Florida’s death rock/goth artist SINISTER SHADOWS has released a music video for the song ‘Just Begun,’ taken from the self-titled debut album out on March 26th via The Doorway To label.
It’s quite a shift in style from its predecessor, ‘No One Home But Me’. Watch the video for ‘Just Begun’ here:
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Sinister Shadows was created out of the love of death rock and goth rock from the Eighties and Nineties – bands like Bauhaus, The Cure, Sisters of Mercy, The Mission, and Nick Cave.
Sinister Shadows ‘ mastermind, Ryan Michalski (Idiot Robot, Ryan Cosmonaught), ran a video magazine called The Gothic Box in Tampa Florida years ago and went to such venues as The Orpheum and The Castle. Sinister Shadows wants to bring back the darkness, romance and flair that has been long missed of this sound and movement.
The album was recorded at Ryan’s RPM Studios in Tampa throughout 2025. The album sees the participation of Ryan’s longtime music partner Clint Listing (The Slumbering) for an intro and outro to the record.
Glasgow-based post-metal collective Void of Light have unveiled the new video for ‘Mirrorings,’ the lead single from their forthcoming debut full-length album Asymmetries, set to be released on April 3 via Ripcord Records.
Clocking in at a towering ten minutes, ‘Mirrorings’ first premiered at Decibel Magazine, who praised the track saying: “Clocking in at 10 minutes, ‘Mirrorings’ offers a pretty solid introduction to these gloomy Glaswegians, a dynamic epic that shifts from pummeling sludge to melodic shoegaze-inspired dynamism.”
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The band had this to say about the new album and new song: “Asymmetries is the culmination of two years of hard work and exploration. Across the album’s five tracks, we set out to shape our own sound within a well-established scene, creating something that genuinely feels like ours. The closing track, ‘Mirrorings,’ brings the album’s introspective themes into a final, defining moment and represents what we feel is our strongest offering so far.”
Void of Light are a six-piece post-metal force built on contrast. Brutal yet deeply atmospheric, their sound fuses crushing riffs and thunderous drumming with melodic leads and carefully layered arrangements. Rooted in post-metal’s foundations but shaped by a wider spectrum of influences, the band carve out a sound that feels vast and aggressive, yet intricate and finely balanced through a keen sense of dynamics.
Following the release of their self-titled EP in 2022 and the two-track EP Enshroud in 2023, Void of Light completed a short UK tour and quickly established themselves as a powerful live presence across local venues and festivals. Renowned for their formidable performances, the band deliver an imposing wall of sound that is both overwhelming and precisely measured, drawing audiences into an intense, captivating experience.
On Asymmetries, Void of Light turn inward. Exploring themes of perspective, reflection, and internal conflict, the album charts a journey of reconciliation between the masks of the past and the truths of the present.
To celebrate the release, Void of Light will perform their album release show on April 3rd at The Flying Duck in Glasgow with support coming from Codespeaker & Obsidian Sand.
MESH demonstrate their remarkable proficiency far beyond producing massive electronica hits by delivering a wide-angled mid-tempo advance single that amalgamates melancholia with relentless urgency in the shape of the music video ‘This World’. This is the final advance track before the iconic alternative electronic duo’s new album will be released on March 27, 2026.
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MESH comment: “I lingered in front of a piano and my mind wandered into cinematic film score territory and continued into how these soundtracks or epic pieces of music set an emotional landscape for the film”, Richard explains. “This was my train of thought when I wrote what was to become ‘This World’. Then Mark added the underpinning modular lines which gave this uneasy dynamic.”
“This is a really beautiful song in my opinion”, Mark opines. “It came together by a huge group effort with Rich’s solid and emotional instrumentation, lyrics that just seemed to come together, and Olaf’s inspired production and arrangement changes. It turned out to be one of my favourites on this album.”
The Melvins and Napalm Death share ‘Rip The God’, the latest in a chaotic alchemy conjured on their joint album, Savage Imperial Death March (10th April, Ipecac Recordings).
The album shares its name with the bands’ Savage Imperial Death March tours from 2016 and 2025, but marks their first full-length studio collaboration under the moniker.
About this next track, Shane says; “The opening Buzz riff begins with that classic timing – a hiccup right at the end of the riff cycle making the riff extra special! Simple yet tricky to remember… it had my head spinning when I played the bass to it – Multiply that head spin with the guitar pedal noise static we all added – God was ripped and drunk on joyful noise…”
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The album was recorded at the Melvins’ Los Angeles studio, with Buzz Osborne (vocals/guitar) and Dale Crover (drums) joined by Napalm Death’s Barney Greenway (vocals), Shane Embury (bass), and John Cooke (guitar).
“I have loved the Melvins forever and their outlook on music,” Embury explains. “A chance to make an album of eclectic musical madness with them was truly an honour and a whole lot of fun, which surely is the whole point! Let’s do another one soon.”
“Napalm Death are one of my favorite bands ever,” Osborne says. “It was an absolute pleasure and a dream come true to do this collaboration with them. We wrote songs together. I would write a riff and we would learn it and record it right there. They wrote stuff and we would learn it immediately as well. It was truly a 50/50 partnership.”
"Funny how life turns out sometimes… collecting hard-to-find Melvins 7-inches on Bleecker Street in 1989 and then touring twice and doing an album with them within the following 35 years,” Greenway adds. “Had a great time with it all, and nice to work with fellow travellers in the Melvins who also couldn’t care about pandering to ‘demographics’. I felt myself almost babbling lyrically during the recording, and that alone made for very fun recording times."
Savage Imperial Death March pre-orders are available now. The eight-song album will be released on CD, digitally, and across four limited-edition vinyl variants: Black As Your Soul, Indie Exclusive Obnoxious Orchid, Ipecac Exclusive Absurd Aqua, and Revolver Exclusive Neon Coral. An abbreviated version of the album was released during the band’s 2025 tour as a hyper-limited vinyl/CD edition. This iteration features new Mackie Osborne-created artwork and two new tracks (‘Awful Handwriting’ and ‘Comparison Is The Thief Of Joy’).
The acclaimed trio BIG|BRAVE have announced their 10th full-length, in grief or in hope, out June 12th, 2026. in grief or in hope is an innovative vision of electro-acoustic sound and emotive storytelling, an endless bounty of overwhelming distortions and devastating beauty.
Along with the album’s announcement, the trio have shared first single & video ‘the ineptitude for mutual discernment,’ a powerful encapsulation of the ensembles’ singular approach to textural distortion and emotional complexity which contrasts tides of bristling guitars against guitarist/vocalist Robin Wattie’s resolute voice. The video was created by guitarist Mat Ball with color correction by filmmaker Stacy Lee.
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in grief or in hope marks a shift for BIG|BRAVE towards denser, guitar-oriented compositions. With longtime touring bassist Liam Andrews (MY DISCO, Aicher) joining guitarist/vocalist Robin Wattie and guitarist Mathieu Ball in the studio for the first time, the pieces are keenly layered with a rich tapestry of harmonics and tonal intricacies. Each piece is its own biome of distortions starkly contrasted with delicate, even tender, moments. The trio’s instinctual progressions are made more vivid through live recording, harnessing the gargantuan and storied sound of their performances. Within texturally maximalist loops and affected vocals, the pieces utilizes the aesthetics of drone, electronic, and heavy music within a foundation of pop song form.
Wattie writes: “I wanted to explore catchy, melodic phrasing weaved throughout the intensity of the instrumentation and droney chord changes. All that I could reflect on was grief and hope; death and life; cause and effect; shared experiences of being a human person.”
The tenth album for the ensemble, in grief or in hope pays homage to their past while looking into their future. Standout “the ineptitude for mutual discernment” expands on lyrical themes first explored on 2015’s Au De La where “verdure” echoes melodies from the title track of 2014’s Feral Verdure. These references to their past serve as potent reflection points on BIG|BRAVE’s evolution as artists. A sonic whirlpool of string instruments surrounds Wattie’s commanding vocals as she shifts from spectral undulations on pieces like ‘what may be the kindest way to leave’ to the direct, spare declarations of the title track. The ambiguity of mountainous chords on ‘an uttering of antipathy’ are coupled with autotuned phrases emphasizing isolation inside the fray.
Together the trio deliver emotional momentum that vividly describes the complex and deep feelings of struggle, pain, and transcendence. in grief or in hope transmits that sense of humanity with every gesture.
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Photo credit: Stacy Lee
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ON TOUR IN MAY AND JUNE
24 May – Utrecht, NL – EKKO 25 May – Amsterdam, NL – OCCII 27 May – Saint-Imier, CH – Toxoplasmose Festival 28 May – Basel, CH – Kuppel 29 May – Torino, IT – Jazz is Dead 30 May – Piacenza, IT – Desert Fox Festival 31 May – Ljubljana, SI – Channel Zero 2 Jun. – Poznan, PL – Pawilon 3 Jun. – Berlin, DE – Berghain
mclusky have returned with new music (and some not-so-new music) in the form of a mini album called i sure am getting sick of this bowling alley, which ipecac recordings will release on 20th march (digital) and 1st may (vinyl). it will be released in the following formats: digital, black vinyl, ipecac/band translucent red vinyl and the rough trade exclusive variant, crystal fuchsia. today, they share the track ‘as a dad’.
‘as a dad’ is a song about several things.
the first of these several things are men who begin sentences / clauses with ‘as a dad…’. which is fine as long as the sentence / clause bears no relevance to the actual experience of being a dad. occasionally though, the prefix is appropriate (about 1/7). society must bend to this.
the second of the several things is a modern child’s wonder at how much it must despise its male progenitor in the early stages of life. the mother is all. the father can fall down the stairs and die in a puddle of his own slippers, and that’s okay.
the third, and last i can be arsed to list, of the several things, is something to do with the pride of being replaced by your offspring. i look forward to gradually fading into the background (unless i die suddenly in an avalanche) and becoming a grey footnote set against a sofa. when i stop breathing i hope nobody notices for at least an hour – this means that whatever board game is being played at this family gathering i’ve just fantasised is at least competitive (and wasn’t an expensive waste of time and money).
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if you happened to catch the new peaky blinders movie this past weekend, you might have heard ‘people person’ on the big screen along side music from nick cave and fontaines d.c. the song is from the band’s 2025 release, the world is still here and so are we. the movie is in cinemas now and on netflix 20th march, and the soundtrack is out now.
Industrial glam kingpin Raymond Watts and his chief songwriting partner in swine Jim Davies (ex-Prodigy and Pitchshifter) are proud to announce that PIG has given birth to a healthy new album, ‘Hurt People Hurt’. Weighing in at 10 tracks, this latest addition to the PIG bloodline will be released into the wild on 22nd May 2026.
‘Tosca’s Kiss’ is out today as the album’s first single. Inspired by Watts’ well-known love of opera, it’s a song for the strong of stomach but not the faint of heart.
The album follows the dirt directly to the dustcart where misfits and reprobates can both lose and find themselves in this full fat emporium of ecstasy, naked words and momentous music. Plucked and sucked on the fruits of pain and bliss, this prime slice of PIG provides a light space for dark spirits. Enter bruised, leave changed.
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Raymond Watts has an impressive resumé. Aside from fourteen albums as PIG, he has worked with stalwarts of the global industrial scene such as Einstürzende Neubauten, Foetus and Psychic TV, in Japan with the bands Schwein and Schaft, and was a founder member of electronic rock band KMFDM with a key writing and vocal role on their best known songs of the ‘80s/’90s.
Watts has also written music for film, TV, advertising and fashion shows in Europe, Japan and America. His work in fashion includes ‘Punk: Chaos to Couture’ (Metropolitan Museum Of Art, New York) and ‘Plato’s Atlantis’ for the late fashion icon Alexander McQueen, which was reprised as ‘Savage Beauty’ (MMOA and the Victoria & Albert Museum in London).
Dark electro project, STABBED BY PRONGS has just unleashed their new full-length LP, Static Skin.
Drawing from EBM, electro, and 90s industrial influences, protagonist Craig Drabik has crafted six original soundscapes blending dance and destruction. Longtime collaborators Ry White, Andy Breton, Kimberly Kornmeier (Bow Ever Down), and Lail Brown return, along with newcomer Gabrielle Emerson.
Human relationships are a primary lyrical theme that permeates the album. The opening track, ‘Corpus’ hints at imposter syndrome under its moody S&M vibe, while ‘Another Realm’ embodies the longing and isolation of a long-distance relationship. ‘Violent Delights’, the album’s first single, is a harrowing look into an intimate relationship with a malignant narcissist. ‘Fall Into Darkness’ wraps up the album, longing to escape into the kind of love that consumes your sense of self.
STABBED BY PRONGS founder, Craig Drabik states, “Static Skin seems to have two personalities split between the male and female vocalists. I think there’s a nice contrast between the thumpy, heavy aggression of tracks like ‘Corpus’ and ‘Big Fake World’ and the laid-back electro-trip-hop of ‘Pyromancer’ for example. It provides more surface area to attract different kinds of listeners.”
As a taster, they’ve released a video for the opening track, ‘Corpus’, which you can check here:
Witch Ripper enter epic storytelling mode with a track that’s got it all: ‘The Clock Queen’ is groovy, heavy and proggy, and serves as the next advance single from their forthcoming third album Through the Hourglass, which is scheduled for release on April 10, 2026.
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Witch Ripper comment: “’The Clock Queen’ is the best representation of Witch Ripper in its purest form: Heavy. Melodic. Progressive”, vocalist and guitarist Curtis Parker writes. “In our story, it represents the big reveal of who our antagonist meets in this world they’ve found themselves in. Throughout the album, we peppered in what we call "the clock queen’s theme,” a melody that sneaks its way into almost every song at some point. This song is the culmination of that tension and it’s when we finally meet the driving force of the album: The Clock Queen herself.”
Bristol based progressive sludge metal band Urzah have announced details on their new album ‘A Tranquil Void’ set for release on 5th June via APF Records (Mastiff, Video Nasties, Swamp Coffin). The band have also shared first single ‘Infernal Star I’ which you can check out now:
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Formed in 2020, just before the pandemic hit, Urzah’s intensely collaborative and productive writing process was immediately evident, leading to the quick release of self-titled EPs I (2020) and II (2022). These laid the foundation for Urzah’s unique brand of ‘progressive sludge’. Inviting comparisons to Neurosis, DVNE, Mastodon and Elder, their forward-looking sound combines the abrasive elements of punk and post-hardcore with atmospheric post-metal passages and soaring melodies.
Urzah’s vision of ‘Earthen Heaviness’, combining oppressive darkness with moments of transcendence and cosmic awe, was realised on their critically acclaimed debut LP ‘The Scorching Gaze’ (2024, APF Records). The band’s sonic world draws on both the intensely personal – rage, loss, grief and self-doubt – and a profound awe and vulnerability in the face of the celestial and natural worlds, framing visceral human struggle within vast cycles of death, decay and rebirth.
Since their debut, Urzah has refined their live shows across the UK, playing festivals and headline shows, and sharing stages with a diverse roster of heavy bands including Bongzilla, Tuskar, Mastiff, Greenleaf, OHHMS and Dopelord, as well as progressive atmospheric bands such as Hidden Mothers, Underdark and Nadja, demonstrating their strong cross-genre appeal.
Now the band are set to release new LP A Tranquil Void on 5th June 2026 via APF Records. The record marks a defining moment for the band, following up their critically acclaimed debut The Scorching Gaze (2024, APF) with an even more assured, mature and ambitious full-length. Conceptually, The Scorching Gaze and A Tranquil Void function as a visual, musical and thematic diptych; where their debut burned brightly with the rage and destruction of an erupting volcano, their new LP captures the cathartic, contemplative still that follows.
A Tranquil Void draws inspiration from both personal introspection and awe in the face of the vast cosmos. Lead single ‘Infernal Star I’ reflects on the power of memory and connection to cast light in the darkness of a vast and uncharted universe.
Aural Aggravation 