Posts Tagged ‘Single’

The Pixel Rain – Last

Posted: 23 June 2026 in Reviews, Singles and EPs
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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.

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The Pixel Rain (Áron Siegler) by Evelina Klimova (Landscape 02) web

Áron Siegler by Evelina Kloimova

Watch: ‘Heimaland’ by Maunah

Posted: 23 June 2026 in Recommended Streams and Videos, Singles and EPs
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Up-and-coming Nordic doom adventurers MAUNAH unveil their first music video ‘Heimaland’ (‘Homeland’) as the first advance single taken from their forthcoming debut full-length Hjarta ("Heart"). The Danes’ first album has been scheduled for release on September 18, 2026.

MAUNAH comments: “To us, ‘Heimaland’ feels like a signature track for Maunah that captures our urge to let beauty and doom coexist”, vocalist Søren Sol Koldsen-Zederkof muses. “The song carries the feeling of belonging to a place, but it also reflects the more difficult search for a home within oneself. We have lived with ‘Heimaland’ for a long time, shaping and fine-tuning the song until it finally became as it is now. We are deeply excited to finally release it into the world and hope that you will like it as much as we do!”

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How on earth can any debut album sound as complete and sophisticated as Hjarta from Danish doom newcomers MAUNAH? How can a band that seemingly just appeared out of the blue deliver such a modern doom metal masterpiece?

Valid questions. The answer lies in the fact that although it is technically correct to label MAUNAH as a new band, the truth is that the members are veterans of the Danish rock, folk, and metal scenes.

MAUNAH’s popular frontman, Søren Sol Koldsen-Zederkof, has toured extensively with the beloved Nordic folk band KRAUKA, and he has also released several critically acclaimed albums under the artist’s name LOS. His fellow musicians come with experience as well. Guitarist Mads MP Laursen has, for example, played guitar with IRONGUARD and ENCYRCLE.

As it turns out, the chemistry was just right. All the stars aligned – and remarkable talent, fresh musical ideas as well as mature songwriting flowed together naturally in MAUNAH. The positive interaction of the band members became the catalyst for an alchemical transformation that turned music into sonic gold.

Although the roots of Hjarta reach deep into the melodic Scandinavian doom tradition, there is so much more happening on this album. A dash of Nordic folk here, a pinch of modern metal there, which is boosted by renowned producer Tue Madsen (THE HAUNTED, MOONSPELL, HEAVEN SHALL BURN et al.) being responsible for recording the groove parts with the Danes’ rhythm section.

With each new spin, Hjarta keeps giving as MAUNAH have crammed their album with excellent ideas and layers of details. Yet the Danes have not fallen into the trap of drowning out their own ideas by wanting too much in too short of a time. Their songs are allowed to breathe, develop cinematic moments, and unfold, before sinking captivating hooks into the ears. 
That MAUNAH are a perfect example of the notion that the sum can become greater than its parts was already audible on the band’s digital EP Heimaland, which came out on June 20, 2025. Enriched versions of the songs found their way onto the debut album.

Another element that sets MAUNAH apart from their peers in doom is the absence of a lexical language. The vocals are built on tone, feeling, and rhythm – in an echo of human speech. This creates a space for a more direct connection between vocals and music that reaches beyond the limits of rational language.

In the Danes’ own poetic words: “Maunah is the sound of despair and open skies. Maunah is leaves crunching underfoot, the cold of the forest floor seeping through the soles. And Maunah is the warmth of the sun on the face and oxygen filling the lungs. In the music, the cold of winter meets the summer warmth in the chest, where Maunah pumps blood through the body and music into the air.”

With Hjarta, MAUNAH offer a remarkable debut that goes well beyond the average and exceeds expectations. How far can these Danes get? Only time will tell!

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That Hidden Promise – Lifeform

Posted: 22 June 2026 in Reviews, Singles and EPs
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5th June 2026

Christopher Nosnibor

There’s a lot of music out there now. Eighteen months ago, it circulated in the news that there is now more music released daily than there was during the entirety of 1989. The research was conducted by MiDiA Research, and while I’ve not delved enough to uncover precisely how they reached the comparative volumes – there were DIY vinyl and cassette releases happening in 1989, and, while by no means commonplace, CD-R arrived on the market around 1988, arguably representing a significant step in the journey towards artists taking hold of the means of production for their work. Granted, these things are small-scale releases, but then so are the majority of those being released now: the point of the report is that artists no longer need management or a label or any of the more historical industry mechanisms to release their music, and now they have the potential for global reach.

‘It’s Breaking the Industry!’ was how Headphonesty reported the news. Well, fuck the industry. The industry are the main reason artists choose the DIY route – and not necessarily because they can’t get signed, but because they don’t want their production and sound and release schedule to be dictated, or to be bottom of the pile when it comes to the cut of the earnings from their work. ‘The Industry’ has changed, but while Spotify et al have been major players in terms of direct-to-platform releases by artists, they’re still very much industry in the sense that the last ones to get paid in their colossal operation are those who create the content.

Swerving the art vs content issue so soon after only last night’s piece, I would say out concern and sympathy should be with the artists and the listeners. Listeners are simply swamped, and artists risk sinking in an ocean of noise without reaching a fraction of the audience they deserve. And the algorithms do not help, which is why I personally take recommendations from people I know and trust, be they friends or trusted PR folks. Even then, there’s some sifting involved, and what’s more, it’s so easy to feel overwhelmed, or to simply switch off and let all this music congeal into a sonic wallpaper that provides a backdrop while you’re doomscrolling social media and news sites, wondering if the world will end tomorrow, or piling shit you don’t need into your basket on Amazon.

But sometimes, something will leap out from the hum and make you prick up your ears. And ‘Lifeform’ is one of those songs.

It’s That Hidden Promise’s first release in three years. The subject matter is weighty – and relatable – enough, an exposition of how we’re all part of the machine, cogs in the wheels of capitalism, with not just every hour of your waking life controlled by work (or the punitive benefits system if you don’t have work for whatever reason, including disability) but even how your waking / sleep patterns are not a matter of choice. Think that’s an exaggeration? How many times have you heard ‘I can’t come out tonight / stay out late because I’ve got work in the morning’? That is nothing short of total control, and the first verse is on point:

You’re not seeing, or thinking, just doing,

As a lifeform

Taking orders, cos that’s what you do,

Just a lifeform

Getting drained by the lies of the state,

Good little lifeform

Pushed around like atoms in the Hydron,

Cos you’ve just got to do what the system dictates

But what made me prick up my ears initially with ‘Lifeform’ was the delivery. It’s got a very strong 80s vibe, but it’s crossed with an early 90s indie feel – bright, choppy guitars and crisp drum machine dominate the mix, and the guitars layer up with some busy lead work. In places I’m reminded of Carter USM, but there’s more swagger and more groove, and the energy here is kinda sneery without being Oasis, with maybe more a feel of the early days of The Cooper Temple Clause. It’s also motorik, insistent, and catchy. And it’s 100% DIY.

This recommendation was brought to you not by an algorithm, but by a real living person who sifts through dozens of releases a day. No need to thank me…

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That Hidden Promise Promo1

Listen: ‘Death’ by hubris.

Posted: 22 June 2026 in Recommended Streams and Videos, Singles and EPs
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White Shores is the fifth studio album announced recently from Swiss post-rock band hubris. set for release on September 10th, 2026.

Following four albums rooted in Greek mythology, composer and founder Jonathan Hohl turns to his other favourite source of inspiration: The Lord of the Rings, but more specifically J.R.R. Tolkien’s exploration of mortality and immortality.

“The Hobbit was my very first exposure to literature as a child, and after Peter Jackson’s original film trilogy, I became completely obsessed with Middle-Earth,” Jonathan recalls.

In Tolkien’s legendarium, elves in spite of their immortality (a trait often coveted by humans) refer to death as the “Gift of Men.” This paradox offers a striking alternative to the Western perception of death as purely tragic. A “gift” implies something desirable, even fortunate. While Tolkien presents multiple perspectives on death throughout his works, the one that resonated most deeply with Jonathan comes from the main protagonist Frodo’s departure at the end of The Lord of the Rings: “the grey rain-curtain turned all to silver glass and was rolled back, and he beheld white shores and beyond them a far green country under a swift sunrise.”

In the wake of his grandfather’s passing, this perspective became Jonathan’s emotional and conceptual foundation of White Shores. The album unfolds across five movements, each representing a word in a single sentence: Death. Is. Just. Another. Path.

The sentence is drawn from Gandalf’s words to Pippin in Peter Jackson’s film adaptation. It was spoken in the face of what appears to be their last moments. This phrase serves as both a moment of respite and a thematic conception.

With its 5 separate movements, the album also offers a reflection to Dr. Kübler-Ross’s theory on the five stages of grief: Denial, Anger, Bargaining, Depression and Acceptance.

According to the band new single ‘Death’ is, “the song that started it all. It was the first piece I (Jonathan) composed after my grandfather passed away, and those opening chords became the foundation for the entire album. I’ve always seen our records as a single body of work rather than a collection of separate songs, and this album is no exception.

Each track was written at a different stage of my grieving process. The songs reflect my feelings in those moments as well as the evolution of my understanding of ‘death’ as a concept.   A major influence on that perspective was Tolkien’s work, where elves consider the mortality of men a "gift". This album became a way of exploring that idea and it all started with this song.”

Listen to the single now:

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Live shows (European Release Tour Pt. I)

25.09 – Fribourg, CH @ Fri-Son

26.09 – Barberaz, FR @ Brin de Zinc

28.09 – Valencia, ES @ 16 Toneladas

29.09 – Madrid, ES @ Wurlitzer Ballroom

30.09 – Porto, PT @ Maus Habitos

01.10 – Santiago de Compostella, ES @ Moon Music Club

02.10 – Lugo, ES @ Sala Clavicémbalo

07.10 – Nantes, FR @ The Black Shelter

09.10 – Leeds, UK TBA

10.10 – Manchester, UK @ Deaf Institute

11.10 – London, UK @ The Grace

12.10 – Bristol, UK @ The Gryphon

13.10 – Birmingham, UK @ The Rainbow

15.10 – Eindhoven, NL @ Altstadt

16.10 – Vlaardingen, NL @ De Kroepoekfabriek

17.10 – Antwerp, BE @ Djingel Djangel

18.10 – Hamburg, DE @ MS Stubnitz

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Gravity Machine – Ally The Truth

Posted: 21 June 2026 in Reviews, Singles and EPs
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18th June 2026

Christopher Nosnibor

The other day, my daughter came home from school complaining – not for the first time – about her English class, in which she’d been given ten minutes to come up with an idea for a story, and to plan the opening two paragraphs, and then perhaps another twenty to write the aforementioned paragraphs. She makes the same complaint about art and music lessons. “They expect us to write a song, with chords and a melody in fifteen minutes,” she moans. “Doing creative stuff just doesn’t work like that, Dad. How do they not know this?” She’s absolutely right. This is essentially where the distinction lies between making content and creating art, and artists all have different methods and work at different rates, often even between different projects. Sometimes, the thing just flows and – boom! It’s there. Other times, however, something just doesn’t quite click, and all the fiddling in the world doesn’t do it.

Ally The Truth, the new single from Devon-based alternative rock band Gravity Machine is, as they put it, ‘a track with a long gestation’. In fact, it began life in 2020, the same year they released their debut album, Red. There have been a few single releases since then, but it’s only now that they finally unveil this ‘epic tale of a relationship moving from curiosity to joining to fighting to resolution before finally hitting the universal truth of love and connection.’ That’s clearly the description of a work of art rather than mere content, and so it is that ‘Ally the Truth’ is epic in every sense, and not only in terms of its seven-minute duration.

It builds from an elongated drone with clattering drums reverberating in the distance, with a value lick of New Age vibes creeping around the edges before, suddenly, the song itself bursts in from nowhere, and we find ourselves in the midst of a sweeping amalgamation of alt-rock, psychedelia, and folk – a bit All About Eve, but also (yes, this is a bit of an obscure one, even for fans of 90s alt rock) a bit Eight Story Window (which is one way of saying, you should probably explore their album, too). It’s airy, atmospheric… and there are layers, and layers, and stages and stages – and with each segment, they step things up, until just a couple of minutes in, we’re being spun through a sandstorm of kaleidoscopic rock, before, later – much later – we find ourselves being escorted, gently, back down from the summit of the crescendo on a rippling piano and a chorus of voices. Such is the drama and dynamic of the song that it’s easy to lose the thread of the narrative – which means that you just have to go back and explore it all again. What a chore!

It’s not hard to grasp why this song took so long to reach its final version: ambitious would be an understatement. It’s compelling, immersive, atmospheric, exciting, and there is just so much happening. And all of it’s good.

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LandscapePhoto_Credit_Adriana Banari

Photo: Adriana Banari

Noir Addiction – Money For The Honey

Posted: 20 June 2026 in Reviews, Singles and EPs
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19th June 2026

Christopher Nosnibor

If you couldn’t guess by the name, one look at these guys and you know that there’s some industrial action in the mix. This Italian trio describe themselves as ‘dark alt. rock’ and as blending ‘alternative rock, darkwave and industrial influences with a strong focus on songcraft and melody’. And as the tiles of previous releases, which include ‘Decadent Desire’ and ‘Lust of the Flesh’, they have something of a penchant for the seamy and the lascivious.

A year on from their debut single, ‘Chemical Bride’, they serve up single number six.

Front man Sonny Lanegan explains that “‘Money for the Honey’ is about the things we chase when we know they probably won’t give us what we’re looking for. There’s desire in it, there’s attraction, but there’s also that feeling of searching for something more. The song plays with those contradictions and leaves room for people to find their own meaning in it… The phrase ‘Love me for the money, taste me for the honey’ became a kind of centerpiece for the song. It’s playful on the surface, but it also hints at the different reasons people connect with each other and the expectations we bring into relationships.”

There’s a strange interconnection in western culture with sex and money, and the notion that an abundance of the former has an allure and appeal that begets an abundance of the latter seemingly isn’t entirely without foundation. It’s a fucked-up world, but that’s capitalism for ya. Then there’s the sex and death equation… And Noir Addiction bask and revel in all of this, and never more so with the sleaze-grind industrial-tinged glam-groove of ‘Money For The Honey’. In some respects, it calls to mind latter day PIG, in its combining of pulsating synths, thumping beats and an unashamedly big chorus – all of which is a strong positive – and delivered with the swagger of Depeche Mode at their most overtly stadium.

The dark is very much the undercurrent rather than the main focus, instead pushing up the hookline ‘All I wanna do is make you think that I could kill it’. Well, they’re certainly killing it here.

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Photo by Valerio Fanelli

Watch: ‘The Boat of Despair’ (feat. Aaron Stainthorpe) by Dymna Lotva

Posted: 19 June 2026 in Recommended Streams and Videos, Singles and EPs
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Belarus metal pioneers DYMNA LOTVA reveal the outstanding music video ‘The Boat of Despair’, which was filmed deep underground in a historic mine. The track features guest vocals by former MY DYING BRIDE frontman Aaron Stainthorpe (HIGH PARASITE), which means a dream come true for the band.

‘The Boat of Despair’ is the second advance single taken from the forthcoming new full-length Vyraj. The fourth album of the post-black metal band has been slated for release on August 7, 2026.

DYMNA LOTVA comment: “Sometimes dreams do come true”, vocalist Nokt muses. “For decades, I have dreamed of creating a song that is based on my favourite book, Laddzia Rospačy by Uladzimir Karatkevich. For so many years, I have dreamed of seeing Aaron Stainthorpe live on stage. Later I have dreamed of sharing a stage with Aaron, and then even of singing a song with him. And for some years, I have dreamed of singing inside a cave, in an old mine, on a boat flowing on an underground river. Here we are now, all those dreams have miraculously come true. I wish the same might happen to all of you, who listen to our song and watch our music video ‘The Boat of Despair’!”

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DYMNA LOTVA are taking a quantum leap in their rapid musical evolution with their fourth album Vyraj. The rebellious Belarus dissidents are powerfully demonstrating that they are far more than a ‘one-trick pony’ in every conceivable artistic aspect.

Although Vyraj is still based on a solid foundation of black and post-black metal, DYMNA LOTVA move far beyond any easy labelling by also drawing inspiration from doom, heavy, and progressive metal, while venturing even deeper by incorporating elements from electronic music, goth, and folklore. The album is a cornucopia of great songs that are atmospherically dense and invite the listener onto an emotional roller-coaster ride from the darkest depths of depression and fear, via raw anger and defiance, to heights of ecstatic exhilaration. Vyraj is a musical kaleidoscope with ever changing patterns and sonic colours of remarkable beauty – that often dissolves into captivating melodies that at times even achieve a pop-like appeal.

DYMNA LOTVA continue to carry the torch of rebellion, which is only natural as the founding members had to flee their native Belarus due to political persecution and continued attempts by the Lukashenka regime to censor and suppress their art. Yet on Vyraj, they put their lyrical focus elsewhere. The album’s main concept could be described as ‘Belarusian ethno-astronomy.’ In Slavonic legends, the starry sky is associated both with the afterlife and with journeys, which becomes closely intertwined with the musicians’ personal experience of forced emigration. This idea is captured in the album title Vyraj, which is a mythical realm to where birds migrate for the winter, and where the souls of the departed find their final rest.

An important aspect of this concept is the idea of finding a way back home, just as the birds return in spring. A group of DYMNA LOTVA’s friends had travelled to the dying Belarusian village from which the ancestors of vocalist Nokt hail. There, they spent the entire night photographing the sky during the Perseid meteor shower from a small family cemetery. These images were used for the cover art and booklet of Vyraj.

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Watch: ‘Inside’ by Ships in the Night

Posted: 18 June 2026 in Recommended Streams and Videos, Singles and EPs
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‘Inside’ is the latest music video by Ships In The Night, the ethereal darkwave project of Alethea Leventhal. Renowned for her distinctive electronic production technique and delicate yet mesmerising voice, Ships in the Night creates dark pop songs that feel both intimate and cinematic.

Included on the 2025 album Protection Spells, a bold and powerful collection informed by trauma, magic, darkness and hope, ‘Inside’ balances opposing forces of stillness and tension, vulnerability and resolve. The video for it is a glimpse into a world of transformation, with creatures hatching, plants unfurling and everything growing and finding its way.

“This song is about looking for feelings of safety and comfort in a world that is out of our control,” explains Leventhal. "It’s about finding places where you can just exist and be yourself. It’s about nurturing community, lifting up queer spaces and reaching for utopia.”

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Watch: ‘Rites of Blasphemy’ by Temple Of Dread

Posted: 17 June 2026 in Recommended Streams and Videos, Singles and EPs
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TEMPLE OF DREAD reveal the crushing music video ‘Rites of Blasphemy’ as the second advance single taken from the forthcoming new full-length Dreadspawn Dominion. The East Frisians’ sixth album has been chalked up for release on August 7, 2026.

TEMPLE OF DREAD comment: “Who is a true believer, and who is a blasphemer?”, guitarist Markus Bünnemeyer asks rhetorically. “This is always the most difficult question when you want to start a new religion. This track is a typical Temple of Dread ‘ballad’, and it will go straight to your hearts. No surrender, no prisoners!”

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Like a mighty battle trireme, TEMPLE OF DREAD are leaving their port on the East Frisian island of Spiekeroog to deliver brutal death metal with the new massive ram bow Dreadspawn Dominion to all that dare to try and block their course.

Musically, TEMPLE OF DREAD remain true to their old school death metal roots but continue to expand their sonic range by further honing their cinematic aspects with even more dark and heavy elements that began to receive special attention on the previous albums Beyond Acheron (2023) and God of the Godless (2024). These veterans are making full use of their vast experience and audible confidence in their deadly craft to add true emotions into their often rather technically focussed genre.

Once again, these hardy islanders make use of classical themes from the ancient world with lyrics penned by their friend and long-time collaborator, the psychologist Frank “Doc” Albers. Followers of TEMPLE OF DREAD will recognise familiar threads, particularly the continuation of the clash between Charon, the ferryman of the souls across the River Styx and the personalised deity of the underworld, Hades.

The stunning cover artwork of Dreadspawn Dominion was again created by celebrated Italian artist Paolo Girardi and the resoundingly sharp-edged production also returned into the most capable hands of TEMPLE OF DREAD drummer Jörg Uken, whose renowned Soundlodge Tonstudio has also been frequented by such acts as DEW-SCENTED, GOD DETHRONED, OBSCENITY, and SUICIDAL ANGELS.

The most obvious change that has affected TEMPLE OF DREAD between the recording of God of the Godless and Dreadspawn Dominion is the addition of second guitarist Daniel Maurer and bass player Andi Bauer, who enhance the Frisian band with even more punch – both live and in studio.

TEMPLE OF DREAD were founded on the island of Spiekeroog in 2017 by Markus Bünnemeyer with the intent to play old school death metal. The guitarist was soon joined by vocalist Jens Finger, who also plays guitar in SLAUGHTERDAY, and drummer Jörg Uken. Both musicians have remained in the line-up ever since.

Already the first TEMPLE OF DREAD full-length, Blood Craving Mantras (2019), hit the scene hard. Their excellent reputation grew with the next albums World Sacrifice (2020) and Hades Unleashed (2021) that followed in rapid succession.

With Dreadspawn Dominion, TEMPLE OF DREAD do not just deliver about everything that their old school death metal following might desire but also invite listeners from other realms on the darker and harder side of metal to lend an ear. Listen and behold: an ancient darkness is rising to claim your souls!

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Watch: ‘Treachery’ by Tatv Gral

Posted: 16 June 2026 in Recommended Streams and Videos, Singles and EPs
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Chicago-based dark synth / industrial artist Tatv Gral (ˈtätü ˈgräl) announces the release of the Treachery EP, a new remix EP featuring the original version of the ‘Treachery’ single, produced by William Faith at 13 Studio, alongside exclusive remixes by DSTR (Daniel Myer of Haujobb), Tweaker (Chris Vrenna of NIN), and fellow Chicago underground denizens, [melter]. The EP is released on 6 July 2026, with presales available on Bandcamp now. The EP release is also flanked by the new video for the DSTR remix of the track, following on the heels of the video for the original single version in June.

Thematically, ‘Treachery’ emerged from a chance encounter that led Tatv Gral’s Allen Addington deeper into the symbolic world of Hellenistic astrology, as Addington explains: “It was a discovery in the ancient texts that unlocked the whole song – both Saturn and Mars independently carry the signification of ‘Treachery’, translated directly from the Ancient Greek. Two malefic forces, each already marked by betrayal, meeting in the same charged space. Following Richard Tarnas and James Hillman, I wanted to explore that archetypal collision phenomenologically – the Old Man and the Young Man, bondage and erotic force – seen through a gay male gaze and the cinematic shadow world of William Friedkin’s Cruising.”

Drawing on the archetypal psychology of James Hillman, who argued that images arising from the psyche carry their own intelligence and must not be immediately moralized, Tatv Gral uses music as a container for difficult energies rather than a platform to promote them. This approach places ‘Treachery’ in a lineage that runs through Coil’s ritual electronics, Kenneth Anger’s astrologically-timed film workings, and the Jungian shadow work that informs all of them. The queer lens is not incidental: it is the specific viewpoint through which these archetypal forces become visible.

Musically, Tatv Gral draws on the colder edges of industrial, EBM and dark electronic music, combining mechanical rhythms, claustrophobic textures and cinematic tension with an emotionally exposed vocal approach. Coil’s occult philosophy as genuine practice is at the centre of Tatv Gral’s frame of reference, while other influences range from Chicago’s industrial lineage via WAX TRAX! Records, through to the brutalist intersection of early British and German electronic music, shaped by the severity of Kraftwerk and DAF, while also maintaining a distinctly personal and contemporary perspective.

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