DESIRE shares new single/video "Deep End" out now via Italians Do It Better. UK/EU tour this month!

DESIRE - Share new single/video "Deep End" - UK/EU tour this month

DESIRE return with “Deep End,” a darkly playful, hypnotic synth-pop single that turns insomnia, obsession and paranoia into a dancefloor daydream, which is out now via Italians Do It Better. DESIRE are also set to tour Europe this November and December, with dates in Prague, Copenhagen, Berlin, Brussels, London, Manchester, Glasgow, Paris, Rome and Belgrade, among other cities. A little danger never sounded so sweet. Bright, chiming synthesizers and an elastic bassline frame Megan Louise’s airy vocals, while the “copycat killer” refrain gives the song a psychological-thriller twist. The accompanying music video was shot in Los Angeles, bringing the song’s red-lit cinematic noir atmosphere to life. This is the third single of 2026 from Desire following “Summer Skin” and “Just Another Love Song,” leading into their forthcoming fourth studio album. "Deep End" on YouTube: https://www.youtube.com/watch?v=BME5w38tyaI DESIRE is the Montreal-born electronic duo of vocalist Megan Louise and producer Johnny Jewel (Chromatics, Glass Candy). Known for “Under Your Spell” from the film Drive, they blend dream pop, Italo disco and noir-soaked synth-pop into songs made for after dark. Tour dates: 15 Nov - Prague, CZ - Bike Jesus 17 Nov - Copenhagen, DK - Hotel Cecil 18 Nov - Berlin, DE - Frannz Club 20 Nov - Groningen, NL - Simplon Poppodium 21 Nov - Rotterdam, NL - Rotown 23 Nov - Brussels, BE - Beursschouwburg 24 Nov - Tourcoing, FR - Le Grand Mix 25 Nov - London, UK - Colour Factory 27 Nov - Manchester, UK - The White Hotel 28 Nov - Glasgow, UK - Stereo 30 Nov - Paris, FR - Petit Bain 1 Dec - Grenoble, FR - L'Ampérage 2 Dec - Bern, CH - Dachstock 4 Dec - Ravenna, IT - Bronson 5 Dec - Rome, IT - Monk Club 8 Dec - Zagreb, HR - Klub Močvara 9 Dec - Belgrade, RS - Zappa Baza Tickets: https://lnkfi.re/desirelive Links: Desire Facebook Desire Instagram Italians Do It Better Instagram

Stream the new S/T album from Trentemøller, plus a new music video for "Coyote"

Stream the new S/T album from Trentemøller, plus a new music video for "Coyote"

VIDEO: "Coyote" -
YouTube

STREAM THE ALBUM HERE

 

Trentemøller’s new self-titled full-length album harnesses a noisy, all-enveloping welcome, exploding with the force of a supernova before dissolving into a vapour trail of swooning vocals. Across 10 songs, a journey towards dynamic yet bittersweet frontiers of sound gathers pace, pitting maximalist guitar-noise blowouts against some of the most bruising shoegaze you’ll hear this year. Just a few moments in, and you already know the Danish polymath is once again rewriting his story for a more vibrant, outward-looking chapter of his aesthetic.

As Trentemøller puts it, “The noisy got noisier, the dreamy got dreamier, the melodic got even more melodic. I was ruthless this time. Okay, kill your darlings! If a track didn’t give me a feeling of freedom, wanderlust, sorrow, love or that pure ‘I don’t give a fuck’ feeling … It was gone," he says.

“Swerve," the powerful starting point, and the first song he wrote for the record, crashes into searing walls of sound that work in stark contrast to the Copenhagen artist’s previous full-length, 2024’s haunting Dreamweaver, and adds a disorientating edge to an album built from extremes. Recorded with Vienna-based singer Sakura, “Swerve” draws you into the gut-feeling immediacy of Trentemøller, wedding a wave-like guitar glide to tsunami-sized swells of multi-layered noise.

This radically intuitive feeling also persists on “Visceral," an anthemic soundscape of stratospheric jet-engine textures and blistering emotional rock lifted to infinity again by Sakura. Taking a similarly uncompromising stance, “Your Love Walks Alone” hurls itself down dark and gothy corridors of industrial fuzz. “A depiction of pure love slowly winding down and how it affects you in those moments where you realise you’re being 'replaced,'” says singer Sune Rose Wagner (The Raveonettes).

The inclusion of vocals on every album track for the first time in Trentemøller’s history gives the album its own unique coordinates - tricky to pull off but handled here with impressive cohesion, treating the vocals as “an extra instrument” to play with. “I knew early on exactly who I wanted singing on these songs, people I deeply respect and could already hear in my music, friends and a few I’d never worked with before. We never met in the studio; everything was exchanged remotely. That suited me perfectly. I’m pretty shy, to be honest, and it gave the vocalists the privacy to really open up,” says Trentemøller.

Contributors include the aforementioned Sakura, acclaimed German-British singer Anika, Jonas Bjerre of Danish dream-rock trailblazers Mew, and Sune Rose Wagner of fellow Danish heavy indie hitters the Raveonettes and Colorado-originating Midwife (Madeline Johnston), whose self-coined “heaven metal” makes her one of contemporary shoegaze’s most singular
and quietly revered figures. There’s also New Mexican dream-pop duo Tan Cologne and Danish singer-songwriter Emma Acs – the latter moving in the orbit of Copenhagen’s revered Posh Isolation scene and now singing in Trentemøller’s live band – who help create the soft/loud dynamics of the album’s lyrical layers, along with its many emotional states.

On the subject of moods, German-British singer Anika brings cool-for-cats wisdom to the krautrocky Sprechgesang of “Johnny Boy," a track about love and heartbreak, driven by live instrumentation and sprinkled with a catchy synth arpeggio. Most vocals on the album were recorded at home, wrapping each song in a blanket of honesty.

Meanwhile, intentionally sequenced to provide a “break” for the listener, “To Mist” detaches itself from the confrontational energy felt elsewhere to luxuriate in lush ethereality, melodies shimmering like diamonds in the sun for a track about “changing form to be the intangible mist. “Halved," featuring Midwife, similarly slips into a nocturnal slow-burn, drifting through colder layers of nugaze ambience and reducing everything to fractals of fragile beauty.

Then there’s “Terrified," which splits the mood to pair stream-of-consciousness lyrics with optimistic singing from Bjerre. “I think sometimes when you dream about things that make you fearful and uneasy, it’s your mind trying to prepare you for any scenario, like you’re processing catastrophes that have not and may not ever happen,” he says of the single. Sweet and sour is Trentemøller’s flavour: DIY songs that strike an emotional chord and crushing soundworlds you simply can’t shake – everything flowing like a natural extension of himself.

Above all, Trentemøller is the result of an artist doing everything himself by hand, creating a forward-looking new work from seed to bloom. Trentemøller worked as the album’s songwriter, multi-instrumentalist and producer, while also mixing the self-released album.

“I’ve just never been much good at being told what to do. I don’t really follow trends or think in algorithms; that whole calculated side of the music industry is really not a pretty sight,” he offers. But aside from the record’s self-made foundations, the songs of Trentemøller are ultimately destined to jump off the page with others in tow. “Now I can’t wait to play these songs live with my band. For the first time ever, I’m going to play the whole album, start to end. Every single song!”

Press photo by Sofie Nørregaard  

2027 TOUR DATES:

Feb 27 Berlin, Germany · Huxleys Neue Welt
Mar 01 München, Germany · Kesselhaus
Mar 02 Bern, Switzerland · Bierhübeli
Mar 03 Paris, France · La Cigale
Mar 05 Brussel, Belgium · Ancienne Belgique
Mar 06 Brussel, Belgium · Ancienne Belgique
Mar 07 Luxembourg · den Atelier
Mar 09 Amsterdam, Netherlands · Paradiso 
Mar 11 London, United Kingdom · Electric Ballroom
Mar 17 Oslo, Norway - Rockefeller
Mar 18 Göteborg, Sweden · Pustervik
Mar 19 Johanneshov, Sweden · Slaktkyrkan
Mar 20 København, Denmark · Vega

Veronica Bianqui Releases New LP, Shares "Sicko" New Single + Video via Galore Mag | 'Use Once Then Destroy' LP Out Now via NX Records

Veronica Bianqui Releases New LP, Shares "Sicko" New Single + Video via Galore Mag Read Loud Women Feature Use Once Then Destroy LP Out Now via NX Records Photo Credit: Derek Bremner

SAVE: Veronica Bianqui - Use Once Then Destroy Save LISTEN & SHARE: Veronica Bianqui - "Sicko" Stream | Watch LISTEN & SHARE: Veronica Bianqui - "Money" Stream | Watch LISTEN & SHARE: Veronica Bianqui - "All My Heroes Are Dead" Stream | Watch PRAISE FOR VERONICA BIANQUI "Blending classic pop melodies with gritty guitars, punk energy, and a healthy dose of dark humor, the project finds Bianqui experimenting with sound, storytelling, and the freedom that comes with trusting her creative instincts" -Galore Mag "“Money” introduces another side of the album’s larger-than-life world, pairing sharp satire with unexpected production and a growing sense of confrontation." -Pop Dust "‘All My Heroes Are Dead’ is a gritty and unfiltered look into the world of Use Once Then Destroy, bringing playful garage-rock energy and bratty angst." -Loud Women "Bianqui takes familiar rock ’n’ roll archetypes, exaggerates them until they become slightly ridiculous, and then searches the ridiculousness for something painfully recognizable." -Mundane Magazine "unique brand of retro-sounding garage-pop" -Look at my records! "punchy retro-rocker" -buzzbands.la Today Los Angeles-born and London-based multidisciplinary artist Veronica Bianqui releases her sophomore album, Use Once Then Destroy, via NX Records. Alongside the release, Bianqui highlights focus track “Sicko,” a fierce, off-kilter cut that showcases her knack for blending subversive wit with an unmistakable punk attitude and sharp social commentary. Sicko' started with me thinking about who gets labelled a villain and who doesn't," Bianqui shares. "I became fascinated by the way the media and public discourse can decide who's considered 'crazy,' 'dangerous,' or beyond redemption, while people in positions of power often escape that same scrutiny. That idea became the jumping-off point for the song, but I wanted to approach it with a sense of humour rather than write something overtly political. It's danceable, a bit tongue-in-cheek, but underneath it there's a real frustration with how easily narratives are constructed—and how quickly we're encouraged to accept them." On Use Once Then Destroy, Bianqui builds a world of larger-than-life characters — obsessive lovers, antiheroes, rock stars, self-destructive brats. Familiar rock ‘n’ roll tropes are exaggerated, inverted, and reimagined through dark humor, vivid storytelling, and a playful approach to the genre’s mythology. Bianqui balances sharp satire with emotional intensity to explore obsession, desire, power, and disposability, while questioning the myths we create around ourselves and others. Written over four years following her move from Los Angeles to London, the album emerged during a period of profound loss and personal change that reshaped both her life and artistic direction. It developed alongside the completion of two Master's degrees—an MMus in Popular Music and an MFA in Creative Practice at Goldsmiths University, where Bianqui deepened her practice as a producer, embracing the recording studio as an extension of the songwriting process. Adopting a more DIY approach, Bianqui self-produced the album, performing much of it herself and following ideas wherever they led. While collaborators, including mixer Omar Yakar (Courtney Barnett, Warpaint), contributed along the way, the studio became a space for experimentation and discovery rather than simply a place to execute finished songs. Freeing herself from expectations of how a record should be made, Bianqui allowed curiosity and instinct to guide the process. The result pairs classic pop craftsmanship with punk energy and inventive production, moving between satire, emotional intensity, and a cast of unruly characters. Both playful and introspective, Use Once Then Destroy invites listeners to question the narratives they inherit, move their bodies, and recognize something of themselves in the characters they encounter. "Sicko" and Use Once Then Destroy by Veronica Bianqui are out November 13th via NX Records.  Veronica Bianqui - Sicko (Lyric Video) Single Art Use Once Then Destroy Tracklisting   Gotta Be A Man Lose All Control Do Bad To You Chemical Reaction Shook Up Sicko Rock ‘N’ Roll Renegade Girl All My Heroes Are Dead Use Once Then Destroy Money Veronica Bianqui Live 11/26 - London UK - Jam In A Jar (Album Release Show) 11/14 - Glasgow, Scotland - Last Night From Glasgow (in-store performance) 11/15 - Glasgow, Scotland - Inn Deep

Ethel Cain and Robin Carolan unveil "Wynter Waxeth" from Robert Eggers' "Werwulf"

ETHEL CAIN AND ROBIN CAROLAN UNVEIL “WYNTER WAXETH” FROM ROBERT EGGERS' WERWULF

CO-WRITTEN WITH EGGERS CAIN ALSO CONTRIBUTES VOCALS TO CAROLAN’S SCORE

Ethel Cain and Robin Carolan, single art.

November 13, 2026—Ethel Cain and composer Robin Carolan unveil “Wynter Waxeth,” their original song from Robert Eggers’ forthcoming film Werwulf, today—listen here and watch the lyric video here. Cain, Carolan and Eggers co-wrote the song, with co-production by Cain and Carolan. It’s out via Back Lot Music. A 7” vinyl single of “Wynter Waxeth” backed with “Cold Moone” from Carolan’s score for the film is available for preorder today ahead of release on Sacred Bones Records on January 29, 2027. Notably, Cain’s lyrics are sung in Middle English accurate to the period of the film. Cain also contributed vocals throughout Carolan’s score for the film, set for theatrical release on December 25. Carolan’s collaboration with Eggers on the score for Werwulf is their third, following 2022’s The Northman and 2024’s Nosferatu. “It’s always been my dream to score a horror film in some way, and I couldn’t think of a more perfect first opportunity than getting to work with Rob and Robin on a song for Werwulf,” says Cain. “We were immediately creatively aligned so the entire process felt very intuitive and natural. It felt like I was back in the heart of the music I started off making at the beginning of my career, which felt really good to return to. Robin sent me a bunch of old medieval music at the beginning and was very into the psaltery, which introduced me to the traditional instrument. I bought one online and wound up plucking out this simple little harp line on it and that’s where the song began.” “Given how immersive and period accurate Robert’s films are, I knew the only way the song would work within the film was if Ethel and I consulted with Rob about the language and the words we use, as they not only needed to sound right, they also had to tie directly in with the story he was telling,” says Carolan. “Once we had his input, Ethel went away and put together this gorgeous, medieval folk inspired demo, composed of psaltery (which later became a harp part) and the most haunting vocal melodies that on first listen gave me genuine goosebumps. Immediately, it felt we were in the world. I then produced and composed around what she’d come up with in order to make the song feel more cinematic and wider in scope, something that felt fitting for the ending, and we went back and forth until we felt we’d nailed it. I was very intentional with the sounds I used as it was important to me to incorporate elements of the score that are synonymous with different aspects of the story: the family bond, the curse and the mysticism. Before we started working on the song, Ethel and I had already established a musical language as we’d been working together on score tracks where her vocals are more experimental and textured. This proved to be massively helpful considering we barely had any time left to do the song. It was a real sprint to the finish line. I’m genuinely so happy and proud we were able to make it happen as I honestly couldn’t imagine the film without it, and getting to work with Ethel has been a dream.” ABOUT ETHEL CAIN Ethel Cain is the creation of Florida-born multidisciplinary artist Hayden Anhedönia. After years spent teaching herself to produce at home in the Florida panhandle and releasing various projects, Cain moved to Indiana and singlehandedly wrote, produced, recorded and mixed her acclaimed 2021 EP Inbred from the basement of the deconsecrated church where she lived. Quickly cementing herself as a universally acclaimed musician and multimedia artist, Cain has released two incredibly influential albums: her 2022 debut Preacher’s Daughter and 2025's Willoughby Tucker, I'll Always Love You, as well as the longform ambient project Perverts. Cain has spent the past year playing a series of sold out tours across North America, Europe, and Oceania, including festival appearances at Coachella, Lollapalooza, Outside Lands, Primavera Sound and many more. ABOUT ROBIN CAROLAN Robin Carolan is a British-Irish composer and music producer whose distinctive artistic voice has made him an increasingly prominent figure in contemporary film music. He most recently composed the score for Robert Eggers’ upcoming film Werwulf, set for theatrical release on December 25, 2026. Carolan received widespread acclaim for his score to Eggers’ Nosferatu, earning a BAFTA nomination for Best Original Score, alongside nominations from the World Soundtrack Awards, the Chicago Film Critics Association, and numerous other critics’ organizations. The score further established his reputation for creating bold, atmospheric, and emotionally resonant music. Carolan first made his mark in the music industry as the founder of Tri Angle, an influential independent record label launched in 2010 that became known for its groundbreaking electronic music releases. His creative collaborations include working with Björk on her 2017 album Utopia, where he was described as “the fifth ear,” reflecting his singular musical sensibility and creative instincts. He made his feature film scoring debut with Eggers’ The Northman (2022), crafting a visceral and immersive sonic landscape that captured the film’s raw intensity and mythological world. The score received multiple award nominations, including recognition from the International Film Music Critics Association and the Las Vegas Film Critics Society. Carolan’s ongoing collaboration with Eggers is defined by meticulous attention to detail, bold experimentation, and an almost telepathic creative understanding. Together, they have developed a distinctive musical language in which the score becomes an integral part of the storytelling, while retaining a powerful artistic identity of its own.

JACK GRISHAM AND THE LIFE UNDONE New Heartbreaking Video “Angel Funeral” Stands As A Tragic Reminder of The Consequences of Drug Overdoses

JACK GRISHAM AND THE LIFE UNDONE Feat. Jack Grisham (T.S.O.L., The Joykiller) and Lars Triesch New Heartbreaking Video “Angel Funeral” Stands As A Tragic Reminder of The Consequences of Drug Overdoses Features photographs of friends, family members, and loved ones lost to drugs, includes a short intro by Jack Grisham Self-Titled Album Out Now via Lost In Berlin Records "Angel Funeral" video Link/Embed: https://youtu.be/7LWuRytGs1Q?si=RqiLd-K7Hdl-AQcQ NOVEMBER 14, 2026 [New York, NY] – What began as an idea for a traditional music video became something far more personal for Jack Grisham (former frontman of legendary SoCal punks T.S.O.L. and The Joykiller) and Berlin-based collaborator Lars Triesch for their new project JACK GRISHAM AND THE LIFE UNDONE. The band’s newly released video for “Angel Funeral” is a moving tribute to the countless lives lost to accidental drug overdoses, built entirely around photographs submitted by people who have lost someone they love. Speaking about the concept, Jack says, “There's so many people I've watched die. I thought about including a picture of someone I loved in the video, and then I thought, how selfish. So many people have lost someone. We decided to put the word out and ask people to send us their photos. Instead of making a video, we wanted to make a memorial.” Featured on the band's self-titled debut album (released on October 30, 2026, via Lost In Berlin Records), the song itself was born out of deeply personal grief. Written in memory of Jack's first wife, who died from an accidental overdose, “Angel Funeral” reflects on a promise the two once made to stay clean together. Jack kept that promise and has now been sober for 37 years. She did not. But as he began considering how to visually tell that story, he realized his experience was far from unique. After decades of watching friends, family members, and loved ones succumb to overdose, he wanted to make room for other people's stories, too. Rather than feature the band performing, Jack and Lars invited people to submit photographs of those they had lost. The resulting video is a montage of faces, memories, and lives interrupted. Among the photographs are Jack's first wife, his nephew, close friends, former roommates, and members of his extended family, alongside people whose stories he may never have known otherwise. One particularly heartbreaking image shows a young boy being held by his father. The boy, now grown, submitted the photograph to remember the father he lost as a child. There are no band performances, no traditional music-video theatrics, and no attempt to make the project about the musicians themselves. Instead, photographs and lyrics are allowed to speak for themselves, creating a deeply affecting portrait of the human cost of overdose and the families and communities left behind.  Jack Grisham and Lars Triesch  (photo credit: Swen Siewert) Jack Grisham And The Life Undone’s 13-track self-titled debut album finds the longtime punk frontman exploring a more expansive and introspective musical landscape, bringing together guitar-driven alternative rock, harmony-heavy Britpop, Americana-tinged acoustic compositions, and melodic SoCal balladry. Featuring previously released singles “Anthem,” “Pain Goes Around,” “Pieces of the Sun,” and “Church Bells,” the album moves between alt-rock singalong energy, midtempo balladry, and propulsive rockers.  “Angel Funeral” offers another dimension entirely, its tender acoustic arrangement providing the backdrop for one of the record's most emotionally resonant moments. The project began with an unlikely meeting between Jack and Lars at Las Vegas' Punk Rock Museum. Despite living nearly 6,000 miles apart, the two began writing together remotely, discovering a creative connection that would eventually become the foundation for the album. Produced by Kurt Ebelhäuser, with contributions from engineer/co-producer Michel Wern, guitarist Trevor Lucca (D.I., Dick Dale), and producer Paul Roessler (The Screamers, 45 Grave), the record brings together an international cast of musicians in service of a remarkably personal collection of songs. Jack Grisham and the Life Undone Tracklisting Pain Goes Around Pieces of the Sun John Says These Things Church Bells Dull Boy Loser Angel Funeral Lazing in the Bed All Day Black Ties Anthem Phone Call Darker Side of Nowhere For Jack, the album is also an examination of the life he's lived, the people he's lost, and the person he's become. Having spent more than half his life sober, he reflects on aging, isolation, accountability, and the ongoing process of personal growth. “I've basically used the second half of my life to make amends for what I did in the first half,” he says. With “Angel Funeral,” that reflection extends beyond his own story. What might have started as a song for one person has become a space for hundreds of people to remember someone they loved. It's a reminder that behind every statistic is a life, a family, and a story that deserves to be remembered. Jack Grisham and the Life Undone’s self-titled debut album is released on October 30, 2026 via Lost in Berlin Records. Jack Grisham and the Life Undone is Jack Grisham and Lars Triesch. "Pieces of the Sun" Link/Embed: https://youtu.be/1AlJPnbiB5Q?si=rdjX6hU9uBDxqTr5 "Anthem" Link/Embed: https://youtu.be/RTmxShDC7wU?si=R01Qjw75F39RGvHW "Church Bells" Link/Embed: https://youtu.be/tjK2ArPoO7Q?si=yZkuWlfdg1wsJtVX "Pain Goes Around" Link/Embed: https://youtu.be/TJWg3LWGi8Y?si=DPdEU9Dtg-R1s48E

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