Each week, we cut through the noise to bring you quick takes on the latest releases you need to hear. This week’s roundup of new tracks, must-know artists, and what’s out now includes Andy Stochansky, Ben Basile, Dying Awkward Angel, GraveMass (pictured), Heartwells, Leftöver Crack, Margantha, Nastyville, Sandness, secondSELF, Sledges, Spheres, Woodhawk, and Wyldlife.
Want more? Dive into our latest reviews, interviews, videos, music news, artists to discover, and don’t miss our constantly updated Spotify playlist packed with our picks.
ANDY STOCHANSKY – “LIKE THE SUN”
A tender track wrapped in sunlight and self-reflection, “Like the Sun” radiates quiet beauty. Andy Stochansky crafts a sincere apology through music by channeling the ache of words left unspoken into something softly anthemic. There’s a graceful stillness in the music. The gentle acoustic strums and the subtle layers let his voice and sentiment shine through. The warmth of the chorus feels earned, not forced, and it elevates the song into a moment of emotional clarity. It’s not about grand statements. It’s about the weight of small regrets and the beauty in finally naming them.
BEN BASILE – “CACAO KNIBB”
Ben Basile brings an infectious sense of groove and joy to “Cacao Knibb,” a ska-meets-latin instrumental that dances with both precision and playfulness. The title cleverly fuses two of his passions, dark chocolate and ska drumming legend Lloyd Knibb by signaling the creative blend of flavors within. Anchored by Ben’s tight, energetic basslines, the track unfolds with vibrant sax work and a tasteful piano solo, giving it a jazzy uplift that never feels indulgent. What makes “Cacao Knibb” stand out is its warmth and personality—like a jam session among old friends that just happens to sound pristine.
DYING AWKWARD ANGEL – “MUSIC KILLS”
Dying Awkward Angel trades blistering speed for something slower, darker, and far more deliberate. Like a slow-burning fire that never loses its intensity. Built on the unmistakable HM-2 buzzsaw tone, the track channels the raw legacy of early Swedish death metal while embracing a modern, groove-laden edge. Lyrically, it explores the paradox of music’s power to heal or destroy, adding a philosophical weight to its crushing sound. This isn’t just a song. It’s a warning and a declaration, wrapped in dense riffs and brooding atmosphere. It’s a strong and bold step in their evolving journey.
GRAVEMASS – “FALLEN”
“Fallen” wastes no time dragging one into the abyss, where crushing riffs and blackened death fury reign supreme. GraveMass channels chaos with precision by offering a brutal yet calculated descent into mythic despair. The lyrical narrative of corrupted angels aligns seamlessly with the song’s cavernous tones and unrelenting percussion. What makes “Fallen” stand out is how it balances overwhelming aggression with an eerie atmosphere. It’s suffocating, but never dull. With pedigree from some of Canada’s most extreme bands, GraveMass isn’t just playing heavy music. They’re building a world of dread, and “Fallen” is the gateway drug.
HEARTWELLS – “BACKSTABBERS”
“Backstabbers” hits like a slap in the face from someone who used to hug you. Heartwells lean into their melodic punk roots with a sharp, no-nonsense take on betrayal and emotional exhaustion. There’s no hiding behind metaphors. This is blunt and bitter truth shouted over razor-sharp riffs and precision drumming. The horn section adds a welcome surprise, injecting a brassy fury that mirrors the lyrical tension. Heartwells don’t waste a second sugarcoating the subject. They get in, get loud, and get real. “Backstabbers” is for anyone who’s ever watched a fake smile fade the second you had nothing left to give.
LEFTÖVER CRACK – “WHITE GUILT ATROCITY QUILT”
Leave it to Leftöver Crack to name a song like a thesis and make it feel like a riot. “White Guilt Atrocity Quilt” is a raw, venomous history lesson that calls out centuries of colonial hypocrisy with both fury and craft. The lyrics are a firestorm of accusation, and the band delivers them with scathing intensity. Ferocious guitars, breakneck drums, and a vocal delivery that spits truth like poison. It’s brutal, unflinching, and impossible to ignore. What makes it more than just a protest song is the coherence of its chaos. Every shriek and cymbal crash is locked into purpose.
MARGANTHA – “BLOOD MOON SACRIFICE”
Margantha’s debut single “Blood Moon Sacrifice” is as much an experience as it is a song. Steeped in folklore and wrapped in mystery, the track bleeds atmosphere from the first haunting note. The anonymous collective crafts a sound that feels ancient yet immediate, channeling the spectral aggression of bands like Mgła and Behemoth while creating something distinct. What elevates “Blood Moon Sacrifice” is the storytelling. The myth behind the music makes every riff feel like part of a ritual. It’s grim, gripping, and immersive, offering a rare sense of purpose and direction in modern black metal.
NASTYVILLE – “POWER TO THE PEOPLE”
Gritty, anthemic, and bursting with fire, “Power To The People” is Nastyville’s rallying cry. It’s a full-throttle return to form with teeth bared. The band leans into their glam and street rock roots while modernising their sound with massive production and real-world urgency. It’s an unapologetic call for unity and resistance, delivered through roaring riffs and hooks that feel custom-built for a packed-out club. More than just a throwback, this track pulses with relevance and energy. After a period of reinvention, Nastyville sound like a band reborn and “Power To The People” is their raised fist in the air.
SANDNESS – “DRAW THE LINE”
“Draw The Line” marks a striking emotional pivot for Sandness by pulling one into a reflective space without losing their signature hard rock punch. There’s a clear nod to ’80s AOR here, but it’s not derivative. It’s heartfelt and thoughtfully woven into a modern framework. The song’s glossy production enhances its clarity, while the lyrics deal with change and renewal with sincerity. The big chorus sticks and the layered melodies invite repeat plays. Sandness draws the line and invites us to step over it with them.
secondSELF – “GRAPE SODA AND GASOLINE”
“Grape Soda and Gasoline” feels like kicking over a vending machine in slow motion—messy, angry, and entirely justified. secondSELF channel their disdain for consumer culture into a song that explodes out of the speakers with gritty urgency. Their melodic sensibility keeps things catchy, but don’t mistake that for softness—this track is all bite. The guitars burn, the drums sprint, and the vocals teeter between sneer and scream. It’s punk that doesn’t posture—it provokes, confronts, and questions. If you’re looking for a soundtrack to disillusionment that still makes you want to shout along, this is it.
SLEDGES – “FADING”
“Fading” is a beautifully heavy collision of introspection and distortion. Sledges find that sweet spot where shoegaze texture meets post-hardcore emotion, layering fuzzy walls of sound around aching melodies and heartfelt lyrics. There’s a sadness here that doesn’t wallow but surges forward, guitar-first, like someone trying to outrun their own unraveling. Philly Gomez’s vocals cut through the haze with a clarity that feels vulnerable, even defiant. The song wears its influences proudly but carves out its own identity by balancing heft and heart. “Fading” doesn’t just aim to hit hard—it aims to stay with you.
SPHERES – “UNDERWORLD”
“Underworld” is an ambitious and atmospheric plunge into the philosophical and sonic unknown. Spheres blends metal’s extremes of delicate cleans with guttural growls, ethereal synths with jagged riffs to craft a track that constantly shifts shape. What makes this song magnetic is its unpredictability. Each section flows into the next like a dream unraveling into a nightmare. The existential theme of humanity’s self-destruction only deepens the tension. This is progressive metal in the truest sense—demanding, immersive, and rewarding. “Underworld” doesn’t just ask questions; it forces the listener to sit in the discomfort of not having the answers.
WOODHAWK – “STRANGERS EVER AFTER”
Woodhawk has always known how to write a riff, but “Strangers Ever After” proves they know how to hit where it hurts, too. This stoner rock “ballad” of emotional fallout strikes a balance between heavy and heartfelt by transforming personal heartbreak into a soaring anthem. The groove is thick, the vocals are raw, and the production captures every nuance of regret and release. It’s the kind of song that sneaks up on you. It’s equal parts catharsis and headbanger. Woodhawk may be evolving lyrically, but their sound still kicks like a vintage amp cranked to eleven. This one hits all the right nerves.
WYLDLIFE – “DIZZY”
“Dizzy” is a love letter to Britpop with a shot of glittery punk adrenaline. Wyldlife captures that euphoric, unfiltered buzz of discovering a great song on TV as a teenager. The kind that made you feel cooler just for hearing it. Every element here is dialed in for maximum catchiness: swaggering riffs, shout-along hooks, and a vocal delivery that practically smirks. But beyond the glam and gloss is a genuine affection for melody and feeling. “Dizzy” doesn’t chase nostalgia but bottles it and shakes it up until it fizzes over into something joyfully modern.
