Tracks Of The Week


See what delights have the last seven days have unearthed for our listening pleasure…

**PUSCIFER – The Remedy
**Taken from Puscifer’s brand new record, Money Shot, this song might be a bit more straightforward than the music Maynard James Keenan makes with Tool, but it’s no less captivating. A jittery, paranoid tune that glowers with intent, The Remedy is something out of a futuristic nightmare that seems gentle and harmless at first, before it decides to tear you apart.

One of the UK’s most promising new bands, Black Peaks have the ambition of Muse, the muscle of Mastodon and the ethereal grace of Oceansize, but all mixed together in a wonderful swirl of original sound. Saviour is no exception, twisting and turning in all sorts of different directions to create a true genre-bending behemoth of a song.

Taken from their second album, Automatic, Nerve sounds like a rock band covering a boy band covering a rock band. The song itself is glam and poppy and full of screeching falsetto, while the video sees the Bedford four-piece – well, mainly singer Rob Damiami – dressed up a little bit something from popera group Il Divo. Make of that what you will…

SKUNK ANANSIE – Love Someone Else
Skunk Anansie always made music exactly the way they wanted to make it, and Love Someone Else sees them follow their own path. Taken from forthcoming album _Anarchytecture _– their third post-reunion record – it’s full of dark and dangerous disco vibes that see Skin on commanding form, as sultry, sensuous and savage as ever.

In space, no one can hear you scream, but on Space, the Ohio metalcore band’s latest release, The Devil Wears Prada do it very well. The video follows the subject matter of the song, too, offering up disturbing imagery of a malicious alien stalking its human prey. Ridley Scott would be proud.

AMY LEE – With Or Without You
As the voice of Evanescence, Amy Lee has broken hearts the world over with her beautiful yet powerful vocals, but this might be her most heart-wrenching moment yet. A cover of the U2 classic, this drips with sorrow yet is also underpinned by seriously sinister, glitchy electronics, giving the song a whole new life of its own, and a much darker one at that.