Love Is Noise have announced the details of their new EP titled ‘The space between happiness and heartache’, following up their 2025 debut album ‘To live in a different way’.
The EP is set to drop on October 09 via Bloodblast, and is set to be a concept piece about an unnamed character crafting an artificial world as a means of escaping their real feelings.
Vocalist Cam Humphrey explains:
“The more we wrote this record, the more we realised it wasn’t really about one person’s story — it’s about how people create versions of themselves just to get through modern life. We wanted to make something that felt real. Not polished to the point where it loses its humanity, but honest about the things that people don’t always want to talk about.
“The character has built this entire world to escape how they actually feel, but we never tell you exactly why. That’s really important to us. We don’t want to give the listener a beginning, middle, and end and tell them what it means. We want people to find themselves somewhere inside it.”
Check out the Artwork, track listing and the track ‘Smile’ featuring Casper Frisk of PALESKIN.
1. smile. 2. the rain that follows me. 3. crying in the dark. 4. fury.
The track picks up where the debut track ‘UNHOLY’ left off, and immediately ups the ante when it comes to the beauty and brutality. Atmospherically stirring, fizzing with electronic energy and with plenty of metalcore bludgeoning through in for good measure, it’s modern metal at its most crisp and cathartic.
If MOTHER continues down this path, we may be onto quite the future phenomenon.
MOTHER had this to say about the tune:
“’MOTIONS’ is about becoming conscious of the cycles we knowingly submit ourselves to – the relationships, behaviours and patterns that hurt us, but somehow still feel impossible to leave. Our nervous systems can mistake familiarity for safety, even when what’s familiar is a living hell. ‘Live in the pain and call it a spark’ — that strange way we can romanticise pain or mistake intensity for something meaningful because it’s what we know. There’s a conflict running through the lyrics between desperately wanting out and being terrified of what exists on the other side.
And then added about the concept of the video:
“The video takes that internal struggle and makes it physical. MOTHER is gradually bound by cables and pulled towards the television, as if her own nervous system is taking control of her body. The BDSM imagery plays into the contradiction at the centre of it too – submission, pain and the uncomfortable possibility of finding pleasure or comfort in something that is hurting you. But by the end, that power dynamic has inverted. MOTHER is no longer the submissive; she becomes the dominant presence inside this darker internal world, while versions of herself stare and sing back through the screens. I deliberately didn’t want to explain whether that transformation is good or bad. Are those the voices in her head? Has she finally broken the cycle, or just found a new position within it? Is she confronting the darkness, becoming it, or realising some part of her has wanted it all along? Maybe healing and becoming your own monster aren’t always as different as we’d like them to be.“
James Marriott has announced a massive show taking place next month in the UK, and it’s going to be a one-off.
James will be playing the iconic Brixton Academy in London on September 17th, with support coming from Chloe Slater and Hannah Grae.
On the announcement, Marriot states, ““Brixton has been my dream venue for many years now, having seen a multitude of artists there that are so so important to me (including Tyler the Creator’s first show back in the UK). Years ago it was teased that we’d support another artist there and I remember crying with a member of the band thinking about playing on that stage.
To think now, a matter of years later, we’re not only playing it, but headlining it, is astoundingly special to me. It’s been in the works for a while now, and I couldn’t be happier to be sharing the news with people. It’ll be a celebration of everything that brought me here, and multiple pointers to the future of my solo project.”
Carrie Okay, the brand new supergroup from LØLØ, salem ilese and Alna, have unveiled their first song, and it is very much on brand for the trio.
‘High In A Drugstore’, it is a return to the early 00’s era of soft pop-rock, but with a modern twist. It’s flowery, breezy and beautiful, but littered with heartbreak and anguish. The sort of song that finds you in your life at the right time and right place, and makes you realise you’re not the only person going through such pain.
The band had this to say about it:
Heartbreak makes us do the strangest things. We’ve all had those nights where we’re convinced leaving the house will fix everything, and somehow, we end up in a random place having an existential crisis. Whether it’s hallucinating an ex at your local Denny’s or taking a gummy and ending up out of your mind at a 7-Eleven, you never know where a broken heart will take you. The irony of ending up high in a drugstore… a place where people often go to find a cure, only to realize there’s nothing on those shelves for missing somebody. After writing ‘High in a Drugstore,’ we realized we loved the song way too much to try to pitch it to another artist. So we did what any reasonable girl would do in that moment… start a girl band. We’ve loved every second of creating Carrie Okay and feel so lucky to work with each other and the amazing Andrew Goldstein on creating such a fun project.”
The Callous Daoboys have returned with a brand new track, ‘Watching Us Kiss’.
A crushing, unrelenting, vicious slice of metalcore fury, it pushes the band to a point of heaviness that they inhabit so wonderfully. Bludgeoning breakdowns, banshee screams and brain-melting refrains, it is an absolute belter. One that further cements the band’s place as one of the most unpredictable and unhinged assets to the scene currently.
Vocalist Carson Pace had this to say about it:
‘Watching Us Kiss’ is sort of the answer to every question you’ve had in your entire life. Return to music.”
Check out ‘Watching Us Kiss’ below.
The band will support Enter Shikari on their UK tour this November. Check out the dates below.
November 2026
13 – NOTTINGHAM Motorpoint Arena 14 – CARDIFF Utilita Arena 15 – HULL Connexin Live 18 – GLASGOW Hydro 19 – MANCHESTER Co-op Live 20 – LONDON Alexandra Palace 21 – LONDON Alexandra Palace
Aussie faves The Amity Affliction have announced the details of a headlining run across the UK/EU.
The metalcore outfit have announced the House Of Cards EU/UK 2026 Tour in support of their new album, House Of Cards. The run will see the band joined by SILENT PLANET, VARIALS and ORTHODOX.
Check out the touring dates below.
September 18th – Wiesbaden, DE @ Schlachthof September 19th – Cologne, DE @ Palladium September 20th – Hamburg, DE @ Große Freiheit 36 September 22nd – Stockholm, SE @ Fållan September 24th – Helsinki, FI @ Ääniwalli September 26th – Oslo, NO @ Rockefeller September 27th – Copenhagen, DK @ Vega September 28th – Berlin, DE @ Huxleys September 29th – Warsaw, PL @ Progresja October 1st – Prague, CZ @ Roxy October 2nd – Vienna, AT @ Gasometer October 3rd – Munich, DE @ Tonhalle October 5th – Zürich, CH @ Komplex 457 October 6th – Paris, FR @ Élysée Montmartre October 7th – Antwerp, BE @ Zappa October 8th – Tilburg, NL @ 013 October 10th – Manchester, UK @ O2 Ritz October 11th – London, UK @ O2 Forum Kentish Town October 12th – Nottingham, UK @ Rock City October 13th – Bristol, UK @ O2 Academy
The German folk-rock band SCHANDMAUL have released a official music video for their new single “Nosferatu,” blending a creepy atmosphere with a healthy dose of humour. Inspired lyrically by Bram Stoker’s “Dracula”, the song explores themes of loneliness, longing, and mourning the loss of life. The music video approaches these otherwise serious themes with a playful wink, telling the story of a bloodsucker yearning for the sun and finding an unlikely ally along the way, portrayed by vocalist Till Herence and band leader Thomas Lindner.
SCHANDMAUL comments on the video: “Our most elaborate video yet! Three full days of filming across a wide variety of locations, with a huge dose of fun and a touch of mischief.”
Following “Sternensegler,”“In der Hand,” and “An beiden Enden,” “Nosferatu” marks the fourth single from SCHANDMAUL’s upcoming album Sternensegler. Featuring vocalist Till Herence for the first time, the album marks the beginning of a new chapter for the band, while once again showcasing SCHANDMAUL’s unmistakable blend of catchy melodies, emotional depth, and captivating energy.
VENUS GRRRLS have transcended to another plane with the explosively evocative, riff-driven dreamscape with their new single ‘Mother Knows’.
Drawing upon the most gothic of imagery, as vocalist GK explains, the track is: “written about the myth of Mary Shelley having sex on her mother’s grave. There’s a lot of discourse and nuances to whether this truly happened, but the alleged event really struck me visually and immediately inspired me to narrate it lyrically. Toying with some imagery in her iconic novel, Frankenstein, I wanted there to be a double entendre within the lyricism. Her written character, Victor Frankenstein, brought flesh to life, and I liked the idea of passion and sex also metaphorically bringing flesh to life, too.”
The track wends its way through all manner of luscious textures with an over-arching, classic rock imbibed riff from guitarist Eliza Lee. “I got to channel some of my inner 70s rock god by bowing the guitar on the bridge, “ she says of one of the more ethereal moments in the track. “I’ve always loved the haunting effect you can get with a violin bow that I don’t really think you can replicate with gadgetry, it felt like the right move for the graveyard ambience of the song.”
‘Mother Knows’ is revealing itself as VENUS GRRRLS also announce their new EP ‘To Die as Lovers May’, which will be released 16th October via Killabop.
The collection will also be available on CD and vinyl, with pre-orders available later this week. “‘To Die as Lovers May’ is an exploration of death, love, and viscera,” the band say. “Drawing heavily on dark romanticism, it explores the beauty amongst the macabre and the vision that lives amidst the fog. Combining the melancholy of 90s grunge with haunting 80s goth, ‘To Die as Lovers May’ is an ode to the more peculiar and darker corners of the human experience, both in life and after death. With influences from 19th century literature and twisting the tales of mythology, the story told is one of romance, decay, and acquiescence.”
Jamie T’s signature sharp storytelling has been a cornerstone of British culture and national identity since he released his Mercury Prize shortlisted debut album Panic Prevention in 2007 at 18 years old, quietly building the kind of legendary status that arrives without force or ego.
Today he closes the loop, leaving the liminal space held between his youth and his present self as he announces the release of his forthcoming sixth album Ghosts (100 Days of Morning) is coming October 9th via Polydor Records. A confronting 11-track collection of former ghosts (of ideas) brought to life during a difficult time in his own life, Ghosts (100 Days of Morning) nods to growing up and leaving youth behind, love, loss and the brittle nostalgia of halcyon indie-era nights. Ghosts is as much about letting go as it is reclaiming his identity.
To celebrate, he shares the spirited and anthemic album opener “3310” turning the infamous Nokia ‘status symbol’ and getting pissed on snakebite into bold poetry sung over athletic guitars. The accompanying video, directed by Rob Thorogood and shot at the seaside, nods to half of its title; a soundtrack to the early hours, that transient time where some are waking up for work or leaving for a morning jog, and others are just getting home. Blending elements of the surreal and the absurd, the video sees Jamie set out on a new day but something doesn’t feel right.
Speaking on the album, Jamie shares: “Everyone has a part of themselves they keep at arm’s length, even from the people they love. “Ghosts” to me is about seeing that version of yourself for the first time in a long time and trying to hold on to it. This album is me trying to find that again.”
Check out the tracklist for the upcoming album below as well as the cover art below.
3310 (Written & Produced by Jamie T & James Dring)
Cocktail (Written by Jamie T, James Dring & Damon Albarn / Produced by James & Jamie. Additional Keys from Damon)
Waist 36 Leg 32 (Written & Produced by Jamie T & James Dring)
All I Wanna See Is Now (Written & Produced by Jamie T & Olly Burden)
The Won (Written & Produced by Jamie T & James Dring)
Chelsea Girls (Written & Produced by Jamie T & James Dring)
Ghosts (Cover of The Jam song Ghosts)
Crimson & Clover (Written & Produced by Jamie T & James Dring)
Crucible (Written & Produced by Jamie T & Hugo White)
Caught Cheating (Written & Produced by Jamie T & James Dring)
Tallahassee (Includes sample of Leif Vollebekk’s song Tallahassee. Produced by Jamie, Co-Produced by Hugo White)
London post-punk experts Alien Chicks have released their gripping new single ‘Madmen’ which is their the second reveal from the forthcoming ‘Toys Taken At Birth’ EP set for release October 2nd via Alcopop! Records(Art Brut, Ditz, The Wytches).
Signalling the follow-up to their EP lead-single ‘5/4’, ‘Madmen’ encapsulates the group’s relentless energy and anthemic sensibilities in full flow. Armed with a collection of diverse influences and a fearless approach to their genre, the trio continue to defy expectations, whilst critical acclaim continues to gather momentum in the process. Press praise from key titles including The Independent, NME, DIY, Dork, Clash, Rolling Stone, CMU and Rough Trade has certainly helped accelerate their profile, as well as regular airplay across the BBC Radio 1 (Jack Saunders, Arielle Free, Amy Lamé), BBC 6 Music (Steve Lamacq, Deb Grant, Nathan Shepherd, Tom Robinson) and Radio X (John Kennedy) airwaves.
Primed to head out on a UK in-store run and European tour this autumn to coincide with their EP release (with a February 2027 EU run to follow), the band are ready to build on their thrilling live reputation. Having already supported esteemed contemporaries such as English Teacher, Lambrini Girls, Sprints, Maruja and Big Special, Alien Chicks also made their first trip stateside for SXSW earlier this year.
Detailing their newest effort, the three-piece added: “‘Mad Men’ at its core is that half-ironic, half-serious idea that as the state of the world gets more extreme, democracy itself starts to feel meaningless. The line about being a ‘great dictator’ pushes that frustration further, exposing how quickly political dissatisfaction can tip into authoritarian thinking. It’s quite direct and serious lyrically which is unusual for us and definitely a sign of the scary times that we’re living in.”
Bath’s indie-americana outfit Young Martyrs have returned with their most ambitious statement yet. ‘Might Just Be Enough’, their third studio album, arrives on August 21st 2026
The record’s final single ‘Only You’ is out now.
At its core, ‘Might Just Be Enough’ tells the story of a band striving for something bigger. Written and recorded after years of self-funding releases, relentless touring, and steadily building an audience through sheer perseverance, it’s a classic underdog story as old as recorded music itself: a group of friends with big dreams, refusing to stop believing that the next album might just be enough, capturing the optimism and uncertainty of a band still chasing their next breakthrough.
Recorded between Real World Studios and Indefra Studios, the album was created largely as a three-piece, with guitarist Rich Beeby also handling bass duties during the recording process, before welcoming bassist Phil Smith to the lineup. The record was self-produced by the band themselves alongside Sebastian Brice, engineered by Ben Koch, and mastered by renowned engineer Christian Wright (Ed Sheeran, Franz Ferdinand, Blur, Laura Marling) at the iconic Abbey Road Studios.
‘Might Just Be Enough’ represents the band’s most fully realised work to date. Across the album’s ten tracks, the record explores the essence of the human condition: love, longing, grief, hope, mental health and perseverance. Combining driving rhythms, expansive guitars, rich harmonies, addictive choruses and cinematic soundscapes, the album captures a band reaching a new creative peak, all the while remaining grounded in the honesty that has defined their music from the beginning.
On the album, vocalist and lyricist Tom Corneill says: “The title track from this, our third studio album, sums it up in a few words: it might just be enough. The album is a collection of songs about love, longing, grief, and more, but really this album is a culmination of everything we’ve worked so hard for as a band since forming in the weird days of 2020. It’s our most carefully curated distillation of ideas since we first started making noise together and we’re hoping it will be enough to win the world over. All we want is to make music that gets heard by people everywhere. This, we hope, is how we get there.”
Ahead of the album came its final single ‘Only You’, out on August 12th 2026. A soaring, heart-on-sleeve anthem that balances romance with realism. Built on driving drums, anthemic guitars and an unforgettable chorus, the track explores the realities of long-term commitment.
On the single, Corneill explains: “‘Only You’ is the realest love song you’ll ever hear. We wanted to write an all-out love song about love, but without all the sugar-sweet clichés. So this is a collection of things two people might say to and feel about each other over the course of their time together; the easy bits and the tough bits. Love isn’t about feeling faultlessly on top of the world 24/7, it’s about committing to be beside someone even though promises will be broken and thing are going to get hard at times. Love is knowing things aren’t always easy and doing it anyway. And sometimes it’s just completely amazing. And we hope that’s how you’ll feel when you listen to it.”
While many things may be uncertain these days, one thing is clear: Electric Knights Of Eternal Rock Fury, the upcoming album from Finnish hard rock band HÄ/DA, set for release in October, is poised to be one of the standout hard rock records of the year.
The band are proudly channeling the spirit of AC/DC, mixing crunchy riffs with loads of catchy, pop-flavored melodies.
On the track, vocalist Antti “DeeAa” Heikkinen says:
“Gone In November is, at its core, a love song. The lyrics tell the story of a man haunted by a wanderer’s soul. The restless traveler finds himself hitting the road again just after meeting the guiding star of his life. Still, the narrator insists that he will return to orbit around his new love. Believe it if you will,”.
Almost Anything Music 