Wargasm signs to Hopeless Records and drops ‘Get Down’ ahead of Scene Queen tour

Wargasm just switched labels to Hopeless Records and immediately filled the gap with a brand-new single, ‘Get Down’. It is not a quiet “teaser” moment either. The track, released through their new label, is described as combining pulsing, hyperactive electronic beats and effects with distorted guitars and a huge, anthemic chorus, while the duo explore themes of “isolation, mortality and escapism.”

For decision-makers who care about momentum, this is the smart kind of release cadence: a label partnership paired with a live runway. Wargasm are also set to support Scene Queen on a North American tour throughout September and October, turning a studio announcement into a measurable audience-building plan on the road.

So what is actually new here? The single ‘Get Down’ is the first release from the duo of Milkie Way and Sam Matlock through their new label. It is also their first single since the dystopian ‘Small World Syndrome’ in July last year. That timeline matters in music-adjacent business terms, because it suggests a deliberate restart: a new label relationship, a first signal track, then an amplified exposure cycle via touring.

Musically and thematically, the ‘Get Down’ description also tells you what kind of “brand packaging” Hopeless Records is getting. The song is framed as an energetic collision: electronic acceleration plus distorted guitars, landing on an anthemic chorus. The themes they are exploring are darker than the volume might suggest, with “isolation, mortality and escapism” at the center. For executives, that combination is useful. It can help a release travel across playlists and communities because it is not only hype, it is an emotional narrative engine.

The tour schedule adds more proof that this is meant to travel beyond a single-track moment. Wargasm’s support dates run through September and October, starting September 15 in Atlanta, GA at The Masquerade, and moving through stops including Nashville, Columbus, Lakewood, McKees Rocks, St Louis, Lawrence, and Houston. The September run continues to San Antonio and Dallas, then heads into Mesa, AZ. October brings a further stretch with dates including San Diego at House Of Blues, Los Angeles at The Regent Theater, Las Vegas at 24 Oxford, Englewood, CO at Gothic Theatre, and Chicago at House Of Blues. The list continues through Indianapolis, Grand Rapids, Cudahy, Detroit, New York, Philadelphia, Worcester, Charlotte, and multiple Florida dates including St Petersburg at Jannus Live, Fort Lauderdale at Revolution Live, and Orlando at House Of Blues. The run ends with additional show dates including 25 Orlando, FL and 25? (The source provides dates through October 25 in the text provided.)

Context for Wargasm’s current position is built into the rest of their recent moves. They spoke to NME at Download Festival 2024, saying, at the time, they were preparing to launch a new chapter. Matlock’s quote was, “We need to bring more war, and more gasm.” That language matches the intensity of ‘Get Down’ and helps explain why a label signing is not just administrative. It is a narrative reset.

Their catalog also shows how quickly they can collide genres and audiences. Alongside ‘Small World Syndrome’, they joined Pendulum on the collaborative single ‘Cannibal’, which appeared on the Australian group’s first album in 15 years, ‘Inertia’. Wargasm released their debut album ‘Venom’ in 2023, which included the Fred Durst collaboration ‘Bang Ya Head’. They also later teamed up with Slipknot frontman Corey Taylor on the 2024 single ‘70% Dead’, which they described as “a cry out at a world gone mad.” When you stack those collaborations with a Hopeless Records partnership, the second-order implication is clear: this is a duo that can attract attention from multiple heavy and alternative corridors, and a label that can leverage those overlaps.

There is also a critical market framing piece executives should notice: touring and label support often determine how far a single goes, even when the track itself is strong. Hopeless Records is now tied to Wargasm’s next distribution and promotional phase, and the duo’s immediate tour support slot with Scene Queen creates a built-in audience funnel. In plain terms, it reduces the time between “we released something” and “people can experience it live,” which tends to matter when you are trying to convert hype into sustained attention.

Strategically, peers watching this should treat it as a reminder that label relationships are not only about streaming links. They can be a logistics and growth engine when they align with touring. For boards, investors, and operators across music and adjacent consumer culture, the question is less “did they sign?” and more “does the signing come with an execution calendar?” In this case, it does: a new single now, and a North American support tour throughout September and October, giving Wargasm the kind of synchronized release-and-reach plan that is hard to replicate at short notice.