Cut Cult Unleashes Monstrous Grooves on Explosive New Single “Dinosaur”

Nova Scotia’s Cut Cult crash through genre walls with their newest single, “Dinosaur” – a grimy, groove-laden alt track powered by a monstrous baritone guitar hook and a no-rules approach that channels the raw chemistry of a rehearsal tape. Equal parts N.E.R.D. swagger and noise-punk grit, “Dinosaur” feels like it was beamed in from a garage on another planet — one where bass rules, weird is sacred, and energy trumps polish every time.

Anchored in its heavy 808 pulse and the thrill of live experimentation, “Dinosaur” distills the DNA of Cut Cult: a band born to defy categorization and thrive in chaos. The track opens with a lurching, low-end riff that feels equal parts menacing and danceable, setting the tone for something equally primal and playful. The vocal take is loose, imperfect, and completely magnetic — a spontaneous moment pulled from a demo that accidentally became the heart of the song.

Cut Cult is the latest project from Brian Borcherdt, the endlessly curious sonic explorer behind Holy F***, Dusted, and the viral chipmunks on 16 speed phenomenon. For this new venture, Borcherdt reunites with Holy F***'s original drummer Loel Campbell (Wintersleep, Broken Social Scene, Billy Talent) and longtime bandmate Matt McQuaid. Together, they form the nucleus of a new kind of band: loose, improvisational, wild at the edges. Rounding out the lineup is Mairi Chaimbeul, whose psychedelic harp and synth textures add a ghostly, celestial dimension to the group's deeply grounded groove.

“Dinosaur” emerged in the kind of space where creative magic tends to happen: a rural cottage in Black Point, Nova Scotia. The band holed up there for late-night jam sessions, cooking meals together and capturing lightning-in-a-bottle moments between laughter and ambient noise. One of those sessions gave birth to the lumbering, Godzilla-esque baritone riff that anchors “Dinosaur” — but the song almost didn’t make it out of the cottage.

“We came up with this sort of lumbering monstrous baritone guitar part, something like a scary ‘Hella Good’-Neptunes kind of hook,” Borcherdt shares. “We had the title ‘Dinosaur’ due to this Godzilla vibe, but no words. I found a rehearsal tape that was perfect – it was still gibberish, but the vibe was right. Being centred around an 808 beat, I knew it’d fit. So I overlaid that take and was done.”

The resulting track feels as raw and alive as a basement show in full swing — unpredictable, imperfect, and all the more thrilling because of it. It’s that balance of groove and grit, of chaos and cohesion, that defines Cut Cult’s sonic identity. Drawing from deep DIY roots, the band thrives in unconventional spaces: playing on dance floors instead of stages, recording live-off-the-floor in living rooms and community halls, and keeping their creative process wide open to surprise.

Their upcoming First Three EP, mixed by Matt Wiggins (Glass Animals, !!!, Florence and the Machine), builds on this momentum. It showcases a sound that’s as much about feel as it is about form — unvarnished, full of soul, and deliberately unrefined. “Dinosaur” serves as both mission statement and mood-setter: weird, wild, and undeniably fun.

With the fuzz of analog charm and the muscle of modern beats, Cut Cult delivers a sound that refuses to sit still. “Dinosaur” doesn’t chase trends — it stomps through them. From its thunderous riffs to its unfiltered vocal grit, the track proves that sometimes the best take is the one you didn’t plan — and the best band is the one you build when you throw the rulebook out the window.

With “Dinosaur,” Cut Cult offers a monster of a track — heavy, hypnotic, and bursting with unfiltered energy.