Posts Tagged ‘Video’

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

Posted: 23 August 2026 in Singles and EPs, Recommended Streams and Videos
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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: ‘Paleomagnetic Resonance’ by Lustmord Lombardo

Posted: 12 August 2026 in Recommended Streams and Videos, Singles and EPs
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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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Watch: ‘The Witness’ by Gnod

Posted: 5 August 2026 in Recommended Streams and Videos, Singles and EPs
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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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Watch: ‘Head’ by Suffering Quota

Posted: 3 July 2026 in Recommended Streams and Videos, Singles and EPs
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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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Watch: ‘Nous, le venin / Feu d’un regard’ by Mourir

Posted: 3 June 2026 in Recommended Streams and Videos, Singles and EPs
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French quartet Mourir recently announced the release of their second full-length studio album, Nous, le venin, this summer via Pelagic Records. Their forward-thinking take on black metal and uncompromising approach to their work marks them out as ones to watch when they present this new material live at festivals across Europe including Hellfest, Rock In Bourlon and Resurrection festival in the months to come. 

To mark the release of Mourir’s second single ‘Feu d’un regard’, the band is unveiling a live video filmed during the recording sessions for the album Nous, le venin last January. It’s a way for the band to document the album’s recording and showcase the first two singles, ‘Nous, le venin’ and ‘Feu d’un regard’ live.

The video stays true to the rest of the album, which was recorded live at The Apiary in Laval by Amaury Sauvé, mixed by Clément Libes at La Tanière in Copenhagen, and mastered in Paris by Adrien Pallot at Chab Mastering.

Filmed and edited by Clara Griot and Emma Mari, this behind-the-scenes look at the recording of Mourir’s second full-length album gives a glimpse of what awaits fans who cross paths with the Toulouse-based band this summer.

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With a demo, an album and an experimental EP to their name, the four-piece retreated to the studio at the end of 2025 to write the music for Nous, le venin. Recorded in January 2026 with Amaury Sauvé (Birds in row, Igorrr, Pneu) at The Apiary Studio in Laval, France, the six tracks are the very embodiment of Mourir’s approach to black metal. Although they draw inspiration from many artists in the old-school black metal world, they opted to lean into a more modern sound – one that would allow the depth of their sonic choices to shine. Blending elements of sludge and post-metal to the rawness of their black metal sound, and combining this with a mix that gives space to both the low frequencies and the high-octane viscerality, Mourir have created something both distinctive and captivating, which is demonstrated on epic first single and album title track, ‘Nous, le venin’.

Thematically, the band turns their detached gaze towards an ever-more untethered modern society, one that is inhospitable to those seeking meaning in the cruelty and absurdity of a seemingly senseless world. Yet within these tracks exists slivers of light, of hope and of luminosity – a belief that something better is possible is woven throughout the melodic passages and most celestial, ecstatic elements of their sound. The evocative cover art by Thomas Davezac captures the feeling of disconnection that permeates the album.

Mourir have recorded an album that cements their place among underground greats who deftly eschew the nostalgic trappings of black metal convention and breathe new life into the genre. Nous, le venin is imbued with raw emotion that is perfectly complemented by stylistic choices that echo the sentiment of being freed from the chains of the past.

Nous, le venin by Mourir will be released via Pelagic Records on 10th July.

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Watch: ‘Tread Lightly On The Planet/Girl Taken’ by Shape Navigator, film by Paul DaCosta

Posted: 10 May 2026 in Recommended Streams and Videos, Singles and EPs
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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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Watch: ‘Vincent’ by Ecce Shnak

Posted: 4 May 2026 in Recommended Streams and Videos, Singles and EPs
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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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Watch: ‘Finally Arrived’ by Wooden Overcoat

Posted: 3 May 2026 in Recommended Streams and Videos, Singles and EPs
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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.

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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.

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Watch: ‘Lucky Cloud’ by Glissandro 70

Posted: 15 April 2026 in Recommended Streams and Videos, Singles and EPs
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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:

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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.

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