Posts Tagged ‘Stream’

Korean-American singer-songwriter NoSo has today revealed details of their highly anticipated second album When Are You Leaving? (out 10 October via Partisan Records) along with its lead single ‘Sugar’. Listen to ‘Sugar’ here:

When Are You Leaving? is a record for anyone still figuring themselves out, and one that proves NoSo to be one of this generation’s most compelling songwriters. The album follows NoSo’s 2022 debut Stay Proud Of Me which earned rave reviews and praise from NPR’s All Songs Considered, Paste, The Guardian, The Times and Metro, and a stunning performance atTiny Desk. NoSo (real name: Baek Hwong, he/they) says: “My first album mostly comprised of daydreaming about what my life cobuld be like if I embraced my identity. This record is firmly rooted in reality and details my enlightening and tumultuous experiences head on.”

Largely self-produced, When Are You Leaving? sharpens NoSo’s artistry into something at once more expansive and more intimate. It’s an album about the subtle, slow-burning victories that come after walking away from what no longer serves you. Hwong’s music is rich with contrast: thorny lyrics nestled in shimmering arrangements, quiet moments of self-recognition delivered with the confidence of a born storyteller. Across disco grooves, jagged guitars, and spacious ballads, they reflect on fractured relationships, platonic heartbreak, and the complexity of perception.

‘Sugar’, (co-produced by Wild Nothing’s Jack Tatum), glides along a sleek, nostalgic disco groove, light on its feet but emotionally loaded. Beneath the gleaming surface, Hwong explores the quiet exhaustion of navigating interpersonal dynamics with volatile people, choosing compassion over conflict. Hwong elaborates: "‘Sugar’ is about the delicate dance of interacting with volatile, unwell individuals. It’s a reflection on those experiences, aiming to approach them with sympathy instead of anger. I’ve learned that this is the only way I can move forward—by not feeding those memories and giving them power.”

NoSo - Album announcement _ Sugar - Credit Driely Carter

Credit: Driely Carter

NoSo 2025/2026 tour dates:

15 August – Gunnersbury Park – London, UK (w/ Khruangbin, TV on the Radio)

23 October – The Atlantis – Washington, DC

24 October – Baby’s All Right – Brooklyn, NY

25 October – Johnny Brenda’s – Philadelphia, PA

27 October – L’Escogriffe – Montréal, QC

28 October – The Drake Underground – Toronto, ON

30 October – Lincoln Hall – Chicago, IL

1 November – 7th St Entry – Minneapolis, MN

3 November – Globe Hall – Denver, CO

4 November – Kilby Court – Salt Lake City, UT

6 November – Fox Cabaret – Vancouver, BC

7 November – Madame Lou’s – Seattle, WA

8 November – Mississippi Studios – Portland, OR

10 November – Cafe Du Nord – San Francisco, CA

12 November – Masonic Lodge, Hollywood Forever – Los Angeles, CA

4 February – EKKO – Utrecht, Netherlands

5 February – Rotown – Rotterdam, Netherlands

6 February – Turmzimmer – Hamburg, Germany

7 February – Ideal Bar – Copenhagen, Denmark

9 February – Silent Green – Berlin, Germany

10 February – YUCA – Cologne, Germany

11 February – Rotonde – Brussels, Belgium

12 February – La Bellevilloise – Paris, France

14 February – L’Aéronef – Lille, France

17 February – Islington Assembly Hall – London, UK

18 February – Strange Brew – Bristol, UK

19 February – Band on the Wall – Manchester, UK

20 February – King Tut’s Wah Wah Hut – Glasgow, UK

NYC-based quintet Ecce Shnak (pronounced Eh-kay sh-knock) presents ‘Fight Song’ (Live), a hard-hitting track with a potent message, presenting an ironic take on violence and addressing today’s rampant spread of hate-filled vitriol.

This is the second taste of their Backroom Sessions EP, following the downtempo groove-inducing opus ‘Prayer On Love’ (Live). Recorded at the Backroom Studios in Rockaway, NJ, the EP is out May 22 via Records, Man Records).

Rejecting conventional aesthetics, Ecce Shnak whimsically incorporates diverse artistic expressions, tackling profound subjects and intriguing minutiae with remarkable clarity. Building on the success of their recently-released debut ‘Shadows Grow Fangs’ EP, this new release previews June’s West coast tour with platinum-selling legends Spacehog and EMF.

Ecce Shnak is David Roush (composer, bassist and one of two singers), Bella Komodromos (vocals), Chris Krasnow (guitar), Gannon Ferrell (guitar), and Henry Buchanan-Vaughn (drums). Where fervent brilliance blurs into absolute, uncontainable madness, there resides Ecce Shnak, balanced precariously upon an illuminated sonic high wire.

“The hardcore slammer ‘Fight Song’ is not a Katy Perry cover. Instead, it is a djent-forward ramble on the ubiquity of violence in human life, be it literal or metaphorical. It was originally an ironic joke when it was released on our first EP, Letters to German Vasquez Rubio in 2012,” says David Roush.

“We decided to change the lyrics and release a new version in reaction to the rancid bigotries that so plague the human spirit nowadays, in America and elsewhere. The final line is a call to defend our basic human freedoms while we still have them: ‘Fight for your right to fight!’”

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3rd February 2025

Christopher Nosnibor

This one may have started at the beginning of the year, but is an open-ended project which has been added to over the subsequent months, meaning that there’s more to absorb now than there was previously, and some five months in, it seems like a reasonable point to take stock of the progress so far. Although released under his Sunday name and therefore perhaps not a release that leaps out, Ash Sagar has been operating as Meanwoood Audio for a while, as well as being involved in numerous Leeds / York based collaborative works, notably The Wharf Street Galaxy Band and Neuschlafen, and perhaps notably the one-off experimental improv collective Beep Beep Lettuce, who will one day be hailed as a 21st century Big in Japan or Immaculate Consumptive. Well, we can but hope.

M/A/R/R/S tools is one of those albums that could only ever exist in the digital age, consisting as it does of some fourteen experimental pieces with a running time of around a hundred and eighty-five minutes. Yes, that’s over three hours – even longer than recent sprawling Swans releases.

Sagar’s notes are succinct – or scant, depending on your perspective – summarising M/A/R/R/S tools as ‘Audio recording from tests of building tools in SuperCollider for Meanwood Audio Recording & Research Services {"M/A/R/R/S"}.

My instinct is – because my instinct is dictated by my brain, which is brimming with stupid nonsense and is excessively prone to misfired associations – is to ‘pump up the volume’. But this proves to be rather unwise, as the release contains an endless stream of unsettling discordant rumbling, hovering hums, and fizzing extranea which is just around the tinnitus range.

‘Audio_25_01_20_1’ makes me feel tense: it reminds me of a ‘breather’ in a Teams call – there’s always one freak who positions their unmuted mic right in front of their open, gasping mouth, and the sound is like a gale on a mountain top.

Dripping, dropping, dribbling electronic abstractions dominate, with microtonal bibblings running on and on, sounds like twanging elastic bands and scratches and scrapes, atonal strings and R2D2 malfunctioning. I recall running my nails along an egg-slicer as a child. It’s a memory I had largely forgotten until hearing this remined me. M/A/R/R/S tools offers up an oddball array of sounds, and it feels random in the extreme. Oftentimes, it’s barely there, or it’s nothing more than the rumble of passing traffic or a distant radio. Occasionally, there are stuttering drums. Other times, there is not much at all.

This is a work which has been a long time in development: there are two full live sets, recorded five years apart, with a set recorded in London sitting at the midpoint, and another live set, recorded in Leeds, drawing the curtain on this colossal release. The fifteen-minute London set is a challenging work, which confirms what anyone who has seen Ash live will already know, and that’s that he in unafraid to test an audience with monotonous, woozy oops which are as uneasy on the intestines as they are on the ears. This is reinforced by the thunder-filled, sample riven discomfort of the Leeds set – something that his set in Leeds just this last weekend extended still further. Distorted, heavily reverbed and practically impenetrable vocals spitting out randomly sequenced words cut through the speakers, and it’s almost too much, too disorientation. A derangement of the senses. Both John Cage and Brion Gysin would have been proud. It’s dark and murky, and droning notes quaver in the background.

M/A/R/R/S tools is not an easy listen, not only on account of its duration. Despite its superficial minimalism, there is a lot going on. And none of it is kind, comfortable, or particularly easy on the ear or mind.

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Darkwave duo, Johnathan|Christian return with ‘Where Do We Go From Here’—a brooding, cinematic post-election anthem that captures the emotional wreckage of a divided nation. The track opens in hushed reflection (90 BPM) and erupts into a 125 BPM pulse of unrest and reluctant clarity. No slogans. Just aftermath.

The video integrates footage from Maya Deren’s At Land—a woman lies on a beach, disoriented yet unbroken, before rising with quiet resolve. What begins in poetic isolation transforms into documentary collapse: flickering headlines, divided families, shuttered classrooms, and hands reaching—but not always finding. It opens with: “We Still Remain.” It ends with: “WE STILL RISE.”

“We didn’t want spectacle—we wanted aftermath,” says the band. “No fire. No fury. Just a reckoning in the ruins.”

Included in the release are: a 125 BPM DJ Edit for live mixing and DJ sets, and remixes by industrial supergroup, The Joy Thieves and Stoneburner’s Steven Archer. Also included is the track, ‘Fall from Grace’ – a short, ghostly instrumental layered with static and decay; a requiem for what was, and a reflection on what remains.

For fans of Peter Murphy, Human Drama, Laibach, New Order, and politically-driven dance stompers.

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Electronic musician and vocalist Mari Kattman is known for her work as part of the electronic duo Helix as well as a solo artist in her own right. ‘Sharp Shooter’ is the second single to be teased from a new album entitled Year Of The Katt, her debut full-length solo release for Metropolis Records (and third overall), which is scheduled for release on 20th June.

“‘Sharp Shooter’ explores the theme of an intelligent soul that navigates to painful circumstances for the chance to grow. No shots missed”, states Kattman. The song follows the recent ‘Anemia’ STREAM, which drew a parallel between vampiric exploitation and the weakness often suffered by those living with the condition.

Of the new album as a whole, she explains that “finishing it was a truly herculean effort. It was an album completely recorded, composed and produced by myself, so there were a lot of learning curves and things I needed to sort out before I was truly happy with the end product. I feel relief and enormously proud that I got it done.”
One of the most captivating artists on today’s electronic music scene, Kattman has been writing, recording, producing and performing since 2012. She has collaborated with the likes of Assemblage 23, Mesh, Ivardensphere, Jean-Marc Lederman, Psy’Aviah, Aesthetiche, Neuroticfish, BlackCarBurning, Cassetter, This Morn Omina, Solitary Experiments, Mephisto Walz, Aiboforcen, Interface, Comaduster and more.

Kattman’s impressive resumé of vocal contributions for these acts bely her own talents as a songwriter and producer. Singles such as ‘Fever Shakes’, ‘URGOD.AI’ and ‘Swallow’ have already demonstrated her prowess in crafting hook-laden, irresistibly catchy electronic songs tailor-made for the dance floor, where elements of Trap, Hip Hop, Electro, Ambient, EBM and Industrial music interplay with her powerfully distinctive voice.

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Southern Italy’s riff-wielding power trio King Potenaz have officially signed to Majestic Mountain Records for the release of their highly anticipated sophomore album Arcane Desert Rituals Vol. 1, due out June 27th, 2025 on both vinyl and digital formats.

To mark the occasion, the band has just unleashed their blistering new single and video for ‘Rivers of Death’, a 10-minute descent into fuzzy doom, psychedelic dread, and scorched-earth riff worship.

“We’re back with a vengeance, unleashing our long-awaited second album, Arcane Desert Rituals Vol. 1! Says the band. "This is our heaviest, most intense work yet — a sonic onslaught that’ll blow your mind. We can’t wait for you to crank it up and dive into the chaos!”

With a sound steeped in the grimy tradition of Electric Wizard, Sleep, and Monster Magnet, King Potenaz blend occult doom, stoner fuzz, and eerie psychedelia into a swirling ritual of sound. “Rivers of Death” is the perfect first taste of what’s to come: hypnotic, devastating, and weird in all the right ways.

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After the announcement and pre-order start of their sophomore album Waving at the Sky and the release of their first single ‘The Malevolent’ featuring Ross Jennings from Haken, Norwegian prog rockers AVKRVST reveal their second offering – ‘The Trauma’.

Simon Bergseth, vocalist, shares about ‘The Trauma’:

“‘The Trauma’ is the heart of the story— the origin of everything. A harrowing act triggered a wound that never should have been inflicted. This is where it all begins.“

The single comes with a brand-new music video in established AVKRVST aesthetics – a continuation of the story of the lonely, bleak soul in the cabin. Watch the video here:

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Credit: Kristian Rangnes

Greek-Finnish doom metal collective Aeonian Sorrow has unveiled the official video for ‘Harbinger of Ruin’, taken from their brand-new EP From The Shadows, out now on all platforms.

‘Harbinger of Ruin’ puts the band’s signature blend of sorrowful doom and enchanting melodies on full display, a slow-burning, emotionally devastating track that channels themes of isolation and grief.

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Released in late March, ‘From The Shadows’ marks Aeonian Sorrow’s latest chapter, following their acclaimed debut album Into The Eternity A Moment We Are (2018) and the A Life Without EP (2020). After touring with Swallow the Sun and Oceans of Slumber, and navigating lineup changes, the band returned with renewed purpose, delivering one of their most intimate and emotionally raw works to date.

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To coincide with the release of Disco Kills via Sister 9 Recordings, Italian post-punk duo Kill Your Boyfriend have unveiled ‘Youth’.

We raved about the EP here. Hear the track here:

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The EP sees Kill Your Boyfriend experimenting with new sounds that lean towards electronic music, creating a more rarefied space for the guitars while maintaining the dark atmospheres that distinguish them. It features 6 songs drawing inspiration from past greats such as Kraftwerk, Moroder, and New Order, while also keeping an eye on artists like the Chemical Brothers, Daft Punk, and Paul Kalkbrenner.

Kill Your Boyfriend have confirmed a series of European live dates in May and September this year, with more to be announced soon.

Fri 30 May -  PMK – Innsbruck, Austria w./ New Candys

Sat 31 May -  Rockhaus – Salzburg, Austria w./ New Candys

Fri 12 Sept – Kampus Hybernska – Prague, Czech Republic

Sat 13 Sept – UV Klub – Lodz, Poland

Sun 14 Sept – Chmury – Warsaw, Poland

Wed 17 Sept – Kult 41 – Bonn, Germany

Fri 19 Sept – Parkside Studios – Offenbach, Germany

Sat 20 Sept – Kradhalle – Ulm, Germany

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Photo credit: Alice Lorenzon

mclusky released their first album in 20 years, the world is still here and so are we, last week. they’re sharing another video today which is directed by remy lamont, and that’s for the track ‘autofocus on the prime directive’, which is one of the songs from that album. there are also a lot of live dates coming up which you can look at below if you like.

falco offers; “autofocus on the prime directive is a series of patently untrue statements set to music by a man who can barely dress himself. the title is not a reference to star trek in any way but if it was I hope you’d understand.”

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Photo credit: Damien Sayell