Out now - Black Pill Red Pill
Like more and more bands recently Angelspit went the crowdsourcing route to fund the release of their latest album, The Product, and if there was ever any doubt about the loyalty of their following this would have put it to rest easily. They gained almost three times the original goal of $5,000 with even the most expensive perks being grabbed up and now we have in our hands The Product itself.
April 29th on Warrior Records
Ah, Godhead. Here’s a band I’ve not kept track of for the last few years for some reason, even though I still have their first album and it still gets an airing from time to time. It’s nice to discover they’re still going strong when they could have easily vanished into obscurity after breaking out as the only act on Marilyn Manson’s half-assed record label. So here we have The Shadow Realigned, a remix album of tracks from their sixth album The Shadow Line (I see what they did there!) along with a new track and a couple of covers.
Out 24th March on Out Of Line
This is Combichrist’s first release since their soundtrack to the recent Devil May Cry reboot which was a bit of an oddity, being far more of a metal album than you’d expect from Combichrist. While I liked it and gave it a good review, people discovering the band from that game might have been surprised when exploring their back catalogue. However We Love You would serve as a perfect jumping-on point for them, as a fair few of the songs here retain a big metal influence but one that complements the classic Combi sound rather than overwhelming it.
Out now on Fysisk Format
Norwegian art-rockers King Midas have been around for the best part of twenty years now and have just won their second Norwegian Grammy (or Spellemannpris – don’t say we’re not educational here). Judging by their history they are an unconventional band who are always pushing themselves, taking each album in vastly different directions and always striving to do something fresh and different, but as I’m not familiar with their past work I’m going to look at their new album, Rosso, entirely on its own merits.
Out now via Mute
Laibach have always been a strongly political band, they’ve just always been extremely ambiguous about what their politics are, as seen in their use of fascist imagery and uniforms but their refusal to openly state why they used them. So when they release an album described as “a political manifesto in poetic form” with songs that seem to have a clear ideology I can’t help but get paranoid and wonder if I’m completely missing the joke here.