Posts Tagged ‘Single’

Manchester-based outfit Caulbearers return with ‘Brothers At The Wheel’, an urgent and uncompromising single that confronts the structures of power governing modern life, while ultimately offering solidarity and collective action as an alternative to despair. It’s is a rich and timely preview of their forthcoming album Come Back Home, out on October 30th via Single Cell Recordings.

‘Brothers At The Wheel’ traces a journey of political awakening – from a naïve plea for those in power to change course before disaster hits, to disillusionment at the resulting hollow words and empty promises that leave the status quo intact.

“If we truly consider humanity as a brotherhood and sisterhood of equals, it seems the ultimate betrayal of our family to exploit, to oppress and to victimise others whilst creating structures that concentrate wealth in the hands of an ever-smaller, unaccountable minority,” explains Damien Mahoney.

“The ‘wheel’ in the title is that system — a machine built to keep turning for profit and power, regardless of the cost to people, communities, or the planet.”

The song’s resolution isn’t despair but solidarity: a call for unity at the grassroots level, recognising that the same struggle echoes in other streets, other words, other languages. In resisting the forces intent on dividing us, the lyrics point to real power within the collective — like a seed that can grow into something more balanced, harmonious, and connected.
The song’s urgency isn’t just lyrical — it’s built into the music itself. ‘Brothers At The Wheel’ comes straight out of the traps with an unrelenting groove: strings, bass, and keys locked into a single insistent pattern, guitar answering in the gaps, percussion driving it forward, while the vocal melody cuts its own path in short, sharp phrases that swap between landing on and off the beat.

Past the tempo shift, the song opens into a second movement: a soaring, wordless lament from ethereal folk artist Ruth Blake — beautiful and mournful, yet defiant, a celebration of the human spirit. Underneath, the arrangement builds in waves — guitars layering, cello and violin rising, keys, bass and drums gathering weight — swelling to a crescendo before dissolving.

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A collective of musicians formed in 2007 and led by Damien Mahoney, Caulbearers are known for blending diverse musical styles, including soul, funk, hip-hop, dub, nu jazz, folk and post-punk influences. With contributors hailing from around the UK and Europe, their DIY ethic has coursed through every element of their releases, from design, production, videos and gigs to the recording process itself.

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Caulbearers

Lola Pony is a Mexican, lesbian, neurospicy, trashartivist performer and DIY musician. She produces with anything she can get her hands on – keyboards found in the bins, eclectic samples of life, her friends’ instruments, and her voice – as showcased in her hedonistic debut album Pink Trash Chicken.

Now, she’s released her theatre inspired finale, via a music video for uber contagious lead-single ‘Last Superstar Alive’.

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Her performances are bonkers, powerful, and needed, believing that happiness and love are the cornerstones of revolution – and everyone is invited! Trained in the performance arts since the age of 5, Lola Pony studied vocal jazz at Berklee Latino College of Music and toured Mexico with her former band, Foxy Blues.

Recently selected for a three-month Artist Residency at Cartel Studios, London, Lola Pony’s new music showcases the fruits of her summer. In her ‘Bad Girl Pt. I (b.a)’ music video, she assures us that she just wants to have fun, and that came across strong via her wacky, tongue-in-cheek music video.

She has come to be known for being unapologetically real, from her controversial single LOLALOLALOLA, criticising institutionalised paedophilia, femicides and human trafficking in Mexico, to her advocacy for human rights with ACT UP (where she volunteers), with her being interviewed by National TV in Mexico and The Telegraph.

However, it’s the new single, Last Superstar Alive, that steals the show and at just a little over 1-minute long, launched her debut album with a boom.  Theatrical and groovaliciously infectious, it’s a reminder that Lola Pony is just as musical as she is activist, as she is art.

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Los Angeles metallic hardcore outfit LOCKSLIP today release the video for ‘Vengeance (You’ll Be Seen By Your God),’ the second single from their forthcoming debut album The Conversation, out November 6 via Bleakhouse, the label founded by King Yosef.

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A volatile collision of metallic hardcore, mathcore and metalcore, “Vengeance” barrels forward with breakneck drumming, violent rhythmic shifts, world-ending breakdowns and flashes of melody, channeling the emotional urgency of Converge and the technical chaos of The Dillinger Escape Plan.

Lyrically, the track confronts abuse and the systems that allow those in positions of trust and authority to escape accountability.

Vocalist Sara G explains: “A recurring theme throughout this album is one of consequences. This song was inspired by someone close to me who survived abuse while in the Boy Scouts. This led me to learn of the close connection between the Boy Scouts and the Catholic Church in their efforts to protect themselves against accountability. People in power, so-called righteous people, perpetrating heinous acts against those meant to trust them. Surely if their afterlife is real, they can’t escape judgement.”

Shot and edited by Harper King, the accompanying video captures footage from Lockslip’s August 2026 tour of the Pacific Northwest and Canada, mixing moments from life on the road with the sheer physical intensity of the band’s live performances.

‘Vengeance’ follows first single ‘Gray World,’ featuring guest vocals from King Yosef, and offers another glimpse into the unrelenting sound of The Conversation.

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Photo by Harper King

Something brutal and pernicious is dragged kicking and squealing from the unfathomable depths of ancient Lisbon: CRUCIVORE unveil the filmed music video ‘Devourer of Existence’. The track is also the next advance single taken from the Portuguese band’s forthcoming debut full-length Desecration. The album has been slated for release on November 13, 2026.

CRUCIVORE comment: “The track ‘Devourer of Existence’ is pure brutality from start to finish”, guitarist Ricardo Jorge states on behalf of the band. “This song is packed with crushing riffs, slam, massive breakdowns, and relentless blast beats that don’t leave much room to breathe. Without a doubt, this is one of the most diverse and punishing tracks we’ve made so far and it will definitely shake your soul.”

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Crucivore were conceived on December 14, 2024. Precisely on that day, former ANALEPSY vocalist Ricardo Proença and guitarist Sérgio Páscoa (DOWNFALL OF MANKIND et al.) decided to join forces and form a new band. After recruiting more experienced musicians from Portugal, this new musical entity drew from decades of honing their craft to amalgamate crushing riffs, relentless drum pounding, devastating breakdowns, cavernous vocals, and carefully crafted dynamics into a contemporary sound that merges death metal intensity with the crushing weight of brutal death and slam.

Crucivore opted for the classic lyrical themes of their genre, and their songs generally revolve around corruption, decay, blasphemy, mortality, and apocalyptic scenes, while also exploring the grotesque nature of existence through a lens of darkness and desecration.

Rather than relying on nostalgia or trends, Crucivore seek to contribute to the ongoing evolution of death metal through conviction, experience, and an unwavering dedication to the underground. Instead of just delivering more of the same, the Portuguese seek for ways forward and they have found it in musical storytelling.

With Desecration, Crucivore deliver an outstanding debut full-length album and a musical vision that is bound to respectfully and diligently broaden the horizon of death metal.

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‘Broken Heart’ / ‘Fire’ is a brand new double AA single by the darkwave and goth scene leaders Clan of Xymox. Out today (23rd September), it is the first new music by the group since the release of their ‘Exodus’ album in mid-2024.

Clan of Xymox co-founder and frontman Ronny Moorings describes ‘Broken Heart’ as “a journey through heartbreak, desire and emotional combustion.” Driven by haunting synths, a hypnotic pulse and melancholic vocals, his aim with the song was “to capture the tension between losing someone and still being consumed by them.”

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Formed in the Netherlands in 1982, Clan of Xymox were originally signed to 4AD and established a cult following in the UK and mainland Europe with a highly atmospheric post-punk sound. The group enjoyed US chart success after signing to Polygram in the late-‘80s and shifting into a more commercial synth-pop direction that incorporated alternative dance elements, but it was the resurgence of the gothic and electro-industrial rock scenes a decade later that gave Moorings and his bandmates a fresh impetus from which they have prospered ever since.

The group have maintained a consistent international presence with regular releases and tours, with their 2026 schedule including main stage performances at the renowned WGT-Leipzig and M’era Luna festivals. Their live itinerary to the end of 2026 is as follows:

2nd October  ROME Traffic Club (IT)
3rd October  NAPLES Lizard Club (IT)
7th November  BOCHUM Gleis 9 (DE)
10th November  MUNICH Strom (DE)
11th November  VIENNA Chelsea (AT)
12th November  BUDAPEST A38 (HU)
13th November  ZAGREB Culture Factory (HR)
21st November  VALENCIA Sala Jerusalem (ES)
27th November  ZABRZE Klub Ck Wiatrak (PL)
5th December  STRASBOURG La Laiterie (FR)

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Continuing the celebration of her new album Real Life Evolution, released via UK label Reveal Records, NYC singer-songwriter Joan As Police Woman has teamed up with the illustrious Iggy Pop on ‘Save Me’. The track is one of ten fresh interpretations of songs from Joan’s 2006 debut Real Life album, reimagined two decades after its original release with a new cast of collaborators and released exactly 20 years from her debut.

Joan Wasser, known as Joan As Police Woman since 2004, is a critically acclaimed musician and producer, and a sought-after collaborator, dubbed “the coolest woman in pop” (The Times) and “one of the 21st century’s best musicians” (The Economist). As a singer, songwriter and multi-instrumentalist, her music defies easy categorization, crafting her own sound that blends various genres.

“Some transformations are subtle. Others are seismic. All of them were made with an entirely new cast of collaborators. Among them are two extraordinary vocalists. The inimitable Iggy Pop — whose band I’ve had the privilege of touring with, playing keys and singing — recorded a stunning version of ‘Save Me’ while we were on the road in New Zealand. We had to work around the birds outside, who apparently had strong opinions about the session. Then there’s Krystle Warren, a true original and one of my favorite singers alive. Her voice is so deeply soulful that ‘I Defy’ feels like it thoroughly enjoyed easily slipping into its brand new groove,” says Joan.

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Music has a way of taking on a life of its own, evolving and revealing new meaning as the years pass. Through countless performances, the new renditions on this extraordinary album are brought to life by the brilliance of the players who helped define their sound. This remarkable opportunity to hear Joan return to the music that helped define her artistic journey brings new perspective, texture, and energy to songs that have already stood the test of time.

“My friend’s reaction when I told them who sang this? “Iggy Fucking Pop”?? And yes, I am lucky enough to have been able to record him in a professional studio in New Zealand (a hotel room next to the pool on a day off). Thank goodness for portable recording rigs," explains Joan Wasser.

“To me, Iggy is one of the great romantics. A few years ago, when I joined his band on Wurlitzer organ and vocals, I began to weep while in rehearsal for ‘The Passenger’. His voice is simply one of the greatest of all time. It holds a commanding masculinity alongside a profound connection to the fully range of human experience. This song carries that same quality I’ve always heard in him: a raw, aching desperation that few singers can touch. I am forever grateful to the "’Godfather of Punk’”.

Real Life anniversary tour dates:

NOV 5  London, UK – Union Chapel
NOV 6  London, UK – Union Chapel
NOV 7  Manchester, UK – RNCM (Royal Northern College of Music)
NOV 9   Glasgow, UK – Oran Mor
NOV 11  Brugge, Belgium – Cactus Club
NOV 12  Amsterdam, Netherlands – Zonnehuis (sold out)
NOV 13  Hamburg, Germany – Mojo Club
NOV 15  Aarhus, Denmark – Train
NOV 16  Copenhagen, Denmark – DR Concert Hall
NOV 18  Budapest, Hungary – House of Music Hungary
NOV 22  Berlin, Germany – Haus des Rundfunks & Großer SendesaalFEB 12  Paris, France – Alhambra
FEB 14  Amsterdam, Netherlands – Zonnehuis
FEB 16  Bremen, Germany – Kulturzentrum Radio Bremen
FEB 17  Heidelberg, Germany – Kulturhaus Karlstorbahnhof
FEB 19  Schorndorf, Germany – Club Manufaktur
FEB 21  Brighton, UK – Komedia
FEB 22  Cambridge, UK – Cambridge Junction (J2)
FEB 23  Norwich, UK – Norwich Arts Centre
FEB 24  Leeds, UK – Howard Assembly Room
FEB 26  Bologna, Italy – Estragon Club
FEB 27  Milan, Italy – Santeria Toscana 31

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HEAVY TEMPLE reveal a heavy-tripping music video featuring the track ‘A Desert Through the Trees (Live)’. The song is lifted from the psychedelic heavy rockers’ digital live album Live from the Inner Sanctum, which is scheduled for release on October 9, 2026.

HEAVY TEMPLE comment: “Our song ‘Desert Through the Trees’ was directly inspired by the Kyuss track ‘Asteroid’ with a dash of Soundgarden and, believe it or not, a pinch of Pantera”, frontwoman High Priestess Nighthawk reveals. “It’s also the first track on Lupi Amoris. With this album, I feel that Heavy Temple really started hit its stride.”

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HEAVY TEMPLE are built to perform. The natural habitat of these American heavy rockers is the stage. They live and breathe playing live. They eat and drink the sweet nectar of stage sweat and backstage grub.

With their digital album Live from the Inner Sanctum, HEAVY TEMPLE deliver an authentic, honest, and raw statement about that irresistible impulse that drives them onto the roads of America and Europe to work extra hard every night to delight their audiences.

Live from the Inner Sanctum is not faking it at all. Honest mistakes are not electronically polished away, AI holds no sway over humanity here. This album is deliberately truthful and pointedly neither glossy nor sugar-coated. Take HEAVY TEMPLE as they are or leave it.

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British alternative artist SICKY unveils his new single‘Bubblegum Party’, a playful, infectious slice of indie rock that pairs catchy pop sensibilities with his trademark off-kilter style.  Beneath the bubblegum facade lies a gloriously messy breakup party, served with a crooked grin as sweetness meets spite, chaos and a wicked sense of fun.

‘Bubblegum Party’ offers the first taste of his forthcoming full-length Redland album – his fourth to date. Full of mischief, attitude and a darker sense of humour, here SICKY delivers one of his most fun and irreverent songs to date. ‘Redland’ is an album about friends lost along the way. It’s a good bit darker than its predecessor Troubled Delight.

“Ultimately, ‘Bubblegum Party’ is a tale of sweet revenge. A public humiliation of someone who absolutely had it coming to them. It’s a work of fiction but has a large toe touching reality. We’ve all met the cocky arrogant lowlife type who tries to control someone they’re supposed to be close to. Well, in this song, he gets his comeuppance at our heroine’s birthday party,” says Mick Butler.

“The bubblegum reference is effectively a middle finger gesture by the metaphorical blowing of an exploding gum bubble in someone’s direction. It’s poppy, it’s silly and it’s just a bit of fun amongst some much darker moments on the Redland album”.

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SICKY is the solo project of Mick Butler, whose brand of melodic Britpop-infused indie rock spells good news for fans of Beck, Supergrass and early Blur. Originally from the Black Country region of England, he is now based in Shropshire. 

While Mick Butler has had his run of playing in bands, ranging from the brass soaked pop of Papa Mantra to the dirty stomp of SUMO, he now derives pleasure from banging out tunes and crafting new material. Literally everything you hear in his music is him squeezing noises out of anything that’ll sing.

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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. 

‘Zero’ is the first single to be lifted from a long-awaited sixth album entitled Endless that is set for release on 20th November via Metropolis Records. A futuristic, cyberpunk dancefloor number crawling with nanowires and melodic synth-pop vocals filled with noise, the song looks back to the halcyon days of 2006 when the third Dismantled album Standard Issue was released and compares it with the general feeling of emptiness felt in society today.

‘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 released songs.

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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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Norway’s grindcore mavericks Beaten To Death are back with another perfectly reasonable contribution to extreme music: a song called ‘Fuck the Moon’.

The new single is the latest taste of the band’s seventh full-length, Vntrve, due October 23 via Mas-Kina Recordings, and follows the wonderfully deranged ‘Sunburnt Satanist’ and saxophone-assisted ‘The Tolerator’.

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Following releases such as Xes and Strokes, Last Maar, Ik Verhuis Naar Het Bos, and Sunrise Over Rigor Mortis, Beaten To Death remain as restless and inventive as ever. Vntrve embraces everything that has made them one of Norway’s most distinctive extreme acts: blistering speed, sharp songwriting, unexpected twists, and an irreverent spirit that refuses to take itself, or the genre, too seriously.

The result is another album that captures the essence of Beaten To Death: grindcore only in the loosest sense of the word, equal parts ferocious, inventive, hilarious, and completely unhinged. Sixteen years on, they’re still proving that the best way to honour the genre is to ignore its rulebook entirely.

Vntrve is out October 23. Pre-orders will be announced soon.

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