Lylantz guarantees you will not walk away from "Your God Is My Devil" feeling entirely okay. His self-produced tenth full-length album is an active, confrontational dive into the darkest corners of the human psyche. As the architect of a wildly fluid … Read on blog or Reader Music Arena Gh Read on blog or Reader Dancing With Internal Demons on Lylantz’s “Your God Is My Devil” By Chris The Blogger on July 17, 2026 Lylantz guarantees you will not walk away from "Your God Is My Devil" feeling entirely okay. His self-produced tenth full-length album is an active, confrontational dive into the darkest corners of the human psyche. As the architect of a wildly fluid sound he dubs "Post-Modern Gothic," Lylantz crafts visceral art for his self-described "Black Swans" the outsiders, the iconoclasts, the perpetually misunderstood. https://open.spotify.com/album/4OyTHP0j5kqLgzkrH3Z0lN "Ante Meridiem" kicks open the door with suffocating force, dragging an oppressive dark ambient sludge into an explosive wall of frantic black metal. It rattles the teeth. From there, the descent into his esoteric shadow work becomes remarkably turbulent. "Living Coffin" offers an absolute post-hardcore panic attack, anchored by wailing distortion that somehow captures the exact shape of profound emotional numbness and restless mental anguish. Dancing With Internal Demons on Lylantz’s "Your God Is My Devil" The beauty of the record lies in how unpredictable the delivery mechanism for this trauma becomes. On "Basilisk," Lylantz morphs into an underground trap-metal antagonist, spitting anti-religious occult themes over abrasive frequencies and a rapid-fire rhythm. He shifts again on the defiant alternative trap of "So Precious," breaking free from toxic emotional dependencies with a brooding, heavy bounce. The mood softens abruptly on "Blood Tied." His wife, Cassandra Fowler, appears on this hazy, cloud-rap detour, dropping listeners into a sudden pit of melancholic nostalgia built upon heavy, rumbling bass. That quiet sorrow is immediately shattered by "Devil's Cry," a claustrophobic horrorcore plunge into terrifying mental warfare driven by menacing, eerie loops. Dancing With Internal Demons on Lylantz’s "Your God Is My Devil" Occasionally, Lylantz weaponizes this darkness. "El Amo (Murcielago)" oozes cold, untouchable dominance over a gritty Latin trap pulse, while "Feral" dives deep into industrial midtempo bass to chronicle an animalistic, wildly dangerous romance. He even steers into hard rock for "Bachelor's Grove," channeling supernatural dread and heavy, chugging riffs inspired by haunting graveyard folklore. By replacing literal monsters with creeping psychological shadows, Lylantz explores profound moral hypocrisy and existential panic. The unrelenting self-hatred detailed in the screamo finale, "Where Angels Love Demons," offers no easy answers or uplifting resolutions only rigid, dissonant chords slowly collapsing into a bleak, lingering emptiness. When the final distorted echo cuts out, the quiet is deafening. We spend enormous amounts of energy desperately trying to outrun our personal hellscapes, but what if giving our internal devils a heavy, chaotic rhythm is the only way to survive them? Follow on Instagram.

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Essential new singles, also ft. Long Distance Runner, The Klittens, Pink Eye Club and jo from school. Nina Winder-Lind by Silken Weinberg | Words: Brad Sked, Eloise Applebaum, Hazel Blacher…

Hard Of Hearing Magazine Read on blog or Reader Tracks 17th July 2026, ft. Nina Winder-Lind, Man/Woman/Chainsaw and more. By Hard of Hearing on July 17, 2026 Essential new singles, also ft. Long Distance Runner, The Klittens, Pink Eye Club and jo from school. Nina Winder-Lind by Silken Weinberg | Words: Brad Sked, Eloise Applebaum, Hazel Blacher Nina Winder-Lind – ‘Headfirst’ Based in the burgeoning creative hub of Brighton, Nina Winder-Lind (also of Hard of Hearing favourites The New Eves) returns with ‘Headfirst’, the third single from their forthcoming debut solo record ‘Wild Love’ – set for release on 14th August via Transgressive Records. A short, razor-sharp freakout, ‘Headfirst’ opens with a noodly, groove-heavy King Gizz-esque riff, before unfolding into retro-tinged psychedelia and garage-rock eccentricity. Evoking the effortless, deadpan free-spiritedness of The Velvet Underground and charged with the primal intensity of Winder-Lind’s vocals, it’s glorious stuff once again from the Brighton-based artist. On the single itself, Winder-Lind states: “Headfirst is the amalgamation of two elements; a spoken poem that I made whilst out on a walk in my neighbourhood, and an odd two harmony guitar riff that I recorded on garage band and labeled ’television guitar’. The song is a declaration of existence and an ode to movement and emotion. It’s an animal song.” (Brad Sked) Man/Woman/Chainsaw – ‘Something Else To Give’ Man/Woman/Chainsaw continue their impressive run with new track ‘Something Else To Give’, a song that captures the emotional vulnerability at the heart of the band’s songwriting whilst still exploding with their trademark energy. Exploring the frustration of incompatible relationships where you end up giving more than you receive, the track feels especially meaningful in an era of situationships and uncertain connections. ‘Something Else To Give’ could easily soundtrack the complicated nature of Carrie and Mr Big’s relationship in ‘Sex and the City’, portraying the frustration of loving someone while still feeling distant from truly knowing them. ‘Something Else To Give’ is the latest preview of their upcoming debut album ‘Cannonball’, due for release on 7th August via Fiction Records. (Eloise Applebaum) Long Distance Runner – ‘Zero’ Hotly-tipped West London trio Long Distance Runner – featuring members of Mandrake Handshake and Dead Dads Club – have released their sprawling debut single ‘Zero’, a scenic post-rock expedition that surges with tenderness and introspection. Unfolding across six-and-a-half hypnotic minutes, a filmic instrumental of metamorphosing guitar textures billows around drummer Joe Bourdier’s steady crescendos, washing over the listener like invigorating saltwater waves. A thoroughly gripping introduction to the band, ‘Zero’ is the coursing result of their early live improvisations, which guitarist Ned Preveser explains: “‘Zero’ emerged very accidentally. We were playing our first ever show, and needed to fill up the set time, so we decided to improvise over a riff James had been playing with in rehearsal. We ended up playing it at every show and it’s become a sort of fan favourite. It’s heavy and chaotic, but also euphoric, and it’s new every time we play it because there’s still no set ‘structure’. In that way, it’s probably the best distillation of us as a band.’” (Hazel Blacher) The Klittens – ‘Taxi’ From Electrelane to The Raincoats, The Klittens’ newest single ‘Taxi’ is forged with the same DIY indie rock and post-punk DNA that threads through five decades of music history. Sauntering, quietly assured, towards a cliffhanger sunset fit for a cult indie flick, its ending teetering between triumph and vague sadness, the track broods amid coarse guitars and ponderous drums, sweetened by lead singer Yaël Dekker’s calming vocal melodies. ‘Taxi’ is the latest teaser from the Amsterdam quintet’s long-awaited debut album ‘Have A Heart’, due for release on 25th September via Cargo Records. The band will also be heading to the UK for a tour in autumn, stopping off for a headline show at The George Tavern on the 2nd November. (Hazel Blacher) Pink Eye Club – ‘Small Talk’ There is something draining about being surrounded by conversations that carry little meaning, from obvious bragging to the pressure of projecting a synthetic version of yourself. Pink Eye Club’s new single ‘Small talk’ perfectly portrays the tension fostered by this type of social masking. With an inner monologue reminiscent of Isaac Wood’s project ‘The Guest’ the new track captures a similar passionate angst while pairing it with an intense, danceable electronic groove. ‘Small Talk’ suggests that maybe the best response to meaningless conversations is to stop the small talk and dance. The new track is taken from the Brixton Windmill legend’s forthcoming album ‘(Emotional Dance Music)’, set for release sometime in the autumn with more details to come. (Eloise Applebaum) jo from school – ‘Weight’ Catching our attention with her recent dazzling indie pop anthem ‘Julia Roberts’, London singer-songwriter jo from school – aka 22 year old Jo Geller – seems to be going from strength to strength with every new gem she reveals from her debut EP ‘Grace, Flair & Distance’ – due for release on the 7th August via Chess Club Records. Retreating into the pared back intricacies of acoustic stillness, newest single ‘Weight’ is a tender indie-folk ballad that showcases her songwriting flair and spellbinding vocal talent. A ruminative track that took shape with producer Rich Cooper (who has also produced the likes of CMAT and Billie Marten), Jo explains: “This one was unique in that it was hard to keep writing, but [my producer] Rich knew it could be something. We understood that there was a fine line between supporting the songwriting and emphasising the parts that needed a push, and overdressing the song to a point where the rawness is covered up and lost.” (Hazel Blacher) Hard Of Hearing Magazine © 2026. Unsubscribe or manage your email subscriptions. Get the Jetpack app Subscribe, bookmark, and get real-time notifications – all from one app! Automattic, Inc. 60 29th St. #343, San Francisco, CA 94110