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 alt-metalcore, death-metal, industrial 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.
"Pushing the Pink Envelope" applies 100 gecs' everything-including-the-kitchen-sink methodology to mathcore. Trance beats, vaporwave bridges, Patrick Stump-ian pop-punk hooks, metalcore breakdowns, pulsating keyboards and more find their way into the Atlanta band's latest offering.
Every time this crew unleashes a new song with this level of quality, it reinforces that no other band is making 'core music that's this thrillingly unpredictable.
At first, Chelsea Wolfe's new song captures the eerily beautiful quietude of a midnight snowfall. For its first three minutes, the goth-rock singer croons delicately over a click-clacking drum machine and spacey ambiance, the whole mix suffocated by a tasteful lack of reverb.
Then, an avalanche happens. The fuzzy guitars plow forward and the song opens up while Wolfe's voice — now coated in wreathes of echo — swirls up into the dark sky. She's back, and masterful as ever.
In ancient myth, the Anunnaki are a group of powerful deities who are tasked with determining the fates of humanity. In Silent Planet's new song, it sounds like the band were confronted by these all-knowing forces, and it didn't go too well.
The massively heavy metalcore barrage is bursting with fiery rage, from the attack of the instrumentation to Garrett Russell's merciless screams that puncture its momentous breakdown. Don't mess with the Anunnaki.
A family affair featuring Brazilian metal legend Max Cavalera and his son Igor Amadeus Cavalera, Go Ahead and Die evoke the raw, gnarly, death-metal early days of Max's iconic band Sepultura on their ripping new single.
Thematically, it's inspired by "the cruelness and inhospitable terrain of the desert," according to Igor; fittingly, it delivers a fiery sandblasting worthy of its desolate namesake.
"We all cursed to live in the shadow of the valley of death." So goes the opening line of Saltwound's "Shadows Remains," the lead cut off the NorCal deathcore upstarts' new EP, In the Shadow of the Valley of Death, laying out the overarching theme.
Musically, the song lives up to the grim concept, taking the listener on a harrowing ride full of ferocious riffery and pained roars. But what we really appreciate are the neck-snapping grooves and the attention to negative space, which makes the heaviness hit all the harder.
At this point, 3TEETH have established themselves as masters of the cover song, having effectively recast Foster the People's "Pumped Up Kicks," Sweet's "Ballroom Blitz" and Dead or Alive's "You Spin Me Round (Like a Record)" as industrial-metal ragers.
Up now: Tear for Fear's Eighties classic "Everybody Wants to Rule the World." In 3TEETH's hands, it becomes the seething, apocalyptic call to arms of a prospective monarch with destruction on their mind. And yes, it rules.