Archive for the ‘Singles and EPs’ Category

Dark electronic trio, PAWN PAWN has just unveiled their latest EP, Halloween. The EP delivers a darkly electrifying journey through a spectrum of synth-driven styles, each track a study in emotional and sonic extremes. The Halloween EP is both a love letter to synthpop’s past and a step into its future. While inspired by film director, John Carpenter, the EP is named in honor of a holiday many dark hearts celebrate every day, Halloween’s trajectory goes through the brooding, pulsing opening track, ‘Trick Or Treat’ to the seductive, shadowy anthem, ‘Tell You With My Eyes’, then closing with ‘Jealousy Looks Good On Me’, a high-octane fusion of ’90s industrial-pop that balances chaotic aggression with razor-sharp melodic hooks.

They’ve produced a video to accompany the closer, which you can watch here:

The EP’s themes, like Halloween, are about embracing darkness and emotional extremes: vengeance, obsessive attraction & jealousy. They also represent tales of liminal spaces; the spaces between thinking about revenge and actively seeking it, or the space between obsessing over someone and actually making a move.

The EP also addresses the lines between passion and destruction, the idea being that an emotion like jealousy can theoretically make us more passionate and wanting to be the very best version of ourselves. Meanwhile that eternal desire competes in a battle that can never be won and is ultimately self-destructive.

Says vocalist, Liz Owens Boltz, the music on the EP is “about exploring synthpop and industrial-pop…this is really our first official foray into these genres. So our creative journey has brought us here, trying on a darker and more aggressive sound, and having fun with it.”

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We’ve been bigging up York’s mighty riffmongers JUKU since their debut gig in the summer of 2023, because they’re simply fucking awesome, a real force to be reckoned with. Punky, new-wavey, but noisy, full-on, a sonic powerhouse.

Now, you don’t just have to take our word for it if you can’t see them live, as they’ve unveiled a video for ‘What?’ It encapsulates the band, and their sound, perfectly.

They write, ‘As a band, we sit in the place where creativity meets raw chaos. In our world, noise is harnessed as a form of expression. We channel frustration into sound. We take our discontent and transform it into energy. We outright challenge the notion of what it means to be seen and heard in the music industry, which often silences dissent… This track is a prime example of the things that motivate us to do what we do. Question everything and everyone, and do not allow your voice to be pushed into the obscurity of the background.’

Check it here:

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Leatherette are back with brand new single ‘Itchy’ to mark the start of their recently announced EU/UK tour. The tour includes a show at London’s The Shacklewell Arms on 13th February.

After testing the song live during their second album Small Talk tour last year, they decided to record it themselves at home in a completely spontaneous manner, in messy rooms and using cheap instruments (including unlikely ones such as mandolin and bouzouki).”Being eternally dissatisfied, but also tireless explorers, we decided to return to our origins, seeking the expressive freedom that can be found in DIY”. The result was then entrusted for mixing to the usual collaborator Chris Fullard (Idles, Boris), and for mastering to Maurizio Baggio (The Soft Moon, Boy Harsher).

‘Itchy’ is a cathartic breakup song, blending the raw energy of post-punk with the angular charm of new wave. Written from the perspective of an inept and creepy protagonist, the track navigates the emotional chaos of a crumbling relationship, where frustration, anger, and reluctant self-realization collide. The song channels a blend of influences—from The Smiths’ melancholy to the frenzied urgency of The Pixies and the romantic nihilism of Tears for Fears. It’s a feverish exploration of love’s end, wrapped in an infectious, almost grotesque sonic landscape. Finally, it all resolves with a delicate, haunting arpeggio—like the quiet after the storm, offering a fleeting sense of clarity amid the wreckage.

Cool.

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EU/UK TOUR – FEBRUARY 2025

Thu 06 – Radio Rasa – Schaffhausen, Switzerland

Fri 07 – Le Rockerill – Charleroi, Beglium

Sat 08 – Zero Degree Est – Les Roches-L’Eveque, France

Sun 09 – Le Joker’s Pub – Angers, France

Mon 10 – Le Pop Up du Label – Paris, France

Tue 11 – Le 3 Pieces Muzik’ Club – Rouen, France

Wed 12 – Peniche Celestine – Amiens, France

Thu 13 – The Shaklewell Arms – London, UK

Fri 14 – Big Hands – Manchester, UK

Sat 15 – Saltbox – Nottingham, UK

Mon 17 – Chaff – Bruxelles, Belgium

Tue 18 – Utopiastadt – Wuppertal, Germany

Wed 19 – Schokoladen – Berlin, Germany

Thu 20 – Noch Besser Leben – Leipzig, Germany

Sat 22 – Humbug Club – Basel, Switzerland

Sun 23 – Freakout Club – Bologna, Italy

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UK Progressive Rock group Frost* is pleased to share a new stand-alone single titled ‘Western Atmosphere.’ This song was originally featured as a Japanese-only bonus track on the album ‘Life in the Wires,’ and sees band leader Jem Godfrey joined by Randy McStine (Steven Wilson, Porcupine Tree – live guitarist), Mike Keneally (Devin Townsend) & Nick D’Virgilio (Big Big Train).

Godfrey says this about the track: “I sometimes wonder what would have happened had I stayed in bed 10 minutes longer than I did on Monday 11th of January 2010. Perhaps my life would have gone in a completely different direction and Frost* would have ended up with the lineup of myself on keys, vocals and bass, Mike Keneally on guitar, Nick D’Virgilio on drums and Randy McStine on guitar and vocals. We’ll never know, I guess.”

You can check out “Western Atmosphere here:

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Photo credit: Will Ireland

“Golem Mecanique touch[es] upon the ashes and fibres of back metal and the DNA of gothic music, literature, sorcery, and most of all—poetry.”  – Stephen O’Malley

The last words that poet and visionary film director Pier Paolo Pasolini said in his final interview were “Siamo tutti in pericolo”; translated: we are all in danger. Pasolini was then brutally murdered on a beach in Italy, a case which is still cold today.

On this album, named after the man’s final public words, Golem Mecanique loses herself on that same Italian beach alongside his body and translates her observations and mourning into a devastating musical landscape. Siamo tutti in pericolo will be released via Stephen O’Malley’s Ideologic Organ label on 14th March.

Siamo tutti in pericolo is dangerous, conveying the darkness and uneasy nature of both the art Pasolini created when he was alive and the circumstances of his murder.  In her early teens, Golem taped the Pasolini film Accatone when it was shown on television and watched it the next day after school. In her words, “it was an earthquake!”,

Immediately leaving a great impression on her as it was unlike anything she had ever seen before. She describes the feeling she has when watching a Pasolini film as “silent violence” – a cold and radical response which calls into question her beliefs about the behaviour of people and lies and truth. She hopes to evoke this feeling with her music – a melding of beauty and dread.

Today, she shares the track ‘La Notte’ from the album…

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the Jesus Lizard have just wrapped up their wonderfully received UK and Irish live dates in support of Rack, and it won’t be long before they hit the road again.

The band share a brand new track, ‘Westside’ and the single is only available digitally.

About the track, Duane Denison comments; “’Westside’ goes along with the previous single ‘Cost of Living’ — which was subconsciously influenced by Leonard Bernstein’s "West Side Story" and hence the name. Really."

David Yow adds; "There is a part in ‘Westside’ where the lyrics say, “…give him back his arm”. That was inspired by David Lynch’s Lost Highway, when Robert Blake’s character says, “Give me back my phone.”

Listen to ‘Westside’ here:

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14th January 2025

Christopher Nosnibor

They only released their debut single on 1st December last year, and here we are, not quite halfway through January and we’re being presented with single number three.

While Argonaut’s track-a-month schedule for their ‘open-ended’ album Songs from the Black Hat, matching only that of The Wedding Present in 1992, seemed like the pinnacle of prolific – not to mention the ultimate advertisement for the DIY approach – three singles in six weeks must surely have the makings of a record (pun partly intended). As of this moment, though, we don’t know what their longer-term aim is, or even if there is one, beyond releasing new songs as soon as they’re ready, and if that is their MO, it’s admirable. Without the need to work to the schedules – or budgets – or a label, their only limitation is their own time and energy.

I had initially noted, following ‘Scarlet’, and ‘Amber’, a theme of colours linking their songs, but perhaps it’s female names. Or perhaps it’s pure coincidence, and they have simply plucked one-word titles to denote their songs.

‘Jude’ – which comes with appropriately dramatic artwork, somewhere between swooning gothic drama and pre-Raphaelitism, the source of which I haven’t been able to identify – once again features the voice of poet Monica Wolfe, here whispering, and, as credited, ‘breathing’. These contributions are significant in rendering an atmospheric composition, particularly in the introduction, before the arrival of the piano – of which there are, in fact, two, adding layers to the brooding theatricality of the song, and Stephen Kennedy’s voice.

The feel – particularly in his delivery, with some quavering intonation, and enveloped in a spacious reverb – is very much gothic folk, as he casts introspection, while chasing ghosts.

‘Will the world miss me?’ I whisper

And sigh, as my life drifts away.’

It’s moving, poetic, and powerful, presenting a straight-ahead contemplation on mortality – not in some cheesy ‘romantic’ gothic style, and not in a crass emo way, but a rare sincerity.

Somewhat ironically, in our teens and twenties, we tend to agitate about death, while also treating it with a flippancy, because it’s what happens to old people, but as we grow older, we go out of our way to avoid thinking or talking about it, because as we begin to lose parents, uncles, aunts, and even – increasingly – peers, shit gets more real than we can handle. Invariably, we bury our heads in the sand, shrug off life insurance and toss making wills into the distant future along with pensions, laughing darkly how we never expect to retire anyway.

In the final minute, the song swerves into more electropop territory as the rippling piano combines with a crisp, insistent drum beat. It’s a magical, ethereal moment, which is but fleeting, like dappling sunlight through the branches of trees in a woodland on a breezy day. In many ways, this captures the essence of the song and its sentiment, in its fleeting ephemerality, a metaphor for life itself.

It ends suddenly, with only inaudible whispers fading to the close, and again the metaphor stands. This is perhaps their strongest and deepest release to date, and best absorbed by candlelight, with a large measure of something intoxicating.

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Norwegian world music collective Wardruna release a live video for the song ‘Heimta Thurs’. The video is a part of the band’s Live at the Acropolis show, which will be released on DVD and Blu-Ray alongside Wardruna’s new album Birna on January 24th.

Originating from Wardruna’s debut album Runaljod – Gap var ginnunga, the song ‘Heimta Thurs’ has grown into one of the group’s most iconic songs and a fan favourite. Set against the backdrop of the world heritage site Odeon of Herodes Atticus, Acropolis, the composition and visual experience reach ecstatic new heights.

The connections between the old and ancient, deeply human and natural at the same time can be felt at every live performance of Wardruna, resounding equally on stage and throughout the audience. Live at the Acropolis is a testament to that.

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Photo credit: Sebastian LOM

Aural Aggravation is extremely proud to present a new exclusive video premiere in the shape of ‘Opilione’ by Vomitriste .

We promise work from  the furthest reaches beyond the mainstream, and this is it.

Vomistriste comment: ‘Opilione’ probably represents the darkest corners of Black Abyss Invocation as a whole, encapsulating the claustrophobic anguish and pervasive dread that discolours the entirety of the record. During the recording session, this is where everything ultimately clicked together seamlessly and solidified this new dismal and murky direction of the band. Murmuring words and uttering phrases that shall not be written on top of ever-evolving vortex-esque sonics… It’s apparently possible to scare yourself solely by being who you are and doing what you must.”

‘Opilione’ is dark and nasty – and we love it.

Vomitriste began their aural trek in 2022 by means of crafting colossal, noisy drones and profound dark ambient, and went on to release six albums under that motif during the following two years. While the duo’s visceral output was greeted with open arms by many and their signature sound found new aspects to itself through life shows, midway through 2024 the project came to its natural conclusion. With the aim of putting one last effort out under the moniker, the two musicians decided to instead leave all pre-conceived notions of what the band should be out of their mutual headspace, and begun composing the idea of doing something else entirely with a fresh approach and open mindset. The end result was something unexpected, which left the duo initially perplexed, but soon turned out to be a restart of sorts for the band. The previous records were lumped under the collective title of Droneworks (2022-2024) and now, a new chapter has begun.

Black Abyss Invocation is the first album under this newfound direction, introducing Vomitriste anew as a vessel of grating and pervasive cacophonous dread it was always meant to be. Certain aspects of their previous doings are present, but the seminal orientation across the record lies at the perimeters of black ambient and death industrial, taking elements from black metal and noise and mashing those together with dark ambient and electronics, with the inclusion of ritualistic and trance-inducing, jarring rhythms and waypast ominous atmospheres. The void has opened its maw once more, and instead of balancing on its rim, Vomitriste dove straight into the unknown without hesitation only to emerge from the opposite end speaking a malformed and atrocious language while sporting only motes of resemblance of its past self.

The six songs making up Black Abyss Invocation were created in a single session overnight, and left its creators in awe of what they accidentally stumbled upon. The sonic terrains discovered were nothing sort of hostile and unfathomably haunting, yet the kind that lures you deeper and deeper into its uncharted areas on every passing second. Where once stood a wall signifying the ultimate point of unease and anxiety, now a vast black ocean spread out, beckoning both the band as well as its listeners to wade into it until reaching neck-deep and suddenly being pulled down by something inexplicable and unnamed. Where there once was scarce light, now there is none.

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