STEREOSEAT - Moanster (Digital Single) (Self-Released) With ‘Moanster’, Stereoseat presents the first single and title track of their third album. The song tells the story of life on the edge — constantly seeking out boundaries and slowly becoming alienated fromyour own self.The line“I’m theman in themirror,slipped through the cracks…”perfectly captures the song’s existential tension.The accompanying music video is a collaboration between Tom Van Dorpe and artist Stijn De Pourcq. The artwork ‘Geest van opstand’ (‘Spirit of Revolt’) — made up of mummified alpacas and goats — adorns the album cover and is part of a larger artistic project in which the artwork transforms into a rotating carousel.This rotating carousel, featured in the music video, reinforces the song’s theme: objects trapped in their own small, repetitive space. The full album ‘Moanster’ will be released on Friday, February 6, followed by an official release show on Saturday, February 7 at The Crossover Music Pub in Ghent, with special guest An Evening With Knives (NL). [JB] SCREAMING DEAD - Bedlam (CD/Digital) (Self-Released) Formed on the ashes of punk’s first explosion, Screaming Dead took the snarling energy of 1976 and twisted it into something stranger,darker,more cinematic.While their peers shouted politics, theywhispered poetry—tales of vampires,graveyards, and love beyond the grave. Bedlam was produced by Pete Newdeck, whose credits include working with Judas Priest and Saxon.His experience with the band ensures a sound that is both precise and powerful,with clarity that highlights the depth of Screaming Dead’s signature style. A return to Screaming Dead’s gothic roots —moody, brooding, and beautifully sinister — Bedlam feels both cinematic and claustrophobic, as though the ghosts of their Hammer horror past have found a newvoice through modern production.Here,music becomes an exorcism, a ritual that lets the darkness speak, while each riff and vocal line seems to squat among the tombs of punk and horror’s shared history, honoring the past while breathing life into it once more. [HC] THE ULTIMATE DREAMERS - Kids Alone (Digital EP) During the Christmas holidays,you can safely bet that Home Alone will once again be on television. Is that why The Ultimate Dreamers are releasing their Kids Alone EP right now? And is it meant as a playful nod to that tradition—or a suggestion that if Kevin McCallister’s parents hadn’t left him alone at Christmas,we might have been spared that cinematic monstrosity? The truth is more mundane. Electro label Alfa Matrix, like its wave sublabel Spleen, often releases extra EPs following a successful album. And Paradoxical Sleep certainly qualifies, drawing attention with its intelligent wave sound that skillfully blends guitars and electronics. Originally active between 1986 and 1991, The Ultimate Dreamers reformed after singer Frédéric Cotton revisited old recordings during the pandemic. Since then, their evolution has been clear: increasingly complex compositions and polished production. Kids Alone offers dance-oriented remixes that reimagine the album’s atmospheric tracks as club-ready versions, with standout contributions from Aux Animaux and Mängelexemplar. The EP closes charmingly with a Dutch remix of “Envoler,” making this release both a complement to the album and a thoroughly enjoyable listen. (Spleen+/Alfa-Matrix) [XK] KMFDM - Enemy (Digital Single) (Metropolis) With “Enemy,” KMFDM once again prove that longevity doesn’t have to come at the cost of relevance. The single delivers exactly what longtime fans expect, yet it sounds sharp enough to resonate in the present tense. Driven by a pounding industrial beat, razoredged guitar riffs, and a muscular electronic backbone, “Enemy” feels confrontational from the first second.Sascha Konietzko’s vocals are as commanding as ever,dripping with defiance and irony, while the lyrics frame conflict as both personal and systemic—a familiar but effective KMFDM theme. What makes “Enemy” stand out is its clarity and focus. There’s no excess here: the track is tight, aggressive, and designed to hit hard rather than overwhelm. The production is polished but not sterile, preserving the grit that has always defined the band’s sound. “Enemy” doesn’t reinvent KMFDM, but it doesn’t need to. Instead, it reaffirms why the band remains a cornerstone of industrial music: loud, political, and unapologetically powerful. [HH] Read full reviews on http://www.peek-a-boo-magazine.be/en/reviews/ - 29 - www.peek-a-boo-magazine.be
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