When it comes to creating crossover sounds, Newcastle’s Decrepit Youths don’t mess around. The three tracks that make up their ‘Love Psycho Kill Machine’ EP take in influences from metal, hardcore, darkwave and industrial, only to spit everything back as an angry, but very distinctive noise; one that feels very assured for a band that’s still relatively new at the time of this release.

The EP’s title cut, in particular, provides a near perfect example of the band’s complex sound. The track opens with a gentle drone of a darkwave persuasion. The synths then give way to a hard drum beat and chunky guitar, both of which hit upon a glam-ish stomp – very much powered by drummer Thomas Lee’s solid rhythm – but about a hundred times heavier. It’s like the band have taken the guts of Marilyn Manson’s ‘The Beautiful People’ and run them through the industrial filter of Dope, but things don’t settle there. For the verse, more of an electronica vibe takes the reins, and coupled with an almost spoken vocal, this creates something very striking. The return of the heavier riff cements a great tune and a musical refrain that’s simple, but full of genuine menace. That would be enough to make this track genuinely great, but the presence of a lyric exploring the dangers of drugs and alcohol, and how abstinence would be beneficial, makes this more cerebral than most. It’s a great way to make a first impression, but the greatness doesn’t stop there…

‘Black Dove’ opens with a very different mood when deep, goth-tinged voices lurk in the back of the mix, before abrasive keyboard sounds latch onto the band’s industrial interests, creating a strong link with the previous track. Then, it’s all change for the verse when Decrepit Youths manage to blend elements of alternative rock with filtered harmony vocals, before settling into a chorus that sounds like early Linkin Park in size nine boots. In true Decrepit Youths style, things don’t actually settle, and before the chorus rolls around a second time, listeners are treated to a big harmony delivered in grandiose tones, a dance-oriented riff that borrows from the much missed Collisions, and even brief moment where it feels as if a spoken interlude with take centre stage. In closing, the mood shifts a final time when a sludgy bass sound (courtesy of Tim Gambles) and grinding guitars hit upon a mid tempo breakdown with more of a classic hardcore feel, clearly designed to rev up the band’s live audience. As before, the band manage to throw at least five different ideas into a blender and make them work together brilliantly, creating something that really pushes boundaries.

Finally, ‘Monster In Me’ (originally released as a single in 2024) opens with a blast of hardcore coloured by a pinch of influence from Pitchshifter, before doing a complete about turn into a very melodic verse where noughties-era alternative rock riffs are joined by a clean vocal. It turns out that this melodic twist is purely a ruse; moving forward, the band deliver crunchy metal riffs, vocals that teeter on the edge of rap metal and a hardcore fused breakdown where the dual guitars shared by David Stoker and Connor Pattison deliver a rather pleasing grind. Best of all, though, is this track’s big hook. Easily the most direct of this trio of numbers, a repetition of the title – shouted by David and Connor in tandem – tops off a brilliantly aggressive mood and sets a great earworm in place. A few plays of this and you might even be convinced it’s the EP’s finest three minutes. It’s certainly obvious why this song was shared on streaming services so far in advance. It’s the perfect track for reeling in an audience.

The original press materials for this EP suggest that “Decrepit Youths are about to become your new favourite band”. In a rather fast moving world hosting a rock and metal scene that feels busier than ever at the time of release, that’s quite a bold claim. There’s no doubt, though, that the Youths are genuinely impressive and this rather short work carries a brilliantly devastating sound that deserves to propel the band forward and into a world of new ears. With all three tracks showcasing an incredibly tight band and songwriting that has a very mature approach, this is definitely a recommended listen.

July 2025