Hilning's latest album ‘Råtijinn’ (Suicide Records), conjures up as much shamanistic fervour as it does berserker rage: all in all, an excellent offering and an artist...
Heaving with potent melodic magnetism and wicked sonic depth, The Hunger's “Tears To Cry” (Wake Up! Music Rocks) throbs with a sense of dark, weighty imminence.
Sleep Token delivers a sermon of almost God-like proportions at the Eventim Apollo, with superb support from Northlane. Check out Damien's thoughts on the experience here...
Completely alluring and vibrant, with “Fading Moon,” Alma Mater delivers tantalizing, gorgeously wrought music.
“Tiger Girl,” the new track from Montreal singer-songwriter TEROUZ, drips with voluptuous sonic leitmotifs, as well as sashaying gloss, inducing cool, feline opulence. Talking about the...
New York-based avant-garde electronic music artist Chris Ianuzzi recently released the music video for “Lonesome Highway Superstar,” a track from his latest album, Maze. The video,...
Imaginative and stylistically wide-ranging, ‘The Lyre’ (Mint 400 Records) reveals the emotional vulnerability and sprawling song structures of Dana Why.
PVRIS kick off their UK tour with an electrifiying set at Manchester Academy. Check out Frank Ralph's photos and review of the opening night.
Chronicling the humdrum landscape of working a monotonous job, Yawn Mower's “Elevation” (Mint 400 Records) hoists itself up on contagious layers of indie-rock.
Horror expert and We’re Wolves frontman AJ Diaferio reviews Rob Savage's Shudder exclusive, ‘Host,’ wherein a zoom hangout/seance goes wrong.
Merging dense, primeval sensuality and nuanced, evocative vocals, Skycabin's “Insidia” conveys the feeling of being subsumed into spellbinding darkness.
Sharp editing, nifty use of archive footage and shiny new interview material make Colette Camden’s ‘The Hatchet Wielding Hitchhiker’ another predictable addition to the Netflix canon...
Trivium kick off 2023 with a masterful display of metal in Manchester. Heaven Shall Burn and Malevolence joined them as guests. Photos here.
Highlighted by the swanky tones of Cate Downey, Sam Feldt's “Enough To Drink” (Sony Music) delivers graceful, glamorous sonic flavours.
1969 to 1989. Twenty years. Two generations. Thousands of artists, dozens of subcultures, countless pictures and articles. A beer label, a fondly memorable mascot or two,...