A belated Happy New Year to you all. It should come as no surprise that there are still some gems waiting to be heard from 2025. Equally unsurprising is that this one comes from Australia. I saw the video for ‘Flippin’ Stomp’ by chance on YouTube recently, and this was enough to have me searching out the album, ‘Introducing The Gnomes’ online.
The above song is unashamedly 60s influenced, regardless of their penchant for mullets and moustaches. But there are even more Beatlish tunes on the album; ‘I’ll Be There’ would almost be considered too close to The Rutles for comfort, were it not such a great song. The same can be said for the opening song, ‘Better With You’. And throughout this, their third long player, they show that, while their influences are blatant, their talent with a melody and their obvious love for what they do rises above kitsch. Not to mention their infectious energy, in a Monkees style.
‘Open Your Eyes’ could give The Speedways a run for their money, veering towards power pop territory, while ‘Won’t Quit You’ sits somewhere between The Pretty Things and The Yardbirds. You can’t fault their taste, and they have the tunes to back it up. ‘I Like It’ is a two-minute slab of Kinks-style joy, but ‘Stung’ takes us on a groovy, 6 minute journey of a paisley print nature. It’s as if the previous albums have been leading to this point, where The Gnomes can branch out their 60s roots but retain an identity. It’s really impressive stuff. Initially, the solo project of Jay Millar, this has become a band to be reckoned with. 12 great tunes, no filler, played with a ton of enthusiasm. I’ve found a late contender for one of my favourite albums of 2025. Fab gear, indeed.
Seattle’s all-women garage-rock wrecking crew The Darts kick off their new album cycle with “Midnight Creep,” the first advance single from their upcoming LP Halloween Love Songs, out March 3 on Adrenalin Fix Music. The single drops Tuesday, January 13 and finds the band slipping deeper into the spooky, swagger-heavy garage-trash universe they’ve been flirting with since day one. If you’ve ever wished the Back From the Grave comps came with a dance craze, you’re already in the right neighborhood. The Darts have spent the last decade carving their name into the global underground with Farfisa-first garage chaos, sold-out shows across Europe, the UK, and North America, and multiple sold-out vinyl runs. They’re known for genuine, close-to-the-crowd performances and Nicole’s honest connection with the room, a band that brings people into the show and plays from real joy rather than polish. They’ve landed sought-after KEXP live sessions and hit major festivals like Punk Rock Bowling, Binic Folk and Blues, SJOCK Festival, and Bear Stone Festival, earning fans ranging from Dave Vanian to Stephen King to Jello Biafra. With Nicole Laurenne (vocals and keys), Rebecca Davidson (guitar), Lindsay Scarey (bass), and the returning Rikki Watson (drums), this lineup feels like the most dialed, dangerous, and joyfully unhinged version of the band yet.
“Midnight Creep” started as a surprise curveball when Lindsay brought Nicole a demo called “Phantom Creep.” Nicole was already quietly writing a Halloween-themed album and immediately heard a chance to chase something different: an honest-to-ghoul old-school monster dance, the kind that might’ve aired on a haunted Shindig episode taped in a basement full of fog machines and paper-mâché bats. She rebuilt the tune into a slinky, organ-driven earworm; Lindsay created a simple, go-go-friendly choreography; and suddenly The Darts had a Halloween banger that felt both brand-new and weirdly familiar.
They’ve been testing it on the road for months, from Switzerland to Cincinnati, and everywhere in between. The reaction has been instant every night. Whole rooms start doing the dance without needing to be shown. It’s instinctive, like the ghosts of old 45s are moving people around by the hips. To bottle that energy, they teamed up with Frogman director Anthony Cousins, who shot a gloriously campy video steeped in B-movie mood: basement gloom, creature-feature attitude, and the dance front and center for anyone ready to join the creep. It looks like the lost midnight-movie segment some long-gone TV station forgot to broadcast.
As a first glimpse of Halloween Love Songs, “Midnight Creep” nails the album’s split personality. Side A is built for the golden-hour trick-or-treat crowd, ghoulish fun, jangling keys, kitsch with teeth. Side B is the after-midnight bonfire: darker, heavier, fuzzier. Recorded at Station House Studio in Los Angeles with Grammy-winning producer Mark Rains, the album mixes The Darts’ signature garage-punk snarl with vintage horror-pop swagger, landing somewhere between the feral swing of The Cramps, the surf-trash bite of The Trashwomen, and the modern fuzz of bands like Death Valley Girls or Dead Weather, all wired together with that unmistakable Darts voltage. “Midnight Creep” isn’t just the first chapter, it’s the spark. A resurrected retro dance craze. A late-night slither with claws out. A Halloween party starter that already feels like it’s been living under the floorboards for decades.
For press inquiries, interviews, and review copies, please reach out. -Chad
The Darts On Tour 2026
1.22 Waimea, HI – Blue Dragon Tavern 1.23 Kailua-Kona, HI – Kona Elks Club 1.24 Wailuku, HI – Request Music 1.25 Honolulu, HI – Proof Social Club
3.27 Amiens, FR – Péniche Celestine 3.28 Lauzach, FR – Festival Bouge Ton Cube 4.01 Rouen, FR – Fury Défendu 4.03 Vitré, FR – Very Rock Trip Party 4.05 Montaigu, FR – Le Zinor
5.01 Sacramento, CA 5.02 Reno, NV 5.03 Chico, CA 5.06 Eugene, OR 5.07 Portland, OR 5.08 Tacoma, WA 5.09 Seattle, WA 5.10 Bellingham, WA 5.12 Yakima, WA 5.14 Salt Lake City, UT 5.15 Grand Junction, CO 5.16 Denver, CO 5.17 Albuquerque, NM 5.19 Tucson, AZ 5.20 Phoenix, AZ 5.21 El Centro, CA 5.22 Los Angeles, CA 5.23 Long Beach, CA 5.24 Oceanside, CA 5.25 Pioneertown, CA 5.27 Las Vegas, NV 5.28 Palmdale, CA 5.29 Santa Cruz, CA 5.30 Oakland, CA
6.10 Jersey City, NJ 6.11 Washington, DC 6.12 Richmond, VA 6.13 Raleigh, NC 6.14 Wilmington, NC 6.17 Savannah, GA 6.18 Athens, GA 6.19 Atlanta, GA 6.20 Nashville, TN 6.21 Louisville, KY 6.23 Indianapolis, IN 6.24 Cleveland, OH 6.25 Rochester, NY 6.26 Lake George, NY 6.27 New Haven, CT 6.28 Brooklyn, NY
8.26 Eugene, OR 8.27 Portland, OR 8.28 Seattle, WA 8.29 Vancouver, BC
8.30 Olympia, WA
US venues, and more dates in the EU, Australia, and New Zealand to be announced soon
As their highly anticipated fifth album ‘DAGGER’ rears into view, IST IST have shared its final pre-emptive single “Obligations”.
With its pulsating bassline, driving beats, and synth throbs, “Obligations” is the enlivening new track from Manchester’s finest. Embodying the metamorphosis of IST IST as they gear-up for the next stage in their evolution, this latest cut is fittingly all about transformation and sacrifices that can come with it.
As vocalist Adam Houghton says:
“With “Obligations,” I wanted to capture the feeling of being bound to someone who represents both your salvation and your undoing. It’s about how love can feel like duty — something you can’t walk away from even when it hurts. I wanted to explore memory as something that both comforts and strangles, showing how the past can shape who we become. By the end, the narrator isn’t whole anymore, but they’ve accepted that pain and change are part of survival. It’s about transformation through loss — the quiet resilience of being altered by love.”
The new single arrives with a thought provoking official video featuring artist and longtime friend of the band Oliver Marson. Tuning into the track’s integral lyric “What is left is a different version of me”, we find Marson portraying an alternate version of the IST IST frontman.
With IST IST’s Joe Cross (Hurts, Courteeners, Slow Readers Club) produced fifth album ‘DAGGER’, now just four weeks away (out 6 February 2026, via Kind Violence Records), the track is a resolute reminder of its imminent release. Completely self-funded, self-recorded, and due to be released completely independently via their own Kind Violence Records imprint, five albums in, ‘DAGGER’ is the band’s most direct album yet and symbolises the driven DIY ethic that has been programmed into IST IST’s DNA since day dot.
Following a short stretch of European and UK shows this Autumn, IST IST will be hitting the road again in April this year, with upcoming shows in Norwich, Exeter, Oxford, Newcastle, Sheffield, Nottingham, Bristol,Brighton, PLUS recently added dates in Glasgow, Edinburgh, and London. These shows will pave the way towards their biggest hometown show to date, at Manchester’s Albert Hall in May. All dates are listed below, with all tickets on sale now.
In addition, IST IST are delighted to confirm a short series of intimate in-store/out-store shows as they launch their new album ‘DAGGER’. Catch them at these dates and venues:
IST IST – 2026 UK & IRELAND TOUR DATES
UK IN-STORE ALBUM LAUNCH SHOWS
Leeds – Headroom House – 07.02.26
Bury – The Met – 08.02.26
Edinburgh – The Caves – 09.02.26
Nottingham – Rough Trade – 10.02.26
London – Rough Trade East – 11.02.26
EUROPEAN SHOWS
Antwerp – Kafka Oudaan – 11.03.26
Cologne – Luxor – 12.03.26
Amsterdam – Paradiso – 14.03.26
Frankfurt – Das Bett – 15.03.26
Zurich – Werk 21 – 16.03.26
Milan – Santeria Toscana 31 – 17.03.26
Budapest – Durer Kert – 19.03.26
Bratislava – Pink Whale – 20.03.26
Krakow – Klub Zascianek – 22.03.26
Warsaw – Hydrozadka – 23.03.26
Berlin – Hole 44 – 24.03.26
Esbjerg – Tobakken – 26.03.26
Oslo – Parkteatret – 27.03.26
Stockholm – Kollektivet – 29.03.26
Hamburg – Logo – 31.03.26
UK HEADLINE SHOWS
Norwich – Waterfront – 09.04.26
London – The Garage – 10.04.26
Exeter – Phoenix – 11.04.26
Oxford – O2 Academy 2 – 12.04.26
Newcastle – The Grove – 16.04.26
Glasgow – Oran Mor – 17.04.26
Sheffield – Network – 18.04.26
Nottingham – Rescue Rooms – 23.04.26
Bristol – Thekla – 24.04.26
Brighton – Quarters – 25.04.26
Dublin – The grand Social – 28.04.26
Belfast – Ulster Sports Club – 29.04.26
Manchester – Albert Hall – 01.05.26
(w/ Support from DESPERATE JOURNALIST + THE YOUTH PLAY)
Warsaw-based Heavy Medication Records announces their first release of 2026, a six-song e.p. Ex-Lazy Cowgirl frontman Pat Todd, jhas always had his heart and soul dipped in the good stuff and he’s wrung every last drop from that heart through his music on this his umpteenth release he’s only gone back to the well of Dolls legends Thunders and Johansen and tipped his hat in the form of three cuts from each songwriter as a thank you for the music they gave him he’s passing on the batton to the next generation who might not have heard the Dolls.
The vibe of the release is perfectly summed up by Pat, “This record is something I’ve been wanting to do for 20 years or so, but never seemed to have the time to record. To me, the New York Dolls are in the pantheon of all-time greats, right along with Dylan, the Stones, Chuck Berry, Muddy Waters, the Velvets, etc. And just like those people, I thought Johansen & Thunders wrote many great songs after what is thought of as their prime period. The Rankoutsiders started this record way before we knew that David Johansen was ill, and we finished it after his death. I personally owe David and Johnny a lot for all the inspiration and love I got out of their music and being. For me, they will always be around.”
Of the three Thunders tracks, side one kicks off with a barroom take on ‘Dead Or Alive’ where the energy and trade mark Tunders slides are all intact, as is the tone of that lead guitar, nailed it! To be fair, it’s a no-brainer, isn’t it? Of course, Todd and his rank outsiders were always going to nail it. Of the three Johansen tunes, maybe lesser known to be fair, ‘Wreckless Crazy’ has a ton of DJ’s magic in the delivery, and it sounds like a load of fun was had in the performing of this much underrated gem. ‘Melody’ probably being the more sophisticated track on offer (is that fair? Who knows), again, having new life breathed into these tracks is a joy to hear.
The EP closes with a snotty raising of the glass to ‘The Rope (The Let Go Song)’. I guess if the point was to tip the hat and pass on the baton, then job done all round. Another fantastic release from Heavy Medication and Pat Todd, and a real joy to review. My advice is just pick up a copy and turn it up!
History has proved that live albums can be hit and miss affairs. Even when it’s your favourite band, there’s no guarantee it’ll hit you in the feels like you expect. Some bands get it right; some get it wrong. Especially now, with an oversaturated market and low attention spans, music, like all media, has become a throwaway commodity, like it or not. Musicians must up their game to compete, survive and ultimately gain the attention of a potential new fanbase. We all know it shouldn’t be that way, but here we are in 2026.
That’s where Delila Paz & Edgey Pires (otherwise known as The Last Internationale) come in. Remember when getting hold of a new album was an event? When you would queue at the record shop on a Saturday to get something no one else, or very few others had. The excitement of peeling off the film and perusing the artwork while listening for the very first time…a ritual. Delila & Edgey do, and one of the pros of being an independent artist is having total control of your music. At the time of writing, ‘Live In Europe’ is not on streaming services, you can’t buy it on Amazon, and you can only purchase it directly from the artist. Yes, it’s more expensive, yes, it takes longer than 24 hours to get to you. But they will sign the cover, ship a beautiful looking record to your house and believe me, you will listen to, appreciate and spend more time with that album than you ever will on Spotify.
With just 7 tracks, ‘Live In Europe’ is not a sprawling, career-defining double live album, and it doesn’t outstay its welcome. The fat has been stripped back, and Delila, Edgey and the band are presented in the raw, as they are live, night after night, whether it be in clubs or on festival stages across Europe.
“Kick out the jams, motherfuckers!” is a statement of intent and a killer intro for any live album, and their version of the MC5 classic is done justice here as it sets the scene for one of the finest live acts currently treading the boards. ‘Life, Liberty & The Pursuit of Indian Blood’ is a live favourite with a chanting refrain designed to ignite a festival crowd; the added Hammond organ and guitar-wielding chaos make it an exciting live version. The 70’s rock swagger of ‘1984’ and recent single ‘Hero’ comes across great live too.
Side two takes it down a notch with the emotive ‘Soul On Fire’. A piano introduction and a stunning lead vocal that leads nicely into an extended and quite mesmerising intro to ‘Wanted Man’, where Delila shines as one of the strongest live voices around. A powerful statement of intent from a band with a political agenda as strong as its musical one. The rhythm section pumps the beat along to Delila’s faultless and emotive vocal until Edgey’s effect-ridden guitar takes centre stage. The crowd participation section may be lost on the listener, but I can assure you the singer is in the crowd with the whole room in the palm of her hand, as she makes a whole room sit on command.
It ends as it began with a punk rock fury. ‘1968’ is their very own anthem of defiance and revolution, a long-time set closer that is extended with crowd interaction, yelling the “freedom” refrain. It builds to a marvellous climax that will see the guitarist literally rip the string from his guitar night after night.
The Last Internationale are an independent band who live for the stage and fights to survive night after night, and ‘Live In Europe’ captures the power and emotion of a high-energy, entertaining live band and is a fine example of how to do a live album in 2026. Support independent music and spend your Xmas money on something worthwhile.
Punk Rock Power Trio ULTRABOMB Release New Single “Artificial Stars”Out January 2, 2026 — First Single from Upcoming AlbumThe Bridges That We Burn — Out April 3, 2026
Band Consists of Greg Norton (Hüsker Dü), Derek O’Brien (Social Distortion, Agent Orange, Adolescents) and Ryan Smith (Soul Asylum)
“After a pair of LPs over the past four years, Utrabomb is back with “Artificial Stars,” a swift blow to the sternum that harnesses both the speedy energy of Norton’s early Minneapolis days and the ragged hard-rock sensibility of Twin Tone-era Soul Asylum.” – Magnet
Minneapolis, MN — Punk rock power trio Ultrabomb have released their new single “Artificial Stars.” The track marks the first release from their forthcoming full-length album The Bridges That We Burn, arriving April 3, 2026 via DC-Jam Records/Virgin Music Group.
“Artificial Stars” delivers Ultrabomb’s signature blend of urgency, melody, and grit — drawing on decades of lived punk experience while confronting themes of isolation, endurance, and the drive to keep reaching forward even in uncertain times.
Greg Norton explains: “Sitting in our bunkers, we only have artificial stars to look at. We are all scarred, but we keep reaching for those stars.”
Release Dates • The Bridges That We Burn (album): April 3, 2026
Rock music is about to get louder, bolder, and more alive than ever.
To order / stream The Line single with Ian Gillan hit Here
UROCK have released The Line, an electrifying new single featuring legendary Deep Purple frontman IAN GILLAN.
A bold and thrilling anthem, The Line bursts to life with thunderous riffs, fierce intensity, and unstoppable momentum. From the very first note, it seizes your attention and never lets go. But The Line isn’t just another collaboration—it’s a fusion of rock generations, built on molten guitars, unfiltered emotion, and Ian Gillan’s unmistakable vocals riding the storm. UROCK channels the raw, defiant energy that once shook stadiums to their foundations—and they’re doing it all over again.
Lyrically, the song confronts a system that controls and manipulates everyone to think and live the same way, daring listeners to break free and get out of the line.
“I would say to all the rock fans out there, you’ve just got to get yourself tangled up with The Line and with UROCK. It’s fantastic. I wouldn’t have got involved in this had it not been a great tune, had they not been a great band—and I’m very proud to be on the video and on the recording. So get out there and get involved.”
— Ian Gillan
“Ian poured his heart into The Line, contributing melodies, harmonies, and arrangements, truly co-writing the piece. His passion and work ethic were inspiring, both in the studio and during the video shoot. Ian’s generosity and enthusiasm, even as a rock legend collaborating with a self-produced band, were extraordinary—a story I’ll cherish forever.” — Umberto UROCK
The Line single is just the beginning—a powerful preview of UROCK’s full-length album, The Line, coming in early 2026.
UROCK’s eagerly awaited newalbum brings together an exceptional unparalleled lineup of rock icons. From Ian Gillan to Alan Parsons, the sonic architect behind Pink Floyd’s most iconic sounds, and Jack Endino, the producer who discovered Nirvana and helped shape the grunge revolution, this project is a masterclass in rock history. Adding to the star power is special guest Alastair Greene, a modern blues-rock virtuoso whose fiery guitar work bridges the gap between rock’s golden era and its future. This album isn’t just music—it’s a landmark moment in the genre.
Featuring eight original tracks, the album showcases UROCK’s exceptional musical talent and infectious energy. Each song delivers a compelling blend of melodic choruses, hard-hitting riffs, and dynamic guitar solos, creating an exhilarating listening journey that both honours and expands the band’s signature sound. Drawing inspiration from classic rock roots while embracing contemporary influences, The Line offers a fresh perspective on the genre. For anyone craving a unique and unforgettable musical experience, this is an absolute must-listen.
With The Line, UROCK proves that rock is eternal—raw, unfiltered, and unstoppable. This is what rock ’n’ roll sounds like when it’s alive, loud, and unapologetically theirs. The future of rock starts here—with UROCK.
This song, featuring the always amazing Inga Liljestrom, is from their latest album “Shamanic Faultlines” which is still available on vinyl, CD and digital. Here
Golem Dance Cult is an Australian-French band. Their music has been defined as “a Hammer Horror movie directed by Dali and recoloured by Andy Warhol”. Practically, it means they inhabit the “Industrial Dance Rock, Post-Punk, Glam Goth” realm. In 2025, they signed with Spanish label “Pugilat Deluxe” for the release of their second long-form album, ‘Shamanic Faultlines’
What a fantastic end to another fantastic year of music for RPM Online, and I can’t think of a better place to be to send off the year than in a packed Empire watching the return of Vent 414and The Wonderstuff celebrating doing this malarky for 39 years!
With Milo and Peter putting in a double shift tonight, it seemed only fair that we make the effort to be in the venue early for this, and after making the 400-mile round trip, we wanted to get our money’s worth and boy did we achieve that. Vent 414 made an admission earlier this year that they were indeed in rehearsals and recording a follow-up album to their debut a mere 29 years ago, so it was a delight when Morgan, Milo and Pete wandered onto the stage and then proceeded to fill every conceivable space in the venue with their huge wall of noise beginning with ‘Laying Down With’. The band cranked out the tunes with a couple of brand new ones they’ve been recording, and Milo did inform us that the album was coming in 2026 and possibly more shows.
The first new song was built around a mega groove baby (aren’t they all) before ‘Fixer’ touched on familiar ground. By the time we locked into the volume control, it was Milo offering up the final song of the seven-song set, another new song entitled ‘Lucinda Comes In Many Colours’, I’m excited to hear the new album and what can only be described as something of a creative purple patch for the man from the midlands and this sounds bang on the money.
After warming his voice up with Vent 414, Milo marched on to the Stage, beaming from ear to ear and proceeded to kick the shit out of the finest tunes the Wonder Stuff has to offer in a manner that defies the years because not only did the band sound leaner and meaner they were on fire, and Milo’s vocals were absolutely outstanding. Little time for chit chat other than to introduce a few tunes and announce this was being recorded for a live album in 2026, it was ‘Red Berry Joy Town’ to kick off, and for the next 90 minutes plus, this ‘Eight-Legged’ heavy set list was nothing short of stunning. Malc and Mark weaved the riffs, and the rhythm was maybe tighter than ever, whilst Erica and Milo let proceedings with nicely timed riffs and licks.
The classics came thick and fast from ‘On The Ropes’ and ‘Cartoon Boyfriend’ to ‘Piece Of Sky’ and an epic ‘Mission Drive’. The Wonder Stuff 2025 were absolutely killing it and bringing the curtain down on one hell of a year for shows. I’ve thoroughly enjoyed the revisiting of albums over the past few years and the set lists have been pretty awesome, but for some reason, this one seemed extra special, not because it was being recorded for a live album but the energy from the stage was infectious, and to see post-covid era Milo smiling all the time is as infectious as a dose of flu. So much so that there were cheers for the couple of tracks of the last studio album ‘Don’t Anyone Dare Give A Damn’ and ‘The Guy With The Gift’.
Have I said already how incredible Milo sounded? The guy is singing better than ever, belting out the songs with passion and conviction, and as we headed to ‘Give, Give, Give Me More, More, More’, the clock was ticking, and the end wasn’t far off, even if I didn’t want this to end quite yet, bloody curfews.
The encore was a triple header of ‘Can’t Shape Up’ followed by the finest rendition of ‘Poison’ before a brilliant ‘Ten Trenches Deep’ brought the curtain down on a magnificent night of music that defied the years and absolutely nailed my belief that The Wonder Stuff on form like this are an unstoppable force and are getting better and never going through the motions not for a second. Can we do this again next year for the 40th Birthday, please? Simply stunning! Oh, and if you’re taking requests, chuck ‘Good Night Though’ back into the set, it would have capped off my night perfectly.
Next year marks 40 fucking years of The Wonder Stuff, and that in itself sounds ridiculous, but on this evidence, it would be insane to stop now. This band are on fire, and I say let the music flow and keep on flowing
Just when you think 2025 can’t throw you any more curveballs, up pops UZU with not one, but two EPs of gothic-tinged electronica.
The curveball here is not so much the music contained within the EPs but more the fact that UZU hail from Newport (just down the road from me), and I’ve never heard of them until now.
The brainchild of David Lloyd Chapman, frontman of alt-metal trio Crisis Talks (who I have heard of, but never seen live), UZU specialise in dark, atmospheric, grunge-tinged (largely due to Chapman’s Layne Staley-tinged vocals on tracks like ‘Choke’ and ‘Under A Blackened Sun’) electronic rock music. There are also touches of ‘Host’-era Paradise Lost and the more introspective side of Marilyn Manson throughout ‘Ichi’s’ 7 tracks, and these factors all make for a very interesting listen indeed.
The production on both EPs is top drawer, creating a claustrophobic intensity that at times has me drifting off into the soundscapes Chapman has conjured up, especially during the short, almost ambient interludes that pop up throughout both EPs.
By contrast to ‘Ichi’ its sibling release ‘Ni’ is the one that has really drawn me in, largely because this one comes with hints of Trent Reznor’s soundtrack work along with a Shawn Smith like vocal influence interspersed throughout its 9 tracks, and whilst these tracks seldom break out of a slow throbbing rhythmic pace (‘Magazine’ being the obvious exception with its AIC riffage) it’s music that fans of the likes of Gazelle Twin and Ben Frost should instantly fall in love with.
I love receiving releases like this, simply because David Lloyd Chapman is doing something different with UZU. He’s cremating the rock ‘n roll envelope by not only including electronic elements but also making them become the main driving force of his creations, and if Soulwax can do this and sell out Academy-sized venues, then why not UZU?
‘Ichi’ & ‘Ni’ are available on all digital streaming platforms right now, check them out, you might be surprised too that this is music produced in South Wales and not some bleak Nordic ambient black metal import LP that will cost you the best part of £40.
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