Glasgow’s heavyskint don’t really do “polite.” Since forming in 2024 and locking in their current line-up in early 2025, they’ve been ripping through the city with sold-out shows and sweat-soaked intensity, including turns at iconic rooms like King Tut’s and QMU. Their second single, “When Are You Coming For Me Jesus?” (out February 6), feels like the moment they stop flirting with darkness and just move in. If debut “Vice” hinted at controlled chaos, this one kicks the door off the hinges—bigger, moodier, and way more desperate, with Arran Black (Tanzana) keeping the production sharp enough to cut while still letting the mess bleed through.
The track launches on churning guitars and thumping beats, cymbals splashing like someone throwing water on a fire that won’t die. The sound sits in that sweet spot between modern post-punk grit (Fontaines D.C, Wunderhorse) and older, brooding spaciousness. There’s even a whiff of Pink Floyd-style atmosphere before the whole thing snaps back into late-90s confrontational rock bite. But the real center of gravity is Jacob Hunter. His voice is raspy, open, restless—less “singer” and more “guy at the edge of the cliff yelling into the wind.” He paces the lines in a storytelling way, like you’re trapped in the room with him while he explains exactly how the tragedy happened.
Lyrically, the title question is the hook and the wound. It plays like a cry for help, the kind you throw upward when the people who matter most aren’t showing up. The brutal honesty is in the idea that the absence isn’t always cruelty. People just aren’t equipped, and that realization stings almost as much as the loneliness itself. You can hear that push-pull in the arrangement, as the verses feel like spirals, the guitars grinding in place, then the chorus swells into something huge and cathartic, as if volume can substitute for answers.
“When Are You Coming For Me Jesus?” names self-destruction, drags it into the light, and then screams for God’s mercy. It’s an early statement of intent from a band that already knows its lane: moody atmosphere, big choruses, noisy guitars, and high-stakes emotion. No slowing down, no soft landing—just the sound of heavyskint turning pain into momentum.
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Review by: Naomi Joan