KO-MA, a post-hardcore trio from Tours, France, are set to release their debut LP “ANTHROPOLIS” via Kinsfolk, Ma Saret, Tout Doux, No Need Name and Coeur sur toi. Before that, they unveil “N.Fit”, the first single accompanied by a music video — a piece that captures the band’s organic blend of energy and unease.
The track paints a portrait of a selfish and violent politician hiding private deviances behind a polished public mask. The story deepens as the character’s cruelty and corruption are revealed to be driven not just by greed but by “fear from someone else, love and admiration for this same person.” Torn between dependence and disgust, he seeks solace in “money, power, lies and cruelty — the only things bringing him the little joy he has left.”
The lyrics follow him through moments of hypocrisy and decay: smiling at taxpayers while destroying their lives, taking care of his child while crushing workers, writing speeches about equality between lines of cocaine. “I hate every mortal / Everyone / And mostly myself,” he confesses toward the end, merging personal rot with collective downfall. “He’s embracing the collapsing of society and humanity, knowing he’s a part of it, hating himself and each person on this planet, considering that everyone is responsible,” the band adds.
Musically, “N.Fit” mirrors this internal disintegration. “This track is quite wild and creates a feeling of urge when we listen to it,” they say. The song builds on a steady, obsessive rhythm that propels a simple riff into noise and chaos. The dissonance “expresses well the unstable aspect of the character — a deflagration of ongoing overbid fated to collapse.” The video echoes that agitation through “a very cadenced montage with lots of short cuts and flashing lights,” matching the track’s sense of distortion and collapse.
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The single introduces the themes of “ANTHROPOLIS”, an album that acts as both concept and reflection. “It’s a pun between Anthropology (the scientific study of humanity) and Polis (which means ‘city’ in Ancient Greek),” the band explains. “There’s a story behind the lyrics, all the tracks are linked.
This story takes place in a city, displayed through several of its citizens — a series of various and antinomic characters.” Each song exposes different facets of that urban decay — corruption, anxiety, self-interest — showing how individuals become architects of their own destruction. “Every character is moving inexorably toward decadence and chaos,” they note. “They are all instigators of it, to varying degrees, whether consciously or unconsciously.”
Within this setting, “ANTHROPOLIS” unfolds like a political and crime thriller: mafia networks, police investigations, ecological and health scandals intertwine into what the band calls “a dystopian and enigmatic essay on the human condition in contemporary Western cities.”
The album’s artwork, created with graphic designer Adeline Dadon, mirrors that conceptual depth. It shows a human face built from urban elements, blending the organic with the artificial. “It was very important for us to have something both simple and complex,” KO-MA explain. “We wanted something very graphic and eye-catching but also that you can stare at for a long time, discovering new things in it even when you’ve already seen it a dozen times.”
The artwork remains mostly black and white, accented by colors “referring to natural elements, such as fire, water, earth — something primal and wild amongst the very urban and industrial elements.” The band encourages listeners to “watch it very closely, there’s a lot of details to find.”
Through “N.Fit” and “ANTHROPOLIS”, KO-MA present a tightly connected world of characters, systems, and fractures. The collapse they depict isn’t distant or abstract — it’s something lived, hidden beneath public gestures and private bargains. The city, as they describe it, is an organism devouring itself — one face, many masks.
