A Loud, Bratty, But Inspired Reminder of Why We Should Still Listen To New Music

Song of the Day: “Something Else to Give” by Man/Woman/Chainsaw

Aug 18, 2026

London, England’s Man/Woman/Chainsaw has spent the last few years perfecting the art of sounding like a group of teenagers who are simultaneously trying to start a riot and join a chamber orchestra. Their trajectory has been a wild ascent from local oddities to purveyors of sophisticated, albeit occasionally unhinged, art-rock. While their earlier releases were defined by a “throw it at the wall and see what sticks” philosophy—often resulting in an inconsistent output that was often charmingly unpolished—this new era is highlighted by showcasing what they’ve learned. They’re still not asking for your approval, but that’s exactly why it works. It’s just a fun, loud, sometimes insightful and sometimes bratty record that proves they are capable of maturing just enough to stay interesting without losing that essential spark of chaotic charm.

Cannonball (released on August 7, 2026) finds the band leaning into this newfound maturity with a smirk. It is the most focused effort in their catalog, trading some of that early, reckless abandon for arrangements that actually hold together when you play them multiple times. The record manages to capture the same restless, jittery energy of their previous work but channels it into tighter corridors. The production is tighter, the edges are sharper, and they’ve clearly figured out that you don’t always need to be playing at double-speed just to prove you’re technically competent. In a landscape where guitar-heavy indie bands often feel interchangeable, the presence of Clio Harwood’s violin is arguably the band’s most dangerous secret weapon, transforming their sound from a straightforward rock setup into something far more orchestral and unsettling.

The real anchor of the album is the brooding closer “Something Else to Give.” While other songs on the record can wander a bit before getting to the chorus, “Something Else to Give” actually knows how to pace itself. It stands out because it takes the band’s signature manic energy and forces it to sit down and be catchy for three minutes. The violin does the heavy lifting here by providing that signature “manic-but-composed” character, moving seamlessly from frantic bowing that mimics the jittery energy of the rhythm section to soaring, mournful lines that bring a touch of genuine drama to the chaos. It’s a sophisticated pivot for a band that previously seemed allergic to staying in one gear for too long, but still demands your attention without resorting to trying to deafen you in the process.