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Arriving more than three decades after his first solo album and almost 20 years since his groundbreaking group Telex delivered their final message, Belgian electro-pop musician Michel Moers is finally making a comeback with As Is, his brand new album. To celebrate its imminent release, the synth man has invited iconic vocalist Claudia Brücken from the similarly revitalised Propaganda (now xPropaganda) to guest on its first single, ‘Microwaves’. A 50% electro-pop, 50% new wave anthem, it will delight fans of Ladytron as well as Telex classics such as ‘Moskow Discow’.

“Claudia has a great voice that you recognise from the very first note,” says Moers. “I was thrilled to get the opportunity to work with her and was determined to place her vocal upfront in this song.”

Check ‘Microwaves’ here:

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Michel Moers will release As Is in mid-April. Coming 33 years after his solo debut, Fishing Le Kiss, the long-awaited record features ten tracks that showcase Moers’ wisdom and artistic reflection as he offers a blend of thoughtful, electronic music infused with surrealism in his own unique style. It includes contributions from xPropaganda singer Claudia Brücken, who adds her distinctive Teutonic touch to ‘Microwaves’, plus Moers’ compatriot DAAN (Daan Stuyven), whose deep, expressive voice is utilised to full effect on ‘Back To Then’.

Containing songs that have been developed over several years, the album has an intimate, diary-like quality, reminiscent in part of the compositions of Erik Satie. With highlights that include the stridently uptempo ‘Potentially (Love-Hate)’ and ‘Pixels’, plus the lyrically unsettling ‘New Friend’, the album actually opens with an updated version of ‘Les Gens Sont Affligeants’ (People Are Disappointing) from Moers’ debut. It resonates more than ever in today’s individualistic society.

As Is represents a triumphant return for Moers, blending past influences with contemporary sounds and themes, and stands as a testament to his enduring creativity and adaptability in a continually evolving music landscape.

Moers has spent the last three decades working as an architect and photographer while continuing to make music. Involved in the remastering of the Telex back catalogue that was reissued to great acclaim on Mute Records in 2023, this also served to reinvigorate his skills and contributed to the creation of As Is. Belgium’s first electronic band, Telex were influential pioneers, appearing on Top Of The Pops in 1979 and representing their nation at the Eurovision Song Contest in 1980.

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Malmö’s MISSILES have released a new single, ‘Living In A Nuclear Town’, from their upcoming album Weaponize Tomorrow (10th May 2024).

MISSILES explains the backgrounds of the new single, out today on Svart Records:

“’Living in a Nuclear’ Town was one of the last – if not the last – song to be finished before we started the recording process. It’s also one of the tracks that was finished first and saw few changes whilst others got a good beating. Lyrically, the song deals with the rough realities, both the ones reported and seen as well as the ongoing hidden waiting to happen”.

The members of MISSILES are no new kids on the block. Coming from punk, rock, and metal, as well as surf and rather diverse backgrounds, they all answered to the call of their good friend Gabriel Forslund – sincerely interested in doing something new and exciting together. The band’s trajectory began with a 7" single released by the Swedish label Fetish in 2016. Initially viewed as a project, MISSILES have organically evolved into a fully dedicated band with a laser-guided focus, causing shock waves in the underground with their jet-fuel genre-clash. Combining abandoned sounds with new inventions on Weaponize Tomorrow, MISSILES promises to both pat you on the head and stab you in the back, delivering a unique blend of post-punk with a touch of goth rock.

Listen to ‘Living in a Nuclear Town’ here:

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MISSILES claim their debut is a one-of-a-kind album, truly a loved bastard. Weaponize Tomorrow will appeal to those who enjoyed the certain “je ne sais quoi” found in the New Wave movement, a line of thought that is liberating to hear today when artists go to the bank with a genre description. MISSILES couldn’t be bothered; it’s rock, it’s pop, it’s punk, it’s je ne sais quoi. Hard to pin down, but undeniable to freak out to, Weaponize Tomorrow is a high yield blast wave that will leave MISSILES hot on the tongues of those looking for a sudden and dramatic, incendiary kick. A gut smashing future shock that will resonate across diverse musical landscapes, Weaponize Tomorrow will be the perfect atomic cocktail for fans of Wipers, Dead Moon, The Birthday Party, The Gun Club and even modern iconoclasts Molchat Doma and Beastmilk.

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Pic: Thomas H Johnsson

Industrial band, LIVERNOIS recently unleashed their new EP, :ablation:. The term "ablation", the surgical removal of flesh, serves as a metaphor for closure in the context of the EP’s concept.

:ablation:. as an album, wrestles with the human reaction to trauma. More specifically, the EP addresses the responses that tend to be stigmatized and shunned by an increasingly repressed, and emotionally-paralyzed state.

The intent herein was to walk a fine line between violence and vulnerability. The sounds echo between precision and senselessly screaming into the void.

Check ‘Hekk Closet’ here:

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US noise/blackgaze experimentalists Cave Moth have recently unveiled the leading single off their forthcoming new EP In Memory Eternal, which is set to be released on March 29th.

Listen to ‘In Memoria Aeterna’ here:

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For nearly a decade, Cave Moth have been turning some heads thanks largely to their intriguing and caustic combination of noise, grindcore, and death metal driving each song. It’s no new territory, yet the diversity of their sounds and the full-blooded urgency of their playing really sets them apart from many bands of their kind. 
Originally from Florida, Cave Moth now resides in that peculiar space on the internet that oscillates between live band and studio project with members spread out across the east coast. 

The band’s new EP In Memory Eternal, however, sees a shift in direction with Cave Moth injecting more black metal and screamo influences into their songs.

“We’ve dabbled in the post hardcore/screamo ether before. This is more similar to our 2021 release ‘Don’t Worry’, but In Memory Eternal definitely has a more black metal feel. I was experimenting with chord melodies and just found it really easy to write music in that melancholic, minor key vibe.” Says the guitarist/vocalist Daniel Quinn. 
This 10-minute composition hauntingly blends the melodies of Pianos Become the Teeth and Really From with explosive energy of black metal, delivering a visceral sonic experience.

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Australian instrumental post-rockers sleepmakeswaves have released another single from their forthcoming album "It’s Here, But I Have No Names For It" following the addition of two more US shows to their growing world tour dates.  The band took to social media to tell fans about the new single: 

"’Ritual Control’ was first demoed as ‘Dr. Riff Has Arrived’. I still wonder whether we were mistaken to have not kept the old title.  Otto originally presented the song skeleton to us with the concern that maybe the riffs were "too dumb". In fact, Tim and I responded, they are the *perfect quantity* of dumb. Sure, these riffs aren’t going to earn a PhD. But they will hold down a full-time job, get the kids to school on time and read the occasional piece of challenging non-fiction on weekends. Courageous and heartfelt conversations like this are the core of what effective post-rock songwriting is all about.  New album out next month!"  -Alex

Listen to ‘Ritual Control’ here:

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The new album It’s Here, But I Have No Names For It, released on 12th April, was produced by the band themselves, at Golden Retriever Studios in Sydney, Australia. Written during the pandemic, it was originally recorded during 2022 just before the band embarked on a 3 month tour for their previous EP trilogy ‘these are not your dreams.’ Further recording was completed in 2023, including string arrangements by Simeon Bartholomew (SEIMS). The record was then mixed by Andrei Eremin (Closure in Moscow, Tash Sultana, G Flip, Luca Brasi) in Philadelphia USA and mastered by Jeff Lipton and Maria Rice at Peerless Mastering in Boston USA.

The first single ‘Super Realm Park’, prefiguring the record as a whole, is a majestic return to the classic hallmarks of the band’s melodic post-rock sound, whilst introducing new production and arrangement elements. Fans of the band’s heavy bombastic aggression will resonate with tracks such as ‘All Hail Skull’ and ‘Ritual Control.’ They also shine with invigorated melodic and emotive performances and arrangements on tracks like ‘Black Paradise’ and ‘Terror Future.’ Retaining their signature approach to heavy dynamics and crescendos the band are still at their unmatched peak when they turn their hand to cataclysmic emotional epics such as the title track and the album closer ‘This Close Forever.’

The band released a statement to fans, saying: 

"The mysterious phase of nothingness, crucial to the smw creative process, is over: our new album is finally done. Thank you so much to all our listeners for your patience. It has been a slow but intense labor of love and we are proud of the songs on this record, and grateful for the many people who helped bring it to life. Hope to see you on the road in 2024, more show announcements to come, and we truly hope the new music we’re about to release resonates with you in the same way it does with us.   Love smw”

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NC’s Totally Slow offers up razor sharp, no-frills punk music, with angry lyrics that show how the personal is inseparable from the political when the country is on the brink of chaos. The band has combined the melodic anthems of 1980s SoCal bands like The Adolescents, Agent Orange and The Faction, with the skewed rawk of ‘90s San Diego bands Drive Like Jehu and Truman’s Water, and the righteous conviction of classic DC hardcore like Dag Nasty, Gray Matter and Fugazi.

Eddie Sanchez (Night!Night!, Solar Halos, The Love Language) has recently joined on bass, completing the current lineup which includes Andy Foster, Chuck Johnson, and Scott Hicks.

Having shared the stage with various acts, from Agent Orange to Laura Jane Grace to Man or Astroman, they bring a diverse musical experience to their audience.

Totally Slow’s fourth LP The Darkness Intercepts will be released on March 22 via Refresh Records.

Stream the new single ‘Pistol Whip’ here:

‘Propaganda Now’ is the closing track from the upcoming album Confused OK by York band Soma Crew.

‘Propaganda Now’ was lyrically informed by an awareness of the increased discrepancy between fact and its interpretation through social media. Participation in the dispersion of information is unavoidable in contemporary society, and it is virtually impossible to be sure of the veracity of sources. Visual cues are taken from historical posters where images are used to persuade the viewer of a particular point of view. In these circumstances we are presented with a dichotomy, and our innate circumspection is smothered.

Check it here…

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Not so much light relief as weird relief…

Industrial rock band, FLEISCHKRIEG has just unleashed their new single, ‘I Believe In Gnomes’.

‘I Believe In Gnomes’ is a song about our beliefs, who shapes them, and why. Many things that were too absurd to believe in (such as UFOs) have now been proven to be true. The crackpots have been vindicated. Now the gnomes ask us to consider what else have we been lied to about, and why. They ask us to examine our beliefs.  Are they really ours to begin with or did we inherit them from a society bent on hiding the truth from us?

The single was Produced/Mixed/Mastered by Logan Mader who has produced and mixed acts such as Fear Factory, Divine Heresy, and Five Finger Death Punch.
’I Believe In Gnomes’ is available on all major digital outlets including Spotify and Bandcamp.

Check the video here:

FLEISCHKRIEG is the result of a chance encounter between an Uber driver and a drunk passenger partying in Seattle. The driver, Richard Cranor, and the passenger, Thomas Crawford, found themselves kindred spirits through a mutual love of Rammstein and industrial metal. When the opening act dropped out of Thomas’s solo ‘Ceraphym’ show, he invited Richard to perform in their place. Richard agreed with the caveat that Thomas play guitars. FLEISCHKRIEG was formed.

The group, currently based in L.A., cite Rammstein, DK-Zero, Die Krupps, and Lord of the Lost as musical influences. Their moody electronic sound melds industrial metal with darkwave undertones, creating the genre of ‘Brutalwave’: a blend of new wave, metal guitars, and crushing industrial dance beats and vocals. Now with the addition of Nick Mason on drums and Kaylie Cortez on synth/keyboards, FLEISCHKRIEG’s live shows are a force to be reckoned with.

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“We may not speak the same language, but in the vortex of sound there is a raw, primal understanding that transcends words. Noise can be art – a visual representation could perhaps be Jackson Pollock’s ‘No. 5, 1948’ – a plexus of chaos redefining what music can and could be. Pushing boundaries with Masami wasn’t just a musical adventure, it was a masterclass in sonic anarchy.” Jack Dangers – MEAT BEAT MANIFESTO

Cold Spring is proud to present a unique collaboration between Industrial Breakbeat pioneers Meat Beat Manifesto (Jack Dangers) and the undisputed king of Japanese noise, Merzbow (Masami Akita). ‘EXTINCT’ sees the duo take listeners on a transcendental journey, focusing on the dismantling of beat and structure and recycling the result through layers of beautifully crafted noise and feedback loops, giving birth to new rhythms buried deep in the dirt.

The 20 minute opener ‘¡FLAKKA!’ takes constantly evolving breakbeats which are gradually broken down over time, driven through a filter of harsh noise, destroying the old to give birth to the new. Raw and unforgiving, the track is a behemoth that blends mutant forms of broken beats and hints of dub, creating rhythmic noise of the highest calibre in the process.

‘BURNER’ takes the record to its ultimate conclusion, the initial drum beat broken down so that it is barely recognisable. Pulsating distortion and high end audio fragments bleed into each other as the track lumbers forth and destroys everything in its path before slowly unravelling, degrading and falling apart.

A harrowing yet somewhat cathartic trip through walls of harsh industrial noise and audio degradation, ‘Extinct’ is a masterful pairing of artists who have delivered something truly unique yet totally relevant. Don’t sleep on this one!
(Text by Todd Robinson / Subunit)

Listen to the edit of ‘¡FLAKKA!’ here:

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Oslo, Norway’s experimental-metal/noise-rockers Shaving the Werewolf have just shared the title-track of their new EP God Whisperer, which is set to be released on March 22nd. 

Engineered, mixed and mastered by Jørgen Øiseth Berg and featuring the artwork of Martin Mentzoni, God Whisperer is as ugly and insisting as anything the band have done before. Inspired by the pathological know-it-all who poison the world with their selfish and militant ignorance, these five tracks see Shaving the Werewolf exploring deeper into the sprawling crevices of their established sound to bring you catchy hooks to snag your brain on and jagged edges to treat your mind with the same courtesy an angry box-cutter would, all bathed in corrosive dissonance.

We’re getting hints of Daughters and Trumans Water and a whole heap of mania happening here, and reckon the EP is going to be blinding…

Check ‘God Whisperer’ here (the image links to the track):

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