A live album, featuring 22 songs from her 2026 sold-out tour,
starts streaming this Friday, Nov 6th. A vinyl edition will see the
day of light next year, on March 19th. More info here.
Band: WHOLES Who: Vicious Belgian noise turbine led by musical centipede Wolf Vanwymeersch, who played with several bands before
producing pop, rock, post-punk and sludge metal.
They released their pitch-black debut
full-length A Mass In the Water last year.
A dirty motherrocker that follows Berlin, Eazy For You & The Moment.
All songs (one more new one to come, making it a total of 5) will be part
of the band’s new album WHOLES/NOTWHOLES, available on vinyl and
digitally on 18 December. Pre-order the LPhere.
Album artwork by Lennart Van Den Bossche, cover screenprinted by El Foxie
Vanwymeersh about Foul Taste: “Sometimes you only know what a song is about when it’s finished and your life has already taken a new direction. “Foul Taste” came about exactly like that: the bitter taste that marks the beginning of the end of a relationship. Beyond heartbreak, it’s about recognizing decay while you are still in the midst of it.
Musically, the track reflects the emotional breakup. The vocals oscillate between almost
spoken aggression and fragmented melody, driven by frantic rhythms and dissonant
textures.”
TUTV: Something truly grim, very vicious, very diabolic is happening here. Foul Taste is an intimidating ear-assault, a rock-like headbutt. Wholes get nastier,
louder, and meaner with every release. Illegal decibels, caused by schizophrenic
guitars, lethal drum/bass flurries, and knife-between-the-teeth vocals, drill
(w)holes in the ceiling.
Frontman Black Francis clarified back in 2004, when PIXIES reunited
after a 11 years hiatus, that the reason for the return was the fact that
playing music is the only job he’s good at.
Now 22 years, 5 albums and countless tours later he’s still working.
To celebrate the 35th anniversary of 4th album, a limited vinyl reissue came out.
It came with 2 previously unreleased tracks, Brackish Boys and Punk Loop on 7″.
They songs are now released digitally too.
.
That said, Black and his compadres
will continue their lust for touring.
Artist: BLEOOD Who: 21-year-old American rapper and record producer.
He initially emerged as a member of New York City rapper Xaviersobased‘s collective 1c34. A member of the rage scene.
From the first previews in July 2026, it was speculated and analyzed by
graphic designers that the cover art was generated entirely or partially
using AI.
The images have a dark, occult aesthetic reminiscent of an intro
cutscene or classic style elements such as from Japanese video game series Shin Megami Tensei
From the first previews in July 2026, it was speculated and analyzed
by graphic designers that the cover art was generated entirely or
partially using AI.
The album was originally released as a double EP, while also
issued on CD with a different running order.
During this period in his life, Cave was steeped in heroin addiction,
perhaps evidenced by the melancholy, desperate mood of the songs.
In 1993, he said about the record: “That particular record, which is my favourite of
the records we’ve done, is very special to me and a lot of amazing things happened,
musically, in the studio.
There are some songs on that record that as far as I’m concerned are just about perfect as we can get really- songs like “The Carny”, “Your Funeral, My Trial”, and “Stranger Than Kindness”, I think are really quite brilliant.”
Nick Harvey (guitarist): “The album gave us the template to go forward with. It was
organised rather than rambling. It all felt complete even though it was a disparate
set of sounds and styles. It felt like it belonged to us. It sounded like The Bad Seeds.”
Despite critical acclaim, the record failed to achieve commercial success.
AllMusic/Ned Raggett: “Trial shows the Seeds working as, again, a remarkably
accomplished and varied act, ever available and ready to explore a wide range of
musics distilled into Cave’s often dark, always passionate vision.”
Band: KEG Who:7 unbridled English indies, Brighton via London, toe a fine line
between the angular throb of contemporary post-rock sensibilities
and a timeless necessity for harmony and meticulous songwriting.
It’s described as a break-up album. KEG turn towards themes of separation,
regret and personal reckoning. Across its sprawling mix of post-punk, prog,
jazz, hardcore and psychedelia, the record finds the band expanding their
sound in broader sonic directions, while retaining the mischief that has
defined them since their formation.
With the news comes the lead single, named CALL ME SATAN
Albert Haddenham (frontman/songwriter): “The lyrics follow a possible trajectory
of someone I didn’t want to turn into. I conjured up a horrible little thought exercise
and imagined how all the traits I didn’t enjoy about myself would eventually turn out
if I followed them to the extremes. It’s mainly about trying to accept your foibles and
accepting responsibility for your actions.”
Lyrically, the track sees the band address the “rampant cronyism that permeates
through Irish arts funding and indeed public funding in Irish society generally.”
TUTV: Anger. Rage. Discontent. Attack! Attack! Slyrydes spit and sneer fiercely about
the Irish government’s unscrupulous arts and public funding politics. This left-right
punk uppercut cries out against injustice and corruption. Gatekeepers resonates like
a vociferous, verbal riot-gun detonation.
No rest for the wicked, the greedy and the corrupt. Alert your neighbours beforehand
you press play, and you start to crash with your head on repeat into your kitchen wall
to this badass shit.