Witch Ripper enter epic storytelling mode with a track that’s got it all: ‘The Clock Queen’ is groovy, heavy and proggy, and serves as the next advance single from their forthcoming third album Through the Hourglass, which is scheduled for release on April 10, 2026.
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Witch Ripper comment: “’The Clock Queen’ is the best representation of Witch Ripper in its purest form: Heavy. Melodic. Progressive”, vocalist and guitarist Curtis Parker writes. “In our story, it represents the big reveal of who our antagonist meets in this world they’ve found themselves in. Throughout the album, we peppered in what we call "the clock queen’s theme,” a melody that sneaks its way into almost every song at some point. This song is the culmination of that tension and it’s when we finally meet the driving force of the album: The Clock Queen herself.”
Now in their twentieth year of uncompromising and mind-bending music, Gnod return with Chronicles of Gnowt Vol. 1, the first of a planned trilogy, to be released via Rocket Recordings on 10th April. Vol.2 should arrive in October and Vol. 3 in early 2027.
Today, they share another track from Vol 1 with ‘All Tunnel No Light’.
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“I am only interested in people engaged in a project of self-transformation,” Susan Sontag once remarked. Sontag never had the chance to work out how she felt about Gnod, given she sadly left this earthly realm in 2004. Yet Gnod’s now twenty year journey through spiritual and audial exploration has been nothing if not that. Driven by relentless curiosity, magpie irreverence and a fierce countercultural imperative, their project has always refused to acknowledge all or any rules and boundaries, internal or external.
The latest adventure of this band may never have been intended to celebrate their two-decade anniversary, but as long-time Gnod member Paddy Shine notes, they don’t always have a lot of say in these matters –“I know that we didn’t plan it this way but perhaps it was always in the plan and we just didn’t know it,” he notes cryptically. “I guess what I’m saying is that the Gnod thing seems to have its own energy now and certain things tend to take care of themselves”.
“We haven’t reflected too heavily on the twenty year mark and maybe we shouldn’t, but I’m glad we are marking it in true Gnod fashion by releasing too many albums” he laughs –indeed, what began as a trip into a residential studio setup in Hellfire Studios with producer John ‘Spud’ Murphy (Lankum, Black MIDI, Caroline) for six days resulted in more potent material than anyone bargained for.
“Working with Spud was probably the best studio experience we’ve had,” Paddy notes. “He was open to all our ideas, facilitated them the best he could and always had great suggestions. The vibe was right and things just flowed”. The end result has been three studio albums to be released over the next year. “This trilogy revealed itself to us in the studio,” says Paddy. “We were hoping to get a good album out of the session and lo and behold we got three of the fuckers. It’s interesting that we did pretty much capture the full spectrum of the Gnod sound across all three”.
SUNN O))) share the new track ‘Butch’s Guns,’ another standout from the band’s forthcoming eponymous album. The new song is available today on all streaming services.
Also today, SUNN O))) is announcing new summer headlining shows in the EU and UK beginning Tuesday, June 23rd in Zurich, CH at Rote Fabrik and currently running through Monday, July 6th + Tuesday, July 7th in Berlin, DE for a two-night stand at Silent Green Betonhalle. The tour will include stops in Belgium (Antwerp), the Netherlands (Amsterdam), Germany (Köln), and the UK (Bristol, Brighton, Liverpool, Leeds, Birmingham, and London). Additional live dates to be announced soon.
Tickets for the majority of these June and July shows go on sale Friday, February 20th at 10 am CET. Please find a current list of dates below.
SUNN O))) recently added shows to the band’s upcoming 2026 North American headline tour in support of the album. The tour will now include stops in San Francisco, Los Angeles, Dallas, New York, Denver, Boise, Seattle, and Portland (OR). Tickets for the North American shows below are on sale now.
North America, March/April 2026
Mon. Mar. 30 – San Francisco, CA – Regency Ballroom Tue. Mar. 31 – Los Angeles, CA – The United Theater on Broadway Wed. Apr. 01 – Phoenix, AZ – The Van Buren Fri. Apr. 03 – Dallas, TX – Trees Lounge Sat. Apr. 04 – Austin, TX – Emo’s Sun. Apr. 05 – Houston, TX – White Oak Music Hall Mon. Apr. 06 - New Orleans, LA – Civic Theatre Tue. Apr. 07 – Atlanta, GA – The Goat Farm Thu. Apr. 09 - Columbus, OH – The Bluestone Fri. Apr. 10 – Washington, DC – The Lincoln Theatre Sat. Apr. 11 – Philadelphia, PA – Union Transfer Sun. Apr. 12 – New York, NY – The Town Hall Mon. Apr. 13 – Montreal, QC – Le National Tue. Apr. 14 – Toronto, ON – 131 McCormack Thu. Apr. 16 – Chicago, IL – Salt Shed Sat. Apr. 18 - Iowa City, IA – Englert Theatre Sun. Apr. 19 – Omaha, NE – The Waiting Room Mon. Apr. 20 – Denver, CO – Ogden Theatre Wed. Apr. 22 – Boise, ID – Shrine Social Club Fri. Apr. 24 – Seattle, WA – Showbox (So Do) Sat. Apr. 25 – Portland, OR – Roseland
UK/EU, June/July 2026 – Just Announced
Tue. Jun. 23 – Zurich, CH – Rote Fabrik Wed. Jun. 24 – Antwerp, BE – Trix Thu. Jun. 25 – Amsterdam, NL – Paradiso Fri. Jun. 26 – Koln, DE – Essigfabrik Sun. Jun. 28 – Bristol, UK – Prospect Building Mon. Jun. 29 – Brighton, UK – Corn Exchange Tue. Jun. 30 – Liverpool, UK – The Dome Wed. Jul. 01 – Leeds, UK - Project House Thu. Jul. 02 – Birmingham, UK – 02 Institute Fri. Jul. 03 – London, UK – Troxy Mon. Jul. 06 – Berlin, DE – Silent Green Betonhalle Tue. Jul. 07 – Berlin, DE – Silent Green Betonhalle
A little over two years on from the short film, Mill Session, Abrasive Trees have made another leap in pairing with Argonauta Records, a label which specialises in stoner, doom, sludge, and post-metal, and have unveiled ‘Carved Skull’ as a taster for upcoming album Light Remaining.
At first glance, having been variously described as Post-Punk/Post-Rock/Post-Folk, Abrasive Trees are a strange fit for the label, but with this seven-and-a-half-minute epic, it makes sense.
The intro is a slow-build, with echoes of latter-day Swans in the insistent percussion, repetitive jangling guitar and wordless droning vocals which pave the way for a spectacular sustained crescendo which introduces the riff which provides the track’s recurrent motif, and it’s almost two minutes before we arrive at the lyrics, in which Matthew Rochford reflects on the times in which we find ourselves and yearns for something better – a return to, if not necessarily simpler times, then honesty and humanity.
Can we write a eulogy, for this current age?
And leave the lies behind
Our fears are carved upon our skull
Our pain marked on our skin
The undercurrents reach back into dark folk imagery, and this is mirrored in the sound, too. Sonically, it’s rich and layered, simultaneously weighty but uplifting – which is perhaps a foreshadwing of the album’s thematics as alluded to in the title Light Remaining, which implies looming darkness, and yet., still some light – light synonymous with hope. These are dark times. But we must have hope. Without hope, what do we have?
With ‘Carved Skull’, Abrasive Trees have conjured a big sound, as is befitting of a big tune, which is bold and impactful, and likely an indication of what’s to come.
Scotland’s ibex-obsessed blackened thrash bastards of Hades otherwise known as Hellripper are pleased to share another new song off their upcoming, fourth studio album Coronach, to be released worldwide on March 27th, 2026 via Century Media Records.
Check out the epic album’s title track ‘Coronach’ in a lyric video created by Irvan Dionisi / Theblackvisual.id here:
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Hellripper’s mastermind, guitarist/vocalist and songwriter James McBain checked in with the following comment about the upcoming album’s title track ‘Coronach’, which also closes the album:
“A coronach is a vocal lament traditionally performed at funerals in the Scottish highlands. Intertwined with my own words is the poem of the same name by Sir Walter Scott, which served as an inspiration for this story: the funeral of an ambivalent and mysterious figure, revered by his community for his heroic deeds but whose life hid many dark secrets. As well as lyrically, the track is also a musical experiment for me; it was primarily influenced by late 80’s thrash metal along with bands like Bathory, Gallowbraid and Atlantean Kodex. A dash of post-punk, a fair amount of Iron Maiden-style guitar harmonies, some classical references and the haunting wail of the bagpipes fading in the distance: this song feels like the perfect farewell to the album”.
Hellripper – Live:
SA 21.03.2026 Aalst (Belgium) – Oilsjt Omploft Festival
FR 27.03.2026 Glasgow (Scotland) – Garage *
SA 28.03.2026 Bern (Switzerland) – EmMetal Festival
FR 03.04.2026 Nottingham (England) – Saltbox **
SA 04.04.2026 London (England) – The Dome **
MO 06.04.2026 Utrecht (Netherlands) – De Helling ***
What do we know about In A House Of Heartbeats? Personally, nothing, and I can’t be alone in that, so will draw on the band’s bio to provide some necessary insight by way of an introduction: ‘Emerging from the shadows of Essex’s underground scene, instrumental trio In A House Of Heartbeats have been quietly sculpting soundtracks for euphoric nightmares since 2022. Their music, steeped in atmosphere and cinematic tension, walks the line between dream and dread, an ever-shifting blend of post-rock, doom, goth, and shoegaze, filtered through inspirations that reach far beyond the musical world.
‘From arthouse cinema and silent film to folklore, myth, and the murky corners of the subconscious, the band construct deeply absorbing sonic “journeys” rather than conventional songs. It’s a style that encourages deep listening: passages unfold with deliberate patience, building from whispered ambience to tectonic weight, always leading the listener somewhere unexpected.’
They pack pretty much every musical aspect of their broad range into the album’s first track, the behemoth that is ‘In a Perpetual State of Wonder’. A hiss yields to a drone before a colossal riff and soaring lead guitar crash in on a surge of powerfully atmospheric post-metal portent… and that’s just the first minute and a half. Spindly gothy guitars weave spidery webs over rolling tribal beats before the next round of the riff. Towards the end, the pace picks up, and drags the listener headlong into a thrumming tremolo-driven blast that’s like a black metal My Bloody Valentine. I went for a seven-mile walk this morning, and it took me just over two hours but it was nowhere near as mentally and physically intense or exhausting as this eleven-minute blizzard of guitars.
Next up, ‘Cambion’, which first surfaced back in December 2024, is altogether more sedate, at least initially, with a chiming, almost folk-infused prog-flavoured intro creating a calmness before the inevitable storm which pounds in with a sustained post-rock crescendo before things get heavier… and heavier. The level of detail, the attention to texture and the frequent twists and turns make this feel like an entire album compressed into a single – albeit lengthy – track. Along the way, chunky bass rips and guitars chime and soar, and I find myself thinking I must be into the next track, but no.
The sample-laden post-rock drift of ‘Parasomniac’ (that would be someone who suffers from the effects of ‘a category of sleep disorders that involve abnormal movements, behaviours, emotions, perceptions, and dreams that occur while falling asleep, sleeping, between sleep stages, or during arousal from sleep’ (according to Wikipedia)) is reminiscent of Maybeshewill, and provides a welcome interlude between the epics before ‘Oneiromancy for Beginners’ lands with the gutsy punch of Andsoiwatchyoufromafar – surely one of the most remarkable and potent riff-driven acts to have emerged from the early noughties post-rock scene. This is a band bursting with ideas and bursting with energy.
The final two pieces, in combination, form a whole, as the Shakespeare-referencing titles suggest: ‘Drift into Sleep…’ bleeds into ‘…Perchance to Dream’, with its title casting a reference to Hamlet, to forge a twelve-minute opus that begins with a ticking clock and a sample from a guided meditation recording which is almost a carbon copy of a recording used for Cognitive Behavioural Therapy (CBT). It’s likely uncomfortable for anyone who’s been through it, and I find myself squirming through the juxtaposition of soothing, flat vocals and churning noise, but suspect that’s part of the objective here. It’s disorientating and challenging, the second part conjuring atmospheric distortion and endless space with ambient tones and bold sonic washes, before slowly strolling towards an immaculate conclusion, defined by a smooth, swirling climax.
Divination of Dreams certainly delivers on the promise of ‘an ever-shifting blend of post-rock, doom, goth, and shoegaze, filtered through inspirations that reach far beyond the musical world’, and it would be impossible to deny that the end result more than achieves the ambition. Everything about Divination of Dreams is immense, from its ambition to its overwhelming listening experience. It simply covers so much ground – and does so with a rare confidence and finesse. It’s a rare beast, and a spectacular work.
Artisans of a sound that is at once massive and delicate, French prog-rock collective HamaSaari return this January with their long-awaited new album, Pictures, set to be released on January 23rd via Klonosphere.
Just recently, the band have unveiled a new video for the haunting track ‘Frames’, featuring guest vocals from Christelle Ratri, offering a first glimpse into the record’s thematic heart.
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Rooted in modern progressive rock and drawing inspiration from the likes of Pink Floyd, Porcupine Tree, and Karnivool, HamaSaari craft music that is rich in atmosphere, emotional depth, and cinematic movement. Born from the ashes of their former project Shuffle, the band embraced a more serene and melancholic identity, allowing their sound to unfold like a stormy ritual, dark clouds, falling rain, and slowly emerging light.
Their 2023 debut album Ineffable introduced this balance with striking clarity: delicate yet powerful compositions flowing through shifting shades of darkness and color, built on organic interplay between polyrhythmic bass and drums, reverb-soaked guitars, and a clear, expressive vocal presence.
Now, nearly three years later, Pictures picks up where that journey left off and expands it into a fully realized conceptual statement. The album explores images, paintings, and dimensions, what we choose to frame, conceal, or confront. Inspired by myths, ancient civilizations, dreams, reality, and fiction, Pictures reflects on belief systems, fears, desires, and the fundamental questions that shape the human experience.
The newly released video for ‘Frames’ (feat. Christelle Ratri) embodies this vision beautifully, pairing HamaSaari’s cinematic progression with an added layer of emotional intimacy and vulnerability.
Following the release of Pictures, HamaSaari will take the album to the stage with an extensive European tour throughout spring and summer 2026. The tour will see the band bringing their captivating, emotionally charged live show to clubs and festivals across France, Germany, Spain, and the UK, culminating in major festival appearances later in the year.
HamaSaari – Pictures EU Tour 2026 (selected dates):
• March 12 – Le Mans (FR) – Le Bar’ouf • March 19 – Lyon (FR) – Rock ’n Eat • March 21 – Stuttgart (DE) – Club Zentral • March 22 – Munich (DE) – Substanz • March 24 – Kronach (DE) – Kulturclub Kronach • March 27 – Kleve (DE) – Radhaus • April 10 – Perpignan (FR) – L’Anthropo • April 11 – Zaragoza (ES) – Sala Creedence • April 12 – Badalona (ES) – Estraperlo – Club del Ritme • April 17 – Murcia (ES) – Sala Revólver • April 18 – Málaga (ES) – ZZ Pub • April 21 – Coslada (ES) – The RockLab • April 22 – Ponferrada (ES) – Sala La Vaca • April 24 – Tolosa (ES) – Bonberenea
Festival appearances:
• July 4 – Woodbunge Festival (DE) • July 18 – Prog For Peart – Abingdon (UK) • July 25 – Rhine Entertainment Festival – Xanten (DE)
Foetus has unveiled the first material from the forthcoming final album. When JG Thirlwell told us at Aural Agravationit was going to be ‘epic’, he wasn’t kidding. AS if we ever thought he might have been.
‘Succulence’ is featured on the imminent new Foetus album HALT. All instruments on this track played by JG Thirlwell except drums, which are played by Brian Chase of Yeah Yeah Yeahs. Play it LOUD!
Since relocating to Glasgow, Teleost have been forging ahead, first with the release of the Three Originals EP at the start of the year, and now, bookending 2025 – which has seen the duo venturing out live more often – with their full-length debut. And it’s definitely got length: five tracks spanning a full fifty minutes. But it’s got girth, too. Atavism is everything they promised from their early shows – amplified. In every way. With five tracks, and a running time of some fifty minutes, Teleost have really explored the epic space they conjure with their monolithic, crawling riffery, pushing out further than ever before – and with more gear than ever before.
Despite there only being two of them, you have to wonder how they fit all that kit into a studio, let alone a van. They’re not quite at the point of Stephen O’Malley – who had to play to the edge of the stage at the Brudenell when playing solo in Leeds some years ago because the backline barely fit – but at the rate they’re amassing equipment, it’s probably only a matter of time. But this isn’t the accumulation of stuff for the sake of it: this is a band obsessed with perfecting its sound, and then going beyond and taking it to the next level. Volume is integral to that, in the way that it is for Sunn O))) and Swans – and again, not for its own sake, but for the purpose of rendering the sound a physical, multisensory experience. And also because volume facilitates the creation of tones and frequencies simply not possible at lower volumes.
The challenge for any band who rely on these quite specific conditions live is to recreate not only the sound, but the sensory experience, the full impact, when recorded. Recording compresses, diminishes, boxes in and packages something immense, compacting it to something… contained, confined, in a way that a live show simply isn’t. Live, there is movement, there is the air displaced from the speakers, there are vibrations, there is an immediacy and margin for error, all of which are absent from that ‘definitive’ documented version.
‘Volcano’ conjures atmosphere in spades, a whistling wind and tinkling cymbals delicately hover around a softly-picked intro, before a minute or so in, BAM! The pedals go on and the riff lands, and hard – as do the drums. Slow, deliberate, atomic detonations which punctuate the laval sludge of the guitar, which brings enough low-end distortion to bury an entire empire. The vocals are way down in the mix and bathed in reverb, becoming another instrument rather than a focal point. The pulverizing weight suddenly takes an explosive turn for the heavier around the mid-point, and you begin to fear for your speakers. How is this even possible? They do pair it back in the final minutes, and venture into the earthy, atmospheric, timbre-led meanderings of Neurosis. By way of an opening, this twelve minute track is beyond monumental.
They may have accelerated their work rate, but certainly not the tempos of their tunes: ‘Bari’ – which may or may not hark back to the band’s genesis, when they performed as Uncle Bari – rides in on a wall of feedback and then grinds low and slow. They really take their time here, with ten full minutes of jarring, jolting riffery that’s as dense as osmium. Turn it u and you can feel the hairs in your ears quiver and your cells begin to vibrate.
Where Teleost stand apart from other purveyors of slow, droning doom is in their attention to those textures which are grainy, thick, and each chord stroke hits like a tsunami making land reach, a full body blow that almost knocks you off your feet.
But for all of the annihilative volume and organ-bursting weight, Atavism is not an angry or remotely violent record: these are compositions concerned with a transcendent escape, and this is nowhere more apparent than on the mid-album mellow-out, ‘Life’, which offers strong parallels to more recent Earth releases. A slow, hypnotic guitar motif is carried by rolling cymbal-dominated drums. I find myself yawning, not through boredom, but relaxation – until four and a half minutes in when they bring the noise once more, and do so with the most devastating force.
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Penultimate track, ‘Djinn’ is contemplative, reflective at first and then goes on an all-out blow-out, seemingly more intense and more explosive than anything before it. While growling droning rumbling is the album’s defining feature, there does very much feel like there’s an arc of growing intensity over its course. Here, the vocals feel more skywardly-tilted, more uplifting in their aim to escape from the planet, and closer, ‘Canyon’ returns to the mesmeric, slow-creeping Earth-like explorations before slamming all the needles into the red. The result is twelve minutes of magnificent calm juxtaposed with earth-shattering riff heaven.
The fidelity is fantastic, the perfect realisation of their head-blastingly huge live sound captured. The chug and trudge cuts through with a ribcage-rattling density, and there is nothing else but this in your head. You mind is empty, all other thought blown away. It’s a perfect escape. And this is – at least in its field – a perfect album.
Minsk, Belarus-based alternative metal act Mission Jupiter have recently issued Aftermath, their third album but first with powerhouse new singer Kate Varsak, whose voice is suited perfectly to a set of epic, drama-packed songs that should see the group achieve lift-off far beyond their home territory.
Describing the song’s meaning, the group explain that “it asks if we can be less selfish. Most of us tend not to look beyond our own doorstep….can we be better?”
Aftermath contains ten superbly produced songs in all. Fans of alternative and hard rock, progressive rock, metal and even Eurovision-esque crossover rock (on ‘Jak Spyniajecca Bol’, recorded in the group’s mother tongue and translated as ‘How The Pain Stops’) will be wowed by Mission Jupiter’s new songs, which combine sounds, moods and melodies wrapped around a stunning voice to leave listeners breathless.
Aural Aggravation 