FOREIGN HANDS - WHAT'S LEFT UNSAID

Foreign Hands makes chaotic and melodic music with passionate devotion. Acolytes of the early 2000s metalcore sound, the Delaware-and-Pennsylvania-bred band injects the style with fresh innovation. Foreign Hands' raucous sound, high-energy live shows, and carefully crafted visual aesthetic summon the best of the beloved style with reverence and iconoclasm, forging their own identity. As audiences have witnessed via tours with like-minded bands, including Stick To Your Guns, Counterparts, Dying Wish, and Boundaries, Foreign Hands doesn't do anything halfway. The spirited fire of that live show combines with technical and catchy bombast on 2024's What's Left Unsaid. Foreign Hands' full-length debut arrived with power, authenticity, and extraordinary creative chaos. It's their second collaboration with producer Will Putney (Knocked Loose, Vein. Fm, Body Count). "As far as Y2K-style metalcore goes, there might not be a more promising band right now than Foreign Hands," wrote Brooklyn Vegan, who included both the Lucid Noise and Bleed the Dream EPs on their list of Best Punk Releases of 2022. "[They make] raw, heavy, dramatic metalcore that sounds just like you remember it sounding in 2000, with a freshness that makes it sound better today. " The praise was similarly enthusiastic from Rock Sound, Stereogum, No Echo, and Veil of Sound. Knocked Loose guitarist Isaac Hale became an early champion for the band, offering to help them sort through a few songs. They made the incredibly well-received five-song Bleed the Dream EP in Chicago with producer Andy Nelson (Weekend Nachos, The Devil Wears Prada, 156/Silence). Foreign Hands toe the line between the modern metalcore sound and underground hardcore. What's Left Unsaid, produced and mixed by Putney, wasn't far behind. "Conditioned for a Head-On Collision" features Static Dress vocalist Olli Appleyard. "God Under Fingernails," by contrast, is fast, crazy, and crushing. Together, the songs represent both ends of the Foreign Hands spectrum.

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