Cursive today shared their new song “Wounded Animal,” the band’s first new music since their 2024 album Devourer (Run For Cover Records) and featured on the original motion picture soundtrack for Who’s Watching, written and directed by frontman Tim Kasher. A full song variation of the main acoustic, instrumental theme used throughout the film, the taut and simmering “Wounded Animal” was sped up a bit and filled out by Cursive’s trademark mix of disjointed guitars, keys and cello. The Who’s Watching (15 Passenger Records), the original motion picture soundtrack, will be released on October 30, 2026 and is available for preorder, while the film arrived in select theaters and on digital platforms on September 18 via Dark Sky Films.

The 13-song collection is split into a side A that contains songs by Toxic Cock Syndrome, a metal band featured prominently throughout the film (the recordings are performed by: Kasher on guitar/backing vocals; Radkey’s Isaiah Radke and Darrion Lewis on vocals and guitar, respectively; Jonah Ray on drums; and Josh Ethier on bass), and a side B that holds the score, as well as “Wounded Animal.” The entire soundtrack was penned by Kasher: the intentionally odd, aggressive, and immature Toxic Cock Syndrome songs serve as a window into the antagonist of the film–a darkly humorous and unsettling psychological horror thriller about the male gaze that subverts both stalker and found footage tropes–while the five instrumentals of the score are eerie, evocative, and at times even strangely beautiful. 

Written and directed by Kasher, Who’s Watching stars Zachary Ray Sherman (A Desert, Under the Banner of Heaven), whose performance in the film earned him the Best Actor Award at the Brooklyn Horror Film Festival, alongside Gracie Gillam (Superhost, Fright Night, Teen Beach Movie), Olivia Luccardi (It Follows, Soft & Quiet, The Baltimorons), and Steve Berg (Don’t Worry Darling, Tag). The film’s plot centers around eccentric musician and aspiring filmmaker Sampson; obsessed with his new coworker, Krista, he secretly documents every aspect of her life in an effort to make her the subject of his latest film. As his fixation intensifies, the lines between observer and participant begin to blur, pulling him deeper into a dangerous spiral of surveillance, manipulation and obsession. As the cameras keep rolling, the question becomes increasingly unsettling: who is really watching who?