Archive for the ‘Recommended Streams and Videos’ Category

For decades & centuries, musicians have used their art to plant a flag in the ground & stand against the tide – from Lead Belly to Pussy Riot … from the broadside ballads of eighteenth century England to Beethoven’s call for equality ‘Ode To Joy’. There will always be a need for people making visceral musical statements questioning the status quo.

Enter Nrvs’ latest offering ‘The Tanks Are Coming Out’. While we’re all busy putting out fires in our everyday lives, governments & leaders around the world are accumulating tanks, bombs & drones. “You think they are just gonna leave them parked up on a backlot somewhere forever?”

The rise of authoritarianism, censorship, community collapse & impending apocalypse are upon us. Nrvs expand on the idea saying “So yeah ‘The Tanks Are Coming Out’ is about Ukraine, Gaza & the rest of the shit-shows. But zoom right in and it’s also about the war that can break out when two people’s hearts get broken”.

Written while Nrvs spent time in jail for peaceful protest, ‘The Tanks Are Coming Out’ is sonically inspired by the music of Brian Eno, John Cale & in particular Faust’s ‘Rainy Day Sunshine Girl’, while production duties fall to band member Matt Allchin whose production credits include Florence + The Machine, Joy Crooks & Mark Ronson. As for the artwork, photomontage artists & Professor of Political Art Peter Kennard, empathising with Nrvs’s mission, has offered them use of his iconic artwork, giving added context to the band’s agenda. There’s a long-form video too, directed by Emmy Chitty & featuring Josef Altin (Pypar in Game of Thrones). Shot in the “bleeding heart of suburbia”, the video perfectly captures their concept of the “everyday horror of the end ”.

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When asked what makes them different, Nrvs says “Many artists like to project an image of rebellion / bad boys / bad girls / fight the power / I’m some kind of cool like pirate or whatever the fuck. Nrvs actually ARE all those things and live that life. I mean several current UK laws were written specifically to try to block Nrvs from doing things (they failed!)”

So where has Nrvs been these last few years? “Nrvs were building pink boats and breaking into places and supergluing ourselves to things. Nrvs were saying No to the bastards and meaning it. Nrvs were in jail, sisters and brothers. Where the hell were you?”

Reflecting on their previous work including the apocalyptic sci-fi tinged psych-rock EP I Like You, Nrvs are shaping “a nightmare-normal vision of the near future, that you can dance to”. Ideologically they are confrontational, unapologetic, existentially on the edge & uncompromising in their beliefs – all of which is reflected in their creative output, whether it’s music, visuals or their involvement in Extinction Rebellion & similar protests against the status quo.

Many artists have been shrouded in mystery: the music & the visuals should strike you first, whether you’re ready for them or not. Looking to the future Nrvs aim to spell out the writing that’s already on the wall – the story continues…

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XASTHUR reveal the next advance single, ‘Nothing in the Dark’, taken from their forthcoming new album Open to Misinterpretation. This self-recorded exploration of Dark American Folk is scheduled for release on October 2, 2026.

Xasthur comment: “The song ‘Nothing In The Dark’ deals with the emptiness that people meet whenever they go looking for answers in darkness and suffering”, mastermind Scott Conner explains. “In the lyrics, I am asking what is really waiting in the darkness and whether misery can ever truly become the company that people imagine it to be.”

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BESVÄRJELSEN let it rip on their new music video ‘Accelerating Hearts’. Putting their pedal to the metal, the Swedish forest rockers deliver a fuzz-fuelled single that burns rubber on their forthcoming third full-length Till Glömskan Ad Oblivionem (Into Oblivion).

Till Glömskan Ad Oblivionem is slated for release on August 28, 2026.

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Besvärjelsen comment: “In the middle of writing this album, I found out that I was pregnant, which of course changed everything”, vocalist Lea Amling Alazam reveals. ”During my first writing session after that, I was confronted by myself with how much my creative process had always been tied to my vices. There was usually something there like a glass of wine, a cold beer, and of course also coffee, cigarettes, and snus. Suddenly, all of that was gone. ‘Accelerating Hearts’ became, in a way, a love song to that rush of everything that heightens your senses and pulls you forward – this thrilling sense of acceleration. From the start, I knew that I wanted this song to be a duet. At the top of my list was Fred Burman of Satan Takes a Holiday, who is an incredible vocalist and one of the most compelling voices in Sweden. I was beyond happy when he agreed, and what he brought to the track is nothing short of magic.”

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Lustmord, the pioneer of modern ambient electronic music, and Dave Lombardo, one of heavy music’s most influential percussionists, have joined forces as Lustmord Lombardo.

The pair release their debut album, The Pulse of Atoms, on October 2nd via Ipecac Recordings, offering a taste of their new collaboration with the release of ‘Paleomagnetic Resonance’.

Watch the single video here:

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“One thing about an album like this is that you can’t really point it out as being part of any specific genre or hopefully any specific period,” Lustmord explains. “Is it from last year? Is it from 10 years ago, is it from 20 years ago, is it from 5 years in the future? It’s trying to create something that has its own sound, not tapping into whatever musical language or history you’re familiar with. It goes way, way further back. This is the sound of planets dying or of stars being born. It’s about a bigger picture. It’s the sound of the birth of the universe and the death of the universe; it’s not rock and roll.”

The two musicians met backstage at a Fantômas show, introduced by mutual friend Buzz Osborne, around the time that Lustmord and Melvins released their collaborative album. Nearly two decades later, Lombardo and Lustmord convened as Lustmord Lombardo, crafting an album that is as cold and distant as it is frantic and engaging. The Pulse of Atoms showcases an unheard side of Lombardo and brings Lustmord back to his industrial roots.

Rather than composing songs in a traditional sense, Lustmord built evolving walls and vortices of sound, leaving room for Lombardo to add percussion and various synthesizer layers. Once the editing and arrangement was complete, Lustmord mixed and mastered the record, which was a balancing act between the two players’ large, loud musical presence

“I’m very proud of this collaboration because it’s so different from anything else that I’ve done,” Lombardo adds. “And to create this body of work with Lustmord – this guy is
legendary! He rattles the plaster off of venues.”

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Chat Pile’s heralded debut album God’s Country depicted a particularly American flavour of dread, and their 2024 LP Cool World showed a cruel planet defined by global systemic violence. Now, Chat Pile return with Who Loves the Sun, an album that peels back the skin on how a collective indifference for a decaying world defines this new century.

Spanning imagery of coastlines devouring cities as a result of inaction on climate change, the dread of working dead-end jobs, and the species’ collective submission to data-driven inauthenticity, Who Loves the Sun depicts the common experience of existing in a doom loop which feeds the malaise that permeates all aspects of our lives.

The album”s latest single ‘Same Rules’ is lyrically and sonically as aggressive and confrontational as ever, but Chat Pile approach songwriting with hooks in mind, drawing on melodic tones. Bassist Stin says it’s the “…first real Chat Pile song mostly recorded on 4-track cassette. Ray B. had given us the challenge to write a trip hop song and this is what we came up with. Unfortunately he’s rejected ‘Same Rules’ from the challenge as he claims it’s not trip hop at all and that we have to try again. Perhaps we’ll get it right next time.”

Reaching into the collective consciousness to commiserate and carouse, Chat Pile dissect how the apathy-bloated state of 21st-century existence is an active, slow-motion apocalypse, threads of which are woven through the album. Vocalist Ray B. adds: “Everyone needs to read as much as possible. There is so little emphasis put on knowledge right now—  it is your most important tool. Engagement with the world might lead to death, but shutting off and staring at your phone all day is suicide.”

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Since Chat Pile’s formation just over six years ago, the Oklahoma City-based quartet has grown from a scrappy passion project of four local film and music enthusiasts into one of the defining heavy acts to emerge from the 2020s underground.

Ray B. (vocals), L. Manhole (guitar), Stin (bass), and Cap’n Ron (drums)’s crushing, crass, and cathartic take on noise rock resonates in a cracked reality. Their music captures a raw, undeniably human essence that’s increasingly fleeting in an age marked by ceaseless torrents of algorithmic slop, technological overreach, and the cold, crestfallen state of society. Nothing about their forthcoming third LP, Who Loves the Sun, feels synthetic.  In a world increasingly shaped by disposable content, Chat Pile answers with something defiantly real and organic.

Live dates:

UK/EU
08/11 – Vienna, AT – Arena (supporting HEALTH and Carpenter Brut)
08/12 – Munich, DE – Live/Evil ~
08/14 – Col Du Lein, CH – Palp Festival
08/17 – London, UK – Bush Hall ~ SOLD OUT
08/19 – Dublin, IRE – Button Factory ~ SOLD OUT
08/20 – Dublin, IRE – Button Factory ~ SOLD OUT
08/22 – Bristol, UK – Arctangent Festival
08/23 – Hasselt, BE – Pukkelpop Festival

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09/12 – Oklahoma City, OK – Tower Theatre = (SISU Fundraiser Fest)
09/17 – Minneapolis, MN – First Avenue +^
09/19 – Chicago, IL – Riot Fest 
09/20 – Englewood, CO – The Gothic Theatre +&
09/23 – Salt Lake City, UT – The Metro Music Hall + &
09/25 – Seattle, WA – Showbox SoDo + &
09/27 – Portland, OR – Revolution Hall + &
09/29 – Sacramento, CA – Ace of Spades +
09/30 – San Francisco, CA – The Regency Ballroom + &
10/03 – San Diego, CA – Music Box + &
10/04 – Los Angeles, CA – The Belasco + &
10/06 – Mesa, AZ – The Nile Theater + &
10/08 – Austin, TX – Radio/East + &
10/09 – Houston, TX – White Oak Music Hall + &
10/10 – Dallas, TX – Granada Theater + &
11/05 – Detroit, MI – The Majestic Theatre + %
11/06 – Millvale, PA – Mr. Smalls Theatre + % 
11/08 – Norwalk, CT – District Music Hall + %
11/10 – Brooklyn, NY – Brooklyn Steel + %
11/11 – Philadelphia, PA – Union Transfer + %
11/12 – Washington, DC – Black Cat + %
11/14 – Charlotte, NC – Underground + %
11/15 – Atlanta, GA – The Masquerade + %
11/16 – Nashville, TN – Brooklyn Bowl + %
11/18 – Columbus, OH – Newport Music Hall + %
11/20 – Indianapolis, IN – Deluxe at Old National Centre + %
11/21 – St. Louis, MO – Delmar Hall + %
11/22 – Lawrence, KS – The Granada + %

~ with Ragana
+ with Soul Glo
^ with Prize Horse
& with Virga
% with Shallowater
= with Portrayal of Guilt, Nightosphere, Traindodge, Primal Brain

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Photo credit: Ryan Lawson

Long held in high regard for a sound that is a modern and unique take on classic goth and post-punk, Swedish trio Then Comes Silence have released a brand new single entitled ‘Judgement Day’. It is the first to be lifted from Requiem Ballroom, their new studio album out on 20th November.

“This song is about failure, bad decisions and poor behaviour – those who will be the first in line on doomsday,” the band explain. Beginning with a catchy Euro techno melody, the surprising intro creates a contrast to the band’s established roots from the outset and serves as a metaphor for the theme of the song. The band itself ‘fails’ by letting something completely unexpected and out of character take over.

A video for ‘Judgement Day’ has been directed by Damon Zurawski of Future Legends Films and can be seen here:

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Requiem Ballroom will be the follow-up to Trickery, the seventh full-length album by Then Comes Silence released in 2024. Collecting accolades galore, the UK’s Classic Rock magazine described it as “the post-punk influence of Bauhaus or Joy Division offset by an ’80s windblown, cinematic sense of drama presented with silky production and confidence.” Vive Le Rock concurred, remarking on its “huge, spectral sound that cascades the post-punk genres seamlessly whilst delivering a unique and compelling sound that is as captivatingly gripping as it is intense.”

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Creative powerhouse MILDREDA will make your skin crawl with their eerie lyric video for ‘Silk Skin’, the next advance single taken from the Belgian dark electro duo’s forthcoming double album Realities, which has been slotted in for release on August 28, 2026.

Mildreda comment: “This track revolves around unspoken desires and the familiar, exhausting push and pull between longing and retreat”, mastermind Jan Dewulf writes about the lyrical content. “I wanted to transform that tension into a ritual – a feverish invocation, a dance that binds, summons, and slowly pulls you under. Musically, the heavy bass was a happy accident in the studio, one that instantly revealed the direction that I needed to take. A relentless pulse rooted in EBM, and unmistakably Belgian at its sonic core.”

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Two decades have passed in the land of Gnod, yet the psychic travelogue only becomes more enthralling as it goes on. The page is turned, a new chapter begins…

Whilst this band has flourished via dauntless conviction, hive-mind magic and a fierce and uncompromising spirit, one ingredient has served as a crucial fuel for the fire – the monolithic singularity of the riff.

This second chapter of Gnod’s sort-of-anniversary trilogy also originates in the same six day sessions as the first, at Hellfire Studios near Dublin with producer Spud Murphy (Lankum, Black Midi etc). Yet the focus this time is on the transcendental heaviness and repetition that the band have often used as a primary fulcrum of their approach. This volume captures the sound of strings flayed, throats shredded, skins punished by the organic chemistry of this formidably powerful band in a room.

Chronicles of Gnowt (Vol. 2) will arrive via Rocket Recordings on 9th October and is preceded by the track and video for ‘The Witness’. Watch it here:

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Operating as ever stubbornly adrift of all or any genre restrictions, the coruscating workouts chronicled here evolved on the road in the last two years before being honed and perfected in the studio setup by Murphy. “Spud was masterful –recording live, pushing us to do more takes and then when the right take was done, by the time we got to the desk from the live room he already had it sounding great for playback” relates the band’s Paddy Shine.

The results are amongst the most fearsome and kinetic material that Gnod have summoned to date. The opening ‘The Witness’ takes a The Ex-ish groove and sets it in motion before driving a wall of incandescent guitar scree through it. ‘Ice Man’ redlines an animalistic Melvins-style framework into the realms of dystopian burnout. ‘Old Gold’ meanwhile centres on three-guitar interplay snaking around a muscular, taut groove, with Paddy’s feverish declamations acting as master of ceremonies.

As has often been the case for a band heavily driven by serendipity and intuition, the best plan is no plan at all. “We find quite regularly that spontaneity and the no thought approach works better than over analysis and detailed planning,” clarifies Chris Haslam, “Paddy’s stream of consciousness lyrical approach is another example of how when we remove our own will from the process, something purer, more real & more connected fills the void.”

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Buzz Osborne didn’t need another band. JD Pinkus didn’t need another band. Coady Willis didn’t need another band. Together with Clinton Jacob, they started one anyway. Meet Gatta Morta.

The quartet makes its debut today with Burn Witch Burn, a 4-song EP, available now via Amphetamine Reptile Records. Listen to the single ‘Black Hall’, which accompanies the release, here:

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“It’s always a good time for the world to embrace a new heavy/weird band,” Osborne says. “I had the idea for Gatta Morta while touring last fall. I realized I needed to start a band with these three. Seemed like a no brainer. Solidly weird rock music that needs to happen.”

Butthole Surfers bassist Pinkus agrees: “It’s been way too long since I got to write a heavy album from scratch with such high caliber players with such complimentary styles… and we’re just cat scratching the surface of what we got goin’ on!”

Rounding out Gatta Morta is Clinton Jacob, the creative force behind Chicago’s weirdo, pop-noise rock duo Mr. Phylzzz. “I just had this feeling that one day we would work together. I became friends with Buzz over the past few years doing shows together and having him play guitar on a Mr. Phylzzz song. When I was asked to be a part of Gatta Morta, I was speechless, but I was 100% ready for it.”

Burn Witch Burn lurches between thick, riff-driven heaviness and warped, psychedelic passages, with Osborne, Pinkus, Willis, and Jacob creating music that’s simultaneously reminiscent of their previous work and entirely new.

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Photo credit: Keturah Bishop

Alternative Pop / Electro-Rock firebrand THE NOISE WHO RUNS returns with ‘The Summer Talking’, a catchy sonic respite that disguises devastating social critique beneath shimmering indie-pop hooks. Sneaker Pimps legend Ian Pickering spins a tale of romance and nostalgia before spiralling into an indictment of climate denial, political inaction and humanity’s addiction to comforting lies. The striking video contrasts postcard-perfect holiday escapes with the growing environmental crisis, this song asks an uncomfortable question – are we sleepwalking through catastrophe while convincing ourselves everything will somehow work out?

This track is lifted from PIckering’s new (and now acclaimed) Re: GenX album, a fearless uncompromising record that puts an entire generation (and society itself) on trial. Addressing war, consumerism, inequality, media outrage and the collapse of collective responsibility, he sounds a warning siren for a world in freefall. Blending dark electronic textures with anthemic alternative rock, The Noise Who Runs is one of alternative music’’ most fearless voices, offering a brutally honest examination of the choices that have brought us to the brink.

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Built around the repeated refrain, “It’s just the summer talking”, the song explores the promises we make when sunshine, nostalgia and hope temporarily blur our view of reality.  Balancing melancholic indie-pop with widescreen alternative rock, it follows dreams of escape, new beginnings and forever as they gradually reveal themselves to be fragile seasonal illusions. Beneath the relationship story lies a wider reflection on the comforting stories we tell ourselves—about love, our lives and the future itself.

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