Posts Tagged ‘Video’

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.

AA

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.

AA

5bdb1f8a810c4080c3e28fe64abc217680d0fc54

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!”

AA

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.”

AA

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

AA

Ecce Sn

Portland dreampop outfit Wooden Overcoat presents ‘Finally Arrived’, the second taste of the band’s debut Hello Sunbeam EP, featuring a hypnotic foundation of viscous Gooey guitars and deliberately slow thudding drums, creating a rhythmic trance-like pulse, locking in this dreamy soundscape.

The accompanying video was created by Italian multi-arts visionary Francesca Bonci, well known for her work with The Dandy Warhols, Pete International Airport and Slowdive’s Rachel Goswell, LA’s Tombstones In Their Eyes, Federale (The Brian Jonestown Massacre’s Collin Hegna), post-rock outfit The Quality of Mercury, and iconic British bard Philip Parfitt.

AA

Emerging from a period of digital isolation, ‘Finally Arrived’ weaves together a tapestry of personal mourning and romantic friction with a critique of the grand fantasies surrounding stardom. At its core, it examines the delicate nature of human connection, lamenting a cultural tendency to view individuals as replaceable assets rather than cherished companions.
Wooden Overcoat is the sonic brainchild of multi-instrumentalist Brant Hajek, having returned to music after a hiatus, recording songs he’d written in his late teens. What started as a practice in self-production transformed into a deep creative obsession with soundscapes and gear. Recording in a rented basement, Hajek built the foundation of the EP through spontaneous experimentation—often veering away from planned sessions to follow sudden bursts of inspiration.

“I wrote ‘Finally Arrived’ when I was thinking a lot about social media, which I was completely off of for many years. Like many songs, it’s actually about multiple things all at once. Some of it reflects my own experience at the time going through grief and relationship issues, and it’s also about the delusions many people have about fame, making it big, becoming larger than life,” says Brant Hajek.

“I think the through-line is actually about the fragility of our relationships to others in our lives. I was feeling that many people take others for granted and can sometimes treat people as expendable, which is something I find really sad.”

Earlier, Wooden Overcoat shared their shimmering debut ‘Home’, enveloping the senses in a reverb-drenched sanctuary and blending in sun-drenched textures. Between the wash of tape echo and reverb, the track finds a sweet spot where lo-fi garage psych meets 90s shoegaze, all anchored by layered harmonies and an evocatively intimate vocal delivery.
While Wooden Overcoat’s lyrics and aesthetics might suggest a certain darkness, they are often rooted in inside jokes and a sense of warmth. You could call it an exercise in productive contradictions. Hajek’s creative process is a deeply personal, layered journey involving mumbled placeholder lyrics and a patient wait for the specific spark that turns an ‘emotionally restless’ melody into a finished piece.

While Hajek performed every instrument on the studio recordings to preserve the project’s intimate DIY spirit, he has since found his tribe, assembling a full live band to translate these compositions to the stage. With Hajek leading on guitar and lead vocals, Wooden Overcoat is rounded out by Dillon Glusker on bass, Mac on guitar, and Brian Levin on drums and backing vocals.

The name Wooden Overcoat—an old Americana euphemism for a coffin—hints at the project’s core philosophy: a playful balance of moody, mystical imagery with light-hearted humor. Hajek’s creative process is personal, the rough versions eventually coalescing into vivid, emotionally resonant themes. In contrast, this music is vibrant, creating a fantastic dreamlike environment for lovers of life.

AA

WOvercoat

The experimental electronic duo of Craig Dunsmuir and Sandro Perri reimagines an Arthur Russell track, with longtime Russell collaborator Peter Zummo guesting on trombone.

‘Lucky Cloud’ is the opening song on forthcoming album G70 2: Bones Of Dundasa out 1st May 2026.

“’Lucky Cloud’ serves to bookend the whole project in a way, since it’s the new album’s first recording chronologically (from 2004) while also containing its last recorded element (Peter Zummo’s trombone from 2025), making it simultaneously the oldest and newest track on the record. Thanks and gratitude to Peter for his key contribution, to Steve Knutson for approving our cover of the song, and to Tom Lee and the estate, memory and legacy of Arthur Russell. – Glissandro 70

Hear ‘Lucky Cloud’ here:

AA

20 years after its self-titled debut, Glissandro 70’s follow-up straddles the Album and Archive: a decade’s worth of recordings that were abandoned, lost in a hard drive mishap, recovered in the form of rough stereo mixes, reappraised with the balm of time, and restored/augmented/enhanced to forge a captivating new LP.

Glissandro 70 is the collaboration between Toronto musicians Craig Dunsmuir and Sandro Perri, first formed in 2003 as a mostly studio-based project of longform loop-based guitar and rhythm-driven experimentation. An eponymous (and up to this point singular) album appeared on Constellation in 2006, blending Dunsmuir’s afrobeat and Perri’s tropicalia influences through their shared reverence for Arthur Russell and dub techno.

While continuing to collaborate musically and foster a close friendship, Dunsmuir and Perri largely went on to helm their own projects thereafter. Perri transitioned from his ambient electronic sobriquet Polmo Polpo to a string of acclaimed singer-songwriter albums under his own name starting in 2007, with a side quest as ringmaster for the inscrutably leftfield electronic collaborations of Off World. Meanwhile Dunsmuir continued deploying lo-fi loops and broken beat iconoclasm as Guitarkestra and Kanada 70 (whose early tracks provided the original birthplace of Glissandro 70) and intermittent live concert Hi-life extravaganzas at the head of Toronto’s Dun-Dun Band (recently captured on wax for the first time by Ansible Editions).

G70 2: Bones of Dundasa arrives 20 years after the Glissandro 70 debut as an archival celebration, revisiting unfinished paths and re-assembling rediscovered recordings originally made between 2005 and 2015. The new album includes a cover of Arthur Russell’s ‘Lucky Cloud’ (augmented by Peter Zummo’s trombone newly recorded in 2025) and a previously unreleased Dan Bodan remix of the debut record’s ‘Bolan Muppets’, alongside 10 tracks of sample- and beat-based vignettes brimming with skittish guile.

AA

Glis

French cinematic progressive metal collective No Terror In The Bang return with a brand new video for ‘GOAT,’ taken from their new EP Existence, released April 3rd via Klonosphere Records.
Directed by Les Maan, who previously worked on the band’s earlier videos, ‘GOAT’ was filmed at La Fabrique des Savoirs in Elbeuf, a unique museum space filled with animal figures and striking scenography that perfectly complements the project’s aesthetic. The video also incorporates elements of contemporary dance, shadow play, and experimental visual techniques, enhancing its immersive and organic atmosphere.

AA

Forging a sound defined by tension and contrast, No Terror in The Bang move between fragility and fury with striking precision. Expansive atmospheres collide with sudden eruptions, creating music that feels both intimate and catastrophic. At the core stands Sofia Bortoluzzi, whose shape-shifting vocal performance anchors the band’s identity, seamlessly weaving ethereal clean melodies with visceral, gut-level screams.

Conceptually, Existence explores humanity’s downfall across multiple dimensions: cosmic, physical, social, environmental, and mortal. Each track exposes a different layer of collapse, questioning destiny, purpose, and our deeply rooted self-destructive instincts. A dark, immersive release that pushes the band into heavier, more oppressive territory, without sacrificing emotional impact.

Following the acclaimed albums Eclosion (2021) and HEAL (2024), Existence marks a decisive step forward for No Terror in The Bang, a release that confronts discomfort head-on and transforms it into something cinematic, intense, and deeply human.

AA

945fcb61-a701-c00b-ff91-7c3404c751cf

Post-Punk duo Frenchy and the Punk present their new video for the powerful and compelling single ‘War on War’, along with an announcement of spring 2026 tour dates. Playing up to 100 shows a year, the duo thrives on the road. Now they are set to bring that energy to dozens of cities across the Midwest and East Coast before heading overseas for select UK dates.

Torchbearers of a new era in post-punk, Frenchy and the Punk was formed in 2005 by vocalist, percussionist, keyboardist and lyricist Samantha Stephenson and guitarist-composer Scott Helland, co-founder of Deep Wound (with Dinosaur Jr. icons J Mascis and Lou Barlow) and Outpatients, and also known for his exceptional solo music project Guitarmy of One.

Frenchy and the Punk, listed in the ‘Top 25 US duos’ by Yahoo! Music, is a powerhouse duo with a distinct sound, blending post-punk with a touch of new wave by way of electro-acoustic hybrid guitars, loop pedals, fiery live acoustic and electronic percussion, synth and rich commanding vocals.

The powerful video for ‘War on War’ was filmed and edited by Samantha Stephenson in New York State. The single itself was mixed and mastered by William Faith (The Bellwether Syndicate, Faith and the Muse) at William Faith Music Production, with vocal recording and production at Kale Shelter Studios by Hillary Johnson, known for her work with Jeff Buckley, The Misfits, Rufus Wainwright, The Ramones, Nile Rodgers, Vernon Reid and more.

Following ‘Not Under Your Spell’, released at the end of 2025, this is the band’s second release through Distortion Productions, having signed to the label after label-head Jim Semonik saw their performance at Dark Force Fest, in New Jersey last summer.

“This song is not only about war but also the deterioration of truth and destruction of progress. It’s the belief that the majority of people in this country and the world do not want to go backwards and do not want to see bloodshed,” says Samantha Stephenson.

“It is the frustration that the few, fueled by greed and lust for power, who manipulate for their and their cronies’ advantage, cause such grief and destruction for the many. It is a call to voice opposition to the chaos and insanity. It is a call for unity beyond borders.”

A veteran of the US hardcore punk scene, Scott Helland has spent years honing a dynamic, high-impact performance style that now drives Frenchy and the Punk’s electrifying live presence and genre-blurring sound. Over the course of his music career, he has shared the stage with Black Flag, Husker Du, GBH, C.O.C, Agnostic Front and CroMags, in addition to performing with Dinosaur Jr. on occasion.

Samantha’s artistic expression came from a completely different place, having started in dance, piano and the visual arts. These two worlds collided forming a musical incarnation that moves effortlessly from bombastic and driving songs to atmospheric and almost transcendent soundscapes.

AA

FatP

The exploratory electronic duo of Craig Dunsmuir and Sandro Perri returns 20 years after its self-titled debut. G70 2: Bones Of Dundasa is out  on 1st May 2026.

Hear the skittish industrial stutter of ‘Aquatint’ and fractured beats of ‘Pad Tide’ here:

AA

AA

20 years after its self-titled debut, Glissandro 70’s follow-up straddles the Album and Archive: a decade’s worth of recordings that were abandoned, lost in a hard drive mishap, recovered in the form of rough stereo mixes, reappraised with the balm of time, and restored/augmented/enhanced to forge a captivating new LP.

Glissandro 70 is the collaboration between Toronto musicians Craig Dunsmuir and Sandro Perri, first formed in 2003 as a mostly studio-based project of longform loop-based guitar and rhythm-driven experimentation. An eponymous (and up to this point singular) album appeared on Constellation in 2006, blending Dunsmuir’s afrobeat and Perri’s tropicalia influences through their shared reverence for Arthur Russell and dub techno.

While continuing to collaborate musically and foster a close friendship, Dunsmuir and Perri largely went on to helm their own projects thereafter. Perri transitioned from his ambient electronic sobriquet Polmo Polpo to a string of acclaimed singer-songwriter albums under his own name starting in 2007, with a side quest as ringmaster for the inscrutably leftfield electronic collaborations of Off World. Meanwhile Dunsmuir continued deploying lo-fi loops and broken beat iconoclasm as Guitarkestra and Kanada 70 (whose early tracks provided the original birthplace of Glissandro 70) and intermittent live concert Hi-life extravaganzas at the head of Toronto’s Dun-Dun Band (recently captured on wax for the first time by Ansible Editions).

G70 2: Bones of Dundasa arrives 20 years after the Glissandro 70 debut as an archival celebration, revisiting unfinished paths and re-assembling rediscovered recordings originally made between 2005 and 2015. The new album includes a cover of Arthur Russell’s ‘Lucky Cloud’ (augmented by Peter Zummo’s trombone newly recorded in 2025) and a previously unreleased Dan Bodan remix of the debut record’s ‘Bolan Muppets’, alongside 10 tracks of sample- and beat-based vignettes brimming with skittish guile.

AA

images.disco

Photo by Colin Medley

Pittsburgh’s LOWSUNDAY presents ‘Nevver’ single (via Projekt Records).

Low Sunday Ghost Machine – White EP, their first all-new material in 25 years, is out now.

AA

Legacy postpunk-shoegaze outfit Lowsunday presents‘Nevver’, the final single from their new Low Sunday Ghost Machine – White EP, following the earlier-released ‘Love Language’ and ‘Soft Capture’. Released via Projekt Records and ranking second among Post-Punk.com’s Best EPs of 2025, this is the band’s first record of all-new material since 1999.

With early gothrock underpinnings, here Lowsunday capture a different energy than other tracks on this EP, with a slightly more down tempo and driving rhythm. Itt is uniquely sparse and delicate at times, relative to the band’s typically multi-layered approach regarding atmospherics and dense noise. The accompanying video, produced by Jer Herring, drifts between dark postpunk atmosphere and a homage to classic outsider cinema.

Born in the mid-1990s within the local Pittsburgh scene, Lowsunday (initially known as Low Sunday Ghost Machine) emerged as a "retro-futurist" pioneer, blending darkwave and shoegaze long before the genres saw their modern revival. Their legacy was cemented with their debut album Low Sunday Ghost Machine and the 1999 masterpiece Elesgiem, both of which were re-released via Projekt Records over the past 18 months (for their 30th and 25th anniversaries, respectively).

The band dissolved, leaving behind a cult reputation for mercurial sounds and blistering guitar work that set the stage for subsequent generations of alternative artists. Following a nearly 25-year period of inactivity, the band resurfaced as a duo in 2025—consisting of original members Shane Sahene (vocals, guitar, synth, bass, drums) and Bobby Spell (bass, guitar, drums).
”This is one of my favorite songs on the White EP. These lyrics are related to an increasing sense of apathy in the world – how it feels like even love isn’t enough sometimes and yet, the only fate worse is to let go of it. The feeling that happiness can be delicate and unhappiness can be so determined to take its place,” says Shane Sahene.

“This song touches on very early influences and the recording captured some of the most unique guitar tones we’ve ever used. What’s unusual is that, separately, Bobby had been working on a bass line and I had been playing this guitar part. It was serendipitous in how well they went together to form this song.”

‘Nevver’ is a case in point, showcasing the band’s legacy of creative experimentation and talent for weaving counter-culture cadences and weightless production with a sense of visceral vulnerability.

Bobby Spell shares, “’Nevver’ was enjoyable for the two of us to compose. I had been playing with this menacing bass line that happened to be a perfect match for a guitar part Shane had been working on. It gave us an opportunity to explore darker tones and indicated the need for a more sparce production. The almost plodding tempo made this song more challenging and fun, imbuing it with a combination of creepy darkness with a dash of humor.”

AA

lowsunday

Today, experimental Hip-Hop legends dälek release their latest full-length album, Brilliance of a Falling Moon.

Conceived, composed, and produced by Will Brooks (aka MC dälek) and Mike Mare, Brilliance of a Falling Moon is a sprawling, uncompromising record that speaks to the political timbre of the day. Taking its name from a section of Erik Larson’s 2011 novel In The Garden of Beasts, the album paints a fiery portrait of life and resistance in fascist America.

Recorded in the group’s Deadverse Studios over the course of 2024 and 2025, Brilliance of a Falling Moon’s beats are propelled by brutal, dust-caked drum breaks and cloaked in an ominous, otherworldly atmosphere. Taking aim at everything from The State’s suppression of information to colonialism and Trump’s demonization of immigrants, Brooks’ rhymes are practically burning with outrage at the current state of the world.

“When you listen to this, I hope you walk away with hope because we’re still fighting, building, and pushing.”

Check out the new video for ‘Normalized Tragedy’ below:

AA

Not only has dälek always presented an undiluted political stance in their music, the band is part of the continuum of bold, revolutionary hip-hop pioneered by Public Enemy and The Bomb Squad. dälek has spent decades carving out a unique niche fusing hardcore Hip Hop, noise and a radical approach to sound.

Founded by Will Brooks (aka MC dälek) and Alap Momin (aka Oktopus), dälek debuted in 1998 with Negro Necro Nekros, a sonic tour de force built upon thunderous drums, blissful ambient sections, and gritty, insightful lyrics. On watershed albums like 2002’s From Filthy Tongue of Gods and Griots (2002), Absence (2005), Abandoned Language (2007), and 2009’s Gutter Tactics (2009), dälek laid a template that added completely new textural and structural dimensions to rap music.

With this kind of musical and political pedigree, it makes sense that dälek would return with such a timely record that reflects all of our frustrations.

Once again the band has teamed up with artists Paul Romano and Mikel Elam for the striking package artwork.

AA

dalek---2026---4---credit-Jonny-Scala-990000079e04513c

Photo credit: Jonny-Scala

Alternative-industrial rockers NOIR ADDICTION present their new single ‘Serve Me Some Crime’, a sarcastic manifesto about embracing chaos and contradiction, where rule-breaking, humour and non-conformity become tools of personal freedom. The accompanying video, with its black-and-red aesthetic, was created by ‪Jack Lucas Laugeni.  Favouring instinct and madness over routine, control and the suffocating seriousness of everyday life, this is the first postpunk-darkwave taste of the Pretty Things Don’t Last album, forthcoming via Berlin’s Soulpunx label.

AA

Noir Addiction is led by Sonny Lanegan, a seasoned musician and producer whose creative vision was shaped by cutting his teeth in Los Angeles’s high-octane music scene, where he honed his experimental style as singer-songwriter for White Pulp and co-founder of The Dead Good. The Spill Magazine finds this “somewhere between industrial grit and sardonic self-awareness. Drawing clear lineage from acts like Nine Inch Nails and Depeche Mode, Noir Addiction doesn’t just imitate its influences—it refracts them through a modern lens of irony and controlled chaos”.

AA

Noir