Posts Tagged ‘Single’

Long held in high regard for a sound that is a modern and unique take on classic goth and post-punk, Swedish trio Then Comes Silence have released a brand new single entitled ‘Judgement Day’. It is the first to be lifted from Requiem Ballroom, their new studio album out on 20th November.

“This song is about failure, bad decisions and poor behaviour – those who will be the first in line on doomsday,” the band explain. Beginning with a catchy Euro techno melody, the surprising intro creates a contrast to the band’s established roots from the outset and serves as a metaphor for the theme of the song. The band itself ‘fails’ by letting something completely unexpected and out of character take over.

A video for ‘Judgement Day’ has been directed by Damon Zurawski of Future Legends Films and can be seen here:

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Requiem Ballroom will be the follow-up to Trickery, the seventh full-length album by Then Comes Silence released in 2024. Collecting accolades galore, the UK’s Classic Rock magazine described it as “the post-punk influence of Bauhaus or Joy Division offset by an ’80s windblown, cinematic sense of drama presented with silky production and confidence.” Vive Le Rock concurred, remarking on its “huge, spectral sound that cascades the post-punk genres seamlessly whilst delivering a unique and compelling sound that is as captivatingly gripping as it is intense.”

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Creative powerhouse MILDREDA will make your skin crawl with their eerie lyric video for ‘Silk Skin’, the next advance single taken from the Belgian dark electro duo’s forthcoming double album Realities, which has been slotted in for release on August 28, 2026.

Mildreda comment: “This track revolves around unspoken desires and the familiar, exhausting push and pull between longing and retreat”, mastermind Jan Dewulf writes about the lyrical content. “I wanted to transform that tension into a ritual – a feverish invocation, a dance that binds, summons, and slowly pulls you under. Musically, the heavy bass was a happy accident in the studio, one that instantly revealed the direction that I needed to take. A relentless pulse rooted in EBM, and unmistakably Belgian at its sonic core.”

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Two decades have passed in the land of Gnod, yet the psychic travelogue only becomes more enthralling as it goes on. The page is turned, a new chapter begins…

Whilst this band has flourished via dauntless conviction, hive-mind magic and a fierce and uncompromising spirit, one ingredient has served as a crucial fuel for the fire – the monolithic singularity of the riff.

This second chapter of Gnod’s sort-of-anniversary trilogy also originates in the same six day sessions as the first, at Hellfire Studios near Dublin with producer Spud Murphy (Lankum, Black Midi etc). Yet the focus this time is on the transcendental heaviness and repetition that the band have often used as a primary fulcrum of their approach. This volume captures the sound of strings flayed, throats shredded, skins punished by the organic chemistry of this formidably powerful band in a room.

Chronicles of Gnowt (Vol. 2) will arrive via Rocket Recordings on 9th October and is preceded by the track and video for ‘The Witness’. Watch it here:

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Operating as ever stubbornly adrift of all or any genre restrictions, the coruscating workouts chronicled here evolved on the road in the last two years before being honed and perfected in the studio setup by Murphy. “Spud was masterful –recording live, pushing us to do more takes and then when the right take was done, by the time we got to the desk from the live room he already had it sounding great for playback” relates the band’s Paddy Shine.

The results are amongst the most fearsome and kinetic material that Gnod have summoned to date. The opening ‘The Witness’ takes a The Ex-ish groove and sets it in motion before driving a wall of incandescent guitar scree through it. ‘Ice Man’ redlines an animalistic Melvins-style framework into the realms of dystopian burnout. ‘Old Gold’ meanwhile centres on three-guitar interplay snaking around a muscular, taut groove, with Paddy’s feverish declamations acting as master of ceremonies.

As has often been the case for a band heavily driven by serendipity and intuition, the best plan is no plan at all. “We find quite regularly that spontaneity and the no thought approach works better than over analysis and detailed planning,” clarifies Chris Haslam, “Paddy’s stream of consciousness lyrical approach is another example of how when we remove our own will from the process, something purer, more real & more connected fills the void.”

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Buzz Osborne didn’t need another band. JD Pinkus didn’t need another band. Coady Willis didn’t need another band. Together with Clinton Jacob, they started one anyway. Meet Gatta Morta.

The quartet makes its debut today with Burn Witch Burn, a 4-song EP, available now via Amphetamine Reptile Records. Listen to the single ‘Black Hall’, which accompanies the release, here:

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“It’s always a good time for the world to embrace a new heavy/weird band,” Osborne says. “I had the idea for Gatta Morta while touring last fall. I realized I needed to start a band with these three. Seemed like a no brainer. Solidly weird rock music that needs to happen.”

Butthole Surfers bassist Pinkus agrees: “It’s been way too long since I got to write a heavy album from scratch with such high caliber players with such complimentary styles… and we’re just cat scratching the surface of what we got goin’ on!”

Rounding out Gatta Morta is Clinton Jacob, the creative force behind Chicago’s weirdo, pop-noise rock duo Mr. Phylzzz. “I just had this feeling that one day we would work together. I became friends with Buzz over the past few years doing shows together and having him play guitar on a Mr. Phylzzz song. When I was asked to be a part of Gatta Morta, I was speechless, but I was 100% ready for it.”

Burn Witch Burn lurches between thick, riff-driven heaviness and warped, psychedelic passages, with Osborne, Pinkus, Willis, and Jacob creating music that’s simultaneously reminiscent of their previous work and entirely new.

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Photo credit: Keturah Bishop

Alternative Pop / Electro-Rock firebrand THE NOISE WHO RUNS returns with ‘The Summer Talking’, a catchy sonic respite that disguises devastating social critique beneath shimmering indie-pop hooks. Sneaker Pimps legend Ian Pickering spins a tale of romance and nostalgia before spiralling into an indictment of climate denial, political inaction and humanity’s addiction to comforting lies. The striking video contrasts postcard-perfect holiday escapes with the growing environmental crisis, this song asks an uncomfortable question – are we sleepwalking through catastrophe while convincing ourselves everything will somehow work out?

This track is lifted from PIckering’s new (and now acclaimed) Re: GenX album, a fearless uncompromising record that puts an entire generation (and society itself) on trial. Addressing war, consumerism, inequality, media outrage and the collapse of collective responsibility, he sounds a warning siren for a world in freefall. Blending dark electronic textures with anthemic alternative rock, The Noise Who Runs is one of alternative music’’ most fearless voices, offering a brutally honest examination of the choices that have brought us to the brink.

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Built around the repeated refrain, “It’s just the summer talking”, the song explores the promises we make when sunshine, nostalgia and hope temporarily blur our view of reality.  Balancing melancholic indie-pop with widescreen alternative rock, it follows dreams of escape, new beginnings and forever as they gradually reveal themselves to be fragile seasonal illusions. Beneath the relationship story lies a wider reflection on the comforting stories we tell ourselves—about love, our lives and the future itself.

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Noise Who

31st July 2026

Just the other day, I was contemplating – and discussing with my daughter – how practically every style and fashion had been recycled in the not so distant past, or was in otherwise back in vogue, with the exception of hair rock and spandex. But then I came to the new EP by Italian ‘alternative’ rock / industrial act Noir Addiction, and while it was predominantly a conglomeration of industrial and grunge, there were some strong hints of music from the time that settle forgot. I’d assumed it was a singular exception, but then I caught Greek act Dismiss just last week and noted how their hybrid of punk and hard rock invited comparisons to both Amyl and the Sniffers and Lita Ford, and now there’s the video which accompanies Blacklist Union’s latest single, ‘Madame Butterfly’, and the growing evidence is starting to suggest otherwise. Sonically, it’s very much steeped in 90s grunge, at least in the verses… but the choruses, and visually… we’ll return to this after we’ve unpacked the rest of it.

The accompanying notes provide few surprises by way of context, explaining how the takes its title ‘from Puccini’s Madama Butterfly’ but ‘is a world away from the opera’s tragic tale of unrequited love. Instead, it serves as a heartfelt love letter from frontman Tony West to Lorraine Lewis of Femme Fatale’.

Femme Fatale still stand as one of the definitive glam metal / hard rock bands of the period 1987-1990, and Lorraine Lewis was a classic rock pinup, who would also front Vixen between 2013 and 2025.

‘Madame Butterfly’ is the lead single from Blacklist Union’s forthcoming album, The Good, The Bad And The Notorious, due for release in spring 2027. The release follows the acclaimed single ‘Jackson’, Blacklist Union’s reimagining of the Johnny Cash and June Carter classic, which paired Tony West with – yes – Lorraine Lewis for a duet ‘blending outlaw country, punk attitude and rock ‘n’ roll swagger.’ Tony West must have been creaming his skinny jeans.

‘Madame Butterfly’ is unreconstituted, back-to-the-source, glammy hard rock, the likes of which we haven’t really seen in a long time. The fact that it does incorporate grunge elements indicates just how things have changed in the last thirty years, given that grunge was a rebellion against precisely this. But… different times. Pandemic. World war. Shit on shit. Somehow, lately, it feels easier to forgive.

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Lorraine Lewis & Tony West pic

Martin Virgo is a composer, multi-instrumentalist and producer who worked with musical luminaries such as Björk and Massive Attack in the early 1990s before going on to enjoy global success with his own band, Mono, later in that decade.

Almost three decades on, Virgo is releasing his debut solo album. Entitled Ghost Piano, it can be seen as a prequel to his hit-making years. Classically trained in composition and piano at the Guildhall School of Music, he had developed a taste for Chopin, French Impressionism, the austere strangeness of Erik Satie and the minimalism of Philip Glass and Brian Eno. However, he then hooked up with Nellee Hooper and began a career in pop music that also led to work composing for cinema and TV commercials. These included an award-winning ad for Help The Aged.

“I came to the point a couple of years ago when I wanted to create something that was completely stripped of all the frippery and distractions of modern production techniques,” explains Virgo. “I wanted to write music that had a sense of lineage, but within a very distilled style. I also wanted to take a break from the world of digital audio production, so all the tracks on Ghost Piano were recorded live by myself on a Steinway model B acoustic grand piano, with the cello on the title track played by Nick Cooper (The Michael Nyman Band).”

Hear the title track here:

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Ghost Piano contains eleven evocative pieces in which the listener can hear the ‘ghosts’ of Chopin, Debussy and Satie playing in the absinthe soaked atmosphere of late 19th century Paris. “You can hear those influences on this album, although I think there are also traces of my time working with Björk on Debut, Massive Attack and Nellee Hooper on ‘Unfinished Sympathy’ and ‘Safe From Harm’, Shara Nelson on ‘Friendly Fire’ and Alanis Morissette on ‘Still’ (from the film Dogma),” Virgo adds. “These were all formative creative experiences for me. By the time I came to write and produce Mono songs like ‘Life In Mono’  and our album Formica Blues, I had embarked on a quest for a more European sounding harmonic and melodic palette.”

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Most artists begin with a single. Eilir Pierce waited until his 40th album.

Released on July 10th, 2026, ‘Do-List’ is the first official standalone single from the Welsh artist  and filmmaker after more than 30 years of music-making, 39 self-released albums and over 500 songs.

Having spent much of his career operating outside conventional music-industry structures, Pierce recently moved from Wales to Glasgow to begin his most ambitious project yet.

His forthcoming 40th album, Half-Time, is a synth-pop musical about moving to a new city and attempting to become a pop star in middle age. Featuring guest appearances from Aidan Moffat of Arab Strap and Mercury Prize-nominated Welsh artist Gwenno, the project will also become a live stage show and film, with Pierce performing a full run at the Edinburgh Festival Fringe in August.

‘Do-List’ captures the overloaded mind behind those plans.

The song races through tasks, ambitions and unfinished ideas as Pierce tries to impose order on everything he believes he needs to achieve. Each completed tick provides a smaller reward. Meanwhile, the jobs continue to multiply.

“I make lists because I’m overwhelmed,” says Pierce. “Then the list becomes another thing overwhelming me. I tick something off, feel satisfied for about three seconds and immediately notice the other 27 things I haven’t done.”

He adds: “I also refuse to call it a ‘to-do list’. The ‘to’ is completely unnecessary. That kind of inefficiency is exactly how lists get out of control.”

Built around tense piano and an increasingly agitated vocal, Do-List developed with Glasgow producer Gavin Thomson into a darker arrangement of drum machines, synth textures and strings.

Its clipped, spoken verses carry the blunt repetition of The Fall and the  deadpan detachment of Dry Cleaning. The chorus opens into something more exposed, with echoes of early Daniel Johnston and the eerie consolation of the Lady in the Radiator from David Lynch’s Eraserhead.

At the centre of the song is Pierce’s hope for an afterlife free from unfinished admin: “Heaven is a place with no list.” For a moment, the song escapes the pressure of constant productivity. Then another task arrives.

‘Do-List’ is Pierce’s attempt to write a direct pop song after three decades of working largely on his own terms. It is also the first item in an increasingly unreasonable plan involving an album, musical, film, Fringe run and bid for middle-aged pop stardom.

Perhaps Pierce was born in the wrong era.

Or perhaps releasing a debut single after 39 albums is exactly the point.

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Fun, funky and fabulously 80s-influenced, Argonaut have just released their latest video single, ‘Hats Off’, filmed and produced by Dave Meyer.

The single is taken from their new album, Interrupted, that despite the upbeat single in contrast plunges into the past year’s abyss, documenting breakdown, burnout, dementia and depression, alongside nostalgia, hope and healing.

The extended mix single of ‘Hats Off’ is out today.

Here’s Lorna to tell you all about it: “’Hats Off’ is the sound of the summer past and present, memories bought back by looking at old photos from when I was younger. I found a hat in a charity shop which reminded me of one I wore in a picture from when I was 15. Around this time I also took a photography course so I incorporated the camera and darkroom imagery into the lyrics. The synth sounds and bass are influenced by 80s bands such as Japan, Duran Duran, INXS, Human League – which worked well with the words.”

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Making the music video

3rd July 2026

Christopher Nosnibor

For so, so long, the UK music industry was so London-centric that it actually hurt. The music press would flock to all the regular London haunts within spitting distance of their offices and declare that they’d just witnessed the next big thing. often, it became a self-fulfilling prophecy, because said bands found themselves in the national press, but because London is so huge, they rarely needed to venture beyond the M25. There were moments in time when cities in the North spawned scenes which were simply impossible to ignore – Manchester in the late 70s and again in he 90s, Sheffield in the 80s, and Leeds, also in the 80s – as much as the press tried to look the other way there. But over the last fifteen years or so, Leeds has consistently birthed acts of a remarkable quality.

It’s true that, living in York, I may be prone to a certain Leeds bias of the kind which tinged the London-based press historically, but I still have to travel to the next county to see shows in Leeds, which requires both time, effort, and expenditure. In short, the quality has to be there to motivate me to go. But more to the point, this is not a matter of settling for what’s accessible. In the late 80s and early 90s, I yearned to live in London because it seemed that’s where I needed to be to discover the most happening music. This is not the case anymore: the Leeds scene is positively foaming with exciting acts, more than I can even keep pace with.

During this time of new band emerging on a weekly basis, Kath and the Kicks have been beavering away, building a following through a steady live schedule and a flow of exhilarating releases, the latest of which is ‘Sleep’.

Pitched as being for fans of Skunk Anansie, Siouxsie Sioux, Muse, Guano Apes, No Doubt, and The Runaways, ‘Sleep’ brings together slugging grunge riffery and doomy / goth vocals with a subtle pop edge – that is to say, amidst the ethereality and posed drama, there’s a melodic accessibility. Here, they bring the kind of guitar-driven heft, blended with soaring melody, that invites comparisons to heavier contemporary acts like Cwfen (and given that Sorrows was one of my top albums of 2025, that’s no small compliment).

Their name may carry connotations of a middling, middle-aged pub-rock band, but Kath & The Kicks bring full-throttle power, and properly kick arse with gutsy guitars and a distinctive dynamism, and with ‘Sleep’ they bring it all together into a densely-packed guitar-driven blast. Top drawer.

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