Archive for the ‘Singles and EPs’ Category

Something brutal and pernicious is dragged kicking and squealing from the unfathomable depths of ancient Lisbon: CRUCIVORE unveil the filmed music video ‘Devourer of Existence’. The track is also the next advance single taken from the Portuguese band’s forthcoming debut full-length Desecration. The album has been slated for release on November 13, 2026.

CRUCIVORE comment: “The track ‘Devourer of Existence’ is pure brutality from start to finish”, guitarist Ricardo Jorge states on behalf of the band. “This song is packed with crushing riffs, slam, massive breakdowns, and relentless blast beats that don’t leave much room to breathe. Without a doubt, this is one of the most diverse and punishing tracks we’ve made so far and it will definitely shake your soul.”

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Crucivore were conceived on December 14, 2024. Precisely on that day, former ANALEPSY vocalist Ricardo Proença and guitarist Sérgio Páscoa (DOWNFALL OF MANKIND et al.) decided to join forces and form a new band. After recruiting more experienced musicians from Portugal, this new musical entity drew from decades of honing their craft to amalgamate crushing riffs, relentless drum pounding, devastating breakdowns, cavernous vocals, and carefully crafted dynamics into a contemporary sound that merges death metal intensity with the crushing weight of brutal death and slam.

Crucivore opted for the classic lyrical themes of their genre, and their songs generally revolve around corruption, decay, blasphemy, mortality, and apocalyptic scenes, while also exploring the grotesque nature of existence through a lens of darkness and desecration.

Rather than relying on nostalgia or trends, Crucivore seek to contribute to the ongoing evolution of death metal through conviction, experience, and an unwavering dedication to the underground. Instead of just delivering more of the same, the Portuguese seek for ways forward and they have found it in musical storytelling.

With Desecration, Crucivore deliver an outstanding debut full-length album and a musical vision that is bound to respectfully and diligently broaden the horizon of death metal.

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‘Broken Heart’ / ‘Fire’ is a brand new double AA single by the darkwave and goth scene leaders Clan of Xymox. Out today (23rd September), it is the first new music by the group since the release of their ‘Exodus’ album in mid-2024.

Clan of Xymox co-founder and frontman Ronny Moorings describes ‘Broken Heart’ as “a journey through heartbreak, desire and emotional combustion.” Driven by haunting synths, a hypnotic pulse and melancholic vocals, his aim with the song was “to capture the tension between losing someone and still being consumed by them.”

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Formed in the Netherlands in 1982, Clan of Xymox were originally signed to 4AD and established a cult following in the UK and mainland Europe with a highly atmospheric post-punk sound. The group enjoyed US chart success after signing to Polygram in the late-‘80s and shifting into a more commercial synth-pop direction that incorporated alternative dance elements, but it was the resurgence of the gothic and electro-industrial rock scenes a decade later that gave Moorings and his bandmates a fresh impetus from which they have prospered ever since.

The group have maintained a consistent international presence with regular releases and tours, with their 2026 schedule including main stage performances at the renowned WGT-Leipzig and M’era Luna festivals. Their live itinerary to the end of 2026 is as follows:

2nd October  ROME Traffic Club (IT)
3rd October  NAPLES Lizard Club (IT)
7th November  BOCHUM Gleis 9 (DE)
10th November  MUNICH Strom (DE)
11th November  VIENNA Chelsea (AT)
12th November  BUDAPEST A38 (HU)
13th November  ZAGREB Culture Factory (HR)
21st November  VALENCIA Sala Jerusalem (ES)
27th November  ZABRZE Klub Ck Wiatrak (PL)
5th December  STRASBOURG La Laiterie (FR)

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Continuing the celebration of her new album Real Life Evolution, released via UK label Reveal Records, NYC singer-songwriter Joan As Police Woman has teamed up with the illustrious Iggy Pop on ‘Save Me’. The track is one of ten fresh interpretations of songs from Joan’s 2006 debut Real Life album, reimagined two decades after its original release with a new cast of collaborators and released exactly 20 years from her debut.

Joan Wasser, known as Joan As Police Woman since 2004, is a critically acclaimed musician and producer, and a sought-after collaborator, dubbed “the coolest woman in pop” (The Times) and “one of the 21st century’s best musicians” (The Economist). As a singer, songwriter and multi-instrumentalist, her music defies easy categorization, crafting her own sound that blends various genres.

“Some transformations are subtle. Others are seismic. All of them were made with an entirely new cast of collaborators. Among them are two extraordinary vocalists. The inimitable Iggy Pop — whose band I’ve had the privilege of touring with, playing keys and singing — recorded a stunning version of ‘Save Me’ while we were on the road in New Zealand. We had to work around the birds outside, who apparently had strong opinions about the session. Then there’s Krystle Warren, a true original and one of my favorite singers alive. Her voice is so deeply soulful that ‘I Defy’ feels like it thoroughly enjoyed easily slipping into its brand new groove,” says Joan.

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Music has a way of taking on a life of its own, evolving and revealing new meaning as the years pass. Through countless performances, the new renditions on this extraordinary album are brought to life by the brilliance of the players who helped define their sound. This remarkable opportunity to hear Joan return to the music that helped define her artistic journey brings new perspective, texture, and energy to songs that have already stood the test of time.

“My friend’s reaction when I told them who sang this? “Iggy Fucking Pop”?? And yes, I am lucky enough to have been able to record him in a professional studio in New Zealand (a hotel room next to the pool on a day off). Thank goodness for portable recording rigs," explains Joan Wasser.

“To me, Iggy is one of the great romantics. A few years ago, when I joined his band on Wurlitzer organ and vocals, I began to weep while in rehearsal for ‘The Passenger’. His voice is simply one of the greatest of all time. It holds a commanding masculinity alongside a profound connection to the fully range of human experience. This song carries that same quality I’ve always heard in him: a raw, aching desperation that few singers can touch. I am forever grateful to the "’Godfather of Punk’”.

Real Life anniversary tour dates:

NOV 5  London, UK – Union Chapel
NOV 6  London, UK – Union Chapel
NOV 7  Manchester, UK – RNCM (Royal Northern College of Music)
NOV 9   Glasgow, UK – Oran Mor
NOV 11  Brugge, Belgium – Cactus Club
NOV 12  Amsterdam, Netherlands – Zonnehuis (sold out)
NOV 13  Hamburg, Germany – Mojo Club
NOV 15  Aarhus, Denmark – Train
NOV 16  Copenhagen, Denmark – DR Concert Hall
NOV 18  Budapest, Hungary – House of Music Hungary
NOV 22  Berlin, Germany – Haus des Rundfunks & Großer SendesaalFEB 12  Paris, France – Alhambra
FEB 14  Amsterdam, Netherlands – Zonnehuis
FEB 16  Bremen, Germany – Kulturzentrum Radio Bremen
FEB 17  Heidelberg, Germany – Kulturhaus Karlstorbahnhof
FEB 19  Schorndorf, Germany – Club Manufaktur
FEB 21  Brighton, UK – Komedia
FEB 22  Cambridge, UK – Cambridge Junction (J2)
FEB 23  Norwich, UK – Norwich Arts Centre
FEB 24  Leeds, UK – Howard Assembly Room
FEB 26  Bologna, Italy – Estragon Club
FEB 27  Milan, Italy – Santeria Toscana 31

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HEAVY TEMPLE reveal a heavy-tripping music video featuring the track ‘A Desert Through the Trees (Live)’. The song is lifted from the psychedelic heavy rockers’ digital live album Live from the Inner Sanctum, which is scheduled for release on October 9, 2026.

HEAVY TEMPLE comment: “Our song ‘Desert Through the Trees’ was directly inspired by the Kyuss track ‘Asteroid’ with a dash of Soundgarden and, believe it or not, a pinch of Pantera”, frontwoman High Priestess Nighthawk reveals. “It’s also the first track on Lupi Amoris. With this album, I feel that Heavy Temple really started hit its stride.”

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HEAVY TEMPLE are built to perform. The natural habitat of these American heavy rockers is the stage. They live and breathe playing live. They eat and drink the sweet nectar of stage sweat and backstage grub.

With their digital album Live from the Inner Sanctum, HEAVY TEMPLE deliver an authentic, honest, and raw statement about that irresistible impulse that drives them onto the roads of America and Europe to work extra hard every night to delight their audiences.

Live from the Inner Sanctum is not faking it at all. Honest mistakes are not electronically polished away, AI holds no sway over humanity here. This album is deliberately truthful and pointedly neither glossy nor sugar-coated. Take HEAVY TEMPLE as they are or leave it.

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British alternative artist SICKY unveils his new single‘Bubblegum Party’, a playful, infectious slice of indie rock that pairs catchy pop sensibilities with his trademark off-kilter style.  Beneath the bubblegum facade lies a gloriously messy breakup party, served with a crooked grin as sweetness meets spite, chaos and a wicked sense of fun.

‘Bubblegum Party’ offers the first taste of his forthcoming full-length Redland album – his fourth to date. Full of mischief, attitude and a darker sense of humour, here SICKY delivers one of his most fun and irreverent songs to date. ‘Redland’ is an album about friends lost along the way. It’s a good bit darker than its predecessor Troubled Delight.

“Ultimately, ‘Bubblegum Party’ is a tale of sweet revenge. A public humiliation of someone who absolutely had it coming to them. It’s a work of fiction but has a large toe touching reality. We’ve all met the cocky arrogant lowlife type who tries to control someone they’re supposed to be close to. Well, in this song, he gets his comeuppance at our heroine’s birthday party,” says Mick Butler.

“The bubblegum reference is effectively a middle finger gesture by the metaphorical blowing of an exploding gum bubble in someone’s direction. It’s poppy, it’s silly and it’s just a bit of fun amongst some much darker moments on the Redland album”.

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SICKY is the solo project of Mick Butler, whose brand of melodic Britpop-infused indie rock spells good news for fans of Beck, Supergrass and early Blur. Originally from the Black Country region of England, he is now based in Shropshire. 

While Mick Butler has had his run of playing in bands, ranging from the brass soaked pop of Papa Mantra to the dirty stomp of SUMO, he now derives pleasure from banging out tunes and crafting new material. Literally everything you hear in his music is him squeezing noises out of anything that’ll sing.

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Founded by US electronic musician Gary Zon in 2000, Dismantled issued five albums over the next decade that blended multi-layered electro-industrial music with melodic trance elements, resulting in a darkly brooding and futuristic sound. 

‘Zero’ is the first single to be lifted from a long-awaited sixth album entitled Endless that is set for release on 20th November via Metropolis Records. A futuristic, cyberpunk dancefloor number crawling with nanowires and melodic synth-pop vocals filled with noise, the song looks back to the halcyon days of 2006 when the third Dismantled album Standard Issue was released and compares it with the general feeling of emptiness felt in society today.

‘Endless’ was primarily recorded in Oregon and completed in Southern California. Zon describes it as his most cohesive work yet and a record that has helped him rediscover the sound that gave the project its unique appeal at the outset. He also states that fans will spot deliberate references to previously released songs.

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Having begun making electronic music in 2000, Gary Zon soon came up with a brand of complex yet melodic electro-industrial and trance sounds that saw him compared to peers such as Front Line Assembly, Haujobb and Wumpscut.

Dismantled signed to Metropolis Records and issued a self-titled album in 2002. It was followed by the acclaimed Post-Nuclear (2004), a record that introduced a clearer vocal style into what was otherwise a grittier and more organic soundscape. Standard Issue (2006) was previewed with Breed To Death, an EP that included remixes of new and already released songs by the likes of Psyclon Nine, Haujobb and Wumpscut, and was then followed by a lengthy period of touring ahead of the release of fourth album, When I’m Dead (2007).

US and European tours with VNV Nation, Apoptygma Berzerk and Combichrist preceded the ‘The War Inside Me’ (2011), the most aggressive Dismantled output to date. Promoted on a tour with Front Line Assembly, it was followed by an EP, Whole Wide World (2012) and two further EPs, The Hero (2016) and No Escape (2020).

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Norway’s grindcore mavericks Beaten To Death are back with another perfectly reasonable contribution to extreme music: a song called ‘Fuck the Moon’.

The new single is the latest taste of the band’s seventh full-length, Vntrve, due October 23 via Mas-Kina Recordings, and follows the wonderfully deranged ‘Sunburnt Satanist’ and saxophone-assisted ‘The Tolerator’.

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Following releases such as Xes and Strokes, Last Maar, Ik Verhuis Naar Het Bos, and Sunrise Over Rigor Mortis, Beaten To Death remain as restless and inventive as ever. Vntrve embraces everything that has made them one of Norway’s most distinctive extreme acts: blistering speed, sharp songwriting, unexpected twists, and an irreverent spirit that refuses to take itself, or the genre, too seriously.

The result is another album that captures the essence of Beaten To Death: grindcore only in the loosest sense of the word, equal parts ferocious, inventive, hilarious, and completely unhinged. Sixteen years on, they’re still proving that the best way to honour the genre is to ignore its rulebook entirely.

Vntrve is out October 23. Pre-orders will be announced soon.

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EVA X returns on September 18th with ‘Dance In Shadows’, the preview single for her upcoming album, TURBOPINK (out Nov 6). One part synthpop, one part metal, one part millennial J-pop, and one part 80s nostalgia, ‘Dance In Shadows’ is a primal scream for lost friends and empty spaces on the dancefloor, wrapped in a bright sonic blanket.

‘Dance In Shadows’ is a song born out of grief. EVA X writer, Gaby Gustafson completed the track after a co-worker & friend died from an aggressive form of cancer. She states, “I had written a super sad song originally, but I knew she’d hate that . It was really important to her to find joy wherever she could. So I ended up reworking the track into – Dance In Shadows- our happy little song about death.”

For the B-side of ‘Dance In Shadows’, Stoneburner brings his own styling to the track with a breakbeat remix that captures EVA’s dancefloor edge.

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EVA X started as a bedroom producer. She started releasing her tracks in 2019 and quickly built a cult following in the goth/industrial scene with her fusion of synthwave, industrial, power pop, and even metal elements. She released her debut album, I Dream Of A Reality on Distortion Productions in 2022, landing on several “Best of 2022” lists. She’s been a rising power on the US festival scene, including New Jersey’s Dark Force Fest, Seattle’s Mechanismus Festival, and Calgary’s Terminus. After a couple of years of heavy touring, Eva is back with her second album TURBOPINK and a full band along for the ride.

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New Jersey industrial project ELEKTRIKILL, led by musician and producer Steve Vil, has officially released Macabre Masquerade – their second full length album of 2026 through Evol Music Group. The 13-track Halloween album is constructed as a continuous celebration of everything lurking in the dark.

ELEKTRIKILL invites listeners into a celebration where the witching hour never ends, transforming Halloween horror into a relentless collision of industrial rhythms, dark electronics, monsters, and macabre humor.

Macabre Masquerade combines brand-new material with reworked ELEKTRIKILL songs, terrifying interludes, and remixes from Kill Vector, Kontrol Phreak, and SPKTR. Rather than simply assembling a collection of horror-themed tracks, ELEKTRIKILL sequences the album like one long infernal party—complete with vampires, demons, werewolves, parasites, restless ghosts, and enough industrial machinery to wake the dead.

Macabre Masquerade moves between pounding EBM, darkwave atmosphere, industrial-rock aggression, electronic dance rhythms, and cinematic horror. The result is sinister without becoming joyless, balancing menace with enough twisted humor and dancefloor energy to keep the party moving long after the cemetery gates have closed.

Check the video for ‘Parasite (Darkest Fear Mix by Kontrol Phreak)’ from the album here:

 

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US-based rising instrumental progressive metallers, Sometime In February, are excited to release a brand new track titled ‘Nightlight’. Coming off the back of a string of Summer US live dates, the track is an exciting taste of what is to come. Check it here:

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Tristan Auman comments: “’Nightlight’ was written in a headspace similar to our 2024 single ‘Hiding Place.’ While in the trenches of writing our next record, we wanted to stretch our legs and write something free from the bounds of a bigger picture, and lean into styles that we may only dip our toes into. For this single, it was early-2010s era progressive metal/djent, something we appreciate but usually avoid when writing. In true SIF fashion, it also includes fun and upbeat highs, melodramatic lows, and singable hooks that might make you forget we’re an instrumental band.”

In 2023, the band introduced themselves with their first single under InsideOut, titled ‘Hiding Place’, which showcased their melodic approach. Now, with a full album of new material, Sometime in February presents 11 captivating tracks, from the fusion-metal opener ‘Palantir’ to the progressive complexity of ‘Outside In’ to the blues-infused, prog-metal closer ‘Funeral House.’

The trio’s connections extend into the progressive music world, featuring collaborations with Between the Buried and Me members Paul Waggoner and Dan Briggs. Tristan had been working for Waggoner in a local coffee shop. After getting to know Tristan, he went to see the band and was impressed by their live performance. He later invited Auman to fill in alongside Paul on BTBAM gigs. In return, Waggoner contributed to the track ‘The Bad Fight’ and appeared in the music video. “I had a part open for him on the song,” Auman recalls. "He sent over some ideas, and they were perfect, as expected."

Briggs added a unique touch, playing textural elements and additional instruments like mandolin, rather than bass. The BTBAM connection also extended to the album’s mixing, handled by engineer Jamie King, who previously worked with Scott’s former band, Trees on Mars. “Tristan knew right away he wanted to work with Jamie, and I was all for it,” Scott says. “Jamie was great in the studio with a positive vibe the whole time.”

To enhance the album’s sound design, the band brought in Eric Guenther, keyboardist for The Contortionist. “We discussed sound design, and The Contortionist was at the top of our list,” Morgan explains. “Eric was our first choice, and he was on board right away. He had seen Tristan on the BTBAM tour, and he elevated the entire project with his contributions.”

For Tristan, Where Mountains Hide represents a step forward, with an uplifting and optimistic feel. “For this album, I wanted the songs to stand alone more, instead of making everything flow together like typical prog albums. But in the end, it naturally felt cohesive. The album has a grand and fantastical vibe, and with instrumental music, it can be challenging to create a specific atmosphere, but that’s what I aimed for.”

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Photo: Eric Smeal