For days now, the music world has held its collective breath over the brewing beef between young hyperpop acts Bassvictim and daine. The young hyperpop artist daine will release their debut album In Endless Awe & Agony later this year, and London duo Bassvictim dropped a remix of daine’s single “PQC” last month. In a recent Instagram live session, Bassvictim member Ike Clateman claimed that daine’s team were “hitting us up over and over again to do a remix” and that “the offer just kept getting higher and higher.” In the comments, daine wrote, “this is poor taste and weird af i DID NOOOT think it was like that at all. my team asked if id like a BV remix & i said yes they’re awesome. our teams know each other. i was not desperate & i did not break the bank at all.” Oh shit! It’s on!
British blues-rock guitarist and singer Joanne Shaw Taylor has released a new single, “The Girl That You Loved Before,” from her upcoming studio album, The Trouble With Love, due October 23 via Journeyman Records.
The song finds Taylor reflecting on a past relationship and the way people evolve or the years. Built around a melodic, mid-tempo groove, “The Girl That You Loved Before” pairs Taylor’s vocal with a sense of nostalgia before building toward a prominent guitar solo.
“This song came from looking back at past relationships and realising how much we change over time,” Joanne shares. “It’s about being remembered for who you were, not necessarily who you are now. I wrote it to explore that nostalgia, that longing, and the bittersweet ache it brings.”
An official music video has also been released for the song. The video alternates between footage of Taylor performing and scenes of her alone in a dimly lit bar, reflecting the song’s focus on memory and relationships that have ended.
“The Girl That You Loved Before” is the latest preview of The Trouble With Love, which was produced by Kevin Shirley. The album blends blues, rock, soul and Americana while exploring different sides of relationships, including desire, heartbreak, resilience and acceptance.
Taylor has already released several songs from the album, including “The Trouble With Love,” featuring Joe Bonamassa, and “What Good Is My Love?,” featuring Orianthi. Other previously released songs include “Hell Or High Water,” “This Is Who I Am,” “Tired Of Being Right” and “Bad Boy.”
The new album continues Taylor’s recent collaboration with Shirley, whose production credits include Led Zeppelin, The Black Crowes, Aerosmith and Bonamassa.
Taylor will remain on the road ahead of the album’s release, with U.S. dates continuing through September. She will begin another U.S. tour on October 28 in Albuquerque, with shows scheduled throughout the Southwest, Mountain West, Pacific Northwest and California. Select dates will feature Bywater Call, followed by a run of shows with Robert Jon & The Wreck.
2026 U.S. Tour Dates
August 19 – Lexington, MA – Cary Hall August 20 – Norfolk, CT – Infinity Music Hall Norfolk August 21 – Buffalo, NY – Electric City August 22 – Interlochen, MI – Interlochen Center for the Arts September 10 – Paw Paw, MI – Warner Vineyards September 11 – Dayton, OH – Levitt Pavilion Dayton September 12 – Louisville, KY – Mercury Ballroom
2026 Fall U.S. Tour
October 28 – Albuquerque, NM – KiMo Theatre * October 29 – Flagstaff, AZ – Orpheum Theater * October 30 – Phoenix, AZ – Celebrity Theatre * November 1 – Tucson, AZ – Rialto Theatre * November 3 – Grand Junction, CO – Mesa Theater * November 5 – Colorado Springs, CO – Phil Long Music Hall * November 6 – Ft Collins, CO – Aggie Theatre* November 7 – Boulder, CO – Boulder Theater * November 9 – Salt Lake City, UT – The State Room ** November 10 – Boise, ID – The Egyptian Theatre ** November 12 – Spokane, WA – Knitting Factory ** November 13 – Tacoma, WA – Rialto Theater ** November 15 – Portland, OR – Aladdin Theater ** November 17 – Grass Valley, CA – The Center for the Arts ** November 19 – Napa, CA – Uptown Theatre Napa ** November 20 – Bakersfield, CA – World Records ** November 21 – Monterey, CA – Golden State Theatre **
* with Bywater Call ** with Robert Jon & The Wreck
Six tracks landed this week and they cover an unusual amount of ground. Down broke a nineteen-year silence between proper albums. Ministry started saying goodbye for real. Enslaved dropped a song with a riddle in it. Wolves In The Throne Room came back after five years with an eight-minute epic set a thousand years after the end of civilization. Miss May I got mean. And Starset appeared out of nowhere. Here’s everything worth your Friday.
“Blood Oath” is the lead single from Volume V, out November 20 via Nuclear Blast — and it’s the first proper full-length Down album since Down III: Over The Under in 2007. Nineteen years. The two Down IV releases in 2012 and 2014 were EPs, which is why the new one is called Volume V rather than Down V.
The song is built on a riff the band describe as alternately hard-hitting and hummable, resolving into a huge clarion-call chorus. It’s also stuffed with New Orleans references that Phil Anselmo says anyone from the city will clock immediately — the band’s own line is that it practically bleeds old gold, black and white, which if you know NOLA you can decode in about a second.
Pepper Keenan’s verdict is the useful one: you’ll know it’s Down from the first bar. Anselmo’s is more interesting — it’s a Down song, but it takes a turn.
Recorded at Anselmo’s home studio with Keenan and Kirk Windstein tracking guitars in the room together rather than layering separately, which is why it sounds like five people rather than five files. Windstein reckons it’s the same vibe as NOLA with another 35 years of songwriting behind it.
If you want the full context on where this band sits, our NOLA sludge guide covers the scene that made them.
Ministry — “We Hate”
The last angry record Al Jourgensen will ever make, and he’s not going quietly.
“We Hate” sits at track four on Hate To Go (Take Out Or Delivery), out October 30 via Cleopatra Records. It’s Ministry’s seventeenth studio album and Jourgensen has been unambiguous that it’s the final one — his exact framing being that he’s done, proud of what he accomplished, completely at peace with it, and that it’s time to herd goats.
Look at the surrounding song titles and you get the temperature immediately: “Clown Car,” “Grifter,” “The White Man Lied,” “Voices of Hate.” Forty-five years in and the man is still pointing at things and naming them.
One detail worth flagging on this track specifically — backing vocalist Badpenny von Eckardt shape-shifts across the record, and on “We Hate” she’s playing what the band’s own notes describe as a double-agent mercenary. That’s a lot more theatrical construction than people give late-period Ministry credit for.
The current lineup is Monte Pittman and Cesar Soto on guitars, Paul D’Amour on bass, John Bechdel on keys and Pepe Clarke Magaña on drums. And on the closing track, Paul Barker returns — Jourgensen’s creative foil from 1986 to 2004, back for the last one after two decades away.
The Goodbye Europe tour starts April 2027 with Die Krupps. Before that they’re at Louder Than Life next month, plus Red Rocks and Sick New World Texas.
If you’ve never seen Ministry, this is the window closing.
Enslaved — “Solar Will”
The most intellectually demanding song of the week, and Enslaved have made you do homework to get to the bottom of it.
“Solar Will” is the lead single from Mið, the Norwegians’ seventeenth album, out October 30 via Nuclear Blast. Mið is Old Norse for “centre” or “middle” — the ð is pronounced like the “th” in “the.”
Musically it’s exactly what Ivar Bjørnson promised: he says a sun cult that terrifying and that ancient demands classic riffs, Bonham-esque drum grooves and blistering melodic flares, and that’s what it sounds like to him.
But the lyrics are the fun part. Grutle Kjellson says the song is built on one of the enduring rivalries in Norse mythology, embodied by two important but often overlooked figures — and he flatly refuses to name them, arguing that inviting interpretation is one of the essential functions of lyric writing.
Our reading, and we’ll flag it as a reading: Sól and Sköll. The sun goddess and the wolf who chases her across the sky and finally catches her at Ragnarök. A pursuit with no resolution until the world ends, which lines up exactly with Kjellson’s own note that the song’s conclusion — or rather its absence of one — argues for accepting contradictory forces rather than resolving them.
Wolves In The Throne Room — “Ghosts Among The Obelisks”
Eight minutes long, and the first new Wolves In The Throne Room music since 2021’s Primordial Arcana.
It’s the lead single from Estuary, out October 23 via Relapse in North America and Century Media everywhere else, and the concept is superb. The record is set a thousand years in the future, after the death of civilisation. Nathan Weaver describes survivors of a cataclysm wandering haunted ruins in a world of mutant creatures and open portals, with post-apocalyptic religion forming in a wild landscape.
His framing of the title: if wilderness overcame the cities, estuaries would become realms of power and magic — nexus points where magic takes physical form, with spirits both good and evil walking the earth.
The song itself follows a warrior travelling from the lowlands of the old world to a mountain sanctuary, through forgotten ruins haunted by ancient spirits, while the earth patiently reclaims what was conquered.
Sonically it’s more concentrated and more melancholy than their most sprawling work — mid-tempo, doom-laden, with the double bass mixed forward enough to keep it from drifting into pure ambience. There’s industrial noise and gothic guitar in there too, which is new.
Self-produced at their own Owl Lodge studio, with touring bassist Galen Baudhuin on the record and Weaver directing the video himself. It’s the sort of thing atmospheric black metal was invented for.
Miss May I — “Death Threat”
The most straightforwardly violent song here, and it arrives with a lyric video.
“Death Threat” is the fourth single from No Place For Me, the Ohio band’s eighth studio album, out October 2 — and their first release through Solid State Records after a run on SharpTone.
It follows “Sanctuary,” “Hand Me A Halo” and “Die On The Vine,” and it sits at track five on a ten-track record. Levi Benton has described the album as everything he’d felt for a long time without having the words for it, and said writing it taught him who he actually is even when that was hard to look at.
Eighteen years into a career that broke wide with 2012’s At Heart hitting number 32 on the Billboard 200, this is a band who’ve never really softened. The riffing is still thrashy, the vocals still shredded, and there’s no gesture toward crossover anywhere.
They belong squarely on any serious metalcore list, and this run of singles is the strongest they’ve had in years.
Starset — “Parad0x1c”
The mystery of the week.
Starset dropped “Parad0x1c” today with almost no fanfare, framed with the tagline “a vision of your future” — which for a band who’ve built an entire fictional universe around the Starset Society is either an announcement or a breadcrumb. Probably both.
If you don’t know them: Dustin Bates fronts a project that’s more sci-fi multimedia narrative than conventional rock band, wrapping cinematic strings and electronics around genuinely heavy guitars. Their last album, Silos, arrived in September 2025 via Fearless.
At time of writing there’s no album announcement attached, no tracklist, no context beyond the song itself. That’s the Starset way — the lore usually arrives before the details do.
Worth a listen, and worth keeping an eye on their channels this weekend.
This week’s playlist
Down — “Blood Oath” Ministry — “We Hate” Enslaved — “Solar Will” Wolves In The Throne Room — “Ghosts Among The Obelisks” Miss May I — “Death Threat” Starset — “Parad0x1c”
All six are in rotation on the Loaded Radio stream this weekend.
TL;DR
Down — “Blood Oath”: lead single from Volume V (November 20, Nuclear Blast), their first full-length album in nineteen years.
Ministry — “We Hate”: from Hate To Go (Take Out Or Delivery), out October 30 via Cleopatra. Al Jourgensen’s seventeenth and final Ministry album.
Enslaved — “Solar Will”: lead single from Mið (October 30, Nuclear Blast), with lyrics built on two Norse figures the band deliberately won’t name.
Wolves In The Throne Room — “Ghosts Among The Obelisks”: eight-minute lead single from Estuary (October 23, Relapse), a concept album set a thousand years after the end of civilisation.
Miss May I — “Death Threat”: fourth single from No Place For Me (October 2), their eighth album and first for Solid State Records.
Starset — “Parad0x1c”: surprise release with no album announcement attached, framed as “a vision of your future.”
FAQ
What are the best new metal songs this week?
Six standouts: Down’s “Blood Oath,” Ministry’s “We Hate,” Enslaved’s “Solar Will,” Wolves In The Throne Room’s “Ghosts Among The Obelisks,” Miss May I’s “Death Threat” and Starset’s “Parad0x1c.” All were released or premiered during the week of August 21, 2026.
Is Ministry’s new album really their last?
Al Jourgensen has stated clearly that it is. Hate To Go (Take Out Or Delivery), out October 30, 2026 via Cleopatra Records, is Ministry’s seventeenth studio album and Jourgensen has said he’s done and at peace with ending the band after 45 years. A Goodbye Europe tour with Die Krupps begins in April 2027, followed by a US run.
When is Down’s Volume V released?
November 20, 2026 via Nuclear Blast Records. It’s Down’s first full-length studio album since 2007’s Down III: Over The Under — the 2012 and 2014 Down IV releases were EPs, which is why the new record is titled Volume V.
What is Wolves In The Throne Room’s Estuary about?
It’s a concept album set a thousand years in the future, after the collapse of civilisation. Vocalist and guitarist Nathan Weaver describes survivors of a cataclysm wandering haunted ruins in a world of mutant creatures and open portals, where estuaries have become nexus points of magic. It arrives October 23, 2026 via Relapse Records.
What is Enslaved’s “Solar Will” about?
Grutle Kjellson has said the song explores archetypal conflict through one of the enduring rivalries in Norse mythology, embodied by two important but frequently overlooked figures — whom he has deliberately declined to name so listeners can decode the lyrics themselves. It’s the lead single from Mið, out October 30, 2026.
Six songs, one Friday, and two bands saying goodbye in their own way. Which one’s getting the repeat plays — and what did we miss this week? Drop it in the comments. And keep it locked on the Loaded Radio stream, where all six are in rotation — follow Loaded Radio for daily rock and metal news.
Indianapolis-based death-doom metal outfit Mother Of Graves will release their new studio album, The Light That Keeps Us, on October 16th via Profound Lore Records. As a first preview, the band has unveiled the album’s lead single, “Through The Pale Shade”. Check it out below. Read more…
Scottish Blackened Speed Metal Maniacs To Lay Waste To North America From October 21 Through November 20, 2026
Scottish blackened speed metal force HELLRIPPER will return to North America this fall for an extensive U.S. tour in support of HAVOK .
The “Goat Kvlt” will embark on the 22-date trek beginning October 21 at Metro Music Hall in Salt Lake City, Utah, and will tear across the country before bringing the run to a close November 20 at the Gothic Theatre in Denver, Colorado.
The tour comes in support of HELLRIPPER’s critically acclaimed latest album, Coronach , which was released worldwide on March 27, 2026, through Century Media Records . The album marks HELLRIPPER’s debut release for the label.
Known for its ferocious collision of black metal, speed metal, thrash and rock ‘n’ roll, HELLRIPPER has built a reputation for delivering unrelenting old-school metal with a distinctly modern bite. Coronach continues that tradition while expanding the project’s sonic and atmospheric palette.
The critical response has been equally savage.
No Clean Singing praised HELLRIPPER’s distinctive blend of black metal, speed, thrash, punk and rock ‘n’ roll, while Angry Metal Guy described Coronach as an album that builds upon the project’s earlier work while injecting it with “a lethal dose of vitality.”
Heavy Metal Philosophy noted that the record manages to remain true to the spirit of heavy metal while still sounding “fresh and hungry,” while KNAC highlighted the album’s atmospheric and thematic elements as giving it an identity beyond simply being another high-speed metal record.
Other outlets have also delivered high marks, with Kerrang! awarding Coronach a 4/5 rating and calling it “45 minutes of scything magnificence both ancient and timeless.” Distorted Sound went even further with a 10/10 review, while Metal Hammer gave the album an 8/10 and proclaimed HELLRIPPER “the new Celtic king of thrash.”
The upcoming U.S. run will give American metalheads their chance to experience the chaos of Coronach in the live setting, with HELLRIPPER joining HAVOK for what promises to be a particularly violent stretch of the autumn touring calendar.
HELLRIPPER U.S. Tour Dates
10/21: Salt Lake City, UT @ Metro Music Hall 10/22: Boise, ID @ Shrine Social Club Ballroom 10/23: Seattle, WA @ El Corazon 10/24: Portland, OR @ Dante’s 10/26: Roseville, CA @ Goldfield Trading Post 10/27: Berkeley, CA @ Cornerstone Berkeley 10/28: Los Angeles, CA @ The Regent Theater 10/29: Fresno, CA @ Strummer’s 10/30: Las Vegas, NV @ Backstage Bar & Billiards 10/31: Mesa, AZ @ Nile Theater 11/02: Dallas, TX @ AM/FM 11/03: Austin, TX @ Come and Take It Live 11/04: Houston, TX @ Warehouse Live Midtown 11/06: Atlanta, GA @ The Masquerade (Hell) 11/07: Nashville, TN @ Basement East 11/08: Asheville, NC @ Eulogy 11/09: Richmond, VA @ Canal Club 11/11: Baltimore, MD @ Baltimore Soundstage 11/12: Harrisburg, PA @ Capital City Music Hall 11/13: Boston, MA @ Brighton Music Hall 11/14: New York, NY @ Racket 11/15: Lakewood, OH @ Mercury Music Lounge 11/17: Detroit, MI @ Catacombs at the Sanctuary 11/18: Chicago, IL @ Reggies 11/19: Kansas City, MO @ Recordbar 11/20: Denver, CO @ Gothic Theatre
Tickets are available now.
HELLRIPPER’s Coronach is out now via Century Media Records. The album is available to stream, download and purchase through all major digital platforms and retailers.
The album’s cover artwork was created by Adam Burke / Nightjar Illustration .
Things haven’t gotten easier for Squirrel Flower’s Ella O’Connor Williams, and that’s not a bad thing. I first interviewed Williams over six years ago, as an Artist To Watch, before she became an established Chicago-based musician, put out three albums on Polyvinyl Records, and led an important boycott against one of the industry’s biggest music festivals. As a musician, her writing has only gotten stronger, her voice more dynamic, her vision more expansive. But in terms of artistry, not much has changed. That’s a good thing. Williams continues to be a fierce songwriter, documenting the spaces and landscapes she moves through and moving her spirit in return.
We’re back with a brand new Tracks Of The Week! This week we’ve got eight new and diverse slices of progressively inclined music for you to enjoy.
Asia romped home again last week with their sprightly and very melodic Echo Of You, which bodes well for their upcoming new album, Indigo. Former Mew vocalist Jonas Berrre was second, with Envy Of None singer Maiah Wynne in third place.
The premise is simple – we’ve collated a batch of new releases by bands falling under the progressive umbrella, and collated them together in one post for you – it makes it so much easier than having to dip in and out of various individual posts, doesn’t it?
The idea is to watch the videos (or listen if it’s a stream), enjoy (or not) and also to vote for your favourite in the voting form at the bottom of this post. Couldn’t be easier, could it? We’ll be bringing you Tracks Of The Week, as the title implies, each week. Next week, we’ll update you with this week’s winner and present a host of new prog music for you to enjoy.
If you’re a band and you want to be featured in Prog‘s Tracks Of The Week, send your video (as a YouTube link) or track embed, band photo (please, don’t forget the photo!) and biog with quotes to us here.
COLIN MOULDING – WANT IT BAD
XTC fans will be delighted to see bassist and vocalist Colin Moulding stick his head above the parapet once more with a new three-track EP, from which comes the title track, Want It Bad (The Pep Talks And Playing Fields Of Old England), the gentle psychedelia of which evokes memories of some of XTC’s wondrous later era and highlights Moulding’s talents as a songwriter. More Please!
“Although this song started life as a sporting pep talk, it was clear that it could easily be thought of as a mantra for one’s own life ambitions whatever they may be,” Moulding explains. “If you want something in this life you have to really want it. And if you really want it, you’ll get it — that was my mantra. I was scouting around for a cover that would signify human endeavour. I had written ‘Want It Bad’, which basically amounted to a pep talk by a sporting coach to his team. Football, perhaps… something made me think of the runners on the beach in the film Chariots Of Fire.
“After many permutations, Andrew, my artwork designer, said, “What about Delaunay and his runners?” and when he showed me, there was no doubt. So it was derived from Les Coureurs by Robert Delaunay, a French painter from the early part of the twentieth century. Check him out!”
EIVØR – VERJUGARÐAR/WALLS
Faroese musician Eivør will release her latest album, Tungl (the Faroese word for ‘moon’), through Nuclear Blast Records on October 16, and if ever an album deserved to make an artist a huge star, this is it – which is saying something considering Eivør’s impressive back catalogue. Brilliant genre-defying, in that way Kate Bush is, Verjugarðar is a delightful slice of atmospheric music that has appeal to both prog and pop fans!
“Verjugarðar/Walls is an epic and dark electronic rock ballad about two people who have lost what once bound them together behind walls of silence,” she says. “The paradox is that the walls we build to protect ourselves can also be the very walls that keep us apart. This is one of those songs that took me a few years to write, but when it suddenly fell into place, I just couldn’t stop singing it.”
LONELY ROBOT – SHOW THE WAY
John Mirchell’s got a busy few months coming up. Not only do Asia release their new album in November, but he’ll also release his last album under the Lonely Robot moniker when he releases An Ending through White Knight Records on September 11. Judging by the quality of Show The Way, not to mention their previous single, World Window, he’s really going out on a high!
“Show The Way is a call to arms,” he says. “There’s so much incompetence and gaslighting in the world right now, and I wanted to write something that pushed back against that. We can’t afford to sit idly by while Rome burns. I like songs that work as anthems, and this is one of them. It’sabout finding a way out of the trouble we’re in, holding on to our humanity and appreciating what we have.”
IT – WON’T PRAY ON SUNDAY
UK prog quartet IT (possibly the worst band name when it comes to searching online!) go right back to the beginning with their latest album! They celebrate their 30th anniversary with the release of a newly reworked version of their original cassette release, The Stranger Within The Self. All the songs and 95% of the lyrics are as they were; the only exception, a title change on one song, The Last Of November, now renamed Do You Remember?. The new release contains both the 2026 and 1994 versions of the album too!
“In 2020, after several IT fans had somehow got a hold of the long-deleted TheStranger Inside The Self recordings, and with more asking for a copy, I reluctantly gave them one”, mainman Nick Jackson says. “As this request began to snowball and IT’s 30th year anniversary was just over the horizon, I somehow got the bright idea to revisit the album and initially fix the mix and remaster. Well, I quickly learnt that that doesn’t happen so easily. And a new journey had begun in which we chased TSITS into what has become a complete remake of the original 1994 version.”
CULT OF LUNA – A WAY BACK
Obviously, Sweden’s heavy proggers Cult Of Luna aren’t for everyone in the prog community. Some will have been scared off by the hefty nature of some of their music; others probably refuse to give the band any time of day at all. The broodingly melancholic A Way Back, however, might be something you do enjoy, so we implore you to at least give the band a listen here. They release their new album, In The Shadow Of Your Shadow, through the band’s RED CRD Recordings on November 6.
“I often find myself trying to describe a recurring feeling, the sensation of being lost, trapped, or both, and the struggle to find a way out,” explains the band’s co-vocalist and guitarist Fredrik Kihlberg of one of the album’s most hushed yet powerful moments. “A way back to yourself, to a safe space, or simply finding a way to make it through when anxiety overwhelms you: at its core, that’s what this song is about.”
GATES OF KIEV – HAMLET BURNS
The band name is something of a giveaway – that and the fact they’re a trio too. Dutch prog rockers Gates Of Kiev are ELP-tastic – there’s no other way to describe them. The twelve-minute Hamlet Burns (admitedly it doesn’t really get going until the third minute!) is a perfect introduction to the band. They release their self-titled debut album through Laser’s Edge on October 2. Get past the cheesy artwork, and there’s much to enjoy…
“Hamlet Burns is a dramatic, ecstatic song inspired by the scenery of barren fields in Dutch Winter,” explains drummer Hessel Braat. “The music and lyrics follow a journey of loss, deep experience and transformation. Almost as if portraying the unfolding of destiny within a human life.”
AISLES – ANYWHERE
Chilean proggers Aisles like to be quite flexible within the parameters of progressive rock, and new single, Anywhere, starts off with a distinct disco beat, which may raise a few eyebrows. It soon moves into more recognisable territory, and boasts another fine performance from the band’s latest vocalist, Boris Seeder. The band drop their sixth studio album, Irrationally, on October 1.
“The track explores themes of freedom, the vitality of true passion, and the core belief that location doesn’t matter as long as there is unity,” the band say. “The central metaphor, “we can travel south,” carries a powerful emotional weight—symbolising a journey to the end of the road, far away from everything and everyone.”
RODRIGO PAGAVINO – VELOMORPH
Proof that if you send us your material, there’s a damn good chance you too can make TOTW! This arrived literally as we’re writing this, and we will admit that the minute we saw a fourteen-string guitar (Fourteen! Count them!!) we were intrigued! Velomorph isn’t all shred either! There’s a seriously good melody running through the piece. And Venezuelan-born, Spain-based guitarist Rodrigo Pagavino is certainly no slouch on the guitar! He releases his upcoming instrumental album in October.
“Velomorph is an instrumental piece combining progressive rock, shred guitar, fusion, and electronic elements, aiming to balance technical performance with a strong melodic narrative,” Pagavino says. “The concept behind the track revolves around movement, velocity, and transformation, reflected in the wordplay between Velocity and Morph. The track was performed using a 14-string guitar by FM Guitars (Felix Martin), a brand I am endorsed by. The instrument plays a fundamental role in the song’s sonic identity, allowing for an expanded tonal range and a distinctive approach to guitar performance.”
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