Posts Tagged ‘Stream’

The Melvins and Napalm Death join forces for Savage Imperial Death March (10th April, Ipecac Recordings), a true collaboration – not a split, but a new album featuring members of both bands.

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.

Yesterday, the first track from the album, ‘Tossing Coins Into The Fountain Of Fuck,’ premiered with Jose Mangin on SiriusXM’s Liquid Metal.

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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’).

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Scotland’s ibex-obsessed blackened thrash bastards of Hades otherwise known as Hellripper are pleased to share another new song off their upcoming, fourth studio album Coronach, to be released worldwide on March 27th, 2026 via Century Media Records.

Check out the epic album’s title track ‘Coronach’ in a lyric video created by Irvan Dionisi / Theblackvisual.id here:

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Hellripper’s mastermind, guitarist/vocalist and songwriter James McBain checked in with the following comment about the upcoming album’s title track ‘Coronach’, which also closes the album:

A coronach is a vocal lament traditionally performed at funerals in the Scottish highlands. Intertwined with my own words is the poem of the same name by Sir Walter Scott, which served as an inspiration for this story: the funeral of an ambivalent and mysterious figure, revered by his community for his heroic deeds but whose life hid many dark secrets. As well as lyrically, the track is also a musical experiment for me; it was primarily influenced by late 80’s thrash metal along with bands like Bathory, Gallowbraid and Atlantean Kodex. A dash of post-punk, a fair amount of Iron Maiden-style guitar harmonies, some classical references and the haunting wail of the bagpipes fading in the distance: this song feels like the perfect farewell to the album”.

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Hellripper – Live:

SA 21.03.2026 Aalst (Belgium) – Oilsjt Omploft Festival

FR 27.03.2026 Glasgow (Scotland) – Garage *

SA 28.03.2026 Bern (Switzerland) – EmMetal Festival

FR 03.04.2026 Nottingham (England) – Saltbox **

SA 04.04.2026 London (England) – The Dome **

MO 06.04.2026 Utrecht (Netherlands) – De Helling ***

TU 07.04.2026 Dortmund (Germany) – Junkyard  ***

WE 08.04.2026 Hamburg (Germany) – Logo ***

TH 09.04.2026 Copenhagen (Denmark) – Pumpehuset ***

FR 10.04.2026 Berlin (Germany) – Lido ***

SA 11.04.2026 Warsaw (Poland) – Voodoo ***

SU 12.04.2026 Kraków (Poland) – Zascianek ***

MO 13.04.2026 Vienna (Austria) – Arena ***

TU 14.04.2026 Budapest (Hungary) – Dürer Kert ***

WE 15.04.2026 Munich (Germany) – Backstage ***

TH 16.04.2026 Prague (Czechia) – Subzero ***

FR 17.04.2026 Mannheim (Germany) – 7er Club ***

SA 18.04.2026 Paris (France) – Glazart ***

TH 14.05.2026 Mexico City (Mexico) – Foro La Piedad

FR 15.05.2026 Guadalajara (Mexico) – Anexa Independencia

SA-SU 16.-17.05.2026 San Luis Potosi (Mexico) – San Luis Metal Fest

TU 02.06.2026 Athens (Greece) – Kyttaro ^

WE 03.06.2026 Thessaloniki (Greece) – Eightball Club ^

FR 05.06.2026 Emmen (Netherlands) – Pitfest

SA 06.06.2026 Maastricht (Netherlands) – South of Heaven Open Air

SA 13.06.2026 Hauptmannsgrün (Germany) – Chronical Moshers Open Air

TH-SA 25.-27.06.2026 Ukmergė (Lithuania) – Kilkim Žaibu

SA 27.06.2026 Campania (Italy) – Southammer Metal Festival

FR 03.07.2026 Villava (Spain) – Sala Totem Aretoa +

TU 07.07.2026 Zaragoza (Spain) – Teatro de las Esquinas +

WE 08.07.2026 Toulouse (France) – Le Bikini +

TH 13.08.2026 Carhaix-plouguer (France) – Motocultor Festival

TH 03.09.2026 Košice (Slovakia) – Collosseum Club

FR 04.09.2026 Ostrava (Czechia) – Metal!!! Festival

SA 12.09.26 Verona (Italy) – Arcanum Fest

SA 26.09.26 Hinte (Germany) – Coast Rock Festival

SA 09.01.2027 Mangualde (Portugal) – Mangualde Hardmetalfest

* w/ Sarcator

** w/ Schizophrenia

*** w/ Schizophrenia & Sarcator

^ w/ Midnight

+ w/ Testament

For the second single from their forthcoming debut EP, Look, Stranger! (the new musical project of Ian J Cole and Louisa Rose) have taken the unusual step of releasing a remix of the as-yet-unreleased lead track, ‘Broken’. Longer than the single version – which in itself is six minutes in duration – it replaces the sung vocals with a spoken narrative and dialogue – source undisclosed, but it’s quintessentially northern, to the extend you half expect Sean Bean to make a cameo with a “bastards!”

Despite the underlying electro instrumentation, the end result is quite different from its predecessor, ‘The Last Thing’, and, indeed, the rest of the EP. It’s indicative of an act not tied to formula and willing to mix things up – which gets the Aural Aggravation vote!

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The iconic Jah Wobble has teamed up with guitarist Jon Klein on Automated Paradise, their third collaborative album and debut album as a duo with Dimple Discs. Out March 27th, this eight-track collection is previewed by the invigorating lead track ‘Fading Away’, a track that pulsates with motorik drive and the raw electrical tension of British post-punk and new wave, its shimmering progressive layers seemingly surging through the circuits of life itself.

The pairing of post-punk legends Jah Wobble (Public Image Ltd.) and Jon Klein (Specimen, Siouxsie & The Banshees) is no coincidence. Initially combining forces on the Metal Box – Rebuilt In Dub album, released in 2021, they continue to collaborate – both live and creating music in the studio.

“Jah Wobble and I share a mutual desire to keep a momentum going at the centre of the creative process. So we keeping it moving and trust our instinctive decisions and ideas. Automated Paradise is essentially a collection of jams and sketches, all made very spontaneously. We’d made several albums together previously, starting with 2021’s Metal Box – Rebuilt in Dub, so he had a wide range of experiences and strategies to draw from,” says Jon Klein.

“‘Fading Away’ is an end-of-civilisation story, echoing one of the earliest themes of human literature and reflecting a persistent human anxiety about the fragility of social order.”

Jah Wobble adds, “Making this record with Jon Klein was (as ever) an absolute buzz . Totally in the moment. Proper post punk. Angry and humorous. ‘Fading Away’ was the first track we finished from this album. We did this record in a handful of very intense, spontaneous sessions. Right place, right time sort of thing”.

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This album follows two 2025 albums for Wobble -  Dub Volume 1 (Dimple Discs) and the expanded reissue of the 2017 album The Usual Suspects, featuring 25 career highlights, re-recorded and including some of Wobble’s finest material, alongside tracks by Invaders Of The Heart and PiL.

This is Jah Wobble’s first post-punk album in recent years, following an array of travel and dub records. The brash guitar-driven tracks reflect his continuing preoccupation with the declining state of the nation. Driven by his experience working weekly at a music-based community project in Merton, along with Jon Klein, this record recalls the spirit of Mark Stewart – angry in an empathetic, constructive way. Like much of his recent work, the lyrical content was often inspired while traversing London’s transport system.

Jon Klein is a guitarist and producer best known as a member of Siouxsie and the Banshees from 1987 until 1994, which saw the release of the albums Peepshow, Superstition and The Rapture. Originally in the Bristol band Europeans, he then formed the glam-goth act Specimen and relocated to London, where he co-founded The Batcave nightclub. He has worked with Talvin Singh and Sinéad O’Connor, and co-produced a string of No. 1 albums for Warner-signed Spanish band Fangoria, fueling a decade-long streak of chart-topping success in Spain. His most recent work being as co-producer and guitarist with Jah Wobble.

Jah Wobble (born John Wardle) is a bass guitarist and vocalist from East London, whose career encapsulated genres from post-punk, dub and world music to experimental rock and electronic music. An original member of Public Image Ltd (PiL) from 1978-80, he made two groundbreaking albums with the band, which included the iconic Metal Box.

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Now in their twentieth year of uncompromising and mind-bending music, Gnod return with Chronicles of Gnowt Vol. 1, the first of a planned trilogy, to be released via Rocket Recordings on 10th April. Vol.2 should arrive in October and Vol. 3 in early 2027. Today, they share the first preview from Vol.1 ‘Shadow Mirror’.

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“I am only interested in people engaged in a project of self-transformation,” Susan Sontag once remarked. Sontag never had the chance to work out how she felt about Gnod, given she sadly left this earthly realm in 2004. Yet Gnod’s now twenty year journey through spiritual and audial exploration has been nothing if not that. Driven by relentless curiosity, magpie irreverence and a fierce countercultural imperative, their project has always refused to acknowledge all or any rules and boundaries, internal or external.

The latest adventure of this band may never have been intended to celebrate their two-decade anniversary, but as long-time Gnod member Paddy Shine notes, they don’t always have a lot of say in these matters –“I know that we didn’t plan it this way but perhaps it was always in the plan and we just didn’t know it,” he notes cryptically. “I guess what I’m saying is that the Gnod thing seems to have its own energy now and certain things tend to take care of themselves”.

“We haven’t reflected too heavily on the twenty year mark and maybe we shouldn’t, but I’m glad we are marking it in true Gnod fashion by releasing too many albums” he laughs –indeed, what began as a trip into a residential studio setup in Hellfire Studios with producer John ‘Spud’ Murphy (Lankum, Black MIDI, Caroline) for six days resulted in more potent material than anyone bargained for.

“Working with Spud was probably the best studio experience we’ve had,” Paddy notes. “He was open to all our ideas, facilitated them the best he could and always had great suggestions. The vibe was right and things just flowed”. The end result has been three studio albums to be released over the next year. “This trilogy revealed itself to us in the studio,” says Paddy. “We were hoping to get a good album out of the session and lo and behold we got three of the fuckers. It’s interesting that we did pretty much capture the full spectrum of the Gnod sound across all three”.

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2026 tour dates

05 May / UK / Bristol / Strange Brew
06 May / UK / Brighton / Dust
07 May / FR / Paris / les instants chavirés
08 May / DE / Duisburg / Stapeltor
09 May / DE / Berlin / Kantine am Berghain
10 May / PL / Poznań / Pawilon
11 May / CZ / Prague / MeetFactory
12 May / AT / Innsbruck / PMK
13 May / CH / Bern / Dachstock
15 May / NL / Nijmegen / Sonic Whip Festival
16 May / BE / Brussels / Obsidian Dust Festival
17 May / UK / St Leonards / The Piper
03-06 Sep / UK / Dorset / End Of The Road Festival

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Photo credit: Jon Perry

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.

this follows their album the world is still here and so are we which was released in 2025.

content. it drives the modern music world. photos. opinions. more photos. more opinions (please note – not all photos and opinions are bad, just 99 per cent of them). how about – and indulge me here – music? that content-y enough for you? fact is we can’t stop writing, at least at the moment. it’s fun (that’s all it needs to be). it’s the common denominator of band. only death will slow us down (note – it won’t stop us).

the idea for this release started as a bit of a stop-gap – a thing with which to help promote the north american tour – and ended up as something else entirely. ‘i know computer’ and ‘as a dad’ are new and are singles (they may make the next album, who can say, it’s already half-recorded and you will like it). damien probably likes ‘i am computer’ a bit too much but that’s okay, the heart wants what the heart wants.

‘spock culture’ and ‘hi! we’re on strike’ were recorded during the the world sessions. why didn’t they make the album? i’m not sure. lyrically they are important historical documents, up there with the pusheen the cat books and/or the US constitution.

‘fan learning difficulties’ and ‘that was my brain on elves’ have only had a digital release before and are, to quote british children from forty years ago, ‘skill’. hopefully you can agree that i – and by osmosis, all of us – have read a lot of books. – falco x

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the live dates in north america are:

march 24 denver, co marquis theater

march 26 seattle, wa the crocodile

march 27 boise, id treefort festival

march 28 portland, or aladdin theater

march 30 san Francisco, ca the chapel

march 31 los angeles, ca the regent theater

april 2 austin, tx empire control room & garage

april 3 minneapolis, mn fine line

april 4 chicago, il metro

april 6 toronto, on mod club

april 10 philadelphia, pa underground arts

april 11 washington, dc black cat

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Photo credit: Rick Clifford (@rcstills)

The release of this single is in itself a victory. Last autumn, Tombstones In Their Eyes lost guitarist Paul Boutin to cancer. Such a loss always poses the question of whether the right thing is to call it a day or carry on, and there’s really no right answer, no correct course of action. Things will never be the same again, and drawing the curtain out of respect acknowledges that, while to continue is to acknowledge that the future won’t be the same, but to go forward and carry the essence of that person on in future endeavours. I write this not as someone who has lost a band member, but my wife to cancer in recent years, and as such I find myself faced daily with decisions around transition and continuation, challenges over what feels like sacrilege and respectful accommodation of what once was.

Tombstones In Their Eyes are keeping on, and still count Paul as a member in spirit, which is why they elected to proceed with the release of Under Dark Skies in December last year, and now the release of the album’s third single.

‘You Never Have to Love Me’ is described as ‘occupying the uneasy space between collapse and clarity, tracing a moment where survival demands self-reckoning and the realization that repair begins from within’, and is dedicated to Paul.

‘You Never Have to Love Me’ is a magnificently hazy mid-tempo song that builds layers and blooms gradually, and is more of a work of collectivism than simply a band recording, as John Treanor (vocals and guitar) set out: “There are a lot of musicians on this track, with 3 guitar players, 6 people contributing vocals, 2 bass players and 1 drummer and 1 keyboard player. We split the bass parts as Joel was not longer going to be in the band and Nic was coming back in. I had them both do parts and we used some of each. Phil did an amazing outro guitar part that to me is a highlight of the song.”

The result is a magnificently layered piece that starts of gently and grows and swells to towering enormity, a texture-filled sonic monolith. This is a song that fills you up, then lifts you upwards, in a glorious surge, which arrives almost subliminally: one moment you’re drifting along, and then, before you know it, you’re floating… a beautiful blur.

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Serving as a bridge towards their full-length album Dandy Variances album, out later this year via Records, Man Records, genre-defying NYC outfit Ecce Shnak deliberately revisit ‘Katy’s Wart’, a hidden gem originally released on their 2019 Joke Oso album. Telling a visceral tale of justice, the new video introduces a cruel madman, who finally meets his end at the hands of five purple goddesses of righteous vengeance.

The story is presented in two formats: as a three-minute ‘Animated Music Feelm Version’, and an immersive ten-minute ‘Extended Feelm Version’ – which we’re sharing here – with a dramatic backstory that builds tension and context, centered on a well-dressed maniac lacking basic human dignity, whose harmful acts finally trigger a cosmic intervention. The heroic twin sisters, played by Rachael Rae Robertson and Rebecca Robertson, ultimately fend him off with the help of otherworldly agents of chaotic justice. In a supernatural animated turning point, five spirits are conjured to deliver him a dose of instant karma.

A blistering indictment of bigotry and cruelty, this surreal narrative was brought to life through a collaboration with some of the industry’s most innovative creative minds. The project’s striking visual identity is the work of the production-direction team of Hollye Bynum and Sam Owens, as well as the band’s own David Roush. The eery and mind-boggling animation was crafted by the industry titans at Titmouse Productions.

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Based in New York City, Ecce Shnak (pronounced Eh-kay sh-knock) is made up of David Roush (composer, bassist and one of two singers), Bella Komodromos (vocals), Chris Krasnow (guitar), Gannon Ferrell (guitar), and Henry Buchanan-Vaughn (drums). With this high-fidelity animation, ‘Katy’s Wart’ is now a definitive piece of Ecce Shnak lore, bridging their historical catalogue with their ambitious future. In revisiting this slept-on art, they are clearing the path for new music and film works.

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Legacy postpunk-shoegaze outfit Lowsunday has shared ‘Soft Capture’, with a new video by Jer Herring. This is the second single from the Low Sunday Ghost Machine – White EP, following ‘Love Language’. Released via Projekt Records and ranking second among Post-Punk.com’s Best EPs of 2025, this is the band’s first record of all-new material since 1999.

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Born in the mid-1990s within the local Pittsburgh scene, Lowsunday (initially known as Low Sunday Ghost Machine) emerged as a “retro-futurist” pioneer, blending darkwave and shoegaze long before the genres saw their modern revival. Their legacy was cemented with their debut album Low Sunday Ghost Machine and the 1999 masterpiece Elesgiem, both of which were re-released via Projekt Records over the past 18 months (for their 30th and 25th anniversaries, respectively).

The band dissolved, leaving behind a cult reputation for mercurial sounds and blistering guitar work that set the stage for subsequent generations of alternative artists. Following a nearly 25-year period of inactivity, the band resurfaced as a duo in 2025—consisting of original members Shane Sahene (vocals, guitar, synth, bass, drums) and Bobby Spell (bass, guitar, drums).

“With ‘Soft Capture’, we wanted to layer vintage synths over a droning bass line, topped with a wandering guitar melody. As the guitar descends, we felt it taking on a darker tone, but then it creates a bit of a silver lining as the melody climbs back up. We used the lead guitar feedback almost like a theremin, letting it melt through the background,” says Shane Sahene.

“Lyrically, we were thinking about the traps of life and the ways we often submit to things, but the song eventually circles around with an optimistic glimpse of having the opportunity to run away. We feel like the backing vocals on the chorus are what really bring that sense of strength and hope to a situation that might otherwise feel like a surrender.”

Serving as both a reflection and a resurgence, the White EP ushers in a welcome return, marked by superb production and a renewed creative clarity, bridging three decades of distinct sonic legacy with balanced doses of escapism, dreamlike sounds, drones and feedback. This first of a two new EPs planned this year, their crystalline shimmer, classic song structures and melodic hooks shows their atmospheric sound to be as timeless and relevant as ever.

The White EP is a natural expansion for Lowsunday, building upon guitar-driven atmospheres, synth textures, emotive vocals and drum beats. A confident return to form that explores darker yet more expansive sonic territory, they bring atmospheric noise and, at more delicate moments, a dream pop air of deeper melancholia. Distilling years of sonic exploration and inspiration, lyrically and sonically, classic post-punk rhythms and atmospheric layers merge to express raw and genuine emotion.

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Hunter As a Horse (HAAH) is the South African musician and vocalist Mia van Wyk. Based in the Western Cape, she has spent the last few years self-releasing a diverse series of singles and EPs that combine electronically-focused songs with intense, melancholic lyrics that are given a darkly cinematic production.

Having recently signed to Metropolis Records, the first HAAH single for the label is ’Lighthouse’, an extremely personal song that weaves together mythology and psychology. Inspired by Carl Jung and ‘shadow work’, it is about how only the broken can truly understand each other. “But, one who was broken and is now healed has greater power to lead the broken through the dark night of the soul because they know the territory,” explains van Wyk. “It’s like if someone who died came back to guide the lost back home. I’m ignoring every warning about how you can’t save someone and declaring that I can. It’s about fearlessly challenging somebody else’s demons.”

Seamlessly genre-hopping between alternative, indie, electronic and dream-pop, with diversions into alternative dance and even nu-goth, the songs of HAAH have been described as mysterious, apocalyptic soundtracks for the strange happenings of our time, with the UK newspaper The Guardian commenting: “Brings to mind the mesmerising atmospherics of Lamb and Zero 7. Dark and very lovely indeed.”

The song lyrics of van Wyk are a mystical ride through her strange and synchronicitous life. Deeply authentic, they are inspired by death, addiction, astral visions, CPTSD, melancholia, nostalgia and magical thinking.

Hear ‘Lighthouse’ here:

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HUNTER AS A HORSE | Mia van Wyk