Parisian fuzz fanatics Electric Jaguar Baby kick off 2026 with the release of a brand-new live video for their latest single ‘The Fastest Ride’.
For this track, Electric Jaguar Baby lean hard into the desert rock side of their sound, transforming the Paris hood into a dust-blown Rancho de La Luna fever dream. Razor-sharp riffs, a frenzied, chant-ready chorus and a psychedelic breakdown turn ‘The Fastest Ride’ into one of the album’s defining moments, all played as if tearing down the highway in a beat-up ’65 Chevy.
The live version was captured by Cockpit Prod as part of their session series, and perfectly bottles the raw power, sweat and unfiltered energy that Electric Jaguar Baby are known for.
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“The Fastest Ride” is taken from Clair-Obscur, the duo’s wildest, heaviest and most electrifying album to date, released on September last year via Majestic Mountain Records (Kal-El, Saint Karloff).
Formed in 2015, the duo comprised of Franck (drums/vocals) and Antoine (guitar/vocals), have spent the last decade distilling garage, stoner, punk, psych, pop and grunge into pure fuzz-fueled chaos. Known for their explosive live shows and no-rules approach, they’ve shared stages with everyone from Sepultura to Death Valley Girls.
Now, Clair-Obscur marks their third full-length and most fearless outing yet. Recorded live and drenched in distortion, the album rips through 11 unfiltered tracks of raw sonic adrenaline, with killer guest appearances from Lo (ex-Loading Data) and Chris Babalis Jr. (Acid Mammoth).
Experimental Hip-Hop legends dälek return with their latest full-length album, Brilliance of a Falling Moon. Taking its name from a section of Erik Larson’s 2011 novel In The Garden of Beasts, the album paints a fiery portrait of life and resistance in fascist America.
Conceived, composed, and produced by Will Brooks (aka MC dälek) and Mike Mare, Brilliance of a Falling Moon is a sprawling, uncompromising record that speaks to the political timbre of the day.
With the album announcement they share the track "Better Than", about which dälek says;
“Better Than encapsulates the new sound and feel of the record perfectly. It conveys the anger, frustration, and defiance of the moment. Sonically, it is somehow simultaneously, sparse and stripped down, yet complete and dense. A new wall of sound built only of the absolutely necessary elements.”
Woah. They’ve gone and done it again. Eville continue to chart their own ascent through their single releases, and having previously toured with Glitchers and played at Reading and Leeds last year, they look like they’re on the brink of really ‘blowing up’ as tour support for As December Falls. They’re a band that tours hard and wins fans at every show, and that’s coupled with a steady output of singles over the last couple of years, culminating in theBrat Metal EP late last year. They’re kicking off 2026 where they left off last year, and ‘Blow Up’ is another rip-snorter, an audacious hybrid of slugging nu-metal, hyperactive rave metal, and autotuned pop.
As such, ‘Blow Up’ draws together all of the elements of their previous releases, and, true to form, compresses them into a pumping three and a half minutes (which is actually quite long for them). It’s not quite a party tune, but it is a beefy riff-driven banger with real bounce. It’s more electronic, more processed-sounding than any of its predecessors, and leans more into pop territory than metal – at least in the main – but the late-landing mid-section goes heavy… And then it bounds to the finish line with another surging chorus.
Right now, it seems as if Eville are reinventing nu-metal for the 2020s, and on their own terms. They’ve got Kerrang! jizzing themselves over their every move. And rightly so. This is a new kind of metal. Power to them.
Based in the Texan city of San Antonio, darkwave/synth-punk artist Night Ritualz (aka Vincent Guerrero IV) weaves Latin influences into his songs, often blending English and Spanish lyrics with music that combines atmospheric soundscapes suffused with pulse-pounding beats to tell stories that are deeply personal and universally relatable.
New single ‘Un Tiro’ (One Shot) is the third and final track to be lifted from an upcoming album entitled Time Is A Thief, out on 20th February. With its early ‘80s indie-pop vibe, the song stands in stark contrast to its immediate predecessor, ‘Whoreish’, which mixed hard industrial and EBM sounds. The album’s first single, ‘Brown Skin’ was an unapologetic expression of identity, struggle and survival, that blended personal storytelling with social commentary.
Portland alt-rock / post-punk outfit Rayon present their latest single ‘Running, a propulsive exploration of the anxiety that comes with watching loved ones struggle with cycles of addiction that they can’t shake – and the sound of a tape echo that’s about to stop working. Intentionally preserving the noise of pausing, rewinding, and fast-forwarding to heighten the song’s frantic pace, its sound can be considered a study in tension and tape, the video conveying a sense of lo-fi capers involving a Citroen Wagon.
Found on the flip side of the single ‘Shopping / Running’ (also available on 7” vinyl via Little Cloud Records), ‘Running’ is perhaps even more stunning than the whacky A-side ‘Shopping’, a tongue-in-cheek ode to consumerism and travel, written by someone who happens to travel and consume a bit.
Founded by long-time North Portland resident and Detroit-area native Eric Sabatino, Rayon now also involves members of other notable Portland bands – Sun Atoms, Yuvees, Pastilla and Martha Stax – namely Anna Sabatino, Riley McLaughlin, Eric Rubalcava and Derek Longoria-Gomez.
‘Running’ is based on a relentless bass and drum groove that lived in Sabatino’s head for months before finally taking shape in the studio. To capture the song’s unsettled emotional landscape, the band leaned into the mechanical unpredictability of a dying Dynacord tape echo. By funneling guitars and vocals through the aging machine, they achieved a haunting, warped soundscape where the pitch and speed constantly bend and shift. Feeling as though it is physically straining under its own weight, this song mirrors the very themes of instability it describes.
“’Running’ was built around a bass and drum groove I was kicking around in my head for months. The guitars and vocals are the sound of a tape echo called ‘dynacord’ that’s barely working, bending and moving the speed and pitch of everything we run through it. Those parts wouldn’t have come out like that if I wasn’t trying to write a guitar part while plugged into that machine.” says Eric Sabatino.
The video for ‘Running’ offers a gritty, nostalgic look at the band’s world, captured entirely on a vintage Handycam, following the band in their meticulously restored Citroen wagon. Embracing the track’s jerky energy, their journey concludes with a grainy, evocative sequence of freeway signs leading into Seattle—a slow-burn outro that grounds the video’s high-energy antics in a sense of place and movement.
“The video was shot on an old handycam camcorder we found in the back of a closet. The battery miraculously held a charge. It came with a tape of someone’s school play, which we taped over (sorry to whoever’s family that was). It features the Citroen wagon from the ‘Shopping’ video. I worked on that car for months. So glad it didn’t break down during these two long video shoots,” says Eric Sabatino.
“We drove around all day picking everyone up at their home, work, local bar, favorite little shop, and went to band practice. We filmed the antics and capers along the way. Sometimes we let friends and strangers hold the camera and film us. I transferred and edited it over 2 late nights, trying to capture as much pause, rewind, and fast-forward noise as I could, timing the cuts to capture the jerky energy of the song. I love the outro and the slow noisy shots of the freeway signs leading to Seattle.”
BLACK LUNG present ‘Follow’ as their next advance single. The subtle yet also dramatic track full of twists and turns is taken from the American heavy psych rockers’ forthcoming new full-length Forever Beyond and presented in the form of a beautiful visualiser. The fifth album from the Baltimore, Maryland outfit is slated for release on March 6, 2026.
BLACK LUNG comment: "I wrote the lyrics for ‘Follow’ after getting out of a job that was bringing me zero joy”, vocalist and guitarist David Cavalier writes. “This song is meant to feel like you are a cog in a machine, and you are breaking the fuck out of it. The verses are tighter, more precise. The bridges and choruses are heavy, wide open, and much more free.”
RESURRECTED unleash the music video ‘Sanity Is Lost’ as the first advance single taken from their forthcoming new album Perpetual. The eighth full-length of the German death metal veterans has been scheduled for release on April 10, 2026.
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RESURRECTED comment: “The first single track, ‘Sanity Is Lost’, delivers a crushing mid-tempo assault rooted deep in the old school death metal tradition”, drummer Dennis Thiele writes. “It is driven by filthy grooves, dense riffing, and relentless heaviness. We are channelling the raw brutality of classic Cannibal Corpse–era death metal. At this song’s midpoint, the pace accelerates into a violent outburst that pushes intensity to breaking point. It is a merciless reminder that once the momentum hits, sanity is truly lost.”
The video is inspired by Germany’s most catastrophic mining disaster: On February 20, 1946, shortly after noon, a methane explosion ignited an even bigger coal dust detonation in the mine Zeche Monopol Schacht Grimberg 3/4. 405 miners, personnel, and three British officers of the North German Coal Control perished in the massive detonation underground. While the reason for the initial gas ignition remains unknown, lax post-war security standards are generally blamed. The so-called Myth of Grimberg remains as a deep scar in the collective memory of the Ruhr Area.
On Friday, April 3rd, 2026, sunn O))) will release their eponymously titled first full-length album for Sub Pop.
sunn O))) was co-produced & mixed by the band and Brad Wood (Hum, Tar, Sunny Day Real Estate, Liz Phair), and was recorded at Bear Creek Studios in Woodinville, Washington, January 2025. You can now listen to the album’s closing track, ‘Glory Black.’
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Framing the album visually are two paintings by the late American artist Mark Rothko – one on the front cover and one on the back cover, with the art reversed for UK & European pressings. And, within the CD and LP package are expansive liner notes by author Robert Macfarlane, whose 2025 novel Is a River Alive? is one of many sources of inspiration for the album. And, illustrations by French artist Elodie Lesourd are also featured on the inner LP sleeves and accompanying album merch.
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sunn O)) will tour in support of the album. Tickets for the below shows will go on sale to the general public on Friday, January 16th at 10am (local).
Wed. Apr. 01 – Phoenix, AZ – The Van Buren Sat. Apr. 04 – Austin, TX – Emo’s Sun. Apr. 05 – Houston, TX – White Oak Music Hall Mon. Apr. 06 – New Orleans, LA – Civic Theatre Tue. Apr. 07 – Atlanta, GA – The Goat Farm Thu. Apr. 09 – Columbus, OH – The Bluestone Sat. Apr. 11 – Philadelphia, PA – Union Transfer Mon. Apr. 13 – Montreal, QC – Le National Tue. Apr. 14 – Toronto, ON – 131 McCormack Thu. Apr. 16 – Chicago, IL – Salt Shed Sat. Apr. 18 – Iowa City, IA – Englert Theatre Sun. Apr. 19 – Omaha, NE – The Waiting Room
It’s been a little while since we last heard from .SYS Machine, when they slipped ‘Graceful Isolation’ out in the wake of the pandemic lockdowns. One reason for this is that Dave McAnally has been busy withindustrial side-project Derision Cult – but with ‘Doubtless’, .SYS Machine presage the arrival of a new album, Parts Unknown due out in April.
While the dark electronic pop of .SYS Machine is sonically more accessible than Derision Cult McAnally’s lyrics have a tendency to draw on the experience of living through our trying times, and ‘Doubtless’ is no exception, exploring as it does the challenge of ‘maintaining sanity in an increasingly turbulent and chaotic world’.
The vocal melody and McAnally’s drawling intonation bring something of a country feel, which is quite a contrast to the metronomic pulsating disco beat and the synths, which are airy and even hint at a sense of optimism. There are strong hints of Violator-era Depeche mode woven into the fabric of the song, particularly in the chorus, and it balances broodiness with a certain buoyancy. The way the elements interlace is intriguing, and far from obvious – meaning this is a grower rather than an instant grab.
Sky Valley Mistress continue the countdown to the release of their second album Luna Mausoleum, that is due to land on Friday 23rd January 2026 (New Heavy Sounds).
Intended to be the soundtrack of their Hearsecraft ride to the moon, Pilot Kayley “Hell Kitten” Davies and Commander Max “Leather Messiah” Newsome launch you into the Sonic Stratosphere with an audio journey fuelled by 70’s hard rock, driven off the road to a fresh new destination.
Today sees the release of the official video for previous single ’Too Many Ghosts’, a song which, according to the band, “is meant for the open highway. Somewhere you have the freedom to put your foot down and still feel like you’re cruising”.
Watch the video now, which stars the band and the hearse they drive around in on tour known as ’Thundertaker’:
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In a brief glimpse behind the curtain, the band have also shared the details and dangers behind the making of ’Too Many Ghosts’.
"The story behind making the music video for Too Many Ghosts is that it took five separate weekends to shoot with us only managing to actually record any footage during the last day. The reasons for the failed recording days were:
– A car full of drugs dealers moving us on from location and ‘politely’ requesting that we don’t return
– The power generator for the lights being faulty followed by torrential rain
– Our videographer realising he had forgot his memory card after driving 90 mins to location followed by the hearse breaking down due to a broken fan belt
– Kayley’s astrosuit zip breaking after shooting one take
The hearse battery also died moments after we finished filming, which meant I (Max) was left alone in the middle of Slaidburn Moors at the dead of night in a hearse with no power or heating (it was fucking COLD) for a few hours whilst I waited for a recovery vehicle and Kayley to return from driving our videographer home in the other car.
This video started the band’s catch phrase of ‘the curse of the hearse’ that we use any time something goes wrong, which it does. A lot."
New album Luna Mausoleum takes you through desert rock grooves and mountainous riffs, you are guided by Kayley’s soulfully smoked voice and her range of soaring, delicate, yearning and understated melodies as the band ride peaks and valleys of dynamics and pace with an eclectic selection of instrumentation of fuzz guitars, organs, real orchestras and a children’s choir.
Twisting influences of Queens of the Stone Age with Portishead and turning from Spiritualised-sized gospel choruses to the gallow heavy swing of Black Sabbath, with sound as fast as light they move between their influential orbit to create a modern classic that is entirely their own. There isn’t space in this genre the band haven’t explored. This is a demonstration of their refusal to wait for permission to create a record that stands in scale with some of the most monumental albums in rock.
The band’s statement on their intent behind creating Luna Mausoleum was that it should be “greater and beyond all reason”.
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Sky Valley Mistress live:
The band who has one member play every instrument so that they sound like a four piece in the studio, defy logic with aspiration with their iconic live show as a Duel-Drumming Duo. Vocalist Kayley “Hell Kitten” Davies takes the sticks and one half of a drum kit whilst original drummer Max “Leather Messiah” Newsome battles the electric guitar with the kick drum under his foot. No samples. No backing tracks. No click tracks. No one is playing rock and roll the ways these two do.
Sky Valley Mistress will be performing at a number of live in-store shows this month.
Aural Aggravation 