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Posted on September 10th 2026, 10:14am

Electron have released their new single, Taken, featuring guest vocals from Skindred frontman Benji Webbe. It is the latest track from the forthcoming album Is This Worth Living For?, which arrives on 2 October 2026. Taken captures the pressures of life as they reach boiling point, combining crushing riffs, pounding drums and dark synths with the aggrieved vocals and screams of Electron’s Jason Payne and the distinctive Ragga Metal tones of Benji Webbe.

“Sometimes you just have one of those days where it feels like everything weighs too much on you,” Jason Payne says. “You’re angry, annoyed, and it feels like the world is out to get you. This is just us having fun and raising our middle finger to the world and all its bullshit.”

Incorporating influences from post-grunge, Metalcore and the alternative sphere, each song on Electron’s second album, Is This Worth Living For?, serves as a confrontation with the pressure to conform, the relentless drive for superficial perfection and the weight of solitude. The album was produced by Grammy-nominated Romesh Dodangoda, whose credits include Nova Twins and Bring Me The Horizon.

Through Heavy, immersive soundscapes and raw lyrics, the London-based Portuguese duo, Jason Payne on vocals and guitar and Joanna Hyde on vocals and bass, channel the experience of feeling detached in a world that seems increasingly distant.

Is This Worth Living For? includes the previously released Trap, which opens the record with epic heaviness and dark electronics, alongside the devastating post-hardcore of Echoes Of A Dying World, the Heavy and aching Lie To Me, the brutal and anthemic Toxic, and You Betray, which delivers a gut-punch breakdown before fighting back with a searing guitar solo.

Is This Worth Living For? Track Listing

1. Trap
2. Lie To Me
3. Dying To Feel Alive
4. You Betray
5. Toxic
6. Echoes Of A Dying World
7. Taken feat. Benji Webbe
8. Insomnia
9. Tether
10. Bleeding Heart
11. Burning Inside (live)
12. Echoes Of A Dying World (live)
13. You Betray (live)

Electron will tour Is This Worth Living For? across 2026 and 2027, with headline shows and festival appearances announced in the UK and Europe. Tickets and further details are available online.

Electron Tour Dates

• 25 October – The Flapper, Birmingham
• 20 November – Daltons, Brighton
• 5 February – Cart & Horses, London
• 19 February – Fuel, Cardiff
• 27 March – The Banshee, Edinburgh
• 9 April – Tap & Tumbler, Nottingham
• 24 April – Mosh’N’May Festival, Essen
• 20 May – Call Of The Wild Festival, Lincolnshire

If there was such a thing as a 2026 Punk Championship, The Meffs would be contenders for the heavyweight title… or gold medal, or trophy in the shape of John Lydon. It’s only been four years since they crashed onto the scene, and the diminutive duo are only growing stronger and more ferocious with each release. If you want your punk so raw that it’s still bleeding, and somehow you’ve missed The Meffs on their tours with, well, anyone who’s anyone in the punk sphere, then firstly, where have you been? And, more importantly, now’s your time to dive into the short, sharp world of a new Meffs record. ‘Business’ sees them at their most uncompromising and brutal, stripped back and ready to give the boot to anyone in their way…even if it’s themselves.

This is a blink-and-you’ll-miss-it album, continuing the proud tradition since the seventies of punk songs like molotov cocktails: one shot, then leave time for the burning impact to come later. What’s un-traditional about ‘Business’ though is a determination to kick out any weariness or malaise at the state of the world. The enemy that needs to be railed against isn’t only the system or the elites, it’s our own malaise. “The world needs sorting again” sneers Lily Hopkins on ‘What A Nightmare’, all cynicism at still needing to call the masses into action for the millionth time. We’re all “born to live”, as she shouts on ‘Where Did It All Go Wrong?”, and this is the record to knock our heads together, to give us a good shaking and get us back into action. If ‘Disorder (Wake Up)’ doesn’t inject you with a shot of class consciousness, you might be DOA already, because the Meffs sound is enough to inspire anyone to arise from a political stupor. 

If anything, the only mis-step is the title track. ‘Business’ is also flying the flag of a proud tradition of songs about how crap the music industry is. What elevates this above similar rants about how rotten life onstage can be is how incredibly chantable this song is, and the mental image of an entire crowd screaming the chorus back makes you think that The Meffs just might be able to win their fight against the systems keeping them down. At least, if we’re judging by ‘Law’, which skirts the line between inciting a revolution and viciously criticising those who abuse their platform, we know they’re armed with massive choruses and a fiery will to succeed. 

Perhaps the main way The Meffs have evolved is by secretly creating a record which is far more personal and vulnerable under all its distorted bravado. ‘Love To Lose’ scorches with nihilistic adrenaline, and the distraught scream that splits ‘So Modern (Keep Up)’ feels like it could have come from any of us when we experience that terrible dysphoria of realising you have a thousand friends on Facebook and you’ve spent all your money on vintage boots, but you’ve got nothing to show for it. It’s the relatable wail of wanting to break out of the box you’ve locked yourself in. The Meffs speak to all punks, whether you’re keeping your music life under wraps or not, and that’s what makes ‘Business’ such a special record. The partner to ‘So Modern (Keep Up)’, ‘God Complex’ takes aim at those who’ve left their ideals behind, challenging us to do better and break free of our own ennui to put our values into action. The whole record is a call to arms against ourselves. 

Punk’s not dead, as long as we’ve got The Meffs ready to kick us into action. ‘Business’ is a necessary step on their journey to triumph against anyone or anything in their way, and a record that’ll shake your soul and blast your ears in the best possible way. 

Kate Allvey

Anmeij’s Call on GOD is an introspective reggae pop track shaped by themes of self-discovery, personal boundaries and spiritual renewal. There is a strong sense of inner reflection at the heart of the song, as the music turns the idea of setting boundaries into an act of reclaiming one’s identity. Anmeij’s intimate vocal delivery gives the track an honest and personal character, while the genre-blending approach adds depth to its sound. Rather than relying on grand gestures, Call on GOD draws its strength from its sincerity and emotional clarity, offering a thoughtful and empowering expression of returning to oneself.

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Rising Glasgow alt-rock band The Kaves—Dave MacDiarmid (vocals/guitar), Evan Hunter (drums), and brothers Liam (lead guitar) and Sean Prior (bass)—have been quietly building serious momentum across the UK scene. With airplay on BBC London and Radio X for their soaring single “Soul,” plus key spots on Spotify’s Scotify and We Are Glasgow playlists, the four-piece has proven they know how to write songs that grab you immediately.

Off their brand new EP, lead track “Mr. Hollywood” captures the band at their absolute best. Built on captivating, hook-heavy guitar riffs and explosive energy, the track delivers unforgettable vocal lines backed by a tight, top-tier performance. Combined with a punchy production style that fits the genre like a glove, it’s a standout cut from one of Scotland’s most exciting rising bands.

The song is part of the playlist Rock Rotation. Give it a go by clicking on the Spotify player below and follow The Kaves if you like what you hear. 

Review: AUDREY HORNE – Achilles Massacre Records – September 4th, 2026 Reviewer – Chris O’Connor  There has always been something wonderfully unlikely about Norway’s AUDREY HORNE. On paper, a band containing musicians whose collective CVs reach deep into the Scandinavian extreme-metal scene might reasonably be expected to produce something suitably dark, brutal and frostbitten. Instead, AUDREY HORNE […]

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