Here at Revolver, we’re always on the hunt for new songs to bang our heads to — indeed, it’s a big part of our jobs. With that in mind, here are the tracks released this week in trve kvlt black metal, heavy shoegaze, screamo revival and more that have been on heavy rotation at Revolver HQ.
For your listening pleasure, we’ve also compiled the songs in an ever-evolving Spotify playlist.
As Everything Unfolds – “WHAT YOU WANTED” feat. Dani Winter-Bates
“237 living armageddon/I’m losing it all.”
As Everything Unfolds vocalist Charlie Rolfe explained this week that the band’s latest song is about substance abuse and losing control. They’ve connected those themes to a reference from Stephen King’s most famous alcoholism allegory, The Shining, by namedropping a room number from within the Overlook Hotel.
Musically, the act forge bruise-brooding nu-rock melodies with desperately hopeful crooning from Rolfe and a round of guest screams from Bury Tomorrow’s Dani Winter-Bates.
Even if you haven’t been turned onto the UK outfit’s music just yet, it’s possible that maybe — just maybe — they’ve always been our caretakers.
Four Year Strong – “WHIPLASH”
New England rockers Four Year Strong free-fall into a pool of sludge with their latest standalone single, “WHIPLASH.”
Split it right down the middle, and the spaciously-grooved lead melody conjures a mix of Superheaven-esque post-hardcore and Torche at their swampiest. But Four Year Strong likewise induce the titular whiplash once they flip the script and gear up into a more metallic and chromatically crushing finale.
I Promised the World – “Bliss in 7 Languages”
Following their recent dates with Deafheaven — and while currently on the road supporting Koyo — Fort Worth, Texas, quintet I Promised the World announced this week that they signed with Rise Records to deliver a five-song EP in 2026.
Whether you were there the first time around or not, lead single “Bliss in 7 Languages” is pure dopamine for early Aughts screamo and metalcore fans. Between its metallically-swung licks, emo-teary jangles and sung-to-screamed dynamism, the tune conjures early From Autumn to Ashes — not to mention the era when there was nothing more precious, or hi-fi, as a pixel-obliterated flip-phone selfie of you and your sweetie.
Mayhem – “Weep for Nothing”
“Embrace the great and eternal peace.”
We’re dutifully heeding this piece of advice Mayhem vocalist Attila Csihar gurgles into the black-metal legends’ first piece of new music since 2019 — which will appear on next year’s much-anticipated Liturgy of Death LP.
It’s not that Mayhem’s latest song is tranquil — indeed, the seven-minute epic mega-blasts its way through ultra-brutal beats and eerily melancholic guitar trills. The vocal extremism heads from goblin screeching towards Great Caruso operatics and a chilling, Joker-fired back-end cackle.
We’re just not fighting the inevitable and letting it bowl us over, full stop.
Nothing – “cannibal world”
While the video for Nothing’s “cannibal world” finds people wandering past collapsed buildings and wreckage-heavy cityscapes, the Pennsylvania-made shoegaze expressionists constructed a truly remarkable new single — and done so via a newly tooled lineup that now features current members of Cloakroom and former Best Coast guitarist Bobb Bruno.
Above the speaker-crawling, My Blood Valentine-esque guitar undulations and a Nineties-twitchy drum-and-bass break, bandleader Domenic Palermo exhales gossamer whispers about exhaustion and “bodies full of dents” — yet this track is built to last.
Stabbing – “Inhuman Torture Chamber”
Sick-as-hell brutal slam devotees Stabbing are ushering in their Eon of Obscenity with an absolutely filthy first taste dubbed “Inhuman Torture Chamber.”
The track is relentless, yet multi-versal — the Texas death-merchants manically ebbing and flowing between various jackhammered tempos and progressively pinch-squealed layers of grotesquerie.
Vocalist Bridget Lynch puts on an especially disturbing clinic via various nasty brees, a bizarrely R-rolling regurgitative technique and chilling, ultra-violent lyrics referencing the real-life murder of Slyvia Likens, an Indiana teenager killed by her caregiver in the Sixties.