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 industrialized metalcore, desecrating deathcore, proggy thrash 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.
ALISSA – “The Room Where She Died”
Alissa White-Gluz shocked the metal world last weekend after announcing both her departure from Arch Enemy, following a 12-year run with the extreme metal project, and an impending solo album. Less surprising was that her new tune, “The Room Where She Died,” is pretty sick.
The tune has White-Gluz and collaborator Oliver Palotai (Kamelot) contrasting melodic yet mournful chord passages with deep chugs and a lithe, almost jazzy acoustic section. White-Gluz injects passionate coos, guttural roars and more into somber, mortality-questioning lines while trying to “drown out the ferryman’s calls.”
Despite its theme, “The Room Where She Died” is a powerful statement of new life.
Crown Magnetar – “Desecrate Infinite”
Crown Magnetar recently explained that they tried to push “every boundary we could” with their latest track, and considering the outright disgusting throughline of their “Desecrate Infinite,” we say mission accomplished.
The blasts will burst your head, Scanners-style. The deathcore breaks are femur-crunching, to say the least. And then there’s vocalist Dan Tucker inviting us to start gushing blood into his “chalice of shit” before he erects an empire out of our bones.
It’s a three-minute desecration that’ll both disturb and delight you for eons to come.
Excide – “Bastard Hymn”
Carolina-bred rising stars Excide have been on Revolver’s radar for a while, their frenetic yet melodic mix of hardcore, noise-rock and nu-metal striking a sweet spot for fans of Deftones, Snapcase, Visions of Disorder and more.
Their just-released second full-length and Sharptone Records debut, Bastard Hymns, hits hard, and its de facto title track might hit the hardest of all, screeching and slamming straight outta the mid Nineties and into a gnarly future.
Lionheart – “Roll Call”
Lionheart describe the end of their latest single, “Roll Call,” as “an ignorant ass beatdown for the moshers,” but that description applies just as well to the song on the whole.
From the belligerent opening spoken word (“You don’t find the valley of death — it finds you”) to the aforementioned skull-crushing conclusion (featuring as assist from A Day to Remember’s Neil Westfall), “Roll Call” is essentially one minute-and-a-half-long chest thump. It also features possibly the most meat-headed number-counting lyrics since Drowning Pool’s “Bodies.”
In short, it’s dumb, fun and furious. Readymade for pit monsters who find Kublai Khan TX too intellectual.
PARIAH – “Infinite Hologram”
Over the years, Canadian vocalist Quinn McGraw has spent time with heavy groups including Living Machines and Pale Sky, but he described his semi-recently launched PARIAH project as a darker and more “brutally honest” venture expressing “my whole truth, cranked up way past 11.”
Indeed, PARIAH’s most recent track, the Bad Omens-esque “Infinite Hologram,” glows with Byzantium effervescence, its industrialized intro beat battering against metalcore spikiness, symphonic embellishments and McGraw’s bleak-but-hummable growls. Crank it to 11.
Sylosis – “The New Flesh”
You guys smell that in the air? Something like prime seared Wagyu, brimstone and unfettered, fiery rage? That’s just British metal vets Sylosis scorchin’ out the thrash-manic first taste of their forthcoming The New Flesh album.
The title track fires up the irons with classically BPM-ripping snare hits and searing shred, though its backend mosh section pounds like a pissed-off Michelin-grade chef pulverizing the toughest of sirloins.