Corporate Job named their debut EP “Dinner Leftovers” and then made the cover literal. Vincent Baills and Martin Cohen cooked a meal themselves, made a mess, photographed the plate, and Cohen — a designer by trade — pulled the four song titles through the red sauce. No rejected versions, no second attempt.
The band name is just as direct. Baills and Cohen, longtime friends from southern Spain, hated the idea of working corporate jobs as teenagers. Over a decade later, they both do exactly that. “We don’t hate it, but our younger selves probably wouldn’t be impressed,” Baills says. They locked in the name before a vocalist was even on the project, mostly because they didn’t want naming to turn into a blocker.
The vocalist slot eventually got filled from across the Atlantic. Jordan Chapman lives in Canada. In early 2026 he joined what was by then a nearly-finished instrumental EP, and the whole thing became an international, fully remote project. Southern Spain doesn’t have much of a hardcore scene to speak of, which is part of why the band ended up stretched across two continents in the first place.
The remote setup is less interesting than it sounds on paper. All three have home studios. Files go back and forth. Baills and Cohen still meet up in person, while Chapman works from Canada. “It’s been fairly smooth because we’ve been on the same page from the start,” Baills says. “That said, the EP was largely finished instrumentally before Jordan joined.” The plan going forward is to move toward something more real-time.
The title also connects back to the music itself. The songs on “Dinner Leftovers” weren’t written for Corporate Job. They were ideas Baills and Cohen had kicking around from their previous band Safety Last — never released, never scrapped either.
Rebuilding the project around those tracks made the name fit. Influence-wise the record pulls from Every Time I Die, Gallows, Cancer Bats, and Baptists — riff-driven hardcore punk that leans into mathcore chaos and rock’n’roll where it wants to.
Four tracks, just under 11 minutes total. “Bittersweet” opens with a guest spot from Chad Kapper. “Public Erasure” and “Desperate Milestones” run leaner in the middle. “Gawking at Infinity” closes the EP with guest spots from Funeral Language and F3RGATR0N.
Recording and mixing were handled by Baills at Riff City Audio; Chapman tracked his own vocals from Canada. Jon Badi at North Waves Sound did the mastering.
Live shows are on the table eventually. For now, the band is focused on putting out enough music for a set and building some kind of audience first. More is coming later in 2026.
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