Bill Leeb is the Canadian musician and mastermind behind electro-industrial scene mainstays Front Line Assembly and ambient-pop duo Delerium, as well as a key member of recording projects that include Noise Unit, Intermix and Cyberaktif.
‘Neuromotive (Stacks Mix by Rhys Fulber)’ is taken from a six track remix EP entitled Machine Vision out in July that contains reinterpretations of material from Leeb’s recent debut solo album Model Kollapse, plus a brand new song.
Check it here:
Rhys Fulber is well-known for his long tenure as Leeb’s creative partner in Front Line Assembly and other projects, as well as being a gifted artist and producer in his own right. The duo will make a long-awaited return to the UK in mid-April to play seven Front Line Assembly shows prior to headlining the Dark Malta festival. Dates are:
17.04.25 SHEFFIELD Corporation 18.04.25 BIRMINGHAM Asylum 19.04.25 LONDON O2 Academy Islington 20.04.25 SOUTHAMPTON The 1865 21.04.25 BRISTOL The Fleece 23.04.25 MANCHESTER Gorilla 24.04.25 GLASGOW SWG3
France’s industrial metal duo SCARSET REBELLION is proud to reveal a new single, called ‘Orgasm Dissolution.’ Now available on the main digital streaming platforms, ‘Orgasm Dissolution’ is included in the band’s upcoming album Flesh Against The Void, set to be released on May 16th.
‘Orgasm Dissolution’ is a high-velocity assault of death metal fused with industrial chaos. Fueled by crushing, precision-driven riffs, relentless drumming, and raw, defiant vocals, the track captures the fury of a world collapsing under its own weight. This is the sound of revolution – a battle cry for those who refuse to be broken by corruption and lies. It’s about tearing down illusions, breaking chains, and finding strength in the wreckage.
Composed of 7 tracks for over 38 minutes of duration, Flesh Against The Void is a violent clash of death/thrash metal, industrial brutality, and synth-driven unease. SCARSET REBELLION sculpts an oppressive yet hypnotic sound – where metal grinds against metal, where analog screams in a digital world.
Imagine the mechanical aggression of Godflesh, the sharp grooves of Prong, and the dystopian intensity of Fear Factory, infused with the eerie pulse of synthwave.
Somewhere between the fury of extreme metal and the haunting echoes of electronic atmospheres. This is ”Flesh Against The Void” – a soundtrack for collapsing systems, digital ghosts, and the tension between past and future. Through crushing riffs, industrial beats, and ominous synth layers, the album immerses listeners in a retrofuturistic nightmare – a violent yet introspective journey.
Recorded & mixed by Evil Scar in Bayonne, Flesh Against The Void is both an assault and an introspection – a soundtrack for the end times, forged in metal and machine.
For those who refuse to be silenced. For those who scream with the machine.
Metropolis Records is thrilled to welcome Mari Kattman to its family of artists. Known for her work as part of the electronic duo Helix as well as in her own right, ‘Anemia’ is the first single to be lifted from her third solo album, Year Of The Katt, which is scheduled for release by the label in late June.
A pounding kick drum and bassline introduce a softly seductive vocal and an ever-intensifying lead synth line on a song that draws a compelling parallel between vampiric exploitation and the weakness often suffered by those living with anemia.
“This song stemmed from my own current iron deficient state, which is an extremely frustrating condition that can take a year or more to correct,” explains Kattman. "I thought that the context needed to make it onto the album, and it was actually the last track I wrote for it while I was completing the mixing of all the other songs. I’m glad it made it on there!”
One of the most captivating artists on today’s electronic music scene, Mari Kattman has been writing, recording, producing and performing live since 2012. She has collaborated with the likes of Assemblage 23, Mesh, Ivardensphere, Jean-Marc Lederman, Psy’Aviah, Aesthetiche, Neuroticfish, BlackCarBurning, Cassetter, This Morn Omina, Solitary Experiments, Mephisto Walz, Aiboforcen, Interface, Comaduster and more.
Kattman’s impressive resumé of vocal contributions for these acts bely her own talents as a songwriter and producer. Singles such as ‘Fever Shakes’, ‘URGOD.AI’ and ‘Swallow’ have already demonstrated her prowess in crafting hook-laden, irresistibly catchy electronic songs tailor-made for the dance floor, where elements of Trap, Hip Hop, Electro, Ambient, EBM and Industrial music interplay with her powerfully distinctive voice.
Australian post-rock band WE LOST THE SEA have announced details of their fifth studio album A Single Flower which is due for release on Friday July 4. They state:
"The world lay wrecked before us, a quiet ruin of things lost and things that never were. The mornings came like the grinding of old gears, a slow turning toward some unknowable purpose. And yet, in the stillness of despair, the nameless rose. Not for hope, nor for meaning, but because something in the marrow of our bones whispered that to rise was the only rebellion left."
A Single Flower follows five years after their fourth album TRIUMPH & DISASTER which was released just ahead of the pandemic and seemed to foreshadow the era of intensity which followed. It reached the Top 50 charts in Australia upon its released, and the band’s eventual tour in support of the record saw them sell out shows across Europe, the UK, Australia & Asia. The band’s breakout record was their critically-acclaimed 2015 album Departure Songs which featured the standout track ‘A Gallant Gentleman’ (featured in the Ricky Gervais series Afterlife). Departure Songs has amassed millions of streams worldwide and sold over 10,000 copies in physical formats.
Their new record features 6 tracks, among them the sprawling 10-minute epic ‘A Dance with Death’ for which a video has been released, filmed at Rancom Street Studios during the album recording sessions with producer Tim Carr. Watch the video now:
WE LOST THE SEA ‘A SINGLE FLOWER’ US TOUR JULY 2025
with special guests hubris
Tue 15 July – RBC @ Deep Ellum – Dallas TX
Thu 17 July – Masquerade (Purgatory) – Atlanta GA
Sat 19 July – Meadows – Brooklyn NY
Sun 20 July – Milkboy – Philadelphia PA
Mon 21 July – DC9 – Washington DC
Wed 23 July – Grog Shop – Cleveland OH
Thu 24 July – Post Festival, The Hi Fi – Indianapolis IN
Sat 26 July – Post Festival, The Hi Fi – Indianapolis IN
Ships In The Night is the solo project of the New York City-based songwriter, multi-instrumentalist, and producer Alethea Leventhal. Her electronic dark pop music is drawn from dreams and memories to paint an atmospheric soundscape with sweeping waves of synthesisers and kinetic beats.
‘Blood Harmony’ is released as her new single today. “The song is an incantation to keep us safe and shelter us from harm,” she explains. “It is a reflection on the balance of the light and the darkness, good and evil, strength and vulnerability. It’s about healing, survival, taking back power and letting go of the need for control.”
‘Blood Harmony’ follows the recent ‘Some Of Those Dreams’ (issued in November 2024), with both included on her upcoming third album, Protection Spells, set for digital release on 2nd May and on CD on 9th May by Metropolis Records.
Leventhal’s 2017 debut album, Myriologues, explored the depths of grief and loss, while its 2021 follow-up Latent Powers uncovered the cathartic strength that can be found within darkness.
Based in Minsk, Belarus, two previous albums by alternative metal act Mission Jupiter have hinted at their potential to be one of the few bands from that territory to achieve lift-off worldwide. Having recruited powerhouse singer Kate Varsak prior to writing and recording their upcoming third album, Aftermath, the result is a set of dramatic, epic songs with modern production values that should see them soar.
‘Crippled Country’ is out today as the latest single to be teased from the album, with the band explaining that the song is about “hoping for the best in dark times. When the going gets tough, the tough get going. In times of darkness, do you fight or flee?”
‘Crippled Country’ follows three previously issued singles, with Prog magazine praising ‘Sometimes It Hurts’ as “a soaring slice of uplifting and dramatic melodic prog” and stating that ‘Human Nature’ “displays the far-reaching appeal of a band who mix atmospheric prog, the darker undercurrents of Cocteau Twins and up-tempo alternative metal.” Metal Talk described the same song as being “swamped by wonderful moods and melodies, all wrapped around a stunning female voice.” These initial efforts were followed by ‘Self-Destruction’, the heaviest and punchiest song by Mission Jupiter to date.
In the early days of the Internet, although graphics were basic and the majority of sites were predominantly text, weird shit proliferated in a different way from the way it does now. Sites like rotten.com, active from 1996 to 2012, homed the kind of gruesome, graphic, morbid stuff that had the potential to traumatise a person for life, although there were very few videos online in the late 90s. However, one video which achieved notoriety was the ‘Traingirl’ footage, in which a woman is seen stepping onto a train track directly in front of a speeding train. And yes, on seeing the title of this new release from Hull noisemongers Bug Facer, that was almost immediately where my mind went.
The EP’s title perfectly encapsulates the unstoppable sonic squall of the music it contains: three wild, jolting, jarring sonic blasts that hit hard.
The band say of the release: “On this EP, we tried to emulate the energy we have at our live shows – like a big wall of noise and chaos. By recording everything in one room, all playing together at the same time, you can capture that energy of a live show & the chemistry unlike when you’re getting into overdubs. Compared to our 1st EP Triple Death, we’ve changed a lot as a band & finally we feel people can experience the energy of our live shows on record”.
They’ve certainly had an eventful journey to arrive at this point: starting out in 2022 as a duo, they subsequently expanded to a quartet, yielding the Triple Death EP and Lord of the Rings-inspired single cut ‘Fiery Demon Attacks Old Man on Bridge’ – and now they’re down to a three-piece following the departure of co-founder James Cooper. But this has seemingly resulted in a newfound focus, and as is often the case with the power trio format, the individual members play harder and louder to compensate the absence of that second guitar or whatever it may be.
‘Coke Cola Shop’ tears out of the speakers to deliver two minutes of discordant sonic chaos with crunchy bass, screaming guitar, and frenetic percussion. There’s some shouting going on in the middle of all of it, too.
‘Spinosaurus’ may be mellower at first, hinting at a swirling psychedelic space-rock groove, but it never really settles, instead lurching restlessly here and there and ultimately coming on more like Fugazi than Hawkwind. And then they really let fly for the finale: ‘Sweat Pea’ is simply explosive, with tom-heavy rolling drums driving a serrated buzz of guitar. The bass is so immense, so dense, it makes your stomach lurch. It’s a full-on pileup where punk, noise rock, sludge, and dirty metal collide, and petrol tanks explode and there’s broken glass and broken bodies and carnage all over. It’s raw, savage, completely without compromise – or a chorus in sight – and without question their strongest statement to date.
Finnish sludge metal powerhouse Demonic Death Judge has just revealed the official video for “Goner”, the blistering new single from their upcoming fifth album, Absolutely Launched, due out on April 30th via Suicide Records.
True to the band’s raw and gritty aesthetic, ‘Goner’ is a sludge-soaked sledgehammer of a track—loaded with thunderous riffs, blues-drenched venom, and apocalyptic swagger.
“We’ve all burned some bridges in our time,” says vocalist Jaakko Heinonen. “I certainly have. Man, even houses, not to mention churches. This is a story about a man who took a few too many wrong steps in his life. And now, the pay is due. This one is a goddamn banger!”
It seems that the world is devolving, and that stupidity is not only rewarded, but aspired to. It’s been a decline we’ve been witnessing for some time now, and seems to have really become popular currency at an accelerating pace since the advent of ‘reality’ TV. Jade Goody’s career was founded on her complete lack of knowledge of anything, paired with her superabundant willingness to spout her ignorance to the world with pride. The fact she was also an obnoxious racist seems to have been forgiven with her dying young after something of a media rehabilitation. Then we had to endure the moronic pronouncements of Joey Essex, who apparently believed that a turtle’s beak was made of wood, and while some laughed at him and some laughed with him, people lapped up the hilarity of his idiocy and in less than a decade, we ended up in a place where being a fuckwit was cool, and, more significantly, bankable. Because that’s what it all boils down to, ultimately. If you’re wealthy and famous, or infamous, who cares why or how, an if you can get rich and famous simply for being a fuckwit, you’re made. The tide of anti-intellectualism has soared to attain a truly unprecedented peak in the last couple of months, with the drivelling orange imbecile deciding that the way to improve education in the USA – already low-ranking globally – is to shut down the Department of Education and withdraw funding for libraries and anything that may actually enrich and educate the lives of citizens.
And yet, for all this, sometimes, you need music that’s kinda dumb, straightforward, catchy, energetic. This was always the appeal of punk, I suppose. It was rousing, got people pumped up, provided a focus and an outlet for anger and frustration, articulating those feelings in simple and relatable terms. Enter gritty Australian quartet Citizen Rat, who combine dirty punk in the vein of Anti-Nowhere League with a dash of metal rowdy rap and cite The Bronx, Turnstile, and Fugazi as reference points. Australia seems to be particularly good for producing energetic punky grungy acts, from DZ Deathrays to Mannequin Death Squad, and you can add Citizen Rat to the list now.
They describe ‘Shut My Mouth’ as ‘a gut-punching anthem about losing yourself in the struggle to please others, battling self-doubt, and fighting to be heard’, and its power lies in its simplicity and directness. And it’s not an exercise in self-pity, either – more a case of self-realisation, self-loathing, and a desire to do better: ‘I’m a piece of shit / I can’t shut my mouth / seems my life is heading south’, the front rat rants.
Stylistically, it compresses a surprising array into its full-throttle three minutes, going from The Beastie Boys to Motorhead, and packing some heavy-duty riffery, too. Its appeal is twofold: first, there’s a compelling sense of humanity here, the torture of self-flagellation over misspeaks and simply talking bollocks because anxiety or beer or brain disconnect, and second, it’s got a monster chorus and some strong hooks. Yes, it’s brash, it’s dumb, but it’s ballsy and it’s entertaining. And that’s a win.
Greek black metal visionary Spider of Pnyx has officially unveiled the latest video from his project FELL OMEN—a visual accompaniment to the crushing and evocative title track from his debut album, Invaded By A Dark Spirit, released last February 14th via True Cult Records.
The album marks the first official release under the Fell Omen name, but Spider of Pnyx is far from a newcomer. Known for his collaborations on acclaimed Mystras and Spectral Lore records, and a shadowy history in dungeon synth and martial industrial, this release brings together all facets of his sonic identity into one unrelenting, genre-defying force.
AA
Spider of Pnyx is also known in the visual arts world as Gilded Panoply, creating surreal and ornate cover art for black metal and dungeon synth artists. That same visual intensity is captured in this new video—bleak, arcane, and mesmerizing.
Recorded and mixed at True Cult Records HQ and mastered at Nidstang Studio, the album is a tour de force of multi-instrumental brilliance. Spider of Pnyx handles every aspect of the music, from vocals and guitars to hurdy-gurdy and drum machines, crafting a seamless blend of medieval fantasy, dark atmospheres, and a fiery mix of metal aggression with punk attitude.
Aural Aggravation 