At just 22 years old, Tom A. Smith has already built a reputation as one of Britain's most compelling young songwriters. From festival appearances at Glastonbury and SXSW to sharing stages with names including Elton John, The Maccabees and Miles Kane, his ascent has been rapid. Yet behind the confident performer lies a story he has largely kept hidden. Now, with the announcement of his highly anticipated debut album The Golden Gates, arriving on 2 April 2027 via Fiction Records, Smith is finally ready to tell it.

The album arrives alongside the release of its stirring new single, "Carry That Weight", a dynamic, riff-fuelled collaboration co-written with Hugo White of The Maccabees. Written during an intensive one-day session, the track tackles themes of love, vulnerability and the fear of becoming a burden to those closest to us. It's a powerful introduction to a record that sees Smith at his most open and emotionally honest.

ALBUM OUT APRIL 2ND VIA FICTION RECORDS - PRE-ORDER HERE

For the first time publicly, Smith has revealed that he was born with hypoplastic left heart syndrome, a rare life-limiting heart condition that has shaped every stage of his life. Having undergone multiple open-heart surgeries before the age of four, he has lived with an uncertain future while carefully guarding this deeply personal part of his story. The Golden Gates represents the moment he decided to stop hiding.

Recorded in his hometown of Sunderland and co-produced with The Futureheads' Barry Hyde, Smith's former guitar teacher and long-time mentor, the album channels years of reflection into twelve ambitious tracks. Across its runtime, The Golden Gates traces a journey through frustration, love and ultimately acceptance. Songs such as the urgent "Everyone Else" and introspective "Answers" sit alongside the tender piano-led ballad "Flower", together forming a body of work that feels both intensely personal and universally relatable.

Perhaps the album's boldest statement comes before a single note is heard. The artwork prominently features the surgical scars that Smith spent much of his childhood trying to conceal. What was once a source of fear and insecurity has become a defining symbol of strength and self-acceptance.

Yet despite the profound subject matter, Smith is keen to ensure the record is not viewed through the lens of adversity alone. Instead, The Golden Gates emerges as an uplifting and life-affirming collection. It is less a story of illness than one of identity, growth and learning to embrace every aspect of who you are.

Musically, the album showcases the full breadth of Smith's songwriting talents. Alternative rock energy sits comfortably alongside intimate moments of reflection, with the emotional weight of the subject matter matched by ambitious arrangements and memorable hooks. It's the sound of an artist discovering not only his voice but the confidence to use it without reservation.

As his profile continues to rise and a packed run of live dates stretches across the UK, The Golden Gates feels like the moment Tom A. Smith truly steps into his own. Honest, courageous and packed with outstanding songs, it is a debut album that introduces listeners not only to the artist they know from the stage, but to the person behind the music.

Sometimes the most powerful records aren't those that provide answers, but those that invite us to confront difficult questions with honesty. In opening the gates to his own story, Tom A. Smith has created a debut that is both deeply personal and profoundly inspiring. If Carry That Weight is any indication, The Golden Gates could be one of 2027's most important debut albums.

Tom A. Smith live:

2026

11th Nov – Brighton, Patterns,
12th Nov – Cardiff, Clwb Ifor Bach
13th Nov – Stoke, The Sugarmill
14th Nov – Bedford, Esquire’s 
19th Nov – London, Electric Brixton (supporting Meek)
21st Nov – Plymouth, The Junction
22nd Nov – Portsmouth, The Wedgewood Rooms
25th Nov – Hull, Polar Bear
26th Nov – Whitehaven, Yellow Earl
27th Nov – Huddersfield, The Parish

2nd Dec – Edinburgh, Cabaret Voltaire
3rd Dec – Liverpool, Arts Club Theatre
5th Dec – Bristol, Thekla, Paint By Numbers (afternoon headliner)
5th Dec – Wrexham, The Rockin Chair
6th Dec – Nottingham, Bodega, Paint By Numbers 
22nd Dec – London, Barfly: Radio X ‘X-Posure Live’ (headliner) 

2027

10th Apr – Bridlington Spa, This Feeling By The Sea

5th June – Cornwall, The Great Estate

ALBUM OUT APRIL 2ND VIA FICTION RECORDS - PRE-ORDER HERE

DISCOVER TOM A. SMITH

TikTok | Facebook | Instagram | YouTube | Spotify | Website

Five years is a long time in the life of a band. It is enough time for relationships to shift, identities to evolve and old certainties to dissolve into something less easily defined. For Toronto quartet Bad Waitress, that period of change forms the emotional backbone of In The Hollow, a bold and uncompromising new album that arrives on 30 October via Stomp Records. Expanding beyond the furious punk attack that first put them on the map, the band's latest work embraces tension, vulnerability and introspection without sacrificing any of the sharp edges that have become their trademark.

Self-produced and recorded with engineer Josh Korody at Toronto's Wychwood Sound, In The Hollow sees Bad Waitress pushing deeper into art-punk, post-punk and noise-rock territory. Across ten tracks, the quartet channel years of personal reflection into music that feels both confrontational and deeply human. While their earlier records often thrived on righteous anger and explosive energy, this collection finds them exploring what remains after the dust settles. Questions surrounding identity, sexuality, personal transformation and the fallout of changing relationships weave throughout the album, creating a body of work that feels as emotionally complex as it is sonically abrasive.

What makes In The Hollow particularly compelling is the way it balances its emotional weight with vivid imagery and atmosphere. Memories of the Pacific Northwest and Northwest Territories, where some band members spent their formative years, seep into the record's DNA. Dark forests, endless wilderness and an almost mystical sense of space provide an evocative backdrop to songs grappling with deeply personal questions. The result is an album that often feels suspended between vast landscapes and claustrophobic inner turmoil, reflecting the contrast between isolation as confinement and isolation as perspective.

Already released singles offer an insight into the record's emotional range. "Lovin' Kind" and "I Only Like You When I'm Drunk" examine attraction, self-preservation and self-destruction with equal measures of honesty and discomfort. Yet while these tracks showcase Bad Waitress at their most volatile, they only hint at the broader scope of the album. Focus track "45" stands out as one of the record's most nuanced moments, painting a portrait of a flawed individual through a lens of affection, frustration and empathy. Rather than passing judgement, the band allow conflicting emotions to coexist, embracing complexity instead of offering easy conclusions.

Elsewhere, Bad Waitress continue to challenge expectations. "Galleria Shopping Centre" transforms an ordinary shopping trip into a surreal, dizzying experience, while "The Hunt" plunges into darker, more symbolic territory. The album's title track introduces haunting cello arrangements from Michael Peter Olson, adding another dimension to an already expansive sound. Closing number "Low" strips away any remaining pretence, ending the record with aching vulnerability and a refusal to offer neat resolutions.

Since emerging from Toronto's underground scene with Party Bangers: Volume 1 and following up with the acclaimed No Taste, Bad Waitress have built a reputation as one of Canada's most fearless punk outfits. Sharing stages with the likes of Jack White, Viagra Boys, Amyl and the Sniffers and Subhumans has only reinforced that standing. Yet In The Hollow feels less concerned with proving their intensity and more focused on capturing the uncertainty that accompanies growth and self-discovery.

For a band that has always thrived on chaos, that willingness to sit with ambiguity may be their boldest move yet. In The Hollow is not a record searching for answers. Instead, it embraces the uncomfortable, often contradictory process of change itself. Loud, unpredictable and emotionally resonant, it finds Bad Waitress evolving without losing sight of the restless spirit that made them such a compelling force in the first place. For listeners willing to step into its shadows, In The Hollow offers something rare: not certainty, but the freedom to live with uncertainty and emerge stronger for it.

Bad Waitress Online

INSTAGRAM | SPOTIFY | BANDCAMP | FACEBOOK | WEBSITE | YOUTUBE | TIKTOK

For her forthcoming album Here Lies Human, due for release on 12th February 2027, Roxanne de Bastion turns her gaze towards the contradictions that define modern life. At once ambitious, thought-provoking and deeply human, the record wrestles with technology, political division, environmental uncertainty and the enduring power of creativity. Yet rather than offering a bleak prophecy, de Bastion channels these themes into songs that balance sharp observation with wit, hope and defiance. In our conversation, she discusses the origins of the album's striking title, collaborating with legendary producer Tony Visconti, recording in the same studio that hosted David Bowie's Blackstar, and why humanity's greatest strength may be its refusal to give up when the odds seem insurmountable.

Here Lies Human is a striking title that feels both like a eulogy and a warning. At what point did that phrase become the guiding concept for the album, and what does it ultimately say about humanity from your perspective?

Thank you! That phrase actually was the starting point - I wanted to write a song that functioned as an imagined epitaph to this iteration of human: how would we be remembered and viewed in retrospect? I even took myself on a little solo field trip to the natural history museum to get inspired by those who came before. I wanted to see what the museum plaques said about our long-gone ancestors and then started thinking about what ours would say. As for what that is, I guess you’ll have to wait a little longer to hear that song! I knew right away once I wrote the song that it would be the direction and title track for this album.

Throughout the press material, there's a tension between admiration for human creativity and concern about our self-destructive tendencies. Were there particular events, experiences or observations that pushed you towards exploring those themes in your songwriting?

Yes, I mean ultimately, it’s just me, like everyone else, observing and trying to navigate this world in which we are increasingly separate from one another. I’m certainly not anti-technology, but I am vehemently against anti-human policies and we’re seeing a lot of those. It pains me how little we’re joining the dots between tech autocracy, environmental crises and the rise of fascism.

It does feel a very ‘Brave New World’ kind of dystopia where we’re all far too busy being distracted by the new shiny thing and the upgrade to notice the direction of travel and the logical end conclusion.

I am so aware of the irony, but I genuinely think that scrolling through my TikTok feed proved a really good source of inspiration for these songs…

Apocalypse Queen is described as a song about embracing strength and unleashing potential, even in the face of the end of days. Do you see the track as a message of hope in dark times, or more of a rallying cry against resignation?

I think those two things go hand in hand… there’s always hope. There has to be. Trying, even when the odds are firmly stacked against us, is probably the most human thing and is the stuff of all great stories. But honestly, for me this song is also a tongue in cheek “build it and they will come” kind of thing. It’s a literal musing on the irony of finding success just as the world crumbles.

Tony Visconti's name carries enormous weight because of his work with artists like Bowie and T. Rex. Before stepping into the studio together, what were your expectations, and what surprised you most about the way he approaches music and production?

I had very few expectations to be honest, other than to have a really good time making music together and to be happy with the outcome! I also hoped or expected to hear a bunch of fantastic stories and that expectation was well and truly met, even exceeded. We actually spent quite a bit of time just chatting and sharing music and tales about Berlin, The Beatles, music in general, family…it was really special.

It was a really lovely surprise to arrive at Human Studios ahead of working together to see he’d hand-written scores for my songs. That was just so cool to see, particularly as someone who doesn’t read sheet music, and I was touched at how much he’d prepared for the sessions. For someone of his stature, not that I expected any less, I was also pleasantly surprised at just how supportive and collegiate he was. He took my ideas and wishes very seriously and just kind of worked with me as an equal.

Recording at Human Studios, where Bowie created Blackstar, must have carried a certain emotional significance. Did being in those spaces influence your mindset or creativity during the sessions?

Absolutely. And it did feel very meant to be. I genuinely feel I gave my best ever studio vocal performance in that room and I think the presence of the Bowie/Visconti magic might well have had something to do with that. There’s a little photo of Bowie on the vocal booth door, funnily enough the same one my mum has on her bedroom door, and I just walked in thinking: “You’re here. You’ve made it happen. Now all you have to do is go for it and take this opportunity.” And I did and I’m proud of that.

The album brings together an impressive cast of musicians, including Donny McCaslin, Gerry Leonard and Kevin Killen. As a songwriter, how do you balance preserving your own artistic voice while allowing collaborators of that calibre to leave their mark on the music?

That’s a really good question, it’s always a balance! I had a really strong vision for this album and my pre-production days with producer Steph Marziano I think also really helped nail how we were going to translate that musically. While my demos were quite sparse, leaving lots of space for ideas and contributions, the concept and direction were really clear from the start. 

I know what it’s like to go into the studio and not really know what I want the end result to be, and that kind of exploratory approach has merit, but for this album I knew exactly what I wanted to achieve, which made the whole process much easier. Musicians as experienced as the ones I got to work together with on this album know that it’s all about serving the song, enhancing it with their talent and sensibilities rather than dominating. 

I feel incredibly lucky to have such incredible performances on this record.  I am so in love with Donny McCaslin’s saxophone part in particular… I cannot believe we got to work with him! I feel like I’ve won the musician lottery getting to work together with all of these incredible artists.

You have spoken about wanting this record to capture the energy and scale of your live performances. Was there a moment during the making of Here Lies Human when you realised you had finally captured that ambition on record?

You know I think it actually might be ‘Apocalypse Queen’. It was Tony, in our very first coffee meeting, who said that he’d like me to be freer in my vocal delivery in the studio, which was something I wanted too. In preparation for the sessions, I played around with my demos and decided to move ‘Apocalypse Queen’ up a whole key and just go for it. I think it was that, allowing myself to be loud, that unlocked something. A friend of mine, who’s a brilliant artist himself, called E.W Harris, came along to my gig a couple years ago and had such a great way of putting it, he said: “Roxanne, you’ve removed the decibel limiter in your voice!” and I loved that.

The album touches on technology, political division and environmental concerns, while you've also become an advocate for artists' rights in the age of AI. How has the rapid pace of technological change influenced both your songwriting and your view of the music industry?

Uff, what a big question! I’ve always advocated for artists’ rights and have been involved in building artist communities such as the Featured Artists Coalition for years. Navigating the music industry is really hard, so the more artists support one another the better. If anything, the rise of generative AI has reinforced my belief that traditional music industry is an impossibly passive and slow-moving beast that largely benefits the few and will not take care of their own.

Luckily, it’s a very different story on an individual and grass roots level with lots of people doing very interesting, innovative and hard work advocating and fighting for a fairer way of doing things.

Since releasing You & Me, We Are The Same, you've published The Piano Player of Budapest and explored your family's remarkable history. Has becoming an author changed the way you approach storytelling in your songs?

You know I think it has! I loved writing this book. It wasn’t always easy due to the subject matter, but it was such a gift in so many ways. A beautiful side effect was that my songwriting process changed quite dramatically. For most of these songs I wrote the lyrics first and then went about setting them to music which is not how I’ve previously done things. I also took much more of a research approach here and actually interviewed experts in the field of AI, tech autocracy, digital rights and more besides. It was really inspiring having interdisciplinary conversations and making music inspired by those chats, as well as reading books, articles …and scrolling on TikTok.

Also, my last album was all about processing grief and the book deals with heavy personal subject matter too…it was just time for me to have fun and make music that we can dance to and have a good time with, even if there’s always a little lyrical trojan horse!

If listeners take one idea, feeling or question away from Here Lies Human after hearing it from start to finish, what would you hope stays with them long after the final track, Becoming, has faded out?

I’d like them to chant: “All Hail Apocalypse Queen” and hit the replay button. 

Across Here Lies Human, Roxanne de Bastion asks difficult questions about where society is heading, but never loses sight of the qualities that make us worth celebrating in the first place. Whether reflecting on technological change, artistic collaboration or the importance of human connection, her answers reveal an artist driven as much by curiosity as conviction. If the album serves as an imagined epitaph for our era, it is one written with equal parts caution and affection. And, as de Bastion jokes in closing, perhaps the perfect takeaway is simply to "All Hail Apocalypse Queen" before immediately hitting replay.

‘Here Lies Human’ Tracklist - Pre-order HERE

1) Here Lies Human
2) Simple Pleasures
3) Apocalypse Queen
4) This Is How The World Ends
5) Biometrics
6) So Long Forever
7) Vitamin Happy
8) New Town
9) Miracle
10) Becoming

Catch Roxanne de Bastion on her UK tour at the following dates;

•  Mon 15 March 2027 - Brighton, Folklore

• Wed 17 March 2027 - Bristol, Exchange

• Thu 18 March 2027 – Manchester, Yes Basement

• Fri 19 March 2027 – Liverpool, Kazimier Stockroom

• Tue 23 March 2027 – Glasgow, Hug & Pint 

• Wed 24 March 2027 – Newcastle, The Cumberland

• Wed 21 April 2027 – London, Lower Third

• Thu 22 April 2027 - Cambridge, Portland Arms

Tickets available NOW from www.roxannedebastion.com

There’s a particular kind of honesty that sits at the heart of great emo and alternative music. It arrives when artists stop trying to preserve the past and instead begin examining it, picking through memories, relationships and former versions of themselves in search of understanding rather than nostalgia. For Phoenix quartet Commoner, that process fuels their forthcoming debut album Former Self, due for release on 13 November via Pure Noise Records.

Ahead of the album’s arrival, the band have unveiled new single “Passerby”, a track that captures Commoner at their most urgent and emotionally exposed. Built on driving instrumentation and a restless energy, the song explores the lingering weight of words left unsaid. Vocalist Romin Mattison describes it as a deeply personal piece, explaining that the track serves as a message to someone he will never speak to again, allowing him to express thoughts and feelings that remained buried for too long. The result is a song that feels both intimate and universal, speaking to anyone who has ever replayed unfinished conversations in their head.

LISTEN HERE / WATCH HERE

While Former Self takes its title from reflection and remembrance, Commoner are far from dwelling in the past. Produced by longtime collaborator Zach Tuch, the album examines how people evolve across different stages of life. The record explores not only the changing nature of personal identity, but also the ways in which friends, family and relationships transform over time. It asks difficult questions about growth, distance and acceptance, all while acknowledging that the people we miss most are often versions of those we once knew.

The album marks a significant step forward for the band. Following the release of previous single “Breach”, which Commoner viewed as a bridge between past and present, Former Self arrives as a definitive statement of who they are today. The collection blends youthful energy with emotional maturity, balancing introspective lyricism against expansive alternative and emo soundscapes. Across its ten tracks, the band turn moments of personal reflection into shared experiences, inviting listeners to see fragments of their own lives within the stories being told.

That sense of connection appears to be central to Commoner’s philosophy. Rather than preaching from a distance, the band aim to create songs that feel lived-in and relatable, capturing moments and emotions that belong as much to the listener as they do to the writers themselves. As a debut album, Former Self feels designed not only as a creative milestone but also as a closing chapter, allowing the band to process the experiences that shaped them before moving confidently into whatever comes next.

With Passerby providing another compelling glimpse into the record, Commoner continue to emerge as one of the more thoughtful voices in the modern emo and alternative landscape. If the single is any indication, Former Self promises to be an emotionally resonant debut that embraces change, confronts loss and celebrates the complicated journey of becoming who we are.

Former Self is released via Pure Noise Records on 13 November 2026, with Commoner also heading out on a run of US dates this autumn in support of the album.

Live Dates

November 6, 2026 – Oblivion, Los Angeles, CA
November 7, 2026 – 4th Street Coffee Bar, Reno, NV
November 9, 2026 – Central Saloon, Seattle, WA
November 10, 2026 – High Limit, Portland, OR
November 11, 2026 – Rockafairy Express, Medford, OR
November 12, 2026 – TBA, Modesto, CA
November 13, 2026 – Gilman, Berkeley, CA
November 14, 2026 – Voodoo Brewery, Las Vegas, NV
November 16, 2026 – Bee Vinyl Cafe, Cottonwood, AZ

'FORMER SELF' TRACKLISTING
Cobalt Blue (feat. Split Chain)
Passerby
In Reserve
Cemetery Dogs
Sparks
Sirens A Block Away
Runner Up
Former Self
As Cold As It Gets
Appendix

Italian groove specialists Savana Funk have once again joined forces with long-time collaborator Gaudi, unveiling a compelling new remix of recent single "Làbas". What could have been a straightforward rework instead emerges as a vivid evolution of a creative relationship that has been growing for years, blending psychedelic dub, global rhythms and irresistible funk into something fresh, expansive and unmistakably unique.

For the Bologna trio, collaboration has always been about more than simply sharing studio space. Formed in 2015, Savana Funk have built a reputation on musical curiosity, fusing funk, blues, rock and African influences into a sound driven by groove and elevated by fearless experimentation. Their latest reunion with acclaimed producer and musician Gaudi feels like a natural continuation of that ethos.

The musical connection between Savana Funk and Gaudi stretches back four years to his remix of "Lipari", before deepening further through the collaborative EP Raha, created during an intensive week-long recording session. That chemistry is immediately apparent throughout this latest release.

Working from his London studio, Gaudi transforms "Làbas" into a deeper, more dancefloor-focused experience while carefully preserving the character of the original. A newly crafted bassline, recorded alongside the band, anchors the remix as layers of dub textures, psychedelic flourishes and rhythmic detail expand the track's sonic horizons.

The original song's multicultural spirit remains firmly intact. Featuring vocals performed in Darija, the Moroccan dialect of Arabic, "Làbas" already carried a distinctive North African influence. In Gaudi's hands, those elements become even more pronounced, creating a captivating meeting point between Afro-inspired rhythms, cosmic disco sensibilities and contemporary dub production.

The collaboration also highlights why Gaudi remains such a respected figure within global music circles. With a Grammy nomination for his work on Steel Pulse's Mass Manipulation and a career that has seen him work alongside artists including Manu Dibango, Seun Kuti, Damian Marley and Youssou N'Dour, his ability to bridge genres and cultures has become something of a trademark. Those qualities align perfectly with Savana Funk's own approach to music making.

What makes the remix particularly effective is its sense of dialogue. Rather than overwhelming the source material, Gaudi's production amplifies the band's existing strengths, enhancing the rhythmic pulse and widening the emotional spectrum of the track. The result feels less like a remix and more like the latest chapter in an ongoing conversation between artists who genuinely understand one another.

That willingness to push beyond traditional genre boundaries has become a defining feature of Savana Funk's journey. From sharing festival stages with the Red Hot Chili Peppers, Seun Kuti, Kokoroko and Nu Genea to expanding their international footprint with performances across Europe and Indonesia, the trio have steadily developed a reputation as one of Italy's most exciting live propositions.

Following the release of Behind The Eyes, produced by Grammy-winning producer Tommaso Colliva, and a successful run of sold-out shows across Italy and the UK, Savana Funk continue to demonstrate that their appeal extends far beyond national borders.

With Gaudi's remix of "Làbas", they once again prove that groove may be their universal language, but artistic exploration remains their true destination. Hypnotic, immersive and brimming with personality, the track is a powerful reminder of what can happen when creative trust meets musical ambition.

FOR MORE INFORMATION

Facebook – Instagram – bandcamp – Spotify

Three years after delivering the chart-topping and critically acclaimed i/o, Peter Gabriel is preparing to open another chapter in one of popular music's most remarkable late-career creative runs. Set for release on 27 November via Real World Records, o\i arrives not merely as a follow-up, but as a companion piece that reflects and expands upon the ideas, themes and sonic ambitions that made its predecessor such an acclaimed return to form.

For an artist whose work has consistently explored the intersection of humanity, technology, spirituality and social change, o\i feels less like a sequel and more like the other side of the same conversation. Built around 13 new tracks and presented in both Bright-Side and Dark-Side stereo mixes, the album continues Gabriel's fascination with perspective, inviting listeners to experience the music through multiple lenses while deepening his ongoing exploration of our place in an increasingly complex world.

Gabriel describes o\i as the completion of a larger creative vision that began with i/o.

"This record has been more of a marathon than a sprint - it's the longest album I have ever put out with 13 tracks that complete the i/o / o\i 25 track joint project."

While i/o examined the notion that "the inside has a new way out", o\i flips that idea on its head. Its title reflects the relationship between the two albums, both visually and conceptually, with Gabriel describing the new work as representing the idea that "the outside has a new way in".

The album arrives after a year in which Gabriel released a new song during every full moon, creating an evolving body of work that steadily built anticipation while allowing each track the space to breathe and develop its own identity.

Throughout o\i, Gabriel once again tackles the subjects that have long defined his songwriting. Themes of environmental responsibility, technological transformation, identity, connection and the passage of time run through the album's core.

Reflecting on the record's themes, Gabriel points to a future shaped by artificial intelligence, quantum computing and brain-computer interfaces, while simultaneously challenging humanity's long-held assumptions about its relationship with the natural world.

Yet despite the scale of the ideas being explored, Gabriel's greatest strength remains his ability to make vast concepts feel deeply personal. His songs continue to balance intellectual curiosity with emotional warmth, weaving together hope, uncertainty, joy and introspection in equal measure.

Whether delivering deeply reflective moments or groove-driven celebrations of life, o\i demonstrates an artist still unwilling to settle into nostalgia, instead pushing forwards with the same curiosity that has fuelled his career for over five decades.

The album reunites Gabriel with many of the musicians who have become synonymous with his sound. Long-time collaborators David Rhodes, Tony Levin and Manu Katché all feature prominently, alongside members of the recent touring band including Richard Evans, Josh Shpak and Don E.

Elsewhere, contributions come from an impressive cast including Brian Eno, Mike Elizondo, Paolo Fresu, Leo Nocentelli and the New Blood Orchestra under the direction of John Metcalfe. Vocal textures are further enriched by the Soweto Gospel Choir, Swedish choir Orphei Drängar and Gabriel's daughter Melanie Gabriel.

As with i/o, visual art remains central to the project's identity. Gabriel has once again commissioned a diverse range of artists to create companion works for each song, underlining his lifelong commitment to bringing together different creative disciplines. The album artwork is completed by a striking cover image from celebrated photographer Nadav Kander.

One of the defining aspects of Gabriel's recent work has been his willingness to present music through different sonic interpretations. Every track on o\i is available in two stereo mixes: the Bright-Side version mixed by Mark "Spike" Stent and the Dark-Side mix handled by Tchad Blake, with both editions available across the album's physical formats.

For listeners seeking a more immersive experience, a Dolby Atmos In-Side mix has once again been crafted by Hans-Martin Buff, continuing the innovative approach that helped define the listening experience of i/o.

For many legacy artists, late-career releases can feel like reflections on past glories. Peter Gabriel appears determined to do the opposite. With o\i, he continues to challenge himself creatively, embracing new ideas, technologies and artistic collaborations while maintaining the emotional depth and musical adventurousness that have always defined his work.

The release of o\i completes an ambitious 25-song cycle spread across two interconnected albums and reinforces the feeling that Gabriel is experiencing one of the most fruitful periods of his career. More than fifty years after emerging as one of Britain's most inventive musical voices, he remains an artist driven not by what he has achieved, but by what still lies ahead. As the full moon series reaches its conclusion and o\i finally arrives, listeners may find themselves doing exactly what Gabriel suggests: looking skyward and wondering where the next journey will lead.

Tracklist: 

CD | Digital

1. Been Undone 

2. Put the Bucket Down

3. What Lies Ahead 

4. Till Your Mind Is Shining

5. Won’t Stand Down

6. Who Are We Talking To?

7. Yes, It Will Go

8. One by One

9. A Hard Lesson 

10. Face the Wall

11. I Belong to the Sky

12. Looking for the Happy

13. Sacrament

2LP

 SIDE A    

1. Been Undone

2. Put the Bucket Down 

3. What Lies Ahead

4. Till Your Mind Is Shining

SIDE B    

1. Won’t Stand Down

2. Who Are We Talking To?

3. Yes, It Will Go

SIDE C    

1. One by One 

2. A Hard Lesson

3. Face the Wall

SIDE D    

1. I Belong to the Sky

2. Looking for the Happy 

3. Sacrament 

Formats:

Peter Gabriel – o\i

PGLP24 2LP Bright-Side Mix*

2LP black vinyl, 33rpm. Gatefold jacket, obi-strip, 32page booklet and hi-res download card.

PGLPX24 2LP Dark-Side Mix*

2LP black vinyl, 33rpm. Gatefold jacket, obi-strip, 32page booklet and hi-res download card.

PGCD24 4CD Bright-Side Mix | Dark-Side Mix

4CDs, two Bright-Side Mix, two Dark-Side Mix.. CD sized hard cover book with 32page booklet.

*Coloured vinyl retail exclusives also available.

PETER GABRIEL - NEW ALBUM - o/i – OUT 27 NOVEMBER, VIA REAL WORLD

PRE-ORDER HERE

FOR MORE INFORMATION

w/ https://petergabriel.com/

Neurosis, Blood Incantation, Elder, Russian Circles and Brutus lead another huge announcement as ArcTanGent prepares for a new chapter in Gloucestershire.

Few festivals have cultivated the loyalty and sense of community that ArcTanGent enjoys. Following its first-ever sold-out edition, the UK's premier destination for forward-thinking rock, metal, post-rock and experimental music is already looking ahead to an even bigger future. With a brand-new home in the Cotswolds and another impressive wave of artists now confirmed, ArcTanGent 2027 is shaping up to be one of the festival's most ambitious celebrations yet.

Set to take place between 19th-21st August 2027, with limited early-entry access available on Wednesday 18th August, ArcTanGent will move to Todenham Manor Farm near Moreton-in-Marsh, Gloucestershire, marking the first site change in the festival's history. For an event that has steadily grown from cult favourite to one of the most respected alternative music gatherings in Europe, the move signals the beginning of an exciting new era.

The latest announcement adds considerable weight to an already stacked bill. Massachusetts progressive rock titans Elder join long-standing ArcTanGent favourites Russian Circles, while Belgian post-hardcore and alternative rock trio Brutus make a welcome return. Russian Circles and Brutus will co-headline the Wednesday programme, with both acts making their first ArcTanGent appearances since 2023.

Elsewhere, the newly announced names reflect everything fans have come to expect from ArcTanGent's adventurous booking philosophy. Faetooth, cult Welsh outfit Future of the Left performing material celebrating the 20th anniversary of Curses, the long-awaited return of SubRosa, and reunited Dutch heavyweights Kong all feature among the latest additions. They are joined by Hippotraktor, A-Tota-So, Earthside, Ihlo, hubris., Speedial and many more, creating a line-up that continues to blur genre boundaries while championing creativity above convention.

These additions join an already formidable roster headed by two of the most requested bands in ArcTanGent history. Experimental death metal innovators Blood Incantation and post-metal legends Neurosis will top the main stage bill, while festival-goers can also look forward to an exclusive progressive-focused set from The Wildhearts, alongside appearances from SLIFT, The Ocean, Conjurer, Holy Fawn, MØL, Psychonaut, Lowen and many others.

Anniversary celebrations also play a significant role in the 2027 programme. Employed To Serve will commemorate ten years of their acclaimed album The Warmth of a Dying Sun, while Future of the Left's Curses anniversary set offers fans another opportunity to revisit a landmark release in alternative British music.

Festival organiser James Scarlett believes the momentum behind ArcTanGent has never been stronger. With advance ticket sales already significantly ahead of previous years and the festival fresh from a landmark sell-out event, the enthusiasm surrounding the move to Gloucestershire appears to have been embraced wholeheartedly by the ArcTanGent community.

The enthusiasm is shared by the artists themselves. Brutus have described their return as a special moment, arriving exactly ten years after their first appearance at the festival and serving as a UK festival exclusive. Russian Circles also praised ArcTanGent's growth and cultural significance, highlighting the event's reputation for artistic integrity and expressing excitement about performing at the new site.

What has always made ArcTanGent unique is its willingness to celebrate the unconventional. While mainstream festivals increasingly compete for the same headline names, ArcTanGent continues to carve out its own identity by bringing together the worlds of post-rock, progressive music, doom, psych, avant-garde metal, math rock and experimental sounds under one banner. The result is a festival experience that feels genuinely curated rather than simply assembled.

As the festival prepares to open the gates on its new home for the first time, ArcTanGent 2027 already looks set to build on the success of its sold-out predecessor. With major headliners, exclusive performances, reunion appearances and anniversary celebrations all locked in, the next chapter for one of the UK's most beloved independent festivals is beginning to take shape.

ArcTanGent Festival 2027 takes place at Todenham Manor Farm, Gloucestershire, from 19th-21st August, with limited Wednesday early-entry access available on 18th August for four-day ticket holders.

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The prolific singer-songwriter strips things back for a deeply personal collection of after-dark reflections, led by the sharply observant new single 'Amethyst'.

Ryan Adams has never been an artist content to stand still. Across a career spanning alt-country landmarks, Grammy-nominated solo releases and an astonishingly prolific independent era, he has continued to follow his own creative instincts. Now, on his 52nd birthday, Adams has announced Animal, a new ten-track album arriving on 12 February 2027 via his own PAX-AM label, accompanied by the release of its lead single, 'Amethyst'.

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While Adams has often embraced collaboration throughout his career, Animal finds him at his most self-contained. Playing almost every instrument on the record himself, including drums, bass, guitars, piano, synths, harmonica and percussion, the album is a largely solitary endeavour. Written entirely by Adams and produced alongside Dror Mohar, the record appears to capture an artist comfortable inhabiting his own creative space, allowing songs to emerge without compromise or distraction.

If the early descriptions are anything to go by, Animal is a record that thrives in the small hours. Neon signs reflected on rain-soaked streets, lonely drives along California highways and introspective moments under fading streetlights provide the backdrop for a collection of songs exploring love, ageing, faith, survival and self-reflection. There is a cinematic quality to the material, placing listeners in dimly lit corners where humour, heartbreak and hard-earned wisdom coexist.

Lead single 'Amethyst' serves as an ideal introduction. Described as a bruised yet defiant meditation on the music industry and the realities of growing older, the track balances self-awareness with resilience. It showcases the sharp lyrical perspective that has long made Adams one of modern rock and Americana's most distinctive songwriters, simultaneously reflective and unwilling to surrender to nostalgia.

Elsewhere, Automatic Heart examines the restless tendency to fall in and out of love, while Pass Me By embraces emotional vulnerability through straightforward, unguarded songwriting. Tracks such as 'Jesus Christ' and 'Jesus H' inject the record with a darker sense of humour and curiosity, the latter reportedly unfolding like a Halloween-inspired fever dream through October streets. The title track promises a more muscular rock edge, demonstrating that Animal is unlikely to remain confined to one mood or style for long.

Long-time collaborator Daniel Clarke contributes synthesiser textures to several songs and Hammond B3 organ to 'Soon', while J.C. Khul's saxophone helps carry the track's closing moments. Their appearances provide carefully selected flourishes on an album otherwise defined by Adams' singular vision.

For fans, Animal represents another chapter in an extraordinarily productive period. Since launching a new independent phase through PAX-AM, Adams has released a stream of albums that underline both his relentless work ethic and his refusal to follow conventional industry timelines. Following the 25th anniversary reimagining of Heartbreaker and a succession of self-released projects, Animal arrives as the latest example of an artist still driven by the simple desire to create.

Whether viewed as a companion to the introspective atmosphere of Prisoner or as an entirely new statement, Animal appears poised to showcase Ryan Adams at his most direct and personal. These are songs born after dark, written by an artist unafraid to confront uncertainty, humour and hope in equal measure. As the first notes of 'Amethyst' suggest, there is still plenty left to say, and Animal sounds ready to prove it.

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Alberta heavy rock outfit Famous Strangers have officially arrived, unveiling their long-awaited self-titled debut album alongside a new video for the track Fire Inside. Drawing from grunge, punk, blues, classic metal and contemporary hard rock, the band have crafted a release that feels both familiar and refreshingly unpredictable. More than just an introduction, Famous Strangers serves as a declaration of intent from a group determined to follow their own creative instincts rather than fit neatly into any one genre.

Spanning seven tracks, the album explores themes of self-worth, perseverance and personal transformation. It is a record built on resilience, reflecting years of songwriting, experimentation and refinement. Some ideas date back more than a decade, with guitarist Jeff Kittlitz revisiting riffs that had remained dormant on hard drives for years, while other songs emerged from spontaneous creative sparks. The process was anything but formulaic, a fact perhaps best illustrated by Ghosts of Men, which was written just three days before the band entered the studio.

The band's ambition is clear. Rather than delivering a straightforward heavy rock album, Famous Strangers set out to create an experience that moves through different moods and emotions. Their willingness to embrace contrast is one of the record's greatest strengths, balancing aggression, vulnerability, melody and intensity while maintaining a clear identity throughout.

To mark the album's release, the band have also shared a rehearsal video for Fire Inside, one of the record's standout moments. Originally conceived from a progressive metal riff, the track evolved into an uplifting anthem centred on accepting mistakes, embracing growth and discovering inner strength. It represents the album's broader message of finding power in adversity and moving forward with confidence.

Like many great songs, Fire Inside has already developed its own mythology. Vocalist Amanda famously improvised an entire version of the track during a live performance using audience suggestions, including a memorable dinosaur-themed rendition in Drumheller, Alberta. Stories like this offer a glimpse into the band's playful chemistry and refusal to take themselves too seriously, even while tackling deeply personal themes.

Famous Strangers may be a new name, but the musicians behind it bring years of experience from Alberta's thriving heavy music scene. Featuring members with backgrounds in Compromise, Pugnacious, This Is War, The Order of Chaos, Sleeping Girl and other projects, the foundations were already strong. However, by the band's own admission, the final piece fell into place when Amanda joined in 2023, transforming casual jam sessions into a focused creative force.

For listeners who enjoy the emotional weight of Evanescence, the hard-hitting hooks of Halestorm, the dynamic songwriting of Nothing More or the modern heaviness of Bad Omens, there's plenty to discover here. Yet what makes Famous Strangers compelling is not the bands it resembles, but the confidence with which it establishes its own identity.

Critical response has been equally encouraging. Reviews have praised the album's fearless approach, powerful vocal performances and impressive musicianship, with several outlets highlighting it as an exciting launchpad for what promises to be a bright future.

With their debut now out in the world, Famous Strangers have delivered the kind of opening statement many bands spend years chasing. Bold, ambitious and unapologetically authentic, this self-titled release showcases a group unafraid to push boundaries while remaining grounded in melody, emotion and sheer rock 'n' roll energy. If this album is any indication, Famous Strangers won't remain strangers for long.

TRACK LISTING

1. Fire Inside (4:06)

2. Ghosts of Men (4:54)

3. Please Her (4:34)

4. As Your Leader (3:49)

5. Desires (3:50)

6. Far Away from Home (4:18)

7. Rain (9:23)

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Having spent years building a reputation through their love of classic symphonic and progressive rock, Dutch outfit Sound Of Strangers now find themselves poised for the next stage of their evolution. With a refreshed line-up, growing acclaim on the European prog circuit and a highly anticipated second album on the horizon, the band are demonstrating that progression is about far more than complex time signatures and soaring musicianship. It is about growth, reinvention and the courage to embrace new possibilities.

The journey to A Logic To Everything Bizarre has been anything but straightforward. Sound Of Strangers first introduced themselves to the progressive rock world with Crossing Borders, a seven-track debut that paid tribute to five decades of symphonic and progressive influences. Mixed and mastered by Jeffrey Revet, the album earned praise from critics and fans alike following its original release in 2023 and subsequent reissue through OOB Records in 2026.

Yet the album also marked the end of the band's opening chapter. Around the time of its release, founding vocalist Serge Mannee and keyboard player Henk Zorge departed, leaving the group facing a significant crossroads. Rather than slowing down, Sound Of Strangers embraced change, recruiting vocalist Raymond Vermij and keyboardist Ron Mozer to help shape a fresh creative direction.

The revitalised line-up quickly found its footing. Performances alongside fellow prog acts For Absent Friends and The One helped cement the band's reputation, while their appearance at Northern Prog Festival 2025 generated enthusiastic reviews across the progressive rock press. Those live performances proved that Sound Of Strangers were more than capable of carrying their momentum forward into a new era.

That momentum now culminates in A Logic To Everything Bizarre, due for release through OOB Records on 16 January 2027. Across six tracks and forty-one minutes, the album promises an expansive and immersive progressive rock experience, balancing technical ambition with emotional depth.

Recorded at The Barn Sound Studio and additional locations across the Netherlands, the album once again benefits from the production expertise of Jeffrey Revet. However, this is not merely a continuation of what came before. By all accounts, the record represents a significant leap forward for the band, embracing richer textures, greater dynamics and a more cinematic sense of scope.

Central to that evolution is the interplay between guitarist Paul Krempel and vocalist Raymond Vermij. Krempel's expressive guitar work drives the album's epic landscapes, while Vermij's commanding vocal performances ensure that melody and emotion remain firmly at the heart of the music. Lyrically, the album explores the intriguing space between adulthood and childhood imagination, examining the tension between reality and wonder through poetic storytelling.

The visual presentation follows a similar philosophy. Artwork by Marleen Dunlop complements the themes of the record, reflecting the delicate balance between maturity and youthful dreams that runs throughout the album's narrative.

Fans eager to hear the new material before its worldwide release will have the opportunity to do so at an exclusive album launch event at WPC Nederland 3 in Wateringen on 9 January 2027. For local supporters, the show offers a chance to experience A Logic To Everything Bizarre a full week ahead of the official release date.

In the meantime, newcomers looking for an introduction to Sound Of Strangers can explore Live At NPF 2025, a digital-only release featuring two previously unheard tracks recorded during their acclaimed Northern Prog Festival appearance. Mixed by Dirk de Vries and available exclusively via Bandcamp, the live collection serves as a snapshot of a band confidently stepping into its new identity.

As progressive rock continues to evolve, Sound Of Strangers appear determined to honour the genre's rich heritage while forging their own path forward. If Crossing Borders introduced the band to the world, A Logic To Everything Bizarre looks set to establish exactly who they are. For fans of modern prog with one eye on the classics and the other firmly fixed on the future, this next chapter may be their most compelling yet.

SOUND OF STRANGERS:

Raymond Vermij – vocals

Paul Peperkamp – bass, bass pedals, backing vocals

Paul Krempel – guitars, backing vocals

Oscar Alblas – drums, percussion

Ron Mozer – keyboards

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Swedish multi-instrumentalist Peter Lazar unveils an ambitious concept album that explores the seven deadly sins through powerful storytelling, progressive musicianship and cinematic scope.

Some albums are collections of songs. Others strive to become complete artistic statements. With The 7 Deadly Sins, the debut release from Ashes of the Righteous, mastermind Peter Lazar firmly places his project in the latter category. Years in the making, this progressive rock and metal opus combines technical musicianship, evocative storytelling and a cast of internationally renowned performers to create a journey into the complexities of human nature.

At the heart of Ashes of the Righteous is Swedish composer, producer and multi-instrumentalist Peter Lazar. Handling guitars, keyboards and the overall creative direction, Lazar has painstakingly assembled a world-class ensemble to bring his vision to life. The result is an album that blends soaring melodies, progressive rock dynamics and cinematic atmosphere into a cohesive narrative exploring the darker corners of the human condition.

Joining Lazar is an impressive roster of musicians drawn from across the international progressive and rock worlds. Australian vocalist and lyricist Mark Trueack, known for his work with Unitopia and UPF, serves as both the project's voice and lyrical storyteller, crafting narratives that delve beyond simple interpretations of the seven deadly sins. Swedish keyboardist Johan Chasseur enriches the compositions with expansive textures, while legendary bassist Don Schiff contributes his distinctive NS/Stick sound, bringing experience gained from a remarkable career that has included collaborations with artists such as Elvis Presley and Tina Turner.

Further strengthening the project's formidable line-up are bassist Ken Sandin, whose melodic rock pedigree adds weight and groove to the album's foundation, award-winning Spanish drummer Chus Gancedo, and acclaimed guitarist Alen Brentini, whose soaring lead work provides many of the record's standout moments. Additional guest performances from Martin Fürst, Jonas Hörnqvist, Miriam Patel, Mats Forslund and Madeleane Olsén add further colour and depth to an already expansive musical landscape.

Rather than presenting the seven deadly sins as simple tales of vice and punishment, The 7 Deadly Sins offers a more nuanced exploration of human behaviour. Each track examines emotions, motivations and flaws that exist within us all, encouraging listeners to reflect on their own experiences. From Greed and Wrath through to Pride and Gluttony, the album serves as a mirror held up to humanity, challenging the listener to confront both darkness and redemption.

The album's eight-track journey culminates with How Many Sins, bringing together the themes threaded throughout the record. Throughout its runtime, Ashes of the Righteous balances progressive complexity with emotional accessibility, ensuring the conceptual ambition never overshadows the music itself.

With The 7 Deadly Sins, Ashes of the Righteous arrives as more than simply another progressive rock project. It stands as a testament to artistic perseverance, international collaboration and the enduring power of concept-driven music. By transforming one of humanity's oldest moral frameworks into a rich and immersive musical experience, Peter Lazar and his collaborators have created a debut that invites listeners to explore both the shadows and the light that exist within us all.

The 7 Deadly Sins by Ashes of the Righteous is available now on CD and all major digital platforms via OOB Records.

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With the release of Unawaken, Faust presents the first chapter in a long-gestating creative journey. In this interview, he discusses the origins of MeK, the concepts driving the project, the freedom of self-production and how years of musical experience have shaped a sound that is as thought-provoking as it is powerful.

Who is answering the questions?

Me, Faust, the guitarist, songwriter and producer behind MeK, which is a solo metal project based in London.

How did you get to the band name, and what does it mean to you?

The name MeK actually goes back quite a few years to an earlier band of mine called MekanizM. When that chapter ended, I continued developing my own music and ideas, and over time the name evolved into MeK.

I liked the idea of keeping that connection to where everything started, while giving it a new identity.

Today, MeK represents something much bigger than a band name. It’s become an entire audiovisual universe where music, philosophy and imagery are interconnected, exploring human perception, transformation and our relationship with the unknown.

When did you realise that you wanted to do music full time?

Music has been part of my life for as long as I can remember.

My father used to play Beethoven symphonies to me when I was a baby to get me to sleep, so I suppose the seeds were planted pretty early! As a kid, I actually wanted to become an architect, but once I discovered the guitar and started exploring rock and metal, music gradually took over.

I don’t think there was one particular moment when I decided this was what I wanted to do. It became something I simply couldn’t imagine my life without. Whether I’m writing, recording, producing or performing, music has remained a constant throughout my life.

How did the idea for your latest release come about?

Unawaken grew out of my fascination with human perception, consciousness and the way we construct our understanding of reality.

The title itself is deliberately paradoxical. It’s about that moment when you realise that what you believed was an awakened understanding of existence might actually have been another illusion. The song explores this through two opposing minds: one holding on to familiar beliefs and established perceptions, and the other questioning everything it thought it knew.

Musically, I wanted that tension to be reflected in the contrast between aggressive modern metal, industrial electronics and cinematic atmosphere, with elements of my classical and flamenco influences finding their way into the composition. It also became the natural starting point for the wider MeK audiovisual concept, introducing the philosophical themes that will continue to develop through future releases.

Can you tell us about the themes and influences that run through out?

A lot of the themes running through MeK come from my fascination with philosophy, consciousness, spiritual alchemy and the nature of human existence. I’m particularly interested in the relationship between what we perceive as reality and what might exist beyond our understanding of it.

Questions about identity, transformation, duality and the boundaries of human perception are recurring elements throughout the project. Musically, my influences are quite diverse. Modern and extreme metal form the foundation, but classical music, flamenco, Middle Eastern music, industrial electronics and cinematic soundscapes have all shaped the way I write.

I’ve always been drawn to contrasts, whether that’s brutality against melody, organic instruments alongside electronics, or ancient philosophical ideas expressed through modern music. Ultimately, I want those different elements to feel like parts of the same world rather than separate influences competing for attention.

Who produced the release, and what were they like to work with (If you produced it yourself, then what do you love the most about working that way?)

I produced Unawaken myself, as I do with all the music for MeK. One of the things I love most about working this way is having the freedom to follow an idea wherever it takes me, without having to compromise the original vision. I can spend hours experimenting with arrangements, guitar tones, electronic textures or orchestral elements until everything feels like it belongs together.

Of course, being responsible for so many aspects of the creative process can be a bit of a rabbit hole! There’s always one more detail to tweak, one more layer to explore or one more idea to try. That said, I absolutely hate mixing my own music! That’s where having people like Matt Hyde, Joel Wanasek and Scott Elliott involved makes all the difference. They bring their incredible experience and expertise to the mixing and mastering process. They’re absolute pros, and having that level of talent involved is invaluable in making the music sound the way it's supposed to. For me, it’s the ideal balance. I get complete creative freedom during the writing and production process, while trusting the right people to help bring everything to its full potential.

How would you say that the sound of the band has grown/changed over the last couple of years?

I think the biggest change has been learning how to bring all my different musical influences together without feeling the need to separate them. In the past, I might have approached a heavy riff, an electronic passage or a classical-inspired arrangement as quite distinct ideas. Over time, I’ve become much more comfortable allowing those elements to coexist naturally within the same composition.

While MeK has been developing quietly in the background, I’ve remained active in the metal scene for over 15 years, playing with different bands, including Damim for the past decade and, more recently, performing as a live bassist for Lowen. Those experiences have undoubtedly contributed to my growth as a musician, even though MeK has always been a very personal creative outlet.

I’ve also become increasingly interested in dynamics, atmosphere and the emotional journey of a song, rather than simply making everything heavier or more technically complex. What people are hearing from MeK now is really the result of years of experimentation, experience and refinement. And I certainly don't consider that process finished. If anything, I feel like I’m only just getting started!

What do you want your latest release to do for the representation of the band?

More than anything, I want Unawaken to establish what MeK is about, both musically and conceptually.

It’s the first time I’ve properly opened the doors to a project I've been developing privately for years, so it's important to me that people experience it as more than just another metal release.

The music is obviously at the heart of everything, but the visuals, philosophy and underlying narrative are equally important parts of the identity I'm building. I’m not particularly interested in fitting MeK into a specific category or chasing what's currently popular. I’d much rather people discover something that feels distinctive, sparks their curiosity and hopefully makes them want to explore further.

Ultimately, Unawaken is an introduction, not a definitive statement of everything MeK can be. There’s a much bigger picture still waiting to unfold!

What else can we expect to see from the band in 2027?

There’s definitely plenty more to come!

Unawaken is only the first chapter of a much larger musical and audiovisual journey. I already have more music ready for release, and I'm looking forward to gradually sharing it and expanding the world of MeK. Beyond that, I’d love to explore more collaborations with other creative minds, continue developing the project’s musical and philosophical identity and, most importantly, keep releasing music!

There’s a lot I’ve been quietly building over the years, and it’s exciting to finally start sharing it.

While Unawaken introduces listeners to the world of MeK, it's clear that Faust sees this release as only the beginning of a much larger narrative. Driven by a fascination with consciousness, identity and the unknown, he has created a project that refuses to be confined by genre labels or expectations, choosing instead to explore the space where music, philosophy and visual storytelling converge.

If this first glimpse is anything to go by, MeK is poised to become far more than a solo metal venture. With additional music already waiting in the wings and an expansive creative vision continuing to unfold, Faust's journey is only just beginning, and it's one that promises to reward listeners willing to venture beyond the surface.

Keep up to date with MeK’s whereabouts at the following sites.

‘Unawaken’ Official Music Video

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All MeK Links

There is something undeniably compelling about a band that refuses to let time dictate its story. More than three decades after their self-titled debut first introduced audiences to their riff-driven brand of classic rock, Stockholm's Black Cat Moan continue to evolve, proving that creativity knows no expiration date. Their latest release, Wasteland, is both an ambitious concept piece and a natural progression of the sound that has defined the band since the early 1990s.

Released on 14 September, Wasteland marks the band's third full-length album and follows 2023's Departure, which itself arrived after an extraordinary 30-year hiatus. Rather than simply revisiting old glories, Black Cat Moan have used their reunion as an opportunity to push forward, delivering a collection of songs that balances hard-hitting rock with broader musical exploration.

At the heart of the album lies a three-part title suite that gives Wasteland its identity. Described as a haunting journey through a dystopian landscape, the story invites listeners into a world shaped by fear, anger and despair before ultimately arriving at a place of solace and resolution. It is an ambitious narrative thread that provides the album with a deeper emotional dimension while offering a contrast to the band's more traditional rock foundations.

The album was once again written, recorded and produced by founding members Lars Isaksson, Jörgen Lantto and Bo Åström, whose chemistry remains central to the band's appeal. Across much of the record they are joined by New York-based session guitarist Ziv Shalev, whose lead guitar contributions add further texture and firepower to the material.

While the conceptual elements of Wasteland provide its thematic backbone, the album also delivers plenty for fans of straightforward, no-nonsense rock. Tracks such as Voodoo Power, Black Sugar, Down My Spine and Degeneration maintain the gritty, riff-heavy energy that has become synonymous with Black Cat Moan's sound. Elsewhere, the band broadens its horizons, with songs like Primal Scream and Screaming Blue Murder showcasing a willingness to experiment with structure, mood and style.

That balance between familiarity and progression has been key to the band's enduring appeal. When Black Cat Moan emerged with their debut album in 1991, Kerrang! praised their ability to combine "ample, sumptuous riffs" with powerful melodies and commanding arrangements. More recently, Departure earned acclaim for its raw and uncompromising classic rock spirit, drawing comparisons to the swagger and energy of acts such as Guns N' Roses, Aerosmith, AC/DC and Led Zeppelin.

Recorded, mixed and produced in the band's hometown of Stockholm before being mastered by Steve Kilpatrick at Soundfackery, Wasteland feels like the work of a band fully comfortable in its own skin. Rather than chasing modern trends, Black Cat Moan have focused on creating an album that honours their roots while embracing a more expansive creative vision.

For listeners who appreciate classic rock delivered with conviction, melody and a sense of purpose, Wasteland offers a rewarding journey. More importantly, it demonstrates that Black Cat Moan's second chapter is proving every bit as vital as their first, with the band continuing to evolve while remaining true to the foundations that first put them on the map.

Wasteland is available now across digital platforms.

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Few bands have managed to remain as enigmatic, influential and quietly innovative as The Durutti Column. More than four decades after first emerging from Manchester's groundbreaking Factory Records scene, Vini Reilly and company continue to defy expectations, proving that artistic evolution need not come at the expense of identity.

Their acclaimed comeback album Renascent has already been hailed as a remarkable late-career achievement, and now the record takes on a fresh new dimension with a stunning rework of album highlight Your Shadow at Morning courtesy of electronic music visionary Kieran Hebden, better known as Four Tet.

Rather than radically reinventing the track, Hebden approaches the source material with reverence and restraint. His nine-minute reinterpretation gently expands upon the original's reflective beauty, weaving crisp electronic details, ambient textures and subtle rhythmic movement around Vini Reilly's unmistakable guitar work. The result is a piece that feels both timeless and contemporary, sitting comfortably between ambient electronica, modern classical composition and minimal IDM.

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For Hebden, the project carried personal significance.

"It's only in the last couple of years that I learnt about The Durutti Column and explored their wonderful catalogue. It's had a big impact on me so I was thrilled when a new album was announced and then when I was asked to do a remix it felt like the universe was confirming I was connected to this music."

The collaboration further underlines the growing appreciation for The Durutti Column amongst a new generation of musicians and listeners. While the band's influence has long been recognised by devoted followers, recent years have seen renewed interest from contemporary artists including Blood Orange, Caroline Polachek, Harry Styles and The Avalanches, all drawn to the unique emotional depth and genre-defying creativity that has defined Reilly's work for decades.

That resurgence has been amplified by Renascent, the band's first studio album in over sixteen years. Featuring the core trio of Vini Reilly, Bruce Mitchell and Keir Stewart, the album marked a triumphant return that earned praise across the international music press. More importantly, it demonstrated that The Durutti Column remain forward-looking artists rather than a band content to trade on past glories.

Originally forged within Manchester's celebrated post-punk movement, The Durutti Column developed a sound unlike any of their contemporaries, blending classical influences, jazz, ambient music and experimental electronics into something deeply personal and instantly recognisable. That spirit of exploration remains central to Renascent, an album whose title speaks not only to renewal, but to the rediscovery of one of Britain's most singular musical voices.

The celebrations continue later this year when the music of The Durutti Column returns to its spiritual home. On 19 November, Manchester's Albert Hall will host For Vini: The Music, a special one-off performance honouring Reilly's extraordinary catalogue. Led by Stewart and Mitchell and featuring a hand-picked ensemble of collaborators including Caoilfhionn Rose, Liz Rossi and Sam Morris, the concert will revisit key moments from the band's Factory Records years through to material from Renascent.

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As Four Tet's elegant reimagining demonstrates, The Durutti Column's music continues to resonate across generations and genres. Far from being a nostalgic footnote, the band find themselves at the centre of a new chapter, one where their influence is being rediscovered, celebrated and carried forward by a new wave of artists and listeners alike.

The Durutti Column's Renascent is available now on digital, CD, cassette and vinyl formats. Four Tet's rework of Your Shadow at Morning is out now.

THE DURUTTI COLUMN - ‘YOUR SHADOW AT MORNING’ - FOUR TET REWORK LISTEN | WATCH

NEW ALBUM: ‘RENASCENT’

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There is a raw honesty running through the best indie-rock music, and Cheshire five-piece Skal tap directly into that spirit on their new single, Dig Me Up. Released today across all major streaming platforms, the track serves as both the lead single and title track from the band's forthcoming debut EP, arriving digitally and on 12" vinyl on 13 November.

Emerging from Winsford with a sound that blends Northern indie swagger, post-punk urgency and groove-driven alternative rock, Skal are quickly building a reputation for delivering songs that hit hard both musically and emotionally. Dig Me Up finds the band tackling the aftermath of excess, exploring sleepless nights, chemical escapism and the uncomfortable reality that follows a weekend spent chasing highs.

At its core, the track captures a familiar feeling. While friends return to the routine of Monday morning and the responsibilities of the working week, the song's narrator remains trapped in a cycle of exhaustion and regret. It's a theme that resonates throughout the single, driven by spiralling guitar lines, pounding rhythms and a vocal performance that balances vulnerability with defiance.

The track's central refrain, “All my friends are back to work on Monday, just dig me up again”, perfectly encapsulates the push and pull between wanting to prolong moments of escape while confronting the consequences left behind. Rather than glorifying excess, Skal present an honest snapshot of its emotional fallout, wrapped inside anthemic indie-rock hooks.

Drawing influence from the widescreen atmosphere of The Verve, the infectious eccentricity of The Zutons and the swaggering energy of Kasabian, the band have crafted a sound that feels both familiar and refreshingly contemporary. It's music steeped in Northern identity, yet ambitious enough to reach well beyond its hometown roots.

Dig Me Up also marks the beginning of an important chapter for the band. The single paves the way for their debut five-track EP of the same name, due for release on 13 November. To celebrate the launch, Skal will headline Liverpool's District venue on 20 November, joined by support acts Delaner and North Echo.

For a band still at the beginning of their journey, Dig Me Up feels like a significant statement of intent. With its blend of soaring indie-rock melodies, hard-edged realism and unmistakable Northern character, Skal have delivered a debut release that suggests bigger things are only just getting started.

‘Dig Me Up’ is available now on all major streaming platforms. The debut EP follows on 13 November, with the launch show taking place at District, Liverpool, on 20 November.

Few bands have captured the contradictions of modern working-class Britain with the same honesty and intensity as BIG SPECIAL. Since emerging from the Black Country, vocalist Joe Hicklin and drummer Callum Moloney have built a reputation on confronting difficult emotions head-on, balancing frustration and fury with humour, vulnerability and genuine humanity. Now, as they prepare to embark on a winter headline tour across the UK, the duo have released O'JOY!, a collection that shines a light on the songs left lingering in the shadows of their first two records.

Released via SO Recordings, O'JOY! brings together nine tracks that the band describe as "the fallen parts" of their earlier work. Rather than allowing these songs to gather dust, BIG SPECIAL returned to them, reshaping and reimagining the material into a standalone release that reflects where they are creatively today.

The EP follows a run of acclaimed singles including "ONLY FREE WHEN SLEEPING", "PLAINTIVE NATIVE", "SLUGLIFE" and "DRAGGED UP A HILL (and thrown down the other side)". While these tracks expand on the emotional and sonic territory fans have come to expect, O'JOY! also reveals a darker undercurrent. The songs explore discomfort, uncertainty and personal struggle, yet remain rooted in the band's unwavering belief that expression itself is an act of hope.

Reflecting on the release, BIG SPECIAL explain that their debut album was shaped by decades of lived experience, while its successor captured a period of rapid personal and professional change. O'JOY! serves as a bridge between those chapters, gathering together material that never quite found its place previously but remained too important to abandon.

The band's philosophy remains refreshingly straightforward. Rather than stockpiling songs for future repackaging, they wanted to clear the creative slate completely. In their own words, they aim to "empty the clip", leave nothing behind and move forward honestly into the next phase of their journey. It's an approach that perfectly mirrors the authenticity at the heart of BIG SPECIAL's music.

Alongside the EP comes a striking new video for closing track "HOTEL". One of the oldest songs in the band's catalogue, the track has taken on new meanings over time. While it can now be interpreted through the lens of life on the road, its origins lie in navigating changing mental states and the hope, fear and uncertainty that can accompany personal transformation. The result is one of the most emotionally exposed moments in the band's catalogue, bringing O'JOY! to a close with quiet acceptance rather than easy resolution.

Musically and lyrically, BIG SPECIAL continue to demonstrate why they are regarded as one of Britain's most compelling emerging voices. Their songs refuse simple answers, instead offering something far more valuable: an honest reflection of real life, delivered with empathy, intelligence and conviction.

With numerous dates already sold out, their forthcoming winter headline tour looks set to be another major step forward for a band whose momentum shows no signs of slowing. For those who have followed their rise so far, O'JOY! is more than a stopgap between albums. It is a document of unfinished thoughts, rescued fragments and creative freedom, proving that sometimes the songs left behind have the most important stories to tell.

O'JOY! is available now via SO Recordings on digital, CD and vinyl formats. BIG SPECIAL's winter headline tour continues throughout November and December, including a sold-out appearance at Exeter's Cavern Club.

WINTER HEADLINE TOUR

November 23rd - Hebden Bridge - Trades Club (SOLD OUT)
November 24th - Stoke - Sugarmill
November 25th - Cardiff - The Globe
November 26th - Liverpool - Arts Club
November 27th - Hull - Polar Bear (SOLD OUT)
November 29th - Edinburgh - Liquid Rooms
November 30th - Scunthorpe - Cafe Indie
December 1st - Blackpool - Bootleg Social
December 2nd - Hebden Bridge - Trades Club (SOLD OUT)
December 3rd - Sheffield - Crookes Social Club
December 5th - Coventry - Kasbah
December 6th - Milton Keynes - Craufurd Arms (SOLD OUT)
December 8th - Oxford - Bullingdon (SOLD OUT)
December 9th - Brighton - Chalk
December 10th - Portsmouth - Wedgewood Rooms
December 11th - Exeter - Cavern Club (SOLD OUT)

O’JOY! Track list
PLAINTIVE NATIVE
ONLY FREE WHEN SLEEPING
LAZARUS
THE WAKE
FAMILY BONES
GARDEN OF FOOLS
SLUGLIFE
DRAGGED UP A HILL (and thrown down the other side)
HOTEL

DISCOVER BIG SPECIAL
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Fresh from a breakthrough year that has seen them release their debut album, sell out headline shows and continue building a formidable reputation on the live circuit, The Entitled Sons have announced a major 16-date UK tour for November and December. The run of dates marks another significant step forward for the fast-rising alt-rock outfit, whose energetic blend of indie-rock hooks, electronic flourishes and heartfelt songwriting continues to attract growing audiences across the country.

Beginning at The Globe in Cardiff on 1 November, the tour will take the band through some of the UK's most cherished grassroots venues, including Leeds' much-loved Key Club, Brighton's Patterns and Southampton institution The Joiners. Their special performance at Bristol's O2 Academy on 14 November, celebrating the venue's 25th anniversary has been cancelled and we hopw that they re-schedule soon. For a band who have built much of their success on the strength of their live performances, the tour presents another opportunity to showcase the chemistry and energy that has become their trademark.

Comprised of brothers Billy, Charlie, Raffey and Laurie alongside bassist Graham Swift, The Entitled Sons have enjoyed a remarkable rise since forming in 2022. Their journey has taken them from winning the Pilton Stage Competition to performing at Glastonbury Festival, while sold-out headline shows and appearances at major events including CarFest have further cemented their growing reputation. Industry praise has followed, with broadcaster Chris Evans declaring, "Arenas beware - Entitled Sons are coming to get you," while Radio X's Adam Brown praised the band's captivating live performances.

The tour announcement arrives alongside continued momentum for the band's latest single, Epitaph (Not There). Produced by Fred Abbott, the track offers a more reflective and emotionally vulnerable side to the group, demonstrating a willingness to broaden their sound beyond the anthemic indie-rock that first brought them attention. The song follows the release of their debut album NO CLUE and has already drawn praise for its cinematic atmosphere and understated confidence.

While many emerging bands struggle to balance ambition with authenticity, The Entitled Sons appear to be finding that equilibrium with ease. Their ability to move between festival stages, packed headline shows and increasingly expansive songwriting has positioned them as one of the UK's most intriguing young acts. With a packed touring schedule ahead and a growing catalogue that continues to evolve, this winter tour looks set to be another important chapter in the band's rapidly unfolding story.

For fans of energetic modern indie-rock with genuine heart and ambition, The Entitled Sons are a band whose momentum shows no sign of slowing down. As they prepare to take their biggest headline tour yet around the country, the message is becoming increasingly clear: this is a band ready to move well beyond emerging-act status and establish themselves as a serious force on the UK live music scene.

Live Dates

1st Nov - CARDIFF, The Globe

5th Nov - SHEFFIELD, Foundry

6th Nov - MANCHESTER, Club Academy

7th Nov - GLASGOW, Slay

8th Nov - NEWCASTLE, The Grove

11th Nov - LEEDS, The Key Club

12th Nov - OXFORD, O2 Academy2

13th Nov - BRIGHTON, Patterns

14th Nov - BRISTOL, O2 Academy (Cancelled)

19th Nov - BEDFORD, Esquires

20th Nov - FROME, Cheese & Grain

2nd Dec - TUNBRIDGE WELLS, The Forum

3rd Dec - GUILDFORD, Boileroom

5th Dec - NORWICH, Waterfront Studio

6th Dec - SOUTHAMPTON, Joiners

10th Dec - NOTTINGHAM, Metronome

11th Dec - SHREWSBURY, Loop

Tickets available HERE

For more information:

Website | Tiktok | Instagram | YouTube | Facebook | Spotify

Ahead of their appearance at SHIIINE ON Festival, we caught up with Peter Hooton, frontman of Liverpool legends The Farm, to reflect on a remarkable journey that has spanned four decades. From the independent success of Spartacus and the enduring power of All Together Now to memories involving Joe Strummer, Mick Jones and even Eric Cantona, Hooton offers a candid and passionate look back at a career built on community, conviction and an unwavering belief in music's ability to bring people together.

SHIIINE ON brings together so many bands who helped define an era. What does it mean to The Farm to be part of a festival that celebrates the music and culture of the late 80s and 90s?

We’re very proud that we were, and still are part of that incredible scene. Shiine On is a brilliant celebration of the late 80s and 90s and we are made up to be part of it.

When you step out on stage and see thousands of people singing along to songs that have soundtracked their lives for decades, what emotions does that bring back for you?

It is always very emotional seeing thousands of people singing along to our songs and Shiine On always delivers and more on that front. Sometimes we just stop playing and stand there in awe of the crowd. This was the case a few years ago just after lock down and we were all so overcome with emotion. It was a lump in the throat job.

‘All Together Now' remains one of the most powerful and unifying songs of its generation. Did you ever imagine, when writing it, that it would still resonate so strongly with audiences all these years later?

When we were recording the song we knew it was something special, but we didn’t let anyone hear it for a while, so we didn’t know what other people thought about it. One day, Andy McDonald the top man at Go Discs was allowed in as Chas Smash from Madness was working in their A&R dept at the time and asked Suggs (our producer) if he could come in the studio to hear it. Andy sat there open mouthed and declared it to be a Xmas No 1 but only if we signed for Go Discs as they were distributed by a major label. He said ‘stay on your indie label and it won’t be but we will make sure it is if you sign with us’ – we stayed on our indie label. We were on a totally independent label at the time that we had helped start ourselves, so we decided to reject the seven figure offer out of loyalty.

Many SHIIINE ON fans grew up with The Farm as part of the soundtrack to their youth. What do you think those songs represent to people today?

I think people want to relive their youth when everything seemed so simple – if we can help them in their time travel, we’ve done our job.

Liverpool has produced some of the most influential bands in British music history. How did growing up in that city shape The Farm's identity, attitude and songwriting?

That’s a difficult one as some of my favourite songwriters growing up weren’t from Liverpool e.g. Strummer/Weller/Marley. Because Liverpool is such a musical city it undoubtedly gave us confidence. My early memories as a youngster were family parties when relatives used to take in turn to sing so it was probably in my DNA even though I never really intended to front a band, it just happened because a mate’s band didn’t have a singer so I just went to have a go. By the way I used to sing ‘Somewhere’ from West Side Story at Xmas family do’s.

Your music has always carried messages about unity, community and social issues. Do you think those themes are even more relevant now than they were when the songs were first written?

I think they are – division, anger and hatred in the world seems to be getting worse but on reflection compared to previous generations they probably aren’t, but we need to learn from the mistakes of history. I’ve read numerous books on the First World War, and no historian can really explain why it happened - it was ultimately a futile war. Millions died and the seeds of the Second World War were sown which resulted in tens of millions more dying. We simply cannot return to the days of Imperialism and endless wars. All wars end in negotiation we need politicians who will negotiate rather than fuel the arms race.

‘Spartacus' became a landmark album of the era. Looking back more than three decades later, what are your strongest memories of that incredible period when everything seemed to be happening at once?

It was an incredible period for us, and we were riding the crest of a wave. At the time I don’t think many really appreciated what we had achieved. Within a year of starting up a label we had a purely ‘independent’ No 1 album. That was unheard of without major label distribution. Pressing plants couldn’t keep up with demand, It was punk rock DIY and Jamie Reid, the Sex Pistols record cover designer came into Produce Records in Liverpool and declared ‘’this is the essence of punk rock.’ Even Bill Drummond (KLF) used to ring the Produce Records office asking which entrepreneurial genius was behind us as we were always selling more than them.

The SHIIINE ON crowd is famous for bringing incredible energy and passion. What can fans expect from a Farm festival set this November?

A mix of old and new. SHIINE ON fans on X voted ‘Let the Music (Take Control)’ as the album of the year in 2025 which was brilliant so maybe a few songs off that as well as songs from Spartacus, Love Sees No Colour and maybe Hullabaloo.

You've played countless shows throughout your career. Are there any particular festival memories that still make you smile whenever you think about them?

When we supported The Stone Roses with the Justice Tonight Band (Mick Jones/The Farm/Pete Wylie) in 2012) it was special. We will never forget the solidarity of The Stone Roses raising awareness for Hillsborough, they were brilliant. One memorable night in Lyon in a Roman amphitheatre stands out for me. Even though it wasn’t specifically a Farm gig we played 4 songs before we performed with the Justice Tonight Band doing 7 Clash songs. Eric Cantona got up to sing ‘Should I Stay or Should I Go’ with us and it was biblical. I had asked him before the gig whether he knew the significance of what he was doing and he gave me a proof in his own words – he said he was doing it because Hillsborough was a terrible injustice and he supported the cause. It hardly made the news which was a great shame, as it was an All Together Now moment.

The Farm's songs have always felt bigger than simple pop songs, almost like collective anthems. What do you think is the secret to creating music that brings people together?

Just by writing songs with a social meaning. I’ve always wanted to bring people together I despise hatred and division. Too many on social media just fuel fear and hate. It’s the lowest common denominator.

Many younger music fans are discovering The Farm for the first time through streaming, festivals and family recommendations. What would you say to someone about to see the band live for the very first time at SHIIINE ON?

Learn the words and sing along!

Looking back, what do you think made the music scene of your generation so special, and why do you think people continue to celebrate it decades later?

It was authentic – groups weren’t manufactured, they developed organically. The major record labels would never have signed groups like The Farm. They used to ask us what our image was and why did we dress like we were going to a football match. They simply didn’t understand but Tony Wilson did and so did Alan McGee. He has since told us that he wanted a group that looked like The Farm and in the end, he found one!

If you could relive one moment from The Farm's journey, whether in the studio, on the road, or on stage, which moment would you choose and why?

It was undoubtedly when Joe Strummer was in New York deputising for Shane McGowan in the Pogues. He rang our hotel room and told me to come to Mick Jones’s room (we were on tour with Big Audio Dynamite), but I thought it was a hoax and put the phone down a few times. Eventually, Roy Boulter our drummer answered and said that is definitely Joe Strummer, so I went to the room. Suggs our producer was there as well it was like a dream. After a while Mick and Joe hugged and declared that The Clash were reforming, and they wanted The Farm to support them. Nothing will ever beat that!

Finally, when the crowd gathers in front of the SHIIINE ON stage and the first notes begin to play, what message would The Farm like to send to everyone coming to celebrate this music together?

Let the Music Take Control

As this conversation makes clear, The Farm remain far more than a nostalgic reminder of a golden era. The themes that have always defined their music, unity, hope and collective spirit, remain just as relevant today as they were when those songs first emerged from Liverpool in the late 1980s. With another SHIIINE ON appearance on the horizon, Peter Hooton's message is characteristically simple but powerful: put division aside, sing along, and let the music take control.

Keep up to date with The Farm’s exploits via INSTAGRAM

Forty years after first emerging as one of Britain's most distinctive and influential rock bands, The Mission are preparing to write an exciting new chapter in their storied history. The gothic rock legends have announced the release of their first studio album in more than a decade, Songs For Kith And Kin, arriving via Cooking Vinyl on 2 April. For a band whose catalogue already includes landmark releases such as Children and Carved In Sand, this latest collection promises to stand proudly alongside their finest work.

‘KINDNESS IS A WEAPON’ - THE FIRST SINGLE OUT NOW
STREAM / WATCH HERE

The road to the album has been shaped by personal adversity and renewed perspective. Originally slated for an earlier release, the project was delayed following Wayne Hussey's open-heart surgery, an experience that inevitably found its way into the songs themselves. Rather than retreating, Hussey channelled the challenges of recovery into an album rich with reflection, resilience and gratitude. By his own admission, the experience has reinforced a determination to create music on his own terms, resulting in what may be one of The Mission's most honest and emotionally resonant records to date.

Fans have already been offered a tantalising first glimpse of the album through lead single Kindness Is A Weapon. The track encapsulates everything that has made The Mission such an enduring force: soaring guitars, an arena-sized chorus and Hussey's unmistakable voice front and centre. Yet there's also a sense of evolution. The single balances classic Mission grandeur with a broader rock sensibility, carrying an urgency and confidence that suggests the band are not simply revisiting the past but building upon it.

The anticipation surrounding the album is further heightened by Hussey's belief that Kindness Is A Weapon was far from the obvious lead single. In fact, he suggests there are several songs capable of carrying that mantle, which speaks volumes about the strength of the material assembled across the album's expansive 15-track, double-album format. That confidence is echoed throughout descriptions of the record, which promises a sweeping journey from politically charged observations and personal reflections to themes of family, belonging and hope.

Central to the album's identity is the enduring creative chemistry between Hussey and guitarist Simon Hinkler. Their partnership has long been one of The Mission's defining characteristics, and Songs For Kith And Kin places that relationship firmly at its heart. While the album broadens its sonic palette with orchestral arrangements, sitar, tamboura and cinematic textures, the foundation remains rooted in the interplay between two guitars. It is a sound that Hinkler believes remains instantly recognisable and one that continues to set The Mission apart four decades into their career.

The record also sees bassist Craig Adams returning alongside drummer Alex Baum, whose energy and fresh perspective have injected new momentum into the band's recent work. Recorded at Faro House Studios in Uruguay, with additional orchestral recordings captured in Montevideo, the album combines international ambition with deeply personal storytelling. The result, by all accounts, is a record that feels both expansive and intimate.

What makes Songs For Kith And Kin particularly intriguing is its emotional arc. From songs addressing health concerns and a world in turmoil, through to reflections on friendship, family and finding comfort in life's most meaningful connections, the album appears to mirror the journey Hussey himself has travelled in recent years. It is a work that embraces vulnerability without losing the power and grandeur that have always defined The Mission's music.

With a major anniversary celebration scheduled across four nights at London's Forum (November 4-7 2026) and headline appearances at Whitby's Tomorrow's Ghost Festival (Oct 30-31 2026), the timing could hardly be better. As The Mission celebrate 40 years of music, Songs For Kith And Kin arrives not as a nostalgic look backwards but as a bold statement of intent - For tickets please visit: www.ticketmaster.co.uk  

For long-time followers and newcomers alike, this album feels set to remind audiences why The Mission remain one of Britain's most enduring rock institutions. If the strength of Kindness Is A Weapon is any indication, Songs For Kith And Kin may well become one of the defining releases of their remarkable career.

TRACKLISTING
Kith And Kin
Operation Chaos
Arrhythmia
Never Say Never Say Die
Kindness Is A Weapon
Circle The Wagons
Heavy (Is The Crown)
Roll With The Punches
Unbroken (asongoflove)
Diving For Pearls
Cleansing The Wound
A Soft Place To Fall
My Very Favourite Life
Sanctuary
The Last Leaf On The Tree
 
The album will be available on a variety of formats including digital, CD, limited edition vinyl and more. For full details click HERE.

Brighton's alternative scene continues to produce exciting new voices, and CARNE are rapidly earning their place among them. Blending the quiet-loud dynamics of '90s grunge with a distinctly modern identity, the band have built momentum through powerful live performances, striking visual reinvention and songs packed with raw emotion. We caught up with Carmen, the driving force behind CARNE, to discuss the band's origins, musical influences, dream festival line-ups, forthcoming releases and why authenticity remains at the heart of everything they do.

CARNE have arrived with a sound that feels both nostalgic and completely fresh. Take us back to the beginning. How did the band form, and what brought the four of you together?

I formed CARNE because I wanted to start my own project. I’ve been in other bands and projects in the past, but I wanted to make this one much more personal and authentic. I knew Joe, our drummer, from the music scene in Brighton who was insane behind the kit and asked him if he was interested in joining—he said yes. I met Emia after checking out her past band and reached out to her on Instagram because she was great. Charlie is a longtime friend, and I happen to also work with him at the same French-inspired jazz bar in Brighton. He’s an awesome guitarist and another great hang. That’s pretty much it :)

Every band name has a story behind it. Why did you choose the name CARNE, and were there any other contenders before you settled on it?

I didn’t know if I wanted to do a solo project or a band, and funny enough, CARNE kind of ended up being both at the same time. I wanted something that sounded simple and catchy, sort of like an acronym. With my name being Carmen, it sounded similar, but it also gave me the ability to wear a mask in a way and let people resonate with the music itself.

I don’t think there were many other contenders, although I checked my notes app and I had written LUZ (which is my middle name), but it’s quite hard to pronounce for a lot of people. CARNE just sounds better, especially pronounced the actual way—which is CARN-AY (it’s a Spanish word, after all).

Your music carries echoes of alternative and grunge greats, but it still feels distinctly your own. Which artists, albums or scenes have had the biggest influence on the band's DNA?

Oh, so many! I’m very much into my late 90s niche, and most of my favourite songs or albums are from bands or artists' more introspective, less-acclaimed work. I think PJ Harvey is number one for sure—all of her work, but my favourite is Uh Huh Her.

I love the first album from this US artist called VAST (aka Jon Crosby); this is a really important album for me that blends folk with industrial, alt-rock, and Bulgarian choirs—just awesome. I’ve always been the biggest fan of Killing Joke’s Democracy album too. But to come back to CARNE’s influences, I think a lot of Failure, Queenadreena, Garbage, The Smashing Pumpkins… and then lots of more niche bands and artists.

Looking back at those early rehearsals and first gigs, what do you remember most vividly, and when did you first realise that CARNE might be something special?

Ooh, that’s a hard question! I think CARNE has always been special to me anyway, as it’s been my most personal project to date, so I feel like I’m constantly thinking about what’s next and don't dwell overly on past gigs. I do like remembering hanging around with the others to talk about silly things—they’re a great bunch. I think the whole team around us—including the band, my manager, and everyone who supports the music is really what makes it special.

You're curating your own dream festival bill. Who are the headliners (can be dead or alive), which bands are joining you on the line-up, and what stage are CARNE playing?

Well… CARNE can’t be headlining, that’s for sure! I don’t think we’re ready to do the performance of the century, far from it. But I’d like to think of us on a mid-size stage under a big top tent maybe in the late afternoon—that’d be sick, ahahah, and a nice start.

I’d love to have Blonde Redhead performing at that festival. I saw them at Village Underground in 2023 and it was honestly one of the best shows ever, so maybe that’s one headliner. I’d also love to have one of Mike Patton’s bands like Faith No More or Tomahawk—I love both, and that would be the mental, bizarre rock that I’m so into.

Thinking of someone I’ve never seen live, I would love to see My Brightest Diamond performing her first album in full live as an anniversary thing, maybe? Basically, my festival would be an arty, alternative, grungy rock fest. How sick would that be?

You've already generated plenty of attention in a relatively short space of time. What have been the defining moments of the CARNE story so far?

We've been lucky enough to play the Electric Ballroom (Camden, London), and once you play a venue that size, you really only want to do that! That’s definitely been a big one for me.

The rebranding has also been super defining. More than just a look for the band, it’s been a way to assert myself and really have fun with it—everything is red and looks a bit more curated now, and I love that, haha!

I feel like I'm still waiting for even more defining moments to come, but heading out on an EU tour with Carsick in November is definitely going to be a cool coming-up stepping stone, too.

You're hosting the ultimate CARNE dinner party. What's on the menu, which three guests are invited (living or dead), and what's playing in the background while everyone eats?

Oh, let me cook here, ahaha! Skip the entrance—I’d be doing homemade gnocchi with a courgette, lemon, shallots, and mascarpone sauce. It’s banging, I’ve done it a few times, and it’s veggie. For dessert, I'd want to do a fondant au chocolat type cake with salted caramel on top. Something very yummy. I'd accompany that with a nice bottle of red, French Burgundy wine.

I think I’d love to cook for people who I think would be a good hang and lead to good music conversation. My three guests would be: Martin Gore from Depeche Mode, my dad (he’s a great hang and very funny), and... maybe a pop girl like Britney Spears, why not?!

If someone had never heard CARNE before and could only listen to three songs that best represent who you are as a band, which tracks would you choose and why?

I’d always say "J.U.M"—that’s the essence for sure. The quiet-loud dynamic, short and catchy, grungy, and a bit dark. I think that’s the closest to what the band is.

I should say "MSG", but I think it’s a bit too bright to be the ultimate representation, though it is the latest single so I’ll put it there. We have two more songs coming out soon, but I think this one in particular called "Crayons & Nails" is quite CARNE: a bit more dry and raw, and still quite dark and hooky, I hope, haha!

The next 12 months can be a huge period in any young band's development. What are your ambitions, and what can fans expect from CARNE over the coming year?

I have big dreams, but realistically, I’d love to play as many places and mid-size festivals as possible, and go on more tours.

We’re also putting out an EP next year, so I'm hoping it gets a good reception and acts as a stepping stone to grow a bit bigger.

Finally, a question of national importance: what's your favourite cheese, what are you eating it with, and why is everyone else wrong?

I’d say burrata per usual because it’s perfect. But we’re heading into winter now, and I’m really loving a Mont d’Or right now—the French in me is speaking right now!

Put it in the oven and eat it with potatoes and charcuterie….Heaven!

With a European tour on the horizon, new music ready to emerge and an EP planned for next year, CARNE feel like a band poised for an exciting next chapter. Grounded in personal expression yet unafraid to embrace bigger ambitions, Carmen and her bandmates are steadily carving out their own space within the alternative landscape. If tracks like "J.U.M", "MSG" and the forthcoming "Crayons & Nails" are any indication, this is a journey well worth following.

Follow their musical adventures via INSTAGRAM