Under the alias C-RHYMS, Christopher-Rheims channels his personal journey—touching on themes of adoption, racism, and loneliness—through jazz-infused hip-hop. Drawing from his own compositions, both on stage and in the studio, he is backed by a talented ensemble of jazz musicians.
Renowned for his intricate rhyme schemes and charismatic delivery, he captivates listeners with an emotionally charged narrative, aiming to inspire others to keep believing in themselves. His powerful storytelling and stage presence earned him the Audience Award of Brussels Jazz Vanguard 2025—a testament to his growing resonance within Belgium’s vibrant jazz scene.
On June 19th, he unveiled “History”, the striking first release from his upcoming debut album (ORIGINS), set to release in November 2025. The single echoes the spirit of Kendrick Lamar’s To Pimp A Butterfly, blending poetic urgency with lush jazz textures and has gained recognition by renowned Spotify playlists, including “Belgo-Jazz” (Sdban Records) and “new, belgian & good” (Mayway Records), and radio airplay (Jam RTBF – BeJazz).
Kula Shaker has today released their new single titled ‘Be Merciful’ from their upcoming album ‘Wormslayer’, dropping January 30. A concept from conception from a set of artists that I consider the sonic chameleons of independent music, ‘Be Merciful’ takes me back to those days when a song was an event. Not that Spotify influenced click bait that puts the hook in the first four measures, but something with substance and girth. This is a song that feels like a journey that leaves you with something more than what you came with.
Kula Shaker have long ago wrote their name in the book of indie, but this shows that music can still mean something. A glimpse of greatness, maybe? Not something to rush you to the next big thing, because it is that big thing. To some, this will be an orchestra of obscurity. To those that want too fast but think too slow, this will be an alien message filled with numbers, sounds, and other things that they can never understand. But, to those it the know, this is zen wrapped in zooropa.
About Kula Shaker & ‘Wormslayer’
Consistently one of Britain’s most exhilarating live bands, Kula Shaker have evolved from a phenomenally successful anomaly of the Britpop era to step into an adventurous, ambitious and hallucinogenic new era with the release of their upcoming album Wormslayer out on January 30, 2026. The band have opened a window into their technicolor future with the singles “Good Money”, “Charge of the Light Brigade” and “Broke as Folk” all amplifying excitement for the new record. That anticipation will be freshly elevated as they share the new song “Be Merciful” out today.
“Be Merciful” is a classic Kula Shaker deep cut. Part folk song, part soulful lament, the track began almost twenty years ago as an acoustic demo, produced by the electronic pioneer Mark Pritchard (Jedi Knights, Harmonic 33, the Thom Yorke collab album Tall Tales) — a vinyl bootleg of this demo has since become a highly collectible 7” single.
As frontman Crispian Mills explains, “There was a limited vinyl pressing, but it was such an obscure release. I wasn’t sure if it had even happened until, years later, fans would ask me to sign their copies. The song always had a special quality though, and Kula Shaker would play it from time to time and we found it really worked alongside the other tracks on Wormslayer. We kept a lot of Mark’s original ideas: his spooky mellotrons and analog ambient spaces; then we then dialed in the power and live energy of a band performance. The result was electric.”
Wormslayer is an album which never stays in one lane, detouring beyond its electrifying psychedelic heartbeat and into gothic crooning, pastoral folk and expansive mantra-metal.
The Wormslayer album is available to pre-order / pre-save HERE. The band’s official store offers a selection of exclusive album bundles which add a signed insert and a bonus CD which features 15 minutes of studio bootlegs.
Ava Franks has today released her new single titled ‘Every Day’. Ava’s voice is the first thing that will capture you. It’s a statement wrapped in a feeling surrounded by love and emotion. The range merges with the delivery and conveys anything it wants you to feel.
Musically, the song is subtle and brilliant all at once. It gives you a slow build to an ascension without the drop-off. It takes you in and becomes a part of your life; merging with your muse and music to add that substance.
About Ava Franks
Ava Franks is an indie pop singer-songwriter based in New York City. She’s obsessed with all things writing, and developed a love for songwriting from an early age. Singing in school musicals and local talent shows, she slowly and surely honed her vocal craft, a staple of her unique sound. The storytelling she’s inspired by stems anywhere from Taylor Swift’s pop hits to Hamilton’s soundtrack, and from James Baldwin novels to animated movies like Soul. In short, she’s motivated to create tangible worlds through her music for the sake of sweet escape.
Her discography began in 2021, when she released “3 Pines,” a ballad about falling in love in the desert. Subsequently, she released “Silhouette,” “Wait For You To Apologize,” “Golden Child,” “Do Or Die,” and, most recently, “I’ve Been Waiting.” She leans towards both classic and contemporary pop production references, like timeless synths and novel vocal layering.
Her latest single, “Every Day” is a lush acoustic guitar-driven embrace featuring Ava Franks’ warm vocals singing luminous melodies. The relatable song narrates that first taste of love. She shares, “It explores the beginning stages of a relationship when you’re feeling all of the uncertainty, hope and mystery that goes along with falling in love. It’s about wanting to see that person all the time and hoping they can read your mind.”
Born and raised in suburban New York, Ava was a competitive swimmer throughout high school and college. She attended Yale, where she was a four-year member of the varsity swim team and majored in English. She’s close to her two younger brothers, Finn and Kelly, and often visits her mom and dad in Irvington, NY, where they live with their two dogs.
When she’s not writing songs or performing, she’s usually finding some way to discover her next favorite food. Currently on the hunt for the best burrito in New York, she’s accepting any and all recommendations.
Belgium’s most unpredictable electro-fun-metal act Boum Patat are back with “Putain De Moustique”, a track taken from the debut album Ma Belgitude, out now via Wormholedeath.
We’ve all been there—trying to sleep, only to be tortured by the high-pitched buzz of a mosquito that refuses to quit. Boum Patat turns that universal frustration into a full-blown metal showdown in “Putain De Moustique.” With pounding riffs, infectious beats, and lyrics as hilarious as they are relatable, the track takes life’s tiniest enemy and makes it worthy of a mosh pit. Equal parts heavy, absurd, and fun, it’s the kind of song that makes you laugh, rage, and double-check your bedroom window screens.
About Boum Patat
Boum Patat is the new electro fun metal project by Belgian musician Olivier Wittenberg, former drummer-composer of Manic Movement. In the 2000s, he toured Europe with bands like Kreator, Moonspell, and Psychotic Waltz, and played major festivals such as Graspop Metal Meeting.
After a long break, he returns with Ma Belgitude, a self-produced solo debut that blends heavy metal, Belgian humor, and old-school electronic sounds. Boum Patat breaks metal’s usual codes—serious and absurd at once, mixing groove, industrial, and electronic punch with offbeat themes and playful visuals.
Live, the project becomes a trio with Laurent Soulasse (bass) and Maxime Demulder (drums).
Beauty In Chaos has today released the first video from their two-song EP titled ‘God’s Gonna Cut You Down’. Conceived by the likes of Johnny Cash, Odetta, Moby, and more, ‘God’s Gonna Cut You Down’ breaks with the tradition with a solid and lucid interpretation Beauty In Chaos that evokes bits of the alt-indie underground and channeling originality through Cash, Leonard Cohen, and even a bit of curator Michael Ciravolo’s Orleanian musical influence and roots.
To take a historic track that has been covered in country, folk, alternative, electronic, and even black metal, and make it their own is an accomplishment in and of itself, but to do it in a way that feels new and revealing is where the talent lay. But what else would you expect from a varied project steeped in talent and wisdom.
The charm in ‘God’s Gonna Cut You Down’ is in it’s darkness. Not in an evil way, but brooding and introspective. The music really highlights the lyrics and their meaning in this version. You feel the words and, hopefully, take something from them. The video captures that sentiment without going over the top or over your head. It fits nicely in that artistic pocket and drives the music and meaning home in a way that is memorable.
Timeless songs like this only work correctly when you make them relevant to the time you are in. Mission accomplished.
Q&A
Both of these songs are a bit different for BIC. Why did you decide to cover these two specific songs?
Honestly, the idea of doing another cover song or two was born out of my own frustration and need of completing something as I felt the overall process of our next record was just taking a bit longer than our previous albums. There were multiple factors that helped me make this decision. As you know, I have a ‘day job’ and a family (which now includes our new puppies, Maverick and Maisie Mae). Michael Rozon also has his own clients that he works for. All of that being said, this sadly limits the amount of BIC time Rozon and I can commit to weekly. Also I wanted to bring some new ‘voices’ into our BIC family, along with past alumni. This requires us to try and adapt to the hectic schedules of other artists … and patience is not always my best virtue!
The idea of doing these cover songs, with me as the singer, negated the need and the hassle to wait for anyone else’s time schedule, and also it felt really ‘old school’ in the way we approached these recordings. We had both songs recorded and mixed in six nights, which is FAST in our BIC world. This was a good thing for me mentally, and now allows my attention to be more centered and focused on our upcoming next album.
Much like BIC’s renditions of “Children Of The Revolution” and “Open Your Eyes”, you seem to be making a statement., especially in the video. Is that a correct observation?
I make a specific point of not injecting politics or religion into BIC. I think music should be an escapism from the 24/7 media bombardment of today’s world. I certainly selected these songs for their lyrics; or at least my interpretation of them. Our video for ‘God’s Gonna Cut You Down’ does have a vague ‘story line’ running through it…. which I would hope that anyone that has their own beliefs and their own faith, no matter what that is, will relate to the storyline. And I hope, well, I actually I pray that good will always triumph over evil.
You have talked about recording a new BIC album, what can you tell us about it and will these two songs be included?
We certainly are working diligently on what comes next with this new recording, And in typical BIC fashion … which is usually contrary to today’s zero-attention-span tik tok world, is turning into a double album! We just wrote the ninth piece of music this week, which puts us over the time limit for this to be a single LP. I still think in those terms, and I can’t shake that, and I am okay with that! German artist, Maren Platzhoff, sent us some wonderful cover painting ideas, and we have the submitted the different 9-tracks to the singers. I think our ‘plan’ is to have at least 14 songs, with a combination of old and new voices. While I love the ‘quest’ for new singers, I also relish our BIC family that wants to be part of this record because you just never know when it will be the last BIC album. But I know Michael Rozon and I would love to have Julian, Leo, Patrik, Whtney and my wife, Tish as part of this one. If all goes according to plan, we should have this out sometime in mid-2026.
While I always profess my disdain for ‘digital music’, “God’s Gonna Cut You Down” and “Get Down Moses” will not be on the next studio album. These were recorded for the here and now; and will only be a digital 2-song release and two videos. I certainly think we will follow our BIC playbook by including a ‘re-envision’ release eventually, and these two covers could possibly be included there.
About ‘God’s Gonna Cut You Down’
Beauty In Chaos has just released a 2-Song Digital EP single, featuring their rendition of the traditional gospel hymn “God’s Gonna Cut You Down”, popularized by The Man in Black himself… Mr. Johnny Cash (alas, a distant cousin to Beauty In Chaos’s own Tish Ciravolo) and Beauty In Chaos’ take on Joe Strummer’s “Get Down Moses”. Beauty In Chaos’ curator, Michael Ciravolo (who also sings both songs) states “While both of these songs have certainly been covered before, I think we have injected Beauty In Chaos into them … even if we have stretched, what some have come to expect from us sonically.”
Beauty In Chaos has also premiered a video for “God’s Gonna Cut You Down”, directed by Vicente Cordero (Industrialism Films). Ciravolo adds, “I think the haunted New Orleans’ French Quarter vibe compliments our approach to the song. There is certainly an underlying story-line running through the video, which is left to an individual’s interpretation… but in the end; good indeed triumphs over evil”.
Beauty In Chaos also plans to release a follow-up video for “Get Down Moses” in December.
Michael Ciravolo – voice Tish Ciravolo – guitar Michael Rozon – guitar Anthony Love – priest & devil Filmed and Directed by Vicente Cordero (Industrialism Films) Edited by Ryan Conlon Concept by Michael Ciravolo Lightning by Anthony Love (SL Lighting) Hair and Makeup by Dania Ridgeway Props courtesy of Prop Heaven EP cover art by Liz Ardman Video cover by GABB
Studio
Michael Ciravolo – voices, guitars and textures Michael Rozon – lap steel guitar, snare drum, voices Back ground voices & foot stomps – Tish Ciravolo, Whitney Tai, Set Miller, Anthony Love and Tim Perry
Recorded, mixed and mastered by Michael Rozon Produced by Michael Rozon and Michael Ciravolo
Toronto’s pop-punk powerhouse The Mendozaz are set to unleash their most ambitious and hilarious work to date, the eight-song concept EP ‘The Completely Fictional History of This Great Nation of Canada’ on Cartridge Heart.
Fronted by guitarist-vocalist Jonny alongside Michael on vocals and bass and Dic on drums, The Mendozaz have carved their name into Toronto’s punk scene with relentless touring, wild live shows, and anthems built for gang shouts, beer spills, and grinning through the chaos. They’ve long been known for wrapping sharp hooks in self-aware humor, but on this record they go bigger, faster, and louder, with a clear mission to turn every basement, bar, and festival stage into a frenzy.
The EP is bookended by a pair of songs so preposterously profane that reinforcements were needed. Members of Joan Smith and the Jane Does and The Meringues were brought in to provide extra fuel for the f-bombs. All songs were written by The Mendozaz and recorded between This Place Needs A Name and Arc Recording Studio by Matt Gauthier (Handheld, Wasting Time), who also handled mixing and mastering. The result captures the reckless charm of their live show while pushing their storytelling and arrangements into sharper, stranger, and funnier territory.
The accompanying video-single “A Piercing Shriek of Death” sets the tone perfectly. “This was the first song written for this record,” says Jonny. “It’s based on a very-true Canadian legend that we made up about an expedition of ice fishers being eaten alive by a school of great white sharks near Hudson Bay. I had an old recording of an instrumental jam we did six or seven years ago that I really liked. I channeled my inner Serj and came up with something unlike anything we’ve ever done. When recording the demo our engineer almost fell out of his chair laughing during the blood curdling scream. He’s okay (I think). I needed to be authentic while channeling the plight of the victims of this totally-legit horrible tragedy. Thoughts and prayers.” It’s a mix of heavy riffs, absurd humor, and unflinching commitment that defines the EP as a whole.
Across its eight tracks, The Completely Fictional History of This Great Nation of Canada careens through tall tales, late-night disasters, and satirical spins on national folklore, all anchored by relentless drums, feral guitar energy, and choruses that land somewhere between beer-fueled camaraderie and cultural send-up. It’s the perfect fit for fans of Green Day, Descendents, Motorhead, Less Than Jake, Mad Caddies, and Ten Foot Pole, bands who understand that punk is supposed to be loud, fast, and fun.
The Mendozaz may not be actually rewriting history, but they’re certainly making their own mark on it. This record is a celebration of chaos, humor, and the uniquely Canadian way of laughing at yourself while playing louder than anyone else in the room. On November 3, they’ll prove once again why they’ve earned their reputation as one of Toronto’s most fearless and fun punk outfits.
Portland has dropped their new album titled ‘Champain’ via [PIAS] Recordings. Concept as a pop-stance and the muse as the mainstream, Portland show that an album’s worth of experimentation can be as much an event as it is ten songs strung end to end, together.
Jente Pironet’s vocals fit every style and genre explored while the band is both tight and focused throughout. Each hook hits the mark and every melody is a memorable excursion into what is and what could be. Musically beyond the box and outside of every mark, it all fits like a perfect feeling for that special moment captured for all to experience and everyone to behold.
About Portland
2023 was supposed to be Portland’s year. The Belgian indie band led by Jente Pironet was set to release its second album ‘Departures’, took part in a popular prime time TV show and was set to conquer Rock Werchter that summer. And they did—but just days after Pironet delivered the performance of a lifetime there, the dream briefly came crashing down: the doctor marked a big black C on his forehead. Brain cancer. Suddenly, summer turned ice cold.
But the singer and his band pushed through, and the result speaks for itself: Portland has never sounded more energetic, mature, and richly layered than on the new record ‘Champain’. It’s an unflinchingly honest travelogue of a wandering soul, moving from the stage to the hospital bed to the writing desk and back again.
“I heard you calling me / and you still know my name,” Pironet sings on ‘Time Is Now’, the album’s opener. The lyrics exude a newly regained self-confidence from a man ready to seize life with both hands: “Something’s in the air / I’d like to face it all alone.” It’s Portland’s key message today: there’s no time to waste—and he should know.
On ‘Lay Me Down’, Pironet shows the other side of the coin. Catch me when I fall, he asks his loved ones and lay me to rest when I once again push myself too far.
Musically, ‘Time Is Now’ and ‘Lay Me Down’ form a diptych that reveals where Portland stands today: energetic indie rock built for festivals and big stages, with a frontman who feels increasingly at home there. Yet the melancholic, introverted pop of predecessor ‘Departures’ hasn’t disappeared entirely. The acoustic title track ‘Champain’ nods to the best of Bright Eyes, while ‘Aurora’ is a hushed piano piece in true Portland tradition. It reflects how the promise of safety still unsettles Pironet, even after years of turmoil. He wants to explore, to experiment, to meet extraordinary people—nesting instincts are foreign to him. Or as he sings himself: “Her home ain’t where I’ll be.”
On ‘Forever’, Pironet drew inspiration from his great hero Bob Dylan, spilling everything out in one long stream of words—“a story to tell and a weight on my chest.”
‘Champain’ settles down in darkness with ‘Until I Find Some Bigger Fears’. It’s one of the hardest songs Pironet has ever written, composed in the middle of a chemotherapy treatment, when even a whispered note of hope felt out of reach. “And all the time, I wish I could rewind,” he murmurs, in the footsteps of Nick Cave, Billy Joel, and so many others who have borne their souls over the keys of a piano.
It’s an echo of the past, and that goes for the entire album. It’s a home for old sorrow and the starting point for new stories. After the years he’s endured, it was inevitable that ‘Champain’ would sometimes sting and fester—but far more often, the music sparkles and effervesces. 2025 and 2026 will be Portland’s years.
Mess Out is a hard-hitting and audacious band from Lyon, shaking things up by blending catchy punk rock melodies, the raw energy of old-school punk, and the uncompromising aggression of metal.
Since their stage debut in 2018, the band has been playing a string of electrifying shows and released their EP, Kick Me To Death, in 2024.
In late 2025 and early 2026, Mess Out will kick things into high gear: new singles, concerts, festivals, and above all, the highly anticipated release of their debut album, scheduled for early 2026.
On stage, Mess Out is pure adrenaline—sweat, passion, and untamed energy. Every concert is a promise: an unforgettable punk rock experience, powerful enough to make hearts beat faster and ears ring.
“Honeycomb” is Killian Ruffley at his most vulnerable, a quiet storm of Indie Folk, Acoustic Rock, and emotionally atmospheric songwriting. Built from delicate acoustic picking, warm electric textures, soft percussion, and floating vocal harmonies, the track creates a space that feels both intimate and cinematic.
The song reflects the quiet battles we hold inside. Ruffley writes with a poet’s sensitivity, leaning into the ache, the reflection, and the slow process of growing through pain. The recurring image of “running to the western shoreline” mirrors the search for grounding, while the idea of building a world in “honeycomb” suggests protection, softness, and rebuilding from within.
Fans of Bon Iver, James Vincent McMorrow, and Phoebe Bridgers will recognize the emotional clarity and atmospheric layering, but “Honeycomb” stands as wholly Killian: introspective, haunting, and deeply human.
About Killian Ruffley
Killian Ruffley is an Irish singer-songwriter blending rock, folk, funk, soul, and punk. Growing up in the peaceful Irish countryside, he discovered a love for percussion at age 11, and his passion for music quickly took over. His songwriting, influenced by poetry, mixes direct lyrics with metaphor, allowing listeners to interpret his songs personally. Killian’s debut, Perception (2013), marked the beginning of his decade-long musical journey.
His 2015 EP Moonshine & Red Wine featured the fan-favorite “Purple Lady,” which gained international radio play. After a hiatus due to illness, Killian reignited his music career in 2023 with the release of “Spun Out,” the first single from his forthcoming album.
Chance the Rapper unveils the visuals for “Back to the Go,” reuniting with longtime collaborator Vic Mensa for a homegrown moment from his critically acclaimed new album, ‘Star Line’.
Directed by Chance the Rapper, the “Back to the Go” video details his six year journey traveling overseas from art fairs in Venice, Italy to his own historic Star Line festival in Accra, Ghana set to a live rendition of the standout track from his new album Star Line. The performance not only showcases their heartbreaking lyrics and showmanship, but the close bond Chance and Vic have shared over the years in the creation of this album.
The video also showcases the recently wrapped “And We Back” tour, blending candid behind-the-scenes moments with dynamic on-stage performance footage. Produced by Stix and Ephra, “Back to the Go” stands out as a quiet reflection on change, capturing the emotional weight of returning home to Chicago.
The song moves through heartbreak toward healing, returning with a clearer sense of self and a better understanding of what’s worth carrying forward. NPR cited “Back to the Go” as one of several songs on Star Linereflecting on memory and loss, noting that “the verses are imbued with an impressive, almost mournful knowingness.”
Star Line stands as one of Chance the Rapper’s greatest and most visionary projects to date—a career-defining release that debuted at #2 on Spotify’s Top Albums Debut USA Chart and #3 globally to widespread acclaim. Across 17 tracks, Chance blends sharp lyricism, cultural reverence, and bold sonic experimentation into a cohesive Black diasporic narrative, joined by collaborators including Joey Bada$$, Lil Wayne, Smino, Vic Mensa, BJ the Chicago Kid, Young Thug, Jamila Woods, Do or Die, Jazmine Sullivan, and more, with production from luminaries like Rodney “Darkchild” Jerkins, Peter CottonTale, and Nico Segal. Inspired by travels to Ghana, Jamaica, and global art fairs, Star Line channels Marcus Garvey’s pioneering vision of the Black Star Line into a modern reflection on resilience, diasporic pride, and community, while the album’s striking visual identity, helmed by Brandon Breaux, the creative mind behind Chance’s iconic early artwork, cements this era as both a personal and cultural milestone.
The Church have today released their new video and single titled ‘Sacred Echoes (Part Two)’ via Cooking Vinyl Limited. Having been a fan of The Church since the heyday of, well, ‘Heyday’, I have always been in awe and wonder at how steady, progressive, and interesting The Church have consistently been in a span of over four decades. Without a missed beat or a lapse in creativity, there is a feeling of a new chapter being written in this band’s repertoire.
‘Sacred Echoes (Part Two)’ is more than a creative turning point. It’s a next page of a new chapter from a set of artists that are well past pleasing an audience and solely into exploring what can be done. A beautiful marriage of anthology and atmosphere creating a soundscape to get lost in and bonded to. Retrospection for the introvert and muse for the musician in all of us, this is poetry set to a score that gives anyone inspiration for the possibilities.
About ‘Sacred Echoes (Part Two)’
Celebrating 45 years as a band, Australian psychedelic dream pop legends The Church continue to evolve and transform, remaining not only relevant but prolific as well. With a major return to form and a resurgence in popularity, the post-punk pioneers return with a brand-new single, “Sacred Echoes (Part Two)” that is released today, November 7, 2025. The gorgeously textured track builds upon a piano intro that ebbs and crests into a dramatic crescendo.
“Bleak and yet beautiful ‘Sacred Echoes (Part Two)’ is unlike any previous Church song ever with its almost orchestral climaxes and its sombre mood,” says bassist/vocalist/founder Steve Kilbey. “The lyrics and voice are the weariness at the point where hope and hopelessness merge. The music is by turns delicate and sparse turning into a churning monstrous racket. Intense, forlorn and exultant!”
Directed by Australian visual director and musician Donald Baldie, the accompanying video brings to life the photography of renowned American photographer, the late Dorothea Lange whose images humanized the stories of family strife during The Great Depression.
“Sacred Echoes (Part Two)” follows the release of The Church’s first thematic album The Hypnogogue and its companion album Eros Zeta and the Perfumed Guitars, which tracks the loose dystopian narrative of aging rockstar trying to reclaim his faded glory through the use of a dream extractor, “The Hypnogogue.” Generating some of the best reviews of their career, these two albums helped grow the band’s audience significantly with venues appropriately increasing in size and capacity.
Check out our exclusive interview with Steve Kilby HERE.
SPIN named The Hypnogogue as one of the 2023’s best albums, noting that it “might be one of the most underrated and overlooked of the year, a gorgeous neo-psychedelia triumph, taking you on The Church’s signature alt-stargazing journey, though current and uncompromising.” The Arts STL noted that “there aren’t many artists 40 years and 26 albums into their career as creatively vibrant as The Church are. This isn’t just one of The Church’s best latter-day albums, it’s simply one of their best.”
The Church will be returning to North America in the Summer 2026 for “The Singles / 1980 – 2025” tour (dates below). Initially postponed earlier this year, the tour was rescheduled beginning June 5th in Seattle before concluding in Denver on July 11th. The five week tour celebrates their career-spanning oeuvre of tracks including “The Unguarded Moment” (from 1980’s Of Skins and Heart), “Tantalized” (from 1986’s Heyday), “Ripple” (from 1992’s Priest=Aura), “C’est La Vie” (from 1992’s The Hypnogogue), “Metropolis” (from 1990’s Gold Afternoon Fix) and of course “Reptile” and “Under the Milky Way” (from 1988’s international breakthrough album Starfish).
About The Church
Starting out in 1980, The Church have continued to expand their highly cinematic and atmospheric blend of indie rock, shimmering post-punk, icy dreampop and psychedelic post-rock without retreading their steps. Their expansive music career yielded a string of hit songs including “Under the Milky Way,” “Reptile,” “The Unguarded Moment” and “Almost With You” amongst others and their equally stellar live shows have been deemed “spectacular” by MAGNET Magazine, citing their “dreamy psychedelia that will daub your evening with shades of paisley.”
The Church’s epic five-piece line-up is bassist, vocalist and founder Steve Kilbey; with long-time collaborator Tim Powles, drummer and producer across 17 albums since ’94; guitarist Ian Haug, formerly of Australian rock icons Powderfinger, who joined the band in 2013 and multi-instrumentalist Jeffrey Cain (Remy Zero) since 2020. The band have also recruited Ashley Naylor, long-time member of Paul Kelly’s touring band and one of Australia’s finest and most respected guitarists (Even, The Grapes, The Stems).
Amity rush releases hard-hitting toxic masculinity anthem ‘To Make A Man’ on the back of viral TikTok demand. An unsettling portrayal of the growing subculture of misogyny and male violence, To Make A Man has struck a chord with fans of Sofia Isella, Paris Paloma and REN.
‘To Make A Man” will hit streaming platforms this November 7th, celebrated with a release show that night at Chelsea’s bougie Pizza Express Live venue, The Pheasantry.
This is the first release since Amity’s acclaimed Royal Albert Hall-backed debut EP ‘Bite Me’ and, having been recorded at home within 48 hours of being written with only piano and vocal, marks a radical departure from the polished, instrument-rich, epic studio productions that preceded it.
About Amity
An unconventional South London artist with a “gut punch voice, razor sharp pen game & a lot to say”, Amity’s outspoken, vibrant & thought-provoking music takes aim at a an unjust world, speaking up on mental health, for anyone who’s faced adversity, for human rights & for marginalized communities, with his “stunning” & “miraculous vocals” (BBC Radio, The Royal Albert Hall, The Guardian).
Writing from 9 yrs. Amity’s been creating a buzz since 15 when his live debut was lauded in The Guardian, selling out The Royal Albert Hall’s Elgar Room with the release concert for his acclaimed debut EP in July following sets at The Great Escape & Brighton Pride’s Fabuloso in The Park, & sold out solo shows nationally.
Armor For Sleep has today released their new Video and track titled ‘Last Days’ from their upcoming album ‘There Is No Memory’, dropping tomorrow via Equal Vision Records.
A visually stunning video with a mesmerizing intro and hook, Armor For Sleep are definitely a set of artists that have carefully honed and honored everything they’ve become, musically, into what they are now: original.
‘Last Days’ is that perfect marriage of mind and muse fused into graphic noise and world building creativity. A perfect introduction to what ‘There Is No Memory’ is. ‘Last Days’ shows how symphonic Armor For Sleep’ really is. There is a lot going on without seeming crowded. Dissonance meets delicate musically in an atmosphere meant for all and created by true artists.
About Armor For Sleep & ‘There Is No Memory’
Legendary independent New York-based rock label Equal Vision Records and Armor For Sleep are excited to announce the midnight release of There Is No Memory, the seminal New Jersey post-hardcore band’s brand new studio album. Recorded with Sam Guaiana (Silverstein, The Devil Wears Prada, Between You and Me), There Is No Memory is a collection of songs that force the listener to question the very nature of their existence, of what makes us the people we are. While 2022’s The Rain Museum was a record written in the throes of the dissolution of the Armor For Sleep frontman Ben Jorgensen’s eight-year marriage and his subsequent divorce, its setting was more fictional and metaphorical. By comparison, There Is No Memory is much more literal, much more grounded in the real world, and much closer to the bone.
Additionally, Armor For Sleep release the music video for “Last Days,” the latest single to be lifted from There Is No Memory, today. “This song is about imagining an ex as an old lady on her deathbed and wondering if she will evaluate her life and think what would have been if we had stayed together,” Jorgensen says. “In the song I’m fighting with myself by saying ‘I know I shouldn’t care anymore’, but admitting that there is a part of me that still does and always will care. The chorus is ‘maybe there’s a part of me that’s lost inside a reflection of a memory’. I struggled for a long time after this particular bad breakup obsessing over the details of what went wrong. This song is me admitting that to myself. It all leads up to a big admission at the end of the song: ‘I would sell my soul not to care anymore’.”
“When you’re going through a traumatic experience — and are actually underwater in an event such as a divorce — it’s very difficult to have any kind of perspective on anything other than that one thing that’s consuming all aspects of your life,” Armor For Sleep’s Ben Jorgensen said. “‘The Rain Museum’ was written right after I went through this crazy life event. For this one, in contrast, I’m higher off that waterline, and I have a broader perspective now. I’ve been taking stock of my life as a whole, and so I found myself thinking and writing about the strange experience of memories and the power they have over all facets of who I am.”
If that statement doesn’t give it away, one listen to this record will. There Is No Memory is actually punctuated by it — it’s an album steeped in life (and lives) lived, in recollections of the past, in the absence of what once was, in the lacuna brought on by the memories of what had been. Jorgensen is well aware of the irony of the title, but it’s an intentional part of the record’s narrative. He knew he wanted to write an album about memories, and while he was demoing the tracks at home, something happened that felt, if not quite like fate, then at least like it was connected to what he was writing about.
“While working on these demos one day, my computer crashed. But right before completely freezing, it spit out an error message on the screen that said: ‘There Is No Memory’,” he recalls. Initially, Jorgensen’s reaction was philosophical with a hint of despair. But then it made him think even more deeply about the record he was trying to write.
From the moment the crackling, fizzing energy of “The Outer Ring” kicks it off all the way through to closer “All The Best,” you’re transported deep into the wormholes of Jorgensen’s memories and the multiple parallel worlds they create on this record. Yet as much as it’s a collection of individual memories, there’s also a narrative and thematic through-line. As the album progresses — via the bitter regret of “Breathe Again” (‘If I could fold up time/Like a piece of paper/I would never have kissed you/This wouldn’t exist to ruin our lives’ he spits) and the urgent desperation of “In Another Dream,” the hopeless helplessness of “What A Beautiful World” and the unfettered emotional vulnerability of both “Ice On The Lake” and “Last Days” — the mood shifts. It might begin with self-flagellating hostility but it ends with the hushed, heart-torn “All The Best” in a place of quiet acceptance and peace.
Each song is its own poignant and pointed reminder that — however vague, however unreliable, however distant — memories can contain as much, if not more, power than the person, place or feeling that they’re echoes of. In fact, they can haunt us, control us, and change the way we think, act and feel, not just in the present moment but for the rest of our lives. ‘Isn’t it odd the way/We can give our lives to someone else/And mean nothing to them one day?’ Jorgensen sings on that final song, a line as brutal as it is beautiful and which captures the contradictions that underline this collection of songs.
“It’s an exploration of me wondering how much of my life is controlled by what I’ve been through,” Jorgensen summarizes. “And trying to unpack all sorts of different memories, whether they’re from relationships I’ve been through, betrayals, addictions, friends I’ve lost along the way. It’s me wondering if I am just the collective sum of all the things I’ve lived through or if there is a me underneath it all who can still choose his own fate.”
Armor For Sleep will be making the following appearances on the Scream Team Tour with Senses Fail and Story of the Year. Dates below.
Truth has today released his collab with Da Beatminerz (DJ Evil Dee & Mr. Walt) titled ‘Truth’, from his upcoming album ‘Nostalgia ThEraPy 2’, dropping November 21st via Animal Military Records.
A combination of homegrown and homeschooled, Truth delivers the truth via a machine gun styled delivery amid a vivid hitting backdrop designed to get the most out of your stereo. DO NOT listen to this with a pair of those pussyfied earbuds; that would be a crime. Blast this shit out of the windows for all to hear and feel that bass permeate and penetrate everywhere with everyone.
I takes a village to raise a child, but it only takes a few to raise a ruckus. This is musical dynamite with a short fuse.
About Truth & ‘Nostalgia ThEraPy 2’
Queens emcee Truth reunites with the legendary production duo Da Beatminerz (DJ Evil Dee & Mr. Walt) for Nostalgia ThEraPy 2, the follow-up to last year’s acclaimed Nostalgia ThEraPy. Once again, the collaboration delivers a potent dose of East Coast boom bap, with seven new cuts packed with dusty drums, gritty basslines, and sharp lyricism.
Truth sounds hungrier than ever, pairing razor-edged bars with that signature Beatminerz sound that helped shape a generation of East Coast hip-hop. The project features an all-star lineup that includes Psycho Les, Tragedy Khadafi, and Royal Flush, with precision cuts from DJ JS-1 on three standout tracks. From the anthemic lead single “Check It Out” to the lyrical fireworks of “Cause for Concern”, every record captures the authenticity and energy of golden-era New York.
Elsewhere, Truth channels raw nostalgia on “Want It Back,” demanding a return to hip-hop’s roots of originality and integrity, while “Redrum Seen” and “Done Did It” showcase his wordplay over sinister horns and pounding percussion, both elevated by JS-1’s signature scratches.
With Nostalgia ThEraPy 2, Truth and Da Beatminerz deliver more than just another boom bap record. It’s a masterclass in timeless hip-hop craftsmanship. The album drops on Friday 21st November via Animal Military Records, following the release of its debut single “Check It Out” due out on Thursday 6th November.
Philadelphia-born and now London-based, Elunia makes ethereal indie-electronic pop that hits like an emotional current — immersive, cinematic, and deeply human. Channeling the ache of isolation and the beauty of self-discovery, she fuses the raw, intimate lyricism of Lorde and Daughter with the expansive electronic worlds of Glass Animals and Rüfüs Du Sol.
Her latest single “Strobe Lights” received mixing by Jamie Macneal (JMAC), whose credits include Sadie Jean, Medium Build, Sarah Close, Haux, and Luz. Originally, the song’s instrumental was composed for a short film, produced, edited, and sound designed by Elunia herself, that will be pitched for use by a mental health charity. The film follows a girl finding safety in her mind, painting with her body across a metaphorical landscape, each brushstroke a representation of the beauty within struggle.
“Strobe Lights” also reflects the pressure to appear ok in a world that glorifies exhaustion. Elunia began writing it while working in London’s fast-paced film post-production industry, where she witnessed the normalization of burnout. “It seemed like a prize to be overworked, to have dark circles under your eyes,” she says. “I tried to convince myself I was fine, but I realized I was losing the connection to my younger self and the version of me who created music just to feel something real.”
That younger self first emerged in the quiet corners of a school music room, where Elunia began writing songs as a coping mechanism for feeling like an outsider.
Classically trained on multiple instruments, she discovered true expression when she started producing in a DAW at the age of 10. Years later, a chance encounter on SoundCloud with producer JMAC led to the creation of her debut single “Borderlines,” which amassed over 30,000 Spotify streams and received praise from Earmilk, Atwood Magazine, 1883 Magazine, and Rolling Stone India, to name a few.
With “Strobe Lights,” Elunia steps into a bolder, more anthemic sound, one that mirrors the strength found in vulnerability. The song glows with cinematic textures, offering a shimmering testament to resilience, individuality, and the beauty of every imperfect brushstroke in life’s bigger picture.
Tres Kings has today released their new single titled ‘My Favourite Letter is K’. The track definitely gives that delicate balancing act between sounded sublime and sounding gritty, all at the same time. A slacker anthem from the outset, ‘My Favourite Letter is K’ harkens back to the mid to late nineties while looking ahead to help define the latter part of this decade.
While the song has that guitar hero vibe for a new generation, the hidden power in ‘My Favourite Letter is K’ is that anthem tinge and addictive hook. This is a track that makes you stomp those feet under the cubicle at work, keeping the beat with the drums and imagining yourself on stage. God help you if you work at home.
About Tres Kings
Tres Kings are the Kent based indie rockers, who quite simply burst onto the scene in 2018 when they made their debut appearance on British television.
That same year, they featured in a Walkers Crisps advert directed by YouTube sensation Colin Furze and were backed by further support from BBC Introducing. The band subsequently built up a strong reputation and loyal fan base, seeing them win the Battle of the Bands competition at the iconic Dreamland stadium in Margate and becoming the first ever band to record at the now-legendary (due to numerous prestigious awards) “Albion Rooms” (The Libertines’ studio and event space), and further lighting up the stage at The Bearded Theory Festival.
Following a short hiatus in which the collective band members sought to pursue individual projects, Tres Kings have now reunited with a renewed energy and purpose. United by brotherhood and driven by a fresh creative spark, the band earned new recognition in 2025 with their singles, ‘Scuba Diver’ and ‘Antenna’, receiving plays and praise from the likes of Radio X and BBC Introducing. Further achievements this year include playing to a packed out tent at this year’s Isle of Wight Festival, major support slots with Huey Morgan (The Fun Lovin’ Criminal) and indie giants Sleeper as well as numerous sell out headline gigs and a week long residency in France.
Tres Kings are undoubtedly adding another string to their bow with the brand new release ‘My Favourite Letter is K’. The new track is a dream fuelled soundscape that really allows front man Wez King’s impressive vocal range to take centre stage and shine. Backed by soaring guitar solo’s, funky bass lines and energetic pounding drums, this track is a pure work of art.
Tres Kings are Wez King on Vocals and Lead Guitar, Lacs Fuller on Bass and Rhu Fuller on Drums.
The track was recorded at The Libertines HQ in Margate, The Albion Rooms, being engineered and mixed by award winning sound engineer Jason Stafford (The Libertines/Trampolene/Jamie T) and mastered by Graham Waller.
Tres Kings are riding high on the successes of 2025 and can’t wait to carry it on into 2026 with more new music planned and two sold out London dates with Trampolene already in the diary for January.
Matt Arbogast of The Gunshy is set to release Hurricane Umbrellas—a deeply personal and lyrically rich folk-rock album on December 5 via his label, Sleep Recordings. Today, he shares a new single and video for “Two Years in Berlin.”
Some folks have a gift for songwriting, for writing melodies that immediately find a home in your head. Matt Arbogast of The Gunshy isn’t one of those people. He has to put in the work. Arbogast spent thousands of hours at his home studio writing, rewriting and tinkering with the songs you hear on Hurricane Umbrellas. The result is a collection of twelve lyrically-rich story songs that may not demand your attention, but do welcome your company.
“I’m barely a guitar player, I can’t sing worth a shit, and I put too many words in my songs, but I really love making music,” says Arbogast. “There are records by Townes Van Zandt, John Prine, Jason Molina, and others that I cherish like a family heirloom. My life’s goal is to eventually make a record that can connect with some people in that way. I think this record is the closest I’ve come to that.
The new album, out December 5, was produced by friend and collaborator Sean Bonnette from folk-punk band AJJ. Bonnette helped Arbogast bring his characters to life, arranging a veteran ensemble of horns, strings, steel guitars, dog barks, and fingerpicked guitars.
“Sean has been one of my favorite songwriters and people since I first heard AJJ in their early days. He lived in my house for almost a year while his partner was in grad school, and we’d spend a lot of time recording each other’s songs in my basement studio. Last year when AJJ came through Chicago on tour, I mentioned that I had been working on these new songs. Sean expressed interest in producing the record, and we got to work. His thoughtful guidance shaped the record into something I’m really proud of.”
Arbogast enlisted some of his favorite collaborates, including Mike “Slo-Mo” Brenner (Magnolia Electric Company, Wild Pink) on lap steel guitar and dobro, Mark Glick (AJJ) on cello, Kara Eubanks on violin, Ben Grigg (Babe Report) on horns and keys, and Max Stern (Signals Midwest) on guitar.
The combination of diligent songwriting and the contributions of the names above makes Hurricane Umbrellas the most approachable album of The Gunshy’s catalog. “I can’t help but smile when I get to certain points in the album and hear Max’s guitar, Slo-Mo’s dobro, or another part I could never come up with. I’m fortunate that these friends were willing to share their creativity with these songs.”
Guitar rock is alive and well with a blues tinged grit and rebel bravado meant for any stage from the smokiest club to the most massive arena. Anthemically diverse and musically pronounced, Eugenio waves the guitar hero flag in ways that were long forgotten about byt holding on to his roots and giving it an entirely new flair.
About Eugenio Sambasile
Eugenio Sambasile says: “Lies, deceit, subterfuge, and betrayal – ‘Fragments Of Light’ is almost a cathartic release about emotional vampirism. It addresses an all-too-relevant theme of people who feed off your energy until they completely drain you, only to move on.”
Eugenio Sambasile is an Italian musician, guitarist, music teacher, and composer. He is the founder and leader of the death metal band, Embryo, for which he is currently composing a new album. He’s performed live on stages across Europe with some of the most prominent artists in the industry. Moreover, he has collaborated with internationally renowned musicians such as Marty Friedman and George Kollias at educational events and seminars. His musical interests range from extreme metal to rock, blues, and country, showcasing his versatile influences.
Indie trio Valley Onda are gearing up to share their debut album Middle Way with focus song, ‘Seraph’ via Valley Onda Records. Since their 2019 debut, the trio has accumulated over 350,000 streams, with their introspective sound earning praise from tastemaker publications and the acclaimed triple j, as well as national tour slots alongside The Money War and Brightness. The band is composed of Jordan Wilson (vocals, guitar), Michiya Nagai (keys), and Galen Sultmann (drums).
As individuals, members of Valley Onda bring heavyweight credits – Jordan Wilson (former member of Georgia Fair) has opened for Paul Kelly, Laurel, and John Mayer, while keys Michiya Nagai has performed with electronic outfit Lamalo to audiences of 15,000+ at The Grass is Greener and soundtracked a TEDx Melbourne virtual event. They have also received a string of features across The AU Review, Happy Mag, Where The Music Meets and Clunk Mag, among others.
The Sydney/Gadigal-based outfit was born from quiet post-tour limbo and forged in a Sydney restaurant, when frontman Jordan met producer Galen Sultmann. Sessions between the two sparked into something more when Galen brought in long-time friend Michiya Nagai, a classically-trained pianist and versatile producer. Together, their sound has evolved into a rich palette of alternative textures, drawing influence from the likes of Radiohead, Alt-J, Mansionair, Bon Iver, Muse, and Gorillaz. Across years of careful crafting, immersive warehouse performances, and cross-disciplinary collaborations, Valley Onda’s music has taken on a versatile sound that spans from Alternative Rock to Indie Electronica.
Middle Way is a project full of feeling and movement, deftly melding organic textures, rock instrumentals and electronic elements into a dreamlike sonic journey. The focus track ‘Seraph’ – sure to ensnare fans of the dreamy indietronica of Feathered Sun and The Acid, with soulful vocals reminiscent of Ian Brown – trades rock riffs for drum machines, airy atmospherics and hypnotic chants, gently intensifying into a vast, celestial piece of reverb-laden electronica, epitomising the album’s sense of wonder and transcendence beyond the ordinary.
Speaking on the album, the band shared: “‘Middle Way’ is the boisterous combination of three unique creative minds. We knew we wanted to harmonise organic instruments with technology and the electric world; a feat as grand as Robert M. Pirsig’s classic novel ‘Zen & The Art Of Motorcycle Maintenance’. Fishin’ screams out like one big om from the universe, whilst tracks like ‘Seraph’ moves with cyclical rhythm and warm synths. There’s certainly an intensity to the album, but one we hope we match with joyous celebration.”
Mommyheads has just dropped their new video and single titled ‘The Beast is Back’ from their upcoming album ‘No Quietus’, releasing this Friday.
A suave and smooth take on society and class structure with a memorable hook and slow burn type of musical style, Mommyheads gives a perfect glimpse at what is to come, not just with their album, but with society. The spotlight they have shining on our class system is as daunting as it is damaging. The first thing I thought of when contemplating the lyrics is how, at least in The United States, the first thing we ask when meeting someone new is ‘What do you do for a living?’. This is how we define each other for the rest of the time we know them. We all do it, to an extent. And what else I realize just now is that money and status have absolutely no bearing or influence on the character of the person. Being decent can be found in the richest of the rich and the poorest of the poor. And, with the issue of the possibility of the non payment of everyone’s SNAP benefits (those outside of the U.S. need to look this up), to argue for and against people going hungry is something that should never be argued, but it becomes the argument when some people defend their status of superiority.
Having said that, this is a song with style and substance that transcends time and cuts to the bone of the matter in a way that is both memorable and inspiring.
The band has this to say about the track: “The Beast is Back” video is our way of holding up a mirror to society and showing its two faces. Every class system has its rungs, and one side can’t exist without the other. The verses highlight the everyday workers—the ones driving our buses, mopping our floors, and policing our streets—while the chorus flips the lens to the other side: politicians, CEOs, and the so-called robber barons.”
“The takeaway? Even though one side might convince you the other is untouchable or disposable, the truth is we’re all pressing against the same glass. And if you look closely, the reflection staring back is often that of a Beast.”
About Mommyheads & ‘No Quietus’
‘No Quietus’, Latin for “No Death,” sets the stage for a record that doesn’t lean on cliché character narratives or overblown rock operatics, yet carries a unifying theme that pulses through every rhythm and strum. Death is the unlikely protagonist of this sonic journey—though the music is far more inviting than one might expect. At its heart, ‘No Quietus’ shows how deceptively simple songs can be both captivating and endlessly listenable: subtly mind-bending, yet irresistibly hummable in true Mommyheads fashion.
The album is a vibrant, genre-blending collage that feels both timeless and urgent. “Triumph and Crash” barrels in like an epic funeral march, reflecting on empire’s collapse through the eyes of a fly. In “Black Veins,” the frailty of the narrator comes into sharp relief: “Take these black veins and turn them blue, I gave all my oxygen to you”—a piercing observation of the co-dependency woven into love. The title track marks a turning point, as the protagonist faces the possible loss of the most important person in his life. “Always Reaching” contrasts philosophical lyrics with danceable energy, perfectly balanced within its 4:40 runtime. Side one closes on a lush, late-’70s Bee Gees-inspired groove, inviting us to imagine how religion fit’s into this sweeping story.
Side Two deepens the meditation with songs like “Finally Free,” “Strong,” and “It’s Only Life.” Here, the band confronts the universal struggle with mortality, offering a musical document that examines death from many angles—society, loved ones, ego, relationships, faith, and personal identity. Much like a prizefighter probing for weakness, ‘No Quietus’ explores each facet with precision and compassion.
Paradoxically, this record about death may be the Mommyheads’ most hopeful work yet. In their long and fruitful career, they’ve never made an album about life’s end feel so alive.
The Complete Trilogy Unlocks a New Realm of Dark Story, Fueling the Best in Modern Synth-Gothic and Industrial Electronic Music. A Complete conceptual work. Three full-length albums (“Let Your Obsessions Run Wild”, “Heirs of the Red Night”, “Nightbreed”) that form one continuous, theatrical narrative. A skillful balance of darkwave, synthpop, and industrial rock, delivering both dance-floor bangers and introspective gothic anthems.
Pure Obsessions & Red Nights, the French darkwave/electro project helmed by prolific artist Philippe Deschemin, proudly announces the final realization of its sweeping conceptual universe with the completion of the “The Night Trilogy”.
Following the acclaimed “Mr. Strangler Trilogy”, “The Night Trilogy”, comprised of the albums “Let Your Obsessions Run Wild”, “Heirs of the Red Night”, and the most recent masterpiece “Nightbreed”, solidifies Pure Obsessions & Red Nights’ position at the forefront of the contemporary dark music scene. This trio of albums represents a triumphant fusion of danceable electro-gothic hooks and a profound, cinematic storyline.
Philippe Deschemin who composed and produced the 3 albums says: “The Night Trilogy is over. Three albums, one story. After the Industrial Rock/Gothic Metal energy of the Mr. Strangler Trilogy, and the Alt-Rock/Postpunk tones of We Are the Stranglings, I dove headfirst into my ’80s roots for this new journey — a 100% synth-driven trilogy. I produced The Night Trilogy using vintage synths and analog gear, aiming for a sound that’s both warm and unmistakably retro. The goal was to find a place between the spirit of my ‘80s influences — Depeche Mode, The Cure, Killing Joke — and the raw power of our Industrial Rock roots. The result: 80s vibes, synthpop grooves, darkwave atmospheres… all pulsing with industrial rock energy. This chapter is now complete. The Night fades, but not for so long! The next cycle begins…”
Musically, the “The Night Trilogy” marks a definitive shift, leaning into a polished, vintage-inspired darkwave and synthpop sound, blending the analog warmth of classic 80’s gear with the abrasive power of industrial rock. Pure Obsessions & Red Nights successfully channels the spirit of the greats of the dark wave, electro and industrial genres, like Depeche Mode and Nne Inch Nails, crafting tracks that are exceptionally catchy while retaining their brooding intensity, perfectly suited for the darkest corners of a dark club.
“In this trilogy, Mr. Strangler returns. The main character from the Mr. Strangler Trilogy was sentenced to death in the final act — “No Monsters in God’s Eyes – Act III.” But in “The Night Trilogy”, he’s no longer quite alive… nor truly dead. Now a shade, a spirit wandering through the night, Mr. Strangler is something else entirely. No longer a killer — he has become a guide. A presence in the darkness, helping lost souls, whispering to those on the edge. He haunts the night not to harm, but to heal. To teach you how to live. How to fight, when you think all hope is gone…” Philippe Deschemin adds!
Four music videos have been produced for this trilogy. The fourth one, “Ghostly Queen”, will be released by the end of the year. All videos were directed by VD Pictures, known for their collaborations with Lord of the Lost, Mono Inc., and Powerwolf. The full ‘The Night Trilogy’ is available now on all major streaming platforms and Bandcamp.
About Pure Obsessions & Red Nights
Pure Obsessions & Red Nights is the brainchild of French multi-talented 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.
Sugarcane Hangover explodes onto the scene with 1985 (The Revelation), a fierce and electrifying throwback that resurrects the raw power of rock’s golden era with a modern edge. The Norwegian rock outfit channels the energy of a neon-soaked decade when rebellion ruled the airwaves and music was larger than life.
Fueled by roaring guitars, pounding drums, and vocals that strike straight to the heart, 1985 (The Revelation) captures the rush of living for the moment, when the world was louder, faster, and beautifully imperfect. It’s a tribute to those who still believe in the pulse of real rock, and a reminder that true passion never fades.
Every lyric drips with emotion and memory, echoing the fire of the original rock dreamers. The track doesn’t just reminisce, it reignites. From the glittering sunset streets to the smoke of the afterparty, 1985 (The Revelation) takes you on a roaring ride back in time while keeping its eyes set firmly on the future.
With 1985 (The Revelation), Sugarcane Hangover proves that rock isn’t just alive, it’s eternal.
About Sugarcane Hangover
Sugarcane Hangover stands as a dynamic force in the Norwegian sleaze and hard rock scene, delivering a sound that’s as bold as it is timeless. Seamlessly blending the raw, rebellious spirit of ’80s sleaze with a touch of punk edge, the band captures the essence of a party that refuses to end.
Since their formation, Sugarcane Hangover has undergone lineup transformations that have only strengthened their chemistry and musicianship. Their relentless drive has fueled a series of electrifying performances, captivating audiences both in Norway and on international stages. Highlights include unforgettable shows at the iconic Whisky a Go Go in Hollywood and Gaukurinn in Reykjavik.
Beginning with a slow, unfolding intro, the song gradually draws listeners into curiosity and longing for a relationship that has already ended. As the narrative progresses, the emotions intensify, transforming into a torrent of tenderness that flirts with pain. “Hate It When I See Ya” blends Melgoza’s signature alt-pop sound with memorable, addictive lines. “Holding onto what I had with you and me, Hanging onto everything we used to be, Thought I could erase all of these memories, But I hate it when I see ya…” The lyrics capture the agony of conflicting feelings in romance, the struggle of moving forward, but pulling back because of those unfading memories, creating an emotional tug-of-war.
As Sienna Melgoza describes, “‘Hate It When I See Ya’ is literally about being so infatuated with someone that you hate being around them. It hurts too much to know you both live two completely separate lives now, and you know nothing about theirs anymore. This song recalls my experience of dealing with a breakup that ended on good terms, which, in hindsight, made it way harder to move on.” “Hate It When I See Ya” was written by Melgoza, Caleb Hulin (Avril Lavigne, Demi Lovato), Aaron Brohman (Demi Lovato), and Ashley Mehta. Produced by Brohman and Hulin, mixed by Mat Mainhard, and mastered by Dale Becker (SZA, Billie Eilish, Benson Boone). With its unforgettable lyrics and catchy melodies, the track tells a story of hatred born from passion.
Multi-talented singer-songwriter, actress, and dancer Sienna Melgoza is a dynamic performer fueled by her passion for music and the arts. As a young artist, she participated in a triple-threat training program, gaining extensive experience in singing, dancing, and acting. During this time, Melgoza also recorded covers, wrote original songs on her keyboard and acoustic guitar. At just 13 years old, she signed her first record deal, gaining an invaluable background through collaborations with industry professionals.
Drawing inspiration from artists like Ariana Grande and even Billie Eilish, Melgoza has developed a distinctive sound that has earned her features and coverage on noteworthy music outlets like EARMILK, Unclear Magazine, Melodic Magazine, and CLOUT. She recently starred in the short film Morph, for which she won Best Actress at the Indie Short Fest.
About Sienna Melgoza
Sienna Melgoza is a multi-talented singer-songwriter, actress, and dancer whose passion for music and the arts has shaped her into a dynamic performer. While her sound is rooted in pop, she seamlessly blends various genres, instruments, and styles, creating a sound that is both fresh and deeply personal. From an early age, Sienna immersed herself in the creative world, training rigorously as part of a triple-threat program that honed her skills in singing, dancing, and acting. Alongside her formal training, she spent countless hours in her bedroom recording covers, writing original songs on her keyboard and acoustic guitar, and constantly refining her craft.
Her dedication and drive led to a pivotal moment in her career when, at just 13 years old, she signed her first record deal. Working with industry professionals provided invaluable experience, allowing her to develop as both an artist and a storyteller. Now, Sienna is fully embracing her creative vision, writing music that reflects her personal journey and sharing it with the world. With a deep love for the arts and an unwavering commitment to authenticity, she invites listeners to connect with her music, hoping they’ll stay for just a little while.
Øyunn has today premiered her new video for the track titled ‘I Know U Can Do It’. To say this is a brilliant track would be a massive understatement. This is one of those tracks that drop your jaw and pick up your boots. Such an injection of originality today. Øyunn has melded genres together, while keeping them separate and, yet, keeping them smooth throughout.
Part rap with bits of pop and experimentation, Øyunn has just broken the mold of conformity and thrown that mold into the garbage of mediocrity.
While the track never ascends or descends, musically, it cascades and caresses along; holding your hand throughout. Adding Øyunn’s vocals and lyrical style: part rap, part pop, all indie, and you have a song that is meant for the masses it creates.
About Øyunn
Following a summer of festival appearances including Roskilde — drummer, rapper, vocalist and genre-defier, Øyunn is pleased to present her electrifying debut studio album ‘I Know U Can Do It’, a powerful blend of breakbeats, rap, raw honesty and soaring vocals, which is being released via Copenhagen-based label Midnight Confessions.
With her dynamic range and unmistakable sound — groove-driven energy and lyrical openness — Øyunn delivers an extroverted yet emotionally nuanced record that pulses with self-reflection and fearless vulnerability. Throughout the album, Øyunn proves herself a fearless songwriter with a sharp ear for catchy melodies with an edge — each track standing strong on its own while forming a compelling whole.
Co-produced by Øyunn and Brian Batz and recorded over four years between Copenhagen, Malmö, and Aarhus, the album is a deeply personal creative vision, with Øyunn leading on drums and vocals. She is joined by longtime collaborators Jens Mikkel Madsen on bass and Kasper Staub on synths, and the result is a warm, organic sound shaped by a tight, intuitive band.
Behind the name Øyunn is Siv Øyunn Kjenstad, a diverse artist born in Norway but now based in Copenhagen. She released a live album ‘Aspects’ in 2023 which was originally a film, performance and concert created for Ultima Festival. The album led to Øyunn winning ‘New Jazz Name of the Year’ at the Danish Music Awards that year. She is also known for being the touring drummer for Danish indie legends Efterklang, as well as drumming for Bugge Wesseltoft, Nils Frahm & Guldimund.
Of the eight songs on ‘I Know U Can Do It’, five were released as singles in a rapid-fire run-up to the album release. Thematically, the album explores old wounds, self-care, relational dynamics, and quiet optimism — marked by both self-criticism and self-compassion. From the explosive spoken-word breakbeat of ‘New Life’ to the intimate and hypnotic ‘Hope That You’ll Sing Again’, Øyunn moves fluidly between extroverted bursts and moments of vulnerable stillness.
Whoman has premiered their new video for the track titled ‘Errance’, from their upcoming album ‘About Honey’, dropping in March via Capitane Records.
Done with an atmospheric flair and a penchant for lush and vivid subtlety, Whoman gives a beautifully quiet performance that changes the mood and creates inspirational reflection to and for whomever listens. I have to say that this song captured me from the start. It’s it’s own thing, and I don’t know how else to say it. Just enough of everything to hit the feels and whet the soul while giving you a reason to be you.
The vocal synchronicity between Lou Wéry and Mira De Schepper take ‘Errance’ to a new level musically and spiritually, making the obscurity of the song prominent and giving interest as much as inspiration. A true sonic work of art.
About ‘Errance’
‘Errance’ is the second single from their forthcoming debut album About Honey (March 2026), the track dives into urban wandering in the face of everyday “monsters” – capturing the fragility and resilience of modern life through the band’s signature dense vocal harmonies and progressive arrangements.
Sung in dual vocals by Lou Wéry and Mira De Schepper, ‘Errance’ blends unease and solidarity, exploring the tension between vulnerability and strength as we navigate city streets and contemporary anxieties. The track showcases Whoman’s unique ability to transform interior emotional landscapes into soaring indie rock that draws comparisons to Animal Collective, Dirty Projectors, and Cocteau Twins.
Composed by Lou Wéry and arranged collectively by the band, ‘Errance’ is accompanied by a striking choreographed video shot at Ultima Vez Studios in Brussels and directed by Lou Wéry herself. The visual piece conveys the physical tension and restless energy embedded in the track, confirming Whoman as one of the most distinctive emerging acts on the Brussels music scene.
Following their September single ‘Damp The View’ – a gentle meditation on time, memory, and the impossible desire to truly understand another person – ‘Errance’ reveals a darker, more urgent side of the band’s sonic palette while maintaining their characteristic intimacy.
Founded in Brussels around Mira & Ambroos De Schepper (Bandler Ching, Mos Ensemble) and Lou Wéry (Stace, Paradoxant), Whoman have been touring across Belgium and France since 2022. Each summer, they embark on a unique tour through mountain refuges, performing reworked versions arranged for three voices and three guitars – an experience that has brought new emphasis to their intricate vocal harmonies.
Their debut album About Honey captures the tension between Brussels’ creative energy and longing for quieter, natural landscapes. Born from dreaming about nature while confined to a small city apartment, the album balances intimacy and audacity, fragility and vitality – themes that pulse through ‘Errance’ with particular intensity.
About Whoman
Whoman is a Brussels-based indie band founded around Mira & Ambroos De Schepper (Bandler Ching, Mos Ensemble) and Lou Wéry (Stace, Paradoxant). Their unique take on indie rock blends dense vocal harmonies and progressive riffs, creating music that exists somewhere between Animal Collective’s experimentalism, Dirty Projectors’ complexity, and Cocteau Twins’ ethereal beauty.
Since 2022, the band has built a devoted following through tours across Belgium and France, including their distinctive summer mountain refuge performances. Their forthcoming debut album About Honey arrives March 2026 via Capitane Records.
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