Derision Cult Mercenary Notes Pt. 2

Glitch Mode Recordings

14 March 2025

“Radiation Blues” is currently cleared for radio and podcast airplay.

DERISION CULT returns with their latest offering, Mercenary Notes Pt 2, the follow-up to 2022’s Mercenary Notes Pt 1. Set to be released on March 14th, 2025, this new EP continues the band’s exploration of aggressive industrial metal, fusing heavy guitar riffs, intense beats, and thought-provoking lyrics. The project, led by Chicago’s Dave McAnally and produced by Sean Payne at Glitch Mode Studios, is a visceral reaction to the chaotic world we live in—where AI looms large, social media distorts reality, and personal freedom feels more fragile than ever.

The story of Mercenary Notes Pt 2 began three years ago, during a time of deep personal and societal turmoil. Originally intended as part of a larger project, the EP became an opportunity for the band to reflect on themes that have only grown more relevant. With its thrash influences and pounding industrial rhythms, the EP blends McAnally’s sharp lyricism with the collaborative work of a talented lineup of musicians, including legendary guitarist Reeves Gabrels (DAVID BOWIE, THE CURE) and cowpunk pioneer Pete Berwick.

Opening with the track “Where Are You Now?”, the EP doesn’t waste time setting the tone—fast, furious, and filled with anxiety about the rise of artificial intelligence. The song’s blistering tempo and raw vocals from both McAnally and Payne highlight the band’s deep dive into the implications of AI on our society. Written as a sequel to “Year Hope Failed” from Pt 1, “Where Are You Now?” echoes the concerns of that earlier track but focuses more on how humans are coping with, or failing to cope with, these seismic technological shifts. The song’s thundering riffs and aggressive beats make it a high-octane opener that pulls no punches.

The second track, “Joker’s Wild (And Kings Are Dead)”, takes a different approach, blending Chicago blues with industrial beats and a gonzo-style rap by Berwick. The song explores the psychological impact of living in a media-saturated world, where revolutions are fueled by misinformation and illusions. Featuring a fiery organ solo from Brazilian musician Ronaldo Rodriguez, “Joker’s Wild” is both rebellious and introspective, reflecting the internal conflict between wanting to break free from societal limitations and being overwhelmed by them. McAnally originally demoed the track over a decade ago, but when Payne got hold of it, he saw potential in adding bigger, more bombastic drums. The result is a powerful fusion of styles that feels fresh while also harkening back to the experimental sounds of 90s industrial.

“Warning Signs”, the EP’s focus track, is a high-energy industrial rockabilly piece, inspired by classic tracks like MINISTRY’s “Jesus Built My Hotrod.” Gabrels shines with searing guitar solos, reminiscent of his work with BOWIE in Tin Machine. The song’s lyrics speak to our cultural climate, where the warnings of societal collapse seem to be everywhere but are often ignored. The chorus, “Is it getting real enough yet?” comes from a real-life story shared by McAnally’s brother, a Naval EOD officer, who witnessed the chaos of war firsthand. It’s a track filled with urgency, both musically and thematically, underscoring the dangers of complacency.

One of the more reflective tracks on the EP, “Radiation Blues” draws heavily from McAnally’s personal experiences. With a slow, almost TOM WAITS-like feel, the song digs into themes of existential fatigue in a world where soundbytes replace meaningful dialogue. Gabrels once again adds his signature guitar work to create an unsettling, introspective vibe that serves as the spiritual sequel to “Slaves Rebuild” from Pt 1. The narrator, older and more road-weary, reflects on how the overwhelming pace of modern life wears people down, echoing the line, “If you’re lost, no one will show ya, gonna be the miles that kill ya.”

“Influence” is a groovy yet critical track, tackling the false narratives built on social media. With a hypnotic bassline that’s interrupted by ROB ZOMBIE-esque choruses, the song criticizes the rise of phony influencers who shape the perceptions of millions, particularly younger generations. As a father, McAnally’s concerns about how these false images affect self-worth and identity are front and center in the lyrics. Pete Berwick returns to deliver a poetic commentary, adding to the song’s surreal atmosphere. Despite its critical tone, “Influence” is one of the most danceable tracks on the EP, making it a staple in the band’s live set.

Closing out the EP is “Abdication Day,” a frenetic rocker filled with live drum beats, guitar riffs reminiscent of JUDAS PRIEST, and McAnally’s powerful vocals shifting through various styles. The song tackles the pressures of modern life, and the difficulty of staying true to oneself amidst a sea of expectations, overstimulation, and manipulation. McAnally drew inspiration for the lyrics from a conversation with his stepson about how pursuing one’s passions can be derailed by the demands of adult life. The song serves as a fitting closer, with a message of resilience and the call to define your own path, despite the odds.

Throughout Mercenary Notes Pt 2, the band doesn’t just revisit themes from Pt 1, but expands upon them. Tracks like “Radiation Blues” and “Where Are You Now?” function as direct sequels, while others, like “Influence” and “Abdication Day”, push the ideas even further. The EP’s tone reflects the band’s ability to combine industrial beats with metal thrash and even outlaw-country influences, as heard on “Joker’s Wild (And Kings Are Dead)”.

The release also features a remix of “Warning Signs” by Justin Broadrick of GODFLESH, adding a layer of dark, distorted intensity to the track, and a remix of “Radiation Blues” by CYANOTIC, which amplifies the electronic elements and experimental vibes of the song.

The personal tragedies that struck the band during the creation of Mercenary Notes Pt 2—the death of Sean Payne’s wife Anastasia in a car accident, and the murder of McAnally’s longtime friend Drew Hulburt—only add to the album’s weight and emotional depth. The EP is dedicated to the memories of these loved ones, making it not just a continuation of Pt 1, but also a reflection of survival, loss, and resilience.

With Mercenary Notes Pt 2, DERISION CULT proves once again that they are unafraid to push the boundaries of industrial metal, blending diverse influences and tackling relevant, urgent themes with power and precision. As the EP closes with “Abdication Day,” it offers a hopeful note amid the chaos—a reminder that while the world may feel out of control, it’s up to us to define who we are and what comes next.

About DERISION CULT:

DERISION CULT is a hard-hitting industrial metal band based in Chicago, blending aggressive thrash guitar riffs, pounding industrial beats, and gritty, thought-provoking lyrics. Formed in 2014 by frontman Dave McAnally, DERISION CULT channels the angst and disillusionment of modern society into their unique sound, drawing from influences like MINISTRY, NINE INCH NAILS, ROB ZOMBIE, and PRONG, while also incorporating elements of outlaw country, blues, and experimental rock.

Originally a solo project, DERISION CULT has evolved into a dynamic collaborative force. With McAnally on vocals and guitars, the band includes Sean Payne (CYANOTIC, PIGFACE) on production, synths, and programming, along with Brad Huston on guitars and programming, and Jesse Hunt on percussion. Their music is not just about relentless energy and powerful performances, but also about addressing real-world issues like social media manipulation, the rise of artificial intelligence, and the dark side of media influence.

Signed to Glitch Mode Recordings in 2021, DERISION CULT quickly gained recognition in the industrial metal scene. Their 2022 release, Mercenary Notes Pt 1, was widely praised for its sharp commentary on societal and technological upheaval. In 2023, they followed up with The Mercenary Mixes, a remix album featuring collaborations with prominent names in the genre, further solidifying their presence in the underground industrial scene.

DERISION CULT is known for working with some of the most respected figures in industrial and alternative music. They’ve collaborated with legendary musicians such as Reeves Gabrels (DAVID BOWIE, THE CURE), Chris Connelly (MINISTRY, PIGFACE), Martin Atkins (NINE INCH NAILS, PUBLIC IMAGE LTD), and Justin Broadrick (GODFLESH). These collaborations have helped shape their bold, genre-defying sound.

Lyrically, McAnally pulls from his experiences in the advertising world, having worked on controversial campaigns that shaped public opinion. He brings a critical perspective on how media and corporations manipulate emotions for profit, a recurring theme throughout DERISION CULT’s discography. Tracks like “Bastards of the World” and “Slaves Rebuild” capture the band’s disillusionment with societal norms, while newer material like “Warning Signs” and “Where Are You Now?” dives deep into the looming dangers of AI and human complacency.

With their latest release, Mercenary Notes Pt 2, DERISION CULT continues to push boundaries and confront the realities of a digitally manipulated world. Combining raw aggression with intellectual depth, they have earned a reputation as one of the most exciting and relevant acts in the industrial metal scene today.

DERISION CULT is:

Dave McAnally – Vocals, Guitars, Programming
Sean Payne – Production, Synths, Programming, Backing Vocals
Brad Huston – Guitars, Programming
Jesse Hunt – Percussion

Album Credits:

Producer: Sean Payne
Recording Studio: Glitch Mode Recordings
Engineer: Brad Huston
Mastering: Sean Payne, Brad Huston
Mixing: Sean Payne, Brad Huston
Album Cover Artist: Jim Marcus

Featured Artists:

Reeves Gabrels (THE CURE, DAVID BOWIE) – Lead guitars on “Warning Signs” and “Radiation Blues”
Pete Berwick – Vocals on “Joker’s Wild (And Kings Are Dead)” and “Influence”
Ronaldo Rodriguez – Organ on “Joker’s Wild (And Kings Are Dead)”
Justin Broadrick (GODFLESH, JESU) – Remix of “Warning Signs”
Cyanotic – Remix of “Radiation Blues”