Archive for the ‘Singles and EPs’ Category

Watch: ‘Gerbera’ by MONO

Posted: 13 May 2026 in Recommended Streams and Videos, Singles and EPs
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Japanese post-rock legends MONO recently announced details on their new album Snowdrop set for release on 12th June via Temporary Residence. This is the band’s first album made with Brad Wood (Touché Amore, The Smashing Pumpkins), following the passing of longtime collaborator and friend, Steve Albini.

Taken from MONO’s 13th album Snowdrop, scheduled for release on 12th June 2026 (Temporary Residence), a new single ‘Gerbera’ is out now with an accompanying music video.

For Snowdrop, the band wishes to express their eternal gratitude to those precious people who have walked alongside them on their journey of life, by incorporating the messages imbued in flowers given to those who have passed into the song titles on the album.

MONO’s Statement:

“The language of flowers for the Gerbera is ‘faithful love’ and ‘cheerfulness’. The countless, precious memories I share with you will never be forgotten. I am so glad that I met you. Innocence, purity, joy, beauty—and I will never forget your smile.”

Yusaku Mitsuwaka, ‘Gerbera’ Director:

“During the shoot, the wind swayed the silver grass wildly, resonating with the band’s performance and blowing through as if it were music itself. Guided by the wind, the camera danced, and ‘Gerbera’ became a music video brimming with vitality. Even in today’s fractured world, the act of loving and being loved remains unchanging. I hope this wind reaches the heavens. I would like you to watch this while thinking of someone dear to you.”

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“Without exception, everyone will eventually depart this world and face the parting from their loved ones. Through this album, we wished to express our "eternal gratitude" to those precious people who walked alongside us on the journey of life. We believe this sentiment is the only thing capable of filling the void left in our hearts and easing the profound sorrow and pain of loss. Every flower carries its own unique language. For this album, we incorporated the messages imbued in flowers given to those who have passed into the titles of our songs. Our hope is that this album serves as a source of light and hope for those who have lost someone dear.” – MONO

When MONO recorded their previous album, OATH, with longtime production partner and friend, Steve Albini in 2023, they never fathomed that it would be the final studio album they made together. Albini tragically died the following year, and that loss left an incalculable void in the lives of not just everyone who ever knew Steve, but everyone with an attachment to any of the thousands of records he helped bring into world over the past four decades. He brought a clarity to the chaos, and a selfless sense of service to art and artists that was unrivalled. On both a personal and practical level, the loss left MONO faced with profound grief and uncertainty. Albini had become a fundamental part of MONO’s unmistakable sound, and the thought of replacing him was daunting, to say the least. Enter: Brad Wood(Touché Amoré, The Smashing Pumpkins).

Chosen for both his familiarity with MONO’s creative and technical working process – as well as his decades-long friendship with Steve Albini – Brad Wood entered Albini’s storied Electrical Audio studios in September 2025 to record what would become Snowdrop. Once again working with Chicago-based conductor and orchestral musical director, Chad McCullough, MONO enlisted a 10-piece orchestra as well as an 8-piece choir for the eight massive pieces that make up Snowdrop. With the band performing and Wood recording in the same hallowed space where most of MONO’s records had been made in their quarter-century history, the songs on Snowdrop carry an extra weight. Mixed by Wood at his Seagrass home studio in Los Angeles, the album is equally intimate and enveloping.

Where there could easily be a pall hanging over Snowdrop, there is instead an extraordinary air of gratitude. Rather than steep in heartache, there is a poignant appreciation for the resonance of life well-spent with a dear friend – and the yearning for what may come. Snowdrop is the sound of a band turning shock and sadness into hope and wonder – and finding renewed focus in the freedom of unknowing.

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Photo by Carlos Cruz courtesy of KEXP

GURT – Survival of the Shittest

Posted: 12 May 2026 in Reviews, Singles and EPs
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5th June 2026

Christopher Nosnibor

I laugh, because the phrase ‘survival of the shittest’ was a phrase I used – a lot – in the late 90s, in my early years of being thrown into the corporate world after completing a degree in English literature. Back then, the belief still existed that a better education would lead to a better job, although in the three years between starting my degree and finishing it, a lot changed, and none of it for the good. ‘Graduate jobs’ stopped being a thing, meaning that it was a feat just to land a temp job doing data input work at an insurance company. It was fucking soul crushing, and Charles Bukowski’s Factotum became a book I came to relate to all too closely as I trudged my way through what felt like endless drudgery. And the managers, those who got promoted, those who did well? The common trait among them seemed to be that, when you boiled it down to the basics, they were all cunts. Backstabbers, self-promoters, overconfident wankers, twats with all the ambition but none of the skills… these bastards were killing it on the career ladder, while I sloughed away in a pit of despair. Scum floats, and all around me, it did. I wasn’t envious of their lives or their ‘careers’, but it was a gut-wrenching showcase of the shitshow that is capitalism and the greasy pole of corporate life: the survival of the shittest in sharp relief. This is now true of all aspects of life: as politics has become indistinguishable from business, and capitalism has taken over all aspects of existence, every bugger is using business-speak and striving to attain success not by means of hard work and talent, but by connivery and cuntishness. And it needs to be called out, and blocked wherever possible.

This new EP by GURT is nothing less than an absolute beast. With three tracks clocking in at ten and a half minutes, there’s no flab, no extravagant solos, no wanking about. They’re described as purveyors of ‘party doom’, but they’re a bit too uptempo to be doom and far too doomy to be party for most. Ultimately, their thing is a rabid racket, and at times, I’m reminded of the Leeds scene circa 2010 and shortly after, specifically around the emergence of crazed guitar noise acts like Pulled Apart by Horses and These Monsters. These were exciting times, particularly as it predated the need for professionalism to make it even onto a stage. Don’t get me wrong: these were great bands, but they were also wild, and things feel a lot more contained now.

GURT do not feel contained, GURT feel deranged, unhinged, rampant. ‘Live Nation, Dead Scene’ goes in all guns blazing, a rabid rager presumably targeted at the multinational ticket agency – operating what’s probably one of the biggest legal scams on the planet right now, with their exorbitant fees and dynamic pricing. The music industry has always sought to gouge every penny from fans while the artists themselves wallow at the bottom of the pile when it comes to benefiting from the proceeds, but Live Nation have hatched a whole new level of exploitatious robbery. They are literally – and yes, I do mean that – killing music for profit, and should be boycotted at all costs. I doubt this is a major issue for GURT.

The title track is a low-slung, sludgy, riff-driven roar, propelled by some ferocious drumming. The vocals are mangled to all hell, and it’s seriously gnarly.

Their cover of 2 Unlimited’s ‘No Limit’ simply shouldn’t work. It’s truly preposterous, audacious, and absurd. Metal covers of pop and dance tunes is old hat, predictable, corny… and yet they overcome all of this to conclude the EP with a ballsy, over-the-top take on a dance-pop song that’s as maligned as it was successful. This version’s not going to be making number one in a hundred countries around the world or filling dancefloors in perpetuity, but credit to GURT for the inspired choice. And now ‘party doom’ makes sense. Get on down, motherfuckers!

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Watch: ‘Shame!’ by LiVES vs Dolium

Posted: 12 May 2026 in Singles and EPs, Recommended Streams and Videos
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Dolium x LiVES collide on ‘Shame!’, a high-friction joint single that blurs the line between collaboration and confrontation. Rooted in indie rock and sharpened by punk urgency, it’s a track driven by tension, energy, and shared intent.

Since reforming in 2024 for the 20th Anniversary of their label, Sister 9 Recordings, lo-fi/post-punk/scuzz-rockers Dolium have been quietly building toward a new chapter. In their early days, the band caused quite a buzz on the UK underground music scene, catching the attention of BBC radio legend, John Peel.  That legacy is captured in their critically acclaimed limited-edition 4CD box set, The Products Of Our Own Demands And Commands. Now, in 2026, they return with renewed focus, and a new era of furious punk rock.

Born in Cornwall and sharpened in Kent, LiVES are a visceral collision of post-punk intensity and hard rock precision. Their debut album Let Them Eat Cake landed like a fist through a wall, fast, aggressive, and socio-politically charged. Louder Than War called it “a nihilistic expression of anger and disillusionment.” Their track Just Can’t Get Enough reached a wider audience through its placement on the Netflix series Lucifer. With airplay across BBC 6 Music, Radio X and BBC Introducing, a sold-out European tour, and support slots alongside Buzzcocks, SPAN and Danny Wildheart, LiVES have built a reputation as a band made for rooms that sweat. They return here in full force.

The creative spark was immediate.“I knew I wanted to work with someone that had as much anger and attitude as me. The moment I heard Rhys’s work, I was like, hell yeah… this is fire.” – Peter (LiVES) What started as a skeletal, verseless track quickly evolved into something more dynamic. Dolium took the initial framework into the studio and, as Rhys puts it, “added their venom,” with the song ultimately “bent beautifully into shape between us from across the miles.” Built remotely, with ideas passed back and forth, ‘Shame!’ became a true crossfire – LiVES driving the choruses while Dolium took command of the verses. The result is a track that feels both fractured and unified: two bands, one shared fury…

LiVES vs Dolium – UK duel headline shows

15 May 2026 – The Dead Famous, Newquay

16 May 2026 – The Water Rats, London 

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The Sunken Land – up close everything melts into air

Posted: 11 May 2026 in Reviews, Singles and EPs
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17th April 2026

Christopher Nosnibor

Since emerging as The Sunken Land not so long ago, David Martin has focused on his consistent push forward, and his systematic output. One gets the impression that this is much more driven by a desire to render new sonic art, than the capitalist compulsion, now being pushed by streaming sites, to continuously create ‘content’. And for that, I say ‘good’: content creation as a goal in itself is as anathematic to art as AI itself: creation for the pleasure of the act, however, is an entirely different matter.

This, the third release by The Sunken Land – and the third in four months – is perhaps the most ambitious yet, making deeper explorations into texture, tone, and contrast.

Admirably, there is no information about this release: it’s left for the listener to unravel. And why shouldn’t it be? While it can be interesting to learn where there’s a specific back-story, motivation, meaning, or method which is vital to a work, more often than not, the endless explication given by some artists gets to be a drain after a while. It can also make the writing of a review feel somewhat futile, as if half the job’s already been done.

As the title perhaps suggests, there’s a sense of ephemerality to the three compositions on up close everything melts into air. The first, ‘scoria bricks’ is an eight-minute piece which overlays a heavy, pulsating drone, dense with distortion, with soft, comparatively clean notes, which at times sounds like Earth attempting to cover Fleetwood Mac’s ‘Albatross’. The contrasting parts, while distinctly separate, form a full-spectrum sonic flow, which is both immersive and strangely soothing.

Some cursory research, meanwhile, reveals that a scoria brick is a type of blue-grey brick made from slag, originally manufactured from the waste of the steelworks of Teesside, common across the North-East of England, and that ‘the word Scoria originally comes from Greek, meaning “Excrement”, but came to be used by the Romans for a kind of volcanic rock’. It’s more than I can manage to avoid making some reference to ‘shit bricks’ here. However, I also discovered that these are precisely the bricks, manufactured in the late nineteenth century, used in the back alleys in the part of York where I live, which, on a personal level, brought an additional dimension to listening back to the track, a sense of connection with a part of the local history I had hitherto been unaware of.

Arriving with a tearing detonation of a chord, ‘into air’ is again simultaneously heavy yet delicate, even light. The experience is perhaps evocative of waves crashing against rocks, and observing rainbows amidst the spray – something rare and special, and so fleeting and impermanent – barely even tangible, and completely without substance – that it hardly seems to exist at all. In a blink, the phenomena has passed, as if evaporated, quite literally ‘into air’.

The third and final piece, ‘white sike’, is both the briefest and the gentlest of the suite, and given the voyage of discovery inspired by ‘scoria bricks’, it’s perhaps most likely in some way connected to White Sike Wood, a forest some way west and a shade north of Harrogate, rather than the White Sike in Dumfries And Galloway. Its picked notes and slow movement is the sonic equivalent of dappled sun – rather than Sunn O))) – through leaves, and over its duration, a tranquillity descends.

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Lunar Twin – Disappear into the earth

Posted: 10 May 2026 in Reviews, Singles and EPs
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6th May 2026

Christopher Nosnibor

It’s been fully three years since we last heard from Lunar Twin, and 2023 seems like a long time in terms of the scheme of things. Aurora was a showcase of shimmering blissed-out melancholia. Yes, a contradiction in terms, but one that made sense, with rippling synths, as well as sweeping waves which hinted at Disintegration era Cure paired with elements of sparse electropop and the softer end of the dance spectrum. It was the sound of the beach, but also of the sun setting, and bringing with it a low ebb, a ponderous emptiness, Bryce Boudreau’s vocals evoking the spirit of Mark Lanegan over a shuffling desert electro backing. Before that, Ghost Moon Ritual explored recent bereavements, and plundered particularly bleak terrain.

‘Disappear into the earth’ doesn’t deviate a million miles from this template, and that’s all to the good. It’s a shade more uptempo than much of both Ghost Moon Ritual and Aurora, an undulating bass groove paired with a vintage electro beat reminiscent of The Human League.

But beneath the seeming optimism of the lyrics and the buoyant retro drum rolls – we’re talking circa ’83 pow pow pow pseudo toms here – there’s a certain sense of pessimism, a low-level gloom. As such, this is a song which presents a duality. It’s not quite the quintessential sex and death equation, but most definitely delves into the territory whereby optimism and pessimism, fatalism and euphoria collide at a crossroads that’s both literal and philosophical.

‘gonna lay right down it the dirt disappear in the earth we are forever when it rains when it’s dark the spirits in your heart, we can be anything that we can dream’, Boudreau sort of rasps, sort of rumbles, sort of croons: again, the delivery hangs in some sort of intersectional space.

‘Disappear into the earth’ is a deft slice of dark electropop which captures the vintage vibe to a rare extent, but goes far beyond that. The form and delivery is low-key, understated, but it lands, coming in below the radar and resonating in subtle ways. It’s a welcome return.

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Watch: ‘Tread Lightly On The Planet/Girl Taken’ by Shape Navigator, film by Paul DaCosta

Posted: 10 May 2026 in Recommended Streams and Videos, Singles and EPs
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Shape Navigator is the electronic alter ego of the Kent-based composer, musician and sound artist Peter Coyte, whose recently issued debut album, Journal, has drawn favourable comparisons to fellow sonic explorers such as Craven Faults and Warrington Runcorn New Town Development Plan.

A video has recently been released, for the album’s opening track, the diptych ‘Tread Lightly On The Planet/Girl Taken’. Shot by Paul DaCosta in collaboration with Maria Fernanda Gavilan, it represents an altered reality or a dream state made manifest, in a way that could also be considered a ghost story.

Taken from live adaptations of soundtracks, ‘Tread Lightly On The Planet’ is from a dance piece devised with choreographer Dora Frankel that has an environmental theme representing the stop/start journey of navigating a self-destructing world. ‘Girl Taken’ is from a documentary by Francois Verster and Simon Wood about a baby girl stolen at birth and reunited 17 years later with her sister at school. Both pieces are interwoven with themes of loss, searching and adjustment.

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Coyte initially announced himself with a series of ambient meets prog house singles on Guerilla Records in the mid-‘90s, subsequently collaborating with Coldcut, Seal, David McAlmont, Heartless Crew and poet/author Salena Godden.

The years since have seen him establish a first-rate reputation as an electronic and experimental music artist, including significant contributions to sound art and installation projects, plus ongoing collaborations with filmmakers, theatre directors, choreographers and more. His work blends sonic experimentation with emotional depth, creating immersive experiences that engage and intrigue audiences.

Now, three decades after releasing his first single as Shape Navigator, Coyte has finally released his debut album, with Journal being a deeply personal sonic diary that captures two years of spontaneous creation and exploration on synthesisers. Each track originates from a live improvisation built from unrehearsed, unedited performances where instinct shaped its structure and emotion guided the sound.

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Watch: ‘Me-Mania’ by Sour Tongue

Posted: 9 May 2026 in Recommended Streams and Videos, Singles and EPs
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The Los Angeles-based riot grrrl/punk band Sour Tongue fuse hardcore punk, country, grunge and disco, utilising humour and a degree of sonic absurdity to convey a deeper message of angst and desperation.

Formed in 2020 by Satori Marill and John Murphy, they have issued several singles collected together on two EPs, the most recent being Final Girl (July 2025). A story in four songs/parts, it is about the intersection of grief, betrayal and heartbreak, but loving throughout. It’s dark, angry, funny and heartbreaking, like a horror comedy.

A video for song/part 3, ‘Me-Mania’, has been issued to coincide with the announcement of a Sour Tongue live date at the Belasco Theater in Los Angeles on 20th June. It sees them open a Summer School show that also features Honey Revenge, South Arcade, Winona Fighter and more.

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Final Girl also includes the bright and breezy single ‘I Thought You Liked Me!’, which was written about an experience felt by most girls. “It’s about being manipulated and lied to, getting fed up and reversing the roles,” states vocalist Marill. “I think anyone who has ever had their heart broken and done something stupid in return can relate to it.”

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break_fold – Tracker EP

Posted: 8 May 2026 in Reviews, Singles and EPs
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1st May 2026

Christopher Nosnibor

Since debuting in 2017 under the break_fold moniker after some time away from music to concentrate his energy on the demands of adult life, Tim Hann has maintained a steady flow of output – not exactly a tempestuous spate, but with the release of an EP or an album every year or two, he’s built a respectable body of work. And over the course of these releases, the break_fold sound has evolved – again, not at rapid pace, whereby one release is a huge departure from its predecessor, but the music he’s making now has developed significantly when compared to the sparse glitchtronica of 07_07_15 – 13_04_16 and 27_05_17 – 21_01_18.

Hann continues to mine his memories and experiences for inspiration, serving to document his life through sonic abstractions, an aural memoir of sorts. The Tracker EP is a counterpart to its predecessor, The Planner EP, as he explains:

“The Tracker EP is a reference to my Dad, who gave himself nicknames that others in the family then started using,” Tim explains. “‘Tracker’ is a reference to his persona when on holiday or away from work. If we were on holiday and were trying to find a place of interest, he’d be in Tracker mode. Planner is when my Dad was at work.”

Families are strange, but it’s only as one grows older, and when one takes a step back to reflect on formative experiences that it becomes apparent just how strange. As a child, you assume your family life, and your parents, are normal, and that every other household is the same, at least more or less. Over time, you come to consider the things some of your friends’ households do are weird. And they probably are. Mealtime rituals, Easter, Christmas traditions… but it’s likely not until later, after leaving home and starting your own family that you begin to analyse your own upbringing, and to compare the relationship you had with your parents growing up to the one you have with your own children.

I’m often startled by just how close to their parents a lot of my friends are, and how much time they spend with them. But then, they also stayed close to their parents geographically, living just a few streets away, with their parents providing child care and doing school runs several days a week. And that to me seems strange. I’ve no issues with my parents, but my main aspiration growing up was to attain independence and live my life in my own way.

As the accompanying notes add, ‘across the EP, break_fold ties together nods to family sayings, misheard phrases, and the small but defining details of growing up in the North East of England in the 1990s… for Hann, both Planner and Tracker serve as time capsules; deeply personal yet universally resonant snapshots of childhood, family dynamics and regional identity’.

In this context, the details matter. None of the inspiration is rendered explicit on Tracker: instead, what we get is a sonic articulation of all of this. And it works. You may not take away the intended interpretation, but that’s both the beauty and the downside of a project like this: it’s as much about the listener’s experience and input as the artist’s.

‘Pet’ amalgamates an almost club-friendly dance sound with a trawling, trudging grind of a foundation, while ‘Climbing Flowers’ pairs soft synth washes that hover between Krautrock, ambient, and prog, with flickering, fluttering beats, low in the mix, fading like memories around the midpoint. ‘Workie Ticket’ – a term I first learned on my thirtieth birthday in a pub in Conwy, Wales, where, having climbed Conwy mountain, I had a bowl of chips and a pint of Mordue Workie Ticket – brewed in North Shields. While the meaning and use of the phrase seems varied, it’s most definitely a North-East thing. There’s a trance-dance vibe to ‘Carrying On’, although the bass and overlaid guitar are more post-rock, and what we get, ultimately, is a hybrid.

The Tracker EP doesn’t sound confused as much as a work that’s deeply immersed in the process of processing, bringing together disparate elements in order to sift through an array of stuff. ‘This Concept of Sharing’ is upbeat, light, accessible, even danceable, but there’s a sense of something darker beneath the surface, and this emerges on the final track, ‘Every Penny’s a Prisoner’, which swerves and bends and twists and warps, but all along rides a pulsating groove pinned in place with a whipcrack snare.

It’s hard to place The Tracker EP. As much as its ambient, there are harder dance elements in the mix. But for all its surging buoyancy, there’s a tinge of sadness beneath, and the complex twist of inner conflict and uncertainty. On the surface, The Tracker EP sees break_fold bursting out in a bloom of elation, but there are currents beneath which are deep, and darker, perhaps revealing far more than is ever rendered explicit.

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Watch: ‘Dry Shampoo X’ by Astari Nite

Posted: 6 May 2026 in Recommended Streams and Videos, Singles and EPs
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With themes of validation, self-preservation, romance, glamour and decay running throughout the release, ASTARI NITE encourages the listener to wear the brightest lipstick, laugh the loudest, be brave and find courage to stand up for yourself. Find positivity in negativity. Open the door and say good morning to strangers. Medications In Bloom inspires and motivates acceptance. Everyone deserves to be loved.

Commenting on the EP’s title, vocalist, Mychael Ghost reveals: “My mother has not been doing well for quite some time. My life for the past four and a half years consists of doctor visits, chatting with nurses, buying her flowers that make me sneeze, my mind wandering about childhood memories while holding her hand. Nevertheless, whenever her prescription is re-filled, I’m quickly notified. One day I received that reassuring alert and thought to myself, YAY, “Medications In Bloom” again.”

Medications In Bloom is available on limited edition compact disc and on all major digital outlets worldwide.

Watch ‘Dry Shampoo X’ here: 

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ASTARI NITE is an alternative rock band, formed in Miami of 2013 by vocalist Mychael Ghost, and Drummer Illia Tulloch, who both began their friendship in the summer of 2007.  
Ghost and Tulloch were joined by Guitarist Howard Melnick, who became the bands official guitarist / producer after replacing a prior member in the final stages of their debut release album, Stereo Walz. An additional and final member was also added to the line-up. Danny Ae took on the role as keyboardist / bassist and joined Melnick as producer. This line-up has been finalized ever since!

Shortly after the album’s release on (Danse Macabre Records) in 2014, led by Bruno Kramm of Das Ich, the band was asked to be direct support for Peter Murphy (Bauhaus) in a one-off Miami show. To ASTARI NITE’s surprise, the following year (2015) they were also asked to perform in Leipzig, Germany at Wave-Gotik Treffen.

Several releases came to life since then, including: Midnight Conversations, produced by Tom Shear of Assemblage 23, strangely enough, the EP found its way to Cleopatra Records. Two full length albums titled Here Lies and Resolution of Happiness also found a vacancy at Negative Gain Records.

ASTARI NITE is known for blending elements of alternative, post-punk and new wave, resulting in a distinctive dark / glam alt sound. Their style is reminiscent of classic alternative bands like Clan of Xymox and Placebo.

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Watch: ‘No Limit (feat. The Hell)’ by Gurt

Posted: 5 May 2026 in Recommended Streams and Videos, Singles and EPs
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‘Survival of the Shittest’ is the brand new EP from party doom band GURT.

Two original tracks and a cover of the 1993 dance floor classic ‘No Limit’. With a busy live schedule in 2026, including their third appearance at Bloodstock Festival and many other independent festivals including Uprising, Cult fest and Mangata festival, GURT thought it was about time for some new material.

The lead single is a cover of ‘No Limit’. This reimagining features a guest appearance from ‘Black Mist’, lead vocalist for the greatest hardcore band of all time THE HELL! The band comment, “As a band we have a real mix of musical tastes, from the heaviest of heavy to the cheesiest of cheese. We’ve always loved to do unexpected and weird covers and have a firm belief that a good riff is a good riff regardless of where it’s from. No Limit has always gone hard and we’re proud to say that our version goes even harderer!!”

Listen to ’No Limit’ now:

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