Archive for the ‘Recommended Streams and Videos’ Category

Dolium x LiVES collide on ‘Shame!’, a high-friction joint single that blurs the line between collaboration and confrontation. Rooted in indie rock and sharpened by punk urgency, it’s a track driven by tension, energy, and shared intent.

Since reforming in 2024 for the 20th Anniversary of their label, Sister 9 Recordings, lo-fi/post-punk/scuzz-rockers Dolium have been quietly building toward a new chapter. In their early days, the band caused quite a buzz on the UK underground music scene, catching the attention of BBC radio legend, John Peel.  That legacy is captured in their critically acclaimed limited-edition 4CD box set, The Products Of Our Own Demands And Commands. Now, in 2026, they return with renewed focus, and a new era of furious punk rock.

Born in Cornwall and sharpened in Kent, LiVES are a visceral collision of post-punk intensity and hard rock precision. Their debut album Let Them Eat Cake landed like a fist through a wall, fast, aggressive, and socio-politically charged. Louder Than War called it “a nihilistic expression of anger and disillusionment.” Their track Just Can’t Get Enough reached a wider audience through its placement on the Netflix series Lucifer. With airplay across BBC 6 Music, Radio X and BBC Introducing, a sold-out European tour, and support slots alongside Buzzcocks, SPAN and Danny Wildheart, LiVES have built a reputation as a band made for rooms that sweat. They return here in full force.

The creative spark was immediate.“I knew I wanted to work with someone that had as much anger and attitude as me. The moment I heard Rhys’s work, I was like, hell yeah… this is fire.” – Peter (LiVES) What started as a skeletal, verseless track quickly evolved into something more dynamic. Dolium took the initial framework into the studio and, as Rhys puts it, “added their venom,” with the song ultimately “bent beautifully into shape between us from across the miles.” Built remotely, with ideas passed back and forth, ‘Shame!’ became a true crossfire – LiVES driving the choruses while Dolium took command of the verses. The result is a track that feels both fractured and unified: two bands, one shared fury…

LiVES vs Dolium – UK duel headline shows

15 May 2026 – The Dead Famous, Newquay

16 May 2026 – The Water Rats, London 

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Shape Navigator is the electronic alter ego of the Kent-based composer, musician and sound artist Peter Coyte, whose recently issued debut album, Journal, has drawn favourable comparisons to fellow sonic explorers such as Craven Faults and Warrington Runcorn New Town Development Plan.

A video has recently been released, for the album’s opening track, the diptych ‘Tread Lightly On The Planet/Girl Taken’. Shot by Paul DaCosta in collaboration with Maria Fernanda Gavilan, it represents an altered reality or a dream state made manifest, in a way that could also be considered a ghost story.

Taken from live adaptations of soundtracks, ‘Tread Lightly On The Planet’ is from a dance piece devised with choreographer Dora Frankel that has an environmental theme representing the stop/start journey of navigating a self-destructing world. ‘Girl Taken’ is from a documentary by Francois Verster and Simon Wood about a baby girl stolen at birth and reunited 17 years later with her sister at school. Both pieces are interwoven with themes of loss, searching and adjustment.

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Coyte initially announced himself with a series of ambient meets prog house singles on Guerilla Records in the mid-‘90s, subsequently collaborating with Coldcut, Seal, David McAlmont, Heartless Crew and poet/author Salena Godden.

The years since have seen him establish a first-rate reputation as an electronic and experimental music artist, including significant contributions to sound art and installation projects, plus ongoing collaborations with filmmakers, theatre directors, choreographers and more. His work blends sonic experimentation with emotional depth, creating immersive experiences that engage and intrigue audiences.

Now, three decades after releasing his first single as Shape Navigator, Coyte has finally released his debut album, with Journal being a deeply personal sonic diary that captures two years of spontaneous creation and exploration on synthesisers. Each track originates from a live improvisation built from unrehearsed, unedited performances where instinct shaped its structure and emotion guided the sound.

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The Los Angeles-based riot grrrl/punk band Sour Tongue fuse hardcore punk, country, grunge and disco, utilising humour and a degree of sonic absurdity to convey a deeper message of angst and desperation.

Formed in 2020 by Satori Marill and John Murphy, they have issued several singles collected together on two EPs, the most recent being Final Girl (July 2025). A story in four songs/parts, it is about the intersection of grief, betrayal and heartbreak, but loving throughout. It’s dark, angry, funny and heartbreaking, like a horror comedy.

A video for song/part 3, ‘Me-Mania’, has been issued to coincide with the announcement of a Sour Tongue live date at the Belasco Theater in Los Angeles on 20th June. It sees them open a Summer School show that also features Honey Revenge, South Arcade, Winona Fighter and more.

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Final Girl also includes the bright and breezy single ‘I Thought You Liked Me!’, which was written about an experience felt by most girls. “It’s about being manipulated and lied to, getting fed up and reversing the roles,” states vocalist Marill. “I think anyone who has ever had their heart broken and done something stupid in return can relate to it.”

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With themes of validation, self-preservation, romance, glamour and decay running throughout the release, ASTARI NITE encourages the listener to wear the brightest lipstick, laugh the loudest, be brave and find courage to stand up for yourself. Find positivity in negativity. Open the door and say good morning to strangers. Medications In Bloom inspires and motivates acceptance. Everyone deserves to be loved.

Commenting on the EP’s title, vocalist, Mychael Ghost reveals: “My mother has not been doing well for quite some time. My life for the past four and a half years consists of doctor visits, chatting with nurses, buying her flowers that make me sneeze, my mind wandering about childhood memories while holding her hand. Nevertheless, whenever her prescription is re-filled, I’m quickly notified. One day I received that reassuring alert and thought to myself, YAY, “Medications In Bloom” again.”

Medications In Bloom is available on limited edition compact disc and on all major digital outlets worldwide.

Watch ‘Dry Shampoo X’ here: 

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ASTARI NITE is an alternative rock band, formed in Miami of 2013 by vocalist Mychael Ghost, and Drummer Illia Tulloch, who both began their friendship in the summer of 2007.  
Ghost and Tulloch were joined by Guitarist Howard Melnick, who became the bands official guitarist / producer after replacing a prior member in the final stages of their debut release album, Stereo Walz. An additional and final member was also added to the line-up. Danny Ae took on the role as keyboardist / bassist and joined Melnick as producer. This line-up has been finalized ever since!

Shortly after the album’s release on (Danse Macabre Records) in 2014, led by Bruno Kramm of Das Ich, the band was asked to be direct support for Peter Murphy (Bauhaus) in a one-off Miami show. To ASTARI NITE’s surprise, the following year (2015) they were also asked to perform in Leipzig, Germany at Wave-Gotik Treffen.

Several releases came to life since then, including: Midnight Conversations, produced by Tom Shear of Assemblage 23, strangely enough, the EP found its way to Cleopatra Records. Two full length albums titled Here Lies and Resolution of Happiness also found a vacancy at Negative Gain Records.

ASTARI NITE is known for blending elements of alternative, post-punk and new wave, resulting in a distinctive dark / glam alt sound. Their style is reminiscent of classic alternative bands like Clan of Xymox and Placebo.

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‘Survival of the Shittest’ is the brand new EP from party doom band GURT.

Two original tracks and a cover of the 1993 dance floor classic ‘No Limit’. With a busy live schedule in 2026, including their third appearance at Bloodstock Festival and many other independent festivals including Uprising, Cult fest and Mangata festival, GURT thought it was about time for some new material.

The lead single is a cover of ‘No Limit’. This reimagining features a guest appearance from ‘Black Mist’, lead vocalist for the greatest hardcore band of all time THE HELL! The band comment, “As a band we have a real mix of musical tastes, from the heaviest of heavy to the cheesiest of cheese. We’ve always loved to do unexpected and weird covers and have a firm belief that a good riff is a good riff regardless of where it’s from. No Limit has always gone hard and we’re proud to say that our version goes even harderer!!”

Listen to ’No Limit’ now:

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Look, I told you they’re good. And now you can see / hear for yourselves. I might be a bit disappointed that having seen Miško Boba in December 2024 and March 2026, I missed this set in December 2024, but it’s thrilling that a band can nail such a powerful live album – not just in audio, but visuals, too, with a multi-cam recording capturing every aspect of their performance in close-up detail.

Check the visuals for the first track of the set, ‘Ateik Pas Mane’ here, and the full audio below….

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NYC-based art-rockers Ecce Shnak are back with ‘Vincent’, the first single from their full-length album Dandy Variances, out later this year via Records, Man Records. Operatic trills collide with frantic rock energy in a high-decibel takedown of a formulaic antagonist through the power of one’s own voice. Directed and edited by DJay Brawner, the video was produced by DJay Brawner, Brooks Jones, Beth Narducci, and David Roush.

Formed in the mid-noughties and forged in NYC’s experimental scene, Ecce Shnak (pronounced Eh-kay sh-knock) is made up of David Roush (composer, bassist and one of two singers), Bella Komodromos (vocals), Chris Krasnow (guitar), Gannon Ferrell (guitar), and Henry Buchanan-Vaughn (drums).

“This is a mid-tempo, jumpy, flash-in-the-pan hardcore song with classical art song vocals. I originally wrote it for a film that was never made but was imagined by a classmate of mine at Temple University in Philadelphia in 2015. The character Vincent is an archetype of a smug, inconsiderate jerk most of us occasionally come across, try as we might to avoid them. Vincent is not an absolute scoundrel, but he is wack enough to rightly deserve the average person’s indignant eye-roll,” says David Roush.

“Ultimately, the narrator resolves to overthrow Vincent’s jerkface’itude in the final refrain: “I’ll destroy your equipment with my voice!” If you have a medium-tier opponent in your life whom you would like to rid yourself of somehow, you can sing this line to yourself. Hopefully your Vincent will buzz off and go kick rocks!”

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Ecce Shnak has a reputation for astounding performances, their music a volatile yet meticulously crafted ecosystem, where technical precision meets a sense of inspired mayhem. May brings their East Coast Tour with platinum-selling legends EMF, followed by UK dates in June. Last year, the bands did a West Coast tour, along with Spacehog. Then Ecce Shnak featured on EMF’s stellar track ‘LGBTQ+ Lover’ with both Davey and Bella contributing vocals. The video footage was filmed during the 2025 tour.

“The music video is an homage to an important music video in the average millennial’s musical subconscious, that of ‘Down’ by 311. The tempo, feel and musical production of the two songs is similar enough that, when I was imagining what the music video could be, the idea of doing a cinematographic tribute to that 1990’s relic seemed compelling. We asked the director and editor DJay Brawner to create as close to a shot-for-shot tribute as he could, and we feel that he and his crew succeeded handily. However, we deviated playfully a little from the original,” says David Roush.

“There is a reference to another important music video of the last 20 years in the pale, silver-haired, demon-like being who is the ‘Vincent’ in this music video – a re-imagining of the S&M-tinged monk-like Hell-being in the music video for Meshuggah’s ‘Bleed’. However, unlike the poor chap in the ‘Bleed’ video, the good guys (members of Ecce Shnak) liberate themselves from Vincent’s spiritual dominion with compassionate magic and send him hurtling into the blue sky, their raised jazz-hands trembling together as the video comes to a close.”

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TOUR DATES

MAY 07  Philadelphia, PA, USA – Nikki Lopez
MAY 08  Buffalo, NY, USA  – Town Ballroom
MAY 09  Toronto, ON, Canada – Dance Cave
MAY 10  Montreal, QC, Canada – Bar Le Ritz
MAY 11  Boston, MA, USA  – City Winery
MAY 13  New York, NY, USA  – Sony Hall
MAY 14  Millersville, PA, USA  – Phantom Power
MAY 15  Baltimore, MD, USA  – Metro Gallery
MAY 16  Hamden, CT, USA  – Space Ballroom
JUN 02  Manchester, UK – Gorilla
JUN 03  Worthing, UK – The Factory Live
JUN 04  Portsmouth, UK – Kola
JUN 05  Southend, UK – Chinnerys
JUN 06  London, UK – The Garage
JUN 07  Leeds, UK – Brudenell Social Club

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Portland dreampop outfit Wooden Overcoat presents ‘Finally Arrived’, the second taste of the band’s debut Hello Sunbeam EP, featuring a hypnotic foundation of viscous Gooey guitars and deliberately slow thudding drums, creating a rhythmic trance-like pulse, locking in this dreamy soundscape.

The accompanying video was created by Italian multi-arts visionary Francesca Bonci, well known for her work with The Dandy Warhols, Pete International Airport and Slowdive’s Rachel Goswell, LA’s Tombstones In Their Eyes, Federale (The Brian Jonestown Massacre’s Collin Hegna), post-rock outfit The Quality of Mercury, and iconic British bard Philip Parfitt.

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Emerging from a period of digital isolation, ‘Finally Arrived’ weaves together a tapestry of personal mourning and romantic friction with a critique of the grand fantasies surrounding stardom. At its core, it examines the delicate nature of human connection, lamenting a cultural tendency to view individuals as replaceable assets rather than cherished companions.
Wooden Overcoat is the sonic brainchild of multi-instrumentalist Brant Hajek, having returned to music after a hiatus, recording songs he’d written in his late teens. What started as a practice in self-production transformed into a deep creative obsession with soundscapes and gear. Recording in a rented basement, Hajek built the foundation of the EP through spontaneous experimentation—often veering away from planned sessions to follow sudden bursts of inspiration.

“I wrote ‘Finally Arrived’ when I was thinking a lot about social media, which I was completely off of for many years. Like many songs, it’s actually about multiple things all at once. Some of it reflects my own experience at the time going through grief and relationship issues, and it’s also about the delusions many people have about fame, making it big, becoming larger than life,” says Brant Hajek.

“I think the through-line is actually about the fragility of our relationships to others in our lives. I was feeling that many people take others for granted and can sometimes treat people as expendable, which is something I find really sad.”

Earlier, Wooden Overcoat shared their shimmering debut ‘Home’, enveloping the senses in a reverb-drenched sanctuary and blending in sun-drenched textures. Between the wash of tape echo and reverb, the track finds a sweet spot where lo-fi garage psych meets 90s shoegaze, all anchored by layered harmonies and an evocatively intimate vocal delivery.
While Wooden Overcoat’s lyrics and aesthetics might suggest a certain darkness, they are often rooted in inside jokes and a sense of warmth. You could call it an exercise in productive contradictions. Hajek’s creative process is a deeply personal, layered journey involving mumbled placeholder lyrics and a patient wait for the specific spark that turns an ‘emotionally restless’ melody into a finished piece.

While Hajek performed every instrument on the studio recordings to preserve the project’s intimate DIY spirit, he has since found his tribe, assembling a full live band to translate these compositions to the stage. With Hajek leading on guitar and lead vocals, Wooden Overcoat is rounded out by Dillon Glusker on bass, Mac on guitar, and Brian Levin on drums and backing vocals.

The name Wooden Overcoat—an old Americana euphemism for a coffin—hints at the project’s core philosophy: a playful balance of moody, mystical imagery with light-hearted humor. Hajek’s creative process is personal, the rough versions eventually coalescing into vivid, emotionally resonant themes. In contrast, this music is vibrant, creating a fantastic dreamlike environment for lovers of life.

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In a second glimpse of the forthcoming album Headwater (out 26th June), Room40’s Helen Svoboda now shares the sparse and mystical ‘Void of Space’. The song begins with a stark vocal, before close harmonies and pizzicato strings lurch the song into something more quizzical, full of wonder and uncertainty.

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.

About the track, Helen says, “’Void of Space’ exists in the in-between, in a daydream, where thoughts evaporate into one another. The lyrics paint this picture, where a stream of thought "climbs up a cloud, but falls through", in a never-ending abstract void of space.”

Filmmaker Angus Kirby adds, “This video is a trip from the vaguely familiar to the unknown. Besides a literal interpretation of the title, ‘Void of Space’ has a celestial quality in its silences and sense of scale. To listen to it is it float through an eerie vacuum. I figured the video should reflect that with experiments with light and empty locations we’re used to seeing populated. Gradually we become untethered until we find ourselves in the titular void."”

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Photo credit: Celeste de Clario

Helsinki’s death/doom/industrial metal unit DARK KOMET is proud to announce that their new EP Ghost Of Silver Light has been released today, May 1st.

The second single from the release, “Only Frozen Reality,” is launched alongside the EP with a music video, which you can watch here:

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The EP draws its themes from cosmic nihilism: time, meaninglessness, and life as a phenomenon without purpose on a universal scale. Ghost Of Silver Light builds a cold and alienating soundscape where crushing riffs and industrial beats merge into a hypnotic whole. DARK KOMET offers no comfort – only a glimpse into a reality where meaning is an illusion and existence itself is a contradiction.

It’s dark and as heavy as hell, and quite the hybrid, with snarling vocals and grinding bass cutting through a maelstrom of noise and swirling electronica. Get your lugs  round it here.

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