Swedish electronic environmentalists TWICE A MAN present the track ‘Birds Eye View’ as the first advance single taken from their forthcoming new full-length The Coloured Breeze Is a New Dimension. The highly anticipated album has been scheduled for release on June 13, 2025.
TWICE A MAN comment: “Overview can light sparks in the place where your roots are waiting”, guitarist and vocalist Dan Söderqvist writes on behalf of the band. “If you follow the time you can destroy the eradicating wheels of commerce. Don’t drown yourself in pretended sleep! There is a common knot that must be untied. Our thoughts are the light and nature sings our lullabies.”
AA
While the skies of the world are darkening, something powerful and resilient is pushing from below through the pungent springtime topsoil close to the City of Göteborg in Sweden. This sprout that is charged with organic and electric energy bears the name The Coloured Breeze Is a New Dimension. TWICE A MAN planted its seed with the song ‘Dahlia’, a ‘new’ track that was written to complement the compilation album Songs of Future Memories.
For three years, the Swedish dark electronic trio fertilised and nurtured the germ bud until it had taken firm root in their musical heritage and began to send offshoots to find new sonic spots beyond any previously built garden walls. The Coloured Breeze Is a New Dimension is an organic entity that creates something new by re-combining its musical DNA in various ways. As a result, its tracks blossom in many hues of electronic colours.
SUMAC and Moor Mother share the new piece ‘Hard Truth’, taken from their upcoming work The Film, to be released on April 25th. The piece highlights how inscrutably bold their collaboration is, invoking a haunting vocal melody atop burbling electronics and a density of distorted pulses, the throb accentuated by tactile scrapes. As a mere hint to what is contained within the album’s labyrinthian scope, the piece is brimming with the subtle, yet boundless creativity that the ensemble explores across the album.
The Film’s moniker speaks to the fact that it is conceived and delivered as a complete album, a full story or narrative. Moor Mother puts it best: “The idea is to create a moment outside of the convention. This is a work of art. Thinking about the work as a Film, instead of an album or a collection of songs. This task is impossible in an industry that wants to force everything into a box of consumption. You won’t understand or get the full picture until the artwork is completed. This work is developing and is requesting more agency within the creative process.”
The Film does have clear themes running throughout – again Moor Mother expounds: “the themes are universal in nature – land – displacement – the climate – human rights and freedoms – war and peace – the idea of running away from the many violent forces and horrific systems of man and empire.”
"people person" is a new song from mclusky which they are sharing today. there’s also a video directed by remy lamont which you can watch below if you like.
this follows their recent announcement of mclusky’s first album in 20 years; the world is still here and so are we (9th may, ipecac recordings).
andrew falkous says; "people person is the song that gave me tinnitus, so asking me about it is really cruel. it’s probably about being overwhelmed by the world because that’s what all of our songs are about."
as the song itself says; a lot of people like to be wise after the event.
AA
it’s important to state that the world is still here and so are we is the fourth mclusky album (no qualification being needed). they had an asterisk next to the name for a bit – out of respect for past band members and the precious memorial glue of teenage musical crushes – but fuck that, in for a penny, in for a pound. lyrically it touches on subjects as rich and as varied as work-it-out-yourself and impenetrable-inside-joke-for-the-band, but one thing is clear, all of the songs have different words. all hilarious joking aside, the best songs are about things without being precisely about them. mclusky endorse this sentiment. they positively insist on it.
mclusky tour dates:
may 8 - wrexham, uk – the rockin’ chair may 16 – tourcoing, fr – le grand mix may 18 – brussels, be – les nuits botaniques (w/ the jesus lizard) may 23 – manchester, uk – gorilla may 24 - leeds, uk – brudenell may 25 – bearded theory festival show may 29 - london, uk – electric ballroom may 31 - bristol, uk – swx
jan 6, 2026 – melbourne, aus – corner hotel jan 9 – adelaide, aus – lion arts factory jan 10 – sydney, aus – factory theatre jan 11 – brisbane, aus – crowbar
tickets for all shows are on-sale now with links available via ipecac.com/tours.
The final song in a trilogy of time-related experimental tracks, ‘Mnemosyne’ incorporates an original song – recorded in Mayfair Studios, London, in 1975 – into poetic musings, and haunting atmospherics, dwelling on nostalgia and false memory.
Electro-industrial band, THE FAIR ATTEMPTS have unveiled their latest single: the hauntingly cinematic, ‘Apart’.
‘Apart’ is a collaboration with renowned producer, Jaani Peuhu who also contributed vocals to the track. The single fuses melancholic depth with pulsating beats, creating a sonic landscape destined for gothic club nights and introspective moments alike.
‘Apart’ is a darkly captivating dance between sorrow and regret—a raw exploration of the human condition set against a driving industrial rhythm. Equal parts emotionally charged and dance floor-ready, it captures the essence of deep introspection while inviting listeners to move to its beat.
Imagine yourself adorned in grief, yet swaying in sync to a parade of emotions. That’s the soul of ‘Apart’. THE FAIR ATTEMPTS founding member, Timo Haakana explains. “I’ve carried my sorrow like a crown. There’s a certain elegance with it and I think we tapped into that feeling with our producer, Jaani."
Finnish stoner rock power trio KAISER has just dropped a brand-new music video for ‘Brotha’, a standout track from their crushing second album, 2nd Sound, released March 7, via Majestic Mountain Records.
Building on the raw, riff-fueled foundation of their debut, KAISER pushes their sound further into heavy, groove-laden territory, delivering thick, blues-soaked riffs, thundering rhythms, and soaring melodies that land somewhere between Kyuss, Sleep, and early Clutch.
‘Safe Routes’ encourages an end to all arms sales everywhere, and an end to all wars! No borders! 100% of proceeds from Bandcamp sales (after fees) will be donated to Campaign Against Arms Trade.
There are two kinds of heavy bands: the ones that make a lot of noise and the ones that drag you somewhere you didn’t know you needed to go. Cwfen (pronounced ‘Coven’) are the latter, and Sorrows is a record that doesn’t just crush – it haunts long after the final note.
The allure of Cwfen’s sound lies in contrasts: the glacial ferocity of Amenra, with the velvet-and-razor vocals of King Woman, and the rotting grandeur of Type O Negative. It’s as hypnotic as it is harrowing, but somehow even better than the sum of those parts.
Since emerging from Glasgow’s underground just 18 months ago, Cwfen have built a solid reputation, selling out shows and pulling growing audiences into their doom-laden fever dream. Released in October, the band’s debut single ‘Reliks’ was a hit with fans and critics, landing a spot on Kerrang!’s release of the week playlist. And rightly so. Their sound devours and delights in equal measure. And people are craving more.
"Cwfen have emerged from the darkest depths of the Caledonian underground with a beguiling blend of doom metal and gothic post-punk for those who like to live deliciously." – Kerrang!
About new album Sorrows – released on 30th May via New Heavy Sounds (Shooting Daggers, MWWB, Death Pill):
“We never set out to write an album. We were just four friends making music we wanted to hear. But then Sorrows emerged, and when it did, it pulled us into its orbit. We couldn’t ignore it,” says Agnes Alder, vocalist and rhythm guitarist for Cwfen. “When we stopped trying to fit into any one space, what came out was this beautiful mix of dark and light. Something visceral and cathartic.”
Sorrows lives in the space around doom where the weight of the riffs is matched by the weight in your chest, where the lyrics and the songwriting are as important as the music itself. Loud and crushing, yet sharp enough to stick in your head for days. It builds, burns, collapses, resurrects. Big on riffs, bigger on feeling. The kind of songs you carry with you. Agnes Alder bears her claws one minute, then whispers the next, as the band follows like a storm front, rising, breaking, drowning you in the weight of it.
The songs have range. From the guttural Penance to the lush Whispers, to the feral Wolfsbane and the insurrectionist Rite. It includes a long anticipated reworking of Embers and Bodies, the two self-recorded demos that launched them into the scene with a bang and that fans already adore. Intricate vocal arrangements, heavy and harsh guitars, a mix of atmosphere and heft, produced by the band alongside Kevin Hare at Deep Storm Productions, and mastered by James Plotkin. It punches above its weight for a debut.
Upcoming shows including UK tour dates with Faetooth:
16/03 – Audio, Glasgow – supporting Dopethrone
24/04 – Brudenell Social Club, Leeds – Strangeforms Festival
Restless Belarus expatriates DYMNA LOTVA release ‘Come and See’ (Ідзі І Глядзі), another lavish music video for the opening track from their current album, The Land under the Black Wings: Blood (Зямля Пад Чорнымі Крыламі: Кроў). This harrowing piece adds an accordion to black metal that is also prominently featured in the clip:
Video by Jancyk Kurcavy
DYMNA LOTVA comment: “We have never treated music videos as just another promotional tool”, enigmatic singer Katsiaryna ‘Nokt Aeon’ Mankevich declares. “We see every clip as a chance to explore the story and emotions behind a track even further through visual means. This video was originally planned for 2023, but due to many reasons, we are only able to reveal it now. Despite the long wait, its topics have become even more relevant as Plague, War, Famine, and Death have not gone away. These Four Horsemen have only moved closer towards all of us. Then again, just maybe these are actually Four Horsewomen.”
Aural Aggravation 