Humus Records – 6th November 2026
Christopher Nosnibor
You want noise rock with a fierce punk edge? Yes? Good. Coilguns are the band for you. No? Guess again. Everything We Love, We Destroy is a fierce blast of guitar-driven punk-infused noise, and you need to hear it. We’ve been plugging these guys for a while through their single releases – each one a ferocious blast of adrenaline, and now we finally have the album. And it doesn’t disappoint.
‘Imagine The Armed, Converge and METZ thrown into a blender and cranked up to eleven!’ says their bio. And, unusually, it’s not hyperbole. Everything We Love, We Destroy, is positively explosive, a succession of high-impact detonations. ‘NO POLISH. NO COMPROMISE. JUST PURE SONIC MAYHEM!’ they say: it’s a promise and a threat, and they deliver on both. But for all the mayhem, they cram in a superabundance of nagging guitar lines, and even some sharp hooks.
In the wake of the full-throttle post-hardcore blast of the title track, which fires in all directions, while underpinned by a thick, maxed-out bass, ‘Peace Trader’ arrives on a well-trodden path of lolloping drums and loud / quite dynamics. ‘Replication Crisis’ takes things up a good notch or three, a furious speaker-rattling sonic riot. As with the majority of the songs on the album, it’s tightly-structured, flipping through multiple segments, the switches coming from out of nowhere, but landing every time. Yes, it’s noisy, but it’s by no means without focus: in fact, Everything We Love, We Destroy demonstrates just how technically adept Coilguns are, and how inventive and imaginative their approach to songwriting is. every moment brings a new element of surprise, an unexpected twist, a sweet melodic breakdown, a brief ear-catching harmony.
While the lyrics aren’t always easy to make out, the song titles build around the theme of the album’s title – that is, environmental issues and human destruction of its own habitat, as well as the ever-evolving and increasingly challenging digital landscape in which we find ourselves. They’ve got plenty to go at. Everything We Love, We Destroy is a critical assessment of / anxietised spasm in the face of the crisis in which we find ourselves in the midst of.
You didn’t think an album with songs called ‘Forever Chemicals’ and ‘Platform Decay’ (the more polite and technical term for ‘enshittification’) was going to be celebrating any of these things, did you? ‘I can’t compute! I can’t compute!’ is the frenzied refrain in the latter, and by the band’s own admission, the album as written and recorded at pace only last month, and its raw, untempered energy is integral to what it’s about. The medium is indeed the message, to reference Marshall McLuhan. These are insane times, and it feels as if we’re in a spiralling freefall towards unspeakable catastrophe. It’s clear that Coilguns aren’t only aware of this, but are driven. As artists, there’s nothing within their capacity to slow this terrifying trajectory, and so the only way to deal and remain remotely sane is to live every day as if it could be your last, and channel that overwhelming panic into creating something, if only because putting it out there has therapeutic benefits.
‘Punisher Disclaimer’ is a frenetic, kinetic collision of noise-rock and post-hardcore, while the introspective acoustic song, ‘Days Before the War’, a mere minute and a half in duration, offers a rare respite at the album’s mid-point.
It’s that churning bass which again dominates the spindly, sinewy ‘Teach Ourselves’, which grows in intensity as it progresses towards its squalling finale. Holy fuck: it’s immense. ‘Carbon Magic’ goes headlong into knotty, noodly math-rock played at a hundred miles an hour before lurching into a megalithic riff which slays. But it also does so much more besides. The album’s last track, ‘Perfect Fit Content’ is a sprawling six-minute monster. They slow the pace and again, it’s rolling drums and chiming, angular guitar which mark the first section, then the pace accelerated, and by two minutes in, we’re dragged into the midst of a fully-swirling maelstrom, which in turn evolves into a proper chant-along chorus. And then it’s off again.
Everything We Love, We Destroy is one of those albums which has a wide range, and a lot of energy, and is not easy to place. It’s neither one thing nor the other. But it is the sound of the now, and the sound of a band wrestling with the complexities of these baffling, bewildering, brain-melting times. It’s a statement on the fucked-up world we live in, and the dissolving state of humanity, and it’s delivered with a raw honesty and passion which is utterly compelling.
AA
Photo: Andy Ford
