Mazare Blends Metal and Drum and Bass on New Single ‘Unholy’

Lena Brandt
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Mazare and German metalcore band IMPVLSE drop ‘Unholy,’ a DnB and metalcore fusion inspired by Bring Me The Horizon’s genre-shifting approach

Mazare and IMPVLSE released Unholy on June 24, 2026, and the track does something that only works when both sides of the collaboration are fully committed to it: it fuses drum and bass with metalcore without either genre canceling the other out. The track is part of an EP Mazare has been building around a single conceptual brief: take the two genres he loves most and find where they can genuinely coexist rather than merely tolerate each other. “Unholy” is one of the most successful demonstrations of that brief yet.

IMPVLSE, a five-piece German metalcore band, bring both the clean vocal passages and the heavy screamed sections, giving the track a range that mirrors exactly the structural approach Mazare describes as his primary inspiration. He name-checks Bring Me The Horizon directly as the template: the Sheffield band’s ability to move between crushing riff-driven sections and enormous melodic choruses without the transition feeling forced is the quality Mazare has been chasing in his own production, and it is the quality that makes “Unholy” land the way it does.

What ‘Unholy’ Actually Sounds Like

The track opens with anthemic notes that quickly expand into a wide soundscape before the production finds its locked-in groove. The balance between edgy delivery and glitchy hypnotic momentum is the track’s central tension and its central achievement. Mazare has built the DnB framework to move at the kind of uptempo pace that gives the metalcore elements their urgency, and IMPVLSE have understood precisely what the production needs from them. The clean sections float over the uptempo drums with genuine melodic weight. The heavy sections land with the kind of gritty distorted guitar work that metalcore audiences expect and that most DnB productions would never accommodate.

In Mazare’s own words, the performance from IMPVLSE was exactly what the track required. “IMPVLSE absolutely nailed the performance on both the clean sections and the heavy ones,” he says. “As with all the tracks in this EP, the goal with ‘Unholy’ was to blend my two favorite genres, metal and drum and bass. This one is specifically inspired by Bring Me The Horizon and their ability to shift seamlessly from heavy riff sections and screams to super catchy, big chorus sections. I tried to recreate that structure and feel while writing the song.”

The Broader Context: Why This Fusion Works Now

The metal and electronic crossover space has been generating genuinely interesting music for several years, with artists like Rezz, Black Tiger Sex Machine, and Virtual Riot each working variations on the theme from different entry points. What separates Mazare’s approach on “Unholy” from most genre-fusion experiments is the specificity of the structural reference point. He is not simply layering distorted guitars over DnB drums and hoping the combination feels heavy.

He has taken the compositional architecture of a specific strand of metalcore, the verse-chorus dynamic that Bring Me The Horizon built their post-Sempiternal catalog around, and rebuilt it within a DnB framework. The result is a track that earns its heavy moments because they have been set up correctly, and earns its melodic moments because they have something to release against.

“Unholy” is the latest piece of evidence that Mazare’s positioning at the intersection of heavy-hitting metal-electronics and emotive pop-rock sensibilities is not a marketing angle but a genuine creative commitment. For a producer who has spent years establishing himself in this space, finding a metalcore band capable of delivering across the full dynamic range the concept demands is the collaboration the vision has been waiting for.

Author
Lena Brandt

Lena Brandt

Lena Brandt grew up in Hamburg in a city where the clubs never fully closed and the argument about whether techno counted as music or just noise was settled long before she was old enough to get in. She covers electronic, EDM, and club culture for Latetown Magazine, with a particular focus on the producers building scenes that exist entirely outside the festival circuit. She spent five years writing for a Berlin-based electronic music platform before relocating to the US, contributing to several dance music publications along the way. She believes the most important music being made right now is happening in warehouses with no Instagram presence and considers it her job to find it.

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