The first taster of the forthcoming Broken Chanter LP, This Could be Us, You, Or Anybody Else, is brand new single Shake It To Bits, an agitated, stuttering thrum of a song that makes it’s point in little over two and a half minutes.

This tight Post-Punk groove finds David MacGregor in character as a hypermasculine grifter, literally growing in both physical stature and alienation with every verse. The treatise proposed by MacGregor is that the pursuit of a perfection, in this case a mutant masculinity, erases the trace of the human inside. The aching of the deluded occupants of the mansophere for a bygone era where everything was apparently in its right place is punctured by “SHAKE”s reminiscent of the much glorified 1950s in the chorus, each one preceding the encroaching of a fragment of reality on our narrator. A punch back against those successfully monetising the dehumanisation of women, minorities, and The Other, whilst exploiting male insecurity heightened and further toxified by constant connection to platforms bombarding them with propaganda, Shake It To Bits highlights the absurdity of the posturing and vacuity of the rhetoric pushed by these modern day snake oil salesmen, by stepping into the shoes of, and sending up, one of them.

Shake It To Bits is a perfect introduction to MacGregor’s fourth record as Broken Chanter - a collection of muscular, visceral compositions that challenge the encroaching alienation of the modern socio-political landscape. Inspired by Arpita Singh's etching of the same name, This Could be Us, You, Or Anybody Else feels polemical, radical even, while centring the human stories at the heart of the oppression of the global neo-feudalist hegemony. Recorded immediately after the touring for 2024’s Scottish Album of the Year Longlisted Chorus Of Doubt, throughout summer and autumn 2025, Broken Chanter here are fully locked-in, fleshing out MacGregor's songs with a widescreen palette. If Chorus Of Doubt was fuelled by defiant vitriol, its partner record here is as angry, though more overt in finding a solace in community and people. Principally here with the musicians involved: Martin Johnston's thundering drums, umbilically linked to Charlotte Printer's elastic and forceful bass work are the springboard for MacGregor and fellow guitarist Bart Owl to dovetail and crisscross across the stereofield. At the centre, MacGregor's songs bristle with cinematic detail; compassionate and still, in the face of a dystopian future edging closer, full of fiery defiance.