Archive for the ‘Singles and EPs’ Category

COP International – 31st December 2024

Christopher Nosnibor

The adage that you should never judge a book by its cover is a nonsense, and certainly doesn’t apply to records. I was instantly drawn to Stoneburner’s ‘New Year Same Fuckin You’ for its referencing – by which I mean almost direct lifting – of the artwork for the Foetus All Nude Review ‘Bedrock’ 12”, one of JG Thirlwell’s first forays into the ‘big band’ swing sound back in 1987.

It transpires they’ve got form: previous releases ape the fourth Foetus album, Nail, as well as Big Black’s Atomizer, and no doubt other releases reference things I’m unfamiliar with, as it’s impossible to know everything within another’s sphere of reference, and Stoneburner have released a hell of a lot in a comparatively short time. But I always maintain there’s more honour in being up-front in acknowledging one’s influences than trying to hide them, and have all the admiration for Stoneburner for their unashamed referencing. By now, we all know – or should know – that there’s nothing news, so better to front up and embrace the fact instead of feebly proclaiming artistic innovation.

The solo project of Steven Archer, best known for his work with the electronic rock band Ego Likeness, as well has is abstract electronica project ::Hopeful Machines::, he’s one of those creatives who simply gushes new material.

For ‘New Year Same Fuckin You’, Archer has enlisted Rodney Anonymous, Matt Fanale, and Mark Alan Miller, and it’s something of a departure from the majority of the Stoneburner catalogue, which, while very much given to industrial leanings, also place considerable emphasis on atmosphere and drama (in the way JG Thirlwell and Raymond Watts do, setting Foetus and PIG apart from the majority of the field). There’s no such subtlety here: ‘New Year Same Fuckin You’ is a balls-out blaster.

The track is pitched as ‘a rallying cry for a time when so many feel defeated and powerless. A time when giving up seems easier. But when I think of those who marched across the bridge in Selma, knowing full well what was waiting for them; when I think of the women who sacrificed everything for their autonomy; when I think of every brave soul who stood tall against oppression, I know this: we owe it to them to rise again.’

It’s a strong sentiment delivered at a time when mood and energy feels like it’s at an all-time low. It’s hard to recall a festive season that’s felt less festive, and celebrating extravagantly with gifts and feasts has felt quite wrong while the world is at war and hyperconsumption continues to drive climate change. What are we actually celebrating here? The idea that we’re ‘doing it for the kids’ rings rather hollow when you know that every overpriced piece plastic of tat stuffed in a stocking is another nail in the coffin of the future they’ll inherit.

And this brings us to the gimmick of New Year’s resolutions. How many last past the first fortnight of any given new year? Mostly people seem to resolve to get fitter, and take out gym memberships with good but misguided intent. Gym conglomerates rub their hands as they make half the year’s profits in a week or so, knowing that the regulars won’t be complaining of overcrowding again come February. Most goals set are as pointless as they are unattainable., but how many set themselves the target of being less of a cunt in the coming year, eh? Eh? Yeah – New Year Same Fuckin You.

This is a full-throttle raging technonidustrial banger, and curiously, as much as it’s in the vein of KMFDM and the entirety of the Wax Trax! catalogue with its pounding, hard-edged disco beat and snarling synths and mangled vocals, I can’t help but be reminded of ‘It’s Grim Up North’ by the JAMMs.

As an anti-trend anthem, with it’s ‘Fuck you! Fuck you! Fuck you!’ refrain, ‘New Year Same Fuckin You’ is the perfect counterpoint to all of the motivational guff that circulates all year round but becomes particularly prevalent at this time of year as every agency going advertises to appeal to your shame – shame for your indulgence, your weight gain, your slacking, your failure to move forward in your life goals – in an attempt to take your money and convince you that spending with them will make your life better. Yes, fuck you! Get a grip. You want your life better? Start by taking control of your own direction, instead of paying for apps and influencers and life coaches to tell you what you already know. Need reminding that this is the true way forward? Listen to this on repeat for an hour daily.

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Former LORDS OF ACID vocalist, Mea Fisher (aka DJ Mea) and her solo project, ME AND MY NIGHTMARE just unveiled the heartfelt & poignant new single and video, ‘Don’t Forget Me’. The single features En Esch (Slick Idiot, <PIG>, Pigface, Ex-KMFDM) on keyboards.

‘Don’t Forget Me’ is Mea’s tribute to her mother, Patricia who tragically passed away after a battle with Alzheimer’s disease at the age of 84.

A common occurrence during the stages of Alzheimer’s disease is when the patient loses their memory. Mea states, “As her only child, the fear of being told that someday my mother might forget me terrified me to the core.  I feared it everyday but it didn’t happen. She always remembered her ‘little baby girl’ all the way to the very end. Never once did she forget me. It was a gift, even though I lost her.”

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Mortality Tables – 24 December 2024

Christopher Nosnibor

There’s something about Christmas that really does send people spiralling in one of two directions. The people who absolutely love it seem to love it just too much to be considered sane, and this year has been one of the worst I can remember for people actually buying chocolate and putting their trees up almost immediately after hallowe’en. Amusingly, I’m seeing them taking down their trees and decorations from Boxing Day, declaring that they’ve had enough now. Well, it’s hardly surprising after three months. I really for feel sorry for the kids of these deranged households: it must be quite confusing for them, not least of all seeing their parents troughing whole selection boxes to themselves in November as they effervesce about the Christmas spirit and plaster their hedges, bushes, trees, and house frontages with lights – which is as trashy as it is environmentally unsound (‘oh, we use green energy, it’s 90% nuclear now!’) – only to tear them down a whole tend days before twelfth night. But these are the kind of people who call what they do – things like going to work and parenting – ‘adulting’ and piss and moan about it on social media, while posting pics of their decorations at the start of November. And it’s cunts like these who make me loathe Christmas with a passion I didn’t even know I possessed. They spoil it for more moderate, more sane people – and people who just despise other people and herd mentality twattery in general.

And so I’m with Mat Smith, the main man behind Mortality Tables, and am one hundred percent into ‘Grouch Thoraces (II)’, pitched as ‘The festive sentiments of a misanthrope, processed into dark and enveloping ambient texture. An updated version of a release from 2023’. In fact, I consider this to be a release that stands alongside – in spirit, if not necessarily sonically – with my own Festive Fifty noisework, released on December 20th. Against the tidal wash of syrupy, saccharine Christmas tunes – shit covers or endless rereleases or just the same toss that’s been the staple of the airwaves since the 70s and even earlier – nothing says ‘fuck this commercial Christmas shit’ like some dark noise.

‘Grouch Thoraces’, released on Christmas Eve in 2023 was a dank, murky cut, presenting just shy of five minutes of the most rumbly dark ambience. This year – to use a phrase I despise almost as much as the cheery festivity fanatics who bounce around the office in Christmas jumpers and Deely boppers or reindeer antler headbands and start arranging secret Santa and team drinks and buffets from the middle of November – Smith has doubled down on his anti-festive sentiments with a reworked ‘Grouch Thoraces’: this time it’s even darker and danker and almost eight minutes in length. It’s a churning, disorientating mess of stuff thrown together, found sounds and elongates drones twisting together to forge a thick morass of unsettling, uncomfortable noise. According to the credits, there’s a vocal by Carroll Spinney, but it’s submerged in the slow-sinking swamp. There are chimes clattering in the dark whorl of purgatorial noise, but they sound like the ching of broken decorations swinging in a post-apocalyptic nuclear wind as the survivors crawl, blind, skin peeling, through the ruins of what little remains.

On its own merits, this is a strong dark ambient work with a certain edge: in context, it speaks. Fuck this festive shit, fuck this commercial shit, fuck the obligation to socialise: let’s celebrate stepping back from it all and just getting through it, without feeling the need to pretend that we love any of it. We misanthropes need to stand together.

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A homage to Speilberg’s seventies masterpiece Close Encounters, masterfully recreated by Dave Meyer.

ASTARI NITE unveils ‘Double Feature Matinee’ – the fourth music video off the Resolution of Happiness album! It now joins ‘Ashtray Ballet’, ‘Bowie in Daydreams’ and ‘Tongue Tied Galore’ in short music films.

Says ASTARI NITE vocalist, Mychael, “We had a few songs that we were very pleased with and wanted to share this year, so we released our Resolution of Happiness record a few months back, in the summer of June… This one song in particular, ‘Double Feature Matinee’ was quite playful! It is a real delight to play out at concerts, a song that I am not ashamed to admit is honestly about me.

“So, we set out to create a music video with a little help from our friends! Snippets, if you will, were taken from a few special days and nights of our lives while traveling and playing in my new shoes.

Honestly, at this stage in my life, I find it to be healing, surrounded by individuals that simply enjoy being alive and are accompanied by a vibrant and cheerful personality.
The word “fun” kind of drives me mad, though I’m finding that it’s okay to have some whenever needed. I personally can’t be gloomy all the time; you know what I mean? I would rather smile the most instead.

Happy Holidays and I wish everyone a lot of love going into the start of the new year.”

2025 will hear the release of two new singles by the band titled, ‘Ms. Rain on My Parade’ and ‘Unisex Games’.

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It’s been another incredible year for Benefits, and one which has seen them evolve – and drop a single with Pete Doherty ahead of their second album, Constant Noise, due on 21 March 2025 via Invada Records.

And what a treat for Christmas eve – a new tune which is, again, more ambient than noisy, but which pitches a low-key and quite menacing-sounding spoken-word assessment of the state of things as war rages around the world and death tolls continue to increase as do tensions as the West bankrolls mass destruction and civilian slaughter.

New Benefits may not be quite as in-yer-face sonically, but don’t think for a second that they’ve gone soft.

Check ‘Missiles’ here:

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French progressive metal collective March of Scylla has released a captivating music video for their latest track, ‘Ulysses’ Lies’, from the forthcoming album Andromeda, set to be released on March 7, 2025, via Klonosphere/Season of Mist. Directed by Kevin Meriaux, the video seamlessly merges the band’s dark, progressive metal sound with their signature mythological storytelling, offering a mesmerizing visual experience.

Watch the video here:

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Initiated by Christofer Fraisier, guitarist and former member of Taman Shud, March Of Scylla is a dark, progressive metal project that emerged in Amiens in 2020. The band features drummer Gilles Masson from Ashura, bassist Robert Desbiendras, and vocalist Florian Vasseur. Their two EPs, Archives and Dark Myth, showcase their diverse influences, drawing comparisons to Gojira, Tesseract, Sleep Token, and Architects.

Their debut album Andromeda was recorded, mixed, and mastered at Studio Sainte-Marthe in Paris by Francis Caste, and explores the vastness of space and humanity’s complex relationship with science, the cosmos, and the afterlife. The album tackles fundamental human anxieties, injustices, and emotional struggles, blending personal lyrics with universal mythology and history.

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COP International is incredibly proud to add another milestone release to the discography of this iconic band. The band’s first new studio record in more than thirty years, the Driving Black EP serves as a tantalizing prelude to their forthcoming album Strange Kind of Paradise (due February 2025). The EP offers three exclusive tracks alongside three distinctive mixes from the upcoming album, including one by the legendary producer John Fryer, renowned for his work with Depeche Mode, Nine Inch Nails, and Cocteau Twins; and another by the Lorries’ own bassist and producer, Simon ‘Ding’ Archer, known for his work with The Fall, 1919, PJ Harvey, and Pixies, who brings his signature experimental edge to the production.

Today, they’ve unveiled a video to accompany the lead track, and you can watch it here:

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After three years of silence, Pântano return in full force with their new single, "Inferno." The band, whose name translates to “swamp,” delivers a raw, sludgy southern rock sound with a touch of classic Alice in Chains seamlessly woven into the mix.

Staying true to their dark and melancholic essence, the band unveils a new lineup and an even more refined, mature sound on this latest track.

With Nuno Rodrigues (WAKO) on vocals and Arlindo Cardoso (Low Torque) on drums, Pântano now features Aires Pereira (Moonspell) on bass and Paulo Basílio (Ex-Votos) alongside João Arroja (Low Torque) on guitars.

"Inferno," mixed and mastered by the renowned Daniel Cardoso (Anathema, Anneke…), marks the natural evolution of the band, blending a melancholic and dark atmosphere with heavy, slow riffs imbued with a strong emotional weight.

The single is accompanied by an impressive music video, directed by Beatriz Mariano, which masterfully captures the intensity and introspection of this new chapter for Pântano.

Watch the video here:

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29th November 2024

Christopher Nosnibor

While the entirely of this EP has already been made available as individual tracks, some of which have made our ‘recommended streams’ pages, songs as standalone pieces are one thing, but understanding them in context can often be quite another.

And so it is that Archetypes ‘explores timeless themes that have shaped societies for centuries. The band delves into the power of language and storytelling, celebrating legends that transcend time and culture. These stories, rich in symbolism and ritual, carry the wisdom of generations and continue to captivate audiences with their enduring lessons and sensational nature.’

Hearing the songs in isolation, the sense of thematic unity which unite them as an EP isn’t immediately apparent, particularly with the visual accompaniments of highly stylised neon-flashing cyber-tinged promo videos. They’re necessary – even essential – tools for grabbing attention in our hyper-stimulated, visually-obsessed world. Post some words, or some audio, and it’s like standing in the middle of a field at night dressed in black and expecting attention – but post an image, or a video, and people notice. It really is that clear-cut. It’s as if people need their media injected directly into their eyeballs, but listening the songs in sequence and only in audio, draws the attention to the music itself.

‘Mentor’ opens the EP, driven by a sturdy industrial groove and some tidy two-way vocals which form a dialogue and pivot around themes of disconnection while pitching a magnificently melodic chorus that really brings all the hooks. ‘Trickster’, the first song to be released from the EP, is bold and energetic, and if the backing is like a pumped-up disco interpretation of Depeche Mode, the belting vocals bring from-the-gut passion. The song’s overt pop sensibilities are enhanced with this raw edge, making it a clear and instant standout.

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As the title implies, ‘Shadow’ is darker, and finds the duo tunnelling deeper into the psyche and troubled waters, and satisfaction – or lack of – bubbles to the surface amidst the lyrics, and what filters through over the course of the EP is that as much as Archetypes is about the power of language, Esoterik are interrogating the shortcomings of language to fully convey complex emotions – the elements of which constitute our very DNA which ties us to those myths and legends of centuries past, and which, ultimately, are the essence of the human condition.

‘Hero’ makes for a strong, bombastic finale, the big drum-fills and powerful snare sound evoking the spirit of the 80s power ballad as they push to the conclusion with a surging chorus. Just how effectively they explore the elements of symbolism and ritual may be questionable, but as a superbly-realised slab of dark pop, Archetypes is hard to fault.

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