Posts Tagged ‘debut’

Watch: ‘Look Up’ by Holosoil

Posted: 27 October 2025 in Recommended Streams and Videos, Singles and EPs
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Combining vintage metal codes, electronic music, and modern musicianship, Holosoil is an atypical newcomer to the prog scene. Formed out of the ashes of a previous outfit, the Berlin/Helsinki-based quartet bring their unique sound and style to InsideOutMusic.

Technical but never scholar, raw and mature, fearless to explore and borrow the codes of numerous genres, HOLOSOIL follows the likes of artists like Björk, The Mars Volta, Muse and Tool.

You can get your first taste with their debut single ‘Look Up’, a raw 3-minute display of energy and technicality, marking the band’s first ever release.

Watch the video here:

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HOLOSOIL, formerly known as R3VO, is a band founded in 2019 by Victor Nissim (bass) and Jan Kurfürst (guitar), later joined by Altaïr Chagué (drums). The name change occurred after Emelie Sederholm joined the band as lead vocalist, following the departure of Eleonara Barbato. Although most of the band members are based in Berlin, Germany, Emelie lives in Helsinki, Finland while Victor and Altaïr are both French. The result is a gathering of eclectic musicians, manufacturers of a freaky, explosive and sophisticated sound.

Signed to InsideOutMusic in 2023, the formation was previously featured as R3VO in Metal Hammer magazine, performed at Euroblast Festival 2023 and was notably approached by Trinity Music to open for Scottish band Vukovi.

The release of 3 additional singles will lead up to HOLOSOIL´s debut EP, out in 2026.

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Listen: ‘…(something) ruined’ by Foldhead vs Christopher Nosnibor

Posted: 6 July 2025 in Recommended Streams and Videos, Singles and EPs
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Foldhead had making noise for some time. Nosnibor had spent the last few months taking steps beyond the staid spoken word scene via a series of ‘versus’ collaborations with experimental artists in and around York. So when Foldhead put out a shout out on Facebook for a collaborator to provide vocals for a set he was booked for, Nosnibor’s name cropped up.

The pair met for the first time on the day. Consequently, no one knew what the fuck to expect, least of all the two guys plugging into the PA. In an instant, a ‘third mind’ moment occurred, yielding noise terror which was infinitely greater than the sum of the parts. In that moment, they knew that this had to be the start of something. And so it was that …(something) ruined was born.

This is a document of that first explosive coming together.

Recorded live at Chunk, Leeds, 1st March 2019.

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Lanna – Forever

Posted: 1 August 2024 in Reviews, Singles and EPs
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12th July 2024

James  Wells

This may be Lanna’s debut single, but she’s by no means new to the industry, and has featured a couple of times here at Aural Aggravation with her band Miss Kill, who have garnered some thumbs up for their feisty grungy / alt rock sound.

Initially, I felt a sense of disappointment, assuming – erroneously, as it turns out – that the duo had parting and would never fulfil the early promise and future potential. It came as a relief to discover that Miss Kill are thriving, and have an album out soon, but in the meantime, Alanna is launching a parallel solo career. It’s a twofer!

But what’s interesting about Lanna’s debut single is that while her bio indicates a continuation of Miss Kill’s energetic flight, their emotive grunge stylings, again referencing inspiration from ‘Alternative, Garage and Pop artists like The Kooks, Hole, Cherry Glazerr, Chris Isaak, Placebo & Pearl Jam’, this feels like quite a departure. The premise is that, ‘rather than whine about breakups and having your heart broken’, ‘Forever’ ‘is all about the amazing feeling you get when you’ve found your special one.’

But for a song that’s so much about an effervescent emotional state, it’s remarkably subdued, with a soft, delicate piano, introspective vocal and backed-off drums with a hushed rimshot keeping slow and steady time. It may be a million miles wide of the mark, but this debut sounds for all the world like Lanna is pining for the thing she’s lost, a sad celebration for the loss of a special one as she finds herself bereft and alone.

That doesn’t mean that ‘Forever’ isn’t true to those principles of grunge and alternative rock, but probably feels more like a mid-album slowie than a lead single, and is more Chris Isaak than Pearl Jam or Hole. Still, it’s a well-realised song with an emotional weight that’s conveyed with sincerity, and leaves many doors open for future releases.

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Learn to Surf – Coming Good

Posted: 7 February 2024 in Reviews, Singles and EPs
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12th January 2024

Christopher Nosnibor

Sometimes, a song has the capacity to make you feel different. I find this happens most often when it’s least expected. ‘Coming Good’, the debut release by Learn to Surf came particularly unexpected. It’s certainly not my usual kind of thing – but there’s just something about that melancholic, reverby picked guitar and the washes of rippling chords cascading down over the top, and there’s a nuanced complexity in the relationship between this, and the layered harmonies, which are imbued with a carefree dappled-haze chilledness with a twist of wistful pining that’s hard to really put a finger on.

Because all music is now a vast nexus of intertext and influence, unravelling or otherwise attempting to frame songs – and bands – in a clear and specific context is nigh on impossible, not least of all because so much context comes from within, from one’s own spheres of reference, and as culture has become increasingly fragmented, so our experiences and references lose the sense of universality they once would have had. Time was, when there were only four, or five, TV channels, the entire nation was glued to the same show at the same time, and the following day, everyone would be talking about that episode, even if it was only EastEnders. This was a time when the main way to access music was via the radio, and if you wanted to hear anything beyond the charts or the classics, you needed to tune into John Peel, or Annie Nightingale after the Top 40 on a Sunday night. How times have changed!

I digress, but for a purpose, insomuch as the more disparate our experiences and reference points become, the less relatable and relevant they become to anyone who doesn’t live inside your head. I spent an age wondering what it was about ‘Coming Good’ that sounded familiar, before eventually concluding that it was ‘Gentle is Her Touch’ by Post war Glamour Girls, and the Alt-country / Americana act Sons of Bill on their Cure-influenced last album Oh God, Ma’am. It would likely be more useful for a broader audience to draw comparisons to Ride, and note the jangly indie psychedelic aspects of what is an absolutely marvellous, goosebump-inducing song with ‘classic’ vibes radiating from it in every direction.

Eugene Dubon – Finish Line

Posted: 11 February 2023 in Albums
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Cruel Nature – 6th January 2023

Christopher Nosnibor

The blurb prepares us for what to expect by explaining that ‘Finish Line is the debut EP from Seattle ex-pat Eugene Dubon’ and promising ‘Seven tracks of rhythmic bass-heavy post-punk fuzz atmospherics, with Eugene’s musings on subjects such as the goldrush and clocks drolly delivered in a dead-pan style. Unapologetic and upfront.’

Only, it doesn’t fully prepare us, because Finish Line is quite extraordinary. In amongst the morass of post-punk-inspired bands and tunes, Finish Line stands out for actually living up to any hype.

The title track smashes it all together: a nonchalant, level spoken word piece is pitched against some layered guitar and swirling noise, but it’s the relentless hammer of the drum machine that defines the sound and sets the parameters for the EP’s six tracks.

‘Last Page’ has a different energy, with a piston-pumping mechanised drum – more Big Black than anything else – keeping things tight against a swirling array of guitar chimes and Dubon narrates from a point of clinical detachment, with ‘Cruising’ proving particularly punchy and percussion-led. And thinking as the album progresses, Dubon’s monotone vocal is more Steve Albini than anyone else: croaking, cool, sardonic, detached.

Dubon’s deadpan delivery renders this as much a set of spoken word backed by music, but it’s not easy to pitch anything overtly literary or spoken word. You kind of lose yourself to the point that the words drift away, the vocals becoming another instrument, and that’s largely on account of the sameness of the delivery, the flat, evenness of it all, his dry baritone isn’t given to variety of tone or pitch, but it very much works with his material.

Halfway through ‘State’, while revelling in the fractal guitars, it occurs to me just how much this calls to mind Kompromat, the most recent album by I Like Trains, and ‘Signpost’ built around a repetitive loop of programmed bass and drum sounds like Sleaford Mods on heavy tranquillisers., with haunting Cure-esque echoes drifting in and out to provide accent and detail.

Rounding off with the slow, gloomy, ‘Conversation With Jean Claude Batois’, we find Dubon wandering into territory that sits somewhere between The Doors and Beat Generation jazz-infused spoken word poetry. It’s not a race to the finish line, but a slow, smoky and soporific meandering towards it. But the change of tempo is well-times, after six back-to-back bangers propelled by piston-pumping beats and snaking chorus-coated basslines. And while Finish Line clearly does belong within that post-punk bracket, it also sets Eugene Dubon apart as having an individual take on the template.

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Distance H – Bitch 16

Posted: 13 May 2022 in Singles and EPs
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2nd May 2022

Christopher Nosnibor

‘Bitch 16’ is the debut single from French darkwave project Distance H. It was recorded in collaboration with Ophelia from Saigon Blue Rain, one of a number of female vocalists to feature on Distance H’s forthcoming EP, Intimacy.

It’s a deft slice of dark pop with both atmosphere and edge, not to mention hints of Garbage. And while not without hooks – it has plenty – it’s the atmosphere that stays with you, at least after the first listen, and it’s the vibe you want to revisit and which makes you hit repeat – and that urge to hit repeat is strong.

Propelled by an old-school drum machine sound, there are some retro drum fills that sound just a shade clunky against the austere, smooth-surfaced synths, but there’s a compelling urgency, and a certain sass about ‘Bitch 16’ as Ophelia’s vocals glide and soar – and yes, perhaps it’s something about the translation, as the band summarise that ‘Bitch 16’ is ‘in some ways opposed to Sweet 16 and its form of happy, carefree transition. When sweetness gives way to brutality; when detachment gives way to obsession, when desire gives way to disgust’.

These are strong emotions, and Distance H have distilled them into a taut four and a half minutes, making for a strong debut.

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