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The metal music scene has witnessed a surge in popularity of masked bands, with many notable acts donning elaborate masks as part of their stage presence. This trend is not only visually striking but also allows the bands to create a sense of mystery and anonymity. For bands like Imperial Triumphant, Gaerea, Sleep Token, Ghost, and Gwar, their masks have become an integral part of their image and artistry.Imperial Triumphant, an avant-garde metal band from the US, chose to wear striking gold masks modeled after 1920s art deco architecture. These masks brought their own set of problems, including getting lost in transit. The band's singer/guitarist, Zachary Ezrin, notes that the masks add a layer of complexity to their music, allowing them to tap into different parts of their personalities.Gaerea, a Portuguese black metal band, has also adopted the trend of wearing masks. Lead singer Alpha notes that the mask allows him to get into a different mode in his psyche, similar to how athletes get into a trance-like state during intense physical activity. The band's masks are not just for show; they also help to create a sense of anonymity, allowing the band to focus on their music rather than their individual identities.The use of masks in metal music is not a new phenomenon. Bands like Gwar and Slipknot have been using masks for decades, and their influence can be seen in many modern metal bands. However, the current trend of masked bands goes beyond just shock value; it's about creating a sense of mystery and artistry.The masks also allow bands to create elaborate mythologies and universes that fans can engage with. For example, Ghost poses as a subversive, devil-worshipping church, while Sleep Token's songs are ostensibly about their devotion to a god called Sleep. These mythologies help to create a sense of depth and complexity, drawing fans into the band's world.Despite the challenges of performing in masks, many bands find that it allows them to access new parts of their personalities and create a more immersive experience for their fans. As Ezrin notes, "I love the presentation of Imperial Triumphant... Even in 2026, when there are a million masked bands out there, I'd say we're still unique."

On Halloween night in 2022, the 33‑year‑old Los Angeles‑based musician Angelo De Augustine collapsed at home, experiencing a cascade of sensory failures that left him unable to see, hear or move properly. Family members rushed him to the hospital, where doctors ran extensive tests but could not pinpoint a diagnosis, ultimately sending him home with a warning to return only if he became completely deaf or blind. Faced with a semi‑incapacitated body, De Augustine’s sole focus became completing the album he had been crafting for the previous year, Toil and Trouble. He admits he believed he might not survive the illness, yet he pushed through the pain, hoping to finish the record before his presumed death. De Augustine’s career had been gaining momentum. After his 2014 debut Spirals of Silence, he joined Sufjan Stevens’ label Asthmatic Kitty for 2017’s Swim Inside the Moon and later co‑produced the acclaimed 2021 collaboration A Beginner’s Mind. A 2019 track, “Time,” from the album Tomb, amassed over 31 million streams after featuring in Zach Braff’s film A Good Person, but the artist was too ill to capitalize on its success. Recovery was gradual and arduous. Over three years De Augustine relearned basic functions—walking, speaking, hearing, and playing instruments. Those challenges informed his newest work, Angel in Plainclothes, an album that contemplates mortality and the fleeting nature of life through ethereal soundscapes. Musically, the record draws on influences ranging from Nick Drake’s wistfulness to early Paul Simon’s lyricism. Tracks such as “Spirit of the Unknown” celebrate simple joys, while the lead single “Mirror Mirror” uses a reflective metaphor to describe his feeling of being a ghost watching life from the sidelines. He records from a studio he calls “A Secret Place,” emphasizing the intimate, introspective tone of the project. Recent research, De Augustine notes, suggests that chronic stress can overload the central nervous system, causing the body to shut down—a possible explanation for his 2022 episode. He points to the relentless pressures of the music industry as a likely source of that prolonged anxiety. Born to musical parents—his mother Wendy Fraser sang on the Dirty Dancing soundtrack—De Augustine originally pursued soccer before injuries redirected him toward music. Largely self‑taught, he began writing original material without formal lessons, a factor he believes gives his songs a distinctive edge. During his convalescence he moved back in with his mother, unable even to prepare meals. A breakthrough came when he discovered that immersion in water alleviated his symptoms, prompting a deeper awareness of his stress levels. A disciplined regimen of physical and mental exercises helped rewire his nervous system, gradually restoring his ability to play guitar and sing. When his health permitted, De Augustine returned to the studio, this time enlisting collaborators such as string arranger Oliver Hill, harpist Leng Bian, producer Thomas Bartlett (aka Doveman), and his mother on percussion. Drummer Jonathan Wilson contributed drums and offered his Topanga Canyon studio for the track “The Cure,” a song that likens illness to addiction. The album’s sonic palette is enriched by antique instruments—a bowed psaltery, aquarion, Marxophone, bass recorder, train whistle, 1960s German guitaret, miniature accordion, and a 1990s synthesiser version of a Japanese koto harp—underscoring De Augustine’s penchant for unconventional textures. After a five‑year hiatus from live performance, he returned to the stage last year, describing the experience as “amazing” despite its challenges. Though he acknowledges he is not yet fully healed, he feels he is emerging as a blend of his former self and a newly humbled individual who no longer takes life for granted. Reflecting on his journey, De Augustine says, “For so long my only focus was to be a great songwriter, and perhaps I paid the price for that. Now I’m trying to live a good life rather than chase outcomes.” Angel in Plainclothes was released via Asthmatic Kitty on 24 April, offering listeners a glimpse into his renewed perspective and artistic resilience.

Winsome Pinnock’s latest play, The Authenticator, opens at the Dorfman Theatre, National Theatre, London, and immediately subverts expectations by pairing a serious examination of erased Black histories with a lively, comedic tone.The story follows Fen (Sylvestra Le Touzel), a direct descendant of the 18th‑century enslaver Henry Harford, who discovers a cache of his Jamaican farm diaries. She entrusts the documents to two Black academics – Abi (Rakie Ayola), an Oxford‑educated scholar of Nigerian descent, and her mentee Marva (Cherrelle Skeete), a bright working‑class woman whose grandfather’s mysterious disappearance ties back to the Harford estate.Their investigative partnership feels like a modern Holmes‑Watson dynamic, allowing Pinnock to explore the tangled intersections of class, race, and inherited privilege. Abi’s privileged background and Marva’s grassroots perspective highlight how historical complicity can span generations.While the plot leans on some convenient coincidences reminiscent of an Agatha Christie puzzle, the play’s strength lies in its razor‑sharp dialogue and satirical wit, which keep the narrative brisk and entertaining.Visually, the production leans into a haunted‑house aesthetic: designer Jon Bausor’s set features gilt‑edged frames, trapdoors leading to a cellar of “dirty secrets,” and atmospheric lighting that flickers like candle‑lit torches, underscored by a nervous string quartet.Much of the humour centres on Fen, portrayed as a “tweedy do‑gooder” eager to atone for her family’s sins yet quick to deflect blame. Her self‑portrait as a former Oxford punk adds a layer of absurdity, drawing parallels to the post‑colonial satire of films like Knives Out.Pinnock also skewers the modern aristocracy that monetises heritage properties, illustrated by a grime‑artist filming by the estate’s fountain and a fabricated ghost tour designed to attract tourists.The play does not shy away from genuine hauntings. A Blackamoor statue is hidden away after the 2020 debates over colonial monuments, and missing diary pages hint at violence against an enslaved woman named “Black Sarah.”Director Miranda Cromwell navigates the tonal shifts deftly, ensuring that the humour never eclipses the underlying guilt and pain embedded in the characters’ histories.Ultimately, The Authenticator succeeds by delivering a “lightness of touch” that makes confronting toxic colonial legacies both accessible and thought‑provoking, offering audiences a disarming yet incisive look at how societies reckon with their past.

Somalia's national army has taken control of the strategic city of Baidoa, the largest in Southwest state, prompting the regional leader to resign. The city's takeover comes two weeks after the Southwest state administration announced it was severing ties with the federal government.The city of Baidoa, located about 245 km northwest of the capital Mogadishu, is home to international peacekeepers and humanitarian agencies in an area affected by drought, conflict, and displacement.Abdiaziz Hassan Mohamed Laftagareen, the President of Southwest State, announced his resignation on Facebook, stating that he had been in office for more than seven years. His resignation comes days after he was re-elected for another five-year term, an election the federal government deemed illegal.Earlier on Monday, Somalia's federal forces entered Baidoa, taking full control of the city and marking the start of a political transition. A local elder described the city as calm but a ghost town.The Southwest state's transition began with the appointment of its finance minister, Ahmed Mohamed Hussein, as acting president through a formal decree. The central government in Mogadishu hailed the state's transition and urged calm and unity.The federal government emphasized that no acts of retaliation will be tolerated, underscoring its commitment to protecting lives and property during this sensitive political transition.The dispute with Southwest is the latest sign of strain in Somalia's fragile federal system, where disputes over elections and the balance of power between Mogadishu and regional administrations repeatedly open up political fault lines.

Netflix’s fourth season of “Love on the Spectrum” returns this week, following a group of neurodivergent young adults as they navigate the challenges of dating. Unlike mainstream formats such as “Love is Blind” or “Love Island,” the series prioritises genuine connection over drama and commercial incentives. The new lineup blends familiar faces with fresh participants. Logan, a 25‑year‑old from Las Vegas, shares his simple pleasures—Hannah Montana, model‑train crash videos and cheesecake—while preparing for his first date with Hailey under the guidance of autism specialist Jennifer Cook. Their interaction underscores that the anxieties of a first date—wondering if you’ll be liked, what to wear, or what to talk about—are universal. Returning contestant Madison, now 27, moves to Florida to be closer to her partner Tyler, celebrating their first Valentine’s Day together with a country‑song serenade titled “Livin’ on Love.” Meanwhile, Connor, 26, wrestles with mixed signals from his girlfriend Georgie, rehearsing a picnic of finger sandwiches with his mother’s coaching. Another storyline follows Emma, a 22‑year‑old Mormon college student, whose family encourages her to embrace her authentic self rather than conform to expectations—a sentiment the reviewer suggests many viewers could adopt. The programme is positioned as a nostalgic reminder of early‑2000s reality TV, which often framed itself as a “social experiment.” Shows like the original “Queer Eye” and “The Simple Life” highlighted common ground among diverse participants. Over the past two decades, however, the genre has gravitated toward heightened conflict, exemplified by the 2004 “Wife Swap” showdown and the recent “The Bachelorette” season 22 cancellation amid domestic‑violence allegations. In this climate, “Love on the Spectrum” stands out as a life‑affirming alternative that proves reality television can still be kind. At its core, the series reveals a paradox: neurodivergent participants often approach dating with a refreshing candor, unburdened by the performative pressures that affect many neurotypical daters. Emma, for instance, openly shares a Donald Duck impression on a first date and honestly admits when she sees no future with a partner, avoiding the common “ghosting” pitfall. By spotlighting these authentic moments, “Love on the Spectrum” not only entertains but also challenges the prevailing narrative that reality TV must be sensationalist. It suggests that, with the right framing, the genre can celebrate genuine human connection.

The Japanese action-comedy film 'Ghost Killer' presents a unique blend of supernatural elements and high-octane action. Akari Takaishi stars as Fumika, a college student and part-time waitress who, after picking up a bullet casing, becomes connected to the ghost of Kudo, a recently murdered hired assassin.Kudo's ghost inhabits Fumika's body, allowing him to use her as a karate-chopping, gun-slinging martial arts vessel to right wrongs and avenge his own murder. This setup enables the film to deliver thrilling action sequences, showcasing fisticuffs and fancy fight choreography.Director Kensuke Sonomura, who previously worked on the successful 'Baby Assassins' franchise, brings his expertise in action direction to the film. Takaishi, who collaborated with Sonomura on 'Baby Assassins,' demonstrates her charisma and impressive range as Fumika, convincingly portraying both her vulnerability and deadly efficiency when possessed by Kudo.The film's script, written by Yugo Sakamoto, balances action with meaningful themes, including women's rights and the fight against male aggression. Notably, Fumika's character is presented in a practical and empowering way, often wearing tracksuit trousers, a puffer coat, and a knitted beanie, avoiding objectification.'Ghost Killer' is set to release on digital platforms from April 6, offering a fresh take on the action-comedy genre with its blend of supernatural intrigue and martial arts excitement.

The Royal Opera's new production of Britten's 'The Turn of the Screw' begins with an eerie effect: the tenor's voice emerges from absolute blackout, setting the tone for an evasive ghost story that will keep audiences on edge. Director Natalie Abrahami and designer Michael Levine have crafted a staging that masterfully builds tension, using water as a recurring motif to underscore the themes of innocence and corruption.The set design features a traditional country house with doors, beds, and the Governess's haunted desk, while Duncan McLean's videos project images onto an invisible screen, adding to the sense of unease. The ghosts and their silent doppelgangers move through the space, creating skilful misdirections and emphasizing the Governess's desperation.The cast delivers richly woven performances, with Isabelle Peters shining as the intense Governess, Claire Barnett-Jones warm as Mrs Grose, and Elgan Llŷr Thomas persuasive as the volatile Peter Quint. The children, played by Phoenix Matthews and Emilia Blossom Ostroumoff, bring extraordinary detail and presence to their roles.Conductor Bassem Akiki draws a compelling performance from the 13 players in the pit, and the tension only loosens its grip when the cast and production team take their bows. This production of 'The Turn of the Screw' runs at the Linbury theatre, London, until 6 April.

Lily Allen, known for her hit album West End Girl, is exploring the possibility of turning her music into a stage play. The album, which details her painful experience of discovering her husband's infidelity, has already been performed in its entirety during a recent tour of theatre venues, including a show at the London Palladium.The album's narrative is semi-autobiographical and features songs that showcase Allen's mastery of dialogue, characterisation, and storytelling. The plot revolves around her being cast in a West End production, mirroring her own debut in 2:22: A Ghost Story in 2021.A potential play adaptation could feature intimate monologues or a more elaborate production with supporting actors. The character of Madeline, the other woman involved in Allen's husband's affair, could be a key role in the play. Allen's fans have been closely following her personal life through her lyrics, and her Architectural Digest video showcasing her Brooklyn townhouse with her now-estranged husband David Harbour. The album's sardonic humour and raw realism could be effectively translated onto the stage.The set design for the tour, created by Anna Fleischle, featured a distinctive two-act structure with an interval and innovative videography. A stage adaptation could also incorporate performance art elements, making it a unique theatrical experience.