Archive for the ‘Singles and EPs’ Category

Listen: ‘Wired for War’ by Dismantled

Posted: 11 October 2026 in Singles and EPs, Recommended Streams and Videos
Tags: , , , , , , , , , , , ,
0

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.

‘Wired For War’ is the second single to be released ahead of a long-awaited new album entitled Endless, out on 20th November via Metropolis Records. As with its predecessor, ‘Zero’ , it is a synth-pop noir nugget tailor-made for futuristic dancefloors, albeit with a lyrical message critical of the hollow inanity of much of modern society.

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 issued songs.

Hear ‘Wired for War’ here:

AA

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).

AA

12e1e3800226d89283d3dd236b6558429804b9a9

Watch: ‘Platform Decay’ by Coilguns

Posted: 10 October 2026 in Singles and EPs, Recommended Streams and Videos
Tags: , , , , , , , , , , ,
0

Swiss noise-rock collective COILGUNS today drop a visualizer video for “Platform Decay,” the latest single from their forthcoming fifth studio album Everything We Love, We Destroy, due out November 6 via Humus Records.

Following recent singles ‘Peace Trader,’ ‘Carbon Magic’ and ‘Everything We Love, We Destroy,’ the new track finds COILGUNS turning their attention towards the increasingly broken state of the internet, while celebrating the hackers, geeks and activists fighting to keep the digital world independent.

The band comments: “Hopelessly witnessing the systemic enshittification of the internet made us want to celebrate the hackers and geeks that are fighting to keep the digital world independent. In times when reliable information has become a rare and questionable value, we’re constantly confronted with violent news, sometimes not knowing why we’re getting to read it, nor knowing how to determine its level of reality.”

Rather than surrendering to that digital chaos, ‘Platform Decay’ becomes something of an anthem for what the band describe as the “modern pirates of our digital oceans,” driven by an insistent vocal refrain and the raw, physical urgency at the heart of the new record.

Musically, COILGUNS see the track as perhaps the clearest representation yet of where the band stands today.

“This song is probably the clearest example of what Coilguns sounds like today. Every member’s personality found its way into it, yet it doesn’t really sound like anything we’ve released before. It somehow brings together everything we’ve learned over the years while opening another door stylistically.”

That evolution is also hidden within the track’s details. Ben Chisholm (Chelsea Wolfe, The Armed) contributed additional production, including the song’s pulsating synth textures, while an old, beautifully out-of-tune hand-pumped harmonium discovered during the guitar sessions found its way into the recording.

AA

Tour Dates
25.11 – Utrecht, NL
26.11 – Brussels, BE
28.11 – Antwerp, BE
29.11 – Tilburg, NL
02.12 – Cologne, DE
04.12 – Hamburg, DE
05.12 – Berlin, DE
06.12 – Munich, DE
12.12 – Lausanne, CH (Release Show)

2027 Tour Dates
13.02 – Annecy, F – Le Brise Glace
28.02 – Brighton, UK – Green Door Store
01.03 – London, UK – Moth Club
03.03 – Nottingham, UK – The Angel
04.03 – Birkenhead, UK – Future Yard
05.03 – Glasgow, UK – Stereo
06.03 – Newcastle, UK – Lubber Fiend
07.03 – Manchester, UK – SOUP
14.03 – Madrid, ES – Wurltizer Ballroom
16.03 – Lisbon, PT – Casa Capitao
17.03 – Porto, PT – Ferro Bar
18.03 – Vigo, ES – Master Club
19.03 – Bilbao, ES – Bilborock

AA

c22cd824-86d3-71c3-33ed-e7aa7b79d7e1

Photo: Andy Ford

Watch: ‘Cop Out’ by Bokassa

Posted: 8 October 2026 in Recommended Streams and Videos, Singles and EPs
Tags: , , , , , , , , , , , ,
0

Norwegian stoner-punk rockers Bokassa return with a bang on ferocious new single ‘Cop Out,’ a no-nonsense barnburner set to please fans of the band’s heavier side.

AA

The track sees the power trio firing on all cylinders, leaning into their metallic hardcore roots with a dash of thrash metal. ‘Cop Out’ is an unapologetic blast inspired by everything from protest songs with lyrics so broad they could apply to anyone, to bands that probably should have called it quits years ago but are still squeezing money out of their fans.

“It’s about quitting while you’re ahead, before you become something you despise. Before you start doing expensive VIP meet & greets, before you write lyrics that are just empty buzzwords, before you start doing TikTok dance videos to sell more tickets. I don’t wanna spend my time coming up with new ways to get views on social media when I know there are still different pizzas out there I haven’t tried yet,” says vocalist Jørn Kaarstad.

Perhaps that’s one of the reasons why, in 2026, Bokassa are releasing music through their own label, Kings of Stonerpunk Records, under which they’ve released several titles over the years, including their universally acclaimed 2017 debut, Divide & Conquer.

Alongside the new single, Bokassa also announce their fifth album, Anomalies, a fitting title for a band that has never quite fit in anywhere.

The band’s relentless collision of punk, metal and rock subgenres into their own self-styled stonerpunk has seen them tour with acts as diverse as Clutch, Lagwagon, Therapy?, Zebrahead and Mastodon. That same refusal to stick to a single genre has always made Bokassa difficult to pigeonhole. In a world where bands are often rewarded for sounding like other bands people already love, Bokassa mostly sound like themselves.

“I don’t wanna be a ‘we got McDonald’s at home’ version of an older, better band. I see bands becoming universally acclaimed for that, and it’s probably smart to do so for commercial success, but then again, we’ve never been a band known for smart decisions. So we’ll stick to what we think is exciting,” says Kaarstad.

Anomalies will arrive in March 2027, accompanied by an extensive tour across Europe, the UK and the band’s native Norway.

Catch Bokassa live across Norway, the UK and Europe on the following dates:

March 12 – Kulturhuset i Bergen – Bergen, NO
March 13 – Blårock – Tromsø, NO
March 20 – Rockefeller – Oslo, NO
April 2 – Kafé Krank – Kristiansand, NO
April 3 – Folken – Stavanger, NO
April 9 – Byscenen – Trondheim, NO
April 16 – The Cobblestones – Bridgwater, UK
April 17 – The Black Heart – London, UK
April 18 – The Old Salutation – Nottingham, UK
April 19 – The Lodge – Manchester, UK
April 20 – The Joiners – Southampton, UK
May 6 – Monument 013 – Gothenburg, SE
May 7 – Stengade – Copenhagen, DK
May 8 – Betty – Hamburg, DE
May 9 – FRANNZ CLUB – Berlin, DE
May 11 – Nachtleben – Frankfurt, DE
May 12 – Luxor Live – Arnhem, NL
May 13 – DB’s – Utrecht, NL
May 15 – Antwerp Metal Fest – Antwerp, BE

AA

a666474a-4fce-9b23-812a-421d76fff8b0

Photo by Thomas Moe Ellefsrud

Listen: ‘Mutton’ by Black Groove

Posted: 7 October 2026 in Recommended Streams and Videos, Singles and EPs
Tags: , , , , , , , , , , , , , , , , , ,
0

Human Worth are proud to present the punishing new album Work Yourself to the Bone from south-coast sludgers Black Groove, available to pre-order now with a portion of all profits donated to charity.

Savage, gnarly, brutal and chaotic… These words feel lightweight when it comes to describing the bludgeoning that one experiences when listening to Black Groove, or attending one of their visceral live shows. Crawling out of the darkest crevice of East Sussex coastal town Eastbourne, this gruesome sludge metal quartet have made a real name for themselves across the South of England. Known as one of the heaviest bands in the UK today, Black Groove have been packing small venues, drawing in more and more fans of disgustingly loud, heavy music through word of mouth.

Now Black Groove are ready to channel that vicious intensity and colossal heaviness into their forthcoming second album Work Yourself To The Bone, to be released on the hellish Friday the 13th of November on Vinyl, CD and Streaming via independent Brighton based label Human Worth (home to IAN, Remote Viewing, Pleb and more). A portion of Human Worth’s profits from the sales of Work Yourself To The Bone will be donated to registered UK charity Survivors’ Network, supporting survivors of sexual violence and abuse across Sussex.

Work Yourself To The Bone follows Black Groove’s impressive and raw 2024 debut album Low End Scum. The band recorded Work Yourself To The Bone live with producer and engineer Matt Pugh at Brighton Electric, who has previously recorded like-minded peers Believe In Nothing and Pascagoula. Pugh had already been a regular attendee of Black Groove in concert, and so was able to find that balance between capturing the wild energy of their live shows, whilst pushing their sound forwards and tightening the screws. “The results of working with Matt have been massive for us,” confirms bassist and vocalist Gareth Hellings; “To have a record that really represents the live sound and vibe of the band is what we wanted to achieve." Black Groove have made a conscious shift in their songwriting and lyrical topics too. "We were a lot more doomy, writing songs about shroom demons and swamp giants and whatnot," admits Hellings cheekily, "Then we made a conscious decision to write songs that were more real and relatable to us, and society as a whole.”

Black Groove will embark on a UK tour from November 13th to coincide with the release of the album. The sludge metal quartet have performed with the likes of EyeHateGod, Bongzilla, Goatwhore, Conan, Mastiff, Kulk, Sea Bastard, Believe In Nothing, Wode, Moloch and plenty more. Black Groove have also performed at key festivals and all-dayers, including Desertfest, Cosmic Vibration and Masters Of The Riff. The band hope the release of Work Yourself To The Bone will allow them to play more extensive tours, get over to Europe and make their mark at even more metal festivals.

AA

a1163739984_10

Ghost Painted Sky – Kissing Lions

Posted: 6 October 2026 in Reviews, Singles and EPs
Tags: , , , , , , , , , , , ,
0

6th October 2026

Leeds grungers Pulled Apart by Horses celebrated punching a lion in the throat on their breakthrough single: Massachusetts darkwavers Ghost Painted Sky eschew such violence, and on their latest ‘maxi-single’ release, are all about kissing them.

The inverted commas around the format are by no means intended as mockery or derision: I remember well when the maxi-single was a specific format, initially on 12” and, later, CD,and differentiated from the EP, which usually featured four or five tracks. The maxi usually consisted of an extended version of the A side / single, the single version, plus the B-side. It was the standard from around the mid-80s until the late 90s, particularly in mainland Europe. And that old-school maxi is precisely what we get here from Ghost Kissing Sky – only digitally, of course.

Ghost Painted Sky (to refer to them by the acronym of GPS feels wrong and misleading – somewhat ironically) formed to create dark, introspective music, built on the foundational influences of trad goth, post-punk, and darkwave in 2014, and according to their bio, ‘their approach has always been to treat the music as a vehicle for processing life’s struggles and ultimately for catharsis, release, reflection, and rebirth’. So how does this fit with being smoochy with big cats? It hardly sounds bleak or gothy, even allowing for the fact The Cure did ‘The Lovecats’ (which was neither bleak nor gothy, but a fun, frivolous pop tune).

Founder and multi-instrumentalist David Strong explains that “‘Kissing Lions’ describes those mostly vain attempts to seize on anything that creates a fleeting feeling of being alive for a moment amid relentless waves of the humdrum, doldrums, and failure, which so often end up being misguided and ultimately just creating a thicker mire even more strangling than the original situation one sought to escape… bad decisions that bite back and create further downward spirals.” Ah, yes, that’s more like it!

And when it comes to the sound, ‘Kissing Lions’ is a swirling, brooding work, defined by a swelling, chorus-heavy bass, picked, reverby guitar, and sweeping synths, in a fashion highly reminiscent of The Cure circa Disintegration. The addition of violin adds depth and a further layer of mournfulness. And lyrically, it has all the hallmarks of quintessential goth – existential anguish, frustration, self-punishment:

Turn it off, this channel’s boring, see?

This is not how my life was supposed to be

So I take this poison inside of me

If it’s not three minutes and thirty three seconds of synthy gothy darkwave perfection, it’s got to be pretty close.

The ‘Effervescent Remix’ is not an extended version – in fact it’s a second shorter than the original – but is, as the title suggests, presents the song with a rather more buoyant slant with a synthy bassline replacing the original, bringing something of a Mixed Up vibe to it.

If a similar synth bass sound is repeated on the third track, ‘My Words Are Not My Own’, it’s to quite different effect, pulsing steadily and insistently alongside a metronomic beat and beneath a fractal guitar tones, and it’s all to good effect, and this is a tidy, neatly packaged taste of Ghost Painted Sky – and a perfect example of what the maxi-single was – is – all about.

AA

cover

SmutClub Ldn – Limp Bizkoff

Posted: 6 October 2026 in Reviews, Singles and EPs
Tags: , , , , , , , , ,
0

18th September 2026

Laaandaaan! Init? Heart of rock ‘n’ roll shizz… well, perhaps when Britpop was all the rage, but the new generation is seemingly more likely to turn up and sweep your doorstep with a dustpan and brush than to puke on it while staggering home from a club at 2:30am. There are good reasons for this: they may well be pissed off with the state of everything, because everything’s shit, just as it was in the 90s and 00s when grunge and nu-metal were all the rage – and rage is indeed the word – but they’ve been told repeatedly to quit the lattes and smashed avocado toasts if they want to get on the property ladder. It’s pretty rich advice from people who could spend Friday night down the pub and go on holiday (without feeling guilty over contributing to climate change) and still buy a house for just four times their salary. Put another way, the grunge and nu-metal revivals have been driven by the same shit conditions which inspired nihilistic anger thirty and forty years ago, only now the conditions are actually shitter.

In the face of that, what do you do? How do you even keep going on a day-to-day basis? Wages aren’t keeping up with inflation, and everything just gets shitter by the day. But do SmutClub Ldn want to break stuff? Maybe, but for this single release, SmutClub Ldn go light: as we learn, ‘Limp Bizkoff is all about appreciating time with your friends, while playfully “begrudging” duties like having to clean up the mess. The climax of the song encapsulates the joy of a good tea and snacks gathering with your loved ones around you’. I mean, Biscoff is in itself pretty middle class, but then so is owning musical instruments these days, and, I dunno, having the heating on or affording new clothes.

‘Limp Bizkoff’ is pretty heavy, sonically., with three minutes chunky, chugging, nu-metal grind. The chords hit like slabs of concrete, the churn in harsh and heavy, there are discordant notes and sinewy chimes from the spindly guitar. Lyrically, it’s altogether lighter, providing an unusual juxtaposition. Good clean fun, yes, but… first world issues for sure. And not only is dunking biscuits grim, it leaves a crumb sludge in the mug, which is even grimmer.

AA

Smutclub Ldn Promo image

Watch: ‘Get Up’ by Mass Minor

Posted: 5 October 2026 in Recommended Streams and Videos, Singles and EPs
Tags: , , , , , , , ,
0

Mass Minor is an Austin, Texas-based darkwave and electronic rock project led by Andrew J. Martin, Jr.. Blending atmospheric synths and driving guitars into cinematic songwriting, Martin also draws from post-punk, synth-pop and alternative rock influences to create a sound that feels both nostalgic and thoroughly modern.#

Mass Minor recently signed to Metropolis Records and have released a new single entitled ‘Get Up’. “This song is a conversation with God at 169 BPM  about sin, money, mortality and the things we sacrifice our lives to,” explains Martin. "It comes from this idea of asking God to save us from problems we created ourselves. Maybe it’s not God’s job to save us. Maybe we need to fix our own shit. You’re the one holding the light. Get up.”

AA

‘Get Up’ is the follow-up to the pulsating ‘Nowhere Now’, which was issued as a single in late July, with both songs included on a long-awaited new Mass Minor album, Beyond The Edge Of Reason, out in late February 2027.

Martin self-released the 2020 debut Mass Minor album, Become Each Other, as well as several singles subsequently collected together on EPs, and has maintained a consistent presence in the dark alternative scene via radio support, multiple SXSW appearances and performances alongside groups such as Twin Tribes, Ultra Sunn, TRAITRS, Vision Video, Urban Heat and Sacred Skin.

AA

5a9b5d36a66b8124bc0007e4a9bb5daef75b2e33

Watch: ‘Silver Butterfly’ by Death Pill

Posted: 4 October 2026 in Recommended Streams and Videos, Singles and EPs
Tags: , , , , , , ,
0

A year on from Sologamy, the second album that landed like a blistering ball of melodic fury onto turntables via New Heavy Sounds, Ukrainian riot grrrl trio Death Pill return with a new single, ‘Silver Butterfly’.

The last time we heard from Mariana, Nataliia and Anastasiia, they were delivering some of the most urgent punk rock on the planet.

Then the world intervened. Again.

Following a brief 2025 tour, the band were scattered across continents by the ongoing war in Ukraine. Nataliia now lives in Australia. Anastasiia is based in Spain. Mariana remains in Ukraine. Five years into a conflict that continues to reshape everyday life, Death Pill found themselves facing a question that would finish off lesser bands: how do you keep creating when you can’t even share the same room?

The answer is ‘Silver Butterfly’.

The song is the first Death Pill recording built entirely remotely, assembled across three countries, multiple time zones and circumstances that would test anyone’s resolve. As the band explain:

“’Silver Butterfly’ is the first Death Pill track that was created and recorded without the three of us ever rehearsing the song together in the same room.

We had never worked like this before. With our previous releases, the songs had always been developed, rehearsed or recorded in Ukraine, with at least two members of the band physically working on them together at some stage.”

But geography was only half the story.

“Because of Russia’s continued attacks on Ukraine and the resulting power outages, Mariana and our long-time sound engineer Dmytro repeatedly had to postpone recording and mixing sessions, sometimes without knowing when they would be able to continue at all. Making music remotely across three countries is one challenge. Making it while people in Ukraine are forced to organise their lives and work around air raids, attacks and electricity cuts is an entirely different one.”

And yet amazingly, none of that struggle weighs down the song. If anything, it gives it lift.

‘Silver Butterfly’ arrives on a surge of hooks, handclaps, chunky buzzsaw riffs and vocals that switch from sardonic to shred.  It tears through punk, hardcore, pop and thrash without stopping to declare allegiance to any of them. Three minutes of resistance. In other words … Vintage Death Pill. The band explain:

“The past few years can feel like one long, blurred day, as if we have all become hostages to constant urgency, instant reactions and the expectation of immediate results. Life starts to resemble fast food: we consume whatever comes our way, rush through it and move on before we have had a chance to process the experience, let alone really absorb it.

This exhausting race against ourselves gradually strips away the very basic joy of simply living. "Silver Butterfly" is our attempt to freeze time for three minutes and actually feel the moment again.”

Against all odds, Death Pill continue to do exactly what great punk bands have always done: turn chaos and uncertainty into something you can scream along to.

AA

Death Pill 2026 - credit - Tetiana Chepurna

Photo: Tetiana Chepurna

The Pixel Rain – Glitching Sky

Posted: 2 October 2026 in Reviews, Singles and EPs
Tags: , , , , , , , , , , , , , , , , , ,
0

2nd October 2026

Christopher Nosnibor

Is Bandcamp Friday the new Record Store Day? Hardly. For a start, it’s the artists who get paid on Bandcamp Fridays, with 100% of royalties from sales going to said artists, rather quite literally everyone other than the major labels which hijacked Record Store Day some years ago getting fleeced. And there’s no queuing round the block from 7am to have a hope of bagging an overpriced reissue, only to find some bugger’s got in there first and whacked it on eBay at double the price before you even make it home again. But Bandcamp Fridays have become a bit of an overwhelming event: with so much new music being released on Bandcamp Fridays now – and you really can’t blame artists for choosing to release their latest material to coincide with these days – but the risk is that releases can get lost in the blizzard of emails and hype on social media.

The release of The Pixel Rain’s ‘Glitching Sky’ is one that shouldn’t pass without mention or be one of those which gets buried by the noise. It’s the final single to be released from their forthcoming debut album, A Sense of Danger, due at the end of the month, and provides the title track for a four-track EP which features the previous three singles.

The musical vehicle of London-based Áron Siegler, The Pixel Rain, who’s ‘Last’ grabbed me in June, fuse industrial rock, post punk, synth-pop, and electro. And since TPR’s inception in 2023, he’s been keeping pretty busy, with a steady stream of single and EP releases.

As we learn from the accompanying notes, ‘At the centre of the song is a character retreating from an unfulfilling reality into a virtual world where they can construct a more powerful version of themselves. For Siegler, however, the idea extends beyond any particular technology or online space, reflecting more broadly on the increasingly commonplace ways people seek distraction and escape from anxiety, disappointment and everyday life.’

Seigler says, ‘The idea came from thinking about someone whose real life isn’t giving them very much, so they retreat into a virtual world where they can be whoever they want to be. There’s something quite sad about that, but also something a little ridiculous, so I wanted the story to have both sides to it.’

On the one hand, I agree: the fact we see new stories every day about people with AI girlfriends or boyfriends, or who say their AI companion is their best friend, or who use an AI therapist isn’t just ridiculous, but also plain weird, and speaks volumes about the world we live in right now. People crave human contact, but, unable to handle it, and / or unable make connections, retreat into virtual worlds. On the other hand, I was hanging out in chatrooms around the turn of the millennium when it truly felt like a new world. I – without any intent – met my future wife in a chatroom, before dating sites had even been conceived, and, later, MySpace would prove to be one of the most liberating and escapist alternative worlds, where you truly could be another you, and the connections I made there, through shared interests, led to some of the most incredible creative collaborations. But then the Internet got hijacked by capitalism and corporations and advertising and essentially turned to shit around 2010. Bastards.

Whereas ‘Last’ put the guitars up in the mix, ‘Glitching Sky’ sits in the bracket of upbeat electronica, and while the lyrics are ambivalent, framing as they do both sides of the story, the vibe is more euphoric dance. It’s somewhat unexpected, but is well done, and sits nicely in the context of the EP as a whole, with the downtempo ‘A Sense of Danger’ bringing a starker, more coldwave aspect, with some soaring guitar detail creating a gripping dynamic with the crisp electronic drum sound.

AA

‘Sacrifice’ sits between Depeche Mode and turn-of-the-millennium electrogoth, while the EP’s last track is, fittingly, ‘Last’. And it’s an anthem. Fact. One thing that’s clear from this EP is that The Pixel Rain appreciate the importance of the ordering of the songs on a release. Having the songs is priority number one, but the order in which they appear. I worry this is a dying art in the age of streaming and skipping after fifteen seconds, but it does matter for those of us who od still listen to EPs and albums properly. And Glitching Sky is an EP which deserves to be listened to properly.

AA

The Pixel Rain (Áron Siegler) by Evelina Klimova (Landscape 01) web

Photo by Evelina Klimova

Listen: ‘My Eve My Dawn’ by Kali Malone

Posted: 1 October 2026 in Recommended Streams and Videos, Singles and EPs
Tags: , , , , , , , , , , , , ,
0

Kali Malone presents a second preview of her forthcoming album, Burning Song with the new song and album closer, ‘My Eve My Dawn.’

‘My Eve My Dawn,’ represents a clear vision of this process; foregrounding the cohesion between endings and beginnings, it moves through passages of sadness and joy, the linking tones offering a sense of continuity, and thus of acceptance.

AA

Burning Song arrives via Ideologic Organ digitally on October 30th with the LP & CD version arriving on November 13th.

Burning Song, Malone’s first new album of solo compositions since 2024’s All Life Long, marks a transformation in her compositional approach towards a process that is more intuitive and direct. Moving through endings and beginnings, reflection and foresight, the music of Burning Song hovers in the moment just before understanding, where revelation lives.

The album was recorded at the historic Thomaskirche in Leipzig, Germany, where J.S. Bach was cantor for the last 27 years of his life; his body rests beneath the sanctuary. Malone is the first musician to perform contemporary works on the church’s Bach Organ, an instrument completed in 2000 but with bespoke tuning and temperament systems based on historical norms of the baroque period.

Throughout Burning Song, Malone is joined by Lucy Railton on cello and Stephen O’Malley on bowed acoustic guitar, the same trio that honed a profound connection through the development of Malone’s 2023 work Does Spring Hide Its Joy. The trio moves as one through passages that are alternately ambiguous and radiant, at times triumphant as the tones rise towards the organ’s upper register. By discarding canon form, which has dominated much of Malone’s organ work, there is a clear sense of freedom that allows these pieces to unfold more gradually and speak more declaratively than ever before.

Live dates 2026

Fri. Oct. 9 – Venice, IT @ Chiesa di Santa Maria de Nazareth ^
Sun. Oct. 11 – Bern, CH @ Berner Münster [bee-flat] ^ tickets
Sun. Nov. 22 – Stockholm, SE @ Stockholm City Hall [City Hall of Stockholm] ^ tickets
Sun. Nov. 29 – Bratislava, SK @ Novy evanjelicky kostol [NEXT Festival] ^ tickets
Burning Song Live 2027

Mon. Jan. 25 – Berlin, DE @ Gedächtniskirche [CTM] # tickets
Tues. Jan. 26 – Berlin, DE @ Gedächtniskirche [CTM] # tickets
Thu. Jan. 28 – London, UK @ St. Martin [Baba Yaga’s Hut presents] # tickets
Fri. Jan. 29 – London, UK @ St. Martin [Baba Yaga’s Hut presents] # tickets
Sun. Jan. 31 – Geneva, CH @ Madeleine Chapel (Espace de la Madeleine) [Festival Antigel] # tickets
Sun. Feb. 28 – Basel, CH @ Pauluskirche [Festival Interfinity] # tickets
Thu. April 1 – Sun. April 4 – Knoxville, TN @ Big Ears # tickets
Thu. Apr. 8 – San Francisco, CA @ Grace Cathedral [The Lab Presents] #
Sat. Apr. 10 – Los Angeles, CA @ First Congregational Church [Upend Presents] # tickets
Mon. Apr. 12 – Brooklyn, NY @ First Unitarian Church [LPR Presents] #
Tues. Apr. 13 – Brooklyn, NY @ First Unitarian Church [LPR Presents] #
Fri. Jun. 4 – Helsinki, FI @ Temppeliaukio Church [We Jazz Presents] # tickets

* = Electronic set
^ = Solo organ set
# = Burning Song set

AA

a1665161123_10

Older Entries
Newer Entries