Archive for the ‘Singles and EPs’ Category

5th September 2025

Christopher Nosnibor

Bandcamp Friday may be a regular occurrence, but it is an event, and one which surpasses Records Store Day in terms of its tangible benefits – namely, that artists get paid. Who would have thought that this should have become such a topic for discussion? The sad fact is, artists haven’t been receiving fair recompense for a long time, but the Internet was supposed to herald the arrival of a new age of egalitarianism. But then the corporatisation of the Internet put paid to that. While the world was focussed on vilifying Napster and Soulseek and the like, streaming machines like Apple and Spotify erupted like Godzilla from the depths and created a new model whereby artists got paid, but by nowhere near enough, and only of they were already raking it in.

I’ve digressed already, but the flipside of Bandcamp Friday is that there are more releases in a day than I could listen to in a month, and my inbox is battered and overloaded with updates. Sometimes, I feel inclined to simply go and lie down rather than approach their contents.

But some releases remind me why I do, and it’s worth quoting here:

After much teasing and anticipation, US goth rock veterans Sunshine Blind at last release their first new songs in over twenty years: two driving goth rock bangers, ‘Ghost of You’ and the especially rousing anthem, ‘Unsinkable’. The new tracks are released together as the Scarred but Fearless single for Bandcamp Friday, 5 September 2025.

Twenty years. Twenty years! Time does, indeed, fly. People my age struggle to accept that the 90s were thirty years ago, or that when they were 21 was anything other than the definitive bygone era. Then again, Sunshine Blind’s sound was always very much rooted in the sound of 90s goth / post punk revival, when The Sisters of Mercy unleashed the altogether more rock-orientated Vision Thing, and acts like Sunshot were taking drum-machine driven gothy goodness in new and invigorating directions. It’s not just Caroline Bland’s vocals which invite favourable comparisons to Sunshot: Sunshine Blind’s catalogue is bursting with effervescent energy, and this new brace of tunes make a most welcome addition.

The janglesome intro to ‘Ghost of You’ calls to mind The Psychedelic Furs during their 80s pop phase, and there’s certainly a melodic accessibility to the song. However, it’s countered by a thunderous, driving bass sound and screeding feedback filling out the sound at the back, and captures the vibe of The March Violets, another classic act newly invigorated. What goes around comes around, and with certain parallels between now and the early 80s, it very much feels like this is the time for a goth revival, including crimped hair and hats. ‘Ghost of You’ brings the vibe, and well as guts and hooks in equal measure.

‘Unsinkable’ ups the rock leanings still further, with a brittle guitar chiming through the verses before going full tube crunch on the bold chorus, propelled by some sturdy drumming and another solid bassline. The sentiment is the perfect analogy for the band here, too. You can’t keep talent down, or buried forever.

With both songs of a standard, this is very much an AA-side single, making Scarred but Fearless a triumphant return.

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Hailed as a “hardcore Toxic Holocaust,” Wellington’s Brainwave channel the grit of Drain, Mindforce, and Forced Order into a thrashing, metallic hardcore attack all their own. After years of cementing their reputation as one of New Zealand’s most ferocious live bands, the five-piece now take the next step with their debut full-length Ill Intent, arriving October 22, 2025.

Recently, the band have dropped a new video for the album’s title track ‘Ill Intent’, featuring guest vocals from Luke Manson of Xile. The track exemplifies the record’s dual spirit, deeply personal yet politically charged, raging with both despair and defiance.

“It’s an extremely personal record, albeit one set against the backdrop of a world tearing itself apart. It’s about hopelessness, the pain of loss, and the brutality of everyday life. But it’s also about conquering the summit, overcoming both yourself and your detractors,” the band shares.

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The making of Ill Intent marked a turning point for Brainwave. They grew from a four- to five-piece with the addition of guitarist Ian Moore, forged a close production partnership with Lewis Noke-Edwards, and invited some key figures from New Zealand’s hardcore scene, including members of Lucre, Molosser, Martial Law, and Xile.
The result is a ten-track album that captures both the personal and the political, a raw, unflinching document of struggle, but also a rallying cry to fight back.

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29th August 2025

Christopher Nosnibor

When I was a child, I used to suffer anxiety – often when I was unable to sleep (my complex relationship with insomnia began at the age of five) – that my memories were stored in the vast eighteen-volume encyclopaedia my family owned, and I would be unable to access them because I couldn’t remember which volume they were stored in. Not that it was recognised as anxiety at the time: my parents would tell me to stop padding downstairs and bothering them, and to go to sleep. There’s a (sort of) valid reason for this (the anxiety, not the parental dismissal, but that’s an essay for another time): said encyclopaedia was made up from weekly magazines string-bound in identical hardback covers – a precursor to those infinite volume magazines devoted to knitting or whatever, or where you would build a Death Star in 300 instalments, that would likely cease publication before the collection was complete – and there were issues missing, including segments of the index, and topics were not arranged alphabetically like a conventional encyclopaedia. I couldn’t even find my favourite illustrations of dinosaurs fighting a lot of the time.

Things have only become more difficult since the advent of the Internet, and while spent my youth and even my early twenties in a pre-Internet world, there are many now who have never known anything else. Kids have existed online even pre-cognisance thanks to parents posting endless pics of them growing up on social media, and YouTube and Netflix have replaced conventional TV for anyone born in the last twenty years now.

Memory, identity, and their changing nature of both under the conditions of lives lived permanently online, are primary subjects of exploration for solo artist Will N, songwriter, performer, engineer, admin, and the man behind industrial / darkwave act Solid State Sunlight. These topics provided the focus of the ExoAnthro EP last year, and ‘Failsafe’ continues that trajectory, ‘address[ing] the realization that the more we develop our own identity, the less memory remains for experiencing life moving forward. Does it delete previous memory to make space for ongoing growth? What memories are disposable? What are the consequences if it fails?’

I hadn’t considered this, or the idea of what he refers to as ‘data-poisoning’ before, having come to view the mind as a recording device, which captured and archived every single experience, every thought, e very book read, movie seen, but stored them in such a way that it accessing those archives was often a random process – Random Access Memory in the most literal sense.

But we scroll, and we scroll, and we troll, and we troll, and personalities become fragmented, real-life and online personas and experiences partitioned off from one another. Who are you? As AI takes over, the lines are becoming increasingly blurred.

‘FailSafe’ is a gnarly, glitchy technoindustrial stomp through melting circuitry that collides Depeche Mode and Nine Inch Nails with Twitch-era Ministry, with crunching beats dominating jolting electronics and raspy vocals. The intro is a grating bass throb, emerging from an abstract crackle – and then the beat kicks in. And it kicks hard.

If the autotune / robotix breakdown in the middle sounds a shade retro or corny, it works in context, reminding us of how the visions of the future portrayed not so long ago have been replaced by a truly dystopian present. The future was exciting. Computers would make life easier, give us more leisure time and infinite knowledge: that was the promise. Now look where we are. The corporate takeover of the Internet was where it all started to sour, and it was inevitable, but still somehow came as a surprise.

With ‘FailSafe’, Solid State Sunlight draw together a host of references and points of discussion, directly or otherwise, through the savvy hybrid formulation of the composition. It’s hard, and it hits with some attack. This is the vibe of the late eighties and early nineties updated to poke the paranoia of the now. We live in troublesome – by which I mean hellish, fucked-up – times, and with ‘FailSafe’, Solid State Sunlight poke that nerve.

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Portuguese grindcore masters BESTA return this autumn with their fiercest work to date. Their reimagined album John Carpenter Redux will be released October 4th via Raging Planet in an exclusive limited vinyl edition.

Originally unleashed in 2013 and mixed by Steve Austin (Today Is The Day), the record has now been completely re-mixed and reimagined by the band itself, with long-time frontman Paulo Rui re-recording all vocals to deliver the most unhinged and powerful version yet.

As the ultimate homage to the master of horror, John Carpenter Redux bridges feral grindcore and politically charged punk, channeling the same tension, anger, and resistance that fuel many of Carpenter’s timeless films. The result is raw, uncompromising, and urgent, a soundtrack to chaos that feels both cinematic and confrontational.

This is BESTA at their fiercest: a band with over a decade of grinding, raging, and raging against the system, now paying tribute to one of cinema’s most visionary rebels.

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French black/death metal entity Bliss of Flesh has dropped the ‘The Awakening,’ accompanied by a gripping music video, as the first preview from their forthcoming fifth record, Metempsychosis — Life or the Pact with Death (EN). The most introspective entry in Bliss of Flesh’s discography, this album, scheduled for 17 October 2025  via Black Lion Records on CD, vinyl, and digital, continues the band’s tradition of weaving music into vast conceptual frameworks. Metempsychosis is defined as the transmigration of the soul after death from one body to another.

Of ‘The Awakening,’ Bliss of Flesh explains: “This piece expresses the moment when the individual becomes aware of their state and the new environment revealed to them, imbued with decrepitude and fatalism. ‘The Awakening’ is an introspective monologue between the individual and the inner forces that drive and consume them, allowing them to transcend themselves and finally overcome the fatality that gnaws at them, to bargain and seal the pact that will allow them to regain control of their existence at the twilight of this new life.”

UPCOMING LIVE APPEARANCES
Gorgoroth “33-Year Anniversary Tour 2025 Part II” – Northern Europe
w/
Carved Memories, Shemhamforash
16.10.2025 – Roskilde, DEN / Gimle
17.10.2025 – Flensburg, GER / Roxy Concerts
18.10.2025 – Malmö, SWE / Plan B
19.10.2025 – Göteborg, SWE / Monument
20.10.2025 – Stockholm, SWE / Kollektivet Livet
22.10.2025 – Jyväskylä, FIN / Lutakko
23.10.2025 – Helsinki, FIN / Anniwalli
25.10.2025 – Tallinn, EST / Tapper Club
26.10.2025 – Riga, LAT / Melna Piektdiena

Festival Appearances:
14.11.2025 – Metal Earth Fest, Brest, FR
07.02.2026 – Douceur Noire Fest, Crosne, FR

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Bliss of Flesh / Eukene Photography

The most inspiring bands are the ones that can create a world around themselves that is about far more than just the music. The artwork, lyrics, sounds and ethos all merge together perfectly to create its own universe, a secret club. The Lovely Eggs are one such band. And against all the odds, 2025 sees them celebrate their 20th anniversary as a band! Stubbornly and heroically independent, The Lovely Eggs have forged their own path and have achieved mainstream success without ever compromising their DIY ethics.

To mark their 20th anniversary, The Lovely Eggs have announced a very special LTD release entitled Bin Juice – a collection of self-recorded outtakes from their last album Eggsistentialism, alongside rare B sides.

Released on their own label Egg Records, with eye watering artwork by Casey Raymond and hand packed in a black plastic bin bag on neon toxic slime green vinyl, this is yet another collectible release from a band who care as much about the art and ideas in their records as they do about the sound.

There will also be 300 copies exclusive to Rough Trade with alternative coloured sleeve and sticker art, on special edition transparent vinyl with toxic orange and slime green Bin Juice splatters.

“We had all these spare songs after we released our last album Eggsistentialism, and we didn’t really know what to do with them,” explained Holly. “They just didn’t seem to fit in with the vibe of Eggsistentialism, but we’d recorded them and wanted to get them out there.”

“They’re kind of a sketchbook of songs,” added David. “They’re not polished or laboured over but we thought it would be interesting to release them. It’s why we called the record Bin Juice. These were songs we had thrown away. But hopefully people like going through bins collecting trash.”

You can have a pre-release peak inside their bins with the just released track ‘The Grind’.

“Everybody wants an excuse to escape the 9-5 and day to day normality,” said Holly. “It’s our raison d’être for being in a band. ‘The Grind’ looks at all that stuff and is a bit of a paperback anthem for the disenfranchised and disillusioned."

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Catch The Lovely Eggs live on their 20th anniversary tour on the following dates in October. Tickets available HERE.

OCTOBER

Weds 22 – La Belle Angele, Edinburgh

Thur 23 – Òran Mór, Glasgow

Fri 24 – Newcastle University, Newcastle

Sat 25 – All day 20th Anniversary Party at The Brudenell, Leeds *SOLD OUT*

Sun 26 – Concorde 2, Brighton

Mon 27 – The Garage, London

Tues 28 – The Globe, Cardiff

Weds 29 – Castle and Falcon, Birmingham

Thur 30 – Academy 2, Manchester

Fri 31 – Metronome, Nottingham

NOVEMBER

Sat 1 – Trinity, Bristol

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Bin Juice Cover

Wounds is the band’s long-awaited fifth album – their first in six years. As heavy as it is haunting, the record masterfully blends doom, post-punk, and driving krautrock in a dynamic, hypnotic maelstrom – pushing London’s most exciting cult band into intoxicating new territory.

Wounds is a series of songs about the different ways people live with and process ‘the wounds’ of their lives,” explains vocalist Maya. “A strange celebration of that formative pain we have all experienced in some way. The loss and joy of survival – the celebration of finding others like us, the gift of knowing life comes after fire.”

First single ‘Hangman’s Daughter’ leads the charge and is available to stream and download from today. Opening with a hypnotic techno bassline, the song quickly gives way to post-punk guitars, huge choruses, and vocalist Maya’s magnetic storytelling.

“Hangman’s Daughter is an unrequited love song,” says Maya. “A woman was loved but could not love in return so she is drowned by the man who loves her. She is not lost though – she haunts the killer and he can’t escape her. The title hints at the past, but actually this is a very current issue for women today – how to literally survive when they can’t love a man who has decided he only wants her.”

Watch the video now:

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Wounds was recorded by Mike Bew, on location at Foel Studio. The band could be found working deep into the witching hours, experimenting with new sounds and filling the valleys with cantankerous wails of sound, bursting from amps borrowed from My Bloody Valentine.

"The Welsh countryside has a mystical quality to it," says guitarist Adam. "We recorded in a deep, dark valley; misty days and shooting stars at night. You could wander through nearby woods and stone circles during breaks. Foel Studios is woven into this setting with a transcendence of its own – its storied history includes sessions by Electric Wizard, Hawkwind and The Fall."

Synths on the album are arranged by Berlin-based Bow Church, an influential figure in the dark electronic scene and a long time collaborator of the band. His work weaves icy and atmospheric textures into the songs, layering complexity that demands repeat listens. The horns on 12 Crosses were recorded by a high profile jazz musician who appears anonymously due to label ties.

While meticulously crafted, Wounds captures the visceral energy of Cold In Berlin’s renowned live shows. The album’s arrangements and raucous sound remain true to the unrelenting intensity and atmosphere of their stage performances – every track retains the sweat, urgency, and immediacy of a band performing in the moment.

Wounds is the band’s first studio album since 2019’s Rituals Of Surrender, which Narc Magazine praised for its “crushing doom-laden riffs that assaulted the speakers with a steady pulse of noise”. It follows the 2024 EP The Body is The Wound, described by Metal Epidemic as featuring “hooky melodic songs” with a “swelling heavy intensity”.

Featuring free-jazz brass sections, off-beat structures, techno rhythms, and soaring synths, Wounds is the band’s most ambitious release yet.

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Photo: Rupert Hitchcox

HOWLING GIANT reveal the video clip ‘Beholder I: Downfall’ as the next single from the cosmic stoner metal outfit’s forthcoming album Crucible & Ruin. The third full-length by the Nashville, Tennessee band has been slated for release on October 31, 2025.

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HOWLING GIANT comment: “Our current single ‘Beholder 1: Downfall’ is a riff-driven heavy hitter, and in my opinion is one of the heaviest songs on the record”, bass player and co-vocalist Sebastian Baltes states. “It was a pleasure to collaborate with Jerry Roe again on the video, having previously worked with him on the clip for ‘Glass Future’. It has been particularly exciting for me to follow the journey of this song from its inception with a simple riff to a full blown song and the making of the video. I can hardly wait for you all to hear this track live!”

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25th August 2025

Christopher Nosnibor

SEXSOMNIA is a name which is both evocative and provocative. Sex certainly sells, but somnia is concerned with sleep-related conditions, including hypersomnia, insomnia, and apnoea, so the implication of combining the two is something to ponder while we pile into this EP from the Canadian darkwave / electro / post-punk hybrid act, joined here by special guest Marita Volodina of Poland’s Stridulum on vocals.

The title track kicks it off and does so in fine style, too, combining all the best elements of synth-oriented darkwave, brooding post punk, and goth, combining a shadowy atmosphere with a throbbing bass groove and pulsating beat that’s perfectly matched to the themes of seduction and desire, the dark allure of ‘forbidden love’. The instrumentation – and vocal delivery – on ‘Vapour’ is, fittingly, more ethereal, a piano snaking through the mix against a brush of an acoustic guitar, but the beats are straight-up stompers, and thoroughly relentless. The interplay between Philip Faith’s baritone croon and the sultry contributions of another guest vocalist, Isabelle Young, are key to the way it draws the listener in beyond the pounding dance percussion.

The ‘shadow mix’ of ‘Forbidden’, which they describe as ‘a deconstructed version of the original track, made for dancefloors’, was, in fact, released first, and it’s quite different. Fully twenty seconds longer, more overtly electronic, the vocals are louder and clearer in the mix, more lascivious-sounding, and paired with the rippling synths and pumping beats, it’s one to raise the pulse and work up a sweat to.

ATTRITION’s remix of ‘Nigrum Viduadm’, which featured on last year’s debut album, Transcendent is altogether sparser, darker, more ominous, more overtly gothic with what one might perhaps describe as vampiric overtones. It works well here because it showcases a very different side of the band, even if all of their sides are dark in intent.

This EP doesn’t break new ground, but does draw together the elements with a rare precision and panache, which sets SEXSOMNIA apart from their peers. As for the band’s name… there’s no danger of falling asleep while listening to their work, but you might just wake up feeling horny afterwards.

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Constellation are releasing the second album from the Beirut-based avant-rock sextet, SANAM this fall – who merge psych/kraut, improv/skronk, electronics, goth, and jazz elements with traditional Egyptian song and modern Arabic poetry in a compelling brew of widescreen hybrid avant-rock.

The new album, Sametou Sawtan expands on the genre-bending exploration of sound, memory, and cultural identity from their acclaimed 2023 debut Aykathani Malakon on Mais Um Discos, and is already garnering accolades from Uncut, Songlines, and Loud and Quiet.

Today, they share the track and video ‘Habibon’, a slow-burning, autotune-doused freakout, which follows their previously arresting lead single ‘Harik’ -  check out the new video below.

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In support of the new album, SANAM has announced headline dates in the EU and UK from October-December.

SANAM LIVE

Oct-Dec 2025 • Europe and UK

09.10 Nantes (FR) Stereolux

14.10 Geneva (CH) Cave 12

15.10 Grenoble (FR) Le Ciel

16.10 Lyon (FR) Le Periscope

17.10 Briançon (FR) Bruit Blanc

18.10 Gap (FR) Le Gorille

22.10 Paris (FR) Petit Bain

23.10 Brest (FR) La Carène

24.10 Ghent (BE) De Koer

21.11 Milano (IT) Spazio Teatro 89

22.11 Ravenna (IT) Transmissions

28.11 Mestre (IT) youTHeater

30.11 Leeds (UK) The Attic

01.12 Glasgow (UK) The Flying Duck

02.12 Salford (UK) The White Hotel

03.12 Bristol (UK) Strange Brew

04.12 Brighton (UK) Patterns

05.12 London (UK) Rich Mix

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SANAM photo by Karim Ghorayeb