Photo Credit: Sheri Furneaux

As their album nears release, Connecticut’s self-deprecating noise rock wrecking crew INTERCOURSE have released their latest single, 'Cryptid Divorce Court', taken from the forthcoming full-length, How I Fell In Love With The Void, out 12th September via Brutal Panda Records.

The track arrives alongside a biting lyric video, premiered exclusively via Metal Injection. Watch here: https://youtu.be/29CmMFrb1YM

Listen to 'Cryptid Divorce Court on all streaming services at https://linktr.ee/IntercourseCT 

Pre-order How I Fell In Love With The Void on the Brutal Panda store at: https://www.brutalpandarecords.com/collections/intercourse

Following recent single 'Another Song About The Sun' (listen here), the new cut finds INTERCOURSE doubling down on their trademark blend of caustic noise, dark humour and raw emotional honesty.

INTERCOURSE vocalist Tarek Ahmed comments on the new single, 'Cryptid Divorce Court': “This was the last song I finished lyrics for on the album. It has the unfortunate honor of being the first break-up ‘woe is me with my broken heart’ song. I literally just wrote down what was on my mind and called it a day. Divorce isn’t as fun as TV makes it out to be.”

INTERCOURSE’s How I Fell In Love With The Void delivers ten searing new tracks that merge elements of metallic hardcore into an antagonistic foundation of corrosive noise rock. The album was recorded by Chris Teti (The World Is A Beautiful Place And I Am No Longer Afraid To Die) at Silver Bullet Studios in Burlington, Connecticut. It was mastered by George Richter (Thy Will Be Done) and mixed by Chris Teti and Greg Thomas. The photograph on the album cover was shot by Sherilyn Furneaux (Portrayal Of Guilt) and features exotic dancer Clementine.

“I have no life. I don't fucking do anything else. I don't have any hobbies. I don't play video games. I don't do fantasy football. I'm just obsessed with making music and writing.” 

That’sINTERCOURSE vocalistTarek Ahmedexplaining how the acclaimed Connecticut noise rock band has averaged a release per year since forming in 2013. From their self-titled debut and 2018’sEverything’s Pornography When You’ve Got an Imaginationto 2023’sHalo Castration Instituteand last year’sEgyptian DemocracyEP,INTERCOURSE have kicked against the pricks, power brokers and pissants who make America “great” while tempering their outlook with a self-deprecating look inward. 

Which brings us toHow I Fell in Love with the Void.Ahmedand his bandmates - guitaristSean Prior, drummerCaleb Porterand bassistPete Stroczkowski- spent more time and money on their fourth full-length than any of their previous releases.“Usually we record in a basement home studio, or they’re done super quickly,”Ahmedsays.“This time, we figured it was a really good investment to book a full week of studio time and challenge ourselves to write better songs.” 

In fact,Ahmedended up rewriting his lyrics three times.“I f*cking wrote my ass off, and then I do this thing about two months out where I'm like, ‘Everything I wrote sucks, so I'm going to rewrite all the lyrics.’ Then a month before recording, my wife and I decided to split, so I tried to punch up the lyrics and make them funnier by throwing some divorce stuff in there. But I think I made it more depressing.” 

Marital bliss aside, the lyrical themes onHow I Fell in Love with the Voidaren’t dissimilar from those onINTERCOURSE’s 2016 EP,Pissing Into the Abyss, which features a cover illustration of a woman fucking a giant insect while an alien watches.“On the new record, there’s definitely a lot of talking about the void and that emptiness that a lot of us try to fill with food, booze or sex,”Ahmedexplains.“Pissing Into the Abysswas about being so comfortable with the void that you’ll just piss there. Unfortunately, I’m super acquainted with it. But once you realize that nothing will ever fill the void, it will no longer rule over you.”

Ultimately,How I Fell in Love with the Voidis about being on the outside looking in.“We’re music for weirdos and freaks,”Ahmedsays.“I grew up as the only Egyptian kid in a little white town. I’m an outsider, and we make music for outsiders. Every time we play a faraway place that we haven’t been to before, there’s always one person there that has followed us for years and is there specifically for us. They are always the weirdest person in the room, and I love that. Those are my people.” 

INTERCOURSEformed in 2013 and have been annoying ever since. With the lofty (or pointless, depending on who you ask) goal of ditching the pretension of noise rock and fusing it with the immediacy of hardcore, they’ve managed a release a year since 2014. 2023’sHalo Castration Institutehelped the band reach a new level of notoriety with positive reviews across the board. With the release of a last year’s EPEgyptian Democracy, and nowHow I Fell In Love With The Void the band is sure to become the high watermark for annoying adults who dress like they’re 17 and simply will not quit.

INTERCOURSEhave played sold-out shows with the likes ofChat Pile,Deadguy,The Red ChordandThe World is a Beautiful Place & I Am No Longer Afraid to Die. The quartet have been featured on notable websitesDecibel,Lambgoat,New Noise Magazineand were recently featured onThe Needle Drop’s top 15 EPs of 2024.

How I Fell In Love With The Void will be released on LP with multiple limited variants as well as CD, MC, and digitally on 12th September. Watch the previously released videos for 'The Ballad Of Max Wright' video HERE and 'Another Song About The Sun' HERE.

INTERCOURSEare:
Tarek Ahmed - Vocals
Caleb Porter - Drums
Sean Prior - Guitar
Pete Stroczkowski - Bass

INTERCOURSEonline:
https://linktr.ee/IntercourseCT 
https://www.instagram.com/intercoursenoise
https://www.facebook.com/outsiderxhardcore
https://x.com/intercoursect

How I Fell In Love With The Void Tracklist:

1. The Ballad Of Max Wright
2. Another Song About The Sun
3. Zoloft And Blow
4. Unsuccessfully Attempting To Parse Nightmare From Reality
5. Slightly Less Than A Feeling
6. Cadaver Resume
7. Running A Cemetery Without A License
8. Cryptid Divorce Court
9. I’m Very Tired Please Let Me Die
10. Family Suicide Gun

Photo Credit: SHEISAPHRODITE

Two months after releasing their mixtape RAUNCH., Australian artist REDD. has dropped a brand new bonus track ‘MESSY.’, to accompany their explosive debut release. (out now through Island Records/UMA).
 
Watch the video for 'MESSY.' here: https://youtu.be/ZzWwV9yz22Q

Stream RAUNCH. here https://REDD-officialtv.lnk.to/followPR

Rapidly gaining a reputation as an explosive live act, as witnessed on their recent UK/EU tour, which included The Great Escape and Pretty Pissed Festival, the new track coincides with today’s announcement of the REDD. MESSY. - EAST COAST TOUR. REDD. will also make their debut appearance at BIGSOUND 2025 on 3rd and 4th September.
 
A fiery addition to the now 10-track mixtape, ‘MESSY.’ is a crackling slice of pop-punk co-written / produced with Stephen Mowat (Gretta Ray, Tyne-James Organ), and mixed by Lars Stalfors (Role Model, The Dare, Lucy Dacus). Moving at breakneck speed, ‘MESSY’ has already become a live fan favourite – capturing the essence of REDD. in only 2 mins 27 secs.  
 
“One of my favourite things to do in the studio is write a song in the last 10-15 mins and to see / hear what comes from it. Usually chaotic and a lot of fun; ‘MESSY.’ wasn’t anything different. I got the demo out in 15 minutes and decided to come back through and record it live. It was just screaming for the live energy. It was my first time recording a whole song live in the studio so it was really cool to see how it was all done” – REDD.
 
The accompanying official video for ‘MESSY.’ was directed by Melbourne photographer and videographer Sean McDonald and filmed in the lounge room of a Melbourne share house. The high-energy performance video leans into REDD., and their band’s natural chemistry. A room strung with fairy lights surrounded by close friends, the video channels REDD.’s mission to create gatherings of unfiltered moments of joy.
 
I was immediately struck by how passionate REDD. was and realised what a multi faceted creative they were. Obviously the music is brilliant but all the components come so easily to them from pulling together unique and fun outfits to contributing to the way the clips were shot and obviously the performance within them. We wanted these clips to really reflect the reality of their world and the places they often find themselves, a friends house just chilling and jamming, the local skate park/basketball court and in a nod to a nostalgic past that still lives on the local milk bar. – Sean McDonald

Recorded in Melbourne, Sydney, LA and New York, the RAUNCH. mixtape is produced and written by REDD. and friends Lach Bostock (Maisonair), Tom Josephs, Laiko (Medium Build), New-Haven (Evie Irie, Allday), SB40, Stephen Mowat (Gretta Ray, Tyne-James Organ), Ciarann Babbington (Bakers Eddy), Nate Delizotti (Vacations), Benjamin Schandy (Jimi Somewhere), Ole Martin Jense (Jimi Somewhere), Julian Sudek (Royel Otis, Bag Raiders, Genesis Owusu), and  Lars Stalfors (Role Model, The Dare, Lucy Dacus) on mixing. The mixtape moves through pop-punk, lush indie-R&B, and party-starting hip hop anthems all the while foregrounding REDD.’s lithe voice and remarkable talent for sharp, witty lyricism.
 
There is no doubt the momentum behind REDD. continues to heat up with every single they release and every show they perform. As well as local media & DSPs championing their music - triple j and unearthed, 3RRR, RTR, FBi, SYN FM, 4ZZZ, Radio Adelaide, Side-Note, Tonedeaf, Milky, VEVO, Spotify and Apple Music – internationally REDD. has been played on BBC Radio and Radio X and given the seal of approval by Kerrang!
 
REDD. has also lent their writing skills to Baker Boy's singles 'PEACEKEEPER' and ‘Freakout’, as well as featuring on Baker Boy’s current single ‘LIGHTNING’, further solidifying their reputation as a “one to watch” in the industry. October will see REDD. return to the UK to record new music with renowned alternative producer, Dan Carey (Fontaines DC, Wet Leg, Royel Otis, Kae Tempest)  

REDD. online:
https://redd-officialtv.lnk.to/followPR

More information:
Originally channelling their creative fire into acting - they’re a Palme d’Or winning actor - it took a global pandemic and Melbourne’s infamous lockdowns in 2020 to ignite their musical journey. At just 15 and entering Year 9, REDD. dove headfirst into songwriting and production. The result? A raw, no-holds-barred creative outlet that became the foundation of their sonic world.
 
Uploading demos to Soundcloud and Unearthed, it wasn’t long before their distinct style, lyricism and musicianship turned heads, earning them a deal with Island Records Australia and Republic Records in the USA, and a growing reputation within the industry as one of Australia’s most exciting new artists. Already REDD.’s string of releases, ‘BRITNEY IN 03.’, ‘PUSH ME AWAY.’ and ‘SHIMMY SHAKE.’ ‘FUGH SHI.’, ‘RAUNCH.’ and new single ‘Jeans So Baggy’ have grabbed the attention of BBC Radio 1 and 6 Music, Radio X, triple j and Unearthed, 3RRR, RTR, FBi Radio, 4ZZZ, Radio Adelaide, Apple Music and Spotify.

Track list:

1. RAUNCH.    
2. FUGH. SHI.    
3. EXPLODING.
4. JEANS SO BAGGY.    
5. SHIMMY SHAKE.    
6. BAD DAYS.    
7. PUSH ME AWAY.    
8. TWO YEARS.    
9. MESSY. (bonus track)
10. BRITNEY IN 03

Swiss post-metallers Abraham unveil their new single 'I am the Vessel and the Vessel Is Me', a complex, gargantuan effort that offers another glimpse into their new masterpiece's kaleidoscopic chaos.

Their fifth studio album, the mighty idsungwüssä, will be released 26th September via Pelagic Records and is the third and final chapter to a series of concept albums of truly epic proportions. 

Watch here: https://youtu.be/inrF9QnH_DY
Pre-order idsungwüssä here: https://orcd.co/abraham-idsungwussa

Still staged in the gritty atmosphere and philosophical weight of post-metal, sludge, and ambient noise, idsungwüssä sees Abraham march even further into dissonant and defiant territory.

“The three albums are clearly linked together thematically”, the band comment, “although, rather than an additional chapter, idsungwüssä is more like a parallel narrative to Débris de mondes perdus. The latter was a jump in time after Look, Here Comes the Dark!, whereas idsungwüssä is a jump in space, a journey away from earth. It should be the final piece of this little jolly ride.”
 
This album isn’t just heavy, it is absolutely drenched in delicious filth, and yet by embracing even more the melodic interludes and melancholic passages, they create a devastating contrast to the wall of power coming from stacked guitars, catastrophic drums and raging, sharp vocals – delivered in Swiss-German dialect.
 
“The album was recorded between November 2024 and February 2025, all while handling our day jobs and in a period that was, on a personal level, not the easiest for some of us. It is only in the last two weeks of the recording process, right before sending it out to mixing, that it sort of came together and started to feel like a coherent album, an album that we could be happy and proud about. For an album with change/transformation as an underlying theme, this is sort of performative!”
 
This urgency and duress bleeds into every song, an hour long journey that moves from the grim to sublime, from melancholy to raw destruction — evoking ruined civilisations and the last wails of fractured psyches. Yet there is something less bleakly human, more ethereal at moments, as if glimpsing beyond the constraints of the body and its wheel of flesh and death.

Strewn throughout the record are appearances of Farfisa Louvre organ - prominently featuring on an Abraham album for the first time. The band were also joined by Kevin Galland (Coilguns) who added additional Moog and piano parts. 

The band continue: “Our approach to recording guitars was different than what we did before. Instead of having one guitar on the left playing a part and one on the right playing another part, we decided that left and right guitars were to play the same part, and the center guitar was to play another part. We just stacked more guitars whenever we needed. And oh did we use a lot of reverb, too!”
 
The structures and movements of the songs found within idsungwüssä are unique and fresh - a balancing of themes and emotions that is both intoxicating and unsettling, it is an immersive journey that rewards deep listening and challenges the boundaries of genre. From the patient grandeur of coming extinction, to the chaos and fevered urgency of the aftermath, in idsungwüssä Abraham move forward from prophetic lamentation to an elegiac visceral response. The emotional closure of this expression is felt, something final that will leave you speechless and with only one real option; listen to it again.

Line-up:
Val DiCabillo – bass
Steven Margo Dita d’Oro – guitars
Dave Schlagmeister – drums, vocals
Jakkob Wierdmann – guitars

For more Abraham: 
OFFICIAL WEBSITE | FACEBOOK | PELAGIC ARTIST PROFILE | INSTAGRAM

Tracklisting:

1. Fate of Man Lies in the Stars
2. I Am the Vessel and The Vessel Is Me
3. A Discomposite Shell
4. Naked in a Naked Sky
5. Suurwäut
6. En Tüüfus Tümpu
7. 06.00.40U
8. Home

Photo Credit: Jennifer McCord

Acclaimed British metalcore band Shields have released their new single 'Kill'. It is the band's third brand new song this year, following the singles 'Abuser' and 'Red & Green'.

Stream 'Kill' here: https://shields.lnk.to/kill

"Pushing the boundaries of our band’s sonic identity was a huge part of writing 'Kill'," says singer Joe Edwards. "We experimented with different editing styles - including rapping, a genre I have immense respect for since my brother introduced it to me at a young age. Most of the lyrics in this song were taken from a poem written by my late brother, which binds me to this track intimately. My brother battled addiction for much of his life, and he wrote this poem during his withdrawals."

Founded in 2012 by primary songwriters Joe Edwards (vocals) and Samuel Kubrick Finney (guitar/vocals), Shields quickly made an impact in the heavy music scene with their viral single I Just Feel Hate - a track they re-released in a newly reimagined version in April 2025.

Their EP GUILT cemented their refined sound, blending brutal instrumentation with poignant, emotionally driven lyrics. With this release, they demonstrated an aggressive adaptability to the ever-evolving alternative music landscape, winning over fans from across adjacent genres. The momentum of their powerful breakthrough led to tour cycles alongside acts such as Loathe, Ice Nine Kills, and Escape the Fate.

Shields’ debut full-length album Life in Exile (2018) received critical acclaim for its raw honesty and musical maturity. However, the album cycle was tragically cut short by the sudden passing of guitarist George Christie - an event that ultimately led to the band’s untimely and abrupt disbandment.

Now, several years later, Shields are back - a bold decision, given the tragic circumstances surrounding their 2018 split. Yet, Shields re-emerged with the powerful single 'Abuser' (released via Long Branch Records), inviting audiences to witness the next evolution of their sound - matured, refined, and fearless. This new chapter is supported by a fortified lineup, featuring founding members Joe Edwards and Samuel Kubrick Finney, now joined by Alastair Wain (drums) and Krishan Pujara (bass).

If Shields’ discography is any indication of what lies ahead, audiences can expect a torrent of unrelentingly bold strides into new sonic territories.

Shields are:

Joe Edwards - Vocals
Samuel Kubrick Finney - Guitar, Vocals
Alastair Wain - Drums
Krishan Pujara - Bass

For more:
https://www.tiktok.com/@shieldsuk
https://www.instagram.com/shieldsuk
https://www.facebook.com/Shieldsuk

German metalcore heavyweights Annisokay continue their unstoppable rise. With their acclaimed EPs Abyss I and Abyss II already surpassing 36 million streams on Spotify alone and drawing in more than 480,000 unique monthly listeners, the band has firmly cemented their place among the genre’s elite.
 
Recently, Annisokay played in front of their biggest crowds ever at Wacken anday played Summer Breeze Open Air, moments they now reflect on in their brand new music video for 'My Effigy.' The track once again fuses crushing heaviness with soaring melodies, showcasing why Annisokay remain one of the most exciting acts in modern heavy music.
 
Watch the video here: https://youtu.be/d0PESi8X858

Stream here: https://arisingempire.com/myeffigy

Fans will soon have the chance to experience this energy live, as the band embarks on their massive Abyss Pt. II Europe Tour.

UK dates:
15 Jan: London, The Garage
16 Jan: Leeds, Key Club
17 Jan: Bristol, Thekla
18 Jan: Nottingham, Rescue Rooms

Annisokay are:
Rudi Schwarzer | Vocals
Christoph Wieczorek | Vocals / Guitar
Peter Leukhardt | Bass
Nico Vaeen | Drums

For more information:
www.annisokay.com
www.facebook.com/annisokay
www.instagram.com/annisokay
www.twitter.com/annisokay

Acclaimed post-doom artist The Devil's Trade has today announced his new album Nincs Szennyezetlen Szép, to be released 7th November via Pelagic Records. In celebration of the news, the first single from the album, the haunting 'Weltschmerz' has also been unveiled.

Watch the video for the new single, 'Weltschmerz', here: https://youtu.be/7jDMn9xT8CQ

Pre-order Nincs Szennyezetlen Szép here: https://orcd.co/thedevilstrade

The Devil's Trade comment on 'Weltschmerz': "'The word 'weltschmerz' is much more than just ‘world-pain’ - it is a mood of weariness, sadness, or melancholy about life, rooted in an acute awareness of the world's evil and suffering. It can be understood as a deep sadness about the insufficiency or cruelty of the world and the gap between ideal expectations and harsh realities. It signifies a sorrow one might feel and accept as part of life, carrying elements of pessimism and a melancholic view about existence and the human condition.

"The song is about all the sacrifices to evolve to a better person to be able to provide a more loving, safer and healthier home but at the same time the world outside has already been hopeless."

Dávid Makó began The Devil’s Trade in 2014. His early solo work, often performed with only an acoustic guitar or banjo, quickly garnered attention for its emotional depth and stark beauty. Drawing on Appalachian folk, dark Americana, and Hungarian folk traditions, Makó's music has been praised for its haunting vocals, minimalist arrangements, and profound emotional honesty. Recently, and especially in this new release, elements of post-metal and doom have taken Makó's sound into new, exciting territory, whilst retaining his unique intimacy. 

Nincs Szennyezetlen Szép, translated as “there is no uncontaminated beauty”, is a record forged in grief and the unflinching confession. Fans of The Devil’s Trade will immediately recognise Makó’s signature elements: the deep, rugged baritone, the uncanny ability to transmit raw emotion and melodies drenched in melancholia. With his fifth studio album however, Makó reclaims the heaviness of his early years, pushing his sound into new, atmospheric territory. “Nincs Szennyezetlen Szép is much darker and heavier and more complex than anything I have done”, says Makó.

Working within a larger, more dynamic canvas, Makó's confessional power is met with metal-wrought anguish, reborn as an intimate, haunting journey toward authenticity. Nincs Szennyezetlen Szép is an elegy to his late mother. “Between the death of my mother and the birth of my son we only had two weeks" explains Makó, and this complexity of emotion is felt in every beat and breath of the album. Survival, suffering, isolation, the endless human turmoil that hangs over our shared and personal grief. All this is expressed defiantly, through a voice that is devastatingly vulnerable and resilient.

While The Devil’s Trade remains a deeply personal, largely self-driven project, Nincs Szennyezetlen Szép also reflects the input of key collaborators. "Just like with (previous album) Vidékek vannak idebenn, my old friend Gaspar Binder helped me write and record the drums and I wrote and played everything else. Szabolcs Szűcs, our local legend engineered the album and my best friend Márton Szabó helped us as a producer, or I love to use the term: musical conscience. This time I dared to ask another friend of mine, Nikita Kampard (Der Weg Einer Freiheit) to be the mastering engineer and it makes me so grateful that he said yes", states Makó.
 
Nincs Szennyezetlen Szép is not an easy listen, nor was it meant to be. It is a sincerely painful document of mourning and the myriad of emotions that grip us, from bitter rage to catatonic sadness. It is a testament to the resilience found in surviving and continuing through all, a reminder that "there is no uncontaminated beauty".

Line-up:
Dávid Makó - vocals, guitar, keyboard
Gaspar Binder - drums

For more information:
FACEBOOK * PELAGIC ARTIST PROFILE * INSTAGRAM

Tracklisting:

1. The Sleep That Dragged You Away
2. Weltschmerz
3. All This Sadness
4. All This Sadness Will Be Gone
5. Your Pieces Scattered
6. Nincs Szennyezetlen Szép
7. Idegen Minden

Photo Credit: Chris Arnold  

New York metallers Downswing have signed to MNRK Heavy and announced their forthcoming album, And Everything Was Dark, set for release on 24th October.

The band have also shared the video for lead single 'For What It’s Worth' (feat. Travis Moseley of Colorblind), a bleak and unflinching outpouring of betrayal, confusion and emotional fallout.

Watch the video for 'For What It's Worth (feat. Travis Moseley of Colorblind)' here:  https://youtu.be/bhotLtV1bXI

Stream the track here: https://downswing.ffm.to/fwiw

Pre-order And Everything Was Dark here: https://downswing.ffm.to/andeverythingwasdark

Vocalist Harrison Seanor comments, “As a collective going into the studio, we knew that ‘For What It's Worth’ was a heavy favorite. Right from the opening riff, it just has that energy, that drive. It's hard not to bang your head."

For nearly a decade Downswing have steadily evolved into a powerhouse of modern metal and groove. The band’s current incarnation emphasises soaring choruses, thunderous breakdowns, atmospheric depth and emotional intensity.

“This is the first time it feels like we’re doing exactly what we want,” says vocalist Harrison Seanor, who joined the band in 2020. “We’re not chasing any specific trend or scene. We’re Downswing.”

Created with a focus on clarity and impact, And Everything Was Dark builds on the sonic foundation of their earlier work while venturing boldly into new territory. Gargantuan riffs and crushing breakdowns intertwine with massive hooks, layered textures and lyrics that resonate deeper than ever before.

'For What It’s Worth' is a bleak outburst of betrayal, confusion and emotional fallout. 'Too Little Too Late' and 'Glass House' explore the record’s central themes: what it means to lose someone you love, the toll of addiction and self-destruction and the slow, painful process of letting go.

“Every song on this record has real meaning,” Seanor says. “There are songs about people we’ve lost, about people we’ve watched spiral, about trying to forgive people who hurt you. It’s personal, but I think people will relate to it in their own way.”

Formed in 2016, Downswing quickly made waves with their unique blend of metallic hardcore aggression and groove-driven heaviness. Early releases such as the Dark Side of the Mind EP (2017) and Good Intentions (2020) cultivated a dedicated underground following and earned the band a reputation for high-intensity performances. 2022 brought the critically acclaimed New Lows EP with their most recent release, Let This Life Devour You EP, arriving in 2024.

Downswing saw And Everything Was Dark as an opportunity to create the kind of record they wanted to hear, without compromise.  “We focused a lot more on structure and storytelling this time around,” Seanor explains. “Before, things might have been more chaotic or riff-driven, but now we’re thinking about flow, dynamics, and what makes a song feel big and memorable. There’s no filler here. Every song has a purpose.”

Downswing will be hitting the road across the USA this September, opening for He Is Legend in celebration of the 20th anniversary of their Suck Out the Poison album. Whether playing to packed hometown crowds or making new converts on the road, Downswing are committed to growth, expression and authenticity. They’ve weathered hardships, lineup changes, personal losses and shifting trends and emerged more confident than ever in who they are.

Downswing aren't just evolving. They’ve arrived.

Downswing are:

Harrison Seanor — vocals
Anthony Salvaggio — guitar
Chris Arnold — bass
Nick Manzella — drums

Downswing online: 
Facebook||Instagram||TikTok||  MNRK Heavy website

Tracklisting:
1. No God to Me
2. Emptiness Remains
3. Drowned Out
4. Thanks For Nothing
5. In A Daze
6. For What It's Worth (Feat. Travis Moseley)
7. Stand By…
8. Serpent
9. Letting Go (Feat. Elijah Witt)
10. Too Little Too Late (Feat. Chris Roetter)
11. Eternal

Photo Credit: Derek Bremner

UK mathcore dissonants Pupil Slicer return this autumn with a record that drags them further into the shadows. Their upcoming full-length, Fleshwork, is a brutal reawakening, sharpened, unflinching and ready to push their extremity into new, more harrowing territory. The album will be released on 7th November via Prosthetic Records.

The third single from the album, title track 'Fleshwork', lands with suffocating weight. Accompanied by a stark, cinematic video directed by longtime collaborator David Gregory, the single unravels a narrative that stretches across the album’s visual accompaniments, drawing listeners deeper into the record’s bleak thematic core.

Watch the video for 'Fleshwork' here: https://youtu.be/ZD260l2fBuM

Stream the track here: https://pupilslicer.ffm.to/fleshworksingle

Pre-order Fleshwork here: https://pupilslicer.ffm.to/fleshworkalbum

The band comment: “‘Fleshwork’ as a track originally started as experimentation into more industrial and groove-oriented writing that we found really worked well in the practice space. Since road testing this song, we’ve found it hits like a brick wall live and really works in that setting so we believe it’s a great starting point for this new era. Lyrically, this song encompasses a lot of the themes of the album, dealing with manipulation, death, and total eradication of one’s own humanity to further a cause you don’t believe in and perpetuate a cycle of killing. The music video was directed by our good friend David Gregory who we are excited to be collaborating with again. The narrative in the video spans across all of the upcoming singles for this release, to tell a story that depicts the tonal and thematic elements of our album through a cinematic eye.”

During the pandemic, Pupil Slicer offered up their debut album, Mirrors, a gnashing, feral affair that thrust them into the spotlight thanks to their discordant, angular DIY efforts. Sophomore album, Blossom, put more emphasis on songwriting and slicker production values as the Pupil Slicer show truly hit the road. Fleshwork deftly combines the best bits of their previous releases, retaining the hook-laden song structures yet refusing to compromise on the acerbic energy that lured eager fans in from the very beginning.

This iteration of Pupil Slicer ushers in new talent in the form of bass player, Luke Booth, whose contributions rounded out the writing process neatly. This rejuvenated lineup sought to retain the melodic elements of Blossom whilst simultaneously pushing their sonic boundaries to the extreme. The result is a more organic sound, energised by incandescent fury that embraces imperfections as a sign of life. Recording and mixing took place in early 2025 at Nø Studio in Manchester with producer Joe Clayton at the helm. Grant Berry handled mastering.

Describing Fleshwork as “conceptual” but specifically not a concept album, Pupil Slicer lean into creating an all-encompassing industrial hellscape; a perfect setting to explore the societal machinations that dehumanise and devalue the poor, disabled, queer and people of colour for political and financial gain. Drawing on personal experience, vocalist and guitarist Kate Davies details the disconnect and discomfort of navigating this life, and the substantial human day-to-day cost of doing so.

Over the course of the nine songs unfolding, the imagery of the oppressive machinery falls away to leave behind only the personal, human elements. What starts as the smallest of sparks roars into a chthonic inferno, demonstrating the impact of and on one solitary human as the weight of subjection turns to ash. Fleshwork serves as a cathartic conduit for those who are “othered” by a society distinctly lacking in empathy, as Pupil Slicer champion their own brand of “trans inclusive radical hatred". 

Whilst the band continues to draw influence from the likes of Nine Inch Nails and Oathbreaker, as well as lyrical and tonal inspiration from film, anime and video games (specifically Chainsaw Man, Mouthwashing and NieR among others), on Fleshwork they’ve created a monster entirely of their own design. This beast could only have been formed by the minds and bodies of those who have already walked the treacherous, dystopian path that they are now illuminating for others.

The band comment: “Fleshworkis a deconstruction of what it means to be human, the penchant for personal and society-wide self-destruction and systemic cruelty that seems all but guaranteed to rear its head as long as humans exist. It’s more grounded and emotionally charged than our previous work, with a stronger emphasis on the failings of our world to look after those who need it the most and our own ability to look after ourselves. How much pain can you inflict on yourself and others before you cease to be human? There is no limit; all of the worst things to happen to the human race have been caused by its own members.Fleshwork's new image ofPupil Slicer is one that's frayed around the edges, incinerated and burned to the ground; a survivor in a wasteland of loss and decay.”

This era ofPupil Slicer isn’t just a continuation: it’s a rupture, a scream from the margins, a refusal to be palatable, and it’s exactly what heavy music needs right now.

Watch the videos for the band's previous singles 'Heather' and 'Black Scrawl'. 

CatchPupil Slicerlive: 

Oct 4 – Lasher Fest, Aalborg, Denmark 
Nov 25 – The Basement at Bristol Exchange
Nov 26 – The Bodega, Nottingham
Nov 27  – Rebellion Manchester
Nov 28  – Slay!, Glasgow
Nov 29 – Brudenell Social Club, Leeds
Nov 30 – The Underworld, Camden  

Pupil Slicer are:

Kate Davies – vocals, guitar
Josh Andrews – drums
Luke Booth – bass, backing vocals

Pupil Slicer online: 
Website||Facebook||Instagram||MNRK Heavy website

Tracklisting:
1. Heather
2. Gordian
3. Sacrosanct
4. Innocence
5. Black Scrawl
6. Nomad
7. Fleshwork
8. White Noise
9. Cenote

NYOS, the lauded Finnish instrumental duo, have unveiled their new single 'Superstar', the second from forthcoming record Growl (10th October, via Pelagic Records).

Watch the video for the new single, 'Superstar', here: https://youtu.be/ks8OsQvIsn0

Pre-order Growl here: https://orcd.co/nyos-growl

NYOS comment on 'Superstar': "'Superstar' was the working title for the record for a long time (before Growl took over and felt way more fitting) - but it became attached to this song regardless, and we're excited to release this one as the 2nd single from the album. This one came out super fast during a really fun rehearsal/writing session (during which 4 out of the 9 songs from the record basically came out fully formed all at once) and just instantly felt like a late summer single, so things just worked out perfect - we took a band holiday to Vietnam instead of doing a spring tour this year, and filmed some footage with the idea that it could be the material for our friend Pietu to manipulate into a music video for the song - he absolutely nailed it and we're thrilled to finally be able to share it... hope you all enjoy it!"

Videographer Pietu Arvola adds: "NYOS’ lads went to Vietnam and provided me with a treasure trove of weird videos depicting things like roosters, ladies dancing outside, a Pomeranian taking a nap and a tiny crab chilling out on a spoon. After making some oddball editing and processing the videos with glitchy machines and CRT TVs, the material ended up fitting the kooky atmosphere and rhythms of 'Superstar' perfectly."

Comprised of guitarist Tom Brooke and drummer Tuomas Kainulainen, NYOS are known for their immersive and often physically demanding live shows. The duo create massive sonic worlds using Brooke’s labyrinthine loops and atmospheric layering alongside Kainulainen’s kinetic drumming, in music that is rhythmic, raw, and eclectic.

Since their formation in 2014, NYOS have carved out a distinctive place within Europe’s experimental and post-rock scenes, characterised by their relentless energy, polyrhythmic complexity, and hypnotic layering.

While still rooted in their signature loop-based approach, Growl is “more ambitious with song soundscapes and compositions”, says guitarist Tom Brooke, naturally embracing a denser, more textured sound with greater attention to atmosphere and tension.

Throughout their discography, NYOS have shown an emotional and tonal shift toward ambiguity — a willingness to dwell in dissonance or delay resolution in favour of sustained tension or tranquil drift. These dramatic shifts can be felt throughout the album, in which the listener is escorted from vibrance to intensity, offering a contrast not in energy, but in clarity. 

“We often have a vibe or some ideas we wanna try out”, comments Brooke. “The songs though basically come from jamming - we'll jam stuff and I record the jams, and then kinda backwards shape them into songs which we then re-record! So often the final structures will be set when doing the first guitar/loop recordings, but the ideas are always all there.” 

The result is a dynamic and emotionally complex record that feels like a mature synthesis of everything that had come before. There is a joy in the interplay of Growl, even when the music veers into abrasive terrain. 

“Growl is our longest record to date, and when producing it, we were very conscious to make sure it is an album that holds the listener”, states Brooke.

Throughout Growl, NYOS remain unmistakably themselves: their hallmark technical precision and sonic inventiveness are ever-present. Harnessing a vast dynamic range, the Finnish two-piece blend moments of fragile minimalism with visceral, precise, and emotionally immersive sound. “I think sonically it has all the characteristics of some of our works, but I think that we both feel like this record is the first time we've ever truly managed to capture everything we want”, says Brooke, “all the angles/emotions/vibes came out just as we hoped/imagined.”

As eclectic and exciting as ever, NYOS are a band in continuous motion, unafraid to challenge themselves and their listeners with ever-expanding sonic vocabularies. Growl is an album that is both coherent and seamless in its movement, walking a tightrope between meticulous structure and explosive energy.


In their time NYOS have performed hundreds of shows across the globe, including with Zeal & Ardor, Esben & The Witch and The Comet Is Coming.

NYOS are:
Tom Brooke – guitar
Tuomas Kainulainen – drums

For more information:
FACEBOOK * PELAGIC PROFILE* INSTAGRAM

Tracklisting:

1. Get Ready
2. Superstar
3. Lézard Rouge
4. Harder Than Rain
5. Pepe-Pepe
6. Lo4
7. Walking In Moonlight
8. Be Free
9. Alright, Goodnight