Listen: Laptop receive a ‘Christmas Card From A Hooker In Minneapolis’ on new cover tune

During the last quarter of 2025, alternative band Laptop released a couple of really interesting singles. Taking the energies of OK-Go, a huge influence from new wave and the quirky, melodic charm of Beck, their best work has managed to catch the ear of many a music fan immersed in cult sounds.

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Bad Mary revisit ‘Last Christmas’ with new cover tune

Ever since its original release in 1984, Wham!’s ‘Last Christmas’ has been beloved many. Only reaching #2 on the UK singles chart the first time around, it became the second most celebrated track to fall just shy of the top spot. Ultravox’s ‘Vienna’, arguably, takes the crown there, losing out to a terrible novelty record – ‘Shaddap You Face’ by The Joe Dolce Music Theatre; at least Wham! had the dignity of knowing they were beaten to the top by a charity record, and one that George Michael was also on!

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Listen: Black Dog Moon share album focus track ‘Holy War’

Rising Irish rock band Black Dog Moon have recently released their second album ‘Hell and Back’. Built around an old school sound, the record’s harder edged tracks ‘Neon Queen’ and ‘Heavy Shot of Love’ show how well the musicians can work a thunderous melodic metal riff or two, but it’s when channelling more melodic influences that the album really comes alive. The album’s clear standout ‘Black Hearts and Diamonds’ shares a classic 70s blues rock feel and comes absolutely loaded with confident lead guitar work that appears to draw its biggest influence from Gary Moore’s “slow” reworking of Thin Lizzy’s classic ‘Don’t Believe A Word’, while the buoyant melodic rock of ‘1985’ sounds like Meat Loaf fronting a party rock band with rootsy undertones.

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Watch: The Zenith Passage unveil a new video for ‘Fleshbound Reliquary’

The current single from The Zenith Passage, ‘Fleshbound Reliquary’, isn’t big on accessible melodies, but approached from a purely technical perspective, it’s hard to beat. From the outset, the track comes with absolutely brutal rhythmic work, both from a pneumatic drum part and from some insanely heavy muted guitar chords which come together in such a way, they make the sharp prog metal of peak Symphony X seem half-arsed. Add a little hard edged slap bass and a deeper chug and you already have something that’s absolutely brutal before the death metal influenced vocal arrives.

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