MOTHER NATURE have joined forces with West Yorkshire's Donor Records to bring you this two-song 7” single - a sharp shock of ugly, anxious hardcore punk for hostile times. "LANGUAGE OF A PEACEFUL MIND" is the follow up to 2025's “LOVING, JOYFUL AND FREE" (Static Shock Records) and it finds the band stretching out and coming into their own.

Recorded over a single winter morning in a cold, repurposed factory in Leeds, it's a statement of where the band is heading. Featuring members of PERSPEX FLESH, MOB RULES, THE FLEX and many others, the key Leeds Hardcore ingredients are all here - a lumbering repetitive pace, spiralling riffs, forceful vocals - but things have gotten a little more claustrophobic, a little more ill at ease.

The influence of outsider 80s hardcore is still prominent (YDI, DIE KREUZEN, POISON IDEA, UNITED MUTATION) but there's a post-punk thread running throughout too (KILLING JOKE, UK DECAY). You can dance to it, but there are sharp corners which make you wonder if you should. But don't be put off. There’s joy amongst the discomfort, just do as the band says: “FEEL IT, EMBRACE IT, LET IT SET YOU FREE” (Henrietta Collins, 2026)

Our take: Language of a Peaceful Mind is the new single and third release from this Leeds, UK band, following up their Loving, Joyful, and Free 12” from last year on Static Shock. We’ve carried all Mother Nature’s release at Sorry State and even though I get the impression they aren’t the typical SSR follower’s cup of tea, I really like the band. Their sound is lumbering and sludgy, sitting in a netherworld between noise rock and hardcore, with the pounding intensity of the latter and richer textures and more ambitious musicality of the former. I guess the lineage that it makes the most sense to connect Mother Nature to is the sort of proto-noise rock end of hardcore… bands like the Scam, the Melvins, and of course the later, sludgier Black Flag stuff. Indeed, in many ways the two songs on Language of a Peaceful Mind feel like music that’s meant to fulfill the promise of later Black Flag. I love side B of My War and even more so the psychedelic nightmare rhythms of In My Head, but even though I listen to those records all the time to this day, I always felt like there was something lacking in them, that they’re crippled by mediocre production, the frequent lack of a second guitar track, and Greg Ginn’s absurdly narrow view of the bass guitar’s role in a band of this type (whether he’s the one playing or just forcing someone else to play exactly what he wants them to play). Mother Nature’s music, by contrast, channels that monolithic, quasi-mechanical sense of rhythm, but lets it breathe and allows the humanity to show through. The A-side, “At Peace,” is slightly faster and particularly in the verse has the kind of rhythm that can get a pit moving, but the way Mother Nature sprinkles little details in the cracks and the way the song builds toward something more intricate and delicate in its chorus makes it clear the mosh is entirely beside the point. While I like “At Peace,” I like the b-side even more. It’s grimmer, sludgier, and vibe-ier, and makes plenty of room for awesome musicianship, particularly some excellent Bill Ward-informed drum work and extremely Ginn-esque lead guitar. Like I said, it’s like In My Headwith its strange sterility swapped out for an atmosphere that’s richer and more organic.