Nowhere In Between Forever is a genre defying odyssey that fuses crushing riffs with drum and bass and synth-pop.
Release date: April 3, 2026 | Prophecy Productions | Bandcamp | Instagram
Five years after Wildhund, a surprisingly refreshing and diverse record, Markus Siegenhort returns with Nowhere In Between Forever. It is an album that takes even more twists and turns, refracting the band’s blackgaze origins through filters of ’90s alternative, drum and bass, and ’80s synth-pop. It is an ambitious, often dizzying exploration of texture that proves once again Lantlôs is not interested in staying in one lane.
The most striking element of the record is the heavy lean into electronic experimentation. While Wildhund toyed with pop sensibilities, tracks like “Cherries” and “Jeanet” dive headfirst into digital soundscapes. “Jeanet” stands out to me for marrying a weird, twisted melody with breakbeat-inspired drum and bass rhythms. This electronic tendency is also heavily present on “Numb TV Superstar”, which pairs a strangely catchy dance beat with the band’s signature drowned-out shoegaze vocals. It’s weird on paper, but in practice, it pushes the envelope and feels entirely modern.
As someone that has followed the band for while, I confess I was worried a bit after noticing the heavy electronic approach. However, there is still a balance and the heavier tracks are still present. The opener, “Daisies” acts as a bridge from the past, utilizing chunky riffs and spacey elements that feel like a direct sequel to the previous era. Also, the influence of the ’90s is prominent here. “Oxygen” hits with a fast-paced urgency reminiscent of Rare-era Hundredth, while “Clockworks” is a massive, crushing nod to the Deftones. From the specific cadence of the vocals to the tectonic shift of the riffs, it’s a masterclass in atmospheric heavy rock. We can also find their classic melancholic drone in tracks like “Solar Death”. It’s a slow burn, layering heavy guitars over melodic, droney textures that feel both massive and intimate.
The emotional core of the album, for me, is in its most nostalgic moments. “Planets” is arguably the finest track on the record. Drenched in ’80s aesthetics, it channels the gloomy brilliance of The Cure. The interplay between the shimmering keys and the driving synth lines creates a cinematic scope that makes the song feel like the climax of a forgotten lesser known film. It’s a bold departure that pays off immensely, showcasing Siegenhort’s growth as a songwriter.
The album concludes with a full-circle moment. After the electronic detour of “AutoGuard” and the brief atmospheric breather of the “Ghost” interlude, the closer “Windhunter” erupts. It is a punishing, heavy piece that feels spiritually aligned with the band’s earliest work, providing a sense of closure to a journey that spans multiple genres. Nowhere In Between Forever is a restless, extremely diverse record. It manages to do a bit of everything and will certainly bring in a different set of fans. It’s a danceable, heavy, synth-driven odyssey. Lantlôs has crafted a sound that exists in the cracks between genres. They prove that their ‘nowhere’ is actually a very exciting place to be and deserves to be discovered more deeply.
