Helsinki’s death/doom/industrial metal unit DARK KOMET is proud to announce that their new EP Ghost Of Silver Light has been released today, May 1st.
The second single from the release, “Only Frozen Reality,” is launched alongside the EP with a music video, which you can watch here:
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The EP draws its themes from cosmic nihilism: time, meaninglessness, and life as a phenomenon without purpose on a universal scale. Ghost Of Silver Light builds a cold and alienating soundscape where crushing riffs and industrial beats merge into a hypnotic whole. DARK KOMET offers no comfort – only a glimpse into a reality where meaning is an illusion and existence itself is a contradiction.
It’s dark and as heavy as hell, and quite the hybrid, with snarling vocals and grinding bass cutting through a maelstrom of noise and swirling electronica. Get your lugs round it here.
Cinder Well – the hauntingly stark musical project of multi-instrumentalist Amelia Baker – announces a new album A Blooming Body which arrives July 17th via Hen House Studios (where the album was recorded with Harlan Steinberger). The album is preceded by the lead single and video ‘While the Womb Screams Silently.’
About the track, Amelia says… “This song is inspired by the movie Portrait of A Lady On Fire from director Céline Sciamma. In the film, a woman is arranged to be wed, and because of her intense resistance to the situation, a painter is commissioned to secretly paint her wedding portrait without her knowing. The song is about listening to your inner knowing, which often screams loudly but is ignored for the sake of conforming – constantly trying to break out of the restraints and projections of patriarchy while stumbling over new ones and internalized ones along the way – “pulling at an endless thread of thistle – whose hooks and briars they catch things you thought you couldn’t miss em / while the womb screams silently for you to listen”.”
Watch the video here:
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This album also marks a shift in recording process, with Amelia being just as involved in the production and mixing as the writing this time around. “I strived to record the initial takes of guitar and vocals live, to give the music as much life as possible… As far as arrangements, I also brought in different types of instruments and players – in the past, I would use violin to centre most of the melodies, but on this record there are horns by Amy Sanchez (Kendrick Lamar, Bruce Springsteen, Dave Matthews Band, Kamasi Washington, Florence and the Machine and more), synths by Dylan Desmond (Bell Witch), e-bow and other fun textures leading the melodic instrumental parts.” Other contributors include; Greg Cohen (Tom Waits, John Zorn, David Byrne, Laurie Anderson) and Pete Olynciw (Leyla McCalla) on bass, Phillip Rogers (Hayley Hendrickx) on drums, and C.P.N. Hollywell (Twisted Teens) on vocals.
On A Blooming Body, Cinder Well creates a sound that is both expansive and cinematic, and the kind of experimentation which lead to her composing the original theme song and score for the hit BBC TV series Small Prophets (written, directed by, and starring Mackenzie Crook alongside Sir Michael Palin).
Through endless shifts in perspective, and a sound which knows when to bolster the lyrics, and when to let them speak for themselves, Cinder Well’s music becomes universal on A Blooming Body, laying bare a weight that exists not in guitar tracks or distortion, but the kind we carry with us day to day.
Swiss noise-rock collective Coilguns have returned with their powerful new single ‘Peace Trader’, out now via Humus Records, accompanied by an official video.
The accompanying video, directed by Louis Jucker and shot and edited by Valentin Lurthy, reinforces the track’s raw and unfiltered energy, with DIY lyric subtitles further amplifying its message.
Check it here:
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Recorded by Scott Evans (Thrice, La Dispute, Neurosis), with additional production from Ben Chisholm (Chelsea Wolfe, The Armed), and mixed by Tom Dalgety (Ghost, Pixies, Royal Blood), the track hits with a new level of urgency and emotional intensity.
Built to be both punchy and deeply reflective, ‘Peace Trader’ confronts the growing dissonance between ideals and reality. As the band put it: “What is the meaning of laws, when our nations negotiate all?”
Rooted in their own reflections on Switzerland’s shifting identity, from a perceived safe haven for human rights and diplomacy to a more conflicted and ambiguous role on the global stage, the track channels frustration, disillusionment, and a stubborn sense of hope.
The band elaborates: "We grew up being told that our country was a safe nest for human rights conventions, a historical hub for humanitarian organizations, a neutral haven for diplomacy, a sheltering home for those in need, and a centuries-long advocate for peace. Yet, the older we get, the more frequently we see this image turn into a Dorian Gray portrait. We recently witnessed our federal representatives minimize dual-use goods exportations or support partial views on major international law violations. We discovered that our asylum system had silently turned into a racist and humiliating discouragement plan, and we still haven’t been able to make our international enterprises accountable for their colonialist crimes. Looking back at our school history manuals, we wonder where this whole fairy tale has gone, or if it ever existed, but we’d like to allow ourselves, and invite you, to keep believing in the idea that a peace-making Switzerland might one day become an actual thing.”
Musically, ‘Peace Trader’ expands Coilguns’ already wide sonic palette. For the first time, a bass player was involved from the earliest stages of writing, reshaping the interplay between instruments and adding a broader, more fluid dynamic to the composition. From warehouse-recorded drum textures to tightly coiled bursts of noise, the track balances abrasion with atmosphere.
“We wanted ‘Peace Trader’ to be punchy and sad, something that could carry urgent empathy and hope,” the band explain, highlighting the deliberate tension that defines the song.
Wheelchair Sports Camp is certainly not your average act. This genre bending, punk-powered hip-hop project is fronted by Kalyn Rose Heffernan – a wheelchair-using, profanely queer and tiny rapper, with a very distinctly high-pitched sense of humor. Backed by her gimp Greggy on drums, the band combines fantastic beats with an absolutely face-shredding live show. After playing shows everywhere they could, the band expanded into performance art, museum takeovers, politics, prison tours, permanent installations, theatre, film, and now the release of their newest album, oh imperfecta on Alternative Tentacles Records.
They bring together contributions from Jello Biafra (twice), Radio Pete (who happened to come up with the name Dead Kennedys when Biafra was a teen in Boulder, CO, and this is their first time ever collaborating musically), Kimya Dawson (Moldy Peaches), Olivia Jean, Junia-T, Amy Goodman, and some honorary WSC members: Qknox, Michelle Rocqet, Wes Watkins, RAREBYRD$, and many more; to create 11 absolute bangers.
The album surges forward right from the opening track of “Make It Make Sense”, Heffernan takes your attention vocally and holds it there, while bouncing back and forth with Biafra. Only to embrace the raw punk rock honesty of “EAT MEAT!”. This unflinching honesty is carried throughout the album. Heffernan holds nothing back. No matter if WSC is dancing through classic hip-hop flows with “DENIM” or moshing through Olivia Jean’s rock riffs with Jello Biafra on “DEAD,” the vocals and the beats seamlessly bring the different influences together. All while giving us a glimpse into Heffernan’s chaotic life with recorded calls from Kalyn’s wild ass Mama K. as interludes throughout the album.
“In an attempt to unlearn my perfectionism and finish the damn album, I picked up the drums for the first time since middle school and wrote “EAT MEAT!” with Greggy on guitar. It was the most fun we’ve had and it instantly felt good enough for the first time maybe ever? We were on to something… if every dude can play mediocre guitar, why can’t I play shitty drums?“ says Heffernan, “It freed me from having to be the best rapper and out-bar every rapper in the bar. Come to find out I’ve been overcompensating my whole life because I am genetically imperfecta. Osteogenesis imperfecta is the name of my brittle bones disease and I’m realizing more and more how my body has been the center of attention since birth. Described in dehumanizing, demoralizing, and very unbecoming ways, it’s no wonder I’ve always felt like I had to be the best. This album is a collection of songs from the past decade and finished because we simplified: oh imperfecta.”
Postmodernism supposedly not only marked, but celebrated, the death of originality. Some time after the turn of the millennium, postmodern irony and the wit of parody began to evaporate, and now everything simply draws on explicitly stated influences. Art has become an endless treadmill of predictable recycling. There are rare exceptions, of course, and Chaidura is rare indeed.
Chaidura has been on the scene for a couple of years now, during which time he’s birthed an EP, Temple Paradise, and some standalone singles, showcasing styles ranging from JRock to emo, with his bio describing this work as ‘blending visual kei, emo, and alternative rock into a sound that’s heavy, emotional, and honest’.
Now resident in London, but raised in Asia, where, he says ‘beauty is often weaponized as a prerequisite for success’, ‘Plastic Beauty’ is the third single to be taken from forthcoming EP, Liminal. And what a single it is! It’s nothing short of an explosion of ideas– an entire album’s worth and more (hell, many bands with careers spanning decades don’t demonstrate this many ideas), packed into less than four minutes – leaping wildly yet also effortlessly and immaculately from one genre to another with each of the multitudinous segments.
And yes, the presentation is stunning – musically, of course, but also visually – taking cues from Adam Ant and Falco’s ‘Rock Me Amadeus’ – to forge something that is nothing short of spectacular, while at the same time presenting a strong message. Opening with a soft piano intro, we’re soon thrown into some loungey jazz with an understated drum ‘n’ bass beat before – a mere thirty seconds in – being hit with a ferocious blast of metal. The experience is akin to watching Roger Moore as James Bond being spun at organ-damaging speed in a centrifuge in Moonraker, one where you mind feels as if it’s been separated from your body and transported to another dimension. It’s like all of the new year’s fireworks from around the globe going off simultaneously. And yet, incredibly, it’s got a huge chorus with an instant hook that’ll be an earworm for a week. Nothing short of phenomenal. Now, excuse me while I go and lie down for a bit.
MORTIIS premieres the story-telling and visually impressive music video ‘Violent Silence’, which continues the narrative arc of the previous clip ‘Ghosts of Europa’, as the next advance single taken from the iconic Norwegian artist’s upcoming new full-length Ghosts of Europa.
MORTIIS comments: “Lyrically, ‘Violent Silence’ came into being as an apology to my wife”, the Norwegian admits ruefully. “I had done something stupid again, and she was really upset. I was trying to apologise in a text message – a really long one. The lyrics for ‘Violent Silence’ took a lot of inspiration from those words and that moment. As time goes by and having lived with this song for quite a while now, it gets harder for me to listen to those words. The gut-wrenching sensation of guilt never goes away fully. Musically, it was a very inspiring song to work on – especially with all those crazy fuzz and echo guitars that built up this song towards the end.”
Check the video here:
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The Witches of Dystopia Tour MMXXVI
16 APR 2026 Winnipeg, MB (CA) Sidestage 17 APR 2026 Minneapolis, MN (US) Skyway, Studio B 18 APR 2026 Madison, WI (US) Annex 19 APR 2026 Chicago, IL (US) Reggies 20 APR 2026 Detroit, MI (US) Sanctuary 21 APR 2026 Indianapolis, IN (US) Black Circle 22 APR 2026 Covington, KY (US) Madison Live 23 APR 2026 Pittsburgh, PA (US) Preserving Underground 24 APR 2026 Toronto, ON (CA) Lee’s Palace 25 APR 2026 Montreal, QC (CA) Cafe Campus 26 APR 2026 Quebec City, QC (CA) La Source 27 APR 2026 Boston, MA (US) Brighton Music Hall 28 APR 2026 Brooklyn, NY (US) Meadows 29 APR 2026 Bensalem, PA (US) Broken Goblet 30 APR 2026 Baltimore, MD (US) Metro 01 MAY 2026 Raleigh, NC (US) Chapel Of Bones 02 MAY 2026 Atlanta, GA (US) 529 EAV 03 MAY 2026 Orlando, FL (US) Conduit 05 MAY 2026 Houston, TX (US) Warehouse Live 06 MAY 2026 Austin, TX (US) Come and Take It Live 07 MAY 2026 Dallas, TX (US) Club Dada 08 MAY 2026 Albuquerque, NM (US) Launchpad 09 MAY 2026 Denver, CO (US) HQ 10 MAY 2026 Salt Lake City, UT (US) Urban Lounge 11 MAY 2026 Las Vegas, NV (US) Swan Dive 12 MAY 2026 San Diego, CA (US) Brick By Brick 13 MAY 2026 Los Angeles, CA (US) The Echo 14 MAY 2026 San Jose, CA (US) The Ritz 15 MAY 2026 Eugene, OR (US) John Henry’s 16 MAY 2026 Seattle, WA (US) El Corazon
International touring musician and multi-instrumentalist Nadav Tabak returns to the UK with his immersive solo project and the release of his new single, ‘Electric Roots’, a powerful instrumental journey blending driving electronic trance with raw, organic instrumentation.
Following years of international touring, Tabak has carved out a distinct sonic identity: a live performance that merges hypnotic beats, tribal textures, and virtuosic guitar work into a dance-floor ritual experience.
Electric Roots represents the core of his sound both literally and metaphorically. The track explores the fusion between the electric world of trance and the rooted, earthy essence of acoustic instruments. Pulsing basslines and driving techno rhythms intertwine with organic timbres, live looping, and expressive instrumentation, creating something that feels both ancient and futuristic.
Unlike traditional DJ sets, Tabak performs entirely live, building layers in real time through looping, percussion, and melodic improvisation. The result is an instrumental experience that is rhythm-driven, immersive, and uniquely his own.
The upcoming UK tour will showcase this evolving sound in intimate venues and festival settings, offering audiences a high-energy, genre-blending performance that moves seamlessly between dancefloor intensity and organic atmosphere.
With Electric Roots, Nadav Tabak continues to push the boundaries between electronic music and live instrumental performance grounding trance in something human, physical, and deeply rooted.
Previewing the debut Hello Sunbeam EP, this is the first official transmission from the band, blending the sun-drenched textures of 60s garage rock with the restless energy of raw fuzzed-out modern indie spirit. Between the wash of tape echo and reverb, the track finds a sweet spot where lo-fi garage psych meets 90s shoegaze, all anchored by layered harmonies and an evocatively intimate vocal delivery.
The sonic brainchild of multi-instrumentalist Brant Hajek, Wooden Overcoat began in the isolation of 2020, when he returned to music after a hiatus, recording songs he’d written in his late teens. What started as a practice in self-production transformed into a deep creative obsession with soundscapes and gear. Recording in a rented basement, Hajek built the foundation of the EP through spontaneous experimentation—often veering away from planned sessions to follow sudden bursts of inspiration.
“When I wrote ‘Home’, it kind of poured out of me, and I think I’m still interpreting it. But to me, it’s about acknowledging something beautiful, even if it can’t last. Two people who feel naturally paired, like elements of nature, slowly decomposing and self-destructing,” says Brant Hajek.
“It’s about the inevitable demise of anything, and ultimately that we need to appreciate what is here right now and live in that magical existence. It’s about having the capacity to admire even when things are burning out.”
A study in productive contradictions; while the lyrics and aesthetics might suggest a certain darkness, they are often rooted in inside jokes and a sense of warmth. Hajek’s creative process is a deeply personal, layered journey involving mumbled placeholder lyrics and a patient wait for the specific spark that turns an “emotionally restless” melody into a finished piece.
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While Hajek performed every instrument on the studio recordings to preserve the project’s intimate DIY spirit, he has since found his tribe, assembling a full live band to translate these compositions to the stage. With Hajek leading the way on guitar and lead vocals, Wooden Overcoat is rounded out by Dillon Glusker on bass, Mac on guitar, and Brian Levin on drums and backing vocals. Through community, the band creates a fantastic dreamlike environment for like-minded people.
The name Wooden Overcoat—an old Americana euphemism for a coffin—hints at the project’s core philosophy: a playful balance of moody, mystical imagery with light-hearted humor. Hajek’s creative process is personal, the rough versions eventually coalescing into vivid, emotionally resonant themes.
French metallic hardcore force Beyond the Styx reveals the third and final single, ‘Deadlock V,’ from their upcoming album DIVID, due out May 08 via Innerstrength Records. This politically charged track arrives alongside a music video.
Speaking on ‘Deadlock V’, BTSTYX vocalist Emile states: “How could the Western world have remained impassive for so long in the face of the genocide unfolding in the Gaza Strip? How can the legacy of a martyred people allow its own leaders to become the shameless executioners of their own neighbors?
“These are the main questions that tormented my mind during the relentless months of deadly bombings that raged between October 2023 and February 2024 against the people of Gaza. During this period, the Israeli army reportedly dropped more than 25,000 tons of explosives (the equivalent of two nuclear bombs), according to a UN committee of experts.
“Echoing all this suffering was a heavy, mechanical, numbing riff which resonated with me like the echo of the bombings my own gaze fled from each day in the media. Too much blood and too many tears have been shed for my pen to remain unmoved by such suffering and senselessness. How can the innocence of our children ever be protected from this kind of abuse in the future?
“The feeling of fear wreaks havoc on life beyond compare. Understanding the mechanisms at work is essential in a world where emotion reigns supreme, filtered through the media, without losing sight of the fact that the only thing we should fear is fear itself. The fear of dying, or, ultimately, the fear of living?
“This song thus concludes the thematic triptych: amnesia / war / revenge, culminating in the revelation of DIVID.”
The Brazilian duo DEAFKIDS returns with a new track, ‘REFLEXO’, taken from their upcoming album CICATRIZES DO FUTURO (SCARS OF THE FUTURE), a nine-track album that forges a path beyond the conventions and boundaries of static musical genres. CICATRIZES DO FUTURO is the band’s first non-collaborative full length since 2019’s Metaprogramação, and will be available on LP, CD and Digital formats via Neurot Recordings on 29th May 2026.
‘REFLEXO’ (‘REFLEX’) takes on the band’s most electronic facet, with an afro-industrial minimalist beat complemented by an altered 2-3 clave, submerged in polyrhythms by Sarine’s blended drum/percussion/SPD-X kit and massive eerie synthesisers by Leal.
“The lyrics speak of the “architects of illusion”, the manipulative intention behind the voices that offer a path that leads not to autonomy, but to disorientation.” The band says, continuing, “The goal is never to liberate, but to make people dependent on their false guidance, alienated and fuelling an eternal cycle of need, dependence, and false leadership, with perverse mastery and narratives designed to convince entire populations. Fabricated threats, persuasive propaganda, addictive technological devices and “civilising” missions that are essential to justify the unjustifiable: exploitation, wars and terrible crimes against innocent peoples for domination and power. It’s a cursed script that repeats itself, cycle after cycle, century after century. The language changes, the enemy is redesigned, technologies advance and become more dangerous. We became a reflection of the shadows and evil forces that drive our reality.”
Watch the video here:
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Across the new album, CICATRIZES DO FUTURO (SCARS OF THE FUTURE) electronic fury and feverish organic percussion collide with a relentless Latin American punk spirit.
“Conceptually, the album is a visceral diagnosis of a world intoxicated by its own fictions of power, tracing the anatomy of a systemic grand deception and exploring its mechanics of psychological, social, and material domination, the indelible marks imprinted on bodies and minds and its catastrophic consequences. It is a journey from the poisoned and addicted collective psyche to the desperate search for an antidote, while the future seems to be already cursed by the very forces that pretend to build it. Yet, for all its thematic weight, CICATRIZES DO FUTURO is hypnotically danceable – physical and ritualistic music that demands body movement as a form of mental cleansing. The album doesn’t just reflect a fractured and violent world — it breathes desire to live and resist through new sonic paths.”
They continue, “Our music comes from the perception of the environmental, political, and moral toxicity that permeates our realities under such conditions. In the context of the album, the scars are those of a brutally stolen past reflected in a wicked future. A permanent mark of violence is also a memory that will never be silenced!”
Aural Aggravation 