Hardcore
Raw emoviolent skramz, noise punk, melodic emo MySpace stuff, but also rockish 90s post hardcore.
Also, be sure to visit ⤵ Rock section, it’s full of post hardcore and emo infused sounds, too!
Frantic, emotional post-hardcore lifers THE SADDEST LANDSCAPE break a decade of silence with Hexes, a claustrophobic two-and-a-half-minute return that drags their trademark skramz urgency through themes of grief, survival and the quiet wreckage that never quite leaves—streaming now ahead of the band’s 2026 double LP on Iodine and offered as a limited Black Friday flexi for anyone who’s been waiting for this gut-punch to hit again.
Ripping Richmond screamo band HYNOKI return with their debut EP “Everything You Hold Dear”, four tracks of diverse, epic emoviolence that will get you hooked instantly!
Post-rock/screamo heart-breakers VI SOM ÄLSKADE VARANDRA SÅ MYCKET just dropped För varje steg, their first new song in years, and it hits like someone trying to talk through a relationship that’s already slipping through their fingers.
The lyrics sketch a world crumbling because people stop listening to each other — every word a cut, every step drifting further apart. It’s the only freshly recorded track on their upcoming Moment Of Collapse release Det vi glömt, det vi kommer ihåg och det som aldrig har hänt, a nine-song 12” collecting early EP cuts, two unreleased tracks from the first album session, a split-tape tune, and this new one, all remixed by André Ampuero and remastered by Magnus Lindberg. They’ve also got a run with SUFFOCATE FOR FUCK SAKE lined up for late November — Malmö, Copenhagen, Aarhus, Aalborg, Kristiansand, Oslo, Göteborg, Stockholm — small rooms built for this kind of slow, bruised honesty.
The long-out-of-print early work of Italian screamo pioneers WITH LOVE is finally coming to vinyl. “Yours, Truly,” a 20-track double LP collecting the band’s first two albums, split tracks, and one previously unreleased cut, goes up for preorder on November 21 via Shove Records, with a release date set for December 5, 2025.
With “Yours, Truly”, the first two With Love albums are released on vinyl for the very first time, together with tracks from their split with Mindless Collision and the single Wolf In Modern Fairytales, plus one exclusive previously unreleased song. A historical document and, at the same time, a living tribute to the impact this band had — and continues to have — on the generations that followed.
French screamo/post-hardcore act GROS ENFANT MORT have unveiled the single “Merci les cendres,” released with an Arthur Chowca–directed video ahead of their new album “Le sang des pierres,” arriving January 23, 2026 via Moment Of Collapse, Fireflies Fall, No Funeral Records, and Spleencore Records.
Recorded in Parthenay and Poitiers earlier this year, the track extends the record’s themes of exhaustion, collapse, and cautious re-emergence, following this spring’s “Saigne! Saigne! Saigne!” and closing in on a release built around dense guitars, tight rhythmic pressure, and lyrics tracing depression as systemic fracture rather than personal failure.
We featured the band earlier this week at this location.
Vicious, road-worn post-hardcore crew HETTA have “Acetate” out now, a full-length dragged into shape by years of grinding shows, day jobs, and that weird Portuguese underground rhythm where everything feels both hungry and half-doomed. The record grew from long weeks locked in their Montijo space, whiteboard full of skeletal riffs, lunches packed like a shift job, and a pile of tossed ideas nobody bothered to resurrect. Check it out below and dive here for a deep insight into their craft.
Some Images of Paradise’s new full-length i expect the same of u drifts between dream-pop haze, screamo, slowcore weight, and those black-metal-scarred emotional spikes the project slips into when the songs get too still. It’s written, played, mixed, and mastered entirely by the artist, so the record carries that solitary bedroom-album intimacy — rough edges preserved, emotions unfiltered, everything stitched together by repetition, reverb, and a kind of wounded clarity.
Serbia’s post-hardcore screamo crew REFLECTION return with Cleft Stick, a nine-track outpouring shaped between 2020 and 2024, channeling the band’s melodic edge, political pulse, and emotional volatility into their most focused work yet — a raw document of friendships, beliefs, and years spent carving out space in a small but resilient scene.
Full IDIOTEQ feature coming up soon.
Italian post-emo outfit AMALIA BLOOM return with “Suite,” a five-minute slow burn that folds their angular, melodic turn of the last year into a dense, shimmering collaboration with TRAUMA GLOW, pushing their DIY-rooted sound further into tense, atmospheric territory as they head into the release of Compressed Remedies and another run through Europe.
TWINS drop their second LP it’s_complicated today via a global DIY coalition, an eight-part piece built as a single uninterrupted drift through post-hardcore, math-rock fractures, screamo tension, noise-leaning textures, and brittle indie detours; nothing on the record really works in isolation, and that interdependence becomes the point, turning the album into a strange, radio-play-like narrative where each fragment leans on the next, carried by a release team spanning Clever Eagle, No Funeral, Zegema Beach, Desperate Infant, Fireflies Fall, and Through Love Records.
Skramz-soaked, 90s-wired screamo gets a fresh pulse on INERTIALS’ new LP Listen Between States, out now via No Funeral Records. The Copenhagen/Canada unit leans into elongated build-ups, blown-out eruptions, and that uneasy melodic drift that feels half bunker-diary, half emotional detonation. It’s sharp, raw, and weirdly hypnotic — exactly the kind of record that doesn’t ask for your attention so much as drag you into its orbit.
LA-based hyper emo act OLDPHONE just dropped their third LP My Father Sold Loaded Guns through Lonely Ghost Records, stepping away from the hyperpop/electronic rock lane of the earlier records and into something heavier, louder, and way more blunt. Gregory Johnson frames the shift simply: “Anger at fascism, anger at old friends, anger about your position in life… but somewhere in it, there is a glimmer of hope.” It’s a brash turn, built on frustration that finally boiled over, landing closer to the raw edges of your arms are my cocoon, Big Boy, and hey ily than anything they’ve done before.
⤵ Post Rock / Post Metal / Experimental
UK post-metal shapeshifters SVALBARD just closed the book with If We Could Still Be Saved — a five-minute hit of shoegaze haze, hard riffs, and that unmistakable emotional directness they’ve carried for fifteen years. It lands two days before their final UK run, the first step in a full farewell cycle that’ll roll through 2025–26.
Serena Cherry’s words frame it exactly for what it is: a last message, heavy with sentiment more than theatrics, looking back at everything they built since 2011. The video pulls old footage, the song pushes the feeling of an ending you can actually see coming. One last release, then the goodbye tour, then silence — but they’re leaving exactly the way they came in: loud, honest, and impossible to box in.
POLY-MATH sign to The Lasers Edge and line up their new album Something Deeply Hidden for early 2026, marking a big next step for the Brighton/London instrumental crew whose shapeshifting mix of Ethio jazz, classic prog, post-rock, and math rock has carried them from DIY releases to ArcTanGent’s main stage; the label calls the record “contemporary cross-genre progressive music,” and the band says it’s the start of a new chapter.
Norwegian cult act ULVER have released the first single “Weeping Stone” and detailed their new album “Neverland,” due digitally on December 31, 2025 and physically on February 27, 2026 via House of Mythology; the largely instrumental record marks a freer, more exploratory phase for the band, blending ambient electronics, late-’90s IDM atmospherics, and post-rock drift, with a visualiser for the new track now streaming.
Bristol experimental outliers SUGAR HORSE drop their new single “Would You Like Me To Be The Cat?” — out November 20 via Fat Dracula Records — a sharp left-turn that swaps their trademark “endless space doom” for a Cure-tinged, nervy slow-burn, paired with a video that hints at the band’s next stylistic pivot. The track follows this week’s 11-minute sprawl “What’s Your ETA? Let’s Have A Tear Up,” with both songs previewing a new chapter ahead of their December 18 hometown headline at The Croft.
Experimental duo MADEMOISELLE PLUME ROUGE release Two Stories of Resemblance via Signora Ward Records — a conceptual diptych built around Zen parables, Gertrude Stein’s Cubist language and Jan Cornelis Mol’s 1927 crystallization films, merging doom tension, dark jazz, contemporary composition and Japanese motifs into four pieces that move between metaphysics and microscopic natural processes without diluting either world.
We dove into the details of this release in a special feature here.
Italian jazz-metal shape-shifters ZU drop the new video single “A.I. Hive Mind,” a preview of Ferrum Sidereum — their Marc Urselli–produced double album arriving January 9, 2026 via House of Mythology. The track digs into smart-city paranoia, singularity anxiety and the erosion of self under technological control, setting the tone for an 80-minute instrumental record that pushes their blend of prog, industrial, metal and free-jazz into a heavier, more cosmic direction.
Dark-folk and neoclassical collective SNOWFLAKES 13 arrives via AT SEA COMPILATIONS with a 32-artist sweep of melancholic acoustic work spanning German, Polish, US and French projects, folding in names like RAPHAEL WEINROTH-BROWNE, AUTUMN TEARS, OLS, NECHOCHWEN and ATHELAS for a slow-burn mix built around atmospheric folk, sparse instrumentals, and frostbitten singer-songwriter pieces curated into a three-part arc.
Chicago-rooted acoustic collective PULLMAN resurface with III on January 9 via Western Vinyl, their first album in over two decades, extending the project’s post-rock–meets–folk vocabulary as surviving members of TORTOISE, COME, and ELEVENTH DREAM DAY gather around material shaped in close collaboration with drummer Tim Barnes during his early-onset Alzheimer’s decline, previewed now through the quietly luminous new track “Weightless.”
Avant-garde composer TOBY DRIVER has just unveiled Live at Roadburn, a luminous document of the final night of his two-month European tour—a far-ranging run that stretched from the north and east of the continent all the way down to Iberia. The Tilburg performance captures his band under his own name at full reach, joined by Belgian experimentalist Pavel Tchikov for a one-of-a-kind collaboration that reshaped the entire set. Mixed and mastered with striking clarity, the release stands as a high-resolution snapshot of a singular moment at this year’s Roadburn Festival.
Mexico City’s atmospheric/post-black metal project PHENDRANA rolls out the title track to Cathexis, an eight-minute ascent through ’70s-prog glow, chamber-music introspection, and dissonant turmoil—anchored by Anuar Salum’s existential lens and elevated by guests from AHAB and ex–THE MARS VOLTA—setting the tone for their February 6th, 2026 full-length on a sweep of dread, clarity, and forward-leaning elegance.
SURESTE return with a reimagined take on Caminos, stripping the track down to its emotional core and letting its coastal melancholy breathe through a warmer, more reflective arrangement; it feels less like a remake and more like a quiet revisit of memories that still matter, a soft shift in tone that highlights the band’s instinct for sentiment without excess, grounding their sound in the same sincerity that’s kept their community close.
Bucharest multi-instrumentalist MISCHA BLANOS returns this Friday with Take Control (Longcut Records), a charged blend of acoustic piano, electronic pulse, and live jazz drums shaped by the political tension of the places that raised him; opening piece “Basilica” pushes forward with tight, syncopated energy written during his residency inside Malmaison—once a notorious Bucharest jail—while tracks like “Busted” lean into prepared-piano grit, forming a record that sits somewhere between contemporary jazz minimalism and club-driven electronics, framed as a personal manifesto about unity, resistance, and the right to steer your own life.
⤵ Punk Rock
Punk, Pop Punk, Folk Punk, raw, fast, melodic, and more.
BRUTALLIGATORS return with Still Here, out today via Fika Recordings — a loud, clear document of survival, queer identity, and the weird balancing act of growing up in the DIY punk world.
The record swings between shout-along indie-punk punch and softer moments shaped by influences like The Beths and Aaron West, before closing on the heavier, almost Deftones-like weight of “Wrong Words.” Pressed on marbled grassy-green vinyl and backed by a short run of UK dates, it’s the band leaning all the way into catharsis, friendship, and the stubborn fact of still being here.
Basque punk/oi! bruisers STREETWISE just dropped their Datorrena MLP via Tough Ain’t Enough, a tight four-track set built on rough-edged hooks, marching rhythms, and that unmistakable street-level bite the label specializes in. It runs lean but lands hard, shifting between melodic Oi! drive and classic punk.
DC emogaze outfit MUHNDAY drop their debut EP Before We Met, a five-track snapshot of late-night practices, empty rooms, and the kind of growing pains that turn a band into a real thing. The record leans into that Midwest-emo-meets-shoegaze blend they’ve been circling — raw, heavy-hearted, hopeful in a crooked way — pulling older favorites like “SHITSTORM,” “Bloodoath,” and “Straight Face” into the same space as newer material that stretches their range. It’s a DIY-built document about connection, doubt, and learning to live with the rough edges, arriving just ahead of their release show on November 22.
Chicago punk rockers THE BROKEDOWNS crash back in with Let’s Tip the Landlord, a fast, razor-edged record out November 21 on Red Scare that spins hustle culture, billionaire delusion, and Midwest ennui into a loud, sarcastic takedown of modern life, complete with their fictional “Alpha Dog Serum X” mascot lurking between the riffs; sharp, funny, and dead-on, it’s the band doing what they do best—turning American absurdity into something you can yell along to.
Pop-punk Christmas season is officially here, and ALEX MELTON jumps straight into it with a charged-up cover of “Merry Christmas, Happy Holidays” by NSYNC, flipping the boy-band classic into a bright, crunchy, guitar-driven holiday anthem that stays sugary but hits with the bounce and punch of his signature style.
PROTECT YOUR HEART lean hard into their hybrid “pop punk with breakdowns” identity on Gradients, stretching their Los Angeles DIY sound into a brighter, heavier, and more melodic shape without losing the crunch that built their early momentum; the record moves between jittery speedruns, wide-eyed youth anthems, and big, emotional hooks, all carried by the band’s radio-sharp songwriting and metalcore-leaning rhythm work, showing a group that’s pushing past niche tags and doubling down on a style engineered for singalongs, sweat, and late-night drives.
A blue-collar melodic punk unit CELEBRATION SUMMER just rolled out DCxPC Live Vol. 42, a split with Wolf-Face built from two FEST sets that feel like Gainesville in full swing—one side all heart-on-sleeve crunch, the other pure feral theater.
Their half pulls straight from that Jawbreaker/Samiam/HWM lane, recorded at Loosey’s Downtown and mixed out in Loveland, tightening the screws without sanding off the sweat. Wolf-Face flips the coin, leaning into their unhinged, high-concept live bite, a run of songs as weird as it is committed.
Emo-pop punk trio TIRED OF FIGHTING have announced their debut LP And Then Suddenly It Hits You, landing April 17 via Punkerton Records, and dropped a new single, “Death Wish,” pulling from that early-2000s urgency shaped by Motion City Soundtrack, Paramore, and The Gaslight Anthem. Written by vocalist Nic Wood, the track digs into depression’s cycles and the small sparks that pull someone back into themselves again, touched by his own memories of growing up “quite a depressed and confused teenager” and hoping younger people find an easier path.
Punk rock dads DESCENDENTS mark forty years of I Don’t Want To Grow Up with a new Org Music reissue dropping November 21, pulling their 1985 second album back into focus after recently reclaiming their masters.
Recorded after Milo Aukerman returned from college and featuring guitarist Ray Cooper, the record pushed brighter melodies and sharper hooks than Milo Goes To College, sidestepping the sophomore slump and tightening the band’s blueprint for melodic punk.
Proto-sludge misfits DRUNKS WITH GUNS have dropped their 2024 live CD—a recording that somehow hits harder than anything they managed during their four-show 80s run. It’s the band in their natural state: hostile, blown-out, and not chasing nostalgia, just dragging those old songs into daylight without sanding off a single bruise.
GO here to see our full feature on this release.
The new EP from ARMATAGE SHANKS, Rejects – The Forgotten Songs, surfaces today with five cuts pulled from the Story Untold era — one album version, three b-sides, and an early take that never made it past the session stage. It plays like a small archive crack opening: “Rejects” anchoring the set, “Rise Up,” “Not The Same,” and “Join The Parade” carrying the leftover heat, and “Leave The Lights On” showing where the ideas first started.
Basement, Ontario punk crew NOTHING SERIOUS have rolled out their single “Say Something,” a track originally tucked into the Cartridge Heart compilation Go Kick Ass 3 back in September. They’re marking the release at Brew Wizards Café alongside Julien Nolan, Among Legends, and Streets To Ourselves for Cartridge Heart’s monthly punk night — a home-base kind of setting for a song that’s finally getting its own spotlight.
White Russian Records just dropped One More Chromosome, the debut full-length from DICK PERRIE, a Nijmegen power trio that builds their alt-punk indie rock straight out of loose jams and sharp cynicism.
The record digs into the warped political and social mess shaped by algorithms and self-reinforcing “truths,” using humor and self-reflection to poke at the idea that we’ve all picked up an extra chromosome while the world thinks for us.
⤵ Rock
Alternative, Indie Rock, Hard Rock, Emo, Noise Rock, Post Punk, Grunge, Shoegaze and more
Massachusetts DIY post hardcore rockers GOOD SLEEPY drop a new single, “ZZZ,” a quick hit ahead of their 14-track sophomore LP Constant Humming, set for February 13, 2026.
SECOND HARBOUR drop their self-shot “Mourning Dove” video ahead of the Coalesce EP coming December 12, leaning into their sharp, emotional emo-rock with a track that Xavier Morency calls the most painful and carefully layered set of lyrics he’s ever written, delivered against the raw backdrop of an abandoned house they turned into a DIY film set.
GLITTERER release their new album erer today, a sharp, grungy step forward from last year’s Rationale, tightening Ned Russin’s post-hardcore instincts into lean, anxious anthems about hopelessness, purpose, and trying to stay human while everything around you burns; tracked with Arthur Rizk and expanded by the band’s now fully formed lineup, the record leans into heavier hooks and nervy minimalism, anchored by the standout single “Stainless Steel” and backed by a long 2025–2026 tour run that hits Allentown, Bowery Ballroom, and two Coachella dates.
Philadelphia’s alt-synth heavy collective NEW MISERABLE EXPERIENCE roll out the tense, melancholy new single Ordinary People, a sharp response to powerful men selling false humility, previewing their upcoming album Gild The Lily (out January 23 via Pelagic Records) and showing the band’s refined blend of shimmering synth hooks, chorus-soaked guitars, and tight, deliberate dynamics shaped by members of Rivers of Nihil, Rosetta, and ex-Revocation.
CAPSIZE return with The Fracture, their first release since signing to Roux & Ruin Records, produced by Matt Good and built around a melodic, bleak push-and-pull that frames Daniel Wand’s focus on accountability, collapse, and clawing toward some distant light. It marks the band’s first substantial step toward a 2026 physical release — their first since 2016 — and sets the tone for a new phase after years of standalone singles.
Indiana indie-rock outfit LEISURE HOUR drop their new single “Jobs,” a hook-driven preview of their upcoming album …and to think, out January 30 via Counter Intuitive Records; the Isaiah Cheatham–directed video leans into the band’s small-town roots and work-life grit, shot with support from 1000 Degrees Wood Fire Pizza, where members say the song’s themes first took shape.
We caught up with the band for a quick interview – check it out here.
Blackpool shoegazin’ rockers BLANKET share the title track to True Blue, their new album arriving January 26 via Adventure Cat Records, a song the band say finally pulled the whole record into focus — vibe, lyrics, meaning, all locking in. They frame it as a piece about brighter days and small quiet moments, leaning on the lush, emotional atmosphere they’ve built across How To Let Go, Modern Escapism, and Ceremonia.
The new book This Angry Pen of Mine: Recovering the Journals of Layne Staley has debuted as a New York Times nonfiction bestseller, offering the first real look into the late Alice in Chains singer’s private creative world through handwritten lyrics, personal poetry, artwork, rare photos, and fan tributes assembled with his family.
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Published by Weldon Owen in partnership with Primary Wave Music, the collection frames Staley beyond the headlines, with his mother writing that she hopes readers see “the son I knew,” while Primary Wave’s James Janocha calls his songwriting’s impact “unmistakable.” Proceeds benefit the Layne Staley Memorial Fund, and review copies are available now.
Indie-punk bruised with synth-soaked melancholy sits at the heart of SPANISH LOVE SONGS’ new EP A Brief Intermission in the Flattening of Time, a four-track detour where the band slows everything down just long enough to take inventory of the damage. Built from spontaneous studio sessions with Arun Bali, the release stitches together three recent singles plus the new opener “Lifers Too,” a worn-out, clear-eyed collaboration with THE WONDER YEARS.
It’s a cul-de-sac in their catalog — half farewell to where they’ve been, half breadcrumb trail toward whatever comes next — threaded with guest turns from Kevin Devine, Tiger’s Jaw, and Illuminati Hotties, all orbiting Dylan Slocum’s familiar crackle of dread, connection, and reluctant hope.
French indie-emo outfit À DEMI-MOT drop their new EP Mauvais tirage, a five-track burst of quiet confessions and shaky coming-of-age moments written during lockdown, moving between family silence, self-doubt, and the fear of growing into a life that never fit; released on all platforms except Spotify, with a physical digipack and an illustrated booklet on the way.
Indie-pop rockers IDIOTA keeps things blunt on their five-song EP — just Robinson and Rasimas sketching out bright guitars, post-punk edges, and thoughts that sound like someone muttering to themselves on a walk home. We featured the EP here.
Chaotic alt-pop rocker SAY ANYTHING has started rolling out pieces of its oddball therapy cycle The Noise of Say Anything’s Room Without…, dropping the first sessions in the same order they were recorded. Session #1, Death, Dancing, and Session #2, Fuckbuddy, arrive with Max Bemis half-performing, half-self-roasting while Sandy Weintraub — part therapist, part ringmaster — frames each track like a case study gone off the rails.
Sandy even cops to trying (and failing) to talk Max out of the “rote, edge-lordiness” of the second title, insisting he “threw away a Grammy” by ignoring the alternative Dead With The Glory Of Divorce. Session #4, The Band “The Used”, drifts further into that meta headspace, with Sandy spiraling through emo-title anthropology before forcing Max to replay a six-plus-minute take over a single “flat” note that wasn’t actually flat. All sessions are being posted across the band’s usual platforms for anyone reckless enough to “self-administer” their own Neo-CBT along with the chaos.
DEFTONES have expanded their 2026 tour plans beyond festival appearances, adding arena dates across Europe, South America, Australia, and New Zealand alongside previously announced stops at Lollapalooza Chile, Lollapalooza Argentina, Outbreak Fest, and Sick New World Texas. The run includes major venues such as Paris’ Adidas Arena, London’s O2, São Paulo’s Lollapalooza Brasil, and multiple nights in Sydney and Melbourne, with a large London Victoria Park show confirmed for August 23 featuring Idles, Amyl and the Sniffers, Basement, Deafheaven, Show Me The Body, and others.
DWELLER. drop “Caught In The Light,” a slow-burn post-hardcore shoegaze rock collapse that leans into end-times anxiety with swelling guitars, wide-open atmospheres, and vocals that swing from near-whisper to full detonation, all tied together by Juan Aguilar’s cinematic video showing a city bracing for impact; it’s the band at their most expansive and emotionally raw, carrying the same sense of urgency that’s run through their past work but sharpened into something heavier and more inevitable.
Barcelona’s emo rockers MINOR PLANETS are back with Old Routines, a six-song run that leans into their usual mix of punk grit and wide-open American rock melancholy. The band started in 2021 as five friends trying to break out of their old habits, and this EP feels like that mission still breathing — big choruses, late-night reflections, and the kind of melodic punch you’d expect from people who clearly grew up on Jimmy Eat World, Samiam, The Get Up Kids, all that lineage.
UK SUDS drop their new album Tell me about your day again., a warm, emotionally heavy indie-emo record rooted in grief, distance, and the small moments that keep people stitched together. Built on soft Midwest-emo edges, bright storytelling, and a thread of hope running through the sadness, the album lands today via Big Scary Monsters alongside a clear/black-splatter vinyl pressing and a February 2026 UK tour.
GOO GOO DOLLS have released their NPR Tiny Desk performance, a four-song set featuring “Iris,” “Slide,” “Feel The Silence,” and “Not Goodbye (Close My Eyes)” from their new “Summer Anthem” EP. The session arrives as “Iris” reaches #9 on Spotify’s Global Daily Chart, nearly three decades after its release. The band are set for two hometown Buffalo shows benefiting FeedMore WNY this week, followed by a 2026 Las Vegas residency at The Venetian Theatre beginning May 15, with additional festival dates in Arizona, Texas, and New Jersey rounding out their current schedule.
ALGERNON CADWALLADER have released I Think Therefore I Am Not, a short documentary directed by Darby Irrgang and Peter Helmis that offers a behind-the-scenes look at the making of their new album Trying Not to Have a Thought, now streaming on the band’s YouTube channel; currently on a North American headline tour, the group continue supporting their first LP in 14 years with dates running through mid-December.
Southern California alt-rock troublemakers SUNBENDR just dropped “Crime Wave,” a house-party burner that swings from weird to anthemic and back without ever losing the groove.
Chris Coté lays it out straight: Frank Dixon’s drums set the pace, the bass starts rolling, Brandon Parkhurst bends the air with those trippy guitar lines, and the whole thing turns into a story that feels half-chaos, half-victory lap. Tracked at Tom DeLonge’s place—with drums cut at Chris Prescott’s Belly of the Whale—the song leans on producer George Perks to tighten the corners and push the band’s bounce into something sharp enough for a packed room.
THEM FLYING MONKEYS will release their new single “Big Boy” on November 21 via gig.ROCKS! and Only Lovers Records, paired with news of a January 2026 UK/EU tour. The track pushes deeper into the band’s dance-leaning instincts while keeping the distortion and heavy percussion central to their sound. The group describe the song as one that “was supposed to be the weaker of two demos,” explaining that they rebuilt its structure in the studio until it became the clear first release. Producer Jeremy R. G. Snyder — known for work with Idles, Fontaines D.C., Sprints, and Gilla Band — oversees the single’s shift from raw demo to fully formed, industrial-leaning post-punk.
RADIOHEAD’s comeback run keeps getting stranger in the best way. Last night in Bologna they pulled out Kid A and Talk Show Host — both firsts on this tour — and the crowd understandably lost its mind. One of the rare Bird’s-nest B-sides from The Bends finally showing up live? People were practically unhinged in the comments.
The set was the usual 25-song shuffle they’ve been doing this year — no new material, just digging through a 70-song pool and playing whatever feels right that night. Colin Greenwood keeps calling it their “busking approach,” which basically means: don’t expect a narrative, just expect them to follow the impulse.
Spanish indie trio REPION have announced 201, a new 10-track album built from a year’s worth of feelings, small observations, and the kind of lived detail that creeps in when you’re paying attention. Produced, recorded, and mixed by Santi García at Ultramarinos Costa Brava and mastered by Víctor García, the record arrives with the video for “Cerrar los ojos,” a track the band calls one of their favorites.
Shoegaze-leaning trio LIBBIANSKI will release their new EP “EP1” on December 5 via Over The Hill Records, led by the single “Continue The Sad” arriving November 21 — a home-recorded, slow-burn mix of dense guitars and doom-pop haze that marks the band’s shift toward a stripped-down studio approach shaped by extensive 2024 touring across New Zealand and Australia.
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Irish trio KINGFISHR have released the deluxe version of Man On The Moon, expanding the record that marked a turning point in their sound. The new edition adds alternate takes, stripped versions, and live recordings captured during their sold-out shows in Dublin and Limerick, highlighting how the songs have evolved onstage while keeping the emotional weight of the originals intact.
Shoegaze-leaning alt-rockers ONE HUNDRED MOONS release their second LP Black Avalanche, a nine-track blend of dream-pop haze, post-rock weight and ‘90s alt-rock memory that landed November 16 and anchors itself in Toronto’s ongoing shoegaze revival. We featured the band in a special piece right here.
Built on cascading guitars, noir-tinted atmospheres and cinematic detours, the album follows the title track’s slow-burn lift into pieces shaped by lounge-shade melancholy, krautrock pulses, trip-hop drift and sci-fi minimalism — a record that traces tension, nostalgia and noise through the city’s resurging guitar underground.
Detroit trio WINDS OF NEPTUNE drop their self-titled debut this Friday on Small Stone, an eight-track slab of heavy ’70s-anchored rock that grew out of lockdown basement jams and reunites members of Flogging Molly, The Meatmen, and 500 Ft. Of Pipe for a fuzzed-up, blues-driven groove session now streaming in full via Decibel.
Hong Kong shoegazers LUCID EXPRESS announce their second album Instant Comfort for February 20th on Kanine Records, marking their first new music since 2021 and easing back in with “Something Blue,” a drift of airy melodies, jangling guitars, and soft-focus haze mixed by Kurt Feldman that pulls their dreamy sound toward a warmer, weightless glow.
Nashville rockers LANEY JONES AND THE SPIRITS drop their self-titled debut, a heart-bruised record born from grief, grit, and the kind of stubborn resilience that keeps underdogs in the ring, with the snarling standout Bitch Year leading the charge ahead of their run of dates supporting The Heavy Heavy.
NY post-punk crew FALSE TRACKS announce When Fortune Feeds for December 2 via Strange Mono, a tight, melodic, atmospheric record built on veteran instincts and that familiar Philly/Washington friction, tracing instability and modern unreality with the dry wit of a band who’ve lived enough scenes to recognize the next collapse forming in the corner.
GOGOL BORDELLO have announced “We Mean It, Man!” — a new album arriving February 13, 2026 via Eugene Hütz’s Casa Gogol Records, co-produced by Nick Launay and Adam “Atom” Greenspan.
Alongside the previously released title track, the band have issued the second single “Hater Liquidator,” described as an upbeat dancefloor cut tied to themes of navigating the “Roaring and Warring ’20s.” The album expands on the post-punk electronic direction the group explored with Bernard Sumner on “Solidarity,” with Hütz calling it “our post-punk groove revenge” and their most concentrated mix of punk, gypsy music, hardcore, and techno.
London trio DREAM NAILS return with “House Of Bones,” a bass-driven cut from their upcoming album You Wish, out February 6 via Marshall Records — a track built on resilience, self-trust and the everyday pushback women face in the music world, delivered with their usual punch and clarity.
HOME FOR THE HOLIDAYS lands as a warm, slow, sweet Christmas tune from THE BOUNCING SOULS, the kind of post-show follow-up that feels tailor-made for the season — a mix of road-worn sentiment, melodic uplift, and that familiar Souls knack for turning simple hooks into something that sticks, leaning into nostalgia without softening the edges.
ROME IS NOT A TOWN return with Echoes of Love, a tense, atmospheric cut that leans into clarity without losing the abrasive indie-rock edge they’ve built since their 2015 debut. The track sits right in the crossfire of modern detachment, where media noise and lived reality blur until only emotional residue remains, and the band sound more confident than ever letting melody rise through the grit. Out November 21st, it’s the second preview of their February 2026 album of the same name.
Metallic alt-nu rockers from MY TICKET HOME surges back on Pure To A Fault, a hard, hook-bitten reboot arriving eight years after their last full-length and paired with the snarling new single “One for the Garden,” locking their self-styled “puke rock” firmly back into the present. The record is full of sharper riffs and a darker emotional edge without losing their chaotic swing. It’s a full reset that makes the band feel sharper, louder, and more intentional than they’ve ever been.
UK alt-rockers DON BROCO drop another punch of neon swagger with “Euphoria,” a seductive, high-voltage single built on electronic feints, heavy guitars, and a bassline that moves like it owns the room. The track hits that sweet spot between club heat and arena bite, chasing the thrill of a first-time high while stacking another sharp twist onto their 2025 run of singles.
After nearly three decades of silence, BOYS LIFE return with Ordinary Wars, a four-song EP out now on Spartan Records, recorded last summer with Duane Trower and carrying the same serious, slow-burn intensity the band built its name on in the 90s Midwest scene.
The new material leans into themes of mortality and disillusionment, with Brandon Butler calling the world “a failed experiment” and the sessions mixing raw, live takes with ideas that came together in the room — some spontaneous, some shaped through rehearsals.
Polish alt-rock trio SOUR BLOOD just released “Elegy,” an acoustic-leaning ballad produced by Konrad Janiszewski and paired with a video by Maciej Gensler, showing a softer side of the Poznań band.
Built on simple chords and steady strumming, the song traces that uneasy shift between fear and forward motion, landing in a place where change feels risky but necessary. The band frames it as a moment when past struggles blur, optimism creeps in, and you stop trying to explain everything and just hold on to whatever’s real right now.
⤵ Metal
Alt Metal, Death Metal, Heavy Metal, Black Metal, Thrash, Sludge, Nu Metal, Grindcore, and more.
Danish blackgaze unit MØL return with Young, a two-track single that folds their shimmering alt-rock sensibility into the sharp edges of their upcoming album Dreamcrush, out January 30, 2026 via Nuclear Blast — a dense, melodic surge that hints at the record’s core tension between dreamlike escape and the crushing weight of reality, pulling their MBV/Cocteau Twins haze over a louder, more urgent pulse that feels like the project’s most explosive step forward yet.
Biting, blackened-doom bruiser LOCUSTS AND HONEY return with Shadow of My End, a new EP built from over 22 minutes of bellicose churn, sad quiet pockets, and that filth-streaked heaviness they carved on their debut. It’s their first outing as a five-piece, recorded at Holy Mountain Studios and mastered by James Plotkin, leaning further into the distinct style they’ve been shaping—blackened doom shot through with restrained, aching passages. The title nods to John Dowland’s “Come, heavy Sleep,” framing the record’s fixation on fatigue, nightly collapse, and the strange comfort in knowing the end is promised. Fans of Mizmor, Dragged Into Sunlight, Esoteric, Corrupted, and even William Basinski will know exactly where this mood sits.
Italian post-black metal unit SEDNA unveil their new album Sila Nuna via an exclusive full-stream at No Clean Singing — a sharp, more violent chapter built around Inuit mythology and released November 21 through Dusktone. Shorter, harder-hitting tracks pull their sound closer to raw black metal while keeping the atmospheric weight intact, with mixing/mastering by Jack Shirley and a closing piece featuring guest vocals from members of PSYCHONAUT 4.
BETWEEN THE BURIED AND ME have released The Blue Nowhere (Deluxe Edition), a 24-bit HD digital edition featuring the full album, an additional bonus track (“Overture”), and instrumental versions of all songs. The record leans heavily into their progressive metal identity while expanding into new stylistic territories, presenting one of their most immersive conceptual works to date.
Modern metal’s most enduring bruisers are back: LAMB OF GOD just dropped the standalone single “Parasocial Christ,” a three-minute blast of precision rage produced by longtime collaborator Josh Wilbur. The track arrives with a stark Jon Vulpine–directed video and lands the same day the band’s Spring 2026 North American tour goes on sale, featuring KUBLAI KHAN TX, FIT FOR AN AUTOPSY, and SANGUISUGABOGG. Randy Blythe frames the song as a swipe at the attention-economy spiral — a reminder to cut the feed and get back to something real.
CALCRAFT unleash Reborn Through Torture, a raw and hostile death-metal strike rooted in the traditions of IMMOLATION, SUFFOCATION, and INCANTATION, with blackened edges and thrash-driven aggression shaping its atmosphere. Named after English executioner William Calcraft, the band leans fully into gore-soaked riffing and horror imagery, pulling influence from Giallo, French slashers, and classic American violence. Out now via Lifeforce Records.
METALLICA have shared pro-shot footage of “Holier Than Thou” from their November 1 performance at Optus Stadium in Perth, marking their first Australian appearance in over a decade, as reported by Blabbermouth. The show drew an expected crowd of around 60,000 and featured support from Evanescence and Suicidal Tendencies. Local police detained two attendees who climbed a central production tower during the set and were charged with trespassing.
AS I LAY DYING have released a new single, “If I Fall,” marking the second track from the band’s latest incarnation following last month’s “Echoes.” The song arrives alongside a visual debut through Napalm Records and continues the group’s ongoing reset after last year’s collapse of the previous lineup amid renewed controversy surrounding Tim Lambesis. The current roster features Lambesis on vocals/guitar, Chris Clancy on vocals/bass, Bill Hudson, Don Vedda, and Jack Daniels on guitars, and Tim Yeung on drums.
DEADNATE return with “Neon Burner,” a sludgy, double-bass-driven hammer from their newly announced second album Mosaic, out March 27, 2026, sharpening the Danish band’s shift toward heavier, more focused progressive metal while turning their themes inward toward city life, self-scrutiny, and the tension between people and the worlds they build; the single follows October’s “He Who Pays” and arrives alongside release-show plans at Radar in Aarhus and Stengade in Copenhagen, marking the next step for a band already praised for the ambition and virtuosity of The North Sea.
LAMB OF GOD just dropped the kind of tour announcement that feels like a warning more than an invite — a full North American run for early 2026 with KUBLAI KHAN TX, FIT FOR AN AUTOPSY, and SANGUISUGABOGG in tow, riding the momentum of “Sepsis” and doubling down on the band’s long-rooted Richmond ferocity, turning the whole thing into one big, riff-stacked gauntlet that’s meant to shake every room it hits.
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Technical/melodic death metal unit CARRION VAEL announce Slay Utterly, their fifth LP and third for Unique Leader Records, arriving January 16; the first single “19(fucking)78” is out now, a violent, detail-driven dive into the Hillside Stranglers case that sets the tone for a record the band describe as chaotic, fast, and offering almost no relief before the brutality resets again.
Technical death metal unit HUMAN have released their new album “Concetto Transeunte,” out now and built around complex, progressive structures shaped by founder Edoardo Boccato’s long-running vision; the record marks the band’s first full-length with the lineup solidified in 2023, expanding on earlier releases with a sharpened mix of precision, conceptual depth, and the genre’s darker intensity.
Australian metalcore unit THE GLOOM IN THE CORNER have announced their third album “Royal Discordance,” set for release on February 27 via SharpTone Records, and shared the new single “Angel’s Wrath Whiskey,” a fast-paced, theatrical track that expands their ongoing narrative world; recorded in Nashville with producer Jonathan Delese, the album spans twelve songs and arrives as the band continue their European run with Aviana ahead of next year’s fully sold-out Hellbound Cruise.
THE DEVIL WEARS PRADA just locked in a Spring 2026 headline run, hitting the road March 13–April 12 with FOUR YEAR STRONG, SPLIT CHAIN, and I PROMISED THE WORLD, rolling straight out of a brutal touring year and into full support of their new album Flowers, keeping the momentum sharp while they bounce from Oklahoma City to Nashville with zero signs of slowing down.
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Norwegian post–black metal trio ROSA FAENSKAP debut their new single “Bygg til himmelen” via Invisible Oranges, a track that strips back the prog and leans fully into repetitive tremolo haze and bleak, slow-burning atmospheres. The song pushes their most black-metal-tilted sound yet while lyrically dragging capitalism and colonialism through the mud, imagining something better rising from what those systems destroy. Built around long, icy melodic lines and chords that feel both venomous and oddly beautiful, it’s the second preview of their upcoming album Ingenting forblir, out March 6, 2026 through Fysisk Format.
The new SHINING single まもなくみんないなくなる, a ten-minute collaboration with Sigh released on November 21, 2025, lands as a bleak, drawn-out meditation that leans into both bands’ most suffocating tendencies. Presented with stark monochrome artwork, the track extends SHINING’s signature descent into psychological black metal while pulling in Sigh’s avant-garde edge, creating something slow-burning and ritualistic rather than abrasive.
It arrives quietly but with intent, a long-form piece that feels more like a final message than a standard single, sharpening the sense of isolation and decay that has defined both projects at their darkest.
French metalcore duo BETWEEN THE LAKES surface with their debut EP Rêverie, a six-track blend of modern punch and early-2010s tension shaped by the sounds of Architects, While She Sleeps, Bring Me The Horizon, Bullet For My Valentine, Northlane, and Landmvrks. Formed in 2022 by Thibault (vocals/guitar) and Val (bass), the project is fully digital, rooted in Xonrupt-Longemer and the mountains and lakes that gave the band its name.
SALLOW MOTH has a new release on the way via Lilang Isla, with the Blue Permutations EP arriving November 21. It lands the same day as Deformity in Ceremony, both sourced from the same creative stretch that produced Mossbane Lantern. Instead of being folded into that record, these tracks were kept aside to stand as a separate set exploring the project’s different stylistic branches.
The EP features four tracks written between late 2024 and mid-2025, with contributions from Cory Peterson, Dave Norman, Mel Redgrave, and Orion Stephens. Influences range from Edge of Sanity and Akercocke to Tortoise, Squarepusher, and City of Caterpillar. Tapes are limited to 50 copies on blue transparent shells.
Progressive/technical death metal force SUN OF THE SUNS drop their second single “One With The Sun,” a preview of Entanglement — the cosmic, precision-cut new LP arriving December 12 via Scarlet Records, bolstered by Francesco Paoli’s surgical drumming and Simone Mularoni’s pristine production, pushing their existential, futuristic heaviness into even more punishing territory.
West Coast grind chaos hits maximum velocity as SULFURIC CAUTERY and HACKED APART drop a seven-track split built from hyperblast gore, down-tuned filth, and that 625-grade DIY brutality — three new CAUTERY cuts wedged between their 2025 full-lengths and four HACKED APART rippers that swing from rapid-fire terror to gut-scraping sludge, all landing like a blood-slicked reminder of why these two remain the most ungovernable speed freaks in North American grind.
PROFANE ELEGY have released a new single, “And Then We Are Gone,” a doom-leaning track that marks one of their biggest stylistic shifts yet, built around clean vocals and a slow, suffocating atmosphere that echoes the song’s theme of how easily a life can vanish while the world moves on. It’s the latest preview of their upcoming album Herezjarcha, due January 30, 2026, created through the remote writing process that’s become central to the band’s identity, and we’ll have more on the full record later this week.
INTERNAL BLEEDING have outlined their 2026 touring plans following the release of their new album “Settle All Scores” on Maggot Stomp, confirming a short Northeast US run in March, a co-headlining UK/IE stretch with Party Cannon from April 23 to May 1 including Incineration Fest on May 2, and a return to Europe in August for Death Feast Open Air in Germany; the shows follow last weekend’s release events and extend the band’s current momentum around their seventh LP.
SLIPKNOT have reportedly entered a major catalog deal with HarbourView Equity Partners, according to The Hollywood Reporter. The agreement, valued at roughly $120 million, covers the band’s publishing and recording-master royalties tied to their existing archival material. Future releases are not part of the sale.
It remains unclear whether all current or former members participated in the agreement. While the band continues to own their publishing, master recordings remain under Warner Music Group, which took control in 2007 after acquiring Roadrunner Records.
Co-founder M. Shawn “Clown” Crahan commented that the group has found a partner “willing to sign onto continuing what SLIPKNOT,” adding that the goal is to push the band’s legacy even further. HarbourView CEO Sherrese Clarke emphasized the band’s cultural impact and said the company intends to preserve and amplify their work for the long term.
Swiss death-thrash crew TOTAL ANNIHILATION drop the second single “Age of Mental Suicide,” a fast, hostile preview of Mountains of Madness, out January 16, 2026 via Testimony Records. Marking their 20th anniversary, the track pairs Lovecraft-shadowed rage with social disgust, framing a world sinking into greed and numbness while the band tighten their attack with more speed, more brutality, and sharper melodic swings.
Croatian death-doom entity DECREPIT ALTAR have released their debut EP Egregious Defilement via Me Saco Un Ojo Records, delivering three cavernous tracks built on charnel-air guitars, monolithic drums, and vocals that sound dragged straight out of the crypt. It’s a slow, punishing swirl of death-doom grime that leans into atmosphere as much as brute force, forming a first statement that feels fully realized rather than introductory.
Belfast heavies SURVIVALIST roll out their ferocious take on SLIPKNOT’s “(Sic),” out November 28 and produced by Josh Sid Robinson, flipping the 1999 classic into a groove-loaded, metalcore/deathcore hybrid that ties their “Groovecore” identity back to one of their foundational influences while momentum builds toward the new album A Place For Those Who Suffer, Alone….
MONOLICHT return with “Alyssa,” a dark, hard-driving cut on Inverse Records that folds their shadowy metal sensibility into a sharper post-punk pulse, leaning into themes of temptation and moral collapse as the track’s tension circles that familiar push-and-pull between attraction, sin, and the comfort of giving in too far.
Two pillars of modern doom link up on Latitudes of Sorrow, with SHORES OF NULL and CONVOCATION delivering a split that feels less like a collaboration and more like a shared descent—melodic grief on one side, funereal pressure on the other, both pushing into the same cold emotional latitude as their new material streams ahead of its November 21 release via Everlasting Spew.
Florida’s necromantic black-doom force WORM return February 13, 2026 with Necropalace, a seven-track, hour-long descent sharpened by Arthur Rizk’s production and a Marty Friedman guest spot, pushing their swamp-born crypt metal into full technicolor rot—stream the ten-minute title track now as the band tees up its most elaborate, blood-soaked vision yet.
Quebec melodic death trio OUTLYING return with Oblivisci, shaped by grief, isolation, and the long climb out of addiction, pairing urgent, thrash-leaning riffs with sweeping melodic passages and clean-vocal textures that give the album its emotional weight. Built around Fred Dubeau’s most personal writing yet, the songs move between bleak storytelling, old-school melo-death grit, and widescreen atmosphere, ending on a three-part suite that traces collapse, false refuge, and recovery — the band’s heaviest and most direct work to date.
CORDYCEPS CORPSE just resurfaced with a full reissue of From Flesh to Fluids via Gore House Productions — a one-woman slam/goregrind wrecking ball spilling over with disgusting grooves, guttural violence, and Nani’s fully unhinged DIY vision.
It’s her rawest, most chaotic statement yet, now upgraded with live drums, sharper production, and a brand new video for the title track that leans hard into the project’s anti-authority, horror-splattered energy. If you’re into thick Devourment-style slam filtered through a solo creator who writes, records, mixes, masters, designs, and performs everything herself, this reissue is worth diving into — chaotic, filthy, and completely owned from the ground up.
VOLUMES drop another preview of Mirror Touch with “Bad Habit,” a track that leans on their melodic metalcore swing and the darker self-reflection that’s run through the recent singles. Michael Barr frames it as a look at the coping mechanisms you swear you’ll quit but keep reaching for when life corners you — no balance, just survival. The Orie McGinness–directed video follows the same tone: sharp, claustrophobic, and meant to sit with the tension rather than resolve it. The full album lands digitally on December 12, with physical editions following February 27.
LOST IN SEPARATION lean into a melodic, rock-infused metalcore pulse on “Seeing Red,” pushing their usual emotional weight into a sharper, modern edge where soaring hooks collide with jagged riffs, and the whole thing feels like a fight between clarity and collapse; the lyrics spill out like a last confrontation, torn between wanting the truth and drowning in it, with the chorus hitting that familiar point where frustration turns into survival instinct, a reminder of just how good this band is at stitching catharsis into heaviness without losing the human core underneath.
Horror-soaked punk metal gets its sharpest edge yet on SISTER’s new full-length The Way We Fall, out November 21 via Icons Creating Evil Art. The Stockholm band push their black-leather chaos into a heavier, more theatrical zone — big hooks, bigger riffs, and that sinister swagger they’ve been refining since Vengeance Ignited. It’s all blood-red drama and speed, built for anyone who wants their rock ’n’ roll loud, ugly, and a little unhinged.
Progressive metal tension meets atmospheric melancholy on the new single from STARE AT THE CLOUDS, who break nearly a decade of silence with The Patient: Fray — a slow-burn spiral of confusion, grief, and reluctant acceptance, mixed and mastered by Forrester Savell. The band treats this comeback like a pressure valve finally opening, turning a long, internal creative process into something heartfelt, and strangely weightless.
Toronto multi-genre artist RUNE drops her Depth Perception EP today via UNFD and pairs it with a new video for “Erode,” a track she frames as a fight with that negative inner voice that feels like its own separate presence. She talks about the chorus as the cost of pushing through — giving up pieces of yourself to get better — and slips in Hungarian lines behind the vocal layers, turning the song into a quiet back-and-forth between languages.
The EP pulls from grief, self-interrogation, and the strange moments that reshape how you see the world, ending with a title track she says ties the whole mess together.
Saskatoon metal unit PYTHONIC unleash “Guiltfeeder,” the first strike from their upcoming EP Decomposition, a December 19 release that pushes them deeper into death-metal territory.
The band frames the track as a story of backstabbing friends and the emotional fallout that follows, carried by a lead riff built to open the record and a clean, razor-sharp solo from Ryan Hunter. With new vocalist Morgan Warriner front and center and Reid Paraszczynec shaping the mix, the single signals the band’s heavier, rebuilt direction ahead of shows with Into Eternity and their Slaughterfest slot in Edmonton.
German death-metal duo SLAUGHTERDAY drop their Terrified EP, a four-track grindcore detour built as a straight tribute to Repulsion and Napalm Death, complete with a logo and cover meant to echo Horrified.
Jens Finger spells it out: every song is a quick, hostile blast — no polish, no curveballs, just razor riffs and relentless pacing meant as a sharp interlude between full-lengths while they prep bigger news for November 26. As a band rooted in Autopsy, Death, and Massacre, the shift lands like a quick knife twist rather than a reinvention, a short, loud nod to the genre’s original firestarters.
Previous roundups:
- Nov 7-14
- Nov 1-7
- Oct 24-31
- Oct 17-24
- Oct 10-17
- Oct 3-10
- Sept 26 – Oct 3
- Sept 19-26
- Sept 12-19
- Sept 5-12
- August 14 – September 5
- August 8-14
- August 1-8
- July 25 – August 1
- July 23-25
- July 21-23
- July 19-21
- July 16-18
- July 12-15
- July 9-11
- July 5-9
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