Posts Tagged ‘Single’

Australian post-rock band WE LOST THE SEA have announced details of their fifth studio album A Single Flower which is due for release on Friday July 4. They state:

"The world lay wrecked before us, a quiet ruin of things lost and things that never were. The mornings came like the grinding of old gears, a slow turning toward some unknowable purpose. And yet, in the stillness of despair, the nameless rose. Not for hope, nor for meaning, but because something in the marrow of our bones whispered that to rise was the only rebellion left."

A Single Flower follows five years after their fourth album TRIUMPH & DISASTER which was released just ahead of the pandemic and seemed to foreshadow the era of intensity which followed. It reached the Top 50 charts in Australia upon its released, and the band’s eventual tour in support of the record saw them sell out shows across Europe, the UK, Australia & Asia. The band’s breakout record was their critically-acclaimed 2015 album Departure Songs which featured the standout track ‘A Gallant Gentleman’ (featured in the Ricky Gervais series Afterlife). Departure Songs has amassed millions of streams worldwide and sold over 10,000 copies in physical formats.

Their new record features 6 tracks, among them the sprawling 10-minute epic ‘A Dance with Death’ for which a video has been released, filmed at Rancom Street Studios during the album recording sessions with producer Tim Carr. Watch the video now:

WE LOST THE SEA ‘A SINGLE FLOWER’ US TOUR JULY 2025

with special guests hubris

Tue 15 July – RBC @ Deep Ellum – Dallas TX

Thu 17 July – Masquerade (Purgatory) – Atlanta GA

Sat 19 July – Meadows – Brooklyn NY

Sun 20 July – Milkboy – Philadelphia PA

Mon 21 July – DC9 – Washington DC

Wed 23 July – Grog Shop – Cleveland OH

Thu 24 July – Post Festival, The Hi Fi – Indianapolis IN

Sat 26 July – Post Festival, The Hi Fi – Indianapolis IN

Tickets from welostthesea.com & birdsrobe.com

WE LOST THE SEA UK TOUR 2025

Thu 14 Aug – ArcTanGent Festival UK

Fri 15 Aug – ArcTanGent Festival UK

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Ships In The Night is the solo project of the New York City-based songwriter, multi-instrumentalist, and producer Alethea Leventhal. Her electronic dark pop music is drawn from dreams and memories to paint an atmospheric soundscape with sweeping waves of synthesisers and kinetic beats.

‘Blood Harmony’ is released as her new single today. “The song is an incantation to keep us safe and shelter us from harm,” she explains. “It is a reflection on the balance of the light and the darkness, good and evil, strength and vulnerability. It’s about healing, survival, taking back power and letting go of the need for control.”

‘Blood Harmony’ follows the recent ‘Some Of Those Dreams’ (issued in November 2024), with both included on her upcoming third album, Protection Spells, set for digital release on 2nd May and on CD on 9th May by Metropolis Records.

Leventhal’s 2017 debut album, Myriologues, explored the depths of grief and loss, while its 2021 follow-up Latent Powers uncovered the cathartic strength that can be found within darkness.

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Based in Minsk, Belarus, two previous albums by alternative metal act Mission Jupiter have hinted at their potential to be one of the few bands from that territory to achieve lift-off worldwide. Having recruited powerhouse singer Kate Varsak prior to writing and recording their upcoming third album, Aftermath, the result is a set of dramatic, epic songs with modern production values that should see them soar.

‘Crippled Country’ is out today as the latest single to be teased from the album, with the band explaining that the song is about “hoping for the best in dark times. When the going gets tough, the tough get going. In times of darkness, do you fight or flee?”


‘Crippled Country’ follows three previously issued singles, with Prog magazine praising ‘Sometimes It Hurts’ as “a soaring slice of uplifting and dramatic melodic prog” and stating that ‘Human Nature’ “displays the far-reaching appeal of a band who mix atmospheric prog, the darker undercurrents of Cocteau Twins and up-tempo alternative metal.” Metal Talk described the same song as being “swamped by wonderful moods and melodies, all wrapped around a stunning female voice.” These initial efforts were followed by ‘Self-Destruction’, the heaviest and punchiest song by Mission Jupiter to date.

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For the first single from Marc Urselli’s Best of Ramones Redux that will be released parallel to the forthcoming MER Redux Series instalment Marc Urselli’s Ramones Redux, Canadian space metal legends VOÏVOD have teamed up with no less legendary Australian post-punk vocalist JG THIRLWELL (FOETUS) to pay a mind-blowing tribute to the most fitting RAMONES’ classic ‘Zero Zero UFO’. The original of the song was released on the US punk rockers’ eleventh full-length Brain Drain (1989).

VOÏVOD comment: “One of the proudest moments of my life was when Joey Ramone gave a shout-out to Voïvod on stage in Montreal in 1994”, drummer Michel “Away” Langevin reminisces. "I’ve been a fan of the Ramones since their first LP, so you can imagine my excitement when Marc Urselli approached us to cover a song for this album. When he mentioned that collaborations were part of the concept, I immediately thought of JG Thirlwell who has been a good friend since the ’80s. While we could have recorded any of their songs, I’ve always dreamed of playing ‘Zero Zero UFO’. I was so excited about the opportunity that I might have played it a bit fast, making it challenging for Snake and Jim to fit every word in. Fortunately, Marc’s production really makes the track shine, and we’re thrilled with the final result. Enjoy!”

VOÏVOD have written metal history since their founding in Jonquière, Quebec in 1982. The Canadians starting out as a thrash band with strong hardcore punk leanings that was considered “experimental” or “progressive” right from the start. Their highly unique sound somehow survived multiple changes and shifts in style as well as changes in the line-up that have left drummer Michael “Away” Langevin as the remaining original member. There could hardly be a better choice for a homage to the RAMONES and the track ‘Zero Zero UFO’ than VOÏVOD. The Canadians were early adopters of a bizarre futuristic space style in artwork and lyrics, and they have already stunned the world with their daring and successful cover of PINK FLOYD’s ‘Astronomy Domine’.

Australian vocalist James George “JG” Thirlwell has become a most influential artist after moving to London, UK in 1978, where he founded FOETUS as the first of many musical projects with a broad stylistic range that includes post-punk, industrial, and trip hop. Under a variety of pseudonyms such as Clint Ruin and Frank Want, he collaborated with artists such as Marc Almond, THE THE, and Nick Cave among many others.

Check their rendition of ‘Zero Zero UFO’ here:

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Finnish sludge metal powerhouse Demonic Death Judge has just revealed the official video for “Goner”, the blistering new single from their upcoming fifth album, Absolutely Launched, due out on April 30th via Suicide Records.

True to the band’s raw and gritty aesthetic, ‘Goner’ is a sludge-soaked sledgehammer of a track—loaded with thunderous riffs, blues-drenched venom, and apocalyptic swagger.

“We’ve all burned some bridges in our time,” says vocalist Jaakko Heinonen. “I certainly have. Man, even houses, not to mention churches. This is a story about a man who took a few too many wrong steps in his life. And now, the pay is due. This one is a goddamn banger!”

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28th February 2025

Christopher Nosnibor

It seems that the world is devolving, and that stupidity is not only rewarded, but aspired to. It’s been a decline we’ve been witnessing for some time now, and seems to have really become popular currency at an accelerating pace since the advent of ‘reality’ TV. Jade Goody’s career was founded on her complete lack of knowledge of anything, paired with her superabundant willingness to spout her ignorance to the world with pride. The fact she was also an obnoxious racist seems to have been forgiven with her dying young after something of a media rehabilitation. Then we had to endure the moronic pronouncements of Joey Essex, who apparently believed that a turtle’s beak was made of wood, and while some laughed at him and some laughed with him, people lapped up the hilarity of his idiocy and in less than a decade, we ended up in a place where being a fuckwit was cool, and, more significantly, bankable. Because that’s what it all boils down to, ultimately. If you’re wealthy and famous, or infamous, who cares why or how, an if you can get rich and famous simply for being a fuckwit, you’re made. The tide of anti-intellectualism has soared to attain a truly unprecedented peak in the last couple of months, with the drivelling orange imbecile deciding that the way to improve education in the USA – already low-ranking globally – is to shut down the Department of Education and withdraw funding for libraries and anything that may actually enrich and educate the lives of citizens.

And yet, for all this, sometimes, you need music that’s kinda dumb, straightforward, catchy, energetic. This was always the appeal of punk, I suppose. It was rousing, got people pumped up, provided a focus and an outlet for anger and frustration, articulating those feelings in simple and relatable terms. Enter gritty Australian quartet Citizen Rat, who combine dirty punk in the vein of Anti-Nowhere League with a dash of metal rowdy rap and cite The Bronx, Turnstile, and Fugazi as reference points. Australia seems to be particularly good for producing energetic punky grungy acts, from DZ Deathrays to Mannequin Death Squad, and you can add Citizen Rat to the list now.

They describe ‘Shut My Mouth’ as ‘a gut-punching anthem about losing yourself in the struggle to please others, battling self-doubt, and fighting to be heard’, and its power lies in its simplicity and directness. And it’s not an exercise in self-pity, either – more a case of self-realisation, self-loathing, and a desire to do better: ‘I’m a piece of shit / I can’t shut my mouth / seems my life is heading south’, the front rat rants.

Stylistically, it compresses a surprising array into its full-throttle three minutes, going from The Beastie Boys to Motorhead, and packing some heavy-duty riffery, too. Its appeal is twofold: first, there’s a compelling sense of humanity here, the torture of self-flagellation over misspeaks and simply talking bollocks because anxiety or beer or brain disconnect, and second, it’s got a monster chorus and some strong hooks. Yes, it’s brash, it’s dumb, but it’s ballsy and it’s entertaining. And that’s a win.

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Greek black metal visionary Spider of Pnyx has officially unveiled the latest video from his project FELL OMEN—a visual accompaniment to the crushing and evocative title track from his debut album, Invaded By A Dark Spirit, released last February 14th via True Cult Records.

The album marks the first official release under the Fell Omen name, but Spider of Pnyx is far from a newcomer. Known for his collaborations on acclaimed Mystras and Spectral Lore records, and a shadowy history in dungeon synth and martial industrial, this release brings together all facets of his sonic identity into one unrelenting, genre-defying force.

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Spider of Pnyx is also known in the visual arts world as Gilded Panoply, creating surreal and ornate cover art for black metal and dungeon synth artists. That same visual intensity is captured in this new video—bleak, arcane, and mesmerizing.

Recorded and mixed at True Cult Records HQ and mastered at Nidstang Studio, the album is a tour de force of multi-instrumental brilliance. Spider of Pnyx handles every aspect of the music, from vocals and guitars to hurdy-gurdy and drum machines, crafting a seamless blend of medieval fantasy, dark atmospheres, and a fiery mix of metal aggression with punk attitude.

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Philadelphia-based industrial sludge metal band WORST ONES has unleashed the new single ‘Vex’. The track is a crushing, no-holds-barred exploration of Americaʼs decaying ideals. Drawing from the bitter truth of the American Dream’s collapse, the track delves deep into the rise of fascism and the heartbreaking act of protest by soldier Aaron Bushnell, who self-immolated in protest of the war in Palestine.

Musically, ‘Vex’ fuses the raw aggression of ’90s hardcore with the sludgy weight of doom and the mechanical grind of industrial metal, drawing influences from the likes of Biohazard, Eyehategod, and Godflesh. A standout element of the track is the signature “sickness” – rhythmic noise loops that twist and churn alongside the brutal guitars and drums, creating a suffocating atmosphere of unease. It’s a track thatʼs as punishing as it is poignant, reflecting the chaotic, fractured state of the world today.

WORST ONES has explained the meaning of the song as follows:

“’Vex’ is an expression of disillusionment and resistance under the weight of a system built on lies. The lyrics question what freedom is when we live in a country that supports widespread oppression and death. There’s a sense of despair in the verses and searching for answers in the chorus but in the end the song turns into a statement of defiance and resilience.

The opening line “Wasted life is on us, covered all up in flames” addresses the heinous amount of people killed in war and how “the powers that be” utilize new types of bombs that don’t even leave behind a body, literally covering it up.

The lyric “Do you really believe the reaper will bring peace” challenges the concept that violence and killing would bring peace. It questions the false idea that through war or death there can be an end to suffering.

The final lines “They want to destroy us, but we can’t be beat" reaffirm that despite everything, resistance is still possible and even inevitable to triumph. It’s a defiant statement in the face of a system designed to crush individuals, but where the refusal to give up remains unbroken. I wanted to end the song with a statement of positivity and strength.

The story of Aaron Bushnell, who self-immolated in protest of the war in Palestine, deeply resonated with me. He was someone who joined the US Army, maybe out of ignorance or patriotism, only to feel betrayed by what he was asked to do. His act of protest was a refusal to be complicit in a system that had deceived him, and that sense of betrayal and defiance is something Vex reflects. It’s a statement of refusal in the face of violence, war, and manipulation.

As a Syrian American, these themes aren’t just abstract ideas to me. I’ve experienced how propaganda shapes people’s perceptions, how violence is justified in the name of power, and how the most vulnerable are always the first to suffer. I wrote the lyrics with a universal approach to the words because it’s not just now, it’s about the cycles of control, war, and resistance that keep repeating. This song is my way of expressing frustration, grief, and the refusal to be silenced.”

‘Vex’ is accompanied by a lyric video – watch it here:

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New York Sharkcore punks ChumHuffer are back with a new track, ‘Burning,’ from their highly anticipated 7” release, Slaughterhouse Five. Fueled by raw energy and an unrelenting sonic assault, ‘Burning’ is a relentless dive into the struggles of stagnation and the battle for clarity in a chaotic world.

With lyrics that cut deep—“Burning in my head / Voices take control”—the song encapsulates the frustration of being stuck in a cycle of repetition, yearning for progress but feeling the weight of the past. The band’s signature mix of searing riffs, pounding drums, and anthemic vocal delivery make ‘Burning’ a must-hear for punk fans stuck in a rut or recently escaped from one.

“The song is about fighting the loop of insanity, realizing when you’re stuck in the same patterns and the frustration of breaking free,” says Shawn Refuse, singer. “It’s a reflection of personal battles but also speaks to the collective experience of anyone who feels trapped by their circumstances.”

ChumHuffer has built a reputation for delivering aggressive, thought-provoking punk anthems, and Slaughterhouse Five promises to be no exception. The 7” release will feature tracks that capture the band’s hardcore punk sound infused with metal and surf riffs.

Slaughterhouse Five will be available May, 2025 via their personal label DWY Records, and fans can get their first taste with ‘Burning’ streaming March 28th now on all streaming platforms.

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28th March 2025

Christopher Nosnibor

Ahead of a new album release, Protokoll 19 have given us the single ‘When Will It End’. It’s a question I ask myself almost daily. Because fucking hell. Life. The world. Both seem to be an endless hell. You wake up, lug yourself to work, trudge home, you’re wiped, and it’s as much as you can do to eat food, maybe do some chores and get ready for bed again. You scan the news and it’s Armageddon, especially this last couple of months: the world is at war and the fascist agenda of the US ‘government’ sends tsunami-force reverberations around the globe daily. And it just goes on and on and on, forever the same. Here in the UK, our government has decided that mental health issues which [prevent people from working are being ‘overdiagnosed’. We’re all being spectacularly gaslit here. This isn’t a question of overdiagnosis: it’s a matter of how terrible, terrible times – we’re still not really over the effects of the pandemic, and everything since then has felt like the realisation of every dystopian fiction and the worst aspects of history recurring – affect people and send them into states of mental distress. When will it end?

This single, they tell us, ‘sets the tone of what can be expected from the album as a whole. When we find ourselves in a dark place, it often feels like there is no way out. The longer it goes on the more difficult it becomes to engage in anything. We isolate ourselves and see these thoughts as a burden. We’re haunted by these thoughts because they’re always lurking in the shadows.’

With this single, Protokoll 19 deliver a full-throttle stomping technoindustrial blast of skin-prickling tension. The vocals are mangled and gnarly and are more toward the black metal end of the spectrum, a demonic rasp that splutters gasoline and broken glass over the clean surface of hi-NRG synths and a pumping beat. Intense is the word. There is no snoozing through this.

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