Cassius Wolf & Das Abs

Cassius Wolf & Das Abs (Press)

The release offers a powerful preview of the duo’s forthcoming album An Afternoon in Bedlam, due out on 29th May 29, and continues their mission to reintroduce long-lost material from their formative years to contemporary audiences.

Formed by Cassius Wolf and Don Watson, the project traces its origins back to late-’70s Liverpool, where the pair first met as schoolboys before becoming immersed in the city’s thriving underground scene. Their early days included time spent at the legendary Eric’s Club, a hub that helped shape the sound of bands like Echo & the Bunnymen, Orchestral Manoeuvres in the Dark and The Teardrop Explodes.

Cassius Wolf & Das Abs

Cassius Wolf & Das Abs (Press)

The Sound Of The Guns channels that same creative energy, blending post-punk urgency with a punk-reggae rhythm inspired by The Clash. While rooted in its original era, the track feels strikingly relevant, delivering a poignant anti-war message that reflects on the human cost of conflict. Co-written with Liverpool musician John McGlone of Western Promise, the song underscores the band’s deep connection to their local musical heritage.

The single follows I Can’t Reply, another archival rework that explored the emotional complexities of relationships, and together they highlight the thematic scope of An Afternoon In Bedlam. The album draws on restored cassette recordings from the band’s early years, reinterpreted using modern production techniques while preserving their original spirit.

Sonically, the project sits at the intersection of nostalgia and reinvention, pulling from the darker textures of The Cure and Depeche Mode, alongside the experimental ethos of Can and The Velvet Underground.

Recorded largely in a home studio environment, the album reflects a hands-on, independent approach, with the duo maintaining full creative control across writing, production and visual identity. It also forms part of a broader ethos the band describe as “PCore”—a celebration of artists continuing to create and evolve later in life, challenging traditional expectations of longevity within music.

Cassius Wolf & Das Abs

Cassius Wolf & Das Abs (Press)

With The Sound Of The Guns, Cassius Wolf & Das Abs bridge past and present—reviving the urgency, experimentation and emotional depth of their early work while proving that creative energy can endure and evolve across decades.

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Temples

Temples (Jimmy Fontaine)

Blending their signature psychedelic rock roots with a striking electronic edge, ‘Vendetta’ sees the band pushing into new sonic territory. Fusing gritty guitar riffs with shimmering synths and a pulsating, dancefloor-ready groove, the track captures a sense of restless energy that feels both immediate and expansive. Initially conceived as two separate ideas, the song evolved into a cohesive whole once combined—resulting in a dynamic and unpredictable listen.

Frontman James Bagshaw points to the track’s genre-blurring nature, drawing inspiration from the likes of Justice and Daft Punk, alongside modern dance influences. The result is a track that bridges indie psychedelia with contemporary electronic pop, embodying what the band describe as a feeling of “melancholic euphoria.”

BLISS marks a new chapter for Temples following 2023’s Exotico, with the band taking a fully self-produced approach this time around. Recording together in a more instinctive and collaborative environment, they embraced experimentation—using samplers and studio techniques to reshape their own material into a fluid, interconnected body of work.

Drawing influence from artists such as Faithless, Underworld, Massive Attack and Portishead, the album channels the emotional pull of late ’90s and early 2000s dance music, while retaining the band’s unmistakable melodic sensibility. The result is a record that feels both nostalgic and forward-thinking, rooted in club culture but filtered through Temples’ kaleidoscopic lens.

Alongside the new single, Temples have confirmed a run of UK headline shows this November, as well as a summer festival appearance, marking their return to the live stage. Known for their immersive performances, the upcoming dates promise to bring the vibrant, electronic-leaning sound of BLISS to audiences across the country.

With Vendetta, Temples signal a confident evolution—one that expands their sonic palette without losing the identity that has defined them. As they step onto the dancefloor with BLISS, the band continue to reinvent themselves while keeping their core spirit firmly intact.

UK & Ireland Tour Dates:

JULY
25th – Latitude Festival, Suffolk

NOVEMBER
9th – Strange Brew, Bristol
11th – Scala, Londob
13th – The White Hotel, Manchester
14th – King Tut’s Wah Wah Hut, Glasgow

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Blums

Blums (Eleanor Petry)

To celebrate the announcement, Blums has shared her debut single Sinking/Soaring, alongside an official video directed by Ava Burka and Marianna Kamiaklioyis. The track offers a striking introduction to her world: a winding, art-pop composition that drifts between fragility and intensity, reflecting the cyclical nature of self-doubt and emotional unrest.

Inspired in part by Feder’s time working as a jazz club hostess, Sinking/Soaring blends mellow vibraphone textures with delicate keys before expanding into a spiralling melodic crescendo. The song’s layered arrangement is further enriched by contributions from vibraphonist Sasha Berliner, while co-producer Kirk Palsma helps shape its more experimental moments—including a fractured vocal passage that underscores the track’s sense of unease.

Lyrically, the single delves into internal conflict, with Feder exploring feelings of isolation, self-awareness and emotional contradiction. The accompanying video mirrors this duality, juxtaposing crumbling domestic spaces with moments of glamour and performance to capture the tension between escapism and reality.

Sinking/Soaring marks the first official release from Blums and sets the stage for a debut album expected later this year. The forthcoming record is described as a sprawling art-pop statement, drawing from a wide range of personal experiences—from Feder’s early fascination with classic Hollywood musicals to her time immersed in New York’s DIY music scene.

Having already built a reputation for captivating live performances across Brooklyn, Blums has shared stages with a host of rising artists and continues to carve out a distinctive space within the city’s creative community. Her signing to Take Care Records—a label rooted in championing authentic, boundary-pushing artists—signals an exciting new chapter.

With Sinking/Soaring, Blums offers a compelling first glimpse into a project defined by emotional depth, experimental ambition and a refusal to look away from the complexities of the inner world.

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Widowspeak

Widowspeak (Michael Stasiak)

Built around lush instrumentation and a soaring guitar lead, No Driver showcases the band’s signature blend of dreamlike indie rock and widescreen pop. Vocalist Molly Hamilton describes the track as a reflection on watching loved ones drift through destructive phases, balancing empathy with quiet patience. Drawing from personal experience, she frames the song as both an outward expression of care and a message to her younger self—capturing the moment when aimlessness gives way to purpose.

The single follows earlier release If You Change and further sets the tone for Roses, the band’s seventh album. Longtime collaborators Hamilton and Robert Earl Thomas continue to refine their understated, emotionally rich songwriting, this time drawing inspiration from the rhythms of everyday life. From fleeting observations at work to quiet moments of introspection, Roses explores intimacy and routine with a soft-focus, cinematic quality.

Recorded on the Greek island of Hydra at the Old Carpet Factory, the album was shaped in isolation during the off-season, lending it a calm and reflective atmosphere. The duo were joined by touring members Willy Muse, John Andrews and Noah Bond, before completing the record with mixing by Alex Farrar and mastering by Greg Obis.

Across its ten tracks, Roses leans into Widowspeak’s timeless aesthetic—melding elements of dream pop, Americana and classic indie rock. Their sound continues to evoke a hazy, nostalgic mood while remaining grounded in the interplay between Hamilton’s hypnotic vocals and Thomas’ expressive guitar work.

Alongside the new single, the band have confirmed an extensive UK and European tour set for winter 2026, bringing their atmospheric live show to audiences across the continent.

UK & Ireland Tour Dates:

NOVEMBER
12th – Brudenell Social Club
13th – The Workman’s Club
15th – The Rum Shack
16th – YES (Pink Room)
17th – Scala

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A furious blast of thrash-laced intensity, Kicked Outta Hell sees the long-running trio pushing their sound into even heavier territory. While the track carries echoes of the band’s genre-defining early work, it also embraces a modern sense of weight and precision, resulting in one of the most crushing songs in their catalogue to date. Built for the live arena, its relentless pace, grinding riffs and chant-along energy feel primed to ignite crowds worldwide.

Venom

Venom (Necroshorns)

Frontman and founding member Cronos approaches the track with a mischievous grin, flipping metal’s traditional imagery on its head. Rather than battling infernal forces, he places himself above them, delivering a tongue-in-cheek narrative where even the Devil has had enough. Guitarist Rage underscores the track’s direct, no-frills aggression, while drummer Dante highlights its sheer heaviness—together cementing it as a standout moment on the forthcoming record.

Into Oblivion marks Venom’s sixteenth studio album and their first new material since 2018’s Storm The Gates. Featuring the enduring line-up of Cronos, Rage and Dante, the album continues to evolve the band’s unmistakable formula. Across thirteen tracks—including Metal Bloody Metal, Dogs Of War and the title track—Venom blend their signature rawness and occult-tinged attitude with a broader, more expansive production style.

Despite the progression, the band remain firmly rooted in the ethos that made them pioneers. The spirit of their early ’80s output—widely credited with shaping the foundations of extreme metal—still burns at the core of Into Oblivion. However, there’s a renewed sense of clarity and force here, with tighter arrangements and a modern sonic punch that amplifies their enduring ferocity rather than diluting it.

To mark the album’s release, Venom are inviting fans to immerse themselves in the experience through a series of global listening events taking place on 30th April. These gatherings promise a celebration of all things heavy, offering fans the chance to hear Into Oblivion in full ahead of release, alongside exclusive merchandise giveaways and the opportunity to win signed test pressings.

The initiative reflects Venom’s ongoing commitment to their global legion of fans—an audience that has remained fiercely loyal while continuing to grow across generations. It also reinforces the communal power of heavy music, bringing listeners together in dedicated spaces to share in the band’s latest chapter at full volume.

Now over four decades into their career, Venom show no signs of slowing down. With Into Oblivion, they aren’t simply revisiting past glories—they’re reinforcing their legacy with a record that feels both true to their origins and vital in the present day. If Kicked Outta Hell is any indication, the band’s appetite for chaos, volume and provocation remains as potent as ever.

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