In 2024, Chastity Belt’s Live Laugh Love was our Album Of The Week. The Seattle indie rockers have shared some songs since then, including a cool 764-Hero cover. Now, they’re back with two new songs, “I Could Say Less” and “Pavement,” the latter of which has nothing to do with Stephen Malkmus. Both tracks are about disillusionment, weighed down by gloomy guitars and resigned vocals. “I Could Say Less” starts with the question, “Why is everything so embarrassing?” “Pavement,” though, ends with hope: “Waking up with a little less dopamine/ Well it can be a good thing.” Listen below.
It’s been roughly 700 hours since Hour announced their new album Ghost Bridge and shared its title track. On Wednesday the elegant Philly ensemble offered up another preview of the record, the thoughtful and stunningly pretty “Pearls.” Hour’s style of music requires a lot of participants, and for the “Pearls” video, they managed to get almost all of them together in one place for a rehearsal filmed by William H. Travis. Consider it the “Oldie” video of DIY chamber music.
“…By the time those embarrassing videos turned up on the internet, my relationship with David — and David’s relationship with Megadeth — had already begun to deteriorate.”
Sweet tea. Kudzu wrapped around anything that doesn’t move. Wearing a short sleeve shirt with a tie to church. While you can experience those things many places (less so the kudzu), growing up with their ubiquity is part of a cultural perspective that lends definition to the idea of being a southerner. In a similar […]
Jacob Brunner releases the third Strawberry Hands album next week. So far the Philly musician has teased A Jazz Blessing For The Animal with the compelling singles “Dream Of Water” and “What Plant Jumps Over Me?,” and today he’s sharing “Song Of Descent.”
Turnstile have added Obituary to the lineup of one of their US shows this month.
The Tampa death metal nasties will support the Baltimore hardcore punk stars during their stop at the Red Hat Amphitheater in Raleigh, North Carolina, on September 29, alongside Angel Du$t and Agnostic Front. Meanwhile, metallic hardcore outfit No Warning have been added to the bill this Saturday, September 12, at Woodbine Park in Toronto, Canada.
The acts replace electronic musician Yves Tumor on their respective lineups, after Tumor was accused of sexual assault and abusive behaviour last month. Tumor strenuously denies the allegations. The artist has also dropped out of Turnstile’s gig in Portland, Maine on September 26, with no replacement yet announced.
Obituary and No Warning join a genre-busting selection of support acts that Turnstile have put together for their ongoing North American tour. Appearing at select other dates are hardcore luminaries Hatebreed, rising rock band Die Spitz, synthpop project Porches, electropop musician Slayyyter, hip-hop duo Clipse and more.
Obituary’s addition to the Raleigh gig has surprised fans on social media. “What a random-ass lineup,” one commenter writes. “This is like Black Sabbath opening for Green Day,” says another.
However, Turnstile have a history of demolishing genre constraints. Last month, they issued a remixed edition of their 2025 album Never Enough, under the title Never Enough: Versions, featuring a roster of guest musicians including Elton John, Paramore singer Hayley Williams and death metal punishers Dying Fetus. Loudergave the album four stars out of five and called it “one of 2026’s boldest and most entertaining releases”.
Turnstile’s North American tour kicked off on September 5 at Bumbershoot festival in Seattle, just six days after they played MEO Kalorama festival in Lisbon, Portugal, 5,200 miles away. They performed at The Rave in Milwaukee on Wednesday, September 9, and touring continues on Friday, September 11, at Russell Industrial Center in Detroit.
This packed travel schedule continues what has been a whirlwind year for Turnstile since Never Enough’s release last June. The album was a commercial success, topping the UK Rock & Metal chart, and critically acclaimed. The band were nominated for five Grammy Awards at the 2026 ceremony and took home two: Never Enough won Best Rock Album and the single Birds won Best Metal Performance.
Meanwhile, Turnstile’s former guitarist, Brady Ebert, remains in custody after allegedly driving his car at William Yates, the 79-year-old father of frontman Brendan Yates. He was arrested in April and stands accused of attempted first- and second-degree murder. After insisting in court that he “did not commit a crime”, Ebert has been ordered to undergo a competency evaluation, to determine if he has the mental capacity to understand the charges against him.
Gore. have announced …Then You Cannot Love Me, out October 9 via Spinefarm, and released the second single from it — “Crucified,” with a video out now. The Texas four-piece released an EP called If You Do Not Fear Me… in late 2025. Put the two titles together and you get one sentence: if you do not fear me, then you cannot love me. The ellipses were deliberate from the start, and the first EP spent twelve months holding its breath for the other half.
Start here, because it’s the reason this announcement is more interesting than a release date.
If You Do Not Fear Me… arrived in late 2025. …Then You Cannot Love Me arrives October 9.
One sentence, split across two releases and twelve months.
Roughton has been explicit that it was always the plan. Her account: they always wanted to release it that way — a more looming, cynical sound on the first EP, then developing towards something closer to what they actually want to sound like as a band. She’s said she hopes fans who’ve been there since day one can see the evolution and how the two connect.
The two records are foils rather than a continuation. The first is buried in darkness. The second is the more measured, accepting half. Same sentence, opposite ends of it.
The reason it works is the ellipsis. That trailing punctuation on the first title wasn’t stylistic — it was a promise, sitting there unresolved for a year while everyone assumed it was just a design choice.
Plenty of bands announce a two-part project. Very few build the concept into the punctuation and then wait twelve months to close it.
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“Crucified”
The second single from the EP, out today with a video.
Roughton’s description of the song: it’s about someone so seductive they lead you straight into temptation. They have you wrapped around their finger and they know it. You idolise them. You try as hard as you can to resist, but there’s something both painful and pleasurable about their presence — so you give in, to them and to whatever chaos you know they’ll bring.
That’s a precise description of a specific feeling, and it’s the sort of thing that either lands with you completely or doesn’t land at all.
…Then You Cannot Love Me tracklist
What You Paid ForLead Me to the SlaughterBones In the GardenCrucifiedWalk On WaterHallowed GroundAlone
This is the substance of it, and it’s worth reporting properly rather than as a line in a release.
Both records deal with what Roughton calls irreconcilable feelings — feelings that don’t inspire action, but curdle and sit uneasily inside a person with no easy way out. She’s been direct that it’s particularly relevant, in her view, to women trapped in relationships with abusive men.
The joined titles point at that too, and her explanation of why is the sharpest thing in the whole announcement.
Her words: there’s always some form of power dynamic in really unhealthy relationships. Women are taught from a young age that if a man doesn’t fear losing you, he doesn’t love you. Men are taught to be nonchalant and not care too much. And so we grow up with all these wounds that just show up.
“If you do not fear me, then you cannot love me.” That’s not a cool-sounding pair of EP titles. That’s the thing she’s describing, stated as a rule, which is exactly how those beliefs operate on people who hold them.
A band four years into their career building an entire two-part release around that idea, and getting the punctuation to do half the work, is a considerably more ambitious piece of writing than the genre usually produces at this stage.
A Texas four-piece who broke the modern way: they uploaded songs to YouTube and it worked. Their debut EP A Bud That Never Blooms built enough momentum to draw international attention and public co-signs from Motionless In White, Papa Roach and Flyleaf — three bands with very little in common apart from having noticed the same thing.
Press has followed from Revolver, NME, New Noise, Behind the Screams and The Pretty Cult.
They’ve just come off a summer run with Kittie, which is a good look for a young band and a better one for the genre — one of the most important female-fronted bands in metal history taking out one of the newest.
Six dates, starting in nine days, supporting I Prevail — whose Eric Vanlerberghe was on the Loaded Radio Podcast recently talking about carrying that band’s vocals on his own.
September 19 — O2 Academy Leeds, Leeds September 20 — O2 Academy Glasgow, Glasgow September 23 — Depot, Cardiff September 25 — Alexandra Palace, London September 26 — O2 Academy Birmingham, Birmingham September 27 — O2 Academy Birmingham, Birmingham
Two nights at O2 Academy Birmingham, and Alexandra Palace in London — a ten-thousand capacity room. For a band on their third EP, that’s a significant stage to be standing on.
TL;DR
Gore. release …Then You Cannot Love Me on October 9 via Spinefarm — a seven-track EP.
The title completes a sentence. Their late-2025 EP was called If You Do Not Fear Me…; joined together the titles read “if you do not fear me, then you cannot love me.” The ellipses were deliberate from the beginning.
New single “Crucified” is out now with a video — the second from the EP.
The two EPs are foils rather than a sequence — the first darker and more cynical, the second more measured and accepting.
The theme: what vocalist Haley Roughton calls irreconcilable feelings, and the power dynamics in unhealthy relationships.
The band: Haley Roughton, Alex Reyes, Devin Birchfield and Wills Weller, from Texas. They broke by uploading songs to YouTube, and have co-signs from Motionless In White, Papa Roach and Flyleaf.
They support I Prevail on six UK dates from September 19, including Alexandra Palace in London and two nights in Birmingham.
FAQ
When is Gore.’s new EP released?
…Then You Cannot Love Me arrives October 9, 2026 via Spinefarm. It contains seven tracks: “What You Paid For,” “Lead Me to the Slaughter,” “Bones In the Garden,” “Crucified,” “Walk On Water,” “Hallowed Ground” and “Alone.”
How do Gore.’s two EP titles connect?
They form a single sentence. If You Do Not Fear Me… was released in late 2025 and …Then You Cannot Love Me follows in October 2026 — together reading “if you do not fear me, then you cannot love me.” Vocalist Haley Roughton has confirmed the split was intentional from the outset, with the two records designed as foils rather than a sequence.
Who is in Gore.?
Vocalist Haley Roughton, guitarist Alex Reyes, bassist Devin Birchfield and drummer Wills Weller. The band are from Texas.
What is Gore.’s song “Crucified” about?
Roughton has described it as being about someone so seductive that they lead you into temptation — a person who knows they have you wrapped around their finger, whose presence is both painful and pleasurable, and to whom you eventually give in despite knowing the chaos it will bring.
Are Gore. touring with I Prevail?
Yes. They support I Prevail on six UK dates from September 19 to September 27, 2026, taking in Leeds, Glasgow, Cardiff, London’s Alexandra Palace and two nights at O2 Academy Birmingham.
Two EPs, twelve months apart, and the titles make one sentence. Have you got “Crucified” on yet? Tell me below. And keep it locked on the Loaded Radio stream — follow Loaded Radio for daily rock and metal news.
Made your hell from the fire inside Played in flames that burned you alive What went through your head when you lost your mind The true tragedy is the world decides
Something ancient in the crowd gathers around a famous death. A murder becomes spectacle; strangers study photographs, motives, wounds, and final moments as though proximity to horror might grant some secret knowledge. The macabre is easiest to enjoy when the dead are unknown to us, when grief belongs to another household and blood has no familiar name. Tragedy, then, can be consumed as theater, mystery, even entertainment. We call it curiosity, but often it is appetite dressed in respectable clothes. Civilization may depend, in part, on remembering that every spectacle was first a human life actually lived. We’ve seen it played out countless times in real life, as well as in profound films like Day of the Locust.
Seattle goth dance-punk trio Holy Death Temple return with their fourth single, Nobody Loved You, a murder ballad that is shamelessly poppy and driven by a fiery bassline and fierce drumming that make the song feel almost indecently buoyant.
Bryan Edward’s programming gives the track the clean immediacy of gothic synth-pop, while Jon Barrysmith’s drums keep the floor moving beneath it. Wren Rose folds guitar, synth, and backing vocals into the arrangement without crowding the hook. Edward handles lead vocals, guitar, and programming; Barrysmith (Year of the Cobra, Rifflord) takes drums; Rose (Broken Focus) supplies guitar, synth, and backing vocals. There is a little Sisters of Mercy gloom in the DNA, some Depeche Mode pop precision, and enough dance-punk velocity to place Holy Death Temple comfortably alongside ACTORS, Sextile, and VR SEX.
Nobody Loved You finds its real character in the gap between what the body hears and what the lyrics are saying. The song examines the public appetite that gathers around violent death, particularly the urge to turn murder into a referendum on character. Someone dies, and almost immediately spectators begin sorting themselves into camps, prosecuting the dead, defending the killer, reconstructing motives, and deciding who deserved what. Condemnation becomes a recreational drug with excellent engagement numbers.
The man at the center of the lyrics is controlling, cruel, hungry for power, and shaped by abandonment that eventually curdles into brutality. His wife endures pain and sacrifice until the arrangement ends with death. Holy Death Temple lets the listener enjoy condemning him for a while, then complicates that satisfaction by asking why everyone becomes so obsessed with determining whether a death was justified while showing far less interest in how a human being arrived at such a miserable destination. That question feels particularly sharp in an age where high-profile killings become participatory entertainment, complete with amateur detectives, moral tribunals, leaked photographs, podcast episodes, TikTok theories, and millions of strangers inspecting somebody else’s catastrophe from bed.
Bryan Edward seems fully aware of how strange it is to package all of this inside something so catchy: “Never thought we’d explore our fascination with high-profile murders and repressed Erasure influence in the same song, but here we are,” he quips. “…Nobody Loved You is a mercy-killed synth-pop demo resurrected with a hook intended for a completely different track. Our best moments come from botched experiments and happy accidents.”
Listen to Nobody Loved You below and order the single here.
Nobody Loved You is a bright synth-pop ‘mistake’ with a body in the trunk, built for the dance floor while staring straight at one of civilization’s uglier appetites: the thrill of death when the grief belongs to somebody else.
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