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Emerging once again from the shadows of Gothenburg’s heavy metal underground, LOMMI returns with a vengeance. The Swedish riff-worshipping power trio announces their long-overdue new album 667788, set to be released on August 1st via Majestic Mountain Records.

Following a decade-long hiatus, 667788 is a bold and thunderous statement that marks a fierce new chapter in LOMMI’s evolution. A decade in the making, the record sees the band lean harder than ever into their signature fusion of traditional heavy metal, groove-driven Swedish grit, and no-frills sonic power. The result is their most focused, aggressive, and riff-drenched release to date.

Just recently, LOMMI has unveiled their blistering new single ‘Down’, a heavy-hitting anthem that perfectly captures the band’s trademark intensity and razor-sharp songwriting.

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Constellation welcomes The Dwarfs Of East Agouza to the label and will release the Cairo-based trio’s new album Sasquatch Landslide in early October.

Maurice Louca, Alan Bishop, and Sam Shalabi expand on their telekinetic fusion of North African rhythm, heat-haze improvisation, shaabi rawness, free jazz, and psychedelic groove, following acclaimed albums on Sub Rosa, Akuphone, and Nawa Recordings.

Sasquatch Landslide overspills with the group’s signature trance-inducing explorative energies, anchored by Louca’s hypnotic beats and electronics, with Shalabi and Bishop deploying guitar and alto saxophone in a variety of signal-mashing modes. Comprised of seven febrile jams across 42 minutes, this is at once the most focused and twitchiest album in the DOEA discography to date. Recorded by Emanuele Baratto (King Khan, Elder) and mixed by Jace Lasek (Elephant Stone, Sunset Rubdown, The Besnard Lakes), the record will be issued in 180gram vinyl and CD editions, featuring artwork by Mark Sullo.

First single ‘Neptune Anteater’ is a signature example: Shalabi opens with a skittish repeating guitar groove (that draws from his parallel lifelong practice as an improviser on oud) as Louca progressively builds a widescreen 6/8 hand-drum rhythm while oozing bass notes support Shalabi’s excursions around the central riff. This is kinetic trance, East Agouza-style.

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“’Made Of Rain’ is a song of hope. It is about getting up and trying again despite the scars life can leave. This “almost acoustic version” is very dear to me. I love the organic elements present: the pedal steel, violin, and, of course, Whitney Tai’s beautiful, ethereal voice elevate this piece, making it something transcendental. Similarly, the video shoot was an almost spiritual experience. A celebration of friends and art. What more can you ask for?” asks Ashton Nyte of The Awakening, who will soon tour Europe in support of the band’s self-titled album.

“‘Made Of Rain’ is a warm amber glow in a velveteen speakeasy where tales of folk and longing send a message from the beyond. There’s a wisdom and a patience in Ashton’s voice. His lyrics swarmed in the magic of Beauty In Chaos’ production for the acoustic version hits different. Doing this duet with Ashton is a dream, as he is someone with the vocal tenacity of the wisest tree in the forest. Together, it felt like we planted wildflowers in a gentle field. What made this collab special for me apart from the music is the friendship that Michael, Ashton and I share. We are family and making art with feeling is at the forefront of our passions,” says Whitney Tai, who appears on many BIC tracks. Her latest single ‘Slumber Party’ is out now, previewing her third full-length album ‘American Wasteland’ (out in September).

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Pale Blue Eyes have just released a remix of ‘How Long Is Now’ by legendary ‘spatial landscaper’ Richard Norris on their own Broadcast Recordings label. The original track is on their current New Place album, released earlier this year.

Richard describes his approach to the track as such:

"As soon as I heard the track I knew I’d approach the mix somewhere along the autobahn, about 3am, with Klaus Dinger trying to overtake on the inside lane. Approaching the speed limit. One for the kosmik and expanded psychonauts."

The track will be released as an extremely limited 12” white label vinyl on 18th July.

Pale Blue Eyes – Live Dates

Thu – 14th Aug – Where Else?, Margate

Fri – 15th Aug – The Horn, St. Albans

Sat  – 16th Aug – Trades Club, Hebden Bridge

Sat – 30th Aug – Psych Fest, Manchester

Sun – 31st Aug – Project House, Leeds (supporting DIIV)

Thu – 11th Sep – L’Aeronef, Lille, FR

Sat – 13th Sep – Cafe V Lese, Prague, CZ

Sun – 14th Sep – Club MECHanik, Warsaw, PL

Thu – 16th Oct – SŴN Festival, Cardiff

Fri – 17th Oct – South Street, Reading

Sat – 18th Oct – Heartbroken Festival, Southampton

The band also tour Europe in September / October, playing 19 major city dates with The Midnight.

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BONGINATOR have been busy setting up The New England Death Metal Fun Time Bonanza that will be headlined by legendary MORTICIAN and promises total devastation as well as a headbanging neck-trauma after three days of nonstop moshing at Charleez Hill in Lebanon, ME, USA from June 27 to 29, 2025.

To promote the event, these weed smoking death metal maniacs release a video single for the new track ‘All Cops Are Biomechs’.

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BONGINATOR comment: “Do you remember that movie where like… the cop died and became part man part robot and then he was like a cool cop… robot… thing and then he like totally fought crime?”, guitarist and vocalist Erik Thorstenn innocently asks. “Yeah, we made a song about that. He’s the only cop we like, I guess. I bet, he would totally smoke you out if he caught you lighting it up under the bleachers and shit. Remember, when he shot that dude in the wiener? Anyway, go listen to the song, and hate-mosh a poser who likes fully human cops who steal your drugs and shit. And by the way, if you got some time to spare and want to hang out with us, just come to our three day Death Metal Fun Time Bonanza at Charleez Hill in Lebanon, ME at the end of June!”

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Marking 35 years of boundary-shattering existence, Japanese avant-garde metal pioneers Sigh returned with I Saw the World’s End (Hangman’s Hymn MMXXV) – a fully re-recorded, reimagined version of their 2007 cult opus. Released last Friday via Peaceville, the album arrives alongside a brand-new video for the blistering track ‘Me-Devil,’ produced by Matt Vickerstaff.

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Legendary bass player and vocalist Jah Wobble presents ‘Tyson Dub Remix’, a song dedicated to his dear departed Staffordshire bull terrier. This heralds his new exclusive dub album Dub Volume 1, a solo effort that sees him write, play and arrange everything. The album features full-colour outer and inner sleeves based on paintings by Wobble himself, with the Limited Edition vinyl edition being clear with yellow and red colours dropped in to reflect the artwork.

‘Dub Volume 1′ marks Wobble’s first solo release via Peckham-based label Dimple Discs, although he had earlier participated in other collaborative releases put out by the label with Telefís (Cathal Coughlan and Jacknife Lee), and also The Ukrainians, along with former Siouxsie & The Banshees and Specimen member Jon Klein.

Expertly mastered by Anthony Chapman (Collapsed Lung) and cut to achieve maximum clarity and volume, this record boasts astounding top layer sonics, This solo deep dive into dub is guided by the influence of sonic pioneers like Lee ‘Scratch’ Perry and King Tubby, the result being a rich, immersive listen, full of low-end weight and intricately layered textures.

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“Tyson was a very stalwart, typical staffy and very, very resolute. Yeah, he was, the governor, but full of love, full of fun. And he was a rescue dog. We got him from Battersea Dogs Home, and we knew who we wanted. We’d seen him online. I said, “He’s—” and they said, “Well, nice. He’s not dangerous or anything, but he’s just absolutely sort of delinquent, you know, like you have to be. You have to be a very experienced dog handler." But we held out and held out. We were there all day. I had an Uber waiting, we were coming back up north—me, the missus, and me boys. And in the end we got him. My missus and her dad used to just get strays off the street in Liverpool. You don’t really have stray dogs now, but he used to love strays —and he loved Tyson, you know. So that swung it,” says Jah Wobble.

“I’d walk 10–12 miles some days up the hills, and he’d come with me. He’s the family dog, but he was just with me all the time, you know. When I went on tour he couldn’t wait for me to get back. He was lovely. So he had a serious kidney thing. And then a year later, he got sick again. Staffies are so tough. So it turned out he was riddled with cancer. Within a week or two, he had to get put down. And when he had to go, he just went to sleep in my lap. So that was it.”

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The Norwegian–Swedish collective Orsak:Oslo returns with Silt and Static, their most emotionally intense and musically ambitious record to date. Set to be released on September 5, 2025 via Vinter Records, the album marks a profound new chapter for a band long celebrated for their introspective blend of psychedelic haze and dystopian post-rock.

Recorded spontaneously, Silt and Static captures the band at their most stripped-down and unfiltered, balancing atmospheric fragility with crushing depth. With tape rolling and no roadmap, the album emerged naturally, giving shape to a sound that’s both deeply personal and bleak yet beautiful.

“This is the most honest and emotionally charged record we’ve made to date,” says the band. “Silt and Static is not a concept album, but it still carries a distinct atmosphere that sticks with you. It maintains a fragile balance between friction and flow, born in this session that at times felt like it was on the verge of collapse, yet somehow kept enough momentum to find a winding way forward. None of the songs were written with a specific audience or genre in mind, they simply emerged while the tape was rolling. The entire album came about spontaneously, and we did our best not to get in the way of where it wanted to go. It’s not meant to be perfect, but it is meant to be real.”

“We hope there’s something, somewhere, in the space between the ugly, the fragile, the beautiful, and the unbreakable that stays with the listener as the needle approaches the runout groove on the final side of this double vinyl.”

Following the album’s gripping first single, ‘084 Salt Stains’, the band now unveils the second single, ‘083 Petals’, a brooding and hypnotic track that reveals the emotional tension at the heart of the new album. A track built on contrast and collapse, it begins with a sense of control before slowly disintegrating into distortion and desperation.

“For us, ‘083 Petals’ was an exercise in contrasts,” the band explains. “It began with confidence but quickly unraveled — a mask slipping, dignity hanging by a thread. It had to almost fall apart before it could come back together. Somewhere between muted cries and atonal screams lies this track.”

From the slow-burn psychedelia of their earlier work to the more introspective and improvisational textures of Silt and Static, Orsak:Oslo has never sounded more cohesive or more exposed.

Formed between Norway and Sweden, Orsak:Oslo has firmly built a loyal following over the years, with a sound that channels post-rock, krautrock, doom, and ambient psychedelia into captivating sonic landscapes. Their ability to stay unpredictable, while always sounding unmistakably like themselves has set them apart in the post-rock underground.

Silt and Static is a culmination of that journey: a double LP that breathes, fractures, mourns, and moves forward.

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Industrial Sludge Metal Band WORST ONES Unleashes New EP Cold Case Against Institutions Carrying Out Cruelty.

Philadelphia’s industrial sludge metallers WORST ONES are ready to come back with a new EP, after releasing the single ‘Vex’ in March this year. The new effort is called ‘Cold Case’ and it is composed by the title-track and a remix version of the same.

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‘Cold Case’ is a searing indictment of power, complicity, and the violence hidden in plain sight. Built on punishing industrial grooves, a 303 bassline, and layers of moody textures and noise scorched guitars, the track hits with a menacing, high energy momentum that channels the raw intensity of Twitch era Ministry and Skinny Puppy, the gritty pulse of Die Warzau, and the impactful aggression of The Prodigy.

Lyrically, it exposes how institutions carry out cruelty with precision while society turns away, pretending not to see the blood on its hands. The phrase “just another cold case” becomes a symbol of willful ignorance, where injustice is not buried because it is unsolvable, but because it is inconvenient. The chorusʼ imagery – “up against the wall / going in for the kill” – evokes violent repression and execution, while the line “every sick and nightmare reason comes to life” suggests how dark motives are brought to the surface and acted upon. Even in the face of horror, the masses “rally in their fervor,” a reference to mob mentality and blind nationalism. Violence is not just permitted; it is ritualized. Power is the culture, and the aftermath is “a feast for vultures.”

But at its heart, ‘Cold Case’ is a protest. It ends not just in defiance with “I wonʼt fall in fear,” but with a warning: “Now you’re sick, their eyes can see it.” The mask has slipped. Itʼs a refusal to be complicit and a demand to confront the truth, even when it burns.

‘Cold Case’ was written and recorded by Drew Ew. Mixed and mastered by Jared Birdseye. Promo Photography by Luz Karolina Sanchez. Live photography by Vinny Barreras. Cover and logo by Drew Ew except “deathmetallogo” by Darren Adcock. Music Video by Drew Ew.

WORST ONES is:

Drew Ew – Vocals, Guitar, Programming

Doppleganga – Drums, Programming

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Canada-born and LA-based singer-songwriter Andy Stochansky makes a heartfelt return with his new single, ‘500 Symphonies,’ a moving preview of his forthcoming solo album, Poetry of Birds. Known for his evocative lyrics and organic instrumentation, Stochansky once again weaves emotional vulnerability with poetic clarity.

“’500 Symphonies’ is about telling somebody that someone is interested in them, when they do not know about it,” says Stochansky. "If they feel the same way, then I am telling this person that it will feel so real and magical—just like 500 symphonies."

Poetry of Birds marks a return to introspection, shaped by Andy’s deepening connection with nature and a longing to quiet the chaos of modern life. The album invites listeners into a reflective sonic space—where small moments become epic, and stillness carries weight.

With a career that spans decades, Stochansky’s journey has taken him from the stage — touring for seven years with Ani DiFranco —to the studio, writing hits like Shannon Noll’s chart-topping ‘Shine’ and collaborating with artists such as Goo Goo Dolls, Dragonette, and Lola Lennox. His music has graced major film and TV soundtracks, including The Twilight Saga: Breaking Dawn – Part 1.

In 2020, he launched the acclaimed experimental project White Elephant Orchestra, earning a spotlight from NPR’s World Café. Now, he returns to his solo roots with Poetry of Birds—an album inspired by poetry, film, everyday people, and the natural world.

Other standout tracks include’“Beautiful Sky,” a tender meditation on digital fatigue, and ‘Champion,’ a tribute to the quiet strength of a diner waitress.

“I want people to walk away with a sense of hopefulness,” Andy shares. “I put a lot of care into these stories, and I’m excited to finally share them.”

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