LANTLOS present the nimble track ‘Oxygen’ as the tasty final advance single taken from the forthcoming new album Nowhere in Between Forever, which is slated for release on April 3, 2026.
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LANTLOS comment on ‘Oxygen’: “This song is rollerblading through a utopian vision of the late ‘90s rave euphoria – a hyper world of digital elevation and weird plastic positivity”, mastermind Markus Skye muses. “’Oxygen’ channels that era’s surreal optimism and unbroken faith in technology as a gateway to a bright, boundless future. I take it as a kind of ‘Metal DnB’ track. Metal and rock drumming are driving a classic breakbeat rhythm that creates a rush of velocity and acceleration, which feels both euphoric and slightly shrill. This strange flight through early 3D models of an endless digital reality gets you suspended between plastic bliss and power trip exhaustion on your way to elysium.”
Electro-industrial artist, MARIE ANN HEDONIA just unleashed her new EP, Lunar Eclipse – an autobiographical release full of anger, rage and revenge.
The songs work as emotional layers from rage to acceptance, and through them we are transformed. ‘Anseka’s Song’ is pure rage as humans love violence. We consume it as entertainment when it should shock and disgust us. It’s a perfect opener for this EP. The song sets the tone for the emotional space these tracks occupy. It also flows right into ‘Family Trauma’, the most autobiographical track on the EP.
Marie says: “My family was messed up, screaming fights, job loss, arrests, and it generally made me a pretty angry person. I thought one day I would write this all down, maybe as a quirky memoir. Instead life guided me to music and so I channelled my rage, and sadness into this EP. In astrology a “lunar eclipse” can bring on emotional transformation, even upheaval. I want this EP to release these emotions for myself and for the listener.”
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Along with the release of her 2nd EP comes, Eclipse, a full length album encapsulating both EP releases, available on vinyl, digital download, and streaming now!
Swedish experimental noise-rock outfit The Family Men return on May 8 with their second full-length album Co/de/termination, set for release via Welfare Sounds & Records. To mark the occasion, the band have unveiled a brand new video for the track ‘Luxury’.
‘Luxury’ channels the band’s sonic identity into a single, tightly focused piece. As Echoes & Dust put it: “Built upon looping, intertwining rhythms and heavily processed instruments and samples, ‘Luxury’ distils the band’s unmistakable sonic identity into one focused strike. It’s a precise yet overwhelming construction – mechanical, hypnotic, and abrasive – and a perfect example of what we’ve come to expect from the proprietors of the ‘total harmful sound.’”
The band themselves add: “‘Luxury’ is heavily inspired by William Gibson’s writing. It also feels like it encapsulates every part of the new album in some way, so it fits really well as a final single before the release. The video was a collaborative effort between Gustav and this really talented guy from Stockholm named Henke Luhr, and we feel it reflects the music in a very fitting manner.”
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Following their debut album No Sound Forever, The Family Men have spent the past years performing extensively across Sweden and internationally, building a reputation as one of the most intense and uncompromising live acts around. That relentless momentum feeds directly into Co/de/termination, a natural yet sharpened continuation of the band’s sonic evolution. Pushing both intensity and precision to new extremes, the album refines their sound into something tighter, heavier, and more deliberate than ever before. Urgent yet controlled, abrasive yet purposeful, Co/de/termination stands as a focused and uncompromising statement.
Operating across a wide sonic spectrum, The Family Men resist easy categorization. Samplers, broken electronics, tape loops, and heavily distorted guitars collide into a sound that is both confrontational and immersive.
Their live shows, often accompanied by feverish VHS projections, towering waves of feedback, and vocalist Gustav Danielsbacka performing directly within the crowd, have become legendary for dissolving the boundary between band and audience.
With Co/de/termination, The Family Men further cement their position as one of the most uncompromising voices in contemporary experimental rock.
Ana Roxanne shares ‘Untitled II’, taken from her forthcoming album, Poem 1.
The track is the album’s pronounced, uninhibited centerpiece, delivers on the Lynchian promise that’s been present since her first EP, 2019’s ~~~.
Poem 1 follows via kranky on May 1st, an album that displays Ana’s new-found boldness. Listen to ‘Untitled II’ here:
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Ana also announces the following live dates:
May 8 Brooklyn, NY, National Sawdust May 11 Los Angeles, CA, Sid the Cat Auditorium May 12 San Francisco, CA, Swedish American Music Hall May 15 Seattle, WA, Triple Door May 18 Toronto, ON, Hugh’s Room June 4 London, England, Institute of Contemporary Arts June 5 Vienna, Austria, Porgy & Bess
The heat is on: Rome’s skygazers KLIMT 1918 reveal the sun-drenched music video ‘Dream Core’ as the first advance single taken from the forthcoming new full-length Àmor. The beloved Italians’ fifth album has been chalked up for release on June 12, 2026.
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KLIMT 1918 comment: “The song ‘Dream Core’ revolves around resilience, strength, and the ability to overcome life’s adversities”, frontman Marco Soellner explains. “We dedicate this track to those who choose to love despite everything. To those who believe that a song can trigger the will to change. To those who feel like a storm about to break over a sun-scorched desert.”
The burning pulse of the sun’s nuclear fire scorching the desert. The smooth sliding of glistening skin over other skin in a throbbing rhythm. The swelling hum of motion in a mass of bodies. KLIMT 1918 capture many such fleeting moments in time and preserve them through cascading walls of sound and the elegant drone of guitars.
The Italian’s fifth album, Àmor, represents a climax of their acclaimed previous work into a most melancholic, sensual, and majestic collection of captivating music. Àmor was born out of silence, solitude and social distancing. Yet as a deliberate artistic counterpoint, KLIMT 1918 decided to have all their new songs revolve around carnality, ardour, physical contact between bodies, and the urgent, compelling feelings that keep people awake at night.
With Àmor, KLIMT 1918 also take another step in the steady evolution of their sound. The influences of avant-garde metal have been dwindling from the start while darkwave and alternative rock rapidly grew stronger in the music of the Italians. Post-rock plays a strong role in their latest development but instead of shyly narrowing their perspective down by gazing at their shoes, KLIMT 1918 dream with open eyes, looking up above the horizon and into the sky.
KLIMT 1918 emerged from the ashes of a metal band in 1999 when the brothers Marco and Paolo Soellner rather chose to take fresh inspiration from such acts as BAUHAUS, THE CURE, and JOY DIVISION. This was also indicated by their new band’s name, which alludes to the Austrian symbolist painter and Art Nouveau pioneer Gustav Klimt, who died in 1918 while the Great War was still raging. The debut album of the Romans, Undressed Momento, arrived in 2003 and its dark emotionality immediately garnered high praise from critics and fans alike all over Europe.
Florida’s death rock/goth artist SINISTER SHADOWS has released a music video for the song ‘Just Begun,’ taken from the self-titled debut album out on March 26th via The Doorway To label.
It’s quite a shift in style from its predecessor, ‘No One Home But Me’. Watch the video for ‘Just Begun’ here:
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Sinister Shadows was created out of the love of death rock and goth rock from the Eighties and Nineties – bands like Bauhaus, The Cure, Sisters of Mercy, The Mission, and Nick Cave.
Sinister Shadows ‘ mastermind, Ryan Michalski (Idiot Robot, Ryan Cosmonaught), ran a video magazine called The Gothic Box in Tampa Florida years ago and went to such venues as The Orpheum and The Castle. Sinister Shadows wants to bring back the darkness, romance and flair that has been long missed of this sound and movement.
The album was recorded at Ryan’s RPM Studios in Tampa throughout 2025. The album sees the participation of Ryan’s longtime music partner Clint Listing (The Slumbering) for an intro and outro to the record.
Glasgow-based post-metal collective Void of Light have unveiled the new video for ‘Mirrorings,’ the lead single from their forthcoming debut full-length album Asymmetries, set to be released on April 3 via Ripcord Records.
Clocking in at a towering ten minutes, ‘Mirrorings’ first premiered at Decibel Magazine, who praised the track saying: “Clocking in at 10 minutes, ‘Mirrorings’ offers a pretty solid introduction to these gloomy Glaswegians, a dynamic epic that shifts from pummeling sludge to melodic shoegaze-inspired dynamism.”
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The band had this to say about the new album and new song: “Asymmetries is the culmination of two years of hard work and exploration. Across the album’s five tracks, we set out to shape our own sound within a well-established scene, creating something that genuinely feels like ours. The closing track, ‘Mirrorings,’ brings the album’s introspective themes into a final, defining moment and represents what we feel is our strongest offering so far.”
Void of Light are a six-piece post-metal force built on contrast. Brutal yet deeply atmospheric, their sound fuses crushing riffs and thunderous drumming with melodic leads and carefully layered arrangements. Rooted in post-metal’s foundations but shaped by a wider spectrum of influences, the band carve out a sound that feels vast and aggressive, yet intricate and finely balanced through a keen sense of dynamics.
Following the release of their self-titled EP in 2022 and the two-track EP Enshroud in 2023, Void of Light completed a short UK tour and quickly established themselves as a powerful live presence across local venues and festivals. Renowned for their formidable performances, the band deliver an imposing wall of sound that is both overwhelming and precisely measured, drawing audiences into an intense, captivating experience.
On Asymmetries, Void of Light turn inward. Exploring themes of perspective, reflection, and internal conflict, the album charts a journey of reconciliation between the masks of the past and the truths of the present.
To celebrate the release, Void of Light will perform their album release show on April 3rd at The Flying Duck in Glasgow with support coming from Codespeaker & Obsidian Sand.
MESH demonstrate their remarkable proficiency far beyond producing massive electronica hits by delivering a wide-angled mid-tempo advance single that amalgamates melancholia with relentless urgency in the shape of the music video ‘This World’. This is the final advance track before the iconic alternative electronic duo’s new album will be released on March 27, 2026.
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MESH comment: “I lingered in front of a piano and my mind wandered into cinematic film score territory and continued into how these soundtracks or epic pieces of music set an emotional landscape for the film”, Richard explains. “This was my train of thought when I wrote what was to become ‘This World’. Then Mark added the underpinning modular lines which gave this uneasy dynamic.”
“This is a really beautiful song in my opinion”, Mark opines. “It came together by a huge group effort with Rich’s solid and emotional instrumentation, lyrics that just seemed to come together, and Olaf’s inspired production and arrangement changes. It turned out to be one of my favourites on this album.”
The Melvins and Napalm Death share ‘Rip The God’, the latest in a chaotic alchemy conjured on their joint album, Savage Imperial Death March (10th April, Ipecac Recordings).
The album shares its name with the bands’ Savage Imperial Death March tours from 2016 and 2025, but marks their first full-length studio collaboration under the moniker.
About this next track, Shane says; “The opening Buzz riff begins with that classic timing – a hiccup right at the end of the riff cycle making the riff extra special! Simple yet tricky to remember… it had my head spinning when I played the bass to it – Multiply that head spin with the guitar pedal noise static we all added – God was ripped and drunk on joyful noise…”
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The album was recorded at the Melvins’ Los Angeles studio, with Buzz Osborne (vocals/guitar) and Dale Crover (drums) joined by Napalm Death’s Barney Greenway (vocals), Shane Embury (bass), and John Cooke (guitar).
“I have loved the Melvins forever and their outlook on music,” Embury explains. “A chance to make an album of eclectic musical madness with them was truly an honour and a whole lot of fun, which surely is the whole point! Let’s do another one soon.”
“Napalm Death are one of my favorite bands ever,” Osborne says. “It was an absolute pleasure and a dream come true to do this collaboration with them. We wrote songs together. I would write a riff and we would learn it and record it right there. They wrote stuff and we would learn it immediately as well. It was truly a 50/50 partnership.”
"Funny how life turns out sometimes… collecting hard-to-find Melvins 7-inches on Bleecker Street in 1989 and then touring twice and doing an album with them within the following 35 years,” Greenway adds. “Had a great time with it all, and nice to work with fellow travellers in the Melvins who also couldn’t care about pandering to ‘demographics’. I felt myself almost babbling lyrically during the recording, and that alone made for very fun recording times."
Savage Imperial Death March pre-orders are available now. The eight-song album will be released on CD, digitally, and across four limited-edition vinyl variants: Black As Your Soul, Indie Exclusive Obnoxious Orchid, Ipecac Exclusive Absurd Aqua, and Revolver Exclusive Neon Coral. An abbreviated version of the album was released during the band’s 2025 tour as a hyper-limited vinyl/CD edition. This iteration features new Mackie Osborne-created artwork and two new tracks (‘Awful Handwriting’ and ‘Comparison Is The Thief Of Joy’).
The acclaimed trio BIG|BRAVE have announced their 10th full-length, in grief or in hope, out June 12th, 2026. in grief or in hope is an innovative vision of electro-acoustic sound and emotive storytelling, an endless bounty of overwhelming distortions and devastating beauty.
Along with the album’s announcement, the trio have shared first single & video ‘the ineptitude for mutual discernment,’ a powerful encapsulation of the ensembles’ singular approach to textural distortion and emotional complexity which contrasts tides of bristling guitars against guitarist/vocalist Robin Wattie’s resolute voice. The video was created by guitarist Mat Ball with color correction by filmmaker Stacy Lee.
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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 utilizes 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 droney 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.”
The tenth album for the ensemble, in grief or in hope pays homage to their past while looking into their future. Standout “the ineptitude for mutual discernment” expands on lyrical themes first explored on 2015’s Au De La where “verdure” echoes melodies from the title track of 2014’s Feral Verdure. These references to their past serve as potent reflection points on BIG|BRAVE’s evolution as artists. A sonic whirlpool of string instruments surrounds Wattie’s commanding vocals as she shifts from spectral undulations on pieces like ‘what may be the kindest way to leave’ to the direct, spare declarations of the title track. The ambiguity of mountainous chords on ‘an uttering of antipathy’ are coupled with autotuned phrases emphasizing isolation inside the fray.
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.
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Photo credit: Stacy Lee
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ON TOUR IN MAY AND JUNE
24 May – Utrecht, NL – EKKO 25 May – Amsterdam, NL – OCCII 27 May – Saint-Imier, CH – Toxoplasmose Festival 28 May – Basel, CH – Kuppel 29 May – Torino, IT – Jazz is Dead 30 May – Piacenza, IT – Desert Fox Festival 31 May – Ljubljana, SI – Channel Zero 2 Jun. – Poznan, PL – Pawilon 3 Jun. – Berlin, DE – Berghain
Aural Aggravation 