Swedish forest rockers BESVÄRJELSEN drop the first advance single from their third album Till Glömskan Ad Oblivionem (Swedish and Latin for: "Into Oblivion"), accompanied by a slightly disturbing music video ‘Didn’t Come to Party’ about that guy, the one nobody ever wants at their social gathering.
BESVÄRJELSEN comment: “There’s a scene in the Titanic movie that has always stayed with me, when the musicians keep playing as everything falls apart around them”, vocalist Lea Amling Alazam muses. “This is one of my all-time favorite moments in cinema, because it captures something important about music: the devotion, the need to create, and to hold onto something beautiful, even in the face of disaster. Like, we’re literally going under, but hey, let’s play. Dance to the sirens. In this day and age, it’s hard not to be affected by the chaos of the world. ‘Didn’t Come to Party’ is not a political statement but rather a cry of frustration. We’re living on this incredible planet, so why are we destroying it? Why war, why poverty, why harm the most vulnerable, when we have the resources to make life better for everyone? This quite reminds me of people who show up to parties just to ruin it for everyone else. Why is there such a drive to hurt, to dominate, to tear things apart in the pursuit of power? It’s senseless.”
Till Glömskan Ad Oblivionem is scheduled for release on August 28, 2026.
Neo Dimes, the musical identity of Denver-based musician Stephen Edmunds, has released the debut album Alone, available on vinyl, cassette, and digital platforms as of 19 May 2026. The music video for ‘Trigger,’ directed by Ty Borkowski, is also now streaming, bringing the song’s themes of isolation, shame, and emotional fracture into stark visual form.
Media outlets like Discipline Mag and Post-Punk.com consider Neo Dimes an artist unafraid to tackle the social ills of the digital age with both sonic innovation and lyrical directness. Reflecting that, his debut full length Alone stands as much a critique of music consumption as it is a sonic statement. Physical copies (vinyl and cassette) of Alone was made available ahead of its digital release, pushing back against the industry’s usual consumption model.
“A song chronicling my lifelong fear of being alone,” says Stephen of the song ‘Trigger.’ “Alcohol is the trigger that brings on all kinds of other issues (addiction, anxiety, depression, suicidal ideation) but all of that pales in comparison to how terrifying loneliness and both physical and emotional isolation is to me.”
Speaking about the album as a whole, he shares: “The album concept and the release itself is a fuck you to the tech overlords and the world they have foisted on all of us.”
Mirror of My Soul, the solo project of Patrik Andersson Winberg (Dun Ringill, ex-The Order of Israfel, Doomdogs), has just shared a new video for ‘The One Who Sings The Songs’, the latest single taken from the forthcoming debut album October is Rising, due out June 12 via Majestic Mountain Records.
Describing the track, Winberg states: “A song for the unseen. A voice for the unheard. What if music could carry more than melody? What if a song could feel your sorrow, walk beside your struggle, and remind you that love still speaks louder than fear? ‘The One Who Sings The Songs’ is more than a track, it’s a moving anthem of compassion, resilience, and shared humanity. Inspired by those fighting invisible battles, it speaks for the voiceless, stands with the fallen, and offers hope to every soul still searching. With raw, heartfelt lyrics on empathy, strength, and the courage to keep going, this is music that lingers long after the last note. For the dreamers. For the survivors. For anyone learning how to love again. Join the song. Feel the story. Become part of something bigger.”
With deeply emotional lyrics and a powerful sense of empathy, the track stands as an anthem for anyone navigating loss, struggle, or personal transformation. It is a reminder that even in our darkest moments, connection remains possible and love can still be found amid uncertainty.
What happens when the release of a band’s debut exceeds their wildest dreams of what’s possible? 12 months ago, Cwfen (pronounced ‘Coven’) released their first album, Sorrows, which emerged from attempts to demo some material at a friend’s studio in a remote Scottish farmhouse. The results received unexpected and widespread acclaim, enjoying glowing reviews in the heavy music press (Metal Hammer, Kerrang!) and featuring in album of the year lists at the close of 2025.
Fast forward 12 months and the band have toured extensively with Paradise Lost and Faetooth, and played countless festival stages, crushing audiences and gaining new fans with consistently powerful performances of the Sorrows material.
This journey is captured beautifully in the form of a new video for the song ‘Whispers’, perhaps the most gut-wrenching and dynamic track from the band’s debut. Juxtaposing the stunning landscapes of northern Europe in winter shot from Cwfen’s tour van, with footage of the band’s dynamic live performances across Finland, Norway, Sweden, Denmark and Ireland, the Whispers video shows the band doing exactly what they love – presenting their songs to wrapt audiences while they reach new musical and emotional heights. Shot and edited by Amy Greenbank, the video shows the band at their very best.
The release of the ‘Whispers’ video is accompanied by specially designed ‘Whispers’ merchandise, which comes with previously unheard live and studio recordings of the song.
‘Hell, they were great before. Now they’re on another level.’ Out of Rage, review of Cwfen at Desertfest 2026.
Lead vocalist and guitarist Agnes Alder said:
"It’s taken a while to feel comfortable releasing Whispers as its own thing. The song itself, lyrically, came from a very personal place, in contrast to the broader themes elsewhere on the record. This, for me, is a song that cuts right to the bone; it might not be too obvious in the lyrics themselves, but it’s taken a year of seeing the fans respond to it, watching it become one of their favourites, to really have the courage and the confidence to give it some of the love it deserves.
The screams weren’t planned. They weren’t on the first version, but when we went back into the studio after a few weeks, that’s what had to come out, so what you hear in this song is the depth of that feeling. It’s one of the most cathartic, tender, and ultimately visceral songs on the album, and deciding to release it now feels like the acceptance of a direction in my songwriting that I feel ready to explore on the next record.
We were so lucky that our Creative Scotland funding allowed us to take this tour and to bring Amy Greenbank with us. We got to work with an incredibly talented videographer, and we made a friend for life. She’s someone who will always be part of the Cwfen family. We made incredible memories on this tour and it’s so lovely to see some of them here.’"
Guitarist Guy DeNuit had this to say:
"Following an unexpectedly busy and wonderful 12 months since the release of Sorrows, we’re proud to share our new video for ‘Whispers’. This song has become a live favourite with the band and audiences, and we are so fortunate to have had this documented and beautifully presented by our videographer and dear friend, Amy Greenbank.”
Watch the video now:
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Forthcoming shows:
Wed 10th June – Download Festival, Donington, UK
Sat 6th July – Resurrection Fest, Galacia, Spain
Sun 16th Aug – Dynamo Metalfest, Eindhoven, Netherlands
The darkwave/synthpop project MEERSEIN, brainchild of the Oldenburg-based artist and radio presenter Jan Schütz, has released a lyric video for ‘Faultless Deep,’ taken from the artist’s new EP Ocean available as digifile/digital from April 10th.
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‘Faultless Deep’ is one of the most emotionally intense and musically sophisticated songs by MEERSEIN. Blending haunting melodies with atmospheric depth, the track unfolds as a powerful ballad that balances accessibility with artistic complexity. Layered harmonies, subtle dynamic shifts, and an almost imperceptible tempo change in the bridge create a listening experience that grows more profound with every repetition.
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Inspired by the ecological vision of Frank Schätzing’s The Swarm, ‘Faultless Deep’ explores humanity’s fragile relationship with nature and the illusion of control over forces far greater than itself. Through poetic imagery, the song portrays the ocean as a conscious presence – both witness and response to human arrogance, environmental destruction, and collective denial. Images of fractured coral, collapsing structures, and awakening depths reveal a world confronting the consequences it has long ignored.
With MEERSEIN, a solo project rooted deeply in emotional honesty and atmospheric synth pop, the German artist has carved out a space where music becomes a personal refuge. Strongly inspired by the sea as both a physical place and a spiritual force, MEERSEIN’s work is shaped by moments of retreat, reflection, and reconnection with himself. Many of his songs are born near water, where the noise of everyday life fades and clarity returns.
Industrial rock band, HEAVENLY TRIP TO HELL has just unleashed their newest single & video for the song, ‘Yo No Quiero Ir Al Cielo,’ recorded by Addasi Addasi at Fuel Music Studios.
Lead Vocalist G Christ explains the heart behind the track: “The song was inspired by the fact that we do not want to go to heaven where certain people can’t get in, I want to go to a heaven where everyone gets in.” This release continues HEAVENLY TRIP TO HELL’s signature sounds – industrial metal fused with goth and heavy metal – born from the dirty streets of Long Beach, California.
Check it here:
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HEAVENLY TRIP TO HELL aka HTTH is made up of 6 members – G Christ on lead vocals, Sergio on Bass, Vicky Vicious on synth and keyboards, Jose on drums, Kurt on lead guitars, and Frank on rhythm guitar. Over the years the band has built a strong underground presence, including a growing footprint in Hollywood, consistently selling out iconic venues such as The Viper Room, Whisky a Go Go, and The Rainbow Bar & Grill on Sunset Boulevard.
Now celebrating nearly 30 years on the streets. HTTH has shared the stage with some of the with some of the biggest names in rock n’ roll, including Dead Kennedys, Guns N’ Roses, Billy Idol, and more – cementing their place in the lineage of legendary live performers. From there, the band reflects on a legacy built deep in the underground scene. As guitarist Kurt puts it: “Give ‘em hell!” HTTH continues forward as a relentless force in heavy music, with a story still unfolding.
Argonaut return after a long year with the video for Leaves, a melancholy five minute ode to autumn and entropy. Cure-esque guitars intertwine with melodic bass and sweeping synths to create an atmospheric backdrop to Lorna’s ethereal vocals. The lyrics and accompanying ‘found footage’ video touch on themes of dementia and retreating into past memories, a topic close to our hearts at the moment.
Lorna set the scene for the video; “I was thinking about the moon cycle and the new moon and wanted to incorporate that feeling into the music. The lyrics are about somebody who is getting older and their mind is starting to deteriorate. They can remember the past more than the present. I had the image of being lost in the woods and trapped inside their memories. It’s quite a personal song.”
No stranger to the wider landscape and supported by BBC 6 Music, NME, Radio X, Argonaut are back, with a new album Interrupted. Ten songs from the past year’s abyss, documenting breakdown, burnout, dementia, depression, memory, hope and healing.
For fans of Sonic Youth, Pavement, Velvet Underground, Dodgy, The Stranglers, Siouxsie and the Banshees, Huggy Bear, Japan, La Tigre, Grunge Pop, Experimental, Garbage, Hole, Nirvana, White Magic, Witches, Wands and The Pixies.
Musically, Eighties synth influences creep in alongside syncopated bass, fuzzed up guitars and heartfelt harmonies, fronted by Lorna and Nathan Lyons. Get up again when you can. Life moves pretty fast, but there will be interruptions.
‘Leaves’ is the first song from the forthcoming album Argonaut, interrupted, which will be released by Criminal Records and available to pre-order now.
The Howlers have delivered the first glimpse at their highly-anticipated sophomore album in the form of new single ‘Viper’. Carrying the band’s classic desert rock swagger, the track is accompanied by an epic video of a backlit frontman Adam Young, trusty fringe leather jacket in tow. “I’m not your usual type,” he shrugs, “but let’s pretend for the night.” Driving riffs and comparatively delicate vocals reintroduce the band, setting the scene for new album Heavy – an album exuding confidence and identity – which is set for release this autumn.
Speaking about the forthcoming new album, Young states:
“This album is those late night experiences, the after dark conversations, late night phone calls, the seductive nature of impulsiveness that seems so alluring and losing yourself in the addictive nature of recklessness, but it’s also the mirror in the morning, the wake up call, and the harsh reality of knowing those feelings won’t always last and it’s the moment you find yourself again.”
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The Howlers’ debut album What You’ve Got To Lose To Win It All earned the band a UK Official Charts Top 10 position and multiple chart positions across mainland Europe, where they also completed a headline tour last March. The record represented the emotional toll of personal loss, written and conceived by Young as a means to express and share his own experiences.
Outwardly the band was riding the high of success, but behind the scenes they were falling apart amidst the burden of independent releasing. But in the wake of the new year, Young set about working on the foundations of what would become the band’s second album. Galvanised by his newfound independence and reshaping the band into a two-piece, The Howlers recorded and released their rebirth singles ‘Night Crawling’ and ‘You Can Be So Cruel’.
This propelled the band across the continent, testing the waters on new material and rekindling a love for performing. The band have built a reputation as one of the country’s must-see bands, with plans to head back out on the road in the UK and EU surrounding their new album later this year.
Heavy, The Howlers’ sophomore album, is set for release via Frontiers Label Group on 9th October. Tour dates are soon to be announced.
Japanese post-rock legends MONO recently announced details on their new album Snowdrop set for release on 12th June via Temporary Residence. This is the band’s first album made with Brad Wood (Touché Amore, The Smashing Pumpkins), following the passing of longtime collaborator and friend, Steve Albini.
Taken from MONO’s 13th album Snowdrop, scheduled for release on 12th June 2026 (Temporary Residence), a new single ‘Gerbera’ is out now with an accompanying music video.
For Snowdrop, the band wishes to express their eternal gratitude to those precious people who have walked alongside them on their journey of life, by incorporating the messages imbued in flowers given to those who have passed into the song titles on the album.
MONO’s Statement:
“The language of flowers for the Gerbera is ‘faithful love’ and ‘cheerfulness’. The countless, precious memories I share with you will never be forgotten. I am so glad that I met you. Innocence, purity, joy, beauty—and I will never forget your smile.”
Yusaku Mitsuwaka, ‘Gerbera’ Director:
“During the shoot, the wind swayed the silver grass wildly, resonating with the band’s performance and blowing through as if it were music itself. Guided by the wind, the camera danced, and ‘Gerbera’ became a music video brimming with vitality. Even in today’s fractured world, the act of loving and being loved remains unchanging. I hope this wind reaches the heavens. I would like you to watch this while thinking of someone dear to you.”
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“Without exception, everyone will eventually depart this world and face the parting from their loved ones. Through this album, we wished to express our "eternal gratitude" to those precious people who walked alongside us on the journey of life. We believe this sentiment is the only thing capable of filling the void left in our hearts and easing the profound sorrow and pain of loss. Every flower carries its own unique language. For this album, we incorporated the messages imbued in flowers given to those who have passed into the titles of our songs. Our hope is that this album serves as a source of light and hope for those who have lost someone dear.” – MONO
When MONO recorded their previous album, OATH, with longtime production partner and friend, Steve Albini in 2023, they never fathomed that it would be the final studio album they made together. Albini tragically died the following year, and that loss left an incalculable void in the lives of not just everyone who ever knew Steve, but everyone with an attachment to any of the thousands of records he helped bring into world over the past four decades. He brought a clarity to the chaos, and a selfless sense of service to art and artists that was unrivalled. On both a personal and practical level, the loss left MONO faced with profound grief and uncertainty. Albini had become a fundamental part of MONO’s unmistakable sound, and the thought of replacing him was daunting, to say the least. Enter: Brad Wood(Touché Amoré, The Smashing Pumpkins).
Chosen for both his familiarity with MONO’s creative and technical working process – as well as his decades-long friendship with Steve Albini – Brad Wood entered Albini’s storied Electrical Audio studios in September 2025 to record what would become Snowdrop. Once again working with Chicago-based conductor and orchestral musical director, Chad McCullough, MONO enlisted a 10-piece orchestra as well as an 8-piece choir for the eight massive pieces that make up Snowdrop. With the band performing and Wood recording in the same hallowed space where most of MONO’s records had been made in their quarter-century history, the songs on Snowdrop carry an extra weight. Mixed by Wood at his Seagrass home studio in Los Angeles, the album is equally intimate and enveloping.
Where there could easily be a pall hanging over Snowdrop, there is instead an extraordinary air of gratitude. Rather than steep in heartache, there is a poignant appreciation for the resonance of life well-spent with a dear friend – and the yearning for what may come. Snowdrop is the sound of a band turning shock and sadness into hope and wonder – and finding renewed focus in the freedom of unknowing.
Dolium x LiVES collide on ‘Shame!’, a high-friction joint single that blurs the line between collaboration and confrontation. Rooted in indie rock and sharpened by punk urgency, it’s a track driven by tension, energy, and shared intent.
Since reforming in 2024 for the 20th Anniversary of their label, Sister 9 Recordings, lo-fi/post-punk/scuzz-rockers Dolium have been quietly building toward a new chapter. In their early days, the band caused quite a buzz on the UK underground music scene, catching the attention of BBC radio legend, John Peel. That legacy is captured in their critically acclaimed limited-edition 4CD box set, The Products Of Our Own Demands And Commands. Now, in 2026, they return with renewed focus, and a new era of furious punk rock.
Born in Cornwall and sharpened in Kent, LiVES are a visceral collision of post-punk intensity and hard rock precision. Their debut album Let Them Eat Cake landed like a fist through a wall, fast, aggressive, and socio-politically charged. Louder Than War called it “a nihilistic expression of anger and disillusionment.” Their track Just Can’t Get Enough reached a wider audience through its placement on the Netflix series Lucifer. With airplay across BBC 6 Music, Radio X and BBC Introducing, a sold-out European tour, and support slots alongside Buzzcocks, SPAN and Danny Wildheart, LiVES have built a reputation as a band made for rooms that sweat. They return here in full force.
The creative spark was immediate.“I knew I wanted to work with someone that had as much anger and attitude as me. The moment I heard Rhys’s work, I was like, hell yeah… this is fire.” – Peter (LiVES) What started as a skeletal, verseless track quickly evolved into something more dynamic. Dolium took the initial framework into the studio and, as Rhys puts it, “added their venom,” with the song ultimately “bent beautifully into shape between us from across the miles.” Built remotely, with ideas passed back and forth, ‘Shame!’ became a true crossfire – LiVES driving the choruses while Dolium took command of the verses. The result is a track that feels both fractured and unified: two bands, one shared fury…
Aural Aggravation 