ASAVA

Cinematic alt-metal auteurs ASAVA have returned with the latest grimy chapter of their ongoing detective noir story, this time pairing intrigue, secret identities and explosive twists with the gloom-booming weight of their latest song, “Saveyourself” The new single is the latest tease behind the band’s forthcoming Mahjong album, which is due out August 28th via MDDN/Atlantic Records. While last month’s “Valhalla” track found the band glowsticking and slamming themselves through a house-metal mash-up, “Saveyourself” is a more methodical, moody piece where slow-droned intros combust into TOOL-ish grooves and a scream-spiked finale. The latest episode of their ongoing How Long Is Forever? series likewise exits the club, instead finding the pair of detectives from their “Rue” video investigating a missing persons case. A run-in with a masked killer leads to a chase, creepy discoveries in forests and run-down shacks, and a fiery showdown that alters the course of the detectives’ partnership. The presentation of the music is likewise more score-like than a traditional single, the ebb-and-flow of the metal heaviness fading out towards more muted moments. “‘Saveyourself” is us tripling down on our goals of being filmmakers,” ASAVA frontman and conceptualist Liam Brocious says in a statement. “While ‘Leigh’ and ‘Rue’ were shot with the intent of matching the tone and lyrics of the song, ‘Saveyourself’ was the other way around. After the first edit draft was done there wasn’t any song we had that matched the tone and pacing of the episode, so we wrote one for it. Essentially our first score we made for an episode.” He continues: “It was challenging to write the song because I still wanted it to be a great, relistenable rock song in its own right. But after a lot of time and iterations, we finally hit the perfect presentation we were striving for.” You can catch the latest How Long Is Forever? via the player up above.

A review of Sotera by Junius, available worldwide June 26th via Prosthetic Records.

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 throwback deathcore, heavy duets, cinematic house-metal 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. ASAVA Valhalla ASAVA confess that they were partly inspired by the ravenous blood-rave scene in Blade while putting together “Valhalla” — the cinematic metal outfit’s latest preview of their in-the-works Mahjong LP. Indeed, they sink their teeth into a decadent late-night house rhythm for the bulk of the dread-stirring piece. But then the group bring us to the promised land with a late-song eruption of TOOL-ish vocal melodies, djent-mangled detonations and scathing death cries. Like Blade before it, it’s a summer blockbuster no matter how you slice it. Bring Me the Horizon Dehumanized “Time to fucking die.” Bring Me the Horizon go for broke with a monstrous, inhuman ferocity on this old-school deathcore driller inspired by the U.K. act’s early Count Your Blessings era. Landing like a bolt gun to the dome, it’s full of meaty metallic riffage, bloodthirsty breakdowns and lifeforce-pureeing intensity. We expect “Dehumanized” will turn any pit into an all-out abattoir. While Oli Sykes has progressively explored the more melodic side of his voice through decades of experimentalism with BMTH, it’s still a thrill to hear him slay with a nonstop barrage of growls. Dead Poet Society Roach What doesn’t kill you can only make you angrier. L.A. quartet Dead Poet Society explained that their second single of 2026 is “about those who have wronged you, taken advantage of you [or] hurt you,” and letting a resentment fester deep inside you because of their actions. The song is tense and knotted with an oddly danceable dread. Like a resilient cockroach, it skitters out of the light into the darkest recesses of your psyche. And once it invades, it’s never going to leave. I Prevail Amira Elfeky PARADISE Though I Prevail and Amira Elfeky may be looking to take you to “PARADISE,” their collaborative track makes a bunch of twists and turns before you make it to the final destination. A groove-boomed front section back-and-forths between I Prevail vocalist Eric Vanlerberghe’s mightiest roars and Elfeky’s nu-crooned subtlety (the first chorus contrasts the former’s vein-popping “FUCK” with the latter’s super-shushed “you”). The dynamic arrangement also unlocks micro-blasts, moody piano segues and a particularly scorching arpeggio solo. Odds are good they’ll perform this together on an upcoming European tour, and odds are even better that it’ll kill onstage when they do. Loathe Fangs “Fangs” grooves a little smoother than the other hard-edged previews from the U.K. outfit’s incredibly anticipated next album, A Stranger to You. No massive, djent-disruptive breakdowns. No full-fury screams out of frontman Kadeem France. And yet, the track still bangs. The stunner is full of fuzz-forward, R B-adjacent riff runs and impressively yearning vocal performances from both France and guitarist Erik Bickerstaffe. “Fangs” may be a subtler baring of teeth, but it’s still got plenty of bite. Chelsea Wolfe Death Is Not the End We ask that you let Chelsea Wolfe’s latest single wash over you in slow-motion. “Death Is Not the End” moves from a lithe and whispered acoustic intro towards a phosphorescent burble of synths, and then crashes out the speakers with a gloomgaze finale of cascading guitars — courtesy of guest player and Nine Inch Nails live guitarist Robin Finck. Wolfe’s echo-blown philosophizing waxes on transitional states and alternate planes of existence. As she moves towards an impending ninth full-length release, it’s clear that this “Death” is just the beginning of Wolfe’s next era.

ASAVA are back with another cinematic instalment of their developing detective noir story, colliding techno-metal soundscapes and cryptic, club-set visuals for their newest single, “Valhalla.” The new song is the latest to arrive behind the band’s in-the-works Mahjong LP, and follows last month’s brooding “Leigh.” This time around, ASAVA lay the groundwork with a dark-throbbing, psyche-pounding extended house beat — four-on-the-floors menacingly thrumming alongside various ambient drones and moans for a few minutes before the group cathartically erupt into an acid-tabbed breakdown. Visually, we’re brought into a dank and sweat-glistening electro club, an ab-stacked DJ seemingly wearing nothing but a visor and a Serato turntable while doling out rhythms for a pack of dancers. We see a kinda corpse-painted guy pull himself up form the ground to let out a mighty primal yell. He’s then approached by a tat-blasted, crimson-wigged woman who looks to be the same person that fled for her life from a home in the “Leigh” video. It’s unclear where this chapter sits in ASAVA’s broader narrative. “‘Valhalla’ is a further exploration of the uncanny, and unsettling, horror elements of ASAVA,” frontman Liam Brocious explained of the aesthetic. “I showed Spencer [Cindia, ASAVA drummer] what I was going for and asked him to cook something sexy and scary that would rip in a club. He sent the main part of the song over about an hour later. “This song’s definitely a testament to how insane he is as a producer and the band’s overall versatility. And while the video wasn’t easy to make, it was instantly clear that we should make a grungy underground club scene like The Matrix or Blade. And of course, make it unnecessarily disturbing on the way out.” It’s decidedly less blood-spewing than the vampire rave in Blade, but you can immerse yourself in ASAVA’s latest video via the player up above. Due to the strobe-heavy lightning for the club scene, the clip arrives with a warning for more photo-sensitive viewers. Mahjong is expected to arrive in full later this year via MDDN Records and Atlantic Records.