Dreamy Winnipeg mainstays Living Hour are following up last year’s excellent Internal Drone Infinity with a new EP. Magnet, which drops three weeks from today, comprises two new songs and two demos of Internal Drone Infinity tunes. It leads off with the title track, which dials back Living Hour’s hard-hitting qualities in favor of a drifting panorama that fits in well alongside the likes of Cassandra Jenkins, Julia Holter, and Emily A. Sprague. It’s a study in mood, texture, and shapeless beauty, and its final lyric will stay with me: “I wanna sleep at the edge of the text on the screen.”
Stella Lefty isn’t the only one out here ripping off hit songs. Some people are trying to build entire billion-dollar tech businesses out of the practice. Right now, many, many parties are suing Suno, the leading generative AI music platform. Major labels Universal Music Group and Sony Music Entertainment are in active litigation against Suno, though Warner Music Group, the other major, settled its own lawsuit by announcing a strategic partnership with Suno last fall. Earlier this week, a group of musicians that includes Jason Isbell and David Lowery filed another Suno lawsuit, this one over name rights rather than copyright infringement. Now, the performance rights organization SOCAN is presenting its own lawsuit and citing strange ripoffs of some big hits in Canadian federal court.
Bestial Mouths return with “HISS,” a new single offering a glimpse into their upcoming album, Dead Lines (Líneas Muertas).
The track explores themes of spreading hatred, collective anxiety and the fragility of identity within an increasingly divided society. Through the project’s signature dark sonic landscape, “HISS” combines industrial tension, haunting atmospheres and intense emotional depth.
With this release, Bestial Mouths open a new chapter in their artistic journey, pairing their powerful sound with a striking visual aesthetic and a critical reflection on the cycles of toxicity that continue to shape society.
Dead Lines (Líneas Muertas) will be released on September 4 via Negative Gain Productions.
As I have said in previous reviews, John Mitchell is that rarest of individuals – a fabulous composer, gifted multi-instrumentalist and great producer who happens to possess a unique singing voice and massive guitar chops. He creates inescapable melodies combined with genuinely progressive arrangements and he confers them with fine production. The only thing Mitchell appears not to specialise in is drumming – a function that is much more ably executed by his good friend and highly talented Frost* band-mate, Craig Blundell.
Mitchell’s ‘Lonely Robot’ series (until now comprising three ‘astronaut’ albums and two others) reaches its ultimate conclusion in 2026 with ‘An Ending’, the final album of the astronaut series and of the Lonely Robot project in general.
For more than a decade and over four albums, Mitchell has led the marooned astronaut (and Lonely Robot’s eager fans) over the infinite reaches of the cosmos, often observing from space the planet that Carl Sagan named ‘The Pale Blue Dot’ and its inhabitants, norms and state of existence. The astronaut’s story was introduced in ‘2015’s ‘Please Come Home’, developed semi-terrestrially in 2017’s ‘The Big Dream’, made even more astral in 2019’s ‘Under Stars’ and now finally brought home in ‘An Ending’ (though it appears that the poor, forlorn astronaut will not himself be brought home.)
It is notable that this album is called ‘An Ending’ as opposed to ‘The Ending’. The title refers more, it seems, to the sad and terminal choice made by the protagonist to remain in space, than to the end of the Lonely Robot project itself (which, of course, the final record certainly also comprises.)
Mitchell has stated that the astronaut’s acceptance of his situation is a metaphor for accepting that one can never go back in life, but must rather accept the circumstances of the present. Of course, Mitchell has in the previous albums consistently used the astronaut as a more general metaphor for humanity’s regimented human condition. Recently he went so far as to contextualise this album’s particular metaphor into his own personal experiences as a child, including the loss of his adoptive parents. If there is one thing that John Mitchell does, it is to bring his own personal perspectives into his music – even where that music is presented as an allegorical story. He does this with huge authenticity and aplomb.
The lyrics of opening track ‘This World Window’ describe the personal sacrifice of the astronaut, who has tragically accepted that he must spend the rest of his life in space rather than return to Earth. Then, over the next eleven tracks, the feelings, emotions and observations of the astronaut are explored and amplified, with the listener sitting alongside him The story, while heartbreaking, is also meditative, resolutive, uplifting, adventurous and, ultimately, serene.
Musically, the album may not be the most complex or technical that Mitchell has ever delivered, but that is understandable, bearing in mind that the story and its accompanying emotions are designed to take centre stage. Of course, this also does not imply that these songs are not highly accomplished and progressive. They are, and they often re-visit prior Lonely Robot themes, just as they should.
After the beautiful and ethereal intro of ‘This World Window’, ‘Show The Way’ presents itself as an obvious single, rocking out in 7/8 time with the exceptional Craig Blundell lending his unique drive and fills. The song could be emblematic of a rapid cosmic flight in the way that it gathers momentum. ‘Back To The Middle’ continues this theme in a less frantic tempo, this time also showcasing Mitchell’s underestimated vocal range. He may be a baritone, but there is a range and warmth to his voice that is very refined and by now quite unmistakable. The guitar solo, always featuring Mitchell’s signature tone, announces that many searing, emotional and dazzling guitar moments are to come.
‘In Ocean Light’ and ‘Ad Astra’ are introspective, gentle serenades that soar on the wings of great keyboard and, of course, guitar work, by Mitchell, while the brilliant ‘Where In The World’ is more up-tempo, complex and built around Blundell’s highly innovative, jagged drum patterns. No-one creates blinding drum fills quite like Blundell, who deserves every accolade that he gets as one of the premier percussive forces on the planet. The same might be said of Blundell’s contributions to the more mid-tempo ‘Twin Suns’ which is a haunting composition that grows around his snare and tom patterns like a vine. We may have heard this before from Lonely Robot, but when it is this good, that fact becomes insignificant.
The seismic growl that opens ‘The River’ soon gives way to a warm vocal hook and very pleasing acoustic sections that create images of the astronaut floating peacefully in his capsule while he watches a quiet cosmic storm (and his own feelings) unfold. ‘Rearview’ sees the protagonist now looking longingly behind him, while the music creates a film-like suspense and anticipation to frame the scene. ‘Bending Light’ sees the hero tragically resigning himself to his fate in the most melancholic and moving way, and ‘The Iron Sea’ reprises the haunting and mournful theme originally introduced to us on the first album, only now in an even more emotional way. Closing track ‘Oblique’ gently and painfully allows us to say farewell to the astronaut for the last time. This is heart-wrenching stuff.
There is a bonus track (exclusively for the vinyl version of the album) onomatopoeically entitled ‘Synthetic’. While this track might perhaps describe the astronaut’s lost human identity, it is thematically unlike the rest of the album and I found myself perfectly happy with the ending provided to the main album by ‘Oblique’.
John Mitchell has once again shown that he is not just a fine multi-instrumentalist and vocalist. He is consistently one of the most accomplished and authentic composers in music today. He has lovingly given his passion, emotion and attention to this album (and indeed into the whole Lonely Robot series.) All four albums are highly accomplished, but this is the most emotive of the four, and John Mitchell’s established bona fides as an authentic, evocative composer, are entrenched by it.
‘An Ending’ is a musical expression of solitude and resignation that makes for a very powerful collection. These songs are clearly about more than an astronaut – they are also about a personal perspective and society in general, presented with humanity, emotion and integrity. This album is important because it is more than just an excellent record. It is a fitting and highly poignant final chapter that brings an end to one of the compelling stories in the last decade of Prog. A sometimes unsung hero of Progressive Rock, John Mitchell is indeed that rarest of things – someone whose music truly makes you feel. Highly recommended.
Released on Sept. 11th, 2026
Track List
This World Window
Show The Way
Back To The Middle
In Ocean Light
Ad Astra
Where In The World
Twin Suns
The River
Rearview
Bending Light
The Iron Sea
Oblique
Synthetic (Bonus track – vinyl only)
John Mitchell – Vocals, guitars, bass guitar, keyboards.
Craig Blundell (Frost*, Steve Hackett, Steven Wilson) – Drums
Jez Fielder – Additional Guitar on The River and Rearview
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