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…And The Sky Will Fall – PRETTY_MACHINE
…And The Sky Will Fall Turn Dystopia Into Hook-Heavy Catharsis
…And The Sky Will Fall arrive with a debut that feels welded from equal parts bruised guitar muscle and neon circuitry. On The Impending Collapse Of It All, the trio’s self-described Metal-Rock-Industro-Pop collides programmed beats, atmospheric synths, and searing riffs with a real pop instinct, giving first single “pretty machine” a sleek, anxious pulse. It’s the kind of track that nods to Nine Inch Nails and Gary Numan without losing its own grime-streaked identity.
Built in DIY studio setups and sharpened by Ed’s grunge-hardened voice, the record carries the tension of a band that’s spent years searching for the right shape and finally found it. There’s wreckage in the title, but also momentum: beauty breaking through the static, one hard-edged melody at a time.
Moose Wrench – Cereal Killer
Moose Wrench Weaponize Mid-Life Misery On “Cereal Killer”
Moose Wrench don’t so much arrive as lurch in with a grin and a dented keytar, turning Mr. Sidequest into a slab of dad-bod alt-core with brains, bite, and a taste for the ridiculous. Third single “Cereal Killer” is built on old-school riffage and a wiry post-punk pulse, but it swerves with the kind of avant-prog muscle that makes Cardiacs and Mr. Bungle feel like distant cousins at the same unhinged family dinner.
There’s a sly, lived-in humour running through it all: existential gripes, poor driving, man flu, and the small domestic disasters that can make a house feel haunted. From Leeds, via the Nevada desert and a flock of flying monkeys, Moose Wrench sound like outsiders who’ve weaponized mid-life misery into something loud, clever, and weirdly uplifting. It’s chaos with purpose, and it lands with real personality.
Cry The Enemy – Ride to Hell
Cry The Enemy Hit Hard With A Release That Refuses To Sit Still
Cry The Enemy come out swinging on a self-titled release that thrives on motion, muscle, and zero interest in staying in one lane. “Ride to Hell” snaps with aggressive momentum, while “Killing Room” drives forward like it’s chasing daylight and “Blow My Mind” bends the hard-rock ballad into something sharper, stranger, and more affecting. What lands most is the range: no two songs feel cut from the same cloth, yet the whole thing holds together with grit and intent.
Recorded at Villain Recording with Byron Filson, the project has the kind of polished punch that lets the riffs breathe and the vocals hit clean. Cry The Enemy sound like a band built on classic hard rock instincts, but they push it with modern force and a collaborative spark that keeps the songs alive.
The Lunar Keys – Everything
The Lunar Keys Make Modern Anxiety Sound Monumental
The Lunar Keys make anxiety feel communal on “Everything,” folding restless adrenaline into a towering alt-rock anthem about ambition, pressure, and the slide toward burnout. Produced with Grammy-winning Brendan Dekora, the track pushes serrated guitars and oversized hooks against lyrics that question the constant demand for more. “Pick up your face, pick up your phone… Can you hear it coming?” lands less like a rallying cry than a warning flare.
The Guildford band lean into scale without losing the unease at the song’s centre. Beneath the lift sits a clear-eyed critique of ambition dressed up as empowerment, giving the track more tension than triumph. That sense of purpose extends beyond the music too, with The Lunar Keys pledging donations to Shelter as part of the project’s wider impact.
BAÏKI – KosmoX
BAÏKI’s Space Opera Reflects Our Absurd Modern Reality
BAÏKI treat “KosmoX” like a sci-fi warning signal, wrapping a blunt political question in gleaming rock theatrics: can humanity ever live in peace without inventing someone to hate? Bruising drums and a chorus with the force of propaganda gone feral carry the song outward into space, where conquest, expansion, and familiar forms of cruelty simply find a new planet to infect.
The Belgian band weave French and English through a story that initially plays with the absurdity of cosmic colonisation before exposing its darker logic. The accompanying video extends that idea through mock-scientific imagery, keeping the satire playful while sharpening its point: technological progress means little without ethical progress. BAÏKI, whose name comes from the Polish word for “tales,” use that storytelling instinct to make “KosmoX” funny, unsettling, and accusatory in equal measure.
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