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mal sounds’ Charlotte is a gorgeous blend of dream pop, ambient folk, and slowcore that transforms childhood memories into a deeply immersive listening experience. Guided by Amal Salem’s intimate songwriting, the track unfolds with floating guitars, delicate piano flourishes, and warm, echoing vocals that feel like fragments of a half-remembered dream. There’s a gentle sincerity at its core, balancing nostalgia with a sense of renewal and self-discovery. The lush yet understated arrangement allows every emotional detail to breathe, creating a space that feels both personal and universal. Charlotte is a tender, beautifully crafted ode to innocence, memory, and growth.

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Alternative rock pioneers Papa Roach have announced new arena dates for their 2026 “Rise of the Roach” world tour, including a massive run across the UK and Ireland. In addition to dates announced a while ago, they have added a bunch more throughout Europe. The tour follows a blockbuster summer festival season, which included a … Continue reading Papa Roach confirm support acts for Rise of the Roach world tour, add more European dates

Daydream Plus, the aurally opposite alter ego of lauded death metal band, Tomb Mold, recently announced their debut

Italian alternative metal outfit Avalance have officially unveiled the music video for their brand-new single “Rag Masks”. Released in partnership with Superbia Music Group, the cinematic visual was directed by Luca Moretti, while the track itself was produced by Valerio Quirini and mixed and mastered by Simone Mularoni at Domination Studio. The new single explores … Continue reading Italian alternative metal act Avalance share music video for new single “Rag Masks”

I Walked With A Zombie proved Wednesday 13 could go it alone – and the approval of his young daughter sealed the deal

Bloodstock Bound: Imbrium

As Bloodstock gets closer, we delve deep into the line up to find out more about some of the bands playing the New Blood and EMP stages at this years event.

Today we chat with IMBRIUM

Please introduce yourselves.

Hello there! Speaking to you during this interview is going to be myself [Alex – Keys] and I’ll have the pleasure of introducing the rest of the guys:
* On main vocals we have the great-and-powerful: Luke Jackson
* On guitars, the man with the pepsi max cans: Ben Scott
* On bass, we have our good friend Anthony Quinn who abandoned the ‘north’ for London, we still haven’t forgiven him!
* And finally, James Smith on drums, who when not drumming could be in full medieval armour or panning for gold in rivers, who could say!

How would you describe your sound?

Well, to keep things simple we could say ‘Heavy Progressive Metal’ even though for now we’re not pushing the boat out ‘prog’ wise too hard. We’re definitely working on that for the next record but for now the title ‘progressive’ leaves the door open for us to write without too many boundaries on ourselves creatively.

How did you land your spot on the Bloodstock bill?

We were lucky enough to come in through alternative means [other than the M2TM competition] to get our slot at this year’s Bloodstock Open Air, something we’re all extremely proud and grateful for!

What does playing at Bloodstock mean to you?

When we started IMBRIUM it was always our first goal. Think of it like our initial marker of success. We said to ourselves ‘if we can accomplish all the things that we’ve planned out, and time them right, we’re in with a good chance of getting a slot on the Bloodstock New Blood Stage, and if we do, we must be doing something right’. That seemed to have happened so we guess we’re doing something right!

Alongside this, BOA has been a part of all our personal histories, a lot of us were at the 2nd ever Bloodstock Open Air. The fest has always championed grassroots and underground metal so we’re honoured to be a part of that.

For people who’ve never seen you live, what can they expect at Bloodstock?

For those of you and your readers who know of our debut EP ‘Singularity’, the setlist is a special front-to-back live run through of the EP as you would hear it playing the record. We’re all quite proud of the flow of the record and we’re excited to bring that into a live context!

What day are you performing?

That’s going to be Saturday the 8th on the New Blood Stage!

What other bands are you looking forward to watching at Bloodstock this year?

First of all, we’re stoked that there’s several of our good friends playing the festival as well, and we’re looking forward seeing and supporting them. To name a few; our previous-gig-mates and cinematic djent masters Vanitas. Then a good personal friend of ours plays bass in Imperial Age so it’s going be great to see Dan hit the BOA mainstage, plus with a few of us being northerners we’re going to be stoked to see Manchester lads Technologist who just won M2TM Manchester.

Plus, generally sticking around the New Blood and EMP stages to catch all the other great upcoming rising metal bands!

Then when it comes to the bigger bands there’s a lot of varied music taste between our members but we’re definitely going to be sticking around for Leprous, Nevermore, Orbit Culture, Trivax and of course how could we not pay our respects to Rob Halford and Judas Priest to wrap the whole thing up!

Playing the New Blood Stage is just the first steppingstone in a bands journey. What’s next in your plans for world domination?

Right now we’re gearing up for the Bloodstock show to give it everything we’ve got, but alongside all this we’re currently setting our goals and targets for this ‘next-phase’ of IMBRIUM. Getting to play BOA was always the first goal / marker of success when starting this band and now we’re there, its all about deciding what the next marker is going to be! And of course, we’re in the continuous process of writing material for the next IMBRIUM record

Are you camping with the fans? Which campsite are you heading for?

Well, whilst we can neither confirm nor deny that tents will be involved in our time at Bloodstock this year, when we first started coming there was only Midgard so its very interesting to look at Midgard now and visualise how it looked back in 2006! In more recent years Ironwood was the camp of choice, however as mentioned before, tents are dubious for us on this occasion!

You’ve gotta keep hydrated at Bloodstock, what is your drink of choice for the weekend?

Hydration is key! Similar to music taste, there’s a wide variety of alcohol preference in IMBRIUM but without speaking to everyone, we can still make a pretty good guess that the immediate-post-set pourings of drink will look like the below:
* Anthony [Bass] and James [Drums] will immediately be on the cask ale, think whatever medieval knights and squires would be drinking, likely in the Hobgoblin tent!
* Myself [Alex -Keys] and Luke [Vocals] will be cracking open a bottle of dark spiced rum, Kraken or the classic Captain Morgans
* Ben [Guitars] – Continuing into his 24-pack-crate of Pepsi Max

See you at Bloodstock in a few weeks!

See you guys there! Horns up!

For all the latest news, reviews, interviews across the heavy metal spectrum follow THE RAZORS’S EDGE on facebook, twitter and instagram.

The post Bloodstock Bound: IMBRIUM appeared first on The Razor's Edge.

Earlier in June, a post-rock album delightfully surprised this middle-aged metalhead. I tend to approach post-anything with caution these days, but And the Dead Tree Gives No Shelter from Sweden’s Oh Hiroshima proved a cohesive, moving experience under scrutiny. Hence, I figured I’d try my luck with another post-rock album on the same label from a band named after a beleaguered city it doesn’t call home. Thus, I approach We’re All Going to Be Fine—on Pelagic Records—by Lost in Kyiv¹—from Paris—with cautious enthusiasm. Unlike their labelmates, Lost in Kyiv specialize in a (mostly) instrumental version of post-rock, occasionally adding voices that narrate, soliloquize, live inside sound clips, and even sing. Hopefully, losing myself in this Parisian quartet’s fifth album won’t have me uttering wistful interjections.

Post-rock remains an apt descriptor for Lost in Kyiv, but the band shares heritage with its heavier cousin. As with any (mostly) instrumental post-rockers influenced by Mogwai, electronics play a crucial role in crafting a cinematic experience. On We’re All Going to Be Fine, synths supply melodic hooks (“Burst,” “Euphoria”), set pulsating tones (“Eclipse”), and create mid-song drama (“Mantra”). But when the baritone guitars of Dimitri Denat and Maxime Ingrand lock into a heavy groove with bassist Jean-Christophe Condette and drummer Jérémie Legrand,² a band like Russian Circles comes to mind. Animals as Leaders also prowl (if they were less technical), on account of Denat and Ingrand’s djent-adjacent tones and playing. For much of its 41-minute runtime, We’re All Going to Be Fine reads like a post-metal album, and a particularly lush, well-produced one at that. While the heavy riffs do lean towards the generic, I can’t deny that they frequently slap.

As a (mostly) instrumental album, We’re All Going to Be Fine mostly slips due to its ‘non-instrumental’ feature: vocals.³ One recurring way Lost in Kyiv adds voices is by threading narrations/soliloquies throughout Fine. Sometimes, these voiceovers work; “Enlightened” segues into the propulsive groove of “Burst” by echoing its title, setting up the song’s rumination on ‘masks’ as a metaphor for social alienation/performativity. But other times, the voiceovers are frustratingly inaudible (“Mantra”), or awkwardly akin to guided meditations (“Euphoria”). As for singing, it makes one and only one appearance. “Becoming” is a perfectly lovely song, powered by the gorgeous melodies and harmonies of Rebecca Need-Menear, but its verse-chorus traditionalism strays far from home on this otherwise impressionistic album. Vocals seem central to the themes Lost in Kyiv claim to explore on We’re All Going to Be Fine: ‘the tension between hope and inner collapse,’ how ‘modern life can disconnect us from ourselves and each other,’ ‘the fragility of mental health and the human psyche.’ As a lecture by Carl Jung closes out the album (“Liminality”), however, I’m left feeling that Fine becomes less coherent when reading its voices closely.

Fortunately, these vocals don’t prohibitively hamper the overall experience. Whether listened to passively or semi-actively, We’re All Going to Be Fine (mostly) progresses as a seamless display of haunting beauty. The first half plays more like post-metal, containing the heaviest riffing on offer. “Eclipse” is a highlight, setting a somber mood that’s popped by an infectious single-string figure and a robust brass section: trumpet, trombone, tuba. From here, Fine mixes things up, exploring multi-layered electronica (“Euphoria”) and hammer-on heroism with d-beat sprinklings (“Liminality”). “Becoming” is always the curveball. Again, it’s not a bad song by any means, but it’s unclear why Lost in Kyiv dropped one singular radio-rock song in the middle of the album. It doesn’t feel like the work of a different band per se, but it definitely feels like a work on a different kind of album.

Oh, Lost in Kyiv, how I wanted to rate your fifth outing just a bit higher. We’re All Going to Be Fine allures with its cinematic soundscapes and hits with its bouncy riffs. Alas, your vocals of various sorts make me think I’m missing the point towards which you drive. But when I play down the voices, letting its luxuriousness wash over me, Fine becomes more than fine—it becomes a (mostly) absorbing arrangement of metallic post-rock.

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Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Pelagic Records
Websites: Facebook | Instagram
Releases Worldwide: June 19th, 2026

The post Lost in Kyiv – We’re All Going to Be Fine Review appeared first on Angry Metal Guy.

Org Music continues its acclaimed and comprehensive Descendents reissue campaign with new editions of the band’s landmark 1987 studio album ALL and essential

Okay Lindon shares the first single/video from its forthcoming self-titled full-length for Lost in Ohio. Watch/listen to “Pinto vs.