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MOON FAR AWAY impressively deploy their ability to write captivating acoustic songs with their new advance single ‘To Count Her Names’. The gothic folk duo’s new track is taken from their forthcoming new album Acou (‘Listen’), which is chalked up for release on March 13th, 2026.

MOON FAR AWAY comment: “A cold neo-folk hit in the best traditions of the genre — and the lyrical heart of the Acou album”, male vocalist and multi-instrumentalist Count Ash states. “Yes, grim folkers with long beards sometimes fall into sadness, too. This song features guitarist Roman Khomutsky from the famous Moscow black metal band Uratsakidogi.”

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Some of the richest music is also the hardest to categorise. With their fifth full-length Acou, MOON FAR AWAY embark on a musical exploration of the magical nature of sound. The band from the sub-arctic city of Arkhangelsk in Russia’s north is studying the mythological cycle of the universe by assigning certain sounds and musical styles that range from the archaic and folklore to liturgical, classical, and even experimental music to each stage of its existence.

MOON FAR AWAY were inspired by the finding that the world begins and ends in many ancient legends with a sound – from the utterance of a word to actual music or even the big bang of science. On Acou, which means ‘listen!’ in Greek, the word (lógos) and music (mousĭkḗ) are as fundamental to the fabric of the universe as the classical elements of earth, fire, water, and air.

MOON FAR AWAY have occasionally been referred to as “the heart of Russian gothic folk” or “The Russian Dead Can Dance£””, which are notions that still ring true regarding Acou. Their music appears to be both light and even dreamy on the surface, yet at the same time it comes with a dignity, gravitas and passionate seriousness that set these songs apart from simple pop; despite sounding captivating and melodic.

MOON FAR AWAY have already released four studio albums, a live album, several singles, and numerous collaborations since their inception in 1994. The band from the old Russian harbour city on the White Sea shore has also performed at multiple festivals across Europe. MOON FAR AWAY are taking their inspiration from the folklore and unique ancient heritage of their native lands in the North of Russia.

The North is obviously an area of harsh climatic conditions but also of intense human creativity that found its expression in rich poetry, music, visual culture, and wooden architecture. Unlike central Russia, there was no slavery in the North and to this day, this wide region preserves a most interesting and unique cultural heritage with roots reaching back into pre-Christian time.

MOON FAR AWAY have dedicated themselves to the preservation of local traditions, both musically and culturally. By combining traditional European culture with the soundscapes of the Russian North, and influences from classic to neofolk as well as modern technology, the music of MOON FAR AWAY offers a unique artistic expression where the East meets the West.

With Acou, MOON FAR AWAY present their richest and most complete album so far that will find old and new friends from a wide range of stylistic preferences that certainly include fans of DEAD CAN DANCE, ALCEST, WARDRUNA, and many others – although the unique band from Russia’s North does sound different from all of those mentioned above. There is only one way to find out: "Acou"! Listen!

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No words… Just watch, and listen…

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Prague goth rockers, CATHEDRAL IN FLAMES have unveiled their new single & sylish video for the track, ‘Push The Fire’.

‘Push The Fire’ is a metaphorical story about picking up women. On the surface, it’s vampire kitsch; underneath, it’s classic seduction wrapped in promises of eternal love, right up to and beyond the grave. The seduction doesn’t really work out, though, so both of our heroes get angrier and angrier, and they end up more and more blood-soaked.

The initial inspiration came during long spring walks around the South Bohemian fish ponds when, above the melting ice there was nothing to see but raw, damp fog and flocks of crows. Musically, ‘Push The Fire’ is a return to the roots: a straightforward, fast goth rock’n’roll song with a chorus that hits you straight in the face. The bridge is a conspiratorial wink toward the band, The Mission and their single, ‘Severina’.

‘Push The Fire’ is a fast, rhythmically-pulsing track driven by Gatsby’s bass and Barney’s tribal drumming and features a soaring chorus adorned with Ambra’s vocal acrobatics and Phil’s trademark growl. The sound was produced and mixed by Brett Carruthers of the Canadian band, The Birthday Massacre.

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Tampa-based death rock/goth artist SINISTER SHADOWS is proud to announce that his self-titled debut album will be available as CD and digital release on March 26th via The Doorway To label.

‘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.

Today you can have a foretaste of what you might expect from the album with ‘No one home but me,’ here available as a lyric video:

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Ryan Of Sinister Shadows, Photo by Ryan Michalski

US dream-pop duo Magic Wands have released a brand new single, ‘Wishing Well’. With an insistent rhythm and swirling guitars, plus a vocal that adds to its hazy atmosphere, the song sounds like an immediate post-punk meets shoegaze classic.

“The lyric came to me when I was a guest of a guest at a wedding one summer,” explains vocalist Dexy Valentine. “There was an obvious sense of excitement at the event, but I didn’t really know anyone there so I snuck off outside and sat by a wishing well fountain and started writing on a napkin. When we came up with the music for this song I thought these words would fit perfectly.”

Co-written and produced by Dexy with her partner Chris Valentine, ‘Wishing Well’ is the title song of an EP scheduled for late April. It follows the January release of ‘Sacred Mirrors’, a collaborative single with Psychedelic Furs guitarist John Ashton.

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MAGIC WANDS | photograph by John Charter

Këkht Aräkh will release Morning Star on March 27th, and the album finds him arriving at a truer, more refined version of himself. Recorded between Berlin and Stockholm, the album emerges from a period of intense personal and artistic growth, blending aggressive black metal passages with textured, immersive soundscapes that feel both intimate and vast. The lo-fi warmth of the tape Portastudio imbues the record with a tangible, analog immediacy, lending grit and character to every note while allowing drifting, melancholic melodies to linger.

Since its origins in Mykolaiv, Ukraine, Dmitry (a.k.a. Crying Orc), the sole mastermind behind the Këkht Aräkh project, has consistently sought to carve a distinctive path within black metal. Tracing back to 2014, his early experiments exposed the gaps he felt in the genre, culminating with his debut under the Këkht Aräkh moniker, Through the Branches to Eternity EP (2018), Night & Love (2018) and Pale Swordsman (2021), later reissued by Sacred Bones Records. Across these releases, Dmitry, now based in Berlin, established a signature contrast between ferocious, visceral black metal and delicate, introspective ballads: a dynamic that reaches new depth on Morning Star.

On the new single ‘Eternal martyr’, Këkht Aräkh partners with Bladee, who added vocals and co-wrote lyrics.  The collaboration may seem unlikely at first, yet it reveals an intuitive chemistry. Both artists share a commitment to world-building, emotional directness and carving a singular path outside their respective genres. Despite their different genres, Dmitry has long admired Bladee’s introspective lyrical style and saw how it could translate into black metal without disrupting the genre. Bladee’s own interest in black metal created a natural space for collaboration, and the project grew organically from their shared fascination with bridging their musical worlds.

About the track, Dmitry says, “Despite its simplicity, this song feels like an interesting musical and cultural experiment, a fusion of two worlds, or a bridge between them. On this track, and the record as a whole, I’m hoping to offer a new perspective for black metal: renewed, reframed for the present moment, more integrated in the modern music scene, but strongly faithful to the genre’s roots.

“I’m very grateful to Bladee for exploring this idea with me, bringing his unique vibe and making this beautiful collab happen, that makes perfect sense in the end.”

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Photo credit: Duran Levinson

Ambient electronic producer break_fold has announced his forthcoming EP Tracker, and shares its lead single ‘Carrying On’. Set for release on 1st May via analog horizons in partnership with Launchpad+ / EMI North, Tracker continues Tim Hann’s deeply personal exploration of family, memory and identity through immersive and innovative sound design.

Built on cyclical synth motifs, undulating low frequencies and delicately splintered percussive elements, new single ‘Carrying On’ captures the emotional push and pull of childhood mischief and reconciliation. Playful and melodic, the track unfolds gradually in movements that range from shimmering calm to distorted tension, before eventually finding resolution once more; mirroring the rhythms of sibling life.

“’Carrying On’ is a reference to what my parents used to say to me and my brother when we were getting a bit hard to handle when we were kids,” explains Tim. “It’s a phrase that has stuck with me from a really formative age. The structure of the song represents the cycle of me and my brother playing together; from playing well, to being told off, to playing well together again. I was thinking about when my brother and I used to play and how it started out fun and invariably sometimes got out of hand. My parents would step in, calm things down, and then it would start all over again.”

Throughout the track, glitchy ambient textures and delicate arpeggiated themes are offset by moments of grit and disruption, reinforcing break_fold’s gift for translating personal history into dynamic electronic compositions.

Listen here:

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Tracker serves as a companion piece to break_fold’s previous EP release Planner. Where Planner reflected Tim’s father’s work-focused alter-ego, Tracker turns to another of his Dad’s self-appointed nicknames: “The Tracker EP is a reference to my Dad, who gave himself nicknames that others in the family then started using,” Tim explains. “‘Tracker’ is a reference to his persona when on holiday or away from work. If we were on holiday and were trying to find a place of interest, he’d be in Tracker mode. Planner is when my Dad was at work.” As with ‘Carrying On’ and previous single ‘Pet’, across the EP break_fold ties together nods to family sayings, misheard phrases, and the small but defining details of growing up in the North East of England in the 1990s.

For Tim, both Planner and Tracker serve as time capsules; deeply personal yet universally resonant snapshots of childhood, family dynamics and regional identity. Operating from his Bradford studio, break_fold has steadily carved out a distinctive space within the UK’s underground electronic landscape since debuting in 2017. With three albums and several EP releases already under his belt, the Hartlepool-raised producer’s work balances what he describes as “pessimism and optimism in equal measure.” Support from BBC 6 Music and tastemaker outlets has marked him as one of the North’s most compelling ambient electronic voices. Tracker is out 1st May 2026 via analog horizons & Launchpad+ / EMI North

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Experimental Hip-Hop legends dälek offer up another new single from 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.

Today the duo share their latest single ‘Knowledge | Understanding | Wisdom’, which feels like a call to arms and reminder of the power that we can have in the face of the oppressor.

“’Knowledge | Understanding | Wisdom’ is righteous defiance in the face of those who attempt to keep us uninformed or misinformed. Nothing strikes fear in the heart of the oppressor like these three interwoven concepts.” – dälek

Check it here:

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Photo credit: Jonny-Scala

Founded by vocalist/guitarist Finnegan Bell, Love Ghost is an enigmatic Los Angeles-based act known for its distinctive blend of grunge, indie/alt-rock, emo, metal and trap rock coupled with mature, poetic lyrics. Their raw, energetic sound has earned numerous plaudits, while a series of collaborations with a wide variety of other artists have broadened the group’s cross-genre appeal.

Their version of ‘Rock Me Amadeus’, a global smash hit in 1986 for the Austrian musician Falco, is available as a single now. Turning the classic yet fun song into something darker with an industrial rock flair while preserving the pop brilliance of the original version, it is a must hear for any fan of Rammstein or Marilyn Manson.

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Founded by vocalist/guitarist Finnegan Bell, Love Ghost is an enigmatic Los Angeles-based act known for its distinctive blend of grunge, indie/alt-rock, emo, metal and trap rock coupled with mature, poetic lyrics. Their raw, energetic sound has earned numerous plaudits, while a series of collaborations with a wide variety of other artists have broadened the group’s cross-genre appeal.

The song is the second to be lifted from ‘Anarchy and Ashes’, a new EP out on 27th March. It follows ‘Vengeance’, an uptempo hard rock track with an anthemic quality released in mid-January, the music video for which has already racked up almost 300,000 YouTube plays.

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Nordic experimentalist Fågelle returns with an album whose backdrop is the inland of Halland, a patchwork of forests and abandoned mills in southern Sweden – her most personal album yet. Bränn min jord (‘Burn my soil’) will be self-released on 27th February. Fågelle shares ‘Det blev våra liv’ today.

‘Det blev våra liv’ is a journey into Fågelle’s upbringing on the Swedish countryside. Built from a collage of old recordings from school hallways, samples from computer games, and hissing harmonium tones, the track unfolds as a meditation on growing up and accepting how things turned out.

Liam Amner’s hypnotic drums guide you through fragments of memory and rhythmic electro-pop. Lyrical choirs collide with warped electronic grooves, before resolving into the beating heart of a car driving by into the night.

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After years in Berlin and Gothenburg, Fågelle returned home — not out of nostalgia, but as an act of reclamation. She wanted to reconnect with the soil that shaped her and let something new grow from what had been left behind.

Bränn min jord (“Burn my soil”) grew from this process of renewal. Its title references the tradition of burning the ground to spark new life — a metaphor for the personal upheaval and rebuilding at the heart of the album. The music explores the tension of growing up somewhere you know you’ll have to leave, yet which keeps pulling you back. It speaks about identity, memory, and the hidden emotional landscapes of overlooked places.

Fågelle worked with local musicians, dancers, and communities to bring the region into the recordings. She captured dancer Nathalie Ruiz moving across forest floors and wooden stages; collaborated with Våxtorp and Sennan Brass Orchestra; and recorded Stefan Isebring’s self-built hurdy-gurdy and Lars Bylund’s singing and screaming. She also created a 24-hour “sound time capsule” in the communal hall of her small high school town, inviting locals to drop in and leave sonic traces in the album, and worked with EDM producer Samuel Reitmaier and local teenagers to capture the sounds of passing EPA cars, a uniquely Swedish rural subculture. Instrumental sessions took place at Folkhemmet, a forest studio in Unnaryd, with Petter Eriksson and drummer Liam Amner (Hey Elbow, Alice Boman).

Sonically, Bränn min jord blends organic and industrial textures — distorted guitars, brass, field recordings, and unguarded vocals. Atmospheric yet physical, it shifts between light and shadow, desolation and tenderness.

By integrating local musicians, dancers, and even the ambient life of small towns into the recordings, Bränn min jord reimagines how music can reflect and reshape the landscape it comes from and bridge the gap between folk tradition and contemporary sonic art.

Though rooted in Halland, the album reaches beyond, asking how places shape us, how memory lives in the land, and how returning — even when wrenching — can be a way of fully coming home.

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