Single Review: Fake8 – PYRO-ASHES – 05 August 2026

Words: Will Car, Photos: Band Media

What comes to mind when you think of the saxophone? Smokey jazz bars? Musicians in sunglasses wailing their mournful blues until three in the morning? 70’s adult entertainment featurettes? Fake8 doesn’t care what you think! And, not happy to simply tear down the saxophone’s reputation as a fun, Christmassy-sounding instrument, the self-styled Australian sax metal duo are here to “showcase the saxophone in a different light.” And that light is very, very dark.

Fake8 have also put reality on hold for a while and have given us the only thing that’s twice as good as a single. A double single. This double single, releasing on Friday 21st August is the brainchild of vocalist/ bassist Chris Michael and saxophonist Mika Atkinson and “release” is the correct word. PYRO-ASHES feels like the kind of feral beast that sets off alarms when it gets out and can only be killed with fire.

The first of the two tracks, PYRO, lulls you in with a swaying, unearthly saxophone riff. The

tension builds to a fever pitch with frenetic guitars until Chris unleashes a frenzy of chaotic vocals.The second track, ASHES, comes right out the gate kicking and screaming like a newborn being thrown into the octagon before easing into a melodic medley of bass and saxophone.

Fake8 blend crushing heaviness with a strong sense of atmosphere, establishing a dark, oppressive mood that unfolds into a barrage of powerful riffs. Rather than relying on aggression throughout, the pair have elegantly balanced the two pieces, allowing for quieter stretches and dynamic shifts that give weight to the heavier sections.

While both achieve a rich, almost cinematic sound, out of the two, ASHES resonated with me more.The first is heavier and more visceral and if you tried to mosh to it you’d take out half of the room, but ASHES has a sense of vulnerability and reflection to it, making the song feel more impactful.

Over all, I would argue that the greater achievement isn’t simply a strong, compelling release, showcasing the band’s excellent and thoughtful songwriting. The more impressive aspect is the successful addition of a saxophone into metal, which is rarely, if ever, attempted and if it has then not half as well as this.

When the final saxophone honks into silence you’re left with a satisfying sense of dread, like you’ve just been listening to an angel’s doomsday trumpet or the four-minute warning.