Tag: women who kick ass

New Audio: Dublin’s Martina and the Moons Share Broodingly Cinematic “Higher Than A Hawk”

Led by Spanish-Scottish frontperson Martina Moon, Dublin-based indie outfit Martina and the Moons can trace their origins back to when Moon relocated to Dublin to study at BIMM University, where she met and quickly connected with her then-future bandmates Ruby Levins (bass), Zahira Ellis (drums) and Sarah Morgan (guitar). 

The Dublin-based quartet quickly established a sound that blended elements of post-punk, indie rock, 90s Brit Pop and the 60s and 70s Laurel Canyon sound while featuring gorgeous melodies and a youthful aggression and angst. In fact, Moon, who cites Paul SimonLady GagaCatatonia, Radiohead, Bruno Mars and an eclectic list of others as influences, writes lyrics that frequently touch on themes of alienation, being misunderstood, being an outsider, and yearning with a deeply lived-in sensibility and earnestness. 

In a short period of time, the band has played opening slots for Porridge Radio and Thumper. They’ve played Whelan’s Main Stage at Ones to Watch. And adding to a growing regional profile, they played 2025’s The Great Escape Festival, receiving mentions from BBC Introducing and praise from Golden Plec and from Hotpress, who named them one of their Hot for ’25 acts. 

Last year, the band signed to Dublin-based artist development label Rubarb Music, who released recently released their Ruadhrí Cushnan-produced EP Starfish Social Club, which features the previously released “Baby Turtle” and “Laundry Mat.”  

Starfish Social Club EP‘s third and latest single “Higher Than A Hawk” showcases a more shoegazer and post punk-tinged take on their Brit Pop-inspired sound. Featuring swirling and shimmering guitars, an angular and propulsive bass line, forceful drumming paired with Moon’s bold, almost in-your-face delivery, “Higher Than A Hawk” may arguably be the most brooding and cinematic song on the EP, seemingly channeling the likes of A Storm in Heaven-era The Verve, Slowdive, The Church and others, all while anchored around Moon’s earnest lyricism.

New Audio: Us and I Share Melancholy “What’s There to Dream”

Formed back in 2018 in  Bangalore and currently based in Düsseldorf, synth pop duo Us and I — Bidisha Kesh (vocals) and Guarav Govilkar (production) — features members who come from very different backgrounds and who bonded over having similar musical sensibilities. As the story goes, when teh pair started to work together, they quickly realized that they shared a unique way of crafting songs: deeply personal lyrics paired with the melancholia of the orange and yellow colors leaking from their synthesizers.

Th duo then spent the next two years developing a sound that they believed acted as a bridge between the synth-driven work of Chromatics and the slow-burning, dream pop of Beach House — with subtle nods to darkwave and post-punk. Thematically, the duo’s material generally draws from everyday life and the relationships around them. 

The duo’s debut EP, 2021’s Loveless thematically focused on a deeply universal subject, love — in particular, a past love, and how the nostalgia and grief of that past love can hit us like a wave hitting the shore. Since the release of Loveless EP, the duo relocated to Düsseldorf — for work and for potentially better opportunities for their music. 

The Düsseldorf-based duo begins 2026 with their latest single, “What’s There To Dream,” a slow-burning and melancholy song that continues a run of material that to my ears sounds like a synthesis of Still Corners and Beach House — but while evoking a mix of nostalgia, reverie and creeping doubt.

“We all have days when we question the meaning of this quiet banality of life. Moments where everything feels soft, heavy and strangely beautiful at once,” the duo explain. “This song is an invitation to sit with those thoughts. To dive into existentialism in colour. . . “

New Video: Kim Gordon Shares Woozy “NOT TODAY”

The legendary Kim Gordon will be releasing her third solo album, the Justin Raisen-produced PLAY ME on March 13, 2026 through Matador Records. PLAY ME is reportedly distilled and immediate, and sees Gordon expanding on her sonic palette to include more melodic beats and the motorik drive of krautock.

“We wanted the songs to be short,” Gordon says of her continued collaboration with acclaimed, Los Angeles-based producer Justin Raisen. “We wanted to do it really fast. It’s more focused, and maybe more confident. I always kind of work off of rhythms, and I knew I wanted it to be even more beat-oriented than the last one. Justin really gets my voice and my lyrics and he understands how I work—that came forth even more on this record.” 

PLAY ME is the follow-up to 2024’s critically applauded sophomore album The Collective, which featured the two-time Grammy-nominated single “BYE BYE.PLAY ME sees Gordon processing in her imitable way, the collateral damage of the billionaire class: the demolition of democracy, technocratic end-times-like fascism, the A.I.-fueled chill vibes flattering of culture — where dark humor voices the absurdity of our moment. But despite its frequent outward gave, the album is essentially an interior effort, one in which heightened emotionality pulses through physical jams, while rejecting definitive statements in favor of an inquisitiveness and curiosity that keeps Gordon searching — and ever in process.

Amid PLAY ME’s rabbit-hole reality bricolage, pitch-shifted vocals and shadowy layers of dissonance, the album’s material are clear-eyed about the attention they pay to a world that would rather you be distracted and rage-baited into oblivion. “I have to say, the thing that influenced me most was the news. We are in some kind of ‘post empire’ now, where people just disappear,” Gordon says, echoing the title of one of PLAY ME’s tracks.

PLAY ME’s lead single “NOT TODAY” pairs Gordon’s imitable croon with woozily dreamy production anchored around a motorik-like groove, bursts of feedback-driven shoegazer guitar textures, glitchy electronics and driving beats. “I started singing in a way I hadn’t sung in a long time,” Gordon says. “This other voice came out.”

The accompanying video was directed by Rodarte fashion label founders and filmmakers Kate and Laura Mulleavy with director of photography Christopher Blauvelt. Throughout the video, Gordon wears a hand-dyed silk tulle dress from an early Rodarte collection, that was custom-made for her by the Mulleavys. “She was our idol and we vividly remember fitting the dress with her in NYC,” the Mulleavys said. “When we started to conceptualize the video, Kim brought up wearing the dress, which we knew was perfect for the video idea.”

New Video: Sylvia Black Shares Broodingly Hypnotic “The Snake”

Los Angeles-based multifaceted producer, singer/songwriter, bassist, performer, restless performer and JOVM mainstay Sylvia Black will be releasing her long-awaited new album, the 11-song Shadowtime on Friday, January 16, 2026.

The album reportedly sees Black continuing her long-held approach of songwriting from the bottom up. “I find a beat that I’m in love with and go forward,” Black says. “The bass provides the floor, but as a singer, I’m also coming in with the roof. If you can write a beautiful song with just those two elements, bass notes and the voice, that’s a job well done.”

Written, produced and performed primarily by the JOVM mainstay, the album was crafted with support from longtime mix engineer and creative foil Ruddy Lee Cullers. The album’s material is a haunting exploration of nostalgia and futurism that also sees the Los Angeles-based artist body pushing her sound in new directions by weaving hypnotic rhythms, cinematic layers and raw, visceral emotion, while moving effortlessly from dance floor anthems to atmospheric meditations on love, loss and transcendence. “This album is about finding beauty in ruins,” Black says. “About letting the shadows speak through me. Returning to California brought out the memory and soul of my goth days gone by.” 

Shadowtime will feature the album singles “Talking in Tongues,” and “Long Gone Gardens,” both of which were released last year. The JOVM mainstay begins 2026 with album opening track “The Snake,” a synth-driven song anchored around a motorik groove and industrial thump paired with Black’s beguiling vocal and hypnotic countermelodies. The result is song that sounds much like a sultry, club friendly take on the likes of Suicide that showcases Black’s unerring knack for razor sharp, remarkably catchy hooks.

“The album opens with the fall of mankind or the awakening and the struggle with the birth pangs to traverse into a new paradigm for better or worse. You decide,” Black explains. “Apparently it’s a choose your own adventure and this is the story of those and their choice.”

The accompanying video was shot and edited by Black, and features mind-bending animation that ties into the album’s overall themes and zeitgeist. “A deadline, no plan, a green sheet sloppily tacked to the side of a barn way out in Virginia, and some holiday time with my fussy old laptop,” Black says of the video.

New Video: Seattle’s Filth Is Eternal Shares a Bruising Ripper

Formed back in 2020, Seattle-based quartet Filth Is Eternal — Lis DiAngelo (vocals), Brian McClelland (guitar), Logan Miller (bass) and Josh Pehrson (drums) — was initially inspired by the raw, impulsive ethos of punk. The band quickly developed a reputation for a frenetic live set, which they brought to DIY venues across the country. “Filth has always been about energy at the heart of things since the earliest recordings,” the band’s Lis DiAngelo says. “We wanted to leave our blood and guts out on the floor,” Brian McClelland adds. 

Filth Is Eternal’s third album, Impossible World is slated for a March 17, 2026 release through MNRK Heavy. The highly-anticipated follow up to the band’s acclaimed 2023 sophomore effort Find Out was written against a backdrop of accelerating gentrification, unchecked technology and the slow — but quickening — creep of authoritarianism and fascism. So the album thematically confronts life in our present dystopian hellscape. And yet, rather than surrounding to despair and hopelessness, the band push forward with a defiant clarity, while asking difficult questions about survival, humanity and resistance in a world increasingly shaped without anyone’s consent.

Despite the album’s overall heavy subject matter, Impossible World has many soaring moments throughout — flashes of light that give fans a sense of possibility midst the brutal toils of contemporary life. The album is a salve in hard times, reminding the listener that art has the radical potential to enliven us, to connect us with others and to keep us holding on, as we wait out and plan through the darkest hours.

Sonically, the album reportedly sees the band balancing hardcore urgency with a sharpened melodic sensibility. The result is an effort that draws from punk’s immediacy while seeing the band push their sound towards something much more deliberate and expansive. “I think the biggest changes from LP1 to now is that we’ve upped the intention by using more melody, harmony, and singing in general. We’re working with aggression, but moving toward something beautiful and true,” DiAngelo says. 

The album also features collaborations with The Blood Brothers‘ Johnny Whitney, Fall Out Boy‘s Joe Trohman, Gina Gleason and Lauren Lavin, alongside their use of the FILTH EQ+, a pedal they crafted that helped shaped the album’s overall sound.

Impossible World‘s first single, “Stay Melted,” is a bruising ripper that seemingly channels Dirt-era Alice in Chains, Badmotorfinger-era Soundgarden and Live Through This-era Hole, anchored by DiAngelo’s most incisive and forceful songwriting of their growing catalog. Thematically, the song exposes and critiques the hypocrisy at the heart of the rise of Christofascism here in the States with a brutally clear-eyed honesty.

“The world can feel like a total trash fire to the point where we become lethargic,” the band says. “Lethargy makes us our own worst enemy; sometimes you have to kill a thing before you lose yourself to it completely.” 

Directed by Sebastian Deramat, the accompanying video for “Stay Melted” fittingly brings back memories of 120 Minutes-era MTV.

New Audio: JOVM Mainstays Lucid Express Return with Lush, Brooding “Faux Sweetness”

Hong Kong-based shoegazers and JOVM mainstays Lucid Express will be releasing their long-awaited and highly-anticipated sophomore album Instant Comfort on February 20, 2026 through Kanine Records

Mixed by Kurt Feldman during marathon overnight, transpacific sessions on Discord, Instant Comfort reportedly captures the unsettling stillness of the nighttime hours. The album’s material sonically sees the Hong Kong-based JOVM mainstays pairing ethereal melodies with towering walls of jangling guitars and hazy, swirling feedback while being more clear-eyed, complex and layered than anything they’ve released to date. 

The album will feature the previously released “Something Blue,” a woozy and uneasy tune, anchored around a classic grunge and shoegaze structure, and the album’s second and latest single “Faux Sweetness.” Arguably one of the more Cocteau Twins-like tunes they’ve written and released to date, “Faux Sweetness” opens with a droning theremin passage before bursting into a densely layered, subtly brooding soundscape in which each instrument is seamlessly interwoven into a lush and dreamy bed for Kim Ho’s ethereal cooing.

Lucid Express’ Kim Ho says, “onFaux Sweetness’ we return to some of our earliest indie pop influences while also mixing in some of the darker sounds we’ve picked up over years of experimenting in our studio space. It kind of led us to make something that is both heavier and more delicate than anything we’d written up to that point.”

New Audio: Draag Shares Woozily Meditative “NSPS”

With the release of their full-length debut, 2023’s Dark Fire Heresy and last year’s Actually, the quiet is nice EPLos Angeles-based shoegazers and JOVM mainstays Draag — Adrian Acosta (vocals, guitar), Jessica Huang (vocals, synths), Ray Montes (guitar), Nick Kelley (bass) and Nathan Najera (drums) — received attention nationally and elsewhere for boldly pushing the boundaries of shoegaze into new, wild directions. And adding to a growing profile, the JOVM mainstay outfit have toured with WednesdayMSPAINT, Glitterer and They Are Gutting A Body Of Water.

Building upon growing momentum, the Los Angeles-based JOVM mainstays will start the new year with the Miracle Drug EP, which is slated for a January 23, 2026 through Oakland-based tastemaker label, Smoking Room

The EP will feature the previously released, EP title track “Miracle Drug,” a mind-bending blend of shoegaze, post-punk and nu-metal, and the EP’s second single “NSPS.” “NSPS” is meditative slow-burn, anchored around a woozy and lived-in sense of nostalgia, shame and heartache, from the perspective of a narrator, who has lived a messy life and attained a difficult, hard-won peace and constantly encounters elements of their past — in their present.

“I wrote NSPS on my 10 year sobriety anniversary. I’ve come very far in my sobriety journey and don’t struggle as much as I used to. Sometimes I miss my drunken days, but without needing to go back. On my 10 year sobrieversary, I spent a lot of time reflecting on past relationships and saw how many were taking advantage of me,” Draag’s Adrian Costa explains. “I remember the person I was back then, and I wanted approval so bad, even if it meant being abused by so called friends and partners. When I drive through the valley (818), I often drive through specific locations and landmarks in my life where abysmal and ridiculous events occurred during my drinking days. I still love this place and it’s still my place of comfort.”

New Audio: 5th PROJEKT Shares Brooding and Atmospheric “Oblivion”

With the release of 2022’s The Labyrinth EP and 2023’s The Wolf EP, Toronto-based psych rock/art rock outfit 5th PROJEKT — Tara Rice (vocals, guitar), Peter Broadley (bass), Sködt McNalty (guitar) and David Pake (drums) — made a name for themselves in the national scene: The Wolf EP debuted on the !earshot National Top 50, before climbing into the Top 25. The Wolf EP was also featured in Obscure Sound, Spill Magazine, V13, Canadian Beats, From the Strait and a collection of local and international publications.

Adding to a growing local and national profile, the band has received awards series of award nominations including The Ontario Independent Music Awards (IMAs), The Toronto Independent Music Awards (IMAs) and The Orange County Music Awards. They’ve also made a run of international festival circuit with sets at NXNE, Departure (f.k.a. Canadian Music Week), Indie Week, Kaleidoscope and Spirits of the Earth. And they’ve gone on two tours of Eastern Canada.

The Canadian quartet’s first live-off-the-floor EP Live in London is slated for a May 13, 2026 through the band’s own Organik Rekords. Recorded at London, ON-based The Sugar Shack, Live in London is part of the Incorrect Thoughts Live series.

The EP’s first single is a live rendition and reworking of “Oblivion,” a song that appeared on their debut effort, 2006’s Circadian. Live in London EP‘s take on “Oblivion” features a reimagined, slow-burning introduction, specifically meant to deepen the original’s hauntingly hypnotic pull while retaining the elements of the original that their fans loved: Rice’s ethereal and yearning delivery over a brooding slow-burning groove and shimmering and expressive, shoegazer-like guitar textures. And while reminding me a bit of Phantoms‘ 2013 effort The Fire Tapes, “Oblivion” showcases a band that specializes in cinematic atmospherics and enormous hooks and choruses.

New Audio: KITTY@ Shares Propulsive, Club Banging “When I Think Of You”

KITTY@ is a São Paulo-born, Italian based singer/songwriter and electronic music producer who has always been connected to the arts and creative endeavors. She began working marketing product design and media with a focus on fashion, textiles, color and visual culture, which has helped shaped her perspective and the way she builds ideas.

After taking a pause for health concerns, she rediscovered her passion for creativity through music. As a singer/songwriter and producer, her work largely draws from her experiences, her memory and from her sensitivity.

KITTY@’s latest effort, Disco Vibes is a 12-song effort that features material that sees her effortlessly blending disco, soul, R&B, pop, electro pop and techno. Disco Vibes‘ latest single “When I Think Of You,” is a catchy, club banger anchored a hypnotic and downright euphoric, Ibiza-like bass line and glistening synths that serves as a lush, hook-driven bed for her Taylor Dayne-like delivery. It’s the sort of song specifically meant for dancing — with your eyes closed, longing for that special one.

New Video: Howling Bells Shares Bittersweet “Melbourne”

Since their beginnings, London-based, Aussie trio Howling Bells — siblings Juanita Stein (vocals, guitar) and Joel Stein (guitar) and Glenn Moule (drums) — have been a bit of anomaly: They relocated to the UK to pursue their dreams of making it. And then, they broke through a British indie scene of three-and-four-dude-wearing-skinny-jeans bands with their acclaimed, self-titled 2006 full-length debut. 

Those dreams of making it big actually became real: They played an NME Tour and then in stadiums opening for a Coldplay, while winning acclaim from the UK music press. 

Throughout their nearly two decade history, the band has gone through a series of lineup changes but some things have remained the same: the core trio’s deep, unbreakable bond and their hypnotic sound, influenced by Tom WaitsSonic YouthNirvanaFleetwood Mac and Björk

Howling Bells’ fifth album, Strange Life is slated for a February 13, 2026 release through Nude Records. The long-awaited album is the band’s first album of new material in over 12 years and was recorded with their longtime friend and collaborator Ben Hillier at Agricultural Audio Studios. The new album is reportedly both a vibrant document of and an exploratory testament to the alchemical magic between its core members. 

Late last year, I wrote about album single “Chimera,” a song that showcases Juanita Stein’s gorgeous and expressive vocal and the band’s knack for big hooks and choruses. Strange Life‘s latest single “Melbourne” continues a run of jangle pop-like indie rock with big hooks — but at its core is a confusing and familiar mix of yearning for the familiar and the grief over the tacit acknowledgement that the familiar can no longer be had. You can’t go back home again, as the novel says — and that’s often more true than not. And it’s all anchored in bitter, lived-in experience.

“‘Melbourne’ is a song about deep yearning and ultimately grief. It explores a unique inner conflict many of us feel when we leave our homes and families to start anew somewhere else,” Howling Bells’ Juanita Stein explains. “This aching can be especially intense when we’re faced with something traumatic and all we want is the safety and warm embrace of the familiar. I experienced a heightened version of this when I returned to Melbourne a few years ago to play some shows, having not been back for a while. It felt slightly surreal and tragic being there without any family to share this with, as they had also left Australia over the years. Then, within 24 hours of touchdown, I got a call from a hospital in England telling me that my father, who was ill, had taken a turn for the worse, and so I had to pack up and return to the UK before I’d even played a show. It was brutal. I felt a thousand things that day, from the physical weight of having to lug around 2 huge suitcases full of merch I was planning to unload, to sitting alone in tears at the airport in Singapore during the layover. All these experiences left me with a deep well of sadness and a longing to return to my homeland to find what it is I’d now lost forever. This is something I carry around with me every day. All it takes is the glimmer of the sun at a certain time of day, or the occasional scent of an eucalyptus tree, or the sharp twinge of nostalgia when I hear the melody of a particular song, to remind me of the sadness and beauty that is now my Australia,”

Directed by Safiyya Lea, the accompanying video for “Melbourne” stars a beanie-wearing Tilly Woodward, driving down a country road before she pulls over to get out of her truck and expressively dance by a tree.

New Video: JOVM Mainstays The Orielles Shares Two Dreamy and Expansive Tunes

Acclaimed, Manchester, UK-based JOVM mainstays The Orielles — Esmé Dee Hand-Halford (bass, vocals), Sidonie Dee Hand-Halford (drums, vocals) and Henry Carlyle Wade (guitar, vocals) — will be releasing their fourth album, the Joel Anthony Patchett-produced Only You Left through Heavenly Recordings on March 13, 2026. 

Recorded last summer in two locations — the Greek Island of Hydra and Hamburg — the forthcoming, 11-song Only You Left reportedly sees the band consolidating the bold experimentation of 2022’s Tableau with the more stripped-back, song-driven approach of their earlier releases, channeling a return to the familiar. “There’s nothing more trad than a three-piece,” quips Henry, in reference to the band’s decision to return to their roots as a trio. 

Now, as you may remember, the JOVM mainstays, which originally started out in Halifax gained attention both nationally and internationally with the release of their full-length debut, 2018’s Silver Dollar Moment, which will celebrate its eighth birthday this upcoming February. “These things come in like seven year cycles. So we’ve come in like a full circle back to a familiar place, just as different people,” the band says. 

As for the foundations of the forthcoming album, the band’s Henry Carlyle Wade says “You’ve got to die and be reborn between albums.” “It comes naturally, the band’s Esmé Hand-Halford adds, “it’s not something we consciously do.” Interestingly through this process of creative renewal, the JOVM mainstays have managed to weather a pandemic, the fickleness of a trend-driven music industry and somehow emerge with something that’s familiar yet completely different. 

According to Wade, the first ideas for the new album can be traced back to May 2023: Esmé Hand-Halford had purchased a freeze pedal, which allowed her to play around with sustained notes on her guitar. These heavy drones would later form the background of album tracks “Wasp” and “Three Halves.” 

In breaks between tours, the band began to meet up and record their practice room sessions, later analyzing the voice notes with a granular attention to detail. “We recorded everything on our phones, every snippet,” explains Henry. “We went so deep into what each song needed or what we wanted to hear from it.”

While the Tableau sessions were semi-improvisational and partially written in the recording studio, Only You Left was fleshed out through a series of intense writing sessions between May 2023 and last summer. Each of the album’s 11 songs were meticulously refined and became its own distinctive work. “It almost felt really novel for us to be writing as a three-piece and really, really crafting these songs,” the band’s Esmé Hand-Halford recalls. “But Tableau gave us that confidence to know we could go into a studio and pull things together in that setting under the time pressure.”

Producer and engineer Joel Anthony Patchett, whom Esmé Hand-Halford dubs the honorary fourth member of the band, has had a massive influence on the album’s sound and approach. “Joel brings an extra level of interpretation and deep listening,” Henry Carlyle Wade says, “and it’s always exciting to explore that.” Sidonie Hand-Halford adds, “He’s constantly talking us through every step of what he’s doing and getting really, really involved with that process as well. And we’re just kind of learning together and making these mistakes and discovering things together.” 

Only You Left will feature the previously released “Three Halves,” a track that derives its title from when the band’s Wade stitched together three recordings on Abelton and needed a working title. What initially began as a temporary placeholder quickly became a theme for Esmé Hand-Halford to riff on and a metaphor for the trio and their deeply shared connection.

Today, the JOVM mainstays shared the double single, “You Are Eating Part of Yourself”/”To Undo the World Itself.” “You Are Eating Part of Yourself” is a slow-burning and minimalist tune anchored around a looping, strummed guitar figure, dreamy vocal that gradually becomes a glitch-driven tide of feedback and cacophony before closing with a slow, piano-driven fade out. Seemingly nodding at OK Computer and Amnesiac-era Radiohead, “You Are Eating Part of Yourself” conveys a bittersweet acknowledgment of time irrevocably racing by before your eyes. “To Undo the World Itself,” is a expansive post-rock-like tune featuring reverb-drenched vocal melody ethereally floating over a propulsive, shoegaze-meets-dream pop arrangement of guitar, bass and drums.

Accompanied by a video directed by Neelam Khan Vela, which spans both tracks, the band said: “‘You are Eating a Part of Yourself’ began when a durational guitar loop was released from the archive of improv’s recorded in Henry’s bedroom. The title, which comes from a video artwork dating 1996, captures the darkness emanating from the original recording, and reflects the clarity to be able to define that feeling some years later. Through music (and some words) we unfurled the emotion captured back then, as we put our ears up to the organs of the body orchestrating their own symphony and dissonance.

Closing track of the album ‘To Undo the World Itself’ sings of rebirth and reversal, or outstanding finality, depending on the impression that ‘Only You Left’ leaves you with. The cathartic crescendo meant that this was a favourite to play in the various live rooms that we wrote / recorded in, where it was trialled against the backdrops of thunderstorms and peaceful sunsets alike.”

“After almost a decade of collaborating with The Orielles, we share a connection that makes our creative process completely intuitive, like a long rally where ideas are passed back and forth without needing to be spoken,” Neelam Khan Vela adds. ” The band filmed with Lewis and Giulia in Manchester, and from that starting point I let the emotional pull of the tracks guide the edit, completing the video through what the music evoked and what the evolving images seemed to ask for.”

New Video: MEMORIALS Share Mind-bending “Cut Glass Hammer”

Canterbury, UK-based MEMORIALSElectrelane‘s Verity Susman (vocals) and Wire‘s Matthew Simms (guitar) — will be releasing their third album All Clouds Bring Not Rain on March 27, 2026 through Fire Recordings. The album will be released digitally, on CD and three limited citrus vinyl editions: Orange Vinyl, Lemon Vinyl (Indie Store Exclusive) and a Lime Vinyl Bundle, which will include four hand-stamped art prints in a signed wax-sealed envelope plus a sticker sheet (Fire Records and Bandcamp Exclusive).

Having spent the first half of last year composing the soundtrack to an acclaimed documentary about Kate Bush, which aired last fall, the duo spent the summer writing and recording All Clouds Bring Not Rain, before embarking on a Stateside tour with Stereolab.

The duo locked themselves away in a studio in a secluded barn deep in the southwestern French woods, where the immediate environment imbued the recording sessions with a sense of freedom and an album of beautiful, unusual material that’s both melodic, unconventional and remarkably ambitious.

Written, performed, recorded and mixed solely by the duo, the album reportedly sounds much like an unearthed classic that sees the pair twisting their influences into their own unmistakable sound that draws from a wide range of influences including folk, dub, post punk, experimental tape music, 60s soul, garage rock, 70s spiritual jazz and Canterbury prog among others.

“We are increasingly drawn to the way records used to be made, both the sound of the equipment used and the choices forced by that equipment; there wasn’t the option to tinker for ages, it was about capturing a moment in time and committing to that,” the duo say of the new album’s creative process. “It’s far more satisfying to record sounds that exist in a real space and so become unique to us: they aren’t the same as the samples readily available everywhere . . . we were actively turning away from the easy option at almost every opportunity!”

That attention to detail in their sound meant finding several other studios to get what they needed to create what they wanted the album’s material to sound like and to record with, including a harpsichord at 4AD‘s London-based studio and a vibraphone and vintage Leslie speaker at Stereolab’s Andy Ramsay’s Press Play Studio.

Susman’s distinctive, unadorned delivery, which sees her moving from tender to wild throughout is a focal point oft the album. Her vocal melodies provide the tunefulness and hooky earworms around which their songs’ more unorthodox elements are arranged, showcasing Matthews’ unique approach to recording and production.

All Clouds Bring Not Rain‘s first single “Cut Glass Hammer” is a woozy and hypnotic song built around two looping modular synth lines, a motorik groove paired with Susman’s dreamy delivery singing lyrics inspired by a trip the duo took to see the Yoko Ono retrospective Music of the Mind at London’s Tate Modern Gallery. The result is an anachronistic, mind-bending, psilocybin trip that sounds as though it could have been released in 1967 or a B-side on Pavo Pavo‘s 2016 effort, Young Narrator in the Breakers.

The fittingly trippy DIY accompanying video starts with patches being plugged into an analog, modular synth, the song’s titular hammer being used to keep musical time, old toys on spinning a record player and more.

Tour Dates
April 08 – Le Hasard Ludique, Paris, France 
April 09 – Le Tangram, Évreux, France 
April 10 – Variations Festival, Nantes, France, w/ Einstürzende Neubauten 
April 11 – Calm, Limoges, France 
April 12 – La Petite Populaire, La Réole, France 
April 14 – Le Consortium, Dijon, France 
April 15 – Le Grand Mix, Tourcoing, France, w/ Bibi Club 
April 22 – The Croft, Bristol, UK 
April 23 – Little Bully, Oxford, UK 
April 24 – Prince Albert, Brighton, UK 
April 26 – Heartbreakers, Southampton, UK 
April 29 – The Lexington, London, UK 
April 30 – Hyde Park Book Club, Leeds, UK 
May 01 – The Castle Hotel, Manchester, UK 
May 31 – Nachtasyl, Hamburg, Germany
June 01 – Kantine am Berghain, Berlin, Germany
June 02 – Noch Besser Leben, Leipzig, Germany
June 03 – Kohi, Karlsruhe, Germany
June 04 – Club Manufaktur, Schorndorf, Germany
June 05 – Bellevue Di Monaco, München, Germany
June 06 – Rotown, Rotterdam, Netherlands