As we've passed the mid-point of the year, it's time to reflect on what the waves of rotten filth have left for us on the shore thus far. Below you will find an assortment of top 10s ranging from mosh-worthy hardcore and metalcore, the grimiest of sludge, the manic chaos of mathcore and noise rock, the emotional catharsis of screamo, abrasive walls of grind, and everything in between.
If you're wondering why [recent release] isn't covered here, there was a slight delay in getting this article finally rolled out, but look forward to them in our next column covering July and August releases.
Lastly, a special shoutout to new contributor Mish who has provided a unique top 10 of largely Asia-based hardcore, sadly a blindspot for admittedly this column thus far, and I'm sure most of the -core world as well.
Trent’s Top 10:
EYES - Spinner (metalcore, chaotic hardcore, noise rock)
While I’ve covered this release twice already this year for previous RTTC and Editor’s Picks columns, if you’re still sleeping on this maybe this will be the one that finally drills into your skull how good this is. EYES are part of the groundbreaking, genre-pushing scene out of Copenhagen, sharing members with the likes of LLNN, Hexis, Telos (RIP), and more. This thing is like Every Time I Die on steroids, where their southern vibe is replaced by a more blackened, noisy Converge-like edge. Spinner is truly a fitting title here as the music feels like it's often spiralling in on itself like a metallic hurricane fuelled by rage. Yet despite all this chaotic violence, EYES know hardcore should still be a little fun. Fortunately there's enough moshable riffs and jittery spin-kick inducing breakdowns to get your groove on.
The Callous Daoboys - I Don’t Want to See You in Heaven (mathcore, metalcore)
If The Callous Daoboys weren’t on your radar after Celebrity Therapist (2022), they should be now. I Don’t Want to See You in Heaven saw them break out from the niche mathcore circles of Dillinger-worship that their early work may have cornered them in, with their most accessible yet arguably strongest release to date. There’s something here for fans of regular-old metalcore, post-hardcore, even pop-punk, without abandoning the technicality and boundless creativity of their mathcore roots. With these varying genres at play, this is arguably something of a stylistic mess. Yet, like some violent Jackson Pollock, it just works. Contributing to this success is their adaptability and versatility, from the individual performances of each band member, to their expanded overall song-writing ability. From the Fall Out Boy-inspired pop-hit of the summer, “Lemons”, to the surprisingly mature prog and post-metal-influenced epic closer “Country Song in Reverse” every step they took here expanded their repertoire, while nailing it every time. This more eclectic approach allowed room for vocalist Carson Pace’s extended range with a much larger clean-vocal presence full of super catchy hooks, yet not shying away from screaming in full rage.
I Don’t Want to See You In Heaven should set the new standard for entry-level mathcore, and that’s not a knock on the album at all. It has perhaps the widest range on the heaviness spectrum you can find in the genre, from Danza-level chaotic breakdowns to straight pop. It shows you the depravity and dissonant turmoil that this genre is capable of, but doesn’t beat you over the head with it - and I think that’s something that this genre needs, and no doubt will convert many new comers for years to come.
Boneflower - Reveries (screamo)
Spain’s Boneflower play the type of screamo that you can relax and unwind to. Like bands such as Demersal, Ojne or Suis La Lune, there’s a certain sentimentality and composure channelled through the instrumentation that uses the swelling and tension building of post-rock song-writing. Complimenting that is a mixture of distorted and clean guitar tones and lighter post-hardcore riffing. Things even get quite lush, and dare I say, skramgazey at times, bringing a unique contrast to the generally melancholic and depressive feel of the album. Reveries is the third proper full-length from this Spanish trio and a contender for their strongest to date. The pained and emotional delivery of their vocalist/guitarist is contagious and hard not to get swept up in. A surprising bonus feature here was a guest appearance from vocalist Jeremy Bolm of acclaimed long-running post-hardcore group Touche Amore, who brings his own unique sound to the powerful single “Pomegranate.” Screamo is at its best when it really makes you feel something, and through their dynamic songwriting and earnest passion, there’s no shortage of that here.
Crossed - Realismo ausente (screamo, metalcore)
Vildhjarta - + Där skogen sjunger under evighetens granar + (thall, progressive deathcore)
Snooze - I Know How You Will Die (prog post-hardcore, djent)
Othiel - World’s Fastest Car (screamo, emoviolence)
Jackal Twins - Cuzco (mathcore)
Nuvolascura - How This All Ends (screamo, emoviolence)
Lord Snow - Have You Heard of the High Elves (emoviolence, math rock)
JD’s Top 10:
Since I have already written about most of my top 10 of 2025 thus far in other editions of this column (all linked below), I decided to write about the three that I haven’t covered yet.
Bursting - Bursting (post-hardcore)
My kryptonite is knotty 90s post-hardcore with complex guitar interplay that straddles the line between melody and dissonance. Shiner and Jawbox, two of my favorite bands, are masters of this style. While both bands have firm foundations in angular post-hardcore, it’s their mid-paced rhythms, thoughtful melodies, clean singing, and immense choruses that make up the central components of both band’s sounds. Essentially, both bands were not afraid to be as tender as they were harsh. Lo and behold, when I first caught wind of Bursting, their Bandcamp cited both Shiner and Jawbox as influences (as well as two other 90s post-hardcore favorites of mine, Drive Like Jehu and Quicksand). After the first few seconds of opening track “Good Likes,” I was immediately sold.
Bursting is made up of current and former members of hardcore, grindcore, and sludge bands, such as Stress Positions, Yautja, and Thou. Given the heaviness and intensity of the members’ other bands, one might be expecting a similar sound emanating from Bursting’s stunning debut. Instead, Bursting captures the best of the 90s post-hardcore sound encapsulated by Jawbox and Shiner. Rather than avalanches of thick distortion, the listener is met with the metallic clang of twinkly, intertwining guitars that have their overdrive settings dialed nearly all the way back. Drummer Tyler Coburn (Thou, ex-Yautja) can often be heard pounding away plodding rhythms for Thou, but he nearly steals the spotlight on Bursting for his finesse. His complex patterns and fills are often juxtaposed with the simplicity of the guitarists’ lines and arpeggiations, which creates a sense of forward movement and drive in otherwise spacious segments.
The most enchanting aspect of Bursting is how well the band epitomizes that aforementioned balance between melody and dissonance within their thoughtful songwriting. While guitar lines wrap in and out of harmony with one another, every song is thoughtfully written. The tangled nature of the guitar interplay often gives way to genuinely beautiful melodies and surprisingly catchy choruses for which vocalist Kortland Chase’s contributions are integral.
If you’re a fan of 90s post-hardcore that straddled that very fine line between melody and dissonance, tenderness and harshness, and accessibility and inscrutability, then Bursting should satisfy all your needs.
Belted Sweater - Belted Sweater (synth post-punk)
I debated whether I should include Belted Sweater in this list. We at Heavy Blog are hardly genre purists, but it initially seemed a bridge too far to include this eccentric album in a column that dedicates itself to deathcore, screamo, grindcore, noise rock, and the like. Belted Sweater bridges the divide between goth, synth-pop, and post-punk, and about the only aspect of the album’s sound that fits into this column’s regular coverage is sole member Christopher Patrick Gregory’s distorted hardcore bark. To be fair, we have included the likes of Crippling Alcoholism in this column. That band’s horrific tales of murder and sexual perversion, coupled with a dirge of lurching percussion and ominous synths, seem more than appropriate to be covered in a column on this site than Belted Sweater’s buoyant rhythms, whimsical melodic phrasing, and a sentimentality that verges on the wistful. In spite of all that, here we are.
Between the fluttering drums that evoke disco’s greatest hits, the warm but half-broken-sounding 80s-inspired synths, and Gregory’s snarl, there is little room for easy categorization. Belted Sweater’s Bandcamp describes the project as being akin to “Henry Rollins [being] in the Pet Shop Boys but with live drums and even gayer lyrics, chronicling terribly awkward Grindr hookups.” While that statement may come off as equal parts cynical and superficial, Belted Sweater seems more sincere and reflective than that statement would indicate. According to Gregory, the album’s lyrics focus on his observations and aspirations for the LGBTQ+ community, and in particular, his desire for the community to re-embrace more radically left politics. However, the odd collection of sounds throughout the album evoke complex and conflicting feelings of longing and regret, much like one takes solace or even perverse joy in misery after losing love.
While certainly not “heavy” by the traditional standards we normally ascribe to the music we cover here, Belted Sweater is heavy in the weight of entangled emotions it grapples with.
Young Widows - Power Sucker (noise rock/post-punk)
One of my favorite shows so far this year was Young Widows headlining with Cherubs, Porcelain, and Nerver in support. Cherubs went on directly before Young Widows and their performance was fiery and confrontational. Guitarist and vocalist Kevin Whitley’s face turned red as he howled into the microphone and, at a couple of points, held his guitar over his head as he launched himself into the audience. Waves of blood curdling guitar feedback and distortion caused many members of the audience to wince and plug their ears with their fingers. On the other hand, Young Widows’ performance was measured and precise. Calm, cool, and collected, vocalist and guitarist Evan Patterson stood well over six feet with a black cowboy shirt, black cowboy boots, and his hair slicked back. He leaned in toward the microphone after the opening bruiser of a song and quietly asked the audience in a gravelly voice, “How y’all doing tonight?”
That quiet intensity and southern charm has been what has colored my impressions of Young Widows’ first album after an 11-year hiatus. Despite the noise rock tag, Power Sucker has a warm restraint to both the production and music that rarely accompanies other albums of the genre. Even compared to Young Widows’ prior albums, there’s no element being pushed into the red. The production sounds warm and analog, and the guitars seem mixed noticeably lower than not only most noise rock albums but also most Young Widows albums. Musically, the songs are much more succinct and Patterson’s guitar work is often more restrained. The drums and bass thump as expected, but there is often a sense of reserve in their uncomplicated lockstep rhythms. Additionally, many tracks on Power Sucker contain exceptionally catchy choruses, which is perhaps an even more unusual characteristic for noise rock.
One may read the above and come to the conclusion that Power Sucker is a weak album or that Young Widows have lost their edge. One could probably make that argument. Instead, what I would contend is that, much like METZ with their 2024 swansong Up On Gravity Hill, Young Widows have pared back their sound to its truest, barest essentials to create the most mature and accessible album of their career.
halfmass - Ten-Gallon Heart (everything)
Decultivate - Decultivate (grindcore/d-beat)
Blue Youth - Defeatist (noise rock)
Doomsday - Never Known Peace (crossover)
MOLT - MOLT (post-hardcore)
YHWH Nailgun - 45 Pounds (experimental noise rock)
Psudoku - Psudoktrination (grindcore)
Chepang - Jhyappa (grindcore)
Boeli’s Top 5
Point Mort - Le point de non-retour (prog post-hardcore, metalcore)
Sometimes an album charges in out of nowhere, and takes you for a wild and wonderful ride, surprising and amazing with every unexpected twist and turn while still slinging in its barbed hooks and taking up permanent residence in the brain radio.
Point Mort’s Le Point de non-retour has managed to do that and more for me over the past months. With a mesmerizing and hard to categorize blend of progressive metal and post-hardcore, these French mavericks have delighted me time and time again. Switchbacking from raging, furious meltdowns to gorgeous and fragile melodies on most tracks, influences of Todtgelichter, Rolo Tomassi and Machine Girl are part of this impressive collage but never paint the full picture.
Especially “An Ungrateful Wreck of Our Ghost Bodies” and “The Bent-Necked Lady” have yet to leave me behind goosebump-free, and the latter is probably my song of the year so far.
I highly recommend diving into this one, while the unhinged and somewhat quirky and accented vocal delivery might not be for everyone, I consider it a boon among the flood of overly slick core releases that crowd the scene.
Point Mort dazzle like a crooked lighthouse, probably guiding us towards a watery death. Their sirenlight is too irresistible for me to care though, and I will happily accept their serrated embrace.
Bleed From Within - Zenith (melodic metalcore, groove metal)
I discovered this streamlined, burly bruiser through our very own blog and have immersed myself in their viciously catchy groove-heavy metalcore, adorned with a generous helping of symphonic flourishes.
With riffs and breakdowns that kick, smoke and smoulder like a barrel-aged Islay and hooky choruses that stick like the inside of a deep-fried mars bar, this album has been the furious companion and final push needed for many of my workouts over the past months.
Indebted in parts to Sylosis, Parkway Drive and Fit for an Autopsy, these scathing Scots have especially impressed me with the smoothly included bagpipe section on absolute ripper “In Place of your Halo”, and the indelible hooks on “A Hope in Hell” and “Immortal Desire”.
Highlights notwithstanding, this album takes no breaks or prisoners, and serves as a dependable and exhilarating adrenaline shot when needed.
Great American Ghost - Tragedy Of The Commons (metalcore)
Great American Ghost occupies a particular sonic niche in the thematic territory of socially conscious metalcore, a niche in which I will happily devour every ounce of righteous rage served in a smoldering all-you-can eat buffet that is presumably sourced from mystery meat found in crashed private jets and pressure-popped pleasure submarines.
While latest offering Tragedy of the Commons arguably lacks some of the pure piss and winegar of predecessor Power through Terror, I am not opposed to the inclusion of more sneaky melodicism and intricate drum patterns that infringe on Fit for an Autopsy territory. Still retaining an iron-spined base of modern metalcore a la Knocked Loose and metallic hardcore skullthumpery akin to Harms Way, Great American Ghost rail righteously against the injustices that plague our modern existence.
Personally I am a great fan of Ethan Harrisson’s vocal delivery, especially where clean and harsh vocals intertwine, overlap and alternate with impressive fluidity (“Lost In The Outline”; “Hymn Of Decay”). Big, brawny breakdowns belie a surprisingly progressive backbone in some tracks: it’s always nice to see a band weld their politics to their songwriting without sacrificing grit or immediacy.
This album slaps, go listen to it.
Tigerleech - Bicephalous (stoner-sludge, hardcore)
Sometimes an album draws you in purely based on aesthetics,without any preceding familiarity with the artist or their actual music. Such was the case of Tigerleech. The French band peddles a mix of stoner/sludge metal and burly hardcore, and sunk their circular teeth into me with a cool band name, album title and an even cooler piece of cover art.
Our parasitic symbiosis developed therefrom, as Tigerleech locked into my streams and spewed their thick, dirty riffs and gruff mix of (un)clean vocals, scabby screams and goon-squad gang shouts straight into my veins.
I’ve been particularly enamored with the nimble way the band shifts their riffing from burly sludge chugs to hooky, melodic leads while maintaining a rather sparse and open sound, offering each passage space and time to breathe without ever sounding like something is missing.
Highlights include “King of the White Castle” with its lyrics on the dangers of conspiracy thinking, the Failure-esque grungy melodies of “...Again” and excellent late-album one two punch “The Art of Do it Yourself” and “321 Ignition”, the latter of which really sells the gang vocals.
This two-headed beast of melody and menace is best enjoyed as a whole though, allowing its shorter and longer tracks to flow into each other and really pull you into the album’s atmosphere. Let these underrated Frenchmen leech some of your time and see what they give back in return.
Bloodywood - Nu Delhi (nu-metal, punjabi folk metal)
Bloodywood are one of those bands who have managed to charm me despite selling a formula that seems musically incompatible, at least to my ears.
Their mix of nu-metal and Indian folk, with charming if sometimes slightly awkward vocal delivery has charged straight through my defenses and set up shop in my mind and heart as basically the only nu-metal I will tolerate.
My appreciation of this band is greatly aided by their wholesome vibe, the activism they engage in, and their frankly very brave tackling of societal issues that have become more and more threatening to different communities in their homeland. On both Nu Delhi and previous album Rakshak, they tackle issues like religious sectarianism, sexual violence and the decline of free press. They speak truth to power in a place where doing so might actually be dangerous, and for that alone they deserve our praise and attention.
While the lyrics on Nu Delhi are less politically explicit and it arguably lacks an absolutely anthemic banger like “Yaad” on Rakshak, there’s plenty to love here. Bloodywood still bring boundless energy as exemplified by highlights like the explosivity of “Dhadak” and its homage to Muhammad Ali, the powerful melodies of “Kismat” and “Nu Delhi” and the wholesome ode to hospitality of “Tadka”.
No one is doing what Bloodywood is doing, and their ability to fuse one of metal’s most maligned offspring with Indian music and make it not just work but shine like a legendary, misappropriated jewel is truly a feat of Hanumanian strength.
Leave your shoes and your prejudice at the door and help yourself to a steaming plate of spicy bangers. Everyone is welcome at this table.
Phil's Top 10:
SPARES - SPARES (post-hardcore, noise rock)
2025 is turning out to be a damn fine vintage for Noise Rock with epic releases from the likes of Haunted Horses, Blue Youth and Mclusky, among others. It's been my go to genre this year, usurping my usual passions: dissonant death metal and noisecore. Although I've been spoilt for choice, one release has stood head and shoulders above all the others since its release in February, and that's the self-titled debut EP by SPARES. I fucking love this record with all my being, and you should too.
“Who the hell are SPARES?” I hear you cry, and you'd be right in doing so. This talented quintet hail from Portland, Oregon and have only been together since 2023, but that's not the whole story. These guys aren't fresh out of college with Saturday jobs at the bowling alley, they're experienced musicians with bands such as Amusement, North Lincoln and Shores among their past projects. They showcase more than just an ability to play their instruments extremely well, there is accomplished songwriting on display within these six tracks. Everything just flows effortlessly and with purpose, almost as though these songs were meant to be here all along.
The first band that SPARES reminded me of was Oakland's Less Art, and there is undoubtedly a post-hardcore vein running through their sound, yet they also manage to make each track intricate, intelligent and insanely listenable. The quality of this release is quite frankly ridiculous, especially for a debut. The melody is so well integrated you almost miss it as the songs wash over you. Opener “Influence” puts its hooks into you straight away, with a delicately catchy intro that soon melts away to reveal jagged stabs of guitar, with Gabriel Matthews clever vocals moving from deep spoken word, to rhythmic punk screams. It just gets better from here, with each track building on what came before it, to the point where you'll be eagerly waiting for the last song to end just so you can start all over again.
CROSSED - Realismo ausente (screamo, blackened hardcore)
This album immediately reminded me of the heyday of Throatruiner Records, when bands like Cowards, Plebeian Grandstand and Death Engine nonchalantly spat out ferocious records that largely went under the radar. Here's hoping that Realismo Ausente shifts the dial for Madrid's Crossed, as they deserve to be recognised for their caustic take on blackened hardcore. This things got layers, with the band more than happy to slide into screamo territory before hitting you with some deconstructed doom and more. “Sentirse Solo” is the stand out moment for me with its grindcore intro, 90's mathcore middle section and delightfully strung out finale all tied together with a ribbon in just over two minutes. “Cuerpo Distorsionado” is a glorious moment of Converge worshipping, while “Realismo Dolor” is as close as we'll get to a blackened hardcore version of Birds In Row (yes, another Throatruiner alumni). Don't sleep on this album, seek it out, turn it up and enjoy!
Blue Youth - Defeatist (noise rock, post-punk)
Mercy Ties - Reflections and Criticisms (mathcore, noise rock)
Telos - What They Built (blackened mathcore, sludge)
Knub - Crub (noise rock)
Pretty Mouth - Dead Ends (noise rock, mathcore)
God Complex - He Watches in Silence (metalcore)
Nuvolascura - How This All Ends (emoviolence)
Godot - Fever Songs (blackened hardcore)
Mish’s Top 10:
XWeaponX - Weapon X Demo 2 (beatdown hardcore, metalcore)
The lovechild of one of the biggest and most successful hardcore bands of the last decade, Knocked Loose, XWeaponX exists as an entity that not only keeps Bryan Garris and Isaac Hale of Knocked Loose humble and in touch with their roots but also showcases their barefaced love for Straight Edge bands while wearing said beliefs like a heart on their sleeves. XweaponX's lineup has changed multiple times over the last few years, with members from all over the hardcore spectrum, including Harm's Way, Gates to Hell, and Heartstopper. But as of this brand-new demo, the only fundamental voices you should be familiar with besides Bryan and Isaac are Trey Garris, the band's fierce and technically exorbitant drummer and Bryan Garris' younger brother, and Dave Baugher, the real lifeblood and spirit of XWeaponX.
Apart from donning the infamous Straight Edge "X" symbol on the back of their palms, either with matte ink from a black-colored felt-tip or the ends of gaffer tape, the band upholds these straight edge beliefs as aggressively and cutthroat-ly as any regular Straight Edge Youth Crew band could, from Earth Crisis to Have Heart. Though, ever since the first demo, the band seems to have upped the antics tenfold, as musically the second demo is partial to a lot of the metalcore sounds that came out of New England, such as Converge, very early Killswitch Engage, and On Broken Wings, which means that sonically, it's also as intense and nihilistic as your typical metalcore record from the early 2000s, a far cry from what metalcore has become today.
LADRONA - Lágrimas Pesadas (hardcore punk)
Recently, I found myself to be partial to a lot of the material released by The Seats Of Piss, an Indonesian DIY record label based in Bogor. Indonesia has long been the Asian hub for all things metal and punk, and it's not only heartening but extremely exciting to see any band, let alone a record label with Indonesian roots, gain enough international acclaim to be able to publish recordings of bands from other countries, whether it's New York's stagiaires of modern horror PURE TERROR or Los Angeles' crossover hardcore devils Gylt. But perhaps my favorite of the bunch would have to be the cunning radical crust punks from Costa Rica, LADRONA, and their brand new LP, Lágrimas Pesadas.
It's almost comical how loud and claustrophobic everything seems on this album because of the intense shrill, piercing weakness of the guitar tones and crashing cymbals, which I would even say mirror the vocal fry unloaded by vocalist Valex himself. Much of the grime, brutality, and viscera in Lágrimas Pesadas resembles urban legends. The grime, brutality, and viscera on Lágrimas Pesadas are unreal, unbelievable, and unquestionably unnerving. It's as if El Cadejos, the big, black dog with glowing red eyes depicted in Costa Rican folklore, were to unleash bloody hell on the drunkards who abuse their families and any innocent onlookers, leaving a crimson trail of guts in its wake.
Reload - S&P 500 (hardcore)
Since Stompin' Ground's "Two Weeks" exploded onto the scene in 2001, setting a formidable standard for Singaporean hardcore, the Lion City has steadily cultivated a reputation for defiant and intense acts. Now, Reload is stepping up to that challenge with their debut EP, "S&P 500," not only aiming to meet that high bar but also signalling a new wave of hardcore bands making their mark in Singapore. Released just moments before opening for Your Demise (2004) live in Singapore, "S&P 500" hints at the immense potential within Reload. While their sound undeniably echoes the classic Connecticut hardcore edge reminiscent of bands like xNOMADx and even the raw power of New Mexico's DESPIZE, there's an underlying current that speaks to the relentless work ethic typically associated with Singaporeans—in other words, you can't take the Singapore out of the Singaporean.
Despite the fact that Reload was formed by a group of friends in June 2023, the four tracks on their debut EP encapsulate the essence of Lion City Hardcore's mindset. Since then, the band has quickly established itself, opening for Indonesian heavyweights Honey and Belgium's formidable Mindwar at their maiden show in August. Anthony Burke of Magnitude, also renowned for being the guitarist of one of the bulkiest straight-edge bands to emerge in the last decade, also contributed to the mixing and mastering of this EP, so you can be certain that Reload is slated for a successful career, and everyone that they performed to has the right to cower in horror at their presence.
xdetesterx - III
Put a bullet to my head, and I'll continue to contend that no one loves the H8000 Edge Metal scene in Europe more than Southeast Asia—aside from their European peers, naturally. What's more, I'd venture to say that a lot of the sound and material on this fresh new record is so incredibly complementary to bands like CONGRESS that the vocals eerily mimic Pieter "Pierre" Vanrumbeke's delivery on the Blackened Persistence LP. Straight out of Singapore's grimy back alleys, where cigarette smoke hangs heavy and illegal vape businesses discreetly thrive despite strict laws, the straight-edge high-fliers xdetesterx have emerged as a powerful force.
They are the formidable product of local hardcore bands finding innovative ways to embody punk ethos and push back against the conservative and judgmental values prevalent in Singaporean society. These often include ingrained homophobia, incel-like attitudes, and casual racism frequently veiled as tolerance, despite the nation's rich multi-racial tapestry. With a sound forged within TNTStudio—the bedrock of countless fiery sessions that have shaped pivotal demos in Singapore's local music scenes—there's no doubt that xdetesterx will continue to be as potent as possible, spitting defiance at authority as if it were second nature.
And I Dreamt Of You - Lethargy Promo (melodic metalcore, melodeath)
In my upbringing within a predominantly Christian household, my father consistently encouraged me to recite Psalm 23 during challenging and bleak times. As the world and everything that lives within it inexorably advances towards an inevitable conclusion—with some regions experiencing this end sooner than others (Free Palestine)—I find myself frequently revisiting this verse and engaging in prayer more often. With the commencement of the Lethary Promo, it appears I am not alone in seeking solace and deliverance from this psalm during these trying times.
While the band's adherence to Christian ideals remains uncertain, the specific track seems to echo similar sentiments, aligning with the current rise of Christcore bands like Every Promise Kept and Debtor. Nevertheless, it deeply resonates with And I Dreamt Of You's yearning for comfort and the overarching message on this latest promo that "everything will be okay… hopefully" However, in their pursuit of stoic solitude, the band also meticulously crafts a sound that mirrors the world's harshness. Much of the guitar work and atmosphere on this project evokes the coldness found in a typical Depressive Suicidal Black Metal (DBSM) record, reminiscent of bands such as Austere and Xasthur, thereby reinforcing the metaphorical notion that true peace is only attained through enduring hardship, all in the span of just 3 tracks.
The Shredder - BLOODFORGED (hardcore punk)
Thai hardcore has been having a moment over the last year or so, ever since WHISPERS released Yo-Ma-Lok on Flatspot Records in 2024, which not only drew international attention and acclaim to the Bangkok hardcore band but also shone a very important spotlight on hardcore bands in Southeast Asia, or in this case, Thailand. That spotlight extends beyond WHISPERS and onto bands such as the long-running Born From Pain and License to Kill, and even the recently reformed For God Killer, but currently, it’s Chiang Mai’s The Shredder that truly is on route to becoming as abominable and as uncivilized as their Bangkok counterparts. After all, you don’t call your latest EP BLOODFORGED unless you really mean it.
A love letter to the New York and New Jersey hardcore scenes of the late ’90s and early 2000s, BLOODFORGED is for many who either grew up directly with said hardcore scenes or are unabashed fans from a distance, like the band themselves. You're going to love the buffet of muscular East Coast breakdowns and chunky death metal-esque riffage, which will satisfy your cravings and inspire two-step movements all over the dance floor. As someone whose youth is as much a part of Chiang Mai as it is in my home nation of Singapore, I feel a deep sense of shame for not being aware of the city's violent underground, and I would never forgive anyone who continues to ignore it.
Angulimala - C.B.V (hardcore punk)
Stories from many religions were readily absorbed by me as a child growing up in Singapore, a thriving yet simmering melting pot of cultures. I frequently heard stories about Shui Guis, or Taoist water spirits, which are supposed to lurk during the Hungry Ghost Festival and are so devious that many believers avoid even using the private pools in their condominiums. There were also stories of the tenacious Catholic missionaries who came to Singapore to educate the growing Chinese populace, including the defenceless "Mui Tsai" slaves. Then there was the Angulimala Sutta, a captivating Buddhist text that describes the metamorphosis of a ruthless killer who lived during the time of the Buddha.
I mention the Buddhist text not just because the band's name, Angulimala, is named after it, but also to emphasise how the performances on C.B.V. (Cold Blooded Vengeance) strongly conjure the same drama and mercilessness that devoured the Buddhist figure throughout his violent rampages, long before his eventual atonement. This G-unit hardcore outfit from Singapore creates hardcore that feels like a buildup to a major WWE event. Their breakdowns provide a raged pummeling that will leave you seeing stars before putting you in a cold stupor—the kind of stupor that would certainly ensue if I started a drinking game on how many times I mention “Singapore” or “Southeast Asia” in this listicle.
Dance - Demo (metalcore, hardcore)
Before I utterly obsess over this brand-new demo from Sydney metalcore band Dance, let me clarify that "soon-to-be legends" hardly scratches the surface. There isn't a band more deserving of the title right now. I'm not sure how long it will be before they burst globally, mirroring the recognition they're now receiving in Australia. In fact, Dance plays the type of “core” on this brand new demo that would make you question if they're truly a new band or seasoned veterans masquerading as fresh faces. They've already snagged support slots with international powerhouses like New York's Pain of Truth and toured alongside local heroes such as Justice for the Damned and SPEED.
Escaping its holding cell at Uzis Akimbo, a new record label and booking company from Canberra, Ngunnawal, and Ngambri country, Dance's demo offers undeniable insight into the band's identity and their unique interpretation of the word "dance." Far from a mere action, or even the reason for the band's name, the word "dance" for this band is a profound concept. The demo features evocative lines like "dance your life away" and "dance in the pouring rain when you’re all alone," transforming the word into a metaphor for living fully and a beacon of hope for anyone suffering in loneliness and silence. Unsurprisingly, the band even replaces typical hardcore refrains such as "time to die" with "time to dance," imbuing the phrase with the same weight and intensity as any powerful breakdown callout.
Impunity & Cross Of Disbelief - New York v.s. North Yorkshire (NY hardcore)
This split EP, featuring two titans from their respective scenes—Impunity from North Yorkshire and Cross of Disbelief from New York—evoked a surge of vivid feelings that I’ll now try to describe in text. Listening to this split felt like time-traveling back to 1949 to witness the formation of NATO, or as if the American cast of EuroTrip had drunkenly stumbled into a Last Witness gig at The Underworld in London. Listening to this split was like watching King Kong and Godzilla battle, their fight spanning from New York all the way to North Yorkshire… if that is even accurate, I don’t know; I didn’t watch the movie at all lol.
What is accurate about this split EP, however, is that in just fifteen minutes and six tracks (three by Impunity and three by Cross of Disbelief), the band performs a variety of intricate metalcore strains that will undoubtedly cause your body to flex in a variety of obtuse ways in the pit, either on your own initiative or as a result of another person's negligent actions. With old-school death metal wails, feedback from filthy riffs, and a torrent of drum triggers that feel like you're being shot at by a rifle with a non-threaded barrel and a 5-round magazine, this record is pretty badass and was obviously intended for pretty badasses.
Missouri Executive Order 44 & Usurp Synapse - Split Seven Inch (false grind, sasscore, screamo)
For me, Missouri Executive Order 44 and Usurp Synapse split feel like they were fashioned from the ashes of entire genres and sounds that previously brought solace when I stepped into the strange and unsettling realm of heavy music. Praise be the days where it wasn’t taboo to listen to a Daughters record (though, let me go on record to say that Alexis Marshall is still a piece of shit human being and I don’t condone the horrible things he has done), and noise rock crossover bands such as Street Sects, Big Black, and The Jesus Lizard crafted the most unhinged music I had ever heard.
In fact, "unhinged" is the best term to characterize both the cacophony on this record and the bands themselves—from the bike helmet hardcore of Missouri Executive Order 44 to the screamo gangsters Usurp Synapse. The noises emanating from this record are a raging, seething whirlpool of unadulterated, unrestrained energy, like souls clawing their way out of the flaming depths of Hades. With its frantic nature and piercing guitar feedback, there's no doubt this release could overload your neurotransmitters, leaving your receptors struggling to transmit signals and ultimately leaving you paralyzed.
Beyond the sonic assault, both bands offer impressive lyrical showcases. Missouri Executive Order 44 delves into lengthy, convoluted spirals of "what if" overthinking that quickly escalate into full-blown paranoia. In contrast, Usurp Synapse delivers short, punchy, yet evocative stanzas on the human condition. I'd even go as far as to say these tracks are some of the most well-written hardcore on show in 2025, with "youaregoingtodie.com" being one of the best songs of the year, period.