Archive for the ‘Singles and EPs’ Category

Helen Svoboda now shares another glimpse of her forthcoming album, Headwater (out 26th June via Room40), with the mystical ‘Veins’. In collaboration with Finnish vocalist Selma Savolainen, Helen Svoboda delves into her Nordic background in the vocal work on this track and throughout the album, carrying echoes of Finnish folk harmony and traces of invented “Finnish” words with Savolainen as the second voice.

The distinctive sonic world of Headwater weaves sixteen threads or ‘earworms’ built around two double basses, two voices, and electronics; heard as singular and combinatory bodies of material. The album forms an abstracted picture of self, rooted in a devolved song form. It can be experienced as a tapestry that blurs the edges of identity; strange, beautiful, evaporative, and fluid, like memory itself.

About the track, Helen says, “’Veins’ features the inimitable vocals of Finnish artist Selma Savolainen, as she explores the repeated phrase; ‘The veins I’ve grown from my mother/The tentacles beneath my skin’. This short pondering is injected with raw emotion and melancholic beauty, as if she is bursting out of her younger self.”

Listen to ‘Veins’ here:

AA

The instrumental pieces reveal an articulate language, with an expanded approach to the melodic and textural qualities of the double bass. Svoboda’s fascination with timbre is explored with collaborator Jacques Emery through the interplay of the two basses and Robinson’s electronics, extending traditional understandings of how the double bass might typically operate in a chamber context. The result is a different sound-realm entirely – traversing between spaces of lightness and weight, bound by a sense of youthful curiosity.

The ensemble features Helen Svoboda (double bass, voice, composition) with close collaborators Jacques Emery (double bass), Finnish vocalist Selma Savolainen (voice), and Tilman Robinson (electronics, production). 

AA

000088740003resize-9903cf028a05143c

Photo credit: Celeste de Clario

Emma Ruth Rundle’s These Killing Times is electrifying, emotional and charged with anti-patriarchal feminist rage. The forthcoming studio album from the multi-instrumentalist, songwriter and multi-disciplinary artist is a reactive anthology, bristling, full of life and full of resistance.

These Killing Times, her sixth full-length, will be released via her own imprint Errant Child on September 18 and preceded by the lead single and album opener ‘Powerless.’

Although this new album possesses a spirit of defiance, it retains the tenderness, rawness and vulnerability that saw her previous globally acclaimed full-length, Engine of Hell (2021), resonate with so many listeners.

These Killing Times returns to a full-band set up for a fuller sound, a more sonically powerful accompaniment to her now more direct vocal style. The album features drummer Jess Gowrie (Chelsea Wolfe, Mrs. Piss), long-time friend and collaborator Troy Zeigler, Patrick Shiroishi, Nick Reinhart (Tera Melos), Gina Gleason (Baroness), Marissa Nadler, Lukas Frank (Storefront Church) and Amelia Baker (Cinder Well). The instrumentation is brighter and more urgent than ever before, lending a fascinating magnetism to Emma’s music which feels fresh and new.

AA

ERR_Powerless_Kristin_Cofer-990000079e04513c

Photo credit: Kristin Cofer

MISSOULA return with their latest single, ‘Ted Dollop’. The track is the third preview of the band’s upcoming debut album, Death Doula, due June 26 via Org Music.

Featuring drummer Brooks Wackerman (Avenged Sevenfold, Bad Religion), guitarist John Konesky (Tenacious D), and bassist/keyboardist John Spiker (Tenacious D, Beck), MISSOULA have quickly established themselves as a unique instrumental force, blending cinematic composition, heavy grooves, and adventurous musicianship into something that feels both technical and wildly imaginative.

If previous singles ‘Love Bombs’ and ‘Crimson’ introduced listeners to the band’s dynamic range, ‘Ted Dollop’ showcases another side of the project—playful, unpredictable, and driven by an irresistible rhythmic pulse.

Konesky explains:

“Much that was known of the legend of Ted Dollop is lost to the annals of history, but those that still speak to his glory will often hear his name in the rustling leaves and fields of wheat as the wind calmly blows rhythms of 7/8 o’er this great land. On June 3rd Missoula releases Ted Dollop in honor of the best to ever do it.”

Like much of Death Doula, the track balances virtuosic musicianship with a sense of fun and exploration. Rather than treating instrumental music as an exercise in technical excess, MISSOULA focus on memorable compositions, unexpected turns, and the chemistry between three accomplished players who know exactly when to push forward and when to leave space.

The forthcoming Death Doula expands on that approach across eleven instrumental tracks that move between crushing riffs, melodic passages, and cinematic arrangements. Built around Wackerman’s powerful and precise drumming, Konesky’s expressive guitar work, and Spiker’s inventive low-end foundation, the album feels less like a side project and more like a fully realized artistic statement.

As Konesky previously described the band: “Missoula is what happens when you take the reins off and let yourself run free, naked and fearless, thru an infinite universe.”

Hear ‘Ted Dollop’ here (click image to play):

AA

Jacket

Christopher Nosnibor

17th April 2026

The population of Waiheke Island, just off the coast of the north island of New Zealand can’t have a huge population (just shy of 10,000, apparently), and renowned for its scenic beaches and subtropical climate, it’s not an obvious spawning ground for bands making sharp-edged post-punk. Surely this ‘slice of Heaven’ is a perfect oasis of contentment? What could anyone have to gripe about?

Of course, that’s not how it works. The human brain doesn’t work like that. Everything is fucked, people are people, and paradise is a myth. So here we are with the debut EP from Trauma Party, who describe themselves as purveyors of ‘post-punk desert lullabies and sonic anthems for the downtrodden.’

The last few years has seen post-punk become a real catch-all for anything that’s a bit guitary with a bit of edge but isn’t punk or indie (I’m not even going to start on the way the use of ‘indie’ has changed since the 80s or even 90s), but for me, there’s a quite specific period which sits tightly around ’79-’81 or thereabouts which saw bands exploring and experimenting in ways we hadn’t heard before. So much punk was simply pub rock played fast with the amps cranked up to nine and a half, and while it was a vital stage in the evolution of modern music, what emerged in its immediate wake was far more interesting – darker, weirder, and considerably more sophisticated, by and large. Not just musically, either, but conceptually, lyrically, things got more nuanced. Consider the leap from the sneering nihilism of pub-rock posers The Sex Pistols to the technical prowess and astute sociopolitical observations of Gang of Four, and the distinction becomes clear.

The title of this EP sounds as much like a veiled threat as a promise of a treat, although a treat it certainly is if you like your sounds discordant and difficult. As they pitch it, these are songs ‘Soaked in vats of noise and shaped on dive bar stages over the last 15 months. Culled, remodelled, and forged in the grit and sweat of the Dirt Track rehearsal space, this E.P. is a juicy little nugget for your collection.’ Three of the four songs have been released previously but they’ve been tweaked and remixed for this release, which has a commendable consistency.

‘Are We in Heaven’ arrives on a wave of choppy guitars with multi-layered vocals. it’s stuttering, jarring, awkward, claustrophobic, with heavy hints of early 80s The Fall with a bit of Wire and a dash of noise rock thrown into the mix. It makes you feel kinda tense, a bit paranoid, even. In terms of that post-punk experimentalism, that kind of boundary-pushing, that more nuanced level of articulation, it hits the spot.

Offering a different shade of heaven, the guitar melody of ‘Speak to Me’ carries echoes of The Cure’s ‘Just Like Heaven’ and pairs it with some choppiness that alludes to Gang of Four, and, again Wire, and at a mere two minutes and seventeen seconds, it’s concise and catchy and speaks of political unrest.

AA

‘Roll Up (It’s the New Truth)’ slams things home hard in driving waltz-time and kicks up a visceral energy to conclude the EP. It packs four songs into twelve minutes, and a lot happens in this brief time. Boom. Job done.

AA

AA

cover

Negative Gain Productions – 10th July 2026

Christopher Nosnibor

Nothing says angst-filled industrial rage with a dash of harsh Sadism than calling your band Choke Chain. But while the pitch is that their latest release is ‘the aural equivalent of existential dread’, there’s nothing about this which says ‘edgelord’. It feels like we’re in a new era here, where extreme acts are ditching the extreme shit, the shock shit, the right-wing shit, and are instead engaging with environmental issues, emotional issues.

As they pitch it, ‘The human race continuously proves itself to be largely incapable of any kindness or empathy, instead being completely obsessed with killing and destroying. That’s the central focus of Decomposition.’ It really does feel this way: the US and Israeli governments in particular seem hell-bent on annihilation right now. A part of me misses the Cold War: while we huddled under the perpetual fear of nuclear annihilation, there was equally a certain comfort in the protracted stalemate. The last few months, I’ve woken each morning, soaked in sweat and a state of anxiety and the first thing I’ve done is check my phone to make sure I’m still alive, and then check the news to see that the world is still there. This may sound extreme, but this is the nature of things, and I know I’m not alone in this feeling of perpetual panic.

Says Choke Chain founder, Mark Trueman: “The EP was mostly written during a time where I was very close to giving up. Everything felt completely hopeless, and still does to some degree. I really tried to put all of that feeling into these songs. I also tried to confront some of my personal trauma on this record, which is something I’ve pretty explicitly tried not to do through my music in the past”.

The EP is a positive proof of why we should be glad he didn’t give up, but it’s not hard to understand why things reached that point. Everything’s fucked. And we’re doomed. Whether it’s AI takeover or global climate change or WW3 (if we’re not there yet, we’re on the brink or in denial).

‘Misunderstood’ is a quintessential snarly industrial / metal plus samples intro, but Trueman’s rabid vocal gives hints of Dominic Fernow. The title track is relentlessly brutal: electronic industrial at its darkest, harshest, most metal. It’s very much in the vein of late 80s Wax Trax! with surging grooved and pounding electronic percussion, and the vocals mangled to fuck.

‘Morgue’ is classic sample-soaked dark electronica. It feels brittle, it broods, and there’s something unsettling about the layers of vocals which build layers of discomfort. ‘Life Ends’ is nothing short of rabid, an anguished roar of pain against a relentless electronic pulsation.

There’s no escaping it: with Decomposition, Choke Chain have delivered an EP that’s harsh, and heavy. It’s nasty, it’s uncomfortable. It’s like a punch to the gut, and leaves you feeling short on breath.

AA

279374

Swedish forest rockers BESVÄRJELSEN drop the first advance single from their third album Till Glömskan Ad Oblivionem (Swedish and Latin for: "Into Oblivion"), accompanied by a slightly disturbing music video ‘Didn’t Come to Party’ about that guy, the one nobody ever wants at their social gathering.

BESVÄRJELSEN comment: “There’s a scene in the Titanic movie that has always stayed with me, when the musicians keep playing as everything falls apart around them”, vocalist Lea Amling Alazam muses. “This is one of my all-time favorite moments in cinema, because it captures something important about music: the devotion, the need to create, and to hold onto something beautiful, even in the face of disaster. Like, we’re literally going under, but hey, let’s play. Dance to the sirens. In this day and age, it’s hard not to be affected by the chaos of the world. ‘Didn’t Come to Party’ is not a political statement but rather a cry of frustration. We’re living on this incredible planet, so why are we destroying it? Why war, why poverty, why harm the most vulnerable, when we have the resources to make life better for everyone? This quite reminds me of people who show up to parties just to ruin it for everyone else. Why is there such a drive to hurt, to dominate, to tear things apart in the pursuit of power? It’s senseless.”

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

AA

73815e24-aea7-e6a7-3754-d597bcc3b820

Neo Dimes, the musical identity of Denver-based musician Stephen Edmunds, has released the debut album Alone, available on vinyl, cassette, and digital platforms as of 19 May 2026.  The music video for ‘Trigger,’ directed by Ty Borkowski, is also now streaming, bringing the song’s themes of isolation, shame, and emotional fracture into stark visual form.

Media outlets like Discipline Mag and Post-Punk.com consider Neo Dimes an artist unafraid to tackle the social ills of the digital age with both sonic innovation and lyrical directness. Reflecting that, his debut full length Alone stands as much a critique of music consumption as it is a sonic statement. Physical copies (vinyl and cassette) of Alone was made available ahead of its digital release, pushing back against the industry’s usual consumption model.

“A song chronicling my lifelong fear of being alone,” says Stephen of the song ‘Trigger.’ “Alcohol is the trigger that brings on all kinds of other issues (addiction, anxiety, depression, suicidal ideation) but all of that pales in comparison to how terrifying loneliness and both physical and emotional isolation is to me.”

Speaking about the album as a whole, he shares: “The album concept and the release itself is a fuck you to the tech overlords and the world they have foisted on all of us.”

AA

Untitled (1400 x 1400 px) - 1

Mirror of My Soul, the solo project of Patrik Andersson Winberg (Dun Ringill, ex-The Order of Israfel, Doomdogs), has just shared a new video for ‘The One Who Sings The Songs’, the latest single taken from the forthcoming debut album October is Rising, due out June 12 via Majestic Mountain Records.

Describing the track, Winberg states:  “A song for the unseen. A voice for the unheard. What if music could carry more than melody? What if a song could feel your sorrow, walk beside your struggle, and remind you that love still speaks louder than fear? ‘The One Who Sings The Songs’ is more than a track, it’s a moving anthem of compassion, resilience, and shared humanity. Inspired by those fighting invisible battles, it speaks for the voiceless, stands with the fallen, and offers hope to every soul still searching. With raw, heartfelt lyrics on empathy, strength, and the courage to keep going, this is music that lingers long after the last note. For the dreamers. For the survivors. For anyone learning how to love again. Join the song. Feel the story. Become part of something bigger.”

With deeply emotional lyrics and a powerful sense of empathy, the track stands as an anthem for anyone navigating loss, struggle, or personal transformation. It is a reminder that even in our darkest moments, connection remains possible and love can still be found amid uncertainty.

AA

3e0e3a85-e5ae-738f-76a8-9e7493e48d66

Rome’s post-rockers KLIMT 1918 reveal their ethereal and minimalist aspects with the sky-gazing advance track ‘Petricore’ as the final single taken from their forthcoming new full-length Àmor. The Italians’ fifth album has been chalked up for release on June 12, 2026.

KLIMT 1918 comment: “’Petricore’ is the story of a realisation: the sense of inadequacy that has been with me since I was born and that will never leave me”, frontman Marco Soellner reveals. “It will always be the ghost that is lurking behind the words, the shadow on sunny summer days, and the loneliness creeping into my body even when I’m surrounded by people. Like petricore after a storm, it seeps into the air, haunts memories, disarms and numbs. It turns me once again into the person that I used to be, and the very one that I never wanted to be again.”

Be the aftermath.
Be everything you feared you’d become.
Be the wound that never healed.
Be the ghost you thought you’d buried.

AA

6e3ec3b3-854d-3a3b-b3c1-a45075d5587b