Deeply rooted in industrial experimentation and the rawness of black metal, French avant-garde collective Non Serviam have forged a singular style that blurs the boundaries between extreme genres while preserving their intensity through a radical and uncompromising artistic approach.
The collective now announces their third full-length album, La Lune Dont Mon Âme Est Pleine, set to be released on June 12 through a new alliance between Non Serviam and Lay Bare Recordings. Alongside the announcement, the band unveil the video for the new track ‘Abject Sacrifice’.
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Five years after Le Cœur Bat (2021), and more than a decade after Un Petit peu d’amour Pour la Haine, this new album stands as a major step forward in the band’s evolution. After a prolific run of EPs, splits, and mini-albums, Non Serviam return with a full-length work that pushes further the sonic and aesthetic direction unveiled on Le Cœur Bat, now refined through experimentation and artistic evolution.
La Lune Dont Mon Âme Est Pleine is a symbolist concept album centered on the myth of Diana and Actaeon, exploring themes of the desire for the absolute, the violence it engenders, and the melancholy that follows. These ideas permeate the album’s compositions, shaping both the music and the lyrical narratives. Beyond the metamorphosed and tormented figure of Actaeon, the album also draws on historical and mythological figures such as Émile Henry, the late-19th-century French anarchist, and the apocalyptic goddess Kali, invoked through a powerful vocal appearance by Mirai Kawashima (Sigh).
With La Lune Dont Mon Âme Est Pleine, Non Serviam continue their artistic trajectory, delivering a work that is ambitious, confrontational, and emotionally intense, further pushing the boundaries between extreme music, experimental composition, and avant-garde art.
ARROGANZ reveal the next advance single ‘Under Scarred Skin’ taken from the forthcoming new album Death Doom Punks in the shape of an eruptive music video. The seventh full-length of the German death doom punks has been slated for release on May 15, 2026.
ARROGANZ comment: “In terms of the music, this song is not just a tribute to such legends as Carcass, Dying Fetus, Six Feet Under, and even Slayer – it is also a further proof that funky basslines work exceedingly well in death metal”, frontman -K- explains on behalf of the trio. “You want to have groove, feeling, and brutality all in one song? Here you go! Regarding the lyrics, well, you’ll be happy to read that they will drown you in utter despair. Enjoy!”
Iconic Norwegian artist MORTIIS presents the the stunning music video ‘Ghosts of Europa’. This is also the title track (feat. vocals of Sarah Jezebel Deva (The Kovenant, Cradle of Filth, et al.) and Laurie Ann Haus (Blizzard Games, Todesbonden) as well as additional synths and sequencers from Tangerine Dream’s Thorsten Quaeschning) and first advance single taken from his upcoming new full-length.
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MORTIIS comments on ‘Ghosts of Europa’: “This song has tried many shapes and forms, until it finally sort of found itself”, the Norwegian writes. “I never thought that it would end up this way. Strange, mysterious, and choral. It started out as a simple thing, a different song, with a different title, which got slowly de-constructed and altered. This did not happen due to dissatisfaction with the original, but because layers of new ideas appeared. As excited as I am about this new ‘entity’ and the way it shaped up, the title, that has already been in existence for years, feels slightly, and sadly, prophetic – although that was never my intention.”
The heat is on: Rome’s skygazers KLIMT 1918 reveal the sun-drenched music video ‘Dream Core’ as the first advance single taken from the forthcoming new full-length Àmor. The beloved Italians’ fifth album has been chalked up for release on June 12, 2026.
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KLIMT 1918 comment: “The song ‘Dream Core’ revolves around resilience, strength, and the ability to overcome life’s adversities”, frontman Marco Soellner explains. “We dedicate this track to those who choose to love despite everything. To those who believe that a song can trigger the will to change. To those who feel like a storm about to break over a sun-scorched desert.”
The burning pulse of the sun’s nuclear fire scorching the desert. The smooth sliding of glistening skin over other skin in a throbbing rhythm. The swelling hum of motion in a mass of bodies. KLIMT 1918 capture many such fleeting moments in time and preserve them through cascading walls of sound and the elegant drone of guitars.
The Italian’s fifth album, Àmor, represents a climax of their acclaimed previous work into a most melancholic, sensual, and majestic collection of captivating music. Àmor was born out of silence, solitude and social distancing. Yet as a deliberate artistic counterpoint, KLIMT 1918 decided to have all their new songs revolve around carnality, ardour, physical contact between bodies, and the urgent, compelling feelings that keep people awake at night.
With Àmor, KLIMT 1918 also take another step in the steady evolution of their sound. The influences of avant-garde metal have been dwindling from the start while darkwave and alternative rock rapidly grew stronger in the music of the Italians. Post-rock plays a strong role in their latest development but instead of shyly narrowing their perspective down by gazing at their shoes, KLIMT 1918 dream with open eyes, looking up above the horizon and into the sky.
KLIMT 1918 emerged from the ashes of a metal band in 1999 when the brothers Marco and Paolo Soellner rather chose to take fresh inspiration from such acts as BAUHAUS, THE CURE, and JOY DIVISION. This was also indicated by their new band’s name, which alludes to the Austrian symbolist painter and Art Nouveau pioneer Gustav Klimt, who died in 1918 while the Great War was still raging. The debut album of the Romans, Undressed Momento, arrived in 2003 and its dark emotionality immediately garnered high praise from critics and fans alike all over Europe.
Founded by vocalist/guitarist Finnegan Bell, Love Ghost is an enigmatic Los Angeles-based act known for its distinctive blend of grunge, indie/alt-rock, emo, metal and trap rock coupled with mature, poetic lyrics. Their raw, energetic sound has earned numerous plaudits, while a series of collaborations with a wide variety of other artists have broadened the group’s cross-genre appeal.
Their version of ‘Rock Me Amadeus’, a global smash hit in 1986 for the Austrian musician Falco, is available as a single now. Turning the classic yet fun song into something darker with an industrial rock flair while preserving the pop brilliance of the original version, it is a must hear for any fan of Rammstein or Marilyn Manson.
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Founded by vocalist/guitarist Finnegan Bell, Love Ghost is an enigmatic Los Angeles-based act known for its distinctive blend of grunge, indie/alt-rock, emo, metal and trap rock coupled with mature, poetic lyrics. Their raw, energetic sound has earned numerous plaudits, while a series of collaborations with a wide variety of other artists have broadened the group’s cross-genre appeal.
The song is the second to be lifted from ‘Anarchy and Ashes’, a new EP out on 27th March. It follows ‘Vengeance’, an uptempo hard rock track with an anthemic quality released in mid-January, the music video for which has already racked up almost 300,000 YouTube plays.
Following the success of their debut single Bad Odour, Hull’s explosive punk outfit Culture Clash return with the dramatic new single Sanitizer inspired by 70s & 80s slasher horror movies like Halloween (1978), Friday the 13th (1980), Basket Case (1982) & Maniac (1990).
Produced by renowned local indie producer Adam Pattrick & released on Warren Records, the track follows a serial killer called “The Cleaner”, a school janitor who, having been driven mad by years of messy teenagers, kills anyone who doesn’t clean up after themselves. With this song, the band were keen to create something grungier & heavier than their normal punk sound, which was initially inspired by Nirvana’s album Bleach, with songs like Swap meet & Floyd the Barber being a key focus, as well as The Misfits, with its horror-based theme.
Vocalist Kaii states “This song is important to me as it represents a shift in our song writing format. ‘Sanitizer’ takes Culture Clash as a group of vague floating ideas & shoves those ideas into a bag creating a tight concept of what we are as a band & what we want to do – in short, it gave us a sense of direction”.
The video’s a direct homage to various horror movies & follows the band being murdered by The Cleaner for various crimes against cleanliness! The deaths are mainly carried out practically with real fake blood & each is a reference to a different horror movie – Rymer’s death relates to The Evil Dead 2 (1987) with lots of blood, intense camera movements & facial expressions, Freddie’s death is a homage to Psycho (1960) with him being killed in the shower & Kaii’s death is inspired by Death Becomes Her (1992) as he gets a hole cut through his torso.
Comprising of Kaii Boulton (guitar, vocals), Freddie Abbott (bass, guitar, BVs) & James Rymer (drums, BVs), Culture Clash describe themselves as a three-piece noise making machine that mixes various musical influences with a big serving of distortion in a witch’s cauldron, who then serve it up straight to their audience. They focus on mixing many elements from their influences (The Misfits, Green Day, My Chemical Romance, Nirvana, Bikini Kill, Smashing Pumpkins, Weezer, Pixies, The Cure & Talking Heads) to tell a narrative that they hope people will relate to.
According to Kaii, Culture Clash exists as a band because “the sky looked nice one day” & he thought it would make a good album cover! Having spent 30% of an early recording session talking with their producer about Star Wars (a mistake they will not be repeating), this determined group have learnt from their mistakes! Headlining gigs in their local area during 2025, Culture Clash are definitely on the rise. Be sure to keep up ….
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.
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.
RESURRECTED unleash the music video ‘Sanity Is Lost’ as the first advance single taken from their forthcoming new album Perpetual. The eighth full-length of the German death metal veterans has been scheduled for release on April 10, 2026.
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RESURRECTED comment: “The first single track, ‘Sanity Is Lost’, delivers a crushing mid-tempo assault rooted deep in the old school death metal tradition”, drummer Dennis Thiele writes. “It is driven by filthy grooves, dense riffing, and relentless heaviness. We are channelling the raw brutality of classic Cannibal Corpse–era death metal. At this song’s midpoint, the pace accelerates into a violent outburst that pushes intensity to breaking point. It is a merciless reminder that once the momentum hits, sanity is truly lost.”
The video is inspired by Germany’s most catastrophic mining disaster: On February 20, 1946, shortly after noon, a methane explosion ignited an even bigger coal dust detonation in the mine Zeche Monopol Schacht Grimberg 3/4. 405 miners, personnel, and three British officers of the North German Coal Control perished in the massive detonation underground. While the reason for the initial gas ignition remains unknown, lax post-war security standards are generally blamed. The so-called Myth of Grimberg remains as a deep scar in the collective memory of the Ruhr Area.
Sky Valley Mistress continue the countdown to the release of their second album Luna Mausoleum, that is due to land on Friday 23rd January 2026 (New Heavy Sounds).
Intended to be the soundtrack of their Hearsecraft ride to the moon, Pilot Kayley “Hell Kitten” Davies and Commander Max “Leather Messiah” Newsome launch you into the Sonic Stratosphere with an audio journey fuelled by 70’s hard rock, driven off the road to a fresh new destination.
Today sees the release of the official video for previous single ’Too Many Ghosts’, a song which, according to the band, “is meant for the open highway. Somewhere you have the freedom to put your foot down and still feel like you’re cruising”.
Watch the video now, which stars the band and the hearse they drive around in on tour known as ’Thundertaker’:
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In a brief glimpse behind the curtain, the band have also shared the details and dangers behind the making of ’Too Many Ghosts’.
"The story behind making the music video for Too Many Ghosts is that it took five separate weekends to shoot with us only managing to actually record any footage during the last day. The reasons for the failed recording days were:
– A car full of drugs dealers moving us on from location and ‘politely’ requesting that we don’t return
– The power generator for the lights being faulty followed by torrential rain
– Our videographer realising he had forgot his memory card after driving 90 mins to location followed by the hearse breaking down due to a broken fan belt
– Kayley’s astrosuit zip breaking after shooting one take
The hearse battery also died moments after we finished filming, which meant I (Max) was left alone in the middle of Slaidburn Moors at the dead of night in a hearse with no power or heating (it was fucking COLD) for a few hours whilst I waited for a recovery vehicle and Kayley to return from driving our videographer home in the other car.
This video started the band’s catch phrase of ‘the curse of the hearse’ that we use any time something goes wrong, which it does. A lot."
New album Luna Mausoleum takes you through desert rock grooves and mountainous riffs, you are guided by Kayley’s soulfully smoked voice and her range of soaring, delicate, yearning and understated melodies as the band ride peaks and valleys of dynamics and pace with an eclectic selection of instrumentation of fuzz guitars, organs, real orchestras and a children’s choir.
Twisting influences of Queens of the Stone Age with Portishead and turning from Spiritualised-sized gospel choruses to the gallow heavy swing of Black Sabbath, with sound as fast as light they move between their influential orbit to create a modern classic that is entirely their own. There isn’t space in this genre the band haven’t explored. This is a demonstration of their refusal to wait for permission to create a record that stands in scale with some of the most monumental albums in rock.
The band’s statement on their intent behind creating Luna Mausoleum was that it should be “greater and beyond all reason”.
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Sky Valley Mistress live:
The band who has one member play every instrument so that they sound like a four piece in the studio, defy logic with aspiration with their iconic live show as a Duel-Drumming Duo. Vocalist Kayley “Hell Kitten” Davies takes the sticks and one half of a drum kit whilst original drummer Max “Leather Messiah” Newsome battles the electric guitar with the kick drum under his foot. No samples. No backing tracks. No click tracks. No one is playing rock and roll the ways these two do.
Sky Valley Mistress will be performing at a number of live in-store shows this month.
Aural Aggravation 