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Raised on a balanced diet of crunchy guitars, tangy riffs and spicy hooks, Riff Raiders have simmered, sauteed and seared their special flavour of rock’n’roll since 2017. The band recorded their third album and released the single, Nothing To Lose, in 2024: a two-and-a-half- minute bona fide banger complete with amazing music video shot at […]

The equation above is AMG’s freakishly rigid and completely objective algorithm for scoring albums and determining quality. We incorporate statistics and abstract algebra, which I understand are very complicated mathses, in order to get you the highest quality extreme music this side of the Hudson or Atlantic or Yangtze or wherever the hell you are. The trouble is, you bastards don’t listen to math (i.e. “hurr durr, Wilderun is so much better than this shit.”). So I listen to math because I’m a contributing citizen and patriot – I listen to mathcore for you. I wade through the cesspools of skronk and sass – RYM and Reddit – for the best of the best. I do it for the, like, three of you who dig it and the, like, eight billion of you who yell at teens to turn it off before shuffling back inside for a bowl of Great Grains. What I do is super mathematical, so you know it’s mega serious. Mathcore is about as unlistenable and scathing as it is a total sellout – so you can offend nearly everyone who hears it. Random rhythms, migraine-inducing tempo shifts, painful squeals, no sense of melody or counting, vocals a la cheese grater to the throat – it’s skronk. So enjoy my bounties, you three. The rest of you can fuck right off.

Commence panic chords!!

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Deadguy // Near-Death Travel Services – While the mathcore world is deeply indebted to the likes of Converge, The Dillinger Escape Plan, and Botch, New Jersey’s Deadguy is your favorite mathcore band’s favorite mathcore band, and Near-Death Travel Services picks up right where 1995 stylistic landmark Fixation on a Coworker left off. It feels like a throwback to the 90’s, a rough and raw edge and bass-heavy thickness adding to the chaotic hardcore attack, desperate and vicious rhythms (“Kill Fee,” “Barn Burner”) as well as dwelling in the simmering cacophonies (“The Forever People,” “All Stick and No Carrot”). Near-Death Travel Services is a hardcore anthem at heart, with the madness of mathcore’s earliest innovators – it’s a return to form for Deadguy as if thirty years of silence never happened.

The Callous Daoboys // I Don’t Want to See You in Heaven – Everyone loves The Callous Daoboys. If you don’t fuck wit’ Carson Pace, Jackie Buckalew, and company, fuck right off. Compared to its sassy catalog, I Don’t Want to See You in Heaven is much more aggressive and in-your-face. The collective still embraces the wonky jazz- and flamenco-influenced movements and clean vocals (“Tears on Lambo Leather,” “Body Horror for Birds”), 2025 finding more of a traditional emo influence than ever (“Lemon,” “Two-Headed Trout”), the real meat of this album is a kick in the teeth, with a nearly deathcore heaviness assaulting the ears with blistering intensity (“Schizophrenic Legacy,” “III. Country Song in Reverse”). I Don’t Want to See You… feels like pure weaponization, yet it’s undeniably The Callous Daoboys in the best ways.

Pupil Slicer // Fleshwork – Something was missing in Pupil Slicer’s 2023 album Blossom. Whether it be the vulnerable alt-rock influence or more experimental songwriting, it felt like a distinct step down from the mechanical mathgrind insanity of Mirrors. Fleshwork fills that missing piece. Vocalist/guitarist Kate Davies and company, including new bassist Luke Booth, balance the surgical with the accessible through a thick haze of noise rock atmosphere and warm rumbling bass, tracks achieving a striking warmth and disorienting psychedelia through more subdued techniques (“Fleshwork,” “Nomad,” “Cenote”) and a savage blistering saturation in others (“Gordian,” “Black Scrawl”). It’s a simple trick to balance industrial precision with noisy warmth but it pays dividends for the London trio: Pupil Slicer releases its best album yet.

Kaonashi // I Want to Go Home. – TikTok mathcore feels oxymoronic, but Philly’s Kaonashi gained more traction on the platform than any other band of the same ilk.¹ Gaining notoriety from Peter Rono’s controversial vocals – more howl than scream – the act injects a far more prominent dose of post-hardcore, punk, and emo into its story-driven approach. Mathcore’s stinging panic chords and off-kilter arrhythmic chugs are present, but given the vocals and lyrical focuses on mental health, childhood traumas, and relationships, it’s a controversial act to begin with, having more in common in melody and theme with Midwest emo or City of Caterpillar-esque screamo. I Want to Go Home. is a jagged, inspiring, awkward, powerful, and overlong product of a truly unique act with a divisive style.

Theophonos // Allegheny Rains – The man behind the concluded Serpent Column project, Detroit’s Jimmy Hamzey, fuses a scathingly dissonant black metal attack reminiscent of Ceremony of Silence with the hardcore attitude and jagged rhythms of Converge, resulting in a more chaotic, mathier Plebeian Grandstand. Allegheny Rains, his third full-length, continues the distinctly American industrialist soundscape established in Ashes in the Huron River, combining the all-out assaults of pitch-black chaos with whirlwinds of panic chords and pick sweeps (“Death in the Current Year,” “Gray Shovels”) to punky hardcore romps (“When the Future Arrived,” “Fragility of Spring”), and ominous crawls through densely dark textures (“The Fulcrum,” “Edelweiss, My Love”). AI art aside, Allegheny Rains is a dark blaster that serves to get the avant-garde black metal fans some rhythmic chaos and to compel mathcore fans to get some culture for once.

fallfiftyfeet // Counterfeit Recollections – fallfiftyfeet is all about variety. Establishing their sound quietly through a debut full-length four years ago and scattered splits, the West Virginia trio’s foundation of metalcore – yes, the sellout kind – is built upon by post-hardcore vocals, screamo grinds, and mathcore’s warped melodics. Featuring crushing breakdowns and poppy choruses that feel straight outta Hot Topic in 2009 (“Counterfeit Recollections,” “Best Revenge”), ominous clashes of the brutal chugs and dissonant melodics (“Disarrangement,” “Phantom Growing Pains”), and mathy beatdowns (“The Kingsport Curse,” “Horror Tropes”). What’s notable is that fallfiftyfeet doesn’t necessarily fall into the late-2000s metalcore stereotype because their melodic template is rooted in the Botch, even if their songs sound like B-sides of Asking Alexandria. The result is a metalcore album you can feel slightly better about blaring wit’ ur homiez.

Adobe Homes // Años – Albuquerque quartet Adobe Homes is more the screamo side of mathcore you see in bands like Frail Body, Ostraca, or the tragically Dolph-neglected Massa Nera – the line between chaos and yearning is blurred. To be fair, you’d be remiss to turn on a few tracks and hear a screamier rendition of math rock shiftiness in Cap’n Jazz or Pianos Become the Teeth (“Return”), complete with emotional chord progressions, complex layered plucking, desperate shrieks, and melancholy singing. Doin’ my home state proud with the skramz a la mathy rhythms and manic drumming (“Tennamis,” “Satandelay Me¡ White Empress,”² “Pals”), emo anthems fed through the Delta Sleep machine (“Pacheco,” “File Under ‘Heartache’ for 2010-12”) and placid and heartfelt instrumental pieces (“Return,” “Translated into Flesh”). Adobe Homes is gentle and yearning, its mathcore attack more like a pillow fight, but its emotion more than compensates.

The post Dear Hollow’s Mathcore Madness [Things You Might Have Missed 2025] appeared first on Angry Metal Guy.

Tunisian-French metal visionaries Myrath unleash their new single “Breathing Near The Roar,” one of the most intense and emotionally charged tracks from their upcoming album Wilderness of Mirrors. Driven by thunderous riffs, cutting-edge production, and the unmistakable pulse of their ancestral heritage, the song captures inner battles at full force. It’s a collision of tradition and modern metal that feels urgent, powerful, and deeply meaningful.

“Breathing Near The Roar” explores isolation, survival, and the fragile line between truth and illusion. Through haunting imagery and raw emotion, the lyrics portray the fight to stay alive — emotionally and spiritually.

Zaher Zorgati moves from vulnerability to explosive intensity, embodying the tension of standing on the edge yet refusing to fall. The hypnotic refrain rises like a ritual chant – a cry for release and transformation within the storm.

Wilderness of Mirrors will be released on March 27 and features 10 brand-new, emotionally charged tracks that continue Myrath’s evolution of blending their ancestral heritage influences with progressive and power metal. Fans can expect a journey through fantasy and reality, from haunting melodies to thunderous riffs and cinematic arrangements. To celebrate the release, Myrath will embark on a major European tour starting in April 2026, bringing Wilderness of Mirrors to fans across 16 countries.

With millions of views on their cinematic music videos, critically acclaimed albums, and performances at festivals such as Hellfest, Wacken, and Sweden Rock, Myrath continue to captivate audiences worldwide. Wilderness of Mirrors represents the band at their most dynamic and authentic, a milestone in their journey toward becoming one of metal’s most legendary acts.

Pre-orders for Wilderness of Mirrors and tickets for the European tour are available now. Don’t miss the next chapter in Myrath’s epic musical journey.

The post MYRATH Releases New Single “Breathing Near The Roar” From Upcoming Album “Wilderness Of Mirrors” appeared first on Sonic Perspectives.

UK modern Thrash Heavyweights Divine Chaos have announced their blistering new album Hate Reactor, due out 27 March 2026 as a self-released record. It marks the band’s first new release since 2020’s The Way To Oblivion and signals a defining new chapter in their evolution.

A major shift comes with the first change of drummer since the band’s inception as Mariusz Marecki steps in behind the kit, replacing longtime member James Stewart (Vader, Decapitated). The record was produced with Scott Atkins, then sent to celebrated UK producer Chris Clancy (Machine Head, Kataklysm, Evile) for mixing and mastering, adding extra depth and intensity to the band’s modern Thrash assault.

From early releases through festival appearances, including Bloodstock Open Air, Divine Chaos have built a reputation for razor-sharp precision, devastating hooks, and a heavy, riff-driven approach that bridges classic Thrash roots with modern aggression. With Hate Reactor, the band say every facet has been refined and elevated, while staying true to their foundational ethos.

With the title track released alongside a video last month, Divine Chaos have followed this up with Without A Trace today, a track which perfectly illustrates their awesome blend of influences such as Metallica and Sepultura.

Hate Reactor can be pre-ordered at the Divine Chaos website.

Divine Chaos – Hate Reactor tracklisting

• Regicide
• Hate Reactor
• Where Gods Are Last in Line
• Condemned to the Void
• The New Reality
• Without a Trace
• Blood of the Earth
• This Coming Storm
• Shadows of the Wasteland

Divine Chaos are:

• Jut Tabor – Vocals
• Matt Gilmour – Guitar
• Chris O’Toole – Guitar
• Craig Daws – Bass
• Mariusz Marecki – Drums

The post Divine Chaos Announce New Album Hate Reactor Out 27 March first appeared on MetalTalk – Heavy Metal News, Reviews and Interviews.

Australia has long been a powerhouse for heavy music, but the Melbourne-based outfit ANA is currently carving out a niche that defies traditional categorization. Identifying as a couture symphonic metal band, the group seamlessly merges high-fashion aesthetics with the grandiosity of melodic metal. Their latest offering, a visually arresting music video for the single ‘Hate […]

The post ANA Release Provocative New ‘Hate Me’ Music Video & Single appeared first on ROCKPOSER DOT COM!.

Before I continue with this review, can I say a huge “thank you” to one of the behind-the-scenes folks? Jenny at the band’s PR jumped through hoops to sort this one out for us and I’d like to take a moment to give our appreciation for everything! And on with the review… So, sure, this … Continue reading Gig Review: Jordan Davis / Avery Anna / Solon Holt – Hydro, Glasgow (22nd February 2026)

The post ArcTanGent Makes Final 2026 Line Up Announcement appeared first on The Razor's Edge.

Lamb Of God frontman Randy Blythe says he’d be “dead” if he hadn’t quit drinking in 2010 – and the biggest band in metal helped him do it

World Book Day is the perfect time to find something new to read – and if it’s music content you’re after, I have you covered with these essential publications

ArcTanGent have announced the final names for this year’s festival, and they have saved some corkers for last.

Witch Fever, fresh off the back of their second album ‘FEVEREATEN‘, and A.A. Williams, already releasing some of 2026’s most stunning songs, have joined the party.

They are amongst iconic rockers Cardiacs, returning mathcore legends The Tony Danza Tapdance Extravaganza, and blackgaze greats MØL, alongside Scaler, Battlesnake, Youthmovies, Otay:onii, XO Armor, Zeta, The Intersphere, MÚR, HUGGING, Kathryn Joseph and SKLOSS.

They all join the already announced Chelsea Wolfe, Primus, Cult of Luna & Julie Christmas, Alcest, Napalm Death, Arcane Roots, Oathbreaker, Jamie Lenman, Pupil Slicer, HECK, Nordic Giants and many many MORE.

It’s an incredible line-up of forward-thinking and abrasive sounds.

Organiser James Scarlett had this to say about the final pieces, stating, “Just like that, the ArcTanGent 2026 line up is complete. Is there a better way to do it than bagging highly-requested absolute-legends Cardiacs, finally getting the Youthmovies reunion we’ve been working on since 2021, and bringing The Tony Danza Tapdance Extravaganza for their first ever UK show. This has truly been our best-selling year and a sold out festival is on the horizon – so thank you to all the ArcTanGent family for their huge support this year. If you haven’t got a ticket yet, don’t sleep on it or risk being sorely disappointed! For everyone that has, we shall see you in August!”

ArcTanGent will take place from 19-22 August at Fernhill Farm, Bristol. You can pick up tickets from right here.

The post Witch Fever, A.A. Williams & More Announced For ArcTanGent 2026 appeared first on Rock Sound.