June ‘26 Spotlight

With Sheffield’s Bring Me The Horizon returning to their deathcore roots, and emotional heavyweights, Citizen delivering yet another heartfelt anthem, there’s something for every listener in this months spotlight. Here’s 21 tracks from June that you absolutely need in your rotation, no excuses.

AWAITING ESCHIEL - GRACE FOR THE HOPELESS

When a track begins at level 100, there’s only 2 ways it can go, downhill, or plateaued. Yet somehow Awaiting Eschiel manages to turn it up continuously, delivering a gigantic metalcore single, guaranteed to activate your primal instinct. You’re immediately pummeled with a wall of despair, loaded with animalistic riffs, and low bass vocals that will shake the ground where you stand. Grace for the Hopeless is ferocious, and it’s deliberate. But it abruptly curls up at its end with a reduction in energy, offering a diversion from intensity with slowed tempo and melodic guitar that feels like an opportunity for reflection or rest. Not every band can execute such a drastic change in atmosphere and have it work so flawlessly, but there’s a certain charm about how the ending of this single has been concluded. This is a band that is able to deliver exciting, authentic metalcore, and deserve to be on the radar of anyone who appreciates good music. - Hayls

ROZEMARY - BLEED YOU DRY

Four and a half minutes of fury. Kicking things off with a mosh part designed to activate even the most stoic of dancers, Rozemary are coming out of the gate strong with the release of this new single. The Merseyside quartet is a shining example that the North of England has more to offer than just Leeds. Self labelled Baddiecore, but with a tongue-in-cheek nature that makes them stand out amongst the crowd. That being said, there is nothing funny about their musical endeavours. In a scene where their contemporaries can often be over-produced and sonically ‘too perfect,’ Bleed Me Dry is a battle cry. Dance ready floor fillers rule the roost; and a powerhouse rhythm section holds it down with ease; but the band’s secret weapon stands front and centre. Shrieking vocals twinned with beautifully layered melodic sections, vocalist Izabel Lavin is a force to reckon with. This song showcases the heavier side to the band’s arsenal, and excels with ease. It will have you throwing yourself into the surroundings. You will point your fingers and sing. Rozemary will bleed you dry. - Ed

RAKUYO - KNEE DEEP IN THE DEAD

Rakuyo demands your attention, and it's through Knee Deep in the Dead. From the opening moments, you are enveloped in a suffocating wall of guitars, ripping and slicing through every riff in this perfect mix of rage. Rakuyo takes a unique approach within their influences; while most bands draw solely from past music as references, Rakuyo uses Bloodborne as a key influence with its gothic, Victorian-era aesthetic. They merge this into exciting, belligerent deathcore to swing your arms at and kick someone's head in. The band isn't holding back anything, with the vocalist striking that perfect balance of rawness and devastation, hitting your ears like a wrecking ball behind erratic drums. Everything about this release feels uneasy. You are brought into a war zone, fighting for survival through every drum fill, riff, and scream. This is true raw aggression within deathcore and deserves your attention. - Ryan F

LOATHE - FANGS

After being a bit of a meme for ages, Loathe's third album is edging closer and closer to dropping. With two heavy, battering singles already dropped, the band have decided to let fans hear where their slower, more melodic side is at these days. Fangs is a sprawling, almost psychedelic track which is very synth driven, yet still features moments of that Loathe groove and distorted menace that they've become known for. More akin to Two Way Mirror than anything else, it represents a new confidence in the band to have Kadeem full on crooning on a crack and it still sounding distinctly Loathe. With three different beasts leading the way, the most anticipated album of 2026 draws ever closer. - Chris

FINAL RESTING PLACE - ANCIENT CARNAGE

Final Resting Place have continuously shown that they’re that band by always outperforming themselves. Ancient Carnage is a nod to what makes FRP such a unique and unforgettable listening experience, with throwing away the over produced sound that many currently replicate. The song structure remains chaotic and is the perfect combination of Beatdown and Death Metal, which is a style that Dom Pabon has nailed down to perfection. Throughout their discography there has always been nods to bands such as, Entorturement, and Scattered Remnants, and this single is no different. Following the release of “Bound By Affliction” in 2025, they have left us almost thirsty to hear a longer discography and they’re giving us exactly what we want. - Timi

HARRISON GORDON - NOT WORKING! NOT WORKING!

One of the things makes Harrison Gordon so special is they dare to ask the question: “What if midwest emo fucking rocked? What if it just royally kicked ass?” This is something they’re growing exceptionally good at, as showcased in their latest romp, Not Working! Not Working! It’s catchy, too. Really catchy. That repeating chanted chorus of “just not working hard enough” serves a double purpose, it both ensures the tune gets stuck in the listeners head and enforces the lyrical themes of wanting to live life without overwhelming workload after overwhelming workload, something becoming increasingly difficult in today’s age of working 3 jobs to scrape by, and never owning property, and being 3 trillion dollars in student loan debt for a degree that jobs don’t hire from anymore, and, as usual, these themes are explored with a level of snark that only Harrison Gordon is capable of. Harrison Gordon is one of the most exciting bands to pop up in the midwest emo scene in recent memory, and this track only proves they’re headed to the top. - Sam

KINGDOM OF GIANTS - RESPAWN

Respawn marks the first release by the California metalcore outfit since the addition of new vocalist and bassist JT Gutierrez. The song opens with a synth driven electronic melody that almost lulls you into a sense of placidity before completely obliterating that feeling with an intense breakdown followed by a bouncy, groove heavy riff. The addition of Gutierrez is immediately felt as his silky smooth tone delivers an infectious hook during the chorus, perfectly complimenting the band's heavy instrumentation. The track's peak comes when JT’s clean vocals collide with Dana Willax’s raw screams creating this push and pull dynamic that perfectly encapsulates the emotional weight of the lyrics. Lyrically, the song explores the frustrating cycle of returning to a toxic relationship despite knowing the outcome. Rather than feeling overly dramatic, the song captures the exhaustion and vulnerability of repeatedly giving someone another chance. Respawn succeeds because its musical structure mirrors its emotional reality. By forcing the listener into a cycle that flips between electronic melodies and heavy, punishing breakdowns, the band turns the audio itself into a metaphor for toxic repetition. With this track, Kingdom Of Giants prove they are still masters of modern, synth infused metalcore. - Nick D

EXTRAVASATE - PROLONGED DEPRIVATION

Hailing from Ohama, Nebraska with a new death metal track, Extravasate have released their 2026 promo material with Prolonged Deprivation. This track is exactly what you want from a genre like this, we start with a sample from the film American Gangster, with the gun shot commencing the heavy hitting instrumentals and killer vocals this track brings everything together for a memorable listen. After a short chat with the band they said they were influenced by Dutch band Deformity who were prominent in the 90s with death metal riffs that mix with hardcore structure. This track is a unique piece. The vocals are exactly what you want for a death metal track; gritty, deep, and no understanding of what has been said. For a band that seemingly only started out this year the chemistry that they have here is unbelievable and this should be a band you should keep on your radar if you enjoy this sound. - Reece

HAD SANDY - T’OTHER SIDE

Brighton emo moshers Had Sandy are back with a brand new single and arguably their best recorded offering to date. As fast as it is punchy, t’other side brings you into the fray with a count in as distinctive as it possibly could be. Wearing the influences on their sleeves whilst still sounding well and truly like Had Sandy, the sub three minute ranger is fuel for the pike jumps. The keyboard element of the band’s sound is exceptionally well realised on this track, and with a hook this undeniable you’ll be shaking your fist in the air and two stepping in circles as fast as you possibly can. Look out for the stage divers and brace yourself for a kick in the head - with a chorus for the ages and melodies for days, it would be a genuine challenge for anyone not to be infected by the Sandy bandy with this one. If you don’t know Had Sandy, this song is as good a place as any to start with. Put on your dancing shoes, grab a tote bag, and don’t forget your tiny beanie. We’re going to the rock show and we’ll see you on t’other side. - Ed

BOYS LIKE BELLS - GREAT PILOT 

If you were to stumble across Boys Like Bells by chance, you might believe you’ve found a forgotten demo from the 2000’s. You would be wrong. The debut single of Ethan Sgarbossa’s (of anvilchandalier) solo project is a modern love letter to the golden age of post-hardcore. The mix is perfectly unpolished. Introspective lyrics are delivered with angst and a hint of sass. If you live for a chorus that makes you want to dance, as well as lay on your bedroom floor to take it all in, then this could be just what you're looking for. Great Pilot’s greatest strength is that it doesn't try to do too much. This isn't meant to be a hit. It’s an honest product of passion. With more promised to come from Boys Like Bells, this track proves that it's a project to keep your eyes and ears open for. - Raihan

PHANTOM LANE - BODYBAG CULTURE

How do you make post-hardcore sound like it did in the 2010s without tainting it with modern characteristics? That question can only be answered by UK based band, Phantom Lane. 4 minutes of wall to wall destruction in the form of catchy hooks, panic chords, stomp inducing riffs, and an atmosphere worthy of being attributed back to the genre’s peak era. Bodybag Culture ticks every box of post-revivalcore being done correctly, and takes inspiration from some of the most well known and well loved bands. You’ll hear traces of Static Dress, and Underoath dusted throughout this track without directly ripping them off. While the chorus is undeniably an earworm, designed to linger for days after, the harsh vocals truly add a level of intensity to the single, excelling it onto the podium of ones to watch. Make sure you’ve got your dancing shoes at the ready because you’ll be pulling all kinds of moves out the vault for this one, from aimlessly jumping around to the infectious chorus, to wrecking havoc with flailing limbs while two-stepping. Be careful of bystanders - or don’t - they might end up leaving in a bodybag. - Hayls

SPITTING GLASS - FULL SEND (FT. RHYS GRIFFITHS OF MOURN)

This is what the crushing weight of devastation sounds like. Pure anguish, with every violent, malicious intention laid bare for the listener to experience. Joe Bad (Fit for an Autopsy) delivers a monstrous vocal performance, showcasing the distinctive style and craftsmanship that has made him one of deathcore’s most recognizable voices. Paired with Rhys Griffiths (Mourn), the two create a dynamic that feels both fresh and utterly punishing, blending razor-sharp fry screams with cavernous guttural lows to devastating effect. When the vocals lock into syncopated unison with the instrumentation, it’s impossible not to bang your head while pulling an involuntary stank face. The guitars crash into the tritone-driven riffs that have become a staple of deathcore and metalcore, unleashing a crushing wall of sound that feels as earth shattering as it is satisfyingly sinister. Ryan Wood’s mix elevates every element, giving the instruments and vocals so much impact, which is absolutely demanded for this track. The result is a track that doesn’t just sound heavy but feels oppressive, relentless, and unforgettable, leaving a lasting impression long after the final note fades. - Nick H

CITIZEN - HALCYON BLUES

Halcyon Blues takes that familiar emo and alternative rock sound and intertwines it into something timeless. An instant Citizen classic with gorgeous bittersweet melodies and heart-pouring lyrics. This song isn't just simply a sad-sounding song; the pain isn't romanticized in a woe-is-me type of way; it's wrestling with the ongoing struggle of watching someone you loved and cherished become a stranger in real time. Mat Kerekes gives one of his best vocal performances from the entire Citizen discography. No longer singing from the youthful frustrations found in their earlier tracks. Instead, he is looking back on years of mistakes, memories, and relationships with clear clarity. Nothing about this song feels performative. Citizen are presenting their scars as a showcase for their fans to see. This isn't a song about trends; it's a timeless ballad built on the structures of memories, loss, and acceptance. A virtuosic performance of somber lyricism and emotional honesty. - Ryan F

HALF ME - WEATHER EYE

German metalcore heavyweights Half Me continue their relentless ascent with their new single Weather Eye. This track is heavy from start to finish, not just instrumentally but lyrically as well. Weather Eye trades standard formulaic structure for a barrage of razor sharp riffs and dense, bone rattling chugs that will leave you with the nastiest stank face for the entire three and a half minutes. But rather than just relying on brute force, the band lets the track’s dynamic and eerie pauses do the heavy lifting, ensuring that each subsequent breakdown drops like a physical weight. Lyrically, Weather Eye acts as a violent deconstruction of systemic authority. Lines like “These saints hold smoking guns” and “No one’s watching over you” serve as an uncompromising attack on figures who leverage fear for control. Weather eye is relentless, angry and an absolute must listen for modern metalcore enjoyers. - Nick D

CHAT PILE - DEEP BLUE

Less than a year since the band’s collaborative LP with Hayden Pedigo, Chat Pile have returned with the first single off their upcoming album, “Who Loves The Sun”. Deep Blue kicks off the new era with a bang, self described as Chat Pile channelling Billy Squier channelling Led Zeppelin,“so who knows what the hell we're actually doing here” says frontman Raygun Busch. A critique on the negative advent of technology and AI in the modern era, lyrics such as “Feed me candy when I’m good and comply / And now it’s all we see / We move deeper into screens” dig into the algorithm and its effects on the brain. There’s also quite a lot of bounce to the track, adding a bit of dance to the signature sludge they’re known for, as well as one of the band’s most effective hooks to date. “Masc” meets Zeppelin is quite a mashup, but left field should be expected from the OKC quartet by now, and an area the band has become quite proficient in. This new era of Chat Pile is off to a phenomenal start, and one to watch for sure. - Sam

BRAND OF SACRIFICE - SEEING RED & THIS PLACE WASN’T MEANT FOR US

Returning to plant their flag in the ongoing deathcore arms race, Brand Of Sacrifice have graced the scene with not one, but two new tracks. The first new music from the band in two and a half years, the new songs promise a new era for the band, although no record has been announced yet. Seeing Red is up first, and continues to treat the intense path of modern deathcore the band nail so well. With production that more than hints at taking influence from PSYCHO-FRAME, they blend enough melody and atmosphere into things to differentiate themselves from the pack, resulting in a track that's as violent as it is enticing, particularly when Kyle Anderson belts out "I am the man that never sleeps" to usher in some delightful unbridled chaos. This Place Wasn't Meant For Us takes things in a more sinister direction, relying on some haunting keys and sinister voices that does something genuinely interesting with the formula. Almost industrial in places, it sounds like a chaotic argument with yourself and it automatically becomes one of the band's most intriguing pieces of music that hopefully hints at a more expansive journey for the Canadians.- Chris

STAB - NEW ENGLAND NUMB (FT. MAT KEREKES) 

STAB are a relatively new band that has recently flown into the radar, while still in their infancy as a band they have already managed to achieve a feature with one of the bands they clearly pay homage to. New England Numb rings familiarity to bands such as One Step Closer and “Young States” era Citizen. Releasing a demo in the summer of last year, they have proved themselves of being involved within reviving the punk sound. STAB reminds you of being a teenager in the summer of the early 2000s, sipping a red bull while the sun is setting with your friends. An extremely nostalgic sound that takes you back and we are all looking forward to what they have to offer. - Timi

FIDDLEHEAD - BABY I’LL CHANGE

Baby I’ll Change takes Fiddlehead’s signature sound and completely reinvents it, providing one of their most powerful and dynamic tracks yet. It begins with sparse instrumentation, only a reverb-soaked guitar and the vocals from Pat Flynn, who goes on to detail the vicious cycle for those trying to overcome addiction. It starts with what could be a small dependency, then grows into full addiction, culminating in a heartbreaking process of trying and failing to conquer it. Each instrument is gradually introduced until the full band is together and sounding massive, creating one of the most cathartic moments in Fiddlehead’s discography. “Baby, I can change”, the refrain repeated at the final crescendo, is an emotional plea that brings the song’s message together in such a devastating way. The band's ability to showcase restraint within the music allows Pat’s vulnerable vocal delivery to make this slow-burning anthem unique not only amongst the rest of their work but also a standout in this branch of post-hardcore. - Callum

THROWN - REHEARSED

Groove and grit sit at the heart of this track. Despite all its twists and turns, and how easy it is to get lost in its constant changes, thrown always find a way to keep the listener hooked from start to finish. The chopped-up trap samples give the song plenty of room to breathe while creating space for bursts of fast-paced, experimental rhythms. The vocals are drenched in this filthy abrasive distortion that somehow scratches the deepest part of your brain. Marcus has always delivered vocals with an aggressive, foul mouthed, in your face attitude, and that's more apparent than ever on rehearsed, never letting up for a second. Since the song centers on breaking free from a manipulative, toxic relationship and reclaiming your sense of self, every pissed-off riff, punishing scream, and suffocating atmosphere perfectly reinforces that emotional weight. And with thrown, if you see a song clocking in at under two minutes, you already know you're about to hear something special. - Nick H

BRING ME THE HORIZON - DEHUMANIZED

After over a decade Bring Me The Horizon have released a deathcore track titled Dehumanized for their upcoming rerelease of “Count Your Blessings”. Whilst not perfectly replicating the sound of the early years of the group, this is still a breath of fresh air from one of the biggest bands in metalcore and is debatably one of their best songs in recent years with all the staples of a deathcore track. Oli Sykes’ voice is unexpectedly still very strong and proves that he is still able to put on a performance worthy of their earlier days. This is also not a track that they left 20 years ago and decided to finish off, the band have created a song from the ground up 2 decades after and whilst it still sounds closer to a more modern deathcore track it is commendable they have been able to produce something of this calibre years on. - Reece