German Synth pop trio BEBORN BETON unveil the video single ‘Ticket to the Moon’, which is a cover track from the ELECTRIC LIGHT ORCHESTRA album Time and taken from the forthcoming new EP To the Stars. The EP has been slated for release on November 22, 2024.
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BEBORN BETON comment: “The song ‘Ticket to the Moon’ was originally released by the British rock band Electric Light Orchestra on their 1981 album Time, which is one of our favourite records from that era”, vocalist Stefan Netschio writes on behalf of the trio. “We have been thinking about recording a track from that album for quite some time. Given the context of the EP, we felt that the appropriate moment had finally arrived. Alain De Grox aka Synth Heaven once again supported us in the creation of the video. He uitilised amazing excerpts from the CGI Animated Short ‘Ad Astra’ with kind permission of these ArtFX School students: Lauric Bonnemort, Clementin Massin, Pierre Vallerich, and Florian Coquaz. We would like to express our sincere gratitude to everyone who made this project happen.”
German avant-garde metal pioneers DISILLUSION release and stream the limited instrumental edition of their acclaimed current album Ayam released on November 8, 2024.
DISILLUSION commented: “We are stoked that our first instrumental album ever is finally seeing the light of day”, singer and guitarist Andy Schmidt wrote. “The idea for this concept already came up during the recording of Ayam. We wanted to metaphorically let the music do all the talking. An abundance of details and intricacies within the tracks have now shifted to the foreground. This allows a quite different perspective on the album and illuminates previously hidden facets. Hopefully, you will find this as exciting as we do. Enjoy!”
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Two years after the release of Ayam, the fourth DISILLUSION full-length will have spun on record and CD players, and also been streamed countless times. Every melody, rhythm pattern, and note will have been listened to again and again. And yet, there are still many musical ‘secrets’ waiting to be uncovered and treasures to be found. With Ayam (Instrumental), DISILLUSION offer their most dedicated followers a beautiful map to find some of the hidden gems. Without the magnificent vocals, other aspects of the songs begin to shine, and new aspects of each track come to the fore. Nothing has been added from the original songs, only the vocals have been taken out of Ayam.
Who are we? Where do we go? These are the kind of existential questions that have arisen for many of us during these last years and that have also been haunting DISILLUSION during the creation of "Ayam". Without a chance to perform live and their personal lives also being affected by many restrictions the focus of the German avant-gardists shifted fully towards their band and the creation of new songs as well as recording. The effect is audible: Ayam sounds richer, even more multi-layered, and fully matured compared to the already highly praised previous releases. Yet the intricacies of their music are never just a means to an end, but more than anything all the complexity is subjugated to serve the inner feeling and cinematic aspect of each song itself.
The thematic questions and multi-dimensional layers of the songs are also reflected in the album title Ayam. The word derives from Sanskrit and means "This One". Pronounced in English it sounds like "I am", while reading it backwards turns it into "Maya", which is neither an accident nor explained by the band that obviously likes to offer riddles.
While DISILLUSION stuck closer together, they were also searching their hearts whether it was time to change old habits and try out something new. This led to the excellent decision to leave the mix of the album to different ears than the bands’ for the first time. Their choice could not have been better as renowned producer Jens Bogren (OPETH, KATATONIA, MOONSPELL) once again worked his exciting magic and enhanced their already unique sound by shining a sonic spotlight to the most important aspects such as the vocals.
Founded around singer and guitarist Andy Schmidt in the East Germany city of Zwickau in 1994, DISILLUSION pulled the rare trick of already becoming a staple in the field of avant-garde melodic death metal with the release of their full-length debut Back to Times of Splendor in 2004. The Germans have always been driven to seek new challenges and find new ways to evolve their music, which was exemplified by the following album Gloria that took radical musical steps in several directions at the same time. Gloria was far ahead of its time in terms of composition and sound, which becomes apparent when compared to GOJIRA’s masterpiece Magma for example that came out a decade later.
Despite their early success, DISILLUSION took a creative hiatus until suddenly returning in 2016 with the single ‘Alea’ and a new line-up that had changed in several positions. Quite likely even to the band’s surprise, a large and loyal fan base had formed during the decade of their absence, which showed in sold out shows and a highly successful crowdfunding campaign to realise a new album, which the Germans repeated for Ayam.
When The Liberation was released in 2019, critics described the album as a logical continuation of Back to Times of Splendor. Its songs reflected 15 years of additional experience in the musical development of Andy Schmidt. The Liberation turbo-charged all of DISILLUSION’s best qualities: the perfect interplay of massive metal with moments of pure euphoria and quiet introspection that create a sonic rollercoaster ride of passionate emotions.
With Ayam, DISILLUSION again sail among the stars to new stellar constellations of heavy sounds. While staying true to their general course, the German avant-garde pioneers also continue dropping anchor to explore new planets sparkling in space with a multitude of radiant sounds. Ayam offers exciting evolution rather than radical revolution, and DISILLUSION’s new musical forms and means are most beautiful and astonishing to behold. This album is a golden ticket to join the extraordinary journey of a life-time. Please feel free to check-in anytime you like. And with Ayam (Instrumental) you can even take the scenic route!
Shoegaze band Mondaze will release their second album Linger on 22 November via Bronson Recordings.
The opening track, ‘Lines of You’, showcases the recurring tension between presence and absence, reflecting how this internal struggle is ever-present in daily life. Haunted by lingering ghosts and memories that refuse to fade, Mondaze’s melancholy isn’t merely a stylistic element—it’s a deep exploration of the collective labyrinths faced by a generation longing for connection. It sounds as powerful as it is necessary in our times. There’s a strength that stems from reflection and observation.
The video was directed by Clement Pelo, and it stars Yannis Beck and Benedicte Bonpunt.
Watch it here:
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The band have previously released two singles: album title track ‘Linger’, a song that explores memory and nostalgia. and ‘Son of the Rambling Dawn’, a track that creates an immersive experience with intricate layers, smoothly blending different influences to convey a modern sensibility.
Since forming in 2018, Italy-based Mondaze have defined themselves as “heavy shoegaze”, taking inspiration from bands like genre-giants Swervedriver and Ride, but also contemporary bands pushing through the limits of the genre like Nothing and Ringo Deathstarr. With Linger, they aim to amplify the melancholy tones of their frustration and rage. These sonic characteristics drove them to work with Chris Fullard (Idles and Boris) on mixing, and Maurizio Baggio (The Soft Moon, Boy Harsher) for mastering. The result is an album with roots, yet distinctly modern featuring arrangements that skilfully blend contemporary styles with dreamy and eerie atmospheres.
Legendary artists Peter Murphy and Boy George have combined forces for a gorgeously majestic new single entitled ‘Let The Flowers Grow’. Produced and co-written by Youth, their duet on what is a profoundly emotional orchestral masterpiece is available from today on Metropolis Records. Murphy recalls: “I was recording my new album in Spain with Youth and, while listening to a playback of a song, I heard another piece of music coming from his mobile phone. It caught my ear for its melodic beauty as well as a Roy Orbison-like voice that was singing it.” Upon learning that it was an unfinished demo written by Boy George, he was intrigued and asked Youth if he could work on the partial song. “In a matter of twenty minutes, we had ‘Flowers…’ finished.”
“When I heard the mix, I was satiated in every way,” beams Boy George. “I have always loved Pete’s voice and his writing on this adds a beautiful darkness. The production feels very epic, like Scott Walker.”
Check it here:
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‘Let The Flowers Grow’ carries an air of elegance, the iconic voices of both singers delivering a message of hope and tolerance. Originally written by Boy George, its initial message was one of personal acceptance about being gay. As the song developed, it took on a more expansive and universal scope, its lyrics extending beyond sexuality and embracing race, gender, creed and religion. “With everything going on in the world about identity, it feels very powerful,” he explains.
The mutual adoration between the duo has spanned decades. “I first met Boy George when he asked to be allowed backstage to meet Howard Devoto when Bauhaus were supporting Magazine,” recalls Murphy. “He struck me as a super-original, self-styled 17th Century fop. The second time I met him was when we walked into the BBC to do ‘Ziggy Stardust’ on Top of the Pops where Culture Club were also making their debut on the show. George greeted me very warmly and I discovered he was a Bauhaus fan.” With the single unveiled, Boy George adds:“It makes me dizzy and proud,” while Murphy concludes: “Boy George loves it and I’m so glad.”
PETER MURPHY : photo by Jolene Siana | BOY GEORGE : photo by Dean Stockings
BAIKAL is excited to announce the release of their new music video for the track ‘Rorschach,’ the first single from their upcoming project. At the origins of BAIKAL are guitarist Jérôme Colombelli (formerly of Uneven Structure and Cult Of Occult) and singer Matthieu Romarin (from Psykup and Uneven Structure). The project was initiated by Jérôme, who began crafting the first compositions in 2020.
Amid the global pandemic and a time characterized by confinement, the duo, along with other contributing musicians like bassist Julien Turrin, combined their diverse influences and backgrounds. This collaboration resulted in a unique sound that blends dark trip-hop atmospheres with powerful post-metal guitars driven by Sunn amplifiers, accented by electro-industrial elements and hints of post-black metal. In 2022, the band officially took on the name BAIKAL and made their live debut in Lyon, performing alongside Céleste.
The video created for ‘Rorschach’ vividly illustrates the imagery present in the lyrics and develops the aesthetic BAIKAL aims to present. Jérôme adds, “For us, music is inseparable from visuals. When I listen to music, images always come to mind, and when I watch a film, I need music that truly complements what I see to fully immerse myself in it.”
Brooklyn alternative rock outfit The Giraffes presents their new single ‘Million Year Old Song’, a caustic zipper from their self-released eighth album Cigarette, accompanied by an adventurous video, conceived and directed by Damien Paris, featuring a crass tongue-in-cheek modern depiction of America the wild.
Cigarette is a hypnotic hard-edged psychedelic rock score for our current age of decay and disappointment, fear and fury, idiocy and hope. Previewed by the singles ‘Pipes’ and ‘The Shot’, this long-awaited and loaded 7-track offering is full of surprises, taking new risks with subject matter and composition while maintaining the intensity and dexterity fans know and love.
Recorded and engineered by Andrew Totolos at Apesauce Studio, this was mixed by Grammy nominated producer Francisco Botero (Matisyahu, Odesza) at the iconic Studio G Brooklyn and by James Dellatacoma (Bill Laswell, Herbie Hancock, TS Monk, John Zorn, Angelique Kidjo) at Bill Laswell’s famed Orange Music Sound Studio.
Since forming in 1996, The Giraffes have been crafting a hedonistic soundtrack that is loud, agile, dangerous, funny, sick, complex and satisfying. Known for their trademark menu of metal-tinged scuzz-rock, The Giraffes offer a tasteful mixture of heavy rock, punk, post-punk, surf and whatever else they find interesting. With lead singer Aaron Lazar and guitar maestro Damien Paris as its core, drummer Andrew Totolos provides the locomotive rhythm section with Hannah Moorhead anchoring the bass. This year marks the beginning of a new era for the band, with Moorhead now also contributing backing vocals and songwriting. With the line-up no longer in flux, the focus is now largely on songwriting.
Aaron Lazar explains the origins of this song: “One of Damien’s most ‘badass’ style cartoon bad guy riffs deserved some extemporizing. The phrase “a million year old song in twenty year old lungs” caused me to remember how I was at that age. The first verse is a picture of that time in my life – the feeling of invincibility along with my backward looking cultural tastes (obsessed with blues explosion and old soul and punk from the 70s). The smoke everywhere at all times. No phone culture. It was a world that kids today would not believe existed. I wanted to not be a total old man stuck looking back at my youth so I imagined someone my kid’s age hitting 20 and what the world will look like for them for the second verse. This protagonist has the power of youth but in a much more dire world. I believe that the animating spirit of “rock n roll” or whatever is that self-destructive imperative for fun at all costs. Interesting to think of what that will look like later on down the line. The song remains the same – just the world changes.”
Goth rock/post-punk band, Ghost Painted Sky recently unveiled their latest single, the introspective ‘Insomnia’.
Ghost Painted Sky have always tried to write songs that are true to their own life experiences, while also tapping into something a little more universal. With the new song ‘Insomnia,’ they explore some of the most familiar of common modern plagues: stress and sleeplessness.
Raw, claustrophobic, and perhaps a bit more aggressive than some of their previous material, ‘Insomnia’ is the sound of the night fight against the thousand micro-demons of anxiety that crawl and claw around the edges of peace and sanity.
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GHOST PAINTED SKY began as the solo studio project of David Strong, as a way to process some major life changes through songwriting, which resulted in a debut self-titled EP released in 2014. The following year brought a second short EP, The Shadows Breath, and the first live performances.
In 2017, Lisa Wood began contributing vocals with the Scars EP, and then with the first full-length Ghost Painted Sky album, Flightless, released in the summer of 2018. Lisa has since become the second official member of the band and the primary vocalist, continuing through the Ephemeral Wake EP (2021), and a series of singles – of which ‘Insomnia’ is the latest – offering previews of what to expect from the forthcoming second full-length album, Failure Blooms. While David remains the principal songwriter, Ghost Painted Sky continues to include work with musical collaborators and live band members (including current violin player, Aurora Grabill and guitar player, Michael Boudreau) while continuing the ever-present theme of songwriting as vessel for personal exploration and catharsis.
Greek post-metal collective Spineless is thrilled to announce the release of their new music video for the track ‘Me,’ taken from their highly anticipated second full-length album, Dysphonia, out on Submersion Records.
As the 26th offering from Submersion Records, Dysphonia represents a bold step forward for the project, led by the renowned vocalist and musician Chrysa Tsaltampasi, alongside a talented collective of musicians from the Greek music scene.
Watch the video here:
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Dysphonia follows the success of Spineless’ 2018 debut Speaking of Chaos and Relative Peace, and sees the band evolve into an even more potent and gloomy force. Drawing influences from a wide spectrum of artists such as Chelsea Wolfe, Godflesh, Ulver, and Mike Patton, Dysphonia delivers a unique sonic landscape that balances calculated anger with haunting melodies and brutal honesty.
Internationally recognized for her powerful voice and as a teacher, Tsaltampasi has been involved in high-profile collaborations in recent years, including working with Ben Frost on the soundtrack for the Netflix series 1899 and recording with artists such as Sofia Sarri, Beyond Perception, Mother Turtle, and Bella Fuzz. These experiences have shaped the rich and experimental nature of Dysphonia, where monolithic post-metal meets melodic songwriting in a way that recalls the swirling dynamics of Neurosis and Mono, with a touch of 90’s alternative edge.
HASHTRONAUT from Mile High City, Colorado have taken that elderly British gentleman Jethro Tull in, roughed him up a bit, and stuck a big spliff in his ruddy face. The American weed-metal four-piece pays due homage on the tribute album Best of Jethro Tull Redux, which will be released parallel to the forthcoming MER Redux Series instalment Aqualung Redux, with their ingeniously crazy rendition of the track ‘Bungle in the Jungle’ from the British rock legends’ seventh full-length "War Child" (1974). Trigger warning: this track includes a flute!
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HASHTRONAUT comment: “Our contribution was chosen 100% on name alone”, guitarist Kellen McInerney quips. “Come on, it’s ridiculous! So imagine our surprise once we actually listened to the track… holy &@^¥, this tune rips!! The actual recording of this track was an absolute riot. Imagine Daniel in the vocal booth, trying to scream lyrics like ‘eating their nuts, saving their raisins for Sunday’ with a straight face? Not a chance! Jethro Tull was an ever present influence for the four of us growing up, and we were honored to be able to add a little bit of our own voice to the storied history of what Jethro Tull means to heavy music.”
HASHTRONAUT from Denver, Colorado take the unofficial moniker ‘Mile High City’ for their hometown quite literally – in a weedy sense. Ever since the four-piece emerged with the digital EP "Tidal Waves of Ashen Sky" from the deep stoner metal underground in spring 2022, their musical smoke signals have been noticed even across the Atlantic. Their debut full-length No Return (2024) has been picked up and favourably reviewed by major metal press worldwide. To quote Metal Hammer (DE): “Fans of the genre [stoner metal] should really go for the album, because NO RETURN is ruled by crunchy bass, wah-wah and fuzz pedals, and slurping.” Check out these smoking up and coming newcomers!
Anyone who has been paying attention will know that the human race is in a perilous position. We inhabit a planet that is overheating and being drained of the resources needed to sustain a healthy balance for the life which exists upon it, while our politicians indulge in pointless regional wars, or blinkered domestic bickering; anything to avoid having to make the unpopular decisions which may help mitigate the effects of humanity’s selfish excesses. We can’t last forever, so what happens after we’re gone?
Williams’ new single is a journey (literally, in the case of its dazzling video) – hard, hyperactive synthetics melt into Duane Eddy guitar licks, before the choirs and orchestras (several of each) join the stampede to a coruscating climax.
The earth will heal just fine without us. That’s what will happen after we’re gone.
Aural Aggravation 