Blaggers Records – 13th February 2026
Christopher Nosnibor
Friday 13th may be unlucky for some, but not for JW Paris – or their fans – with the eclectic ‘90s-grunge-meets-Britpop three piece’ dropping new single ‘Crazy’ as an opening salvo ahead of a new EP.
They premiered it at BBC Radio 1’s Big Weekend – a bold move, which takes some guts, but it’s one heck of a way to build anticipation with a massive audience. The power of mainstream radio may not be what it was back in the 80s and 90s – the fragmentation of the mainstream and the way we come to hear music is very different now, and the ubiquity of R1 has been diluted since the Internet reshaped the cultural landscape from around the turn of the millennium onwards, but it’s still the biggest single channel in the UK, with a weekly audience of almost three-quarters of a million. The Big Weekends feature big names and draw massive audiences, and are a big deal.
‘Crazy’ is a tune that’s right at home in this setting, not because it’s insipid churned-out digital chart-pop fodder, but because it is one of those songs that’s an instant grab, a massive, uptempo, singalong anthem that’s got a clear pop sensibility, but all the appeal for indie fans, too.
For those who are willing to go deeper than the immediacy of a huge chorus, the lyrical content is surely relatable to many, too, articulating ‘the madness that comes from repetition… the feeling of running on a treadmill you can’t get off, of doing the same thing over and over until it starts to warp your sense of reality. Built around the classic definition of insanity, the track digs into what happens when your routine becomes a loop, a trap, and eventually… a spiral.’ Who hasn’t been there, at least at some point? Where you wake up, go to work, eat, perhaps slump on the sofa in front of the TV, then sleep, and feel like life is passing you by as you spend weeks, which become months… etc. running just to stay still, merely existing just to keep paying the bills. It sucks. ‘Crazy’ doesn’t suck, though, and despite its subject matter, it’s uplifting and energetic, and it’ll surely make its way to a TV show or soundtrack of some sort soon.
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JW Paris by Xandru
Aural Aggravation 
The Pixel Rain – Last
Posted: 23 June 2026 in Reviews, Singles and EPsTags: A Sense of Danger, anthemic, contemplative, electronica, industrial rock, Last, Post-Punk, Review, Single, social commentary, Synth Pop, The Pixel Rain
18th June 2026
Christopher Nosnibor
‘Death is following us’, Áron Siegler warns at the start of, and throughout ‘Last’, the new single from Southeast London act The Pixel Rain. Hungarian-born songwriter and project founder Siegler has spent the last three years evolving a sound which draws on industrial rock, post punk, synth-pop and electronic music, and now, in the run-up to the release of the debut album, A Sense of Danger, set for a September release, they serve up a tune that pitches the guitar up in the mix.
Of the song, Siegler says, “‘Last’ was born from my scorn for modern-day authority figures as I was picturing a world that these kinds of people are gonna leave behind. The song has a specific meaning for me as a Hungarian person but I always try to write lyrics universally, encouraging the audience to find their own stories in my songs”.
The timing of the release couldn’t be better, landing just a few short days before the resignation of UK Prime Minister Sir Kier Starmer, after less than two years in the position. The media – online, in print, and on TV – is frothing with speculation, of course, while much is also being made of his legacy. It’s remarkable how a leader so insipid could be so divisive – but certainly, under his leadership, the government has done no favours to the trans community, migrants, or those with disabilities, or civil liberties in general, particularly when it comes to protesting the genocide in Gaza, which he still maintains is simply Israel defending itself. What kind of world is he leaving behind? What of his predecessors, and what – just what? – of Trump?
Death is indeed following us – and it’s stalking us digitally, through social media, through AI. One might be forgiven for feeling paranoid.
The production of ‘Last’ forges a sonic density which encapsulates that inescapable tension. The band cite The Jesus and Mary Chain and The Horrors as sonic inspirations in addition to their usual electronic touchstones, and it may allude vaguely to Automatic in form, but I’d say it lands more in the domain of Interpol intersecting with Depeche Mode – although that’s by no means a bad thing. The guitars are mixed quite smooth and soaring, and the song is imbued with an anthemic feel, while propelled by an insistent beat, and the chorus is prominent and dominant. If the rest of the album matches this standard of songwriting, it’s destined for success.
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Áron Siegler by Evelina Kloimova