Green Lung have returned with a suitably Sabbathian single that throws these superb Brits back into the limelight. This Heathen Land was an unqualified success three years ago. Now, Evil In This House serves as the first taster for the bands forthcoming fourth album, Necropolitan.

The album will shine a light on the arcane world of the bands hometown, London. It’s a place rich with tales and stories of the occult. Telling these stories is what Green Lung do so well. There are wailing solos, keyboard wizardry, and that deep, earthy, doom laden sound that Green Lung excel at.

Once again produced by Tom Dalgety (Ghost, Opeth), and recorded at the legendary Rockfield Studioes, Evil In This House is top notch and comes with a brilliant music video; something that feels like a lost art form at times in the modern landscape.

Green Lung play Desertfest 2026 on 16th May 2026, with Necropolitan slated for 11th September via Nuclear Blast. The album is available for pre-order now, here.

We caught these Welsh boys at Cropredy’s fringe last year, duly impressed by their swagger and gusto. So it is a joy to re-acquaint, as they gear up for the release of album number 6, with this pleasing tease of a single.

The initial ambience received is of classic rock/pop, stomping drums and pile driven guitars, each then enhanced by the ragged vocal of Alex McConnachie. Very much at the commercial end of 70’s rock, the ensemble backing vocals echo many a TOTP favourite of yesteryear. But the secret weapon is then the unexpected arrival of fiddle in the mix. A background texture from the start, it is the when Scott McKeon leads the instrumental break with a scything riff, that this song shows itself to be of sterner stuff.

Folk-rock with the rock writ well large, this unashamed retro-bomb is so out of time as to kickstart the style all over. Bring it on, lads!

Max Subar is a name new to ATB and probably to most, this release the frontrunner for his debut long player, pegged for mid July. It is one of those songs that catches you completely by surprise, seeming initially to just trickle along without much incident. But, before you know it, as the layers surreptitiously build behind his most understated of vocals, suddenly the song is trapped in your psyche, on incessant replay.

“This song is about waking up to life and its offerings. How choosing curiosity can spark, growth, meaning and a sense of possibility when we’re left feeling stagnant or lost“, says Subar. I sort of get that, as the hook it inserts is as gentle as it is infiltrative, and the melody ripples like a mountain stream, as it gradually fills out into a wider and deeper waterway.

Subar is also a member of Chicago alt. country band, Case Oats, who offer a sturdy flip side to the introspection offered herein. They play a few select UK dates in late May/early June. Ask nicely and I am sure he’ll play some of his own stuff.

Well Martin Simpson may have welded off from the The Magpie Arc, but it isn’t on account of any slowing down on his behalf, with an expansive UK tour lined up for the autumn, to chime alongside the release of Some Kind Of Jubilee, an album that marks 50 years of a recording career, and longer if you count performing.

He is one of those singers whose voice gets ever richer and riper with age and experience, and it is now veritably a vintage premier cru against some of the vin de tables around him. And this from someone known, predominantly, as a guitarist.

The Recruited Collier is an old and well travelled song to which Simpson has added some subtle topical ironies, taking nothing away from the sorrow and horror of the set texts available. Besides his fingerliciously perfect picking, the song luxuriates in a setting that includes lush cello, violin and pedal steel guitar. But it is the aching anguish of his delivery that sticks and sticks hardest. A triumph.