Sydney based Punk Rock outfit This Time Only have just released their new single and music video called ‘Mick From The Pub’, which premiered exclusively via The AU Review. The band have also announced they will be playing a launch show at Oxford Art Factory (Gallery Bar) on March 14 to celebrate the release alongside Tallulah.
“Mick From The Pub drew heavily from Matt’s time working in shitty pubs. It’s about those people everyone knows, the pub regular who’s always got something to say, always got a story, and always seems to be there. On the surface Mick’s funny, loud and full of opinions, but the song is really about what’s sitting underneath that. It’s less about taking the piss and more about looking at that kind of character with a bit of empathy.”
This Time Only are built on sweat, grit, and big hooks. Their songs spit with urgency but land with heart — raw guitars and anthemic choruses set against lyrics that swing between scathing social commentary and lived-in Australian storytelling. Think the unfiltered honesty of The Smith Street Band colliding with the drive of The Menzingers and the punch of The Offspring.
For fans of storytelling as loud as the guitars, This Time Only is the sound of growing up, falling apart, and putting it all back together. New single ‘Mick From The Pub’ is available on all major online stores and streaming services.
‘MICK FROM THE PUB’ SINGLE LAUNCH
March 14 – Oxford Art Factory (Gallery Bar), Sydney, NSW
Tickets available at www.moshtix.com.au | 18+ only
Called “the first Metal Crossover band” (page 167) by Stephen Blush in his authoritative history of the movement, American Hardcore (second edition, Port Townsend: Feral House, 2010), Columbia, MA’s Void burned oh so bright in the fledgling days of USHC. Taking their name from Sabbath’s Into the Void and being a true cultural melting pot of being half-black and half-Filipino, the band’s real problem is that they just couldn’t be pigeon-holed.
In Blush’s book, guitarist Bubba DuPree comments that he even now cannot understand how Void were accepted into the HC scene: “We were so blatantly not part of it” (page 168) he goes on to say. It’s even noted that the release of their album, Poison for Bad Dreams, in 1983 was scuppered when the record company decided they were “too Metal”.
Which leaves Void with only a handful of compilation appearances, a 7” demo and the split album with The Faith – themselves fronted by Alec MacKaye, younger brother of Minor Threat / Fugazi legend, Ian.
Split over two sides of a clear vinyl, Outer Battery Records are set to release these newly rediscovered – and milestone – shows from the band, both from 1982. Side One was recorded on 30 April at Washington DC’s Wilson Center, the scene of an earlier triumph for Void, and just before the release of the split record.
This first show featured four songs that would go on to appear on album, all of which are filled with hardcore fury: Ask Them Why and Ignorant People both feature prominent bass introductions, courtesy of Chris Stover, eventually giving way to Bubba’s frenzied riffing and singer, John Weiffenbach’s madcap vocal performance. Who Are You? is introduced as an “old one” and Think as a “public service announcement” and both are rage-filled blasters.
The accusation that Void at Too Metal can be seen to find traction in the slow building opener, Shade of Grey, with its fat guitars and loose, jamming style, eschewing speed for a darker atmosphere. Spiral Staircase is more than four-minutes in length, unheard of in the USHC scene of the time, and includes Bubba going full-on Guitar God. It’s easy to see why these two tracks didn’t feature on the split.
Side Two comes from DC’s 9:30 Club and was recorded on 5 December 1982. Again, it’s heavily loaded with tracks from the split, including the chugging frenzy of My Rules, and the around one-minute whiplashing Self Defence and Organized Sports; Time to Die opens the second side with some decidedly Metal trills and plenty of cymbal crashes from sticksman Sean Finnegan.
Just seven months later and there’s a noticeable improvement in the delivery, whether that be the venue, the equipment or the band themselves developing, it results in a high energy performance. Explode feels more like an interlude, as does Let’s Party, which demonstrates the proficiency of all musical elements in Void.
Slow Burn is introduced as “a new one” and alternates between flailing guitars and doomy, brooding stomps. Going fully in on the darkness is Blood Lust, with a laidback stoner atmosphere and at nearly four-minutes long, it shows that Sabbath didn’t only influence their choice of name.
Perhaps a footnote in the history of USHC; maybe overlooked in favour of their more illustrious compardres, and possibly Too Metal, but Void Live 1982 is a short peek at one of the scene’s more eclectic participants, who were just too far ahead of their time.
Celebrating its 30th anniversary in 2026, Mr. Big’s fourth studio album, Hey Man, finally makes its long-awaited debut on vinyl for Record Store Day UK and Japan 2026 (April 18th), followed by a new remaster on SACD Hybrid Multi-channel and Double MQA-CD on May 8th.
A landmark release for the band, the album famously dominated the Japan Oricon chart for 16 weeks and remains a fan favorite for its blend of technical prowess and soulful songwriting.
The album features some of the band’s most enduring tracks, including fan-favorites “Take Cover” and “Goin’ Where The Wind Blows.” It stands as a definitive tribute to the incredible musicianship of the band’s classic lineup — Eric Martin, Pat Torpey, Billy Sheehan, and Paul Gilbert — making this a must-have for fans and collectors.
The Double MQA-CD format features an expansive array of additional content. This includes the “I Love You Japan” demo, the first-time release of the final mixes for “Friend of The Working Girl” and “Livin’ Like A Dog,” and a selection of bonus tracks such as “Tears,” “Little Mistake,” “Swingin’ Jam,” and “Shoot The Moon.” Rounding out the bonus material are live versions of “Take Cover,” “Goin’ Where The Wind Blows,” and “I Love You Japan,” alongside exclusive drum-only and minus-drum mixes of “Take Cover.”
The SACD Hybrid Multi-channel format features a brand-new remaster in high-resolution audio and will be released with a new 5.1 mix, housed in a premium super jewel box with a protective outer slipcase.
The 180g One-Step Pressing Deep Cyan Vinyl LP format marks the first time the album is available on vinyl for Record Store Day UK and Japan, and it is limited to 3,000 copies worldwide.
Stay tuned for more updates as these landmark anniversary editions arrive. The LP will be available on April 18th, followed by the SACD Hybrid Multi-channel and Double MQA-CD on May 8th.
Note: The Hybrid SACD disc is compatible with all standard CD and SACD players.
A forever favorite, through and through, And Also the Trees have been a constant musical force throughout much of my later years, capturing my imagination with their enigmatic, elegant, and ever-evolving body of work. From their earliest demos in 1982 through their latest introspective albums, their discography remains in steady rotation for me and is never far from my heart at all times.
The band’s latest record, The Devil’s Door, was self-released last Friday and has been receiving rave reviews across the board. A triumph among triumphs, the record is a exemplary continuation of the band’s contemplative, yet powerful sound and showcases the immense talents of the band’s current lineup, consisting of brothers Simon Huw and Justin Jones. drummer Paul Hill, bassist Grant Gordon, and clarinetist and multi-instrumentalist Colin Ozanne. The album also features backing vocals and violin from Belgian musician, vocalist, and composer Catherine Graindorge, who worked with Simon Huw Jones on her most recent Songs From the Dead LP in 2024.
And Also the Trees are currently gearing up for their upcoming European tour dates, which kick off this weekend in Belgium and also include festival appearances with longtime champions and collaborators The Cure. As the band was hard at work preparing their set, I had the chance to catch up once more with vocalist Simon Huw Jones to discuss The Devil’s Door, the band’s connection to jazz and post-punk, and their upcoming tour dates. This time around, we are joined by guitarist Justin Jones, who was able to give us some insight on his masterful guitar work and the album’s evocative textures.
And Also the Trees remain one of the most consistent and engaging acts, and it seems you’re more active now than ever before. What is the secret to being so prolific?
Simon Huw Jones: We used to take around 4 or 5 years to write an album which is hardly prolific but we’ve been on roll, it’s true. The Covid period distorted time and when the world went quiet Justin, who is the creative source of the band, created a lot of guitar pieces which led to Mother-of-pearl Moon – this now feels to me like an album that came out of nowhere. Without a break, we went straight into the initial ideas for what became The Devil’s Door. It was almost as if we didn’t take a breath between any of them, they ran into each other very naturally. But that’s it for the moment, this chapter of our story is over now.
Tell us a bit about your recording process for The Devil’s Door, if you could. Are you still recording in different locations and piecing it all together afterward? If so, it’s wonderful to hear how coherent and cohesive the pieces are.
SHJ: Well, Paul and Grant recorded the drums and bass together in an old barn in Herefordshire where we’ve recorded before and Justin was there directing. We’re all reacting to the guitar pieces which Justin had written and recorded in London and I suppose at least some of the pieces they were playing to had a guide vocal. Colin played his parts at his place in London too. But it’s all very instinctive and follows no formula and this is what gives the songs that unpredictability and energy.
Your latest works strike me as very streamlined, lean, and intentional, from every note to the lyrics, to the track listing. Do you ever record more material than needed or is anything ever held back from the records? Do you ever revisit or rework older pieces along the way?
SHJ: There are usually a few pieces that don’t meet our expectations or more commonly don’t get finished. We occasionally revisit them and they become part of another album. On this project there were two songs that Justin and I worked and reworked to the point of insanity which didn’t make the album – they went through phases where we thought they were on the verge of becoming amazing hit singles and then dropped off inexplicably into pieces that we began to hate. The lyric for one song I had forming and dissolving in my head for almost the whole of my summer holiday in Greece. Christ!… I have to laugh thinking about it or I’d cry.
This album is the third in a trilogy with the band’s latest lineup – can you expand on that a bit? Are there thematic similarities between this record, The Bone Carver, and Mother-of-pearl Moon, or are the albums connected more on a sonic level?
SHJ: It’s more on a sonic level. It’s the same five musicians on all three albums and particularly the clarinet, for me at least, threads through all three albums and ties them together. Justin would probably have more to say about the musicality of them all though.
Justin Jones: Sometimes things happen in threes. In this case it’s mostly to do with perception, but if I can stand far enough back from this last record I can see that: Born Into the Waves was a transitional album and then The Bone Carver started this triptych, probably because the cast was now formed, these individuals were emerging as AATT in the 2020s. Strong and confident in where they were heading.
From here on, who knows? I suspect if there is more it will be a new chapter or a new transition.
I’m always enamored with your lyrics and how they often paint an evocative portrait or create such lush stories. I know we’ve touched on your process in the past, but I’d love to hear about the lyricsfor this album. What inspired you for this particular set?
SHJ: Almost all my vocals come as an instinctive reaction to the music, usually there is some lyrical content which I can develop but not always. The song we called ‘As I Dive’ had nothing lyrically usable but a decent vocal line. Justin and I were listening to the music with the garbled words running and he said to me – “it’s like a river… the music.” I agreed and decide I’d lyrically and literally dive into it.
Sometimes a working title will inspire me, like with “Return of the Reapers” which Justin took from a painting he’d recently seen. I didn’t see the painting but I had the title in mind and the scene in my head when I reacted to the music and it came very easily. Those moments are quite rare and of course I treasure them. As a lyricist you want all songs to sound like they came effortlessly, like magic, but of course they don’t.
“The Crosshair” on the other hand was more complex and challenging for me. When I first heard and reacted to the music a main protagonist came to life – but then Justin thought the piece would be more interesting if he took most of the guitar parts out of it leaving this rather wonderful bass line as the prominent instrument… and Colin then added some clarinet that changed the atmosphere of the piece again… leaving my main protagonist in the wrong song. So I needed to find another one. Then once I’d found one the scenario only worked convincingly if it was played backwards.
Is that too much information? – I don’t like giving too much away about my lyrics… don’t like pinning them down – they should be free to mutate… hopefully they still will anyway.
And Also the Trees have always excelled at crafting such alluring soundscapes and textures – each album is a world I can live in for some time and quickly feels like a warm, cozy sweater. Having now seen the band live (finally!) it’s incredible to hear these sounds come to life on stage as well as on the records. I’m curious to hear more about how you get some of these otherworldly sounds out of an electric guitar…
JJ: That’s very kind of you.
I don’t think I hear things like other people do. I suppose we all hear things differently. But sometimes I feel I have a kind of hearing colour blindness. I watch videos of people reviewing amps and I can’t hear the difference they speak of when they turn a knob. It sounds the same to me.
But I have a fascination for the unknown. Sounds that aren’t really there. When you combine an instrument and a room something happens. You hear it more evidently in churches with voices. The sound waves ripple around the arches and sonically some magic happens. I suppose I am talking of harmonic distortions. If you are lucky a kind of alchemy happens and more voices appear that aren’t there.
That is where I like to be.
It’s rare but when it happens it’s god-like.
I’ve also loved how this incarnation of the band explores instrumentation that you don’t hear often in post-punk music. In addition to clarinet, which has been a regular feature for a bit now, I’m also loving the accordion in “The Trickster” – how do you land on the instrumentation for each record?
JJ: Well that’s not me that’s Colin. I take him ideas and he hears them and is interested in where the idea is going. Then he will imagine the path and off he goes, sometimes in mad Colin-ways. He has lots of instruments that he seems to play well. Sometimes it will be a Portuguese guitar or a piano or clarinet, or bass clarinet or accordion or Ondioline or something I’ve never seen or heard of. It’s a lovely creative chaos and fascinating understanding of AATT.
Speaking of “post-punk,” do you feel aligned with the genre these days, or do you feel the band has moved past such simple categorization? I’ve always found genres to be a mild annoyance, at best, and of course, that genre itself can mean any number of things, especially these days…
SHJ: As teenagers we bought and made our equipment and instruments with the intention of forming a punk rock band but by the time we’d learnt even the basics of playing, or shouting in time in my case, punk had ‘died’ as a movement. The ‘oi punk’ scene didn’t interest us, we had a different kind of energy. We didn’t want to try and become a classic rock band either. In fact we didn’t want to belong to any genre, we wanted to sound like no one else. There were bands that we could relate to emerging like The Cure, Joy Division, The Bunnymen etc. We loved those bands but we didn’t want to sound like them.
We listened back to early Pink Floyd, discovered The Doors, Can, Scott Walker – we discovered we liked some jazz and hated some more of it, we listened to some classical music, film sound tracks… John Barry, Bernard Hermann and we tried to play together. To make songs. What came out was very rough and slow and a bit awkward but eventually it started coming together. We were a band that formed precisely after punk rock – so when the category ‘post-punk’ started being used it was good for us because it was exactly what we were… even if we realised we didn’t have that classic ’80s post-punk’ sound, and apart, maybe, from our first album, I don’t think we ever did. But we have to have a category, like we need references to other bands and artists – we’re happy to mention The Cure these days because we sound nothing like each other but a lot of people who like us also like them. When strangers ask me what kind of music we play I say we are more like The Cure than ACDC or Abba.
We’ve talked a bit about your love of classical in the past and how that’s manifested in the work, but I’m hearing quite a bit of darker jazz influences on this particular record as well. Was this intentional? Have you always been into jazz, personally?
SHJ: This is also more of a question for Justin… but from my side I started to appreciate some jazz when I was lucky enough to inherit my brother-in-law’s record collection when he immigrated to the US back in 1981. He had quite a few Miles Davis records, some Pharaoh Sanders, Alice Coltrane – and I haven’t found anything I like better.
JJ: Jazz is an art form I have a lot of respect for. However intellectually it’s a language I can’t grasp, I don’t pretend to – it’s beyond me. My only experiences ‘close to’ jazz are on the peripheries. Marc Ribot is someone I could listen to all day. Other than that I would point to elements of jazz in film music. Colin is quite experienced in that world and has a grounding that seems to be based in jazz, he’s clever like that. Paul comes at it from a different direction, I think his early influence were jazz drummers.
Something exciting happened when I ‘opened out’ a piece on the new album called “The Crosshair.” I took out all the dense guitar that the idea was based around and left a skeleton of a guitar part and Paul and Colin created this mood that is like a Lalo Schifrin soundtrack that hover above Grant’s ominous bass part.
On a related note, it’s great to hear a few instrumental segues on The Devil’s Door, especially the penultimate track, which really is quite playful! I love that you included this just before the devastating “Shared Fate” which really swells and swings in the best way possible. I’d love to hear more about how these tracks came together, especially…
JJ: This started life as quite an open, incidental piece of music but as it gathered form it began to seem as though it was trying to tell me something. Requiem is too grandiose a word for it but it felt like this was a slow march toward the light. Then Colin added his piano and clarinets and yes, it was just that. When he played back what he had done I wanted to hug him, but I’m English and we don’t do that very well.
“Shared Fate” was always going to be at the end with that title and so these pieces found themselves a home.
It’s wonderful to hear Catherine Graindorge guesting on the album. Will she be joining you on tour?
SHJ: She will be our special guest on tour yes, playing her solo act… I might join her for a piece and then she might join us for a song too – we haven’t really discussed it yet. She is a fantastic musician and I really liked working with her a lot… I find the violin an extraordinarily emotional instrument and even in rehearsals I’d get totally blown away by what she was doing. It’d be quite cool to see what would happen if she and Justin worked together on some more pieces.
It’s also great to see that you’re playing with The Cure again this year, three festival dates in southern France no less! Have you played outdoor venues in recent years?
SHJ: I don’t think we have played outdoor for some time. But we’re very happy to be playing there… and the fact that our two bands are still together 45 years after we first played together, and after having such different paths through music and life is extraordinary and pretty wonderful I reckon.
Last, but not least, I always love that you often play non-traditional venues as well as beautiful theaters. Are you playing any exciting and/or off-kilter venues this time around?
SHJ: Well the tour is still being planned – so far we just have France and a show in this amazing church in Namur in Belgium. We played there before and it was a surprise… huge and very grand and dramatic. Then we’re playing in a pub in Angers in France a few days later. Then in July the ancient Roman arena in Nimes – so, typical AATT.
I think it’s great we can play in such a variety of venues and not feel out of place in any of them. Knowing me, my favourite will be the pub… §
And Also the Trees 2026 Tour Dates
March 7th — La Nef De L’Eglise Notre Dame D’Harscamp — Namur, BE
March 18th — Le Grand Mix — Tourcoing, FR
March 19th — Joker’s Pub — Angers, FR
March 20th — Hydrophone — Lorient, FR
March 21st — Espace Culturel Buisson — Cherbourg, FR
March 22nd — La Gaité Lyrique — Paris, FR
April 4th — Death Disco Indoor Festival 2026 — Athens, GR
Legendary guitar icons Joe Satriani and Steve Vai return with the SatchVai Band release of their brand-new single, “Dancing,” out now via earMUSIC, alongside a wildly entertaining new video directed by Satriani’s son, ZZ Satriani. The single was released Monday 2nd March 2026.
The single is available on all streaming platforms HERE.
Musically, “Dancing” – a reimagined interpretation of a song by iconic Italian singer, pianist, and songwriter Paolo Conte – showcases the SATCHVAI Band at full throttle. A vibrant, melodic conversation between two of rock’s most expressive guitar voices. Built on momentum, melody, and fearless musical chemistry, the track captures the spirit of spontaneity and joy that defined their electrifying European tour.
The video stars actor, comedian and musician Brendon Small (Metalacolpyse. Dethklok), a longtime friend of both guitarists, who hilariously portrays an overzealous talent manager pushing the duo to cast dancers for the band’s upcoming live show.
The chaos unfolds in sync with the track’s fast-moving melodic interplay between Satriani and Vai — a rapid-fire exchange of soaring guitar lines that mirrors the eccentric parade of auditioning performers. Eagle-eyed fans will also spot a cameo from the band’s powerhouse drummer Kenny Aronoff, adding to the tongue-in-cheek energy.
Satriani shares, “‘Dancing’ really captures the playful side of what Steve, and I discovered on stage together last summer — that push-and-pull of melody and energy. The video gave us a chance to show that spirit in a completely different way. Watching ZZ bring this absurd casting concept to life — and having Brendon step into the madness — made it even more fun.”
Vai adds, “This band thrives on surprise — musically and visually. ‘Dancing’ is a perfect example of that. It’s melodic but relentless, and the video turns that energy into a kind of surreal comedy. It’s a glimpse into the personality of this band before we even hit the stage.”
The release arrives as the SatchVai Band prepares to bring their “Surfing With The Hydra” 2026 U.S. Tour stateside for the first time. Launching April 1st in Seattle and running through May 30th at Wolf Trap, the tour follows a celebrated European run that included stops in London, Paris, Copenhagen, and festival appearances at Hellfest, Umbria Jazz Festival, and Guitares en Scène. Support on all dates will come from progressive metal innovators Animals as Leaders.
On the Surfing With The Hydra Tour, fans can expect a full-band, high-energy performance featuring more new material from the forthcoming SATCHVAI Band album alongside iconic favourites from both artists’ catalogues.
“Dancing” follows the duo’s previous releases, including the cinematic instrumental “The Sea of Emotion, Pt. 1” and the anthemic “I Wanna Play My Guitar,” featuring powerhouse vocals from Glenn Hughes (Deep Purple, Black Country Communion).
Together, these tracks preview a collaboration that is decades in the making. Despite nearly 50 years of friendship, the SATCHVAI Band marks the first time Satriani and Vai have formally united in a shared group — alongside drummer Kenny Aronoff, bassist Marco Mendoza, and guitarist Pete Thorn — forging a live experience built on virtuosity, friendship and fearless creativity.
April 1 – Seattle, WA – Paramount Theatre
April 2 – Portland, OR – Arlene Schnitzer Concert Hall
April 4 – Oakland, CA – Fox Theater
April 5 – Reno, NV – Grand Sierra Resort and Casino
April 7 – Long Beach, CA – Long Beach Terrace Theater
April 8 – San Diego, CA – Cal Coast Credit Union Open Air Theatre
April 10 – Mesa, AZ – Mesa Amphitheatre
April 11 – Las Vegas, NV – The Theater at Virgin Hotels Las Vegas
April 14 – Denver, CO – Mission Ballroom
April 16 – Houston, TX – 713 Music Hall
April 17 – Dallas, TX – Music Hall at Fair Park
April 18 – Austin, TX – ACL Live at the Moody Theater
April 20 – Mobile, AL – Saenger Theatre
April 22 – Pompano Beach, FL – Pompano Beach Amphitheater
April 24 – Clearwater, FL – Baycare Sound
April 25 – St. Augustine, FL – St. Augustine Amphitheatre
April 26 – Orlando, FL – Hard Rock Live
April 27 – Atlanta, GA – Atlanta Symphony Hall
April 29 – Charlotte, NC – Ovens Auditorium
April 30 – Durham, NC – DPAC
May 2 – Minneapolis, MN – State Theatre
May 3 – Chicago, IL – Chicago Theatre
May 5 – Milwaukee, WI – The Riverside Theater
May 7 – Nashville, TN – Ryman Auditorium
May 8 – Cincinnati, OH – PNC Pavillion at Riverbend Music Center
May 9 – Indianapolis, IN – Everwise Amphitheater at White River State Park
May 10 – St. Louis, MO – The Factory
May 12 – Buffalo, NY – Kleinhans Music Hall
May 13 – Toronto, Ont – Meridian Hall
May 15 – Northfield, OH – MGM Northfield Park
May 16 – Rochester Hills, MI – Meadow Brook Amphitheatre
May 17 – Syracuse, NY – Landmark Theatre
May 20 – Boston, MA – Leader Bank Pavilion
May 21 – Albany, NY – Palace Theatre
May 22 – Waterbury, CT – Palace Theater
May 23 – Virginia Beach, VA – The Dome
May 27 – Reading, PA – Santander Performing Arts Center
May 28 – New York, NY – Beacon Theatre
May 29 – Atlantic City, NJ – Borgata Hotel Casino & Spa
May 30 – Vienna, VA – Wolf Trap
Sydney’s Dark Rock/Metalcore Outfit Wicked Envy are back and heavier than ever with the release of their blistering new single and music video called ‘Hyde’.
“Splitting yourself in two, so you feel whole again”
Enticing you with dark, theatrical antics, soaring riffs, with enduring vocals and captivating melodies that you can’t help but obsess over. Wicked Envy draw influence from the likes of In This Moment, The Pretty Reckless and Bullet For My Valentine.
The band dropped their debut EP What The Hell Am I Doing in 2021 with some outstanding media coverage and streams for their debut single It’s Been a Longtime reaching 50k on Spotify in less than 2 months. Their latest singles Final Descent and Paralysis Demon, have landed them on some amazing features from Music Feeds, Scenestr, Metal Roos and Heavy Magazine to name a few.
Wicked Envy have secured airplay on commercial radio including Short.Fast.Loud on Triple J, Double J,Eleven and Total Rock Louder in Germany. Since their debut, Wicked Envy have played alongside the likes of Future Static, The Last Martyr, Mannequin Death Squad, Avalanche, FANGZ, Sienna Skies and more.
New single ‘Hyde’ is available on all major online stores and streaming services.
FOR IMMEDIATE RELEASE
AIRBUS Return with Explosive Fourth Album IMPERIAL GUNPOWDER Out March 7, 2026 via Spira Records
Bristol UK and Los Angeles USA rock outfit AIRBUS are set to release their fourth studio album, IMPERIAL GUNPOWDER , on March 7, 2026. Landing via Spira Records , the record delivers ten powerful tracks that capture the band’s diverse, experimental edge while staying rooted in timeless rock songwriting.
Blending Rock, Experimental Rock, and a strong ’90s influence, AIRBUS carve out a sound that will resonate with fans of Blur , Fleetwood Mac , and Muse . Big hooks, dynamic shifts, and emotional depth collide across an album that feels both reflective and urgent.
IMPERIAL GUNPOWDER was recorded on both sides of the Atlantic. Early writing sessions took place in an ancient cottage in Portishead known as The Grange, where many of the album’s foundations were laid. The band further shaped their sound in a basement studio in Bristol before completing sessions in various studios across Los Angeles. The result is a record that feels lived in, atmospheric, and sonically expansive.
This is not a concept album. Instead, IMPERIAL GUNPOWDER is a collection of songs examining the inevitability of human nature. From large scale destruction to the quiet implosions within personal relationships, AIRBUS explore how self sabotage, conflict, and cyclical behavior seem hardwired into who we are. The album doesn’t preach. It observes. It reflects. And at times, it hits uncomfortably close to home.
The first video from the album, “Down To Earth,” is now available on the band’s official YouTube channel.
Recommended Singles for Radio:
Down To Earth
Oathbreaker
How
Just When I Get My Feet
AIRBUS continue to write and record, with additional new and archival material slated for release in the coming years.
About AIRBUS
AIRBUS formed in 1988 at Gordano School in Portishead when singer and songwriter Nick Davidge invited guitarist James Childs to jam during lunch breaks. Bonded by a shared love of rock music, the duo began trading riffs and crafting songs that would define the band’s early identity.
They were soon joined by drummer Chris Fielden and bassist Simon Hedges, completing a lineup that brought both technical strength and expressive experimentation to their sound. The band quickly gained attention in local and national press for their dynamic songwriting and commanding rhythm section.
The Face once praised the band’s choruses as “crashing in like the sound of God… one of the best new bands this year,” while Venue described them as “tight and energetic, with hooks galore, all drawn together by a phenomenal rhythm section.”
Nearly four decades after those early rehearsals, AIRBUS remain creatively restless, proving that evolution and authenticity can coexist.
For more information, visit: www.airbusmusic.com
Check out the teaser and get ready!
