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!
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”.
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
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
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.
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.
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.
Laptop’s new protest anthem ‘Confused’ explores a fractured America: the disco at the end of the world.
‘Confused’ is the emotional and ideological center of On This Planet and the most definitive song Laptop has ever released. Written in the immediate psychological aftermath of January 6, the track does not recount events so much as diagnose the mental fallout of living inside them. Certainty masquerades as truth, spectacle replaces substance, and fear is recycled as identity. The song captures the disorientation of watching democratic reality fracture in real time, filtered through the eyes of someone glued to the news and overwhelmed by noise. Rather than offering answers, “Confused” leans into the unease. Lyrics like “They claim that they’re abused” and “Not quite the Reichstag fire” anchor the song firmly in the present, while the recurring chant of “The Con” functions less as a slogan than a warning. There is a dry, unsettling irony threaded throughout, a recognition that when everyone sounds convinced, certainty itself becomes the least reliable narrator.
Musically, ‘Confused” is Laptop at their most hypnotic and rhythm-driven. Built on a circular, Afro-influenced groove recalling Fela Kuti’s forward momentum filtered ‘through the nervous minimalism of Talking Heads’ Remain in Light era, the song accumulates tension instead of releasing it. Recorded initially in Valencia and expanded in Nevis, a place the band came to call the inspiration island, the contrast between physical calm and distant chaos sharpens the song’s disquiet. Escape, the song suggests, may be part of the problem. The accompanying video pushes these themes into visual satire. Framed as a CNN-style broadcast, Charlie Hartman appears as an unnervingly composed news anchor delivering chaos with media normalcy, while fragmented correspondents report from vaguely defined locations. Jesse Hartman looms as an ambiguous figure, part tyrant, part media creation, part projection, never fully explained. The result is less parody than mirror, a world where information, performance, and power blur until belief itself feels optional.
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Formed in the late ’90s, Laptop released three albums with Island Records with praise from the NME, The Guardian and others for their stylized blend of synth-pop & irony. Now a multi-generational project with Jesse Hartman joined by his son Charlie Hartman, they are not observing the present from a distance. ‘Confused’ is the sound of living inside it — aware of history, aware of danger, and quietly aware that even the people telling us what’s happening may not know what to believe themselves. Yet for all its tension, ‘Confused’ is not humorless. Like much of Laptop’s work, the song is threaded with a dry, unsettling irony — the kind that emerges when reality itself starts to feel absurd.
The Devil’s Door sees And also the trees (AATT) present a quiet storm of an album. At times filmic, poetic and intense, with an undercurrent of dark psychedelia, it follows The Bone Carver (2023) and Mother-of-pearl-Moon (2024) in completing a trilogy of releases by the current line-up of one of the original UK post-punk acts.
The new record features signature AATT tropes that include poetic lyrics, orchestral guitar and soundtrack influenced songs inspired by newsreel, oil paintings and folklore. However, it also adds some surprising instrumentation – including guest violinist Catherine Graindorge – that skews the album towards a soundworld where John Barry meets Béla Bartók.
Ahead of the album, they’ve unveiled a video for the song ‘The Silver Key’. Watch it here:
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AATT formed in 1979 in rural Worcestershire, an environment that has provided a constant inspiration to a group whose music has often explored the dark underbelly as well as the beauty of the British countryside. AATT are renowned for their captivating live performances, a unique style of mandolin-like electric guitar, evocative lyrics and dark jazz rhythms – not to mention a creative independence fiercely preserved for over four decades.
The group have a long standing relationship with the Cure and have both played and worked together since the early ’80s. As part of AATT’s 2026 touring schedule, they will be special guests of the Cure for three shows at the Festival de Nîmes in southern France in late July. These will be preceded by early spring dates in Belgium, France and Greece:
7th March NAMUR (BE) La Nef De L’Eglise Notre Dame D’Harscamp 18th March TOURCOING (FR) Le Grand Mix 19th March ANGERS (FR) Joker’s Pub 20th March LORIENT (FR) Hydrophone 21st March CHERBOURG (FR) Espace Culturel Buisson 22nd March PARIS (FR) La Gaité Lyrique 4th April ATHENS (GR) Death Disco Indoor Festival 2026 24th July NÎMES (FR) Festival de Nîmes 25th July NÎMES (FR) Festival de Nîmes 26th July NÎMES (FR) Festival de Nîmes
Founded by singer Simon Jones and his guitarist brother Justin, AATT have maintained a continuous presence on the post-punk and alternative rock scenes worldwide. The group have released sixteen studio albums to date.
Shape Navigator is the electronic alter ego of composer, musician and sound artist Peter Coyte, who initially announced himself with a series of ambient meets prog house singles on Guerilla Records in the mid-‘90s, subsequently collaborating with Coldcut, Seal, David McAlmont, Heartless Crew and poet/author Salena Godden.
The years since have seen Coyte establish a first-rate reputation as an electronic and experimental music artist, including significant contributions to sound art and installation projects, plus ongoing collaborations with filmmakers, theatre directors, choreographers and more. His work blends sonic experimentation with emotional depth, creating immersive experiences that engage and intrigue audiences.
Now, three decades since his last single, Coyte has today released a brand new one. ‘Sternenabfall’ (German for ‘Star Litter’) is available on Bandcamp, and is a radio edit of a track included on his long-awaited debut album, Journal, which is scheduled for release on 27th February. A full digital release will follow imminently. ‘Sternenabfall’ is described by Coyte as “a kosmische drone journey built from modular synths and an ARP AXXE. It was written for International Drone Day 2025 and was inspired by Harry Sword’s book Monolithic Undertow.”
The track title frames the music as a reflection on beauty and aftermath: a cosmic soundscape that mirrors humanity’s habit of leaving debris in even the most vast and sacred spaces, blending deep-time drone history with an ecological warning.
A video for ‘Sternenabfall’ has been created by sound artist @diz_qo, who cryptically comments: “If the Tea Rooms of Mars could sell you your wildest dreams. If a two dimensional Generation Game was placed on the Voyager disc. If the Shape of Navigation was a cuddly toy. If the stars fell one by one.”
The single also includes the original 20 minute live performance at International Drone Day 2025 where Shape Navigator devised the eventual track.
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SHAPE NAVIGATOR | Peter Coyte photo by Martin Elliott
Alternative prog quartet HOLOSOIL are welcoming the new year with their newest single ‘Spirals’. The band presents a stunning music video, showcasing a hypnotic dance performance choreographed by Sofia Stadler. Featuring the circle of creation as the main theme of their newest work, the Berlin/Helsinki based quartet show themselves in bold, yet almost hidden waves, playing with tempo and elements of alternative and indie.
The single follows on prior released tracks ‘Cracks’, and‘Look Up’. Additionally, the band has also announced their upcoming debut EP, to be released digitally April 2026 (InsideOutMusic).
Watch the video for ‘Spirals’ here:
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The band shares about the track:
“HOLOSOIL’s 3rd single is a mystical anthem of heterogeneous essence, swirling through genres and textures, in the image of the world itself.
The lyrics are about an existential spiraling of humanity back to where we come from. Falling from illusions of linearity – into the cosmic spiral of ancient and future merging in a never-ending circle of creation. How our striving for progress ironically is taking us back to the ancient wisdom of nature.”
Aural Aggravation 