New Music

NADSAT rework noise rock into a thick, heavy rendition with great new album “Torn Times”

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Nadsat, an aggressive noise-rock duo from Bologna, has signed with Overdrive Records and is set to release their third full-length album, “Torn Times,” on April 7th under the new sublabel Extreme Gestalt. The record showcases the band’s evolution towards a noisy and aggressive core, with instinctive and direct songs that are short and to the point. Today, we’re thrilled to give you its first full listen, along with the band’s special track by track commentary below!

On the new album, the addition of vocals and the saturated, violent sound come naturally. Influenced by the 90s noise-rock scene, the band has employed an extreme subtraction approach in the production process, following the philosophy of ‘less is more’, resulting in minimal editing and an essential mix.

NADSAT by Elide Blind
NADSAT by Elide Blind

Nadsat’s new record is a testament to their growth and artistic vision, promising a thrilling, thick-riffed experience for fans of more lively rendition of post hardcore infused noise rock.


First song of the record and also the first song written for this record around two years ago. Born from a raw homemade pre-production it soon turned to be one of the most obsessive songs of the album, bursting from the beginning with fuzzy chords, pain-filled vocals and rumbling drums.

The middle section? Nothing but a looped riff with an even more tight drums pattern, exploding soon in the grand finale: the ultimate sonic orgasm in which everything finds a resolution. Call it clarity, call it liberation, only flesh is real.


What if you had no choice but to stand in front of someone or something trying to destroy you? What if you could find a new life in this mortal staredown? Alright baby, come on and make my day.

This description should be enough to tell you why we chose to film a music video for this song (shot by the amazing Elide Blind, go check her works) and why it turned out to be the single for this new album.


From the 90s with love, a noise-rock ritual where a blues inspired riff and simple but effective drums are soaked in blood and filth just to reach some kind of revelation: to be born again, and make the same mistakes.

The repetitive structure of the song reflects that statement, a ceaseless loop of birth and fall. There is not much we can do about it, we are just moving piles of atoms trying to do their best, snatching some pleasure along the way.


Isn’t it a fun little song? Noise-punk verses paired with a “grunge-ish” chorus with some sort of a catchy flavour. We are far from easy listening though, as the final segment of the track hits out of the blue with a landslide of drums and hysterical guitar playing.

In case your curious ass it’s wondering what the meaning behind the lyrics might be, well, joke’s on you. No meaning here baby, it just sounded good.

5) CLOUD 666

A filtered and gnarly guitar riff announces a schizoid episode of God’s complex. Guitar and drums fall together in the abyss, following a rhythm born during a shitty night shift in a shitty factory. No true verses nor choruses to embody the general mood behind the composition of this track, a self-centered and delusional rant spat out to fight frustration.


Back at it with the flesh and visceral details. Last song written, maybe the one with the most traditional structure. Hard as hell to play, you could probably call it our “prog” song, but that’s a long stretch. Anyway, you have it all: intro, chorus, verse and a mosh-friendly bridge.

The dissonant intro suddenly slides into the chorus, right at the beginning. Cum and blood are immediately mentioned in a pretty didactic fashion, what did you expect?


The heaviest and shorter song of the record, a straight attack against the toxicity of “grind culture” and the performative mentality. Imagine giving a fuck about what you should do to be more productive, more likeable, more efficient in this late stage capitalism. Maybe being out of touch is the only way to be safe, as the second and slower part of the song kicks to remind ourselves that we should probably find a cabin in which we happily starve to death.


Let’s start with a nice tinnitus inducing feedback and monolithic drums, just to dive furiously into a bouncy riff and a darker and heavier chorus. A true hymn for losers and loners, will probably leave a bittersweet taste in the mouth of the listener. We could not care less, but follow us if you want to fail in the flashiest way possible.


We both agree in saying that this track is arguably the funniest one to play live, merging influences from nineties noise rock and a more sludgy sound (the final riff is pure Melvins worship) with ironic lyrics about killing the vibes just for fun, untying our hands and letting everything go. This is not something good by itself, anyone will eventually find their reasons to let loose. Being loud and free: these are the only things that really matter, whatever the outcome.


A quick glimpse, a flash of self awareness: we are cringe, but we are free.

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