‘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.
’I Choose Violence’ is the first single from a forthcoming new album by the cult US act Psyclon Nine. Melding elements of Industrial Rock, Metal, Deathcore, Ambient and Trap, band mastermind Nero Bellum states: “I specifically set out to break as many genre limitations as possible with this song, while staying true to the concepts and imagery that Psyclon Nine evokes. Lyrically, it’s a reflection of the world we live in. An anthem for the unseen and unheard.”
Listen here:
AA
Psyclon Nine will headline a 22 date North American ‘Devils Work’ tour commencing on 31st January 2025, while there are plans to tour Europe later in the year.
Industrial rock band, HEAVENLY TRIP TO HELL has just unleashed their ferocious new single & video, ‘Millions Of Flowers’.
Drawing inspiration from the darker side of the rock and roll lifestyle, the band’s new single, ‘Millions Of Flowers’ is an unflinching exploration of real stories and tragedies. “Rock and roll can be really dangerous,” the band explains. “No money, fast drugs, fast women, fast death. These songs reflect that reality.”
This fast-paced, hard-hitting track dives deep into the gritty realities of life, bringing forth an uncompromising hardcore energy that fans have come to expect. Prepare for a journey into the depths of sound and storytelling with ‘Millions of Flowers.’
Check it here:
AA
Emerging from the sun-soaked chaos of Long Beach, California, Industrial Metal band, HEAVENLY TRIP TO HELL embodies the raw essence and palpable danger of rock and roll. With unforgettable performances—including most recently sharing the stage with Guns N’ Roses, Billy Idol, Slipknot, Muse, and Helloween At The Hell in addition to the festivals, Heaven Music Festival—one of the world’s biggest metal festivals in Mexico, HEAVENLY TRIP TO HELL continues to make their mark in the heavy music scene.
HEAVENLY TRIP TO HELL’s relentless dedication to their craft has allowed them to share stages with legends such as The Dead Kennedys, Soulfly, Body Count, Transmetal, L.A. Guns, Bang Tango, and Too Short. Their music has even made waves in the documentary, Road Dogs, which chronicled the wild adventures of extreme L.A. bands over four years of touring.
Starting out with dreams of the road band life, HEAVENLY TRIP TO HELL quickly learned that true evolution came from hitting the pavement. With thousands of gigs under their belts—alongside festival appearances—they’ve honed a sound that resonates with audiences nationwide.
Looking ahead, the band is set to embark on a new tour with a setlist that promises a mix of fresh tracks and fan favorites. Fans can catch them live and experience the electrifying energy that has captivated audiences from coast to coast.
HEAVENLY TRIP TO HELL band consists of lead singer, Gerardo Christ, Sergio Natas on bass, Vicky Vicious on keyboards, Kurt Thompson on lead guitar, Frank Transer on rhythm guitar and Jose Soto on drums.
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.
AA
Áron Siegler by Evelina Kloimova