Posts Tagged ‘Single’

The Body and Cel Genesis have shared ‘To Be Eviscerated,’ the final preview of their collaborative debut, Whole Wide World, out November 13 via Thrill Jockey.

Following previous singles ‘Candy Crush’ and the title track, ‘To Be Eviscerated’ opens with rattling toms and ominous electronics before erupting into a barrage of blown-out noise, impassioned vocals, and restless percussion. It captures the tension at the heart of the Portland and Oakland projects’ collaboration: creation itself becomes an act of defiance, a way to carve out something meaningful from a world facing oblivion.

About the track, Chris says “Love this track, composed of an insane array of genre elements, from industrial textures to dubstep-inspired subs, roto toms to gabber kicks, all married with three distinctly horrifying vocals. An unhinged, dynamic, yet cohesively powerful banger. Perfectly captures the collision of elements and influences represented by this exceptional collaboration.”

Hear it here:

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The collaboration took shape on tour, with few rules established ahead of time. Cel Genesis’ maximalist compositions and aggressive editing collided with The Body’s improvisational instincts, allowing both projects to push their respective approaches into unfamiliar territory. Drawing on trance, distortion, and experimental electronics, the resulting album is driven by the visceral interplay of dual drumming from Lee Buford and Nick Cowman, alongside the combined force of both groups’ vocals.

Recorded at Machines with Magnets by Seth Manchester, with additional recording by Andrew Oswald in California, Whole Wide World evolved over two years of recording and meticulous editing. Some songs began with electronic beds generated by Cel Genesis, while others grew from live drums, with each group reshaping and reimagining the material.

Whole Wide World is dense and heavy, yet made with joy. Its songs confront today’s harsh realities through the eyes of an unrelenting optimist reckoning with the death of possibility itself.

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Photo: Chris Danko

Stockholm post-punk trio Then Comes Silence present ‘Bye Bye Land’, the third single from their impending Requiem Ballroom album, due in late November via Metropolis Records.

Confronting the helplessness of watching a loved one struggle with trauma, this song delivers a deeply personal reminder of life’s value, the power of human connection, and the hope of finding a reason to carry on.

A tightly focused trio since 2022, Then Comes Silence was formed in 2012 by vocalist-bassist Alex Svenson in 2012. Drummer Jonas Fransson and guitarist Hugo Zombie, round out the band in its most direct, powerful and uncompromising form. One of the leading names on today’s goth, post-punk and darkwave scene, they are driven by a fascination with horror, the occult and the raw intensity of underground music, having forged a distinctive sound and a devoted international following.

“This song is, in many ways, a slap in the face to one of my dearest friends. Someone who, after experiencing a life-changing trauma, reached a point where he decided he no longer wanted to be here. I’m not going to pretend that I know what was going through his mind or that I can fully understand what he was feeling. But I do know how deeply grateful I am that he’s still here. And I know I’m far from the only one who feels that way. With this song, I want to remind him of how much he means to all of us… and, most importantly, how much his life means to himself,” says Alex Svenson.

“Watching someone self destruct can leave you feeling completely helpless, especially when it seems like there’s nothing you can do to intervene. If you or someone you know is going through a difficult time or experiencing thoughts of suicide, please know that help is available. You don’t have to face it alone.”

Listen here:

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Colorado outfit A SHORELINE DREAM present their landmark album  Waiting, arriving 20 years after their debut album Avoiding the Consequences. Formed in 2005, RYAN POLICKY and ERIK JEFFRIES have forged an expansive, guitar-driven sound that blends shoegaze, post-punk, psychedelia and experimental textures. A prolific duo with collaborations spanning Ulrich Schnauss, Ride’s Mark Gardener, and members of Engineers and Chapterhouse, the Barnum-based project is one of Colorado’s longest-running independent music acts. Waiting reflects on the ups and downs, and the personal sacrifices, uncertainty, and persistence that come with a life devoted to music, asking what ultimately remains.

The album was previewed by the singles ‘Legacy’ and ’20’, whose short film blurs the line between dreams and reality — a journey through longing, emotional highs and lows, and the passage of time. The project represents a shift from waiting for life to happen toward actively shaping what comes next, transforming frustration and reflection into music that is emotionally direct and unflinching. With Waiting, A Shoreline Dream honor the legacy they have built while looking firmly ahead — a testament to the enduring power of independent artistry, creative partnership, and the determination to keep moving forward.

As a taster, you can see the video for ‘20’ here:

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French melodic death metal/metalcore quartet GATES OF AUTRICON have released a music video for their new single ‘Seven,’ a hard-hitting blast of relentless riffs, guttural vocals and epic melodic leads, fusing melodic death metal with modern metalcore muscle.

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Hailing from France’s Franche-Comté region, GATES OF AUTRICON bring together the melodic aggression of death metal with the immediacy and power of modern metalcore. Drawing influence from bands including Trivium, Malevolence and Children of Bodom, the quartet balance crushing riffs and visceral vocals with soaring melodies, guitar solos and an unmistakable desire to tear things apart on stage.

With ‘Seven’ that aggression is matched by an equally confrontational subject.

“This song is about our leaders’ disregard for the voice of the people and social peace,” says the band. “It crystallizes 10 years of mounting tension. It was important for us to record it in the studio and pay special attention to our sound. It’s a hard-hitting track that encapsulates what we do best.”

The band’s roots stretch back to Chartres, known as Autricon in the Celtic language, where its members spent years developing their shared musical identity and love of aggressive riffs and guttural vocals. It was later in Belfort that GATES OF AUTRICON fully brought the project to life, eventually releasing their debut EP Reclaim.

Since then, the band have steadily established themselves within the eastern French metal scene. With artistic support from Belfort venue La Poudrière, they opened the Sapins Metaliks Winter Fest in November 2025 alongside Assigned Fate, Fractal Universe and Gorod, closed the Fête de la Musique at the legendary Atelier des Môles in June 2026, and most recently headlined La Poudrière’s Support Your Local Bands event in October 2026.

At the heart of GATES OF AUTRICON is a constantly evolving take on modern metal, pairing ambitious songwriting and an aggressive, melodic sound with socially conscious lyrics rooted in anxiety, frustration and growing social tension.

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Montreal-based indie rock/alt-pop artist Martin Saint presents his new single ‘Endless Bridge’, a poignant exploration of love, loss, forgiveness, and letting go. The song follows a relationship from its tender, snow-covered beginnings through heartbreak and separation, ultimately arriving at the possibility of reconciliation and emotional release.

Drawing on the atmospheric DNA of ’80s artists such as The Mission, The Church and Echo and the Bunnymen, ‘Endless Bridge’ evokes changing seasons, long distances, and the passage of time. Its imagery moves between the innocence of early romance, a sense of divine grace, and the vulnerability of confronting what remains after two people part.

At its core, the song is about what happens when love is tested by time and distance. Rather than holding on at all costs, the narrator gradually arrives at a place of acceptance—where forgiveness becomes a form of freedom, and letting go becomes its own expression of love. The final image, like an offering carried out to sea, captures that surrender: painful, beautiful, and ultimately liberating.

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Martin Saint is a Montreal-based singer-songwriter who is perhaps best known as lead singer and guitarist of The Ember Glows and Citylake prior to that. Since The Ember Glows parted ways in 2024 after half a decade and a solid string of releases, Martin has established himself as a solo artist. Apart from writing, recording and performing his own music, he also collaborates with a handful of fellow Montreal artists, such as Johnny Couteau, SU, DJ Sarcastic, and HJ & The Constellations.

‘Endless Bridge’ is Martin’s first new music since his full-length Seekers album, released in spring of 2025. With glimmers of Nick Cave, David Bowie, Leonard Cohen, Bauhaus and The Doors infused through his work, his music presents a unique cinematic mood permeated by poetic lyrics, baritone vocals, and hooks over soundscapes.

“The song ‘Endless Bridge’ is about as close to a love song as I’ll ever get, but there’s a bittersweetness to it. Beginnings, endings, renewals. It expresses faith in the future and letting go of forces holding us back, even if this may take a lifetime. There’s definitely a spiritual undertone tucked in there. Musically, I wanted something that’d sound epic. Something that is melancholic and foggy, but ultimately also uplifting and catchy,” says Martin Saint.

“In between the two albums, I went back into the studio to re-record ‘Endless Bridge’, one of my holder songs that I had originally released back in 2017 with my former band Citylake. I felt this song, in particular, deserved a dedicated rework and a new release — under my own name this time around. This song and its performance reflects where I am at this moment in time, as well as how far I’ve come since the period that the song was penned.”

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Martin Saint

9th October 2026

Christopher Nosnibor

Manchester’s finest self-labelled gutter punks, The Battery Farm are back with their first release in almost two years. Despite having only started out in 2019, ‘Your House Looks Spooky’ is their seventeenth single. There have been three albums in that time, too. Still, in the time away, they’ve regrouped, refocused, and penned another album: you could hardly accuse them of slacking, especially when the first taste of said forthcoming album lands in the form of such a ball-busting punk blast.

It’s only a fraction early for Halloween, but since the supermarkets have been flogging sweets, skeletons, and pumpkins since August bank holiday, the timing is probably about right, in fairness. And despite the title, and the cover art, it’s not actually a Halloween-themed song. As ever, there’s a lot happening here, both musically and lyrically. They describe it as ‘A song about punching down, judgement and the importance of good home décor’. Seemingly unrelated matters, but they spin them together nicely, pinned to a gut-shaking, snarling bass and piton-pumping drums, which provide the foundations for driving guitars and a gritty vocal delivery.

And when it comes to punching down, it seems to be the in-thing right now. Everything’s shit: that’s a fact, not an opinion. But right-wing opportunists are swooping on it and making capital by blaming migrants and the poor. Yeah, those asylum seekers who aren’t allowed to work, and are given a sustenance allowance of pennies a day while living in ‘accommodation’ which is practically a prison? Farage and Robinson and the like – moneyed grifters who are living it large on donations – whip up outrage among the lowest-educated, lowest-paid, and / or benefit claimants, by telling them that these people are taking their jobs and are the reason their lives are shit. Yep, Yaxley-Lennon pleads for donations from these dupes from his sun lounger in Spain, and Farage… Farage – married to an immigrant – needs to just fuck off and doesn’t warrant any more column inches anywhere. We’ll not even start on Trump, the most corrupt piece of shit to ever hold the American presidency. To cut to the chase, the rich are getting richer and the poor are getting poorer, and the worst of it is that the rich are doing so at the expense of the poor, as executive pay soars year on year while the workers who earn the money to fund those executive salaries receive below-inflation pay increases, year after year. Circuitously, but by a necessary detour, I arrive at the point: the rise to the top isn’t achieved by positive qualities, but by means of subtraction, and Battery Farm rail against all that shit by punching outwards, punching upwards, and punching hard with heartfelt fury against the system, the status quo.

Looping back to the cover art, the graffiti on the devastated, flame-wracked building is a statement in itself, and tells you where The Battery Farm stand. They’re the good guys, on the right side of history. They’ve got fire and passion in abundance, too.

The surprise here is just how accessible ‘Your House Looks Spook’ is. It’s no radio-friendly pop song destined for any R1 playlists, but it is strong on hooks – and would perhaps even qualify as punk-pop if it wasn’t so damn dense and dirty. And this is why it’s great, of course. Dense, dirty, angry is what I’m here for.

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Industrial rock/metal band, OUR FRANKENSTEIN has just unveiled their new single and video for ‘Jealous God’ in anticipation of their forthcoming EP, Comedy.

Addressing envy and devotion: OUR FRANKENSTEINn tackle spiritual imprisonment. ‘Jealous God’ harkens back to the old gnostic belief that our reality is secretly under the control of a malevolent demiurge named, Yaldaboath. The song and music video contrast the false god’s wrath with real world catastrophe in a style that could only be viewed as satire.

The ‘Jealous God’ video invites the question that if our fate is in the hands of the powers that be…what happens if we (the people) obtain the crown? The video was shot by Pablo Salamone and directed / edited by Ryan Laney.

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OUR FRANKENSTEIN is a Gothic Metal band that was formed in Orange County, CA in 2013. Drawing influences from both cinema and the gothic music scene, the band has quickly evolved to what it is today. With one foot rooted in myth and the other in reality, OUR FRANKENSTEIN creates music that tells a story.

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Founded by US electronic musician Gary Zon in 2000, Dismantled issued five albums over the next decade that blended multi-layered electro-industrial music with melodic trance elements, resulting in a darkly brooding and futuristic sound.

‘Wired For War’ is the second single to be released ahead of a long-awaited new album entitled Endless, out on 20th November via Metropolis Records. As with its predecessor, ‘Zero’ , it is a synth-pop noir nugget tailor-made for futuristic dancefloors, albeit with a lyrical message critical of the hollow inanity of much of modern society.

Endless was primarily recorded in Oregon and completed in Southern California. Zon describes it as his most cohesive work yet and a record that has helped him rediscover the sound that gave the project its unique appeal at the outset. He also states that fans will spot deliberate references to previously issued songs.

Hear ‘Wired for War’ here:

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Having begun making electronic music in 2000, Gary Zon soon came up with a brand of complex yet melodic electro-industrial and trance sounds that saw him compared to peers such as Front Line Assembly, Haujobb and Wumpscut.

Dismantled signed to Metropolis Records and issued a self-titled album in 2002. It was followed by the acclaimed Post-Nuclear (2004), a record that introduced a clearer vocal style into what was otherwise a grittier and more organic soundscape. Standard Issue (2006) was previewed with Breed To Death, an EP that included remixes of new and already released songs by the likes of Psyclon Nine, Haujobb and Wumpscut, and was then followed by a lengthy period of touring ahead of the release of fourth album, When I’m Dead (2007).

US and European tours with VNV Nation, Apoptygma Berzerk and Combichrist preceded the The War Inside Me (2011), the most aggressive Dismantled output to date. Promoted on a tour with Front Line Assembly, it was followed by an EP, Whole Wide World (2012) and two further EPs, The Hero (2016) and No Escape (2020).

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Swiss noise-rock collective COILGUNS today drop a visualizer video for “Platform Decay,” the latest single from their forthcoming fifth studio album Everything We Love, We Destroy, due out November 6 via Humus Records.

Following recent singles ‘Peace Trader,’ ‘Carbon Magic’ and ‘Everything We Love, We Destroy,’ the new track finds COILGUNS turning their attention towards the increasingly broken state of the internet, while celebrating the hackers, geeks and activists fighting to keep the digital world independent.

The band comments: “Hopelessly witnessing the systemic enshittification of the internet made us want to celebrate the hackers and geeks that are fighting to keep the digital world independent. In times when reliable information has become a rare and questionable value, we’re constantly confronted with violent news, sometimes not knowing why we’re getting to read it, nor knowing how to determine its level of reality.”

Rather than surrendering to that digital chaos, ‘Platform Decay’ becomes something of an anthem for what the band describe as the “modern pirates of our digital oceans,” driven by an insistent vocal refrain and the raw, physical urgency at the heart of the new record.

Musically, COILGUNS see the track as perhaps the clearest representation yet of where the band stands today.

“This song is probably the clearest example of what Coilguns sounds like today. Every member’s personality found its way into it, yet it doesn’t really sound like anything we’ve released before. It somehow brings together everything we’ve learned over the years while opening another door stylistically.”

That evolution is also hidden within the track’s details. Ben Chisholm (Chelsea Wolfe, The Armed) contributed additional production, including the song’s pulsating synth textures, while an old, beautifully out-of-tune hand-pumped harmonium discovered during the guitar sessions found its way into the recording.

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Tour Dates
25.11 – Utrecht, NL
26.11 – Brussels, BE
28.11 – Antwerp, BE
29.11 – Tilburg, NL
02.12 – Cologne, DE
04.12 – Hamburg, DE
05.12 – Berlin, DE
06.12 – Munich, DE
12.12 – Lausanne, CH (Release Show)

2027 Tour Dates
13.02 – Annecy, F – Le Brise Glace
28.02 – Brighton, UK – Green Door Store
01.03 – London, UK – Moth Club
03.03 – Nottingham, UK – The Angel
04.03 – Birkenhead, UK – Future Yard
05.03 – Glasgow, UK – Stereo
06.03 – Newcastle, UK – Lubber Fiend
07.03 – Manchester, UK – SOUP
14.03 – Madrid, ES – Wurltizer Ballroom
16.03 – Lisbon, PT – Casa Capitao
17.03 – Porto, PT – Ferro Bar
18.03 – Vigo, ES – Master Club
19.03 – Bilbao, ES – Bilborock

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Photo: Andy Ford

Norwegian stoner-punk rockers Bokassa return with a bang on ferocious new single ‘Cop Out,’ a no-nonsense barnburner set to please fans of the band’s heavier side.

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The track sees the power trio firing on all cylinders, leaning into their metallic hardcore roots with a dash of thrash metal. ‘Cop Out’ is an unapologetic blast inspired by everything from protest songs with lyrics so broad they could apply to anyone, to bands that probably should have called it quits years ago but are still squeezing money out of their fans.

“It’s about quitting while you’re ahead, before you become something you despise. Before you start doing expensive VIP meet & greets, before you write lyrics that are just empty buzzwords, before you start doing TikTok dance videos to sell more tickets. I don’t wanna spend my time coming up with new ways to get views on social media when I know there are still different pizzas out there I haven’t tried yet,” says vocalist Jørn Kaarstad.

Perhaps that’s one of the reasons why, in 2026, Bokassa are releasing music through their own label, Kings of Stonerpunk Records, under which they’ve released several titles over the years, including their universally acclaimed 2017 debut, Divide & Conquer.

Alongside the new single, Bokassa also announce their fifth album, Anomalies, a fitting title for a band that has never quite fit in anywhere.

The band’s relentless collision of punk, metal and rock subgenres into their own self-styled stonerpunk has seen them tour with acts as diverse as Clutch, Lagwagon, Therapy?, Zebrahead and Mastodon. That same refusal to stick to a single genre has always made Bokassa difficult to pigeonhole. In a world where bands are often rewarded for sounding like other bands people already love, Bokassa mostly sound like themselves.

“I don’t wanna be a ‘we got McDonald’s at home’ version of an older, better band. I see bands becoming universally acclaimed for that, and it’s probably smart to do so for commercial success, but then again, we’ve never been a band known for smart decisions. So we’ll stick to what we think is exciting,” says Kaarstad.

Anomalies will arrive in March 2027, accompanied by an extensive tour across Europe, the UK and the band’s native Norway.

Catch Bokassa live across Norway, the UK and Europe on the following dates:

March 12 – Kulturhuset i Bergen – Bergen, NO
March 13 – Blårock – Tromsø, NO
March 20 – Rockefeller – Oslo, NO
April 2 – Kafé Krank – Kristiansand, NO
April 3 – Folken – Stavanger, NO
April 9 – Byscenen – Trondheim, NO
April 16 – The Cobblestones – Bridgwater, UK
April 17 – The Black Heart – London, UK
April 18 – The Old Salutation – Nottingham, UK
April 19 – The Lodge – Manchester, UK
April 20 – The Joiners – Southampton, UK
May 6 – Monument 013 – Gothenburg, SE
May 7 – Stengade – Copenhagen, DK
May 8 – Betty – Hamburg, DE
May 9 – FRANNZ CLUB – Berlin, DE
May 11 – Nachtleben – Frankfurt, DE
May 12 – Luxor Live – Arnhem, NL
May 13 – DB’s – Utrecht, NL
May 15 – Antwerp Metal Fest – Antwerp, BE

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Photo by Thomas Moe Ellefsrud