Alternative prog quartet HOLOSOIL are welcoming the new year with their newest single ‘Spirals’. The band presents a stunning music video, showcasing a hypnotic dance performance choreographed by Sofia Stadler. Featuring the circle of creation as the main theme of their newest work, the Berlin/Helsinki based quartet show themselves in bold, yet almost hidden waves, playing with tempo and elements of alternative and indie.
The single follows on prior released tracks ‘Cracks’, and‘Look Up’. Additionally, the band has also announced their upcoming debut EP, to be released digitally April 2026 (InsideOutMusic).
Watch the video for ‘Spirals’ here:
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The band shares about the track:
“HOLOSOIL’s 3rd single is a mystical anthem of heterogeneous essence, swirling through genres and textures, in the image of the world itself.
The lyrics are about an existential spiraling of humanity back to where we come from. Falling from illusions of linearity – into the cosmic spiral of ancient and future merging in a never-ending circle of creation. How our striving for progress ironically is taking us back to the ancient wisdom of nature.”
Finnish band, THE FAIR ATTEMPTS has just unveiled their latest single – the gothic rock-inspired, ‘Ghost Within’.
‘Ghost Within’ examines the internal monsters: negative self-talk, doubts, pride before collapse, and the subtle ways the human mind feeds on its own fear. The song portrays self-awareness as a mirror maze, where reflection offers no clear exit.
“This is a theme I’ve touched on in other songs because it’s something I struggle with. Ghosts may be coming to get you,” says frontman Timo Haakana, “but there’s one already inside you.”
Written during a year of deep introspection and creative pursuit, ‘Ghost Within’ depicts the emotional core off the forthcoming full-length album, Null Guide. It’s not about defeating your inner ghosts, but learning to live with them.
The dark electronic acts Dawn Of Ashes and Suicide Commando have today released a collaborative single entitled ‘Penumbra’. It is the first track to be issued from a new album by the former, Anatomy Of Suffering, which is scheduled for release on 20th March via Metropolis Records.
The single arrives on the eve of an ‘Acts Of Destruction’ tour of the US west coast by Dawn Of Ashes that commences in Los Angeles, the city where the group was founded by Kristof Bathory at the turn of the millennium.
“‘Penumbra’ channels the raw intensity and atmosphere of early ‘00s dark electro-industrial music, evoking a powerful sense of nostalgia while remaining uncompromising in its aggression,” explains Bathory of his alliance with Suicide Commado (the Belgian artist Johan Van Roy). “This single sets the tone for what lies ahead and serves as a fitting prelude for the destruction yet to come.”
Parisian fuzz fanatics Electric Jaguar Baby kick off 2026 with the release of a brand-new live video for their latest single ‘The Fastest Ride’.
For this track, Electric Jaguar Baby lean hard into the desert rock side of their sound, transforming the Paris hood into a dust-blown Rancho de La Luna fever dream. Razor-sharp riffs, a frenzied, chant-ready chorus and a psychedelic breakdown turn ‘The Fastest Ride’ into one of the album’s defining moments, all played as if tearing down the highway in a beat-up ’65 Chevy.
The live version was captured by Cockpit Prod as part of their session series, and perfectly bottles the raw power, sweat and unfiltered energy that Electric Jaguar Baby are known for.
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“The Fastest Ride” is taken from Clair-Obscur, the duo’s wildest, heaviest and most electrifying album to date, released on September last year via Majestic Mountain Records (Kal-El, Saint Karloff).
Formed in 2015, the duo comprised of Franck (drums/vocals) and Antoine (guitar/vocals), have spent the last decade distilling garage, stoner, punk, psych, pop and grunge into pure fuzz-fueled chaos. Known for their explosive live shows and no-rules approach, they’ve shared stages with everyone from Sepultura to Death Valley Girls.
Now, Clair-Obscur marks their third full-length and most fearless outing yet. Recorded live and drenched in distortion, the album rips through 11 unfiltered tracks of raw sonic adrenaline, with killer guest appearances from Lo (ex-Loading Data) and Chris Babalis Jr. (Acid Mammoth).
I find it most disconcerting shopping in my local Co-op. The self-service checkouts film you, and you can see yourself on the screen above your head while you scan your items. Surveillance and facial recognition is everywhere now. The other day, I passed a venue where a guy in a flat cap was ordered my security to remove his hat and “look into that camera” before being told he could replace his cap and enter the venue. We really have come to this: you can’t go shopping or go for a drink without a capture of your visage ‘for security’. I appreciate that shoplifting is at a record high and violent crime is rife, but is this really the solution? How about asking why we have these issues? And what happens with these captured images? Who views them? How long are they stored, and where? Are they being passed off to train AI?
The ‘if you’ve got nothing to hide, you’ve got nothing to worry about’ argument is missing the point, and no longer holds water. The state of things in America with brutal ICE raids where countless American citizens have been mauled, detained, and even murdered (because regardless of the official line, Renee Nicole Good was murdered: those shots were not fired in self-defence, and we live in a horrible, brutal, fucked-up world). And this shit affects you. Well, it certainly affects me, and I know I’m not alone in feeling jumpy, on edge, endlessly anxietised by the prospect of what may happen next, the prospect of waking up to discover that WWIII has broken out while asleep.
This new single by 311 touches on this, significantly, as it happens. as their bio notes summarise: ‘Propelled by discordant guitars and thunderous offbeat rhythms, ‘Leach’ is an abrasive dystopian statement on surveillance, data harvesting and the quiet unease of modern digital life; both a rallying cry against the advancement and negative impacts of big tech, and an honest admission of powerlessness and inevitability in the face of it all.’
It’s a killer single and yet again evidence of just how fertile Leeds is as a spawning ground for fantastic bands. London, Manchester, even Sheffield receive so much hype, but despite being the epicentre of goth in the early 80s and the place for post-rock in the mid 2000s, Leeds seems to be criminally lacking in recognition for its contribution to music, despite Blacklisters, despite Pulled Apart by Horses… and 311 are another bands that should be flagging the city on the national – and international – radar. Because ‘Leach’ brings it all, from churning math-rock, angularity and anguish, colliding post-rock with post-punk and huge energy, they pack menacing and searing riff energy and… and… yeah. This is good.
It’s worth remembering punk and post-punk emerged from terrible times, where it felt like music offered a rare escape, both for those who created it and attended shows. And here we are again.
Transatlantic project, DEATH BY LOVE has just unveiled ‘Sellenno’ – the new single & video from the forthcoming album, 444 due out on February 20th. ’Sellenno’ is not merely a song. It is an act of confrontation.
Written during autumn, a season of decay and withdrawal, the song emerged as an attempt to give form to pain that had long remained unnamed. As the external world faded into rust and cold, the song became a vessel for what could no longer stay buried: the psychological residue of childhood trauma and the emotional numbness shaped by C-PTSD.
At its core, ‘Sellenno’ explores dissociation: the state in which feeling becomes dangerous, and pain paradoxically turns into the only proof of being alive.
‘Sellenno’ stands as a portrait of survival rather than catharsis. It does not offer healing as spectacle, but as possibility, Speaking openly about trauma becomes, in itself, an act of resistance against silence. For a long time, the past remained locked away. With ‘Sellenno’ , that silence is broken.
The music video for ‘Sellenno’ was filmed on location at the historic Heinz Ketchup Factory in Pittsburgh, USA. Its vast, abandoned interiors – cold, dark, and cavernous provide an ideal visual counterpoint to the song’s emotional core, amplifying themes of dissociation, withdrawal, and inner desolation.
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DEATH BY LOVE weaves gothic, industrial, and trip-hop sensibilities into a singular sonic language, enriched by evocative Middle Eastern vocal textures. The project brings together Peter Guellard—whose decades-long presence in the U.S. dark-electronic underground includes work with The Electric Hellfire Club, Closterkeller, and Blitzkrieg—and Inga Habiba, whose distinctive, spiritually charged voice has been shaped by a multicultural heritage and a long career fronting gothic and new-wave acts in Poland.
A genuinely transatlantic duo, DEATH BY LOVE creates across continents through digital collaboration and embraces a multimedia approach to performance—pushing the concept of live presentation to its limits, even incorporating holographic presence on stage.
Experimental Hip-Hop legends dälek return with their latest full-length album, Brilliance of a Falling Moon. Taking its name from a section of Erik Larson’s 2011 novel In The Garden of Beasts, the album paints a fiery portrait of life and resistance in fascist America.
Conceived, composed, and produced by Will Brooks (aka MC dälek) and Mike Mare, Brilliance of a Falling Moon is a sprawling, uncompromising record that speaks to the political timbre of the day.
With the album announcement they share the track "Better Than", about which dälek says;
“Better Than encapsulates the new sound and feel of the record perfectly. It conveys the anger, frustration, and defiance of the moment. Sonically, it is somehow simultaneously, sparse and stripped down, yet complete and dense. A new wall of sound built only of the absolutely necessary elements.”
Woah. They’ve gone and done it again. Eville continue to chart their own ascent through their single releases, and having previously toured with Glitchers and played at Reading and Leeds last year, they look like they’re on the brink of really ‘blowing up’ as tour support for As December Falls. They’re a band that tours hard and wins fans at every show, and that’s coupled with a steady output of singles over the last couple of years, culminating in theBrat Metal EP late last year. They’re kicking off 2026 where they left off last year, and ‘Blow Up’ is another rip-snorter, an audacious hybrid of slugging nu-metal, hyperactive rave metal, and autotuned pop.
As such, ‘Blow Up’ draws together all of the elements of their previous releases, and, true to form, compresses them into a pumping three and a half minutes (which is actually quite long for them). It’s not quite a party tune, but it is a beefy riff-driven banger with real bounce. It’s more electronic, more processed-sounding than any of its predecessors, and leans more into pop territory than metal – at least in the main – but the late-landing mid-section goes heavy… And then it bounds to the finish line with another surging chorus.
Right now, it seems as if Eville are reinventing nu-metal for the 2020s, and on their own terms. They’ve got Kerrang! jizzing themselves over their every move. And rightly so. This is a new kind of metal. Power to them.
Based in the Texan city of San Antonio, darkwave/synth-punk artist Night Ritualz (aka Vincent Guerrero IV) weaves Latin influences into his songs, often blending English and Spanish lyrics with music that combines atmospheric soundscapes suffused with pulse-pounding beats to tell stories that are deeply personal and universally relatable.
New single ‘Un Tiro’ (One Shot) is the third and final track to be lifted from an upcoming album entitled Time Is A Thief, out on 20th February. With its early ‘80s indie-pop vibe, the song stands in stark contrast to its immediate predecessor, ‘Whoreish’, which mixed hard industrial and EBM sounds. The album’s first single, ‘Brown Skin’ was an unapologetic expression of identity, struggle and survival, that blended personal storytelling with social commentary.
Portland alt-rock / post-punk outfit Rayon present their latest single ‘Running, a propulsive exploration of the anxiety that comes with watching loved ones struggle with cycles of addiction that they can’t shake – and the sound of a tape echo that’s about to stop working. Intentionally preserving the noise of pausing, rewinding, and fast-forwarding to heighten the song’s frantic pace, its sound can be considered a study in tension and tape, the video conveying a sense of lo-fi capers involving a Citroen Wagon.
Found on the flip side of the single ‘Shopping / Running’ (also available on 7” vinyl via Little Cloud Records), ‘Running’ is perhaps even more stunning than the whacky A-side ‘Shopping’, a tongue-in-cheek ode to consumerism and travel, written by someone who happens to travel and consume a bit.
Founded by long-time North Portland resident and Detroit-area native Eric Sabatino, Rayon now also involves members of other notable Portland bands – Sun Atoms, Yuvees, Pastilla and Martha Stax – namely Anna Sabatino, Riley McLaughlin, Eric Rubalcava and Derek Longoria-Gomez.
‘Running’ is based on a relentless bass and drum groove that lived in Sabatino’s head for months before finally taking shape in the studio. To capture the song’s unsettled emotional landscape, the band leaned into the mechanical unpredictability of a dying Dynacord tape echo. By funneling guitars and vocals through the aging machine, they achieved a haunting, warped soundscape where the pitch and speed constantly bend and shift. Feeling as though it is physically straining under its own weight, this song mirrors the very themes of instability it describes.
“’Running’ was built around a bass and drum groove I was kicking around in my head for months. The guitars and vocals are the sound of a tape echo called ‘dynacord’ that’s barely working, bending and moving the speed and pitch of everything we run through it. Those parts wouldn’t have come out like that if I wasn’t trying to write a guitar part while plugged into that machine.” says Eric Sabatino.
The video for ‘Running’ offers a gritty, nostalgic look at the band’s world, captured entirely on a vintage Handycam, following the band in their meticulously restored Citroen wagon. Embracing the track’s jerky energy, their journey concludes with a grainy, evocative sequence of freeway signs leading into Seattle—a slow-burn outro that grounds the video’s high-energy antics in a sense of place and movement.
“The video was shot on an old handycam camcorder we found in the back of a closet. The battery miraculously held a charge. It came with a tape of someone’s school play, which we taped over (sorry to whoever’s family that was). It features the Citroen wagon from the ‘Shopping’ video. I worked on that car for months. So glad it didn’t break down during these two long video shoots,” says Eric Sabatino.
“We drove around all day picking everyone up at their home, work, local bar, favorite little shop, and went to band practice. We filmed the antics and capers along the way. Sometimes we let friends and strangers hold the camera and film us. I transferred and edited it over 2 late nights, trying to capture as much pause, rewind, and fast-forward noise as I could, timing the cuts to capture the jerky energy of the song. I love the outro and the slow noisy shots of the freeway signs leading to Seattle.”
Aural Aggravation 