Argonaut return after a long year with the video for Leaves, a melancholy five minute ode to autumn and entropy. Cure-esque guitars intertwine with melodic bass and sweeping synths to create an atmospheric backdrop to Lorna’s ethereal vocals. The lyrics and accompanying ‘found footage’ video touch on themes of dementia and retreating into past memories, a topic close to our hearts at the moment.
Lorna set the scene for the video; “I was thinking about the moon cycle and the new moon and wanted to incorporate that feeling into the music. The lyrics are about somebody who is getting older and their mind is starting to deteriorate. They can remember the past more than the present. I had the image of being lost in the woods and trapped inside their memories. It’s quite a personal song.”
No stranger to the wider landscape and supported by BBC 6 Music, NME, Radio X, Argonaut are back, with a new album Interrupted. Ten songs from the past year’s abyss, documenting breakdown, burnout, dementia, depression, memory, hope and healing.
For fans of Sonic Youth, Pavement, Velvet Underground, Dodgy, The Stranglers, Siouxsie and the Banshees, Huggy Bear, Japan, La Tigre, Grunge Pop, Experimental, Garbage, Hole, Nirvana, White Magic, Witches, Wands and The Pixies.
Musically, Eighties synth influences creep in alongside syncopated bass, fuzzed up guitars and heartfelt harmonies, fronted by Lorna and Nathan Lyons. Get up again when you can. Life moves pretty fast, but there will be interruptions.
‘Leaves’ is the first song from the forthcoming album Argonaut, interrupted, which will be released by Criminal Records and available to pre-order now.
O.R.G.II is an immersive musical work that brings the traditional pipe organ into dialogue with electronic and drone compositions, unfolding within a liminal soundscape — a space of transition and encounter orchestrated by Puce Moment.
In February 2019, Nicolas Devos and Pénélope Michel first engaged with the organ through a 1942 mechanical instrument. From this encounter emerged the album O.R.G., which laid the foundation for their distinctive approach to the organ as both a sonic and conceptual medium.
Longtime collaborator and choreographer Christian Rizzo, aware of Puce Moment’s ongoing exploration of pipe organs, invited them to compose the music for his new piece à l’ombre d’un vaste détail, hors tempête, premiered at the Biennale de Lyon in September 2025.
Ahead of the release of O.R.G.II on 12th June, they’ve unveiled a video for ‘Simoon’. Watch it here:
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PUCE MOMENT is the artistic duo of Nicolas Devos and Pénélope Michel, combining visual and sound arts. With backgrounds in fine arts, contemporary arts, and classical music, they founded the experimental electronic group Cercueil in 2005, gaining recognition in the French contemporary music scene through extensive touring. Parallel to this, they launched Puce Moment, a platform for sound research and interdisciplinary experimentation.
Their creations, blending fictional ethnology with diverse musical and visual forms, are characterized by emotional intensity and ritualistic structures, ranging from harmonic clarity to raw distortion. Using electronic and electroacoustic arrangements, they craft immersive soundscapes that merge traditional instruments (like limonary organs or Japanese gagaku) with innovative interpretations. Their work invites active audience participation through spatialized and immersive sound experiences.
BIG|BRAVE, the Montréal/Berlin-based trio of guitarist/vocalist Robin Wattie, guitarist Mat Ball, and bassist Liam Andrews, have unveiled the mountainous single ‘an uttering of antipathy,’ taken from their forthcoming album in grief or in hope, out June 12th. The single’s gargantuan, sublime chords feel gravitational as they unfold in plumes of darkened feedback. Wattie’s voice emphasises a sense of isolation inside the fray with stark clarity and at times auto-tuned undulations, culminating in a powerful conclusion: “god only blames me / you only blame me.”
Mathieu comments, "This track was actually one we performed during the past year of touring. These are the chords and instrumentation we used for the live rendition of “chanson pour mon ombre”. Given our fondness for this live track, we decided to incorporate the chord progression into a new song for this record. After several challenging days in the studio, when it was time to structure and record the track, Liam, Robin and I recorded the entire song in a single take in the live room. This was a highly encouraging moment. The vocals (with subtle autotune) effectively brought the song together, making it one of my favourites on the record." About the autotune Robin enthuses, "I’ve ALWAYS wanted to try it. i’m glad we did."
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in grief or in hope marks a shift for BIG|BRAVE towards denser, guitar-oriented compositions. With longtime touring bassist Liam Andrews (MY DISCO, Aicher) joining guitarist/vocalist Robin Wattie and guitarist Mathieu Ball in the studio for the first time, the pieces are keenly layered with a rich tapestry of harmonics and tonal intricacies. Each piece is its own biome of distortions starkly contrasted with delicate, even tender, moments. The trio’s instinctual progressions are made more vivid through live recording, harnessing the gargantuan and storied sound of their performances. Within texturally maximalist loops and affected vocals, the pieces utilise the aesthetics of drone, electronic, and heavy music within a foundation of pop song form. Wattie writes: “I wanted to explore catchy, melodic phrasing weaved throughout the intensity of the instrumentation and drony chord changes. All that I could reflect on was grief and hope; death and life; cause and effect; shared experiences of being a human person.”
Together the trio deliver emotional momentum that vividly describes the complex and deep feelings of struggle, pain, and transcendence. in grief or in hope transmits that sense of humanity with every gesture.
BIG|BRAVE will begin their European tour in support of the album this week in the Netherlands, and will be embarking on an extensive North American tour with The Body this summer.
SLEEPING PULSE present the storytelling lyric video ‘Two Wreaths’ as the final advance single, which is lifted from their forthcoming new album: Dreams & Limitations. Gentle Northern English melancholia meets Portuguese longing with a bittersweet drop of hope.
The sophomore full-length from the English-Portuguese duo has been chalked up for release on June 5, 2026.
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SLEEPING PULSE comment: “The song ‘Two Wreaths’ revolves around the seeing a dead loved one in a dream, and the joy and panic that ensues”, frontman Mick Moss reveals. “We realise that we are experiencing a gift of a moment, yet our instinct tells us that the moment will be over very soon.”
Bristol based sludge metal band Urzah release their new album ‘A Tranquil Void’ in just a few weeks on 5th June via APF Records (Mastiff, Video Nasties, Swamp Coffin). Today sees them share one final single before the album is out in the form of ‘The Call Beneath’.
You can check out the track here:
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Formed in 2020, just before the pandemic hit, Urzah’s intensely collaborative and productive writing process was immediately evident, leading to the quick release of self-titled EPs ‘I’ (2020) and ‘II’ (2022). These laid the foundation for Urzah’s unique brand of ‘progressive sludge’. Inviting comparisons to Neurosis, DVNE, Mastodon and Elder, their forward-looking sound combines the abrasive elements of punk and post-hardcore with atmospheric post-metal passages and soaring melodies.
Urzah’s vision of ‘Earthen Heaviness’, combining oppressive darkness with moments of transcendence and cosmic awe, was realised on their critically acclaimed debut LP The Scorching Gaze (2024, APF Records). The band’s sonic world draws on both the intensely personal – rage, loss, grief and self-doubt – and a profound awe and vulnerability in the face of the celestial and natural worlds, framing visceral human struggle within vast cycles of death, decay and rebirth.
Since their debut, Urzah has refined their live shows across the UK, playing festivals and headline shows, and sharing stages with a diverse roster of heavy bands including Bongzilla, Tuskar, Mastiff, Greenleaf, OHHMS and Dopelord, as well as progressive atmospheric bands such as Hidden Mothers, Underdark and Nadja, demonstrating their strong cross-genre appeal.
The band recently announced that they are set to release new LP A Tranquil Void on 5th June 2026 via APF Records. The record marks a defining moment for the band, following up their critically acclaimed debut ‘A Scorching Gaze’ (2024, APF) with an even more assured, mature and ambitious full-length. Conceptually, ‘The Scorching Gaze’ and ‘A Tranquil Void’ function as a visual, musical and thematic diptych; where their debut burned brightly with the rage and destruction of an erupting volcano, their new LP captures the cathartic, contemplative still that follows.
Tom McElveen (vocals/guitar) comments on 3rd single ‘The Call Beneath’, “this track is about dealing with grief for the first time, and letting yourself be pulled into its depths so the earlier version of yourself can die and a new one can be reborn and ‘rise to the surface’. This process can only happen when you stop resisting it. We play with dynamics and moving time signatures to build and rebuild tension, taking us through to the final cathartic stage of rebirth at the pinnacle.”
The Howlers have delivered the first glimpse at their highly-anticipated sophomore album in the form of new single ‘Viper’. Carrying the band’s classic desert rock swagger, the track is accompanied by an epic video of a backlit frontman Adam Young, trusty fringe leather jacket in tow. “I’m not your usual type,” he shrugs, “but let’s pretend for the night.” Driving riffs and comparatively delicate vocals reintroduce the band, setting the scene for new album Heavy – an album exuding confidence and identity – which is set for release this autumn.
Speaking about the forthcoming new album, Young states:
“This album is those late night experiences, the after dark conversations, late night phone calls, the seductive nature of impulsiveness that seems so alluring and losing yourself in the addictive nature of recklessness, but it’s also the mirror in the morning, the wake up call, and the harsh reality of knowing those feelings won’t always last and it’s the moment you find yourself again.”
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The Howlers’ debut album What You’ve Got To Lose To Win It All earned the band a UK Official Charts Top 10 position and multiple chart positions across mainland Europe, where they also completed a headline tour last March. The record represented the emotional toll of personal loss, written and conceived by Young as a means to express and share his own experiences.
Outwardly the band was riding the high of success, but behind the scenes they were falling apart amidst the burden of independent releasing. But in the wake of the new year, Young set about working on the foundations of what would become the band’s second album. Galvanised by his newfound independence and reshaping the band into a two-piece, The Howlers recorded and released their rebirth singles ‘Night Crawling’ and ‘You Can Be So Cruel’.
This propelled the band across the continent, testing the waters on new material and rekindling a love for performing. The band have built a reputation as one of the country’s must-see bands, with plans to head back out on the road in the UK and EU surrounding their new album later this year.
Heavy, The Howlers’ sophomore album, is set for release via Frontiers Label Group on 9th October. Tour dates are soon to be announced.
Hunter As a Horse (HAAH) is the South African musician and vocalist Mia van Wyk. Based in the Western Cape, she has spent the last few years self-releasing a diverse series of singles and EPs that combine electronically-focused songs with intense, thoughtful lyrics that are given a darkly cinematic production.
HAAH signed to Metropolis Records in early 2026 and have released a fourth single on the label entitled ‘Obey’. “It comes from a place of integration rather than surrender and is a conversation between past and present selves, the fragments that once felt chaotic now finding form within something chosen and intentional,” says van Wyk of the downtempo, moody yet rhythmic electronic song. “What might sound like submission on the surface is, for me, an exploration of trust, control and the quiet strength in allowing oneself to be seen and shaped without fear. The song moves through tension and release, discipline and desire, capturing that paradox where restraint becomes freedom. It’s less about giving something away, and more about stepping fully into a self that no longer needs to resist its own nature.”
Many of Earthside’s most powerful songs come from an overwhelming feeling brought to life in music—with only the words of a thought-provoking title setting the scene.
Such is the case once more with the instrumental calamity called “A Dying Star.” The first taste of music in Earthside’s new era, the track is a bludgeoning journey through the inner cosmos—in all its destruction, disorder, and uncertain promises.
The band state, “’A Dying Star’ is yours. With chaotic intensity cranked to the max, ‘A Dying Star’ bludgeons the senses with the fury of a meteor shower and the heart-wrench of a broken dream.”
Watch the official visualiser video here:
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Earthside, a group that burned brightly—and burned themselves out under the weight of their ambitions, convictions, and disillusionment—forged ‘A Dying Star’ in a phase of strife and inner-turmoil within the group. For the first time, geographically, separate and growing apart, the members were tasked with creating an explosive high-energy live song—with only a drummer and piano player available at the initial writing.
The result being an unconventional and chaotic song; different from anything released thus far by the band, but unmistakably Earthside in every identifying sense.
As time passes, the identities, the dreams, the senses of self that defined us from our earliest memories lose their spark and grow dim. Some burn out brightly—others leave a devouring hole in their wake. For some, there is hope that the bright debris of the previous star can nurture creation once again in its aftermath—but for others, the void is all that remains. Such is the chaotic uncertainty and driving angst of ‘A Dying Star’.
A song of many firsts for the band, its process sent the group out of their typical surroundings and up to beautiful Val-David, in Québec, Canada to write and self-record ‘A Dying Star’ on-location at Luckchild Studio. Earthside used the stunning natural vista of the Canadian countryside as a mood-setter for their new output alongside a wealth of vintage pedals and percussion at Luckchild to add new stylistic flavors to the mix.
A Dying Star marks a return to the core of Earthside’s sound—the unmistakable soul of the music its four members create together as an instrumentally-driven unit—Showcasing the group’s spellbinding sense of sonic storytelling with soothing nocturnal atmospheres and crushing, climactic extremes.
Spearheaded by keyboardist Frank Sacramone and his furious piano runs, which collide with Ben Shanbrom’s force-of-nature drumming—the outcome is fresh and unexpected.
Earthside recently announced their debut foray into headlining some key European shows in May/June 2026 to round off the chapter for “Let The Truth Speak”.
Earthside’s blend of cinematic post-rock tendencies with worldly collaborators bring a type of live energy that is unique and compelling amidst their peers. Earthside weaves between an instrumental band and one who is enhanced by visual elements and collaborators, presenting a unique show for all to see.
The band will be supported by cellist Raphael Weinroth-Browne across all dates plus local supports.
Earthside live shows:
Friday 22nd May – 229 The Venue – London, UK
Saturday 23rd May – Glazart – Paris, France
Sunday 24th May – Boerderij- Zoetermeer, Netherlands
Wednesday 27th May – MTC – Cologne, Germany
Friday 29th May – Betty – Hamburg, Germany
Saturday 30th May – Stengade – Copenhagen, Denmark
Monday 1st June – Kollektivet Livet – Stockholm, Sweden
Thursday 4th June – On The Rocks – Helsinki, Finland
Friday 5th June – Ankea Festival – Tampere, Finland
Iconic Norwegians TRELLDOM, founded by legendary vocalist Gaahl, now reveal the eerie advance single ‘I Speak Forgotten Voices’ as the final track selected from their forthcoming new full-length: …by the word…
…by the word… has been chalked up for release on May 29, 2026.
TRELLDOM do neither comment on their music nor explain their art.
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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.
TRELLDOM were founded by Gaahl in Sunnfjord, Vestland in 1992. The band’s early trilogy of albums, Til evighet… (1995), Til et annet… (1999), and Til minne… (2007) are all regarded as underground milestones of black metal history. Espedal is widely accepted as one of the leading figures of the Nordic black metal scene. The enigmatic vocalist joined the notorious Bergen outfit GORGOROTH in 1998 but soon contributed to a wider range of projects that include Einar Selvik’s WARDRUNA, GOD SEED, and in 2015 he also launched his new band GAAHLS WYRD.
TRELLDOM continue in the tradition of all of Espedal’ art, which asks to always expect the unexpected. With …by the word… the exploration of avant-garde dissonance, wicked rhythm patterns, and wild ideas again destroys preconceptions and demands intense listening. Better prepare to be challenged by every note!
Japanese post-rock legends MONO recently announced details on their new album Snowdrop set for release on 12th June via Temporary Residence. This is the band’s first album made with Brad Wood (Touché Amore, The Smashing Pumpkins), following the passing of longtime collaborator and friend, Steve Albini.
Taken from MONO’s 13th album Snowdrop, scheduled for release on 12th June 2026 (Temporary Residence), a new single ‘Gerbera’ is out now with an accompanying music video.
For Snowdrop, the band wishes to express their eternal gratitude to those precious people who have walked alongside them on their journey of life, by incorporating the messages imbued in flowers given to those who have passed into the song titles on the album.
MONO’s Statement:
“The language of flowers for the Gerbera is ‘faithful love’ and ‘cheerfulness’. The countless, precious memories I share with you will never be forgotten. I am so glad that I met you. Innocence, purity, joy, beauty—and I will never forget your smile.”
Yusaku Mitsuwaka, ‘Gerbera’ Director:
“During the shoot, the wind swayed the silver grass wildly, resonating with the band’s performance and blowing through as if it were music itself. Guided by the wind, the camera danced, and ‘Gerbera’ became a music video brimming with vitality. Even in today’s fractured world, the act of loving and being loved remains unchanging. I hope this wind reaches the heavens. I would like you to watch this while thinking of someone dear to you.”
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“Without exception, everyone will eventually depart this world and face the parting from their loved ones. Through this album, we wished to express our "eternal gratitude" to those precious people who walked alongside us on the journey of life. We believe this sentiment is the only thing capable of filling the void left in our hearts and easing the profound sorrow and pain of loss. Every flower carries its own unique language. For this album, we incorporated the messages imbued in flowers given to those who have passed into the titles of our songs. Our hope is that this album serves as a source of light and hope for those who have lost someone dear.” – MONO
When MONO recorded their previous album, OATH, with longtime production partner and friend, Steve Albini in 2023, they never fathomed that it would be the final studio album they made together. Albini tragically died the following year, and that loss left an incalculable void in the lives of not just everyone who ever knew Steve, but everyone with an attachment to any of the thousands of records he helped bring into world over the past four decades. He brought a clarity to the chaos, and a selfless sense of service to art and artists that was unrivalled. On both a personal and practical level, the loss left MONO faced with profound grief and uncertainty. Albini had become a fundamental part of MONO’s unmistakable sound, and the thought of replacing him was daunting, to say the least. Enter: Brad Wood(Touché Amoré, The Smashing Pumpkins).
Chosen for both his familiarity with MONO’s creative and technical working process – as well as his decades-long friendship with Steve Albini – Brad Wood entered Albini’s storied Electrical Audio studios in September 2025 to record what would become Snowdrop. Once again working with Chicago-based conductor and orchestral musical director, Chad McCullough, MONO enlisted a 10-piece orchestra as well as an 8-piece choir for the eight massive pieces that make up Snowdrop. With the band performing and Wood recording in the same hallowed space where most of MONO’s records had been made in their quarter-century history, the songs on Snowdrop carry an extra weight. Mixed by Wood at his Seagrass home studio in Los Angeles, the album is equally intimate and enveloping.
Where there could easily be a pall hanging over Snowdrop, there is instead an extraordinary air of gratitude. Rather than steep in heartache, there is a poignant appreciation for the resonance of life well-spent with a dear friend – and the yearning for what may come. Snowdrop is the sound of a band turning shock and sadness into hope and wonder – and finding renewed focus in the freedom of unknowing.
