Posts Tagged ‘Single’

Wheelchair Sports Camp is certainly not your average act. This genre bending, punk-powered hip-hop project is fronted by Kalyn Rose Heffernan – a wheelchair-using, profanely queer and tiny rapper, with a very distinctly high-pitched sense of humor. Backed by her gimp Greggy on drums, the band combines fantastic beats with an absolutely face-shredding live show. After playing shows everywhere they could, the band expanded into performance art, museum takeovers, politics, prison tours, permanent installations, theatre, film, and now the release of their newest album, oh imperfecta on Alternative Tentacles Records.

They bring together contributions from Jello Biafra (twice), Radio Pete (who happened to come up with the name Dead Kennedys when Biafra was a teen in Boulder, CO, and this is their first time ever collaborating musically), Kimya Dawson (Moldy Peaches), Olivia Jean, Junia-T, Amy Goodman, and some honorary WSC members: Qknox, Michelle Rocqet, Wes Watkins, RAREBYRD$, and many more; to create 11 absolute bangers.

The album surges forward right from the opening track of “Make It Make Sense”, Heffernan takes your attention vocally and holds it there, while bouncing back and forth with Biafra. Only to embrace the raw punk rock honesty of “EAT MEAT!”. This unflinching honesty is carried throughout the album. Heffernan holds nothing back. No matter if WSC is dancing through classic hip-hop flows with “DENIM” or moshing through Olivia Jean’s rock riffs with Jello Biafra on “DEAD,” the vocals and the beats seamlessly bring the different influences together. All while giving us a glimpse into Heffernan’s chaotic life with recorded calls from Kalyn’s wild ass Mama K. as interludes throughout the album.

“In an attempt to unlearn my perfectionism and finish the damn album, I picked up the drums for the first time since middle school and wrote “EAT MEAT!” with Greggy on guitar. It was the most fun we’ve had and it instantly felt good enough for the first time maybe ever? We were on to something… if every dude can play mediocre guitar, why can’t I play shitty drums?“ says Heffernan, “It freed me from having to be the best rapper and out-bar every rapper in the bar. Come to find out I’ve been overcompensating my whole life because I am genetically imperfecta. Osteogenesis imperfecta is the name of my brittle bones disease and I’m realizing more and more how my body has been the center of attention since birth. Described in dehumanizing, demoralizing, and very unbecoming ways, it’s no wonder I’ve always felt like I had to be the best. This album is a collection of songs from the past decade and finished because we simplified: oh imperfecta.”

Check “Make it Make Sense” here….

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Photo: Erik Ziemba

10th April 2026

Christopher Nosnibor

Postmodernism supposedly not only marked, but celebrated, the death of originality. Some time after the turn of the millennium, postmodern irony and the wit of parody began to evaporate, and now everything simply draws on explicitly stated influences. Art has become an endless treadmill of predictable recycling. There are rare exceptions, of course, and Chaidura is rare indeed.

Chaidura has been on the scene for a couple of years now, during which time he’s birthed an EP, Temple Paradise, and some standalone singles, showcasing styles ranging from JRock to emo, with his bio describing this work as ‘blending visual kei, emo, and alternative rock into a sound that’s heavy, emotional, and honest’.

Now resident in London, but raised in Asia, where, he says ‘beauty is often weaponized as a prerequisite for success’, ‘Plastic Beauty’ is the third single to be taken from forthcoming EP, Liminal. And what a single it is! It’s nothing short of an explosion of ideas– an entire album’s worth and more (hell, many bands with careers spanning decades don’t demonstrate this many ideas), packed into less than four minutes – leaping wildly yet also effortlessly and immaculately from one genre to another with each of the multitudinous segments.

And yes, the presentation is stunning – musically, of course, but also visually – taking cues from Adam Ant and Falco’s ‘Rock Me Amadeus’ – to forge something that is nothing short of spectacular, while at the same time presenting a strong message. Opening with a soft piano intro, we’re soon thrown into some loungey jazz with an understated drum ‘n’ bass beat before – a mere thirty seconds in – being hit with a ferocious blast of metal. The experience is akin to watching Roger Moore as James Bond being spun at organ-damaging speed in a centrifuge in Moonraker, one where you mind feels as if it’s been separated from your body and transported to another dimension. It’s like all of the new year’s fireworks from around the globe going off simultaneously. And yet, incredibly, it’s got a huge chorus with an instant hook that’ll be an earworm for a week. Nothing short of phenomenal. Now, excuse me while I go and lie down for a bit.

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MORTIIS premieres the story-telling and visually impressive music video ‘Violent Silence’, which continues the narrative arc of the previous clip ‘Ghosts of Europa’, as the next advance single taken from the iconic Norwegian artist’s upcoming new full-length Ghosts of Europa.

MORTIIS comments: “Lyrically, ‘Violent Silence’ came into being as an apology to my wife”, the Norwegian admits ruefully. “I had done something stupid again, and she was really upset. I was trying to apologise in a text message – a really long one. The lyrics for ‘Violent Silence’   took a lot of inspiration from those words and that moment. As time goes by and having lived with this song for quite a while now, it gets harder for me to listen to those words. The gut-wrenching sensation of guilt never goes away fully. Musically, it was a very inspiring song to work on – especially with all those crazy fuzz and echo guitars that built up this song towards the end.”

Check the video here:

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The Witches of Dystopia Tour MMXXVI


16 APR 2026 Winnipeg, MB (CA) Sidestage
17 APR 2026 Minneapolis, MN (US) Skyway, Studio B
18 APR 2026 Madison, WI (US) Annex
19 APR 2026 Chicago, IL (US) Reggies
20 APR 2026 Detroit, MI (US) Sanctuary
21 APR 2026 Indianapolis, IN (US) Black Circle
22 APR 2026 Covington, KY (US) Madison Live
23 APR 2026 Pittsburgh, PA (US) Preserving Underground
24 APR 2026 Toronto, ON (CA) Lee’s Palace
25 APR 2026 Montreal, QC (CA) Cafe Campus
26 APR 2026 Quebec City, QC (CA) La Source
27 APR 2026 Boston, MA (US) Brighton Music Hall
28 APR 2026 Brooklyn, NY (US) Meadows
29 APR 2026 Bensalem, PA (US) Broken Goblet
30 APR 2026 Baltimore, MD (US) Metro
01 MAY 2026 Raleigh, NC (US) Chapel Of Bones
02 MAY 2026 Atlanta, GA (US) 529 EAV
03 MAY 2026 Orlando, FL (US) Conduit
05 MAY 2026 Houston, TX (US) Warehouse Live
06 MAY 2026 Austin, TX (US) Come and Take It Live
07 MAY 2026 Dallas, TX (US) Club Dada
08 MAY 2026 Albuquerque, NM (US) Launchpad
09 MAY 2026 Denver, CO (US) HQ
10 MAY 2026 Salt Lake City, UT (US) Urban Lounge
11 MAY 2026 Las Vegas, NV (US) Swan Dive
12 MAY 2026 San Diego, CA (US) Brick By Brick
13 MAY 2026 Los Angeles, CA (US) The Echo
14 MAY 2026 San Jose, CA (US) The Ritz
15 MAY 2026 Eugene, OR (US) John Henry’s
16 MAY 2026 Seattle, WA (US) El Corazon

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17th April 2026

Christopher Nosnibor

Either the members of Karobela – who are jointly credited with the lyrics – have had some really shitter personal experiences, or they’re keen when it comes to observing some of the more negative aspects of relationships and social interaction.

Whereas previous single, ‘Afterthought’, which came out in December, dealt with being dropped, forgotten, kicked to the curb, ‘Love Letter To No One’ explores, as they put it, ‘the profound emotional turmoil caused by the contemporary issue of ‘ghosting’, capturing the lingering heartache it leaves behind’.

In name, ‘ghosting’ is very much a contemporary issue, and certainly, it’s easier to vanish virtually than in real life. It’s hard to ghost someone who works in the same office or whatever. But in the pre-Internet days, people would just stop writing, stop phoning, and you couldn’t even search on Facebook to see if they were still alive. But one difference in that is the time delay, in that you’d wait days, weeks for a letter, and the time span of the uncertainty was something which elongated gradually: there were no messages unread, no disappearing profiles. And as we’ve come to depend on immediate back-and-forth, even a minute waiting for a message to be picked up can feel like a lifetime. And it’s this angst which is the subject of ‘Love Letter to No One’.

It’s a step up in terms of ambition for the band, being the first track in a projected four-part narrative following the romantic experiences of a female protagonist, and musically, it’s got some beef to it, with a chunky riff and strong vocal delivery that does convey emotional turmoil. In many ways, it’s rock music of the kind that you don’t hear so much at the moment. That said, it’s driven by a disco-tinged beat and has more of a dance-leaning breakdown in the middle.

With a chorus that’s all hook, and tightly packed into a fraction over three minutes, ‘Love Letter to No One’ is a work of precision, and a first-rate single cut.

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BIG|BRAVE, the singular trio of guitarist/vocalist Robin Wattie, guitarist Mat Ball, and bassist Liam Andrews, have shared the title track single for upcoming album in grief or in hope, out June 12th.

The single comes ahead of their spring European tour and follows the announcement of their extensive summer North American tour with The Body this summer.

‘in grief or in hope’ stands as one of the album’s most direct pieces, presenting Robin’s emboldened, steady voice with pitch-shifted modulations. The thrum of guitars by Wattie, Ball, and Andrews create a makeshift bass drum pulse beneath sheets of distortion and feedback.

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The work of BIG|BRAVE is ever-expanding. The breadth of their sound has encompassed a breathtaking array of dynamics and sonics. Their sound, guided by their indomitable exploratory spirit, exploits contrasts between extremity and subtlety. The trio’s singular, masterful sculpting of sonics into songcraft tucks layers of vulnerability into formidable storms. in grief or in hope is an innovative vision of electro-acoustic sound and emotive storytelling, an endless bounty of overwhelming distortions and devastating beauty.

Together the trio deliver emotional momentum that vividly describes the complex and deep feelings of struggle, pain, and transcendence. in grief or in hope transmits that sense of humanity with every gesture.

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BIG|BRAVE tour dates

May 24 – Utrecht, NL – EKKO [tickets]
May 25 – Amsterdam, NL – OCCII [tickets]
May 27 – Saint-Imier, CH – Toxoplasmose Festival [tickets]
May 28 – Basel, CH – Kuppel [tickets]
May 20 – Torino, IT – Jazz is Dead
May 30 – Piacenza, IT – Desert Fox Festival [tickets]
May 31 – Ljubljana, SI – Channel Zero [tickets]
Jun. 2 – Poznan, PL – Pawilon [tickets]
Jun. 3 – Berlin, DE – Berghain [tickets]

Jul. 8 – Cambridge, MA – Middle East Upstairs [tickets] *
Jul. 9 – Portland, ME – Space [tickets] *
Jul. 10 – Montreal, QC – Bar Le Ritz [tickets] *
Jul. 11 – Toronto, ON – St Stephen in the Fields [tickets] *
Jul. 12 – Cleveland, OH – Grog Shop [tickets] *
Jul. 14 – Chicago, IL – Empty Bottle [tickets] *
Jul. 15 – Minneapolis, MN – 7th Street Entry [tickets] *
Jul. 16 – Omaha, NE – Reverb Lounge [tickets] *
Jul. 17 – Denver, CO – Hi-Dive [tickets] *
Jul. 18 – Salt Lake City, UT – Urban Lounge [tickets] *
Jul. 20 – Seattle, WA – Black Lodge [tickets] *
Jul. 21 – Vancouver, BC – The Cobalt [tickets] *
Jul. 22 – Portland, OR – Mississippi Studios [tickets] *
Jul. 24 – Sacramento, CA – Café Colonial [tickets] *
Jul. 25 – San Francisco, CA – Bottom of the Hill [tickets] *
Jul. 26 – Los Angeles, CA – Zebulon [tickets] *
Jul. 27 – San Diego, CA – Soda Bar [tickets] *
Jul. 28 – Phoenix, AZ – Rebel Lounge [tickets] *
Jul. 30 – Denton, TX – Rubber Gloves [tickets] *
Jul. 31 – Austin, TX – 13th Floor [tickets] *
Aug. 1 – Houston, TX – White Oak Music Hall [tickets] *
Aug. 2 – New Orleans, LA – Gasa Gasa [tickets] *
Aug. 3 – Birmingham, AL – Saturn [tickets] *
Aug. 4 – Atlanta, GA – Masquerade – Purgatory [tickets] *
Aug. 5 – Durham, NC – Pinhook [tickets] *
Aug. 6 – Baltimore, MD – Metro Gallery [tickets] *
Aug. 7 – Philadelphia, PA – PhilaMOCA [tickets] *
Aug. 8 – Brooklyn, NY – Music Hall of Williamsburg [tickets] *

* w/ The Body

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Photo credit: Stacy Lee

International touring musician and multi-instrumentalist Nadav Tabak returns to the UK with his immersive solo project and the release of his new single, ‘Electric Roots’, a powerful instrumental journey blending driving electronic trance with raw, organic instrumentation.

Following years of international touring, Tabak has carved out a distinct sonic identity: a live performance that merges hypnotic beats, tribal textures, and virtuosic guitar work into a dance-floor ritual experience.

Electric Roots represents the core of his sound both literally and metaphorically. The track explores the fusion between the electric world of trance and the rooted, earthy essence of acoustic instruments. Pulsing basslines and driving techno rhythms intertwine with organic timbres, live looping, and expressive instrumentation, creating something that feels both ancient and futuristic.

Unlike traditional DJ sets, Tabak performs entirely live, building layers in real time through looping, percussion, and melodic improvisation. The result is an instrumental experience that is rhythm-driven, immersive, and uniquely his own.

The upcoming UK tour will showcase this evolving sound in intimate venues and festival settings, offering audiences a high-energy, genre-blending performance that moves seamlessly between dancefloor intensity and organic atmosphere.

With Electric Roots, Nadav Tabak continues to push the boundaries between electronic music and live instrumental performance grounding trance in something human, physical, and deeply rooted.

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April 18 London Epsom  Horton Arts Centre, Epsom, Surrey

April 19 Brecon The Foundry , Brecon, Powys

April 22 Lichfield The Hub at St Marys, Lichfield, Staffordshire

April 23 Skipton The Skipton Town Hall, Skipton, Yorkshire

April 24 Newcastle upon Tyne Alphabetti Theatre , Newcastle upon Tyre

April 28 London Brixton Hootananny, London, SW2 1DF

April 30 Cheltenham The Kemble Brewery Inn , Cheltenham, Gloucestershire

May 1 Penzance The Acorn , Penzance, Cornwall

May 2 Calstock Calstock Village Hall , Calstock, Cornwall

May 3 Loopfest  Loopfest, Shrewsbury, SY1 1JA

May 6 Brighton (Fringe Festival) The Brunswick, Brighton and Hove

May 7 Leamington Spa Temperance, Leamington Spa

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Nadav Tabak _ Electric roots Cover photo

Previewing the debut Hello Sunbeam EP, this is the first official transmission from the band, blending the sun-drenched textures of 60s garage rock with the restless energy of raw fuzzed-out modern indie spirit. Between the wash of tape echo and reverb, the track finds a sweet spot where lo-fi garage psych meets 90s shoegaze, all anchored by layered harmonies and an evocatively intimate vocal delivery.

The sonic brainchild of multi-instrumentalist Brant Hajek, Wooden Overcoat began in the isolation of 2020, when he returned to music after a hiatus, recording songs he’d written in his late teens. What started as a practice in self-production transformed into a deep creative obsession with soundscapes and gear. Recording in a rented basement, Hajek built the foundation of the EP through spontaneous experimentation—often veering away from planned sessions to follow sudden bursts of inspiration.

“When I wrote ‘Home’, it kind of poured out of me, and I think I’m still interpreting it. But to me, it’s about acknowledging something beautiful, even if it can’t last. Two people who feel naturally paired, like elements of nature, slowly decomposing and self-destructing,” says Brant Hajek.

“It’s about the inevitable demise of anything, and ultimately that we need to appreciate what is here right now and live in that magical existence. It’s about having the capacity to admire even when things are burning out.”

A study in productive contradictions; while the lyrics and aesthetics might suggest a certain darkness, they are often rooted in inside jokes and a sense of warmth. Hajek’s creative process is a deeply personal, layered journey involving mumbled placeholder lyrics and a patient wait for the specific spark that turns an “emotionally restless” melody into a finished piece.

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While Hajek performed every instrument on the studio recordings to preserve the project’s intimate DIY spirit, he has since found his tribe, assembling a full live band to translate these compositions to the stage. With Hajek leading the way on guitar and lead vocals, Wooden Overcoat is rounded out by Dillon Glusker on bass, Mac on guitar, and Brian Levin on drums and backing vocals. Through community, the band creates a fantastic dreamlike environment for like-minded people.

The name Wooden Overcoat—an old Americana euphemism for a coffin—hints at the project’s core philosophy: a playful balance of moody, mystical imagery with light-hearted humor. Hajek’s creative process is personal, the rough versions eventually coalescing into vivid, emotionally resonant themes.

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French metallic hardcore force Beyond the Styx reveals the third and final single, ‘Deadlock V,’ from their upcoming album DIVID, due out May 08 via Innerstrength Records. This politically charged track arrives alongside a music video.

Speaking on ‘Deadlock V’, BTSTYX vocalist Emile states: “How could the Western world have remained impassive for so long in the face of the genocide unfolding in the Gaza Strip? How can the legacy of a martyred people allow its own leaders to become the shameless executioners of their own neighbors?

“These are the main questions that tormented my mind during the relentless months of deadly bombings that raged between October 2023 and February 2024 against the people of Gaza. During this period, the Israeli army reportedly dropped more than 25,000 tons of explosives (the equivalent of two nuclear bombs), according to a UN committee of experts.

“Echoing all this suffering was a heavy, mechanical, numbing riff which resonated with me like the echo of the bombings my own gaze fled from each day in the media. Too much blood and too many tears have been shed for my pen to remain unmoved by such suffering and senselessness. How can the innocence of our children ever be protected from this kind of abuse in the future?

“The feeling of fear wreaks havoc on life beyond compare. Understanding the mechanisms at work is essential in a world where emotion reigns supreme, filtered through the media, without losing sight of the fact that the only thing we should fear is fear itself. The fear of dying, or, ultimately, the fear of living?

“This song thus concludes the thematic triptych: amnesia / war / revenge, culminating in the revelation of DIVID.”

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Following last year’s critically-acclaimed album SONIC, Venice-based band Glazyhaze returns with brand new single ‘Do You?’. Building upon their ethereal mix of shoegaze, alternative rock, and dream pop, the track features sweet yet punchy vocals that float above layers of spaced-out guitars and driving bass lines. Distributed worldwide by Hoodooh and Believe Music, the single is now streaming on all platforms. 

With a sound that ranges from dark and atmospheric to soft and intimate, Glazyhaze have solidified themselves as a band to watch. Since the release of their debut LP in 2023, they’ve been named among Europe’s Top 15 Emerging Artists in the Music Moves Europe Awards and have toured Europe and the UK extensively, sharing stages with acts like Trentemøller, The Raveonettes, Soft Cult, and Slow Crush. 2025’s sophomore LP and follow-up single ‘Romeo’ took the band to new heights, earning praise from the likes of Rolling Stone, Stereogum, Clash, BBC, KEXP, and more.  Glazyhaze will embark on a headlining European / UK tour next month — see below for upcoming dates.

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After being nominated for the Music Moves Europe Award and announced for ESNS 2026, Glazyhaze will embark on a tour across the EU/UK in November and December.

Glazyhaze on Tour (tickets)
5 May: Aarau, Switzerland – KIFF
7 May:  Berlin, Germany – Privatclub
8 May:  Köln, Germany – GARAGEN
9 May:  Hamburg, Germany – Turmzimmer
10 May: Rotterdam, Netherlands – V11
12 May: Ramsgate, UK – Ramsgate Music Hall
13 May: Brighton, UK – The Great Escape Festival at Prince Albert
14 May: Brighton, UK – The Great Escape Festival at Unbarred Brewery
15 May: London, UK – The Sebright Arms

ABOUT GLAZYHAZE

Glazyhaze is a band from Venice, Italy, influenced by shoegaze, dream pop, and alternative sounds, ranging from dark atmospheres to dreamy and ethereal soundscapes. The band consists of Irene (vocals, guitars), Lorenzo (lead guitar), Francesco (drums, programming), and Vsevolod (bass, vocals). Since the release of their debut album Just Fade Away (2023), Glazyhaze have been active across Europe and the UK, performing in major cities and supporting artists such as Trentemøller, Hater, Film School, and many more. Their second album, SONIC — released in March 2025 — was written and recorded between North-East Italy and London, produced and mixed by Paolo Canaglia (New Candys, Nuovo Testamento) and mastered by Maurizio Baggio (Boy Harsher, The Soft Moon). The record explores the complexities of love through a journey of self-discovery and emotional contrasts, embracing shoegaze, bedroom pop, post-punk, and art-rock influences. In 2025, Glazyhaze toured SONIC extensively with over 40 shows across Europe, supporting Soft Cult on their European tour and joining selected dates with The Raveonettes, Slow Crush, Lucy Kruger, and Clap Your Hands Say Yeah. Their music has been featured on BBC Radio 6 (Steve Lamacq), KEXP, Rai Radio 2, and FM4, gaining widespread acclaim for its blend of dreamy melancholy and raw sonic power.

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SLEEPING PULSE unveil the beautiful lyric video ‘The Butterfly Collector’ as the next advance single taken from their forthcoming new album: Dreams & Limitations. This melancholic yet dynamic and strangely also upbeat track is shaped by a fluttering flute melody.

SLEEPING PULSE comment: “The title, ‘The Butterfly Collector’, is a metaphor for desperately holding onto memories”, frontman Mick Moss explains. “Our main character sees various moments in his past as being perfect and he works hard to create a place in his mind where they are archived and stored. Yet for all his efforts, the sadness that comes with knowing that he can never truly relive those moments again becomes overwhelming.”

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When you allow Northern English melancholia from valleys of green and gray to get married to the eternal longing of Portuguese Fado from where the raging Atlantic meets the heat of summer at the end of the world, SLEEPING PULSE is what you get.

Portugal has a reputation for people casually talking about death when going about everyday life like other folks talk about the weather. England is regarded as a stoic place, which makes it hardly surprising that SLEEPING PULSE explore the profound struggle of staying sane whilst navigating the heartbreaking truth that all existence is not just brief – but also one fraught with personal loss and an inability to hold on to the people that you love.

So far so good, but what sets the duo of vocalist Mick Moss, who is best known for his work with ANTIMATTER, and Portuguese guitarist Luís Fazendeiro apart, is their artistic achievement to make this existential pain audible with every note on their sophomore album Dreams & Limitations. Using a form of doomy progressive or even post-rock as their sonic foundation, SLEEPING PULSE compose music that is in the best way deeply emotional while remaining exciting. The duo’s songs do not wallow in sorrow; they rather embrace the inevitable and live through it for as long as it lasts.

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