Lucky Number Music

London collective HMLTD (Henry Spychalski, Duc Peterman, Andrei Martynchyk, Theo Spark) have today released their incredible new album FANGS, and shared a new video for opening track “What The Hell”.

On “What The Hell”, Henry says – “What The Hell is a song about endless night. The modern Vampire has replaced the crypt with the club. The club has expanded beyond its own walls in an explosion of being, of Dasein in dizzying red shift. The sensory logic of the club – of limitless desires with limitless possibilities of satiation; of lurid hedonism; of endless consumption – bleeds into all of life, or rather into all of undeadness. The Vampire inhabits its psychosphere: the cultural unconscious of bass, strobe, and transaction.

Consumo ergo Sum. Bloodlust. Satiation collapses in on itself. Pure emptiness. Gothic void. Cycle of pain. The restricted economy of work and accumulation gives way to meaningless excess, waste, and ecstatic expenditure. The club as everywhere is a vampiric bonfire of burning surplus. A black pyre for meaning itself. At 4am, in the bathroom stall, you stare into the mirror and confront pure nothingness. In a world of mirrors, you have no reflection. You are Vampire.”

On their third album, HMLTD have created an entirely new genre: Götherdammerüng (or ÜberGöth). Predictably unpredictable, it could not be further away from their last outing, 2023 rock opera The Worm. The sixteen-piece orchestra has been traded in for Ableton, the timpani and violins replaced with side-chained four-to-the-floor and rave synths, and the gospel choir swapped for guttural gothic howling and black metal screams. The result is both unique and terrifying: a total reinvention and rehabilitation of the goth genre, through the looking glass of modern electronic and doomscroll-era dance music.

The band perform at Club Cheek in London next week, before a full UK Tour in early 2027, all dates and tickets are available on their website.

London collective HMLTD (Henry Spychalski, Duc Peterman, Andrei Martynchyk, Theo Spark) today share new “Umami”, taken from their upcoming album FANGS, which will be released on October 23rd. The single is mixed by Nicos Kennedy (Machine Girl, Femtanyl) and follows previous singles “I Used To Ride In Limousines” and “Blitzkrieg”. The band also today announce a run of UK tour dates beginning in Feb 2027 (full dates listed below), with tickets on sale tomorrow, October 2nd, at 10am.

Of the new single, HMLTD say “‘Umami’ is the closest thing we’ve ever written to a club track. Inspired by bloghouse, eurotrash and recession-pop era EDM, it is at once a celebration of the club as a conceptual meta-space for dionysian excess and expenditure, and an indictment of the club in its modern form, where it could not be further from this ideal.”

October 15-17th – Swn Festival, Cardiff
October 26th – Club Cheek, London (Sold Out)
November 7th – Arise Festival, COOP Studios, Berlin
February 27th – The Abbey, Manchester
February 28th – Hare & Hounds 2, Birmingham
March 1st – The Bodega, Nottingham
March 4th – Village Underground, London
March 5th – Thekla, Bristol
March 7th – Wharf Chambers, Leeds
March 8th – Nice n Sleazy, Glasgow

London collective HMLTD (Henry Spychalski, Duc Peterman, Andrei Martynchyk, Theo Spark) today announce their new album FANGS, which will be released on October 23rd. They also today share new single “I Used To Ride In Limousines” which is accompanied by a stunning new video, once again directed by frontman Henry Spychalski.

Of new single “I Used To Ride In Limousines”, HMLTD say –

“One must still have chaos in oneself to be able to give birth to a dancing star. This is a song about failure and success. It’s about making peace with failure, finding liberation in the sovereign, non-productive waste of failure, and about rejecting all instrumentalist notions of ‘success’ that subjugate life and the human experience itself to ‘success’ as an end goal. It’s about rejecting the ego, and it’s about rediscovering and redefining a sense of self-worth that is entirely one’s own”

On their third album, FANGS, HMLTD have created an entirely new genre: Götherdammerüng (or ÜberGöth). Predictably unpredictable, it could not be further away from their last outing, 2023 rock opera The Worm. The sixteen-piece orchestra has been traded in for Ableton, the timpani and violins replaced with side-chained four-to-the-floor and rave synths, and the gospel choir swapped for guttural gothic howling and black metal screams. The result is both unique and terrifying: a total reinvention and rehabilitation of the goth genre, through the looking glass of modern electronic and doomscroll-era dance music.

This new beginning was accompanied by a change in personnel, with Theo Spark and Andrei Martynchyk joining the fray alongside original members Henry Spychalski and Duc Peterman. Decamping to a ruined château in the Loire Valley, the quartet became obsessed with vampire lore, and the EBM and goth sound that inspired their early work: Fad Gadget, DAF, Nitzer Ebb, Suicide and Bauhaus. FANGS also points to more contemporary influences like Crystal Castles, German hardcore, 2000s blog-house a la Justice, and 2020s sleazepop.

The world crafted in FANGS is full of cosmic pessimism, glowing horror, imperceptible evil and digital dismemberment, ancient curses and ruined castles, Vampires. But it is also a thoroughly fun, and funny, record, as danceable as it is deep. Born of the club, some tracks would not sound out of place on Brat. Like a Smiths song which sounds happy and carefree until your brain tunes in to the misery of the lyrics, it can be listened to – and enjoyed – on two levels. One can get lost in the throb of bass and ludic synths, or tune into the horror of the lyrics which overlay them.

FANGS attempts to offer up a reflection to a culture that – like a Vampire – has lost its own. The result is something not only thoroughly modern, original and inventive – but that feels genuinely dangerous and potent. FANGS delights in this ambiguity: simultaneously indicting decadence, decay and moral rot, while luxuriating in its intoxication by it. Cacophonous sub-bass becomes a chthonic call of the void; seraphic rave synths become the screech of valkyries; four-to-the-floor becomes a deathly funeral march. Vampire apocalypse.

Additionally, following their forthcoming sold out show at Club Cheek, the band also today reveal details of their next London headline show at Village Underground on March 4th 2027. They will also be playing at the Arise festival: Berlin edition, presented by Fetchish, this coming November 7th.

London collective HMLTD (Henry Spychalski, Duc Peterman, Theo Spark, Andrei Martynchyk) today return with new single “Blitzkrieg” – their first new music since the critically acclaimed 2023 album, The Worm.

Mixed by Nicos Kennedy (Machine Girl, Femtanyl), “Blitzkrieg” is an abrasive and confrontational thrill ride before collapsing into its melancholic coda; the band continue to delight in confounding listener expectations whilst at a new forefront of experimental and ground-breaking music. The accompanying video delights in exploring the new visual identity which the band inhabits.

On “Blitzkrieg”, HMLTD say –

“Blitzkrieg is our first single in three years, and a reinstatement of intent and the values which defined our early manifesto: it is a return to radical experimentation, violent confrontation, and music as revolt.”

Born in the club, Blitzkrieg is the clarion call of a new sound, which the band call GÖTHERDÄMMERUNG, or ÜberGöth. In the cybernetic sprawl of AI, hyperreality and techno-capital acceleration, GÖTHERDÄMMERUNG is a form of gothic insurrection which resurrects the ghosts that modernity attempted to bury: plague pits, witches, ruined castles, vampires, as a means of understanding and mapping the new demons created by capital.

They will perform an underplay at Club Cheek, London on October 26th – tickets on sale now – with more dates to be announced imminently.

Jay Som – the project of Los Angeles-based multi-instrumentalist, songwriter and producer Melina Duterte – will release Belong, her first new album in over six years, this Friday, October 10th. Belong features Jay Som’s first-ever collaborations, and today she shares one final taste of the album with “Past Lives” featuring Hayley Williams of Paramore. Jay Som opened for Paramore on tour in 2018, and Duterte and Williams have wanted to collaborate ever since. The two met in Nashville to try a song together, alongside Steph Marziano. Williams’ soft harmonies on the arcing “Past Lives” reinforce its forlorn sense of drifting in and out of doldrums, of finding momentum only to watch it fade. It is a powerhouse of a tune, its downshifted midsection landing like a fistfight with oneself.

“It’s a dream come true to have Hayley sing on my first feature on an album before the recording “Float”, I still can’t believe it happened,” Duterte says of the collaboration. “She’s one of the kindest artists out there and she graciously accepts and uplifts the people around her. We’re all so lucky to witness her talent and live on the same timeline as her.”

Los Angeles fans can also join Jay Som on Thursday 9th October for a Belong Release Party at Permanent Records. The event takes place from 7-10pm and is free with RSVP. Jay Som will embark on her first tour in over 5 years this winter, kicking off in Europe on 1st November, stopping through the UK to play at London’s Pitchfork Festival on Saturday 8th November, before heading onto her headline run of North America through November and December. See the full list of dates and get your tickets on her website HERE.