Category: Single Review

Single Review by William Ruben Helms

New Audio: Public Circuit Shares Muscular Remix of “Damager”

Rising New York-based electro punks Public Circuit — Ethan Beaumont (vocals), Sean Holloway (drums) and Nelson Fisher (electronics) — exploded into the scene with 2024’s full-length debut Lamb, which they supported with sold-out shows across 30 states, including a run across the domestic festival circuit with sets at New Colossus Festival, Hopscotch and MACROCK.

The trio’s sophomore album Modern Church was released last September through Á La Carte Records. The album saw the band swapping the pretense of retro-revivalism for something much sharper, darker — and entirely their own. Sonically rooted in the trio’s newfound sense of collaboration between each other, the album’s material features angular electronic instrumentation and raw percussive rhythms bathed with the high gloss ache of sophsitipop. 

Thematically, the material is overtly religious. But it’s used as an analogical tool to explore sexual identity, the fleeting faith of society and the illicit repercussions of unresolved trauma. And much like its immediate predecessor, the new album continues a run of material deeply influenced by New York’s constant feed of noise and relentless energy. 

Today, the New York-based trio announced the April 28, 2026 release of Modern Church R//MIX//S. The trio recruited Brooklyn music scene friends Lip Critic, shower curtain, Grumpy, The Wants, smush, ideasforconversations and Crate to rework Modern Church album tracks. “We wanted to put out the remixes to not only highlight all our amazing friends who make amazing music, but also to revive these songs into all the different worlds we believe they belong to exist in,” the band explains.

Modern Church R//MIX//S‘ first single sees Public Circuit remixing their favorite song off Modern Church, “Damager.” Clocking in at 94 seconds, the original version is a punchy, club friendly bit of industrial synth pop. Their remix gives the song a muscular and swaggering thump that’s one-part old school hip hop-driven 808 and one-part 80s industrial club music.

Single Review by William Ruben Helms

New Audio: Los Pulpitos Return with Propulsive and Dubby “Squidler”

Berlin-based electronic duo Los Pulpitos features two acclaimed electronic producers:

  • Lima-born, Berlin-based producer Felipe Salmon, best known for being one-half of Dengue Dengue Dengue, an act known for meshing elements of electronic music, cumbia, reggae and psychedelia. 

  • German electronic innovator Dirk Leyers, known for his solo work, as well as with groups like Africane 808, Closer Musik and Format01. 

The duo released their debut EP Octopean Union last year. Building upon the project’s growing profile, their highly anticipated full-length debut, Tentacletek is slated for an April 17, 2026 release through Crammed Discs. The album will include the previously released “Mola Mola,” and the album’s latest single “Squidler.”

“Squidler” is a dubby club banger that seemingly channels a synthesis of Kraftwerk, Between Two Selves-era Octo Octa and LutchamaK anchored around skittering, reverb-soaked beats and shimmering synth stabs. The new single is playful, propulsive and immersive, evoking an underwater, tropical house club.

According to the duo, the track gallops fluidly on a seahorse down the Aquabahn straight to Detroit.”

Single Review by William Ruben Helms

New Audio: Kathryn Mohr Shares Brooding PJ Harvey-like “Doorway”

Oakland-based artist Kathryn Mohr creates music that exists in a liminal space of auditory dissociation. Drawing inspiration from lost items washing up on the shores of San Francisco Bay, Mohr’s work thematically touches upon the ephemeral nature of humanity, the warping of memory and how one’s trauma changes one’s experience of the world.

Mohr’s sophomore album Carve is slated for an April 17, 2026 release through The Flenser. The album was written over the course of five years and recorded over several weeks in a single wide in the Mojave Desert. The Oakland-based artist explains that her sophomore album explores how memory exists outside the body, embedded in places and landscapes.

The album’s material is shaped by her first return to the Southwest since a childhood road trip when she was five — and by the experience of moving through terrain that holds deep emotional weight, long after its origins faded. Thematically Carve considers how intimacy feels after years of isolation and what it takes to carve out a life that allows for trust, presence and feeling than mere survival.

Some of the album’s songs were written much earlier, during a prolonged period marked by emotional distance and apathy. During a four year period, Mohr was working through unprocessed childhood memories and trauma, and their long-term impact on her ability to connect with others. While the work was slow and difficult, it involved a fundamental reshaping of how she related to herself and to the outside world.

Mohr explains that the album took form after a difficult tour that ended in Joshua Tree. She pointed her car into the desert and drove alone, crisscrossing the Mojave Desert on dirt roads. Months later, she returned to record the album, working along with an acoustic guitar, a field recorder and limited supplies.

Following that period, she began to allow for intimacy and connection. The time she spent working on Carve didn’t create isolation, as much as mirror it. Working alone, out of an old, western-themed jail AirBnB, the physical enclosure reflected the emotional conditions under which much of the album had been written — distance, restraint and long stretches of stillness. For the Oakland-based artist, love wasn’t experienced as an escape or as a respite, but something inseparable from impermanence and the awareness of loss. The tension felt between connection and inevitability sits at the core of the album’s material.

Carve‘s third and latest single “Doorway” is a remarkably PJ Harvey-like tune that sees Mohr’s accompanying her crooned, stream-of-consciousness-like lyrics with buzzing and chiming guitar. The result is a song that captures the inner world and thoughts of its narrator with a woozy, uneasy and desperate precision that feels deeply lived-in.

“Doorway” was written in a Mojave Desert single wide, and as Mohr says, the song “…wrote itself really. The riffs came to me one after another and the lyrics were originally a stream of consciousness and me randomly reading from my notebook.”

Single Review by William Ruben Helms

New Audio: Paris-Born, London-Based Allix Shares Slickly produced, Hook-Driven “Motion”

Alexandre Allix is a Paris-born, London-based singer/songwriter, multi-instrumentalist and producer, whose work is rooted in retro-inspired textures paired with contemporary production. He is the creative mastermind behind the solo indie electro pop project Allix, which sees him creating music that explores urgency, emotion and intensity.

The Paris-born, London-based artist’s latest single “Motion” is a slick and deftly produced, hook-driven bop that — to my ears, at least — channels the likes of The Weeknd and 80s synth funk while showcasing a seemingly effortless, swaggering pop star delivery.

Single Review by William Ruben Helms

New Audio: Chenzo V Returns with Anthemic “Mechanical Boy”

Chenzo V is an emerging New York-based creative director, producer and artist, whose music sees him drawing from and blending elements of alternative rock, post-punk, New Wave, synth pop and industrial electronica. 

Deeply rooted in classical performance and visual art, the emerging New York-based producer and artist writes, produces and directs every release himself, building immersive multimedia worlds. Thematically, his work touches upon identity, illusion and transformation.

Late last year, he released “Midnight,” an arena friendly ripper that showcases his ability to pair rousingly anthemic hooks and choruses with broodingly cinematic soundscapes and lived-in lyrics.

His latest single “Mechanical Boy” is a woozy blend of industrial electronica, electronic rock, alt rock and synth pop that further cements his growing reputation for crafting remarkably catchy hooks and rousingly anthemic choruses while seemingly drawing from Muse and Radiohead.

Single Review by William Ruben Helms

New Audio: The Afghan Whigs Share Gritty “House of I”

JOVM mainstays The Afghan Whigs —  currently Greg Dulli (vocals, guitar), John Curley (bass), Patrick Keeler (drums), multi-instrumentalist Rick Nelson and the band’s newest member, Blind Melon’s Christopher Thorn (guitar) — released their ninth album, 2022’s How Do You Burn? to widespread critical acclaim from Rolling Stone, Pitchfork, Los Angeles Times, Spin,Stereogum, Billboard and others. 

Late last year, saw the band tackling two songs — — Poliça‘s “Fake Like” and Still Corners “Downtown” — that seemed perfect for the band’s unique take on them.

The JOVM mainstays will celebrate their 40th anniversary this year with a monthlong tour with Mercury Rev that includes an April 30, 2026 stop at Webster Hall. Tour dates are below. You can visit https://linktr.ee/theafghanwhigs for more information, including tickets.

“40 years later, I still get to do the thing I love the most. Writing songs and performing them with my friends all over the world,” The Afghan Whigs’ co-founder and frontman Greg Dulli says. “I truly have to pinch myself.”

But in the meantime, the JOVM mainstays just shared “House of I,” the first bit of original material from the band since the release of How Do You Burn? Anchored around propulsive and pounding drums and churning guitar roar, “House of I” is a bit of return to grittier, nastier sound of the band’s early days paired with Greg Dulli’s imitable vocal singing lyrics are simultaneously caustic yet full of aching desire and swaggering ego.

Produced and mixed by the band’s Greg Dulli and Christopher Thorn, “House of I” was recorded at New Orleans-based Marigny Studios with additional recording and mixing at Joshua Tree, CA-based Fireside Sound. “Laid this one down in New Orleans last summer,” Dulli said. “Was looking for an up tempo banger and feel like we found one here.”

Single Review by William Ruben Helms

New Audio: George Thorogood and The Destroyers Share Rare and Previously Unreleased Live Recording of “Who Do You Love”

Delaware-based George Thorogood and the Destroyers — currently founding duo George Thorgood (vocals, guitar) and Jeff Simon (drums) along with Bill Blough (bass), Jim Suhler (rhythm guitar) and Buddy Leach (saxophone) — formed way back in 1973. And since their formation, the band has played more than 8,000 live shows, developing a reputation for being one of the most consistent — and consistently passionate — progenitors of blues-based rock.

The band initially honed their sound on stages across the Northeast, building a devoted, word-of-mouth following through high-energy performances, blistering grooves and of course, one of the baddest motherfuckers out there, George Thorogood.

Things began to blow up in the late 1970s, after the band relocated to Boston and signed with Rounder Records. Their self-titled 1977 full-length debut channeled the power and energy of their live shows. They followed up with their breakthrough effort, 1978’s Move It On Over. The band’s profile nationally and elsewhere continued to rise with a string of popular releases 1980’s More George Thorogood and the Destroyers, 1982’s Bad to the Bone and 1985’s Maverick. And yet, their true passion always remained playing live.

“George’s connection to unvarnished, primal rock and roll made the music relevant in a way that no one could have predicted,” writes Scott Billington, who spent over 40 years as Rounder Records’ Vice President of A&R. “And even though he went on to make many wonderful records…he’s the first to say that he’d rather be on stage than in a recording studio.”

With the band now in their fifth decade, Craft Recordings shines a spotlight on their high-octane concerts with The Baddest Show on Earth: Greatest Hits Live. Spanning 1978-2024, this new collection showcases some of the band’s most electrifying live performances — many making their debut on record, including their enduring crowd favorites “Who Do You Love,” “One Bourbon, One Scotch, One Beer,” “Bad to the Bone,” and “Move It On Over.”

Slated for a June 12, 2026 release, The Baddest Show on Earth will be available on vinyl LP featuring four previously unreleased tracks, while the expanded CD and standard/hi-res digital editions include eight previously unreleased performances. Both physical formats will feature new liner nots from Grammy Award-winning producer and blues musician Scott Billington.

There will be three vinyl variants for fans — Black, Translucent Yellow, which will be available exclusively at Barnes and Noble, and Blazing Red Smoke, which will be available exclusively through GeorgeThorogood.com and on tour. You can pre-order the album here, but in the meantime, Craft Recordings and the band shared a previously unreleased performance of “Who Do You Love,” which was recorded in Atlanta in 1980.

Speaking about The Baddest Show on Earth, Thorogood says, “When the lights go down, the downbeat hits and the audience erupts; all bets are off. The Destroyers are at their best when we play for the people, and these are some of our favorite—and rarest—performances from the past five decades. You wanted the baddest, you got it.”

Thorogood and the Destroyers’ rendition of Bo Diddley‘s “Who Do You Love” is one of my favorite versions of the song, and the live version captures the swaggering, badass swagger and sweaty voodoo-like rhythms of their recorded version — and just important how under appreciated Thorogood is as a guitar player.

Single Review by William Ruben Helms

New Audio: The Twilight Sad Shares Cathartic “Attempt A Crash Landing — Theme”

Scottish post punk outfit The Twilight Sad — currently, vocalist James Graham and multi-instrumentalist Andy MacFarlane — will be releasing their long-awaited sixth album and first in seven years, It’s The Long Goodbye on March 27, 2026 through Rock Action Records. 

The origins of the soon-to-be released album’s material can be traced back to 2016: Graham and McFarlane returned from the giddy “pinch yourself” high of a tour with The Cure to learn that Graham’s mother had been diagnosed with early onset frontotemporal dementia.

Roughly 80% of the album was written while Graham wrestled with the contrasts between the pure joys of his life — marriage, parenthood, a successful career — and the bitter cruelty of his mother’s decline, followed by her death.

Over the course of the next seven years, the album’s material was further developed with the  the London-based MacFarlane stockpiling musical ideas during COVID-19 lockdown, while exchanging words and sounds with Graham. The Cure’s Robert Smith, now a longtime close friend of the duo, provided invaluable input on the album’s demos and contributed guitar on “Waiting For The Phone Call,” mellotron on “Dead Flowers,” and six-string bass on “Back To Fourteen.” 

“Then we had to piece together a band,” Graham says, now that the band is primarily centered on him and MacFarlane. Sometimes Arab Strap members David Jeans and Mogwai touring member Alex Mackay were recruited to play drums and bass respectively, with the album produced and recorded by the band’s MacFalane and addition production from Andy Savours at Willesden, UK-based Battery Studios, a location rich in The Cure history. 

The end result may arguably be the most personal yet relatable album to date from a band whose portraits of bruised and battered humanity have helped to forge close ties with their audience. “In the past, I’ve used a lot of metaphors within my lyrics,” Graham says, “With this, there’s not as much. The record is heavily influenced by my mental health, grief and loss, and the need to be strong in positions where you’re not feeling it. It’s a very human story, I think – this is just my version of it. I feel that everybody goes through something like this. Everybody loses somebody. Everybody questions life.”

Graham adds, “To know that I’m saying things that connect with other people, that’s such a powerful thing. I want to be a relatable person that talks about things that can happen and give an opportunity for people to go, well you’re not alone. I want people to be able to listen to this record and hear that it comes from a place of raw emotion. The album is an opportunity to share my experience and move forward with my life.”

The album will include “Waiting For The Phone Call” featuring The Cure‘s Robert Smith, “Destined To Lose,” and the album’s third and latest single, “Attempt A Crash Landing — Theme.”

“Attempt A Crash Landing — Theme” slowly builds up from an introspective croon to a rousingly cathartic anthem, as Graham lays bare his soul over McFarlane’s guitar textures. Much like its immediate predecessors, the new single is informed by the deeply personal yet universal experiences of loss, grief and resilience while showcasing the duo’s unerring knack for big, catchy hooks.

Single Review by William Ruben Helms

New Audio: MADELEINE Shares Atmospheric “Give Back To Her”

MADELEINE is an emerging and rising talent in the UK nu-jazz and soul scene. Citing Flying Lotus, James Blake, Salami Rose Joe Louis, Ego Ella May and Sampha as influences on her sound and work, her early output has seen praise from The Line of Best Fit and Jazz re:freshed as well as airplay from BBC Radio 1, BBC Introducing, and Jazz FM. She also played last year’s SXSW.

Building upon a growing profile in the UK, the rising British artist will be releasing the Earth Cry EP through Bridge The Gap on June 16, 2026. The self-produced, self-arranged and self-written effort features some additional production and mixing from Lewis Moody and Will Heaton. The EP reportedly sees MADELEINE taking on a much more futuristic turn, with the material featuring glistening synth textures complimenting her ethereal yet soulful delivery. The restful is an effort that explores future soul while balancing organic textures with an intergalactic interpretation of the sound of London’s cityscape.

Earth Cry EP thematically picks up from where 2023’s full-length Sun Daughter left off, acting as a cry for consciousness and care in relation to both the planet and to our fellow human beings. “I find the parallel between my own personal life, and the relevance of the world around me (nature, politics, the natural world, the dream world), extremely important,” MADELEINE explains. “Sometimes the two are so interlinked within my lyrics – they can almost blur into one. With this project I feel more confident in my directness with some of my themes. After the absolute horrors of the last couple years, it feels important to be talking about something that really matters.”

The forthcoming EP’s latest single “Give Back to Her” is a shimmering and atmospheric take on neo-soul that showcases MADELEINE’s effortlessly soulful delivery and knack for tight, catchy hooks. The result is a song that feels simultaneously improvised, sculptured and crafted. Fittingly, “Give Back to Her” was workshopped and crafted through a mix of her home studio and developing ideas on the road while touring as a keyboardist for Olivia Dean, Jorja Smith and Rachel Chinouriri.

Thematically, the song, as the rising British artist explains is about restoring balance, that people should return what is given, all while asking if we can learn to nurture the planet. “Mental health, for me, is strongly entwined with nature, and this idea of things being taken from us found itself manifesting in the verses from a more personal perspective,” MADELEINE says.

Single Review by William Ruben Helms

New Audio: Minneapolis’ Solid Gold Shares Shimmering, Politically Charged “Government Grade”

Minneapolis-based electro rock trio Solid Gold — Zachary Coulter, Adam Hurlbut and Matthew Locher — have released two critically applauded albums to date, 2008’s Ryan Olcott-produced Bodies of Water and 2012’s BJ Burton-produced Eat Your Young, as well as a handful of singles. The trio have supported all of their recorded output with a busy international touring schedule.

The trio are currently working on their long-awaited third album. Recorded at Cannon Falls, MN-based Pachyderm Studios, their new album reportedly showcases a dramatic shift in sound and approach: According to the band, the new songs are “maximalist psychedelic dreamscapes filled with shimmering synthesizers and pop vocal hooks.” They add that the album’s “sound is a reflection of the modern world, beautiful, but with an underlying essence of tragedy.”

Solid Gold’s latest single “Government Grade” is a a remarkably crafted and meditative song anchored around a shimmering psych pop arrangement, some incredibly catchy, well-placed hooks and a gorgeous melody. The song as the band explains is a direct response to the ongoing, violent occupation of Minnesota by ICE. And as a result, the song is a forcefully urgent documentation of our moment — one of many, of course — that also feels timeless and absolutely fucking necessary.

The band will be donating all proceeds from the sale of the song on Bandcamp to Minnesota Mutual Aid groups to support the good, resilient. diverse and deeply proud folks of the Twin Cities.

The Bandcamp link to purchase is here: https://solidgold.bandcamp.com/track/government-grade

Single Review by William Ruben Helms

New Audio: Saltmother Shares Dreamy, Hopeful “Masske”

Amanda Appel is a Danish singer/songwriter, best known for being a member of the Danish Music Award-nominated vocal outfit ilinx. Since their formation back in 2020, iinx has been at the forefront of the Danish experimental scene, playing sets at Roskilde Festival, midsummer bonfire ceremonies, fashion shows during Copenhagen Fashion Week and niche classical music festivals across the country.

Appel is also the creative mastermind behind the solo recording project Saltmother. Appel’s Saltmother debut, 2022’s Heavy in Baby Blue EP was an adventurous batch of electronic music with songs that thematically touched on being young and in love, living in rental apartments and taking hormonal contraception.

The Danish artist’s forthcoming Saltmother debut album reportedly marks a shift towards a much darker, more organic sound, anchored around intimacy and filled with captivating and deeply human imperfections.

The album’s first single “Maaske” is a weird yet gorgeous song that features a seamless blend of doom metal, stoner rock, folk and choral music, complete with some stunning harmonies. The song is anchored around a universal sentiment: that the darkness of our moment — or of any moment, really — isn’t forever; that we can overcome darkness by the comfort of being and singing together; and that brighter days are just ahead.

Single Review by William Ruben Helms

New Audio: Indy Fontaine Teams Up With Charlie Cruz on Swooning “Tú Tienes Algo”

Indy Fontaine is a Cuban-born, Miami-based singer/songwriter, multi-instrumentalist and producer, who can trace the origins of her career to her early childhood: Singing alongside her uncle and his old guitar, she fell in love with music when she was three. By the time she turned six, she was enrolled full-time at a music school in Sancti Spiritus, Cuba, where she trained to be professional vocalist and musician. 

Fontaine went on to graduate at the top of her class from Havana‘s prestigious National School of Art. When she graduated, she already had over a decade of experience playing gigs all across her native Cuba, including music festivals, live radio and TV sessions, and more.

Fontaine then joined Sol y Sun, an act that has played sets across the international music festival circuit between the States and Cuba, as well as some of the most popular venues in Havana. The band was also frequently performed on national TV and radio shows.

The Cuban-born artist relocated to Miami, where she stepped out into the spotlight as solo artist. Her debut, 2024’s Moments of My Life ranged across a number of genres and styles, including Adult Contemporary, Easy Listening, Soft Rock, Indie Pop, Indie Rock and R&B — with songs written and sung in both English and Spanish.

The album featured “El Amor No Alcanza,” Fontaine’s subtly modern take on bolero, a Cuban genre that frequently focuses on affairs of the heart. Since then, Fontaine spent last year releasing a collection of highly successful singles including “Esta Navidad,” “Vacaciones,” “Mariposas En La Lluvia,” “Mejor Sin Ti,” “Que Te Vaya Bien,” and “Después De La Caída.”

Her latest single, the Andrés Castro and Guianko Gómez co-written and co-produced “Tú Tienes Algo,” sees her collaborating with salsa star Charlie Cruz. The new single is a swooning and euphoric declaration of passionate and complete surrender to love — even if it strikes you as being wildly inexplicable.

The song invites lovers to surrender with the same intensity they bring to the dance floor, to declare their love not just with words, but also with movement.

“‘Tú Tienes Algo’ is about that irresistible, mysterious attraction—and I say mysterious because you can’t explain what that other person has, but you know that when you’re with them, they shake your world,” Fontaine explains. “In the song, this person is asking the other to let themselves be loved because there’s resistance to fully surrendering, perhaps out of fear—that’s why they’re asking to surrender completely to love,” she says.

“This collaboration with Charlie is a dream come true,” said Fontaine. “It was a tremendous honor to share the studio and create music with an artist I deeply admire. To me, Charlie is a salsa icon who has kept the tradition alive in such an authentic way,” she adds.

Single Review by William Ruben Helms

New Audio: Yves von Wartburg Shares Swaggering “Feel My Bass”

Yves von Wartburg is Swiss producer and DJ, who spent the early part of his career contributing to multiple gold- and platinum-certified productions, which have achieved international chart success. That experience continues to shape his own approach to electronic music production.

Recording and performing under his own name, von Wartburg specializes on high-impact techno for club and festival settings. His first release on ISMUS, an imprint of Brussels-based label KNTXT, “Feel My Bass” is a swaggering, high-energy club and festival banger, featuring twitter and woofer rattling thump, glistening synth arpeggios, an in-your-face hip-hop-styled vocal sample and big hooks.

Perfect for clubs in Berlin and Ibiza, as well as festival stages, “Feel My Bass” reminds me of JOVM mainstays Boys Noize and LutchamaK, while showcasing a producer with a big, crowd-pleasing sound.

Single Review by William Ruben Helms

New Audio: Cardiff’s FORT Shares Expansive and Stormy “From Sullen Earth”

Over the course of their nine year history, Cardiff-based post rock quartet FORT — Ben Hooper, Matthew Moore, Gavin O’Driscoll and Craig Prosser — have developed an instrumental post rock sound inspired by Caspian, And So I Will Watch You From Afar, Mogwai, 65daysofstatic, sleepmakeswaves, This Will Destroy You and Russian Circles.

The band employs driving bass lines and soaring guitars to convey emotion, while taking the listener on a journey.

The Welsh quartet’s recently released full-length debut, A Token of Our Depreciation is also sadly, their last. The band’s members decided it was time for the band to call it a day and to move on from it separately. But as they explain, “we poured everything into this release and truly proud of what we have created.”

A Token of Our Depreciation single “From Sullen Earth” is an atmospheric and expansive song featuring a swirling shoegazer guitar-driven melody, thunderous . .. And Justice For All and Black Album-like drumming and some big, heavy metal-like riffage. Sonically bearing a resemblance to Mogwai and Collapse Under The Empire among others, “From Sullen Earth” is a bruising yet cinematic composition that conveys a deep sensitivity and beauty, much like watching a storm brewing on the horizon.

Single Review by William Ruben Helms

New Audio: Crá Croí Shares Breakneck “Lost In The Electric Blood”

Deriving their name from the Gaelic phrase for “heartache,” or “vexation of spirit,” County Cork-based duo Crá Croí — RG (songwriting, production, mixing and mastering) and CD (vocals and visuals) — have employed a fiercely DIY ethos while establishing a sound that meshes elements of 1980s New Wave, post-punk and goth, featuring melancholic synths, dark melodies, angular guitars and sharp, hook-driven vocals. 

The Irish duo’s work explores themes of nihilism, love and destruction, dystopian collapsed and nuclear annihilation, often wrapped in irony and paired with post-apocalyptic metaphors. 

The Cork-based duo’s self-produced, 12-song, full-length debut, Tá brón orm is slated for an October 30, 2026. Deriving its title from the Irish phrase for “sadness” or “sorrow is on me,” the duo’s debut will feature the previously released “Radiation Romance,” “Fires At Dawn,” and “Feeding The Fear,” as well as the album’s latest single, “Lost In The Electric Blood.”

“Lost In The Electric Blood” continues run of post-punk that seemingly draws from Interpol and post-punk atmospherics. Arguably one of the album’s most breakneck songs to date, the new single evokes a restless, uneasy energy.

Thematically, “Lost In The Electric Blood” explores identity and defiance in an overstimulated and fractured, dystopian world that feels much like our own. Capturing a sense of tension between chaos and calm awakening, the song at its core, is a defiant refusal to surrender to numbness. It’s a a bold declaration that even in a world that’s gone mad, there’s something still worth giving a shit about, and something worth fighting for.