Posts Tagged ‘Single’

‘Darkest Day’ is the opening track from Rhys Marsh & Mandala’s new album, Until The End Of Time — a dark, expansive and cinematic journey that explores themes of loss and love, along with the notion that when you lose someone you love, you still love them until the end of time.

With songs ranging from ten to eighteen minutes in length, the album’s soundscape is largely dominated by majestic analogue synthesisers and led by Mandala’s trademark dynamics — ranging from whisper-quiet to wall-of-sound. Until The End Of Time will be available on all streaming and download platforms, alongside a strictly limited-edition CD, available exclusively from Burning Shed, on November 14.

Rhys Marsh has released eleven albums in the past — both solo, and as the singer-songwriter in bands — and this is the third Mandala album. It was decided to call this a Rhys Marsh & Mandala album, as thematically and stylistically it follows on from Marsh’s previous solo album, Towards The West, which was a direct refection on the loss of his Dad.

Formed in London in 1997, Mandala have toured the UK, Scandinavia and North America over the years, playing at iconic venues such as CBGB’s in NYC and The Marquee Club in London. Their blend of folk-noir, progressive rock, psychedelia — all wrapped in Marsh’s atmospheric and dynamic melodies — has garnered acclaim and airplay across multiple countries, with singles A-listed on Radio Caroline, and chart success on iTunes in the UK and Canada.

Critics have called Mandala’s sound “a kaleidoscope of prog, psychedelia, and folk”, and praised their “knife-edge atmospheres and Eastern-tinged melodies” (The Independent), with The Guardian describing their music as “folk-noir”, and Time Out highlighting their “melancholy laden melodies”.

Until The End Of Time is the kind of album that needs to be listened to from start to end. The songs are long, and the themes expand and unfold gradually. There are elements of post-rock with the long build-ups, progressive rock with the sweeping Mellotrons, and a deep sense of melancholy.

The album features spoken word in three languages: English, Norwegian and Welsh. Marsh says that this verse can sum up the overall feeling of the album:

“The kingdoms of eternity

Will bring you here

Until the end of time

Where nothingness

Leads us into forever”

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Mandala_ 2025. Photo by Silje Marsh

The brainchild of US drummer/multi-instrumentalist Rona Rougeheart, SINE has released a new single entitled ‘Succumb To Me’ on Metropolis Records today. Co-produced by Rougeheart with Curse Mackey (Pigface) and mastered by Mark Pistel (Consolidated, Meat Beat Manifesto), the song mixes industrial sounds with dirty disco and rhythmic sub bass to form the perfect definition of what she refers to as her signature genre, ‘electronic boom’.

“While working on my next album, I decided to open a new session and start something fresh just for fun,” Rougeheart recalls. “As another track began to form, I was really loving the vibe, so I anchored it around two deep synth bass hits that pan right and left to give the listener a surround sound experience, especially in headphones. The lyrics seemed to write themselves as I recorded scratch vocals, just letting it flow. The lyrics are cheeky and a little sinister, with a dash of sex appeal. It’s definitely one of my favourite SINE tunes to date!”

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Gothenburg’s drunk’n’roll/hardcore-punk wrecking crew Spøgelse have dropped a brand-new video for their track ‘Speedfreaks’, delivering another feral taste of their forthcoming second album Spøgelse II, set to be released on October 24 via Welfare Sounds & Records.

Loud, raw, and one beer away from total collapse, Spøgelse embody what punk is supposed to feel like. Spøgelse II packs fifteen (!!) tracks that hit like a fist to the jaw for anyone sick of polished, overproduced punk.

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Born in the deep Swedish woods but raised on Gothenburg afterparties, Spøgelse have spent the last five years cramming into beat-up cars, dragging gear across highways, and spilling beer on every stage reckless enough to host them. Their mission has never changed: fast riffs, feral live energy, and zero fucking compromises.

‘Speedfreaks’ captures the band in their purest form, a chaotic, adrenaline-fueled anthem that barrels forward with the same unhinged force that has made Spøgelse one of Sweden’s most trusted live acts.

Self-described as “beer and guitar-shrimp specialists” and “your favorite fuck-ups,” Spøgelse aren’t here to clean things up, they’re here to tear it all down.

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Following the announcement of Smote’s fifth release for Rocket Recordings – Songs From The Free House – the band now shares a second taster of what’s to come in the form of ‘Snodgerss’, a flute-led jig-turned-pitch-dark-ritual. Their deepest and most fully-realised album to date, Songs From The Free House continues Smote’s exploratory mission into heaviness in all its forms, and sees its primary creator Daniel Foggin exploring a variety of new avenues.

Songs From The Free House features guest appearances from Sally Mason of the Smote live band on vocals and Ian Lynch from Lankum on Uillean pipes and will be released via Rocket Recordings on 17th October.

Forged from repetition and mantric intensity and possessed of formidable psychic fortitude, this album proves that the only retro-chic Smote indulge in is liable to go back several centuries. The megalithic monomania of last year’s A Grand Stream set a formidable precedent, and Smote’s live shows in its wake have gradually built a reputation as visionary seers building audial monuments by cranked amplification and atmospheric intensity alike. Yet these five gnostic serenades offer portals and paradigms anew.

Smote has now shared the track ‘Snodgerss’. About the track, Daniel says,“’Snodgerss’ roughly translates to ‘smooth grass’ or ‘long grass’. Waves and layers dance around each other and modulate against the wind, each blade moving individually but still in harmony with the rest.  Such is the nature of the 3rd track on the album, blown out percussion dances around flute melodies and explosive guitars alike, each playing its own part in the movement." 

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Upcoming Smote live dates:
17 Oct / Falmouth / KCM Church
18 Oct / Bristol / Down Stokes Festival
19 Oct / Preston / The Ferret
20 Oct / Glasgow / Hug and Pint
23 Oct / London / The Lexington *sold out*
24 Oct / Derby / Dubrek Studios
26 Oct / Newcastle / The Lubber Fiend
13 Dec / Todmorden / The Golden Lion

13 May / London / The 100 Club

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Canadian dark electro artist S1R1N has unveiled the new single and video, ‘Voodoo Doll’.

‘Voodoo Doll’ is, at its core, a song about self-destruction and destructive relationships. The lyrics describe an effigy, a doll that the protagonist has created. This doll is the most precious thing in their world, as they love it with abandon, but it also becomes the target of their anger and rage and destructive behavior. As it often is in life, people hurt those whom they love the most, and it is no different in the relationship with the self.

The story also serves as a metaphor for the artistic process, as the journey of creation involves placing one’s heart and soul into something, all of the love and positive emotions that one feels, as well as all of the suffering and pain . The sound palette used to create the song calls to mind a creepy yet melodic aesthetic reminiscent of horror film soundtracks.

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The music video for ‘Voodoo Doll’ was very much inspired by the surreal yet gritty aesthetic of the music videos of the late 90’s and early 00’s. It was filmed in several abandoned buildings including a Victorian Insane Asylum and a Tuberculosis Sanatorium. The symbolism of these places, as well as the imagery of dolls and the bloody white clothes worn by Morgan in the video call to mind themes of lost innocence, and the corruption of the inner child. This is especially exemplified by the scenes in the video where dolls are destroyed. Both the song and video are intended as a cathartic experience for both the artist and audience.

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US dark/dream-pop duo Magic Wands have released a new digital double single today that couples the brand new song ‘Time To Dream’ with a remix by Metropolis Records labelmates Lost Signal of their ‘Armour’ single issued in October 2024. Video clips of the original version of ‘Armour’ and the remix have also been made available and can be seen here (original)….

…and here (remix):

“‘Time To Dream’ is about entering a dreamlike state where the boundaries between reality and imagination dissolve,” the duo explain. “It was inspired by magic and a sense of stepping through the looking glass.”
‘Time To Dream’ is included on a new Magic Wands album entitled ‘Cascades’, which is out on 24th October via Metropolis Records. It also includes the original single version of ‘Armour’, as well as the previously issued ‘Hide’, ‘Moonshadow’ and ‘Across The Water’ . It will be promoted with an appearance at the Substance festival HERE in Los Angeles on 7th November, with further shows to be arranged.

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Magic Wands is a dark-pop duo originally formed in Nashville by guitarists and vocalists Dexy and Chris Valentine. Now based in Los Angeles, they are known for their shimmering and dreamy sound, which incorporates elements of shoegaze, dream pop, post-punk and goth. They utilise heavily textured guitars, synth drones and ethereal vocals to conjure an otherworldly atmosphere in their songs.

Dedicated to creating music that is both imaginative and emotionally engaging, Magic Wands found success soon after forming in 2008, gaining a loyal fanbase that has grown ever since. They have issued five studio albums to date, the most recent of which is ‘Switch’ (2023). Its songs were also remixed by guest artists and released as ‘Switched’ later that year.

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Brooklyn alt rockers CLONE present ‘Care To Try?’, the title track from their Care To Try EP, a blazing three-track offering set for release on October 3 via Portland label Little Cloud Records. The band recently shared the adrenaline-inducing lead single ‘Galvanized’.

Written over the past year with Clone’s original lineup of LG Galleon, Gregg Giufree (Pilot to Gunner), Max Idas and Dominick Turi, this EP was produced by LG Galleon and Bisi at his famed BC Studio (built together with Brian Eno), and mastered by Fred Kevorkian (The White Stripes, Sonic Youth, Juliana Hatfield, Regina Spektor, Lloyd Cole).

"Well ‘Care to Try?’ is a retribution song. A song that cries out for the disenfranchised and undersung people in the world whose voices are never heard above the drowning of the right wing nationalist leaders in this world,” says LG Galleon.  “The spoken word bridge signals out to this issue with the line "with all charisma there is scorn, with every swoon another’s heart will stammer slowly in submission. To Glimpse what could have been through the eyes of another.”

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The second single from The Lunar Effect’s upcoming third album Fortune’s Always Hiding was released yesterday. “’Settle Down’ is one of the songs we’re most proud of on the new record. Stripped-back and full of raw emotion, it carries a grunge edge that nods to the bands we grew up admiring, while still pushing our sound forward. It stands apart from some of our previous work, but for us, evolving is essential”, the band comments on the new single.

Watch the video for Settle Down here:

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The Lunar Effect were formed in London in 2017 by brothers Jon and Dan Jefford and later completed by vocalist Josh Neuwford, bassist Brett Halsey, and eventually second guitarist Mark Fuller. Since their arrival on the scene, they’ve carved out a reputation for crafting music that feels both familiar and original – a modern echo of grunge-soaked ’70s rock, fuzzed-out blues, and melancholic British soul.

Following the underground success of 2019’s Calm Before the Calm, the band signed with Svart Records and released the critically praised sophomore album Sounds of Green & Blue in 2024. After touring the album across the UK and Europe, they set their sights on album three, their most ambitious work to date. Fortune’s Always Hiding lands in October 2025; a brooding journey through loss, memory, and the weight of time. It marks a new era for the band – deeper, stranger, and more soul-baring than ever.

They don’t imitate the past, they channel its spirit through a warped, modern lens. From thunderous grooves and fuzz-soaked guitar riffs to intimate, fractured vocals, The Lunar Effect channel the unease of the modern world with a sound that refuses to sit still.

2026 promises more touring, more evolution, and no interest in standing still. For a band that’s never fit neatly into any box, The Lunar Effect continue building their own universe — one hypnotic, heavy track at a time.

Fortune’s Always Hiding is available on Svart exclusive Cream/Red/Orange marble vinyl, limited Transparent Green vinyl, Black vinyl, CD, and digital platforms on October 24th, 2025.

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Maurice Louca, Alan Bishop, and Sam Shalabi expand on their telekinetic fusion of North African rhythm, heat-haze improvisation, shaabi rawness, free jazz, and psychedelic groove, following acclaimed albums on Sub Rosa, Akuphone, and Nawa Recordings.

Sasquatch Landslide overspills with the Cairo-based trio’s signature trance-inducing explorative  energies, anchored by Louca’s hypnotic beats and electronics, with  Shalabi and Bishop deploying guitar and alto saxophone in a variety of  signal-mashing modes. Comprising seven febrile jams across 42 minutes,  this is the most focused and twitchiest album in the DOEA  discography to date. Recorded by Emanuele Baratto (King Khan, Elder) and  mixed by Jace Lasek (Elephant Stone, Sunset Rubdown, The Besnard  Lakes), Sasquatch Landslide will be issued on 180gram vinyl and CD featuring artwork by Mark Sullo.

About ‘Titular’ Shalabi says; “This piece reminds me of the ‘after hours’ music I heard one night in a dark bunker-like jazz nightclub in Dakar many years ago… I’ve never heard that kind of music before or since.”

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L to R: Alan Bishop, Maurice Louca, Sam Shalabi

The Dwarfs Of East Agouza by Hans Van Der Linden

The forthcoming full-length from Los Angeles–based band Agriculture, The Spiritual Sound, traces a narrative arc through extremes.  The album is largely a fusing of the visions of its two principal songwriters: Dan Meyer and Leah Levinson.  Though distinct, their voices converge in a singular spiritual grammar—one that defines the totality of The Spiritual Sound, not as separate parts, but as one unified expression.

Dan writes like someone clawing toward the divine through noise, channeling Zen Buddhism, historical collapse, ecstatic grief. Leah’s songs move differently: grounded in queer history and AIDS-era literature, amid the suffocating fog of the present, they carry the weight of survival as daily ritual. Dan takes the lead on their next release, a quieter moment amongst the chaos. About the track, he says;

“This is a love song to a future child. It is so moving to me that even though this child does not exist in the form of a child yet, all of the matter that will one day make up their being is already in the world. And of course this is true of all things that have ever existed. So even though I’m talking about a kid that I want to have one day, I’m really talking about the principle that everything is totally connected.”

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Agriculture’s formation mirrors their duality. What began as a loose collaboration between Kern Haug and Dan Meyer in the Los Angeles noise scene evolved into a shared pursuit of the sublime through heavy music. With the additions of Richard Chowenhill and Leah Levinson, the project solidified into the band’s current form. The ecstatic black metal foundation that was laid on 2022’s The Circle Chant expanded into something more precise and far-reaching on their 2023 self-titled full-length, and deepened further with 2024’s Living Is Easy: a record that embraced devotional intensity and radiant heaviness in equal measure.

Agriculture’s writing process is built on dismantling and revision of self. Dan and Leah bring songs to the band and then allow them to be pulled apart and rebuilt communally: reshaped through conflict, repetition, and deep trust. Richard adds guitar melodies and solos, and Kern constructs rhythms which are sometimes familiar but often unconventional. Finally, with Richard producing, the final form of each song is realised through intense collaborative work in the studio. Although a time consuming and ego-frustrating process, this allows the band to find the spirit of the songs not through inspiration, but through persistence.

Yet, even in its most ambitious moments, The Spiritual Sound remains rooted in the ordinary and in the day-to-day relationships between the people who made it. Gas station snacks. Inside jokes. Sleeping on floors. Playing shows in rooms that smell like mildew. The spirit here isn’t abstract, it’s live. This is spiritual music that starts with imperfect gear and a long-in-the-tooth tour van.

Agriculture doesn’t offer salvation. The Spiritual Sound isn’t a map out of the fire. What it offers instead is presence: a confrontation with the moment, however unbearable, however divine. It insists that meaning is still possible, even in a world hell-bent on reducing everything to content, and where suffering itself can be conducive to recovery. As the Buddhist saying goes: “the only way out is in.”

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Photo credit: Milan Aguire

AGRICULTURE LIVE DATES 2025:

Sep 17  Kortrijk, BE — Wilde Westen
Sep 18  Haarlem, NL — Patronaat

Oct 8  Brooklyn, NY — Union Pool (Record Release Show)

Oct 27  San Antonio, TX — Paper Tiger $
Oct 28  Austin, TX — Mohawk $
Oct 30  Atlanta, GA — Masquerade $
Oct 31  Saxapahaw, NC — Haw River Ballroom $
Nov 01  Silver Spring, MD — The Fillmore $
Nov 02  Philadelphia, PA — Union Transfer $

Nov 04  Louisville, KY — Zanzabar
Nov 06  Oklahoma City, OK — 89th Street
Nov 08  Albuquerque, NM — Launchpad
Nov 09  Phoenix, AZ — Valley Bar
Nov 11  Denver, CO — Hi-Dive
Nov 13  Salt Lake City, UT — The State Room
Nov 14  Boise, ID — Neurolux
Nov 16  Seattle, WA — Madame Lou’s
Nov 18  Vancouver, BC — Fox Cabaret
Nov 19  Portland, OR — Mississippi Studios
Nov 21  Sacramento, CA — Cafe Colonial
Nov 22  San Francisco, CA — The Chapel
Dec 04  San Diego, CA — Soda Bar
Dec 05  Los Angeles, CA — Lodge Room

$ with Boris