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Sky Valley Mistress have initiated countdown to the release of their second album Luna Mausoleum, that is due to land on Friday 23rd January 2026 (New Heavy Sounds).

Intended to be the soundtrack of their Hearsecraft ride to the moon, Pilot Kayley “Hell Kitten” Davies and Commander Max “Leather Messiah” Newsome launch you into the Sonic Stratosphere with an audio journey fuelled by 70’s hard rock, driven off the road to a fresh new destination.

Taking you through desert rock grooves and mountainous riffs, you are guided by Kayley’s soulfully smoked voice and her range of soaring, delicate, yearning and understated melodies as the band ride peaks and valleys of dynamics and pace with an eclectic selection of instrumentation of fuzz guitars, organs, real orchestras and a children’s choir.

Twisting influences of Queens of the Stone Age with Portishead and turning from Spiritualised-sized gospel choruses to the gallow heavy swing of Black Sabbath, with sound as fast as light they move between their influential orbit to create a modern classic that is entirely their own. There isn’t space in this genre the band haven’t explored. This is a demonstration of their refusal to wait for permission to create a record that stands in scale with some of the most monumental albums in rock.

The band’s statement on their intent behind creating Luna Mausoleum was that it should be “greater and beyond all reason”.

They’ve also released first single ‘Thundertaker’ named after the hearse they drive on tour. Opening with the apocalyptic power of early Black Sabbath before taking you on a joy ride fuelled by some Motörhead grade speed, THUNDERTAKER is a riff rippin’ rocket jam kicked out from the Sonic Strato- sphere for the world to hear.

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The band who has one member play every instrument so that they sound like a four piece in the studio, defy logic with aspiration with their iconic live show as a Duel-Drumming Duo. Vocalist Kayley “Hell Kitten” Davies takes the sticks and one half of a drum kit whilst original drummer Max “Leather Messiah” Newsome battles the electric guitar with the kick drum under his foot. No samples. No backing tracks. No click tracks. No one is playing rock and roll the ways these two do.

Live October 2025:

02  – LONDON THE BLACK HEART

03 – SHEFFIELD NETWORK

04 – DARWEN SUNBIRD

17 – HULL DIVEHU5

18 – PRESTON THE CONTINENTAL

23 – THE PURPLE TURTLE READING

24 – FORUM BASEMENT TUNBRIDGE WELLS

25 – THE LIGHTHOUSE KENT

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Mayshe-Mayshe has released new single ‘Mycelium’, and an accompanying video.

This is a song is about autumn and decay, rainy woodland walks, lonely adventures, and setting off on a journey at nightfall. (Snufkin setting off on a journey to be specific.)

It’s mellow, and we rather like it…

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‘Darkest Day’ is the opening track from Rhys Marsh & Mandala’s new album, Until The End Of Time — a dark, expansive and cinematic journey that explores themes of loss and love, along with the notion that when you lose someone you love, you still love them until the end of time.

With songs ranging from ten to eighteen minutes in length, the album’s soundscape is largely dominated by majestic analogue synthesisers and led by Mandala’s trademark dynamics — ranging from whisper-quiet to wall-of-sound. Until The End Of Time will be available on all streaming and download platforms, alongside a strictly limited-edition CD, available exclusively from Burning Shed, on November 14.

Rhys Marsh has released eleven albums in the past — both solo, and as the singer-songwriter in bands — and this is the third Mandala album. It was decided to call this a Rhys Marsh & Mandala album, as thematically and stylistically it follows on from Marsh’s previous solo album, Towards The West, which was a direct refection on the loss of his Dad.

Formed in London in 1997, Mandala have toured the UK, Scandinavia and North America over the years, playing at iconic venues such as CBGB’s in NYC and The Marquee Club in London. Their blend of folk-noir, progressive rock, psychedelia — all wrapped in Marsh’s atmospheric and dynamic melodies — has garnered acclaim and airplay across multiple countries, with singles A-listed on Radio Caroline, and chart success on iTunes in the UK and Canada.

Critics have called Mandala’s sound “a kaleidoscope of prog, psychedelia, and folk”, and praised their “knife-edge atmospheres and Eastern-tinged melodies” (The Independent), with The Guardian describing their music as “folk-noir”, and Time Out highlighting their “melancholy laden melodies”.

Until The End Of Time is the kind of album that needs to be listened to from start to end. The songs are long, and the themes expand and unfold gradually. There are elements of post-rock with the long build-ups, progressive rock with the sweeping Mellotrons, and a deep sense of melancholy.

The album features spoken word in three languages: English, Norwegian and Welsh. Marsh says that this verse can sum up the overall feeling of the album:

“The kingdoms of eternity

Will bring you here

Until the end of time

Where nothingness

Leads us into forever”

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Mandala_ 2025. Photo by Silje Marsh

The brainchild of US drummer/multi-instrumentalist Rona Rougeheart, SINE has released a new single entitled ‘Succumb To Me’ on Metropolis Records today. Co-produced by Rougeheart with Curse Mackey (Pigface) and mastered by Mark Pistel (Consolidated, Meat Beat Manifesto), the song mixes industrial sounds with dirty disco and rhythmic sub bass to form the perfect definition of what she refers to as her signature genre, ‘electronic boom’.

“While working on my next album, I decided to open a new session and start something fresh just for fun,” Rougeheart recalls. “As another track began to form, I was really loving the vibe, so I anchored it around two deep synth bass hits that pan right and left to give the listener a surround sound experience, especially in headphones. The lyrics seemed to write themselves as I recorded scratch vocals, just letting it flow. The lyrics are cheeky and a little sinister, with a dash of sex appeal. It’s definitely one of my favourite SINE tunes to date!”

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Gothenburg’s drunk’n’roll/hardcore-punk wrecking crew Spøgelse have dropped a brand-new video for their track ‘Speedfreaks’, delivering another feral taste of their forthcoming second album Spøgelse II, set to be released on October 24 via Welfare Sounds & Records.

Loud, raw, and one beer away from total collapse, Spøgelse embody what punk is supposed to feel like. Spøgelse II packs fifteen (!!) tracks that hit like a fist to the jaw for anyone sick of polished, overproduced punk.

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Born in the deep Swedish woods but raised on Gothenburg afterparties, Spøgelse have spent the last five years cramming into beat-up cars, dragging gear across highways, and spilling beer on every stage reckless enough to host them. Their mission has never changed: fast riffs, feral live energy, and zero fucking compromises.

‘Speedfreaks’ captures the band in their purest form, a chaotic, adrenaline-fueled anthem that barrels forward with the same unhinged force that has made Spøgelse one of Sweden’s most trusted live acts.

Self-described as “beer and guitar-shrimp specialists” and “your favorite fuck-ups,” Spøgelse aren’t here to clean things up, they’re here to tear it all down.

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Following the announcement of Smote’s fifth release for Rocket Recordings – Songs From The Free House – the band now shares a second taster of what’s to come in the form of ‘Snodgerss’, a flute-led jig-turned-pitch-dark-ritual. Their deepest and most fully-realised album to date, Songs From The Free House continues Smote’s exploratory mission into heaviness in all its forms, and sees its primary creator Daniel Foggin exploring a variety of new avenues.

Songs From The Free House features guest appearances from Sally Mason of the Smote live band on vocals and Ian Lynch from Lankum on Uillean pipes and will be released via Rocket Recordings on 17th October.

Forged from repetition and mantric intensity and possessed of formidable psychic fortitude, this album proves that the only retro-chic Smote indulge in is liable to go back several centuries. The megalithic monomania of last year’s A Grand Stream set a formidable precedent, and Smote’s live shows in its wake have gradually built a reputation as visionary seers building audial monuments by cranked amplification and atmospheric intensity alike. Yet these five gnostic serenades offer portals and paradigms anew.

Smote has now shared the track ‘Snodgerss’. About the track, Daniel says,“’Snodgerss’ roughly translates to ‘smooth grass’ or ‘long grass’. Waves and layers dance around each other and modulate against the wind, each blade moving individually but still in harmony with the rest.  Such is the nature of the 3rd track on the album, blown out percussion dances around flute melodies and explosive guitars alike, each playing its own part in the movement." 

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Upcoming Smote live dates:
17 Oct / Falmouth / KCM Church
18 Oct / Bristol / Down Stokes Festival
19 Oct / Preston / The Ferret
20 Oct / Glasgow / Hug and Pint
23 Oct / London / The Lexington *sold out*
24 Oct / Derby / Dubrek Studios
26 Oct / Newcastle / The Lubber Fiend
13 Dec / Todmorden / The Golden Lion

13 May / London / The 100 Club

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Canadian dark electro artist S1R1N has unveiled the new single and video, ‘Voodoo Doll’.

‘Voodoo Doll’ is, at its core, a song about self-destruction and destructive relationships. The lyrics describe an effigy, a doll that the protagonist has created. This doll is the most precious thing in their world, as they love it with abandon, but it also becomes the target of their anger and rage and destructive behavior. As it often is in life, people hurt those whom they love the most, and it is no different in the relationship with the self.

The story also serves as a metaphor for the artistic process, as the journey of creation involves placing one’s heart and soul into something, all of the love and positive emotions that one feels, as well as all of the suffering and pain . The sound palette used to create the song calls to mind a creepy yet melodic aesthetic reminiscent of horror film soundtracks.

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The music video for ‘Voodoo Doll’ was very much inspired by the surreal yet gritty aesthetic of the music videos of the late 90’s and early 00’s. It was filmed in several abandoned buildings including a Victorian Insane Asylum and a Tuberculosis Sanatorium. The symbolism of these places, as well as the imagery of dolls and the bloody white clothes worn by Morgan in the video call to mind themes of lost innocence, and the corruption of the inner child. This is especially exemplified by the scenes in the video where dolls are destroyed. Both the song and video are intended as a cathartic experience for both the artist and audience.

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US dark/dream-pop duo Magic Wands have released a new digital double single today that couples the brand new song ‘Time To Dream’ with a remix by Metropolis Records labelmates Lost Signal of their ‘Armour’ single issued in October 2024. Video clips of the original version of ‘Armour’ and the remix have also been made available and can be seen here (original)….

…and here (remix):

“‘Time To Dream’ is about entering a dreamlike state where the boundaries between reality and imagination dissolve,” the duo explain. “It was inspired by magic and a sense of stepping through the looking glass.”
‘Time To Dream’ is included on a new Magic Wands album entitled ‘Cascades’, which is out on 24th October via Metropolis Records. It also includes the original single version of ‘Armour’, as well as the previously issued ‘Hide’, ‘Moonshadow’ and ‘Across The Water’ . It will be promoted with an appearance at the Substance festival HERE in Los Angeles on 7th November, with further shows to be arranged.

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Magic Wands is a dark-pop duo originally formed in Nashville by guitarists and vocalists Dexy and Chris Valentine. Now based in Los Angeles, they are known for their shimmering and dreamy sound, which incorporates elements of shoegaze, dream pop, post-punk and goth. They utilise heavily textured guitars, synth drones and ethereal vocals to conjure an otherworldly atmosphere in their songs.

Dedicated to creating music that is both imaginative and emotionally engaging, Magic Wands found success soon after forming in 2008, gaining a loyal fanbase that has grown ever since. They have issued five studio albums to date, the most recent of which is ‘Switch’ (2023). Its songs were also remixed by guest artists and released as ‘Switched’ later that year.

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Brooklyn alt rockers CLONE present ‘Care To Try?’, the title track from their Care To Try EP, a blazing three-track offering set for release on October 3 via Portland label Little Cloud Records. The band recently shared the adrenaline-inducing lead single ‘Galvanized’.

Written over the past year with Clone’s original lineup of LG Galleon, Gregg Giufree (Pilot to Gunner), Max Idas and Dominick Turi, this EP was produced by LG Galleon and Bisi at his famed BC Studio (built together with Brian Eno), and mastered by Fred Kevorkian (The White Stripes, Sonic Youth, Juliana Hatfield, Regina Spektor, Lloyd Cole).

"Well ‘Care to Try?’ is a retribution song. A song that cries out for the disenfranchised and undersung people in the world whose voices are never heard above the drowning of the right wing nationalist leaders in this world,” says LG Galleon.  “The spoken word bridge signals out to this issue with the line "with all charisma there is scorn, with every swoon another’s heart will stammer slowly in submission. To Glimpse what could have been through the eyes of another.”

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The second single from The Lunar Effect’s upcoming third album Fortune’s Always Hiding was released yesterday. “’Settle Down’ is one of the songs we’re most proud of on the new record. Stripped-back and full of raw emotion, it carries a grunge edge that nods to the bands we grew up admiring, while still pushing our sound forward. It stands apart from some of our previous work, but for us, evolving is essential”, the band comments on the new single.

Watch the video for Settle Down here:

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The Lunar Effect were formed in London in 2017 by brothers Jon and Dan Jefford and later completed by vocalist Josh Neuwford, bassist Brett Halsey, and eventually second guitarist Mark Fuller. Since their arrival on the scene, they’ve carved out a reputation for crafting music that feels both familiar and original – a modern echo of grunge-soaked ’70s rock, fuzzed-out blues, and melancholic British soul.

Following the underground success of 2019’s Calm Before the Calm, the band signed with Svart Records and released the critically praised sophomore album Sounds of Green & Blue in 2024. After touring the album across the UK and Europe, they set their sights on album three, their most ambitious work to date. Fortune’s Always Hiding lands in October 2025; a brooding journey through loss, memory, and the weight of time. It marks a new era for the band – deeper, stranger, and more soul-baring than ever.

They don’t imitate the past, they channel its spirit through a warped, modern lens. From thunderous grooves and fuzz-soaked guitar riffs to intimate, fractured vocals, The Lunar Effect channel the unease of the modern world with a sound that refuses to sit still.

2026 promises more touring, more evolution, and no interest in standing still. For a band that’s never fit neatly into any box, The Lunar Effect continue building their own universe — one hypnotic, heavy track at a time.

Fortune’s Always Hiding is available on Svart exclusive Cream/Red/Orange marble vinyl, limited Transparent Green vinyl, Black vinyl, CD, and digital platforms on October 24th, 2025.

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