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Fresh Israeli airstrikes have struck southern Lebanon, resulting in multiple fatalities and injuries, just a day after a devastating attack that claimed over 200 lives. The escalation has sparked concerns about the stability of the recently announced US-Iran ceasefire, which Tehran says includes Lebanon.Lebanon's National News Agency reported that an Israeli strike on the town of Abbassiyeh killed at least seven people and wounded several others, with the total expected to rise. The attacks have targeted various towns, including Kafra, Jmaijmeh, Safad al-Battikh, Majdal Selm, and Deir Antar near Qasmiyeh bridge.The Lebanese army confirmed that four of its soldiers were killed in Israeli strikes on Wednesday. The Israeli military claimed that it carried out overnight strikes in Beirut, killing Ali Yusuf Harshi, a close aide to Hezbollah leader Naim Qassem.The scale and intensity of the attacks suggest a broader campaign that continues despite the ceasefire agreement. Al Jazeera's Nida Ibrahim reported from Ramallah that the ongoing strikes reflect a deeper alignment between Israel and the US. Hezbollah has insisted that the ceasefire deal between the US and Iran should include the Lebanon front.According to the Lebanese health ministry, 203 people were killed on Wednesday, with over 1,000 wounded in Israeli attacks across Lebanon. Lebanon's prime minister declared a national day of mourning on Thursday, ordering public offices to close and flags to be lowered in tribute.International leaders have condemned the attacks, with UN human rights chief Volker Turk describing the scale of killing as 'horrific'. French Foreign Minister Jean-Noel Barrot said: 'We strongly condemn these massive strikes which, in ten minutes, killed more than 250 people, adding to the 1,500 victims of this conflict initiated by Hezbollah against Israel on March 2.'Lebanon's Health Ministry reports that Israeli attacks since March 2 have killed at least 1,739 people and wounded 5,873 people.

Cameron Picton, the bassist‑vocalist behind British art‑rock outfit Black Midi, has unveiled his first solo statement under the moniker My New Band Believe. Recorded with a cadre of improvisational musicians—including veteran drummer Steve Noble, formerly of Rip Rig + Panic—the album abandons the band’s signature wall of sound for an intimate, acoustic approach.The record opens with the gentle ballad “Still,” a track originally tucked away on Black Midi’s sprawling rock‑opera Hellfire. Here, Picton’s unadorned vocal delivery replaces Geordie Greep’s theatrical croons, setting a tone of understated sincerity that runs through the entire project.Every song is built from live‑sounding instruments: fingerpicked guitars, double bass, piano, subtle percussion and tasteful string arrangements. This stripped‑back aesthetic allows the lyrics to move away from Black Midi’s often surreal narratives toward more direct, everyday subjects. For instance, the opening track “Target Practice” retains a hint of the band’s dark humor, while “Love Story” paints a nostalgic picture of a couple cooking together, and “Opposite Teacher” reflects on the challenges of fatherhood.Even within this quieter framework, Picton injects moments of tension. The second track, “In the Blink of an Eye,” introduces dissonant chords that remind listeners that “understated” is a relative term for an artist accustomed to sonic extremes. Throughout, the songs remain episodic, with sudden key changes and tempo shifts that echo the restless spirit of Van Dyke Parks’ 1967 Song Cycle—a collaboration Picton initially pursued before budget constraints halted the partnership.Highlights such as “Heart of Darkness” weave together folk‑rock riffs, jazzy drumming and an improvised coda of feedback‑like strings, while “Actress” balances sweet melodies with dramatic pauses and volume surges, ending more as a gradual fade than a conventional finish.Compared with Black Midi’s recent releases—most notably the chaotic, genre‑bending Hellfire and Geordie Greep’s solo effort The New Sound—Picton’s debut feels more approachable without sacrificing artistic curiosity. The album’s constant motion is contained by its acoustic instrumentation, making it easier to love rather than merely admire. It resists standard song structures, defies easy categorisation, and showcases a plethora of unconventional musical ideas, all while wearing its intelligence with a lighter touch.

The Confederation of African Football (CAF) chief Patrice Motsepe arrived in Dakar this week, marking his first visit to Senegal since the body’s controversial decision to strip the nation of its Africa Cup of Nations (AFCON) crown and hand it to Morocco.Motsepe announced the itinerary at the end of March, pledging to meet leaders in both countries to stress the need for "working together to grow African football" as CAF confronts mounting criticism.President Bassirou Diomaye Faye is scheduled to receive Motsepe at the presidential palace, followed by a joint news conference intended to calm tensions.The visit comes in the wake of CAF’s surprise reversal of the January 18 final, where Senegal had defeated hosts Morocco 1‑0. Citing a breach of regulations concerning players leaving the field, CAF retroactively recorded a 3‑0 victory for Morocco on March 17.During the match in Rabat, Senegal’s squad, head coach Pape Thiaw and staff walked off after Morocco were awarded an added‑time penalty, which forward Brahim Diaz ultimately missed.In response, the Senegalese Football Federation lodged an appeal with the Court of Arbitration for Sport (CAS), while the Senegalese government demanded an international probe into alleged corruption within CAF.Motsepe, speaking late last month, affirmed that he would respect and implement the CAS ruling, adding that his personal view on the matter was “irrelevant.”

A Network Rail worker has emerged victorious in a race harassment case after his colleagues left an anti-Islam English Defence League (EDL) leaflet in his locker. Parmjit Bassi, based at Eastleigh depot in Hampshire, was found to be a victim of a racist attack when a co-worker stuffed the EDL leaflet in his locker, questioning what individuals were doing to protect their children from Islam.The leaflet, produced by the far-right group EDL, asked questions that implied a threat to the worker, regardless of his religious background. Bassi, who is not a Muslim, was also accused of committing a high-profile stabbing when colleagues placed a newspaper page in his locker about a knife attack.The Southampton employment tribunal ruled that the incidents were 'clear slights' against Bassi's race and that Network Rail managers had a 'laissez-faire attitude' towards them. The tribunal concluded that the company's inaction was 'weak management' that only strengthened the bullies' position at the expense of Bassi.Bassi successfully sued Network Rail and is now in line to receive compensation. The case highlights the importance of addressing workplace bullying and racial harassment. The tribunal's decision emphasizes that racial harassment can occur even if the victim does not belong to the targeted group, in this case, Islam.The incidents led to Bassi being moved to a different team and eventually dismissed in April 2021. He appealed against the decision but it was upheld, leading him to take Network Rail to the employment tribunal with claims of racial harassment and unfair dismissal, both of which were successful.

On April 5, 2026, President Donald Trump posted a vulgar warning on Truth Social and X, demanding that Iran "open the f****** Strait" or face the bombing of its bridges and power plants. The post, framed as a blend of threats and profanity, raised global concerns because the Strait of Hormuz is a critical oil chokepoint. Rather than replying in kind, Iranian diplomatic missions across continents responded with a wave of sarcasm and satire. Embassies from London to Pretoria, New Delhi to Moscow, used short quips, memes, and literary references to ridicule the president’s language and question his mental fitness. The most viral exchange began when the Iranian embassy in Zimbabwe replied on X, "We've lost the keys," to Trump’s demand to open the Strait. The joke quickly spread: the South African mission added, "Shh… the key’s under the flowerpot. Just open for friends," while the embassy in Bulgaria referenced the late convicted pedophile Jeffrey Epstein, writing, "Doors open for friends. Epstein’s friends need keys." These posts coincided with renewed speculation about the Epstein files. Political rivals have suggested that Trump’s aggressive stance serves to distract from the release of millions of documents linking billionaires, academics and politicians to Epstein. Although Trump appears in the files, he denies any wrongdoing, claiming he cut ties with Epstein decades ago. Complicating the political backdrop, U.S. Attorney General Pam Bondi, who oversaw the Epstein investigation, was removed from office on April 2. Analysts argue her dismissal reflected growing pressure on the administration over the handling of the files. Many Iranian missions seized the moment to invoke the 25th Amendment, Section 4, urging U.S. officials to consider removing a president deemed mentally unfit. The South African embassy shared a post by broadcaster Piers Morgan calling Trump’s tweet "embarrassing" and suggesting he had "lost his marbles," and added, "Humanity must know what kind of creatures are leading the American people." Similar sentiments were echoed by the Tajikistan and London missions, the latter posting a Rumi poem about a madman wielding a sword alongside a Mark Twain quote warning against reckless speech. Other embassies took a more direct tone. The Indian mission labeled Trump a "sore loser brats" and urged him to "get a grip," while the Austrian embassy overlaid an "18+" warning on a screenshot of the president’s post, condemning the threats as a potential "War Crime" against civilian infrastructure. Visual satire also featured prominently. In Berlin, the Iranian embassy shared a Der Spiegel cartoon depicting Trump staring into a mirror, imagining himself as an emperor. In Moscow, a Russian illustration portrayed Trump as a delusional Don Quixote charging at a windmill, with a sidekick shouting, "Boss, it’s just a windmill!" All of this digital mockery unfolds as the Middle East braces for Trump’s self‑imposed deadline to reopen the strategic Strait of Hormuz early Wednesday, local time. While geopolitical tensions rise, Iranian diplomatic posts continue to turn the president’s incendiary rhetoric into a global social‑media spectacle, one sarcastic tweet at a time.

Friko, the Chicago‑based indie outfit, is gearing up for the launch of their second LP, Something Worth Waiting For, slated for 24 April. The record, described as a “radiant ramble” through modern indie rock, reflects the band’s recent touring experiences and explores themes of yearning, growth, and stability.The lead single, "Choo Choo", bursts with a road‑trip vibe, pairing vocalist‑guitarist Niko Kapetan’s urgent, quavering delivery with guitarist Korgan Robb’s atmospheric riffs. Critics note a vocal timbre reminiscent of Modest Mouse’s Isaac Brock and Sparks’ Russell Mael, while the track’s lyrical nods to classic American road food add a playful, homespun charm.Since their 2024 debut Where We’ve Been, Where We Go From Here, Friko has expanded from a duo (Kapetan and drummer Bailey Minzenberger) to a full four‑piece, adding Robb and touring bassist David Fuller. The new album also benefits from the touch of Grammy‑winning producer John Congleton, known for work with Mannequin Pussy, The Mountain Goats, and St Vincent. His influence shines on the Bowie‑esque chamber‑pop ballad "Seven Degrees", underscoring the group’s evolving sound.In addition to the album news, the Guardian’s weekly Add to Playlist roundup spotlights a curated selection of fresh tracks. Highlights include Wallis’s techno‑laden “Biscuit,” Beth Orton’s intense “The Ground Above,” Toronto pop‑star Chxrry’s catchy “Hall of Fame,” and a collaborative anti‑immigrant‑detention compilation track by Wendy Eisenberg’s trio Darlin’. The list also features Jeff Parker’s hopeful “Like Swimwear (Part One)”, a dubstep‑rap hybrid “Duro” from Skrillex and Young Miko, and Cass McCombs’s garage‑rock anthem “Seeing the Elephant”.Listeners can stream the full playlist on Spotify, Apple Music, Tidal, or other services, ensuring the week’s most inventive indie and electronic releases are just a click away.

In a wave of coordinated demonstrations, citizens and activist groups in cities around the world have taken to the streets to denounce Israel's newly introduced death‑penalty law for Palestinians. The law, which expands capital punishment provisions specifically for Palestinian individuals, has sparked immediate backlash from human‑rights organisations and foreign governments. Protesters in Europe, North America, and parts of Asia have gathered outside embassies and consulates, holding signs that call for the repeal of the legislation and urging the international community to intervene. Many participants have highlighted the law's potential to exacerbate tensions in an already volatile region, warning that it could undermine ongoing diplomatic efforts. Human‑rights advocates have described the measure as a serious breach of international legal standards, emphasizing that the application of the death penalty in this context contravenes established norms on the protection of civilian populations. While official statements from Israeli authorities remain limited, the global outcry underscores a growing demand for accountability and adherence to universal human‑rights principles. As the protests continue, analysts suggest that the international response could influence future policy decisions in the region, potentially shaping diplomatic negotiations and affecting Israel's standing on the world stage.

In 1986, thrash metal reached a critical point with landmark albums from Slayer, Megadeth, and Metallica. However, across the Atlantic, a group of teenagers were forging their own path in the genre. Kreator, Sodom, Destruction, and Tankard, dubbed the 'big four' of German thrash metal, were faster and meaner than their American counterparts.These bands made up for their lack of finesse and professionalism with sheer aggression. Destruction vocalist and bassist Marcel 'Schmier' Schirmer notes that they focused on writing songs that 'punched hard' rather than striving for musical perfection.The German thrash metal scene was marked by its rough and violent approach, with bands drawing inspiration from English heavy metal albums and American thrash metal bands like Slayer. The scene was also influenced by the political climate of the time, with the presence of the Berlin Wall and the Cold War.Bands like Formel 1 from East Germany, who released their live album Live Im Stahlwerk in 1986, were also part of the thriving metal scene. Despite the challenges faced by these bands, including limited resources and censorship, they managed to create a lasting impact on the metal genre.Today, bands like Kreator, Sodom, and Destruction continue to tour and produce new music, with Kreator's 16th album, Krushers of the World, and Destruction's upcoming US tour with Overkill and Testament. The legacy of German thrash metal remains strong, with its unbridled aggression and brutal sound continuing to influence metal musicians to this day.