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Longtime friends, collaborators, and stalwarts of the Montréal post-punk community, this is their first full-fledged project together. Mixed by Jace Lasek (The Besnard Lakes) and featuring guest players Jessica Moss (Thee Silver Mt Zion, Big | Brave) and Liam O’Neil (Suuns). AH_ML weaves these 2 unique voices through lustrous tendrils of blown-out tones and drones, expanding on Menuck’s eponymous modular and analog synth-based work of recent years, now imbued with an additionally searing, soulful warmth and melodicism through Engle’s singing.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eDarling The Dawn\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eis a spellbinding album of preternaturally genre-bending sonics and songwriting: a sort of electronic shoegaze suffused with freak-folk, kosmische, darkwave and post-industrial, flowing from ambient minimalism to pulsing maximalism, conjuring traditionals sung in the haze of earliest light accompanied by overdriven circuit boards powered with ungrounded wires. Engle and Menuck see AH_ML in a folk lineage traced through the likes of Pentangle and Trees to White Magic and Amps For Christ. While there’s no discernible guitar or acoustic instrumentation on the album (warm distorted synths provide the palette, along with signal-processed violin from fellow-traveller Jessica Moss), off-kilter drone incantations like “A Sparrow’s Lift” and “A Workers’ Graveyard (Poor Eternal)” perhaps sit most overtly within these seams of the skewed-folk substratum. The dichotomic ritualism of Can is an adjacent signpost, where methodical longform soundscaping combines with a feeling of extemporised immediacy. The album’s tremendous 10-minute centrepieces “We Live On A Fucking Planet And Baby That’s The Sun” and the motorik-driven “The Sons And Daughters Of Poor Eternal” also make this influence explicit thanks in part to the resplendent drumming of guest Liam O’Neil (Suuns), who helps propel both tracks to their spiralling peaks. Above all it’s the singing and lyrics, in method and melodic delivery, that conjure certain freak-folk furrows. Engle calls this “music inspired by ancestor music, sea shanties for seas we’ve never sailed” and the duo have indeed forged a collection on “Darling The Dawn” where vocals often feel strangely rooted in traditionals, while the instrumentation resonates out-of-time, in a liminal space at once glisteningly synthetic and oxidized in analog patina. As the album title suggests, sleepless anxiety\/euphoria and a sense of somatic channeling is vital to these songs: “I mostly kept the first thought I had, like a cold read, I wanted the melodies to be immediate and to surprise me, not a laboured process; it’s about being a weather vane, guided by preconscious impulses” says Engle. 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As such, water is the perfect elemental theme for \"Aion\", the third album of German psychedelic doom contenders BEES MADE HONEY IN THE VEIN TREE. Lyrically, water is present on \"Aion\" both for it's life-giving quality but also it's darker and more ominous side. Musically, BEES MADE HONEY deliver spacious, dynamic compositions that move from drifting tranquility to raging power. A constant tidal movement of ebb and flow translates into spaced-out guitars, pounding bass-lines, and dripping drum-fills, crowned by echoing clean vocals. The album title derives from the Greek word ἀιών (aiṓn), which translates as 'eternity' and has come to denote 'ages' in the English word 'aeon'. BEES MADE HONEY IN THE VEIN TREE were founded in the German city of Stuttgart in 2014. With all four members having grown up together since childhood and coming from an academic background, the band had a clearly defined goal right from the start: to contrast crushing doom metal riffs with the spheric sounds of post- and psychedelic rock. BEES MADE HONEY laid down their musical template with the debut album \"Medicine\" in 2017, which provided the solid foundation of their ever-evolving sound. Their sophomore full-length \"Grandmother\" (2019) expanded the sonic horizon through lower tuning, densely layered effects, faster passages, and harder vocals. The Germans also started performing live at home and abroad to continuously growing audiences, which led to the recording and release of \"Harvestmen (live)\" in 2022. 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New York-based GUHTS (pronounced ‘guts’) declare themselves to be an ‘avant-garde post-metal project, delivering larger than life sounds through, deeply emotional music’. We are thrilled to be able to deliver that statement in the form of their debut album ‘Regeneration’. By their own admission, GUHTS' musical style is influenced not only by iconic metal bands like Gojira, Cult of Luna, YOB and Deftones, but more unconventional acts like Bjork, Subrosa, Isis, Julie Christmas, and even PJ Harvey. It’s undoubtedly heavy, with a strong feminist streak, it’s cathartic and weighty, a formidable debut for such a new band. Founded in 2020 as a passion project by Scott Prater (Witchkiss), and Amber Burns (Witchkiss) and then Dan Shaneyfelt (Black Mountain Hunger), GUHTS became its members’ main focus following the release of their first EP 'Blood Feather' which itself received rave reviews from the likes of Decibel Magazine, Invisible Oranges, The Obelisk, Cvlt Nation, and more. Brian Clemens Sleaping Dreaming) \u0026amp; Daniel Martinez (Nefariant) joined GUHTS in 2022 and the band swiftly started booking tours and making plans to record 'Regeneration'. Since then GUHTS have been steadily making a name for themselves with their powerful live performances., sharing stages with the likes of Yob, Cave in, \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eMarissa Nadler, plus appearances at the Maryland Doom Fest, Crucial Fest and Ohio Doomed and Stoned Fest. ‘Regeneration’ is set to cement their status as one of the coolest and most interesting bands on the scene. Of the album, vocalist Amber says. \"Regeneration\" symbolizes the power of self-renewal, often overlooked. Embracing it means shedding old layers and welcoming new beginnings. Without this, life stagnates and is “sustaining”. Through regeneration, change becomes empowering, allowing new facets to emerge. 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A quarter-century into their storied career, Mono has finally come home.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eForever Home: Live in Japan with Orchestra Pitreza\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003ecelebrates Mono’s 25th Anniversary Oath Orchestral World Tour, which stretched to 20 concerts in Europe, Asia, and the United States in the final months of 2024. Recorded in front of a sold-out crowd at Spotify O-East in Tokyo, Forever Home features a 12-piece orchestra — led by orchestra director and frequent collaborator Chad McCullough — supporting Mono as they perform their latest album,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eOath\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ein its entirety. The 100-minute concert concludes with a pair of the band’s most iconic songs — “Ashes in the Snow” and “Everlasting Light” — that pay homage to that first-ever orchestral live performance in NYC 15 years ago.\u003c\/p\u003e\n\u003cp\u003eRecorded and mixed by Mono’s longtime touring sound engineer Matt Cook, Forever Home captures the venerable group in their natural environment, and at their most transcendent. 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