Electronic artist SINE (aka Rona Rougeheart) has today released ‘Cruel’ as a new single on Metropolis Records. It follows the recent ‘Blood + Wine’ as her second self-produced track of 2026, with Rougeheart stating that the song “about people who purposefully choose to be cruel to others. The words are both sarcastic and serious and I like the contrast of the lyrical content against the upbeat nature of the music, which otherwise makes it a fun dance track.”
Mastered by Mark Pistel (Meat Beat Manifesto, Consolidated), ‘Cruel’ remains true to Rougeheart’s ‘electronic boom’ style while remaining modern and club-ready. It is the final single to be issued from La Mordre, a brand new SINE album out on 22nd May that also includes the previously issued ‘Trauma Bondage’
Iconic Norwegians TRELLDOM, founded by legendary vocalist Gaahl, unveil the visualiser single ‘Folding the Mind’ as the next advance track selected from their forthcoming new full-length: …by the word…
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With …by the word…, TRELLDOM are pushing forward hard into their new musical era that was ushered in by the previous full-length …by the shadows… (2024), which ended a 17-year hiatus of the Norwegian band.
Mastermind Kristian Eivind Espedal aka Gaahl and his diligently selected collaborators have gone even beyond the complex yet sinister sound that they established with …by the shadows… The exponentially grown confidence and hard-gained experience of joining together seemingly quite different musicians is reflected clearly in each track of …by the word…
TRELLDOM have concluded the process of escaping the narrowest definition of black metal without compromising their artistic mission. Their music does not only stay loyal to the spirit of their black metal roots, but the Norwegians are making a solid point that their new sound is even more dark and fierce than ever before – just in more twisted and unhinged ways.
…by the word… is the result of Espedal expanding the immense range of his vocals even further into unexplored territories. And it should be noted that this was partly achieved by his return to the famous Grieghallen Studios in Bergen to work again with legendary producer Eirik Hundvin aka Pytten, who was instrumental in the creation of the ‘Norwegian black metal’sound.
Although Espedal remains firmly at the helm of TRELLDOM, the current line-up plays a massive part in the fresh exploration of musical extremes. Guitarist Stian “Sir” Kårstad (formerly also in DJERV) guarantees a form of continuity as he already contributed to the second and third album of the band. Furthermore, the new constellation features renowned percussionist Kenneth Kapstad, formerly of MOTORPSYCHO and hammering the drums in SPIDERGAWD, MØSTER!, and THORNS. Kapstad brought the internationally acclaimed jazz musician and saxophone player Kjetil Møster (MØSTER!, RÖYKSOPP, THE END) along. Bass player Eirik Øien is the latest addition to the cast of characters.
Deeply rooted in industrial experimentation and the rawness of black metal, French avant-garde collective Non Serviam have forged a singular style that blurs the boundaries between extreme genres while preserving their intensity through a radical and uncompromising artistic approach.
The collective now announces their third full-length album, La Lune Dont Mon Âme Est Pleine, set to be released on June 12 through a new alliance between Non Serviam and Lay Bare Recordings. Alongside the announcement, the band unveil the video for the new track ‘Abject Sacrifice’.
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Five years after Le Cœur Bat (2021), and more than a decade after Un Petit peu d’amour Pour la Haine, this new album stands as a major step forward in the band’s evolution. After a prolific run of EPs, splits, and mini-albums, Non Serviam return with a full-length work that pushes further the sonic and aesthetic direction unveiled on Le Cœur Bat, now refined through experimentation and artistic evolution.
La Lune Dont Mon Âme Est Pleine is a symbolist concept album centered on the myth of Diana and Actaeon, exploring themes of the desire for the absolute, the violence it engenders, and the melancholy that follows. These ideas permeate the album’s compositions, shaping both the music and the lyrical narratives. Beyond the metamorphosed and tormented figure of Actaeon, the album also draws on historical and mythological figures such as Émile Henry, the late-19th-century French anarchist, and the apocalyptic goddess Kali, invoked through a powerful vocal appearance by Mirai Kawashima (Sigh).
With La Lune Dont Mon Âme Est Pleine, Non Serviam continue their artistic trajectory, delivering a work that is ambitious, confrontational, and emotionally intense, further pushing the boundaries between extreme music, experimental composition, and avant-garde art.
Room40 announces a new album by the Finnish/Australian award-winning double bassist, vocalist and composer Helen Svoboda, arriving on the 26th June.
The distinctive sonic world of Headwater weaves sixteen threads or ‘earworms’ built around two double basses, two voices, and electronics; heard as singular and combinatory bodies of material. The album forms an abstracted picture of self, rooted in a devolved song form. It can be experienced as a tapestry that blurs the edges of identity; strange, beautiful, evaporative, and fluid, like memory itself.
On revealing the album opener, ‘If" today, Svoboda says “’If’ explores a dream shaped by constant interruptions. The sleeper is caught in a series of jolts, driven by the fear of losing precious hours of consciousness within a fleeting human life. Each disturbance prevents a descent into deeper sleep, yet the body never full awakes.
“The video, directed and filmed by Angus Kirby, captures this state between rest and recurring subconscious thoughts. We filmed this around the corner from my house in Melbourne during, and after, a stunning summer sunset.”
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Songs are glued together by extended instrumental practice, improvisation, and strands of Svoboda’s cultural heritage. As a Finnish-born artist who has lived in Australia since the age of five, Svoboda delves into her Nordic background largely through the album’s vocal work, which carries echoes of Finnish folk harmony and traces of invented “Finnish” words, explored in collaboration with Savolainen as the second-voice. Svoboda notes that she does not seek to emulate or replicate this style of music, but has taken and nurtured the seeds of its influence on her musical language into something deeply personal and intuitive.
The instrumental pieces reveal an articulate language, with an expanded approach to the melodic and textural qualities of the double bass. Svoboda’s fascination with timbre is explored with collaborator Jacques Emery through the interplay of the two basses and Robinson’s electronics, extending traditional understandings of how the double bass might typically operate in a chamber context. The result is a different sound-realm entirely – traversing between spaces of lightness and weight, bound by a sense of youthful curiosity.
The ensemble features Helen Svoboda (double bass, voice, composition) with close collaborators Jacques Emery (double bass), Finnish vocalist Selma Savolainen (voice), and Tilman Robinson (electronics, production).
The exploratory electronic duo of Craig Dunsmuir and Sandro Perri returns 20 years after its self-titled debut. G70 2: Bones Of Dundasa is out on 1st May 2026.
Hear the skittish industrial stutter of ‘Aquatint’ and fractured beats of ‘Pad Tide’ here:
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20 years after its self-titled debut, Glissandro 70’s follow-up straddles the Album and Archive: a decade’s worth of recordings that were abandoned, lost in a hard drive mishap, recovered in the form of rough stereo mixes, reappraised with the balm of time, and restored/augmented/enhanced to forge a captivating new LP.
Glissandro 70 is the collaboration between Toronto musicians Craig Dunsmuir and Sandro Perri, first formed in 2003 as a mostly studio-based project of longform loop-based guitar and rhythm-driven experimentation. An eponymous (and up to this point singular) album appeared on Constellation in 2006, blending Dunsmuir’s afrobeat and Perri’s tropicalia influences through their shared reverence for Arthur Russell and dub techno.
While continuing to collaborate musically and foster a close friendship, Dunsmuir and Perri largely went on to helm their own projects thereafter. Perri transitioned from his ambient electronic sobriquet Polmo Polpo to a string of acclaimed singer-songwriter albums under his own name starting in 2007, with a side quest as ringmaster for the inscrutably leftfield electronic collaborations of Off World. Meanwhile Dunsmuir continued deploying lo-fi loops and broken beat iconoclasm as Guitarkestra and Kanada 70 (whose early tracks provided the original birthplace of Glissandro 70) and intermittent live concert Hi-life extravaganzas at the head of Toronto’s Dun-Dun Band (recently captured on wax for the first time by Ansible Editions).
G70 2: Bones of Dundasa arrives 20 years after the Glissandro 70 debut as an archival celebration, revisiting unfinished paths and re-assembling rediscovered recordings originally made between 2005 and 2015. The new album includes a cover of Arthur Russell’s ‘Lucky Cloud’ (augmented by Peter Zummo’s trombone newly recorded in 2025) and a previously unreleased Dan Bodan remix of the debut record’s ‘Bolan Muppets’, alongside 10 tracks of sample- and beat-based vignettes brimming with skittish guile.
ARROGANZ reveal the next advance single ‘Under Scarred Skin’ taken from the forthcoming new album Death Doom Punks in the shape of an eruptive music video. The seventh full-length of the German death doom punks has been slated for release on May 15, 2026.
ARROGANZ comment: “In terms of the music, this song is not just a tribute to such legends as Carcass, Dying Fetus, Six Feet Under, and even Slayer – it is also a further proof that funky basslines work exceedingly well in death metal”, frontman -K- explains on behalf of the trio. “You want to have groove, feeling, and brutality all in one song? Here you go! Regarding the lyrics, well, you’ll be happy to read that they will drown you in utter despair. Enjoy!”
Pittsburgh’s LOWSUNDAY presents ‘Nevver’ single (via Projekt Records).
Low Sunday Ghost Machine – White EP, their first all-new material in 25 years, is out now.
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Legacy postpunk-shoegaze outfit Lowsunday presents‘Nevver’, the final single from their new Low Sunday Ghost Machine – White EP, following the earlier-released ‘Love Language’ and‘Soft Capture’. Released via Projekt Records and ranking second among Post-Punk.com’s Best EPs of 2025, this is the band’s first record of all-new material since 1999.
With early gothrock underpinnings, here Lowsunday capture a different energy than other tracks on this EP, with a slightly more down tempo and driving rhythm. Itt is uniquely sparse and delicate at times, relative to the band’s typically multi-layered approach regarding atmospherics and dense noise. The accompanying video, produced by Jer Herring, drifts between dark postpunk atmosphere and a homage to classic outsider cinema.
Born in the mid-1990s within the local Pittsburgh scene, Lowsunday (initially known as Low Sunday Ghost Machine) emerged as a "retro-futurist" pioneer, blending darkwave and shoegaze long before the genres saw their modern revival. Their legacy was cemented with their debut album Low Sunday Ghost Machine and the 1999 masterpiece Elesgiem, both of which were re-released via Projekt Records over the past 18 months (for their 30th and 25th anniversaries, respectively).
The band dissolved, leaving behind a cult reputation for mercurial sounds and blistering guitar work that set the stage for subsequent generations of alternative artists. Following a nearly 25-year period of inactivity, the band resurfaced as a duo in 2025—consisting of original members Shane Sahene (vocals, guitar, synth, bass, drums) and Bobby Spell (bass, guitar, drums). ”This is one of my favorite songs on the White EP. These lyrics are related to an increasing sense of apathy in the world – how it feels like even love isn’t enough sometimes and yet, the only fate worse is to let go of it. The feeling that happiness can be delicate and unhappiness can be so determined to take its place,” says Shane Sahene.
“This song touches on very early influences and the recording captured some of the most unique guitar tones we’ve ever used. What’s unusual is that, separately, Bobby had been working on a bass line and I had been playing this guitar part. It was serendipitous in how well they went together to form this song.”
‘Nevver’ is a case in point, showcasing the band’s legacy of creative experimentation and talent for weaving counter-culture cadences and weightless production with a sense of visceral vulnerability.
Bobby Spell shares, “’Nevver’ was enjoyable for the two of us to compose. I had been playing with this menacing bass line that happened to be a perfect match for a guitar part Shane had been working on. It gave us an opportunity to explore darker tones and indicated the need for a more sparce production. The almost plodding tempo made this song more challenging and fun, imbuing it with a combination of creepy darkness with a dash of humor.”
Today, experimental Hip-Hop legends dälek release their latest full-length album, Brilliance of a Falling Moon.
Conceived, composed, and produced by Will Brooks (aka MC dälek) and Mike Mare, Brilliance of a Falling Moon is a sprawling, uncompromising record that speaks to the political timbre of the day. Taking its name from a section of Erik Larson’s 2011 novel In The Garden of Beasts, the album paints a fiery portrait of life and resistance in fascist America.
Recorded in the group’s Deadverse Studios over the course of 2024 and 2025, Brilliance of a Falling Moon’s beats are propelled by brutal, dust-caked drum breaks and cloaked in an ominous, otherworldly atmosphere. Taking aim at everything from The State’s suppression of information to colonialism and Trump’s demonization of immigrants, Brooks’ rhymes are practically burning with outrage at the current state of the world.
“When you listen to this, I hope you walk away with hope because we’re still fighting, building, and pushing.”
Check out the new video for ‘Normalized Tragedy’ below:
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Not only has dälek always presented an undiluted political stance in their music, the band is part of the continuum of bold, revolutionary hip-hop pioneered by Public Enemy and The Bomb Squad. dälek has spent decades carving out a unique niche fusing hardcore Hip Hop, noise and a radical approach to sound.
Founded by Will Brooks (aka MC dälek) and Alap Momin (aka Oktopus), dälek debuted in 1998 with Negro Necro Nekros, a sonic tour de force built upon thunderous drums, blissful ambient sections, and gritty, insightful lyrics. On watershed albums like 2002’s From Filthy Tongue of Gods and Griots (2002), Absence (2005), Abandoned Language (2007), and 2009’s Gutter Tactics (2009), dälek laid a template that added completely new textural and structural dimensions to rap music.
With this kind of musical and political pedigree, it makes sense that dälek would return with such a timely record that reflects all of our frustrations.
Once again the band has teamed up with artists Paul Romano and Mikel Elam for the striking package artwork.
Iconic Norwegian artist MORTIIS presents the the stunning music video ‘Ghosts of Europa’. This is also the title track (feat. vocals of Sarah Jezebel Deva (The Kovenant, Cradle of Filth, et al.) and Laurie Ann Haus (Blizzard Games, Todesbonden) as well as additional synths and sequencers from Tangerine Dream’s Thorsten Quaeschning) and first advance single taken from his upcoming new full-length.
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MORTIIS comments on ‘Ghosts of Europa’: “This song has tried many shapes and forms, until it finally sort of found itself”, the Norwegian writes. “I never thought that it would end up this way. Strange, mysterious, and choral. It started out as a simple thing, a different song, with a different title, which got slowly de-constructed and altered. This did not happen due to dissatisfaction with the original, but because layers of new ideas appeared. As excited as I am about this new ‘entity’ and the way it shaped up, the title, that has already been in existence for years, feels slightly, and sadly, prophetic – although that was never my intention.”
Alternative-industrial rockers NOIR ADDICTION present their new single ‘Serve Me Some Crime’, a sarcastic manifesto about embracing chaos and contradiction, where rule-breaking, humour and non-conformity become tools of personal freedom. The accompanying video, with its black-and-red aesthetic, was created by Jack Lucas Laugeni. Favouring instinct and madness over routine, control and the suffocating seriousness of everyday life, this is the first postpunk-darkwave taste of the Pretty Things Don’t Last album, forthcoming via Berlin’s Soulpunx label.
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Noir Addiction is led by Sonny Lanegan, a seasoned musician and producer whose creative vision was shaped by cutting his teeth in Los Angeles’s high-octane music scene, where he honed his experimental style as singer-songwriter for White Pulp and co-founder of The Dead Good. The Spill Magazine finds this “somewhere between industrial grit and sardonic self-awareness. Drawing clear lineage from acts like Nine Inch Nails and Depeche Mode, Noir Addiction doesn’t just imitate its influences—it refracts them through a modern lens of irony and controlled chaos”.
Aural Aggravation 