This October, the indefatigably enigmatic trio The Necks will release Disquiet, their 20th full-length release, a triple disc via Northern Spy. It’s an absolutely intoxicating listen, over three hours of incredible music.
The band has shared the mesmerizing 26-minute ‘Causeway,’ as a first listen. Hear it here:
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Photo credit: Dawid Laskowski
Industrial rock insurgents Jesus on Extasy (JoE) are back – darker, heavier and more relentless than ever. Led by founding member Dorian Deveraux, the band has returned with an uncompromising sound that pushes their signature mix of industrial beats, searing guitars and raw emotion to the next level.
JoE have issued ‘Somewhat Happy’ as a new single today, with Deveraux deeeming it “the apocalyptic post breakup song you didn’t know you needed.” Describing the song as a paean to “how to move on after a traumatic relationship that left your world in shambles, when you’re starting to get clarity and see your ex-partner for who they really are,” the song can be seen as lyrically related to ’Soul Crusher’ its heavy-hitting predecessor released in July.
Like that single, ‘Somewhat Happy’ offers a further brutal preview of what is to come on the forthcoming new JoE album, Between Despair And Disbelief, which is out on 12th September via Metropolis Records. Giving fans a tantalising taste of their second coming with the single ‘Wide Awake’ in 2023, the band then signed to Metropolis Records to issue ‘Days Gone By’ VIDEO in late 2024, followed by ’Soul Crusher’ VIDEO. All three have been heavier, more intense and unapologetically aggressive than ever before. “It looks like the world is going to hell. We might as well deliver the soundtrack for that,” adds Deveraux.
Check it here:
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2025 shows with Die Krupps
27th August KORTRIJK (BE) DVG Club
2nd September WARSAW (PL) Hybrydy
3rd September KRAKOW (PL) Hype Park
7th September LJUBLJANA (SI) Orto Hall
9th September BUDAPEST (HU) Dürer Kert
11th September PRAGUE (CZ) Rock Cafe
16th September STOCKHOLM (SE) Nalen
17th September COPENHAGEN (DK) Pumpehuset
20th September UDEN (NL) De Pul
21st September LONDON (UK) The Dome
24th September PARIS (FR) Petit Bain
2026 shows with KMFDM
21st February OBERHAUSEN (DE) Kulttempel
22nd February EINDHOVEN (NL) De Effenaar
25th February LAUSANNE (CH) Les Docks
26th February WINTERTHUR (CH) Gaswerk
27th February MILAN (IT) Legend Club
6th March BERLIN (DE) Gretchen
8th March LEIPZIG (DE) Moritzbastei
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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. Levinson leads the charge on the album’s latest single ‘The Weight’ of which she comments:
“’The Weight’ is part of a series of songs on the album that bears witness to queer life. It was written reflecting on a particular month last year when so much seemed heightened. It seemed like many of my friends were being harassed in public—both verbally and physically—for being trans, for being queer, and/or for being women (it’s not always clear which). This was also a time when I was feeling a lot of love and a lot of community. I wanted this song and the songs around it to honestly reflect both these elements. I wanted to write about transness but didn’t want to rely on political aphorisms and indulgent images of suffering. I wanted to paint a holistic portrait of queer life.” – Leah Levinson
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Photo credit: Olivia Crumm
AGRICULTURE LIVE DATES 2025:
Sep 3 Bristol, UK — The Exchange
Sep 4 Brighton, UK — Dust
Sep 5 London, UK — Oslo
Sep 6 Manchester, UK — White Hotel
Sep 7 Newcastle, UK — The Cluny 2
Sep 9 Leeds, UK — Brudenell Social Club
Sep 11 Dublin, IE — Workman’s Club
Sep 12 Cork, IE — Nudes
Sep 13 Belfast, NIR — Voodoo
Sep 14 Glasgow, SC — CORE. Festival
Sep 16 Paris, FR — Point Ephemere
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
San Diego/Los Angeles-based shoegaze outfit Distressor returns with their latest single, ‘Broken Glass’. Following their breakthrough collaboration with shoegaze giant Wisp on Tomorrow (via Interscope Records), the independent four-piece is carving a new lane for themselves—one that blends the haze and texture of shoegaze with the raw, melodic punch of early 2000s emo.
Formed in late 2017, Distressor has built a reputation for pairing massive, driving rhythm sections with high-register vocals and emotionally charged choruses that cut through the fog. Their 2023 debut LP Momentary established the band as one to watch in the new wave of heavy shoegaze, and ‘Broken Glass’ pushes that momentum further.
Originally a shelved demo, ‘Broken Glass’ came to life after new drum and bass parts lit a fire under the track, transforming it into a setlist staple almost overnight. Leaning harder into their emo roots, the band challenged genre norms on this one:
“We’ve grown a little bored of the classic soft shoegaze vocals,” says the band. “With ‘Broken Glass,’ we wanted something more pushy and hooky—a big chorus that hits just as hard as the guitars.”
The accompanying music video, directed by longtime friend Diego Guardado, captures the band’s raw live energy in an unpolished, visceral way. Shot in a small, sweaty LA room—while an island-themed church service played loudly (and out of tune) next door—the DIY spirit of the video reflects Distressor’s independent ethos:
“Even though music videos aren’t as popular anymore, we still love making them,” the band explains. “This one was nothing fancy—just us, some friends, a few Modelos, and a lot of sweat.”
With ‘Broken Glass’, Distressor continues to evolve beyond nostalgia, pushing shoegaze into modern, emotionally honest territory while staying true to their roots.
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Photo: Samuel David Katz
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.
The first taste from the upcoming album was released today. “’Feed the Hand’ sets the tone for what’s to come, uncomfortable, deliberate, and heavy with implication. It reaches back with one hand, grabbing a handful of early 90’s alternative nostalgia to bring a high energy groove. With the other, it drags the listener through an unravelling; guidance twisted into obedience, time eroding memory from a feeling to a realisation. There’s weight here, but it’s not theatrical. It’s cathartic and satisfyingly powerful. A quiet reckoning fed by the band’s influences, serving up a whole new dish to the table.” the band comments on the new single. Watch the video for ‘Feed the Hand’:
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UK industrial metal project, BEAUTIFUL FREAKIN’ WEIRDO recently dropped the video for their single, ‘Psychohead’. The track appears on their latest EP, Zap The Fear.
‘Psychohead’ dives head-first into escapism, away from this world of fear in which we are all manipulated and controlled. “I think most, if not all, people have a little psycho in them,” founding member, Mick Pritchard says. “Your alter ego, your dark side, call it what you will. Take the red pill. Take the blue pill and all placebos. Good luck!”
‘Psychohead’ is a tale of sleepwalking into the abyss of smoke and mirrors – into a world controlled by fear because there isn’t a “Hell”. Hell is here. This is where you take the red pill just to try and kill your savage alter ego – the Psycho in your head.
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KEYS return with Acid Communism, their boldest and most expansive record to date – a rich and unfiltered document of collective creativity, sonic exploration, and philosophical curiosity. Released by Libertino Records on Friday 18th July, the album draws inspiration from the late cultural theorist Mark Fisher, whose unfinished work left a lasting impression on the band.
“We were captivated by the poetry of those two words,” Matthew Evans (KEYS – vocalist and songwriter) explains. ACID COMMUNISM isn’t just a title – it’s a guiding principle. ACID symbolises creative play and experimentation, while COMMUNISM speaks to the strength found in (comm)unity. In a time when the internet often amplifies individualism and leans into certain ideologies, the band wanted to celebrate togetherness and collective expression.
While Acid Communism isn’t overtly political, it does pulse with a quiet sense of purpose – to resist isolation, to reconnect with others, and to celebrate the kind of shared, DIY spirit that binds bands, friends, and scenes together. It’s about building something together, rather than standing apart.
The band took a hybrid approach to recording. Much of the album started life on 8-track tape before being moved into Logic, capturing a blend of home-recorded warmth with digital precision. Musically, it draws from the live, freewheeling energy of JERRY GARCIA and the lo-fi intimacy of their lockdown-era album HOMESCHOOLING. The result is a sound that’s raw yet refined, unpolished but deeply intentional.
Across its twelve tracks, Acid Communism flows through a variety of textures – from sun-scorched psych-pop and angular guitar riffs to gentle, piano-led introspection and atmospheric washes. It’s a record that favours connection over perfection, instinct over polish.
The recently released double A-side ‘Your Shoes’ / ‘The Greatest Joke of All’ coincides with the announcement of Acid Communism, offering a glimpse into the album’s contrasting emotional tones’
Hear ‘Your Shoes’ here:
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Alternative pop artist Celeste Corsano has unveiled the video for her latest single ‘Stuck’, the third in a trilogy of singles the Pennsylvania-based artist has released this year, following ‘Nightbird’ and ‘Sunlight Gazing’. With hues of Kate Bush and Tori Amos, Corsano is the latest artist to join the talented roster of blossoming Montclair, NJ-based indie label Magic Door Record Label.
This song features famed guitarist James Mastro (The Bongos, Mott the Hoople, Ian Hunter, Patti Smith, John Cale), drummer Ray Ketchem (Guided by Voices, Elk City, Gramercy Arms, Luna, Crash Harmony) and keyboardist-bassist David Nagler (Nova Social, Joan Baez, Aaron Neville, Rosanne Cash, Yo La Tengo).
A tender composition that explores being caught in the inescapable grip of an emotional impasse, Corsano masterfully conveys the struggle of a mind wrestling with an unyielding heart, creating an intimate space where raw emotion takes center-stage. The animated video reflects this perfectly through the journey of a ball cutting loose from his existing reality and his loss of direction to find a new path.
“I’m really excited to have a video for this song – the first video created for my music. This artist, known as Brother JT, is an incredible musician, artist and animator. So happy to share it with everyone. It’s fantastic and gives me goosebumps. Lots of humor and wisdom here and very well thought-out,” says Celeste Corsano. “’Stuck’ is a “little” song with a big meaning. The lyrics come from a tender place that needed simplicity and not a big vocal sound. Actually, any time I tried to sing it any differently, the vocals still came out simplistic and childlike."
A gentle but potent counterpoint to the noisy world we live in, Corsano forfeits flashy gestures in favor of the quiet sacred space, offering an raw peek into the most fragile parts of our hearts. With a simple unassuming style, there’s a disarming honesty in her work that feels deeply personal, yet speaks to something we all feel. Revealing a vulnerability that is both deeply personal and strikingly relatable, her sparse, almost childlike vocals amplify its impact.
Corsano’s music blends poetic lyricism with adventurous arrangements, unexpected rhythms and a distinct emotional range — from ethereal and moody to playful and bold. With a natural use of mixed meters and layered vocal timbres, her fearless approach to storytelling conveys a deeper truth.
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Continuing with their nature-inspired theme, ‘Cwlwm Cariad’ refers to a type of moth, the ‘True Lover’s Knot’ in English. This is the second in a run of singles by singer-songwriters Eve Goodman and SERA from their upcoming collaborative album, Natur, due for release in the Autumn of 2025. It follows their first single ‘Blodyn Gwyllt’ which was released in July.
Where Blodyn Gwyllt was a celebration of freedom and the summer, Cwlwm Cariad is quite different. There are no guitars and percussion here, only one piano and 2 live voices almost until the end. It is delicate and it sings of the peril often tied up in the complexities of love and relationships, the passion, the self-destruction and flying too close to the flame. The delicate moth and the human heart connected in this way.
The track was recorded on an upright piano and the duo’s voices weave together in harmony once again. Recorded at Wild End Studio near Llanrwst, North Wales, with co-producer Colin Bass. (member of Camel and also producer of the Tincian album from 9 Bach which won ‘Best Album’ at the BBC Radio 2 Folk Award in 2015)
The single is out on 15th August. Watch the video here.
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We haven’t been keeping up. The last time we featured break_fold, the solo musical vehicle of Tim Hann, former front man with Leeds’ finest, i concur, was in the Spring of 2023.
He’s slipped out a couple of releases since then, and is threatening a few more in the near future. This flurry is spearheaded with the release of the single ‘The Bairns’, of wioch he writes, “’The Bairns’ is a song that I wrote about my younger cousins, who are brothers, and were toddlers at the time. I remember them bounding around my parent’s house chasing each other and playing games – the song is supposed to represent the sound of the two boys causing havoc!”
Hear it here:
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Aural Aggravation 