VRÎMUOT present the lovingly illustrated lyric video of the balladesque song ‘Vom Traum zur Pflicht’ ("From Dream to Duty") taken from the forthcoming new album Lupus Viridis ("The Green Wolf").
The German dark folk innovators’ second full-length has been chalked up for release on December 5, 2025.
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VRÎMUOT comment: “The song ‘Vom Traum zur Pflicht’ is a musical journey through the fog-shrouded realm of my own soul”, mastermind Lupus Viridis reveals. “Only those who are willing to descend into the depths of their own existence may embark on a path of knowledge and seek the light of truth. Only those who are willing to make sacrifices may overcome the glass mountain and triumph over themselves.”
“Solve et coagula”! For death is the path to reverence … and to love.
This song is dedicated to my wife and son.
“Aus den schwarzen Schleiern heraus, wurde ein weißer Stern geboren und feuerrot brennt die Seele in mir!"”
“From the black veils, a white star was born, and the soul burns fiery red within me!”
Seattle turbowave duo, DUAL ANALOG return with ‘Pale Visage,’ a new single and video that signals the dawn of their next era. With the video directed by Skye Wardenm, the clip and song explore transformation and self-recognition through a stark yet ultimately empowering lens.
“It wasn’t really a self-correction so much as it was a survival tactic,” says Chip Roberts of DUAL ANALOG. “We wanted the liberty to explore the expansive soundscapes that make us who we are.”
Reintroducing the world percussion, cinematic guitars, and progressive flourishes that defined DUAL ANALOG’s early sound, "Pale Visage" bridges bleak beauty with renewed color – both visually and sonically. It marks yet another glimpse of the band’s forthcoming 2026 album, Primal Grill, and is a bold declaration that all are welcome in the Temple of DUAL ANALOG.
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From the rain-soaked streets of Seattle’s Chinatown, DUAL ANALOG channels desire and distortion into a singular force—turbowave—a fusion of new wave, metal, industrial, and world rhythms. Formed in 2019 by vocalist-guitarist Chip Roberts and multi-instrumentalist Kurtis Skinner, the duo blends sleek futurism with raw emotion, crafting immersive performances where sound and atmosphere collide. Each ritual is a sensory experience—sweat, light, and pulse converging in devotion to rhythm and release. Their 2022 debut, Lust, Worship, and Desire unveiled a lush yet crushing sound—sexy, anthemic, and unapologetically heavy. 2024’s The Wheel descended into colder textures and brooding tones, anchored by extended-range guitars and nihilistic lyricism. Now shaping their third album, Primal Grill, DUAL ANALOG expands the boundaries of turbowave through a series of singles—’Kontrol’, ‘Sacred Sin’, ‘Save Me’, and the latest one, ‘Pale Visage’—each revealing a new facet of the band’s evolution between the sacred and the primal.
The pioneering UK industrial music act Test Dept have issued a 1983 John Peel Session version of one of their earliest tracks, ‘State Of Affairs’, as a digital single. It is taken from Industrial Overture. Studio & Live Recordings 1982-1985, the first in a series of planned box sets that will chronicle the group’s career.
“We went into the BBC studios in Maida Vale [West London] to record our first John Peel session in 1983 and devised much of the material right there as we liked to explore spontaneity and experimentation in the studio environment,” the band explain. “’State Of Affairs’ started from a collection of sound source material we had gathered and brought in to work with and we then developed that into a live piece and recorded it. Its theme of burning books seems once again relevant to the times we are living through.”
Out on 5th December via the Artoffact label, Industrial Overture. Studio & Live Recordings 1982-1985 consists of 42 tracks across 4 CDs and will also be available digitally. 26 tracks are new to CD and digital formats, of which 12 have never been previously available at all. All contents have been compiled by Test Dept and are newly remastered by Paul Lavigne (Kontrast Mastering).
The box set includes a first ever reissue of the group’s 1983 cassette-only debut album Strength Of Metal In Motion, the classic Ecstasy Under Duress and Atonal & Hamburg albums (both of which have been unavailable for over three decades), plus a disc of hitherto unreleased studio recordings that incorporate two full sessions recorded for the John Peel show on BBC Radio 1.
Seattle-based industrial/goth/post-punk artist MORTAL REALM is proud to release the new single ‘With A Heavy Heart’ via Negative Gain Productions, following the album Stab In The Dark released last year with the same label.
‘With A Heavy Heart’ is accompanied by a visualizer video that you can stream here:
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MORTAL REALM is the multi-genre, industrial-driven project of Adam V. Jones, known for his work in Haex and Sterling Silicon. Following the debut album Stab In The Dark, the project expands on Jones’s blend of heavy electronics, melodic textures, and esoteric atmospheres.
Glazyhaze return with ‘Romeo’, the final single and B-side from their acclaimed album SONIC.
Following the release of their acclaimed album SONIC earlier this year, Italian alternative band Glazyhaze shares ‘Romeo’, the final single and B-side just before their EU/UK tour kicks off.
At its core, ‘Romeo’ blends raw rock energy with dreamy, atmospheric textures. The track carries the spirit of the ’90s, where distorted guitars and floating reverbs meet a subtle tension between anger, sweetness, and nostalgia. Built on shimmering guitars and driving rhythms, ‘Romeo’ captures the feeling of powerlessness that comes with loving someone who cannot love themselves or change. It’s a song for those who hide behind pride, who destroy everything rather than show vulnerability, for those who live through control yet burn inside and will never admit it. ‘ROMEO’ is a farewell to the illusion that you can save someone who doesn’t want to be saved.
Recorded and mixed by Paolo Canaglia and mastered by Maurizio Baggio,‘Romeo’ marks an emotional and sonic conclusion to the SONIC era, reaffirming Glazyhaze’s ability to fuse intensity and atmosphere into something deeply human.
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After being nominated for the Music Moves Europe Award and announced for ESNS 2026, Glazyhaze will embark on a tour across the EU/UK in November and December.
Tue 11 Nov – Kranhalle – Munich, Germany
Wed 12 Nov – Isc Club – Bern, Switzerland
Sat 15 Nov – Nová Cvernovka – Bratislava, Slovakia
From the heart of Edinburgh’s underground, Kakihara return with Love Songs Part II, a raw, chaotic, and utterly unfiltered dose of metallic hardcore, and in advance they’ve unveiled the video for the EP’s lead single ‘Calamari.’
The band had this to say about the new track: “Because two minutes in heaven is better than one minute in heaven, ‘Calamari’ is our metallic-hardcore energy and mathcore chaos smashed into a single strike. It’s got jagged riffs, stop-start rhythms, and a punishing beatdoon that lands like a hen party on the Cowgate. The vocals cut through the melee with equal parts desperation and defiance, matching lyrics that flick between hopelessness and resolve. ‘Calamari’ shows exactly what we’re about, raw, unpolished, and built for the pit.”
Recorded live in a single living room and fueled by raw energy, Love Songs Part II captures the chaos and urgency of the band’s relentless live shows. Drawing inspiration from Converge, Coalesce, The Dillinger Escape Plan, Heaven In Her Arms, Envy, and Botch, Kakihara fuse mathcore dissonance, screamo textures, and punishing hardcore grit into something entirely their own.
Love Songs Part II will be released on December 5 via Ripcord Records.
UNHAPPILY EVER NOW returns with one of its most moving releases to date — ‘To The Light’; a deeply personal alt/art-rock single.
Written as a tribute to his cat by songwriter, Stephen Watson, the song captures the bittersweet beauty of unconditional love and the ache of time passing too quickly. Its textured guitars, spacious production, and vulnerable vocal performance create a cinematic soundscape that invites listeners to feel rather than simply hear.
“He’s been with me through everything,” Stephen shares. “His presence gave me strength when I didn’t have any. This song isn’t a goodbye — it’s a promise that his love will always live in me.”
Blending influences from Puscifer and A Perfect Circle, ‘To The Light’ balances raw emotion with atmospheric artistry. It’s a song for anyone who’s ever loved — and been saved by — a soul that made life worth living.
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UNHAPPILY EVER NOW consists of Stephen Watson – lead performer and songwriter of Cleopatra Records’ recording artist, Green Jelly, and vocalist, Maria V. The band is the sonic embodiment of a world lost in time. The band merges emotional storytelling with cinematic intensity along with the haunting vocals and lyrical depth. Drawing from influences like TOOL, Puscifer, A Perfect Circle, and Stabbing Westward, UNHAPPILY EVER NOW constructs songs like time-worn ruins—beautiful, broken, and impossible to ignore.
Inspired by the dark, time-bending world of the science-fiction show, 12 Monkeys, their songs speak to the ache of disconnection: the lives we’ve left behind, and the struggle of trying to exist in a present that no longer feels like it belongs to us. It’s grief without closure. Time without direction.
UNHAPPILY EVER NOW doesn’t offer answers. It holds up a mirror to what we’ve become—and asks if we can bear to look. Maybe that’s what we need most.
Legendary psych outfit Gong are back today with their new single ‘Stars In Heaven’ alongside a brand new music video created by Drain Hope. The band have also teased the release of their new album which fans will see in 2026 and shared the album’s name – Bright Spirit.
“It’s such an eclectic record,” says singer and guitarist Kavus Torabi. “This is the most colourful and kaleidoscopic album so far from this incarnation of the band. There are Eastern-infused epics, long instrumental jazz-inspired sections, meditative and cosmic detours and blistering, incendiary psychedelic rock. When picking the first song to be released, it has felt as if there’s an extra weight on the choice, as if the song somehow has to represent the whole album.”
Lyrically it expands on the idea that the world is as you are. “If you are a cynical, defensive or suspicious person, then that’s the world you’ll inhabit,” continues Kavus. “You’ll see mean-spirited behaviour and selfishness all around you but it’s always a choice. I think perhaps some people forget that. That’s not the world I live in, nor would I want to. It’s a sad old world for sure but it’s also a beautiful one bursting with hope, possibility, wonder and magic in every single moment.”
‘Stars In Heaven’ is the first single to be released from the new album Bright Spirit which will be released in 2026 on Kscope. Bright Spirit continues the legendary Gong catalogue – an extensive and acclaimed collection of releases that has seen Gong produce over 30 studio albums during a career spanning more than 50 years, since the band was founded in 1970 by the late Daevid Allen.
Gong continue to carry the torch ignited by Daevid Allen with their UK tour alongside fellow psych legends HENGE currently underway -
UK electronic outfit Scissorgun announce their album Scream If You Wanna Go Faster, out November 21 via Dimple Discs. Mixing urban electronica with fuzz and wah guitar, these trailblazers present a solid collection of songs, dances and abstract soundscapes. A must-have for Factory Records collectors, the vinyl includes seven tracks, while the digital and CD versions include three bonus tracks. Ahead of its release, they present the tracks ‘Gone Rogue’ and ‘Bad As Bingo’.
Formed in Manchester in August 2016, Scissorgun is an electronic trio comprised of Dave Clarkson (synths, rhythms, tapes, percussion), Alan Hempsall (vocals, treated guitar, samples, loops) and Adrian Ball (light show and projections). Carriers of Factory Records’ legacy.
“We always operate on instinct and improvisation is the key starting point. Some ideas become structured songs, but others remain as first recorded, with the music finding us and not vice versa. The title is a soft attempt at social comment, intended to be inferred rather than overt,” says Dave Clarkson.
Their musical scope is varied – pastoral dreams one minute and, the next, crashing swathes of noise chased down with a dub twist.
“The idea for ’Gone Rogue’ started with a busy electro bass line and, as soon as we found a good quote from a conspiracy theorist on social media, the whole thing seemed to turn into a polemic against turning your back on humanity in revulsion. We dwell on the impact of the fight for our attention on the individual and the damage done. All the while, the driving beat is pushing us on with heavy cowbells and pulsing bass. We’ll all feel better if we dance,” says Dave Clarkson.
Alan Hempsall adds, “As for ‘Bad as Bingo’, we were both overjoyed when this came out of the mincing machine. We’d been looking for something with a go-go beat to it, so this was perfect. The words flowed automatically as the best ones always do. Broad brush observations of a situation gone bad coupled with a mawkish sentimentality for what’s lost. The glitching and grinding bass line and barking dogs take on a life of their own. Suddenly it all makes sense and the initial spark revolts into structure and form.”
Alan and Dave first met in 2007 when Dave’s band, Triclops, were supporting Biting Tongues at Islington Mill in Salford. Alan was in the audience and was so taken with Triclops’s performance that he wandered over to show appreciation and a friendship was struck up, bonding over a mutual weakness for early industrial, rock and modern jazz. After nine years of gig-hopping and hanging out, the timing was suddenly right for them to organise some jam sessions to see what came out.
It so happens that both of their bands were on hiatus at the time. While Dave Clarkson was in Triclops from 2000 to 2015, he was in White Cube prior to that. He since boasts an extensive catalogue of solo works.
As for Alan Hempsall, he was the vocalist for Crispy Ambulance, who was on Factory Records from 1980 to 1982, before spending five years in the mid ‘80’s playing percussion in a Brazilian Samba band. Hempsall also famously appeared on stage with Joy Division in April 1980, standing in for Ian Curtis at a show in Bury that descended into a riot.
“As with any album, we operate on instinct. Improvisation is the key starting point. At this moment, anything can and generally does come out. The bizarre accidents and serendipity that occur during this process are the parts we keep. Those moments that feel like you’re merely the vessel that the music is transmitted through,” says Alan Hempsell.
Dave Clarkson adds, “Some ideas gradually emerge into structured songs whilst others have the fortitude to remain in their original form to some extent or another. Yet no conscious decision is made. We are not in control. It is the music that finds the musicians. As the body of work is growing and developing, it seems to take on its own identity, something else we appear to have little influence on. So, there is an element of Praxis at work here, we’ll do it because we want to and think up the reasons why later.”
Bite the Boxer is unquestionably an unusual and intriguing name for a musical project: my mind immediately leaps to the infamous ‘bite fight’ between Mike Tyson and Evander Holyfield in 1997, where Tyson lost through disqualification after biting off a chunk of Holyfield’s ear in one of sport’s most shocking moments.
In combining an eclectic range of elements spanning industrial, alt-pop, trip-hop, and ambient lo-fi, there’s nothing about Matt Park’s music which indicates any connection to this moment in sporting history. The same is true of his objective to create music imbued with ‘he feeling of impending doom but with just a glimmer of hope’, which is inspired by ‘horror video games and dystopian, post-apocalyptic films’.
‘Venom Test’ is haunting – at first ambient, before bursting with an expansive, cinematic feel, then plunging into darker territory. Even without the aid of a beautifully-shot and remarkably stylish video, the rack leads the listener through an evocative sequence of sonic transitions. Although never harsh, the distant drums are weighty, powerful, and the overall experience feels like a juxtaposition of must and decay with rays of shining hope breaking through cloud. The listener feels as if they’re being pulled in opposite directions, the suspenseful end offering no conclusion, but instead, leaving a sense of emotional quandary, an uncertainty. ‘Venom Test’ creates a tension, and provides no closure or conclusion, only a sense of a door being left ajar. It’s a deftly woven piece, and one which feels very much like it belongs to a much larger project – which it does, being a taster (which doesn’t remotely have the flavour of bloodied ear, to the best of my knowledge) for the forthcoming album, Haunted Remains Pt.2. As a choice of single, it’s a good one, leaving us in suspense to hear it in the context it was intended.
Aural Aggravation 