Posts Tagged ‘Video’

Adelaide sludge merchants Sundowner are back, and things haven’t gotten any prettier.

Three years after Lysergic Ritual dragged listeners through a feedback-soaked wasteland of nihilism and decay, the Australian quartet have announced their third full-length, Cesspool, due out October 15 via Melbourne’s Disdain Records.

The band are offering the first taste of the album with ‘Intoxication Blues’, a filthy, swaggering slab of NOLA-inspired sludge accompanied by a brand-new visualizer.

Built around poisoned blues riffs, suffocating grooves, walls of feedback and a thick layer of distortion, ‘Intoxication Blues’ provides an appropriately nasty introduction to an album designed to soundtrack a world going up in flames.

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Cesspool sees Sundowner take the caustic, slow-burning sludge that has defined them since their 2021 debut Guns, Knives and Tyre Irons and push it into even more punishing territory across ten new tracks.

The band explain: “Cesspool continues on with our brand of sludge, further melding influences from the classic ’90s pioneers of the genre through our own lens out of Adelaide, South Australia.”

For Sundowner, that lineage has always been clear. The poisoned blues of Eyehategod, the ugliness of Iron Monkey and Buzzov-en, and the smoke-filled grooves of Weedeater remain embedded in their DNA. But Cesspool isn’t interested in simply recreating the past. Instead, those influences are fed through Sundowner’s own distinctly Australian strain of hostility.

The album also sees Sundowner reunite with the production team behind Lysergic Ritual. After handling virtually everything themselves during the band’s early years, Sundowner brought Jason Fuller of Goatsound Studios into the fold to mix their second album, with Dav Byrne of Iridium Audio handling mastering.

“We went with the same production team as our last album, but pushed everything further for a more punishing and abrasive sound,” says the band.

Across its ten tracks, Cesspool doubles down on everything Sundowner do best: filthy blues, crushing grooves, abrasive riffs and pure sludge-soaked hostility. It’s heavier, nastier and more punishing, without straying from the band’s uncompromising roots.

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TWICE A MAN unveil a beautiful visualiser for ‘Desert Snow’, the first to be plucked as an advance single from the electronic environmentalists’ forthcoming album Reveries Before Silence. The Swedes’ new full-length has been chalked up for release on November 20, 2026.

Parallel to their new album, Twice A Man will also release a collection of rare tracks revolving around marine themes that have been gathered in a 48-page 2CD artbook under the title The Marine Trilogy on November 20, 2026

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Twice A Man comment: “The first single track, ‘Desert Snow’, is one of our musical footprints in a time marked by uncertainty, division, and change”, Karl Gasleben explains on behalf of the band collective. "This song reflects on the world we live in today while reminding us that hope and positive thinking can still be a path toward unity. As modern societies continue to challenge our sense of human connection, we need to find what brings us together rather than what drives us apart. If we can discover a common voice that leads us away from war, polarisation, and the climate crisis, there is still a future worth believing in. We want to be able to look our children in the eyes and speak about tomorrow with honesty, responsibility, and hope. ‘Desert Snow’ is our contribution to that conversation – a song that carries both reflection and faith in a better future.”

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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.

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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Lustmord, the pioneer of modern ambient electronic music, and Dave Lombardo, one of heavy music’s most influential percussionists, have joined forces as Lustmord Lombardo.

The pair release their debut album, The Pulse of Atoms, on October 2nd via Ipecac Recordings, offering a taste of their new collaboration with the release of ‘Paleomagnetic Resonance’.

Watch the single video here:

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“One thing about an album like this is that you can’t really point it out as being part of any specific genre or hopefully any specific period,” Lustmord explains. “Is it from last year? Is it from 10 years ago, is it from 20 years ago, is it from 5 years in the future? It’s trying to create something that has its own sound, not tapping into whatever musical language or history you’re familiar with. It goes way, way further back. This is the sound of planets dying or of stars being born. It’s about a bigger picture. It’s the sound of the birth of the universe and the death of the universe; it’s not rock and roll.”

The two musicians met backstage at a Fantômas show, introduced by mutual friend Buzz Osborne, around the time that Lustmord and Melvins released their collaborative album. Nearly two decades later, Lombardo and Lustmord convened as Lustmord Lombardo, crafting an album that is as cold and distant as it is frantic and engaging. The Pulse of Atoms showcases an unheard side of Lombardo and brings Lustmord back to his industrial roots.

Rather than composing songs in a traditional sense, Lustmord built evolving walls and vortices of sound, leaving room for Lombardo to add percussion and various synthesizer layers. Once the editing and arrangement was complete, Lustmord mixed and mastered the record, which was a balancing act between the two players’ large, loud musical presence

“I’m very proud of this collaboration because it’s so different from anything else that I’ve done,” Lombardo adds. “And to create this body of work with Lustmord – this guy is
legendary! He rattles the plaster off of venues.”

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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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After fifteen years of relentless sonic punishment, Dutch grindcore outfit Suffering Quota return with Sisyphean Life, their fourth full-length album and their most conceptually ambitious and sonically uncompromising work to date. The album will be released on September 25 via a collaboration between 7 Degrees Records and Tartarus Records.

To mark the announcement, the band have recently dropped  the album’s first single, ‘Head, accompanied by a video that premiered via Invisible Oranges, who described the track as: “Whiplash tempo changes ultimately send this roiling edifice crashing down into a miserable avalanche of suffocating grind shrapnel. Razor-sharp production gives ‘Head’ a level of sonic depth and power that further illuminates the song’s fierce, desperate energy.”

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The band had this to say about this new track: “For me, this was the first song where the full concept began to click. I was going through a period of complete lack of motivation or desire, where the days seemed to blur into one another without a clear beginning or end. ‘Head’ became a frantic reflection of that state of mind and ultimately encapsulates everything the album is about.”

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For more than fifteen years, Suffering Quota have carved out their own space within the European grindcore underground, crafting music that values tension, power, and physical impact over excess. Their songs are not merely fast or abrasive; they are deliberately oppressive, built around repetition, density, and an overwhelming sense of momentum that mirrors the emotional and psychological pressures of everyday life.

Inspired by the ancient Greek myth of Sisyphus, Sisyphean Life examines the endless cycles that define the human experience. Like the mythical king condemned to push a boulder uphill for eternity, the album reflects on depression, monotony, and the perpetual search for fleeting moments of relief, only to find oneself back at the beginning. Rather than offering catharsis, Suffering Quota embraces the uncomfortable truth that some struggles are destined to repeat themselves.

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Shape Navigator is the electronic alter ego of the Kent-based composer, musician and sound artist Peter Coyte, whose recently issued debut album, Journal, has drawn favourable comparisons to fellow sonic explorers such as Craven Faults and Warrington Runcorn New Town Development Plan.

A video has recently been released, for the album’s opening track, the diptych ‘Tread Lightly On The Planet/Girl Taken’. Shot by Paul DaCosta in collaboration with Maria Fernanda Gavilan, it represents an altered reality or a dream state made manifest, in a way that could also be considered a ghost story.

Taken from live adaptations of soundtracks, ‘Tread Lightly On The Planet’ is from a dance piece devised with choreographer Dora Frankel that has an environmental theme representing the stop/start journey of navigating a self-destructing world. ‘Girl Taken’ is from a documentary by Francois Verster and Simon Wood about a baby girl stolen at birth and reunited 17 years later with her sister at school. Both pieces are interwoven with themes of loss, searching and adjustment.

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Coyte initially announced himself with a series of ambient meets prog house singles on Guerilla Records in the mid-‘90s, subsequently collaborating with Coldcut, Seal, David McAlmont, Heartless Crew and poet/author Salena Godden.

The years since have seen him establish a first-rate reputation as an electronic and experimental music artist, including significant contributions to sound art and installation projects, plus ongoing collaborations with filmmakers, theatre directors, choreographers and more. His work blends sonic experimentation with emotional depth, creating immersive experiences that engage and intrigue audiences.

Now, three decades after releasing his first single as Shape Navigator, Coyte has finally released his debut album, with Journal being a deeply personal sonic diary that captures two years of spontaneous creation and exploration on synthesisers. Each track originates from a live improvisation built from unrehearsed, unedited performances where instinct shaped its structure and emotion guided the sound.

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NYC-based art-rockers Ecce Shnak are back with ‘Vincent’, the first single from their full-length album Dandy Variances, out later this year via Records, Man Records. Operatic trills collide with frantic rock energy in a high-decibel takedown of a formulaic antagonist through the power of one’s own voice. Directed and edited by DJay Brawner, the video was produced by DJay Brawner, Brooks Jones, Beth Narducci, and David Roush.

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

“This is a mid-tempo, jumpy, flash-in-the-pan hardcore song with classical art song vocals. I originally wrote it for a film that was never made but was imagined by a classmate of mine at Temple University in Philadelphia in 2015. The character Vincent is an archetype of a smug, inconsiderate jerk most of us occasionally come across, try as we might to avoid them. Vincent is not an absolute scoundrel, but he is wack enough to rightly deserve the average person’s indignant eye-roll,” says David Roush.

“Ultimately, the narrator resolves to overthrow Vincent’s jerkface’itude in the final refrain: “I’ll destroy your equipment with my voice!” If you have a medium-tier opponent in your life whom you would like to rid yourself of somehow, you can sing this line to yourself. Hopefully your Vincent will buzz off and go kick rocks!”

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Ecce Shnak has a reputation for astounding performances, their music a volatile yet meticulously crafted ecosystem, where technical precision meets a sense of inspired mayhem. May brings their East Coast Tour with platinum-selling legends EMF, followed by UK dates in June. Last year, the bands did a West Coast tour, along with Spacehog. Then Ecce Shnak featured on EMF’s stellar track ‘LGBTQ+ Lover’ with both Davey and Bella contributing vocals. The video footage was filmed during the 2025 tour.

“The music video is an homage to an important music video in the average millennial’s musical subconscious, that of ‘Down’ by 311. The tempo, feel and musical production of the two songs is similar enough that, when I was imagining what the music video could be, the idea of doing a cinematographic tribute to that 1990’s relic seemed compelling. We asked the director and editor DJay Brawner to create as close to a shot-for-shot tribute as he could, and we feel that he and his crew succeeded handily. However, we deviated playfully a little from the original,” says David Roush.

“There is a reference to another important music video of the last 20 years in the pale, silver-haired, demon-like being who is the ‘Vincent’ in this music video – a re-imagining of the S&M-tinged monk-like Hell-being in the music video for Meshuggah’s ‘Bleed’. However, unlike the poor chap in the ‘Bleed’ video, the good guys (members of Ecce Shnak) liberate themselves from Vincent’s spiritual dominion with compassionate magic and send him hurtling into the blue sky, their raised jazz-hands trembling together as the video comes to a close.”

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TOUR DATES

MAY 07  Philadelphia, PA, USA – Nikki Lopez
MAY 08  Buffalo, NY, USA  – Town Ballroom
MAY 09  Toronto, ON, Canada – Dance Cave
MAY 10  Montreal, QC, Canada – Bar Le Ritz
MAY 11  Boston, MA, USA  – City Winery
MAY 13  New York, NY, USA  – Sony Hall
MAY 14  Millersville, PA, USA  – Phantom Power
MAY 15  Baltimore, MD, USA  – Metro Gallery
MAY 16  Hamden, CT, USA  – Space Ballroom
JUN 02  Manchester, UK – Gorilla
JUN 03  Worthing, UK – The Factory Live
JUN 04  Portsmouth, UK – Kola
JUN 05  Southend, UK – Chinnerys
JUN 06  London, UK – The Garage
JUN 07  Leeds, UK – Brudenell Social Club

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