News – Page 4 – 7th Level Music

A Place to Bury Strangers set to release “Rare and Deadly” rarities album on April 03, 2026.

New-York based band A Place To Bury Strangers announce their new rarities album, Rare And Deadly, out April 3rd via Dedstrange, and release the lead single, “Everyone’s The Same.” Following 2024’s Synthesizer, Rare and Deadly cracks open a decade-long vault of raw nerve and sonic chaos from A Place To Bury Strangers. Spanning 2015–2025, this collection of demos, B-sides, abandoned experiments, and forgotten fragments reveals the band at their most unfiltered—caught between breakthrough ideas and beautiful mistakes. Pulled from Oliver Ackermann’s personal archive of late-night recordings, blown-out tapes, and half-finished sessions, these tracks pulse with the unruly energy that has always defined APTBS, but here the interference is closer, the electricity more dangerous, the edges left jagged on purpose.

What makes Rare and Deadly truly unprecedented is that every format tells a different story. The CD, cassette, vinyl, and digital editions each feature their own unique tracklisting, a fractured release strategy that is almost unheard of. No single version contains the “complete” album. Instead, each format becomes its own window into the archive, revealing alternate paths, missing links, and parallel versions of the band’s inner life. It’s a deliberately unstable document: the album shifts depending on how you choose to hear it, mirroring the chaos of its creation.

Across these recordings, you can hear the evolution of Ackermann’s restless mind. Some pieces feel like prototypes for future chaos, seeds that later bloomed on studio albums. Others are dead ends—ideas too volatile, too strange, or too personal to ever fit the frame of a proper release. But together they form a secret history of the band, a parallel world of possibilities that existed just outside the spotlight. The tracks contain riffs mutated by malfunctioning pedals, songs born from gear pushed past its limits, or delicate melodies overwhelmed by walls of feedback until only their ghosts remain, as on today’s single, “Everyone’s The Same.”

Reflecting on the track, Ackerman says: “I had a dream where a man led me to a brook, peaceful and calm. When he turned his head slightly, I saw the most evil smile imaginable. But when I looked directly at him, it was just the back of his head again. Beauty and horror coexisting in the same space. It felt like hell leaking into something serene. Maybe that’s reality sometimes. And maybe pretending otherwise is a kind of survival.”

Stream “Everyone’s The Same”

Rare and Deadly is less a compilation and more a documentary—an aural snapshot of how sound takes shape before it hardens into something finished. You hear the room, the accidents, the restless experimentation, the immediacy of a moment being captured before it disappears. It’s a reminder that A Place To Bury Strangers has always thrived in this in-between space: the tension between control and collapse, melody and noise, beauty and distortion.

Pre-order Rare And Deadly

Rare And Deadly Tracklists Per Format

A Place To Bury Strangers Tour Dates:
Tue. April 7 – Hamburg, DE @ MS Stubnitz
Wed. April 8 – Leipzig, DE @ UT Connewitz
Thu. April 9 – Praha, CZ @ Futurum Music Bar
Fri. April 10 – Brno-město, CZ @ Kabinet múz
Sat. April 11 – Bratislava, SK @ PINK WHALE BAR
Sun. April 12 – Budapest, HU @ A38
Mon. April 13 – Belgrade, RS @ Karmakoma
Tue. April 14 – Sofia, BG @ Mixtape 5
Wed. April 15 – București, RO @ Control Club
Fri. April 17 – Thessaloniki, GR @ Eightball Club
Sat. April 18 – Athina, GR @ Gazarte
Mon. April 20 – Rome, IT @ Monk Club
Tue. April 21 – Florence, IT @ Ex Fila
Wed. April 22 – Bologna, IT @ Social Center TPO
Thu. April 23 – Milan, IT @ Santeria
Fri. April 24 – Zurich, CH @ Bogen F
Sun. April 26 – Brussels, BE @ Magasin 4
Mon. April 27 – Cologne, DE @ Gebäude 9
Wed. April 29 – Utrecht, NL @ De Helling
Thu. April 30 – Deventer, NL @ Burgerweeshuis
Fri. May 1 – Eindhoven, NL @ Fuzz Club Festival 2026

Keep your mind open.

[Don’t forget to subscribe!]

[Thanks to Patrick at Pitch Perfect PR.]

Stuck hit the gym, and your face, with “Deadlift.”

Stuck—the Chicago based trio of Greg Obis (vocals, guitar), David Algrim (bass), and Tim Green (drums)—release “Deadlift,” the second single/video from their forthcoming album, Optimizer, out March 27th via Exploding in Sound. Arriving on the heels of the “tightly-wound” (Brooklyn Vegan) lead single, “Instakill,” “Deadlift” is slower and sadder, delivering an unsparing look at the loneliness of workout culture; on the song’s chorus, Obis sings: “I know, I know, // you’ve heard it before // I never feel so alone // when the weight hits the floor.”

“I have become somewhat of a gym rat over the last several years,” Obis reflects. “Lifting weights has been indispensable for my physical and mental health. And yet, when I’m in a dark place, the gym can sometimes underscore feelings of loneliness and futility. ‘Deadlift’ uses the gym as a way to look at how atomized we have become; fixating on ourselves in public, locked into our fitness routines with our headphones, barely acknowledging the other people in the room, optimizing our wellness while racing to a red light.”

The song’s video was directed, produced, and edited by Austin Vesely and stars performer, actor and comedian Alex Grelle. “Austin Vessely’s video takes on these ideas from the opposite direction,” says Obis. “Working with him and Alex Grelle on this was a real treat. Alex is an incredible performer and improviser, and I still laugh when I watch him go all out in the video. We gave Austin very little to work with here in terms of a concept, and we’re super stoked with what he came up with.”

Watch the Video for “Deadlift”

Optimizer, the third album from Stuck reports live from the front lines of a society on the decline, where every attempt toward self-improvement only locks you into a more efficient downward spiral. The album is their most ambitious and eclectic collection of songs yet, without losing the nervy, quirked-up approach to post-punk that they’d established on their first two full-lengths.

To record Optimizer, Stuck reached out to engineer and producer Andrew Oswald (Marble Eyed, Powerplant, and Smirk). Oswald suggested that they track at Electrical Audio, the legendary Chicago recording studio once run by the late Steve Albini. With Albini’s passing still fresh, the opportunity to record at Electrical took on a personal significance for Obis; recording at Electrical would simultaneously help a local institution fill out their calendar in a moment of tragic instability and affirm Stuck’s place in a lineage of fiercely independent Chicago rock bands. Stuck are proud, in the humble way that any good Midwestern folks are proud, of embodying that archetype. Not only did Obis take over Chicago Mastering Service from Shellac’s Bob Weston when the latter decamped abroad, but Stuck’s choice of album title subconsciously mirrored Big Black’s classic Atomizer.

Optimizer continues their incorporation of synthesizers and also brings along more backing vocals, bigger choruses, and even blast beats. Oswald made his name recording extreme metal bands like Mortiferum and Caustic Wound. Though it is by no means a metal record, Oswald brought that genre’s level of tactile closed mic detail to Optimizer, resulting in the most high-definition and physically propulsive Stuck record yet. Previous Stuck albums needled you, using fast twitch guitars to keep you on edge. Optimizer goes straight for the emotional haymaker.

Pre-order Optimizer

Watch the Video for “Instakill”

Stuck Live
Fri. Apr. 3 – Detroit, MI @ Outer Limits
Sat. Apr. 4 – Toronto, ON @ The Garrison
Sun. Apr. 5 – Montreal, QC @ L’Esco
Tue. Apr. 7 – Kingston, NY @ Tubby’s
Wed. Apr. 8 – Brooklyn, NY @ Baby’s All Right
Thu. Apr. 9 – Boston, MA @ Deep Cuts
Sat. Apr. 11 – Philadelphia, PA @ Warehouse on Watts – Cambridge Hall
Sun. Apr. 12 – Washington, DC @ Comet Ping Pong
Fri. April 24 – Chicago, IL @ Sleeping Village [Record Release Show]

Keep your mind open.

[Why not subscribe?]

[Thanks to Jacob at Pitch Perfect PR.]

Melodi Ghazal takes us “Higher” on her new single.

As a graduate of the esteemed Rhythmic Music Conservatory, Melodi Ghazal is intrinsic to Copenhagen’s storied indie scene. Her full-length debut, Idol Melodies, is out March 6, 2026 via Anyines, blending ’80s pop and Iranian folk traditions. Today, Ghazal shares the second single, “Higher.” Moody riffs and jagged verses culminate in a slow jam chorus. Touching on dissolution of the self, “Higher” imbues nostalgia with complexity.

On the single, Ghazal shares: “This is a song I personally needed, perhaps as a form of manifestation. I sing about the dissolution of the self. About those moments where you can suddenly shift perspective – and really feel the shift – from the shutting-down, everyday trip, to the big, opening image of love and connection. It sounds a bit New Age in such a short description, but that is nevertheless the theme of the song. I sampled my friend Peter’s guitar recording and chopped it up, perhaps with indirect inspiration from the chopped, country-sounding guitar in Madonna’s ‘Tell Me,’ which I think is a fantastic track. The form was meant to be simple and repetitive, because I wanted it to feel like the repeated caress of warm skin. And I also think that at times I noticed myself having the Spice Girls’ ‘Viva Forever’ as a reference somewhere in my head during the process. Maybe it’s because of the comforting effect of nostalgia, that I have some clear references when listening to this song and remembering how it came to life – because this song I just wanted to be comforting to me.”

Melodi Ghazal’s output is reflective. The Copenhagen native was raised by Iranian parents, and an interest in music was nurtured at cultural gatherings. As a child, she delved into pre-revolutionary Iranian hits and the Los Angeles pop that emerged in the 1980s and ‘90s. Later, she discovered hitmakers including Dido and Celine Dion on VH1 and MTV. At her mother’s encouragement, she took up piano lessons.

Ghazal fell into stasis for almost a decade. “I stopped quite abruptly with the occurrence of my self-consciousness, especially about otherness in a very white context,” she remembers. “I felt a need to be anonymous.” She enrolled in university, but grew depressed working a day job. During one down swing, she felt the desire to write songs again and started an adult education program. Two years later, she was accepted at the groundbreaking Rhythmic Music Conservatory — a school that counts ML Buch, Astrid Sonne, and Clarissa Connelly as alumni.

Ghazal’s full-length debut, Idol Melodies, is titled in reference to spiritual symbolism and a yearning to dissolve oneself. The album materialized gradually, with initial daf frame drum ideas sparking as part of her thesis at RMC. Allowing intuition to guide, tracks began with elements ranging from riffs to synthesizer presets. On a trip to London, she collaborated with Anyines label founder Villads Klint (Minais B) and NTS resident Coby Sey. Peter Bruhn Rasmussen contributed electric guitar, while Albert Hertz played acoustic. Rising Danish songwriter Fine Glindvad was a consultant in the final stages. “In the process of writing songs, I am always navigating a feeling of longing that appears when the melody is right,” she says. The end result is spry and mercurial, echoing keyboards and downtempo grooves cloaked in fuzz.

Idol Melodies is catchy and eclectic, inspired by Sufi dervishes, Madonna’s conversion to Kabbalah, and Googoosh’s displacement. “I have paraphrased Hafez in several places throughout the album and worked with circular movements in the productions,” Ghazal shares. On “Destinies and Melodies,” she sings of surrendering to inexplicable forces that yield creativity. Atop the silvery strums of “Numb,” she decompresses from a challenging period in which loved ones were hurt. “In My Room” is the tenderest moment, using adolescent introversion to probe a relationship with newly immigrated parents. The whole record is sonically direct, yet emotionally textured.

Weaving Middle Eastern percussion and English-Persian vocals, Ghazal cultivates protectivity. Associative streams impact a journey of self-dissolution and connection. “Something had been simmering in me, and it came out in the underlying melancholy and searching,” she muses. A current of change steers Idol Melodies, which ruminates on a breakup, personal crisis, and ensuing transformation. Flowering between stretches of malaise, Idol Melodies shrouds storminess in magic.

Keep your mind open.

[Why not subscribe? You’re already here.]

[Thanks to Andi at Terrorbird Media.]

Rebelski takes you down some lovely “Roads” with his new single.

Unfolding from a place of quiet familiarity into widescreen cinematic scope, established composer and producer, Rebelski unveils his latest emotive single, “Roads.” A richly layered and immersive track that stands among the most expansive in his catalogue, the long-standing collaborator with artists including Doves, Peter Hook and The Light and Echo and The Bunnymen releases the single, rooted in cinematic, jet-age nostalgia, as he moves closer to the release of his latest album, Algorithms, on March 13, 2026.

Opening in recognizable Rebelski territory, “Roads” begins with a gently unfolding piano motif, intimate and reflective in tone before passing into territory built upon by a lineage of electronic and cinematic greats. Playing into stated late-20thCentury influences, Rebelski hints at David Axelrod’s orchestral soul, Boards of Canada’s hazy electronica and John Carpenter’s deeply affecting, narrative soundtracks in pushing forward Algorithms’ own, structured story.

Having previously light—touch released the first of the album’s singles, “Today,” in late 2025 (subsequently supported with attention from BBC 6 Music and BBC Radio 3) and followed-up with the motorik “Momentum” at the turn of the year, Rebelski detailed Algorithms as the final album in a considered trilogy. Recorded in studios and outdoor spaces across Manchester, Barcelona, and Shropshire, the album follows 2023’s Simplicity and 2024’s Monochrome to form a document of artistic preoccupation, musical experimentation and human connection to vibration, tone and timing.

In releasing “Roads,” Rebelski’s music reads like the soundtrack to an unseen film, playing along to journeys spooling through memory, landscapes seen and moments remembered. Working towards a body of work that challenges the narrative of inevitable technological takeover and leaves untied edges where robotized perfection could attain ‘perfection,’ human-first recording techniques ensure organic detail sits at the heart of each composition.

Rebelski says: “The music on Algorithms tries to occupy the spaces in between motion and stillness and action and pause, taking up its own territory with quiet but definite, assertive confidence. Various influences, from film soundtracks to groundbreaking synth composition have been woven into a framework that’s relevant to the present, trying to balance out feelings of retro warmth and the need to document human presence in the music with recognition of contemporary recording practices.”

Pursuing personal solo endeavors in between meeting the uncompromising demands of international touring, Algorithms was completed in stolen periods off the road while absorbing the influence of each country Rebelski counts himself lucky to pass through.

Keep your mind open.

[Travel over to the subscription box.]

[Thanks to Rob at Perspective.]

Kyle Alfred Hillig faces reality on his new single – “Our Remaining Pig.”

Tacoma, Washington songwriter Kye Alfred Hillig returns with “Our Remaining Pig,” the second single from his upcoming album The All-Night Costume Company, out March 4, 2026. The track pushes deeper into Hillig’s emotional terrain, pairing alternative-country and indie rock with a writer’s instinct for metaphor, restraint, and uncomfortable honesty. Where the album’s first single reintroduced Hillig’s voice, “Our Remaining Pig” begins to reveal the stakes.

Hillig has spent more than two decades rooted in the Puget Sound music scene, balancing songwriting with the realities of work, community, and long stretches away from the spotlight. Across nine solo albums, he’s developed a reputation for sharp melodies and lyrics that refuse to look away from difficult truths. His songs often sit at the intersection of personal reckoning and shared experience, finding meaning not in resolution, but in saying the hard thing plainly. Fans of The Jayhawks, Neil Young, Uncle Tupelo, Father John Misty, Kevin Morby, MJ Lenderman, and early Wilco will recognize the lineage, even as Hillig’s voice remains distinctly his own.

“Our Remaining Pig” takes its title and emotional core from an image that surfaced during Hillig’s time in art therapy. “I drew a man on his family farm wading across a river toward the final living pig, knowing he had to slaughter it,” Hillig explains. “You can tell he doesn’t want to do this, but sometimes the hard thing is exactly what must be done.” In the song, that image becomes a parallel for a relationship at a breaking point, a moment where avoidance only deepens the damage. “Sometimes couples just need to say the honest and painful thing,” he adds. “No one benefits from avoiding the suffering that comes with growth.”

Musically, the track unfolds with patience and weight, anchored by a vocal performance that carries some of the emotional directness and upward reach associated with early The Killers, paired with a Springsteen-like earnestness in tone and delivery. Fuzzy bass lines hold down the bottom end, giving the song a low, unsettled hum, while keys rise and fall throughout the arrangement, cutting light through the darkness without resolving it. Guitars remain measured and deliberate, letting the tension build rather than explode, until the chorus opens into something big and genuinely emotive, a release that feels hard-won rather than theatrical. The result is a song that feels expansive but grounded, willing to sit with discomfort instead of rushing past it.

Recorded at Ex Ex Studios in Seattle and produced and mixed by Johnny Nails, “Our Remaining Pig” continues to reveal the shape of The All-Night Costume Company. It’s a song about choosing honesty over comfort, about crossing a river you’d rather not enter because staying put is worse. As a second glimpse into the album, it signals a record unafraid of discomfort, and a songwriter willing to sit with it long enough for something true to emerge.

Keep your mind open.

[Don’t forget to subscribe.]

[Thanks to Chad at No Rules PR.]

OHYUNG puts you into a dream state with “Nevada.”

OHYUNG, the solo project of Brooklyn artist, DJ, and film composer Lia Ouyang Rusli, today shares “nevada,” the second single from her forthcoming album IOWA, arriving March 6. The track opens with a massive boom—”whether thunder or gunshots, the sound is an awakening of the spirit,” Rusli says. The field-recorded sample loops throughout the piece as a glacial melody pulses and swells beneath, intertwined with choral voices and wailing synths.

Of “nevada,” Rusli says the track evokes “open land and a holy reverence for space and openness. And in that space there may be a painful memory, but that memory is softened by time, letting beauty in.” The track is paired with a one-take visual that picks up where the video for lead single “all dolls go to heaven” left off. Among its early praise, Paste recognized that track as one of their “5 Songs You Need to Hear This Week,” describing it as music that “sweeps through the sea-level holy, uncouples from its textures, and climbs into the mouth of a liberated afterlife.” Together, these tracks signal OHYUNG’s anticipated return to ambient music—cinematic snapshots of their year in the Midwest.

WATCH: “NEVADA”

IOWA follows last year’s You Are Always On My Mind, praised by Pitchfork as “an extraordinary burst of pop,” and marks Rusli’s first ambient album since her 2022 breakout imagine naked!, which was named one of NPR Music’s Best Albums of the Year. An evocation of Rusli’s year living in Iowa City between 2023 and 2024, the album documents a time when she became embedded in the local DIY music scene and made between composing scores for the acclaimed films Happyend (dir. Neo Sora) and Sorry, Baby (dir. Eva Victor).

Rusli describes IOWA as “an ode to the vast beauty of the Midwest, fields of corn, rolling hills, harsh winters, tornado sirens, and the trans people that survive despite the threat of right-wing christofascism. IOWA is my love letter to Iowa City and the Midwest, my experimental trans Bruce Springsteen Nebraska.” The album is a stripped-down, self-produced album that foregrounds atmosphere and restraint. The record pares back earlier maximalism to reveal ghostly textures built from field recordings, manipulated devotional samples, and restrained synth pads, with moments of rupture interrupting otherwise serene compositions.

Following upcoming DJ sets in Tokyo, Japan, and Seoul, South Korea, OHYUNG will celebrate the album’s release with a performance at Stone Circle Theatre in Ridgewood, New York, on March 6. Presented in partnership with Trans Music Archive, the event will feature an opening performance by YATTA, a DJ set from Bitepoint, and food by Jessie Yuchen, and will serve as a fundraiser for the Iowa Trans Mutual Aid Fund. A physical vinyl edition of IOWA will also be released via Trans Music Archive, with all proceeds benefiting the fund.

Check out “nevada” above, and stay tuned for more music from IOWA ahead of its March 6 release.

Keep your mind open.

[Float over to the subscription box.]

[Thanks to Cody at Terrorbird Media.]

New Colossus Festival announces its massive 2026 lineup.

Returning to New York City’s vibrant Lower East Side and expanding to six days, the New Colossus Festival begins on Tuesday, March 3, and runs through Sunday, March 8, 2026. This showcase festival and industry conference offers a unique opportunity to discover the next wave of emerging artists across multiple independent NYC venues, including Arlene’s Grocery, Baker Falls, Berlin Under A, The Francis Kite Club, Niagra, Nublu, Nublu Classic, Parkside Lounge, Pianos, Silver Lining Lounge & Sour Mouse

The New Colossus and DITTO Music will also once again present a series of panels and workshops called Colossal Conversations. Discussions on artist management, touring, production, sync licensing, festivals, publishing, and other relevant topics focused on the future of the global independent music scene.

Founded in 2019 by music industry veterans Mike Bell, Lio Kanine, and Steven Matrick, The New Colossus Festival has quickly become the first stop in the US for many emerging international artists. Past festival alumni include: A Place To Bury Strangers (US), Baby Queen (ZA), CHAII (NZ), Delivery (AU), Ducks ltd. (CA), GIFT (US), Hachiku (AU), Jaywood (CA), Kiwi Jr. (CA), La Securité, (CA) NOBRO (CA), Peel Dream Magazine (US), Penelope Isles (UK), Personal Trainer (NL), Pom Poko (NO), Pom Pom Squad (US), Robber Robber (US), Sid Simons (US), Slow Fiction (US), Sobs (SG), Starcleaner Reunion (US), The Orielles (UK), Thus Love (US), Water From Your Eyes (US), Ultra Q (US), Zoon (CA)

Named after Emma Lazarus’s 1883 sonnet featured on The Statue of Liberty, The New Colossus Festival is a multi-day, multi-venue showcase and conference that brings together emerging musical talent from around the world to New York City’s Lower East Side.

Badges Available on DICE: https://www.newcolossusfestival.com/badges

For more information and updates, visit newcolossusfestival.com

Full the full line up here: https://www.newcolossusfestival.com/artists2026

Keep your mind open.

[Don’t forget to subscribe before you go.]

[Thanks to Tom at Terrorbird Media.]

Ora Cogan implores us to band together on “Division.”

“Division” Video Still – Directed by Ora Cogan, Micah Henry & Paloma Ruiz-Hernandez.

Ora Cogan releases “Division,” the second single/video from her forthcoming album and Sacred Bones debut, Hard Hearted Woman, out March 13th. Today’s single follows “Honey,” hailed for its “sweet Lauren Canyon haze” by Don’t Rock The Inbox and as a “cool, misty folk rock tune” by The Needle Drop. On “Division,” Cogan’s voice echoes across a stark, reverberant landscape. The song builds like a flare in the night, a plea against the numbing cruelty that’s come to feel routine these days: “Please don’t listen // Don’t give into the division // Feeding your lines // In some bitter mood again.” Cogan sounds like she’s summoning something, maybe a higher power, maybe the part of herself that knows how to sit with pain long enough to transform it.

“Division” arrives alongside an old world, horror-meets-fantasy video co-directed by Cogan, Micah Henry and Paloma Ruiz-Hernandez. Commenting on the video, Cogan says: “This video was filmed in Lilloet. There are three beings in this realm. The Human, The Oracle and The Demon. The Human is wrestling internally in a lonely world. They seek liberation from the torment inside. The Demon is the embodiment of the worst inclinations of the human. The oracle is the storyteller, urging the human to find understanding, to find a way through the internal battle.”

Watch the Video for Ora Cogan’s “Division”

Stream “Division”

Ora Cogan’s music is alchemical: part instinct, part ritual, and always conjured from the edges where life feels sharpest. With Hard Hearted Woman, she mixes haunted folk, psych rock, and a shadowy strain of country, building a realm where catharsis feels lush, mysterious and vital. Shaken by the tenor of modern life, Cogan pulled in a circle of kindred musicians and made a record shaped by someone who has looked into the abyss and decided, again and again, to choose curiosity.

Hard Hearted Woman grew out of a blur of cold-water plunges, long river swims, late-night ruminations with friends on art and politics, and long drives through the rural Lillooet landscape to visit her godmother. Alongside her band and guests from both the country and experimental worlds, she recorded with David Parry (Loving) at Dream Club in Victoria, B.C., as well as in her studio in Nanaimo, and remotely with Tom Deis. The result glows like something pulled from smoke and seawater — intimate, shimmering, and carved with wit as much as grief. It’s a swirling, jewel-toned ode to all the angels and the demons.

A work of devotion to mystery, to community, and to the strange power of making art in a fractured world, Hard Hearted Woman is a record about hardness and resilience; it’s the shell we grow so our most human, breakable selves can survive. Hard Hearted Woman is for anyone trying to stay open, even when the world makes that feel impossible.

Pre-Order Hard Hearted Woman

Watch the Video for “Honey”

Ora Cogan Tour Dates:
Fri. March 13 – Vancouver, BC @ The Pearl (Album Release Show)
Thu. March 19 – Brighton, UK @ The Hope & Ruin
Fri. March 20 – Oxford, UK @ The Nest
Sat. March 21 – Manchester, UK @ Yes Pink Room
Sun. March 22 – Newcastle, UK @ The Lubber Fiend
Tue. March 24 – Edinburgh, UK @ Sneaky Pete’s
Wed. March 25 – Glasgow, UK @ Room 2
Fri. March 27 – Galway, IE @ Roisin Dubh
Sat. March 28 – Dublin, IE @ Whelans
Sun. March 29 – Cork, IE @ Wavelength at Cyprus Avenue
Wed. April 1 – Sheffield, UK @ Sidney & Matilda
Thu. April 2 – Bristol, UK @ Rough Trade
Fri. April 3 – London, UK @ Dingwalls

Keep your mind open.

[Why not subscribe?]

[Thanks to Ahmad at Pitch Perfect PR.]

Hold onto your hats, U.K. Barren Womb are coming.

For the first time ever, Barren Womb are bringing their incendiary live show to the UK. In March/April, the duo will rip through 11 dates from Brighton to Dundee, presenting their unique brand of heavy noise rock. For over 15 years, the Nordic noise rock powerhouse has been a primordial force in the ever-evolving international heavy underground. Once described as “easy listening for the hard of hearing”, the duo of Timo Silvola (drums/vocals) and Tony Gonzalez (guitar/vocals) conjure an unholy racket that is as unorthodox as it is weirdly catchy. Stark minimalism, grinding repetition and quiet-to-loud dynamics are all essential parts of Barren Womb’s primitive approach to punk rock, creating a rowdy backdrop for howling laments about the shared dystopian fever dream more commonly known as modern life. “There are no tracks or trickery involved here”, explains Gonzalez. “What you get is pummelling, dynamic drums, heavy riffs through stacks of amps, on-the-fly loops and a tandem vocal attack that ranges from piercing screams to soothing melodies”.

With their energetic performances, the duo often leaves audiences wondering how such a wall-of-sound can be built by solely two people. A rather simple recipe at its core: an authentic human experience centered around connection and chemistry, and there really is no better place to take part in this experience than in small clubs like the ones set up for this tour. Talking about the expectations on the upcoming dates, Tony Gonzalez stresses: “Through hard work, determination and old school punk routine, Barren Womb has taken us to corners of the world beyond our wildest dreams, but so far the UK has eluded us. This is finally about to change and we could hardly be more excited for it. All the venues we’ll be visiting look amazing and the bands we’re going to share stages with sound incredible, so all systems are definitely go. We’ll bring the fire straight from the Norwegian underground, hope to see all you fine folks there!”

Keep your mind open.

[Don’t forget to subscribe before you go.]

[Thanks to Dan at Discipline PR.]

Eve Maret helps you process grief on “Break the Chain.”

Eve Maret (sounds like “muh-ray”) is a Nashville-based experimental artist and composer who employs a wide array of electronic media and techniques in her various disciplines, exploring the possibilities of personal and communal healing through creative action. She has been praised by the likes of WIRE Magazine, Chicago Tribune, DJ Mag, Bandcamp, and more.

Drawing inspiration from nineteenth-century orchestral and choral works, the Fluxus movement, Kosmische Musik and funk, Eve makes use of digital and modular synthesizers, a vocoder, clarinet, electric bass, guitar, and field recordings to create works that range from lush cinematic compositions to space disco. Eve’s music practice is a conversation with her numerous curiosities, manifested in the form of video art, drawing, dance, ritual, and cymatics.

Today, Maret announces her latest release Diamond Cutter. The twelve tracks are out April 17th, 2026. Diamond Cutter is an exploration of the space where strength meets vulnerability. The title comes from an ancient Buddhist text of the same name.

“A diamond represents the invisible potential within everything. Diamonds are perfectly clear, while also being the hardest substance in the universe,” Eve describes. “With this body of work, I endeavored to create music that was both strong and honest. I set aside any genre-specific limitations to allow the pure expression to come through directly. Each song is a commitment to using my authentic voice, to embodying my highest potential by singing the truth.”

Eve is also sharing the fearless, synth-soaked new single “Break the Chain,”out today. It’s a track about processing grief — feeling it, and letting it pass through. Check out the new track via YouTube and pre-order the album here.

“I made the beat when my cat Shrimpy didn’t have much time left. He sat on my lap, purring while I worked. I made it for him, and it was the last time he would be a witness to my creativity while he was alive. I think that every loss I’ve experienced gives me space to process all the previous losses, big and small, personal and collective,” Eve says. “When another being’s presence reveals to you the love you have within, that experience is never lost. I am forever changed by the love I’ve felt, and I can break the chain of suffering by giving myself love and appreciating everything around me, knowing that love is the only thing that never goes away.”

Eve’s music has been featured on Echoes Radio and Iggy Pop’s BBC radio show Iggy Confidential. “Synthesizer Hearts,” off of Eve’s 2020 release, Stars Aligned, appeared on BBC Radio 6 Music’s B-List in December 2020 and premiered on Mary Anne Hobbs’ BBC Radio show “Music From The Near Future.” In 2021, Eve contributed to Moebius Strips, an audio installation and companion album honoring the work of electronic music pioneer Dieter Moebius. Other contributors include Geoff Barrow (Portishead, Beak), Sarah Davachi, Jean-Benoît Dunckel (Air), Mark Mothersbaugh (Devo), Phew, Hans-Joachim Roedelius (Cluster, Harmonia), Michael Rother (Harmonia, NEU!) and Yuri Suzuki.

In 2022 and 2023, Eve and her collaborators Dream Chambers and Belly Full Of Stars composed a live-score for FW Murnau’s 1922 film, Nosferatu, which they performed in theatres across the United States. Collaborating is an important aspect of Eve’s creative path, and she has an on-going dance music project called GLAZIER with her partner Scott Glazier, as well as a synth-rock duo, Eardrummer, with longtime friend Adrienne Franke.

Eve has performed across the United States and internationally, alongside artists such as William Tyler, Guerilla Toss, MATMOS, JEFF the Brotherhood, and Lydia Lunch.

In addition to her personal creative practices, Eve is committed to providing avenues for others to create and uplift one another. In 2018, She, Jess Chambers, Deli Paloma-Sisk, and Arlene Sparacia founded Hyasynth House, an electronic music collective and education center for female and LGBTQIA+ artists. Together they facilitated workshops, performances, and community-wide conversations in an effort to support and empower marginalized groups. The founders went their separate ways in 2019, but Eve continues to lead electronic music workshops and to organize live music events in Nashville and beyond, including her work co-producing Nashville Drone, a 6-hour music experience featuring 13 regional artists across genres, in an effort to create an immersive space for the community to connect and recharge.

Keep your mind open.

[Break the habit of not subscribing today.]

[Thanks to George at Terrorbird Media.]