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    Gogol Bordello – Ignition + Tour Dates

    By
    Ryan Martin
    -

    Today, Gogol Bordello releases new single ‘Ignition’ and music video starring award winning actor-director Liev Schreiber. The track is the third single from new album ‘We Mean It, Man!’, out February 13, 2026 via front man’s Eugene Hütz’s label Casa Gogol Records.

    Some music videos entertain. Others provoke. ‘Ignition’ doesn’t bother with either, it detonates. From the first pulse onward, Gogol Bordello’s latest visual offering feels less like a performance and more like a controlled riot, one where the walls shake, the rules dissolve, and nothing is asking for permission. Dropping Liev Schreiber into the middle of that storm turns what could’ve been chaos for chaos’ sake into something unexpectedly commanding.

    Schreiber doesn’t play a character so much as he channels a force. There’s a physical gravity to his presence here, a clenched-jaw intensity that never winks at the camera, never breaks the spell. He moves through the video with the confidence of someone who understands that excess, when taken seriously, becomes art. That commitment matters. Without it, the video risks parody. With it, ‘Ignition’ becomes confrontational in the best possible way.

    Visually, the piece thrives on volatility. The camera rarely settles, the edits refuse comfort, and the environment feels perpetually on the verge of collapse or eruption. It mirrors Gogol Bordello’s sound perfectly: a furious blend of rhythm, culture, sweat, and defiance that has always existed outside tidy genre labels. The video doesn’t illustrate the song, it argues with it, pushing the music further into the red until both seem to feed off one another.

    What’s most striking is how little this feels like a stunt cameo. Schreiber isn’t there to lend prestige; he’s there to match energy. His performance sits somewhere between ritual and rebellion, grounding the spectacle while simultaneously amplifying it. In Jammerzine terms, this is where art succeeds, when intention and execution collide so hard they blur into instinct.

    ‘Ignition’ ultimately works because it refuses to soften itself for the viewer. It’s abrasive, theatrical, unpolished, and unapologetically alive. It doesn’t want to be liked; it wants to be felt. And by the time the final frame fades, it leaves behind the same residue as a great live show, that ringing silence where your pulse is still catching up to what just happened.

    This isn’t just a video you watch. It’s one you survive, and that’s precisely the point.

    About ‘Ignition’ & ‘We Mean It, Man!’

    ‘Ignition’ is the third single from new album ‘We Mean It, Man!’ – the band’s “post punk revenge” produced by Nick Launay (Nick Cave, Gang of Four, Yeah Yeah Yeahs, Amyl & The Sniffers, IDLES) and Adam “Atom” Greenspan (Amyl & The Sniffers, IDLES).

    ‘Ignition’ is a smashing anthem about lifelong friendships, deeply set in post-punk groove and inspired by Gogol Bordello’s 2023 collaboration with Bernard Sumner (New Order, Joy Division). The music video celebrates friendship between Hütz and Schreiber, which began when Schreiber cast Hütz in his 2005 directorial debut, Everything Is Illuminated. Since then, Schreiber executive produced the Vice documentary Scream of My Blood: A Gogol Bordello Story, and the two have aligned creatively and politically, recently partnering with UNITED24 at Veselka. That shared history comes full circle with Schreiber starring in the music video for ‘Ignition’ a kinetic visual companion to Hütz’s latest anthem.

    Liev Schreiber says, “My brother from another mother. Ridiculously insane with the heart, mind, and voice of a poet,” while Eugene Hütz comments “‘Ignition’ is about the hardest currency there is: lifelong friendships and trust—the people who will come pull you out of a ditch at 5 a.m. I didn’t want musicians’ faulty acting to obscure that, so I called my friend Liev, who is exactly the kind of actor who embodies it effortlessly and powerfully, because he’s exactly that kind of person. I value our friendship tremendously, and with the 20th anniversary of ‘Everything Is Illuminated,’ it felt like the right time for a meaningful celebration.”

    The single follows the previously released gypsy punk meets hardcore title track “We Mean It, Man!,” and uplifting dancefloor crusher “Hater Liquidator.” The band just completed their legendary holiday shows and will kick off their North American tour kicking off on February 13, including a homecoming show to New York’s Knockdown Center on March 27 – tour dates below.

    ‘We Mean It, Man!’ Trackist

    ‘We Mean It Man!’ cover.
    ‘We Mean It Man!’ cover.
    1. We Mean It, Man!
    2. Life Is Possible Again
    3. No Time For Idiots
    4. Hater Liquidator
    5. Boiling Point (ft. Grace Bergere)
    6. Ignition
    7. From Boyarka to Boyaca (ft. Puzzled Panther)
    8. Mystics
    9. We Did Good With The Good We Did
    10. Crayons
    11. State of Shock
    12. Solidarity (Nick Launay mix ft. Bernard Sumner)

    About Gogol Bordello

    Gogol Bordello has always been a band that grows a new sonic tail. Driven by relentless techno-like beats, optimistic energy, clever socio-political lyricism, the band grounds themselves in hyper-futuristic post-punk textures that entrance crowds and new listeners alike, inviting them into their “Wild Sonic West.” Inspired by and building on their 2023 collaboration with Bernard Sumner (New Order, Joy Division) on “Solidarity,” Gogol Bordello’s new album is a bold continuation of that electrifying direction.

    For ‘We Mean It, Man!’, Gogol Bordello collaborated with Nick Launay (Nick Cave, Gang of Four, Yeah Yeah Yeahs, Amyl & The Sniffers, IDLES) and Adam “Atom” Greenspan (Amyl & The Sniffers, IDLES) to knock out twelve super-punchy, hook-laden songs, fusing Gogol Bordello’s raw energy with and boiled down song form with electronic layers, loops and gated-drum rhythms – a bold evolution of the experiments first explored on Gypsy Punks (produced by Steve Albini).

    “No Time For Idiots” lands as a Strummer/Jones-esque riff-punk blast with a massive chorus payoff, while “Life Is Possible Again” channels sharp optimism against all odds. Their latest take on “Solidarity” again features Bernard Sumner on the Angelic Upstarts’ Solidarność-punk anthem.

    Frontman Eugene Hütz says, “Gogol Bordello has always been a cross-pollinator. And ‘We Mean It Man!’ brings all our original inspirations together more than any other: punk, gypsy music, hardcore, and techno. I conceived this album as a collaboration with one of my favorite producers of all time, Nick Launay, who’s been so much responsible for the flourishing of post-punk as a genre. In terms of boiled down multimedia collage this is the best Frankenstein we’ve done since Gypsy Punks. This is our post-punk groove revenge”.

    About Eugene Hütz

    Eugene Hütz is a Ukrainian-born artist, songwriter, and frontman of the International punk band Gogol Bordello – a rare musical force raucously illuminating stages alongside System of a Down, Rancid, dueting with Regina Spektor and cutting albums with Rick Rubin & Steve Albini. A lifelong lover of the punk scene growing up in Ukraine, Hütz found himself where he felt he belonged, in New York’s Lower East Side in the late 90s, where he went to shows and later performed at the legendary CBGB.

    Crashing at friends’ apartments and playing acoustic sets in NYC Ukrainian bars, his group steadily grew to an 8-piece multicultural band, combining Eastern, Western, and Latin traditions. Hütz is a tireless advocate for Ukrainian solidarity, partnering with Nova Ukraine and ArtDopomoga, as well as putting together benefits with Patti Smith, The Hold Steady, Suzanne Vega, and more. Hütz has also appeared in arthouse films such as Liev Schreiber’s Everything Is Illuminated with Elijah Wood, Filth and Wisdom helmed by Madonna, and last year’s Vice documentary Scream of My Blood: A Gogol Bordello Story (Executive Producer Liev Schreiber).

    LINKS:
    https://www.gogolbordello.com/
    https://www.facebook.com/gogolbordello
    https://instagram.com/gogolbordello
    https://www.youtube.com/gogolbordello
    https://open.spotify.com/artist/2SVw939fwuqSobLjF8u78b

    Melonball – Ally Of Alibi + Tour Dates

    By
    Editorial Team
    -

    Germany’s fast-rising punk band Melonball return with their fourth single, ‘Ally Or Alibi’, a blunt and confrontational track that takes aim at performative loyalty and conditional solidarity.

    Through thick and thin — or only when it serves someone’s own interests? Friend or enemy? With “Ally Or Alibi,” Melonball take a hard look at people who claim to stand together, fight the same battles, and share the same values — until things actually get real. When it matters most, the truth comes out: loyalty only existed as long as there was something to gain.

    Musically, Melonball deliver their trademark fast, technical, and high-energy punk sound on ‘Ally Or Alibi’. Layered vocal harmonies, sharp and precise guitar work, and hard-hitting, intricate drum patterns drive the track with the same urgency as its message. The song is topped off with a striking guest guitar solo from Canadian guitarist Joshua Gropp, adding another jolt of intensity to an already uncompromising release.

    “Ally Or Alibi” appears on Melonball’s upcoming second full-length album Take Care, set for release on February 27, 2026 via Thousand Islands Records (CAN) and Rookie Records (GER).

    About Take Care

    With Take Care, Melonball present themselves faster, more versatile, and more emotional than ever. The album connects socially and politically relevant topics with deeply personal moments. The single “129” denounces the criminalization of left-wing activists, while “Exist” brings the ever-threatened right to self-determination into focus. With “Garbage Day” and “Bullshit Revolution,” Melonball deliver furious takedowns of right-wing ideology and politics. In contrast, “The Static” offers an emotional counterpoint, portraying a relationship that never fully takes shape, while “Back To My Gut” explores the tension between self-confidence and self-doubt, fueled by ideals and constant criticism.

    Musically, the band balance directness and technical precision: multifaceted arrangements collide with melodies that stick. The production is deliberately raw — immediate, tangible, and stripped of excess — allowing Melonball’s strengths to shine through more clearly than ever. Honest vocals recorded with minimal post-production, sharp hooks, and the precise interplay between technical prowess and melody define the record.

    Take Care is a serious album that refuses to drown in resignation. Instead, it releases energy and celebrates the joy of resistance. The message is clear: take care of yourselves, take care of each other, and above all, take care of those who can’t do it on their own.

    Take Care Tracklist

    'Take Care' cover.
    ‘Take Care’ cover.
    1. Silence = Compliance
    2. Ignite
    3. Ally Or Alibi
    4. The Static
    5. Architects of Comfort
    6. Garbage Day
    7. 129
    8. Toxic Routine
    9. Exist
    10. Tolerance for Ambivalence
    11. Bullshit Revolution
    12. Back to My Gut

    Melonball Lineup

    • Oli — Vocals
    • Basti — Guitar, backing vocals
    • Vik — Guitar, backing vocals
    • Jens — Bass
    • Tommy — Drums

    About Melonball

    Germany’s fast-rising punk band Melonball deliver fast, technical, and politically charged punk rock with sharp riffs, detailed and intense drum work, and strong melodies — all driven by the unmistakable voice of their lead singer.

    Melonball have secured a firm place in the international punk scene through relentless touring and high-energy live performances. They have appeared at festivals including Ruhrpott Rodeo, Manchester Punk Festival, Mighty Sounds, Mission Ready, Punk Rock Holiday, and Music 4 Cancer, and have shared stages with acts such as A Wilhelm Scream, Punk Rock Factory, Authority Zero, Belvedere, Lagwagon, The Iron Roses, and ZSK.

    In 2023, the band toured the UK, followed by a ten-show run across Eastern Canada in 2024. They continued their momentum with tours alongside The Iron Roses and Satanic Surfers in 2025, maintaining an average of around 40 shows per year across Europe and beyond. In recognition of their impact, Melonball were honored with the GUNDA Pop Culture Award in 2025.

    Their debut album BREATHE was released on March 31, 2023 via Thousand Islands Records (USA/CAN) and Lockjaw Records (UK), followed by the acoustic EP eup•nea in April 2024. Their long-awaited second album, Take Care, arrives February 27, 2026 via Thousand Islands Records (CAN) and Rookie Records (GER), marking the band’s most versatile, emotional, and politically direct release to date.

    Featured image by Shmagi Liklikadze.

    SOURCE: Official Bio

    LINKS:
    https://instagram.com/melonball.punkrock
    https://facebook.com/melonball.punkrock
    https://youtube.com/@melonball.punkrock
    https://melonball.bandcamp.com
    https://linktr.ee/melonball

    Swirls – Neverland

    By
    Ryan Martin
    -

    Swirls have today released their new video for the track titled ‘Neverland’, from their upcoming album ‘Surge’, dropping March 6th via Howlin’ Banana and À Tant Rêver du Roi.

    ‘Neverland’ doesn’t announce itself. It drifts in quietly, like a thought you didn’t realize you were already having. Swirls builds a world here that feels suspended in time – not forward-moving, not nostalgic, but somewhere in the soft space between the two. The video isn’t interested in telling you a story so much as inviting you to linger inside a feeling.

    Visually, everything breathes. Motion is fluid, unforced, and deliberately unpolished in the best sense – like something half-remembered rather than fully documented. The camera doesn’t chase meaning; it allows it to surface naturally, guided by light, texture, and subtle shifts in tone. There’s a gentle disorientation at play, the kind that makes you lean in instead of pull away.

    Swirls’ presence is woven into the environment rather than placed above it. This isn’t performance as spectacle – it’s presence as atmosphere. The result feels intimate without being confessional, abstract without being distant. You’re not watching someone perform for you; you’re sharing space with them.

    What makes ‘Neverland’ resonate is its refusal to hurry. In a culture built on immediacy and impact, this video chooses patience. It trusts mood over momentum, sensation over statement. And in doing so, it creates something quietly absorbing – a visual companion that doesn’t demand attention, but rewards those willing to give it.

    ‘Neverland’ feels less like a destination and more like a state of mind. You don’t arrive there so much as realize, halfway through, that you’ve already been there all along.

    About ‘Neverland’

    Following the release of their well-received first single ‘Powerstation’, Nantes-based slacker punk quartet Swirls unveils ‘Neverland’.

    A restless journey through identity, confusion, and the refusal to grow up. It’s the portrait of someone drifting between several versions of themselves, searching for freedom in the middle of the chaos. ‘Neverland’ was the very first track to emerge at the beginning of the writing process for Swirls’s second album. It sits somewhere between the innocence of the first record Top of the Line (2024) and the urge to grow, to move forward. A loose, arpeggiated guitar sketches the tightrope life is walking on. The bass pulls us into an almost-solo during the bridge – a trip we’re not quite sure we’re ready to own. The drums barely manage to hide their desire to never settle down, and the vocals stumble all the way to the final seconds of the track.

    About Swirls

    Formed in Nantes (France) in 2022, Swirls began with a simple idea: make noise with style, and preferably without too much effort. Between crunchy amps, spontaneous urgency and friends taking the piss out of each other, the band forged a raw, laid-back aesthetic inspired by the Australian punk scene (The Chats, Eddy Current Suppression Ring or Drunk Mums) while also glancing toward the wider international garage-punk universe, from Parquet Courts to The Hives. Some listeners even pick up the occasional flicker of Strokes-style indie rock, discreet but definitely there.

    In 2024, the band released their debut album Top of the Line on Howlin Banana Records and À Tant Rêver du Roi: a direct, impulsive record, capturing the way you’d light a makeshift campfire, no instructions, just conviction. Critics praised its urgent sound, endearingly fragile edge and catchy riffs, a set of songs that work just as well on record as they’re meant to be experienced live. A year later, Swirls return with a second album that turns the dial up a notch without losing the spark of spontaneity. If Top of the Line sounded like the slightly scruffy, slacker older child of rock, Surge is its electric little brother: sharper, nervier, and a touch more self-aware.

    Featured image by Jodie Roszak.

    LINKS:
    https://linktr.ee/swirlsband
    https://www.instagram.com/swirls.band
    https://swirlsband.bandcamp.com
    https://www.youtube.com/@swirls-to8yr

    Der Zweig ft. M-Dot – Roll Call

    By
    Editorial Team
    -

    Rooted in themes of self-determination and authenticity, “Roll Call” is about forging your own path and refusing to be influenced by outside noise. The lyrics touch on challenges like envy and criticism, but flip that resistance into motivation, strength and growth. It’s both a personal statement and a call for listeners to stand up, speak out and never let themselves be defeated. Roccwell’s hard-driving production provides the song’s raw energy, while DJ 12 Finger Dan’s cuts add a classic hip-hop edge that completes the sound.

    The accompanying music video by Pace Films (Lorenzo Pace), shot at Manzau Boxing Club, Olching (GER). visually reinforces the track’s themes of discipline, resilience and fighting through adversity.

    SOURCE: Official Bio

    LINKS:
    https://instagram.com/derzweig
    https://instagram.com/mdotboston
    https://instagram.com/roccwellbeats
    https://instagram.com/12FingerDan

    Pure Obsessions & Red Nights – Here Comes The Rain Again + Tour Dates

    By
    Ryan Martin
    -
    Pure Obsessions & Red Nights
    Pure Obsessions & Red Nights

    Pure Obsessions & Red Nights have released their new cover of the Eurythmics’ classic ‘Here Comes The Rain Again’. Some covers try to polish a classic until it shines. Others understand that the best way to honor a song is to take it somewhere unfamiliar. This version of ‘Here Comes the Rain Again’ falls firmly into the latter category, not a tribute act, but a slow, deliberate descent into a darker emotional register.

    From the opening moments, the track feels heavy with atmosphere. The arrangement moves at a measured pace, letting tension gather instead of rushing toward familiarity. Where the original carried a certain bittersweet elegance, this interpretation leans into something more nocturnal. The synths don’t shimmer so much as they hover, dense and brooding, like weather rolling in long before the first drop hits.

    The vocals are restrained and inward-facing, delivered with a sense of distance that works in the song’s favor. Rather than dramatizing the lyrics, they feel observed, as if the singer is standing back, watching emotion pass through instead of trying to control it. That detachment gives the track its power. The sadness here isn’t theatrical; it’s persistent, the kind that settles in quietly and stays.

    Production plays a huge role in shaping the mood. The low end is thick without being overwhelming, anchoring the track while the higher textures blur at the edges. Everything feels intentional but not overly polished, preserving a rawness that keeps the song grounded. It’s immersive without being suffocating, a careful balance that many darker reinterpretations miss.

    What stands out most is how patient the track is. It trusts the listener to sit with it, to let repetition and tone do the emotional work. The familiar melody becomes almost secondary to the feeling it creates, transformed from something recognizable into something newly personal.

    This isn’t a cover meant to spark instant nostalgia. It’s for late hours, dim rooms, and moments when reflection outweighs resolution. By stripping away gloss and leaning into mood, this version turns a well-known song into an entirely different experience, one that lingers not because it’s recognizable, but because it feels quietly, uncomfortably real.

    About ‘Here Comes The Rain Again’

    Pure Obsessions & Red Nights, the darkwave band known for their atmospheric and introspective sound, are excited to announce their new single: a reimagined version of Eurythmics’ 1983 hit, “Here Comes The Rain Again.” Inspired by the original’s mix of vulnerability and strength, the band has created a new take that combines analog textures with their own darkwave style.

    “We’re happy to unveil our new single: a reinterpretation of Eurythmics’ ‘Here Comes The Rain Again,’” the band says. “This track stands as one of the most enduring songs of the 80s, and its emotional depth is something we’ve always admired. Eurythmics were true innovators—driven by the instantly recognizable voice of Annie Lennox and the subtle yet powerful arrangements crafted by Dave Stewart. Together, they shaped a sound that was both emotionally exposed and meticulously constructed—an incredibly bold combination that still resonates today.”

    The original “Here Comes the Rain Again” continues to be a classic because of its intricate emotional layers, where moments of fragility meet intense strength, and delicate restraint evolves into full-throttle intensity. It is a song that thrives on contrast, capturing a raw emotional honesty that still strikes a chord decades after its release.

    “For us, this track has always been about the push and pull between vulnerability and power. The way the song captures emotional honesty while leaving room for space and atmosphere is something that deeply resonates with us,” Pure Obsessions & Red Nights continues. “When we set out to reinterpret this song, we knew we wanted to explore that duality further, while injecting our own sensibilities into it.”

    In their version, Pure Obsessions & Red Nights leaned into atmospheric textures, blending analog-driven production techniques with their own modern darkwave style. “We focused on atmosphere and texture,” they explain. “This reinterpretation was about creating a space for the song to breathe, allowing the contrasts in the original track to come through in a fresh way. The vocal lines were reshaped to fit our universe—taking on a darker, more introspective tone—while still honoring the spirit and emotional weight of the original song.”

    While the band’s reimagining of “Here Comes The Rain Again” retains the iconic melodic structure and the haunting emotional pull of the original, their version brings a contemporary, almost cinematic energy to the track. The result is a new vision of the song, one that feels both nostalgic and innovative, a perfect blend of reverence and reinvention.

    Fans of both the original and the band will find this new version to be a powerful reflection on what it means to honor a legacy while forging a new path forward.

    About Pure Obsessions & Red Nights

    Pure Obsessions & Red Nights is the brainchild of French multitalented artist Philippe Deschemin. Formed to create “something like a beautiful, tasty fruit with a razor blade inside,” Pure Obsessions & Red Nights explores the darkest aspects of the human condition through a continuous musical and literary narrative built around the iconic character of Mr. Strangler.

    At the core of the band’s profound narrative is the enigmatic character Mr. Strangler, a complex figure who transcends the line between killer and messiah. Deschemin has built an entire literary and musical mythology around this anti-hero, notably across the critically acclaimed “Mr. Strangler Trilogy” and the subsequent “The Night Trilogy”.

    With an extensive discography featuring multiple albums and EPs, including notable collaborations and remixes Pure Obsessions & Red Nights has established a powerful international following.

    LINKS:
    https://facebook.com/pureobsessionsrednights
    https://www.instagram.com/pure_obsessions_red_nights
    https://pureobsessionsrednights.bandcamp.com/
    https://www.youtube.com/channel/UCSRaya0DaaoyADUQhlF8ujQ
    https://www.tiktok.com/@pureobsessionsrednights
    https://open.spotify.com/artist/3BwoVO33LVOTsaKZhNG2tn

    Black Mariah – Aqua Teen Grocery

    By
    Editorial Team
    -
    Black Mariah
    Black Mariah

    Southern California rockers Black Mariah seek a remedy to the disease of discomfort as their heart’s grow colder on their latest single ‘Aqua Teen Grocery’.

    The group will release their debut album “Season 13” on February 6th, 2026 via Doubleplay Records.

    Featured image by Thomas Wehle.

    SOURCE: Official Bio

    LINKS:
    https://www.instagram.com/theofficialblackmariah
    https://music.apple.com/us/artist/black-mariah/1851786528
    https://open.spotify.com/artist/6iXV21JzMyhA0QkGNU25Xl

    AKA BELLE – The Envy of Venus

    By
    Editorial Team
    -

    Psyche-folk are-they-a -cult-or-a- family-band AKA BELLE are back to ring in the New Year with their latest single, ‘The Envy of Venus’.

    AKA BELLE bring their love of psychedelic Tropicalia a la Os Mutantes to this track, with a staggering ‘take you to church’ sermon before weirding it up further with layers of theremin, vibraphone, electric guitar, and exotic percussion, then bring it all home with a full-blown impassioned chorus that promises to perch in your brain for perpetuity. (If you aren’t singing along by the end, you are likely ‘unalive.’)

    Sung from the point of view of Mother Earth, it is a sassy re-telling of our home planet’s evolution, giving anthropomorphic attributes to the cosmos and presenting the displeasure of humanity’s often questionable destructive/disrespectful behavior. It’s a love story wrapped in a socio-ecological predicament, topped off with a retro-space age bossa nova soundtrack.

    AKA BELLE are known for their quirky, glittery, often ceremonial onstage performances (complete with homemade props); fearless defying of genres with a unique blend of kitschy-bewitching psych-folk, and rebellious Tropicalia infused protest pop, all topped with alluring harmonic vocal arrangements – their passionate calls for love, resistance, equality for all, and soul-lifting energy serve as reminders that we are all part of this beautiful Universe and the Earth we call home.

    ‘The Envy of Venus’ is the third release off their upcoming double album, “All Time is Now/Now Is All You Have”, set for release in April 2026 on Moon Ruins Records.

    About AKA Belle

    Often asked if they are a family band or a cult or both, band members usually reply with a “yes” to both questions; AKA BELLE was formed by songwriters Catherine (vocals, guitar, MalletKat) and Sam Merrick (guitars, vocals) – who are married; long time friend Anthony Mulparry (stand up bass), Jake Stigers (who Catherine has known since he was 8 years old) on percussion and Christine Nygard (vocals, guitar, theremin), who first saw the band play when when she was 17 and manifested the dream to join them by the time she was 19.

    So, cult/family…yes, sort of…..

    Veterans of the Boise music scene, they have performed at every Treefort Music Festival, shared the stage with The Shivas, Federale, Family Worship Center, Heartless Bastards, to name a few; as well as headlining Boise’s Hyde Park Street Fair multiple times (this year included).

    The band are set to release not one, but two, vinyl records in Spring 2026 on Moon Ruins Records – “All Time Is Now/Now Is All You Have”, a full length album of new material, and “The Time For Love Is Always Now”, a compilation of previously digital-only releases.

    SOURCE: Official Bio

    LINKS:
    https://www.akabelle.org
    https://www.instagram.com/akabellemusic/
    https://www.facebook.com/akaBelleBoise/
    https://www.youtube.com/@akaBelle-kq1xj
    https://akabelle.bandcamp.com
    https://music.apple.com/us/artist/a-k-a-belle/505166794
    https://open.spotify.com/artist/6b8hJwJrOM47P2t188rSNY

    Dolstad – Pristine

    By
    Editorial Team
    -
    Dolstad
    Dolstad

    Dolstad is the all new project from Sean Dolstad (ex-The Blasts). Diving into the deep end right away, his debut single “Pristine” is a song about famed serial killer, Jack The Ripper.

    In his own words, Dolstad shares, “After taking a long vacation to London my interest was reignited about the story and while I was there I took a tour that was done of the very streets where the bodies were found. After walking those same alleyways and streets at night, I wanted to write about it.

    It’s not directly about Jack but a kind of character like Jack that does not mutilate his victims, he is obsessed with keeping them pristine after death. He is obsessed with death and beauty, not death and gore. Plus the way the lyrics and words worked out phonetically the story wrote itself that way and I went with it.”

    Featured image by Chris Schanz.

    SOURCE: Official Bio

    LINKS:
    https://www.instagram.com/dolstad_exactly/
    https://www.facebook.com/profile.php?id=61583368084163
    https://dolstad.bandcamp.com
    https://www.youtube.com/@DOLSTAD
    https://tidal.com/artist/71132823/u
    https://music.apple.com/us/artist/dolstad/1860462797
    https://open.spotify.com/artist/3dG4Hb7M8BW5e3FArxcWtJ

    Heavy Salad – Memories

    By
    Ryan Martin
    -
    Heavy Salad
    Heavy Salad

    Heavy Salad has today released their new single titled ‘Memories’. Another song about ‘Memories’. Great. We’re all very brave today.

    Fortunately, Heavy Salad don’t wallow. ‘Memories’ shows up, plugs in, and gets on with it. The guitars shimmer with just enough grit to feel earned, not nostalgic-by-design. No shoegaze fog. No ironic lo-fi cosplay. Just bright, restless noise that sounds like it wants to be played live in a room that smells faintly like spilled beer and toner ink.

    This isn’t nostalgia as a lifestyle brand. It’s more like stumbling across an old note in your pocket and realizing you still remember why you wrote it, even if you’d rather not admit that out loud. The song never pauses to reflect, which feels intentional. Reflection is overrated. Momentum is better.

    The vocals don’t oversell anything. No dramatic sighs. No ‘this is the emotional part’ signposting. They sit right in the mix, doing their job, trusting you to keep up. Bold move. Respectable.

    Clocking in and clocking out without ceremony, ‘Memories’ refuses to turn itself into a moment. There’s no big ending, no grand payoff, no desperate grab for significance. It just leaves. Like a band loading out before you get the chance to overthink whether you liked them or not.

    Burn it to a CD. Slap the track name on a folded xerox sleeve. Play it once, then again, then accidentally remember where you were when you first heard it.

    Annoying how well that works.

    About Heavy Salad

    Do you remember rock n roll radio? Your first kiss? Your last night out? Are memories in your mind, on your phone? Are memories a place, a time, a person?

    Are shared memories really the same? Are your memories clear, hazy, crazy? Heavy Salad release their new single ‘Memories’ their brand-new single produced by Ross Orton (Working Men’s Club, GANS, Arctic Monkeys, Ibibio Sound Machine) on the 9th January 2026. Two and a half minutes of fizzing, fuzzy new wave pop with a melody that you could surf all the way to space!

    Heavy Salad are making memories for you, we could make it all reality, let’s take a dive and make some memories…

    LINKS:
    https://www.facebook.com/heavysaladsounds
    https://heavysalad.bandcamp.com/
    https://www.instagram.com/heavysaladsounds/

    Torgny Amdam – I Don’t Handle This Very Well

    By
    Ryan Martin
    -
    Torgny Amdam
    Torgny Amdam

    Torgny Amdam has today released his new single titled ‘I Don’t Handle This Very Well’, featuring Maria Due and Iver Armand (Mall Girl, Tigerstate), from his upcoming album ‘Air Mail’, dropping in February via Telemachus Records.

    There’s something quietly disarming about ‘I Don’t Handle This Very Well’. Not because it’s dramatic or sonically overwhelming, but because it refuses to pretend it has anything figured out.

    On this track, Torgny Amdam leans into emotional uncertainty with a kind of uncomfortable honesty that feels rare in modern pop-adjacent music. Featuring Maria Due, the song doesn’t chase catharsis or resolution. Instead, it lingers in the middle of fear, anxiety, and emotional paralysis; the part most songs rush past on their way to something more uplifting.

    The title says everything it needs to. There’s no metaphor, no clever phrasing, just a flat admission that feels almost embarrassing in its simplicity. That’s exactly why it works. This isn’t a song about surviving something. It’s about being stuck inside it.

    Musically, the track is stripped down to its essentials. A repeating figure anchors the song, cycling without release, while the production stays intentionally sparse. Nothing swells. Nothing explodes. The arrangement feels circular, mirroring the way anxious thoughts loop when there’s no clear way out. It’s less about progression and more about atmosphere; a slow, steady tension that never quite lets go.

    Maria Due’s vocal performance is the emotional centerpiece. Her voice sounds fragile in a way that feels deliberate, slightly processed but never polished. The imperfections matter here. Every wavering note reinforces the sense that this song is happening in real time, as if it could fall apart at any moment. It’s intimate without being performative and vulnerable without trying to win sympathy.

    What really sets the track apart is its refusal to offer comfort. There’s no emotional release waiting at the end, no lyrical pivot toward hope or clarity. The song just… stops. And that feels honest. Some feelings don’t resolve cleanly. Some fears don’t come with lessons attached. Amdam seems to understand that, and he trusts the listener enough not to fake an ending.

    ‘I Don’t Handle This Very Well’ isn’t designed for playlists or passive listening. It asks you to sit still and pay attention, to the spaces, the tension, the things left unsaid. It’s a song for late nights, overthinking spirals, and moments when honesty matters more than answers.

    Bottom line: raw, restrained, and quietly devastating. Amdam doesn’t try to fix the feeling; he documents it. And sometimes, that’s enough.

    About ‘I Don’t Handle This Very Well’

    ‘I Don’t Handle This Very Well’ marks the return of Maria Due, the Norwegian singer-songwriter and musician known from some of Amdam’s most memorable tracks including “Big Day” and “Dying Hipster.” Her pristine voice is deliberately distorted through Auto-Tune, creating a fragile contrast to the song’s sombre arrangement—a sonic choice that mirrors the delicate, distorted nature of the subject matter.

    “I was aiming for a kind of simplicity with this song—I felt the lyrics needed that,” Amdam explains.

    The stripped-down production centres around an iconic guitar riff from Iver Armand (known from Mall Girl and Tigerstate), layered over seismic, minimal beats. The restraint in the arrangement allows the emotional weight of the lyrics to breathe, creating space for the gravity of the subject to resonate.

    Lyrically, “I Don’t Handle This Very Well” deals with the fear, helplessness, and complicated emotions surrounding suicide—a topic Amdam approaches with characteristic vulnerability and unflinching honesty. The deliberate distortion of Due’s typically pristine vocals adds an element of instability and fragility, reflecting the precarious emotional state the song explores.

    Following the father-daughter collaboration “Just Cry” (featuring his daughter April) and the intimate Norwegian spoken-word piece “Kjæresten min” (My Girlfriend), “I Don’t Handle This Very Well” continues Amdam’s exploration of life’s most difficult emotional territories on ‘Air Mail’.

    “The push and pull between closeness and distance is something I’ve worked with very deliberately on this record, with arrogant swagger at one end and the fetal position at the other,” Amdam previously explained. “I Don’t Handle This Very Well” sits firmly at the vulnerable end of that spectrum—raw, honest, and achingly human.

    The electronica and breakbeat-tinted production, combined with Armand’s guitar work and Due’s distorted vocals, creates an unexpected sonic landscape that positions Amdam as an artist unafraid to blend bold experimentation with devastating emotional truth.

    ‘Air Mail’, Amdam’s most personal work to date, is set for release in February 2026 via Telemachus Records.

    About Torgny Amdam

    Torgny Amdam is an Oslo-based Norwegian alt-pop/electronic artist known for cinematic production and unflinching emotional honesty. His 2019 album ‘Bathroom Stall Confessional’ established his narrative-driven approach, blending electronica, breakbeat, and spoken-word elements. His upcoming album ‘Air Mail’ (February 2026 via Telemachus Records) explores themes of family, relationships, intimacy, and loss through collaborations with his daughter April, long-time collaborator Maria Due, and guitarist Iver Armand.

    LINK:
    https://www.instagram.com/torgny_amdam/

    Born Divided – The Dead Inside Ourselves

    By
    Editorial Team
    -

    Québec City melodic death metal force Born Divided continue the momentum of their acclaimed sophomore album “Chronicle of a Shipwreck” with the release of a brand‑new lyric video for one of the record’s most visceral tracks, “The Dead Inside Ourselves.”

    A standout moment on the album, “The Dead Inside Ourselves,” captures the band at their most raw and unfiltered. The track erupts with stripped‑down, hard‑hitting guitar riffs, no ornamentation, no restraint, just pure, unrelenting aggression. As the song unfolds, it plunges into a brooding, symphonic bridge that channels the dark theatricality of Cradle of Filth before launching into a climactic finale. Vocalist Maxim Levesque delivers one of his most striking performances to date, with clean vocals that rise above the chaos in a haunting, unforgettable close.
    ​
    ​“The Dead Inside Ourselves is one of the most cathartic pieces on the album. It’s raw emotion without a filter, anger, despair, resilience, all colliding in one place. The lyric video gives fans a deeper look into that emotional core,” says the band.

    Released this past October, “Chronicle of a Shipwreck” marked a major creative milestone for Born Divided. Mixed and mastered by Chris Donaldson (Cryptopsy), the album pushes further into the band’s signature blend of orchestral intensity, progressive ambition, and melodic ferocity. Since forming in 2020, following the end of Blinded by Faith, founding members Tommy Demers and Michael Beaudoin have built Born Divided into a powerhouse alongside Levesque, drummer Lucas Biron, and guitarist Fred Bedard, all veterans of Québec’s metal scene.
    ​
    With “Chronicle of a Shipwreck,” the band adopted a more personal and emotionally charged direction. Fast, intricate riffs collide with soaring melodies, brutal screams, and cinematic arrangements, exploring themes of collapse, inner conflict, and the fight toward redemption. The album has been praised for its dynamic songwriting and its ability to balance heaviness with haunting atmosphere.
    ​
    The new lyric video for “The Dead Inside Ourselves” provides fans with another glimpse into the album’s emotional landscape, one characterized by intensity, vulnerability, and the band’s unmistakable blend of melodic death metal and symphonic drama.

    SOURCE: Official Bio

    LINK:
    https://allmylinks.com/borndivided

    A Modern Armada – Hero?

    By
    Ryan Martin
    -

    A Modern Armada have officially premiered their new video for the track titled ‘Hero?’ from their latest album ‘Retaliation is Newtonian’. With ‘Hero?’, A Modern Armada taps into a quietly powerful idea that feels almost radical in its restraint: heroism not as spectacle, but as character. The song doesn’t posture or preach. Instead, it unfolds like a late-night conversation overheard at the end of the bar, where the big questions surface not with grand gestures, but with lived-in honesty.

    Built music-first, the track carries the confidence of a band that knows exactly what kind of emotional terrain it wants to explore. The guitars lean into a classic alternative palette; loose, slightly slacker-coded, and textured rather than flashy. There’s a casual grit to the playing, the kind that recalls an era when alternative rock thrived on feel over precision. Nothing here sounds over-polished, and that’s a strength. The song breathes, swings a little, and lets imperfections add character instead of sanding them away.

    The chorus, anchored by the deceptively simple question “What does it mean to be a hero?”, is where the track fully locks in. It’s anthemic without being oversized, memorable without leaning on bombast. The hook doesn’t demand attention, it earns it. That question lingers, not just because it’s catchy, but because it’s unresolved. The band wisely avoids answering it outright, allowing the listener to sit with the ambiguity.

    Lyrically, ‘Hero?’ distinguishes itself by shifting the spotlight away from familiar narratives of cinematic bravery. Instead of glorifying sacrifice in its loudest, most visible forms, the song gestures toward quieter acts: unseen choices, private integrity, moments of decency that never make headlines. There’s a nostalgic undercurrent here, a subtle longing for a time when integrity carried weight on its own, when being honorable didn’t require an audience. Yet the song never collapses into cynicism. Its closing sentiment—that we ultimately define ourselves through the stories we choose to live by, feels reflective rather than resigned.

    Vocally, the performance complements the message. There’s no overwrought drama, no forced urgency. The delivery feels grounded, human, and appropriately conversational, reinforcing the idea that heroism isn’t about elevation above others, but alignment with one’s own values.

    Perhaps the most telling compliment ‘Hero?’ earns is how naturally it fits into a communal space. This is a song that feels right blasting through bar speakers, shared among strangers nursing drinks, half-listening and half-feeling their way through it. It’s approachable, emotionally legible, and built for repetition—not because it overwhelms, but because it settles in.

    In a musical landscape often chasing extremes—bigger hooks, louder statements, sharper angles. A Modern Armada chooses something more enduring. ‘Hero?’ is thoughtful without being heavy, anthemic without being inflated, and reflective without losing its edge. It reminds us that sometimes the most resonant songs don’t tell us who to admire, they simply ask us who we are willing to be.

    About A Modern Armada & ‘Hero?’

    What does it mean to be a “Hero?”, is what Stefan Strychar, from A Modern Armada, is exploring with his latest single. It’s off of his new album ‘Retaliation is Newtonian’ and the follow-up to his very well received track, “Annihilation”, garnering attention from fans all over the globe.

    Stefan says, “I completed the music for “Hero?”, first before I even had a melody, and the phrase, ‘what does it mean to be a hero?’ popped in my head and I loved the idea as a chorus.” He continues, “Then I set out to craft a story around it. There are always those stories of courage and altruistic sacrifice, but more often than not it can be something much more hidden or under the radar, events or actions that no one will ever even see or know about. Unsung heroes. True nobility. A callback to when integrity mattered. In the end, we create our own narrative, we are what we say we are.”

    Stefan enjoys going to shows and has recently seen 90s two-man band Local H and well-known Detroit band Sponge. He can also be caught jamming Meat Puppets while driving as well as Tad, another Seattle music scene band. A group out of Norway that has recently caught his attention is Slomosa, which pushes heavier than he usually leans, but captivates with its mesmerizing guitar work and their own created sound they call “Tundra Rock”. These experiences have inspired Stefan to bring A Modern Armada to the stage in 2026.

    Behind the music is a strong support system. Stefan’s partner, artist Tatiana Flis, has been integral since designing the cover of his debut EP Gravitation in 2012. She continues to shape the visual identity of each release and offers candid feedback on his songs. “She gives me space when I need to write, and she’s always honest. Hero? is her favorite track on this album, so it felt right to release it as the next single.”

    For Stefan, music is never truly finished. He echoes one of his favorite quotes: “A poem is never finished, only abandoned.” Each song could always have another bridge, chorus, or solo, but knowing when to stop is part of the craft. “Self-editing goes a long way. Less is more. Move on to the next idea.”

    LINKS:
    https://www.amodernarmada.com/
    https://www.facebook.com/profile.php?id=61580364256737
    https://www.instagram.com/amodernarmada/
    https://www.youtube.com/@amodernarmada
    https://open.spotify.com/artist/3sf8gUAHyEVeJtw2oooUxI

    Dewey – City Has Come To Crash

    By
    Editorial Team
    -
    Dewey
    Dewey

    New Parisian indie/shoegaze band Dewey expertly blends late ’90s nostalgia with a modern sensibility, echoing the sound of current US indie acts like Wishy, Wednesday, Hotline TNT, Slow Pulp or Momma. The quartet’s debut album, Summer On A Curb, features 11 self-produced songs – little bursts of pop with hazy guitars and instant charm – written by singer and guitarist Matthieu Berton. It’s a spontaneous and heartfelt first record, where the dreamy guitars of My Bloody Valentine meet the unapologetic pop of Avril Lavigne. As the tracks unfold, we discover a distinctive and endearing band that no one saw coming, emerging from nowhere with pockets full of hits. This upcoming album should easily establish Dewey as one to watch closely, in a burgeoning scene that remains far too overlooked in France.

    Alongside the LP announcement, the band unveils second single ‘City Has Come To Crash’. Take Liquido’s “Narcotic,” add a shot of Valium and throw in some My Bloody Valentine-esque guitars and dramatic synths: you get “City Has Come To Crash.” A perfect track for a 3 a.m. taxi ride around Paris (or any other urban landscape) while taking stock of your life. A harmless moment of self-reflection that you’ll probably have forgotten by the next day.

    Featured image by Guillaume Dufour.

    SOURCE: Official Bio

    LINK:
    https://www.instagram.com/deweyinparisofficial

    Madams Last Discovery – Orange Juice

    By
    Ryan Martin
    -
    Madams Last Discovery
    Madams Last Discovery

    Madams Last Discovery have today released their new single titled ‘Orange Juice’, from their upcoming debut EP, ‘The World’s End’, dropping March 11th, 2026.

    This track is a study in restraint and emotional precision. Operating within an indie-alternative framework, the track prioritizes atmosphere and cohesion over overt spectacle. Clean, melodic guitar lines establish a tonal balance between warmth and introspection, while the rhythm section provides steady propulsion without drawing attention away from the song’s reflective core.

    Vocally, the performance is deliberately understated. The delivery favors intimacy and conversational phrasing, reinforcing the song’s confessional quality. Rather than relying on dynamic extremes, the vocals function as a narrative guide, allowing subtle shifts in tone to carry emotional weight.

    Lyrically, the song employs everyday imagery as a structural device, contrasting surface-level simplicity with underlying emotional complexity. The metaphorical use of the title reinforces themes of clarity, longing, and quiet reconciliation, leaving interpretive space for the listener without sacrificing coherence.

    Structurally, ‘Orange Juice’ demonstrates strong compositional discipline. The arrangement unfolds organically, avoiding forced climaxes and allowing repetition and texture to build resonance over time. This measured approach enhances the track’s longevity and rewards attentive listening.

    Overall, ‘Orange Juice’ succeeds as a focused and emotionally grounded piece of contemporary indie music—one that values nuance, control, and sincerity over immediacy or excess.

    About ‘Orange Juice’

    Madams Last Discovery, or Madams, as their fans have affectionately nicknamed them, are a psych-induced post-punk band from Belfast. Carrying an explosive, unapologetic sound as a tyrannical mix of Sean Ryder’s Happy Mondays, on a three-week Belfast bar crawl, having run into David Byrne, Grian Chatten and the devil along the way. Would you like to be coming back from a night out like that?

    Based in Belfast, the band has been together for 3 years. In 2025, the band toured the UK, performed at Stendhal Festival and Output Belfast, and released three singles so far. The band finished 2025 with their biggest show yet, supporting Inspiral Carpets at Limelight 1 on the 17th of December.

    ‘Orange Juice’ is something out of the comfort zone for Madams and quickly became their attention-grabbing opener for live shows. Produced and mixed by Darragh Tibbs (Esmeralda Road, Pillow Queens), and recorded at Analogue Catalogue Studio, the sample at the start features an old 50s movie, “Plan 9 from Outer Space”, which has been given a facelift in this track.

    The chorus lyrics are based on the infamous quote from Pinocchio, “I’ve got no strings on me”. Relating to the sense of when all the weight is removed from your shoulders and having nothing else in the world hold you back. Orange Juice quickly found its home with a frenzied crowd anywhere it was played. It features the band’s first sample and synth work and has a “distance relative” of dance within it, with influences from The Prodigy and Stereo MC’s creeping in.

    Speaking on the track, lead singer Flinn O’Grady states, “For this song, I had to give myself a bit of a challenge. I wasn’t allowed to use the words ‘Me, you or them’ when addressing a person, which I feel can become very repetitive. From this, I used the word ‘one’ instead, and the contrast with using this traditional and formal English in a post-punk scene made the lyrics unsettling; it made them stand out.”

    The track reads like an inner monologue from an individual, a debate ongoing inside their head that never seems to want to end. The chorus of the track reaches a stalemate, where the only choice is to shut down the thoughts and listen to the music.

    About Madams Last Discovery

    Madams Last Discovery kicked off 2025 by releasing their single “Work of Art”. This gained them a placement in BBC Radio Ulster’s ‘Where Music Matters’ playlist for January, as well as airplay from BBC Across the Line Introducing and Dublin City FM on Tilt.

    Madams joined the talent development program, ‘Scratch My Progress’, as part of the Oh Yeah Music Centre in Belfast. Through this, the band has been working to release their song ‘Champagne’ in March with industry professional guidance and support. The song was heavily praised on RTÉ 2FM’s New Music Show with Beta Da Silva, as well as getting plays from RTE 2XM with Dan Hegarty, ATL Introducing and Stephan McCauley on BBC Radio Ulster.

    After they got their first shows across England in London, Liverpool and Manchester under their belt in June, along with their single WASTE, the band continued to build with performances at Stendhal Festival, Output Belfast and a support slot for The Howlers and Inspiral Carpets.

    Featured image by Carrie Davenport.

    LINKS:
    https://madamslastdiscovery.com/
    https://www.instagram.com/madamslastdiscovery/
    https://www.facebook.com/p/Madams-Last-Discovery-100086459482698/
    https://www.tiktok.com/@madamslastdiscovery
    https://open.spotify.com/artist/6kfnnVrKU3yY2abSyCUljW

    Wanted Noise – Burn The Time Away

    By
    Editorial Team
    -
    Wanted Noise
    Wanted Noise

    Written by Sherman, “Burn The Time Away” channels the chaos, camaraderie, loss, and liftoff that come with growing up in a tight-knit scene.

    “‘Burn The Time Away’ was written about life with our crew in Goleta, where I grew up—capturing the duality of living the dream while also facing the tragedy that can come with life on the edge, but experiencing all of it together. Our friends in Petmedz were a huge part of that crew and that era.

    The chorus is inspired by what it feels like to be a bandleader: you’re 100% committed to the dream no matter what, and sometimes you’re carrying it alone—but you’d way rather be doing it with everyone beside you. I’m also incredibly fortunate to have awesome, committed, and talented bandmates, so Taylor, Caleb, and Matt deserve major props. I’m definitely not doing it alone.”
    Suri Sherman

    The single artwork pays tribute to the Blink-182 “Apple Shampoo” single cover (1997), reimagined in a 2025 twist. The piece was created by surf-legend-turned-artist Demi Boelsterli, using the iconic skate photo of pro skateboarder Wes Kremer, originally shot by Chris “Rhino” Rooney and printed in Thrasher Magazine.

    Alongside their new single, Wanted Noise also appear on the upcoming concept album from LA singer/songwriter Mendeleyev who appeared on Season 17 of The Voice and has performed with Ben Harper, Jackson Brown and more. A close friend of Suri’s since their senior year of high school in Goleta, Mendeleyev has created a unique project built entirely around his song “In Waves”—first as a flowing, multi-genre concept album, and now as a second volume featuring interpretations of the track by different artists. Wanted Noise contribute a high-energy pop-punk version in the spirit of Blink-182 and Sum 41. Their rendition of “In Waves” is out now.

    About Wanted Noise

    Formed in 2014, Wanted Noise have carved out their own lane within Southern California’s alternative music scene, blending high-energy punk with the genre-blurring influences that first defined them. The band has performed everywhere from Baja, Mexico up the U.S. West Coast to Vancouver, Canada, and across to Arizona and Colorado—sharing stages with The Ataris, Punk Rock Karaoke, and appearing at the 2025 Punk Rock Rodeo headlined by Guttermouth. In recent years they launched their own DIY touring concept, “Hit the Slopes, Hit the Stage,” a punk-rock snowboarding tour that pushes their dream of combining music, surf trips, and mountain weekends into a full-time reality.

    The band first earned critical attention with their 2017 release Plate Lunch. In a 2020 San Diego Reader feature, journalist Dryw Keltz described Wanted Noise as “a throwback to the free-for-all attitude that bands such as The Minutemen personified,” noting that while their songs sit comfortably under the punk umbrella, “the influences at play are what set them apart.” Guitarist/vocalist Suri Sherman likened the record’s multi-genre personality to “a plate lunch where you’ve got your beans, meat, and veggies… a little sampler of everything.”

    After releasing their skate-punk driven album Next Generation in 2022, Wanted Noise are now gearing up for Easy Listening, their most fully realized project to date.

    LINKS:
    https://facebook.com/wantednoiseca
    https://instagram.com/wantednoiseca
    https://open.spotify.com/artist/0ky0RnLH6ovRHbeKp71uuY
    https://wantednoise.bandcamp.com

    Bastion Rose – Dust

    By
    Ryan Martin
    -

    Bastion Rose has today released their new video for the single titled ‘Dust’, from their upcoming album ‘Blue Rising’, dropping soon via Epictronic Records.

    ‘Dust’ is a powerful modern rock anthem that balances grit, emotion, and melodic depth in a way that feels both raw and thoughtfully composed. The song opens with a heavy, atmospheric guitar tone that sets a moody backdrop before the drums and bass kick in with decisive impact. The video itself embraces a straightforward but effective visual style, focusing on the band’s performance and closeups of the musicians as they channel the song’s emotional intensity.

    Vocally, the lead delivers with grit and dynamic range, showing both restraint and strength where the song demands it. The verses are moody and introspective, pulling listeners into the lyrical theme of struggle and impermanence. When the chorus hits, it does so with anthemic punch — guitars soar, rhythm locks in, and the emotional stakes feel fully realized.

    The production quality is crisp without being over-polished. There’s a sense of live-band energy throughout, as if you’re watching a moment captured mid-performance rather than a heavily cinematic production. This approach suits the track well — it feels authentic, grounded in the raw emotions the band is channeling, rather than trying to dazzle with expensive effects.

    Musically, Dust draws from classic rock roots while incorporating modern alternative and post-grunge sensibilities. The guitar tone bridges vintage warmth and modern punch, the rhythm section is tight and deliberate, and the vocal performance carries a narrative weight that fits the song’s theme of fragility and perseverance.

    Overall, Dust is a compelling track — especially for listeners who appreciate rock that’s earnest, guitar-driven, and emotionally resonant. It makes you sit up and pay attention without feeling like it’s forcing its identity on you.

    ‘Dust’ exemplifies Bastion Rose’s strengths: authentic emotion, expressive instrumentation, and a sound that honors rock’s roots while staking its own claim in the modern scene. If you’re drawn to rock that feels real and unfiltered, this track — and Bastion Rose as a whole — is worth deeper listening. Their trajectory suggests they’re a band with both a compelling backstory and the musical chops to back it up.

    “I have always been fascinated and disturbed by the inevitable fading of everything. Our lives are temporary. Everyone you love, everything you are… it will eventually return to dust. But there is a power in that realization. You can use the transience of all things to know that in times of struggle, you can eventually rise above whatever hole you have fallen into.”
    Austin Frink

    About ‘Blue Rising’

    Building on the global momentum of their David Bottrill-produced debut Traces of Gold, cinematic hard rock outfit Bastion Rose returns with a haunting and philosophical new single, “Dust.” The track serves as the lead offering from their newly announced second album, Blue Rising.

    While the band continues to see massive success with the ongoing promotion of Traces of Gold—an album produced by three-time Grammy-winner David Bottrill (Tool, Rush, Peter Gabriel)—the release of “Dust” marks a prolific new chapter for the project. Bastion Rose is striking while the iron is hot, expanding their sonic universe with a track that captures the band’s signature blend of monumental riffs and atmospheric depth.

    The song explores the inevitable fading of all things—a theme that sits at the very heart of the Bastion Rose identity.

    Musically, “Dust” leans into 90’s alternative metal influences as well as the classic aggressive hard rock that landed the band acclaim in Metal Hammer, SPIN, and Classic Rock Magazine.

    The announcement of the single coincides with the reveal of the band’s next studio record, Blue Rising. Arriving only 2 months after the release of Traces of Gold, while the album remains a fixture on rock charts and playlists, Blue Rising delves deeper into the foundational themes of resilience and the “Cinematic Hard Rock” scope that has become the band’s calling card.

    With over 1.5 million streams earned in the last year and a rapidly growing YouTube community of 60,000 subscribers, Bastion Rose is positioning themselves as one of the most compelling and active new voices in rock.

    About Bastion Rose

    Bastion Rose is a high-impact hard rock project blending 1970s tones with 21st-century cinematic atmosphere. With a David Bottrill-produced debut and over 1.5 million streams, the band specializes in a sophisticated brand of ‘heavy’ that emphasizes both technical precision and raw emotional honesty.

    LINKS:
    https://bastionrose.com
    https://facebook.com/bastionrosemusic
    https://instagram/bastionrosemusic
    https://youtube.com/@bastionrosemusic
    https://tiktok.com/@bastion.rose

    Six Going On Seven – National Sin

    By
    Editorial Team
    -
    Six Going On Seven
    Six Going On Seven

    Seminal Boston indie rock band Six Going On Seven continue their long-awaited return with the release of their new single “National Sin,” taken from the trio’s first full-length album in more than twenty years, Human Tears, due out this Friday, January 9 via Spartan Records.

    One of the emotional centerpieces of Human Tears, “National Sin” provides a thematic throughline for the album as a whole — grappling with reflection, reckoning, and the blurred space between who we once were and who we’ve become. It’s a song rooted in honesty and lived experience, delivered with the band’s trademark intensity and melodic restraint.

    The band describes the track as:

    “A tribute to a significant love that honors the time shared while acknowledging the damage done. Never one sided. Never fully over. Never loving quite the same again.”

    With “National Sin,” Six Going On Seven reaffirm that their return is not driven by nostalgia, but by purpose — a fully realized statement shaped by decades of life, distance, and creative growth.

    About Six Going On Seven & ‘Human Tears’

    Human Tears marks a powerful continuation of Six Going On Seven’s legacy, bridging the raw urgency of their early work with the deeper emotional resonance of a band that has lived an entire lifetime since their last release. The album arrives January 9 and is available for pre-order now via Spartan Records — home to artists such as Shiner and 84 Tigers.

    “This record came together organically,” says vocalist/bassist Josh English. “We didn’t set out to recreate the past — we wanted to write from where we are now.”

    Emerging from the same fertile Boston emo and post-hardcore scene as contemporaries like The Get Up Kids, Karate, and Hot Water Music, Six Going On Seven have long been regarded as a deeply influential “band’s band,” known for emotionally driven songwriting and fiercely committed live performances.

    The trio — Josh English (vocals/bass), James Bransford (guitar), and Will Bartlett (drums) — reconnect with that foundation while expanding their sonic palette across eleven new songs steeped in vulnerability, urgency, and hard-earned perspective.

    ‘Human Tears’ Tracklist

    'Human Tears' cover.
    ‘Human Tears’ cover.
    1. Visitant
    2. Jack Jones
    3. Richie Valens Memorial Hwy
    4. (To Be) An Island
    5. Machine + Learning
    6. Human Tears
    7. Book of Snakes
    8. Olusia
    9. King Tide
    10. Onda
    11. National Sin

    About Six Going On Seven

    Formed in 1994, Six Going On Seven helped define a melodic strain of post-hardcore that would go on to influence generations of emo and indie bands. Their celebrated albums — Self-Made Mess (1997), Heartbreak’s Got Backbeat (1999), and American’t (Or Won’t) (2001) — cemented their reputation for introspective lyricism, dynamic arrangements, and impassioned touring alongside genre-defining peers.

    LINK:
    https://sixgoingonseven.com

    Peter Gabriel – Been Undone

    By
    Ryan Martin
    -
    Peter Gabriel
    Peter Gabriel

    Peter Gabriel has released his new single titled ‘Been Undone (Dark Side Mix)’, from his first new album in 21 years ‘o/i’, dropping gradually throughout this year.

    ‘Been Undone’ is a quietly powerful reminder that artistic reinvention doesn’t require spectacle — it requires intention. The song unfolds patiently, anchored by a hypnotic rhythmic pulse that feels both organic and meticulously shaped. Rather than rushing toward a hook, Gabriel allows atmosphere and texture to lead, creating a sense of gradual immersion. The production is rich but restrained, letting each sonic element arrive with purpose. His voice, weathered yet emotionally precise, carries a sense of lived experience that makes the track feel less like a performance and more like a confession whispered over time.

    What makes ‘Been Undone’ especially compelling is its emotional ambiguity. The song doesn’t explain itself; instead, it invites reflection. Lyrically, Gabriel explores themes of unravelling, reckoning, and quiet transformation — not with dramatic declarations, but through suggestion and tone. There’s a subtle tension throughout, as if the music itself is grappling with the idea of being pulled apart and reassembled. The arrangement mirrors this idea, layering and peeling back sounds in a way that feels deeply intentional. It’s a song that rewards attention, revealing more meaning with each listen rather than giving everything away at once.

    Ultimately, ‘Been Undone’ stands as a confident statement from an artist who understands the value of restraint and depth. It doesn’t chase relevance or nostalgia; instead, it exists comfortably in its own space, bridging Gabriel’s exploratory past with a present-day sense of clarity and focus. The track feels meditative without being distant, complex without being indulgent. As a standalone single, it’s absorbing and thought-provoking — and as a signal of what’s ahead, it suggests a project driven by curiosity, emotional honesty, and a refusal to simplify ideas that deserve time to unfold.

    'o/i' cover.
    ‘o/i’ cover.

    “The songs are a mix of thoughts and feelings. I have been thinking about the future and how we might respond to it. We are sliding into a period of transition like no other, most likely triggered in three waves; AI, quantum computing and the brain computer interface. Artists have a role to look into the mists and, when they catch sight of something, to hold up a mirror.

    These are my lumpy bits – i/o: the inside has a new way out and o\i: the outside has a new way in. We are not, and have never been, the exclusively self-determining, independent beings that have been given the run of the world. We are something else, a part of nature, a part of everything and feeling a connection, shaking our booty and giving and receiving some love can help us find our place – and put a big smile on our faces”.
    Peter Gabriel

    About Peter Gabriel

    Peter Gabriel is best known as a musician. He started his solo work in 1975 after leaving his old school group: Genesis. He has released eleven solo albums and written soundtracks for three films.

    In 1980 he founded WOMAD which has presented 170 festivals in over 30 countries. The festival became the inspiration for Real World Records, which he launched in 1989 with the aim of providing talented artists from around the world with access to state-of-the-art recording facilities, and help get their music better known around the world. Artists released by the label includes Hukwe Zawose, Ayub Ogada, Nusrat Fateh Ali Khan, Papa Wemba, Totó La Momposina, Sheila Chandra and more recently The Gloaming and Loney dear.

    Actively involved in human rights campaigning he has participated in many benefit concerts, notably Amnesty International’s 1988 Human Rights Now! Tour. It was on this tour he saw first hand how video can transform a human rights activist’s chances of achieving justice and change, and in 1992 proposed the creation of an organization to pioneer the use of video in human rights work, Witness.org. Around 2000 he co-founded the Elders.og, with Richard Branson, to bring together a small group of highly respected global leaders, launched with Nelson Mandela in July 2007, and currently chaired by Kofi Annan. Peter is now writing and recording, and working on a plan to create a streaming service for digital medicine and an Interspecies Internet.

    Featured image by Nadav Kander.

    LINKS:
    https://petergabriel.com/
    https://www.facebook.com/PeterGabriel
    https://www.instagram.com/itspetergabriel/
    https://www.youtube.com/user/itspetergabriel
    https://open.spotify.com/artist/7C4sUpWGlTy7IANjruj02I

    Lorraine-Dietrich – I’m Off Again + Tour Dates

    By
    Editorial Team
    -
    Lorraine-Dietrich
    Lorraine-Dietrich

    Funky prog-rockers Lorraine-Dietrich are diving headfirst into the New Year with their latest release “I’m Off Again”.

    Vocalist/guitarist Peter Grebenyuk describes their new track in saying, “This song started with a simple progression, but then continued to evolve. Featuring many layers of guitar along with keyboard, the lyrics explore the themes of loneliness and infatuation. Oftentimes you are obsessed with someone, or someone is obsessed with you. In the end you find out that it was never meant to be.”

    About Lorraine-Dietrich

    Lorraine-Dietrich is a progressive rock band from Kansas City, formed by guitarist/vocalist Peter Grebenyuk in 2018. Their debut album “Devotion” was released on October 29th 2021 with bassist Nathan Reid. The second album “Swim For Shore” was released on May 10th 2024 with Logan Fancolly on bass, Alex Brezik and Joseph Cooper on drums.

    Featured image by Glen Walters.

    SOURCE: Official Bio

    LINKS:
    https://lorraine-dietrich.biz/
    https://linktr.ee/LorraineDietrich
    https://www.instagram.com/lorrainedietrichband/
    https://www.youtube.com/channel/lorrainedietrich
    https://open.spotify.com/artist/lorrainedietrich
    https://music.apple.com/us/artist/lorraine-dietrich/

    Lunison – When Doves Cry

    By
    Editorial Team
    -
    Lunison
    Lunison

    Sharing insight into the process of selecting this particular track to cover, Lunison bandleader Matt Vantine explains, “From the start of the band, we knew we wanted to record a cover song with our fingerprint attached. To find our fingerprint, we wrote and recorded an EP (2024’s “See Me as a Friend”) and a full length album (2025’s “Fakepink”). While touring the albums, we tried a few covers, but none raised the roof the way that Prince’s “When Doves Cry” did. Matt replicated the synthesizer lines with a guitar riff, Pat put some swing on the high hat during the verses and made use of the crash cymbals during the solo, and Greg wrote a funky bass line to give it a real rock vibe. We recorded this with Barrie Maguire as producer and Tim Ferguson doing the master.”

    About Lunison

    Lunison, Philly’s own power-pop trio, are on a mission to create the catchiest and most memorable music possible—the kind that soars through your ears and into your head to make this life a better experience. Matt Vantine’s lyrics reflect his coming to terms with life and his ever-changing relationship with the crazy world around and within him. Lunacy + Unison = Lunison.

    Featured image by Dylan Eddinger.

    SOURCE: Official Bio

    LINKS:
    https://www.lunisonmusic.com
    https://www.instagram.com/Lunison_music/
    https://linktr.ee/Lunison_music
    https://www.facebook.com/Lunison/
    https://www.youtube.com/@Lunisonmusic
    https://Lunison.bandcamp.com/music
    https://music.apple.com/us/artist/Lunison/1625415074
    https://tidal.com/artist/43638336/u
    https://open.spotify.com/artist/6ylH1S9d5FL7YzCDpD3Guc

    Ultrabomb – Artificial Stars

    By
    Editorial Team
    -
    Ultrabomb
    Ultrabomb

    Punk rock power trio Ultrabomb have released their new single ‘Artificial Stars’. The track marks the first release from their forthcoming full-length album ‘The Bridges That We Burn’, arriving April 3, 2026 via DC-Jam Records/Virgin Music Group.

    “Artificial Stars” delivers Ultrabomb’s signature blend of urgency, melody, and grit — drawing on decades of lived punk experience while confronting themes of isolation, endurance, and the drive to keep reaching forward even in uncertain times.

    Greg Norton explains:

    “Sitting in our bunkers, we only have artificial stars to look at. We are all scarred, but we keep reaching for those stars.”

    Watch our exclusive interview with Ultrabomb’s Greg Norton HERE.

    About Ultrabomb

    Ultrabomb’s legacy is firmly rooted in punk rock history, thanks to the combined pedigree of its members. On bass and vocals is Greg Norton, a founding member of Hüsker Dü, one of the most influential American punk bands of all time, whose impact continues to resonate through generations of artists including The Pixies, Green Day, and Foo Fighters. On drums and vocals is Derek O’Brien, best known for his work with Social Distortion, as well as pivotal roles in Agent Orange, Adolescents, and D.I. On guitar and vocals is Ryan Smith, a veteran songwriter, musician, and producer widely recognized for his work with Soul Asylum.

    Together, Ultrabomb channel their collective history into a sound that remains direct, urgent, and uncompromising — classic punk energy sharpened by perspective and purpose.

    SOURCE: Official Bio

    LINK:
    https://linktr.ee/ultrabomb

    Milano Flash – No Brakes On Love

    By
    Ryan Martin
    -
    Milano Flash
    Milano Flash

    Milano Flash has today released their new single titled ‘No Brakes On Love’. ‘No Brakes On Love’ is a dazzling ride from start to finish — a vibrant Italo-disco-infused electronic gem that announces Milano Flash as an exciting voice in the new generation of Italo and electronic music.

    From the very first beat, the track pulls you into a world where synths shimmer and rhythms bounce with an irresistible energy. The production balances nostalgic nods to classic Italo disco with fresh, modern electronic flair, creating something that feels both timeless and current.

    The groove is infectious and uplifting, perfect for dancefloors and solo headphone sessions alike — this is the kind of song that instantly lifts your mood and gets you moving. The melodies are catchy without being predictable, and the overall vibe is fun, bold, and full of heart.

    Milano Flash has crafted a track that celebrates joy, momentum, and the thrill of love with no brakes attached, and it’s a thrilling listen from start to finish. Whether you’re a longtime fan of Italo disco or just stepping into this sound for the first time, “No Brakes On Love” is sure to win you over.

    About Milano Flash

    Comprising Swedish brothers Niklas of Red Sleeping Beauty and Johan Angergård of blog regulars Club 8, plus Greek singer Eleni Tzavara of Film, the song looks to the late 80s era of Italo to evoke images of neon-clad streets, Paninaro boys, and Tacchini-clad clubbers.

    It does have some of the retro-futurism of ZYX records, but with an Anglophone feel – there’s an influence of Please-era Pet Shop Boys, but also glossy 80s Substance-era of New Order. Possessing fashion, function, and flamboyance, if you’re going to look to the past for inspiration, find the best and make their sound your own, just as Milano Flash have.

    LINKS:
    https://www.instagram.com/milanoflash
    https://open.spotify.com/artist/4GVUD5RBgNf23HDKEC908t
    https://milanoflash.bandcamp.com/

    Chico Detour – Loma Prieta (Walk You Home)

    By
    Editorial Team
    -

    Seattle artist Chico Detour has released the music video for “Loma Prieta (Walk You Home),” a lush, dreamy ballad that threads together ’50s doo-wop sweetness, surf-leaning guitars, and modern garage-rock grit. The result is something nostalgic yet immediate. A hazy, pastel-tinted love letter to an earlier era of pop and rock ’n’ roll.

    The video blends vintage-style performance shots with soft, cinematic textures and worn-in film tones, echoing the golden-age charm of malt-shop slow dances and heart-on-sleeve torch songs but through a contemporary DIY lens. It feels timeless, carefully crafted, and a little rough around the edges in all the right ways.

    “Sonically and visually, this song lives in that world where doo-wop romance meets garage-band honesty,” says Chico Detour. “We wanted it to feel warm, classic, and a little surreal like a memory you can’t quite place but know you’ve lived.”

    “Loma Prieta (Walk You Home)” continues Chico Detour’s growing reputation for pairing emotionally grounded songwriting with jangly, surf-tinted guitar textures and a crooked-smile charm placing this song between 1950’s R&B and the glow of vintage jukebox pop.

    About Chico Detour

    From their reverb drenched guitars to their darkly cheeky lyrical themes, sardonic attitude, and hopelessly catchy melodies, Chico Detour is driving a stake deep into the heart of the Seattle garage rock music scene.

    Chico Detour formed in Seattle in 2024. A frenetic and wayward dude by the name of Sebastian Felipé (of Peyote Ugly, Forest Ray, Beret, VLLY) was encouraged by friends to front a band after a decade in the scene as a bass player. His love of doo-wop, garage rock, punk, psych, and pop music were the main ingredients that intially inspired him to push forward. By necessity he learned to sing and play guitar just enough to make it sound like he wanted; staying true to the Garage Rock ethos of simplicity + energy as much as possible. He wrote Too Easy in 2023 after some life-altering events that occurred in succession- forcing him to turn inwards and confront himself; yet again!

    With a line-up consisting of Christopher Garland (of Acapulco Lips) on lead guitar, Brennan Moring (of Sealife, Peyote Ugly) on bass, Michelle Brayson (of Deft Lips, Charmed, I’m Sure and co-founder of Alchemy School of Music) on keys, and a rhythmic trifecta of drummers including Miles Freeborn (of Emi Pop, Sick Secrets), Dave Segedy (of Sleeping Bag), and now officially Jacob Whinihan (of Mega Cat, Special Explosion, Seacats, Scarves, ex-La Fonda) on drums- the roster of talent that is backing this ball of nerves of a front-man, is notable.

    Displaying a sound characterized by aggressive tones, depraved energy, scrappy attitudes and amplified shitty student model instruments from the 60’s with drip-edge fender combos, Chico Detour is just getting started.

    Actively performing live shows since inception, Chico Detour have shared bills alongside acts such as garage godfather Mark Sultan, regional garage juggernauts The Macks, Moha Saz from Spain, up-and-coming psych rockers Screen Frogs from Seattle, and Heavy Psych Sounds artists Spirit Mother, Chico Detour can barely take a break while recording their forthcoming sophomore EP set for release in 2026.

    Catch their set in a city near you and imbibe their vibe with a side of too much caffeine, child-hood trauma, and an unyielding query on life.

    Featured image by Brittne Lunniss.

    LINKS:
    https://linktr.ee/chicodetour
    https://www.instagram.com/chicodetour/
    https://chicodetour.bandcamp.com/music
    https://www.youtube.com/@chicodetourmusic
    https://music.apple.com/us/artist/chico-detour/1750196207
    https://open.spotify.com/artist/4M7VJebvGOX9LRhZlDq9am

    Zkeletonz – Shut Up (Don’t Talk About It)

    By
    Editorial Team
    -
    Zkeletonz
    Zkeletonz

    A fiercely independent band born from London’s DIY scene, Zkeletonz have grown from self-promoted warehouse parties to commanding major stages and their debut album features contributions from Alex Gopher (Daft Punk, Phoenix, Ed Banger) and Sam Wheat (Nile Rodgers, Public Enemy).

    Perfectly showcasing their electronic but guitar-based fusion sound “fans of LCD Soundsystem and MGMT will love” (Q “Unsigned act of the week”), ‘Shut Up (Don’t Talk About It)’ is another exceptional slice of Zkeletonz music which oozes new-rave attitude. Driven by non-stop rhythms and bubbling bass, the catchy refrain ‘Shut Up (Don’t Talk About It)’ becomes anthemic as synths and guitars build and escalate in this perfectly crafted dancefloor-ready electro-pop banger. ‘Marmalade’ takes the pace set by ‘Shut Up (Don’t Talk About It)’ and turns the heat up even further with sticky warped electronics dissolving around frontman Gav Venture’s intense falsetto emotions.

    Vinyl production of the album has been funded by over £1,000 from the Zkeletonz fan community and shipping dates are now confirmed for late January 2026, except for Exclusive access to very Limited hand-made copies on Sale in person at the up-coming launch Gig merch stand, which in true DIY style is sure to be staffed by the boys themselves!

    ‘OUT!’ channels the spirits of Breakbot, Phoenix, Daft Punk’s ‘Homework’, and classic Ed Banger French Touch, but from a UK perspective. The album commences a trilogy of releases set to continue in the following 2 years, is a sonic love letter to live music, London club culture and late-night events with a focus on the unique and unforgettable experience only live music can provide. The album aims to invoke the adventurous and hedonistic spirit of a by-gone but never forgotten time in musical history and the band’s lives. Think 2004’s ‘You’re a Woman, I’m a Machine’ by Death from Above, 2005’s ‘Capture/Release’ by The Rakes, and ‘Fantastic Playroom’ in 2007 by New Young Pony Club mixed up in a cosmic blender with big hitters like The Strokes, MGMT, Empire of The Sun, and more obscure cuts who were always in Zkeletonz’ headphones as young Uni students, like US electroclash legends The Faint and almost unlistenable synth-noise from Crystal Castles.

    Working independently with no established Manager, Agency or Record Label, Zkeletonz have appeared across BBC radio networks including 6Music (Fresh Finds, Tom Robinson); 5Live (session for Scott Mills & Chris Stark); Radio 2 ‘Sounds of Soul (Tony Blackburn); Introducing (Song of the Week, Band Of The Month – West Midlands) and on BBC-curated Festival stages alongside The Specials, Nile Rodgers/CHIC and the Craig Charles Funk & Soul Show. They were mentored by DJ Yoda as Wilton’s Music Hall resident Emerging Artists (Dance/Electronic) in 2021 and are alumni of the prestigious MAS Records Artist Development programme (patrons: Rickie Wilson, Kaiser Chiefs; Robert Plant, Led Zeppelin).

    SOURCE: Official Bio

    LINKS:
    https://zkeletonz.com
    https://www.instagram.com/zkeletonz

    Port Noir – Complicated

    By
    Editorial Team
    -

    After their powerful return with the single “Redshift” earlier this year, Swedish alternative rock outfit Port Noir continue to build momentum with their brand-new single “Complicated”, released today via InsideOutMusic. The track marks the next step in the band’s renewed creative chapter and reinforces their place within the progressive music scene.

    Following the release of their 2022 album Cuts, Port Noir are pushing deeper into the sonic space they’ve been carving out for years: Formed in Södertälje, Sweden, the trio has earned a reputation for blending rock, alternative, and pop influences with a dark, cinematic edge. They built a distinctive edge with their sound that feels both intimate and expansive.

    “Complicated” serves as a natural evolution of that identity. Where previous material hinted at broader horizons, this new single locks into the band’s melodic instincts while adding a heavier undercurrent that gives the song extra gravity.

    The band comments on the new single:

    “‘Complicated’ is the track on this album that most clearly builds on what we explored with Cuts. It carries the same melodic drive and atmospheric flow, but with a bit more weight that felt right to us as we were writing it. This song came together in a way that felt honest and close to what we enjoy creating, and we’re excited to finally share it.”

    Accompanying the release is a visually striking music video that amplifies the track’s atmospheric intensity. With “Complicated”, Port Noir sharpen the outlines of their next era that leans confidently into melody, atmosphere, and a darker, weightier pulse.

    Featured image by Aslak Junttu.

    SOURCE: Official Bio

    LINKS:
    https://www.instagram.com/portnoir
    https://www.facebook.com/portnoirofficial

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