Posts Tagged ‘Video’

‘Darkest Day’ is the opening track from Rhys Marsh & Mandala’s new album, Until The End Of Time — a dark, expansive and cinematic journey that explores themes of loss and love, along with the notion that when you lose someone you love, you still love them until the end of time.

With songs ranging from ten to eighteen minutes in length, the album’s soundscape is largely dominated by majestic analogue synthesisers and led by Mandala’s trademark dynamics — ranging from whisper-quiet to wall-of-sound. Until The End Of Time will be available on all streaming and download platforms, alongside a strictly limited-edition CD, available exclusively from Burning Shed, on November 14.

Rhys Marsh has released eleven albums in the past — both solo, and as the singer-songwriter in bands — and this is the third Mandala album. It was decided to call this a Rhys Marsh & Mandala album, as thematically and stylistically it follows on from Marsh’s previous solo album, Towards The West, which was a direct refection on the loss of his Dad.

Formed in London in 1997, Mandala have toured the UK, Scandinavia and North America over the years, playing at iconic venues such as CBGB’s in NYC and The Marquee Club in London. Their blend of folk-noir, progressive rock, psychedelia — all wrapped in Marsh’s atmospheric and dynamic melodies — has garnered acclaim and airplay across multiple countries, with singles A-listed on Radio Caroline, and chart success on iTunes in the UK and Canada.

Critics have called Mandala’s sound “a kaleidoscope of prog, psychedelia, and folk”, and praised their “knife-edge atmospheres and Eastern-tinged melodies” (The Independent), with The Guardian describing their music as “folk-noir”, and Time Out highlighting their “melancholy laden melodies”.

Until The End Of Time is the kind of album that needs to be listened to from start to end. The songs are long, and the themes expand and unfold gradually. There are elements of post-rock with the long build-ups, progressive rock with the sweeping Mellotrons, and a deep sense of melancholy.

The album features spoken word in three languages: English, Norwegian and Welsh. Marsh says that this verse can sum up the overall feeling of the album:

“The kingdoms of eternity

Will bring you here

Until the end of time

Where nothingness

Leads us into forever”

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Mandala_ 2025. Photo by Silje Marsh

Gothenburg’s drunk’n’roll/hardcore-punk wrecking crew Spøgelse have dropped a brand-new video for their track ‘Speedfreaks’, delivering another feral taste of their forthcoming second album Spøgelse II, set to be released on October 24 via Welfare Sounds & Records.

Loud, raw, and one beer away from total collapse, Spøgelse embody what punk is supposed to feel like. Spøgelse II packs fifteen (!!) tracks that hit like a fist to the jaw for anyone sick of polished, overproduced punk.

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Born in the deep Swedish woods but raised on Gothenburg afterparties, Spøgelse have spent the last five years cramming into beat-up cars, dragging gear across highways, and spilling beer on every stage reckless enough to host them. Their mission has never changed: fast riffs, feral live energy, and zero fucking compromises.

‘Speedfreaks’ captures the band in their purest form, a chaotic, adrenaline-fueled anthem that barrels forward with the same unhinged force that has made Spøgelse one of Sweden’s most trusted live acts.

Self-described as “beer and guitar-shrimp specialists” and “your favorite fuck-ups,” Spøgelse aren’t here to clean things up, they’re here to tear it all down.

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Following the announcement of Smote’s fifth release for Rocket Recordings – Songs From The Free House – the band now shares a second taster of what’s to come in the form of ‘Snodgerss’, a flute-led jig-turned-pitch-dark-ritual. Their deepest and most fully-realised album to date, Songs From The Free House continues Smote’s exploratory mission into heaviness in all its forms, and sees its primary creator Daniel Foggin exploring a variety of new avenues.

Songs From The Free House features guest appearances from Sally Mason of the Smote live band on vocals and Ian Lynch from Lankum on Uillean pipes and will be released via Rocket Recordings on 17th October.

Forged from repetition and mantric intensity and possessed of formidable psychic fortitude, this album proves that the only retro-chic Smote indulge in is liable to go back several centuries. The megalithic monomania of last year’s A Grand Stream set a formidable precedent, and Smote’s live shows in its wake have gradually built a reputation as visionary seers building audial monuments by cranked amplification and atmospheric intensity alike. Yet these five gnostic serenades offer portals and paradigms anew.

Smote has now shared the track ‘Snodgerss’. About the track, Daniel says,“’Snodgerss’ roughly translates to ‘smooth grass’ or ‘long grass’. Waves and layers dance around each other and modulate against the wind, each blade moving individually but still in harmony with the rest.  Such is the nature of the 3rd track on the album, blown out percussion dances around flute melodies and explosive guitars alike, each playing its own part in the movement." 

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Upcoming Smote live dates:
17 Oct / Falmouth / KCM Church
18 Oct / Bristol / Down Stokes Festival
19 Oct / Preston / The Ferret
20 Oct / Glasgow / Hug and Pint
23 Oct / London / The Lexington *sold out*
24 Oct / Derby / Dubrek Studios
26 Oct / Newcastle / The Lubber Fiend
13 Dec / Todmorden / The Golden Lion

13 May / London / The 100 Club

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US dark/dream-pop duo Magic Wands have released a new digital double single today that couples the brand new song ‘Time To Dream’ with a remix by Metropolis Records labelmates Lost Signal of their ‘Armour’ single issued in October 2024. Video clips of the original version of ‘Armour’ and the remix have also been made available and can be seen here (original)….

…and here (remix):

“‘Time To Dream’ is about entering a dreamlike state where the boundaries between reality and imagination dissolve,” the duo explain. “It was inspired by magic and a sense of stepping through the looking glass.”
‘Time To Dream’ is included on a new Magic Wands album entitled ‘Cascades’, which is out on 24th October via Metropolis Records. It also includes the original single version of ‘Armour’, as well as the previously issued ‘Hide’, ‘Moonshadow’ and ‘Across The Water’ . It will be promoted with an appearance at the Substance festival HERE in Los Angeles on 7th November, with further shows to be arranged.

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Magic Wands is a dark-pop duo originally formed in Nashville by guitarists and vocalists Dexy and Chris Valentine. Now based in Los Angeles, they are known for their shimmering and dreamy sound, which incorporates elements of shoegaze, dream pop, post-punk and goth. They utilise heavily textured guitars, synth drones and ethereal vocals to conjure an otherworldly atmosphere in their songs.

Dedicated to creating music that is both imaginative and emotionally engaging, Magic Wands found success soon after forming in 2008, gaining a loyal fanbase that has grown ever since. They have issued five studio albums to date, the most recent of which is ‘Switch’ (2023). Its songs were also remixed by guest artists and released as ‘Switched’ later that year.

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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. Dan takes the lead on their next release, a quieter moment amongst the chaos. About the track, he says;

“This is a love song to a future child. It is so moving to me that even though this child does not exist in the form of a child yet, all of the matter that will one day make up their being is already in the world. And of course this is true of all things that have ever existed. So even though I’m talking about a kid that I want to have one day, I’m really talking about the principle that everything is totally connected.”

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Agriculture’s formation mirrors their duality. What began as a loose collaboration between Kern Haug and Dan Meyer in the Los Angeles noise scene evolved into a shared pursuit of the sublime through heavy music. With the additions of Richard Chowenhill and Leah Levinson, the project solidified into the band’s current form. The ecstatic black metal foundation that was laid on 2022’s The Circle Chant expanded into something more precise and far-reaching on their 2023 self-titled full-length, and deepened further with 2024’s Living Is Easy: a record that embraced devotional intensity and radiant heaviness in equal measure.

Agriculture’s writing process is built on dismantling and revision of self. Dan and Leah bring songs to the band and then allow them to be pulled apart and rebuilt communally: reshaped through conflict, repetition, and deep trust. Richard adds guitar melodies and solos, and Kern constructs rhythms which are sometimes familiar but often unconventional. Finally, with Richard producing, the final form of each song is realised through intense collaborative work in the studio. Although a time consuming and ego-frustrating process, this allows the band to find the spirit of the songs not through inspiration, but through persistence.

Yet, even in its most ambitious moments, The Spiritual Sound remains rooted in the ordinary and in the day-to-day relationships between the people who made it. Gas station snacks. Inside jokes. Sleeping on floors. Playing shows in rooms that smell like mildew. The spirit here isn’t abstract, it’s live. This is spiritual music that starts with imperfect gear and a long-in-the-tooth tour van.

Agriculture doesn’t offer salvation. The Spiritual Sound isn’t a map out of the fire. What it offers instead is presence: a confrontation with the moment, however unbearable, however divine. It insists that meaning is still possible, even in a world hell-bent on reducing everything to content, and where suffering itself can be conducive to recovery. As the Buddhist saying goes: “the only way out is in.”

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Photo credit: Milan Aguire

AGRICULTURE LIVE DATES 2025:

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

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Following a record breaking Redux Kickstarter campaign, the first single taken from the forthcoming Magnetic Eye Records Redux Series release The Downward Spiral Redux is ready to be unleashed: Seattle, WA grunge metal trio SANDRIDER present their hard-hitting take on the NINE INCH NAILS classic ‘March of the Pigs’. This highly anticipated new Redux Series instalment is scheduled for release on November 28, 2025.

SANDRIDER comment: “Our choice for a tribute track, ‘March of the Pigs’, is a song that hits so hard”, vocalist and guitarist Jon Weisnewski writes. “It did when it first came out, it still does now, and it’ll be just as brutal in another 30 years. Trying to harness that beast and make sure that it still had the timeless impact, we all expect it to have, was a humbling challenge.”

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Parallel to The Downward Spiral Redux, Magnetic Eye Records will release their customary companion album entitled Best of Nine Inch Nails Redux that contains 13 cover renditions of deep cuts and all-time classics from across NINE INCH NAILS’ catalogue recorded by some of the heavy underground’s most exciting artists.

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NYC singer-songwriter Jessie Kilguss presents her latest single ‘Howard Johnson’s’, previewing her sixth album They Have A Howard Johnson’s There, with an era-inspired nostalgic video by Deborah Magocsi. This album was engineered, produced, mixed and mastered by Charlie Nieland (Debbie Harry, Rufus Wainwright, Blondie, Scissor Sisters) at Saturation Point Studios in Brooklyn.

For this single, Kilguss is accompanied by John Kengla (David Byrne, Ben Kweller, Serena Ryder) on guitar, bass and keys, Rob Heath (Madison Square Gardeners, Julia Nunes) on drums and percussion, and Dave Derby (The Dambuilders, Gramercy Arms, Lloyd Cole) and Charlie Nieland on backing vocals. Other tracks on this album features Andrea Longato (Duncan Shiek, Jeremy Jordan, Alphonso Ribeiro), guitarist Kirk Schoenherr (Tegan and Sara, Elle King, Chet Faker), and Rembert Block (Rembert and the Basic Goodness).

“This song originated from some writing I did in a poetry workshop with performance artist Karen Finley. I had seen her read at the fantastic On The Verge Festival, which celebrates women artists of all disciplines at the Wild Project, produced and curated by my friend Heather Litteer. I was drawn to Karen’s writing and saw a post of hers on Instagram advertising an online poetry workshop inspired by the movie Dog Day Afternoon, as well as dogs in general. I had never taken a poetry workshop before but I am a huge dog lover and thought “what the hell”. I like pushing myself out of my comfort zone,” says Jessie Kilguss.

“In the movie, Al Pacino is speaking with his lover about what he’ll do to prove his love and he says something like “I’ll charter a plane to Algeria. They have a Howard Johnson’s there”. It stood out to me because it was so ridiculous and also, my father Howard had passed away a month earlier. So the song is a tribute to my father, Howard Kilguss, and is also inspired by Dog Day Afternoon. My father had a deep connection with dogs, so I thought it was even more appropriate to write this song for him".

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Darkwave band, RELIGION OF HEARTBREAK delivers Lunate, a four-track EP blending detached romanticism with pounding EBM rhythms.

Mikal Shapiro and Dedric Moore perfect their dark disco formula across tracks like "Love Tourniquet" and "100 Degrees," creating ideal soundtracks for fog-drenched nightclubs. Desire becomes ritual and heartbreak transforms into dancefloor salvation.

The EP moves from intense desire to late night reflections replicating a night on the town filled with highs and lows and back. It is an honest look at the thrill of our night club experiences that end in reflection of what could have been.

As a taster, they’ve released a visualizer for the title track. Check it here:

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Eville have come to be regulars here at Aural Aggravation. We rate them highly, and we rate their latest single, ‘No Pictures Please’, from their forthcoming debut EP Brat Metal, out next month. Check it here:

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5th September 2025

Christopher Nosnibor

Bandcamp Friday or nay, September is always a busy month for releases, presumably in no small part due to the fact that the festival season is over, and artists can get to the job of plugging material to fans they may have picked up along the way, while music listeners are back home rather than in fields in front of stages, or on holiday, so are placed to listen to, and maybe purchase new music.

Sometimes, it can take a while to sift through it all, and there’s a real danger that some great stuff will slip through the cracks, especially from lesser-known artists. This, in many respects, is where the music press, such as it is these days, has not only a role, but a duty, an obligation, to seek out and highlight the acts who aren’t going to be pushed into the ears of the masses by algorithms, or by labels with hods of cash for promo (who aren’t necessarily averse to insidious campaigns claiming a ‘grass-roots’ story for an unknown group of middle-class posers who’ve barely played a gig or had more than a handful of streams / likes before landing airplay, huge support slots and going stratospheric overnight… and there are a fair few of these).

Moons in Retrogtrade is Kara Kuckoo, a German artist who does a nice line in dark alternative / gothic electronic rock, and who isn’t likely to be getting algorithmic / big label backing any time soon, not because her work isn’t good, but because, well, it’s a bit arty, and in the current climate of anti-intellectualism, it’s a hard sell to the mass market.

Take, for example, this, the lead single from her upcoming debut album The Third Side of the Coin. Released as a video single, the song is accompanied by highly stylised visuals, which feature an almost Tim Burton-esque ‘Mad Hatter’s Tea Party’ scene. It’s fitting that this shimmering dark pop gem should present images offering a twisted alternative reality, given the subject matter (again, a hard sell for commercial channels), as Kuckoo explains the concept behind the single:

“Carl Jung said, ‘Everything that irritates us about others can lead us to an understanding of ourselves.’ ‘Mirror Obscura’ is about facing one’s own darkness through the infinite mirrors of other people… The video portrays the perceived duality of black and white and the madness within us as we avoid our own darkness. The elements of color are glimpses into the spectrum of wholeness… I especially wanted to shoot at sunrise because those moments of dusk and dawn are the magical spaces between day/light and night/dark.”

On the project’s broader intent, she adds: “Moons in Retrograde is about digging up and reflecting on buried emotions… MIR weaves a soundscape which shines a light into the deepest corners of the mind and exposes the truth about the dark side of humanity while simultaneously discovering the core of the human soul.”

It’s one of those tracks which takes its time with a slow build (another thing which goes against the grain in our attention-deficient world, where intros and verses have got shorter and shorter to the point that most chart pop is seventy-five percent chorus), building atmosphere, Kuckoo’s vocals emerging through cavernous reverb and washing waves to arrive by stealth to an meet with an enticing beat and subtle instrumentation before a strong chorus that goes big on the final run, a burst of bold, even epic proportions.

You’re welcome.

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Moons in Retrograde - Rotten Tree Still