Posts Tagged ‘Stream’

Watch: ‘Anna O’ by Ecce Shnak

Posted: 29 August 2026 in Recommended Streams and Videos, Singles and EPs
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NYC art-rockers Ecce Shnak is bombastically stoked to present ‘Anna O’, the third single from their much-anticipated full-length record Dandy Variances, slated for release on October 23rd via Records, Man Records. With its ferocious blend of art-rock swagger, grunge grit, and theatrical ambition, ‘Anna O’ offers a raucous first taste of the sonic unruliness in store on the album.

Recorded and produced by Jeff Lucci, this single was mixed by Grammy award-winning producer Mario McNulty (David Bowie, Prince, Nine Inch Nails, Julian Lennon) and mastered by multi-platinum engineer Kris Crummett.

Formed in 2011 and forged in NYC’s experimental scene, Ecce Shnak (pronounced Eh-kay sh-knock) is made up of David Roush (composer, bassist and baritone vocalist), Bella Komodromos (vocals), Chris Krasnow (guitar), Gannon Ferrell (guitar), and Henry Buchanan-Vaughn (drums).

‘Anna O’ is a jump-off-the-couch, roaring-the-hook anthem with big grunge energy. For the first time, Ecce Shnak’s composer-baritone-bassist defers his lyric-writing duties to someone else. His mother, Robin Kneubuhl, wrote a poem months before he and his producer, Jeff Lucci, cooked up a noisy instrumental in March 2019. Roush and Lucci tried the poem out as a lyric, and it fit just right.

Kneubuhl has described her poem as “a lament about tragic contradictions in contemporary feminist thought and practice”. While Kneubuhl wholeheartedly believes in feminism’s ideals, she is concerned that it is misused toward nefarious ends, to the detriment of women and others alike.

“The song’s tragic hero embodies both a noteworthy psychoanalytic patient of Freud’s protégé Josef Breuer and the real-life gun-slinging heroine Annie Oakley. Though Anna is beleaguered by the contradictions Kneubuhl observes in the poem’s story, she ultimately emerges triumphant in the fight against patriarchy by the song’s end,” explains David Roush. “Though we are in the process of firming up the specifics, we can’t wait to play this for the Shnakiverse and music lovers generally on tour this fall!”

The music video is a third collaboration between Ecce Shnak and LA-based film producer DJay Brawner, who also directed the videos for the album’s first two singles, ‘Vincent’ and ‘Eddie, Legalistic Homeslice’. Ecce Shnak’s soprano, Bella Komodromos, plays the role of Anna, who is deeply distressed in captivity, as she seems wrongfully entrapped in an asylum. However, through an act of heroic resistance, she overthrows her abusive doctor and his servile aide. She sets herself free while the mighty rock band Ecce Shnak plays her homage as loudly and wildly as they can.

While Ecce Shnak’s songs draw on a wide array of styles, fans of Nirvana, the Pixies, and the Jesus Lizard will likely latch onto ‘Anna O’ quite tenaciously. With a reputation for astounding performances, Ecce Shnak’s music a volatile yet meticulously crafted ecosystem, where technical precision meets inspired mayhem.

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Watch: ‘My Shameful Namesake’ by Kavus Torabi

Posted: 28 August 2026 in Reviews
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With its name inspired by a dream, October By Name marks out a new chapter in the career of Kavus Torabi. – a psychedelic polymath increasing stretching out his creativity via co-ordinates entirely of his own. This has been a decade so far in which his prolific artistry has only been matched by an equally turbulent period in his personal life. Yet the alchemical charge that has resulted matches the mystical origins of the album’s title with six songs that inhabit a similarly surreal and transcendental landscape. As Kavus reckons “If you can’t trust your subconscious, who can you trust?”

Not merely a more optimistic and beatific sounding record than its cathartic and intense predecessor The Banishing, October By Name sees Kavus evolving as an artist in ways he maybe didn’t even predict himself. Both inspired by his recent work with Gong and Cardiacs, and inhabiting a serious change of modus operandi via his work to date with the improvisational project The Utopia Strong, he created a new method of writing where all styles converge and overlap "As with the first time I heard Cardiacs at the age of sixteen and thinking ‘Oh! You can make stuff like this’, so I had a similar epiphany three decades on"

Somewhat in the great lineage of British psychedelic pathfinders through the ages (the triumvirate of Syd Barrett, Robyn Hitchcock and Julian Cope being an example) It’s at heart a bittersweet yet optimistic reverie that is pure Torabi. "Perhaps there is no free will and we’re all just playing out the consequences of our genes, insecurities and childhood damage" he reflects on the fundamentals of this song “But I have to believe change is possible because, honestly, what’s the point in anything if it isn’t?”

The openers ‘Signals Shine’ and ‘In Her Radiance’’, meanwhile, in all their luminous glory, see him writing love songs. “No big deal in the wider pantheon of music, but a very big deal to me in that I’ve never written this way before,” he notes. “There’s a different energy in writing romantic verse from the position of a man of my age and experience as opposed to when I was in my twenties. I was far too self-conscious and critical to even attempt anything like this back then and genuinely didn’t feel the pull of the love song like I do now. Writing about being on acid made much more sense”. Crucial to October By Name – which Kavus sees as the third part of a trilogy of solo albums is its very specific way of working. “This wasn’t necessarily a contrived plan when I started making solo records but the model I used on my debut Hip To The Jag; performing and recording everything using only instruments available to me, writing songs of an autobiographical and personal nature and drawing and lettering everything by hand seemed to be the right way to go” he notes “This was a way to put all of myself into something, allowing my shortcomings to define the outcome. I’m not a great drummer or letterer, for example, but the way I play drums or hand-letter, sing, or mix becomes the thing”.

“Increasingly, I’m becoming more solipsistic, going further into my own world creatively. As long as the bubble I’m in keeps giving me songs, I’m OK with that. Honestly, every one I get over the line, that still excites, thrills and engages me is a blessing”.

‘My Shameful Namesake’ is the second album to be released in advance of the album. Check it here:

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Photo: Layla Sunshine

Live:

10/08 – BOURNEMOUTH – @The Underground – TICKETS

10/09 – BRIGHTON – @Daltons – TICKETS

10/10 – GLASTONBURY – @King Arthur – TICKETS

10/11 – HEREFORD – @De Koffie Pot – TICKETS
10/13 – STRATFORD UPON AVON – @Stratford Sound Pathways – TICKETS

10/14 – NOTTINGHAM – @Billy Bootleggers – TICKETS

10/15 – MANCHESTER – @The Yard – TICKETS

10/16 – MOLD VOD Music – Free Entry

10/17 – NORTHUMBERLAND – @Sinderhope High Forest Community Centre – TICKETS

10/18 – EDINBURGH – @Speakeasy Voodoo Rooms – TICKETS

10/19 – GLASGOW – @Nice N Sleazy – TICKETS

10/21 – BRISTOL – @Cube Cinema – TICKETS

10/22 – SWANSEA – @Down By Here – TICKETS

10/23 – LONDON – @West Hampstead Arts – TICKETS

10/24 – DEAL – @The Lighthouse – TICKETS

Watch: ‘Hallucinations’ by The Effigies

Posted: 27 August 2026 in Recommended Streams and Videos, Singles and EPs
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‘Hallucinations’ is the first single and video from Fire Aim Ready, the sixth album from seminal Chicago punk band The Effigies. This is their first release featuring new lead vocalist Geoff Sabin, who took over following the tragic death of founding lead singer John Kezdy in 2023.The new album was recorded at Million Yen Studios in their hometown, and was produced, engineered and mixed by their guitarist Andy Gerber. The album is being released on 12” LP vinyl, CD, digital download and streaming services by the venerable Chicago independent label Pravda Records October 23.

Following writing sessions between live dates in late 2025, the album came together featuring the riff heavy punk metal the band became known for in the 80s with sharp lyrics and aggressive vocals showcasing a clear-eyed worldview on the current state-of-affairs. Written and recorded quickly to capture the moment, the album also includes a cover song from the Stranglers as a nod to the band’s early influences. This is the band’s first release since Burned in 2024, the last album to feature Kezdy.

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Formed in 1980, The Effigies are recognized as one of Chicago’s pioneering punk bands, shaping the Midwest punk scene with their aggressive sound and captivating lyrics. The band’s DIY ethos and commitment to authentic themes about corruption and urban alienation positioned them as a seminal influence on the punk scene for generations. Led originally by vocalist John Kezdy, bassist Paul Zamost, drummer Steve Economou and guitarist Earl Letiecq, the band’s early work blended the raw energy of classic punk with a distinct Midwestern working class sensibility, setting them apart from the coastal scenes of New York and Los Angeles. Their early performances in small Chicago clubs energized a local community of fans and helped establish the city as a notable hub for punk and alternative music. Early releases such as 1981’s Haunted Town EP, 1982’s 7” single “Body Bag” b/w “Security”, and 1983’s “We’re Da Machine” cemented the band’s significance in the expanding scene.

Throughout the 1980s and 1990s, The Effigies shared stages with many prominent acts, including local favorites Naked Raygun and Big Black, as well as national acts The The, Circle Jerks, Black Flag, The Cramps and PIL. Their live shows became legendary for their intensity and were seen as a threat to the local rock establishment still mired in tribute and cover bands. Renowned record engineer Steve Albini writes that “The Effigies were absolutely essential to development of a healthy punk scene in Chicago. Between them and Naked Raygun in the early 80s they basically kept the scene going until it developed momentum beyond them. The Effigies were a moving force during a crucial and exhilarating time.”

While the band drew inspiration from post-punk, hardcore and metal, they have always maintained that, at heart, they are a punk band. Their music consistently embodies the core values of the punk movement: celebration of individuality, egalitarian ideals, and the power of a committed supportive community.

In 2023, the band emerged from a period of relative inactivity to record a new album. They teamed with Andy Gerber at Million Yen Studios, who also produced the 2007 release Reside, and would go on to take over lead guitar duties with the band. The tragic death of founding member John Kezdy in August of 2023 marked a deeply emotional turning point for the band – Kezdy’s vision and charisma had been central to the Effigies identity. In honor of his legacy and last works, Burned was released in October of 2024 on BFD Records followed by reissues of 1984’s For Ever Grounded and 1985’s Fly on a Wire. To support the album releases and continue moving the legacy forward, the band enlisted a new vocalist, Geoff Sabin, whose energy and passion have reinvigorated the group. Their return to the stage has featured festival sets at RiotFest, Rebellion, and PunkRockBowling, a regional tour with The Black Crowes, and coast to coast shows including prominent clubs like Metro, The Whiskey, Sainte Rock, and The Middle East. The live sets have been embraced by long-time fans and critics alike, signaling that The Effigies are poised for a new chapter while maintaining the spirit and integrity that Kezdy helped establish. As of 2026, The Effigies are touring extensively, with plans to continue reaching audiences worldwide.

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Listen: ‘Blind Smile’ by Cor de Lux

Posted: 26 August 2026 in Recommended Streams and Videos, Singles and EPs
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Cor de Lux are getting closer to releasing their Ipecac Recordings debut album, YEAR OF THE HORSE, on 18th Sept, which captures their competing impulses: abrasion and melody.
Across nine songs, the Kill Devil Hills quartet balances post-hardcore urgency, shoegaze bliss, and guitar-driven catharsis. Recorded and produced by J. Robbins (War on Women, Mary Timony), YEAR OF THE HORSE preserves the raw chemistry that defines the band while pushing their songwriting into sharper, more immediate territory.

Today the band share a final preview of the album with the release of ‘Blind Smile’, a track about the beauty in the complete freedom to be who you are.

“The blind man smile, the deaf laugh for all to hear, to be so brave, you can’t hear anyone”

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About the track, Dawn Moraga says, “My cousin is deaf and his true laugh that isn’t altered from what he thinks he should laugh like is one of the most joyous sounds. I think this song is about for me personally trying to find that freedom to not care about what people think of me and to dig deep to find the real. It came together with John and I talking about the beauty from a true smile.. the blind smile.”

John Bliven adds, “The title for ‘Blind Smile’ came about because I wanted to illustrate an event that inspired and humbled me when I was a videographer during a Visually Impaired Persons (VIP) Fishing Tournament, an event that brings hundreds of VIPs to the Outer Banks every year. I got to witness the most joy filled smiles I’ve ever encountered as they felt the scales of the fish and commented about the texture and sliminess as they saw with other senses.”

COR DE LUX LIVE:

Aug. 29, 2026 Raleigh, NC Lump Gallery

September 10 Raleigh, NC Hopscotch Festival @ Kings
September 20 Durham, NC Stanczyks +
October 7 Philadelphia, PA Ortlieb’s
October 8 Brooklyn, NY The Broadway
October 10 Toronto, ON Lee’s Palace *
October 11 Detroit, MI El Club *
October 13 Chicago, IL Outset *
October 14 St. Paul, MN Turf Club *
October 15 Davenport, IA Raccoon Motel
October 17 Louisville, KY Whirling Tiger
October 18 Asheville, NC Static Age

* supporting Slift
+ supporting W.I.T.C.H.

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Watch: ‘Perverse Bestial Lactation’ (ft Devourment) by Slaughtercult

Posted: 23 August 2026 in Recommended Streams and Videos, Singles and EPs
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Australian brutal death metal outfit Slaughtercult have unleashed the official video for their new single ‘Perverse Bestial Lactation,’ featuring guest vocals from Marvin Ruiz of brutal death metal legends Devourment.

The latest slab of sonic depravity is taken from the trio’s forthcoming sophomore album, Devoured By Perversion, due out September 24 via Vicious Instinct Records.

Watch the video HERE.

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Following the release of “Menstrual Marinade,” featuring Elfi Davis of Kraanium, the new track offers another disgusting taste of Slaughtercult at their most punishing: cavernous riffs, grotesque slams, relentless blast beats and absolutely zero mercy.

And this time, they brought a member of Devourment along for the carnage.

Since erupting from Sydney’s underground in 2022, Slaughtercult have rapidly become one of Australia’s fiercest extreme metal exports. Built on cavernous riffs, relentless blast beats, grotesque slams, and an uncompromisingly violent approach, the trio have earned a reputation through sheer sonic brutality, both on record and on stage.

Their independently released debut, Meat Head, introduced the band to the international underground, surpassing 75,000 Spotify streams while gaining further momentum through YouTube and Slam Worldwide. Along the way, Slaughtercult have shared stages with Nile, Undeath, Gutalax, Rivers of Nihil, and Cytotoxin, establishing themselves as a must-see live act.
Now, Devoured By Perversion raises the stakes even further. More focused, more punishing, and more vicious than its predecessor, the album fuses brutal death metal, grind, and hardcore into an unrelenting barrage of crushing riffs, pulverizing grooves, and grotesque aggression that feels unmistakably Australian.

The album arrives as Slaughtercult prepare for their biggest touring year yet. Following Australian dates supporting Psycroptic and Rivers of Nihil, the band will embark on their first international tour, taking their brand of sonic devastation through Japan, Taiwan, and Europe, including dates with Gutalax and Brutal Sphincter, plus appearances at Necrosonic Festival and Gutafest.

With Devoured By Perversion, an expanding international following, and an increasingly relentless touring schedule, Slaughtercult are proving that Australia’s brutal death metal scene is thriving, and they’re leading its blood-soaked charge.

Watch: ‘HISS’ by Bestial Mouths

Posted: 22 August 2026 in Singles and EPs, Recommended Streams and Videos
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San Francisco-based goth/industrial/post-punk/darkwave unit Bestial Mouths is proud to release the video for ‘HISS,’ taken from the band’s upcoming album DEAD LINES (Lineas Muertes), set to be released on September 4th via Negative Gain Productions.

The mastermind Lynette Cerezo has stated about the track:

“When hatred becomes dispersed through a culture until it’s difficult to distinguish personal anguish from the machinery producing it, identity becomes performative, divided into subsets and factions. “Progress is fragile,” and it can also be poisonous. This poison is cyclical: with the seeds we plant, we reap another generation of toxicity.”

DEADLINES (Lineas Muertes) is the first full length album from Bestial Mouths since 2023 saw the release of R.O.T.T. (inmyskin) through Negative Gain Productions. Featuring eight emotionally heavy and politically driven high-energy anthems, DEAD LINES represents a communal march away from the servitude of those who seek to exploit and abuse our fears.

Written together by Lynette Cerezo with Brant Showers (∆AIMON/ SØLVE) and featuring the elegant mixing skills of Zola Jesus collaborator Alex DeGroot, this is the band at its most polished and accessible; while still presenting a raw and untethered rejection of nihilism and the weaponized apathy calculated by systems designed to erase us.

For everyone who understands the desperate frustration that leads to burning everything down around you, this one’s for you. DEAD LINES secures Bestial Mouths’ reputation for powerful and empowering releases with its heavy and cathartic rhythms, tense and emotional vocals, and earnest message of resistance – “We don’t have to live like this.”

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Watch: ‘We Hate’ by Ministry

Posted: 21 August 2026 in Singles and EPs, Recommended Streams and Videos
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It’s pretty self-evident that Ministry has never been a big fan of ‘Hair Mussolini’, especially now as he bombards the American people on a near daily basis with self-aggrandising AI slop. Al Jourgensen and co. therefore felt it necessary to give ‘Trumplethinskin’ a dose of his own medicine with a new single out today entitled ‘We Hate’. A video for it directed by Joshua Bradford can be seen here:

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‘We Hate’ is the second track to be lifted from a final Ministry album, Hate To Go (Take Out Or Delivery), out 30th October on Cleopatra Records. It follows ‘Burned Out’ video, which was issued in July. The album puts an end cap on an incredible 45-year career that has shaped a whole genre of music.

Ever since 1981, Ministry and Jourgensen have been recognised as pioneers of industrial music across 17 studio albums, 8 live releases, 8 side projects, multiple touring campaigns across 5 continents, an autobiography, 2 documentaries, the administration of last rites no less than 3 times, and, of course, by the band’s countless devoted acolytes and fans.

However, before bidding adieu, creator and music madman Jourgensen has a few things to say on this album about the state of the world, those in charge and how we should all collectively move forward.

It also features one notable final collaboration with legacy member Paul Barker on its very last track, ‘We’re Still Here’, alongside the handiwork of Jourgensen’s current bandmates: guitarists Monte Pittman and Cesar Soto, bassist Paul D’Amour, synth player John Bechdel and drummer Pepe Clarke Magaña.

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Watch: ‘Killing the Curse’ by SINA MATIX

Posted: 20 August 2026 in Singles and EPs, Recommended Streams and Videos
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Dark-electro band, SINA MATIX has announced the release of their new single ‘Killing The Curse’.

‘Killing The Curse’ is about those life-changing moments when an event occurs and uproots a person and puts them into a state of the unknown. Bad luck, divorce, backstabbing, instability along with a fear of commitment – this goes on for years, until a person finally gets the strength to push the “reboot” button on their life. The reboot is ‘Killing The Curse’.
SINA MATIX expresses this person’s feelings through certain sounds, landscapes and dramatics. For this single, SINA MATIX sought to convey the song’s message through a sonically-angrier tone but with an upbeat EBM sound to reflect the message of resilience and of moving forward.

SINA MATIX addresses dark themes with a cinematic sound infused with samples for context.  As a result, a new sub-genre is born; one that can only be described as “dark dramatic electro”.

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Watch: ‘House of 70s’ by Chris Connelly

Posted: 20 August 2026 in Recommended Streams and Videos, Singles and EPs
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Chicago-based alternative music legend Chris Connelly is back with the sensational single ‘House of 70’s’, the invigorating first offering from his new album Doo Wop In The Dark: A Portrait of Lou Reed, out in October via Shipwrecked Industries with distribution by Virtual Label.

Produced by Connelly and his Sons of the Silent Age bandmate Alan Berliant, the adrenaline-fuelled video was produced by Someoddpilot Studios and directed by Chris Eichenseer, originator of the Chicago-based creative force Some Odd Pilot, and features artists Kira Leadholm (Madame Reaper) and Jay Drenkula.

Doo Wop In The Dark echoes Connelly’s critically acclaimed 2022 album Eulogy to Christa: A Tribute to the Music & Mystique of Nico, a colossal 20-track collection exploring one of the most unique, tragic and misunderstood female artists in the history of modern music.

This new record presents a unique mix, including Lou Reed’s own compositions, spanning his career from the Velvet Underground onwards, and songs penned by Connelly, detailing the creative and often turbulent path of Reed’s life from his teenage years through to his death in 2013.

Chris Connelly explains, “’House of 70s’ is Lou Reed’s New York of the early- to mid-70s distilled into a rock song. The 1960s hippy dream burned out, Altamont in the rear-view mirror — while the queens, the uppers, the downers, and the streets are brought to life by Lou’s pen and guitar, a remorseless sarcasm cutting down the competition with a switchblade, Taxi Driver in drag, chain-smoking and blasting the radio at 3 am."

While Connelly and Berliant produced most of the album, four tracks (‘Babyface’, ‘Bye Bye Johnny Viola’, ‘Doin’ The Things That We Want To’, ‘One Too Many Mysteries’’) were produced by Chris Bruce (Meshell Ndegeocello, Seal, Aaron Neville, Bob Dylan, The Waterboys, Sheryl Crow).

Mixed by Berliant and Bruce in Chicago and New York from 2023 to 2026, and mastered by James Scott at Populist Recording & Mastering, this album is dedicated to Chris’ dear friend Zak Boerger (1973 -2025) and also the wildfire, tempestuous spirit of Lewis Allan Reed.

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Connelly’s latest release was for Fini Tribe in 2025 for their colossal 3-disc anthology The Sheer Action of Fini Tribe: 1982-1987. That same year, Connelly also released The Lives and Loves of the Serial Homesick, Vol. 1, a personal album rooted firmly in his hometown of Edinburgh, his second recent album dedicated to his beloved Scotland. Prior to that he also released The Birthday Poems, which features Monica Queen (Belle and Sebastian, Thrum).

As of August 18th, ‘House of 70s’ is available everywhere digitally, including Apple Music, Spotify, Amazon and Bandcamp. On October 16th, Doo Wap In The Dark will be released digitally and as a limited edition two-CD set, with a selection of tracks also being made available on vinyl.

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Watch: ‘Seelenjäger’ by Leper Colony

Posted: 19 August 2026 in Recommended Streams and Videos, Singles and EPs
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LEPER COLONY reveal the haunting horror lyric video ‘Seelenjäger’ (‘Soulhunter’) as the second advance track taken from the deadly international trio’s new full-length Back to Primal Sludge. The third album of these death metal fanatics has been scheduled for release on October 9, 2026.

Leper Colony comment on ‘Seelenjäger’: “The filth lives in the lower tempos”, shred-master Rogga Johansson writes. “The epic, dirty, and massively catchy ‘Seelenjäger’ takes you on your final journey, with crushing grooves envenomed by a vocal performance that leaves its mark.”

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Leper Colony hold firm and relentlessly soldier on in their unholy quest to create the perfect equilibrium between the Floridian and Stockholm styles of old school death metal on their third full-length Back to Primal Sludge.

This defines Back to Primal Sludge in many ways as a direct continuation of their sophomore album Those of the Morbid (2025). Yet, there are twists and tweaks in the details. While the previous release offered a handful of references to deadly German influences, these have been further reduced just as the second album had dropped the classic thrash elements from the self-titled Leper Colony debut (2023).

Leper Colony  came into being as a physical expression of the long-year friendship between German vocalist Marc Grewe and Swedish guitarist Rogga Johansson. Both decided in 2020 that their mutual love for old school death metal should come together in the shape of an album.

Marc Grewe firmly established his name as the former frontman of MORGOTH, and later with INSIDIOUS DISEASE as well as ASINHELL. Guitarist and bass player Rogga Johansson has left a massive trace in Swedish death metal as a member of many successful acts including PAGANIZER, RIBSPREADER, and REVOLTING.

The core duo at first enlisted the aid of CONSUMPTION drummer Jon Skäre and lead-guitarist Kjetil Lyngahug (PAGANIZER) to record Leper Colony. Later, they were permanently joined by British drummer Jon Rudin, who is known best from MONSTROUS and DEAD SUN, among several other death metal bands.

With Back to Primal Sludge, Leper Colony deliver another work of old school death metal love that every fanatic of this brutal genre and follower of this band has been hoping for!

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